The Now Spinning/Recent Purchases Thread

I loved the movie Cool hand Luke my dad would use that movie as a teaching lesson whenever it was on tv to warn me of what happens when you are imprisoned or Jailed etc. Sadly chain gangs were outlawed i was told supposedly because they were deemed cruel and unusual punishment well I think they didn't go far enough but I digress but I like some of the music especially the song "Down here on the Ground" both by Wes Montgomery and the vocal version by George Benson. The Lyrics really are telling the story and define it perfectly.
 
This is DJRudy bringing you all another rarity by Willie Bobo. :D Least expensive used copy is $150, and it's only graded VG; a NM copy is listed for $249.99. :bigeyes:



This promo-only remix of "Always There" is based on the album version which is on the album Hell of an Act to Follow. The remix has been coming up on my Pandora station all the time. The only place I can see to get it is on a 2-CD set called Jazz Funk Sessions. The album is readily available and the rest of the album is good, but nothing out of the ordinary for its time.

What kills me with so many of these 12 inch singles is that I probably could have bought all of them for $2-$3 apiece back in the day at a couple of the used record shops I used to visit. My twin-brother-from-another-mother @JH12"fanatic always pesters me about the rare promo extended version of Earth Wind & Fire's "Getaway" I bought for a few bucks back in the 80s; I think we finally decided I'll have to leave it to him in my will. :laugh:
 
Bobberman said:
I loved the movie Cool hand Luke my dad would use that movie as a teaching lesson whenever it was on tv to warn me of what happens when you are imprisoned or Jailed etc. Sadly chain gangs were outlawed i was told supposedly because they were deemed cruel and unusual punishment well I think they didn't go far enough but I digress but I like some of the music especially the song "Down here on the Ground" both by Wes Montgomery and the vocal version by George Benson. The Lyrics really are telling the story and define it perfectly.
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Your father was worried that you would end up in jail? (Maybe all of our parents had that thought at times.) :D
 
Never heard this album before today, and only remember one or two tracks that received light airplay locally. I picked this up sealed from a Discogs seller, and just dropped it on the turntable (while taking a break from cleaning up after the hot water tank burst :mad: )...

Norma_Jean_Wright_-_Norma_Jean.jpg


Norma Jean Wright was the lead vocalist on her self-titled debut. What's remarkable here is that she was the lead singer on the first self-titled Chic album, and this album is essentially "Chic project #2" with Rodgers/Edwards producing, their band backing Norma Jean (including Tony Thompson on drums), and writing four of the album's seven tracks. (Their tune "Saturday" that leads off the album is a lost classic IMHO. "I Like Love" was a minor hit also.) The Sam Cooke tune "Having A Party" is also covered here. Notable appearance by Luther Vandross on backing vocals. Her track "High Society" does not appear here--that was a non-album single, but it did appear on the expanded CD reissue (which I don't have, but I have the track on a Chic Organization compilation).
 
I remember her. That sounds like a good album.

I’ve been listening to The Band the last few days. CD I’ve Been playing a lot is “The Best of The Band.”

Ruptured water heaters are hateful. Had one break in upstairs apartments twice and come down on me. Then mine went right after I’d had major surgery. Maintenance had loaned out their shop vac so I had to borrow one and clean it up myself. Was shakey and about to pass out by the time I had finished. :cry:
 
The bad part about the hot water tank is that I still have a lot of things stored in boxes which we've never unpacked. Luckily not too many are affected but I have to move a lot to get things dried out. And I also have to make certain a path is clear for the plumbers to bring the new tank down on a handtruck.

I could only imagine being underneath one of those. Figure 30 or 40 gallons in the tank, plus whatever leaked prior to shutting the water off.

DeeInKY said:
I remember her. That sounds like a good album.
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Rodgers and Edwards also produced the album King of the World for Sheila and B. Devotion. Sheila is a French singer, who has had great success in France. The hit from that album was "Spacer" which is a classic Chic-style production.



"Saturday" from Norma Jean:

 
I've been listening to My Playlist and Some Maynard Ferguson came up on my shuffle mode " Soar Like an Eagle " from the album" Conquistador" Which is one of my favorite albums from the late 70s early 80s era which features Bob James on the Keyboards who also composed the track another favorite of mine on that album Is " Mister Mellow" in which Guitarist George Benson plays on thankfully I still have the music by all 3 aforementioned artists and more some of their music is getting much harder to find.
 
