Tidy up ends

 

Well it does happen to be Friday  which means I'm busy helping the one of kind (thankfully) Grump out with the shopping after posting my Postal Vote renewal application blank of the Electoral Services of this inept council first class as the Royal Meow delays things if you don't.

 

And yes Old Me has returned from the mid 2010's probably aided by reading a new book that took me back to things with my first love musically which having nearly finished I'd say was well written and puts you very much in this band members shoes. Definitely worth it.

 I'm also finishing something off that got stalled from the same era as the old Avatar, as in 2014 I started getting in dribs and drabs the Official Remastered Edition of the conductor Herbert von Karajan's recordings for Emi Records from the late 1940's to 1984 which came out in themed box of differing sizes.

This one has his recordings from the late 1940's and late 1950's of Choral Works, some from the era of the 78 rpm shellac disc sounding better than ever  which was the big plus point of this very comprehensive set of issues.

Time for an ice cream now! 

Broken wings part two

 

Today's post is a quickish one as domestic arrangements here more days of have been switched but getting back to the topic we've spoken of having things arriving broken or otherwise not of merchandise quality in any hobby that involves collectables things can happen before then.

It may be that something isn't what is described as being which you may detect - the number of times I see cds or records give issue dates that clearly are not first issues are numerous - before you get that far but in the main you do trust in descriptions not least those that talk about the quality of used discs.

Sometimes I get a record that on the surface to be free of scratches but as with one that arrived on Wednesday it sounds between the tracks like it's been played with a nail with random noises that are intrusive.

Yesterday though I get a message to say a classic 80's disc described as being near mint was indeed more like well worn having paid for it but had been spotted by the person packing the order who then messaged  me.

I appreciate the fact they cared enough to message and give me option to decline and get a refund, the question arises how come it listed as being near mint and why their buyer accepted a disc that no serious collector would want.  

At times it takes the fun out hunting and getting recordings to enjoy. 

Broken wings

New week and I think the last Friday in the month as things kind of return to normal around the grump and related household activities.

Now then, now then pop pickers you know how much I like music to the point there's usually something arriving here to admire and play, new titles or new copies of old favourites in different forms but in with disc from Josie from Stafford was a special cd issue from late last year I'd missed. 

Well after opening the thin card envelope and undoing the seal I was greeted by this broken title with some impact marks on the envelope and I've only had this in some 39 years of buying cds once before although those early 90's lift lock cd cases could damage the centre hubs if used incorrectly.

We'll waiting on a refund to be granted but I've ordered another that did arrive in one piece, playing well.

Farewell Brian Wilson

We know it was going to happen, as we'd lost Dennis in '83, Carl in '98 but yesterday evening UK Time, it was announced Brian Wilson, the surviving Wilson brother  who with cousin Mike Love and Al Jardine made the Beach Boys died aged 82 years.

They'd been playing as high school kids before going professional in 1962 with following limited local success with Surfin' based around the California sport beloved of teens before recording a series of increasing complex musically and mature lyrically albums despite issues with their record label and abusive father, Murry whose actions didn't just cause mental issues down the line but also deafness in one ear.

Following the decision in late 1964 that Brian would not tour but work at home and in the studio on songs, popular music just expanded its range as in differing ways the Beatles in Great Britain were and in time Rock Music was born. 

If there's one album that you can say really changed things it was Pet Sounds - his favourite sounds - created with a massive group of session musicians and unusual instruments that nobody had ever heard before and with analytical, lyrically complex lyrics.

That's Brian in the control room during the recording of Pet Sounds, directing the whole session.

The group rehearsing their vocals added on extra tracks on what by today's standards was primitive 8 track studio recorders.

The album had its issues, some feeling it strayed too far from their traditional sounds, a lot of stresses coming from their record company that under promoted it in the States preferring to push a Best of compilation although it Great Britain it was a massive seller, lauded by many of that countries musicians.

No sooner than that album was out Brian was working on sounds literally recording, cutting and splicing bits to make what many feel is the greatest single of all time, Good Vibrations which those brits made a number 1 for two weeks.

The attempt to make SMiLE, the follow up to Pet Sounds the same way not helped by the use of in vogue drugs caused not merely the cancellation nine months on of the album but a major mental health breakdown for Brian who pulled away for a long from having much to do the Beach Boys beyond a contribution here or there to an album.

In time with some missteps, Brian got the help he needed to be more engaged with music and even do some touring both solo and with the group.

