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What Are You Listening To?

Dennie said:
PaulyT said:
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Wow, and I could get it used on amazon for the bargain price of $49.99! :scared-yipes:

Or, I could sell you my copy for $48! :teasing-neener:

But my copy is one of those big ol'Black Vinyl thingys! :dance:


Dennie

Enoch Light was really second only to Les Paul in his drive to innovate in recordings. His recordings were always very clear, dynamic, and made use of the natural acoustic space in a studio which had very live (for a studio) acoustics. He was concerned with not only what a microphone was picking up as its primary source (the instrument), but as importantly, how that microphone was picking up the other instruments in the studio. Every microphone in the studio served a dual purpose of picking up its primary instrument, and also picking up the sound of the other instruments (each of which had its own microphone) in a way that yielded a very rich quality to the sound. This is in contrast to the practice today where each microphone is intended to capture the sound of its instrument only, with as little bleed from other instruments as possible. The way Enoch Light did it was very time consuming, making sure that every microphone was capturing just the right ratio of its instrument and the room.

He was arguably the first to use compressors as a sound-shaping tool (rather than a compressor's usual use to limit peaks to fend off distortion). He didn't use them as they are used today, to cram as much loudness as possible in the track, but rather to give individual instruments a very "hyped-up" sound where every nuance was brought into sharp focus. To him, the instruments were the raw material, to be shaped and processed in the control room.

He was also the poster child for the use of "ping-pong" stereo, where instruments bounced back and forth between speakers, usually in the intro to each song. In the early days of stereo, record producers wanted to emphasize how different stereo was than mono. They wanted to emphasize the fact that stereo used two speakers rather than one, and what better way to demonstrate this than to bounce the sound back and forth between them. While this effect seems quaint today, Enoch Light tended to use this effect with more taste than many.

Its always fascinating to listen to where we came from in the recording art.
 
soundhound said:
Enoch Light was really second only to Les Paul in his drive to innovate in recordings. His recordings were always very clear, dynamic, and made use of the natural acoustic space in a studio which had very live (for a studio) acoustics. He was concerned with not only what a microphone was picking up as its primary source (the instrument), but as importantly, how that microphone was picking up the other instruments in the studio. Every microphone in the studio served a dual purpose of picking up its primary instrument, and also picking up the sound of the other instruments (each of which had its own microphone) in a way that yielded a very rich quality to the sound. This is in contrast to the practice today where each microphone is intended to capture the sound of its instrument only, with as little bleed from other instruments as possible. The way Enoch Light did it was very time consuming, making sure that every microphone was capturing just the right ratio of its instrument and the room.

He was arguably the first to use compressors as a sound-shaping tool (rather than a compressor's usual use to limit peaks to fend off distortion). He didn't use them as they are used today, to cram as much loudness as possible in the track, but rather to give individual instruments a very "hyped-up" sound where every nuance was brought into sharp focus. To him, the instruments were the raw material, to be shaped and processed in the control room.

He was also the poster child for the use of "ping-pong" stereo, where instruments bounced back and forth between speakers, usually in the intro to each song. In the early days of stereo, record producers wanted to emphasize how different stereo was than mono. They wanted to emphasize the fact that stereo used two speakers rather than one, and what better way to demonstrate this than to bounce the sound back and forth between them. While this effect seems quaint today, Enoch Light tended to use this effect with more taste than many.

Its always fascinating to listen to where we came from in the recording art.
Great Info SH!

Thanks,

Dennie
 
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36 All Time Greatest Hits -- 3 CD Box Set

