Lincoln Mayorga And Distinguished Colleagues – The Missing Linc Volume II (D2D)
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€106,00
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Rarity vinyl cannot be exchanged as they are sole copies of sold-out editions.
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ORDER LIMITED TO ONE ITEM PER CUSTOMER
Acoustic Guitar – Mike Deasy (B1-6)
Alto Saxophone – Plas Johnson (A1-7)
Bass [Fender] – Jerry Scheff (A1-7)
Cello – Daniel Rothmuller
Conductor – Jack Feierman
Double Bass – Chuck Berghofer (B1-6)
Drums – Jim Keltner
Electric Guitar – Mike Deasy (A1-7)
Organ [Estey Reed Pump Organ] – Joanne Grauer (B1-6), Victor Feldman (A1-7)
Percussion – Gary Coleman (A1-7), Victor Feldman
Rhythm Guitar – Mike Anthony
Tenor Saxophone – Plas Johnson (A1-7)
Viola – Alan De Vertich
Violin [First] – Eliot Chapo
Violin [Second] – José Madera
Piano and Harpsichord arranged by Lincoln Mayorga
Written by Frederic Chopin (A1: Prelude In C Major Opus 28, A5 : Prelude In E Major Opus 28), Douglas Furber (A2), Philip Braham (A2), Ronny Shannon (A3), Joni Mitchell (A4), Lincoln Mayorga (A6, B6), Bacharach And David (A7), John Lennon (B1, B5), Paul McCartney (B1), Paul Williams (B2), Roger Nichols (B2), Cat Stevens (B3), David Gates (B4)
1 LP, gatefold jacket
Limited edition
Original analog Master tape : YES
Direct-to-Disc Recording
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : unspecified
Label : Sheffield Lab
Original Label : Sheffield Lab
Recorded at The Mastering Lab (Ojai, California) and The Producers Workshop (Hollywood, California)
Engineered by Ed Cobb (B1-6), Larry Brown (A1-7)
Produced by Douglas Sax, Lincoln Mayorga
Released in 1972
Tracks:
Side A:
- Chopin - Prelude In C Major (Opus 28)
- Limehouse Blues
- I Never Loved A Woman The Way I Love You
- Both Sides Now
- Chopin - Prelude In E Major (Opus 28)
- Brasil' 57
- The April Fools
Side B:
- Norwegian Wood
- We've Only Just Begun
- Peace Train
- If
- Blackbird
- Love Rach
Reviews:
“The musicianship and overall recording on this disc was a definite step up from Sheffield Lab S9 . It was quite tight and it felt like they had rehearsed the numbers before committing them to disc, and were having a good time doing so. There is a request in the sleeve to brighten side one by 2-4dB but I really did not find that necessary on my system. The surface noise only achieved a fair rating, as did the overall dynamics. The instruments and recording were all very clean; at times a little too clean and I felt that the piano was a little lacking in the lower registers. The saxophone in particular really stood out on several tracks and sounded like it was actually in the room with me. As it was a studio based, panned image recording, it lacked the warmth of a room’s acoustics and only the drum kit had any sense of depth perspective appearing behind all the performers who all appeared as if in a straight line at the front of a stage.
The performance and recording was consistent from track to track and side to side. The album has seven tracks on side one and six on side two. This meant that the groove cut amplitude was not very great and I believe that this may have been the cause of the restricted dynamics. I would assume that on these earlier albums everybody was still being a little cautious and finding their feet as to what could and could not be achieved so no chances seemed to have been taken on really letting the cutting head “rip”.
Overall a very clean sounding album showing what real instruments should sound like and one that I have listened to many times.” From Vinyl to Plastic, September 2017
Direct-to-disc (D2D) recording refers to sound recording methods that record audio directly onto analog disc masters bypassing steps as master tapes, overdubs, and mix downs from multi-tracked masters. This approach avoids problems of analog recording tape such as tape hiss (high frequency noise).
Ratings :
Discogs : 4,03 / 5