Does anybody know if the vinyl is going to feature te pop-up paper portraits of the band as the original version?
Discogs says so. https://www.discogs.com/Jethro-Tull-...elease/9834706
Does anybody know if the vinyl is going to feature te pop-up paper portraits of the band as the original version?
Discogs says so. https://www.discogs.com/Jethro-Tull-...elease/9834706
http://www.marcozanetti.it
Triste è l'uomo
che ama le cose
solo quando si allontanano.
(Baolian, libro dei pensieri Baol, I, vv. 1240-1242)
^ I can't believe they wouldn't do the stand-ups.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
I see there's a version of Bouree' that's called the morgan version. Sounds interesting on the sample. That's the only bonus track that interests me.
Always Sounded to me like the same kind of effect that Anderson tried on the middle section of Aqualung (the track)
I've got the orignal UK vinyl and it sounds awesomely awesome. Amazing how they could dosuch a masterul job on their second and botch up the job for their fourth (not that I'm all that happy about Benefit's production job)
Are there any 20 yo that even know of Genesis??
Just kidding, but let's face it, it's mostly about the music itself surviving, even if trafficked around
It sounds ok, not better than most other version...
I don't have the first gen CD version anymore, but I don't recall WTF'ing about any version of Stand Up... It always sounded good to moi
Ya know, every time I've ripped a vinyl to CD-r, I've gotten a really good result (obviously not better than the vinyl itself, though )
It's really a wonder how the industry can botch up vinyl to CD transfers
It's been done before (I don't believe the 2010 3-discs affair had it)
If they wanted to better that, they should create & print the backside of the pop-up
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
I don't think so. The Aqualung middle section is purposely made to sound distant and echo-like, almost like a telephone voice. The opening to We Used To Know just sounds too quiet, at least to my ears. I'm not saying it has to come blasting out of the speakers, but in the context of the album it's just never sounded quite right to me. Martin is mixed unusually high, too. I honestly thought SW would change this, but as was mentioned earlier, perhaps IA did not want that.
That one does have the pop-up, at least in the CD version.
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
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I may be all alone on this, but personally I find most 'remixes' -- especially Steven Wilson's remixes -- don't improve on the originals. Yes, in some cases the instruments are better defined, and yes in some cases you can hear details that were previously obscure. But when I fall in love with a piece of music, especially one I have grown up with and cherished for 40+ years, the mix is a big part of the experience. I don't want to see the Mona Lisa with a scrubbed face, or the Venus de Milo with her arms restored.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
I like the Olympic better. Ian's in better form. The rest of the backing sounds indistinguishable to these ears.
I buy these entirely for the remixes and bonus content. I don't have an optimal environment to enjoy surround.
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Ian Beabout
Mixing and mastering engineer. See ya at ProgDay !
https://cuneiformrecords.bandcamp.co...m/bakers-dozen
https://cuneiformrecords.bandcamp.co...-and-holland-3
colouratura.bandcamp.com
There's a very fine line -- thin, but very well-defined -- between "remastering" and "remixing." George Martin did a WONDERFUL job of stripping away layers of varnish from the original Beatles recordings to reveal the pristine beauty of the original mixes.
At the other end of the spectrum you have George Lucas and his tinkering with Star Wars.
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
SW does a wonderful job of preserving the feel of the original recording. His stuff is typical very reverent. If you want to her Lucas-ian remixing, check out some of the horrific stuff Zappa did to Were Only in it for the Money, Hot Rats and Ruben and the Jets.
Sent from my iPhone using Tapatalk
Ian Beabout
Mixing and mastering engineer. See ya at ProgDay !
https://cuneiformrecords.bandcamp.co...m/bakers-dozen
https://cuneiformrecords.bandcamp.co...-and-holland-3
colouratura.bandcamp.com
We are the grandchildren of apes, not angels
But only we are gifted with the eyes to see
On days without FEAR, when our heads are clear
That angels, we could be
(Marillion 2016)
The likes of Richard Carpenter and Frank Zappa occasionally went beyond remixing and went into full-on re-recording, with crappy 80s sounds polluting their great work of earlier decades. Such a shame.
There are also abominations like those Free remixes with that terrible 80s drum sound.
I would say Wilson at least shows greater sensitivity than that, although I admit the amount of his remixes I have I could count on one hand. Unless an original mix was grossly deficient, I can't think of a case in music history where I would prefer to have a remix over the original.
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