When we're talking about sound quality we also have to mention this one. The sound is outstanding, was recorded direct-to-disc in Japan. I wish Paul did more solo LPs...
I can't believe that I'm seeing that album on the Strut. I was hanging out at the No-U-Turn studio a lot around the time they recorded it. Nico was a great guy but had a serious c*** problem ... like big parts of the +b scene (or shall I say music scene London?).
As far as perfect sound goes: I would cosign that this album has one of the heaviest and most brutal sounds ever recorded.
I can't believe that I'm seeing that album on the Strut. I was hanging out at the No-U-Turn studio a lot around the time they recorded it. Nico was a great guy but had a serious c*** problem ... like big parts of the +b scene (or shall I say music scene London?).
As far as perfect sound goes: I would cosign that this album has one of the heaviest and most brutal sounds ever recorded.
Whoah? How are/were you connected to those dudes?
Made a huge impact on my life, as a teenager.
And yes, I've heard they all had some issues with d***s. Some really bad gossip/stories been floating around regarding Ed last few years, too.
Are you mad? Most of the Lee Perry stuff sounds like its been recorded underwater. The sound does have a nice warm feel to it, but its nothing to crow about.
Check the Steely Dan or something like Jazz Samba for quality analogue sound.
I can't believe that I'm seeing that album on the Strut. I was hanging out at the No-U-Turn studio a lot around the time they recorded it. Nico was a great guy but had a serious c*** problem ... like big parts of the +b scene (or shall I say music scene London?).
As far as perfect sound goes: I would cosign that this album has one of the heaviest and most brutal sounds ever recorded.
Co-sign on pure shock at seeing No U-Turn on the Strut. Christ that takes me back, next thing I know I'll be seeing rawkus records on here.
We're not talking about records with perfect sound, but records with 'the perfect sound'. I understand what you're saying but I don't think I'm mad to put this record up. There are about seven different 'OG' pressings of the Heart of the Congos album, most of them having average to terrible sound, particularly the first three, but I'm not talking about studio crispness or engineering exellence. This is basically a spiritual record which has an ethereal, other-wordly quality to it that takes it to a higher level. The sound of those records fits perfectly with the music and the message.
It's not all about separation and dynamics and sonic polish, sometimes it's just about the feeling. Someone else mentioned the Eddie Fisher on here - again, a record which is not the sharpest sound, the best pressing or the greatest production but it is an incredible piece of work and it just sounds 'right'. I think our definitions of the perfect sound may be different.
I can't believe that I'm seeing that album on the Strut. I was hanging out at the No-U-Turn studio a lot around the time they recorded it. Nico was a great guy but had a serious c*** problem ... like big parts of the +b scene (or shall I say music scene London?).
As far as perfect sound goes: I would cosign that this album has one of the heaviest and most brutal sounds ever recorded.
Whoah? How are/were you connected to those dudes?
Made a huge impact on my life, as a teenager.
And yes, I've heard they all had some issues with d***s. Some really bad gossip/stories been floating around regarding Ed last few years, too.
Haven't seen them in years but I was heavy into d+b from 94-98. I started travelling to London every other months in 95. I wrote the first big feature on jungle in a German mag in 95. For that i hooked-up with various guys in London. I didn't know anything about the scence back than. I just phoned people if they had a numbr on their records. That's how I hooked-up with Nico. It was before Ed had done any records on his label. Nico is a great guy. His family is from Denmark and he's a trained engineer (worked for Terence Trent D'Arby). He didn't had any contacts within the scene at first. Anyway I was around all the labels and clubs at that time (Metalheadz sessions at the Blue Note were the best!!!) and I ended up doing a film on the scene in 96 for ARTE (French/German TV station). After hooking up some dj gigs for the guy (Ed played his first gig outside of London at a clun that friends and I were doing in Cologne bacj than) I organised a whole tour for the No-U-Turn camp. Which turned out to be the hardest rock'n roll experience in my life. Travveling through Germany and Swizerland in a van with a five d+b guys having the time of it's live. I spend a night in prison, lost my drivers licence for carrying the amount of weed with me that you need to have to keep these guys in a good mood and I lost a lot of money.
