Tuesday, May 17, 2022

Gary Pig Gold meets THE MAN WHO INVENTED THE SIXTIES Journalist Al Aronowitz


Gary Pig Gold



“I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight.”
(Martin Luther King, Jr., Washington D.C., August 28, 1963)


“From Dallas, Texas, the flash, apparently official: President Kennedy died at 1:00 p.m. Central standard time, 2 p.m. Eastern standard time, some thirty-eight minutes ago.”

(Walter Cronkite, CBS Television, November 22, 1963)


"Houston, this is Tranquility Base. The Eagle has landed."

(Neil A. Armstrong, Apollo 11, July 20, 1969)


“There are SEVEN LEVELS.”

(Paul McCartney discovers “the Message of the Universe,” August 28, 1964)



Now, if veteran rabble-rousing, uber-networking, visionary (“Blacklisted”) journalist Al Aronowitz’s lifetime of achievements should be remembered for but one solitary event, may I posit it be for what he managed to pull off in the immediate hours following The Beatles’ concert debut at Forest Hills Tennis Stadium in Queens, one dreamy midsummer 1964’s night.


For it was within mere minutes after the final shrieks of and around “Long Tall Sally” wafted skyward that our story begins, with the Fab Four safely ensconced back upon the sixth floor of Manhattan’s grande olde Hotel Delmonico as a greenroom full of various folkies and followers (including the Kingston Trio, Peter Paul and Mary, plus the ubiquitous Murray the K) sat all but ignored down the hall. Somehow though, into that inner sanctum high atop the Beatle-manic corner of Park and 59th was snuck none other than Bob Dylan, a bottle of cheap wine, and a fateful envelope’s worth of herbal libation. 


Ladies and gentlemen, life as we knew it was about to abruptly cut from stark black and white to rich, fully-dimensional stereophonic day-glo from that momentous moment hence. 


You see it seems Bob, misreading a certain “I Want To Hold Your Hand” refrain as “I get high” as opposed to “I can’t hide,” had been convinced to confront those four lyrical Liverpudlians he’d previously dismissed with that cruelest of epithets – “Bubblegum!” – and in the process, to break the trans-oceanic ice as it were, decided to introduce his fabulous new pals to the hitherto non-rockin’ accoutrement known as, yep, Marijuana. 


Following introductions quickly if not exactly politely proffered between America’s greatest living songwriter and the World’s greatest earning band, Ringo (designated as “Royal taster” for his comrades) went first and, oblivious to the proper pot-etiquette, inhaled the entire inaugural joint himself. Watching with sheer wonder as their drummist slowly melted onto the carpet in fits of laughter, John and manager Brian excitedly lit themselves up next, only to be followed by Paul and George who, interestingly enough, proceeded to follow one another throughout their maze of Beatlesuites for the remainder of this most historic of evenings. That is, until a typically profound McCartney suddenly called forth for pen and paper as he announced to all left standing around him, “I have discovered the Meaning of Life!” Something to do with the Universe, it seems, and Seven Levels…..


Suffice to say it wasn’t just the Cute Beatle’s consciousness which was forever altered that night, but the very course of rock and roll, the music business as a whole soon enough after, and as a result just maybe Western Civilization Itself, dammit! And it is in my wisened opinion that the singular man we all have to thank for that, for Rubber Soul, for “folk-rock” in the process and, really, for loading Dylan into his station wagon and dragging him towards the Delmonico to set all of these historic balls into motion in the first place, is none other than a dear, sweet man I had the pleasure to have known named Al Aronowitz.

FACT:  With all apologies due Ralph J. Gleason, Al Aronowitz was the first widely-published man to ever take what we now regrettably take for granted as the rock and the roll “seriously.” His Pop Scene columns a half century ago in The New York Post, not to mention a litany of legendary Village Voice and Saturday Evening Post features, brought to widespread attention such figures as the fledgling Brill Building songsmiths, teen tycoon Phil Spector, and of course Bob and those Beatles to boot (i.e.: the best-selling Aronowitz Summer of ’64 Saturday Evening Post
cover story of JPG&R I still fondly recall as the first living-color magazine on the band to ever penetrate my previously rock-free household …because the boys looked so handsome in their top-hats and walking sticks on the cover, I can still hear my mother swoon). Even prior to that above-mentioned hot August night at the Delmonico though, Al was busy forging crucial artistic bridges between hitherto insurmountable cliques and cultural divides. To cite but one cataclysmic example, it is so plain to see how Al’s introducing Allen Ginsberg to a fresh-from-Minnesota Dylan eventually helped Beat meet Beatles, as it were, and in all the most ingeniously genre-busting of ways. 