First we had Honey In The Horn. Now there's Latin In The Horn!

upload_2018-3-19_18-54-6.png

Not too bad, really. The accompaniment by Lalo Schifrin at least makes it worthwhile.

A couple of favorites:



 
It's a Barry White kinda night. "Playing Your Game, Baby." The Man may be my favorite of White's albums, but this album, Barry White Sings for Someone you Love, has a few good tracks on it. The lead-off is my favorite though. Typical of his lush soul style.

 
The album comes out next week, but here is a first listen of the entire album:

First Listen: Orquesta Akokán, 'Orquesta Akokán'

Orquesta Akokán, 'Orquesta Akokán'. The article is a good read, especially about the studio in Havana this was recorded in, which has been in use for decades. The whole sound of this record is very "retro," which is nicer than that antiseptic digital sound that so many modern Latin recordings have. This one could easily have come from the 1950s, like all of those classic mambo bands of Perez Prado, Machito, Xavier Cugat, and even early Tito Puente.
 
My story on former Raspberries guitarist Scott McCarl CD "Play On" (from 1997). Scott played with The Raspberries replacing David Smalley in early 1974 while Michael McBride played drums replacing Jim Bonfanti also in early 1974. Scott did NOT joined the reformed Raspberries (2004 - 2012) though. Scott McCarl "Play On" (1997) Matt Clark Sanford, MI
 
Here's something different:

upload_2018-3-28_20-46-57.png

Recorded live at Todd Barkan's jazz club Keystone Korner in San Francisco, 1976. That is even a genuine Olga Albizu painting used for the front cover. Musically I find it a little bit of a mixed bag, but it's a nice document of that era in Stan Getz's career.
 
I'm planning to Amazon-stream Genesis' A Trick of the Tail at some point. I heard a track on the radio today that I liked ("Squonk," which was the first track sung by Phil Collins it turns out) and realized I'd never listened to the album and in fact, I've never really explored their pre-Duke albums, so that catalog's on my list to check out.
 
Collins actually first sang lead (rather tentatively) on the track "For Absent Friends" from the album Nursery Cryme, the first Genesis album that he and Steve Hackett played on. You're not missing much there. :laugh: His vocal on "More Fool Me" from Selling England By The Pound is a lot more confident. He also sang backing on the Peter Gabriel era Genesis albums (except for Trespass, which was prior to Phil and Steve joining).

But yes, I believe "Squonk" was the first one he recorded for Trick. They struggled to find a new lead singer to replace Peter after he left, auditioning many, then finally Phil had a go of it himself. Then they auditioned more lead singers again so they could tour the album, and he reluctantly decided to give it a try, first having Bill Bruford (formerly of Yes) take his place on drums for six months until they found a permanent drummer, then finally settling on Chester Thompson (Frank Zappa, Weather Report).

If you're looking at Phil-era Genesis prior to Duke, there are three studio albums .
  • Trick of the Tail is by far the best of the three--it takes a little bit of listening to get into all of it, but it was a great launching point for the "new" Genesis without Peter. Not a bum track on the entire record. A lot of good instrumental breaks. ("Robbery, Assault and Battery" actually has a long instrumental section in 13/8 time...crazy stuff! Phil pulls it off so well that you don't even notice it.)
  • It was followed by Wind and Wuthering. My personal favorite on that record is Steve Hackett's "Blood on the Rooftops." (I enjoy the premise behind the song--an aging English couple viewing the world through their television set.) A couple other tracks are good ("Eleventh Earl of Mar," "One for the Vine," "Afterglow"), but it's nowhere near as strong as Trick. Many Genesis fans just don't care for this one--the band just seems tired on this one. Hackett departed after recording this album (wanting to record more of his own compositions).
  • And that led to ...And Then There Were Three. It again is not as strong as Trick, but I'm fond of many of the tunes on it. The mood is quieter and more subdued, along with starting the shift towards shorter songs, with none of the instrumental workouts they featured on earlier albums. "Follow You, Follow Me" was a minor hit, which started the ball rolling for action on the singles chart.
I really feel that Trick through Duke are cut from the same cloth--they still have a lot of that classic Genesis feel. I personally call it their "second era." The third era would be Abacab and everything past--it was a dramatic shift in their sound, and also how they approached writing and recording their albums.