I totally gave-up on d+b around 98 when it became just another form of rave music. It's actually the only music that I was ever into that turned into some kind of dead-end street...
I still have like 10+ crates of 12"s including a lot of TPs that I have to get rid off. If anybody is looking for that stuff please send in your wantlists...
I think our definitions of the perfect sound may be different.
I think our definitions used were different. I agree entirely with all the other stuff you said about Heart of the Congos and Blackboard Jungle Dub - an ethereal, other-wordly quality that takes it to a higher level - they're two of my all time favourite records.
Then again your definition and my definition also make something interesting in that one of the albums mentioned - Steely Dan's Aja - is a rare combination of perfect sound and perfect sound if you get what I mean.
Now that you've got me thinking about that I'm wondering what the hell the No U-Turn is doing up there. Brutal and dark its like being stuck inside a metal box while 10 men beat the outside with steel bars. Reminds me of my student days and heading to the club on thursday nights for D&B sessions that left my ears ringing so hard I couldn't hear my friday morning lectures.
I totally gave-up on d+b around 98 when it became just another form of rave music. It's actually the only music that I was ever into that turned into some kind of dead-end street...
I agree - I think it was the Tech Step sound that did it for me. Found myself standing outside more and more gigs just to escape the sound of something like banging on a whole lot of pots and pans. Then they introduced the MCs which I didn't really dig too much either cos most of them were crap.
Fantastic that you knew all the old D&B Djs. They used to tour New Zealand and Australia and we'd all go and watch the likes of Doc Scott, Ed Rush, Goldie and strangely enough Dave Angel. From memory Doc Scott was my fave. I've still got all the old flyers and a few crates of D&B.
Big_Stacks"I don't worry about hittin' power, cause I don't give 'em nuttin' to hit." 4,670 Posts
Hey,
Again, I'll still jam' to my original '80 LP. It's that good.
I love to big up the "everyday" music that gets overlooked on the 'Strut. I cosign a lot of the selections thus far like "Aja" (what about "The Gaucho"???), "Still Bill", "Midnight Marauders", "Inspiration Information", and "Dark Side of the Moon" (tripped out, "make you wanna roll one" type shit). Others I'd add are "Ptah the El Daoud" (Alice Coltrane), "America Eats Its Young" (Funkadelic), "A Salty Dog" (Procol Harum), "Hissing of Summer Lawns" (Joni Mitchell), "Mud Boy Slim" (James Taylor), "Exodus" (Bob Marley and the Wailers), "Legalize It" (Peter Tosh), "Songs in the Key of Life" and "Talking Book" (Stevie Wonder), "Blues for Walls" (Hampton Hawes), "October Suite" (Steve Kuhn), "Supernova" (Wayne Shorter), "All Day Music" and "Black Man's Burdon" (War/Eric Burdon & War), "Blind Faith" (S/T), etc. I'll stop now (a lil' sumptin' off the dome).
I can't believe that I'm seeing that album on the Strut. I was hanging out at the No-U-Turn studio a lot around the time they recorded it. Nico was a great guy but had a serious c*** problem ... like big parts of the +b scene (or shall I say music scene London?).
As far as perfect sound goes: I would cosign that this album has one of the heaviest and most brutal sounds ever recorded.
Whoah? How are/were you connected to those dudes?
Made a huge impact on my life, as a teenager.
And yes, I've heard they all had some issues with d***s. Some really bad gossip/stories been floating around regarding Ed last few years, too.
I totally gave-up on d+b around 98 when it became just another form of rave music. It's actually the only music that I was ever into that turned into some kind of dead-end street...
Amen to that. I remember well the moment when I realised that it had progressed about as far as it could go. I was always hoping that artists like Photek would push the music into a new direction but heard a couple of new releases the other day and the sound hasn't moved on at all from 98.
I can't believe that I'm seeing that album on the Strut. I was hanging out at the No-U-Turn studio a lot around the time they recorded it. Nico was a great guy but had a serious c*** problem ... like big parts of the +b scene (or shall I say music scene London?).
As far as perfect sound goes: I would cosign that this album has one of the heaviest and most brutal sounds ever recorded.
Whoah? How are/were you connected to those dudes?
Made a huge impact on my life, as a teenager.