The legacy is one of initially of fine vocal harmonies, pushing the envelope of what music for teens and young adults could be and with others such as the Beatles, Who, Jefferson Airplane what became Rock Music, not just music with a beat to sing along to and dance.

Thank you Brian for everything and the many albums of your group I so love playing.

New copies and the "right to comment"

Back with a post kind of linked to the previous but in some respects a little different in the week the Donald was told he lacked the Authority on many but all his tariffs by a court, clearly acting out of the constitution. What a naughty little boy!

There often is lovely discourse in music and especially audiophile circles about what constitutes "the best" version of an album and if you read through page after page it's obvious there can be a major difference in what people or prioritizing or perhaps the copy that works best on their stereo systems.

Take this the 2017 half speed mastered version of Roxy Music's classic 1982 Avalon album that beyond the title track included the top ten single More Than This which some feel is a bit bland but many others like.

I have an American Warner Bros original that I was able get in great shape and yes I am happy with it, but having heard this edition I'd say it was a very decent copy obviously lacks wear and can be replaced by the shop if there's any issue.

One person suggested the only comments that should be accepted about how it sounds are by those who have compared at least another edition and ideally several.

If you were talking about a review then that kind of approach would make sense being able contrast and compare any difference you observe but a casual reflection on how having talked about the new version coming out a person posts there thoughts having just received their copy really you don't.

Naturally the kind of super fan with multiple copies is into the comparison, the "is this worth picking up?" aspect but really so long as you're upfront about it being your only copy it's crazy to deny it.

We don't all have multiple copies - storage issues would increase if you took that approach - and many of us can recall just going into a shop and getting the version that was available even for older titles and provided we felt it was great sounding and we obviously loved the music we were satisfied with that.

Many people are getting into (or back to) vinyl and "more than good enough" new copies are well worth picking up when they can be had for modest prices.

In the end it's only an opinion and the one that matters most is yours.

Brothers In Arms...again

The last time I wrote about Dire Straits, the rock group and not the state of my purse would of been late 2019 when I was building up a collection of super audio cds and slowly their recordings were coming out in that format.

This week reminds me a little of when I went to my summer holiday around this time in 1985 when after a couple of years there seemed to be a real buzz around the Compact Disc since its introduction and So Far Away was played a lot on the radio.

That was the lead single from Brothers In Arms, the new Dire Straits album and this was for many the gateway album to get a cd player and a few discs one reason being the songs run for longer on the cd (but then they also did on the Chrome cassette) and in time I got the cd with those versions.

That was very much it until I got the sacds.

These days I do play a lot of vinyl and I always wanted to hear those other versions so hearing the record as in a single lp was being reissued at start of this month I picked it ip.

Cut by Miles Showell at Abbey Road, London from the tapes this sounds more analogue and in some ways being more concise does suit it.

It also avoids the four side changes of modern full length versions spread over two records.

I'm pleased to get this version.

Of retaping and a replacement

Following a little on from last week's post spring cleaning an area I have been dealing with is redoing a few older tapes as some of those older tapes had wear and other issues including being missing.

Simultaneous to that I had been sorting out the cd shelves moving some discs down here as I'm spending more time downstairs and in the instance of my REO Speedwagon cds there always was one whose sound I'd been never really impressed by.

Something went wrong with the mixing with this album as has flabby ill defined bass and muted top in places and the UK version of lp wasn't much good so was replaced by Dutch copy that used the American parts to make  the pressings that was much better.

By 1989 compact discs were very much a thing and I was buying cd copies of albums starting with those I originally bought on cassette and so when came to getting a couple of titles I had on record I had to wait to the summer before U.S. versions came out.

When it came to the puntastic You Can Tune a Piano But You Can't Tuna Fish, the only copy I saw was the european copy that came out in the mid 80's.

That sounded nearly as bad as the first lp I had. Maybe it used the same source?

What until recently I didn't realize was there was a U.S. version  in that series I did get and I managed to track one down and it does sound much better.

Going for a moment back to cassettes the first cassettes I made of the lp only material were done of genuine BASF Chrome Super and later redone in late 1987 to Maxell XLII but those left the house in the late 1990's as they were superseded as I thought by MiniDiscs.

The tapes have been redone on Maxell XLII-S and UDII type two tapes minus noise reduction, the way back in the early 1980's I did them sounding really good.

The past never goes away, it just returns.

New month and remaking something from the past

 It is a New month this entry and I might just say a new season too as I saw a robin on Wednesday afternoon putting in an appearance.

Things shooting up after the cold months always warms my insides up even in these rather worrying times.

