| jfrigo wrote on Thu, 26 May 2005 15:46 |
| thermionic wrote on Thu, 26 May 2005 02:33 |
Before I go completely off-topic (he started it  , I just wanted to say that it's good to see Herb Powers figure in the list. Sitting as I do at the moment, surrounded by racks of vinyl, Mr Powers's name seems to figure on numerous quality pressings.
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So you like mainly his vinyl work? Which ones are good?
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Firstly, it would be Herb Jnr.
Secondly, I made a
slightly candid post... I was at a very impressionable age when I first came across records with "Powers @ Frankford / Wayne" scrawled across them...
I would have to do some listening in order to cite my favourites, and I'm not 100% sure my affinity for them would entirely be due to "fidelity", but partly because they constituted the dawn of a new era / sound.
Powers mastered many of the classic West-End releases, and a particularly clean pressing (very sweet, undistorted HF - the cleanliness of the hats puts most of today's pressings to shame IMO) would be Brenda Taylor's "You can't have your cake and eat it too".
Powers has made some extraordinary cuts, but there's a lot to choose from, and I'd have to spend time listening to state which ones really stood out. Maybe my judgement of Powers is
slightly with rose-tinted spectacles as so many of the West-End releases (Loose Joints / Peach Boys etc) are still played today, and to me, sound
more futuristic than most "electronic" records today, even after 20 years.
I think he did implement a fair amount of compression on some of those early "electro funk" records, but it worked, and certainly wasn't squashed by modern standards.
Powers was responsible for many of the Arthur Russell productions on West-End, and a fair amount of Todd + Martinelli recordings. Russell's releases are a particular favourite of mine, with an immensely deep low-end (even by today's standards).
I hope you can excuse the somewhat vague post, but it will require a fair amount of listening to cite favourites from Powers - if I get time over the weekend I'll see if I can dig up more suggestions. I stand by the Brenda Taylor comment though - that's a good record to check your TT with, on account of the HF cleanliness.
Powers mastered some records that completely changed my musical tastes, and a few that I know very well (Forcce - a pioneering production!) are listed here:
http://66.102.9.104/search?q=cache:8EEYnx4YKXQJ:www.black-mu sic-collectors.com/labels/west_end_12.htm+arthur+russell+her b+powers&hl=en
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He’s had a bad press. He’s really a very good guy.
Snip…
Industry insiders and Political's knew this a long time ago…..
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Sorry for the OT, but I couldn't disagree more... What about the six-figure bonuses for the directors, when the firm was losing several million a month? Do you pay yourself a bonus like that if the books are losing? I'm no industry-insider, but it didn't take a genius to see that the old models (200 + 400) were dead in the water, and Alchemy's proposal of concentrating on the viable models (i.e. 75 + MG), although sacrificing 2,500 jobs, would have resulted in the firm still being alive today. They simply didn't have the R+D budgets to compete with Toyota / Honda etc, and should have focused on the unique models that don't compete head-on with the Japanese cars.
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Q: “Rolls and Bentley are respectively owned by BMW and VW”
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A friend of mine works as a stylist at the VAG design facility in Stuttgart. He reckons that the new Bentley Coupe and the Porsche "Cayenne" represent the most "vulgar" cars he's ever had the misfortune to work on... (don't shoot the messenger if you disagree!).
Seeing as the link went down, here's another to the new Morgan:
http://www.channel4.com/4car/media/motorshows/geneva2005/03- large/morgan-r3q.jpg Morgans have never appealed to me one bit, but the Aeromax changed my attitude completely - very reminiscent of the '30s streamliners such as Delahaye / Delage etc. I want one, but I'm guessing the music / audio industry is probably not the job for me if I aspire to such luxury
Justin
