Michael Fremer

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Features
Los Lobos Interview Part 2
Michael Fremer  |  Jun 30, 2004  |  0 comments

MF: Why are there so many guest drummers on your records?

LP: Because I'm a guitar player. I think what happened in the ’70s with all the disco kind of stuff — all the drummers became, like, machines? So that kind of drumming became a prerequisite....

MF: And how did you feel about that? Was that pushed on the band?

Unidentified voice: The White man again! [Laughter]

MF: That was pushed on the band....

Unidentified voice: The evil White Demon! [More laughter]

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Features
Los Lobos On Record (through 1997)
Michael Fremer  |  Jun 30, 2004  |  0 comments

Los Lobos On Record

This survey omits the group's first independent release (1978), and the La Bamba Original Motion Picture Soundtrack (1987)

(Album covers can be found in the Photo Gallery, accessible below the picture of the site mascot, Mr. Eno).

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Features
Eno Masters From Astralwerks/Virgin Satisfy!
Michael Fremer  |  Jul 31, 2004  |  0 comments

The Eno CD Re-masters From Astralwerks/Virgin

As we reported back in April, Astralwerks/Virgin has remastered Brian Eno’s four classic 1970's albums. Here Come the Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and After Science using the original masters—as delivered by Brian Eno. No re-equalization or other revisionist alterations have been made in the transfer process.

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Features
Round and Round: The Sound of The Rolling Stones on Record
Michael Fremer  |  Nov 01, 2010  |  1 comments

Originally in issue 4 of The Tracking Angle, this dated discography still offers a bumpy roadmap to the best sounding Stones LPs

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Interviews
Tales Of Hoffman: Michael Fremer Speaks with Steve Hoffman: Part 1
Michael Fremer  |  Aug 31, 2004  |  0 comments
Musicians have fans. Baseball players have fans. But mastering engineers? It would seem unlikely that a guy or gal who transfers tapes to CD or vinyl would garner a substantial public "following" ( a few groupie audiophiles notwithstanding), but over the past decade Steve Hoffman has managed to do just that.
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Interviews
Tales Of Hoffman: Michael Fremer Speaks with Steve Hoffman Part 2
Michael Fremer  |  Aug 31, 2004  |  0 comments

M.F.:Here and there. Okay. Now what's happening with these Everest 35MM tape classical LP titles. Are they selling?

S.H.:Yeah. We would like to do some more. It's so expensive

M.F.:What 35 millimeter plyaback chain are you using to play those back?

S.H.:We're using a local collector in Los Angeles who has a pretty good sounding set up.

M.F.:It's a Westrex?

S.H.: It's been modified a little bit, but it's still very hard on the film.

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Features
Clap Hands Hear Comes Classic Records Jazz! Part 1
Michael Fremer  |  Sep 30, 2004  |  0 comments
Though much has changed since this story first appeared, it still holds interest. Mike Hobson and Ying Tan have long since split, with Ying starting Groove Note, and sadly, plating guru Ed Tobin was murdered, but Bernie Grundman Mastering thrives, as does Classic Records, thanks to the vinyl revival now underway.

Spend a few days watching how they make records late twentieth century style and you'll understand why hardly anyone makes them anymore. You'll also appreciate why the good ones cost what they do.

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Features
Clap Hands Hear Comes Classic Records Jazz! Part 2
Michael Fremer  |  Sep 30, 2004  |  0 comments

Bernie Grundman Mastering is in Hollywood, Greg Lee Processing is south toward Long Beach and RTI, the pressing plant is, wouldn't you know it, way north of L.A. .So the Classic folks rack up lots of miles ferrying lacquers south and stampers north.

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Features
Roger McGuinn Speaks With John Nork
Michael Fremer  |  Oct 01, 2004  |  0 comments
TA: How did you select music as a career? What were the factors involved in your going that direction for your occupation?

RM: I just loved it and I kinda fell into it. I was playing it as a hobby and getting ten dollars a night at the coffeehouse.

TA: How old were you at this point?

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Interviews
Ray Davies: One of the Survivors
Michael Fremer  |  Jan 31, 2005  |  0 comments

The door to the Velvel Records reception area opened a good dozen times while I awaited Ray Davies' arrival. There was a constant stream of FedEx and UPS delivery men, visitors, and Velvel workers. Each time it opened it could have been for Davies, but I knew it wasn't, though the door opened toward where I was seated, blocking my view of the entrant.

With a click of the knob and a rush of air, the door opened one particular time and I knew immediately it was Raymond Douglas Davies' entrance. I would have bet a hundred bucks and I would have collected. What told me? The panache with which the door flew open? The “vibe?” I don't know. I just knew it was Ray, and it was.

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