 

One thing I did do this week was remake this pre-recorded tape that had got very stiff over the years so the first step was to find a great blank tape of the right length to use so opted for a early 90's still wrapped Maxell UD1-cd.

The tape basically is the same as the SX1 but in a see through shell but is a super ferric that will take high signal levels and is quite quiet when it comes to noise.

Actually it was one of the best tapes of the era IF you had a recorder that could fully exploit its potential which is where using the Aiwa three headed deck with fully adjustable sensitivity and bias settings acquired last year came into play.

Making sure the high notes were clear even with Dolby B type noise reduction in was easier to achieve as you could hear it in real time and setting the record level to peak at +6 kept noise right down and was close to the originals.

I did add the song Monochrome which was the b side of the single Big Apple on side one to even out the sides.

It turned out extremely well.

Now 12 inch 80's Pt.III

We're going back to the summer, July actually of 2024 and last entry when Now decided to make this series into a game of two halves per year so our format changed and we move from 1983 to 1984, the year George Orwell had a lot to say about.

As with all the others in series the presentation, just folded card with tracklistings could of been better but this new volume is jam packed with so many great hits in their longer mixes.

This collection showcases the diversity of the era, with genres including synth-pop, alt-pop, disco, hi-nrg, electro, and hip-hop, featuring the essential 12" mixes, that ruled the charts and the dance-floor. 

It was an era where I'd grovel through the boxes of just dropping out the chart 12 singles and come home with a handfull often for half price or even less and drop the stylus down on them.

Disc One opens with Queen’s timeless ‘I Want To Break Free’, in its’ extended mix and beginning a run of 1984 Pop gold such as Alison Moyet’s Top 10 debut ‘Love Resurrection (Love Injected Mix)’, and Duran Duran’s ‘New Moon On Monday’ the poster for was one my bedroom wall back then are followed by Culture Club, who scored a huge worldwide hit on 12” single with ‘It’s A Miracle / Miss Me Blind’ and Bananarama, who delivered a Top 3 smash with ‘Robert De Niro’s Waiting’. 

More gems feature from Matthew Wilder with ‘Break My Stride’ that I'd first heard in late 1983 as an american hit, Ray Parker Jr.’s blockbuster soundtrack theme ‘Ghostbusters (Extended Mix)’, and Nik Kershaw’s ‘The Riddle’, with Howard Jones with a thoughtful new synth sound and Ultravox bringing the first disc to a close. 

Disc Two is a celebration of electro-dance, hi-nrg and 80’s disco, kicking off with Freddie Mercury’s synth classic ‘Love Kills’ and Shannon’s electro classic ‘Let The Music Play’, apersonal favourite that still sounds as fresh today as it did in ‘84. 

Sister Sledge feature with the 1984 Bernard Edwards & Nile Rodgers Remix of their peerless ‘Lost In Music’, a hit originally from 1979, while The Pointer Sisters' ‘Jump (For My Love)’ and Dead Or Alive’s cover of ‘That’s The Way (I Like It)’ were guaranteed floor-fillers. 

Hi-NRG made a huge chart impact in 1984 – and the 12” single was made for the genre with its longer playing time – Bronski Beat and Laura Branigan feature alongside early chart smashes for production team Stock, Aitken & Waterman from Divine with ‘You Think You’re A Man’ and Hazell Dean with ‘Whatever I Do’. 

The genre defining anthem ‘High Energy’ from Evelyn Thomas ruled the clubs dance-floors, and the disc still has room for party favourite ‘It’s Raining Men’ from The Weather Girls and Kim Wilde’s synth-pop hidden gem ‘The Touch’. 

Disc Three opens on the dancefloor with soulful vocals and electro beats from Chaka Khan’s ‘I Feel For You’, followed by Womack & Womack’s ‘Love Wars’ and the sublime full-length version of Jocelyn Brown’s ‘Somebody Else’s Guy’ that I loved. 

The often-sampled old-school hip-hop of The World’s Famous Supreme Team and Grandmaster Melle Mel’s ‘White Lines (Don’t Do It)’ are up next ahead of Nick Heyward’s pop-dance essential ‘Warning Sign’ with its two raps, and synth gold from Tears For Fears and Scritti Politti. 

The remainder of the disc celebrates some of the years’ greatest alt-pop 12”’s, featuring Propaganda’s incredible ‘Das Testament Des Dr Mabuse’, Cocteau Twins with the sublime ‘Pearly Dewdrops’ Drops’ and Echo and the Bunnymen’s stunning ‘The Killing Moon’. 

