Which Album (CD or Vinyl) Are you listening to now - Page 604 - AVS | Home Theater Discussions And Reviews
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post #18091 of 24204 Old 01-05-2015, 07:05 PM
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the life and times : the magician ep (vinyl)



https://thelifeandtimes.bandcamp.com/album/the-magician
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post #18092 of 24204 Old 01-05-2015, 08:02 PM
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HT: CM9 S2 FR/FL, CMC2 S1, CM5 S1 surrounds, ASW610; Yamaha rx-a2030; Parasound 2100; Parasound 275; Oppo BDP-93; ATV
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post #18093 of 24204 Old 01-05-2015, 08:11 PM
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post #18094 of 24204 Old 01-05-2015, 08:42 PM
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post #18095 of 24204 Old 01-05-2015, 08:47 PM
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Ben Howard - I Forget Where We Were
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post #18096 of 24204 Old 01-06-2015, 02:11 AM
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Buddy Guy | Damn Right, I've Got the Blues


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post #18097 of 24204 Old 01-06-2015, 03:28 AM
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BLIND FAITH


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post #18098 of 24204 Old 01-06-2015, 04:48 AM
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GARY MOORE | blues for Jimi


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post #18099 of 24204 Old 01-06-2015, 06:37 AM
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ERIC CLAPTON | another ticket


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post #18100 of 24204 Old 01-06-2015, 07:00 AM
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The Amboy Dukes - Journeys and Migrations (vinyl)



"Why is a carrot more orange than an orange?"
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post #18101 of 24204 Old 01-06-2015, 07:12 AM
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Cannonball Adderley With Milt Jackson - Things Are Getting Better
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post #18102 of 24204 Old 01-06-2015, 08:49 AM
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Art Blakey and the Jazz Messengers - New Year's Eve At Sweet Basil

I had the good fortune to see them play at Sweet Basil at a later date before Sweet Basil closed.
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post #18103 of 24204 Old 01-06-2015, 09:00 AM
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Business As Usual
Men At Work









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post #18104 of 24204 Old 01-06-2015, 09:01 AM
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Shake It Up
The Cars


By augmenting their sound with more synthesizers, electronics, and drum machines, the Cars' fourth release, Shake It Up, helped bridge their hard rock-based early work (1978's The Cars) with the futuristic-pop direction of 1984's Heartbeat City. The band's sound may have been evolving with each succeeding album, but Ric Ocasek was still writing compelling new wave compositions despite all the change, many of which would ultimately become rock & roll standards. The up-tempo title track remains a party favorite to this day (reaching number four on the singles charts), while the melancholic "Since You're Gone" remains one of Ocasek's best-ever tales of heartbreak. Intriguing videos were made for both songs, officially introducing the band to the MTV age. Like its predecessor, 1980's Panorama, filler is present ("This Could Be Love," "Maybe Baby"), but many lesser-known album tracks prove to be highlights: the almost entirely synth-oriented tracks "Think It Over" and "A Dream Away," the rocking "Cruiser," plus the more pop-oriented "I'm Not the One" and "Victim of Love." Although Shake It Up was another resounding commercial success, their next album would be the one that made the Cars one of rock's quintessential acts of the '80s

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post #18105 of 24204 Old 01-06-2015, 09:07 AM
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Candy-O
The Cars

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post #18106 of 24204 Old 01-06-2015, 09:31 AM
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BRMC | Specter at the Feast

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post #18107 of 24204 Old 01-06-2015, 10:07 AM
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Peter Gabriel 1: Car (Remastered Version)
Peter Gabriel


Peter Gabriel tells why he left Genesis in "Solsbury Hill," the key track on his 1977 solo debut. Majestically opening with an acoustic guitar, the song finds Gabriel's talents gelling, as the words and music feed off each other, turning into true poetry. It stands out dramatically on this record, not because the music doesn't work, but because it brilliantly illustrates why Gabriel had to fly on his own. Though this is undeniably the work of the same man behind The Lamb Lies Down on Broadway, he's turned his artiness inward, making his music coiled, dense, vibrant. There is still some excess, naturally, yet it's the sound of a musician unleashed, finally able to bend the rules as he wishes. That means there are less atmospheric instrumental sections than there were on his last few records with Genesis, as the unhinged bizarreness in the arrangements, compositions, and productions, in tracks such as the opener "Moribund the Burgermeister" vividly illustrate. He also has turned sleeker, sexier, capable of turning out a surging rocker like "Modern Love." If there is any problem with Peter Gabriel, it's that Gabriel is trying too hard to show the range of his talents, thereby stumbling occasionally with the doo wop-to-cabaret "Excuse Me" or the cocktail jazz of "Waiting for the Big One" (or, the lyric "you've got me cookin'/I'm a hard-boiled egg" on "Humdrum"). Still, much of the record teems with invigorating energy (as on "Slowburn," or the orchestral-disco pulse of "Down the Dolce Vita"), and the closer "Here Comes the Flood" burns with an anthemic intensity that would later become his signature in the '80s. Yes, it's an imperfect album, but that's a byproduct of Gabriel's welcome risk-taking -- the very thing that makes the album work, overall

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post #18108 of 24204 Old 01-06-2015, 10:11 AM
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INXS - Listen Like Thieves

(vinyl, 1985, Atlantic Recording Corp./A Warner Communications Co.)
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post #18109 of 24204 Old 01-06-2015, 10:16 AM
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Halcyon Days - The A&M Years
Strawbs


