Cowboy Junkies

[two dot]

Wouldn't you love to know what his reference disk is????

I'd say Trinity Sessions, but so many artists don't listen to there own music.

[James Tanner - Bryston]

From: Cowboy Junkies
Sent: June 5, 2010 2:03 PM
To: James Tanner
Subject: Re: Bryston CD Player order


Hi James,

I hooked up the BCD1 this morning and...oh man...I never thought that I'd be excited about "re-discovering" my CD collection. I've been listening to a lot of vinyl these days and I've been pining for the good old days, but the BCD1 has brought out the depth and subtle overtones on my CDs that I thought were only available on vinyl. It's very exciting for this old jaded set of ears.

We would love to provide some Junkies music as part of the BDP1 promotion. After hearing your CD player I have faith that the BDP1 will finally do justice to this next generation of recorded music. Let me know how you want to proceed.

Also...if you have any "samples" of the BDP1 lying around, taking up space, please think of me....I'd be happy to get behind something that champions an audiophile listening experience for the new generation. We have a new website that is loaded with downloadable music and we are now starting to offer it in FLAC. It's good to know that there will be a proper way to experience these high resolution files.

thanks
Mike Timmins
Cowboy Junkies

[1KW]

I never heard of this band ?

[James Tanner - Bryston]

Hi KW,

Check out 'Trinity Sessions' - considered one of the best

james

The Trinity Session

Studio album by Cowboy Junkies
Released 1988
Recorded 27 November 1987, Church of the Holy Trinity, Toronto, Ontario, Canada
Genre Country rock
Length 52:36
Label Latent
Producer Peter Moore

The Trinity Session is a 1988 album by Cowboy Junkies, their second album.

The music was recorded at Toronto, Ontario's Church of the Holy Trinity on November 27, 1987 (1987-11-27), with the band circled around a single microphone. The album includes a mixture of original material by the band and covers of classic pop, rock and country songs, including the band's most famous single, a cover of The Velvet Underground's "Sweet Jane", based on the early version found on 1969: The Velvet Underground Live, rather than the well-known studio version from Loaded. Also included is "Blue Moon Revisited (Song for Elvis)", which is both a cover and an original, combining a new song by the band with the pop standard "Blue Moon".

The album was released in early 1988 on Latent Records in Canada, and rereleased worldwide later in the year on RCA Records. "Working on a Building" and "Blue Moon Revisited (Song for Elvis)" did not appear on the Latent Records release. "Blue Moon Revisited" was originally released on It Came from Canada, Vol. 4, a compilation of Canadian independent bands.

In 2007 the album was performed live in its entirety as part of the All Tomorrow's Parties-curated Don't Look Back series. Also in that year, the band released a new 20th anniversary edition of the album, Trinity Revisited, with guest musicians Natalie Merchant, Vic Chesnutt and Ryan Adams.

According to website Acclaimed Music [1], the album is the 893rd most acclaimed album ever released. It was named the 42nd best album of the 1980s by Pitchfork Media in 2002 and the 36th best Canadian album by Chart in 2000. It was also ranked 62nd in Bob Mersereau's book The Top 100 Canadian Albums in 2007.

The recording sessions
According to the band's website [2], the direction of The Trinity Sessions was influenced by music they heard while touring the southern United States in support of Whites Off Earth Now!!. The lyrics and instrumentation of the album were lifted from the classic country groups the band was exposed to, and the song "200 More Miles" was written in reference to their life on the road.

As they had on Whites, the band wanted to record live with one stereo microphone direct to tape. Peter Moore was enlisted and suggested the Church of the Holy Trinity in Toronto for its natural reverb. To better persuade the officials of the historic church, the band claimed to be The Timmins Family Singers and said they were recording a Christmas special for radio. The session began on the morning of November 27, 1987. The group first recorded the songs with the fewest instruments and then the songs with gradually more complex arrangements. In this way Moore and the band were able to solve acoustic problems one by one. To better balance Margo Timmins's vocals against the electric guitars and drums, she was recorded through a PA system that had been left behind by a previous group. By making subtle changes in volume and placement relative to the microphone over six hours, Moore and the band had finally reached the distinctive sound of the album by the time the last of the guest musicians arrived at the church.

