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I think here begins your freedom and your responsibility. Choose one of the possible titles as your standard and add the other one in brackets, like "Song for A Bro" ("Whip That Ghost"). I think even MP themselves change between the alternatives sometimes (and invent new ones – remember "Adolf Hissler?", so it is up to you to set a standard.
Same with segues / combinations of several songs – set a standard and use it throughout. Consequence is important – otherwise you'll be knee deep in the mud soon. No promblem nameing a sequence "Hogmountspinwash" as long as you always use that word to refer to the same sequence. Choose the name in a way that any other Psychonaut will be able to identify the songs included and ideally the sequence they are appearing in.(Been reeding a lot of Umberto Ecos standard book on names and references lately, so trust me, I know what I'm talking about
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Oh my – MP accountkeeper's hog heaven!
I guess the "latest played" entry updates automatically considering all entrys made so far? I can remember I heart "Sunshine Daydream" live a few times after 1993
Great Work!
The author of "Love The One You're With", played at UFFA Trondheim on 08 November 1991 is of course Stills, not Crosby as stated. Always willing to help
What a gig though – half of the material seems to be CSN / Young stuff. Any recordings around?
Thanx for this work! Quite interesting – I knew it in my bones Cologne is somehow Germany's Motorpsycho capital. In theory you could ad the Düsseldorf performances as Zakk is only about 50 km distance, but bringing Cologne and Düsseldorf together – and be it in name only – is an absolutely no-go in the region
You could also combine the Frankfurt/Wiesbaden/Darmstadt performances – only 30 km distance between these places, but very different locations/crowds, so it is adequate to count every place separately.
I expected more Conne Island/Leipzig shows though. On the other hand almost all of the latter were absolutely mind-blowing performances. General experience has it that some of the best shows are usually at the end of the tours on return from Italy, somehow conserving the energy of the Italian gigs and combining it with the more detail-obsessed attentiveness of the German crowds. Lately there were some mindblowing, very stretched and musically satisfying Italian performances as well – I'm thinking of Avellino, Bresia or Firenze. I find Rimini being No.1 in Italy quite surprising – but considering your separation of the various Milano & sourroundings gigs that may be the case.
Tusen takk, knoot & phoots! Funny stuff, norse interviews with norse subtitles – I'm finally getting a hang of the language
@ ffbernie: Thanks for the insight. I expected you not to use the MXDesk sound entirely, I know there sometimes is a strange mix of stuff on there. Combining audience Mics & mix seems to be the best possible solution.
As for DVDs "being so 2010": Vinyl is also so 1960s-80s, but some of us still love it (and even more these days, where you got almost unlimited digital audio access). The packing and the restrictions coming with the medium create a special value, believe me. For those who just want to connect and stream/screen, your great work is so much appreciated – but the results do deserve any extra praise they might get.
I support the Idea of a Bernie material DVD. As for the audio tracks: Bernie's vids have increased considerably in audio quality over the years. Just listen to those from 2018 & 19!
Wonder where you get the sounds from, Bernie! Just a lot of mics? Do you remix several sources/positions or did you probably even get mixing desk material the last times? Sounds brilliant in any case!
Quite unrealistic – you'd block the few remaining European vinyl printing plants with that
As much as it hurts selecting I'd opt for a more "realistic" 3-LP Volume, or better a still not completely unrealistic 4 LP Box with side lengths between 19 and 23 min.
Selection would then be as follows:
S.1:
The Jig Is Up
Granny Takes A Trip
Triggerman
S.2:
The Cuckoo
Ãœberpilgrim
S.3:
Starhammer (20 min. version)
S.4:
August (Cologne)
Song for A Bro (Cologne)
S.5:
Hogspin-Halleluwash
S.6:
Mountain (full blown)
S.7:
Psychotzar
The Tower
S.8:
For Madmen Only
Fool's Gold
Think I'll compile that for me anyway on CD, but an official vinyl version would be hog heaven!
A possible full 3 CD edition would then probably also include California, A Pacific Sonata, Mockingbird, The Crucible, Mad Sun and Black to Comm. Jeez!!!
The title presents itself: Of course "For Madmen Only!" Subtitle: Grandpa's European Trip
The first clips are up on Motorpsychodelicclips. Thanks a lot once again, Bernie! Great Work – as always.
Generally I liked the long long long pieces best – lots of space to explore. So the Berlin Hogspin-Halleluwash is one of my favourites, same as one of these two last German Starhmmers (Leipzig or Berlin). In comparison & hindsight I find the Cologne show rather dissappointing – although there was some good noodling at the start and a wonderful Fool's Gold at the end.
What about Whip that Brother / Song for a Ghost? Probably the Bremen one, but there were lots of other good versions on this tour.
The Crucible material doesn't develop much on a live record – it is great live material, but giving that it was probably recorded almost live in the studio there is not much difference apart from the various noise/freakout parts. Probably Psychotzar as an opener?
I would always swap that for The Cuckoo – rarely played on this tour but still awaiting a live relase. The Berlin version?
The Sonata should also find its place on the next possible RW record – so why not make it a triple one again?
And this was only the choice from the second leg of the Crucible tour…
edit: I forgot that brilliant Cologne August version – to be included!
@ TheOne FormerlyKnownAsDaniel
"Believe" has both effects on the vocals. For me the vocoder was always the more prominent one – but the song became famous for its autotune. So I think we both have a point
https://www.soundonsound.com/techniques/recording-cher-believe
quote:
Mark: "It all began with a Korg VC10, which is a very rare, very groovy-looking analogue vocoder from the '70s, with a built-in synth, a little keyboard and a microphone stuck on top", he enthuses. "You must mention this, because SOS readers will love it — and I know, because I've been reading the mag for years!"
@ T.O.F.K.A.D.: Wasn't that a vocoder effect on Cher's "Believe"? Well – Neil Young had that used in a rather clumsy, but creative way back in 1982… Cher introduced a whole new thing though – the smooth machine sound – then still clearly recognizable as a technical manipulation, but these days wasting almost all the slimy musical trash most kids are listening today. I wonder if some of them have ever heard a recorded vocal without that kind of industrial musical straightjacket. But there you go – music is an industry more or less these days, and so you get industrially finetuned stuff, in most cases cheaply produced to satisfy dumb consumers – without inspiration, style or love for music. As long as the latter are still dominant – and with Motorpsycho they clearly are – I don't see a problem there with any effect creatively used.
I don't have a problem with MP autotuning their vocals. In the studio the whole process of mixing and balancing, let alone the huge number of possible audio effects is some kind of manipulation, which could either be regarded as cheating or as a special art form. Like most critics I tend to support the second view.
Live MP deliver rather complex musical structures – both instrumental and vocal-supported, that would extremely challenge any four- or morepiece band. In order to be able to concentrate on spontanity and improvisation I find it quite legitimate to use any help to avoid having to concentrate mainly on the vocals, even more so as the vocal delivery does not constitute the dominant element of MP music.
So autotuning vocals might even be the basis of MP playing free and adventurously. Let the vocals eat cake and hammer the instrumental stars for free!
Give 'em a little break, will ya? Four 2 1/2 hour shows in a row is quite something. In the end you get tired, and when you get tired you sometimes get very speedy or even hectic (paradox, but true). Probably one explanation for yesterday's almost supersonic speed riffing in Cologne. One more show tonight and they'd probably dissolve – Psychedelic Motors Disappear In Smoke!