In the course of nine years, the Strawbs evolved from an obscure, quirky British bluegrass group into one of the most beloved progressive rock bands in the world. This 150-minute collection covers most of that history, encompassing most (but not all) of the key songs from their nine A&M albums, as well as lost B-sides, songs by ex-members Richard Hudson and John Ford, and a pair of tracks off of Dave Cousins' 1972 solo album Two Weeks Last Summer. The selection of material is inspired, juxtaposing rarities with a good deal of important music from the core of their output. The programming straddles the collectable and the historical/musical significance of the material, so we get early-'70s FM hits such as "The River" and "Down by the Sea" sharing space with material such as "Martin Luther King's Dream" and subsequent extended progressive material like "Ghosts." The range of styles is daunting, from Dylanesque acoustic folk-style numbers to extended songs in which Mellotrons, synthesizers, and loud, complex electric guitar runs are the dominant presences

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post #18110 of 24204 Old 01-06-2015, 10:22 AM
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post #18111 of 24204 Old 01-06-2015, 10:27 AM
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Guns N Roses - Appetite for Destruction (MFSL Gold CD)

Speaking of appetites, I'm pairing it with a tuna sandwich on sourdough. Hopefully no destruction will follow later in the afternoon.



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post #18112 of 24204 Old 01-06-2015, 10:42 AM
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The Miraculous Hump Returns From The Moon
Sopwith Camel
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post #18113 of 24204 Old 01-06-2015, 10:54 AM
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John Barleycorn Must Die
Traffic


At only 22 years old, Steve Winwood sat down in early 1970 to fulfill a contractual commitment by making his first solo album, on which he intended to play all the instruments himself. The record got as far as one backing track produced by Guy Stevens, "Stranger to Himself," before Winwood called his erstwhile partner from Traffic, Jim Capaldi, in to help out. The two completed a second track, "Every Mother's Son," then, with Winwood and Island Records chief Chris Blackwell moving to the production chores, brought in a third Traffic member, Chris Wood, to work on the sessions. Thus, Traffic, dead and buried for more than a year, was reborn. The band's new approach was closer to what it perhaps should have been back in 1967, basically a showcase for Winwood's voice and instrumental work, with Wood adding reed parts and Capaldi drumming and occasionally singing harmony vocals. If the original Traffic bowed to the perceived commercial necessity of crafting hit singles, the new Traffic was more interested in stretching out. Heretofore, no studio recording had run longer than the five-and-a-half minutes of "Dear Mr. Fantasy," but four of the six selections on John Barleycorn Must Die exceeded six minutes. Winwood and company used the time to play extended instrumental variations on compelling folk- and jazz-derived riffs. Five of the six songs had lyrics, and their tone of disaffection was typical of earlier Capaldi sentiments. But the vocal sections of the songs merely served as excuses for Winwood to exercise his expressive voice as punctuation to the extended instrumental sections. As such, John Barleycorn Must Die moved beyond the jamming that had characterized some of Traffic's 1968 work to approach the emerging field of jazz-rock. And that helped the band to achieve its commercial potential; this became Traffic's first gold album.

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post #18114 of 24204 Old 01-06-2015, 11:02 AM
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I apologize for this "off-topic" information, but it appears Technics is coming back?

http://www.technics.com/us/

Now back to the music!
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post #18115 of 24204 Old 01-06-2015, 11:04 AM
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Aqualung
Jethro Tull








Aqualung
Jethro Tull Released at a time when a lot of bands were embracing pop-Christianity (à la Jesus Christ Superstar), Aqualung was a bold statement for a rock group, a pro-God antichurch tract that probably got lots of teenagers wrestling with these ideas for the first time in their lives. This was the album that made Jethro Tull a fixture on FM radio, with riff-heavy songs like "My God," "Hymn 43," "Locomotive Breath," "Cross-Eyed Mary," "Wind Up," and the title track. And from there, they became a major arena act, and a fixture at the top of the record charts for most of the 1970s. Mixing hard rock and folk melodies with Ian Anderson's dour musings on faith and religion (mostly how organized religion had restricted man's relationship with God), the record was extremely profound for a number seven chart hit, one of the most cerebral albums ever to reach millions of rock listeners. Indeed, from this point on, Anderson and company were compelled to stretch the lyrical envelope right to the breaking point. [In the digital age, Aqualung has gone through numerous editions, mostly owing to problems finding an original master tape when the CD boom began. When the album was issued by Chrysalis through Columbia Records in the mid-'80s, the source tape was an LP production master, and the first release was criticized for thin, tinny sound; Columbia remastered it sometime around 1987 or 1988, in a version with better sound. Chrysalis later switched distribution to Capitol-EMI, and they released a decent sounding CD, as well as a 25th anniversary edition in 1996. Fifteen years later, the 40th anniversary was marked with varying editions, most of them including a previously unreleased stereo mix of the album plus additional recordings from 1970-71.]

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post #18116 of 24204 Old 01-06-2015, 11:22 AM
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Miles Davis - Relaxin' With the Miles Davis Quintet
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post #18117 of 24204 Old 01-06-2015, 12:25 PM
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Donnie Iris - Back On The Streets

(vinyl, 1980, MCA Records, Inc.)

Faves: Ah! Leah!, I Can't Hear You, & Shock Treatment

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post #18118 of 24204 Old 01-06-2015, 12:34 PM
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Soul to Soul (CD): Stevie Ray Vaughan and Double Trouble
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Regards, Ken (Retired)
Denon AVR4520CI; 9.1 setup
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LRC & RS = Celestion 5s & 3s; Front height and side surrounds = Polks
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post #18119 of 24204 Old 01-06-2015, 12:48 PM
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ac/dc - dirty deeds done dirt cheap

i'm so laid back,i'm laid out
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post #18120 of 24204 Old 01-06-2015, 12:59 PM
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RENAISSANCE | ashes are burning

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