The new Michael Kiwanuka album is released soon and I don’t know which version to go for.
Do I go for a signed vinyl edition for £26 or a non-signed coloured vinyl with extra bonus 7″ single for £30?
Both these versions are exclusives to his website.
Which should I plump for?
Michael Kiwanuka Dilemma
I’d email the website and ask if there’s any chance they could do you a coloured vinyl one in a signed sleeve for a couple of extra quid.
Failing that, which one would bring you more joy?
Coloured vinyl (well, non-black vinyl) tends to sound a bit worse, if that’s important to you.
I always found that, too.
Not necessarily, black vinyl is coloured too. Picture discs are something else.
Not necessarily, no. But often.
The half-speed mastered at Abbey Road by Miles Showell box set was on coloured vinyl and sounded good (apparently). Being no Queen fan myself, I bought Greatest Hits on black vinyl and that’s enough Fred for me.
The pure form of vinyl is clear, the black is added (carbon) colouring. But most vinyl presses are optimised for black vinyl. There’s nothing to stop the settings being adjusted to suit coloured vinyl but, given the backlog, nobody is prepared to take the time to optimise the presses.
And, yes – all of the picture discs I have ever heard have sounded awful.
I have a (fairly rare) white vinyl Let it Be. Sounds really good. Have heard that white vinyl White Albums also sound good. What needs to be adjusted?
Temperature, I would have thought. Probably something to do with getting the plastic to flow into the deepest recesses of the stamper grooves.
I’ll tell you tomorrow.
It’s tomorrow now, @retropath2
….wishing you were here
Ok, 1 1/2 listens down: it’s good, ranging from ok to terrific, being not the slavish copy I feared nor the slavish copy I hoped.
Just listen to it on Spotify and realise in 10 years time no one else will care!
Sad but true IMHO.
And IMHO also.
I collect autographs, so I’d go with that version. I don’t collect vinyl though, so I ordered the signed CD a while back. Looking forward to it, cos I really like his other two.
I listened to (most of) the last one after it was bigged up here and found it beyond irritating. It followed the template perfectly but the beady eyed calculation I found repellent. So I wouldn’t bother.*
* I know turd dropping posts are à la mode here but not finding it comfortable TBH.
Having dropped a turd on the same production team and their application of the same beady eyed calculation on Karen O, I feel I should respond. Why is it so wrong for a performer to recognise the songs are good but production flat on his debut, and respond to an idea that a different production might lift the reception next time round? It did, fitting his still good songs perfectly, glossing them with a sheen that really shows them (both) off to the best. Mr Mouse, Brian to his mum, is a bit one trick pony, but his saddle was exactly right for Kiwanuka. I am nervous it may not hold true for a 2nd outing, but the earlier issued video of one track is suggesting the magic is holding. We shall see. (And it is tomorrow, not the today I thought yesterday.)
I rather liked the Bill-Withers-in-a-timewarp production of the debut album.
You could say it’s one more night till the morning 😉
Hold on. You didn’t mention the pink cassette for £9.00. That would be my choice, no word of a big little lie!
I’m a digital / CD person these days, but I would have thought that signing the vinyl would cause the stylus to jump.
Anyone, ah, else, ah, saying this thread title aloud in the style of Mark E Smith, ah?
This is a lovely track
Sounds like it could be an Adele song, and I don’t mean that in a sniffy way.
The opening credits for HBO chic misery drama Big Little Lies features Cold Little Heart. Makes a great theme song.
Came home and the wife’s giving it a spin. Cover (cd) resplendent with an indeterminate squiggle in gold sharpey. Sounds very 60s on first listen, evoking a need for alternating high claps, right and left.
I’ve been listening on Spotify this afternoon. It’s ok, but I don’t think it’s as good as Love & Hate. Its best moments are whenever it sounds a bit like Cold Little Heart.
Just listened to the new album today and immediate reaction is that it may be his best yet. OK he continues to lean heavily on that 70s Blaxploitation big production sound but that works for me and he (or should I say Danger Mouse) puts his own modern spin on it and has developed his own distinctive ‘voice’. Certainly a contender for one of my albums of the year.
Interestingly he was live on Jools this week he was much more rough and ready than I expected.
First two listens very impressed. Nothing g to match Cold Little Heart but that is exceptional – maybe my favourite song of last 10 years.
The production is a continuation and I can understand why he has gone for Danger Mouse again to continue where he left off.
I would imagine for next album he will try a different aporoachbuthave a feeling this one will grow and grow
On listen 3 and it is getting better and better. Am hearing myriad influences, from Tim Buckley to Terry Callier, in his broadening vocal range. Still a couple of songs, 2/3 in, I’m struggling with.
Update.
Went back on his site and the coloured vinyl lp edition with 7″ single now comes with a signed print so I’ve gone for that.
Ta
I bet they spotted this thread!
You could be right!
Up to Tiggerlimit listens. It’s good. I think not as good as its predecessor but close.
Same for me except it’s not even half as good as it’s predecessor
Listen a few more times; it’s infectious.
Listen eight and it’s just beginning to bite. Am I alone in hearing a Hall & ;Oates vibe in there (no bad thing in my book)?
All sorts of vibes but I’m mainly getting Isaac Hayes (in the style and arrangements)