Aronowitz was also right there on hand at the post-premiere party for A Hard Day’s Night in London, as a wickedly soused Lennon motioned a very young, green Keith Richard(s) and Brian Jones over to his table …only to conspiratorially sneer that “there’s something wrong with yez, isn’t there? There’s one of ya in the group that isn’t as good as the others. Who is it? Find out, tell yourselves, and get rid uv ‘im.” Keith glanced uneasily over at Mr. Jones. John, as it turns out, was as right – not to mention prescient – as ever.   


And you bet, Al captured it all. For unsuspecting Saturday Evening Post readers the world over.  


Yet long after the Stones, not to mention the Sixties, began burning themselves inside out, Aronowitz continued to prowl the sidewalks of Greenwich Village, keeping eyes and especially ears wide open as he hung and howled amongst the veterans (Johnny Cash), the recently established (John B. Sebastian), the new kids down the block (a young Richard X. Heyman, who Al once commissioned to assemble an opening act for Sly and the Family Stone) and of course all the contritely contrary-as-ever who were shamelessly being ignored by the Rolling Stone’s – I’m speaking Jann as opposed to Jagger – of the day (I refer most notably to that once-promising Vanguard recording artist Patrick Sky, for whom Aronowitz bravely helped find a home for that still-incendiary 1973 Songs That Made America Famous album, one of the most infamous American recordings EVER). Al also somehow found time to keep his Beatle bonds alive as well, taking our sweet George bowling on Broadway late one night, then conveniently stepping into fresh doggie-do just before crossing the threshold into John and Yoko’s West Village walk-up for the very first time.   

Then suddenly our hero seemed to vanish altogether off the very face of the Earth – not to mention the pages of rock’s hepper periodicals – as “folk” sorrowfully gave way to “singer/songwriter,” Nixon rued the airwaves, Patrick Sky accepted a grant from the Irish government to become an Aeolian pipe maker and, perhaps not so coincidentally, Al’s old bud Bob dissolved altogether into the bit parts of big-budget Peckinpah westerns. 


But why? “I was driven crazy by my unjust firing from the Post when my column was one of the most popular features in the paper,” Aronowitz recalled, “by the treachery of the American Newspaper Guild and by my colleagues whom I had helped so much.” The death of his wife and subsequent plunge into the clutches of non-recreational drug use followed and, he said, “so began a long period of time when editors stopped taking me seriously; a fact that continues until this day. In other words, my writing got a little crazy and even when it wasn't, editors still refused to print me. Why? Ask THEM!” 


Then, thank God or Al Gore or whomsoever, along came the Internet at just about the same time Our Al was getting his life, not to mention his voluminous-and-then-some archives, back in order. Duly invigorated and in no small part inspired by the liberating autonomy of the www, Aronowitz was promptly reborn as The Blacklisted Journalist and, domain name duly secured, began posting his vast wealth of work in monthly installments right up there at http://www.blacklistedjournalist.com  “It was only when I could do an end run around the blacklisting that editors had imposed on me by putting my material on the Internet that I discovered I could get readers; something all writers crave,” the man proudly related. “It was my achievement of a reading audience that brought me back to sanity.”

After a decade spent defiantly republishing his gems on the web, when he was afraid his good words would otherwise languish unread or, worse still, disappear altogether (it was through a tiny backpage ad in the New York Press circa 1996 that I first became reacquainted with that entity henceforth known as The Blacklisted Journalist), Al compiled his Greatest Hits, so to speak, across the 615 history-packed pages of Bob Dylan and The Beatles: Volume One of The Best of the Blacklisted Journalist. The result is, without a solitary doubt, Required Reading for anyone and everyone who considers themselves fans, followers, students, or those just plain curious of the Golden Age of Popular Music, and how the players – Dylan and Beatles especially – met, influenced, and eventually actually interacted with one another during those halcyon-indeed daze. Thanks in no small part whatsoever to the Herculean efforts of the man who, in his very own only slightly jocular words, would try to pass it all off by claiming “I was just a proud and happy shadchen, a Jewish matchmaker, dancing at the princely wedding I arranged.”


