PAUL McCARTNEY "Ram" mono vinyl reissue:

 Got my mono Paul McCartney "Ram" yesterday, without the angst of price checking and obsessive shipping status drama. Always loved Ram - maybe more than any other Macca solo record.

First up - I have been reading on the usual misinformation sites speculation, and outright false claims that this mono vinyl is from a needledrop. Well, that is just pure crap. First - Ram in mono was never commercially available in mono. So there really are very few 'originals' to take a vinyl rip from. Second - it doesn't take golden ears to hear that this could not possibly be a vinyl rip. Even a cursory listen makes that obvious.

I won't go through the differences between the mono and stereo here - there is lots of minutiae on that elsewhere online. The mixes are overall quite different, more than I expected, most notable on a cursory listen is the stronger bass and overall 'dryer' sound, less echo applied particularly on voices. Some longer fades, some details differ.

My pressing is serviceable, needed a good cleaning with Nitty Gritty First Rv to get the paper sleeve debris off - and the First RV noticeable cleaned up the sound, which is really very impressive, bearing in mind that this mono mix needs to be played reasonably loud to really shine. I like the cover, which suits the 'unreleased' status of the mono record.

On the whole, I enjoyed it tremendously and recommend it without reservation. It is not a 'first choice' Ram - clearly, this is a record intended as a stereo release. It is no mono Sgt. Pepper, but has many merits and as a record I love, it is an interesting way to make its reaquaintance.

PHIL COLLINS "But Seriously" on gold Audio Fidelity CD:

I admit that I have never until now owned, or heard, Phil Collins' "But Seriously" I got off the train at "No Jacket Required" and never looked back.

So I can't compare to other pressings, and actually, I come to the record as a first encounter - fresh, no reference points. That from my perspective is a huge advantage.

Actually, hearing it fresh, for the first time, I was surprised as just how good a record this is. It is far more cohesive than any of the earlier Phil records. It lacks the 'big' numbers of those records, and in truth I consider the 'hits' from But Seriously to actually be the weakest tracks. It grows quite quickly. While his two records prior to this had a lot going for them, and some undeniably great 'hit' tracks, this record seems to have more staying power. It's not all on the surface as "No Jacket Required" is for the most part.

The sound here - remastered by Stephen Marsh, with EQ consulting and sprinkling of the facial powder from his man-bag by Steve Hoffman, is very fine. Remembering that this is an early digital recording, it has a very natural sound, strong warm bass, highs shaved ever so slightly, very transparent 'reach out and touch' tactile sound. Excellent job. The problem with early digital wasn't the PCM recorders - it was the playback DACs and the mastering chain. Bringing many of those early digital jobs back to life with modern equipment can yield significant benefits, and that shows here.

I would now say that this is Phil Collins finest achievement outside of Genesis, and his last great record before he got into Michael Bolton territory. Highly recommended.

New ECM: Ketil Bjornstad - Vinding's Music

New on ECM, the great pianist Ketil Bjornstad with Vinding's Music - Songs From The Alder Thicket, an unusual concept as it is ostensibly a songtrack to a series of books written by Bjornstad. The first disc is a set of solo piano pieces, the second, a compilation of newly recorded classical pieces.

The first disc is of primary interest. This is contemporary improvised classically tinged 'jazz', using the latter term in the broadest sense, as this is not 'swing' in the traditional sense, although Bjornstad has a strong sense of inner rhythm. The pieces are simply magnificent, elegiac poems, programmatic in some sense, mighty and reflective, noble and inspiring. Not at all ECM style new age shit, perhaps akin to some of Jarrett's later solo recordings, with a stronger lyric sense, a stronger romanticism.

A brilliant set of music from an outstanding artist. ECM give Bjornstad a fine, dry, transparent recording that is an honest and faithful representation of his piano tone.

Highly, highly recommended. This must be among the very best solo piano recordings to come along in many years.

The second disc featuring classical pieces - both solo and orchestral - will not supplant versions that may be in anyone's collections already, but more than holds its own and is a welcome companion to the main event.

If you are unfamiliar with Ketil Bjornstad, also check out "Remembrance", a trio recording with the burnished tenor of Tore Brunborg and drummer Jon Christiansen. Outstanding.

Esbjorn Svensson EST - "301" vinyl LP:

Esbjorn Svensson passed tragically in a 2008 scuba diving accident, shortly after completing his last record "Leucocyte". Recorded before that highly experimental, metal-jazz record, "301" comes as a likely final statement from an artist that had an amazing future in front of him.

