The Gland Rovers - Crisco Blues

Author channel Mark Nowlin   3 год. назад
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The Gland Rovers - Cities In Blue

Cities In Blue: When there is upset in my life, such as I had in the early ‘90s, I have a hard time sleeping. Sometimes I will close my eyes in bed and just try to transport myself by air to a different place. Usually this place is in the winter and it’s nighttime and very big and very quiet. Imagery like that can help me go to sleep. This song basically is a sonic sleeping pill. You would think that with its loud guitars and washes of feedback that it would be a stimulant, but that’s the miracle of feedback guitar. Once in college I put on “Who’s Next” at top volume after my fall finals were over and fell straight into a deep sleep. Lyric ideas borrowed from Roy Orbison and John Lennon, whom I swear I saw there. I sang through the tremolo on my Fender Princeton amp lying on the floor of the bedroom with a blanket over me in the dark. Composed: Winter ‘92-’93. Recorded: January 1993, 1623 Melrose, East Lansing, MI (music) and spring 1994, 6021 Hughes, Lansing, MI (vocals). ----- The Gland Rovers - For Collectors Only Liner Notes The songs in this volume all were recorded on a Fostex X-15 four-track multitrack cassette deck between 1990 and 2002. The bulk, however, were recorded between early 1993 and early 1996, a period of substantive personal upheaval and loss for The Gland Rovers. This three-year period saw a marriage end, one serious, live-in relationship dissolve, and my mother die. The material was recorded in five different locales, three of which were my homes over this period. Needless to say, the personal turmoil and coming to grips with mid-life changes are central themes in nearly all of the original songs. In the early 2010s, I decided to transfer the analog cassette master tapes containing these songs to a digital format using Audacity. I transcribed each of the four tracks from the master sources separately, and then manually synched the audio tracks together. I cleaned up some tape hiss and tried carefully to overcome areas of degradation of the source material. My guiding principle when starting out was to stay true to the intentions of the original production, while taking only prudent liberties to use the newer digital technology to overcome certain technical limitations of the original four-track cassette format. As such, throughout the album there are instrumental tracks in some songs that are doubled and slightly delayed, to provide more richness and depth. Guitar breaks that had been dubbed onto the same track as the lead vocal were extracted and placed on their own digital track, to be able to mix them more effectively within the entire song. However it must be admitted that, once knuckles deep in the source material, I couldn’t resist using a few more of the available tools to enhance certain aspects of a few songs. “Radio Dedication” was doctored the most. Some extremely annoying closed high hat fills were painstakingly eliminated and effects applied to the lead vocal. Pitch correction was used sparingly in certain places in that song and some others, although it could be argued that it could have been used wholesale. There are other similar augmentations and fixes that will probably be obvious upon listening. All of the latest technological advancements cannot step around the fact that these tracks were recorded on a cassette recorder with non-professional grade equipment. The knobs on the “mixing board” were tweaked by non-professionals, and in the original masters some of the choices of performances to “bounce” together to a single track (such as lead vocal together with bass) were regrettably impossible to do much with during the digital remastering. In all, it is pretty obvious that this is not professional output. With some background about the production out of the way, a few words about the musicianship and songcraft. The Gland Rovers were amateur but enthusiastic musicians. The playing was very much inspired and a part of the “DIY” ethos prevalent in alternative rock music in the early ‘90s. Except for a few tracks, a real drummer or even a real drum is not to be found. As The Gland Rovers had no drummer, they used drum machines or drum settings on cheap electronic keyboards. The rhythm of one track is knocked out against the bottom of a kitchen garbage pail. The vocals sometimes stray in pitch, something that sounds particularly galling in an era faithfully reliant on AutoTune but that sounds fully in context with other songs from the alt rock scene of the early ‘90s. What I hope you will hear emerging through the muddy production and amateurish playing are some fairly competent songwriting and interesting arrangements. They are the only reasons I bothered to pursue this project. -uploaded in HD at http://www.TunesToTube.com

