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Post by B.E. on Sept 17, 2020 14:08:31 GMT
Here's a semi hot....maybe warm...take on All Things Must Pass. It would've been a far better single album. Other than simply preferring single albums to double albums as listening experiences, I can't really agree with that. I actually listened to, and rated, ATMP recently, and I didn't rate a single song lower than an '8' (not including Apple Jam). So, to me, I'd have to cut far too many high quality tracks to get it down to a single album. Just not worth it.
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Post by kds on Sept 17, 2020 14:20:01 GMT
Here's a semi hot....maybe warm...take on All Things Must Pass. It would've been a far better single album. Other than simply preferring single albums to double albums as listening experiences, I can't really agree with that. I actually listened to, and rated, ATMP recently, and I didn't rate a single song lower than an '8' (not including Apple Jam). So, to me, I'd have to cut far too many high quality tracks to get it down to a single album. Just not worth it. Yeah, that's true. It's pretty much the same situation with The White Album. While it runs a little long, there's really not enough tracks that can be jettisoned to make it a single album.
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Post by Kapitan on Sept 17, 2020 14:40:15 GMT
I'm on record as wishing ATMP were a single album. But I am definitely a fan of single albums overall, as compared to double albums.
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Post by kds on Sept 17, 2020 14:43:22 GMT
I'm on record as wishing ATMP were a single album. But I am definitely a fan of single albums overall, as compared to double albums. For the most part, I am too, with the exceptions of The Wall and Quadrophenia, which are concept albums.
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Post by Kapitan on Sept 18, 2020 19:03:32 GMT
As will come as a shock to nobody, I've been listening to a LOT of Dylan, and as I said the other day, I've been doing it on Spotify mostly.
I don't have a premium account, so I'm hearing ads. They wouldn't bother me so much except these two things: - The number of ads they play is even smaller than the number you see on TV (which are already repetitive enough!). So I've heard about four different ads dozens of times apiece, often a couple times within the same album.
- The ads need to be mastered to better match the music! Some are really quiet, most are REALLY LOUD (like double the volume of the music), and a few are roughly the same volume as the music. You really need to have the volume control nearby for fast action or you'll wake the dead with some of those things.
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Post by kds on Sept 18, 2020 19:06:27 GMT
As will come as a shock to nobody, I've been listening to a LOT of Dylan, and as I said the other day, I've been doing it on Spotify mostly.
I don't have a premium account, so I'm hearing ads. They wouldn't bother me so much except these two things: - The number of ads they play is even smaller than the number you see on TV (which are already repetitive enough!). So I've heard about four different ads dozens of times apiece, often a couple times within the same album.
- The ads need to be mastered to better match the music! Some are really quiet, most are REALLY LOUD (like double the volume of the music), and a few are roughly the same volume as the music. You really need to have the volume control nearby for fast action or you'll wake the dead with some of those things.
I've noticed that too as I listen to albums on my PC at work. I really wish they allowed the ability to listen to albums in sequence on the mobile version.
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Post by jk on Sept 20, 2020 19:20:05 GMT
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Post by jk on Sept 27, 2020 8:42:40 GMT
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Post by Kapitan on Sept 30, 2020 21:10:30 GMT
I've been listening to Tom Petty. Obviously. A lot.
But having just finished the two Jeff Lynne-helmed albums, during which I noticed the similarity in sound to some of Lynne's other work of that era, I was thinking it might be fun to explore that period of his material from maybe 1987-'92 or thereabouts. You'd have Del Shannon, Roy Orbison, Tom Petty, Bob Dylan, Ringo Starr, George Harrison, Duane Eddy, ELO, and the Traveling Wilburys, at least.
My real motivation is primarily just exploring that particular sound--for what reason, I don't know, in that I don't really like it that much--but it also would be fun to just give some of these guys a listen to material that in some instances I'm not familiar with.
