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The Beatles Treasure Hunt Collect the missing words. ... YouTube. more_vert. 3 days of the week. 3 days of the week. She Came In Through The Bathroom Window (Remastered 2009) by The Beatles - Topic. YouTube. more_vert. 2 adjectives. 2 adjectives. The Beatles - Hello, Goodbye. by TheBeatlesVEVO. Most 2009 Beatles CDs were mastered from the original, stereo analog master tapes, but 'Help' for example, was remastered from producer George Martin's 1986 digital master. 'Help' is not one of ... Tomorrow is the day (9/9/09) millions of music fans have been waiting 22 years for: The Beatles' studio back catalogue, remastered and available in two lavish CD box sets, The Beatles In Mono and The Beatles Box Set: Remastered In Stereo, goes on sale.These collections - the mono set is available for a limited time only and the stereo discs can be purchased individually or in the big black box ... The Beatles Abbey Road FULL ALBUM Stereo Remastered. Mail.Ru ... The Beatles - 'Beatles For Sale' (2009 Stereo Remastered) [F... 9 871 просмотр ... The Beatles' Let It Be movie is to be remastered and re-released for its 50th anniversary in 2020, according to Paul McCartney. September 20, 2018 The Beatles Let It Be Naked Digitally Released ... show to benefit black lives matter global network, the david lynch foundation, musicares and wateraid. show to air on youtube on july 7, 2020 at 5pm pst featuring performances from starr, paul mccartney and joe walsh and gary clark jr, sheryl crow, sheila e, ben harper. ringo also continues his peace and love initiative and invites everyone everywhere to think, say or post #peaceandlove at ... The Beatles were one of the first bands to make promotional clips for their singles in the 1960s, when the demands of touring and the media's insatiable appetite for personal appearances meant they would never be able to fulfil demand. This page contains clips featuring The Beatles. There are also video pages for John Lennon,... The Beatles A To Z Songs Stereo Remastered by The Beatles Channel. Publication date 2019-07-07 Topics The Beatles, UK British Band, ATOZ Title Songs Language English. John, Paul, George & Ringo, Remembered 1962-1970 Final Albums. Addeddate 2019-07-08 03:41:24 External_metadata_update 2019-07-29T17:54:50Z 'Help!' 2015 Giles Martin remix (51 seconds) 'Help!' Ron Furmanek remix (51 seconds) The first mix is very strident. This remix kinda mirrors the original stereo mix (not as wide) BUT the lead guitar has been doubled up either with a delay (ADT) or editing (pasting in guitar from elsewhere in the song) so that it appears in both channels. Pepper’s Lonely Hearts Club Band came in May 2017; The Beatles (best known as The White Album) in November 2018; and Abbey Road in September 2019. All were remastered by Giles Martin, son of the ...
Super Mario 3D All-Stars - Review Thread
2020.09.16 15:57 PhazonJimSuper Mario 3D All-Stars - Review Thread
Super Mario 64, Super Mario Sunshine, and Super Mario Galaxy are three near-perfect platforming adventures. In my opinion, they are must-play games that everyone should experience at some point, and what better time then now on the Nintendo Switch.
Super Mario 3D All-Stars offers one of the best collection of Super Mario Games ever made, even if the upgrades and presentation of the whole collection could have deserved a lot more love for details. If you wanna experience Super Mario Sunshine and Galaxy in its best form yet, you should definitely get this.
Super Mario 3D All-Stars is a great way to celebrate the past and whether you're a new or old friend of Super Mario, this collection is a greatest hits collection of 3D Super Mario titles. Aside from missing Super Mario Galaxy 2, it's hard not to recommend this to anyone. It's a little lite on bonus features but you do get the soundtracks to each title.
Despite collecting three of Mario's most well-known games, Super Mario 3D All Stars doesn't justify their porting onto the Switch. With minimal improvements, few features that truly make it feel like an "Anniversary celebration" and some bafflingly lazy design choices, 3D All Stars feels like more like a quick cash grab.
Well, it was never in doubt really, was it? Super Mario 3D All-Stars represents the pinnacle of platforming goodness and with perfect ports, as well as top notch optimisation for the console, it's a must-buy.
These are some of Mario's best outings and all three titles hold up remarkably well. The package favours authentic recreations rather than adding new content or updating them too much, which will please most fans.
Super Mario 3D All-Stars, as barebones as it might be as a compilation, is a great way to experience (or re-experience) these games all over again. It was a joy running through all three of them even if they weren't strictly upgraded. That goes double for Mario Galaxy, as this is going to be my preferred way to play it from now on.
For those whose favorite games list features the three titles in this collection, you’ll probably be over the moon with the opportunity to play them all at any time on either your TV or on the go. Those who missed out on these entries in gaming history will likely have a tough time adapting to their controls but will find wonder and joy in playing Super Mario Galaxy.
All three of the games have historical worth, remain highly playable today, and are ported competently enough that they work. You're not going to suddenly find Bowser unbeatable because bugs have trashed what was once a great game. However, this is Nintendo's most valuable property and mascot, and it's amazing that the company didn't do more with this package than they have here.
Super Mario 3D All-Stars is an amazing retrospective that shows us the first few steps that the series took going into three-demensional space. Even in this original form the trilogy easily stands tall among most modern games with it's timeless game design. All we can do now is just appreciate this masterpieces and celebrate Mario's anniversary together.
Super Mario 64 keeps its whole interest from historic and nostagic points of view, a revolutionary approach that Super Mario Sunshine spreads in every sense of the word, while Super Mario Galaxy takes off literally outer space, among the brightest three dimensional platformers. Such true ports preserve these masterpieces' authenticity, but the Super Mario 3D All-Stars title suggested more, both in content and style. Brilliant HD renditions with fully available soundtracks on the go don't shine enough to overshadow some old issues and Super Mario Galaxy 2's glaring omission from this otherwise stellar collection.
Whether the year it was released has affected the way Super Mario 3D All-Stars came together, we'll probably never know, but it still comes with a wholehearted recommendation simply due to the quality of the games.
With the crumbling edifice of the world being chipped away every day by the chisel of COVID-19, it's a welcome comfort diving back into these three games and reliving the classic days of Mario's early adventures in the third dimension.
Although I have my qualms with this collection—strange inconsistencies in the Super Mario Sunshine port chief among them—it does what it set out to do: chart Mario’s evolution from a bushwhacking pioneer to the inimitable mascot of 3D platforming.
Although nothing here is likely to change your opinion on any of the titles, most people who have played these games don't need any convincing. Each game holds up very well and shines behind its own compelling strengths.
We've had an absolute blast playing through these three gems all over again, especially now they look sharper than ever. It's a shame that the presentation is practically barebones with no bonus content beyond the soundtracks, but there can still be no denying the quality of the games on offer here. This is the Beatles' Greatest Hits of the video game world, and is an absolute treat whether you're reliving it in HD or discovering it for the first time.
Updated, sharper textures for Super Mario 64, widescreen support for Super Mario Sunshine, and diverse new control options for Super Mario Galaxy, each bring welcome additions to their respective games. While yes, the updates are restrained somewhat in their ambition, the end result is undeniable. Even if some elements show their age, this is without a doubt, the best, and most versatile release these three classic 3D platformers have ever received.
Super Mario 3D All-Stars is another must-own game for Nintendo Switch. It brings together three games from three different generations and shows just how timeless the Mario franchise is. At the same time, it is a shame that Nintendo didn't celebrate the iconic franchise a little more throughout the presentation of the package.
Super Mario 3D All-Stars is a decent bundle of games, though Super Mario 64 has aged poorly with clumsy controls, muddy visuals and no real effort by Nintendo to remaster or re-energise the game for the umpteenth platform you’ve just bought it on. Again. Super Mario Sunshine is a vast improvement upon that (and it should be, published five years later), though Super Mario Galaxy is truly the pick of the bunch, a game as great now as it was back then. Rosalina for life.
Super Mario 3D All-Stars is a good collection, but more because of the games it contains than because of Nintendo's effort in making it. The absence of extras and of Super Mario Galaxy 2 are an unpleasant disappointment.
Much like an actual 35th birthday party (I assume), Super Mario 3D All-Stars just feels a little halfhearted. It bundles together three great platformers, all of which benefit from the bump up to HD resolutions, and Nintendo have done well to adapt the varying controls to suit the Nintendo Switch, but there's a squandered opportunity to enhance and go beyond this in a meaningful way. Maybe Nintendo are saving themselves for the big five-oh in 2035?
There’s no denying that Super Mario 64, Super Mario Sunshine, and Super Mario Galaxy are at the top of the list of Nintendo’s most outstanding games, and the 3D All-Stars collection serves as a retrospective and reminder of Mario’s growth over the course of 11 years.
The Super Mario 3D All-Stars collection could stand a few more extras. Customizable controls would be great, as would sound options, design documents, or artwork. When you think about everything the original All-Stars offered-three graphically upgraded Mario games, plus a "lost" game-3D All-Stars is a bit lacking. That said, the games in Super Mario 3D All-Stars still hold up today. I'm surprised how fun Super Mario 64 still is, and Super Mario Galaxy remains one of the heroic plumber's best outings. As for Super Mario Sunshine, well, that's still up to personal taste.
Super Mario 3D All-Stars is brimming with charm and fun. It's surprising that these games released so long ago because they have held up beautifully and thoroughly prove Nintendo's brilliant level of creativity over the years. Here's hoping for many more games to come!
Super Mario 3D All-Stars contains three legendary games, and this package allows you to experience all of them, the way you remember them. Whether or not these games hold up as competitive, contemporary pieces of entertainment is one question, but they do serve as an amazing time machine taking me to the moments I shared with friends and loved ones years ago, and this is a perfect way for you to form new memories with yours. This is three of the very best 3D platformers of all time, at their best.
2020.06.13 11:20 Snes37song quotes #8: "D'You Know What I Mean?" by Oasis
the song: " D'You Know What I Mean?" was published in 1997 as first single from the third album "Be Here Now" from the british band "Oasis". The song reached many top charts in different countries. It earned platinum status in UK and got a remaster in 2016. It was written by Noel Gallagher. Gallagher said once in an interview " "The morse code in the background was inspired by Strawberry Fields. " So the song has some references to "The Beatles" and their songs. It's about a person who thinks about his situation. the music video: I'll sum the video up in following dialogue between the director and the band members: director:" How many helicopters do you want?" Oasis: "Yes." original video: https://www.youtube.com/watch?v=GjwRIjrC4io remaster from 2016: https://www.youtube.com/watch?v=jyJU2136ym4 the quotes: SPOILERS AHEAD If you see a text like this: [text] that means that I edited something to it that werent in the quote originally. I made this so that you can understand my thought process a bit better. Step off the train[she searches there for Omid and Christa] all alone at dawn Back into the hole where I was born[alone again] The sun in the sky never raised an eye to me[out of luck] The blood on the tracks[the people who died], and they must be mine [her fault] The fool on the hill[Omid+Christa], and I feel fine Don't look back 'cause you know what you might see -> Clementine at the end of season 1 Look into the wall of my mind's eye [the disturbance] I think I know, but I don't know why The questions are the answers you might need Coming in a mess, going out in style I ain't good-looking, but I'm someone's child No one can give me the air that's mine to breathe -> Clementine thinks about the reasons why all this happens and who could protect her I met my maker [her mind] I made him cry And on my shoulder he asked me why His people won't fly through the storm [her people left her] I said, "Listen up man, they don't even know you're born"[they don't know what she is able to] -> Clementine making up her mind about other people All my people right here, right now D'you know what I mean? Yeah, yeah All my people right here, right now They know what I mean yeah, yeah -> Clementine talking to imaginary Lee that she's fine in her group I don't really care for what you believe So open up your fist or you won't receive The thoughts and the words of every man you'll need Get up off the floor and believe in life No one's ever gonna ever ask you twice Get on the bus and bring it on home to me -> Clementine tries to convince Sarah to come with her I really love this song. Sorry for taking a song from Oasis again. I'll take another artist in the next post of this series for some change. Feel free to suggest a song. That's it for today.
