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oh i will. there are so many. Snah's ending quote haha, but also many others… sometimes I feel like Bent is my mind-twin. From Kiss to Purple, then skipping the 80ties except The Cure for the same reasons and landing back in the then present with Hüsker Dü and Dinosaur Jr.
Tomas' observations and comments are very interesting, as in how, as the newbie, to get inside the inner workings of the group. He's like a gateway for us outsiders, touching upon stuff Bent and Hans never would mention because to them it's become so natural and common like breathing and therefore not mentioned.
and that "Gutan I Skogen" snippet, oh wow… is there a proper recording of a whole version like this somewhere? Or is it sadly a lost (or rather missed) possibility for a Golden Vortex classic? Sounds fantastic! And great choice to end the film.
I hope each and everyone of us has a cherished copy of Rainbow's Rising album. Because if that record hadn't happened, something else might not have happened ever.
Quote:And only 9 shows in 2007 after they had been "back to normal" in 2006? What was wrong there?wasn't that the year inbetween jacco and kenneth?
less than 20 peeps but the band delivers to them no matter what. THAT's attitude!
nice to see-hear Neanderthal.
Hey, wasn't that VC synth the inspiration for both music and title of the MP track Viscount Grishnah? I think I've read something like that… and if so: full circle!
edit:
ah no, scrap that. I think it was an organ by the brand "Viscount".
To my ears they both sound unmanipulated. In Leuven he just was more on point. 7:03, though :lol:
Johnny_Heartfield
Quote: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.Very true that. There's a slight difference, though, that you don't play shabby or wrong notes and then autotune them like you'd do with a wobbly vocal part. But there's manipulation in sounds of the instrument, like compression to even out wild dynamics in yer playing, all kinds of doubling and overdubs, or fixing wrongly played parts by replaying and -recording them or the drummer might play to a clicktrack to keep time.
For a live album there might be an amazing version of Song X but the vocals were too low or off or whatever because the playing was super intense or needed all the musician's focus. So what to do? Throw that awesome Neverland version away? Nope, fix it just a bit to make it releasable.
In the studio there could be vocal notes just too hard to reach with a desired intensity. Or you're out of time and budget to try it the umpteenth time. Bent & Snah vocals on record still sound "imperfect" in the classic rock singer sense enough for me to not really care. That said, their singing has to be that kind of imperfect for the music's charm. I got a few friends who'd prefer them to have better, as in "really good", singers. But The Crucible, Mad Sun or The Golden Core sung by the likes of Patton or Cornell? No, sir! And I AM total fan of those guys.
