LATEST ADDITIONS

Michael Fremer  |  Oct 01, 2005  |  1 comments

From the second the stylus hits the…er I mean the laser hits the pits, you'll know this is a stunning sounding live recording of a jazz trio. You'll feel as if you're in the Up Over Jazz Café, where this set was brilliantly recorded by Kato Hideki.

Michael Fremer  |  Oct 01, 2005  |  1 comments

It's almost laughable to think they were complaining about “commercialization” of the Newport Jazz Festival back in 1960 given what's happened to the venerable jazz festival, not to mention Wynton Marsalis doing ads for Movado and corporate sponsorships of bands, and festivals. We've got McCartney hawking some mutual fund or other, the Stones selling their music for commercials (I'm waiting for “Start Me Up” in a laxative ad). It's reached the point where nothing surprises, nothing shocks, and there's not a damn thing you can do about it except shake you head, and even that's really a waste of energy, so as they say, just lie back and enjoy it.

Tracking Angle contributors  |  Sep 30, 2005  |  First Published: Dec 31, 1969  |  0 comments

This article originally ran in issue #16 of The Tracking Angle, published in the Fall of 1998. It's run here with minor changes reflecting the happy fact that many of these titles have since been reissued on high quality vinyl. Thanks to all of the talented writers who contributed.

Tracking Angle contributors  |  Sep 30, 2005  |  First Published: Dec 31, 1969  |  0 comments

Henry James, in another of his sour moods, once characterized then-President Theodore Roosevelt as "the mere monstrous embodiment of unprecedented and resounding noise." Thankfully, the Master died before hearing Cheap Trick. We think we know this record, and the Trick, too. A generation of rockers have dined out on the chops served up on the original (and brutally truncated) 1979 Epic release. The party crowd (i.e., all of us) has shaken sufficient booty, tail, and keister to make it one of the essential rock albums. And why not? The noise quotient is high enough for blare-oriented ideologues and the giddy fun intrinsic to the band's power-pop attack gets everybody else. The Tricksters make damned sure of that.

Various writers  |  Sep 30, 2005  |  First Published: Dec 31, 1969  |  0 comments

It's 1970. Brian Jones is gone, The Beatles are on their way out, and The Stones have just reached their first peak, after an interesting pop-psychedelic period and a fine roots-country album, 1969's dark, powerful Let It Bleed. Keith Richards handled almost all the guitar on that one, and masterfully too, but he prefers the give-and-take of working with a partner, and on this set he is: trading licks with Mick Taylor, who toured with The Stones throughout the year. The result is this stunning document.

various  |  Sep 30, 2005  |  First Published: Dec 31, 1969  |  0 comments

BOB MARLEY AND THE WAILERS
Live!
Produced by Steve Smith and Chris Blackwell
Engineered by Steve Smith
Mixed by Phill Brown
Island/Tuff Gong ILPS 9376 (LP), 422-846 203-2 (CD)

Music:11
Sound:8

Before Bob Marley cut Live! at the Lyceum in London, Marley's producer Chris Blackwell remembers how the fanaticism surrounding the singer was escalating. “At his shows he was doing 'No Woman, No Cry' and the audiences were singing so enthusiastically. I thought, 'Boy, I've got to record this live', because it sounded so incredible.”

Tracking Angle contributors  |  Sep 30, 2005  |  First Published: Dec 31, 1969  |  0 comments

THE GRATEFUL DEAD
Live Dead
Produced by The Grateful Dead, Bob Matthews, and Betty Cantor
Engineered by Bob Matthews, Betty Cantor, Owsley, and Ron Wickersham
Warner Bros. 1830 (2 LPs)

Music:11
Sound:11

So many musical icons have bitten the bullet this decade, so friends have asked me why Jerry Garcia's death bothered me more than the demise of Frank Zappa, John Cage, or Sun Ra. Are they less significant? Not in the least. The analysis is simple: Frank Zappa is best remembered for his recorded legacy - and he had enough warning (unfortunately) of his demise that he properly documented and established distribution arrangements for his collected recordings, including unreleased material.

Tracking Angle contributors  |  Sep 30, 2005  |  First Published: Dec 31, 1969  |  0 comments

ERIC DOLPHY
Live at the Five Spot Vols. 1 & 2; Memorial Album
Original Recordings Produced by Esmond Edwards
Engineered by Rudy Van Gelder
Reissue produced by Eric Miller
Digital transfers and editing by Dave Luke
Original Jazz Classics OJC 133, OJC 247, OJC 353 (CD)

Music: 10
Sound: 8

Michael Fremer  |  Sep 04, 2005  |  First Published: Dec 31, 1969  |  0 comments
"My original goal was simply to design a better turntable than the Linn because at that time in the UK, Ivor Tiefenbrun was the man—he was the patron saint and all that. And all the hi-fi mags were full of Linns. He did for turntables, in a way, what Mark Levinson (the man) did for amplifiers."
Michael Fremer  |  Sep 01, 2005  |  First Published: Dec 31, 1969  |  2 comments

I conducted this interview with the great Steve Albini way back in 1993, before MP3, before the iPod, back when all but a few outspoken critics like Albini, Neil Young and a few others had anything negative to say about the digital recording revolution. It's fascinating to read Albini's thoughts today. He was right on target then, as he is today.

-Michael Fremer

He's the dean of alternative rock engineers, a thirty-something (now 43) veteran of literally thousands of get 'em in, get 'em out recording sessions, mostly with young, inexperienced bands who can't spend a great deal of money, but who have something to say and who don't want to be restrained in the recording studio. More than anything, they want to recognize themselves when they hear the final product.

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