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Post by B.E. on Sept 30, 2020 22:14:58 GMT
Good idea. I like Jeff Lynne's production. I understand the criticisms. You mentioned "sanding off the edges", I think. I totally get where you're coming from. He's not my favorite producer, or anything, but I do enjoy his sound. I just love acoustic guitars, especially panned L/R. I think we discussed the Beato video of a Full Moon Fever song somewhere. He really dissects Lynne's technique, and with the isolated tracks. I also think my appreciation is relative, though. In that period, his production was such a relief, it might as well have been Brian Wilson circa '66. It's also remarkable how much success he had with "legacy" artists in that period. Aside from the Wilburys, Full Moon Fever is one of Tom Petty's most highly acclaimed albums (recently included in RS's 500 greatest albums of all-time), Cloud Nine is arguably George Harrison's most highly regarded album outside of All Things Must Pass, and Mystery Girl is a late career miracle for Roy Orbison. He also produced notable efforts of Brian Wilson and Ringo Starr's solo albums of the period. I'm not familiar with much of his other work. Here are two examples of prototypical Lynne productions, one getting the best out of Roy and the other Ringo. (Tom Petty and Mike Campbell where also involved in "California Blue". My apologies if I already shared the Ringo song in another thread. I had meant to, but I don't think I did.)
Edit: The snare is pretty ridiculous sounding on Ringo's song (of all people!).
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Post by Kapitan on Sept 30, 2020 22:27:45 GMT
First, I don't think we discussed--or at least, if you posted on it, I didn't catch/dig into it--the Beato vid on that. I'll check it out! It sounds great.
I also love panned guitars like that, and don't even dislike that guitar sound. More so, it's just an oddly omnipresent sound. To me, it's the equivalent of the Brian Wilson pounding out of block chords as quarter notes ... but that isn't always in the final mix, or at least not prominent.
Really, I just think it's funny that Lynne's work in that era is almost a unified whole, an almost Spector-esque situation where the producer is the artist (or is at least very, very important to the product). In fact, of the bands I've spent time with in the past couple of decades, I'd say only David Fridmann is similar in his effects on artists' work. So the point is, I think a person could make a remarkable album (or double album) of his work of that era.
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Post by B.E. on Sept 30, 2020 22:35:51 GMT
First, I don't think we discussed--or at least, if you posted on it, I didn't catch/dig into it--the Beato vid on that. I'll check it out! It sounds great. It's "Free Fallin'" so I'll post it here and not the Tom Petty thread. I don't want to disturb KDS. So the point is, I think a person could make a remarkable album (or double album) of his work of that era.
Definitely!
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Post by Kapitan on Sept 30, 2020 22:56:41 GMT
Just watched (before you linked). Very enjoyable! I really am a sucker for those sorts of things. It's why the "Classic Albums" DVD series of the 00s (or maybe still ongoing?) were always so wonderful for me, seeing artists and/or technical personnel behind the boards dissecting the tracks, as well as usually journalists chattering. Somewhere in boxes I've got a billion (give or take) of those: Graceland, Night at the Opera, the Band, and so on.
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Post by Kapitan on Oct 1, 2020 0:51:23 GMT
Good idea. I like Jeff Lynne's production. I understand the criticisms. You mentioned "sanding off the edges", I think. I totally get where you're coming from. He's not my favorite producer, or anything, but I do enjoy his sound. I just love acoustic guitars, especially panned L/R. Listening to music on shuffle and Harry Nilsson's "Driving Along" came up. Listen to this in headphones and tell me you don't think late '80s Jeff Lynne! It's actually Richard Perry (Carly Simon, Ringo Starr, Captain Beefheart) producing, but that sound really, really reminds me of what we've been talking about re Lynne. The acoustic guitar sound, the ultra-separation of instruments, just the general shimmering feel. Obviously there is 15 years' difference in technology (so synths...), but even so I think it is similar.
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Post by jk on Oct 20, 2020 10:53:45 GMT
I'm revisiting this stunning album by Masters of Reality, the wondrously titled Sunrise on the Sufferbus. This second MoR album features no less than Ginger Baker on drums! This is track #10, "Tilt-A-Whirl": en.wikipedia.org/wiki/Masters_of_Reality
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