Brandon Burke

Good lookin' out.

I'd be willing to bet that Eno gets in sometime in the next five years. RUN-DMC too.

Not sure. Some of the discographers on the board could probably help us out with that. It's simply been too long since I last saw Shadows. I do remember Horace Parlan's name listed on the box. Not much else. And yes, the story one usually hears is that very little of Mingus' score was actually used in the film--which begs the question: What the devil is on that tape? [EDIT: Two tapes actually.]

I worked in the LC Recorded Sound lab over the summer and noticed a big chunk of Mingus stuff waiting in the queue for preservation digitization. Among these recordings was the original score to John Cassavetes' Shadows which, to the best of my knowledge, is seldom heard outside the context of the film itself. Unfortunately, we never got around to playing it.

Also see: the used racks at Dusty Groove. Gimmie a break....

Definitely.

It is true that you probably want to let it drain a while before recharging. Just like a cell phone. The probelm arises when you leave it plugged in all the time. That's when you start to run into battery lifespan issues. BTW: Check your PMs, Cary.

This is an interesting story. Generally speaking, I hardly think that this is the end of magnetic tape. Either some smaller manufacturers will pop up in the West or we will begin buying tape from Asia. I'm waiting to see what happens to those patents that Quantegy got when they split from Ampex? Either they go for a zillion dollars or somebody's gonna make out like a bandit.... B-)

It's both possible and common but also noisy. Virgin tape emits less noise than that which has previous housed a recording.

They do that. Don't expect to get more than 3-4 hours per charge. You can improve this somewhat if you turn off the "backlight".

Here's a strange one.... The first two songs on Ronnie Ball's All About Ronnie (Savoy) find the group playing the exact same 3-against-4 bridge before returning to each song's respective head. If I remember right, it's the same key, same everything.

I've never heard of a "complete" Ayler box. His stuff came out on too many different labels (Impulse, ESP, Amercia, Freedom, Shandar, etc) for that kind of a collection. If you're refering to the Revenant box, it's great but not anywhere near a complete set of his recorded works. Then again, that was never the point. B-)

I don't see it (but I'm on a Mac).

Haven't heard this in years. It's a lot better than I remembered.

Found this pic while cruising for images of King Tubby.... ....now THAT'S what you call an amp!

What the deal with (the lack of) American distribution? Is it a lisencing issue or just a matter of no one taking the plunge? I ask because my buddy is a manager at Other Music in NY and his ears perked up when I mentioned this reissue series. Anyone know of a place I can direct him or are these just simply not available for sale in the States yet? Thanks.

I have two different systems at home. Both of them are meant to simply allow for more *portable* listening so neither of them are audiophile by any standard. The first is a stand-alone Phillips dual tray burner that I have hooked up to my main stereo system. It acts rather like a dual cassette player as I have it configured right now (tape monitor, etc). I literally record off of LP just as I would if the Phillips unit were a casette deck. Turntable is a Technics 1200, amp is an early solid state Yamaha. Like others have mentioned, recording this way means that either you edit "on the fly", do not edit at all, or edit later on down the line in some sort of software application. Another drawback is the fact that this Phillips unit is consumer grade and thus requires the use of "Music" CD-Rs, which are more expensive. On the other hand, if you don't have any software for this kind of work than this might be your most affrdable option. My other set-up is a Technics 1200, routed through a Vestax mixer (which acts as a pre-amp here), and then finally into an eMac via the headphone jack. You'll need an RCA-to- stereo headphone jack converter in order to do this. Then I capture my incoming signal in Peak as an AIFF file. I stick with simple consumer CD resolution since I'm not archiving this stuff. I just want to be able to burn things off for buddies, make mix CDs, and play my LPs on my iPod. Someone else will have to chime in regarding hi-res capturing. I do that at work. Not at home. As for the MP3 conversion, you can use any number of batch processors for this task. Some editing programs will do this as well. Since I have a Mac, I tend not to save files as MP3s since iTunes can read and play AIFF files with ease.

Harry Mathews - The Conversions

Guess which members of the original King Crimson lineup actually got laid....?

Just finished watching the film. I tried to see it at the SXSW Film Festival last March but it would have been a serious pain in the ass. Anyway, I thought it was pretty good and well-edited. Could have been much cornier (and I was exepcting it to be just that). And, as others have already mentioned, it got me excited to hear more of his LPs. Back to the film: Byron Coley never fails to entertain. His record reviews in Forced Exposure from back in the late 80's are absolutely priceless.

When people ask me what my favorite song in the world is, my answer is always the same. (Or, I should say, it's one of two titles.) It simply depends on whether or not I listened to "It Ain't Necessarily So" or Coltrane "Ole" last. Whichever one is still in the back of my head when asked. Needless to say, today's answer would be the Williams. B-)

I recently stumbled upon this little gem at Amoeba. Lennie Hibbert - Creation (Studio One, 1969) As you might imagine, the cover alone sold me (as did the fact that it's a classic late-60's Studio One session). Turns out Hibbert is a vibist and the entire record is comprised of instrumentals. Most of them were new rhythms (at the time, anyway) but Jackie Mittoo, musical director on this date, included a couple of "hits" (a relative term here) for good measure. Stylisticly, it's all over the place. The first tune sounds like it wouldn't be out of place on a Fela Kuti or Tony Allen record. One can even hear the musicans yelping and hollering in the studio near track's end. From there the mood shifts to a down-tempo funk number that reminds me of "Sittin' Duck" off of Gene Harris' Elegant Soul. Subsequent tracks run the gamut from 60's psych-soul to breakbeat funk and from the greasy BN sound to stuff that sounds more like Count Ossie and the Mystical Revelation of Rastafari. This is the most exciting record I've run accross in ages. Unfortunately for our digi-locked friends, it's never been pressed on CD. LP has never gone OOP, however, and is available via Ernie B's or your local shop (provided they actually order reggae records).

I'm obviously in the minority here but I have a hard time with any Soft Machine record made after the second one. I'd rather listen to the first two Ayers (Joy of a Toy, Shooting at the Moon), Wyatt End of an Ear, or any other more psych-related efforts. That fusion stuff turns me way off.

You should see it.