BoraBora Dilettante | hpl-nyarlathotep a écrit :
J'ai vu qu'il y avait des versions "Legacy" (ou du genre) de Forever Changes et Tapestry (quoi? encore?).
Arnaque ou affaire de fans?
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Un peu des deux. Passons rapidement sur Tapestry :
Citation :
NEW YORK, Feb. 20 /PRNewswire/ -- Carole King's 1971 masterpiece, Tapestry, endures as an artistic benchmark, a cornerstone of '70s pop, and an industry phenomenon. The original home to such classics as "It's Too Late," "I Feel the Earth Move," and "You have Got a Friend," the album is now being released with a second CD of live performances. Tapestry: Legacy Edition arrives in stores April 15th on Epic/Ode/Legacy, a division of SONY BMG MUSIC ENTERTAINMENT.
(Logo: http://www.newscom.com/cgi-bin/prn [...] LEGACYLOGO )
Original album producer and Ode Records founder Lou Adler, who served as King's manager for those years, was also her West Coast music publishing rep for nearly a decade prior to Tapestry - no one was closer to Carole King's music, except Carole King herself. He knew the power of her meticulously crafted piano & vocal demo recordings, going back to the Brill Building era. Adler always sensed that King's solo moments in concert (before and/or after the band joined her onstage) came closest to capturing the spirit of her demos, especially the Tapestry demos.
The humble roots of Tapestry are those very demos that Carole King would share with Lou Adler at the Ode office on LaBrea Avenue in Los Angeles. For those who have lived and loved the album down the years, from LP to 8-track to cassette to its half-dozen different CD configurations, this Legacy Edition finally offers a chance to experience Carole King's vision in its original "unplugged" brilliance - winter, spring, summer or fall.
Tapestry: Legacy Edition finally realizes Adler's decades-long dream concept, as it marries a newly remastered version of the classic 12-song album with a second CD containing previously unreleased live piano-voice concert versions of songs from the album (in the same order) recorded in 1973 (Boston; Columbia, Maryland; and New York's Central Park), and 1976 (San Francisco Opera House).
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On a donc un CD dont plusieurs masterings était déjà nickels, qu'il faut repayer pour avoir le CD live. Tactique habituelle : une fois la version "Deluxe", "Legacy" et autres bien rentabilisée, on verra sans doute apparaître ces versions lives sur 1 ou 2 CDs séparés, qui seront plus complets. Donc à mon avis, et compte tenu du fait que l'édition actuelle de Tapestry n'a rien à se reprocher (édition 1999, mastering de Vic Anesini), aucun intérêt.
Pour Love, c'est un peu plus problématique. Citation de Steve Hoffman, qui a masterisé le CD 2 :
Citation :
Coming April 22, 2008! Reissue produced by SH Forums member and Rhino maven Andrew Sandoval.
Rhino is going to present the original album as disc one and then have a bonus disc with the alternate album mixes, unissued backing tracks and other things Andrew has dug up. Just wait till you hear their impromptu version of "Wooly Bully" from the session for "The Red Telephone."
Andrew also found the song left off the album called "Wonder People" in a vintage Bruce Botnick '67 stereo mix that had some extra edits and vocal effects, different from the bonus 1970's remix of the song used on the older Rhino CD. Keep your old CD if you want the later mix I guess..
At any rate, the issued stereo album mix will be on disc one mastered by Rhino in-house and on disc two will be the entire 1970's remix of the FOREVER CHANGES album and I was thrilled to be able to remaster this disc two remix version for this project. It sounds great and is really a unique window "in" to how it must have sounded in the studio during playback of the album.
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Donc le CD 1 n'a aucun intérêt pour ceux qui possèdent déjà le bon mastering de l'album. Par contre, le CD 2 peut être intéressant pour le fan, puisqu'il y a peu de chances qu'il sorte un jour en version séparée.
Ceci étant dit, Hoffman lui-même juge ce mix 70's intéressant mais accessoire :
Citation :
It's not a very good mix. Fun to check out though. Can't replace the real mix but you can hear stuff that maybe was hidden before.
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Un autre commentaire, après avoir entendu la version CD de son travail :
Citation :
I just had a chance to play my copy of the Love/Forever Changes "Collector's Edition" set. Had my cans on and played disk two.
Came out great, the alternate mix is really a Twilight Zone trip. Had to be mixed after 1970 (because of the centered drums) but it has no signal processing whatsoever during mixing (comparing it to the original Botnick mix) and it's fascinating to hear all the music and vocal parts in a new way after all of these years.
You're in luck, the vocals in ALONE AGAIN OR are on two channels so you can pick which melody line you want to follow, Mr. M.'s or Mr. L's. Pretty nifty!
The version of THE WONDER PEOPLE (I Do Wonder) on the disk is Bruce Botnick's 1967's attempt to salvage the song. I had only heard the rough mix (available on the earlier Rhino CD) and hearing Mr. B.'s take on it is fascinating. It really sounds like part of the original album, correct instrument placement, extra vocals added and this wacky voice reverb at the end to fill the hole left by what sounds like (to me) an unfinished part. Love it!
Hope you all dig the set. Hearing that short WOOLY BULLY with all the instrumentation and "sound" of Forever Changes is pretty freaky. It's like suddenly finding the Beatles tried recording (We're Gonna) ROCK AROUND THE CLOCK in the era of Sgt. Pepper with that same "sound" as the rest of the album. Time machine stuff!