In late December 2017, after years of waffling, I purchased my first turntable, an Audio Technica AT-LP5. I took the plunge because I felt like I needed something to help re-establish my connection to music. Overall, I had been feeling really disinterested, and that bothered me. I spent most of my life up until about 2012 or so listening to, collecting, performing, or studying music, so I needed something new to, as Al Pacino put it, “pull me back in.” As of May 2020, I’ve reached the milestone of having collected my 100th record. To mark the occasion, I thought it would be fun to write about the things that I’ve learned about vinyl since 2017, as well as share some of my experiences. This will be a two-part miniseries. Since everyone loves lists, the first part will be the top 10 records out of my collection that have brought me the most joy. So here we go, in no particular order... Ramones - Rocket to Russia (Sire, 1977) https://preview.redd.it/tjgh32ssk6051.jpg?width=4032&format=pjpg&auto=webp&s=e7803534b4f20f8d8061d004ab3609137a12cc1e I always liked the Ramones, but never really loved them until after college. Around the time that Joey Ramone died, I had downloaded Hey! Ho! Let’s Go: The Anthology and realized what an amazing band they were. They have so many good songs. This album, their third LP, and like most of the albums in this list, is great from start to finish. Bassist Dee Dee Ramone, totally overshadowed by Joey and Johnny in terms of bravado, shows what a killer songwriter he was on this, arguably their best album, and their final album with the original lineup. And whoever posed for The Rolling Stones’ Sticky Fingers album cover photo, Dee Dee would like a word. Anyhoo, my pressing is the 2018 remaster. It sounds perfect. “Rockaway Beach,” “Sheena Is A Punk Rocker,” “Teenage Lobotomy,” “Cretin Hop,” “We’re A Happy Family,” not to mention their snotty covers of “Surfin’ Bird” and “Do You Wanna Dance?” Find me a better summer album. The Beatles - Abbey Road (Apple, 1969) https://preview.redd.it/yomi87ztk6051.jpg?width=4032&format=pjpg&auto=webp&s=dcd1fec829c3843bbc4d0fe699e1746f7a26ca28 This is a Japanese 1st pressing of my favorite Beatles album, which I picked up at Jet Set Records in Kyoto, Japan. It’s in very good shape overall. The original obi strip, the green paper sash in the picture above, is intact. Obi strips, which contain info about western releases for the Japanese market, are common on Japanese records and CDs, as well as other media. I gave it a good cleaning when we got home, and it sounds heavenly. Better than the recent remaster, in my opinion. Japanese used records are great to buy because often they are very well cared for, and the stores that sell them provide meticulous information on the label regarding the condition of the media, cover, and inserts. Everyone knows Abbey Road, so I’m not gonna wax poetic about it. I’ll just say that the Beatles really know how to call it day, don’t they? This is probably my favorite Sunday afternoon record. Sleep - Sleep’s Holy Mountain (Earache, 1992) https://preview.redd.it/enlpo62yk6051.jpg?width=4032&format=pjpg&auto=webp&s=f573e62cec0678d61cdea25c905598b4ab5b2c0b There are very few genre-defining albums in this world. Holy Mountain is one of them. In releasing it, Sleep basically created “stoner rock.” They may not have done it first, but you can definitely argue they did it best. Years ahead of its time, or maybe decades behind, Holy Mountain’s stripped down, riffed out, hazy, heavy, trippy take on the metal style that Black Sabbath created in the early 1970’s was totally unique upon its original release in 1992. Sleep flew under the radar for most people until the late 90’s when dozens of similar bands began emerging. This album doesn’t offer much in the way of variety, but it’s definitely an experience. This purple pressing is from Earache’s FDR (Full Dynamic Range) series of reissues, and it sounds as good as can be expected of a “lo-fi” recording. The artist wasn’t going for shimmering production, and didn’t need it to get their point across. Ryo Fukui - Scenery (Nadja, 1976) https://preview.redd.it/grwxt5gzk6051.jpg?width=4032&format=pjpg&auto=webp&s=58477ac65df6cda4b2cb9a558c4c64ab7a6f3b68 I have to thank YouTube’s recommendation engine for this one. Virtually unheard of outside Japan until a few years ago, this 1976 album’s fresh take on trio bebop totally floored jazz-craving YouTubers, including me. I heard the album shortly before heading to Japan, and when I got there, I looked high and low for a copy, and struck out. Too trendy at the time, I guess. Thankfully, a Swiss label called We Release Jazz put out a masterful reissue of this, and I snagged one. Ryo Fukui’s trio is like a breath of fresh air. His piano playing is succinct, tasteful, and at times, astounding. He morphs seamlessly between melody and solo. His rhythm section is as tight as a snare drum. People like me are thankful that during the 1970’s, when acoustic jazz in America disappeared nearly altogether, Japan was more than happy to pick up the slack, where demand remained strong. If you like piano jazz, this album is for you. Misfits - Walk Among Us (Slash, 1982) https://preview.redd.it/zngi6qd0l6051.jpg?width=4032&format=pjpg&auto=webp&s=ee46c2aaee325590e6a9056de82ef0ea38d1b500 I started listening to the Misfits in 1995, and this was the first tape of theirs that I bought. I was instantly hooked. Out of print on vinyl for many years, it only recently started getting repressed. My version is the 2019 Earache remaster, the first ever official remaster of the album. It sounds flawless. Prior to owning this, I had bought the Rhino repress from 2018 and was super disappointed with the mastering. The Earache version fixes everything wrong with that one, and in my opinion, should be considered the definitive release. It was even granted Earache’s coveted MOSH666 catalog ID, a notable achievement for a label that helped define heavy metal. For a band whose production, especially early on, was a bit rough, this shows how good they can sound when produced properly. Walk Among Us was their full length debut, which is a shame in a way, because they would break up a little over a year after its release. The LP is full of golden-era Misfits gems: “Skulls,” “Vampira,” “Night of the Living Dead,” “Astro Zombies,” “I Turned into a Martian,” and on, and on. It’s easily my favorite Misfits album, and probably my favorite punk album. Paul Simon - Graceland (Warner Bros., 1986) https://preview.redd.it/wbxwsmb1l6051.jpg?width=4032&format=pjpg&auto=webp&s=a3ef5762c3a35b7a3f3ec5164a8b1254d504bac3 This is a great example of an album that I adore from an artist I’m rather ho-hum on. I’m not a Paul Simon fan, nor a Simon and Garfunkel fan, but Paul hit this one out of the park. I love everything about this LP, even when it can be quirky and at times, a bit abrasive. The South African rhythm section lays down a beat so captivating that almost any tune on the record can get stuck in your head. Ladysmith Black Mambazo, the choral group featured on most tracks, provide the perfect compliment to Simon’s understated vocal style. “Diamonds on the Soles of Her Shoes” stands out for me as the best example of this. Such a beautiful melody. My version is the 2012 Columbia Legacy remaster. I’m most sure this one required a remaster, as the original release was pretty much perfect, but the remaster is great as well, just mixed a bit louder. Everyone knows “You Can Call Me Al” from the iconic music video featuring Chevy Chase, but my favorite track, along with “Diamonds,” is probably the title track. It has a hypnotic beat and heartwarming lyrics about Paul Simon’s road trip to Graceland with his young son. A high water mark in 80’s pop music for sure. Stan Getz / Joao Gilberto - Getz/Gilberto (Verve, 1964) https://preview.redd.it/93iw0172l6051.jpg?width=4032&format=pjpg&auto=webp&s=72598a35988ec8cb579b622c06c70a6a6ea055d3 The ultimate smooth. That’s the best way I can describe Getz/Gilberto. As the album that first brought bossa nova to white audiences back in 1964, this LP has been turning heads for decades. The highlight is neither Stan Getz nor Joao Gilberto, but Joao’s wife Astrud, lending her sweet, angelic voice to the album’s crossover hit “The Girl from Ipanema” as well as “Corcovado (Quiet Nights of Quiet Stars).” That’s not to say that Getz or Gilberto are slacking in any way, quite the opposite. Gilberto’s got quite a voice himself, and his guitar playing is beautifully sublime. Getz provides gorgeous tenor sax melodies throughout to prove that jazz and bossa nova are not just friends, but brothers from another mother. My wife and I both love this record, and it’s in heavy rotation in our living room. This is the Verve 2018 repress. It’s as quiet and lovely a piece of wax as any I own. Willie Nelson - Red Headed Stranger (Columbia, 1975) https://preview.redd.it/8q367ksqw6051.jpg?width=4032&format=pjpg&auto=webp&s=4d2dc74c4828bc77c049002193d249c18a1337a0 Willie has so many great albums, but I think this is his best. It’s just stripped down cowboy storytelling. Songs of love and sadness. Dare I call it a concept album. This is the 2019 repress, and it sounds as good as one would expect a classic, timeless album to sound. When Willie sings, I listen, especially if he’s got a story to tell. My favorite tunes are probably the title track and “Blue Eyes Crying in the Rain.“ For those that hate country music, try this album on for size. Entombed - Left Hand Path (Earache, 1990) https://preview.redd.it/jv6o81t3l6051.jpg?width=4032&format=pjpg&auto=webp&s=e8dc44281bc41dd1e8bb30d24b86d42334c07fbc Back in my teenage years, I used to subscribe to Relapse Records’ mail order catalog. Relapse sold all manner of metal music and merch. They usually gave brief reviews for the more popular metal albums they sold, maybe two to three sentences. Their review for Left Hand Path was only one word: “Classic!” Now I understand why. I did listen to Entombed back then, but only Wolverine Blues. Left Hand Path laid the blueprints for the metal subgenre that came to be known as “death ‘n roll” and more generally, “the Swedish sound”. I usually put this album on late at night when I’m half in the bag. Every note is perfect. It’s a real shame that Lars Göran Petrov was forced to quit before they recorded their follow-up, Clandestine, which I also dig, but find lacking in the vocals. I like their other records, but this is the only 10/10 record they made. This copy is Earache’s FDR silver vinyl. Much like the Sleep and Misfits records in this list, I have zero complaints about the sound of Earache’s pressings. The title track is in the top 5 metal songs ever, in my opinion. Found out recently that Entombed used the Boss HM-2 Heavy Metal guitar pedal on this record, which is the core component of their sound. I had one myself as a teenager, and was quite fond of it. Lost Years - Amplifier (Rosso Corsa, 2013) https://preview.redd.it/ahrb2ls4l6051.jpg?width=4032&format=pjpg&auto=webp&s=855d46d79ac148fcd30a79469d7d36896719c15e From about 2012-2017, the only new music that brought me any joy was this type of retro synth electronic music. Lost Years’ Amplifier represents everything that I love about vaporwave or synthwave or neowave or retrowave or whatever the hell you wanna call it. I’m hazy on the whole electronic genre thing, but I’m rock-fucking-solid on Lost Years. Everything they put out is killer. Vintage FM synth done right. Feels the like soundtrack to the greatest 80’s action movie that never got made. Brilliant pressing from Rosso Corsa, who, by the way, are a great source for this type of music. They really need to release Black Waves, their previous LP, on vinyl. There’s lots of other artists that make this type of music, but I think Lost Years does it best.
The following are playlists on the Net by the Band-Maid members. (I removed Band-Maid songs here.) Their musical tastes are so diverse and changing you can hardly judge them from their past playlists, except for several repetitive choices. I quote Saiki’s words from an interview in September 2018:
We haven’t been through hard rock so much, in a good sense, and we’ve been pursuing hard and cool sound by taking in good points of various music. We consciously do it.