A quick note about Duke: the album was originally supposed to feature a "Duke" side-long suite, comprised of "Behind The Lines," "Duchess," "Guide Vocal," "Turn It On Again," "Duke's Travels" and "Duke's End." It was of course shifted around. (They may have thought that yet another suite would probably not go over well with fans.)

For the Peter-era albums, if you go back that far, they can take a little more patience to get into...but for a couple of them, it is worth it. Chronologically...
  • From Genesis to Revelation is a mess. It's an early Genesis album wherein they try to create pop songs. It's not well recorded, and in no way related to the "storytelling" prog rock they would become known for.
  • I never did get into Trespass very much; only "The Knife" has caught my ear. This was prior to Phil and Steve joining. (And it's painfully evident how much is missing with Steve and especially Phil not being in the band!)
  • Nursery Cryme has two excellent tracks in "The Musical Box" and "The Fountain of Salmacis."
  • Foxtrot has "Watcher Of The Skies" and the side-long "Supper's Ready" suite. ("A flower?" :laugh: )
  • I personally feel Selling England By The Pound is the most solid of all of them--the band is tight, the songwriting razor sharp, and it is a definitive group effort. "I Know What I Like (In Your Wardrobe)" is probably the closest thing to a hit they would have up to that point. "Firth of Fifth" is a tour-de-force IMHO. The other long tracks are also nicely-presented stories. By far my favorite of these early records.
  • The Lamb Lies Down On Broadway is a double album that some feel is the pinnacle of Peter-era Genesis, but a few of us feel it's more like Peter's first solo album with Genesis providing the music. It has some good tracks, but I find the whole thing to be a tedious listen. "Carpet Crawlers," "In The Cage," "Counting Out Time" and "Fly on a Windshield" are my favorites.
That's pretty much it. It's probably better to tackle each group of albums separately. The songwriting (both lyrics and music) has a lot to digest. It's all good if you take the time to get familiar with them. :thumbsup:

One final note--if you happen to want to buy these, or if you have a choice in streaming different versions, try to avoid the 2007 remasters. The Peter-era albums actually sound a bit better than the originals, but everything from Trick of the Tail onward are remixed, and have had all of the life sucked out of them. They are flat and lifeless--the sound is very compressed and everything is pushed in your face. This music was meant to have dynamics, and these remixes have none of it. I like the Definitive Edition remasters that were released in the mid 1990s.
 
Rudy said:
Collins actually first sang lead (rather tentatively) on the track "For Absent Friends" from the album Nursery Cryme, the first Genesis album that he and Steve Hackett played on. You're not missing much there. :laugh: His vocal on "More Fool Me" from Selling England By The Pound is a lot more confident. He also sang backing on the Peter Gabriel era Genesis albums (except for Trespass, which was prior to Phil and Steve joining).

But yes, I believe "Squonk" was the first one he recorded for Trick. They struggled to find a new lead singer to replace Peter after he left, auditioning many, then finally Phil had a go of it himself. Then they auditioned more lead singers again so they could tour the album, and he reluctantly decided to give it a try, first having Bill Bruford (formerly of Yes) take his place on drums for six months until they found a permanent drummer, then finally settling on Chester Thompson (Frank Zappa, Weather Report).

If you're looking at Phil-era Genesis prior to Duke, there are three studio albums .
  • Trick of the Tail is by far the best of the three--it takes a little bit of listening to get into all of it, but it was a great launching point for the "new" Genesis without Peter. Not a bum track on the entire record. A lot of good instrumental breaks. ("Robbery, Assault and Battery" actually has a long instrumental section in 13/8 time...crazy stuff! Phil pulls it off so well that you don't even notice it.)
  • It was followed by Wind and Wuthering. My personal favorite on that record is Steve Hackett's "Blood on the Rooftops." (I enjoy the premise behind the song--an aging English couple viewing the world through their television set.) A couple other tracks are good ("Eleventh Earl of Mar," "One for the Vine," "Afterglow"), but it's nowhere near as strong as Trick. Many Genesis fans just don't care for this one--the band just seems tired on this one. Hackett departed after recording this album (wanting to record more of his own compositions).
  • And that led to ...And Then There Were Three. It again is not as strong as Trick, but I'm fond of many of the tunes on it. The mood is quieter and more subdued, along with starting the shift towards shorter songs, with none of the instrumental workouts they featured on earlier albums. "Follow You, Follow Me" was a minor hit, which started the ball rolling for action on the singles chart.
I really feel that Trick through Duke are cut from the same cloth--they still have a lot of that classic Genesis feel. I personally call it their "second era." The third era would be Abacab and everything past--it was a dramatic shift in their sound, and also how they approached writing and recording their albums.