The band was unable to rehearse with most of the guest musicians before the day of the session. Considering the method of recording and time constraints, this could have been disastrous for the numbers which required seven or more musicians, but after paying a security guard twenty five dollars for an extra two hours, the band was able to finish, and even recorded the final song of the session, "Misguided Angel", in a single take.

Contrary to popular myth, the album was not entirely recorded in one day. In the hustle of the first recording session, the band forgot to record "Mining for Gold". Margo and Moore recorded the song a few days later during the Toronto Symphony Orchestra's lunch break.

[Rilands]

Originally Posted by cmalak

James..."celebrity sale" = 25% mark-up from list price

Agree about the mark-up.

Honestly, I would find it much more of an endoresment if one of the more reputable guys from AA bought it.

[James Tanner - Bryston]

MUSICIANS ARE PEOPLE TOO

Hi Folks – I think there are a number of misconceptions out there about musician’s audio systems. It’s true that they may listen for different things like timing and such when performing or recording, but most have home systems as well and depending on their specific interest in audio reproduction their systems are as varied as the rest of the world. I have heard many systems in artists’ homes, some good some great and some awful – same goes for many audiophiles.

The one area were musicians can sometimes differ is they may choose their audio system based on their particular bias or perspective (don’t we all!), So if your a drummer or saxophone player or violin player sitting within the group and hearing from that perspective their audio system may reflect that arrangement. Whereas the rest of use get to sit in a listening position whether it be a concert hall or a recording studio or a nightclub or a rock concert and tend to choose audio products that portray a similar perspective to the venue we prefer.

Also there are many musicians out there that are extremely anal about there finished material and the quality it represents in the market – Neil Young is one that comes to mind immediately.

One last point – I think you have to give some credit to people that spend their lives in the company of live instruments. I learned about 3D holographic imaging and soundstage from a recording engineer way back in the 60’s when I thought audio have two levels of quality – loud and louder.

So I think it is a serious mistake to just lump everyone together and assume every person who happens to be involved in the music business have inadequate audio systems.

.James

PS – I heard Oscar Peterson’s system way back in the 80’s and it was excellent.

[f1 fan]

Oscar Peterson and The Cowboy Junkies are wonderful musicians

Dave

[TubesTrans]

Bdp-1?

[James Tanner - Bryston]

Originally Posted by TubesTrans

Bdp-1?

http://www.audiocircle.com/index.php?topic=82098.0

jamse

[Rilands]

Originally Posted by James Tanner - Bryston

MUSICIANS ARE PEOPLE TOO

Hi Folks – I think there are a number of misconceptions out there about musician’s audio systems. It’s true that they may listen for different things like timing and such when performing or recording, but most have home systems as well and depending on their specific interest in audio reproduction their systems are as varied as the rest of the world. I have heard many systems in artists’ homes, some good some great and some awful – same goes for many audiophiles.

The one area were musicians can sometimes differ is they may choose their audio system based on their particular bias or perspective (don’t we all!), So if your a drummer or saxophone player or violin player sitting within the group and hearing from that perspective their audio system may reflect that arrangement. Whereas the rest of use get to sit in a listening position whether it be a concert hall or a recording studio or a nightclub or a rock concert and tend to choose audio products that portray a similar perspective to the venue we prefer.

Also there are many musicians out there that are extremely anal about there finished material and the quality it represents in the market – Neil Young is one that comes to mind immediately.

One last point – I think you have to give some credit to people that spend their lives in the company of live instruments. I learned about 3D holographic imaging and soundstage from a recording engineer way back in the 60’s when I thought audio have two levels of quality – loud and louder.

So I think it is a serious mistake to just lump everyone together and assume every person who happens to be involved in the music business have inadequate audio systems.

.James

PS – I heard Oscar Peterson’s system way back in the 80’s and it was excellent.

Now Neil Young would be a great endorsement that might catch my eye. But I don't think he is, right?
.