“I recognized Dylan and The Beatles as immortals, and I wanted to cop some immortality for myself,” Aronowitz told me. “I knew that bringing Dylan and The Beatles together would have exactly the result that it had. The result is that contemporary popular music changed for the better. Otherwise, every generation creates its own heroes.” 


“Whether subsequent heroes will enjoy the same immortality that Bob and The Beatles attained, I am unqualified to predict. All I know is that Bob Dylan and The Beatles are hard acts to follow.”



As is Al, who passed away August 1, 2005 in Elizabeth, New Jersey. 

He would have been – should have been – 94 years old on May 20th.





Monday, May 16, 2022

The Cars First Album on Mobile Fidelity Sound Labs


The first album is, of course, sold out and on back order only The Cars - The Cars
Sku: UDSACD2162

"My Best Friend's Girl," "Just What I Needed," "You're All I've Got Tonight" Among Tunes on the Hit Parade

One of the most successful and enjoyable debuts in history, The Cars doubles as a greatest-hits collection. That's because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became America's most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: "You're All I've Got Tonight." "Good Times Roll." "Just What I Needed." "Moving in Stereo." "My Best Friend's Girl." "Don't Cha Stop." If you're a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.

  1. Good Times Roll
  2. My Best Friend's Girl
  3. Just What I Needed
  4. I'm in Touch With Your World
  5. Don't Cha Stop
  6. You're All I've Got Tonight
  7. Bye Bye Love
  8. Moving in Stereo
  9. All Mixed Up

Led by Ric Ocasek and Benjamin Orr, The Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orr's low, understated singing and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accents – country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.

The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. It's impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Baker's stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Baker's trademark touches with harmony vocals abound.

Mobile Fidelity Velvet Underground Albums Going for Big Bucks on eBay


These albums sell for hundreds of dollars once out of print. Check out eBay, so the Cars albums should be a good investment https://clubbohemianews.blogspot.com/2022/05/joe-vigliones-interview-with-shawn.html     

Joe Viglione's interview with Shawn Britton on the Mobile Fidelity versions of the first 2 Velvet Undergound albums on GOLD CDDiscussion of joe Vig's Velvet Underground mastering by Shawn Britton

 This was my second article for REPLICATION NEWS, probably the September 1999 issue. The long-established publication became MEDIALINE in the new millennium. Miller/Freeman was the publisher, they sold out to United Entertainment Media. Replication News/Medialine folded in 2007.

