lecherouslittlestump wrote:Album reached #28 in the US charts. A dismal showing. Eddie is going to be asking some very tough questions of himself right now. None of the singles landed and the album is a complete flop.
The Dark may get some airplay as another single - they HAVE to do something to salvage this wreckage
For a second I thought this was a serious post! Lol
lecherouslittlestump wrote:Album reached #28 in the US charts. A dismal showing. Eddie is going to be asking some very tough questions of himself right now. None of the singles landed and the album is a complete flop.
The Dark may get some airplay as another single - The HAVES to do something to salvage this wreckage
Strat wrote:I hear what you guys are saying, but im not sure i can hear what it COULD sound like.
lemme try and listen for an example and get back to you
OK I think a good example might be Betterman, as it has very similar tempo, groove and instrumentation, and should share the dynamic power and range of the verses into the chorus; listen to how the crunchy electric guitar suddenly layered over the acoustic after the snare hits kind of increase the excitement and emotion of the song, instead of just... kind of existing in the same emotional space as the verses (as in BtC); I think there's more oomph in the final part of BtC but I feel like that's because they're layering guitars on top of each other to make up for the lack of that dynamic shift
Good ears!
Does tacking on a live performance make any difference for this approach?
Not automatically, no. But live performances are likely to include some audience noise, plus maybe some other less desirable stuff. That extraneous audio would be more audible with heavier compression, so the band theoretically has to work with a wider dynamic range to let the undesirable quieter stuff stay quiet.
I think I understand, but let me name some songs that I think succeed at what we are talking about LBC, Given to Fly. Over the Hills and Far Away, Room At the Top. Yes or no on these?
If you're talking about nice dynamic range, with a louder section that bursts out from a prior quieter section, then yes totally. If you're talking about live recordings, then I'm not sure what you're referring to.
Was referring to studio recording. Live Brother the cloud sounded great.
so yes those are good examples too
When I hear records from like 75 so Rumors, Hotel California or maybe something like Maxine Nightingale. I always wish they could inject that kind of air into there songs.
Tj wrote:When I hear records from like 75 so Rumors, Hotel California or maybe something like Maxine Nightingale. I always wish they could inject that kind of air into there songs.
Rumours is the album that people everywhere showcase sound equipment with. It sounds incredible.
Tj wrote:When I hear records from like 75 so Rumors, Hotel California or maybe something like Maxine Nightingale. I always wish they could inject that kind of air into there songs.
Rumours is the album that people everywhere showcase sound equipment with. It sounds incredible.
The drum are perfect. I dont even know if Mick is that good of a drummer, but the sound is unreal.
Ironically The Haves to me sounds fantastic. I am purely speaking of sound quality. Fall Out and Long Road are good as well. BTC should have a dripping wet down turned riff in the chorus would have made it uncomfortable in a good way. The vocal would have to be a little more reserved though.
I just haven’t had any interest in it. I’m not actively avoiding it. I rarely think about it at all. I’m not on RM that much anymore and Ed’s solo music would never find its way into my life unless I sought it out. I was only reminded of it because of being on RM tonight.
