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Best music recordings you've ever heard?


UstadKhanAli

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I've mentioned this before - Wings by Michel Colombier - Produced by Herb Alpert and recorded in 1968!! It was recorded in France and The US.

 

http://www.youtube.com/watch?v=86MOnGjw07U&feature=related

 

http://www.youtube.com/watch?v=p0hc5YL6KL4&NR=1

 

http://www.youtube.com/watch?v=Ail8cC2klx8&feature=related

 

there's more - some one has put the whole album up on youtube. Incredible dynamic range used throughout.

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Some of my favorite recordings are older.

Off the top of my head;

 

Open sounding stuff:

-Sam Cooke's RCA stuff,

-Everything off the first Elton John's greatest hits

-Blood sweat and tears with DCT, especially spinning wheel.

 

Great sounding recordings using a bit drier approach:

-Mid 70's Chick Corea, 'Friends' etc... 'My Spanish Heart' especially.

-Gaucho by Steely Dan and Nightfly by Donald Fagen

 

Mostly i like stuff with space around it, played by incredible musicians using old gear and recorded as clean as possible for the old gear.

 

I think that T-Bone Burnett fellow has done some nice work in his career.

 

I love Bill Bottrells work too.

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What's the best recorded music you've ever heard in terms of sound quality? It doesn't have to be your favorite music or even something that you like, although of course, it usually is. But what is the best sounding music recordings you've ever heard?

 

 

Dark Side of the Moon comes to mind. The sound of that record is so organic. You can hear the hammers on the piano, the breath of the singer, the lush choir. Its the pinnacle of sound to me. And its not even my favorite record.

 

More recently, I really love Seal second record with No Prayer for the Dying. This record was made in the mid 90s before the level wars started. Just outstanding sound and another one made around the same time is Sades "No Ordinary Love". Wow. Just good sounding tracks all around.

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Some of my favorite recordings are older.


Mostly i like stuff with space around it, played by incredible musicians using old gear and recorded as clean as possible for the old gear.


 

 

Agreed. One of the things I like about the Telarc Oscar Peterson recording; you can close your eyes and get the feel of being in a dark, smokey basement jazz cafe, with each of the musicians position on the stage clearly defined in front of you. There's another great recording, "Jazz at the Pawnshop", a direct to disk recording from the 70's, recorded live in some club in Sweden (if I recall correctly). The soundstage is equally well defined. I'm sure there are modern examples as well, especially in the jazz idiom, where overdubs in the studio aren't as common, eg., more likely to be recorded 'live'.

 

Great soundstages can be created in the studio too, as evident with Dark Side, and Hourglass recordings (among others). I'm not as much a fan of the use of different reverbs per instrument, but that approach definitely has it's place as well.

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Some of the Harry Nilsson stuff is simply spectacular to my way of thinking. I would point to two sort of related songs as exemplars of great work within the context of project... "Without Her," from his first album. There's some tape hiss but the sonic detail and intimacy is amazing. And, at the other end of the intimacy spectrum is "Without You," his big hit covering the Badfinger song. It's pretty damn stunning.

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The Beatles recordings.


Just goes to show you that it's not what you use. It's how you use it.

 

 

The Beatles had access to the most advanced recording technology in existence and an army of technicians in lab coats to maintain it.

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It wasn't Phil Collins' In the Air Tonight that changed things to a more ambient style at the time... it was this. Masterminded by Steve Lillywhite. I love the different ambiences. The drums in a stone room. The guitars with some of that room but I think returned in mono then panned off from the close mike. The vocal from bone dry to slap, slap/double, beach boys chamber and everywhere in between. This brought a slew of new sounds that people still use today. Black Sea, 1980.

 

 

The Lillywhite/Padgham team started the "Collins" sound when they did Peter Garbiel's 3rd album. The technique was then used a month or so later in places on Black Sea. Padgham later used a variant of the technique on In The Air.

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I've heard this song for years, but since you called our attention to it in terms of sound quality and recording, I listened to it with that frame of reference. And if this isn't an example of how choices made in the recording process affects the emotion of a song, I don't know what is.

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