Joe Viglione's interview with Shawn Britton on the Mobile Fidelity versions of the first 2 Velvet Undergound albums on GOLD CDDiscussion of joe Vig's Velvet Underground mastering by Shawn Britton
Mobile Fidelity Releases Two Velvet Underground Discs on Gold By Joe Viglione
On August 4, 1999, Shawn Britton spoke with us from his office at Mobile Fidelity Sound Labs in California. The release of these two classic discs, "The Velvet Undrground & Nico" and "White Light/White Heat" might surprise.
Long before Spinal Tap went over the top, Lou Reed, John Cale, Moe Tucker and Sterling Morrison rolled into the studio and cranked their amps to 11 (well, Moe on drums had to crank above the din). One can easily believe the urban myths concerning the shock producer Tom Wilson might've felt...- "White Light/White Heat" is the tour-de-force wall of noise that "...& Nico" only hinted at.
To hear seventeen minutes and thirty four seconds of "Sister Ray" after being re-processed by The Gain System of Mobile Fidelity on this Ultradisc II is truly a unique experience. I had to get the scoop from the guy who's job it is to translate these precious masters to gold...
RN: You've been engineering at Mobile Fidelity for how many years?
SB: Tomorrow it will be 14 years. Started here on 8/5/85
RN: What was your first position at MFSL?
SB: Tape duplication, actually, we made pre-recorded cassettes onto Chrome BASF tape and special high tech cassette shells, etc.
RN: Were you involved with the Half Speed mastering?
SB: The half-speed mastering was cutting lacquers on a hald-speed Neumann lathe and not until a couple of years back, 97 I think or 96 we started producing a product called the Amidisc 200 - 200 gram LPs, we eventually purchased a pressing plant in Southern California, and brought it up here to Northern California, we're about two hours north of San Francisco. Started pressing 200 gram records - this heavy duty vinyl, in fact, we are the only people to ever make 200 gram records like that.
It became too much of a burden to the company to produce records...this is a really small company. People have an idea that because we're global, and we've been at this since 1977, people have this image that we're this huge company. We're not. We have visitors from Europe that come on vacation that want to swing by MoFi and they - invariably - they get a tour of the building and say "where's the rest of the building." It's not a big operation, we have big ideas, but it's a small operation.
Emotionally and from a sonic standpoint (the records) were something we wanted to pursue, but business-wise we just couldn't maintain it. Over the years as records were phased out from retailers, there's not even bins to hold them anymore. So what used to be our distribution network and our mom & pop stores have effectively vanished.
RN: The two Velvet Underground CDs, "The Velvet Underground & Nico" and "White Light/White Heat", they came out around a year apart?
SB: I think so, Joe, you've gotta remember, that my memory is really selective. It selects what it wants to pull up.
RN: Do you engineer a lot of records in a week?
SB: Well, no, what sets Mobile Fidelity apart from your standard record company is that we really take our time. Some projects can take weeks. That's one luxury I have. Standard mastering, I did some work down at MCA records a few years back, archival stuff, and it appeared to me that they were putting out two or three cds a day. Getting the projects mastered, and then they'd send it off to make parts, the digital masters.
Whereas it can take me anywhere from a week and a half up to over a month to do one album.
RN: Really!
SB: The boss calls the normal procedure mastering by the pound. And it's true, you just have to chop 'em out. You gotta get it done, and they are under a deadline to get things to market. We're not under any deadlines, we release them when we want. I'm given a lot of leeway. I'll do an album, complete it, listen very carefully and if I'm not absolutely pleased I'll tell the scheduling department "I need more time." I want this to be the absolutely best version that I can get out there to market because these gold CDs last forever. People are going to listen to this work, hopefully, twenty years from now and say "Wow, Mofi did a good job." RN: You have no fear that they will Oxidize as some people fear aluminum ones might? SB: Well you know, Joe, honestly, aluminum discs should not oxidize in our lifetime...but to digress, I had a guy from Florida call me onetime and he said "I've been storing some CDs in my fishtank, and I think they're starting to kinda get CD rot on the edges. What do you think? I told him, well, first off, don't store your CDs in your fish tank. RN: Is this a joke? In an empty fish tank?
SB: No, in the water! I think he wanted to see what would happen to his discs!
RN: Oh, man...
SB: I love people...the thing about gold... back in 87 or so we started researching different metals to sputter onto the polycarbonate sub... and we looked at platinum, nickel, some alloys, gold and we found that the gold...Hi Karen, our PR Director Karen Thomas is here...we found that gold had not only higher reflectivity than the others, but gold makes an incredible atomic bond to the substrength, it sputters very very well. It's called the metalization process by the way.
Gold will never oxidize. And as a benefit of this, the way they lay it down onto the polycarbonite it makes for very smooth even coating, that's why gold is used in electrical contact, not just oxidation resistance, it's a very smooth coat. And in terms of a compact disc, there's no pin holes where...in the early days of aluminum discs if you hold one up to a strong backlight, you can see pin holes in there...
RN: incredible!