Where Giants Come To Play - 1965 San Francisco Giants Highlights Film IMPROVED

Improved audio synch

The Gland Rovers - Little Icarus

Little Icarus: A modern nursery song that I wrote right around Father’s Day 1994 with Evan firmly in mind. I saved poor Icarus from the death by drowning that he suffered in the actual Greek myth. This was one of the more difficult masters to work with. The instrumental levels of the original tracks were all over the board. The crash cymbal was (is) too loud. And my cheap Cort Strat-copy guitar was ...not staying in tune. Chris Cline, who played with me in The Lime Giants, asked me when he heard this song, “You had your nice Gibson SG to play. Why in hell did you play that cheap piece of shit?” I told him, quite earnestly, that I wanted to get that out-of-phase sound of the Strat. He laughed and said, “You got a lot more than just out-of-phase.” I got the most I could out of the masters, but I’d really like to re-record this Beatles-esque number someday. Composed: June 1994. Recorded: July 21, 1994. --- The Gland Rovers - For Collectors Only Liner Notes The songs in this volume all were recorded on a Fostex X-15 four-track multitrack cassette deck between 1990 and 2002. The bulk, however, were recorded between early 1993 and early 1996, a period of substantive personal upheaval and loss for The Gland Rovers. This three-year period saw a marriage end, one serious, live-in relationship dissolve, and my mother die. The material was recorded in five different locales, three of which were my homes over this period. Needless to say, the personal turmoil and coming to grips with mid-life changes are central themes in nearly all of the original songs. In the early 2010s, I decided to transfer the analog cassette master tapes containing these songs to a digital format using Audacity. I transcribed each of the four tracks in each master sources separately, and then manually synched the audio tracks together. I cleaned up some tape hiss and tried carefully to overcome areas of degradation of the source material. My guiding principle when starting out was to stay true to the intentions of the original production, while taking only prudent liberties to use the newer digital technology to overcome certain technical limitations of the original four-track cassette format. As such, throughout the album there are instrumental tracks in some songs that are doubled and slightly delayed, to provide more richness and depth. Guitar breaks that had been dubbed onto the same track as the lead vocal were extracted and placed on their own digital track, to be able to mix them more effectively within the entire song. However it must be admitted that, once knuckles deep in the source material, I couldn’t resist using a few more of the available tools to enhance certain aspects of a few songs. “Radio Dedication” was doctored the most. Some extremely annoying closed high hat fills were painstakingly eliminated and effects applied to the lead vocal. Pitch correction was used sparingly in certain places in that song and some others, although it could be argued that it could have been used wholesale. There are other similar augmentations and fixes that will probably be obvious upon listening. All of the latest technological advancements cannot step around the fact that these tracks were recorded on a cassette recorder with non-professional grade equipment. The knobs on the “mixing board” were tweaked by non-professionals, and in the original masters some of the choices of performances to “bounce” together to a single track (such as lead vocal together with bass) were regrettably impossible to do much with during the digital remastering. In all, it is pretty obvious that this is not professional output. With some background about the production out of the way, a few words about the musicianship and songcraft. The Gland Rovers were amateur but enthusiastic musicians. The playing was very much inspired and a part of the “DIY” ethos prevalent in alternative rock music in the early ‘90s. Except for a few tracks, a real drummer or even a real drum is not to be found. As The Gland Rovers had no drummer, they used drum machines or drum settings on cheap electronic keyboards. The rhythm of one track is knocked out against the bottom of a kitchen garbage pail. The vocals sometimes stray in pitch, something that sounds particularly galling in an era faithfully reliant on AutoTune but that sounds fully in context with other songs from the alt rock scene of the early ‘90s. What I hope you will hear emerging through the muddy production and amateurish playing are some fairly competent songwriting and interesting arrangements. They are the only reasons I bothered to pursue this project. -uploaded in HD at http://www.TunesToTube.com

Robert Johnson "Walkin' Blues"

