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Post by curmudgeonman on Jul 23, 2019 19:32:53 GMT -5
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Post by raccoon on Jul 23, 2019 19:55:08 GMT -5
Wtf? This is like when I watch baseball (which I do a lot). Watch for 2 hours and nothing happens. Walk out of the room for 5 minutes and there is a grand slam or a benches clearing brawl.
This is Fantastic news! Worth it to me just to have another version of two of my favorites: 'They're Blind' and 'We'll Inherit the Earth'.
Have not heard 'Inconcerated' in about 25 years. I used to have it on a cassette - the other sides had some live Smithereens. Didn't that show also go by the name 'Don't buy or sell - It's crap'?
I just preordered on Amazon but I saw no indication of the bonus cassette. Did I miss the boat??
(edit) Ha - Just read the RS article. I should have pre-ordered through Rhino to get the cassette apparently. Oh well...
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Post by con on Jul 24, 2019 8:36:51 GMT -5
Direct link for anyone: Is that banjo!?? Holy mackerel! This sounds so raw. Like a campfire jam sesh haha
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Post by con on Jul 24, 2019 8:48:49 GMT -5
I'm even more excited for this after hearing the Talent Show sample. A couple of observations: 1) The line "Ah, baby, don't give me that look" right after they were feeling good from the pills they took on the Wallace mix seems like a completely different vocal take than the "original" 1989 Lord-Alge mix. Think so? It’s definitely processed/mixed very differently. It’s so dry. But I’m not sure it’s a different take. The Lord-Alge mix, by comparison, was so dense and smeared that I think in this one the little nuances, like vocal inflections, are really noticeable. Either way it is, along with all of the other changes, pretty shocking to hear! Agreed on the excitement level though
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Post by curmudgeonman on Jul 24, 2019 11:34:31 GMT -5
^^^^^^^^^^^^^ The line in quesion is the same take, IMO. Just AB the two mixes and it is the same, just sounds a little different with proccessing in the Lord Alge version. In regards to racoon's post, I don't think any additional tracks were recorded. And "Don't Sell or Buy, It's Crap" was a promotional CD for the ASD release.
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Jer
Beagle Scout
Posts: 1,182
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Post by Jer on Jul 24, 2019 16:27:29 GMT -5
That's radically different then anything I expected for Talent Show. Was this all original sessions or did they re-record parts for this? They didn't re-record or add to it, but it is a new Wallace mix "in the spirit of" the original Wallace rough mixes. There are for sure things that were buried or not used before, different takes, etc. To me it sounds like All Shook Down from a production perspective, meaning very raw, loose, and unpolished, very organic, not much shine. Let the tape roll and capture the band, for better or worse. The opposite of DTAS, which is a good thing. If this is what Paul was after in 1989 it's no wonder he was bummed when he heard the final product back then. I can also understand why Sire said hell no.
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js22
Tenderfoot
Posts: 3
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Post by js22 on Aug 11, 2019 21:59:41 GMT -5
Maybe a spoiler... but achin to be (bearsville session) and alex chilton will be the songs out next to hear.
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bside
Star Scout
Posts: 355
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Post by bside on Aug 16, 2019 13:58:33 GMT -5
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Post by 405z06 on Aug 16, 2019 15:54:18 GMT -5
After hearing the Bearsville version of Achin', is it safe to say the original recording of this session doesn't exist anymore? This sounds like very early rough mix. The drum are very low in the mix, Slim's guitar is really loud, but you can hardly hear Paul's guitar at all. I am making some assumptions here, but I don't think anyone would intentionally mix a never-released song to sound like this. I have to believe the original recordings are lost/burnt/gone and that they couldn't mix it. Maybe that will be addressed in the box set booklet.
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Post by ClamsCasino on Aug 16, 2019 22:22:48 GMT -5
It's definitely an earlier recording. The lyrics aren't finished and it sounds like Paul hadn't written the bridge yet.
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Post by curmudgeonman on Aug 17, 2019 9:05:51 GMT -5
After hearing the Bearsville version of Achin', is it safe to say the original recording of this session doesn't exist anymore? This sounds like very early rough mix. My wild ass guess is that the tapes found in Slim's basement, the 1/4" Ampex 456 reels seen in the OP, are quick rough mixes of the masters from the Berg sessions. Since Slim was heavily involved in the recording of DTAS, he took home the mixes to perhaps listen to at home, even though this practice was usually done on cassette dupes. I'll bet the original 16 or 24 track masters are not to be found. I think Jesperson once stated that they only found stuff for "Portland", nothing else.
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Post by adamapple on Aug 17, 2019 10:08:20 GMT -5
This is the how/why these tapes were found. No conjecture. From Bob Mehr himself.
A bit of “personal news” as they say. This morning The Replacements and Rhino announced the release DEAD MAN’S POP, the first ever ‘Mats box set. I was lucky enough to have produced the project (along with the estimable and ever diligent Jason Jones of Rhino) and wrote the liner notes. There’s a funny bit of backstory as to how this set came about…which, like the band, started in a basement in South Minneapolis.
In late 2014, Slim Dunlap’s wonderful wife Chrissie Dunlap was cleaning out the basement of the couple's house when she came upon a stash of Ampex reels hidden in a cupboard. She realized, based on the songs and dates, that these were Replacements tapes from the “Don’t Tell A Soul” era. After sessions at Cherokee and Capitol in Los Angeles with producer Matt Wallace, the band had finished tracking the record at Prince’s Paisley Park studios in the fall of 1988 – at which time they absconded with a handful of reels, reels that included Wallace’s unreleased "quick mix" of record, and a session the ‘Mats had earlier cut with Tom Waits while in California.
Upon this discovery, Chrissie asked Slim if they should call and alert Warner Bros. to the fact that they had these tapes, to which Slim replied, “No!” Asked why, he said “I don’t want to go to jail!” (as you can see, Slim still has his sense of humor very much intact). Credit really has to go to Slim for saving these tapes rather than, say, tossing them in a large body of water. But he’s always had great foresight -- “Slim’s a smart son of a country lawyer” as Paul Westerberg once told me.
Likely because I have earned my PhD in Replacements studies, I was dispatched by the band’s management to retrieve the tapes in early 2015. I brought them back to Memphis where we had them transferred (fittingly enough) at Ardent Studios.
Listening back to Matt’s original (if admittedly hurried, somewhat incomplete) Paisley Park mix it was clear that a far different version of “Don’t Tell a Soul” actually existed than the one that had been mixed by Chris-Lord Alge and released in 1989.
It’s worth noting here that the released version, the Lord-Alge mix, is a fine LP – and was, quite frankly, the more commercial and radio-geared record that needed to be released in 1989 to keep the band afloat. But, the truth is, it didn’t *sound* much like the album the Replacements had recorded. Over time, I think that fact became clear and the record’s reputation suffered somewhat. In the end, “Don’t Tell A Soul” would become The Replacements’ best-selling album, and also their most divisive. A perfect encomium for a band built on such contradictions.
It also became clear that a new package, built around a version of DTAS the way the band and Matt had wanted it to sound, would be a good idea (this was a desire that Westerberg had expressed many times over the years). But, of course, there was more, including other much discussed but little heard recordings from the era, like the band’s first attempt at making DTAS in Bearsville with Tony Berg, and the Waits session. On top of that there was the Inconcerated live show, from Milwaukee in 1989, of which only five songs had ever been heard previously.
After many fits and starts and lot of legwork, we finally got the okay to push ahead with the box set this year from the band and from the good folks at Rhino Records.
This past May, Matt Wallace finished the job he’d started 31 years earlier, finally completing the mix of the record, which is called, “Don’t Tell a Soul Redux.” As I wrote in the liners, while it’s impossible to unhear a record that’s been around for three decades, this version is the album the band made and intended to release. In addition to Wallace’s mix, "Redux" also restores several crucial elements from the sessions, including original drum tracks, vocal takes and tempos that were altered in post-production and the band’s original sequence of the album. Matt’s new mix finally brings out all the sounds that were committed to tape – along with the Replacements' singular spirit, humor and passion.
