tag:blogger.com,1999:blog-61550391733861754122024-03-13T06:03:02.674-04:00The Power of Independent Truckingmusic and thoughts.... mostly music though.Unknownnoreply@blogger.comBlogger180125tag:blogger.com,1999:blog-6155039173386175412.post-84828161962278003692017-08-16T23:17:00.003-04:002017-08-16T23:17:49.041-04:00New Order - Chicago Metro 1983 addendumCoupla things.<br />
<br />
Ex-blog partner 50 Pound Note provided some excellent and apropos artwork for this set.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPb4NVsH57mNr8HrklS0vZMrfqy5OX9Rhp9bJUBQGxcXMMzpIqy4cLHGo0RSpqBzI1KGN3h6MYeXtWxTxggyxw4TJIVUfj60d3rgyJVwRJ2LOTws7qG_XCFUSAOvORMwR1Fd23w7d-yW4/s1600/artwork.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPb4NVsH57mNr8HrklS0vZMrfqy5OX9Rhp9bJUBQGxcXMMzpIqy4cLHGo0RSpqBzI1KGN3h6MYeXtWxTxggyxw4TJIVUfj60d3rgyJVwRJ2LOTws7qG_XCFUSAOvORMwR1Fd23w7d-yW4/s320/artwork.jpg" width="320" /></a></div>
<br />
Free iCookie to anyone who can translate the code. Pick it up from your neighbor and tell them I sent you.<br />
<br />
I have done the Ferris Bueller thing with this Seurat painting many times in person, at least until the point the security starts giving you the staredown for getting too close...<br />
<br />
Readers will recall I ended the original post with the entreaty that folks carry on the set's availability by uploading it themselves to wetransfer.com and posting the download URL in the comments. I've had several folks contact me looking for a reupload. Now's your time to shine.Unknownnoreply@blogger.com10tag:blogger.com,1999:blog-6155039173386175412.post-45155090975421841472017-08-05T21:52:00.000-04:002017-08-05T21:52:24.815-04:00NEW ORDER 30 June 1983 Cabaret Metro, Chicago(peeks out from under the covers, sees a world still there, spews out a blog post, and crawls back in...)<br />
<br />
I was in Chicago two weekends ago and had one of the most wonderful weekends I've had in many years. I saw 12 hours of excellent music, including two sets each from Poster Children and Tar, made many new friends, met up in person with some existing friends for the first time ever, and just had a blast. Having dinner with Tar two nights in a row was only some of the fun to be had.<br />
<br />
But this post has nothing to do with aluminum guitars, noisy punk rock, etc.<br />
<br />
Several months ago, I had gotten into a discussion via a Facebook comment thread with a Chicago person who claimed to have a tape of New Order's debut Chicago gig June 30, 1983 at the legendary Cabaret Metro. For background, there are two New Order sets which have long been held up as the Holy Grails of New Order tapes - this show, and their debut Beach Club performance from 1980. For 34 years, no known tape of this Chicago set had been known to exist and all discussion was essentially conjecture and long-diminished memories from club owners and punters who attended. As I had already made arrangements to be in Chicago for the weekend described up top, I made separate arrangements to meet up with this person and pick up a copy of this set. If I'm to be honest, I didn't expect it to be much of anything. So, that Saturday two weeks ago, I did. Turns out to have been with a lovely fellow who had several entertaining stories to share about gigs and particularly this recording.<br />
<br />
The minute I put the CD-R into the rental car's CD player, I knew it was special.<br />
<br />
I put this on Dime, but decided to also put it up here. The WeTransfer link expires in 7 days - I would ask that any requests after 7 days be met by folks who downloaded it, by re-upping it to WeTransfer and putting the fresh link in the comments. Pay it forward, etc.<br />
<br />
So onward.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://ichef-1.bbci.co.uk/news/660/media/images/82428000/jpg/_82428036_neworder_p106-107.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="660" height="223" src="https://ichef-1.bbci.co.uk/news/660/media/images/82428000/jpg/_82428036_neworder_p106-107.jpg" width="320" /></a></div>
<br />
<br />
<b>NEW ORDER</b><br />
<b>June 30, 1983</b><br />
<b>Cabaret Metro, Chicago IL USA</b><br />
<br />
Equipment/lineage: who the hell knows -> space aliens -> A. -> CD-R -> Analog Loyalist mastering -> you<br />
<br />
It’s not often something like this sort of falls in your lap.<br />
<br />
June 30, 1983 was the hottest day of the year to date in Chicago. The now-legendary venue Metro - then known as Cabaret Metro - had been open for roughly a year. While I was just an 11 year old kid cavorting on a beach across Lake Michigan from Chicago that day - or most likely asleep in the summer cottage, considering the time - New Order finally made their debut appearance in Chicago. Attendees say it was unbearably hot inside the Metro that night. And allegedly even hotter on the stage. That day, the high temperature reached near 100° F in Chicago and it had barely cooled as the evening went on. Making matters worse, the band took nearly two hours to get on stage after the opening act, which made an uncomfortable and stinky audience even more strident.<br />
<br />