Some time ago I accidentally stumbled upon Robert Johnson and I was amazed. Since that time I started reading, learning for him and the Blues and above all listening to them. So... recently I created a Blog (which due to personal obligations isn't very good yet) and more recently this youtube channel on which I hope that I will post my blues music videos... Not something special but something which I started with lots of love about this music. Hope you 'll like them and enjoy!!! my Blog in English: http://deltacrossroads.blogspot.gr/ and in Greek: https://deltacrossroads.wordpress.com/ (Lyrics) Woke up this mornin feelin round for my shoes Know bout at I got these old walkin blues woke up this mornin feelin round oh for my shoes but you know bout at I got these old walkin blues Lord I feel like blowin my woh-old lonesome home Got up this mornin, my little Bernice was gone , Lord I feel like blowoon my lonesome home Well, I got up this mornin woh-all I had was gone Well-ah leave this mornin if I have to woh ride the blind ah I've feel mistreated and I don't mind dyin Levin this mornin ah I have to ride a blind babe, I been mistreated baby, I don't mind dyin Well, some people tell em that the worried blues ain't bad Worst old feelin I most ever had some people tell me that these old worried, old blues ain't bad Its the worst old feelin, I most ever had She got a Elgin movement from her head down to her toes Break in on a dollar most any- where she goes, ooo oooooooooo To her head down to her toes spoken: oh honey Lord, she break in on a dollar most anywhere she goes

The Gland Rovers - Dad How Long

Dad How Long: My best friend, Ted, came over one snowy night when the next girlfriend was away. We liked to record together in those days, and that night we did a cool version of Arthur Alexander’s “Soldier Of Love.” He left pretty late, but I still had the house to myself and the Fostex all set up, and so I took advantage and recorded this kind of creepy, dark, and sad little inquiry into the unknown, the unknowable, the unquestioned, and the unanswered. I think I had a lot of the lyric already, but I remember I arranged it all on the spot, including the Pete Townshend-influenced, double-tracked acoustic guitar. Composed: early ‘90s. Recorded: December 10, 1994, 6021 Hughes, Lansing, MI ----- The Gland Rovers - For Collectors Only Liner Notes The songs in this volume all were recorded on a Fostex X-15 four-track multitrack cassette deck between 1990 and 2002. The bulk, however, were recorded between early 1993 and early 1996, a period of substantive personal upheaval and loss for The Gland Rovers. This three-year period saw a marriage end, one serious, live-in relationship dissolve, and my mother die. The material was recorded in five different locales, three of which were my homes over this period. Needless to say, the personal turmoil and coming to grips with mid-life changes are central themes in nearly all of the original songs. In the early 2010s, I decided to transfer the analog cassette master tapes containing these songs to a digital format using Audacity. I transcribed each of the four tracks in each master sources separately, and then manually synched the audio tracks together. I cleaned up some tape hiss and tried carefully to overcome areas of degradation of the source material. My guiding principle when starting out was to stay true to the intentions of the original production, while taking only prudent liberties to use the newer digital technology to overcome certain technical limitations of the original four-track cassette format. As such, throughout the album there are instrumental tracks in some songs that are doubled and slightly delayed, to provide more richness and depth. Guitar breaks that had been dubbed onto the same track as the lead vocal were extracted and placed on their own digital track, to be able to mix them more effectively within the entire song. However it must be admitted that, once knuckles deep in the source material, I couldn’t resist using a few more of the available tools to enhance certain aspects of a few songs. “Radio Dedication” was doctored the most. Some extremely annoying closed high hat fills were painstakingly eliminated and effects were applied to the lead vocal. Pitch correction was used sparingly in certain places in that song and some others, although it could be argued that it could and should have been used wholesale. There are other similar augmentations and fixes that will probably be obvious upon listening. All of the latest technological advancements cannot step around the fact that these tracks were recorded on a cassette recorder with non-professional grade equipment. The knobs on the “mixing board” were tweaked by non-professionals, and in the original masters some of the choices of performances to “bounce” together to a single track (such as lead vocal together with bass) were regrettably impossible to do much with during the digital remastering. In all, it is pretty obvious that this is not professional output. With some background about the production out of the way, a few words about the musicianship and songcraft. The Gland Rovers were amateur but enthusiastic musicians. The playing was very much inspired and a part of the DIY or lo-fi ethos prevalent in alternative rock music in the early ‘90s. Except for a few tracks, a real drummer or even a real drum is not to be found. As The Gland Rovers had no drummer, they used drum machines or drum settings on cheap electronic keyboards. The rhythm of one track is knocked out against the bottom of a kitchen garbage pail. The vocals sometimes stray in pitch, something that sounds particularly galling in an era faithfully reliant on AutoTune but that sounds fully in context with other songs from the alt rock scene of the early ‘90s. What I hope you will hear emerging through the muddy production and amateurish playing are some fairly competent songwriting and interesting arrangements. They are the only reasons I bothered to pursue this project. -uploaded in HD at http://www.TunesToTube.com