A quick note about Duke: the album was originally supposed to feature a "Duke" side-long suite, comprised of "Behind The Lines," "Duchess," "Guide Vocal," "Turn It On Again," "Duke's Travels" and "Duke's End." It was of course shifted around. (They may have thought that yet another suite would probably not go over well with fans.)

For the Peter-era albums, if you go back that far, they can take a little more patience to get into...but for a couple of them, it is worth it. Chronologically...
  • From Genesis to Revelation is a mess. It's an early Genesis album wherein they try to create pop songs. It's not well recorded, and in no way related to the "storytelling" prog rock they would become known for.
  • I never did get into Trespass very much; only "The Knife" has caught my ear. This was prior to Phil and Steve joining. (And it's painfully evident how much is missing with Steve and especially Phil not being in the band!)
  • Nursery Cryme has two excellent tracks in "The Musical Box" and "The Fountain of Salmacis."
  • Foxtrot has "Watcher Of The Skies" and the side-long "Supper's Ready" suite. ("A flower?" :laugh: )
  • I personally feel Selling England By The Pound is the most solid of all of them--the band is tight, the songwriting razor sharp, and it is a definitive group effort. "I Know What I Like (In Your Wardrobe)" is probably the closest thing to a hit they would have up to that point. "Firth of Fifth" is a tour-de-force IMHO. The other long tracks are also nicely-presented stories. By far my favorite of these early records.
  • The Lamb Lies Down On Broadway is a double album that some feel is the pinnacle of Peter-era Genesis, but a few of us feel it's more like Peter's first solo album with Genesis providing the music. It has some good tracks, but I find the whole thing to be a tedious listen. "Carpet Crawlers," "In The Cage," "Counting Out Time" and "Fly on a Windshield" are my favorites.
That's pretty much it. It's probably better to tackle each group of albums separately. The songwriting (both lyrics and music) has a lot to digest. It's all good if you take the time to get familiar with them. :thumbsup:

One final note--if you happen to want to buy these, or if you have a choice in streaming different versions, try to avoid the 2007 remasters. The Peter-era albums actually sound a bit better than the originals, but everything from Trick of the Tail onward are remixed, and have had all of the life sucked out of them. They are flat and lifeless--the sound is very compressed and everything is pushed in your face. This music was meant to have dynamics, and these remixes have none of it. I like the Definitive Edition remasters that were released in the mid 1990s.
Click to expand...
I love the Phil Collins era of Genesis up until Invisible touch as it is the era I'm more familiar with I didn't know of Peter Gabriel until his single " Shock the monkey" came out on the radio after 1986 I lost track of Genesis and was listening to more of Phil Collins solo music
 
Thanks for the Genesis short course, Rood. I think my misconception of "Squonk" was, it was the first song recorded for THAT album, according to Wikipedia at least, so I just figured it was the first time Phil had sung lead.

I'm not too much of a Peter Gabriel fan, although I do like some of his solo stuff (especially the song "Down to Earth" from the Disney movie "Wall-E") so I'll probably leave the Peter-era Genesis behind.

I'll listen to these on Amazon Music, not sure what versions they feature but sometimes there is a choice.

Phil Collins provided one of my favorite concert memories. I was visiting some friends in L.A. in '95, and we were able to score tickets to his concert at the Forum. Before the show started, we were talking about our favorite songs. I mentioned "Hand In Hand," from his first solo album, which is a terrific instrumental (and was one of my favorite songs to demonstrate the clarity of CD players with, back in the day). Anyway I speculated there was zero chance he'd play that one, since it was not a hit and was an instrumental. Then the lights went down, the concert began, and damn if he didn't OPEN with an amazing version of "Hand In Hand."
 
I'm kind of a picky Peter Gabriel fan (I like some things and not others), although I would say that he put on one of the best live shows I've ever seen, and wouldn't hesitate to see him again if given a chance.

He does come across differently on the Genesis records though--there's the backing of the band (which is a familiar sound), Phil doubling vocals on many parts, and the songs are more often like self-contained stories as opposed to lyrics that are more based around "ideas" (if that makes sense) on some of his solo records. There are also, of course, the long instrumental breaks. Selling England is the one I can listen to end-to-end; the others I have to cherry pick tracks from.