Finally onto Disc Four and it delivers a charged mix of iconic chart gold:- Frankie Goes To Hollywood’s 9 week #1 ‘Two Tribes (Annihilation)’ opens a stellar run featuring Duran Duran’s epic 12” of ‘The Wild Boys’ (and who doesn't forget its memorable video) and Spandau Ballet’s ‘Only When You Leave’. 

Paul Young’s  powerful ‘I’m Gonna Tear Your Playhouse Down’ is next, and leads into Adam Ant’s superb ‘Apollo 9 (Francois K Splashdown Mix)’ where he attempted a comeback. ‘Up On The Catwalk’ from Simple Minds originally on the Sparkle In The Rain album has a great extended version and synth-pop essentials from Orchestral Manoeuvres In The Dark with ‘Tesla Girls’, Blancmange with ‘Don’t Tell Me’ Alphaville’s ‘Big In Japan’, and Howard Jones second appearance on this collection with the ‘International Mix’ of ‘Like To Get To Know You Well’ leads this set to its’ conclusion – not only 1984’s biggest selling single, but at the time the U.K.’s biggest ever seller – ‘Do They Know It’s Christmas’ from Band Aid in its full 12” mix.

Come April the second volume appeared with an additional 46 tracks.

The same presentation lacking any background was used which remains a pity with the whole series.

Disc One opens with the long mix of Wham!’s ‘Freedom’ opening a stellar run of huge chart hits. Culture Club’s ‘The War Song’, is followed by Nena’s worldwide #1, ‘99 Red Balloons’, followed by Eurythmics, New Order and Scritti Politti. Philip Oakey & Giorgio Moroder’s classic ‘Together In Electric Dreams’ in it’s extended mix, along with the 12” version of ‘Dancing With Tears In My Eyes’ from Ultravox are enduring synth-pop classics – and rounding off the disc ’84 Pop gold from Spandau Ballet, Alison Moyet, Bananarama and Elton John.

Frankie Goes To Hollywood’s ‘5-weeks at #1’ smash ‘Relax’ needs little introduction, and opens Disc Two with its ‘New York Mix’. Bronski Beat’s powerful and poignant ‘Smalltown Boy’ is up next along with celebratory Hi-NRG and electro from Hazell Dean, Deniece Williams’ ‘Let’s Hear It For The Boy’, and the 12” remix of The Pointer Sisters’ ‘Automatic’. A run of synth-driven gems from Peter Schilling, The Art Of Noise, ABC, Re-Flex, Talk Talk and Fiction Factory conclude the disc in style.

Disc Three is packed with pure pop brilliance, opening with Duran Duran’s worldwide #1 hit ‘The Reflex’ in its iconic Dance Mix. Nik Kershaw scored a huge hit with ‘I Won’t Let The Sun Go Down On Me’, Kim Wilde’s hits continued with ‘The Second Time’ and Limahl’s ‘Never Ending Story’ was one of the most memorable film themes of the decade, here in its 12” Dance Mix. Simple Minds and Soft Cell lead into classic alt-pop tracks from The Stranglers (‘Skin Deep’), Echo & The Bunnymen (‘Silver’), The Icicle Works with the long version of ‘Love Is A Wonderful Colour’, and Swans Way with the 12” mix of the stunning ‘Soul Train’.

Ending the set, Disc Four opens with legends, Paul McCartney with the extended version of ‘No More Lonely Nights’, and Tina Turner with ‘Better Be Good To Me’. Some of ‘84’s biggest floor-fillers including ‘Just Be Good To Me’ from The S.O.S Band, and ‘Running With The Night’ from Lionel Richie are featured along with jazz, latin and electro infused dance pop from Shakatak, Miami Sound Machine and Ollie & Jerry respectively. Rockwell’s timeless ‘Somebody’s Watching Me’ leads into two synth ballads to close the collection in their extended versions: ‘Talking Loud And Clear’ from Orchestral Manoeuvres In The Dark, and the beautiful ‘Hide And Seek’ from Howard Jones.

Our last entry: Now 12" 1983

Looking Up with Ringo

While a storm ranges around us here, something of another sort of storm from the one who started out drumming for Rory Storm before taking over from Pete Best to be the Beatles drummer before upon that bands end, issuing a good number of solo albums and singles.

A few days ago Ringo released a brand-new country music album, 'Look Up', produced and co-written by T Bone Burnett. This is an stunning collection features 11 original songs, recorded this year in Nashville and Los Angeles.

