Is this ever expected to be released digitally, like Sweet Bird was last year?
There are a few digital albums available they areHmmm, and what about Albany Park or Double or Nothing, anyhow? And A Brazilleira anyhow? I have Classics from its original CD release. Just would like the original "records". CD preferred. But if only available via digital, will take that.
True. But I am a completist. Would like to have her full set. I own Sun Down Lady, Sweet Bird, and Hello, It's Me - all digitally. I have the orginal cd release of the A&M Classics series of hers. Have always to have Blush. I dont own it on vinyl so do not have that to draw upon.I must not be thinking clearly as I don't think I've yet made my earlier point clear. The only reason I suggested a re-release of CLASSICS 19 was simply that it might be the best option for those who know of Lani's work but DON'T need full albums - and I suspect there are far more of those than people like us who ARE familiar with her album material as well.
Completely agree!I may be in the minority, but I always want the original album, rather than a compilation. I'm more interested in the artist's vision (assuming there was one) guiding that particular point in time in their career rather than just putting the hits (assuming there were some) all in one convenient package. So, while "Come What May" does exist outside BLUSH, I'd like to see BLUSH available.
I Agree with you. And it's So Unfortunate at least where I have lived Lani's music was played on some AC as well as Easy Listening Stations. Not many But Some.Lani's career has always baffled me. She had the unwavering support of the label's founder and I know first-hand that A&M promotion was told that they needed to deliver on every one of the boss' wife's records. Yet, apart from "Never Say Never Again" (more of a near-miss than a hit), it never really happened, even on adult contemporary radio.
May I also say Harry I too Have done Gifting and sharing my treasures over the years so I know the feeling Generosity Knows no bounds.Oh, it did...and I count myself as extremely fortunate in that regard.
Back then I was lucky enough to work at a soft station going hard, so they tossed all of their old MOR records from the 60s and early 70s.
Then I moved to another soft rock station that routinely tossed harder classic rock albums away.
Our AM nostalgia station was always trying to make room in their library by weeding out stuff they didn't think they'd ever play anymore, and I was always around for those events, too.
And when A&M Corner got started, and conversation turned to a Tamba 4 or some other obscure artist, I could usually count on finding something in that massive AM library and would ask the program director if I could "borrow the record on a long term basis."
Curiously though, many of my Lani Hall albums came from a member here back in the early days. This member actually had extra copies of some of these still sealed, and to return the favor, I made copies of every one if them on my newfangled CDR recorder as a small token of appreciation.
In those early Internet days, I too would share my "wealth" if good fortune by gifting extra copies that I'd accumulated to those that I could tell genuinely wanted them. I recall giving away extra copies of Richard Carpenter's TIME, and 45s of "Calling Occupants", and even taped copies of stuff in the days before CDR recorders.
One if the ultimate ironies is that in our soft rock days, our station used LPs on air, from turntables. They often provided cleaner sound than hissy tape cartridges.
But they also of course scratched easily and had to be replaced, so fairly often, the throaway piles would contain a bunch of these scratched airplay records. I'd welcome those too, and now, today, with modern software, can get rid of those scratches digitally. So, I have, for example, many Billy Joel albums used on air, that can now sound perfectly acceptable for my own use.
Yep. I'm a lucky guy.
That's what is puzzling--I couldn't imagine her singing leaving anyone cold. Yet I'm sure it happens. Then again, the general public often likes similar sounding vocalists who tend to screech and wail at times. And today's "vocalists" are often run through Autotune on top of it.There is something about Lani's voice. If you love it, you really, really love it. But she leaves a lot of people cold or worse.
People are different. My wife is a musician. We generally have pretty similar tastes. Lani's okay, but nothing special in her book. And she finds her version of "Love Song" in particular tedious.That's what is puzzling--I couldn't imagine her singing leaving anyone cold. Yet I'm sure it happens. Then again, the general public often likes similar sounding vocalists who tend to screech and wail at times. And today's "vocalists" are often run through Autotune on top of it.
Her voice was unique back then (as it is now, of course), and at least in Brasil '66, she was often immediately recognizable. She did get to expand more on the solo records, as there are a few tracks where she is outside her "familiar" range. And it all goes to prove that a lot of good music exists outside of the mainstream. I still remember hearing "Love Song" for the first time--it was a remarkable arrangement. And that was before I really knew Elton John's original version (which I also like).
Imagine the pressure on the poor A&M employees. There is only so much that can be done if the songs (the material) aren't that strong and compelling and the backing arrangements and overall-sound/production are Middle-of-the-road (w.c.: "banal"?). I have in mind the bits that I've heard from her later 1970s albums. It's like in the case of John Lennon's Double Fantasy. Even the producer said that, upon hearing John's home demos, he couldn't really improve upon them (What would he add? he said). Some music reviewer/critic (Washington Post, October 9, 2010) described the backing on Lennon's last album as "treacle." I have in mind, particularly, the "cardboard box" drum sound of that era (late '70s, early '80s).Lani's career has always baffled me. She had the unwavering support of the label's founder and I know first-hand that A&M promotion was told that they needed to deliver on every one of the boss' wife's records. Yet, apart from "Never Say Never Again" (more of a near-miss than a hit), it never really happened, even on adult contemporary radio.