SB: It kind of looks like stars on a night sky, and what that means is your air correction circuitry in your cd player will be enabled...well its got to guess at that missing data...and with gold you don't get those pin holes. So that was something that we discovered at the time and thought "well, this is great" and as far as sonics, what that yields is a more stable image in your soundstage, and in exhaustive tests.... we've been vindicated after doing this for so many years...in the industry people said "oh this is a gimmick, their trying to make more money." Well, independent of MoFi I think Polygram Europe did exhaustive tests on this and engineers can tell in A/B switching which is an aluminum disc and which is a gold disc just from the stabilization of the imaging.
Shawn Britton, part 2
RN: Now Columbia Records released gold discs, they had Spirit's "The Twelve Dreams Of Dr. Sardonicus" in release. But they also give material to you, the Blood Sweat & Tears record, for example. Why do they do some gold discs in house, and give some to MoFi?
SB: Well, actually, we have gone back and re-mastered some things that they released on gold and I think their gold master sound series... I think its discontinued. It's a prohibitively expensive process and the replication costs is high. Because its going to be in Replication News it says right on the discs, by Zomac Optical out there in Minnesota...we are allowed licensing on titles and the odd part - one would think there would be competition in the marketplace. I guess as far as Columbia feels and it works through their special projects division they probably feel "well, we're going to make our money on this" so what the heck we'll just make extra money by licensing this out. In reality, these gold discs, this is a niche market...that's direct competition, so I can't explain the justification why Columbia would release something on one hand, and then license it out on the other. I just assume that a company that huge, they don't talk to one another.
In the early 80's when we were producing compact discs, Mobile Fidelity had a distinct advantage in A to D converters and high end gear because we're sort of a hybrid, if you will, a mastering house that uses high end audiofile type gear that you can go down to your local hi fi store and pick up. Theta Digital projects things of that nature, Nelson Pass amplification, and we have pro audio gear as well. And way back when most record companies, a)they didn't take the time b)they didn't have the gear like we do but now there's mastering houses in these major record companies that have gear that rivals ours. We don't have as much of a technolofical advantage beause digital technology has come along so much in the last ten yeas.
Think about it in terms of computers, things change very very rapidly. I think as far as PCM audio is concerned we're approaching the maximum threshold as far as revolution with 96k sample rate and 24 bit work length. That's just about the ceiling - and that's partly why Mobile Fidelity is using the DSD technology from Sony is because the resolution on it is so incredible.
The DSD is bit stream technology It's the technology that will be used in its full resolution on the super audio cd, SACD, which we will be coming out with in a couple of months. You'll be seeing Mobile Fidelity releasing some Super Audio titles, it's a high res format Joe.
The Super Audio CD - it has the capability to have a hybrid disc, that will play your normal compact disc layer or the red book spec layer, and it's got a high resolution layer, which will allow you to play the high res super audio cd layer, which is what the DSD - so as far as product is concerned...right now what Mobile Fidelity does...and what we did...the first (DSD) title was Tom Petty's "Full Moon Fever."
part 3, tape 2
RN: Back to the master tapes you get, does Mobile Fidelity ever bake or restore tapes?
SB: We don't own these tapes, we have our own restoration techniques, but we do not ever bake a record company tape, that's up to them.
RN: When you cut half-speed mastering vinyl, did that include the "Gain" system used on these Velvet Underground discs?
SB: Well, yes, the Gain system, when it was introduced, was an upgrade to both mastering chains, the analog and the digital side. And on the analog side we had Nelson Pass, who is a high end designer - he worked at Threshold for many years sold that company, now he's got Pass Laboratories. Nelson built us a complete cutting rack system with a control unit and these cutting amplifiers to drive the cutter head of our Neumann Lathe VMN 70 lathe which cuts at half speed. Now with half speed it was really developed to its maximum potential by JVC in the 70's for cutting quad, if you remember quad. Well the JVC version of Quad had to have a 50k carrier cycle, this frequency which allowed you to adjust your matrix for proper trackimg. Well, 50K is an insane frequency to cut, it burns up most cutter heads so in order to do that they used a half speed technology wherein you run the tape at half speed and you run the lathe at half speed, and then you're able to get incredible frequency.
And that's why Mobile Fidelity, as it began with Brad Miller, he contacted Sam Ricker at the JVC cutting center in L.A. and they cut some - primarily sound effects records, trains and things of that nature, Brad used to do location recording for audiofile stuff. I'm sure you remember back in the early days of hi fi people would have these recordings of trains which would go from one side of your stereo to the other...it was a demo record.
Well then they took this technology and they thought "why don't we cut some music" and they approached some record labels and licencsed the Mystic Moods Orchestra then they licensed John Klemmers Touch, a number of early software titles like that, and cut half speed and the results were just stunning.