The story goes Ringo asked one of his acquaintances to write a song for his next EP. That friend later returned with nine tunes, all with a country flavour and instead of selecting just one, he decided he liked all of them, which led to him recording each one and turning it into his first album for six years. 

With assistance from Molly Tuttle, guitarist Billy Strings, Alison Krauss, four piece Indie band Lucius and sister duo Larkin Poe, Ringo realises his love of country music by issuing his first LP of such in over five decades since a Beaucoup Of Blues in 1970.

Time On My Hands is the most played track on the likes of Boom Radio, being a great advertisement for just how well these songs and the arrangements really suit his voice making this one of his best solo albums ever and one I'd strongly recommend on its own merits.

Albums we loved - The Shadows Greatest Hits

 

Well it was a very much Brrr weekend here  with quite a few inches of snow and temperatures dropping below minus seven degrees  beyond the internet mess referred to on last weeks rather brief post so apart from there being none of the usual internet based stuff to be engaged with something did come that didn't rely on that.

If you're a Britisher Cliff Richard and the Shadows need no introduction, they are a building block of british rock and roll and our much bigger than you might think place in the world of popular music in the last century and this.

Cliff was the first major breakout artist, no disrespects intended to the likes of Marty Wilde, father of the great Kim Wilde having row after row of major hits, commercial and critically acclaimed films before the Beatles and the DC5 did and even got substantial albums in an era where it was mainly film soundtracks, stage shows and compilations that made the pop lp charts.

The Shadows were his backing band, originally entitled The Drifters but changed as that clashed with the American excellent Drifters soul group but by 1960 had started to develop a collection of tunes of their own that radically changed the sound of electric guitar playing, added highly choreographed routines on stage, making even hard bitten critics sit up and pay attention to how good popular music could be.

They had solo hits, even #1's in the UK, some on their own projects, others tied to Cliffs films and featured on the successful soundtrack albums of The Young Ones, Summer Holiday and others  and in 1963 they were rounded up in the massive selling Shadows Greatest Hits album.

Although I had borrowed this album a number of times, by the time I decided to get a selection of this music and that of Cliff's I had bought the early 1970's World Records box set of Cliff and the Shadows that covered 1958 to 1972 and then added a few compilations of Cliff's on compact disc.

What drew me back to this set was it is a perfect summary of what was so great about those early shadows tracks and that these are the original mono mixes we had then, singles on Columbia, their label around 1970/71 only switching to stereo.

The edition I got uses the  same metal parts as the original 1963 pressings but was issued around 1967/8 going by the tinted advertising inner sleeve showing albums of that era in their mono and stereo where issued forms.

The catalogue number on the disc had changed from 33SX1522 to SX1522 reflecting the switch in prefixes as stereo records back in the early sixties being a luxury special offering to as that decade ended to being the norm with less mono discs being issued even if the jacket carried over the old prefix.

Oddly enough the album was not issued in the UK on record in stereo until 1974 although in the early 70's stereo cassette and eight tracks were issued bough three tracks were issued in so-called "electronically reprocessed for stereo" as the original had never been mixed to stereo.

Listening to this with the excellence of their playing coupled with the memories of these tunes has been most enjoyable.

Pausing for change

One really wishes it were warm enough to wear such a cute outfit but it's below freezing today so I'm playing a few of my Mariah Carey cds while waiting for this internet to get changed over fired up with porridge and hot tea this morning.

The stunning, possibly overproduced debut with Vision Of Love saw Columbia's new signing going for the Whitney Houston market.

By one more studio album and a very impressive MTV Unplugged tv special concert, Mariah found a way to make her records, well more the records she wanted to make with Swingbeat influenced Dreamlover and the epic Hero. 

1995's Daydream saw more of the same even bringing in hip hop beats  but her voice towered over all of that so it wasn't modern R&B lite and her collaboration with Boys II Men on One Sweet Day was amazing.

Hopefully we'll be back on air soon...

Finishing off a series

 

Way back in 1991 when I was just on to my second ever compact disc player I started collecting a series issued by Emi-Premier called "The Greatest Hits of" and these were from 1970 through 1980 and then just the 1981 and 1982 editions.

Reasons included having a single year focus which was rare and having a commentary on the year politically, culturally and so on which made for a package that took you back in time to that year.

At the time I was unaware that they had a Sixties series issued in 1990 run the same way as back in 1988 I had bought the odd disc of 50's hits in a Emi "The Hits of" series that gathered over twenty hits and served them up on the then new cd media.

In time I got some late 1960's volumes of the "The Hits of" series but that left me short on a good number of the others although I collected the "London-American" series that captured the American hits licensed from the late 1950's and early 1960's before many of the big labels established their own UK operations.

