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New York Times talks "Sign o The Times" Not sure how to post the link becasue it's just an embedded video but the video is about 10 mins long and is on the front page of their website.
Or below: https://www.nytimes.com/v...e&t=20
I'm sure it's all stuff we've heard before. | |
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Great video, thanks for sharing. Yes it’s stuff we’ve mostly heard before but it’s demonstrated here in a visual way, which is cool, and cool that they put it on their website’s front page (I have a full subscription to the NYT and hadn’t seen this - I still read the print newspaper- so thanks again | |
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Actually, I had never heard any of the stuff about how he used the Fairlight. That was absolutely fascinating. Love, love, love hearing about process. We don’t mourn artists because we knew them. We mourn them because they helped us know ourselves. | |
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Loved hearing the snippets of the isolated tracks. Wish those were longer and we could hear more songs broken down like that. | |
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Love that NYT put this out. My art book: http://www.lulu.com/spotl...ecomicskid
VIDEO WORK: http://sharadkantpatel.com MUSIC: https://soundcloud.com/ufoclub1977 | |
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wow... those isolated tracks. How did that happen? My art book: http://www.lulu.com/spotl...ecomicskid
VIDEO WORK: http://sharadkantpatel.com MUSIC: https://soundcloud.com/ufoclub1977 | |
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This was cool and thanks for posting it | |
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herb4 said: This was cool and thanks for posting it It'd be nice to hear an update on this | |
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This is great but is there any way to get the video URL to work so I can share it? I know it's embedded on the NYT front page but I know most people won't bother watching if the actual video link isn't working unfort.
Edit: nevermind, seems to be working now! [Edited 12/3/20 13:04pm] | |
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herb4 said: This was cool and thanks for posting it I’d forget about a Netflix documentary and just get Susan Rogers, Morris Hayes, Levi and whoever else who worked on the music talking about each song and how it was made, with snippets of the isolated tracks heard and the instruments and synths that were played. For example, I’d love to know a bit more of how Eric Leeds/Matt Bliston added the horns to songs and what direction Prince gave. An example is Dorothy Parker and what discussions were had with anyone on leaving off the horns. Same goes with the horns/scatting on Coco Boys. There may or may not be something coming! | |
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Footage of the waveforms from each of rack visualised on a display screen (but NOT on the Fairlight, as it looks too analogue and wrong colour?) caught my eye. It was 4:3 footage, so far from recent, and some visible noise that looked like it was from video tape. Feels like it could be from a contemporary source, and perhaps points to something cool in the vault — an interesting kind of material that we don’t often talk about here, but which does relate tit he recent thread about Prince in the studio. Hard to tell, but were these shots also tiled in post production, as though this was recorded as a kind of documentary in 1987? So it’s not just raw footage, but there was an attempt to package it? | |
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To my mind, the track 'Sign 'O the Times' was the last original blues song ever recorded. Not only for the unique sound but the theme.. he wasn't singing 'his' blues (my woman left me etc). He was singing the blues of the entire world. [Edited 12/3/20 15:53pm] You'll never know a girl called Nikki and you'll never find Erotic City | |
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BY FAR the most interesting part of this is hearing the vocal and the instruments by themselves and being introduced to the fairlight as an interface. We need a whole documentary (3 hrs) where each song (on a particular album) is allowed to breathe and have this kind of consideration on its musical level. Each instrument is its own musical universe. Hearing a single instrument alone is like hearing the song again from a totally different vantage. | |
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I thought Susannah Melvoin was no longer in Prince's life when he was creating SOTT??
I hope Ezra Edelman interviews additional engineers for his documentary. Susan Rogers is over-represented. [Edited 12/3/20 20:31pm] | |
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Prince doesn't like to see foolish people ruin it for everyone. Yup he wouldn't have liked 2020. | |
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. Oh for crying out loud, it is piss-easy to make pretend-bad-vhs-copy looking footage from a hi-def source. There are filters for that etc. © Bart Van Hemelen
This posting is provided AS IS with no warranties, and confers no rights. It is not authorized by Prince or the NPG Music Club. You assume all risk for your use. All rights reserved. | |
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. And yet he sued the Org for daring to publish photos of people showing off their tattoos. . Oh, and he went on TV and talked about chemtrails as if they were real. © Bart Van Hemelen
This posting is provided AS IS with no warranties, and confers no rights. It is not authorized by Prince or the NPG Music Club. You assume all risk for your use. All rights reserved. | |
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BartVanHemelen said:
. And yet he sued the Org for daring to publish photos of people showing off their tattoos. . Oh, and he went on TV and talked about chemtrails as if they were real. chemtrails are very real... maybe you should come out of your dungeon and look up at the sky and see for yourself... or you can follow your own advice and do a GOOGLE SEARCH | |
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[Edited 12/4/20 5:52am] | |
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Interesting and nice to see how Levi's doing these days. Until the last year or so as it goes with Prince music, I'd never heard of the "Fairlight" let alone see one but I've read so much recently about how integral it was to Prince's music so this was enlightening as it gave me a visual and the snippet about them being "around $25K at the time" puts it into better perspective. | |
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Welcome to "the org", laytonian… come bathe with me. | |
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Welcome to "the org", laytonian… come bathe with me. | |
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I saw the clip yesterday and it is wonderful. Great job by the NYT | |
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That isolated playback of his guitar was EVERYTHING "Whatever skin we're in
we all need 2 b friends" | |
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