2020.05.03 22:02 PearspongeThe background of the songs on Cold Spring Harbor
Welcome to Album Backgrounds, where I for the next 12 weeks will go through all 12 of Billy Joel’s studio albums and write about the album and songs, and what inspired writing them. I will start where all good starts are, at the beginning. Joel’s first album: “Cold Spring Harbor” was released in 1971 and tells a story of drama, love, and depression. It’s one of my favorite albums, and I believe that to really appreciate it, you have to know the story behind the songs. Because most of the songs have to be explained in the context of each other, they will be in the wrong order this time. At the time of writing this album, Billy wanted to be a songwriter. However, he was told that if he wanted to be heard he should record the songs himself. After recording the songs, the album was mastered at the wrong speed, and Billy came out “sounding like a chipmunk”. Let’s set the stage of Billy’s personal life up until writing these songs. Former “The Hassles” members Billy Joel and John Small had just started the psychedelic rock duo “Atilla” and they had released one album without any major success. Now, Jon Small had this wife, Elizabeth Weber (she will become important later) and Joel lived with them. When Small went to work during the day, Billy and Elizabeth would get together and have an affair. Enter stage left: Cold Spring Harbor. She’s Got a Way: Joel starts of his solo career with one of his greatest love songs: She’s Got a Way. The song was apparently inspired by “Something” by The Beatles. She’s Got a Way is written about Elizabeth Weber and Billy is clearly in love, and the lyrics tell a story of her being the light of his life. In the song, Billy says that “I know that I can’t live without her”. Remember this quote for later. You Can Make Me Free: Where She’s Got a Way was about his love for Elizabeth, I think this song is more about their affair. Once again, the song reflects that Weber is the light of his life. She can melt the ice that chills his body and dry his every tear. The song is much more upbeat and Joel seems happy while singing it. In the distance, however, there is a storm coming. The guilt of sleeping with his best friend’s wife became too much for Billy and he wanted to come clean. Weber, on the other hand, told him that if he told Jon, she would leave them both. Jon ended up finding out, and Elizabeth left them temporarily. Why Judy Why: Judy is the name of Joel’s sister who he was very close with. The song is a tender cry for comfort from a broken man. Elizabeth Weber, the light of his life had left him and he was broken. His life was not looking good: he had no success in his music, Elizabeth had left him and he and Jon weren’t on the best of terms. “Why Judy Why” continues the trend of Billy not being able to live without Elizabeth: “I wanna die, I wanna die”. Turn Around: “Turn Around” is Billy’s plea to Elizabeth for her to return. As we remember from earlier, she had run away, and no one knew where she was. In the song, Joel sounds more hopeful and he tries to remind Elizabeth of what they had, while at the same time saying sorry. While the song sounds hopeful, Billy has hit rock bottom. The original version of the song from 1971 had a backing steel guitar, but this was removed during the remastering and in its place, they put a synthesizer. Tomorrow Is Today: At the time of writing this song, Billy was living with his manager after not being able to live at Jon’s anymore. One morning, the manager woke up to a new song on his table, Tomorrow Is Today. The song turned out to be a suicide letter, and Billy would soon find himself in a coma after drinking furniture polish. This is song is perhaps the most emotional song in his discography and with good reason. It is not clear exactly what pushed Billy over the edge, but based on the lyrics in She’s Got a Way and Why Judy Why, it’s safe to assume that it was because of Elizabeth leaving him. Nocturne: Ever since he was four years old, Billy Joel has played the piano. He has always been interested in classical music, and he enjoys writing it which he gets to do here. Nocturne means “inspired by the night”, a description fitting his life at the time. In terms of the story of the album, “Nocturne” is interesting because it technically fits in two places. In its current form, it most likely symbolizes his suicide, but there exists another version. “Silver Seas” is a demo from 1970 which adds lyrics to Nocturne (Youtube, Mediafire cleaned up by me). Silver Seas show some of his thoughts before his suicide and “Tomorrow Is Today”. Got To Begin Again: “Got To Begin Again” is a bit cryptic as it can be about multiple things. Some say it’s about having to start over again in his relationship with Elizabeth, while others say it’s about starting on a new album. Personally, I believe it’s about starting again after his suicide attempt. The main argument for this is the line “I was dreaming of tomorrow, so I sacrificed today” which stands in contrast with “Nothing comes to change my life, so tomorrow is today”. After the attempt, Joel realized that he had to make the changes himself, and he couldn’t wait for something to make it better. Elizabeth and Billy eventually came back together and were married for 9 years. This concludes the story of Billy’s personal life for now. Everybody Loves You Now: Most of Billy’s early work was not written for himself to sing, but he rather imagined other musicians singing it. As I mentioned earlier, Billy never really wanted to sing himself. “Everybody Loves You Now” was inspired by Bob Dylan and his song like a “Rolling Stone”. When writing it, it was a distant dream for Billy that Dylan would sing one of his songs. Falling of the Rain: Falling of the rain is a beautiful song about the passing of time, and about how wasting your time affects you. In later years, Joel has started disliking it and never does it live. He has apparently tried multiple times but can never finish because he thinks so low of it. You Look so Good to Me: Another song which was most likely written about Elizabeth Weber. I chose to not include it in the story above, as its placement on the album didn’t make sense in the story and the theme gets covered pretty well by “You Can Make Me Free”. And that is the background for Cold Spring Harbor. If you have a suggestion for a better name for the series, write it below. I have most certainly missed a lot, so write any additional information you may have in the comments. Next week I will cover Billy’s breakthrough album: “Piano Man”!
2020.04.28 17:54 freav[RATE ANNOUNCEMENT] 80's Alt Rock Rate: Sonic Youth vs. Pixies vs. The Replacements vs. R.E.M.
Hello everyone! I am here to announce our newest rate, and this is one that has been floating around for quite a while already. Being first suggested over 2 years ago at the end of u/kappyko 's 80's classics rate reveal (shoutout to u/LatvianRedditRacer for that) and having made an appearance in both our suggestion threads (first proposed by me, then by u/JustDiabetes), I am extremely glad that the 80's Alt rock rate is finally seeing the light. For those who haven't been part of a rate before, welcome to one of my favorite parts of this subreddit. Here is where we put (usually) beloved albums against eachother by rating their songs, obtaining an overall collective ranking which I will slowly display in our always fun and messy RATE REVEAL threads. So if you want to get incredibly mad over some great rock and roll music with guitars (and why wouldn't you), I can't imagine a better use of your time than participating in this! Here are our contestants :
First off we have what might be the more grandiose and ambitious album in this rate (even looking at the track lengths might give you an idea), I'm talking about Daydream Nation by Sonic Youth. For many their crowning achievement in an incredibly fruitful career, Daydream Nation is anxious and noisy, like feeling claustrophobic in a big city, yet feels important and anthemic, hinting at how big the grunge and alternative movement would get in the next decade. Also, since most streaming services divide it into 3 different songs, I have to point out that Trilogy consists of A) The Wonder, B) Hyperstation and Z) Eliminator Jr. (We are rating it as ONE song) Tracklist:
Just like Daydream Nation, Doolittle is also a bit of a "decade-transition" record. Despite both being incredibly direct influences in the upcoming "big" alternative acts, their approaches are pretty different. Doolittle is a concise collection or short, urgent and catchy pop songs. The elements of this band are simple (the soft-loud synamics, the snare-heavy drumming, the contrast between Kim Deal's and Black Francis' vocals, among other things), but together they add up to something nobody else could do this well. Tracklist:
We're finally diving back to (barely) the first half of this decade into one of the seminal "college rock" bands. In Let It Be, The Replacements find themselves slowly drifting away from their hardcore punk roots into a more melodic power-pop sound. One thing I like about this album is that you never know what you're gonna find. Sure you have powerful and heartfelt songs like Unsatisfied or the beautiful ballad Androgynous but they also spread out stuff like Gary's Got A Boner or a KISS cover in between. One thing's for sure, no matter what they did, they put a lot of passion in it. Tracklist:
Our last competitor is the appropriately named Murmur. Michael Stipe's vocal style makes it pretty difficult to make out what he's saying most of the time, and even if you do, it's hard to make much sense of it. But that's part of the charm really. And Murmur is a charming album, it's not just the quirk of the vocals, this record is a super likeable collection of melodic and jangly pop tunes. If you want my personal opinion, their follow up, Reckoning, is even better. But can't go wrong with the one that started one of my favorites discographies in music! Tracklist:
Rules - READ ALL OF THESE BEFORE SUBMITTING YOUR SCORES
Listen to each song and assign each a score between 1 and 10. decimals are fine, but please refrain from giving decimal scores that have two decimal spots: giving a 7.2 is okay, but giving a 7.25 will give me a headache. This is because I'm using a computer program to parse the votes and print everything out (more on that later).
Yes, you have to listen to every song. We're all in this together. I will not accept your ballot if you have a score missing, because it will crash the program (more on that later).
Your scores should NOT be considered confidential. They aren’t. Feel free to shitpost about them in the general discussion threads whenever you feel like it - users over at popheads usually just talk about their averages of the albums and what 11 and 0 they gave (which I will explain on the next bullet point!)
You may give ONE song a 0 and ONE song an 11. This is ONE song TOTAL, NOT one song PER ALBUM. Please reserve these for your least favorite and most favorite tracks; excessive sabotage ruins rate results and generally makes things less fun.
You can change your scores at any time! Feel free to PM me at any point after submission and I'll be happy to revise them for you.
I am using a computer program that the great and wonderful letsallpoo designed in order to parse these votes! While this will make things a lot more efficient and reduces errors on my part, this does mean that scores need to be sent in a very specific way. The easiest way to make sure your scores follow the necessary format is to use the pre-prepared link at the bottom of this post. PLEASE USE THAT. You can copy and paste it to a notepad file or something and fill in your scores there, but PLEASE PLEASE PLEASE PLEASE use that format to send in your scores.
If you don't follow the format, I'll still accept your ballot, but I reserve the right to publicly shame you and your inability to follow basic instructions.
Pilgrimage: 8 Looks like somebody hasn't been respecting the quarantine
These are incorrect:
Pilgrimage: 8: Looks like somebody hasn't been respecting the quarantine Pilgrimage:8 Looks like somebody hasn't been respecting the quarantine Pilgrimage: Looks like somebody hasn't been respecting the quarantine 8 Pilgrimage - 8 Looks like somebody hasn't been respecting the quarantine Pilgrimage: 8 (Looks like somebody hasn't been respecting the quarantine)
You can also comment on the albums as a whole by adding a colon after the album name and then your comment, like so:
Let It Be: This is honestly one the Beatles' worst albums
I don't want to give a tentative date for the reveal yet due to the loads of work I have for college (plus the particularly volatile state of the world right now) but I'll do it as soon as possible. All previous rates and the hall of fame can be viewed here. And that's it, happy rating everyone and stay safe!
2020.04.10 13:50 LordChozoHindsight is 2020: #126 - I Know What I Like (In Your Wardrobe)
from Selling England by the Pound, 1973 Listen to it here! We live in a musical world today where it’s pretty common for a band or recording artist to go three to five years between album releases. If it’s a new artist the label is really trying to push, maybe that condenses down to two years for that initial follow-up effort to the debut, which consists of several months of touring in support of that initial release and then perhaps a year of writing and recording. We accept this as the normal timing of things, though it does seem to me like a pretty cramped window of time to try to force creativity out of the songwriters. In 1973, fresh off the Foxtrot tour, Genesis’ label Charisma decided that the tour and album were successful enough that they could afford to be patient and generous with the band as they recorded their follow-up album. Their fifth overall and fourth on the label itself, mind you. This “generous” span of time consisted of two or three months. And the band actually relaxed a bit! It’s mind numbing to think that Selling England by the Pound formed over a single summer but that’s essentially what happened. At the outset though, there was some worry. Says Tony:
On this particular record, we were a bit stuck for ideas. There were two or three things that we knew we had. There was this riff that Steve had been playing on stage and all over the place, which we thought was really good. And we knew we wanted to do something with that. And we developed that into the song “I Know What I Like”. 1
The first twenty seconds of the song have more in common with “The Waiting Room” than with any pop song, but from there it’s every bit as prog-pop as anything that the band put out in the 80s or the 90s. Verse, chorus, verse, chorus, chorus, extended outro. Folks, that’s a pop song. The fans who vocally decry the “pop era” of the band tend to give this one a pass, probably because it was written in 1973, but this song has more in common structurally with “In Too Deep” than it does with “Supper’s Ready”. If, like me, you don’t have any qualms about Genesis producing high quality pop material, then that statement won’t prickle you. The band themselves probably would’ve been prickled, though. More Tony:
We knew we had written something that had single potential although we were a bit embarrassed about it as we weren’t supposed to be a singles band. Anyway, Charisma put it out and we refused to go on Top Of The Pops! We thought that was enough of a stand. 2
As it turns out, they have quite a bit more to say about this one, so I’ll leave them to it. Suffice it for me to point out that I think it’s the riff that makes this song work. If that riff is no good, the whole song falls apart. But it’s a great riff, so everything churns along nicely. And the band would seem to agree, having used that riff as the anchor for the ending section of the "Old Medley" during the We Can't Dance tour, allowing their other songs to weave in and out of its flow. Even if you're not a huge fan of medleys in general, it's a pretty cool moment. Let’s hear it from the band!
