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Post by Richter Atmosphere on Apr 6, 2006 3:35:31 GMT
 Gave this one a listen today. From what the press release says, he invented the 12" extended mix - which we all go ga ga over when it comes to reggae. A lot of the songs on these discs have aged well - a lot better than most Northern Soul tunes that I've heard on compilations. Disc 1 seemed to make a bigger impression upon a first hearing. Edie Kendriks' "Keep On Truckin" and Patti Jo's "Make Me Believe In You" both had bliss out disco pop soul funk grooves going all the way through. And besides the rhythms and beats, there's enough quality arrangements and melodies going that the songs are satisfying listens when you're not dancing about. I don't recall hearing any of the original mixes, so I can't really compare... |
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Post by matt on Apr 6, 2006 7:35:47 GMT
Steve Barrow wrote up a wonderful story on the old BAF board about spending some time with Tom and listenign to his remixes of Studio One material. Apparently Tom was involved in some big label reissues in the US (BILL COME IN).
From what I recall Tom had transferred the material from the master tapes in JA and cleaned them up. Steve commented that he hadn't heard them ever soundign that good...let me see if I can find that story somewhere...
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Post by Richter Atmosphere on Apr 6, 2006 12:35:11 GMT
Wow - now that I'd love to hear. His extended mixes on the Soul Jazz disc were very fluid - not the vocal then dub approach like with reggae. So he just cleaned them up and didn't remix them? I would be interested in hearing his approach to remixing reggae.
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Post by matt on Apr 7, 2006 12:54:13 GMT
From Steve B:
He'd gone to Jamaica in 1976 at behest of UA to make transfers of Coxsone tapes for the series of reissues that came out in 1978-9 on that label. Some of the tapes -which were in true stereo, drum and bass on one channel, piano, horns, guitar on the other, and had then been overdubbed by Sylvan Morris with vocals, he had transferred for him self as a what I can only describe as 3-channel stereo mixes which he'd kept. He'd had them for 20 years by the time me and Bob heard them. All the transfers not only the 'stereo' ones - that he did were absolutely crisp and perfect, Moulton being an excellent editor/mastering engineer of the old school. I remember hearing the spit in Leroy Sibbles throat before he actually started to sing, that's how good they were. Mind you, you have to credit Sylvan Morris for that - Alcapone told me loads of stories about Sylvan and Larry Marshall recoreding match boxes at Studio one, for 'percussion'. Never mind Coxsone's pressings, which actually obscured the music thru their [often] poor quality, the stuff was recorded properly on the original tapes.
It always makes me laugh when vinyl fetishists actually like to hear surface noise, which has nothing to do with the music that was recorded.....
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