The man, the myth, Brian Kehew -- who mixed "Live at Maxwell’s 1986" for us -- was brought back onto the team to help mix the bulk of the material that appears on the disc of rarities, “We Know The Night: Rare & Unreleased.” Brian also did a masterful job mixing “The Complete Inconcerated Live” show – and actually did some heroic salvage work on several tracks that had technical issues. Happily, this is now a sparkling and remarkable sounding set, that’s every bit as important a document of the band’s Slim-era lineup as Maxwell’s was to the original foursome.
The whole package was brought together sonically by Justin Perkins of Mystery Room Mastering. Justin had a truly epic task pulling these various audio sources together and making it all sound right. He did amazing (often tedious cleanup work) so that the listening experience on this box would be perfect. And it truly is.
Chris Bellman at Bernie Grundman cut a beautiful vinyl master of "Redux" for us under the supervision of Matt Wallace (when you get your copies of the box, be sure to check the run-out groove on the LP).
The whole package is presented in a 12 x 12 hardcover book – loaded with dozens of rarely seen photos -- and features a detailed history of the "Don’t Tell A Soul" era written by yours truly.
Like all things Replacements, this project was a labor of love (and sometimes hard labor). At the risk of being embarrassingly personal, I was given the opportunity to work on this at a pretty terrible time in my life, following a personal tragedy. Having a creative purpose like this probably saved me. For that, among many other things, I’m eternally grateful to the band and its management (especially Darren Hilll), all the folks at Rhino including my co-conspirator Jason Jones, as well as the Dunlaps, the Jespersons, Michael Hill and all who helped with this project in ways big and small.
Anyway, that’s some of the how and why this came about.
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Freddy
First Class Scout
Posts: 200
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Post by Freddy on Aug 17, 2019 12:02:00 GMT -5
Highly interesting stuff right there! I love the Matt Wallace version of "Talent Show" and am anxious to hear the rest of it. Got my pre-order in yesterday!
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Post by Hagbard on Aug 18, 2019 0:36:37 GMT -5
I really like the Bearsville Version. It does have that demo-ish vibe but then I think that’s what’s charming about it. It’s such a kick ass beautiful song. I’m pumped to hear the rest. I’ve got a feeling the new Don’t Tell A Soul or Dead Man’s Pop, might end up one of my favourite records.
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Post by mudbacktodirt on Aug 18, 2019 12:40:45 GMT -5
Stumbled across this video which was posted just about a week ago: Matt Wallace interview from the documentary COLOR ME OBSESSED www.youtube.com/watch?v=ft5NdjOH784 Unfortunately, I don't have time to watch it right now. It's an hour and 18 minutes long. I figured I'd share the link. The comments are pretty positive on it.
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Post by ClamsCasino on Aug 19, 2019 23:38:38 GMT -5
Funny that the earlier version of Achin to Be has even more of the syrupy chorus/flange effects on the guitars than the final album version.
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Post by 405z06 on Aug 20, 2019 19:16:21 GMT -5
Funny that the earlier version of Achin to Be has even more of the syrupy chorus/flange effects on the guitars than the final album version. Yeah, Slim always played with a lot of "goop" on his tone, see 7/4/91 Grant Park. I just don't know what to expect on the Brearsville stuff. "Achin'" sounds like a very poorly mixed basement demo. "Wake Up" sounds crystal clear with good separation. "Portland" has a mix/sound in between the two, but is such a good song you forget the mix kinda sucks. We are 5 weeks out and I still have no idea what to expect from the Berg session songs.
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Post by 405z06 on Aug 20, 2019 19:26:22 GMT -5
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Post by con on Sept 3, 2019 14:41:05 GMT -5
http://instagr.am/p/B1EjsjiFtUF
Close-ups of the limited-edition cassette that ships with the Dead Man's Pop "deluxe version" (or whatever it's called) from Rhino A&R man, Jason Jones... I can see why the original artwork was rejected; pretty uninspired compared to the moody photography they ultimately approved...
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Post by con on Sept 3, 2019 14:53:34 GMT -5
Also, coming this Friday...
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