Tony:I had the idea of playing it on the fuzz piano and organ at the same time and because the piano was very out of tune with the organ, the whole thing had a nice quality about it even when I was just playing these very simple chords...I’ve heard the album again just recently as we have been doing some remastering and that song in particular still sounds very good. It’s unpretentious and it’s quirky; I’m pretty pleased with that song.2 Phil:That was us doing our Beatle thing. Which we didn’t see any harm in, because we had yet to have a hit single. So nobody else minded either. As soon as we had a hit single, that’s when they started to mind about us having hit singles.1 Peter:I never really loved that chorus. Of course I like my sections, but I think that was one of Tony’s melodies...and after a while I got very bored with it. But it was fun playing the sort of jerkier and jumpier melodies of the verse and doing that with Phil, and getting into this more floaty, simple chorus line.1 Steve:Phil and I used to jam on this thing. And no-one else was that keen. They said “It sounds too much like the Beatles, we’re not gonna do it.” The following album, Phil and I are still jamming away on the same thing, playing it like idiots. And the whole band joined in, it became a jam, and it became a song, it became a hit. And I remember joking about this to journalists, “Oh you should hear our latest hit single!” As if it was a done deal! And I was just joking, and then it became a hit! And I was thrilled, of course.1 Mike:You must understand that the word pop - we grew up with The Beatles. It’s the best band in the world, and they were pop. This word “pop” has become something different now. A great song is a great song…and I suppose “I Know What I Like” is one of the first songs we actually were able to sort of take a short, simple idea and develop it rather than...have too many bits in a song, you know. We took one riff and sort of made it into a song. Which is great! It’s a real character piece too, with Pete’s lyric.1 Phil:In the studio the song didn't strike us as particularly "pop", though it was of pop-single duration. We had got hold of a sitar-guitar, something used by The Beatles. Steve played the basic riff, which sounded good, I started to play a Beatle-ish groove, and it went from there. Peter's lyrics came in quite late, because they were influenced by the Betty Swanwick painting (The Dream) on the album cover. On the track, my voice is in there, in a kind of duet with Peter. And that's it. Genesis have their first hit.3
2020.04.03 13:08 Thedoors7790Full List or HD remastered old music videos
I did a little research and found these old music videos that was remastered in real HD (not upscaled dvd) quality. (i can't post links here - so i just put names of the videos - they all on youtube) Who knows more real remastered HD videos? - comment below. Oasis - D'You Know What I Mean? (2016 HD Remaster) Wham! - Last Christmas (Official 4K Video) Eurythmics - Don't Ask Me Why (Official Video) Eurythmics - Beethoven (I Love to Listen To) (Official Video) Eurythmics - Angel (Official Video) Dead Or Alive - You Spin Me Round (Like A Record) [Official 4K Video] Freddie Mercury - I Was Born To Love You (Official Video Remastered) Freddie Mercury - The Great Pretender (Official Video Remastered) Freddie Mercury & Montserrat Caballé - Barcelona (Original David Mallet Video 1987 Remastered) Freddie Mercury - Living On My Own (Official Video Remastered) Whitney Houston - Greatest Love Of All (Official Video) Bon Jovi - Livin' On A Prayer (Official Music Video) The Beatles - Paperback Writer The Beatles - Strawberry Fields Forever The Beatles - Hello, Goodbye The Yardbirds - Train Kept A Rollin' (1966) Live Video (HD quality) (last four videos not really counts cause its part of blu ray movies- but still in this list) Added later" Natalie Imbruglia - Torn (Official Video) [HD Remastered] The Who - Who Are You (Promo Video) Spice Girls - Say You'll Be There
2020.03.26 17:01 Muzak_For_A_NurseMy Top 100 Favorite Progressive Rock Songs
Unlike my past couple of long posts, this post is NOT a guide. These are straight up my opinions, with no altering to accommodate what the general consensus is. Since I listen to much more modern prog than classic, and way, way, way more prog rock than metal, that’s reflected in my list. A certain band that 99% of you haven’t heard of took the top 2 spots. The order is general but gets more precise at the top 20. Since everyone suddenly has weeks of time on their hands, I thought this would be a good time to suggest some music to you all! Take a listen or two to the songs you haven’t heard, or suggest me something you think I’d like based on my taste. Artists I Haven’t Gotten To Yet: Guthrie Govan (solo), Riverside, Pure Reason Revolution, Can, Phideaux, Mahavishnu Orchestra, Agent Fresco, Closure in Moscow, Fair to Midland, Frank Zappa, Rishloo, Muse, Big Big Train, Soft Machine, Marillion, Kevin Gilbert, Ozric Tentacles, dredg, Harmonium, Caligula’s Horse, enough listens of Cardiacs songs besides the two on this list I have a massive list of albums to listen to under quarantine, including these prog artists. But I think I’m at the point where I’m more excited to listen to non-prog or prog-adjacent music than many artists on this list, so these are just a few of the artists on my list. If I had time to digest all of these, I’m sure many would make the top 100 prog songs. Especially Mahavishnu Orchestra. 100. The Valley—Leprous (2013): Great chorus, the middle part repeats a little long but it’s fantastic. I’m just getting into Leprous, and this is probably my second favorite by them. This could end up higher on the list with more listens. Also, honorable mention to Mirage, Rewind, Slave, The Flood, The Cloak, and Mb. Indifferentia, which are all somewhere near this list. 99. Feathergun in the Garden of the Sun—Rishloo (2009): Fantastic song, blend of Tool and Soundgarden. Down so low because I’ve only heard it a few times, will probably rise when I get into this band. 98. Fiery Gun Hand—Cardiacs (1996): also desperately need to get into Cardiacs, planning to deep dive starting this week. I’ve listened obsessively to Dirty Boy and this song (but not as much). Insane guitar solo. From here on, I will have actually listened to the songs enough to rank them. 97. Mr. Invisible—Thank You Scientist (2016): great jazz fusion prog with a catchy chorus and incredibly guitar and drum playing. Dream Theater but jazzy and super fun. 96. Tom Sawyer—Rush (1981): classic song that everyone has probably heard dozens of times. 95. Pareidolia—Haken (2013): awesome, extremely well-written progressive metal (KEEP BREATHING!) 94. Hocus Pocus—Focus (1971): the live video of this song is the most enjoyable thing ever to exist. 93. Continuum—Opeth (2019): great chorus, great guitar solo, great outro. Impressed me even with the retro-prog style I’m not normally a fan of. 92. Ommadawn—Mike Oldfield (1975): The whole album is one song, and it’s very pretty, especially the last few minutes of part one. The three minutes of bagpipes drags the album down, though. 91. Starship Trooper—Yes (1971): known for the epic guitar solo at the end, but I’m a bigger fan of the middle section with the harmonies! I feel like the ending wasted that great chord progression with a just decent solo! Why did it have to fade out? Could have been 70s Octavarium… 90. Massive Bereavement—Oceansize (2003): 10 minute epic by a band you’re going to see a lot more about on this list. This is probably their heaviest song that I’m really into. Has fantastic melodies throughout, and gets really intense at the end. 89. Change—Karnivool (2009): I saw a post saying this is the best song ever written. I disagree, but it’s still pretty good. Very uplifting, which is unusual for a band that sounds like Tool or Porcupine Tree. 88. Time—Pink Floyd (1973): another one everyone’s heard and that doesn’t need an explanation. 87. Home Invasion/Regret #9—Steven Wilson (2015): Home Invasion is good, but Regret #9 sends me to another dimension. Adam Holzman’s keyboard and Guthrie Govan’s guitar solos are just insane. 86. The Lamia—Genesis (1974): nice song, one of the genesis songs that doesn’t annoy me. 85. Flying—Anathema (2003): great melodies and chord progressions, awesome outro that definitely would have been even more epic if post-hiatus Anathema did it. 84. Firebears—The Tea Club (2012): fantastic retro-prog epic with an absolutely killer intro and piano motif in the middle. 83. The Patient—Tool (2001): their most underrated song and second-best. 82. A Salesman’s Guide to Non-Existence—Thank You Scientist (2012): my favorite song by the jazz fusion/prog-metal masterminds, again with a fantastic chorus and great instrumental work by Tom Monda and the rest of them. 81. Freewill—Rush (1980): the guitar solo is one of the best I’ve ever heard. Rush at their best, with cool lyrics that I disagree with unfortunately. 80. The Prophet’s Song—Queen (1975): listen to this and try to tell me that Queen isn’t prog. This masterpiece has always been overshadowed by Bohemian Rhapsody, but this is the one with three minutes of a capella. Incredibly well-written, as May and Mercury usually do. Listen to the remastered version. 79. I Want You (She’s So Heavy)—The Beatles (1969): Abbey Road came out two weeks before In The Court of the Crimson King, but IWYSSH nails the KC spirit with THAT OUTRO. I appreciated this song a lot more having listened to prog. 78. The Widow—The Mars Volta (2005): overlooked TMV because of the album it’s on and the fact that it isn’t that weird. The melodies are just so damn good, though. 77. Hymn 43—Jethro Tull (1971): I’m not a huge Tull fan, and this is my favorite song of theirs. Great lyrics, nice melodies, and a very memorable riff. And of course, FLUTE! 76. Being Human—Bent Knee (2014): Just watch the live version of this song on YouTube (Live at Big Nice Studio). I have never seen a vocal performance like Courtney Swain’s in this video. Makes me shake. Most emotional band in prog today. Or, ever? 75. Watcher of the Skies—Genesis (1972): Not a huge Genesis fan, but when I listen to them, this song gets a lot of plays. 74. Roundabout—Yes (1971): Absolute classic that has been turned into the “To Be Continued” meme. Well, at least people get to hear it. Yes is the best classic prog band. 73. Milliontown—Frost* (2006): Dream Theater-style but not metal epic that never gets boring. Nice melodies throughout the first half and awesome instrumentals during the second half. Long af. 72. Blackest Eyes—Porcupine Tree (2002): the absolute best introduction song to the absolute best modern progressive rock artist. Heavy, Opeth-like riffing (the intro was actually “gifted” to Steven Wilson by Mikael Akerfeldt), a catchy chorus, and cool atmospheric part. 71. The Frame—Oceansize (2007): the closer to my favorite album of all time, Frames. Emphasis on the melodies and the dynamics on this one. It’s just beautiful, good enough for 4th best on the album!! 70. Harlequin Forest—Opeth (2005): my second favorite growly Opeth song, which I would recommend skipping around. Highlight here is the BIG riff in the middle of the song. Ghost of Perdition or Baying of the Hounds could also go here. 69. The Gates of Delirium—Yes (1974): massive Yes epic that’s one of the greatest prog epics of all time, especially when you listen several times to digest it. My favorite part is the middle instrumental section, which influenced The Mars Volta and Dream Theater alike. 68. 21stCentury Schizoid Man—King Crimson (1969): the beginning of what’s known as progressive rock, although I think the Beatles did it first. KC took it to another level of innovation, though. Still like the Beatles more (J). 67. Stream of Consciousness—Dream Theater (2003): the ultimate “riff pinball” instrumental, JUST ONE AFTER ANOTHER KILLING IT. Petrucci’s solo at about 3 or 4 minutes is one of the craziest things I’ve ever heard. Second favorite Dream Theater song, and I bet you can guess my favorite. 66. Selenium Forest—Plini (2016): Another beautiful instrumental, this one by Australian guitarist Plini. There’s one chord change in here that somehow manages to shock me every time. 65. A Night on the Town—The Dear Hunter (2015): The Dear Hunter write fantastic pop songs with prog-levels of ambition (and pretensiousness). ANOTT is their most well-known, for good reason. I forget how good their choruses are because there are about ten per album. 64. Summer Night Horizon—Anathema (2010): the composition on this one is next level. Anathema is probably the most underrated prog band making music today. 63. One More Red Nightmare—King Crimson (1974): lives perfectly up to its name, it’s a jazz/grunge anxiety-inducing nightmare. The sax (or some other brass instrument, idk) solos are nuts. This album is so good. 62. Meredith—Oceansize (2005): An anxiety-inducer like the previous one, really cool noise elements make it even more intense. When a song this good is third best on the album, you know it’s Oceansize. Or just I do. 61. Cassandra Gemini—The Mars Volta (2005): The longest song on this list is a 32-minute jazz, rock, prog, punk odyssey that just keeps getting better. If they cut minutes 20-28 or so, could be the best song ever! My favorite section is the buildup “Plant the Nail in the Navel Stream,” and the Zeppelin-y riff at about 5 minutes, and of course the last three minutes which run through a variety of themes from the song. Longer than some albums, and basically could be its own album. 60. Achilles Last Stand—Led Zeppelin (1976): OG prog metal. One of Zeppelin’s most underrated tracks, a 10-minute prog epic. I’m only putting LZ songs that I think are super “proggy” on this list—if not, there would be many more, especially “The Rain Song,” which cracks my top 5 songs ever. 59. Lunar Sea—Camel (1976): Legendary instrumental with a fantastic guitar solo by Andy Latimer, Camel’s best song. 58. The Spirit of Radio—Rush (1980): WHAT. A. RIFF. Neil Peart is on fire, as is normal. Reggae section drops it a little, but I still like it. 57. Soma—Smashing Pumpkins (1993): The Smashing Pumpkins drift into prog territory several times, and I think this is their best song and definitely most underrated. THE GUITAR SOLO!!!! 56. Trains—Porcupine Tree (2002): I can’t explain why this song is so good. It just is. Perfect pop song. 55. The Gathering of the Clouds—Anathema (2012): When I listen to Weather Systems or WHBWH, I’m stunned by how freaking beautiful Anathema is. There’s a crazy guitar picking thing going on here, and the composition is perfect. 