As jazz vinyl sees a great resurgence, new labels issuing archival material and recent recordings contribute to a now-overwhelming catalog of available records. Run by former ECM producer Sun Chung, Red Hook Records bills itself as “a place for encounters, where musicians have opportunities [to] carve new adventurous ways of creative wayfaring [and] dissolve musical boundaries.” Red Hook’s release focus and target audience remains unclear; not all jazz buyers are audiophiles, and not all audiophiles accept newer recordings. The label’s inaugural release is Hanamichi,
(Review Explosion is a recurring AnalogPlanet feature covering recent releases for which we either don’t have sufficient time to fully explore, or that are not worthy of it. Curated by AnalogPlanet contributing editor Malachi Lui, Review Explosion focuses on the previous few months’ new releases.)
Shortly after their 1970 sophomore album Fun House’s release, Detroit proto-punk legends the Stooges played the Goose Lake Festival in Jackson, Michigan, 80 miles west of Detroit. Intended to be a Midwest Woodstock of sorts, with acts like the Small Faces, Jethro Tull, and Chicago (among many more) the 3-day festival drew 200,000 attendees over a stifling weekend. The environment became tense; in this LP’s liner notes, Jaan Uhelszki writes of 500 people attending the Open City LSD bad trip rescue tent, with countless others also being stoned on PCP masquerading as cocaine. Still, the festival itself was well-organized. Bands played on a rotating stage, were limited to 45-minute sets without exception, and a six-foot fence and trench blocked performer/crowd interaction.
(Review Explosion is a recurring AnalogPlanet feature covering recent releases for which we either don’t have sufficient time to fully explore, or that are not worthy of it. Curated by AnalogPlanet contributing editor Malachi Lui, this particular Review Explosion focuses on new and old 7” releases.)
(Review Explosion is a recurring AnalogPlanet feature covering recent releases for which we either don’t have sufficient time to fully explore, or that are not worthy of it. Curated by AnalogPlanet contributing editor Malachi Lui, Review Explosion focuses on the previous few months’ new releases.)
(Review Explosion is a recurring AnalogPlanet feature covering recent releases for which we either don’t have sufficient time to fully explore, or that are not worthy of it. Curated by AnalogPlanet contributing editor Malachi Lui, this is the second RSD2020-centric Review Explosion, the first of which is found here.)
Last weekend, the second 2020 RSD Drop occurred in physical stores and on some online outlets. I didn’t find any titles terribly important to me, so here I am still reviewing records from the initial August RSD Drop. Onward we go…
(Vinyl Reports is an AnalogPlanet feature aiming to create a definitive guide to vinyl LPs. Here, we talk about sound quality, LP packaging, music, and the overarching vinyl experience.)
Today (September 21), record club Vinyl Me, Please formally announced the latest in their VMP Anthology box set series, The Story of Herbie Hancock. Bernie Grundman cut all-analog from tape where possible, GZ pressed the eight albums over 11 LPs on 180g black vinyl and packaged in tip-on jackets. The set retails for $349 and includes a “deluxe” booklet. Curated by Hancock himself, the chosen titles are: Takin’ Off (1962, all-analog), Maiden Voyage (1965, AAA), Head Hunters (1973, AAA), The V.S.O.P. Quintet: Live Under The Sky (1979, digitally recorded), The Piano (1979, AAA), Future Shock (1983, AAA), 1+1 (1997, digitally recorded), and River: The Joni Letters (2007, digitally recorded). Live Under The Sky, a 1979 Japanese CBS/Sony Master Sound live album recorded digitally, is newly re-sequenced and amended at Herbie Hancock’s request. The box set shipping this winter is housed in a two-piece box hand-numbered to 1500 units.
This year for Record Store Day, I joined the Music Millennium line at 5:40 AM. Because of COVID-19 restrictions, they let 10 customers inside the store at once, and enforced social distancing in line. When the sun rose around 6:00, owner Terry Currier handed out tickets corresponding to our spots in line, with specific time slots to arrive back later and shop. I left and arrived back at 8:15, ultimately going over my expected budget and buying 10 records. I’m still processing the Bowie, Tyler, Clipping, and Ron Carter releases (another RSD-themed Review Explosion of those coming soon), but below are reviews of my other pickups (I also bought a copy of Angel Olsen’s latest album Whole New Mess for a general Vinyl Review Explosion).