I have no got the 1960 through 1966 editions of "The Greatest Hits" that fill those gaps although I have a number of compilations that are not in a strict year sequence.

They have pictures of key artists and chart positions of songs which is always a good thing.

With spending time listening  to things like vintage chart shows on Boom Radio, having my own copies of many of the featured hits is highly enjoyable as this was the music I heard on oldies shows when on the radio usually feeling poorly.

They do sound great.

Restorations from the past

After that rather yukky week we resume going backwards a bit really to something that tended to be on the turntable whenever I was off school which was quite a bit.

Back then we had a wooden rack on wheels on which the stereo unit tended to live with its turntable and cassette deck and a section on the bottom left left that functioned as a record storage rack area although there was a supplementary one in the dining room.

First move after getting some breakfast was to pull two or three records out to play between anything on the radio of interest such as an hour vintage chart show or a lunchtime classical concert and a favourite was Dvorak's Ninth Symphony.

For me Rafael Kubelik's 1973 recording with the Berlin Philharmonic Orchestra was the finest ever and I was not alone in that, many still consider it so not that there are some excellent also runs with its iconic picture of the New York skyline with the sadly missed Twin Towers with conductor walking.

That record went several years back with compact discs coming in and having suffered a bit a wear and tear in over thirty years but a week ago it returned.

It was reissued in a special series of remastered and recut for higher fidelity records and now sounds better than ever so I've been playing that this week.
 

jjj

The Beatles on Capitol vinyl a second time?

 

The week was one that so far has involved some "could it be's" from Donald Trumps "they're eating your dogs, cats, you pets" rant at immigrants with no evidence which really makes little sense whatever your politics to something else that there are a good number of posts dotted about.

"Not more records!" I hear you cry but briefly a series of web pages and even a eight second teasing video were accessible via Universal Music and Apple's websites that related to six original American Capitol Records albums suggesting these were to be issued again on vinyl, in mono from November 22nd.

It also implied they'd be available individually or as part of a seven lp set that had exclusively the mainly talk based The Beatles Story double lp.

They appear to be issued in period advertising inner sleeves and feature the iconic rainbow rim capitol label design like the originals.

Needless to say the respective pages have been set to private to keep preying eyes out but screen shots were taken so are they actually going to restore these albums deleted in mid 1991 for a limited edition mono only release?

And just where is the much talked about Superdeluxe Rubber Soul featuring a remixed stereo version given we've had half of the album remixed for better stereo since last years three lp/extended two cd 1962-1966 compilation?

We shall see....

Hollies: Evolution revisited.

We are back but given current affairs the first choice for an entry is too fast moving we'll go with a short  update to a series of entries from 2011 where the contents have been very stable over some thirteen odd years.

The Hollies are passion, less for the longevity, genre expanding nature of label mates The Beatles, The Rolling Stones and the Who but more for their vocal harmonizing and the way their past tells a cautionary tale around the dangers of getting stereotyped and the the dangers in trying to change that.

Not withstanding some fine albums, in the main the Hollies ouvre was the two and a half minute pop 45 even though 1966's For Certain Because and Would You Believe showed maturity, sophistication and social commentary.

1967 was a massive year in popular music and indeed Youth Culture with The Summer of Love, Hippies, lsd taking and psychedelia generally and having seen close hand at Abbey Road studios the beatles experimenting, they too wanted to raise the "Oh Wow" feel feeling left out.

That also can be understood as until the continued sales of the Beatles first two UK albums (and A Hard Day's Night)  in 1964 the albums market was for adults and by 1967 that had changed with albums such as Dylan's Blonde On Blonde introducing the double pop album and lyrics, Pet Sounds exploring the studio as an instrument itself and of couse Sgt Pepper was only just around the corner. and recording had commenced in late December 1966.

Not wishing to look out of place Graham Nash with the other Hollies upped their game, while keeping a beat sound introduced warbling vocals on Lullaby To Tim, Stop Right There expanded the commentary previously unleashed on songs like Fifi The Flea.

Nostalgia for the past was shown on The Olde Toffee Shoppe and You Need Love really pushed that generation belief love was all. 

The Cover borrowed much with the colour stylized Evolution and Hollies to The Fool, who gave us the original Sgt Pepper inner sleeve producing the rear  design.

It was a album very much of and for the Summer of Love.

