J.J. wrote on Wed, 09 March 2005 19:48 |
Speaking of the Move, almost all of the ELO records from the '70s just... kill me. |
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I'm still trying to figure out who/where/how the 1966 hit "Talk Talk" by the Music Machine was recorded. For it's time in 1966, those drums are really really well mic'd and recorded. The only name I find associated with it is a producer named Brian Ross. Never hear what the studio was, the format, the engineer, the mics. Nada. |
cgc wrote on Thu, 10 March 2005 20:17 |
These recordings which might fall under obscure: Can's 'Vitamin C' from the album 'Ege Bamyasi' is just a killer groove. This band isn't widely known, but Radiohead, John Lydon and other acts have stolen liberally from these German greats. Also, 'Bel-Air' from the following album 'Future Days' is a lengthly relaxed tune that gives a sense of place as well as mood. The best Can material (1968 to 1974) was recorded using a couple of Revox A77s and a hand built 8 channel mixer. http://www.spoonrecords.com/ Miles Davis had a similar run of albums during the same period as Can, which pushed music into new areas. 'He Loved Him Madly' points towards ambient and electronic music where texture, mood and space take a more dominant role. This recording really has a great sense of distance and yet keeps the feeling of ensemble playing that Miles cultivated. Lee 'Scratch' Perry is a legendary figure in reggae, and he made some classic records at his spartan equipped Black Ark studio. 'Heart of the Congos' remains the one which stands out to me. The opening track 'Fisherman' sucks you into the hypnotic bass driven sound, and the dub version has Scratch replacing the chorus with a spring reverb saturated orchestra of percussion. Unreal. Those interested in the more underground forms of rock have known John Cale's name from his involvement in the Velvet Underground, and his production work. He has produced a number of solo records over the past three decades and they vary wildly in quality. The peak of his work came on 1974's 'Fear' and it's opening 'fear is a Man's Best Friend' captures Cale's manic personality really well. It starts calmly enough, but ends with crashing percussion, flailing overdriven bass and Cale' strangled howl. Eno and Phil Manzanera oversaw the entire affair and their synth and guitar work add much to the unsettling atmosphere. |
Murray Cullen wrote on Thu, 10 March 2005 16:08 |
Yep, "Friday On My Mind" is great. |
thermionic wrote on Sat, 12 March 2005 11:02 |
This is an obvious example, but it surprises me that there seems to be so little info in the public domain relating to Norman Whitfield's studio techniques - particularly those employed on the Temptations, and latterly his own label productions... |
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We were the luckiest people in the world to learn from and be a part of this amazing studio team. |
thermionic wrote on Sat, 12 March 2005 11:42 |
...I guess there could be a curious "parallel" with Stevie Wonder and Whitfield's production |
Bob Olhsson wrote on Sat, 12 March 2005 17:55 |
It wasn't uncommon to do Norman's session in the morning, Stevie's in the afternoon and Rare Earth at night the same day. We had engineering shifts and worked with everybody. Every single one of us was standing on our mentors' and on each other's shoulders. |
Kendrix wrote on Tue, 15 March 2005 14:07 |
One that just popped into my head that I have to add is "Summer in the City" by the Spoonful. A few of their tunes stand out but this one rises above the rest IMHO. Great imagery in the lyric, good driving tune with good changes and energy. The break down with horns honking coming back into that pounding electric piano riff then exploding into the instrumental section via tom fills is great stuff. |
Gordon Rice wrote on Wed, 09 March 2005 14:49 |
Hey-- Anybody besides me think that Jefferson Airplane's "Crown of Creation" was an astonishing, life- and soul-changing moment? For the first time, we heard something like the actual bass sound Jack Casady was getting onstage (thank-you, Al Schmitt!). I know I haven't been the same since. --gmr |
Kendrix wrote on Tue, 15 March 2005 14:07 |
One that just popped into my head that I have to add is "Summer in the City" by the Spoonful. A few of their tunes stand out but this one rises above the rest IMHO. Great imagery in the lyric, good driving tune with good changes and energy. The break down with horns honking coming back into that pounding electric piano riff then exploding into the instrumental section via tom fills is great stuff. |
Lee Flier wrote on Wed, 09 March 2005 10:04 |
GEESH. Way too many to even list. You'll have me here all day. |
senorsmoke wrote on Sun, 27 March 2005 22:09 |
hi all..first post |
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I don't think it's an exaggeration to say musically and sonically Stax, Motown, Atlantic etc are a far cry from anything heard today. There's just too much music to list from the past that is absolutely stunning. |
Radd 47 wrote on Thu, 10 March 2005 00:21 |
Then there's the "I Can Hear the Grass Grow" by the Move. Can't beat that bass line. |
uk03878 wrote on Fri, 01 April 2005 07:06 |
Joe Meek recording the Honeycombs foot stomping - "Have I the Right" - idea then nicked by the Dave Clark Five... |
Bob Olhsson wrote on Fri, 01 April 2005 08:26 | ||
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Dan Kennedy wrote on Sat, 12 March 2005 18:28 |
Right now I'm listenning to "Steam Powered Aereoplane" by John Hartfrod, produced by David Bromberg. Whatever happenned to Bromberg? Did the best up-tempo bluegrassy folky druggy shit ever... |
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same determined look on Norman's face |