If one of the defining characteristics of a Classic Track is its immediate recognition, then The Zombies’ “She’s Not There” is as classic as it comes. One of its atypical characteristics, the distinctive opening bass notes and subsequent line that continues throughout the track, surely helped the band win the 1964 Hert’s Beat Competition, which earned them a recording contract with Decca Records. On the map and on their way.
The band had gotten together when they were 15-year-old schoolmates in 1961 in their hometown of St. Albans, England. Keyboardist Rod Argent recruited some of the members, as lead vocalist Colin Blunstone remembers, based on the alphabet. “We sat in class in alphabetical order, and I had a guitar,” Blunstone recalls.
Then after they won the competition, according to Blunstone, and just two weeks prior to their big recording session, producer Ken Jones said, “You could always try to write something.” (more…)
Check out our Wired Article.
If you have time, go to the comments section and read the 300 plus postings of how preposterous the very idea of Hot Stampers is, along with analog vinyl itself and the ridiculously expensive audiophile equipment used to play it, as if you didn’t know already!
What a great guy. You’d never see a smile from Toscanini!
There is an active thread on Audiogon inviting members to list what they believe are the
in their collection.
One of my customers made the case for some of his Hot Stamper pressings
and, as you can imagine, it was as well received as the proverbial turd in the punchbowl.
Please to enjoy!
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BY ROBYN FLANS
How sweet it is! The James Taylor track of that name with Carly Simon vocals and a David Sanborn sax solo went to Number 5 on the Billboard 100 in 1975, dominating radio and adding a sweet voice to the din of the turbulent mid-1970s.
The Russ Titelman/Lenny Waronker production of “How Sweet It Is (To Be Loved By You)” became the most successful version of the Holland-Dozier composition, originally recorded by Marvin Gaye in 1964. (more…)
[Oh but they are, or they certainly can be. We admit we was wrong! We review a killer copy of LSC 1992 right here on our site.]
For more Heifetz, click here.
The interviewer apparently does not know how bad the new version sounds, but we had no trouble recognizing its awfulness here at Better Records and, as a public service, set about describing what we heard on our site.
Where did this thick, dull, bloated, opaque turd come from? Having played at least 50 copies of the album over the last ten years, I can honestly say I have never heard one that sounded very much like this new version (maybe some record club copy we picked up by accident did, can’t say it never happened).
Can that possibly be a good thing? (more…)