Savoy Brown - Getting To The Point (1968) Original DE Pressing - LP/FLAC In 24bit/96kHz
Savoy Brown - Getting To The Point
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 900mb & 200mb
Label: Decca / SLK 16660-P | Released: 1968 | Genre: Blues-Rock
A1 Flood In Houston
A2 Stay With Me Baby
A3 Honey Bee
A4 The Incredible Gnome Meets Jaxman
A5 Give Me A Penny
–
B1 Mr. Downchild
B2 Getting To The Point
B3 Big City Lights
B4 You Need Love
Credits
Bass Guitar – Rivers Jobe
Drums – Roger Earl
Engineer [Recording] – Roy Baker*
Lead Guitar – Kim Simmonds
Liner Notes – Neil Slaven
Piano – Bob Hall (3)
Producer – Mike Vernon
Rhythm Guitar – Dave Peverett
Vocals – Chris Youlden
Notes
Red label with black letters and ‘Royal Sound Stereo’-logo
© 1968, The Decca Record Company Limited, London
Barcode and Other Identifiers
Rights Society: GEMA
Other (Label A-Side): ZAL 8276
Other (Label B-Side): ZAL 8277
Other: Royal Sound Stereo
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 900mb & 200mb
Label: Decca / SLK 16660-P | Released: 1968 | Genre: Blues-Rock
A1 Flood In Houston
A2 Stay With Me Baby
A3 Honey Bee
A4 The Incredible Gnome Meets Jaxman
A5 Give Me A Penny
–
B1 Mr. Downchild
B2 Getting To The Point
B3 Big City Lights
B4 You Need Love
Credits
Bass Guitar – Rivers Jobe
Drums – Roger Earl
Engineer [Recording] – Roy Baker*
Lead Guitar – Kim Simmonds
Liner Notes – Neil Slaven
Piano – Bob Hall (3)
Producer – Mike Vernon
Rhythm Guitar – Dave Peverett
Vocals – Chris Youlden
Notes
Red label with black letters and ‘Royal Sound Stereo’-logo
© 1968, The Decca Record Company Limited, London
Barcode and Other Identifiers
Rights Society: GEMA
Other (Label A-Side): ZAL 8276
Other (Label B-Side): ZAL 8277
Other: Royal Sound Stereo
Savoy Brown - Getting To The Point (1968) Original DE Pressing - LP/FLAC In 24bit/96kHz
Savoy Brown - Getting To The Point (1968) Original DE Pressing - LP/FLAC In 24bit/96kHz
Savoy Brown - Getting To The Point (1968) Original DE Pressing - LP/FLAC In 24bit/96kHz
This Rip: 2020
Cleaning: RCM Moth MkII Pro Vinyl
Direct Drive Turntable: Technics SL-1200MK2 Quartz
Cartridge: SHURE M97xE With JICO SAS Stylus
Amplifier: Marantz 2252
ADC: E-MU 0404
DeClick with iZotope RX6: Only Manual (Click per click)
Never: Fades and Denoise
You can use my cue files as a playlist
This LP: NM- / From my personal collection
LP Rip & Full Scan LP Cover: Fran Solo
Password: WITHOUT PASSWORD
In the 15 months between the release of Everybody Knows This Is Nowhere and After the Gold Rush, Neil Young issued a series of recordings in different styles that could have prepared his listeners for the differences between the two LPs. His two compositions on the Crosby, Stills, Nash & Young album Déjà Vu, “Helpless” and “Country Girl,” returned him to the folk and country styles he had pursued before delving into the hard rock of Everybody Knows; two other singles, “Sugar Mountain” and “Oh, Lonesome Me,” also emphasized those roots. But “Ohio,” a CSNY single, rocked as hard as anything on the second album. After the Gold Rush was recorded with the aid of Nils Lofgren, a 17-year-old unknown whose piano was a major instrument, turning one of the few real rockers, “Southern Man” (which had unsparing protest lyrics typical of Phil Ochs), into a more stately effort than anything on the previous album and giving a classic tone to the title track, a mystical ballad that featured some of Young’s most imaginative lyrics and became one of his most memorable songs. But much of After the Gold Rush consisted of country-folk love songs, which consolidated the audience Young had earned through his tours and recordings with CSNY; its dark yet hopeful tone matched the tenor of the times in 1970, making it one of the definitive singer/songwriter albums, and it has remained among Young’s major achievements.AllMusic Review by William Ruhlmann
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Vinyl / CUE/ FLAC/ High Definition Cover: