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  1. After 25 years, it finally reached Number 1, making 19 total for Mariah Carey! 💕 https://www.billboard.com/articles/business/chart-beat/8546418/mariah-carey-all-i-want-for-christmas-is-you-number-one
  2. As far as I can recall, the only positive thing Sharp was ever known for was their televisions a number of years ago. Certainly not their speakers, although they may have been "decent" in the context of low-budget boomboxes. Back on topic: @STC Thank you for this fascinating thread. It's interesting to get a look inside some of the gear I remember from audio boutiques in the past. Some of these have guts that are appalling to look at, underneath a gorgeous exterior. Sometimes beauty really is only skin deep? lol
  3. If this is accurate, it shows a much shorter version on an anthology release as compared to the other albums shown here: https://www.allmusic.com/song/all-alone-mt0009620917 The timing is listed as only 2:23 on disc two of this anthology: https://www.allmusic.com/album/hot-burritos!-the-flying-burrito-brothers-anthology-1969-1972-mw0000060947 That may have been a misprint, or it's been changed on youtube, because this seems to be the same as the other versions: I see there is a discussion thread about them on the Hoffman forum, you could ask there if anyone is aware of an alternate release: https://forums.stevehoffman.tv/threads/four-days-of-rain-the-flying-burrito-brothers-album-by-album-thread.100699/
  4. Can it be that time of year already? hahaha! Of course it is!
  5. I was thinking recently that I'd like to convert some of my favorite recordings to 78 RPM discs that can be played on a wind-up Victrola, so I can still listen to them after WWIII (next year?).
  6. Anthony Rolfe Johnson, tenor Souvenirs de Venise Graham Johnson, piano with Felicity Lott, Ann Murray, Richard Jackson, Hugo D'Alton Anthony Rolfe Johnson is wonderful on this charming and lovely recital album. Beautiful tone and phrasing, as always. I wish he'd recorded albums of songs by R. Strauss, Rachmaninov, and more Hahn. I will always treasure his Handel recordings, which is how I first became acquainted with his marvelous artistry. (Helios is Hyperion's budget reissue line, and as far as I know they still aren't on any streaming platforms, so if anyone is interested, you can hear brief samples on Presto Classical and buy the CD or a download if you prefer.)
  7. There are a few members on AudioKarma who collect cassettes. You might find someone there who would be thrilled to take them off your hands. At least one or two also collect 8-track tapes, in case anyone has any of those to offload as well. lol
  8. George Frideric Handel Brockes-Passion Richard Egarr/Academy of Ancient Music Magnificent! Streaming this while I await my CDs that are on their way from the U.K. (U.S. release isn't until later this month according to Amazon, but it was released in Europe yesterday. Presto Classical has it in stock, as does Amazon UK (much better price at Presto).
  9. Richard Wagner Parsifal Placido Domingo Jessye Norman Levine/Metropolitan Opera Orchestra & Chorus Some of the late Jessye Norman's most beautiful recorded work, even if Levine's pacing is too slack. Very nice sound, and the orchestra plays beautifully.
  10. In memory of Jessye Norman. Richard Strauss Vier letzte Lieder Orchesterlieder Jessye Norman Kurt Masur/Gewandhausorchester Leipzig
  11. In addition to Atmos, Sony's 360 Reality Audio is coming to Amazon Music HD: https://www.engadget.com/2019/09/26/echo-studio-360-reality-audio/ That sounds like it would be more interesting to more people than MQA on Tidal. lol Amazon could of course f*** it all up in the delivery and user experience. Edited to add that back in January, Sony apparently stated they wanted 360 Reality Audio on other streaming services such as Deezer and Tidal, so there's that, I guess. I've never heard of Deezer outside of people mentioning it here, whereas everyone I know in the real world is at least aware of Amazon, and everyone I know other than my mother has some kind of Amazon account already. lol Second edit: Count me out on the Sony headphone app. You have to take good resolution photos of your ears to share with Sony, who will then sell them to "security" companies or the NSA or Mossad or whomever. As if facial recognition wasn't dangerous enough without detailed photos of our ears. It's well known that identification of individuals by unique ear shape has been possible for decades. (It was one of the ways in which that woman who claimed to be Anastasia was shown to be a fraud, before DNA testing was available.) Make sure your tinfoil hat covers your ears, people!
  12. I think it's largely a matter of taste with The Sixteen and the reverberant sound field. On the one hand, it masks the number of members of the ensemble, but it makes the blend a little more homogeneous which I think a lot of people like with a choir. Also, someone sitting in a pew will hear this more distant sound, and I think that's also part of their intent. It's more "otherworldly" when you can't localize the source of the sound, which goes along with the spiritual intent of the genre (IMO of course haha). Or perhaps it's just how I view it, as I think they tend to match my preferences for these glorious works. Although I have more recordings of The Tallis Scholars than The Sixteen. Both ensembles have tended toward a similar sound, I think. Usually, I just let the sound and the experience wash over and envelop and fill me and don't analyze closely what I'm hearing with this type of music. I'll have to listen for those aspects the next time I get out my favorite recordings from them. At one time, there were a lot of the same singers involved in both groups, and a few were also part of the Choir of The English Concert. I recall noting a few of the same names recurring in my CD booklets for those groups years ago when I was first introducing myself to Renaissance polyphony (mostly Palestrina at first, having read Giuseppe Verdi's letters praising him as the father of Italian music. Verdi and Rachmaninov were my first great loves in music.). Early music instrumental ensembles in the UK also shared many of the same members. I'm sure it helped them to survive in the 1980s when there wasn't as much demand or interest in "period practice" attempts and the large-scale "romanticized" interpretations were still more popular/prevalent. Now the groups probably all have distinct membership, other than the occasional soloist.
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