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Discussion in 'Sidewinders Bar & Grille' started by Ferpie, Sep 18, 2021.
Totally know what you mean. Around 1987, I had a bit of a run-in with an A&R lady who worked for one of the big labels. She described the syndrome where an act records a great lo-fi demo, then fails to better it in a big budget studio as 'demo-itis'. So I wrote an editorial saying it isn't 'demo-itis', it's 'label-itis', because you've spent a whole lot of money to systematically design out everything that was appealing about the original recording.
By the time this song hit Top Of The Pops, it had been substantially re-recorded (something the Musicians' Union insisted on) but the original was recorded on a TASCAM 3440 reel-to-reel four-track analogue recorder. The 4-track original was the record version people bought. It was as rough as a badger's... but it had a certain charm. I used to sell pro audio gear, and I met the guy who recorded possibly the cheapest hit ever.
There are also things that are poor on purpose. I could do cleaner here in the Spare Bedroom Music Studio but when someone mixes/masters tracks I have done, I usually ask for "extra mayhem." Last guy who mixed for me went through some analog stuff that he drove hard to get me more crunchier. I know the Kinks sound in some cases was for sure on purpose.
When listening for parties in college, we always put the posters up at an odd angle. No one else thought to do that it seemed, the other posters up straight and square. The eye was always drawn to ours.
Song after song on the radio with similar production, add just enough mojo and yours might just stand out.
Anything on Chess Records, especially the early stuff.
The Beano album.
Maybe it's that feel of something that's just a bit less polished allowing the talent and artistry show through. My favorite versions of songs are almost inevitably live ones. And even though you can go back and play with levels to get everything balanced, if someone is flat or out of tune there's no fixing that.
I have to get around to listening to that one.
As apposed to those songs that were released with poor recordings. This was a great song but marred by the use of the live format. They should have released a studio version as the one they pushed to the radios stations/etc.
This was another that suffered from poor recording. A great song at the time but just poorly recorded and arranged.
The studio version was released as a single. It was only eclipsed by the live version after American radio stations got bootlegged copies of what later became At Budokan, which was never intended for release outside Japan.
Back to the subject of the thread:
I don't understand..