54. At the End of the Earth—The Dear Hunter (2015): Another perfect pop song, slightly edging out Trains. 53. Commemorative 9/11 T-Shirt—Oceansize (2007): the intro to my favorite album starts off with a simple riff that alternates between 9/8 and 11/8 (yes, both of those things can be true). Gradually builds by adding instruments in. I can’t explain why the bass entrance is so good. The transition to the next song, Unfamiliar (which is also fantastic), slaps too—the first chord of that song resolves it. 52. Hold Me In—Bent Knee (2019): Bent Knee is the most emotional band in prog by far. Seeing this live almost made me cry. Love especially the electronic part in the second verse, and the power chord ending. 51. Crumbling Castle—King Gizzard and the Lizard Wizard (2017): I DON’T WANT TO BEEEEEEEEEEEE, A CRUMBLING CRUMBLING CRUMBLING CASTLE (in a low low voice). For fans of Tool. 50. Savant—Oceansize (2007): You’ll see another one from this album on the other side of the top 50. Again, it’s from Frames, so it’s flawless. Beautiful melodies, violins, great buildup, Savant has it all. Took a while to grow on me compared to C 9/11 T and the final song you’ll see from this album. 49. Schism—Tool (2001): Very well-known song by an overrated band (sorry, Tool fans). Fantastic lyrics, and I actually think this is their best song having listened to the whole catalog (sorry, Tool fans). 48. Routine—Steven Wilson (2015): watch the music video. Heartbreaking and beautiful. 47. Arriving Somewhere But Not Here—Porcupine Tree (2005): Yet another with an epic buildup. Classic Porcupine Tree. Solo by Mikael Akerfeldt. Damn, 2005 was a great year for prog. 46. And You And I—Yes (1972): The best song ever to be the worst song on an album. Actually, I really need to listen to Godspeed You! Black Emperor before I officially give that award. Close to the Edge is perfect. 45. Red Barchetta—Rush (1981): Despite the “motor law” being kinda cringe, the song slaps. Harmonic riffing and there’s a part that makes me headbang like no metal song ever could. My favorite song of the decade, which is a bit sad. 44. Electric Sunrise—Plini (2016): The tapping riff is my favorite thing to play on guitar at the moment. My favorite prog metal instrumental. 43. Mustard Gas—The Dear Hunter (2009): The Dear Hunter goes dark and epic, and it works. 42. Closure—Opeth (2003): The repetition of the Eastern-style theme before the abrupt ending makes this easily one of my favorite Opeth songs. Damnation is their best album. 41. The Great Gig in the Sky—Pink Floyd (1973): The best song on The Dark Side of the Moon is for some reason usually considered one of the worst. Clare Torry’s vocal performance is unparalleled. 40. Catalyst—Oceansize (2003): progressive grunge, reminds me of Cherub Rock by the Smashing Pumpkins but more interesting. Huge buildup with tremolo strumming (is that a thing?) at the end! Yet another classic by the greatest band nobody here has ever heard of. 39. Gravity Eyelids—Porcupine Tree (2002): Porcupine Tree at their most Opethy, and it rocks. Huge buildup to an epic riff. Really, really creepy through, which Steven nails better on this song than anywhere else. 38. Siberian Khatru—Yes (1972): The first seven minutes are so good that you don’t realize how fantastic the last couple are. This is the best intro song to prog that I can think of, and it’s impossible to dislike. 37. Burden—Opeth (2008): took a while for me to “get” this song, but the chord progression simply is incredible. Weird out of tune outro takes a few listens to work, though. 36. Crystallised—Haken (2014): awesome prog-metal epic. Probably the best song to introduce someone to progressive metal because of its variety. Love the a cappella Jethro Tull/Gentle Giant influenced section. 35. A Simple Mistake—Anathema (2010): imagine Opeth’s Damnation and Porcupine Tree’s Deadwing mixed together, and picture a song better than any on either album. Massive buildup here too. I tend to love those. 34. A Day in the Life—The Beatles (1967): the second best Beatles prog epic. Like Queen, Radiohead, and Led Zeppelin, I left out songs that I don’t consider “proggy” enough, like In My Life and Yesterday. Pioneered the use of noise in rock music, I think (correct me if I’m wrong). 33. Dogs—Pink Floyd (1977): officially the prog song with the best lyrics, even if I don’t agree with the general message. Every part slaps. 32. Everything In Its Right Place—Radiohead (2000): I love Kid A more every time I listen to it, and it’s my favorite quarantine album, as the world’s “In Limbo” and everyone’s got the fear. EIIRP is my favorite song on the album, as it’s just beautiful throughout. Made me openminded to electronic music, need to check out Aphex Twin now. 31. Heart of the Sunrise—Yes (1971): one of my favorite riffs ever, and the different parts layering over the first couple of minutes just RULES. 30. Golden Hour—Bent Knee (2019): made my cry when I saw it live. I REALLY WANT A LIVE VID!!! 29. Visions—Haken (2011): fantastic prog-metal epic with too many great parts to count. The story is interesting, to say the least. 28. The Sky Is Red—Leprous (2019): my favorite song of 2019 should be the go-to introduction song to rhythmic-style progressive metal. Epic, and the chord change in the bridge gets me every time. Ending slaps, too. Watch the Baard Kolstad drum playthrough on YouTube for more. 27. Wish You Were Here—Pink Floyd (1975): iconic ballad though you’ve all heard. If you haven’t, let’s hope that changes in five minutes. 26. The Drapery Falls—Opeth (2001): THE INTRO/OUTRO IS SO FREAKING GODLY AND BEAUTIFUL OH MY GOD. I always skip the growling sections, but you HAVE to listen to the first five and last two or three mins. 25. Anesthetize—Porcupine Tree (2007): I love all three parts, but the first six minutes stand out most. 24. Drive Home—Steven Wilson (2013): very Comfortably Numb-like song with probably my (second) favorite guitar solo ever from the legendary Guthrie Govan (yes, even better than the one from the other song mentioned in this sentence). 23. Shine on You Crazy Diamond—Pink Floyd (1975): you’ve all heard this. First track > second one. 22. Music for a Nurse—Oceansize (2005): Incredibly dreamy and beautiful. The effects and delay along with the powerful chorus melody make this song one of Oceansize’s best. Also, it’s my username! 21. Pyramid Song—Radiohead (2001): my favorite piano ballad. The song has an awkward rhythm that suddenly just clicks when the drums come in. Absolutely beautiful and calming. 20. New Day—Karnivool (2009): the structure of this song is verse, verse, verse, verse, breakdown, chorus, chorus, chorus. Or something like that. And it works. The riff during that breakdown is badass, and melodies are both catchy and unique. All around great song. 19. La Villa Strangiato—Rush (1978): the greatest instrumental of all time is essential prog. Check out the isolated drum track on YouTube. Neil Peart was a god. 18. Time Flies—Porcupine Tree (2009): very similar to “Dogs” by Pink Floyd, but I think Steven Wilson one-ups his idols with this masterpiece, Porcupine Tree’s best. Brilliant Opeth-like acoustic section with what I think is Steven’s best guitar solo. Perfectly written mini-epic. 17. Cygnus… Vismund Cygnus—The Mars Volta (2005): every section of CVC fills me with joy (yes, it sounds stupid, but listen to the song and you’ll get it). The crazy punky part, the massive buildup, the vocals coming in over the verse, the big bridge, and the gigantic riff which reminds me of my #3 song (you’ll see). This song is perfect. Except the last three minutes, which are noisy and annoying. 16. Octavarium—Dream Theater (2005): The definitive prog-metal epic, and my personal favorite progressive metal song. Divided into five parts, the first two of which are really fantastic slower songs (movement one is especially underrated—fantastic chord progression that returns for the solo). Three is a classic DT instrumental section that’s bonkers as always. Four is a one-minute spoken word section that almost ruins the song for me, but more metal-oriented people seem to love it. Then, there’s my favorite guitar solo of all time. John. Petrucci. Listen to it. 15. Paranoid Android—Radiohead (1997): what should be considered a modern prog classic, but it isn’t because Thom Yorke doesn’t like Genesis. I still can’t decide which part I like the best. Check out the music video—it’s…different. 14. The Raven That Refused to Sing—Steven Wilson (2013): Very similar to Radiohead’s Pyramid Song, this is my favorite song by Steven Wilson. The emotion is best captured in the music video—check it out. 13. Supper’s Ready—Genesis (1972): If you haven’t heard this song are reading this, just why? Check out “Supper’s Ready Illustrated” by Nathaniel Barlam on YouTube if you haven’t. This song defines the “progressive rock” genre—and it’s brilliant throughout. Not exactly anywhere near my personal style, which is why it’s not top 10 on my list. Only gets better as it goes. 12. I Am The Walrus—The Beatles (1967): The best Beatles song, in my opinion. Not hard to see the influence on King Crimson, and prog in general. I want to imagine Bent Knee covering this, would go hard. 11. Universal—Anathema (2010): maybe, just maybe, the buildup of the piano riff is the most beautiful piece of music I’ve ever heard. It’s so good that I learned it on the piano, despite not knowing how to play piano. 10. Comfortably Numb—Pink Floyd (1979): no need to explain. However, most people rank it this highly for the guitar solo, I honestly love it for the chorus. Classic and well-deserving of the first spot in the top 10. 9. Stairway to Heaven—Led Zeppelin (1971): the second most well-known progressive rock song of all time. If you don’t know Stairway, then who are you and how did you discover cryogenic freezing in the year 1970? 8. Dirty Boy—Cardiacs (1996): the BIGGEST piece of music I have ever encountered. Uses basically every major and minor chord in a seemingly random order over the course of nine minutes, but then you realize that every chord change is carefully calculated and immaculately composed, and when it clicks, nothing is better. Concludes with Tim Smith holding a single note for two minutes over a three-chord progression. Dirty Boy is unlike any other progressive rock song I have ever heard, and I can’t recommend it enough. Just diving into the Cardiacs’ discography, and with more listens, a few more of their songs could crack this list. Sing to God (the album with this song) is where you should start. 7. Day of the Baphomets—The Mars Volta (2006): exceeds even Dirty Boy to be the weirdest song on this list. DOTB is the most intense song I have ever heard. From the opening shred bass solo to the bongo solo, DOTB sounds like being inducted into a cult—I think that’s what it’s about, too. Eleven minutes of jazz, punk, prog, hard rock built for active listening. Heart attack warning. 6. Bohemian Rhapsody—Queen (1975): Please don’t argue that Bohemian Rhapsody isn’t prog. Just because a song has 850 million listens on Spotify doesn’t mean it’s not progressive. Queen just stuffed the essence of Supper’s Ready into a quarter of the time. From a neutral perspective, Bohemian Rhapsody is the best progressive rock song ever written, but I have less of an emotional connection to it than a few others. 5. Starless—King Crimson (1974): A classic that gets better the more you listen to it. The ballad section at the beginning might seem tame, but the two-note solo by Robert Fripp culminating in a jazz explosion cannot be topped. Unequivocally the greatest build-up in progressive rock—one of my favorite aspects of the genre. 4. Close to the Edge—Yes (1972): will repel any impatient people that can’t wait past the (very weird) first couple of minutes, which I’ve grown to love. Then, it gets magical. Specifically, the bass! Anderson, Squire, Howe, Bruford, and Wakeman take turns dazzling throughout the greatest progressive rock epic ever. CTTE is special to me personally, as it’s my favorite classic prog album and the one that got me hooked on the genre. 3. Xanadu—Rush (1977): I could literally write an essay about Xanadu. The riff at about 1:46 is my favorite moment in all of music. All of music. Also, there’s no song that’s more fun to play on guitar. The best classic prog song, and one of my favorites of all time. Rush introduced me to prog, and I wouldn’t be writing this list without Xanadu. 2. Ornament/The Last Wrongs—Oceansize (2005), 1. Trail of Fire—Oceansize (2007): you might be wondering why the top 2 songs are by the same band that you’ve never heard of. If you listen to these two songs, you will instantly fall in love. These are my two favorite songs of all time, prog or not. I honestly can’t express how incredible they are in words. Ornament/TLW’s live version is particularly perfect, but the album versions are the way to go. Trail of Fire has a breathtaking instrumental climax—if I’m running while listen to it, my speed literally AUTOMATICALLY DOUBLES without thinking about it. Go listen to Frames. Trail of Fire is the best progressive rock song from the best progressive rock album. Hope you enjoyed the list! Listen while staying away from other people (a prog listener’s dream!). Feel free to recommend me something (of any genre) to add to my “Albumarathon” list (now at 94 albums). I hope this gives you something to do while quarantined. Happy listening!!
2020.02.24 08:07 skinnywitThe Beatles Looking For Old Recordings
I REALLY want the original, unchanged, NON-REMASTERED recordings of the beatles. Sergeant Peppers, White Album, Black Album, any album you can find that arent those crappy changed recordings on youtube. When i was growing up i listened to studio recordings with family, mistakes and all and i cant help but feel odd when i no longer hear those same sounds in the "remastered" ones. I had some old discs an old neighbor made for me a few years ago, but discs wear down quickly and i no longer own them due to degredation. Any help would be greatly appreciated, thank you.
