The Gland Rovers - Crisco Blues

Author channel Mark Nowlin   3 год. назад
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The Gland Rovers - The Real Thing

The Real Thing: At the very beginning you can hear the sound of the kitchen door at my brother Michael’s house opening with a squeak. Inside at his kitchen table I was laying down the bed tracks for this rather naked self-appraisal of my life at the moment. I came up with the basic lyric and melody ideas just singing to myself while making that long drive up from Lansing to the U.P. during my leave of absence from the Governor’s office. I wanted something Richard Thompson-esque, and so the gallop rhythm seems inspired by “Don’t Renege On Our Love.” I had also wanted Thompson-esque guitar breaks, something I couldn’t play and never got Blanket Party’s Mike Cohen to play, so I settled for the draw organ setting on my cheap keyboard. Composed and recorded: May 1996, Chatham, 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

Bullpen (1971) - MLB Documentary on Relief Pitchers

Apparently this is pretty rare, because I cannot find anything about it on the Internet. Panasonic, the up-and-coming electronics company of the day, sponsors this look at the art of bullpen work and some of the pre-eminent firemen of the late '60s and early '70s (Tug McGraw, Ron Perranoski, Hoyt Wilhelm, Ted Abernathy, et al). Also some great footage of some classic ballparks, including a beautiful shot looking down the leftfield line at Crosley Field's outfield terrace. Enjoy.

Boss eBand JS-10 part 2/3 Feat Simon Kinny-Lewis

Demonstrating the Boss eBand JS-10 Listen to more of my music HERE https://sklblues.bandcamp.com/ The BOSS eBand JS-10 Jam Band system lets you turn any room into the perfect practice space. The ultimate guitar or bass trainer, your eBand JS-10 makes practicing as easy as plugging in, loading up your favorite tunes, and jamming along. Play back tracks from USB or SD media, and cut out the vocals with "minus-one" center cancelation technology. No need to cart around your pedalboard either. Thanks to built-in COSM modeling, you've got all of the killer guitar tones you need right onboard your eBand JS-10. And once you hear its thumping 2.1 sound system in action, you'll be happy to ditch your amp and rock out with just your axe and your BOSS eBand JS-10 Jam Band system. Packed with excellent play-along tracks and loaded with practice tools Getting started with your BOSS eBand JS-10 Jam Band is a piece of cake. Just plug in your guitar or bass and choose from over 350 incredible audio loops or from 50 fun, built-in songs. You can also load up your favorite tracks via SD card media or your USB flash memory drive. The eBand JS-10 also lets you slow down and transpose your music, making it easy to learn new parts and figure out intricate solos. You can even plug in a microphone and sing along. And when inspiration strikes, the eBand JS-10's built-in recorder lets you capture your song ideas before they fade away. Rock out with two independent channels of top BOSS effects and COSM amp modeling What more could you expect from the makers of many of the most popular guitar and bass stompboxes of all time than a suite of amazing effects built into your BOSS eBand JS-10 Jam Band? How about killer COSM amp models - the next best thing to carting around your full-size amp? In fact, your eBand JS-10 comes absolutely loaded with tones on par with those found in the flagship GT-100 multi-effects processor. What's more, you and a friend can both rock out with your eBand JS-10 and each enjoy totally independent effects, making it perfect for collaboration and music lessons. Powerful 2.1 sound system makes your guitar tone spring to life As good as their effects may be, most personal guitar trainers like the BOSS eBand JS-10 (even the ones with built-in speakers) simply fall short of the mark when it comes to producing truly satisfying sound unless you actually plug them into a real guitar amplifier. But when you play through your eBand JS-10, you'll be happy to leave your bulky amp in your band's rehearsal space. That's because BOSS loaded the eBand JS-10 with an impressive yet compact 2.1 sound system, by building a powerful little subwoofer right into the body. There's nothing like hearing your music in rich full-frequency detail complete with room-shaking bass.

Mr. Sipp "The Mississippi Blues Child" at Epiphone Headquarters in Nashville

Mr. Sipp "The Mississippi Blues Child" dropped by Epiphone Headquarters in Nashville for a chat. http://www.epiphone.com

Non Stop Morning Devotion Worship Songs

Non Stop Morning Devotion Worship Songs

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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