My original copy was a 2011 Spanish reissue from digital files that had some issues with over use of noise reduction and I was able to get this the August 1978 stereo reissue in minute condition that other than having the two box Parlophone lable rather than the originals Yellow & Black and a change in catalogue number from PCS 7022 to PCS 7175 is the same right down to using the same stampers cut for the 1967 stereo release.

The mono has a dedicated mono mix.

This was a brave move given Hollies albums generally didn't sell well but this did get to No. 22 in the UK chart and in a modified form higher in  the U.S. and Canada.

The strategy didn't ultimately work out and split Graham Nash from the group by late 1968 as it appeared they couldn't move with the times and yet by 1969 and He Ain't Heavy, He's My Brother they had got past that pop single barrier.

Now 12 " 80's - 1983

 We're off this weekend so after some political posts, we'll go with something more fun.

The World of NOW, just gets bigger taking in numbered volumes of Now That's What I Call Music,, Now Yearbook, themed Now That's What I Call ..... and was joined by the cd only Now 12" 80's series which looks at 12" singles from a specific year rather than the three compilations of 80's 12 inch singles.

The first bunch 1980 to 1982 are on an earlier posts with our last post being in April.

Now12-inch-80s 1982

My original intentions were to group post all the series together but the 1982 edition gained two volumes which doubles the post and you will note they've done the same with this edition so it seems that the remainder will follow the two part format.

That makes it more sensible to break them into chunks and update each as needed.

As ever this is a bare bones card wrap around cover set which is a pity as a book form with some notes as with the Deluxe Now Yearbooks would of been better as this is aimed more at music fans and collectors but we just have to accept it as is.

1983 was the year I left school, like most teens was obsessed by music and accompanying fashions like cutting up white and grey t shirts in an attempt to make my own monochromatic looks and thought Nick Beggs of Kajagoogoo was wonderful.

Disc 1 opens with two of 1983’s biggest artists with Wham!’s "Bad Boys”, followed by Eurythmics’ (over 12 minutes remix of) "Right By Your Side”before being joined by Duran Duran with "Union Of The Snake (The Monkey Mix)", and the extended “Communication” by Spandau Ballet. The Human League keeps the momentum with their massive hit "(Keep Feeling) Fascination" which I bought straight on 12 single back then, while Howard Jones and Orchestral Manoeuvres In The Dark keeps up the Synth-Pop  with "New Song" and "Genetic Engineering" from the Dazzleships album respectively. Extended versions from Blancmange, Ultravox, and Tears For Fears  "The Way You Are" are also feature on the first disc.

Disc 2 celebrates Pop Gold with Adam Ant’s "Puss 'N Boots"one I remember from early Signal Radio here, Bananarama’s "Na Na Hey Hey Kiss Him Goodbye", plus The Belle Stars, and Bucks Fizz. Pop and New Wave fused on fabulous tracks from Haysi Fantayzee, and Altered Images with the unforgettable "Don't Talk To Me About Love", and hits from a huge chart year for Kajagoogoo and Paul Young. The disc closes with more Synth-Pop from Heaven 17, Soft Cell and a huge U.S. hit for Taco with an unexpected cover choice in “Puttin’ On The Ritz”.

Disc 3 starts from the dancefloor with the iconic "Flashdance…What A Feeling", from Irene Cara, and the stunning Electropop work-out in extended form on Freeez’s "I.O.U. (Megamix)" a personal favourite. The legendary Arthur Baker produced “Confusion” for New Order, and “The Harder They Come” for Rockers Revenge, and Forrest enjoyed a smash covering “Rock The Boat” while Modern Romance and Level 42 bought Pop and Funk crossover to the charts. This disc works towards its finale with four UK acts who all enjoyed great success in ’83 with these 12” versions enhancing already great tracks – Madness, Fun Boy Three, The Style Council, and Nick Heyward who’s “Whistle Down The Wind” from the North Of A Miracle album was his first solo hit.

Disc 4 offers a star-studded line-up opening with 12” and remixed versions of Paul McCartney & Michael Jackson’s "Say Say Say" that took much effort to steem a sudden drop in the charts and Billy Joel’s "Tell Her About It" before The Fixx appear with their huge US hit “One Thing Leads To Another” from the album Reach The Beach, followed by Debbie Harry, and Laura Branigan who achieved a global success with “Gloria” from her first album. Hi-Energy floor-fillers from Miquel Brown and Divine, are next alongside Ryan Paris’ pan-European smash “Dolce Vita”. The collection concludes with classic dance hits from Lydia Murdock and Phil Fearon & Galaxy and a great collaboration between the legendary Donna Summer and Musical Youth.

