I do not know the source but to my ears these are some of the best sounding versions. I have a Promo copy, the needle goes down on a acoustic version of I Am a Rock and all you hear is tape hiss and then the sound spills from the speakers. Record One is The Paul Simon Songbook produced by Reginald Warburton and Stanley West. All acoustic versions and all great sounding .I have the original CBS and Columbia pressings of PSR&T and it is a toss up. With Columbia sometimes the second pressing sounds better than the first, no general rule just this variation that just is. I have original Canadian, American pressings of Santana's first album, second American pressing. I thought the best was the original American columbia pressing until I heard the the Joerg Kessler ARS reissue which blew all previous versions out the door. To my mind the Greatest Hits package in a lot of ways sounds better than the original album versions, produced in 1974 on thin vinyl, go figure. Definitely what makes this hobby so interesting, you never know what you are going to hear until you do.
I have BOTW (Sundazed pressed by QRP) and Bookends (pressed by ?). By far Bookends sounds better. QRP pressing has several loud tics right at the beginning of BOTW and El Condor Pasa. It's a real shame they occur in such quiet songs. Also, have a very early PSRT and a later reissue? (unknown date per discogs)of SOS. So, I skipped the box. Great review, makes me sorry I passed up the Popmarket deal. I bought my daughter a very clean box reissue Collected Works which aren't really the best pressings but the set was $18 (near mint, more like unplayed). No covers, but good for someone just looking for the basics. Thanks for the in depth review and the details, it has me with my headlamp on looking at the matrix codes on my originals. Looks I have a 1st pressing of Concert In Central Park. Gotta love this stuff. Thanks for the in depth review and updates from the insider.
The Sound Of Music Original Soundtrack 1965 Reissue 2000 F
In his retirement, Avakian continued to involve himself in independent recording productions for various artists, and, in the 1980s, managed two vocalists: Helen Merrill and Datevik Hovenasian. In the 1990s and 2000s, Sony Legacy consulted him for the reissues of several Miles Davis and Louis Armstrong albums. He also remained active in jazz research and writing, and discovered several previously-unknown Louis Armstrong compositions at the Library of Congress. In 1997, he produced performances and a recording of them by trumpeter Randy Sandke and other musicians.
R-0324 Recorded live with Ramblin' Jack Elliott, recorded at the Riverside Church, New York, on 29 Jul 1961 for the WRVR radio programme "Saturday Of Folk Music"and broadcast the same day, from the 2000 Vanguard soundtrack album The Ballad of Ramblin' Jack,see 2000
R-0758 Early version of Outlaw Blues from Bringing It All Back Home with different lyrics, recorded at Columbia Studios, New York, 13 Jan 1965, from CD included with issue of "Diario De Noticias", Spain, 1995, see Questionable Releases. Now released officially on the CBS US TV series soundtrack album NCIS: The Official TV Series Soundtrack Vol. 2, see 2009 (Previously listed as Q-0023)No longer a rarity since it was released in Nov 2015 on The Best of The Cutting Edge 1965-1966: The Bootleg Series Vol. 12.
R-0617 Live, recorded Stage 6, Ray-Art Studios, Canoga Park, CA, 18 Jul 2002, stereo version from the regular and limited editions of the 2003 Sony Music SoundtraxMasked And Anonymous soundtrack album - see 2003 and VHS & DVD 2000s Part 2
R-0612 Live from "Jack Fate" and his band, from the soundtrack of the 2003 movie Masked & Anonymous, recorded Stage 6, Ray-Art Studios, Canoga Park, CA, 18 Jul 2002 (full version, 2:32, see2003 and VHS & DVD 2000s Part 2
R-0616 Live from the 2003 Sony Music Soundtrax Masked And Anonymous soundtrack album, recorded Stage 6, Ray-Art Studios, Canoga Park, CA, 18 Jul 2002 - see 2003 and VHS & DVD 2000s Part 2
R-0402 Live, City Hall,Newcastle, England, 6 May 1965, from the soundtrack of the 1967 film Don't LookBack (see VHS & DVD 1960s) and from Clayton Webster Corporation radio station discs D. A. Pennebaker,Rock's Cinematographer, Retro Rock Shows, broadcast 1981 (see 1981). Bob Stacy is now sure this is actually Manchester, 7 May 1965!
