Red Mosquito

tragabigzanda wrote:Actually an interesting AI project:

I hate to say it, but this is mostly pretty great

That version of Even Flow is a keeper

Porch and Release were the best ones. I wouldn’t mind seeing them do that version of Even Flow live.

That's worth about a 30-second skim-through

They should have run Lightning Bolt through this

Jorge wrote:That's worth about a 30-second skim-through

Yeah, if you're deaf!

There's a ton of interesting, meaningful music out there being made by humans

Don't waste your time with this shit

I have some thoughts on that coming up soon

Jorge wrote:That's worth about a 30-second skim-through

i made it to the once prechorus

Let's not and say we did.

I would have loved to be at the first 1991 work session where Ed said “I like what you guys are doing. I think I’m gonna go HOO HOO HOO HOO HOO HOO HOO”

McParadigm wrote:I would have loved to be at the first 1991 work session where Ed said “I like what you guys are doing. I think I’m gonna go HOO HOO HOO HOO HOO HOO HOO”

Who do you think was most into it? Mike?

Probably the hundredth time I’ve said it but the only song on Ten that its production actually works for, is Oceans.

I used to kinda hate the production of Ten but i think when the album turned ten years and i listened to Jeff talking about Janes Addiction and other stuff i kinda figured maybe what Parashar tried to do with it and it gained a lot of respect from me.

I prefer Vs or No Code´s production for PJ but im very glad Ten sounds like it sounds.

VinylGuy wrote:I used to kinda hate the production of Ten but i think when the album turned ten years and i listened to Jeff talking about Janes Addiction and other stuff i kinda figured maybe what Parashar tried to do with it and it gained a lot of respect from me.

I prefer Vs or No Code´s production for PJ but im very glad Ten sounds like it sounds.

It’s a relic. Of its time. And that’s fine.

The remaster gave the songs the life they deserved and need and takes them out of the 80s hairspray zone that the original is doused in. If I never heard that version of the album again I’d be happy.

Except oceans. It works on that one alone.

I did like how the remaster sounded very similar to how they perform those songs live.

About the relic thing...i dont know. Music is all the time going back, pretty much all pop songs right now sound exactly like in the 80s.

VinylGuy wrote:I did like how the remaster sounded very similar to how they perform those songs live.

About the relic thing...i dont know. Music is all the time going back, pretty much all pop songs right now sound exactly like in the 80s.

Yeah but we can take that weird glam rock gloss off it though. Even the band have said they’re happier it’s gone.
I mean if they’d been playing for those three years with that effect up front in the house mix and a feature, sure, and god knows they’re toured that record endlessly.

But they didn’t. The live performance sounded nothing at all like the record. And let’s be thankful it didn’t.

Had it been mother love bone touring those or similar songs, that effect would have been up front and main feature. Cos that was them.
It’s not pj though. That effect was a MLB hangover in the studio they shouldn’t have entertained at all.

The problem with this kind of "fixer remixer" stuff - and you will see it at a frustrating level with those awful Beatles remixes - is that most people have a black and white view and never see things as being six of one and half a dozen of the other.

You are either obligated to love one of them and to pick a side, or to love both and to hate neither. It's really like politics and a perfect racket for the music industry.

Changes were made to "Ten" that were arguably for the better. And yeah, the band fully approved of it (whatever that's really worth).

But that doesn't automatically mean that it was done well.

Then if you are let down and critical in these instances, people will get snippy and tell you to "shut the fuck up and go listen to the original" or that you're a jealous know-it-all.

And you're told that opinions about audio mixes are subjective, unless you have a negative one that doesn't jive with theirs. Then you're just an asshole who is being gaslighted.

The notion of "lost opportunity" and being left with two shitty versions never occurs to them, ever.

And meanwhile, somebody somewhere who put in a half-ass effort is always counting money, and they will repeat the same process again and again because it clearly pays off.

It makes me re-consider (what is left of) my enthusiasm for music collecting.