Doris Day

1996 Sony Music

01. It's Magic [From Romance on the High Seas]

02. I Enjoy Being a Girl [From Flower Drum Song]

03. Lover Come Back [From Lover Come Back]

04. The Song Is You [From Music in the Air]

05. Canadian Capers (Cuttin' Capers) [From My Dream Is Yours]

06. Nice Work If You Can Get It [From A Damsel in Distress]

07. The More I See You [From Bill Rose's Diamond Horseshoe]

08. Teacher's Pet [From Teacher's Pet]

09. Tacos, Enchiladas and Beans

10. A Guy Is a Guy

11. Move Over Darling [From Move Over Darling]

12. If I Give My Heart to You

13. Papa, Won't You Dance With Me?

14. When I Fall in Love [From One Minute to Zero]

15. (Now and Then There's) A Fool Such as I

16. Too Marvelous for Words [From Young Man with a Horn]

17. I Didn't Know What Time It Was [From Too Many Girls]

18. Pillow Talk [From "Pillow Talk"]

19. They Say It's Wonderful [From Annie Get Your Gun]

20. Let's Take a Walk Around the Block [From Life Begins at 8:40]

21. I'm Confessin' (That I Love You)

22. Hoop-Dee-Doo

23. Sorry

24. Secret Love [From Calamity Jane]

25. Again [From Road House]

26. It's a Lovely Day Today [From Call Me Madam]

27. There They Are

28. Tunnel of Love [From Tunnel of Love]

29. Tell Me, Dream Face (What Am I to You?)

30. Would I Love You (Love You, Love You)

31. Singin' in the Rain [From Hollywood Revue of 1929]

32. I'll Never Stop Loving You [From Love Me or Leave Me]

33. Put 'Em in a Box, Tie 'Em With a Ribbon (And Throw 'Em in the Deep ...)

34. I Speak to the Stars [From Lucky Me]

35. Quiet Nights of Quiet Stars (Corcavado)

36. Que Sera, Sera (Whatever Will Be, Will Be)
 
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This one's based on B's rec in another thread. Pretty good so far, I like her voice a lot. (So does the wife.) Good SQ, her voice is very natural sounding.
 
Wow, can't believe how hard it is to get a hold of used Elaine Elias CD's! Twice now a seller has come back (a week later) saying they don't have Paulistana in stock after all. And today I got the jewel case for Solos&Duets in the mail, but inside was George Duke - a Brazilian Love Affair. Which may not be a bad album, I dunno (ripping it now), but still it's not what was ordered... Hope Elias is worth all this waiting. ;)
 
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Bloomington CD

Branford Marsalis Trio

1993 Sony Music

3.5 Stars - Good Plus - ...Marsalis plays at length; he plays without stopping; he barely takes the horn out of his mouth for a solid hour....cheerful, well-paced, and (above all) loose...
Down Beat (07/01/1993)

...You can hear the leader discovering ways to make swing sound fresh...
Musician (08/01/1993)

...BLOOMINGTON declares squarely that Branford Marsalis is no sellout....It's insular music for the hard-bop elite... - Rating: B+
Entertainment Weekly (06/04/1993)
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PaulyT said:
Wow, can't believe how hard it is to get a hold of used Elaine Elias CD's! Twice now a seller has come back (a week later) saying they don't have Paulistana in stock after all. And today I got the jewel case for Solos&Duets in the mail, but inside was George Duke - a Brazilian Love Affair. Which may not be a bad album, I dunno (ripping it now), but still it's not what was ordered... Hope Elias is worth all this waiting. ;)

Yes, Eliane Elias Music can be hard to come by used. I would not sell any of mine!! :naughty: :naughty:

I deal with a "Used Music" Dealer and he didn't want to part with this one....
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But, I have spent a lot of money with him and I finally (many many months of asking) talked him into selling it to me, cost no object! :handgestures-fingerscrossed:
He was very fair, since it is out of print and a Import from Japan, he let me buy it for $20! I felt fortunate and am thrilled it is part of my collection!

Keep looking Pauly, you'll find more! But do see if you can get the right disc for Solo's and Duets, it is worth it!

Dennie
 
Dennie said:
Yes, Eliane Elias Music can be hard to come by used. I would not sell any of mine!! :naughty: :naughty:

I deal with a "Used Music" Dealer and he didn't want to part with this one....
41iIFPMH8HL._SL500_AA300_.jpg
True, they tend to be keepers. Oddly, the album above is one of the two I own of EE; didn't realise it was an import.
 