2020.02.05 03:05 GreenShroomGuyA brief history of the Beatles
1963: John, Pall, and Rigno start a band in England. They invented music while playing with matches in John’s garage. It was pretty cool. They haved a base player named Stort, but he got taken away by Nazis when they went to Germiny. He died when they put him in a conversation camp. They wanted a new base player, so Gerge joined, and so did Pete Worst. Gerge coulndt play base because his hands were too small, so was his pee pee, so Pall did and Gerge was the guitar boy. Pete Worst was too loud at drums so they coulnt hear Rigno, so they left him far behind, and Gerge would later taunt him about it in his song I've Got A Word or 2 (to say about the things that you do). They maked their first CD and called it 1. It had 1 song called Love Me Do, and 26 more that were not really as good. Love me do is there best song, and sold 100 copies, beating all other records. They were famous, and played on the Ed Sellivan show. John married some girl from school and beat her a lot. Rigno too. They were still famous and played in the cave club, where Jeffrey Epstein and Geoff Martin-Emerick met them. They took all their money. John was mad and called him a rich fag jew in Baby Your A Rich Man, which would be on their next cd. However, they got the money back by doing more concerts. They maked there next CD called Yellow Submarine Song Track, and had Hey Bulldog and When Im 64 on it, which were big hits. It also had Ahhh Look At All The Lonely People, which was viewed as the worst song of all time. Pall stopped singing for a while because John was mad for making such a bad song. The song was removed from future publications. 1964: This year they were good. They played in Shay Stadium and Hollywood Ball. There next album was pretty good. It was called Rubber Shoe, because John hit his wife with his shoe. It had Beep Beep Beep Beep Yeah and Say The Word, which are some of the best songs. Rubber Sole selled 101 copies, beating out Love Me Do. They singed a new song called Hard Day Night while running away from little girls. It was a good stage gimmick. Ringo breaked his nose when John mistook him for his wife. Gerge married Patty and Pall was married Linda. They had good lives, but needed more CDs. There next one, Beatles For Sale, is known as the best cd of all time. It featured What You Doing, Mr MooLatte, and more. It selled 102 copies. The success of these albums lifted Pall out of his depression, and John allowed Pall to write the songs again. There starting being problems though... 1965: During the recording of Help, Rigno died. He was brutally slaughtered by an Indian cult for wearing the sacrificial ring. The album was cancelled and his wife crashed her motor scooter into a wall in her sorrow. Pall wrote Here There And Everywhere to honor him. They stopped playing concerts so Pall could play drums. Without Rigno, Pall took the reigns and became the leader of the band. They started spending more time in the studio. He bossed them around and made fun of Gerge. “Look, this chap thinks he can right a song, y’know, he’s just the guitarist, y’know, uh we don’t want that Indian shit, y’know”. John was becoming more distant, but still wrote great songs. Pall made them help him with a song called ObLaDiObLaDa. They spent most of their time on that song. They needed a new cd by december but ObLaDiObLaDa wasn’t finished, so they mashed together a bunch of unfinished demos and remakes of a couple songs from 1 and called it a album. The cd was called Revolber. During those sessions, John lost his eyesight and needed glasses, so he spent a lot of time seeing Doctor Robber. That is why he is so useless on Revolber. The cd was bashed by critics and was seen as a major step backwards from Beatles For Sale. Also because Ahhh Look At All The Lonely People was on it and Tack Man was libertarian propaganda. Pall was mad and said, “Y’know, if you two had been more productive on ObLaDiObLaDa, y’know, this bloody cd might have been worth a fuck!” 1966: No new cds were released this year. A new project was completed by summer, but they were still working on ObLa... you get the idea, so Pall wanted to wait until it was finished. Gerge met Sensei Wu and took his bandmates to meditate in Asia. John met some drugged up hippie named Yoko, whomst he fell in love with. When they got back, they got mustaches and LSD. Back to work on ObLaDiObLaDa. 1967: They worked on ObLaDiObLaDa for five whole months until John finally told Pall to release Sgt. Pepper without it. That is why it only has 13 songs! Sgt. Pepper is a very lesser known album, and not many people know it exists. It only sold 12 copies because people didn’t think it was the Beatles. The Beatles were suffering financially, so they had Mal Evans poison Brian Einstein and they got their money back. Their next cd was a double album, called... you guessed it- Please Please Me/With The Beatles! This cd had all the songs that were rejected in favor of Love Me Do and it was pretty great. It sold only 100 copies because the songs were old, though. Pall realized that the old rock was selling better than the psychedelic stuff, so he said to the group, “Y’know, George, you’ve ruined us. Nobody likes your dumb Indian shit, y’know. Nobody likes your Lucy in the Sky, John. That’s why we should just be a rock band, y’know.” John argued, “Oi, me don’t give a bloody damn what the public thinks, me just like tae sing n play, man.” However, Pall had one thing that Gerge and John didn’t... access to the British nuclear arsenal, so they kept quiet. 1968: ObLaDiObLaDa was finally finished. They released a new double album his year called... you guessed it- The White Album. It sold 105 copies, but everybody hated it! They called it the worst album of all time! The only good songs are Piggies and I’m So Tired, which John wrote about the tedious ObLaDiObLaDa sessions. Gerge was depressed, John was depressed, but Pall was optimistic. He made a movie in Microsoft Paint called Yellow Submarine, but it received horrible reviews because it contained Ahhh Look At All The Lonely People. John said, “What er ye doin’? Nobody likes that Lonely People song, Pally m’ boy, will ye stup shoving it down ev’rybodies throats?” “Well, y’know, John, I thought you were the one that didn’t care what the public thinks, y’know?” argued Pall. On top of all this, Gerge was having leg problems so he had to sit down cross legged in his chair when they played every song (like in Beatles Rock Band). However, everybody fell silent when Yoko stole Gerge’s biscuit. “I don’t why, you were perverted, no one aliiited you!” He said in his song Eric Clapton’s Guitar Solo, which was written to John about having Yoko in the studio. In his other song, Eric Clapton’s Food, he expressed his attitude towards sweets, so shouldn’t have Yoko known not to mess with his biscuits? Who knows. 1969 (lol): The three had just about had it with each other. But Pall and John agreed to do one more cd. They called it Abby Road, named after a groupie whom Pall was having an affair with at the time. They tried to work together on most of the songs, but John couldn't stand Maxwell's Silver Hammer. "It was OBLADIOBLADA all over again. Pally was makin' us work on his little granny tune." said John. Gerge made two new songs, Eric Clapton's Garden and Eric Clapton's Wife. John made Mean Mr. Mustard, which was about Pall's grandfather. Yoko got sick because Gerge's biscuit was laced with pee pee, so she had to lay in a bed. Golden Slumbers was about a sick Fortnite win Pall had. The cd came out and everybody loved it! It sold 200 copies! They called it the best cd ever, behind Beatles For Sale of course. They started to like each other again, so they went on the roof and played a few old songs from 1- Get Back and Let It Be. Then they stopped liking each other. Pall hated Gerge because Gerge wasn't doing EXACTLY what Pall wanted him to play. So Gerge brought in Jimmy Hendrix to play organ on their songs. They did better. Then, John got shooted. Mal Evans was in still on the roof when John left the building and began to walk home on the sidewalk, so nobody could save him. Pall didn’t like Gerge so he disbanded. The last cd they made was released, and it was called Past Masters. Like 1, it had Love Me Do and some other songs that weren’t as good. 1970 onward: They were done with each other. “Who the fuck cares, y’know?” Pall yelled after the reporter asked him how he felt about John’s death. Gerge and his muslim buddies created ISIS, and Pall became a right-wing Jew. Gerge died of liver disease in 1971, and Pall is still destroying those libtards on his YouTube channel “Israel Me Do”. All their albums have been remastered in 2009 and people stopped liking them. Almost nobody knows who they are now and there isn't even a Beatles subreddit.
2020.01.15 14:49 rccrispThe Canadian Indie Rock Canon #66 and #67: Neil Young – After The Gold Rush / Harvest
The Canadian Indie Rock Canon #66 and #67: Neil Young – After The Gold Rush / Harvest After The Gold Rush Spotify Apple Music Google Play Youtube Harvest Spotify Apple Music Google Play Youtube ----- If any singular artists has been called out the most of me not covering yet it’s by far Neil Young and admittedly my own stance on him maybe the reason why I didn’t want to get to him so quickly. First off I’m not a huge Neil Young or at the very least lacking in the fanatic devotion I have most of the earlier canon entries. Second for young, college age, white music nerds which I feel make up the majority of this sub Neil Young feels like a no brainers. He’s part of the hallowed rite of passage to “Patricianhood,” the stepping stone between your early forays into The Beatles, Bob Dylan and Pet Sounds but just before you start getting into your Can obsession phase. Much like Joni Mitchell the general population seem to often know “the hits” of Neil Young but diving into his albums seems to at least from my experience the exercise of people who want to become a music savvy individual. In short if you haven’t gone through and listened to Neil Young’s albums you’re probably going to start very soon, you don’t need me to push you along. By that same token though it’d be foolish, especially now with me broadening the definition of “indie” for this series and introducing legacy artists, to not include Neil Young. Every word in this series title (“Canadian” music, “Indie” music, “Rock” music) has his influence so heavy on them that continuing to not feature young might be grounds to call me out on having some weird axe to grind. Contemporary Canadian Rock music, of the indie and non indie variety, owes itself greatly to Neil Young. He’s a song writer with few peers who can match him save for probably fellow Canadian Joni Mitchell, he’s a unique voice that transcends his folk roots and the number of genres that owe themselves to Young’s at the time forward thinking music is vast. I remember so many articles in the 90’s calling Young “The God Father of Grunge,” just shows how far reaching his music has become since they were first released. Neil Young was born on November 12, 1945 in Toronto, Ontario. His father Scott Alexander Young was a journalist and sports writer who also wrote fiction. His mother Edna Blow Ragland “Rassy” Young was a Canadian but had American and French ancestry. The two met and married in Winnipeg and had their first son there, Robert “Bob” Young, before moving to the small town of Omemee, Ontario. In 1951 Young contracted Polio during the last outbreak of the disease in Ontario, which was the same epidemic that would eventually infect fellow musician Joni Mitchell with the same disease. Young bounced around his living situation between Winnipeg and Ontario, even spending time briefly in Florida after he was recovered from polio. At the age of twelve Young parents divorced after a number of extramarital affairs his father was engaged in had his mother ask for a divorce. Young moved with his mother back to Winnipeg while his older brother stayed in Toronto with his father. It was during this time that Young began to take an interest in music. He idolized Elvis Presley and would mention him in a number of songs he would eventually write. Young’s taste in music varied wildly, ranging from Rock (Elvis, Jerry Lee Lewis, Chuck Berry), Rockabilly (Link Wray) , Doo Wop groups (The Chantels) and Country (Johnny Cash.) Neil’s early forays into teaching himself music were on a plastic ukulele and as in his own words went onto “a better ukulele to a banjo ukulele to a baritone ukulele – everything but a guitar.” While settling in Winnipeg with his mother Young would attend Earl Grey Junior High School where he would form his first bands, working in mostly instrumental rock bands to start. The first band he formed was with Ken Koblun under the name The Jades. Koblun along with others would form Young's first stable band The Squires who had a local hit called “The Sultan.” The Squires began to tour Manitoba and Northern Ontario even recording a series of demos in what is now Thunder Bay. Here while playing a show at the Flamingo he would meet life long friend Stephen Stills who was playing the same venue with his band The Company. Eventually after the disbanding of The Squires Young and officially dropping out of school to pursue a music career Young started to tour as a solo act, becoming a figure in the Winnipeg folk scene where he would meet Joni Mitchell. It was during this time Young would pen one of his classic, “Sugar Mountain,” a heart wrenching song about lost youth (and the inspiration for Joni Mitchell to write a response to it in “The Circle Game.”) During this time Young also penned “Flying on the Ground Is Wrong” which ended up being a minor hit for The Guess Who in Canada. In 1965 Young began to tour Canada by himself and in 1966 he found himself in Toronto where he would join the Rick James-fronted band Mynah Birds. The band had secured a record deal with Motown records but due to James being arrested for being AWOL from the Naval Reserves the band disbanded without a single official release. Young along with bass player Bruce Palmer pawned the band’s equipment and bought a Pontiac Hearse which they used to relocate to Los Angeles. A chance meeting with Stephen Stills in LA traffic on Sunset Boulevard and along with other formed the catalyst that would be