And yes, I've heard they all had some issues with d***s. Some really bad gossip/stories been floating around regarding Ed last few years, too.
Haven't seen them in years but I was heavy into d+b from 94-98. I started travelling to London every other months in 95. I wrote the first big feature on jungle in a German mag in 95. For that i hooked-up with various guys in London. I didn't know anything about the scence back than. I just phoned people if they had a numbr on their records. That's how I hooked-up with Nico. It was before Ed had done any records on his label. Nico is a great guy. His family is from Denmark and he's a trained engineer (worked for Terence Trent D'Arby). He didn't had any contacts within the scene at first. Anyway I was around all the labels and clubs at that time (Metalheadz sessions at the Blue Note were the best!!!) and I ended up doing a film on the scene in 96 for ARTE (French/German TV station). After hooking up some dj gigs for the guy (Ed played his first gig outside of London at a clun that friends and I were doing in Cologne bacj than) I organised a whole tour for the No-U-Turn camp. Which turned out to be the hardest rock'n roll experience in my life. Travveling through Germany and Swizerland in a van with a five d+b guys having the time of it's live. I spend a night in prison, lost my drivers licence for carrying the amount of weed with me that you need to have to keep these guys in a good mood and I lost a lot of money.
I totally gave-up on d+b around 98 when it became just another form of rave music. It's actually the only music that I was ever into that turned into some kind of dead-end street...
I still have like 10+ crates of 12"s including a lot of TPs that I have to get rid off. If anybody is looking for that stuff please send in your wantlists...
That's real cool. I heard the same good things about Nico from the people who took care of him the two times he came here.
The scene was definitely different back then... and on the '98 and past... there have been tracks & tracks but yeah, in general the rave/party/hype aspect has taken over the music. All about getting "twatted".
Can you PM me about what you have roughly? I'm always interested in jungle/d&b from those years. I simply don't have a wantlist prepared for that stuff, tho.
Now that you've got me thinking about that I'm wondering what the hell the No U-Turn is doing up there. Brutal and dark its like being stuck inside a metal box while 10 men beat the outside with steel bars.
Comments
When we're talking about sound quality we also have to mention this one. The sound is outstanding, was recorded direct-to-disc in Japan. I wish Paul did more solo LPs...
I can't believe that I'm seeing that album on the Strut. I was hanging out at the No-U-Turn studio a lot around the time they recorded it. Nico was a great guy but had a serious c*** problem ... like big parts of the +b scene (or shall I say music scene London?).
As far as perfect sound goes: I would cosign that this album has one of the heaviest and most brutal sounds ever recorded.
Whoah? How are/were you connected to those dudes?
Made a huge impact on my life, as a teenager.
And yes, I've heard they all had some issues with d***s. Some really bad gossip/stories been floating around regarding Ed last few years, too.
Are you mad? Most of the Lee Perry stuff sounds like its been recorded underwater. The sound does have a nice warm feel to it, but its nothing to crow about.
Check the Steely Dan or something like Jazz Samba for quality analogue sound.
Co-sign on pure shock at seeing No U-Turn on the Strut.
Christ that takes me back, next thing I know I'll be seeing rawkus records on here.
Also, page 2 and no Stevie?
Still looking for that one...
It's not all about separation and dynamics and sonic polish, sometimes it's just about the feeling. Someone else mentioned the Eddie Fisher on here - again, a record which is not the sharpest sound, the best pressing or the greatest production but it is an incredible piece of work and it just sounds 'right'. I think our definitions of the perfect sound may be different.
Haven't seen them in years but I was heavy into d+b from 94-98. I started travelling to London every other months in 95. I wrote the first big feature on jungle in a German mag in 95. For that i hooked-up with various guys in London. I didn't know anything about the scence back than. I just phoned people if they had a numbr on their records. That's how I hooked-up with Nico. It was before Ed had done any records on his label. Nico is a great guy. His family is from Denmark and he's a trained engineer (worked for Terence Trent D'Arby). He didn't had any contacts within the scene at first. Anyway I was around all the labels and clubs at that time (Metalheadz sessions at the Blue Note were the best!!!) and I ended up doing a film on the scene in 96 for ARTE (French/German TV station). After hooking up some dj gigs for the guy (Ed played his first gig outside of London at a clun that friends and I were doing in Cologne bacj than) I organised a whole tour for the No-U-Turn camp. Which turned out to be the hardest rock'n roll experience in my life. Travveling through Germany and Swizerland in a van with a five d+b guys having the time of it's live. I spend a night in prison, lost my drivers licence for carrying the amount of weed with me that you need to have to keep these guys in a good mood and I lost a lot of money.