301, unlike Leucocyte, is almost entirely acoustic trio with occasional electronics added - but this is no fusion or electro-jazz record - Svensson is firmly in the 1970's Euro esthetic that formed his playing - Duke Jordan is here, so is Joachim Kuhn, so is Jarrett. But so is Radiohead, and much like Brad Mehldau, Svensson has a boundary-less melting pot of influences, where 'genre' has little meaning. At it's heart, this is an acoustic European jazz trio of outstanding musicianship, a working group that has a rapport and interplay that only comes from experience. The vibe is very subdued, dark - a classicism, elegaic. A fitting resting place for a great artist cut down in his prime.

The double vinyl pressing is excellent - quiet, flat. Sounds very good. There is rather little Svensson on vinyl - only Leucocyte was releaaed on LP, and good luck finding a copy. Get this one while you can.

PELICAN - Ataraxia/Taraxis on Southern Lords vinyl:

The mighty Pelican return on Southern Lords with "Ataraxia/Taraxis", ostensibly an EP of new material but in the day this would for many be considered an LP. Whatever, it is bargain priced (I paid $12 for mine) which is a bonus.

Pelican are too often lumped n with the darker side of the metal genre, in fact, they are an art rock/art metal band - all instrumental - with space rock tendencies as the view is rather 'transportative' and 'atmospheric', influences as far as My Bloody Valentine and through to Mahavishnu come together to form a very unique sound.

Ataraxia/Taraxis is far from riffing or noodling, nor is it drone type metal. Pelican have become highly melodic, conjuring what can only be described as metallic soundscapes and inner journeys. Guitars drift in and out of solos, there is tension and even menace underneath, crunch and feedback come in and release into a gentle space.

Sonically, as expected from Southern Lords, this vinyl is excellent. It has heft and delicacy. Pressings is perfectly fine. The cover is very thick old-style cardboard. This is without a doubt triple stoner music, outstandingly crafted, and comes with a very high recommendation to any with a sense of the unexpected who enjoy music as a transportation device.

Dot Hacker "Inhibition" on ORG vinyl:

New from ORG Music: Dot Hacker debut LP "Inhibition" on 180g vinyl.

A king of alt-rock 'supergroup' with the biggest name being Josh Klinghoffer from Red Hot Chili Peppers, a band which Dot Hacker actually share virtually no similarity with.Dot Hacker is hard to describe - a bit shoegazer, very alt, reminds in places of bands like Ride, quite understated, guitar driven, taken to interesting textural shifts. Klinghoffer as a vocalist is singular, his high, light voice suits the vibe here very well, and the songwriting is excellent - not 'hook' driven songs, not poppish, more through composed, well structured songs.

A 'grower', it bears repeated listening, the musicianship is very fine, this is a band to watch.

Recording is excellent, as is the fine Bernie Grundman mastering. A touch light on the bass, and I would think this is an artistic decision that gives the music a lightness and ethereal quality. Enigmatic for sure, hard to pin down, and that makes the record interesting and unique. A great debut courtesy of ORG Music.

NEW MOFI: Elvis Costello "Almost Blue", Bob Dylan "Basement Tapes":

 New from MOFI this week - vinyl pressings of Elvis Costello "Almost Blue" and Bob Dylan and The Band "The Basement Tapes".

Straight up - I was ok, but not overwhelmed, by some of the Mobile Fidelity vinyl so far. My Aim Is True sounds fabulous, and the others do also, but from "This Years Model" through "Get Happy" I felt the sound was too polite - too smooth - lacked the rock. The hard edge that the prime period Costello needs to have. In truth, I felt my Japanese Radar copy of Get Happy walked all over the MOFI - even though it is cut at 33 and the MOFI at 45.

But "Almost Blue" is a much different story. And I suspect it has much to do with the return of Krieg Wunderlich to the mastering credits.

The sound is everything one comes to expect from MOFI - deeply transparent and revealing, vocals crystal clear and out front surrounded by air in a realistic space, bass tight and beautifully clear, harmonically and rhythmically organic sound - warm, detailed, open, real.

If you have felt something was missing, or not all together right about previous MOFI Costello, don't be put off from getting this one. It's the best Costello yet from MOFI - and if "Imperial Bedroom" is this good, I hope it gets out soon.

Same thing with Dylan and The Band's Basement Tapes. Let's look at this realistically - they really are 'basement recordings', rather primitive, probably not intended for release (and got released largely because of how widely they were bootlegged), minimal ability to do a great mix...and so on. So what you get sonically is a mixed bag - on some tracks, the bass is weak, on others, the mix less than ideal. But again here, we have Wunderlich doing some magic on the master tapes - he achieves a huge upgrade in clarity, voices in particular coming through with superb definition and clarity. There is really nothing 'primitive' or dated here sonically - MOFI gives this a brilliant transparency, while retaining the rootsy and spontaneous feel of the recordings. A superb job here, that demonstrates that superbly engaging sound can be obtained from even rather limited sources. The Basement Tapes have never sounded this immediate - and this good. Highly recommended.

Both very good, clean, quiet RTI pressings. A welcome return for Krieg Wunderlich.