From: owner-idealcopy-digest@smoe.org (idealcopy-digest) To: idealcopy-digest@smoe.org Subject: idealcopy-digest V3 #275 Reply-To: idealcopy@smoe.org Sender: owner-idealcopy-digest@smoe.org Errors-To: owner-idealcopy-digest@smoe.org Precedence: bulk idealcopy-digest Saturday, September 9 2000 Volume 03 : Number 275 Today's Subjects: ----------------- Re: Eminem [Aaron Mandel ] Re: Eminem [Carl Archer ] Re: Eminem [Paul Pietromonaco ] Wire covers (was Re: Eminem) [Carl Archer ] Re: from a flaming pie [Paul Pietromonaco ] Re: Eminem [Aaron Mandel ] ---------------------------------------------------------------------- Date: Fri, 8 Sep 2000 16:50:01 -0400 (EDT) From: Aaron Mandel Subject: Re: Eminem On Wed, 6 Sep 2000, Jeffrey with 2 Fs Jeffrey wrote: > Not to mention nearly every line of every song indulging in rampant > violence, misogyny, and homophobia. this may be true on The Marshall Mathers LP, but The Slim Shady LP has, as far as i can remember, no homophobic lyrics at all -- i was honestly suprised (and very disappointed, if it needs to be said) at the new record's change of direction. a ------------------------------ Date: Fri, 08 Sep 2000 19:00:53 -0400 From: Carl Archer Subject: Re: Eminem I could have sworn that I heard homophobic lyrics in The Real Slim Shady during that dumb-ass VMA show last night... - -Carl P.S. Mike Watt's cover of "The 15th" should be considered an act of heresy. It's horrifying! > From: Aaron Mandel > Date: Fri, 8 Sep 2000 16:50:01 -0400 (EDT) > To: Jeffrey with 2 Fs Jeffrey > Cc: A Rich and Comfortable Life with Paper > Subject: Re: Eminem > > On Wed, 6 Sep 2000, Jeffrey with 2 Fs Jeffrey wrote: > >> Not to mention nearly every line of every song indulging in rampant >> violence, misogyny, and homophobia. > > this may be true on The Marshall Mathers LP, but The Slim Shady LP has, as > far as i can remember, no homophobic lyrics at all -- i was honestly > suprised (and very disappointed, if it needs to be said) at the new > record's change of direction. > > a > ------------------------------ Date: Fri, 8 Sep 2000 16:24:26 -0700 From: Paul Pietromonaco Subject: Re: Eminem >P.S. Mike Watt's cover of "The 15th" should be considered an act of heresy. >It's horrifying! > Really? I've always thought it was very cool. He even played it live during the "Ball Hog or Tugboat" tour. This was *before* its appearance on Whore. Imagine my surprise at the show when I suddenly realized he was covering a Wire song. Just about flew up to the ceiling. (^_^) Cheers, Paul ------------------------------ Date: Fri, 08 Sep 2000 19:50:50 -0400 From: Carl Archer Subject: Wire covers (was Re: Eminem) I don't like his cover of Bikini Kill's "Rebel Girl" either, but I suppose no man is appropriate for singing that song. I love Lee Renaldo(sp?)'s cover of "Fragile" though. Listening to it right now, actually. I may not have mentioned this before, but back in '92 my old band used to play a cover of a cover medley (in Nirvana style) of "Strange" and "Molly's Lips", which can be sung over each other if you really think about it. - -Carl > From: Paul Pietromonaco > Date: Fri, 8 Sep 2000 16:24:26 -0700 > To: A Rich and Comfortable Life with Paper > Subject: Re: Eminem > >> P.S. Mike Watt's cover of "The 15th" should be considered an act of > heresy. >> It's horrifying! >> > > Really? I've always thought it was very cool. He even played it live > during the "Ball Hog or Tugboat" tour. This was *before* its > appearance on Whore. > > Imagine my surprise at the show when I suddenly realized he was > covering a Wire song. Just about flew up to the ceiling. > > (^_^) > > Cheers, > Paul ------------------------------ Date: Fri, 8 Sep 2000 19:21:51 -0700 From: Paul Pietromonaco Subject: Re: from a flaming pie >I'd like the Beatles in 'proper' stereo rather than the horrible mixes >they did with the drums in one ear and vocals in another. >Headphones on? Ouch! Actually, that's the only stereo the Beatles have on the early recordings. The earliest Beatles recordings were done "twin-track", which was the standard EMI practice at the time. Record the instruments first on one channel. Then the vocals and assorted other stuff on the second channel. Mix down the two tracks to mono. Stereo mixes were primarily done for the U.S., since Capitol Records releases were usually in stereo. (Capitol had three track recorders - third track for center channel.) It wasn't until A Hard Days Night that Abbey Road was upgraded to four track. Then at least you got the vocals in the center. And, really, Beatles mixes really didn't use stereo properly until they began "bouncing" deck to deck to increase the overdub capabilities and thinking in terms of the final mixdown. (This "bouncing" technique is referred to in Abbey Road-speak as "reduction mixes".) In my opinion, the first really cool stereo album was Revolver - and even that has some odd stereo on it - Eleanor Rigby, for example. Oddly enough, they saved all of the bounce tapes - this is what allowed them to do the new multichannel mixes for the songs on the Yellow Submarine songtrack. By pulling tracks off the earlier "bounces" and aligning them with the later recordings, they were able to effectively create a 24 to 48 track master recording, and remix the songs in "proper stereo". This technique was less effective in earlier recordings because they didn't bounce as often - hence the strange stereo even on the remixed "Nowhere Man" By the time they recorded Abbey Road, they had gone to 8 track recording with no bouncing, so those mixes are pretty much set for stereo as is. Cheers, Paul ------------------------------ Date: Fri, 8 Sep 2000 23:30:44 -0400 (EDT) From: Aaron Mandel Subject: Re: Eminem On Fri, 8 Sep 2000, Carl Archer wrote: > I could have sworn that I heard homophobic lyrics in The Real Slim > Shady during that dumb-ass VMA show last night... right, which was the first single from his most recent record, not (despite the name) from The Slim Shady LP. a ------------------------------ End of idealcopy-digest V3 #275 *******************************