With Trick of the Tail...

We audition for five or six weeks. We’ve seen about thirty guys. It’s starting to become tedious. With the clock ticking—unsurprisingly, there’s already talk of another tour—we have no option but to commit to studio time. At least we’ve written some strong material.

We go into Trident with a new co-producer, Dave Hentschel, and record at a cracking pace. I’m most involved with “Los Endos,” which I model on the groove of Santana’s “Promise of a Fisherman,” from his just-released jazz-fusion album Borboletta. “Squonk” is really Zeppelin-esque. And there’s “Robbery, Assault and Battery,” proving there’s still a place for the “story” songs for which Genesis are known.

We’re really pleased with these songs. They’re sounding strong, fresh and a bit different. We feel like a new band, and we’re sounding like it.

Then we’re briskly back to business, dividing up the backing tracks and deciding who’s writing lyrics for which song. There’s added time pressure now, because the tracks are recorded and there’s still no singer. That said, we finally agree to let one vocalist past the front door. Mick Strickland is a bit better than the rest, and we ask him into Trident to have a crack. We give him “Squonk” to sing. The very first line of that vocal is a bitch: “Like father, like son…” We don’t ask his key or his range. We just give it to him. Take it away…

Poor guy. It’s not remotely his key. We have to say, “Thank you and goodbye…” Looking back, I feel bad for Mick. I’ve been that soldier that has to sing the song in the key I’m given. In those days, though, we didn’t even consider that an issue.

But “Squonk” is new and it’s a groove I like. More pertinently, right now we’ve no other option, nothing left to lose, and there are studio hours racking up. So I say, “How about I have a go?” And the rest of the guys shrug: “Might as well.”
Deep inside, I know I can do this, but actually singing it—that’s another thing entirely. Sometimes your brain says yes, but your voice screams no.

But I have a go, even if Mike’s lyrics do have me guessing. Mike and Tony later tell me it’s like one of those cartoon lightbulb moments. They look at each other in the control room and their eyebrows say it all: By George I think he’s got it! Looking back it was a defining moment for me. The studio environment was great, allowing us to hammer away at it until the vocals worked and the music clicked. I still didn’t want to go out front and sing, mind.

And yet, and yet…We’re still dazed and confused. The guy we thought might, finally, manage the vocals has proved a bust…and now the drummer’s had a pop and it doesn’t sound bad…but over the whole album? Is that wise?

We try a few takes, finesse it, come back in the next morning, have another listen and all agree: it still sounds good.
I’m very unsure, but could it be that we might just have found a singer? Albeit in a manner reminiscent of finding a fiver down the back of the couch.

Casting doubts aside for the time being, we have to plow on. We knock the songs off one after the other. “Robbery, Assault and Battery” is a stand-out and works really well from the off—I add a bit of my Artful Dodger into the vocal delivery. Slowly, I’m showing that I can not only sing these songs but bring in something else. A bit of character, in every sense of the word. I can inhabit them, without resorting to Peter’s visual accessories.

Some songs are especially demanding. “Mad Man Moon” is one of Tony’s, and his melodies are out of my usual comfort zone, especially if you have to learn them on the fly in the studio. I would get used to this over the next few years. “A Trick of the Tail” is also his, but feels more natural for me. All in all, though, singing the album comes easier than I would have thought.

Suddenly, we’ve finished. Yet all I’m thinking is that it’s a one-time-only deal. As a stopgap I’ve managed to sing the album, but doing it onstage will be another matter entirely. So, really, we still haven’t got a singer.

I go home to Andy and Joely in Ealing.

ANDY: “How’s the album going?”
ME: “I’ve been singing them all and it sounds great.”
ANDY: “Well, why don’t you become the singer?”
ME: “You must be mad! I’m the drummer. I refuse to go out the front and wiggle my bum. I have a safety blanket between me and the audience—my kit—and that’s the way I like it.”

Once we’ve finished recording we have another rifle through the audition tapes. “Are you sure there was no one in here?”

No, there wasn’t, and there isn’t.

Eventually I say, “****, well, I suppose I could be the singer, but…”

We’re caught between a rock and a soft place. Having explored every other angle, it seems like the drummer is the last-ditch, last-resort-only option. None of us can take this entirely seriously. The “backman” is going to make a good frontman? Surely some mistake?

