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A thread for forthcoming vinyl releases...

WOWZER, are the numbers counting down rather than going up :oops:šŸ˜… They must be picking random ones from a pile.
Some talk on discogs of dished copies. Mine looked flat but haven't got a turntable yet so can't tell.

Also someone there said they got copy no 472 in early Feb. They must leave the factory boxed in multiples of 25 or 50 and I guess which you get depends on which box they take it out of. Is the Rhino 2012 well regarded?
 
Some talk on discogs of dished copies. Mine looked flat but haven't got a turntable yet so can't tell.

Also someone there said they got copy no 472 in early Feb. They must leave the factory boxed in multiples of 25 or 50 and I guess which you get depends on which box they take it out of. Is the Rhino 2012 well regarded?
It has been said (from Youtube video's) that this nearly matches the quality of this Rhino at a lower price. I've no experience tho' of it's quality.
 
Here's a link to a thread on the Hoffman forum from a couple of years ago, apparently there are versions that are even harsher than mine:

Interesting from my perspective as it suggests the UK 1st is a little mellower than the US (mine hasnā€™t got the quotation marks on the cover, but it is the same matrix).

It would be fascinating to line them all up for a listen including the UK 12ā€ singles (Iā€™ve got both). They donā€™t sound different in intent to my album to my ears, same basic eq, just louder and more kick as youā€™d expect from a 12ā€ 45.
 
Some talk on discogs of dished copies. Mine looked flat but haven't got a turntable yet so can't tell.

Also someone there said they got copy no 472 in early Feb. They must leave the factory boxed in multiples of 25 or 50 and I guess which you get depends on which box they take it out of. Is the Rhino 2012 well regarded?
My copy is number 2017! It arrived 20th January. Totally random by the look of things.
 
FWIW thereā€™s never any correlation between limited edition number and the order a record came off the press as the sleeves and vinyl are made at different places and just assembled pretty randomly as the sleeves come out of the shipping cartons. The only times there can be a win with a low number is with signed and hand-numbered stuff as you often get a much better set of signatures at the start of the run than at the end when everyone is tired and bored sick doing it. Iā€™ve not analysed this to any great extent, but Iā€™d have expected around #20 of say a run of 500 to get the best signatures as the artist will have relaxed into the swing of it, but wonā€™t be bored yet! The collector market seems always to value low though. I get that with say a White Album which was numbered into the hundreds of thousands, but with properly limited stuff (e.g. an edition of a few hundred) each number is just as rare as the next.
 
Was just looking on the Juno Records site and it seems Joni Mitchellā€™s Blue and a few others of hers from that era have just got the MoFi treatment. Ā£150ā€™ish.
 
Just saw the RSD list, noticed the buena vista social club is being done (again) 25th anniversary masters (done already) extra tracks (done already) oh but now its on gold vinyl. .... RSD is beginning to be a cash grab joke. Im finding it increasingly harder to take it seriously. Its not really helping the independents anymore as they have to buy so much stock and then they don't sell a lot of it so it lies around in various RSD year dated boxes on sale. I have friends that own record stores that have now opted out of RSD. Sorry for my Sunday morning rant guys, apologies if you love RSD.
 
Not forthcoming as Iā€™m listening to it now, but Can Live Paris ā€˜73 is worth a listen. Not the best sound quality, though it seems to get better as it progresses, but prime-Damo-era Can nonetheless. Mono, very limited dynamically, nothing like the slam of others in the series, but musically it is excellent and as ever with Can is mainly free-form improvisation/jamming. One for the real Can fans, but that should be everyone.

PS Given less than ideal sound quality and the fact theyā€™ve had to split the first 36 minute track over two sides the CD may be the better option here (Amazon) and is certainly cheaper. It is decent bootleg quality, no more. Musically amazing though. They were a hell of a live band!
 
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Just to add the sound quality of this one really is grim, if anything it gets worse as they get louder. Musically stunning, but it will knock many Ā£thousands off your hi-fi! Such a shame as the performance is amazing. From a technical perspective the mic sounds fixed, it isnā€™t moving around in someoneā€™s jacket in the audience, but it is clearly compressing, even distorting at times and I suspect the tape machine had an auto-level enabled as there is some obvious ā€˜duckingā€™ which just kills dynamics. It would likely sound amazing on a little Roberts radio or whatever, but my huge Lockwoods lay it bare. It sounds like someone has left a clock radio between the speakers!