R-0615 Recorded live from the 2003 Sony Music SoundtraxMasked And Anonymous soundtrack album, recorded Stage 6, Ray-Art Studios, Canoga Park, CA, 18 Jul 2002 - see 2003 and VHS & DVD 2000s Part 2
I disagree with your assessment of the sonic order,in particular the connoisseurSeries,I feel they sound much better than the Toshiba EMI records. Ide have them in the middle just under the other reissues like acoustic sounds, music matters,tone poet and king blue note. The worst for me is similar to yours and the 304 and park are the worst of them all I long Spence replaced the ones I had . But I have enjoyed reading your articles and your opinions and will continue to do so.thanks.
With a few exceptions, quality of sound is worse on the more modern pressings, better on older ones. I listened with a friend yesterday to a Mobile Fidelity reissue compared with its original Decca release, and I was utterly shocked how poor the MoFi sounded in comparison. Difference was huge. The MoFi was dreadful, but unless you had the original, how would you know?
During the chaos of production and post-production, the team made decisions about character voicing and sound effects. Sound designer Ben Burtt had created a library of sounds that Lucas referred to as an "organic soundtrack." For Chewbacca's growls, Burtt recorded and combined sounds made by dogs, bears, lions, tigers, and walruses to create phrases and sentences. Burtt created the robotic voice of R2-D2 by filtering his voice through an electronic synthesizer. Darth Vader's breathing was achieved by Burtt breathing through the mask of a scuba tank implanted with a microphone.[27] Lucas never intended to use the voice of David Prowse, who portrayed Darth Vader in costume, because of Prowse's thick English West Country accent. He originally wanted Orson Welles to speak for Darth Vader. However, he felt that Welles' voice would be too recognizable, so he cast the lesser-known James Earl Jones.[28] Nor did Lucas intend to use Anthony Daniels' voice for C-3PO. Thirty well-established voice actors, such as Stan Freberg, read for the voice of the droid. According to Daniels, one of the major voice actors recommended Daniels' voice for the role.[5][12]
From the very beginning, Lucas' intention for "Star Wars" was that it would have very familiar sounding music, that despite the extraordinary visuals and events occurring onscreen, the music would be reminiscent of Earth and of the past. To that end, he originally wanted to fill the film with tracked classical music from various composers, in a similar fashion to 2001: A Space Odyssey.[29] Lucas' friend, Steven Spielberg, recommended composer John Williams to Lucas after their recent collaboration on Jaws (1975). Spielberg convinced Lucas that he should meet with the composer, who in turn convinced him of the need for original music.[30] They also decided in this early meeting that the score should have a romantic musical sound, with leitmotifs for different characters and events, similar to the operas of Richard Wagner.[31]
When it came time to record the score, Williams was given no choice but to record in London, presumably due to budget constraints and the fact that most of the film was shot in England.[34] He did have the choice of which orchestra he wanted to work with, and he ended up choosing the London Symphony Orchestra (LSO) due to its primary conductor being his friend André Previn. This was historically significant, as it was the first time Williams ever got to work with an organized symphony orchestra for a film.[32] Previous films of his usually recorded with freelance players. The score was recorded over the course of eight days between March 5th and March 16th of 1977 at Anvil Recording Studios in Denham, England.[31][32] People present at the sessions included John Williams himself, who was conducting, George Lucas, recording engineer Eric Tomlinson, his assistant Alan Snelling, and music editor Ken Wannberg. The orchestra itself was made up of 26 violins, 10 violas, 10 cellos, 6 basses, 11 woodwinds, 8 horns, 4 trumpets, 3 trombones, 2 tubas, 2 harps, 3 percussion, 1 timpani, 1 piano, and 1 celeste.[42] The score was recorded with approximately 23 microphones, placed at strategic positions around the orchestra. The mixing console, a Rupert Neve, had 24 inputs and 16 outputs. Recording engineer Eric Tomlinson used the console to create a live LCR (Left, Center, Right) mix while the orchestra was playing. The live mixes were recorded straight to two 35mm magnetic film recorders (with healthy Dolby A noise reduction applied). The live mix was also routed to tracks 1-3 of a Struder A80 16-track 2 inch recorder, with sections of the orchestra isolated on tracks 4-15 and a 50 hz pilot tone on track 16. The pilot tone could later be used for synchronization with the film during editing.[43][44] After the recording was completed, the best takes were combined into performance edits by music editor Ken Wannberg. He created performance edits using one of the 35mm mag recordings, as well as with the 16 track tapes. (note: a performance edit is where sections of different takes are combined together to create the best possible recording of a given cue) The 16 track tapes were intended both for backup purposes, and to be sent off to be remixed by John Neal for the eventual soundtrack release on LP. The 35mm edits would of course be further edited by Wannberg into the final stems for use in the film.[43][32][45] 2ff7e9595c
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