Mike Mettler

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Mike Mettler Posted: Mar 29, 2010 0 comments

To disregard the hi-fi end of what we do is wrong,” says Tom Petty of his decision to include a Blu-ray Disc with 62 live tracks mixed in 5.1 as part of the Deluxe Edition of his career-spanning boxed set with the Heartbreakers, The Live Anthology (Reprise). That edition, is impressive indeed. Besides the Blu-ray, it comprises five live CDs, two DVDs with two previously unreleased shows, one vinyl LP, a book, lithographs, and other goodies.

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Mike Mettler Posted: Oct 10, 2010 0 comments

Wayne Coyne is curious.

Now, you can take that statement to mean a couple of different things: 1) the leader of veteran alternative stalwarts the Flaming Lips has an insatiable thirst for discovering ways to push the audio/video envelope, or 2) the man is a bit, well, odd. Know what? It's probably a combination of both.

Mike Mettler Posted: May 21, 2014 0 comments
Performance
Sound
When it comes to delivering the low end, Jack Bruce has been the cream of the crop for six decades and counting. His syncopated approach to playing bass helped shift pop music’s bottom-end emphasis away from just laying down root notes and fifths, in turn opening the door to a more adventurous yet melodically inclined style that laid the foundation for the rock explosion of the ’60s. Turns in both Manfred Mann and John Mayall’s band set the table for Bruce to connect with Eric Clapton and Ginger Baker and forge Cream, wherein the super Scotsman set the heavy-blues power-trio standard with epic runs and full-band interplay in songs like “I Feel Free,” “Spoonful,” “Politician,” and “Sunshine of Your Love.”
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Mike Mettler Posted: Jul 05, 2006 0 comments

Are we close to the point of seeing CDs disappear entirely? Could that happen? Hey, listen: Vinyl's almost disappeared. 78's disappeared. I'm not a soothsayer, and I can't really say if people are going to give up on the physical side of intellectual property.

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Mike Mettler Posted: Jun 04, 2008 0 comments

Tell me about Guitar Hero: Aerosmith (RedOctane/Activision). What a coup to be the first band to have the entire game dedicated to the arc of your career.When I saw my son Roman playing Guitar Hero a few years ago, I was blown away.

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Mike Mettler Posted: Jul 09, 2014 0 comments
“We don’t want to shut the door, we want to open it.” John Hiatt has just described the up-close and personal vibe that’s spread all across his new album Terms of My Surrender, out July 15 on New West. Surrender was cut live with Hiatt and his bandmates ensconced around each other in Studio G in Nashville, and the intimacy is intrinsic to every note. Stomps, claps, and a taut kick drum set the tone at the outset of “Long Time Comin’,” as Hiatt murmurs, “Mmm-hmm, let me see” before he begins strumming his acoustic guitar to lock into the groove. And the über-deep, practically resigned breath he takes before diving into the starkly personal “Nothin’ I Love” just adds to Surrender‘s core honesty. Hiatt, 61, and I recently got down to jawing about knowing when a final master sounds right, how he consistently fails at properly sequencing his records, and trying to convince his dad that stereo was a cool thing. Says the masterful singer/songwriter about Surrender, “The goal was to make it feel like we were all together on the back porch.” Pull up a chair and join the unbroken circle.
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Mike Mettler Posted: Mar 12, 2015 1 comments
To modify a phrase, fingerpicking guitar maestro Jorma Kaukonen just keeps on innovatin’. For over a half-century, Kaukonen has followed his own path and applied his folk roots to variations on psychedelia with Jefferson Airplane and free-form blues with Hot Tuna, not to mention his own solo rock and unplugged outings. On his acoustic-driven new disc, Ain’t In No Hurry (Red House), Kaukonen continues to push forward on tasty, intense tracks like the hopeful timelessness of “In My Dreams,” the traditional riches-to-rags lament of “Brother Can You Spare a Dime,” and the down-home grit of “The Terrible Operation.” Observes Kaukonen, “One of the cool things about the way the album is mixed is that there’s this magnificent, transparent presence of all the instruments, no matter who’s playing and where they are. You can hear them all; they’re there.” Kaukonen, 74, and I got on the phone recently to discuss his recording techniques, his mastery of Drop D tuning on an iconic song, and the hi-fi gear that’s served to enhance listening experiences all throughout his life. The man may not be in a hurry, but he sure is getting somewhere.
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Mike Mettler Posted: Feb 25, 2015 0 comments
Being appointed one of the queens of the alternative music scene was never one of Juliana Hatfield’s goals. But there she was, right in the thick of the then-burgeoning movement — first in the alt-rock trio Blake Babies, then as a titular solo artist known for meshing expressive vocals with intrinsically catchy melodies fueled by a combo punk-and-pop sensibility. “I was very moved by melody and harmony from a very early age,” Hatfield says. “It affected me very powerfully.” She recently reunited with her Juliana Hatfield Three compatriots, bassist Dean Fisher and drummer Todd Phillips, for the uber-catchy Whatever, My Love (American Laundromat Records), a 40-minute ride through Hatfield’s world of melodic, introspective angst, from the acoustic lament of being “Invisible” to the moth/flame dance of “Push Pin” to the odd-meter frustration of “Wood” (the latter of which features a cool, feedback-laden outro guitar loop). Hatfield, 47, and I got on the horn to discuss her vocal techniques and recording goals, her natural sense of melody, and her ongoing struggles with communication. Whatever and ever, amen.
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Mike Mettler Posted: Mar 29, 2013 0 comments

Why is Justified so damn good? Simply put, it’s one of the best written, best acted, best sounding, and best looking shows there is, season in and season out. Based on a character sprung from the brilliantly unique mind of Elmore LeonardJustified stars Timothy Olyphant as U.S.

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Mike Mettler Posted: Nov 12, 2014 0 comments
Bruce Hornsby could never be accused of being an artist who rests on his laurels. "I’m such a different musician in every way than I was 20 years ago," he admits. Prime evidence of the master pianist's ongoing creative evolution can be found all over the double-disc Solo Concerts (Vanguard), where Hornsby explores a variety of styles from behind the keyboard: everything from blues ’n’ boogie to New Orleans funk to the tenets of modern classical music. He also recasts the character of some of his best-known songs, such as turning "The Valley Road" into a blues vamp and giving "Mandolin Rain" an indelible bluegrass stamp. Here, Hornsby, 59, and I discuss how he "makes friends" with new pianos, when and when not to use reverb, and his philosophy of A/B'ing to find the proper live SQ baseline. Pushing the creative envelope — that's just the way it is with Bruce Hornsby, and we hope it's something that never changes.

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