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Music History Monday: April 14

Posted by Jeff Harris, April 14, 2014 11:21am | Post a Comment

To read more Behind The Grooves, go to http://behindthegrooves.tumblr.com.

On this day in music history: April 14, 1973 - "Masterpiece" by The Temptations hits #1 on the Billboard R&B singles chart for two weeks, also peaking at #7 on the Hot 100 on April 28, 1973. Written and produced by Norman Whitfield, it is the 11th R&B chart-topper for the veteran Motown vocal group. Songwriter and producer Norman Whitfield will give the song its title when he feels that all of the combined elements of the piece add up to a "masterpiece," though the word does not appear in the lyrics. Whitfield will write "Masterpiece" as a sequel to the Grammy-winning smash "Papa Was A Rolling Stone" (and the album All Directions), and features members of The Funk Brothers providing musical support and is arranged by Paul Riser. The single and album are recorded during a period where there is ever-mounting tension between the highly-strung producer and The Temptations, who are unhappy at having no say in the creative process and are being referred to by music critics as "the Norman Whitfield Choral Singers." "Masterpiece" will be edited down from its nearly 14 minute epic length down to under four and a half minutes for single release. Though the Tempts will top the R&B chart three more times with "Let Your Hair Down," "Happy People," and "Shakey Ground," in 1974 and 1975 respectively, "Masterpiece" will be will be the group's last top ten pop hit for 18 years. It returns to the upper reaches of the chart when they collaborate with Rod Stewart on "The Motown Song" peaking at #10 in September of 1991. "Masterpiece" is certified Gold in the US by the RIAA.
 

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Personal Picks: Kelly's Best of 2012 Year-End Recap

Posted by Kelly S. Osato, December 31, 2012 02:30pm | Post a Comment

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Well, here we are. We weren't thrust into a new dark age oblivion, the world didn't end and neither did my workaday quest for the best music for the day. This year was rife with records that just had to be snatched -- reissues, compilations, and a fair few newbies too.

Here follows my personal, "show and tell" style best-of list for 2012:  the year that didn't stop the big wheel a-turnin'. Rather than just dicing up a list of cold-cut favorites, I've included personal events and trends herein that shaped the music I sought and gravitated towards within the past year.


BEST NEW ALBUM OF THE YEAR: Jessica Pratt - JP. No contest. I have naught but the best of things to say about this disc of spun gold and I'm not alone. It seems every Barry, Rob, and Maurice in the blogosphere has been falling all over this record like autumn leaves in the rain. If you really want to know my take check out my real talk review of JP here, otherwise please do enjoy the album's opening track, "Night Faces" below.





 
BEST 2012 REISSUE: It's a tie between two (Numero related) comps: WTNG 89.9FM: Solid Bronze and & Personal Space: Electronic Soul 1974 - 1984. Both platters piled high with private press oddments and rarities one could hardly go more wrong than to miss out on these two exemplary feats of the compilation arts. The former being a point of revision for many in that it is essentially a mix of largely unheard "yacht rock"/AOR triumphs of seventies song-writing sensibilities (man, is it ever sensibly sensitive) that confronts one's moral definition of guilty (listening) pleasures. The latter comp, Personal Space - a seemingly dark horse among the usual reissue fare fleshing out the the tom findlay groove armada late night tales music for pleasure yacht rock am gold smooth music sailing soul comps shelf space, made the rounds among Amoeba staff regularly thus enjoyed a healthy amount of in-store play as well. Chock full of rhythm-box workouts a la Sly Stone, Timmy Thomas and Shuggie Otis, it's a far-out soul/funk excavation of the highest order. Both of these are solid front-to-back listens for the home vinyl library/curio corner.

You've Got Another Thing Comin': 30 Years of Screaming For Vengeance!

Posted by Kelly S. Osato, August 13, 2012 11:45am | Post a Comment
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When it comes to metal, whether it be heavy, hard, or hairy, the one thing that really hurts my feelings is a poorly mastered recording. While I admit I possess very little knowledge on the subject of mastering (however informative this link should prove) it would seem that time and inevitable technological developments have redefined what a properly mastered record should sound like, nevermind that my reckoning of a ill-mastered metal record has everything to do with volume control. Putting on an exemplary recording like Judas Priest's Screaming For Vengeance only to discover the maximum volume setting worthy of a dental visit is an insult to the ear and the slap to the id; "why can't I make this any louder", you lament. I feel your pain, people. I too am screaming for vengeance!

judas priest creaming for vengeance 2012 reissue 2cd live dvd concert san bernadino ca 1983 rob halford glen tipton heavy metal british nwobhm  classic standard louder remastered
Which is why I am particularly stoked about the upcoming September third celebratory reissue of Judas Priest's Screaming For Vengeance - the 30th Anniversary Special Edition, containing not only the remastered original album plus six bonus tracks, but also a live DVD from the 1983 US festival show filmed in San Bernadino, CA on May 29, 1983.I know, you're probably thinking, Priest has already seen to the digital remastering of most of their catalog in 2001, no? Sound hounds and intense listens have generated a clash of opinions concerning just how beneficial the overall remaster treatment was. While I don't pretend that my ears are trained to recognize minutiae apparent in the thankfully LOUD 2001 Priest remasters, my favorite complaint directed at the "creepy, crawly knob-twiddling" Jon Astley inflicted upon the reissue of British Steel compares the end result to "Edith Bunker being gang raped by a swarm of castrated locusts" -- an observation that potentially bodes ill for any serious audiophile.

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The '80s List: Part 10

Posted by Amoebite, September 2, 2011 12:46pm | Post a Comment
Wipers One day at Amoeba Hollywood I proclaimed that Aztec Camera's 1983 release High Land, Hard Rain was one of the best records of the '80s. This single statement eventually led to over 200 Amoebites ranking their top 10 favorite albums from the ‘80s.

From the beginning we realized that it was impossible for most of us to condense our favorites from all genres into a tiny top ten list. So, we limited our lists to Rock/Pop and its sub-genres like punk, metal, goth, and new wave. Even so, it was a difficult selection process because not only are there hundreds of amazing records to consider, there is also the added dynamic of time.

The '80s were a long time ago and the music has had many years to gestate. We have a deep sense of nostalgia and sentiment with these albums as our fondest memories are associated with them. These are albums we LOVE.

- Henry Polk

P.S. We'll be posting new additions to the '80s list project from Amoeba staff members on Mondays, Wednesdays, and Fridays. See all entries in our ‘80s list series.

P.P.S. The '80s List Book is available for sale at Amoeba Hollywood.


Heather Long

Pixies Doolittle (1989)
Husker DuZen Arcade (1984)
Judas PriestBritish Steel (1980)
X – Los Angeles (1980)
PretendersPretenders (1980)
The Cure – Disintegration (1989)
The ClashLondon Calling (1980)
Duran DuranRio (1982)
Iron MaidenThe Number Of The Beast (1982)
Adam And The AntsKings Of The Wild Frontier (1980)

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Aircraft

Posted by Mr. Chadwick, May 25, 2009 11:40pm | Post a Comment
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flyboys record label
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scott merritt gravity is mutual record labeljet-age records labelbeulah coast is never clear record label
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visa record labelwar bride record labelduran duran decade record label
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