Compared to what other record labels were doing back then, it just knocked the audio file world on its ear. The MoFi version of "Dark Side Of The Moon" is still very, very desirable on lp and on the UHQR Ultra High Quality Record, which was pressed by JVC on the Super Vinyl Compound.
RN: So they were a competitor of yours back then?
SB: Well actually, they pressed our records for us in Japan...that's what the whole half speed thing was about. And then the other side of the mastering chain was the digital end, where we had Theta Digital...Theta built us this hot rod A to D converter, that used incredible oversampling and then its decimated down to sixteen bits for CD purposes at the 44.1K sample rate...and that was the first "Gain" system in that incarnation at that time. Since that time i think it was last year we came out with "Gain II" which was an upgrade to our Studer Tape Transport by Tim deParavacini, and we've got ultra wide frequency response now. I have never seen electronic gear have this kind of frequency response. It's phenomenal. If there's something on the master tape, we can capture it now.
RN: Wow. Do you employ the Super Bit Mapping Direct which was introduced by Sony?
SB: We talked about the Sony DSD system that I'm using... Sony started using Super Bit Mapping it's a dithering scheme where you can take longer word length - let's say 24 bit, and then decimate it down using noise shaping - to the 16 bit 44.1 sample rate for cd purposes, the cd specification.
What MoFi is doing is using DSD, Direct Stream Digital, which is incredibly high resolution, and then its decimated down using Super Bit Mapping Direct...and this is a very specific process only for DSD...and you should hear, Joe, if you ever get the chance to come out here to California, one we'll go wine tasting, two, you can listen to this DSD, and it is so close to what the master tape sounds like, it's phenomenal, it's a real step forward for digital. And it's what we call Future Proof because they can decimate it down very easily to different sample rates. Right now I archive everything in this high resolution medium to an A.I.P. tape and then decimate it down later for release on a compact disc.
So we have the capability now to do the Super Audio CD's for the high resolution layer and for the standard CD redbook spec layer. It's all here.
RN: And one more question about Ultradisc. You have the Gain System, and then you have Ultradisc. Is that a name for the disc, or is that a process as well?
SB: Well, Ultradisc was a name for the high end line of CDs we were coming out with, and that started back in '87, like I said it's hard to remember that far back exactly when we released these gold discs. It's not necessarily tied to the gold sputter...it was more a separate product line than the standard aluminum cd. So Ultradisc as far as the years have gone by, were referred to the Gold CDs, and then Ultradisc II was a new formulation of the Gold CDs, improved sub straight or pit formation if you will, more gold being deposited on for more reflectivity. In fact now with Zomax Optical we have some of the lowest error rates in the industry. They are a tremendous, tremendous replicator. I've been nothing but pleased with their quality. They're phenomenal. If we have any questions or any points to bring up with them they immediately jump on it. This is high ticket stuff, it's really the best that CD replication has to offer.
RN: OK, now one final question on Mobile Fidelity and then we'll get to The Velvet Underground. The Ultradisc then is a combination of the Gain System and the gold cds...
SB: Well, the Gain system is the mastering chain...actually its Gain II now. so Gain II is not just used for gold cds. Gain II because its our mastering chain - is also going to be used for the Super Audio CDs and we have some DVD's coming out, so Gain II is really the mastering chain. The Ultradisc is a software. Now, our DVD's when they come out, are not going to be called Ultradiscs or Ultradisc II they're going to have their own name.
RN: Ok now we have to digress again. You brought up Quad Records, I heard that a lot of the Quad Records will turn into DVD's first because they're already separated.
SB: Well some have, actually, some ...I don't know if they're DVD's, but Brad Miller had gone back with his 5.1 records and they released on DTS...you have to have a processor to play it back and you have discreet channels for Surroundsound...and it is phenomenal...
RN: So the Quad Joplin "Pearl" album and Santana's Quad "Abraxas" . and even the Carpenters had one. The one pretty much available is The Doors Greatest Hits...Elektra seemed to press a lot of them - perhaps these will be the first...
SB: It's hard to find systems anymore, the actual hardware to play them back.
There was no specification for DVD A If you release titles under the DVD video specifcation, if players come out later and they won't play these discs, its going to be confusing for the consumer, it confuses the market place so we've been sort of waiting to see how things shake out and we'll begin releasing our DVD's here in a couple of months.
OK, that's my interview with Shawn Britton on remastering the Velvet Underground. Want to go further down the rabbit hole? Of course you do... talk to Janis...

Saturday, May 14, 2022

WMWM Salem State: Dave Godbey's Ragin' Contagin' 5/14/22


wmwm 12:48 pm #May 14 2022 #Saturday Dave Godbey's "Everybody Has a Story" on @whats_radio @WMWMSalem on #Facebook https://www.facebook.com/david.j.godbey @DaveRagin @gregpaquette5 @RadioRaccoon @AaronBorenstein #JoeViglioneMedia

Gary Pig Gold meets THE MAN WHO INVENTED THE SIXTIES Journalist Al Aronowitz

  Gary Pig Gold meets THE MAN WHO INVENTED THE SIXTIES     “I have a dream that one day every valley shall be exalted, every hill ...