Discussion in 'Music Corner' started by Tom H, Sep 24, 2014.
I've always liked this album, since its release date back in 1994.
In a blitz of a manic 'long weekend' high, errands done, drink in hand, laser
just hitting the disc, this term came right off the cuff. It just meant trying
to re-energize a few pounds added to my frame over the holidays.
Who the hell is MJ?
Gotcha. Should have known, cheers. lol
Stevie Ray Vaughan
I've just listened to this on Spotify. My eldest brother used to have it on vinyl, and it reminds me of my childhood. But apart from the nostalgic factor, I liked it a lot, so I guess I'll have to buy the expanded version I saw at the record store of my choice some time ago.
Happy Hardcore Anthems from back in the day.
Are you coming up yet.
that one sure brings back high school memories! She Sells Sanctuary!!
I'm thinking about "packing the fat" tonight after work.
Not listening to the actual CD, because I'm at work, but I've got the ripped files here with me.
Yes, I agree. I prefer the old cd, the expanded version is not mastered to my taste and, this is the cruncher, has some minutes of "No Quarter" butchered out
I hardly ever listen to "Moby Dick" on disc 2, I must admit. I love Bonham, but I find his solos to be boring after a couple of minutes.
Back to more of “The Two Seasons”
Evan Parker: tenor & soprano saxophones
John Edwards: amplified double bass
Mark Sanders: percussion (mostly drums & cymbals)
I find that it still takes me some time acclimate to this music maybe since I’ve been on maybe an 75% Dead diet for a month or two. I also know that once I’m in and involved, there is no saxophonist who is as satisfying to listen to over long stretches. His 8-20 minute or more continuous improvisations on tenor (collective with the bass & drums as they are freely improvising as well) are very strong here - maybe as powerful as anything outside or equal to his best playing with Parker-Guy-Lytton or Schlippenbach Trio during the 90’s to early 00’s.
Just when you think he can’t take it any further or the music can’t possibly get more intense and exciting, Parker drives the music to higher levels of brilliance. His playing during these years has been called “causually brilliant” yet that is damned praise, I think.
For the second time this week: I prefer the mono mix, but "Tomorrow Never Knows" sounds better in stereo.
I've been on a 3% Dead diet lately. I listened to Help>Slipknot! from 9/28/75 this morning, but I shouldn't mention it here.
my ears hear in stereo. Never got the mono v stereo silliness.
I have a lot of mono recordings, but none of them are as crucial (if crucial at all) as the Beatles In Mono, because their early stereo recordings, to me, are near awful.
People will take issue with that last statement, yet no one will ever write the following: "Yeah, you know, I just love Ringo crammed into the left channel in wide stereo. That's where the drums should always live."
The Dylan mono set is fairly useless. I fell for that for some reason. I feel the same about the Stones in mono, but that's a good way to get No. 2. But I had a weird boot of that anyway.
I knew a girl in high school that got the mono.
Fables is fantastic. Last of the early, 'mystical South' REM albums and the only three I actually still like.
As I've boasted about in this tread before, I was at that gig. It was fantastic and I'm not even a fan.
In my opinion, John Wesley Harding is far better in mono. In stereo is a masterpiece, in mono is a supermasterpiece (whatever that means).
Duophonic is much worse illness
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