I’m just as conflicted, especially because I really enjoy playing the drums. That’s where I live. Yet there’s no denying the truth: I can sing the songs.

Finally, a compromise: I might consider this if I can get a drummer that I like, because I don’t want to be looking over my shoulder the whole time, checking and quietly critiquing. And I’m not up for double duty—that looks crap. Don Henley did OK for a song or two, Levon Helm did great for a song or two. But neither would have been able to sustain contact with an audience throughout a two-hour set. The lead singer singing from behind the drums is alienating for an audience. There’s a whacking great kit getting in the way of any connection between vocalist and crowd.

Tentatively, reluctantly, with some caveats and teeth slightly gritted, I’m coming round to this idea. And in the end, I am the agent of my own doom.

Bill Bruford, late of Yes, is a good friend who’s turned me on to a lot of jazz drummers. He comes down to one of Brand X’s rehearsal sessions—we’re writing Unorthodox Behaviour—and he asks, “How’s things in Genesis? Found a singer yet?”

“Not really. I’ve done the album, and they want me to try out as the singer. But to do that we need to find a drummer.”

“Well, why don’t you ask me?”

“You wouldn’t want to do that. A bit too Yes-y for you, surely?”

“Yes I would.”

And suddenly Genesis have a new drummer.

Now I’ve no excuse.

We all shuffle about a bit and get used to this new line-up and configuration. There’s no great ceremony about it. It just happens. I don’t even remember the rehearsals, or any announcement.

Bill fits in well, although he’s the kind of drummer who likes to play something different every night. Although I sympathize with him wanting to keep it fresh, some drum fills are cues, something Tony, Mike and Steve rely on.

Then, boom, we have lift-off. Another tour, another chapter.
 
I don't recall that one! I've seen the video for "Trick of the Tail" which is also up there on YouTube).

I remember the video for "Ripples". Phil was wearing a Minnesota North Stars hockey jersey in that one. It's a bittersweet song about aging. It might be my favorite on the album (on which it is hard to choose any one favorite).



Going way back to "The Fountain of Salmacis," from Nursery Cryme. This is a live Belgian TV broadcast, over which someone has dubbed the audio from a BBC Radio appearance (since the original audio was dicey):



Peter, prior to the costumes and the makeup. :D
 
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Spinning this one again, with the new ART7 in place (recorded the first two tracks to digital from the 45RPM ORG reissue):



Might want to kick the resolution up to HD to hear it better. I should also use the same two tracks from the original RCA pressing for comparison--quite a difference.
 
I was in a mood to hear Phil Woods on the track "Repetition" from this record:

upload_2018-4-8_21-53-16.png

This one is playing currently:

upload_2018-4-8_21-54-3.png

It is more of a percussion-based album than typical Tito Puente albums.
 
After a very stressful week, I took yesterday off, and it was pretty much a do-nothing day. I also had to get ready for the Chicago trip.

But anyway...I was spinning music for most of the day, and breaking in the ART7 cartridge, while I did some mindless tasks around here.

Michael Franks: The Art of Tea (vinyl)
Michael Franks: One Bad Habit (vinyl)
Bill Evans: Waltz for Debby (vinyl, OJC copy)
Nik Bartsch's Ronin: Holon (digital)
Cannonball Adderley Quinet: Mercy, Mercy, Mercy! (Live at "The Club") (digital)
Tamba Trio: Avanço (vinyl, 180g Philips reissue)
Edu Lobo: A Música De Edu Lobo Por Edu Lobo (vinyl, 180g Elenco reissue)
Was (Not Was): Was (Not Was) (vinyl)
Kevin Eubanks: The Heat of Heat (vinyl)
David Benoit: Freedom at Midnight (vinyl, two tracks only)
The Who: Who's Next (vinyl, Music On Vinyl pressing)
Fleetwood Mac: Rumours (vinyl, 45 RPM reissue...and only a few tracks)
Van Halen: Van Halen (vinyl, 180g reissue, Hoffman/Gray mastered...Rhino used the DCC stampers)
Sade: Stronger Than Pride (vinyl)
Henry Mancini: The Music from Peter Gunn (vinyl, 45RPM reissue)

The rest of the day was random tracks via Pandora or on the computer while I caught up on some work.

BTW, I'm hoping Acoustic Sounds has Mancini's Hatari! at a special price at the audio show later this week, but I'm not holding my breath. It was recut at 45 RPM like the other two Mancini titles.
 
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