|
Tiny Faye posted:Actually some of us enjoy the Tina Turner version of Acid Queen and the Elton John Version of Pinball Wizard, thank you very much... I used to get into intense arguments that ruined friendships with assholes who actually thought that the Elton John version of Pinball Wizard couldn't be better than the Who's. Despite the fact that it rocked at least 10x harder and had much more power and joy in it. Frankly, I'm better off without those guys.
|
#
¿
Jun 16, 2011 13:15
|
|
|
|
| # ¿ May 5, 2024 12:47 |
|
|
This is reminding me about a sad tale about a record shop I used to go into, Scotti's in NJ. [cue up sad song, preferably on a 1st pressing] I had jury duty, and so I had an hour for lunch. Looking to kill some time after eating, I walked into Scotti's in Morristown since I hadn't gone there in a while for whatever reason. Oh, if only I had stayed away. Apparently, the owner had realized that there was a bug for vinyl, because suddenly, I was seeing prices that made no sense. It was just absurd. For instance, I found two copies of the mono "Aftermath" by the Stones. One was 3 bucks, the other was 10 bucks. I don't know what was going on with the 10 buck version, since the cover was in remarkably worse shape, and it was clearly barely together. Then I saw the thing that convince me to leave and never spend my hard earned money there again. A copy of Jimi Hendrix's "Axis: Bold as Love," for about 15 bucks. This poor record... it didn't deserve the treatment it got. From the outside, the cover was incredibly water-damaged. It was warped in all the wrong ways. Then I tried to open the gatefold, but gave up, fearing that I would break the record and then he would try to get 15 bucks from me. I never looked at the record. I was tempted to show this to the manager and ask him what the gently caress was wrong with him and why he would charge so much money for a clearly broken product, especially when for 5 bucks more, you could get one of the remastered copies from last year that sounded incredibly sweet.
|
|
#
¿
Jun 18, 2011 11:59
|
|
|
CPL593H posted:Holy poo poo, that is the worst idea. Especially since we all know that beef-jerky is the best food medium for high quality audio. Although I guess virgin-chocolate is okay. But only if it is virgin.
|
|
#
¿
Jul 4, 2011 13:28
|
|
|
Uh... my wallet. I just can't resist the Smiths... even though I literally have EVERYTHING they've done already. I need an excuse not to get this. I really do.
|
|
#
¿
Jul 28, 2011 00:13
|
|
|
There's a double-lp version of Dire Straights' Brothers in Arms which is really loving good. Each side has 2 or 3 tracks, and they are all the complete versions, and it sounds amazing. Sundazed's reissue of Blonde on Blonde is also pretty good, although apparently they accidentally ran "Rainy Day Women #12 and #35" at regular speed. Plus, what would you rather have? A little CD, or the big-rear end cover?
|
|
#
¿
Aug 14, 2011 21:58
|
|
|
Ron Burgundy posted:Are you talking needle drops of the best available copy or going back to master tapes? Because the record companies honestly have no idea where half of their stuff is. The master tapes for stuff like Steely Dan and The Who are missing. The obscure stuff is going to be hell to find. Here's the sad thing, a lot of record companies don't even think to hold onto their masters. The way that master tapes are treated, it is criminal. They would just throw them out en masse to save space, cut off the metal leaders to save money, do a variety of things. When Rykodisc got started, and they were reissuing Bowie for the first time, the guy in charge of the project when to the warehouse where RCA holds the tapes. He recalls seeing the guy leading him to the tape kicking aside a Jethro Tull master, and then coming in to find that David Bowie's masters were not properly taken care of. He had to listen to the tapes and document what each one was. Maybe he found another cassette master for "Aladdin Sane," or maybe he would find a track that nobody has ever heard before. But the tapes could have disintegrated, and RCA wouldn't have cared. You also have other problems too. One of Steely Dan's masters were destroyed when some idiot ran the digital tape through an analog tape machine. You have studios who send these things around and don't know where they are. Hell, there's a lot of artists from the 50s and 60s where the only solution is to rip it from a record to get a CD issue since their company decided to get rid of the tapes in order to save space or money. And it's gonna get worse. All this stuff that's recorded digitally... who's holding onto it? Who's taking care of it. Hard drives fail. CDs fail. I know Island used to make analog backups, but who knows if they still do. What happens if the software they used becomes archaic and nobody has a working copy? What happens when the last of some of these digital tape machines break down? You literally have a good chunk of the 1980s best music sitting on tapes that can only be played on one machine.