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Pour finir avec Steve Hoffman, une explication sur la raison pour laquelle la batterie centrée indique un mix 70's :
Citation :
In the 60's music was usually recorded on four channels. During stereo mixing, the instruments were usually split right and left because several instruments were on one track. When eight track came in around 1967-68 or so, engineers found that they could isolate the drums on a separate channel. This meant they could position it in the center in a stereo mix (with the bass channel) and have the left and right reserved for guitars, pianos, percussion, etc.
So, even though Mr. Botnick recorded FOREVER CHANGES on eight track tape, he mixed it the old-fashioned four track way with the drums and bass off to one side. He wised up with his NEXT eight track mix, The Doors STRANGE DAYS. On that, the drums are centered where they remained for the rest of the Doors' catalog.
No 1970's engineer would mix drums off to one side. Either they would have a stereo kit spread out (WHEELS OF FIRE style) or centered. Listening to FOREVER CHANGES in 1974 it must have seemed to people that the album was mixed in the dark ages or something. That's why I think they tried to improve upon it, giving up after realizing they really couldn't....
Just my theory.
Oh, and when I stated that no 1970's engineer would mix drums off to one side, by the late 1970's everything in a mix became "IMPORTANT!!" so more and more of the important music elements were mixed in the middle and by the end of the decade, only a few things were even mixed right or left at all, just where we are today.
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Et enfin un avis dépassionné d'un fan, pas mécontent de son achat, mais clairement pas extasié non plus :
Citation :
I'm crazy enough about this album to buy anything with any new little difference, but . . .
1) The alternate mix isn't nearly as good as the one we all know, but it does have some differences and it highlights a little studio banter and some different elements. Kinda cool. The drums are way up in the mix and the whole thing's mixed in punchier fashion - more guitar, less of the strings and horns. This eliminates much of the "lounge" ambience of the 60's version, which perversely makes it sound more dated and a little less interesting. Many of the differences are simply in the starts and stops of the tracks.
2) Not nearly enough has been written about this album, so the liner notes - while not really comprehensive - do clear up a few things and illuminate some of the album's backstory.
3) The previously unheard backing tracks / sessions highlights (of "A House Is Not A Motel," "Andmoreagain" and "The Red Telephone" ) are only mildly interesting, but not a patch on the 'real' versions. Actually, "The Red Telephone" track sessions highlights are pretty pointless.
4) "Wooly Bully" is a spontaneous jam on the song - only about a minute in length, and very sloppy - from part of a take of "The Red Telephone." You know, you always hope for something amazing . . . but this isn't it. A nice snapshot of the guys goofing around à la the Beach Boys' "Party!" but not nearly as compelling as the weakest tune on that album.
5) The alternate version of "Wonder People (I Do Wonder)," which is indeed superior (though just slightly) to the version on the last CD issue of this album, with its Association-like vocal coda.
Never having heard the 70's version before, I can't compare Steve's mastering to anything, but there are no noticeable oddities that I would attribute to anything other than the mix itself.
If I weren't so nuts about this album and so pleased to hear even an inferior but "new" mix, I'd probably say stick with the last version, which contains everything crucial that's on this (save this version's better "Wonder People" ) - even the one really astonishingly great track from the 70s mix, "You Set The Scene" with the "rap" outro. But it's possibly the best rock album ever, and can be found for about $20, so . . .
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Perso, je passerai sur Tapestry, puisque je suis à peu près sûr que l'on verra dans moins de deux ans un CD dédié à ces concerts. Et puis je suis pas sûr d'apprécier tant que ça Carole en live acoustique solo. Et je vais passer sur Forever Changes, parce que si c'est pour écouter 2 fois le mix 70's en me disant "ah ouais, c'est marrant, les différences", puis revenir au mix original, pas la peine de claquer 15 ou 20 euros. Surtout avec tout ce qui est sorti depuis 6 mois et que je n'ai pas encore pu m'acheter. 
Message édité par BoraBora le 27-04-2008 à 02:04:17
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Qui peut le moins peut le moins.
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Perso, comme beaucoup, j'utilise Audacity. Pour le peu de choses que je fais avec ce type de soft, il me suffit bien et il est gratuit.
![[:zzozo]](https://forum-images.hardware.fr/images/perso/zzozo.gif "[:zzozo]")
). Le même disque, mais avec un bonus CD et un packaging différent :
![[:cerveau love]](https://forum-images.hardware.fr/images/perso/cerveau love.gif "[:cerveau love]")
il est bien ce disque en plus !
A condition d'être sûr de tomber sur celle qui a bénéficié d'une "erreur" de mastering. Je récapitule, parce que ça n'a pas l'air d'être clair :
![[:joce]](https://forum-images.hardware.fr/images/perso/joce.gif "[:joce]")
Il semble que les versions pressées en Allemagne sont des 2a, tandis que celles made in UK sont des 2b, mais your kilometrage may varier.
![[:anti]](https://forum-images.hardware.fr/images/perso/anti.gif "[:anti]")
![[:kikadukana]](https://forum-images.hardware.fr/images/perso/kikadukana.gif "[:kikadukana]")
. Bien sûr, il clippe abondamment...
Qu'est-ce que ça donne, sur les volumes ?
![[:azylum]](https://forum-images.hardware.fr/images/perso/azylum.gif "[:azylum]")
![[:_________]](https://forum-images.hardware.fr/images/perso/_________.gif "[:_________]")
![[:prodigy]](https://forum-images.hardware.fr/images/perso/prodigy.gif "[:prodigy]")