Thanks for this one Lonson. Just started playing but “The Old Circus Train - Turnaround Blues” is my kind of song! Really dig it! Sound is great too!
Glad you are digging it Amsco. I have also the 8 cd complete box set . . . because I’m insane, or insane about Ducal music! There’s a great rehearsal session in that set for that “Train” composition.
I love how these musicians, many of whom had been playing together for nearly four decades by then, had a loose groovy feel to their performances (sometimes well “lubricated” I’m sure!) The longest I played with one musician was about four years in two configurations of a band and in a band that followed, and I slipped into the early stages of that sort of communication. It was a very enjoyable aspect of playing in a band, many other aspects of which were becoming very tedious.
Ella was fun at these shows too. . . .What a singer.
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The definitive Muddy collection? For me it is. Sound is outstanding!
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I’ve posted this thought before. This was recorded in 1965 on the South Side of Chicago. My blue collar father grew up 10 blocks from there (10 year’s earlier). It wasn’t wolds apart (both parts were dirt poor), but the races sure lived apart. No one in my father’s circle would have ever been at this show. It’s always seemed a shame to me. Still does, but change has happened. Most of the great clubs in the city (clubs that cater to people with some years on them) aren’t off limits to anyone. Buy a ticket and make new friends.
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The more adventurous here should check this out. Listen to, “Is there any Love” on YouTube (I assume it’s there). This if from Numero Records here in Chicago. Good God! A Gospel Funk Hymnal. So freaking funky!
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Lose Yourself to Dance is life affirming!!
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I’m all in on this one. See y’all tomorrow. 24/96 FLAC and HD is sometimes better, this is one of those times. I know this record!!
A great example of a dynamically squished recording with awesome sound.
Tabascocat1994, sorry about your dog Boo! Hopefully Cake and Black Joe Lewis helped cheer you up. Nothing like a good band with some horns to brighten up a day.
It’s really not. This is a complex recording. Recorded to tape (drove across country in the trunk of a BMW for final mix in NY). There are some compressed pieces but where it needs to breath, the big songs and moments, it does.
Don’t know the DRs but think there are 12s or at least 11s. For a modern recording, that’s unheard of.
The originally release is an 8.
(As an aside, I have no idea why the DR database lists so many different versions of the same recording, when there are actually just few, and with such disparate results. As another aside, I hate how they refer to dynamic range when this is not what they are measuring, but it remains a useful reference if applied consistently.)
It sounds great because of the tremendous care taken with the sound. They were incredibly picky. For example. each song had an orchestral track composed and recorded for it, but few made it onto the record.
There were many articles when it first came out specifically analyzing on why the album sounds so good even with a limited dynamic range. Here is one. The author is a mastering engineer.
Max Reger: Sonata for Violin and Piano in E Minor, Op. 122
Hansheinz Schneeberger, violin
Jean-Jacques Dünki, piano
As is typical, you’re correct (looked up the DRs this morning). I have the HD version but the DRs are basically the same as the CD. “Give Life back to Music” is a 9. Proof that in recorded music, there isn’t anything close to a single standard of what makes a recording sound great (do have a better chance with higher DRs).
Either way, it’s a great sounding record. Nile Rodgers guitar and the big bass of course; however, for me it’s the drums. I get lost in the great drumming that’s so well recorded. I also very much enjoy the human feel of this record about robots. I admire Daft Punk, and “Random Access Memories” in particular, very much!
April Fools!!!
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He still lives in Treme.
Roman Haubenstock-Ramati: Concerto a tre (1971)
Andrew Digby, trombone
Christian Dierstein, percussion
Klaus Steffes-Hollander, piano
Dieter Ammann: Violation I & II for solo cello and ensemble (1996)
David Riniker, cello
Ensemble Für Neue Musik Zürich
It is a wonderful album in all respects. I appreciate the tremendous creative as well as technical work which went into it. (The drums and bass are particularly well recorded and processed.)
Wonderful!
You got me for a few moments. I saw the album cover and thought “Really?!” If you had placed the text “April Fools” after the picture I would have been sucked in.
