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Live at the Paramount is a live performance by the grunge band Nirvana released in 2011. It was released on HighResAudio as part of the 20th anniversary of Nirvanaâs Nevermind album. It showcases the band at the Paramount Theatre in Seattle from October 31, 1991.
The band was newly flush with fame, having just released their groundbreaking Nevermind one month prior, and was reeling from their newfound fame with cameras all around to capture it all.
From the Vaselines cover âJesus Doesnât Want Me for a Sunbeamâ, which they would later reprise on Nirvanaâs MTV Unplugged, to the jangly âAbout A Girlâ and their seminal hit âSmells Like Teen Spiritâ, itâs a setlist that dreams are made of, and put Kurtâs jagged and seering voice front and centre. The conclusion to the 19-song set includes âRape Meâ, a song that wouldnât appear on a studio release until 1993âs In Utero.
One can hear the crowd moshing along like itâs just another lost Halloween night out, unknowingly witnessing music history. For anyone who wasnât around during the bandâs peak, this release offers the closest replication to an in-concert experience.
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For the original soundtrack of Bolden, in theaters this spring, nine-time GRAMMY Award winner Wynton Marsalis faced a nearly impossible task: bring fellow cornetist and New Orleanian Buddy Bolden, widely considered one of the fathers of jazz, back from the dead. But on this album, Marsalis enthusiastically resurrects the bawdy, brassy sound of Bolden as no one else can, throwing a Big Easy party that romps through some of Bolden s most beloved material. Featuring acclaimed vocalists Catherine Russell and Brianna Thomas and an all-star cast of instrumentalists that includes Wycliffe Gordon, Victor Goines, Marcus Printup, and more, Marsalis brings turn-of-the-century New Orleans back to life, imbuing early jazz classics popularized by Bolden and his competitor Louis Armstrong with a modern sound and energy.
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Live-mixed and recorded direct to vinyl, each side in one continuous take; Modern Times is the most stripped back, honest and representative album by Elliot Galvin yet, reaffirming his formidable growing reputation as a true original. A quiet protest against the overproduced, changing world we live in, Modern Times recaptures the beauty and magic of recorded sound, made using a technique not widely used since the pre-tape technology of the 1930âs. In every sense this is a classic album.
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Thanks - enjoying this very much.
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More than 30 years agoâŠ
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