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Thread: Milliontown the cut

  1. #1

    Milliontown the cut

    This evening I decided I wanted an edited version of this epic track. It's a fantastic track, but I felt like I could enjoy it much better with all of the vocal/spoken word sections removed. The track is over 26 minutes long. Using Audacity, I was able to cut out the spoken word part at the beginning, all of the vocal sections, and the final ending which several of my Prog friends agree is completely unnecessary and even annoying.
    This left me with a 12:02 long instrumental of sheer Prog bliss. It took me about an hour to finish, and was well worth it.

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  3. #3
    Member Plasmatopia's Avatar
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    If by final ending you mean the last 1:25 or so then I would agree. Otherwise, I can't see carving it up like that.
    <sig out of order>

  4. #4
    I would suggest you listen to it before you decide whether it is a good edit or not. Yes, I did take out the final 1:25. I honestly did not like the distorted vocals. I was happy with the way it turned out. I realize this may be considered disrespectful of Jem. Like I said, I think it's a fantastic track. I just think my editing makes it 12:02 of more consistent fantasticity.
    Last edited by Jubal; 08-17-2014 at 08:00 PM.

  5. #5
    I'm sure you like your edit, and it may be fun to just have the instrumental bits, but I really like the actual *song* bits (apart from one little section that I think outstays its welcome - the bit with all the stabs;, but then it does resolve into the lovely little pseudo-orchestral bit with the oboe, and the contrast is important, imho). Take those song parts out, and it would be just an instrumental frenzy, whereas the song parts are (mostly) wonderful and give a more balanced context. And it is supposed to be a story about Death's apprentice, after all.

    As for the little Gabriel-esque piano coda, it's never bothered me. Sometimes I let it play on, and other times I just simply press the stop button or skip to another track. It's not really supposed to be part of the track itself, but just a little coda stuck on to the end of the album. For me, it's fine - a little delicate postlude after all the majestic "Genesis on steroids" stuff of the final sections of "Milliontown", but I don't have to listen to it if I don't want to.

    If you don't mean the piano coda bit, but the full blown instrumental play out (that happens just before the piano coda), then I reckon to remove that would be to cut Jem Godfrey's affectionate playfulness out of it. Particularly live, that re-winding up of the full band for one last hurrah is a real highlight, and the humour is valuable here.

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