|
|
#
¿
Aug 23, 2011 13:29
|
|
|
Cheesus posted:If the industry hadn't been so caught up with the "Loudness Wars" I really don't see myself getting into vinyl. I'd always been perfectly happy with the sound and convenience of a CD. While it's not always true that vinyl is better mastered (Death Magnetic In all honesty, the "loudness wars" is hardly the worst thing that the music industry does. Yes, there is a lot of music out there that is overly compressed, but that's existed for a long time. You listen to 60s pop music, and you'll hear loud. Hell, I remember some people complaining about the loudness on Hip-Os Motown singles sets, and the reality was that Hip-O was just reflecting how loud and hot the original singles were mastered at. Here's what record companies have done. They've done terrible tape researched and used whatever was on hand, even if it was a worned EQed copy, rather than the originals. They've used noise removal to the point of adding artifacts. They've added slight phasing due to bad mastering. They've added overdubs. They've hosed up stereo and mono tapes, sometimes using them pretty much at random. They've sourced from records, and often times they didn't even use a clean disk, even though the tapes actually existed (this happened on a Boxtop compilation I have, where they sourced a B-side from a worn 45, yet when Sundazed put out the albums, they found the original tape). They've mastered things at the wrong speed. They've chopped off endings. They've mastered stereo discs in mono by accident. They've used remixes rather than original mixes. Sometimes they just don't use the right mixes. They've used single edits in place of the album version on the actual album. If you have the older Rolling Stones CDs, you also get the joy of seeing a track switch from stereo to mono, although often what happens is that the intro will be in stereo and then once the song proper starts, it's mono. Deluxe editions can be fun. I have the "Songs from the Big Chair" deluxe 2CD set, and while overall it's great, for some reason Mercury put the "7" version" of "Everybody Wants to the Rule the World" on the 2nd disc, which collects the single version. Only problem is that the 7" version is the album version as well. There's no unique edit. I have the new Kinks remasters, and for some reason, there are random "ñ" all over the place in the booklet for Something Else. Trust me, clipping is the least of your worries when it comes to reissues.
|
|
#
¿
Aug 23, 2011 16:45
|
|
), in my experience it usually is, at least from the mid 90s onward.
|
But you see, that actually seems somewhat interesting. At least it's better than the super deluxe Station To Station issue, which included the remastered album, the original 1985 CD master because... uh... I don't know why you'd remastered a CD just to include the original mastering of the same material, a CD of the single edits, a live album, the album on vinyl, the live album on vinyl, a DVD featuring surround sound mixes. Compared to the original album remastered, the B-sides, demos, BBC recordings, a live show, the original mix that lead everyone to decide to get Andy Wallace to mix it, that's absurd.
