|1||–The Duckworth Lewis Method||The Age Of Revolution|
|2||–The Panics||Get Us Home|
|3||–Angel Brothers||Same Sky, Different Planet|
|4||–The Very Best||Ntende Uli|
|7||–Twisted Tongue||Got A Really Good Thing|
|8||–Stackridge||Long Dark River|
|9||–Richmond Fontaine||The Boyfriends|
|10||–Medusa||I Become I|
|11||–Thomas Dybdahl||B A Part|
|12||–The Cave Singers||Beach House|
|13||–Little Dragon||Looking Glass|
|14||–Young Rebel Set||Billy Died|
|15||–Jesse Fuller||San Francisco Bay Blues|
Now Hear This is the second and final studio album by hard rock band Howe II, released in 1991 through Shrapnel Records. Following the album's release, guitarist Greg Howe would re-focus on his solo career, beginning with his 1993 album Introspection.
Various – Slimjim Now Hear This. Selo: Sony Music Custom Marketing Group – A 70840. From The Album "Songs For the Restless" Track 9 - Taken From The Album "Chain gang Of Love" Track 10 - Taken From The Album "MFZB". Código de Barras e Outros Identificadores. Mastering SID Code: IFPI L329.
Now Hear This! isn’t just a collection of fuzz and fury – though the lead on Barry Allen’s And My Baby’s Gone is quite likely to melt your speakers (or clear the room of String-A-Longs fans). Petty signed bands with chart potential and several groups featured here, such as the Chances, the Cinders (featuring a young JD Souther wailing away like Roky Erickson) and the Cords were Petty-sponsored combos. Major Canadian act Wes Dakus’ Rebels sought him out to handle their recording career
Hanson (also known as Junior Marvin's Hanson) were a British-based rock band formed by Junior Hanson in 1973 and were signed to Emerson, Lake and Palmer's record label Manticore. Their debut album Now Hear This, was released in 1973 and featured Bobby Tench. At the beginning of 1974, Junior Marvin disbanded the existing line-up and reformed the band for the recording of a funk rock album Magic Dragon, which was released later that year. Side One. "Traveling Like a Gypsy" - 6:15.
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The net result is a track or album that is loud all the time, non-stop, whether the material warrants it or not. But the process I just described has some grave side effects. In essence, as all the levels are pushed higher and higher, the music’s fidelity starts to degrade. This is why I’m now taking mastering into my own hands. Been through 4 mastering engineers in the last 3 years, all of whom bricked our recordings despite me pointing out clipping, distortion, and overall loudness. I take blame for early mixes being poor, but things have changed dramatically over the last year.