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Taylor1
After Exile,, the only albums that sound really good are Black n Blue and Tatoo You. Goats head, IORR,Undercover, and Steel Wheels, have crappy sound. Beatles songs from 1964 sound better
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GasLightStreetQuote
Taylor1
After Exile,, the only albums that sound really good are Black n Blue and Tatoo You. Goats head, IORR,Undercover, and Steel Wheels, have crappy sound. Beatles songs from 1964 sound better
I've always thought that SOME GIRLS sounds the worst of all their albums - too bright, no bottom end at all - but that's got nothing to do with the producer, in regard to you saying how they 'sound really good'.
Is it the engineers?Because Imo most Stones’ albums have mediocre sound.Black N Blue sounds 100 times better than IORR,and still doesn’t sound as good as a lot of other artists recordingsQuote
GasLightStreetQuote
Taylor1
After Exile,, the only albums that sound really good are Black n Blue and Tatoo You. Goats head, IORR,Undercover, and Steel Wheels, have crappy sound. Beatles songs from 1964 sound better
I've always thought that SOME GIRLS sounds the worst of all their albums - too bright, no bottom end at all - but that's got nothing to do with the producer, in regard to you saying how they 'sound really good'.
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24FPSQuote
GasLightStreetQuote
Taylor1
After Exile,, the only albums that sound really good are Black n Blue and Tatoo You. Goats head, IORR,Undercover, and Steel Wheels, have crappy sound. Beatles songs from 1964 sound better
I've always thought that SOME GIRLS sounds the worst of all their albums - too bright, no bottom end at all - but that's got nothing to do with the producer, in regard to you saying how they 'sound really good'.
The worst? I always thought that distinction went to GHS. Other albums sounded good, there just wasn't enough quality content. Right off the first time I heard the complete Some Girls album on the radio, late at night, I noticed it had a unified sound. Like they made the album and then threw it in some sort of sonic blender. It sounds like it's twirling out of an organ Leslie speaker. I think that's why songs on the Bonus Disc don't sound like they belong. They didn't get the treatment.
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Taylor1Is it the engineers?Because Imo most Stones’ albums have mediocre sound.Black N Blue sounds 100 times better than IORR,and still doesn’t sound as good as a lot of other artists recordingsQuote
GasLightStreetQuote
Taylor1
After Exile,, the only albums that sound really good are Black n Blue and Tatoo You. Goats head, IORR,Undercover, and Steel Wheels, have crappy sound. Beatles songs from 1964 sound better
I've always thought that SOME GIRLS sounds the worst of all their albums - too bright, no bottom end at all - but that's got nothing to do with the producer, in regard to you saying how they 'sound really good'.
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GasLightStreet
That's why I said that I've always thought SOME GIRLS sounds the worst. It's too brittle, to tinny, too high end sounding. In contrast, EMOTIONAL RESCUE sounds incredible - it has some ass to it.
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jbwelda
I think it is the engineer, he is in control of how the basic tracks are laid. Mixing takes whats there and makes the final product from it. As I have said before, you cannot mix in what is not there. So it comes down to the engineer how the final product sounds, although that can change, usually for the worst, during the mixing phase.
The problem with subjective sound quality judgements though is that they depend so much on the playback equipment and the actual source being played. And of course personal preferences. I myself prefer well rounded sound with solid well dampened bass and individually miked drums, and a good bit of stereo separation with the rest of the instruments, but the bass and any organ mixed almost mono in the final mix. If the cymbals are hissing, you need better microphone on them, that sort of detail...and don't get me started on distorted hissing "S"s.
jb
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Rip This
...not sure what you guys are talking about...I play SG and consistently its the only album I can play start to finish and listen to every song and it feels fresh...
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jbwelda
Its actually one of my favorite Stones records and I don't find the sound to be bad. But its not like its great or anything either, I felt at the time of release that it was a good sound for those particular songs and the punk era they were possibly trying to evoke/copy.
And I agree about the mix making songs sound consistent and coherent as a package. But to me that is the secondary consideration, and most albums don't really sound consistent, some do, some don't and some don't even try. Part of that is the continuity of the process though...songs recorded at same studio with same equipment can sound different even if mixed by the same mixing engineer at different studios.
That the songs you cite sound similar is to me evidence they were recorded and mixed in the same contiguous time by the same guy at the same studio. But I am not an expert in the details of Stones recording sessions to even know if that is a fact or not, just an assumption I draw from the songs and your identifying them by session.
By the way, thanks for the clarity.
jb
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jbwelda
>LET IT BLEED, STICKY FINGERS and EXILE sound the same.
Not to me they don't, at least not in their original release. Sticky Fingers has excellent dynamic range, the other two lag far behind, particularly LIB.
jb
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GasLightStreet
When looking at what they came up with for EOMS in 1971, the reality of it compared to the myth, considering how Jimmy Miller was being treated, supposedly, perhaps it's a wee bit of insite as to the role he had with STICKY FINGERS and the recordings for it that wound up on EOMS:
Written and recorded for EOMS in France:
Casino Boogie
Following The River
Happy
I'm Not Signifying
Pass The Wine
Plundered My Soul
Rip This Joint
Rocks Off
Soul Survivor
Ventilator Blues
nzentgraf
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TravelinManQuote
GasLightStreet
When looking at what they came up with for EOMS in 1971, the reality of it compared to the myth, considering how Jimmy Miller was being treated, supposedly, perhaps it's a wee bit of insite as to the role he had with STICKY FINGERS and the recordings for it that wound up on EOMS:
Written and recorded for EOMS in France:
Casino Boogie
Following The River
Happy
I'm Not Signifying
Pass The Wine
Plundered My Soul
Rip This Joint
Rocks Off
Soul Survivor
Ventilator Blues
nzentgraf
Torn and Frayed was recorded in France according to Jim Price. He tells a detailed account of playing organ during the initial tracking session.