|
|
#
¿
Aug 23, 2011 17:17
|
|
|
Millstone posted:I don't understand the problem with digital files; they are backed up with speed and ease. This is how digital piracy is such a problem. Copy the files to a number of secure places and there you have it. Why would nobody have a working copy of Pro Tools at any point in time, the most popular recording software? I'm sure before or at the time that Pro Tools or what have you gets discontinued, there will be more than enough warning and compatibility. Your thought only goes halfway. First off, backing up is easy only when something is accessible to be backed up and you choose to back it up. Another problem too is the medium you use to store it. With digital, you need to be able to actually read and 'understand' the data that's written on it. So even if you have backups, you have to ensure that your backups can interface with modern hardware. This is a problem for the 1980 Domesday Project, which was done on a laserdisc designed for computers. Sure, we have the disc, but we don't have anything that can read the disc. It's useless now. As to "why would nobody have protools," keep in mind, today, it is popular. Twenty or thirty years down the line? And will people still have computers that can use protools? Sure, it seems impossible, but you never know what issues could arise. As to your final point, that can only come if you ignored EVERYTHING that has lead to this discussion. Record companies have shown time and again that they don't give a poo poo about properly maintaining their catalog. For instance, with the previous Kinks issues, Ray Davies said that they used copies on a lot of the masters instead of getting the original tapes. Or how about the New Order reissues which had bonus tracks sourced from vinyl on the first pressings? Or how about the multitude of bands that have discovered that the multitracks to their albums from the 90s are missing. Yeah, these record companies will worry about converting the digital masters made by some small punk band they signed by mistake because they wanted to get into the alternative rock market in the 90s.
|
|
#
¿
Aug 24, 2011 04:52
|
|
|
Farts Domino posted:I don't know, I think he's got some fair points and yours only seems to support it. I think the real advantage of digital is the immutability of the archival copy. While you can corrupt it, sure, you can make multiple perfect backups and read those backups perfectly even on low-end equipment. It's true that you can make multiple perfect backups, but the main problems is more of a software/hardware issue than it is a data issue. Depending on what they are using, digital storage can be highly volatile. Now of course, let's not go and say "All hail analog" without considering the flaws. Playing it will create distortion. A poorly made tape needs to be baked before it can be played once the oxide breaks down, and even then, you can only do that a few times before the tape is unplayable forever. Finally, any backups can't be perfect.
|
|
#
¿
Aug 24, 2011 12:59
|
|
|
It's not too bad. It has its moments, and it is definitely a debut album by a band with a lot of potential, but not a lot of direction. I really hope they aren't a one hit wonder. I have faith in the top 40 again.
|
|
#
¿
Sep 6, 2011 04:09
|
|
|
CPL593H posted:What's the album on the bottom left? I think that's Devo's 1988 masterpiece Noodles or Wet Noodles or something like that. Apparently, the album is a huge mess.
|
|
#
¿
Sep 12, 2011 02:09
|
|
|
But they haven't issued Hatful of Hollow, The World Won't Listen, Louder than Bombs, or Rank on LP yet. And without those albums, we're literally missing half of the story (even though those albums contain a lot of overlap). And the CDs are probably remastered. And I wish I just had 500 I could spend without guilt because I would so get this just because it's the loving Smiths. Yeah, Rhino can be a ripoff, but let's be honest. They knew they could do this with Morrissey.
|
|
#
¿
Sep 13, 2011 12:21
|
|
|
Wow, I didn't know they were making 45s for Jukeboxes into the late 90s early 200s like that. That's really a pretty big surprise.
|
|
#
¿
Oct 16, 2011 21:30
|
|
|
No offense, but in terms of getting people into the door, you're going to have any easier time saying "Hey, we got a special version of your favorite album on your favorite format" and getting results than you will "Hey, here's six LPs worth of badly recorded live-material from a tape-deck that's playing at the wrong speed." That's not to say the event isn't poorly ran and features bad deals.
|
|
#
¿
Oct 17, 2011 03:22
|
|
|
That has to be a typo: only a single for Siamese Dream. Both versions I have are doubles, and that would mean each side would be over 30 minutes, and thus, sounding like poo poo. So, I really hope it's a typo, otherwise there's no real reason for anyone to get that. Also for reissues, that's pretty standard pricing. Now the only question left is when they get to Adore, will that be the first time the album will be in stereo on vinyl, or will they use the mono mix?
|
|
#
¿
Oct 18, 2011 04:25
|
|
|
LtTennisBall posted:Yeah I was confused, as my copy of Siamese Dream is a double. That makes absolutely no sense. It would also mean that they were charging more just because the cover is gatefold. Also I'm under the impression that all of these reissues are new mixes (I think?) As far as I know, the only remix that's been talked about is the first Machina album (and I guess maybe the second), just because the fan reaction to the sound has been pretty horrible. These are just remasters, so I don't think you are going to see Billy change the sound, and with Siamese Dream, I think remixing it could be a nightmare (okay, how loud should guitar 94 out of 100 be... is it drowning out #28 there?).
|
|
#
¿
Oct 19, 2011 00:03
|
|
|
I have a record by Less Than Jake where there is a bonus track on each side, and the only way to play it is to move the needle towards the center of the record and drop it, and then it will play from the outside in.
|
|
#
¿
Nov 27, 2011 13:04
|
|
|
Walrus Ship Down posted:As someone relatively new to vinyl I have a couple questions. Previously, the only turntable I was familiar with had an automatic arm that would place itself and stop itself. Now that I have the AT-120 I have to do this manually. So: To answer both your questions: you are worrying too much. Records, while they need to be taken care of, are not some preciously fragile object that will become terribly unplayable if the temperature in your house is as so much 1 degree out of the acceptable range. They are somewhat durable, and as long as you take a little care and don't play them everyday, they should last years. Most of my parents records are still in good condition, even though they didn't worry about cleaning with every play, or using the best dust jackets, or taking proper care of their needles. Don't panic. For more in-depth answers: #1: I really don't know, but it is standard to drop the needle onto a moving platter. I could imagine that starting it cold could cause more wear and tear, but I don't think it's a huge deal. #2: Please, don't worry so much. The run-out groove is just a regular groove that's blank and is a complete circle, rather than a spiral. It's designed so your needle has a place to stop without going into the center-label. Unless of course you have a record with a skip right at the very end, and then the needle just goes happily into the center label (I have a Morrissey record that does this). If you leave it running for a minute or two, you aren't destroying your needle in the process.
|
|
#
¿
Jan 5, 2012 04:44
|
|
|
Also, when cueing up a record, there should be a line on the cartridge that should tell you were the needle will go. So if you wanted to play track 3 of a 5 track side, you could do so easily. Which reminds me, if I ever become a hit artist, I am going to make a record where the track bands don't actually correspond to anything on the record. They are just places where the grooves are cut a little wider!
|
|
#
¿
Jan 5, 2012 13:57
|
|
|
Here's the appeal of a record: it can be a great loving package. Today I got Spiritualized: Ladies and Gentlemen, We Are Floating in Space, and the package is amazing. It's packaged like a prescription drug, right down to the sleeves imitating a giant blister-pack, and the insert is shaped like a drug insert. That's just something that would be harder to pull off on CD. I mean, yeah, it can be done, but it doesn't feel as great.
|
|
#
¿
Jan 16, 2012 04:38
|
|
|
I think for me, there's a sense of "Finding a record" that doesn't exist elsewhere. You know, it's something limited. It's something that isn't always going to be there. You make a choice not to buy a record, that could be it. You might not get a second chance. And sometimes, you really do get a find. For instance, I was digging in Goodwill, and found this record by a band called "Blue Zoo." They looked like a total gently caress-up of a New-Wave band, I was expecting something terrible. But low-and-behold, it's actually a good album, and even so, I could flip it for like 40 bucks if I really wanted. With music-videos like this, is it amazing that this album was apparently never released on CD? http://www.youtube.com/watch?v=L4CbdGGl19o
|
|
#
¿
Jan 16, 2012 15:22
|
|
|
Don't you love going through your records and finding poo poo you can't remember buying... and then wondering why you bought it? For instance, I found a Weird Al promo 12" for White and Nerdy... and I don't know why.
Cemetry Gator fucked around with this message at 13:42 on Jan 20, 2012 |
|
#
¿
Jan 20, 2012 13:39
|
|
|
If I ever see him live, I will have him sign that record. That thing is honestly one of my most prized possessions. I mean, "White and Nerdy, Confessions Part III, and Trapped in the Drive-Thru?" All are brilliants, especially the last one. When I saw he did that, I was like, "How can you parody that which is already a parody." The man showed me the light.
|
|
#
¿
Jan 21, 2012 04:57
|
|
|
The mono just has a better sound than the stereo. First off, the stereo has a poo poo ton more reverb than the mono version, so it just sounds muddy. And in some songs, the jug doesn't stick out as much. Unfortunately, given the ways that these songs were recorded, you are never going to get rid of the jugs. Unless they recorded the jug to a different track than the rest of the band, but I don't think that happened.
|
|
#
¿
Mar 4, 2012 02:57
|
|
|
You know, Fleetwood Mac is an amazing band, and their work deserves more recognition. I mean, they always had amazing songs, and incredible pop-craftmanship. Tusk, for instance, isn't just sunny pop, it also draws from New Wave influences and punk, and come on, even "Go Your Own Way" is an incredible kiss-off anthem. And if you aren't convinced, listen to this and believe in the power of the Mac: http://www.youtube.com/watch?v=knZltCtkedk
|
|
#
¿
Mar 6, 2012 23:58
|
|
|
Mister Kingdom posted:If you're going to get into FM, then don't overlook the early 70s stuff after the Chicago blues era, but before the Buckingham/Nicks era. There's lots of good stuff like Bare Trees and [/b]Penguin[/b]. I love Christine McVie's work. She's far superior to Nicks in nearly every way. Oh trust me. I absolutely love the song "Sentimental Lady," which has a great opening line: "You are here and warm, but I could look away and you'd be gone." It's a brilliant love-song line in the same vein as "I may not always love you." http://www.youtube.com/watch?v=HvCUJgnVg3o
|
|
#
¿
Mar 7, 2012 01:31
|
|
|
If they are trying to get rid of it in their warehouse, they are probably just dumping it. Chances are, the vinyl distributors don't do returns. If I'm not mistakened, one of the reasons why retailers stopped stocking vinyl in the late 80s and 90s was that the distributors stopped doing returns due to the rise of CDs. So now, if you were a small store and you were handling orders, you were only going to order what you knew was going to sell since now you were essentially buying it. So yeah, I might order the new Madonna album cuz I'm sure I can sell it, but maybe a smaller band, like the Pixies... eh, if someone wants it they can get the cassette or CD. So now, when Best Buy stocks vinyl, they are buying it. They are taking a risk. And if it doesn't sell, well, that's it. You got a problem. You can't return it, and every day you don't sell it, it burns a hole in your pocket, since there are carrying costs associated with it. So you might as well dump it for 1.99, take a loss now and just clear out your warehouses.
|
|
#
¿
Mar 30, 2012 03:34
|
|
|
I'm guessing the playable etching isn't the same process that happened with the Split Enz record. If I understand Jack White correctly, it's not just that the grooves run through a laser etching, but rather, the groove is the etching itself. Which would be awesome if true.
|
|
#
¿
Apr 1, 2012 12:57
|
|
|
Yoshifan823 posted:Are any of these albums good? They're super cheap right now. Icons Abstract Thee is a pretty good album. It's also depressing as hell, but hey, it still has some great pop sensibilities. And 3 bucks? Well, it's 3 bucks more than I got it for (oh, the joys of College Radio...).
|
|
#
¿
Apr 12, 2012 21:04
|
|
|
CPL593H posted:I don;t think I'll ever be able to understand this mentality. But... you... see... it will be a collectable some day. And I will never have to work again because of my valuable vinyl records. Because in 30 years, people will want to listen to the indie rock of today on a hobbyist's format!
|
|
#
¿
Apr 14, 2012 12:04
|
|
|
The first message I saw was in the groove for Rancid's Radio Radio Radio EP. On side one, it said "That's a lot of radios." Side 2 said "There's 2 l's in Feeling," referencing a mistake that was made on the sleeve where a song was listed as "Just a Felling." It was the coolest thing ever to my teenage brain.
|
|
#
¿
Apr 16, 2012 01:50
|
|
|
I got the new Mobile Fidelity version of Piano Man today. I was curious, and it is a good album, and it's loving Piano Man on vinyl, what more do you need. I'm just wondering about people's thoughts on Mobile Fidelity. Do people feel it is worth it for albums they like, or would they rather try and track down a clean version of the album. In my opinion, it sounds very nice, and it is clear that they didn't just take a CD and put it onto LP, but I also wonder if there is a lot of audiophile bullshit. For instance, they are releasing a 45 RPM version of Blonde on Blonde (either way, Sad Eyed Lady of the Lowlands covers a side) for $99. What kind of psychopath would pay 99 bucks for Blonde on Blonde when for 30 bucks more, you can get 7 more records in the Mono Albums boxset, or you could get the Sundazed reissue (also mono) for less than 1/3 of that price. It can't really be worth that. But 30 bucks for Piano Man seems reasonable, and it does sound really nice. I also saw a copy of Special Beat Service by the English Beat for 23 bucks. That was a little tempting too.
|
|
#
¿
May 18, 2012 02:58
|
|
|
Honestly, I wouldn't just get an album because it's a Mo-fi. Maybe their "silver series" which is priced at 22 bucks might get a blind buy, but for their normal releases it would really have to be an album that I really like to consider spending it on. For instance, Piano Man is a good album, I don't currently have it on vinyl, and I had some extra cash. So I said I'll splurge on it. Overall, I'm happy with the sound. It did sound very nice and obviously they put a lot of care into their product. But in a way, it's also disappointing. Pretty much, it's an audiophile release, not a Billy Joel fan release. It's for people who love sound, not really for people who love music. There's nothing about the album or the music contained within. No photos or anything. It'd be nice if they would try to be like the Criterion Collection of music, but I guess that just ain't gonna happen. 30 bucks really is my limit. I remember there were a few really nice Peter Gabriel reissues, but it was like 75 bucks for one album, and even though I really do like his work, it was just too much for me to justify.
|
|
#
¿
May 18, 2012 03:43
|
|
|
Well it finally happened. I got the new Best Coast LP and there is a locked groove... in between two songs. Like, in a way, it's the best place for that to happen, but it is also really annoying. That means I basically have to change sides 3 times. Hipster problems, I say. Hipster problems.
|
|
#
¿
May 19, 2012 16:49
|
|
|
Sorry, but what record is that? I can't make out the text on the label.
|
|
#
¿
May 20, 2012 04:10
|
|
|
Also, to be fair, scientology doesn't have the market cornered on "medicine=bad" business. For instance, we could talk for hours about homeopathy. Granted, I'd only say one or two words in that time-frame, but you would be just as fulfilled.
|
|
#
¿
May 24, 2012 16:02
|
|
|
fozzie dunlop posted:The 2008 reissue on Warner Bros. might still be floating around; that's the one I have. Oh, I have the reissue, and let me say, DO NOT GET IT. It sounds terrible. First off, it is way too quiet. I have to turn my receiver up all the way to even hear it. And then, if that's not enough, the sound is way too overcompressed. Literally, all the detail in the drums, bass, guitars, and vocals is just mired because everything has the same volume. They did a terrible job in my opinion.
|
|
#
¿
May 27, 2012 04:23
|
|
|
Sexy Randal posted:I have the Justice reissue and it sounds like garbage as well (beyond the album's original production issues of course). And it's a shame because I have the black album reissue, and honestly, that album sounded absolutely amazing.
|
|
#
¿
May 27, 2012 12:51
|
|
|
|
| # ¿ May 5, 2024 12:47 |
|
|
Remember, the Beatles are incredibly common, and since the prefix is ST, that means it is the stereo versions, which means they are even more common. You could have a collection like my mom's, which is mostly Apple records repressings, which lowers the value a fair bit. In fact, with the exception of the later albums (maybe starting with Magical Mystery Tour), the only original pressings my mom has are all mono.
|
|
#
¿
Jun 2, 2012 04:14
|
|