PS Iā€™m listening to the closing track, Vitimin C (one of the very recognisable songs, most are more abstracted jams) and it is such a great version. So annoying the recording quality is so poor.

ā€¦.and it just clicks off before the end. I guess they ran out of tape!
 
Not forthcoming as Iā€™m listening to it now, but Can Live Paris ā€˜73 is worth a listen. Not the best sound quality, though it seems to get better as it progresses, but prime-Damo-era Can nonetheless. Mono, very limited dynamically, nothing like the slam of others in the series, but musically it is excellent and as ever with Can is mainly free-form improvisation/jamming. One for the real Can fans, but that should be everyone.

PS Given less than ideal sound quality and the fact theyā€™ve had to split the first 36 minute track over two sides the CD may be the better option here (Amazon) and is certainly cheaper. It is decent bootleg quality, no more. Musically amazing though. They were a hell of a live band!
Which of the Live albums would you say are the best sound quality, I have three studio albums and fancy a live one.
Cheeers.
 
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Which of the Live albums would you say are the best sound quality, I have three studio albums and fancy a live one.
Cheeers.

The sound quality of all the preceding ones is good, they have a real power and heft to them. It sounds like you are at a good gig, e.g. there is a PA system thwack to the drums etc. Iā€™d personally take either of the triples; Brighton or Stuttgart over Cuxhaven just on the fact they are the full thing and unedited and have far more space to breathe. They are all really good albums and surprised me as I view 1976 as well past their prime, but these albums reverse that and show they were still knocking the ball out of the court live, even if it was a very different thing. In many ways these sound like mid-70s Miles Davis, hardly any recognisable songs, just extended visceral funk grooves and improvisation. These are amongst my favourite Can albums. I only wish Paris ā€˜73 was even half as good sonically.

PS I think if I had to pick one Iā€™d go with Stuttgart as it was the first released, so one would assume the bands first choice, plus I think the orange vinyl may be better than the gold of Brighton, though in fairness that sounds great too.
 
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The sound quality of all the preceding ones is good, they have a real power and heft to them. It sounds like you are at a good gig, e.g. there is a PA system thwack to the drums etc. Iā€™d personally take either of the triples; Brighton or Stuttgart over Cuxhaven just on the fact they are the full thing and unedited and have far more space to breathe. They are all really good albums and surprised me as I view 1976 as well past their prime, but these albums reverse that and show they were still knocking the ball out of the court live, even if it was a very different thing. In many ways these sound like mid-70s Miles Davis, hardly any recognisable songs, just extended visceral funk grooves and improvisation. These are amongst my favourite Can albums. I only wish Paris ā€˜73 was even half as good sonically.

PS I think if I had to pick one Iā€™d go with Stuttgart as it was the first released, so one would assume the bands first choice, plus I think the orange vinyl may be better than the gold of Brighton, though in fairness that sounds great too.
Thanks for that Tony, really appreciate it. I will have a look for them. Cheers.
 
This site contains affiliate links for which pink fish media may be compensated.
The sound quality of all the preceding ones is good, they have a real power and heft to them. It sounds like you are at a good gig, e.g. there is a PA system thwack to the drums etc. Iā€™d personally take either of the triples; Brighton or Stuttgart over Cuxhaven just on the fact they are the full thing and unedited and have far more space to breathe. They are all really good albums and surprised me as I view 1976 as well past their prime, but these albums reverse that and show they were still knocking the ball out of the court live, even if it was a very different thing. In many ways these sound like mid-70s Miles Davis, hardly any recognisable songs, just extended visceral funk grooves and improvisation. These are amongst my favourite Can albums. I only wish Paris ā€˜73 was even half as good sonically.

PS I think if I had to pick one Iā€™d go with Stuttgart as it was the first released, so one would assume the bands first choice, plus I think the orange vinyl may be better than the gold of Brighton, though in fairness that sounds great too.
Same, Stuttgart (especially) and Brighton are awesome, wish Iā€™d gone for the vinyl. Cuxhaven merely pretty good.
 
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