For gathering so many interesting and important 12 inch singles of the year, a good number I personally bought at the time, this set is well worth it filling next to Now Yearbook 1983 (and Extra+Vault).

Part two with another four discs worth came out.

A great selection mainly of hits and the odd bubbling under selection this wraps up 1983!

Phil Collins recut

This week we're looking at a couple of things that came for my birthday which are a bit special.

As part of the celebrations marking the 75th anniversary of Atlantic Records, some 75 albums are being re-issued in special audiophile versions by Kansas based Analogue Productions in association with Atlantic records.

They are in every sense premium editions from the high quality jacket printing and finish, the use of acclaimed mastering engineers to cut the grooves and that they are 45 rpm allowing more room for all the notes to be fully accommodated with less of the compromises required especially with long albums.

I have always liked Phil Collin's solo albums but they were bought straight to compact disc so I decided to pick up two titles of his in the series starting with Face Value, his first album from early 1981 issued after Genesis's Duke which saw the use of horns and use of intricate drum sounds on songs like In The Air Tonight and I Missed Again.

It also has an interesting version of Tomorrow Never Knows, originally written by John Lennon and Paul McCartney for their Revolver album of 1966. 

In late 1982 having issued Abacab and Three Sides Live for Genesis Phil returned to his solo material and issued this, Hello, I Go Again, the follow up.

This had a massive smash cover version of the supremes song You Can't Hurry Love that keeps much of its soulful qualities and is beautifully recorded and Don't Let Him Steal Your Heart Away, a hit on early 1983.

The sound quality of both these albums is absolutely stunning with lots of detail, atmosphere and dynamics coupled with excellent tuneful bass.

It is unfortunate that each is restricted to just 2,000 copies each with no ability in the license to repress because already the first one is very hard to find despite being issued in October last year.

 

Band On The Run Redux

There are anniversaries that you may quite enjoy and there are others that just remind you of how many tens of years have gone by such as the recent anniversary of the 1973 multi-million seller, Band On The Run which was marked on February 2nd with the release of full original album and extended versions on lp record and compact disc.

Too bad there wasn't a limited edition 8 track as as those of us around then will recall there was and indeed I did own the UK edition which sounded rather good where it was played at home and in the car player a lot.

I opted for the single lp version as I have little use for a disc of demos as much as musicologists get a buzz out comparing songs as they evolve and for another this uses the US track listing that added Helen Wheels, a 1973 single to the second side of the UK album.

It came pressed by Optimal in Germany with the original poster plus OBI.

Being cut using a Half Speed mastering system from high resolution files from the original analogue tapes allowed it to sound much better than the original US Apple edition and even challenge the UK which was really good with strong bass.

I was delighted with this edition.

Queen Greatest Hits II revisited

Things were a bit delayed here with feeling rough midweek but we do actually have a post.

I've always liked the rock group Queen standardizing in the late 1980's on compact discs and adding new albums as issued in that format from a mixture of cassettes and eight track tapes.

Queen had three Greatest Hits sets although the third issued post Freddie isn't essential and contains a number of dubious remixes with guest rapping.

I originally brought Greatest Hits on compact disc in 1986 and a few years back as I've been getting back into vinyl bought the recent half speed mastered double version which contains all those songs from Seven Seas Of Rhye to Flash via Bo Rhap which does sound better than the original lp did.

The second volume, Greatest Hits II came out in late 1991 just as many of us were mourning Freddie Mercury's death from HIV/A.I.D.S. taking us from Under Pressure from 1981 to Show Must Go On via the likes of Radio GaGa, Who Wants To Live Forever and I Want It All.

I originally brought that straight on cd - it was one of the first cds over 75 minutes - although I picked up a copy of lp some years later.

I wasn't too happy with that lp as for one thing it sounded a bit thin and my copy had a few marks and crackles so I brought a week ago the reissue on Virgin rather than Parlophone that also was half speed mastered.

While the reissue has reference to Queen's website while it didn't exist in 1991, this does sound extremely good with lots of detail and nice deep bass plus dead quiet surfaces.

I usually clean any record even new to remove any dust and grime that might of got in at the pressing plant.

The jacket is much better quality using thicker card and more impactful printing that you'd be proud to own in your record collection and the inners are printed card so I'd suggest using a couple of thin mylar or rice paper "rounded bottom" inners between disc and card inner to protect them.

Being just over seventy-five minutes this gives us around eighteen minutes per side being a double album which is around the optimum for good sound.

For the modest cost I feel this reissue is well worth getting.