What are you listening to right now ?

[d6jg]

Guess they mean it as members often change or are part of other bands, guest musicans and alike.
Thee Silver Mt. Zion Memorial Orchestra and the Tra-La-La Band for example pretty much also is GY!BE plus others.

I don’t mind that definition but it’s another buzz word that has crept into reviews as a synonym for band in some places as well. I’m sure the use on the original post I’m referring to is correct. It’s just something I’ve noticed recently as I now almost always read the review from MAI as I’m listening! Blame Craig.

[RonM]

I don’t mind that definition but it’s another buzz word that has crept into reviews as a synonym for band in some places as well. I’m sure the use on the original post I’m referring to is correct. It’s just something I’ve noticed recently as I now almost always read the review from MAI as I’m listening! Blame Craig.

When I see "collective" I think of a performing group with variable members. The "collective" is the total collection, a subset of which might appear on any given recording. I've always thought of Toronto's Broken Social Scene as a collective, and Wikipedia uses both "band" and "collective" in the same sentence, but without confusion:

"Broken Social Scene is a Canadian indie rock band, a musical collective including as few as six and as many as nineteen members, formed by Kevin Drew and Brendan Canning.[1] Most of its members play in various other groups and solo projects, mainly in the city of Toronto. These associated acts include Metric, Feist, Stars, Apostle of Hustle, Do Make Say Think, KC Accidental, Emily Haines & The Soft Skeleton, Amy Millan, and Jason Collett."

Looked at this way a musical collective can be a kind of band, but not all bands are collectives.

I might add that anything members of this collective touch is potential musical gold.

R.

[RonM]

Coldwater Canyon on THE TANGO BAR by GREG COPELAND

https://gregcopeland1.bandcamp.com/album/the-tango-bar

Laid back bluesy americana.

I note that one of the players on this promising set of music is Greg Liesz, the pedal steel player on the Charles Lloyd and the Marvels album discussed above.

R.

[d6jg]

I note that one of the players on this promising set of music is Greg Liesz, the pedal steel player on the Charles Lloyd and the Marvels album discussed above.

R.

That Charles Lloyd album is stunning

[reinholdk]

Reflection Club - Still Thick As A Brick

This is definitely a worthy sequel for Thick As A Brick by Jethro Tull (maybe even more than Ian Anderson's TAAB2 from a few years ago).

Reflection Club is a new project of multi-instrumentalist Lutz Meinert from Berlin, Germany. The sound is very close to Jethro Tull of that time, including the flute. And even the singer's voice matches that of Ian Anderson quite good.
This tribute album is not a simple copy but tells a new story and even comes with a fictitious magazine.
Here is an album teaser on YouTube.

[Grumpy Bob]

I'm playing a newly released double album of demos and other rarities by the shortlived band Swell Maps - Mayday Signals.
I was a little doubtful about how worthwhile this album would be - usual reservations about albums of rarities and demos, but as a Swell Maps aficionado, this seems pretty good to me.



Robert

[Grumpy Bob]

This one's growing on me: The Snuts W.L.. I found the vocals a little too 'up-front', but with a few listens I'm coming round.

[SlimChances]

Listening to 60s 70s band Can a German Prog Rock band reminiscent of early Pink Floyd

[reinholdk]

Speaking of German bands: one of my favorite bands at all is Klaus Doldinger's Passport. They are just celebrating their 50th birthday and Klaus Doldinger even his 85th. And they are still active! Members of the band have changed throughout the years and Doldinger is the only original member (and leader). He's not only playing the saxophone in this jazz fusion band but is also composing all the pieces of the band and is known as a composer for film music.

They have just released a nice album called "The first 50 years of Passport".

[slartibartfast]

A little surprised to see Hooverphonic in the Eurovision semi final

[Grumpy Bob]

A couple of triple LPs that arrived this week:

Coil - Love's Secret Domain 30th Anniversary edition. Beefed up from the original CD length release with a bunch of out-takes and demos. Interesting sonic experimentation from the early 1990s. Didn't come with a download code, but it's a nice pressing.

Murcof - The Alias Sessions. Nice electronica, described as spectral, minimalist electronic music...came with a download code via Bandcamp for files at high enough resolution that my SqueezeAMP conks.

Both these were pre-orders from January, with release delayed in each case by 1-3 weeks. Seems the vinyl supply chain is finding production hard to keep up with.

Robert

[d6jg]

A couple of triple LPs that arrived this week:

Coil - Love's Secret Domain 30th Anniversary edition. Beefed up from the original CD length release with a bunch of out-takes and demos. Interesting sonic experimentation from the early 1990s. Didn't come with a download code, but it's a nice pressing.

Murcof - The Alias Sessions. Nice electronica, described as spectral, minimalist electronic music...came with a download code via Bandcamp for files at high enough resolution that my SqueezeAMP conks.

Both these were pre-orders from January, with release delayed in each case by 1-3 weeks. Seems the vinyl supply chain is finding production hard to keep up with.

Robert

Bob. Do you record your Vinyl to FLAC?

[Grumpy Bob]

Bob. Do you record your Vinyl to FLAC?

Yes, I record my vinyl to flac (unless a download is provided) - 16/44.1, using the USB output from my phono stage to my MacBook running Audacity. I use the the flacs for portability, plus the household doesn't care for my taste in music and my amplifier has no headphone output so I'm often playing the rips via LMS.

Incidentally, the SqueezeAMP issue was something else, as it turns out - I posted in the 3rd Party Hardware forum.

Robert

[d6jg]

Yes, I record my vinyl to flac (unless a download is provided) - 16/44.1, using the USB output from my phono stage to my MacBook running Audacity. I use the the flacs for portability, plus the household doesn't care for my taste in music and my amplifier has no headphone output so I'm often playing the rips via LMS.

Incidentally, the SqueezeAMP issue was something else, as it turns out - I posted in the 3rd Party Hardware forum.

Robert

Thats good to know that I'm not the only person who does this. Many people just look at me and say why? We know though.

I use a Behringer UCA202 on the tape loop of my amp to rip to FLAC at 16/44.1 to a small Windows laptop that I use solely for the pupose but I use VinylStudio instead of Audacity - its much easier -and then do a post processing for Replay Gain through Foobar2000

[Grumpy Bob]

Thats good to know that I'm not the only person who does this. Many people just look at me and say why? We know though.

I use a Behringer UCA202 on the tape loop of my amp to rip to FLAC at 16/44.1 to a small Windows laptop that I use solely for the pupose but I use VinylStudio instead of Audacity - its much easier -and then do a post processing for Replay Gain through Foobar2000

I think you've recommended VinylStudio to me before :-) - I switch my amp off while ripping, as I think there's a bit of EM hum that gets through. Not that it bothers me when playing LPs. I have never used Replay Gain.

I have too much vinyl, and I am trying to buy less of it due to lack of storage space. I don't often buy CDs, so I either go for downloads or vinyl.

Robert