Whats on your turntable tonight?


For me its the first or very early LP's of:
Allman Brothers - "Allman Joys" "Idyllwild South"
Santana - "Santana" 200 g reissue
Emerson Lake and Palmer - "Emerson Lake and Palmer"
and,
Beethoven - "Piano Concerto No. 4 in G Major" Rudolph Serkin/Ozawa/BSO
slipknot1
Neil Young - Rust Never Sleeps

in retrospective such a formative album for me.....
One of the best recorded live rock/pop albums:
Simple Minds, In The City of Lights

It took me forever to track this down as a new/sealed album on eBay. Worth every penny!




Re: Alan Douglas Rubenstein

Douglas first crossed paths with Hendrix shortly after the latter’s performance at Woodstock in 1969,[2] and it was supposedly through Douglas that Hendrix met and began jamming with jazz musicians, including Miles Davis, Quincy Jones, and Gil Evans, as well as rap trailblazers the Last Poets.[3] In the book Ultimate Hendrix: An Illustrated Encyclopedia of Live Concerts and Sessions, Buddy Miles credits Douglas with helping put together the Band of Gypsys band, as he was quoted as saying, "The Band of Gypsys were put together in Douglas’s office, between Alan and [concert promoter] Bill Graham, who gave us the dates at the Fillmore East." [4] However, in the book Hendrix: Setting the Record Straight, former Hendrix producer Chas Chandler is quoted as saying, "Hendrix said to me – and I remember the sentence . . . ’He [Douglas] can help [in business matters] . . . but I don’t want that guy to have anything to do with my music’."[5] Douglas would attend Hendrix’s funeral in 1970,[6] and four years after Hendrix’s death, Douglas acquired the rights to produce music that Hendrix had never released.[7]

Douglas’s production work on a few of Hendrix’s posthumous releases is controversial. This is primarily due to tracks on the Crash Landing and Midnight LightningLP releases in 1975. On these releases Douglas replaced the original drum and bass tracks and added guitar overdubs newly recorded by session musicians. He added female backing singers to one track, and claimed co-composer credit on several tracks that he had altered. On the much later Voodoo Soup compilation album Douglas is known to have wiped original drum tracks on two songs and replaced them with The Knack’s Bruce Gary. Second, on the 1993 CD releases of Hendrix’s three studio albums, the original album artwork and packaging were scrapped in favour of new renderings of the Jimi Hendrix Experience.

Douglas’s work on Hendrix releases was defended by rock journalist and critic John Masouri, who in 2001 called him "one of the last great musical visionaries", and said he had been right to try to improve the original tracks: "wisely he’d also edited out passages where Jimi had toyed with a riff repeatedly, searching for just the right phrase... All things considered, it’s highly unlikely that Hendrix would have sanctioned the release of poorly executed material, yet the die was cast, and the producer has been branded a controversial figure ever since."[8]Supposedly, Jimi Hendrix Experience drummer Mitch Mitchell also approved of Douglas’s decision to utilize sessions musicians on Hendrix releases, because "some of the original playing had been sub-standard."[9]

However, in interviews[citation needed], guitarist John McLaughlin has criticized Douglas’s handling of his own LP Devotion(1970), as well, closely related to Hendrix’s Band of Gypsys sessions. But Umar Bin Hassan, a member of the Last Poets, said following Douglas’s death that "whether you liked him or didn’t, you had to admit that he was one of the giants in what he did, which was to put out responsible, intelligent and remarkable music."[8] Douglas was credited with being the first record producer to record a rap album.

In 1995 Douglas lost control of the Hendrix archive to Hendrix’s father, Al. After years of legal wrangling, Douglas was able to obtain the right to compile Hendrix’s writings into a book, Starting At Zero, which was published in late 2013. He was also planning a documentary film of the same title which remained unreleased at the time of his death.[8]


You can draw your own conclusions from the above.
Re: Douglas Records & Richie Havens:


  • Review by Richie Unterberger

    This was one of two albums (the other being The Richie Havens Record) comprised of overdubbed solo demos, probably from sometime between 1963-1965, that Havens had done prior to recording for Verve and making his official recording debut. In the late ’60s, as Havens rose to stardom, producer Alan Douglas took the original solo demos and overdubbed them with electric instruments. The albums were pulled from circulation and are today hard to find. One would understand why Havensmight have disapproved of their release, but The Richie Havens Record, like its companion Electric Havens, really isn’t bad. The result of the late-date overdub created the misleading impression of an artist caught between the transition from folk to rock music, sometimes awkwardly so, as if he or the producers couldn’t decide whether to be one or the other. There’s some organ, backup vocals, and light drumming on some of the songs. But essentially this is an album that probably reflects his live sets in folk clubs, mixing covers of folk tunes ("I’m on My Way," "Babe, I’m Leavin"), blues ("Daddy Roll ’Em"), soul ("Drown in My Own Tears"), and material by then contemporary singer/songwriters (Fred Neil’s "The Bag I’m In"). It convincingly establishes Havens as a talented singer and interpreter, making songs his own with his gritty soul-folk voice and urgent guitar strums, and also conveys the ecumenicism of his repertoire. There’s a low-budget feel to the production and arrangements, though, not to mention the packaging: no songwriter credits are given, and the album title is misspelled as "Richie Haven’s Record" on the spine.

The record wasn’t Richie’s doing. It was exploitation by Douglas. What I meant was that it was probably not strictly illegal but not a bootleg sourced from an adoring fan either. I don’t have a problem with bootlegs and many sensible musicians take them as flattering and realize that they’re bought and traded by the fans who buy all their records anyway so who cares. This kind of record is different. Pure exploitation by a producer with inside connections to record company tapes. Plus, as you pointed out, it doesn’t sound good.
Some say Douglas was a good producer, some of the time at least. I think maybe he wasn’t a very good person, some of the time anyway.