屋外用自立盤　分電盤　4回路

Best known for their huge international hit single from 1965, ‘Concrete And Clay’, Unit 4 + 2 were a part of the British Beat explosion, with a strong emphasis on vocal harmony. Their guitarist was Russ Ballard, who later enjoyed further fame with Argent and as a solo artist.
The band four hits in total, the others being their debut 45 ‘Green Fields’ (No. 48, 1964), ‘(You’ve) Never Been in Love Like This Before’ (No. 14, 1965) and ‘Baby Never Say Goodbye’ (No. 49, 1966).
Unit 4 + 2 signed to Decca in 1964, enjoying notable success and recording a string of singles, an EP and an album for the label before over a three-year period…

The second recording and first studio set by the L.A. Four matched together Bud Shank on alto and flute, guitarist Laurindo Almeida, bassist Ray Brown, and drummer Shelly Manne for a diverse yet consistently enjoyable program. The selections range from "Dindi" and "Manteca" to "St. Thomas" and a 13-minute exploration of "Concierto de Aranjuez." As usual, the band mixes together bossa nova and Brazilian jazz, some touches of classical music, and cool-toned bop. Recommended as a strong example of the group's appealing sound.

San Francisco's 4 Non Blondes burst onto the national scene with their massive, neo-hippie anthem "What's Up" from their debut Bigger, Better, Faster, More? Although they failed to recreate the single's success, the album, as a whole, is a fairly engaging mix of alternative rock, quasi-funk, and blues. The focal point is on lead singer Linda Perry who also plays guitar and was the primary writer of the material. Perry has a powerful set of pipes akin to Johnette Napolitano, but, unfortunately, she tends to cut loose when a little more restraint would benefit the proceedings. However, "Superfly" is a feel good, funky number and "Spaceman"'s yearning lyrics are delivered over a quiet, martial drum rhythm. A solid debut that got lost in the wake of its mammoth hit.

Decca/London introduced Phase 4 Stereo in 1961. For classical music, the Phase 4 approach was based on miking every orchestra section individually, along with mics for selected instruments – up to a maximum of 20 channels, which were then mixed via a recording console. This resulted in a dynamic, in your face sound with relatively little hall ambience. The quality of the sound mostly depended on how skillfully the recording engineer balanced each channel – and the results were not always consistent. Thus, the Phase 4 sound was the antithesis of the minimally miked, “simplicity is wisdom” approach of the RCA’s early Living Stereo and Mercury’s Living Presence recordings, along with Telarc’s early digital recordings.