I totally gave-up on d+b around 98 when it became just another form of rave music. It's actually the only music that I was ever into that turned into some kind of dead-end street...
I still have like 10+ crates of 12"s including a lot of TPs that I have to get rid off. If anybody is looking for that stuff please send in your wantlists...
I think our definitions used were different.
I agree entirely with all the other stuff you said about Heart of the Congos and Blackboard Jungle Dub - an ethereal, other-wordly quality that takes it to a higher level - they're two of my all time favourite records.
Then again your definition and my definition also make something interesting in that one of the albums mentioned - Steely Dan's Aja - is a rare combination of perfect sound and perfect sound if you get what I mean.
Now that you've got me thinking about that I'm wondering what the hell the No U-Turn is doing up there. Brutal and dark its like being stuck inside a metal box while 10 men beat the outside with steel bars. Reminds me of my student days and heading to the club on thursday nights for D&B sessions that left my ears ringing so hard I couldn't hear my friday morning lectures.
I agree - I think it was the Tech Step sound that did it for me. Found myself standing outside more and more gigs just to escape the sound of something like banging on a whole lot of pots and pans. Then they introduced the MCs which I didn't really dig too much either cos most of them were crap.
Fantastic that you knew all the old D&B Djs. They used to tour New Zealand and Australia and we'd all go and watch the likes of Doc Scott, Ed Rush, Goldie and strangely enough Dave Angel. From memory Doc Scott was my fave. I've still got all the old flyers and a few crates of D&B.
Again, I'll still jam' to my original '80 LP. It's that good.
I love to big up the "everyday" music that gets overlooked on the 'Strut. I cosign a lot of the selections thus far like "Aja" (what about "The Gaucho"???), "Still Bill", "Midnight Marauders", "Inspiration Information", and "Dark Side of the Moon" (tripped out, "make you wanna roll one" type shit). Others I'd add are "Ptah the El Daoud" (Alice Coltrane), "America Eats Its Young" (Funkadelic), "A Salty Dog" (Procol Harum), "Hissing of Summer Lawns" (Joni Mitchell), "Mud Boy Slim" (James Taylor), "Exodus" (Bob Marley and the Wailers), "Legalize It" (Peter Tosh), "Songs in the Key of Life" and "Talking Book" (Stevie Wonder), "Blues for Walls" (Hampton Hawes), "October Suite" (Steve Kuhn), "Supernova" (Wayne Shorter), "All Day Music" and "Black Man's Burdon" (War/Eric Burdon & War), "Blind Faith" (S/T), etc. I'll stop now (a lil' sumptin' off the dome).
Peace,
Big Stacks from Kakalak
Amen to that. I remember well the moment when I realised that it had progressed about as far as it could go. I was always hoping that artists like Photek would push the music into a new direction but heard a couple of new releases the other day and the sound hasn't moved on at all from 98.
these as well, some of my favourite live recordings - both are from the same night:
You beat me to it Cosmo...
New Hard Left and Metalheadz were two of the best nights around at that time - the Blue Note was a great place until they fucked up and went bust.
That's real cool. I heard the same good things about Nico from the people who took care of him the two times he came here.
The scene was definitely different back then... and on the '98 and past... there have been tracks & tracks but yeah, in general the rave/party/hype aspect has taken over the music. All about getting "twatted".
Can you PM me about what you have roughly? I'm always interested in jungle/d&b from those years.
Respect,
T.
To me it's a perfect sound.
But then again I love brutal & dark sounds.
This album has an increadible sound.
SAYIN!!
I love the sound of that recording, altho I've only got it on CD
also a big fan of:
...really similar spacious, warm sound....
First two Cars records:
Good call on Gaucho and Midnight Marauders.
MJ off the wall...
Fleetwood Mac - Rumours.... "Dreams" is a killer track to demo speakers.
Love the sound of this record too: