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GasLightStreet
The Stones have enough leftover material from VOODOO alone to flush out the supposed new 2017 LP.
Perhaps if they, oh, spent some time writing and working together they'd have some more ideas.
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HMSQuote
GasLightStreet
The Stones have enough leftover material from VOODOO alone to flush out the supposed new 2017 LP.
Perhaps if they, oh, spent some time writing and working together they'd have some more ideas.
The "leftovers" from VL mostly aren´t worth a dime. Only Honest Man has potential enough to show up on a new album. Would mean real hard hard work to turn the almost unbearable VL-sketches into songs, so it would be better (and easier) to start all over again.
Spending time together writing and working on songs is the main problem, they do not want to spend time together, they broke up personally such a long time ago.
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DandelionPowdermanQuote
Socrates1Quote
DandelionPowdermanQuote
Socrates1
You know what they say man, it's all good. I remembered the point I was getting to. We know Crosseyed Heart was recorded on tape. Was ABB an all digital recording? Do you guys know? Of course someone around here must know.
They actually stopped manufacturing pro studio tape (whatever they use) in 2003. By 2005 everybody had gone digital. I'm sure the Stones could have gotten tape if they had wanted to record with it back in 2005. They're the Stones. They can get whatever they want. But did they bother? ABB sounds so digitized to me.
ABB was digital.
They are still manufacturing pro studio tape
I know, Mr. Dandelion. I already said it costs $500 for a reel of pro tape today. I said that before I said they had stopped manufacturing it. If that makes any sense... read it twice. Meaning -- they stopped manufacturing pro tape for a while, then started making it again at some point. When they stopped manufacturing pro tape in 2003 it wasn't $500 a box. And it still wasn't abnormal to record with tape in the early 2000s either. Pros recording to tape wasn't yet a dying art form way back then.
It makes sense on so many levels that ABB was recorded digitally. It's why ABB does't make sense, actually. Thanks for confirming my hunch, DP Man. ABB is a Stones anomaly from the mid 2000s: released smack-dab in the middle of a decade where lots of people weren't making totally great music. So yeah, I was glad to read what Don Was said about microphones and everything.
Why?
The story behind the ABB recordings is that they wanted to try the Pro Tool-approach, and decided to record at Mick's place in France. Mick wanted to doctor it more in a «real», but Keith thought it sounded raw and good.
This time, I agree with Mick. They should have polished it a bit more. First and foremost because of how the songs were. Had it been a more rootsy album, the raw approach could have worked better.
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GasLightStreetQuote
DandelionPowdermanQuote
Socrates1Quote
DandelionPowdermanQuote
Socrates1
You know what they say man, it's all good. I remembered the point I was getting to. We know Crosseyed Heart was recorded on tape. Was ABB an all digital recording? Do you guys know? Of course someone around here must know.
They actually stopped manufacturing pro studio tape (whatever they use) in 2003. By 2005 everybody had gone digital. I'm sure the Stones could have gotten tape if they had wanted to record with it back in 2005. They're the Stones. They can get whatever they want. But did they bother? ABB sounds so digitized to me.
ABB was digital.
They are still manufacturing pro studio tape
I know, Mr. Dandelion. I already said it costs $500 for a reel of pro tape today. I said that before I said they had stopped manufacturing it. If that makes any sense... read it twice. Meaning -- they stopped manufacturing pro tape for a while, then started making it again at some point. When they stopped manufacturing pro tape in 2003 it wasn't $500 a box. And it still wasn't abnormal to record with tape in the early 2000s either. Pros recording to tape wasn't yet a dying art form way back then.
It makes sense on so many levels that ABB was recorded digitally. It's why ABB does't make sense, actually. Thanks for confirming my hunch, DP Man. ABB is a Stones anomaly from the mid 2000s: released smack-dab in the middle of a decade where lots of people weren't making totally great music. So yeah, I was glad to read what Don Was said about microphones and everything.
Why?
The story behind the ABB recordings is that they wanted to try the Pro Tool-approach, and decided to record at Mick's place in France. Mick wanted to doctor it more in a «real», but Keith thought it sounded raw and good.
This time, I agree with Mick. They should have polished it a bit more. First and foremost because of how the songs were. Had it been a more rootsy album, the raw approach could have worked better.
Perhaps but if the mastering was done better - at all yet alone correctly - then how they recorded it wouldn't be such a big deal. Good sounding albums have been done on Pro Tools and mastered properly.
STEEL WHEELS was all digital. To my knowledge the only other digital album the Stones have done is A BIGGER BANG. The rest involve tape to some degree.
The Cult and the Drive-By Truckers used 2 inch analog (DBT uses 16 track) for their newest albums.
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GasLightStreet
STEEL WHEELS was all digital. To my knowledge the only other digital album the Stones have done is A BIGGER BANG.
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Socrates1Quote
GasLightStreetQuote
DandelionPowdermanQuote
Socrates1Quote
DandelionPowdermanQuote
Socrates1
You know what they say man, it's all good. I remembered the point I was getting to. We know Crosseyed Heart was recorded on tape. Was ABB an all digital recording? Do you guys know? Of course someone around here must know.
ABB was digital.
It makes sense on so many levels that ABB was recorded digitally. It's why ABB does't make sense, actually. Thanks for confirming my hunch, DP Man. ABB is a Stones anomaly from the mid 2000s: released smack-dab in the middle of a decade where lots of people weren't making totally great music. So yeah, I was glad to read what Don Was said about microphones and everything.
Why?
The story behind the ABB recordings is that they wanted to try the Pro Tool-approach, and decided to record at Mick's place in France. Mick wanted to doctor it more in a «real», but Keith thought it sounded raw and good.
Perhaps but if the mastering was done better - at all yet alone correctly - then how they recorded it wouldn't be such a big deal. Good sounding albums have been done on Pro Tools and mastered properly.
STEEL WHEELS was all digital. To my knowledge the only other digital album the Stones have done is A BIGGER BANG. The rest involve tape to some degree.
I'm not sold on the "mastering" argument. Don't mention the Hoffman forums to me.
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Socrates1Quote
GasLightStreet
STEEL WHEELS was all digital. To my knowledge the only other digital album the Stones have done is A BIGGER BANG.
I rest my case.
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HMS
Don´t blame digital recording for Steel Wheels being a lame album. It´s the songs, not the recording technique. ABB was recorded digitally but is very enjoyable, imo. GHS was recorded analog and bores the hell out of me.
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GasLightStreetQuote
HMS
Don´t blame digital recording for Steel Wheels being a lame album. It´s the songs, not the recording technique. ABB was recorded digitally but is very enjoyable, imo. GHS was recorded analog and bores the hell out of me.
When you say A BIGGER BANG is "very enjoyable" do you mean... as an album or sonically?
No one would sane ever accuse A BIGGER BANG as sounding "enjoyable" when it comes to how it sounds.
You think a great album is boring yet you love the worst album they've ever done - and they used 244 reels of tape to make that pathetic piece of shit excuse of an album.
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HMS
ABB is very enjoyable musically. It´s not perfect (=too many songs) but still their best since DW.
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HMS
DW is an analog recording but listening to the crystal-clear and crisp sound you might think it´s digital.
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GasLightStreetQuote
HMS
DW is an analog recording but listening to the crystal-clear and crisp sound you might think it´s digital.
They made a crap album unlistenable with its shiny shitty sound on top of making a shiny shitty album. No mastering could help that blendered bowl of vomit.
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crumbling_mice
ABB is an absolute dirge of terrible songs and should never have seen the light of day.
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HMSQuote
crumbling_mice
ABB is an absolute dirge of terrible songs and should never have seen the light of day.
Rough Justice, Rain Fall Down, Oh No Not You Again, This Place Is Empty, Laugh I Nearly Died, Driving Too Fast, Look What The Cat all terrible songs? Tough verdict.
IMO Street Of Love sucks, Infamy sucks.
Biggest Mistake & Let Me Down Slow are tame.
The rest is ok.
Sweet Neo Con is an unrecognized gem.
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GasLightStreetQuote
HMS
DW is an analog recording but listening to the crystal-clear and crisp sound you might think it´s digital.
They made a crap album unlistenable with its shiny shitty sound on top of making a shiny shitty album. No mastering could help that blendered bowl of vomit.
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HMS
Sweet Neo Con is an unrecognized gem.
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HMSQuote
GasLightStreet
The Stones have enough leftover material from VOODOO alone to flush out the supposed new 2017 LP.
The "leftovers" from VL mostly aren´t worth a dime. Only Honest Man has potential enough to show up on a new album. Would mean real hard hard work to turn the almost unbearable VL-sketches into songs, so it would be better (and easier) to start all over again.
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GasLightStreetQuote
HMSQuote
GasLightStreet
The Stones have enough leftover material from VOODOO alone to flush out the supposed new 2017 LP.
The "leftovers" from VL mostly aren´t worth a dime. Only Honest Man has potential enough to show up on a new album. Would mean real hard hard work to turn the almost unbearable VL-sketches into songs, so it would be better (and easier) to start all over again.
Amazingly, somehow, you name the worst song they demoed for VOODOO as being "only" "potential enough". Of course you'd like something that is awful.
There are fantastic leftovers from those sessions. It's no surprise at all that you are unable to hear that.
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Marhsall
'Zip Mouth Angel' is a great leftover from the VL Sessions.