the beginning of the band Buffalo Springfield. The band mashed classic rock, folk, country and psychedelia which proved to be a huge success. The Stills helmed hit “For What It’s Worth” became an iconic song of the 60’s, fleshed out by the dual guitar work of Stills and Young. However in spite of early success tensions in the group grew, initially from mistrust with their management and became worse after the arrest and deportation of Palmer. Buffalo Springfield would continue to release albums under their contractual obligations but the sessions separated the band mates, his album contributions being mostly solo tracks. By 1968 Buffalo Springfield had disbanded. After the breakup of Buffalo Springfield Young signed his first solo record deal with Reprise Records home of friend Joni Mitchell whom he shared a manager with now as well. The album Neil Young performed commercially but was a critical mixed bag with Young himself a huge critic of it years later. Young would find more artistic success with his sophomore effort after he recruited three musicians from a band called The Rockets. With Danny Whitten on guitar, Billy Talbot on bass and Ralph Molina on drums the three were dubbed Crazy Horse. Recorded in two weeks Everybody Knows This Is Nowhere proved to be the first high water mark of Young illustrious career. With album billed as “Neil Young with Crazy Horse” the collaborative energy and genuine that made Young such a hot commodity early on was present and the album is chock full of Young classic such as “Cinnamon Girl” and “Down By The River.” Shortly after the release of Everybody Knows This Is Nowhere Stephen Still offered Young a chance to join his new band the legendary Crosby, Still & Nash. The original offer was to be a sideman on the group but Young only agreed if he’d be an equal member. Rechristened Crosby, Stills, Nash & Young the band debuted to huge success but tensions particularly between Still and Young both vying for more control over the group would flare up. During their historic set at Woodstock Young famously sat out during the acoustic set and during the electric set threatened camera men with his guitar if they kept filming him. Internal turmoil aside this period of the group was seen as a fertile one creatively capped off with the Young penned song “Ohio” written shortly after the Kent State massacre. The song was quickly released as a single even though Crosby, Still, Nash and Young had another song “Teach Your Children” still on the charts. Flush from a newfound popularity Young entered the studio in mid 1970 to begin work on his third solo album. Initially recording sessions started with Crazy Horse as his backing band at Sunset Sound Studio in Los Angeles but many of these tracks didn’t make the cut save for “I Believe In You” and “Oh, Lonesome Me.” Young would switch sessions to a makeshift basement studio in his home in Topanga Canyon along with Crosby, Still, Nash and Young Bassist Greg Reeves. Much of the sessions would have a number of Young’s friends act as collaborators though Crazy Horse drummer Ralph Molina and eighteen year old prodigy Nils Logfren on piano rounded out the regulars. Inspired by an unmade movie script of which Young asked to do the soundtrack for After The Gold Rush is to many the seminal Neil Young album and would be the first step to his eventual success as a solo artist. The film, whose script has been lost to time, was said to be an end-of-the-world tale which feels to align with much of what Young writes about on After The Gold Rush. Drug addiction, failed relationships and the destruction of the planet, the seeming genesis of the topic that Young would cover the next few decades, appear on this album with fully thought out lyrics and fleshed out compositions. Despite the fact that up until this point Young had cut his teeth on country, folk and rock Gold Rush shows a strangely deft turn to pop. On one of the albums singles “Only Love Can Break Your Heart” (a song Graham Nash claims Young wrote to help him ease the pain of his recent break up with Joni Mitchell) Young displays his chops of writing a melody that is both infectious and melancholy at the same time. The absolutely incredible title track “After The Gold Rush” almost seems like an a front to the work Young had done on Everybody Knows This Is Nowhere*.* Minimalist in presentation the song contains little more than simple piano chords and a pop of horns and Young near falsetto. And yet this is all that’s needed to dig deep into your soul. Young sings about Mother Nature on the run in the 70’s and lying in burned out basement. Despite the inherent sweetness that would befit baroque era Beatles Young finds the time to describe the only hope we have left is to escape this world itself in the third verse. However what could be called “classic” Young is still very much on this album. If nothing else of his talents Young pens a classic rock song like no one else, the sort of grimy and raw reflection of the genres past influences and spun into something that is distinctly Neil Young. “When You Dance I Can Really Love” drips with the left over haze of the free love era, a pounding but deliberate slice of fist clenching rock music that doesn’t have much to say lyrically but it know it doesn’t need to. Every chunky chord, the twinkle of piano in the background, it exists to build a groove and feeling that calls back to the days when people really thought rock would bring down society. Even though Young is embarrassed by the admittedly heavy handed lyrics the lightning rod of controversy “Southern Man” is one of the hardest tracks on the album, pumping along as Young indicts the wealth of white southerners built on the back of black slaves. Featuring a hypnotic and lengthy guitar breakdowns and a syncopated piano part the pushes the song forward “Southern Man” sonically is Young in rarefied form. Towards the end of 1970 Young began to tour as a solo act again. Originally he played a mixture of his own solo works along with the hits from his time in Buffalo Springfield and Crosby, Stills, Nash and Young. During his time on tours Crosby, Still, Nash and Young would officially split up while Crazy Horse would sign a record deal of their own. It was then that Young began to rabidly write music on tour, the later half of it consisting more of these new songs that Young himself said he couldn’t contain. It was during this tour that his legendary two nights at Massey Hall in Toronto were recorded, intended for release but wouldn’t see the light of day some 40 years later as part of the official Neil Young archives. Towards the end of the tour Young made an appearance on The Johnny Cash Show where he performed “The Needle and the Damage Done” a somber acoustic song about the pains of heroin addiction, written for and inspired by Crazy Horse member Danny Whiitten who would succumbing to his drug addiction later in life. While in Nashville Young was invited by the owner of the Quadrafonic Sound Studio Elliot Mazer to record there. The impromptu recording session featured a number of Country session musicians Young dubbed The Stray Gators. The impromptu session also brought Linda Ronstadt and James Taylor who were also taping episodes of the Johnny Cash Show. Young however never released the acoustic recording as its elements of it along with other sessions with the London Phil Harmonic when Young was waiting to perform on the BBC plus electric recording done at Young’s barn formed the basis of his biggest album Harvest. In a lot of ways it’s easy to understand why Harvest resonated so deeply with people so easily. Young’s smart and somber lyrics seem to be an easy fit with the country tinged rock and roll that dominates the album. Songs like “Harvest” have a sleepy easiness, but it betrays a deeper complexity that results in an album that is one of Young’s best sounding. Meanwhile that infectious spontaneous energy crackles over the jaunty “Are You Ready For The Country?” that bounces and jumps along. Meanwhile those same elements are also turned towards the darker side of Young’s music, paticularly on his massive hit (and only number one song) “Heart of Gold” which is an institution on its own. Underrated on Harvest is the rhythm section, “Heart of Gold” is mostly known for countless acoustic covers but what gives the studio version heft is that pulsing bass and those hi hat taps that also know to get out of the way of Young’s harmonica. On “Alabama” Young mines similar lyrical and musical territory as “Southern Man” to success again. The track is said to have inspired Lynnrd Skynnrd to write “Sweet Home Alabama” in response. Still even Young was able to pull a surprise on this album on his two songs with the London Symphony Orchestra. Seemingly coming out of left field they nonetheless express the same strengths Young shows in his best work, the ability to balance his ambition with listenability that would seemingly betray those loft goals in a lesser musician. “A Man Needs A Maid” has been called a clumsy song by both critics of the time and current, but its charm has always been in its sheer audacity of Young seemingly so far out of his comfort zone both musically and lyrically as swirling orchestration wraps around his most confessional lyrics about his relationship with actress Carrie Snodgress, the heart of sleeve nature of them more in the wheelhouse of fellow Canadian than Young himself. In the wake of Harvest’s success Young would go through hardship, his sudden success dove tailing with the death of Dave Whitten. He would take a dark turn one that is likely as equal an influence on the genres we concern ourselves here with the “Ditch Trilogy” named so because as Young described “he needed to go into the ditch to avoid going into the middle of the road.” Still even to this day decades later Young remains a fascinating icon of Canadian music, a career that seamlessly intersects with the greater influences of music both in Canada and around the world. As I said in the beginning many genres see Neil Young as their forefather, it’s not hard to see if you explore his albums and see how forward thinking his music is, it’s not hard to see why. ----- (Tentative) Schedule January 20: Preoccupations - Viet Cong January 27: Matthew Good Band - Beautiful Midnight Febuary 3: Leonard Cohen - Songs of Leonard Cohen / Songs of Love and Hate Febuary 10: Peaches - The Teaches of Peaches Archive Archive Link
2020.01.11 11:42 Mrtomatoe22New time listener, from casual listening. is there a good quality version of Sgt. Pepper's Lonely Hearts Club Band?
the version on YouTube (Remastered 2009) they pan on the songs is so off it give me a major headache. I dont know the Beatles that well but I know a decent amount about music production and this is awful. having the drums and persuasions in one hear then the guitars in another is not a fun or good listening experience. It is making my experience with this album horrid. I cant focus on the songs because im constantly distracted
2019.11.30 12:14 fizfilsonRemastered Beatles songs on spotify & youtube
I didn't know where to post this. But is it just me, or do most of the old Beatles songs, and other old songs, sound like fake bootleg versions? Not sure if this is a Mandela effect as such, but I don't remember Paul McCartney ever rolling his R's or anything. Sounds like someone with a completely different accent? I know remastering changes the sound a bit to be clearer.. But not different Or am I weird?
2019.09.17 20:08 macromoogYellow Submarine spectrogram - further analysis
This post is in response to u/lafoxxx92's discovery of an image in the spectrogram for Yellow Submarine, originally posted here: https://www.reddit.com/beatles/comments/d559kx/spectrogram_of_yellow_submarine_chorus_looks_like/ . I was fascinated by the original find and wanted to investigate further. I took a copy of the song I had laying around (ripped from a CD of the "1" album), and did the same thing using the free audio editor Audacity. The part I used is from 46.83 seconds to 52.72, where "yellow submarine" is repeated three times in the chorus. The image is clear in the right channel: Spectrogram from \"1\", using Audacity's default settings Overlaying the album art: Spectrogram from \"1\", with album art overlay Note that the submarines only exist in the right channel, which is an isolated vocal mix (like many late 60s recordings, this song uses extreme stereo panning). There's no synthesis or other tricks going on here -- what you're seeing is the audible sounds of the Beatles' voices only. The "smokestack" is the sibilance ("S" sound") of "submarine", which is why it contains more high-frequency content for an instant. The bottom of the sub is shaped by the lower harmony, which moves from E ("yellow") down to D ("subma") and back up to E ("rine"). To make sure this was an original feature and not somehow magically added in remaster, I then took the audio from this YouTube clip: https://www.youtube.com/watch?v=ifPKpQYeQFo. The clip is a poor-quality mono recording from an original 45 single, so the stereo isolation isn't there . . . but the submarine is still clearly visible (though now mixed with the rest of the audio): Spectrogram from vinyl 45, in mono If anyone has an original vinyl and can post a stereo recording, or just the vocals in the right channel, I'll be happy to do the same visualization on that isolated channel. I expect it will look exactly like the CD rip above. Conclusions:
I do not believe this is a coincidence. The lines are too similar, and the fact that the words "yellow submarine" are precisely what forms the image is just too much.
The image is not a later addition -- it exists in original vinyl recordings from the era.
Spectrum analyzer hardware existed in 1966, and if anyone had access to it, the whiz kids at Abbey Road (specifically, engineer Geoff Emerick) would.
My theory: they recorded the song, looked at it in a spectrum analyzer, someone noticed that the "yellow submarine" bit looked a little like a submarine, they photographed or sketched it, and then that became the inspiration for the album and film art.
As far as I know, this is now the earliest known "spectrogram art" by far, predating Aphex Twin's famed Equation face by over 30 years.
u/lafoxxx92 has discovered a piece of Beatles history that's been hidden in plain sight for over 50 years. WOW!!