Crisco Blues: At one point in my first marriage I looked in the bathroom mirror as I got ready for a fun, stag night out with the boys and girls, and this song came all in a rush.

I used to play this a lot for friends and family on the Fender acoustic 6-string, because it was easy and they liked it.

This song never had a title I was happy with: “Her Complaint” became “His Complaint” and then “Crisco Blues” during this digital remastering project.

The original source was also in really tough shape, featuring a really horrible click-track, but I am happy with the way it recovered in Audacity.

Composed: circa 1989-90. Recorded: August 15, 1994, 6021 Hughes, Lansing, MI
-----
The Gland Rovers - For Collectors Only
Liner Notes

The songs in this volume all were recorded on a Fostex X-15 four-track multitrack cassette deck between 1990 and 2002. The bulk, however, were recorded between early 1993 and early 1996, a period of substantive personal upheaval and loss for The Gland Rovers. This three-year period saw a marriage end, one serious, live-in relationship dissolve, and my mother die. The material was recorded in five different locales, three of which were my homes over this period. Needless to say, the personal turmoil and coming to grips with mid-life changes are central themes in nearly all of the original songs.

In the early 2010s, I decided to transfer the analog cassette master tapes containing these songs to a digital format using Audacity. I transcribed each of the four tracks in each master sources separately, and then manually synched the audio tracks together. I cleaned up some tape hiss and tried carefully to overcome areas of degradation of the source material.

My guiding principle when starting out was to stay true to the intentions of the original production, while taking only prudent liberties to use the newer digital technology to overcome certain technical limitations of the original four-track cassette format. As such, throughout the album there are instrumental tracks in some songs that are doubled and slightly delayed, to provide more richness and depth. Guitar breaks that had been dubbed onto the same track as the lead vocal were extracted and placed on their own digital track, to be able to mix them more effectively within the entire song.

However it must be admitted that, once knuckles deep in the source material, I couldn’t resist using a few more of the available tools to enhance certain aspects of a few songs. “Radio Dedication” was doctored the most. Some extremely annoying closed high hat fills were painstakingly eliminated and effects applied to the lead vocal. Pitch correction was used sparingly in certain places in that song and some others, although it could be argued that it could have been used wholesale. There are other similar augmentations and fixes that will probably be obvious upon listening.

All of the latest technological advancements cannot step around the fact that these tracks were recorded on a cassette recorder with non-professional grade equipment. The knobs on the “mixing board” were tweaked by non-professionals, and in the original masters some of the choices of performances to “bounce” together to a single track (such as lead vocal together with bass) were regrettably impossible to do much with during the digital remastering. In all, it is pretty obvious that this is not professional output.

With some background about the production out of the way, a few words about the musicianship and songcraft. The Gland Rovers were amateur but enthusiastic musicians. The playing was very much inspired and a part of the “DIY” ethos prevalent in alternative rock music in the early ‘90s. Except for a few tracks, a real drummer or even a real drum is not to be found. As The Gland Rovers had no drummer, they used drum machines or drum settings on cheap electronic keyboards. The rhythm of one track is knocked out against the bottom of a kitchen garbage pail. The vocals sometimes stray in pitch, something that sounds particularly galling in an era faithfully reliant on AutoTune but that sounds fully in context with other songs from the alt rock scene of the early ‘90s.

What I hope you will hear emerging through the muddy production and amateurish playing are some fairly competent songwriting and interesting arrangements. They are the only reasons I bothered to pursue this project.


-uploaded in HD at http://www.TunesToTube.com

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