This came as a "Free Bonus" with my last music order, so I thought I would give it a spin.....

sun+60+only.jpg

Only CD

Sun 60

1993 Epic Records
The L.A.-based duo of David Russo and Joan Jones have dropped the hyphen and fleshed out their sound for the 1993 follow-up to their debut release. Produced by Russo, with executive production from noted R.E.M. producer Scott Litt, Only is more dense musically and gives Jones more to play off of vocally. "Merry Xmas" kicks things off aggressively. Guests David Navarro (guitar) and Jack Irons (drums) provide a sonic charge to things with Jones powerfully belting out the strange, nursery rhyme-like lyrics. On "Treasure," the second track, the band shifts gears for a dreamy, Mazzy Star feel with Jones adding trumpet. And it just gets better. "All of the Joy" finds cello underscoring the lovely, midtempo song with Jones giving a reading of the love song's lyric that manages to be sultry and innocent sounding at the same time. There's also the funky, scorching "Never Seen God," which again features Navarro and Irons, and the playful, bouncy rhythm of "Tell Me Like You Know." Only shows growth from their debut and tantalizes with wonder of what might be next. ~ Tom Demalon, All Music Guide
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Botch said:
True, they tend to be keepers. Oddly, the album above is one of the two I own of EE; didn't realise it was an import.

I've only seen the import, BUT....I have seen a "Best of" with the same cover photo.
I found it.....
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My copy of "Illusions" has "PCMDigital" and "Denon" on the front cover and "1987 Nippon Columbia, Co" Manufactured by Denon/Nippon/Columbia , Japan.

Dennie
 
Darn it, now I've got to play it!! :happy-smileygiantred:

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ILLUSIONS -- CD :handgestures-thumbup: :handgestures-thumbup: :eusa-clap:

Eliane Elias

1987 Nippon/Columbia/Denon (Import Japan)

Eliane Elias' debut as a leader (she had been a member of Steps Ahead) finds her abandoning the electric keyboards in favor of acoustic piano. On seven songs she is joined by bassist Eddie Gomez and either Al Foster or Steve Gadd on drums; the remaining two selections feature her accompanied by bassist Stanley Clarke and drummer Lenny White. With harmonica great Toots Thielemans making guest appearances on two numbers, Elias was at the time easily the least-known of the players on her own CD. However the pianist was already far along toward developing her own sound as she shows on four originals, two obscurities, Herbie Hancock's "Chan's Song," Blossom Dearie's "Sweet Georgia Fame" and the standard "Falling in Love with Love." A fine start to a significant solo career. ~ Scott Yanow

1 Choro 4:38 Written-By - Amilton Godoy
2 Through The Fire 6:05 Written-By - David Foster , Tom Keane
3 Illusions 7:09
4 Moments 5:53
5 Falling In Love With Love 6:23 Written-By - Lorenz Hart , Richard Rodgers
6 Iberia 10:26
7 Loco Motif 5:41
8 Sweet Georgia Fame 5:43 Written-By - Blossom Dearie
9 Chan's Song 6:18 Written-By - Herbie Hancock , Stevie Wonder
 
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Paradise Found -- CD

Tuck & Patti

1998 Windham Hill Records

Amazon.com

Tuck Andress is a world-class guitarist, but he's also imbued with the rare gift of good taste. His musical partner and wife, Patti Cathcart, is an uncommonly soulful and inventive jazz stylist and among the best scat singers since Ella Fitzgerald. Together they create magic, a kind of jazzy chamber music that's deceptively simple on the surface but reveals layers of subtle complexity with each additional listening. Check out the faint echoes of flamenco on Andress's solo showcase "I've Grown Accustomed to Her Face" and the double-time bass runs he adds to Dan Hicks's "Walkin' One and Only." Or witness the grace notes Cathcart effortlessly drops into her dynamic vocals on "When We're Alone" and the breathless sensuality she brings to the Drifters' "Dance with Me" and Al Green's "Let's Stay Together." --j. poet

Track listing

1. Lembranças
2. Adventures in Paradise
3. Captain for Dark Mornings
4. When We're Alone
5. All This Love
6. I've Grown Accustomed to Her Face
7. Holiday...Paradise Found
8. I Will
9. Dance With Me
10. You
11. Walkin' One and Only
12. Forgiveness
13. Let's Stay Together
14. All This Love - (Remix, remix)
 
"LEGEND" by Bob Marley and the Wailers
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remastered version, with a couple additional songs.


:handgestures-thumbup:


.
 
Welcome, topper! We've been waiting for you!

:text-welcomeconfetti:

Nice avatar, too. :eusa-clap:
 
PaulyT said:
Welcome, topper! We've been waiting for you!

:text-welcomeconfetti:

Nice avatar, too. :eusa-clap:

:text-+1: :text-welcomeconfetti:

Good to see you Topper!