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TravelinManQuote
GasLightStreet
When looking at what they came up with for EOMS in 1971, the reality of it compared to the myth, considering how Jimmy Miller was being treated, supposedly, perhaps it's a wee bit of insite as to the role he had with STICKY FINGERS and the recordings for it that wound up on EOMS:
Written and recorded for EOMS in France:
Casino Boogie
Following The River
Happy
I'm Not Signifying
Pass The Wine
Plundered My Soul
Rip This Joint
Rocks Off
Soul Survivor
Ventilator Blues
nzentgraf
Torn and Frayed was recorded in France according to Jim Price. He tells a detailed account of playing organ during the initial tracking session.
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GasLightStreetQuote
TravelinManQuote
GasLightStreet
When looking at what they came up with for EOMS in 1971, the reality of it compared to the myth, considering how Jimmy Miller was being treated, supposedly, perhaps it's a wee bit of insite as to the role he had with STICKY FINGERS and the recordings for it that wound up on EOMS:
Written and recorded for EOMS in France:
Casino Boogie
Following The River
Happy
I'm Not Signifying
Pass The Wine
Plundered My Soul
Rip This Joint
Rocks Off
Soul Survivor
Ventilator Blues
nzentgraf
Torn and Frayed was recorded in France according to Jim Price. He tells a detailed account of playing organ during the initial tracking session.
The published info I have found all says the same thing: recorded in Los Angeles in 1971.
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ROLLINGSTONE
The beauty of Tattoo You is mainly down to Bob Clearmountain's mixing.
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drewmasterQuote
ROLLINGSTONE
The beauty of Tattoo You is mainly down to Bob Clearmountain's mixing.
If the mixing is responsible for that album's great sound, then it's worth looking at who was behind the mixing for other Stones albums, given the variation in how they sound. I went to AllMusic.com and found the following.
BB, LIB, Sticky, Exile - no "mixing" credit
GHS - Andy Johns
IORR - Keith Harwood, Glyn Johns
B&B - no "mixing" credit
Some Girls - Dave Jordan, Chris Kimsey
ER - Brad Samuelsohn (audio engineer, "remixing")
TY - Bob Clearmountain, Gary Lyons
Undercover - Chris Kimsey
Dirty Work - no "mixing" "credit" (ha!)
SW - Michael Brauer, Chris Kimsey, Christopher Marc Potter, plus two mixing assistants (too many cooks?)
VL - Bob Clearmountain, Don Smith, plus four "mixing assistants"
Bridges - Bob Clearmountain, Ed Cherney, Pierre de Beauport, Rob Fraboni, Wally Gagel, Tom Lord-Alge, Richard Lowe, Danny Saber, John Sorenson, John X. Volaitis, plus SIX mixing assistants (wayyyyyy too many cooks ...)
Bigger Bang - no "mixing" credit
B&L - no "mixing" credit
Drew
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ROLLINGSTONE
The beauty of Tattoo You is mainly down to Bob Clearmountain's mixing. Taking a bundle of recordings going back throughout a decade and making them sound like they were done in the same sessions. Tattoo You is pretty much The Stones' Odds and Sods.imo
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drewmasterQuote
ROLLINGSTONE
The beauty of Tattoo You is mainly down to Bob Clearmountain's mixing.
If the mixing is responsible for that album's great sound, then it's worth looking at who was behind the mixing for other Stones albums, given the variation in how they sound. I went to AllMusic.com and found the following.
BB, LIB, Sticky, Exile - no "mixing" credit
GHS - Andy Johns
IORR - Keith Harwood, Glyn Johns
B&B - no "mixing" credit
Some Girls - Dave Jordan, Chris Kimsey
ER - Brad Samuelsohn (audio engineer, "remixing")
TY - Bob Clearmountain, Gary Lyons
Undercover - Chris Kimsey
Dirty Work - no "mixing" "credit" (ha!)
SW - Michael Brauer, Chris Kimsey, Christopher Marc Potter, plus two mixing assistants (too many cooks?)
VL - Bob Clearmountain, Don Smith, plus four "mixing assistants"
Bridges - Bob Clearmountain, Ed Cherney, Pierre de Beauport, Rob Fraboni, Wally Gagel, Tom Lord-Alge, Richard Lowe, Danny Saber, John Sorenson, John X. Volaitis, plus SIX mixing assistants (wayyyyyy too many cooks ...)
Bigger Bang - no "mixing" credit
B&L - no "mixing" credit
Drew
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LieB
Agreed that Black And Blue and Emotional Rescue sound better than Some Girls. Funny, because Some Girls has better songs on it.
I also agree that Tattoo You was done really well. It sounds great and has great songs on it. That's why I like it more than SG these days.