2019.08.30 15:00 Im-a-molecule[Artist Spotlight] - The Flaming Lips
The Flaming Lips Alternative rock psychedelic rock post-punk Similar Artists Even within the eclectic world of alternative rock, few bands were so brave, so frequently brilliant, and so deliciously weird as the Flaming Lips. From their beginnings as Oklahoma outsiders to their mid-'90s pop-culture breakthrough to their status as one of the most respected groups of the 21st century, the Lips rode one of the more surreal and haphazard career trajectories in pop music. After years in the underground, a major-label deal scored during the early-'90s alt-rock craze gave them a bigger platform for their mix of psych, noise-rock, and bubblegum melodies, and their 1993 album Transmissions from the Satellite Heart spawned the unlikely Top 40 hit "She Don't Use Jelly." At the turn of the century, they delivered a pair of lush and heartfelt masterpieces with 1999's Soft Bulletin and 2003's Grammy-winning Yoshimi Battles the Pink Robots. Later, they took their experimental and pop impulses in wildly different directions as they collaborated with Miley Cyrus and Kesha and issued an expression of existential dread with 2013's The Terror. Throughout it all, their off-kilter sound, uncommon emotional depth, and bizarre history firmly established them as true originals. The Flaming Lips formed in Oklahoma City in 1983, when founder and guitarist Wayne Coyne enlisted his vocalist brother Mark and bassist Michael Ivins to start a band. Giving themselves the nonsensical name the Flaming Lips (its origin variously attributed to a porn film, an obscure drug reference, or a dream in which a fiery Virgin Mary plants a kiss on Wayne in the back seat of his car), the band made their live debut at a local transvestite club. After progressing through an endless string of drummers, they recruited percussionist Richard English and recorded their self-titled debut, issued on green vinyl on their own Lovely Sorts of Death label in 1985. When Mark Coyne departed to get married, Wayne assumed full control of the group, becoming the primary singer and songwriter as well as lead guitarist. Continuing as a trio, the Lips released 1986's Hear It Is, followed a year later by Oh My Gawd!!!...The Flaming Lips. While touring in support of the Butthole Surfers, they played Buffalo, New York, where they were befriended by concert promoter Jonathan Donahue; after a jam session with Donahue's nascent band Mercury Rev, he and Coyne became close friends, and Donahue eventually signed on as the group's sound technician. After recording 1988's difficult Telepathic Surgery, English exited, reducing the Lips to the core duo of Coyne and Ivins; after adding drummer Nathan Roberts, Donahue adopted the name Dingus and became a full-time member in time to cut 1990's stellar In a Priest Driven Ambulance while simultaneously recording the brilliant Mercury Rev debut Yerself Is Steam. In a Priest Driven Ambulance also marked the first time the band worked with longtime producer Dave Fridmann, and highlighted the more experimental, expansive side of the Lips' music. Warner Bros. signed the Lips in 1991, and their major-label debut, Hit to Death in the Future Head, arrived in 1992 after clearing a sample from Michael Kamen's score to Brazil for use in the song "You Have to Be Joking (Autopsy of the Devil's Brain)" delayed its release. Donahue soon left to focus his full energies on Mercury Rev, followed by the departure of Roberts. With new guitarist Ronald Jones and drummer Steven Drozd, the Flaming Lips cut 1993's sublime Transmissions from the Satellite Heart, which they supported by playing the second stage at Lollapalooza and touring the nation in a Ryder truck. Initially, the album stiffed; however, nearly a year after its initial release, the single "She Don't Use Jelly" became a grassroots hit, and against all odds, the Flaming Lips found themselves on the Top 40 charts. They took full advantage of their 15 minutes of fame, appearing everywhere from MTV's annual Spring Break broadcast to an arena tour in support of Candlebox to a memorable, surreal, lip-synced performance on the teen soap opera Beverly Hills 90210, where supporting character Steve Sanders (portrayed by actor Ian Ziering) uttered the immortal words, "You know, I've never been a big fan of alternative music, but these guys rocked the house!" After the 1994 release of a limited-edition sampler of odds and ends titled Providing Needles for Your Balloons, the Lips returned in 1995 with Clouds Taste Metallic, a diverse collection highlighted by the singles "Bad Days" (also heard in the film Batman Forever), "This Here Giraffe," and "Brainville." In 1996, the Lips' world went haywire. Jones left the band; Ivins was the victim of a bizarre hit-and-run accident after a wheel came off of another vehicle and slammed into his car, trapping him inside; Coyne's father died, and Drozd's hand was almost needlessly amputated due to an abscess. But by the following year, the band was back in the studio as a trio, recording 1997's Zaireeka, a wildly experimental set of four discs designed to be played simultaneously. A previously unreleased track, "Hot Day," also appeared earlier that year on the soundtrack to Richard Linklater's film SubUrbia. A Collection of Songs Representing an Enthusiasm for Recording...By Amateurs, a retrospective of their Restless label material, followed in 1998. In 1999, the Flaming Lips returned with The Soft Bulletin. Featuring co-production by Fridmann, its lush arrangements and heartfelt songs made it a breakthrough for the band. After a three-year absence from the shelves, 2002 brought several new releases, including a two-volume retrospective of the Restless years and the group's tenth album, Yoshimi Battles the Pink Robots. Named after and featuring Boredoms' Yoshimi P-We, the album won the group even more popular and critical acclaim than The Soft Bulletin. The band won a 2003 Grammy Award for Best Rock Instrumental Performance for the album's final track "Approaching Pavonis Mons by Balloon (Utopia Planitia)." The release was certified gold in the U.S. in 2006, and later spawned a Broadway musical. The Lips kept busy over the next two years by touring and working on their movie Christmas on Mars. They returned to the studio in 2004 and spent much of 2005 recording; that year, the Flaming Lips documentary The Fearless Freaks and their VOID video collection arrived, whetting fans' appetites for the band's 2006 album, At War with the Mystics, which boasted a more guitar-oriented sound and more political lyrics than the Lips' previous albums. Once again, the band won the Grammy Award for Best Rock Instrumental Performance as well as a Grammy for Best Engineered Album, and were nominated for a Grammy for Best Alternative Album. One year later, the band's seven-years-in-the-making film Christmas on Mars made its debut at the Sasquatch Festival in George, Washington; late that year, the movie and its soundtrack were released as a CD/DVD set. During 2007 and 2008, the Lips began working on the follow-up to At War with the Mystics, taking a looser, rawer approach than they had in years. The results were released as Embryonic in October 2009, which became the band's first album to debut in the Top 10 of the Billboard Albums chart. That December, the band released their remake of the Pink Floyd classic Dark Side of the Moon. The Flaming Lips worked with several different artists on the latter album, which was billed as The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing the Dark Side of the Moon. That year, Oklahoma made the band's hit "Do You Realize??" the state's official rock song. The band continued to shy away from full-length releases for the next couple years, opting instead to work with a number of collaborators on various limited-edition EPs. Working with artists like Neon Indian, Prefuse 73, and Lightning Bolt, the Lips released tracks over the next couple of years in various nontraditional formats including USB keys embedded in gummy skulls, limited-edition vinyl, and candy fetuses. In 2012, the band collected songs from their previous collaborations as well as new material recorded with Kesha, Bon Iver, and Erykah Badu on The Flaming Lips and Heady Fwends. The Lips' releases that year also included their version of King Crimson's In the Court of the Crimson King. For 2013's bleak The Terror, the Lips re-teamed with Fridmann, recording in a matter of days and using their collection of vintage synths as the album's musical focus. They worked with artists including Poliça, Foxygen, and Stardeath and White Dwarfs on their reworking of the Stone Roses' debut album, which arrived that November. The following year, the band issued a 45-minute edit of their 24-hour song "7 Skies H3" as a Record Store Day release, as well as With a Little Help from My Fwends, an album that found the band teaming up with collaborators like Miley Cyrus and Maynard James Keenan to re-create the Beatles' iconic eighth album, Sgt. Pepper's Lonely Hearts Club Band. The Lips collaborated with Cyrus on a full-length album, Miley Cyrus & Her Dead Petz, which was released for free online in August 2015. Following the album's digital release, the artists toured together, and a limited vinyl pressing of the album was sold exclusively on the tour dates. In November of that year, the Lips released Heady Nuggs 20 Years After Clouds Taste Metallic: 1994-1997, a three-CD/five-LP compilation including the Clouds Taste Metallic album, the 1994 odds-and-ends EP Providing Needles for Your Balloons, a further rarities collection titled The King Bug Laughs, and a previously unreleased concert recorded in Seattle in 1996. For 2017's Oczy Mlody (which means "eyes of the young" in Polish), the Flaming Lips reunited with Fridmann on a more melodic set of songs that included a cameo from Cyrus. That year, they also issued Onboard the International Space Station Concert for Peace, an EP that reimagined several Oczy tracks as performed at an imaginary Flaming Lips show. In 2018, the band issued a pair of archival releases. Scratching the Door: The First Recordings of the Flaming Lips, a collection of their earliest material remastered by Fridmann, appeared that April. The six-disc box set Seeing the Unseeable: The Complete Studio Recordings of the Flaming Lips 1986-1990, which included demos and rarities along with the band's first four albums, followed that May. The band returned in 2019 with King's Mouth, an album of songs featuring narration by the Clash's Mick Jones. The album was related to an art installation created by Coyne as well as a book, King's Mouth: Immerse Heap Trip Fantasy Experience, that the band's frontman wrote and illustrated. King's Mouth first appeared as a limited run of 4,000 albums pressed on gold vinyl for that April's Record Store Day, then received a wider release that July. Performing , Yoshimi Battles the Pink Robots In recent years, Yoshimi Battles the Pink Robots has proved itself to have a bigger commercial impact than the band's 1999 breakthrough album The Soft Bulletin, and became their first gold-certified release in April 2006. By 2009, it had sold 570,000 copies in United States, according to Nielsen SoundScan. Yoshimi Battles the Pink Robots received widespread acclaim from critics. Calling the album "as strange as it is wonderful," Billboard nonetheless noted that "beneath the sunny, computer-generated atmospherics and the campy veneer of talk about gladiator-style clashes between man and machines with emotions, Yoshimi is actually a somber rumination on love and survival in an unfathomable world." Tom Moon of Rolling Stone praised the album's "ambitious" production, while Fortune magazine called it "a lush and haunting electronic symphony." Uncut declared that "even by their standards, Yoshimi is astonishing." Robert Christgau of The Village Voice gave the album a three-star honorable mention rating, indicating "an enjoyable effort consumers attuned to its overriding aesthetic or individual vision may well treasure". Yoshimi Battles the Pink Robots appeared in the best-albums-of-the-decade lists of several music publications, such as Rolling Stone (#27) and Uncut (#11), with Uncut also declaring it the greatest album released in the magazine's lifetime. The album was also included in the book 1001 Albums You Must Hear Before You Die. In 2007, it was announced that the album would be made into a Broadway musical by The West Wing creator Aaron Sorkin and director Des McAnuff. Frontman Wayne Coyne said of the plot:
“ There's the real world and then there's this fantastical world. This girl, the Yoshimi character, is dying of cancer. And these two guys are battling to come visit her in the hospital. And as one of the boyfriends envisions trying to save the girl, he enters this other dimension where Yoshimi is this Japanese warrior and the pink robots are an incarnation of her disease. It's almost like the disease has to win in order for her soul to survive. Or something like that. ”
Des McAnuff stated that Aaron Sorkin exited the project after it became clear the musical would be sung through. The musical includes existing songs from the album, as well as two other Flaming Lips albums, The Soft Bulletin and At War with the Mystics. The show received its world premiere at the Tony Award-winning La Jolla Playhouse in November 2012, starring Kimiko Glenn as Yoshimi Yasukawa, Paul Nolan as Ben Nickel, Nik Walker as Booker, Pearl Sun as Mrs. Yasukawa, John Haggerty as Mr. Yasukawa and Tom Hewitt as Dr. Petersen.
One More Robot/Sympathy 3000-21
Yoshimi Battles the Pink Robots, Pt. 1
Yoshimi Battles the Pink Robots, Pt. 2
In the Morning of the Magicians
Ego Tripping at the Gates of Hell
Are You a Hypnotist??
Do You Realize??
All We Have Is Now
Approaching Pavonis Mons by Balloon (Utopia Planitia)
2019.08.11 15:11 bdjanuWeird audio anomaly at end of "Let It Be" Album
I can't quite figure this out. I record a lot of audio from LPs. A lot. I recently purchased the 2012 remastered Beatles "Let It Be" Album on vinyl. Brand new. I have my turntable go through an equalizer, then into a mixer before going into the computer. I record using Adobe Audition. When I was done recording the entire album, I went to the wav files to break down the tracks into separate music files. The last song on the album is "Get Back." On the file, but not on the album itself, is a strange 1 second or so audio segment. I do not know how it got there. It is not on the album. I played it several times. I did not drop the needle when the turntable was powering down (my turntable basically stops when the button is pressed, so there is no powering down). Could it have been interference, somehow? I do not know. I can say this: Shortly after recording the album, we lost power in my house for a mere second. My computer turned off. Adobe Audition recovered the file upon reopening. Maybe something happened then? Anyway, it's weird. Any ideas? (I also posted this on YouTube: https://www.youtube.com/watch?v=YosBJuGUSwE) https://reddit.com/link/cowk2k/video/jfjz6xmbutf31/player
Provided to YouTube by Universal Music Group Hey Jude (Remastered 2015) · The Beatles 1 ℗ 2015 Calderstone Productions Limited (a division of Universal Music... Provided to YouTube by Universal Music Group Let It Be (Remastered 2009) · The Beatles Let It Be ℗ 2009 Calderstone Productions Limited (a division of Univer... Provided to YouTube by Universal Music Group Girl (Remastered 2009) · The Beatles Rubber Soul ℗ 2009 Calderstone Productions Limited (a division of Universal... Provided to YouTube by Universal Music Group If I Needed Someone (Remastered 2009) · The Beatles Rubber Soul ℗ 2009 Calderstone Productions Limited (a divisi... Provided to YouTube by Universal Music Group Nowhere Man (Remastered 2009) · The Beatles Rubber Soul ℗ 2009 Calderstone Productions Limited (a division of Un... Provided to YouTube by Universal Music Group From Me To You (Mono / Remastered) · The Beatles 1 ℗ 2015 Calderstone Productions Limited (a division of Univers... Provided to YouTube by Universal Music Group Let It Be (Remastered 2009) · The Beatles The Beatles 1967 - 1970 ℗ 2009 G.H. Estate Limited, under exclusive li... Provided to YouTube by Universal Music Group Please Please Me (Remastered 2009) · The Beatles Please Please Me ℗ 2009 Calderstone Productions Limited (a divi...