Dennie
 
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Super Hits -- CD

Charlie Daniels Band

1994 Sony Music

An Exeptional Greatest Hits Album, May 12, 2002
By TheHighlander (Richfield, PA United States) - See all my reviews
This review is from: Super Hits (Audio CD)
This is a great collection of songs by one of country music's legends. Charlie Daniels has proven himself time and again to be an exceptional songwriter and performer. Even when he stepped outside the box he has kept his status as one of country's greatest performers. The song list reads like a stroll down memory lane for number one hits or songs that have touched your soul. Even if you don't remember the song title you will remember the lyrics.

The only fault I could find with this CD was that it was too short. At 10 songs (which are all very good) you can not begin to touch Charlie Daniels' greatest hits. And it was a basic re-hash of an album (Charlie Daniels Greatest Hits) that I had purchased a few years before. But these facts nothwithstanding, if you don't have the Greatest Hits album you will want to get the Super Hits CD.

Fine performances by a legend - buy it - enjoy it.

1. "Uneasy Rider" Charlie Daniels 5:20
2. "Long Haired Country Boy" Daniels 4:03
3. "The South's Gonna Do It" Daniels 3:59
4. "The Devil Went Down to Georgia" Tom Crain, Daniels, Taz DiGregorio, Fred Edwards, Charles Hayward, James W. Marshall 3:35
5. "In America" Crain, Daniels, DiGregorio, Edwards, Hayward, Marshall 3:18
6. "Still in Saigon" Dan Daley 3:52
7. "Drinkin' My Baby Goodbye" Daniels 3:40
8. "Uneasy Rider '88" Crain, Daniels, DiGregorio, Jack Gavin, Hayward 4:26
9. "Boogie Woogie Fiddle Country Blues" Crain, Daniels, DiGregorio, Gavin, Hayward 3:26
10. "Simple Man" Daniels, DiGregorio, Gavin, Hayward 3:22
 
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Greatest Hits Vol. 2 -- CD

Eagles

1990 Elektra Records

Amazon.com

This second collection of hits features a hardening of sorts for these laid back southern California rockers. The emphasis shifts away from the lazy, rolling rhythms of the first collection to the tighter and harder-edged material contained herein. Part of the blame may be the inclusion of James Gang veteran Joe Walsh who adds noticeable lead guitar work and galvanizes Don Henley and Glenn Frey into taking greater chances. "Hotel California" is the obvious potboiler, but "Heartache Tonight," "Life in the Fast Lane," and "The Long Run" are close runners-up. Timothy B. Schmit's vocals on "I Can't Tell You Why" return the band full circle to their mellow, country-rock roots. --Rob O'Connor
Side one

1. "Hotel California" (Don Felder, Don Henley, Glenn Frey) – 6:30
2. "Heartache Tonight" (Henley, Frey, Bob Seger, J.D. Souther) – 4:25
3. "Seven Bridges Road" (Steve Young) – 2:58
4. "Victim of Love" (Felder, Souther, Henley, Frey) – 4:11
5. "The Sad Café" (Henley, Frey, Joe Walsh, Souther) – 5:32

Side two

1. "Life in the Fast Lane" (Walsh, Henley, Frey) – 4:45
2. "I Can't Tell You Why" (Timothy B. Schmit, Henley, Frey) – 4:54
3. "New Kid in Town" (Souther, Henley, Frey) – 5:04
4. "The Long Run" (Henley, Frey) – 3:42
5. "After the Thrill is Gone" (Henley, Frey) – 4:41
 
Dennie said:
I've only seen the import, BUT....I have seen a "Best of" with the same cover photo.
I found it.....
512ZK6Q9C5L._SS500_.jpg
I had to double-check, the "Best of" is the one I own.
There oughta be a law, anyone who looks as good as Elaine should have a different photo on each album! :cool:
 
Botch said:
Dennie said:
I've only seen the import, BUT....I have seen a "Best of" with the same cover photo.
I found it.....
512ZK6Q9C5L._SS500_.jpg
I had to double-check, the "Best of" is the one I own.
There oughta be a law, anyone who looks as good as Elaine should have a different photo on each album! :cool:
AMEN BROTHER! :eek:bscene-drinkingcheers:


Dennie
 
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