The set starts out as your typical New Order set of the era would. Things seem OK, maybe a bit rowdier crowd than normal, until late in the fourth song “Truth” when the sequencer starts to act up. They launch straight into “Leave Me Alone” which ends uneventfully. Then, the power goes out (as you’d have it). A restless crowd begins complaining amongst itself, with audible complaints about sweat dripping into eyes, another mentioning rubbing ice all over their face, and vocalized thankfulness that they brought paper towels in. Random sequencer bleats punctuate the rumbling crowd, as the roadies and venue staff try to get the power sorted. Hooky mentions needing a shower. Eventually, “Your Silent Face” starts. It devolves into a unique and fascinating exposition on what a sequencer-using band does when the sequencers are failing mid song - Steve Morris jumps behind the drum kit far earlier than usual, and essentially drives the song to its skittering end as the sequencers never recover. I think this take is spectacular and I think you’ll agree.<br />
<br />
Barney then makes reference on stage to equipment and power problems, mentions the band’s just going to jam, and Steve then pounds out the drum riff for “Denial”. Instead of jamming, the band then finishes the set with four straight sequencer-free tracks, ending on the majestic “In A Lonely Place” well into the wee hours of the morning.<br />
<br />
There is no jamming, no acoustic “Blue Monday” despite the venue owner’s misremembered statements made over the years since. It’s possible of course at some point these did exist and were edited out from this tape upstream, but I doubt it and all other recollections of this gig fail to mention any acoustic “Blue Monday” performances.<br />
<br />
For the past 34 years, this set has been legendary in the New Order community due to the circumstances which befell it. And a tape was never known to exist, nor a setlist for that matter. With the 1980 Beach Club set, it was part of the Holy Grail pair of lost New Order sets. That changes today. The story of how this tape ultimately came to me is nearly as good as the story behind the gig, but to protect privacy I shall simply thank A. for this. I believe this is from a 1st generation dub of the master, and whomever the actual taper is remains a complete mystery.<br />
<br />
Setlist:<br />
<br />
Confusion<br />
Chosen Time<br />
The Village<br />
Truth<br />
Leave Me Alone<br />
Your Silent Face<br />
Denial<br />
Age Of Consent<br />
Ceremony<br />
In A Lonely Place<br />
<br />
<a href="https://we.tl/N1uBsY1z5D" target="_blank">WeTransfer link - expires in 7 days. FLACs.</a>Unknownnoreply@blogger.com42tag:blogger.com,1999:blog-6155039173386175412.post-52395938576682347342016-05-26T22:15:00.002-04:002016-05-26T22:15:28.358-04:00PYLON LIVE. The band R.E.M. all say was better than them. And I mastered it.Live Pylon?<br />
<br />
How about <b><span style="font-size: large;">PYLON LIVE</span>.</b> My latest mastering gig. And it sounds fucking stellar.<br />
<br />
I mastered fucking PYLON. And the band loved it. Pinch me, for I fear I'm dreaming.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgYlGUKJ6Cb0QCfvyTgEbUVc1hXG0Ou6zsWYiE0u2JdLS4tPCE2RgaOGievIrA0OZcAR_A_eV3ZdlJlbHBdOtwhqXIxNIkqm6SOvtN3kG5pDHr_GFavj4jnjRvJ7aLvPhrxne5gGRjhdc/s1600/a2346263958_10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgYlGUKJ6Cb0QCfvyTgEbUVc1hXG0Ou6zsWYiE0u2JdLS4tPCE2RgaOGievIrA0OZcAR_A_eV3ZdlJlbHBdOtwhqXIxNIkqm6SOvtN3kG5pDHr_GFavj4jnjRvJ7aLvPhrxne5gGRjhdc/s320/a2346263958_10.jpg" width="320" /></a></div>
<br />
<a href="https://www.chunklet.com/pylon-live-available-now-for-pre-order/" target="_blank">Read about it here.</a> <a href="http://chunklet.bandcamp.com/album/live" target="_blank">Sample a tune and buy the double LP and/or digital version here.</a> <a href="http://www.chunklet.com/product/pylon-live-deluxe-package-preorder/" target="_blank">Deluxe edition yourself here.</a> Out on Randy Bewley's birthday July 25, 2016 worldwide.<br />
<br />
<a href="http://chunklet.bandcamp.com/album/gravity-b-w-weather-radio" target="_blank">Oh, we did a 7" teaser too...</a><br />
<br />Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-6155039173386175412.post-27866830818669940962016-01-19T22:13:00.002-05:002016-01-19T22:14:00.111-05:00Keeping busy with mastering gigs (AKA an update of sorts)...Curious as to what I've been working on? Neglecting the blog for?<br />
<br />
I suppose I can mention this now, as it's been published in articles in the <i>Atlanta Journal-Constitution</i> and Athens, GA's <i>Flagpole,</i> and discussed by the band themselves.<br />
<br />
I just turned over to the vinyl cutter, an excellent fella whom astute readers of TPoIT can probably suss out based on my tastes, a Pylon (fucking PYLON!) live set to be released later this year on Chunklet as a double vinyl LP set, and your common household digital stores. Twenty brilliant songs recorded at their "First Last Show" 1 December 1983, Mad Hatter, Athens, Georgia. It is absolutely fantastic and will be the legendary band's first-ever live release. So look out for it. When or if Chunklet posts a promo on YouTube, as he often does, I'll link to it here.<br />
<br />
Thanks to this blog, and the Joy Division reissues I worked on in 2006/07, I've worked on quite a few mastering gigs for Chunklet. I'm starting to forget all of them now!<br />
<br />
<ul>
<li> Tar</li>
<li> Rock*A*Teens</li>
<li> Don Caballero x2</li>
<li> Thee Speaking Canaries x2</li>
<li> Survival Knife</li>
<li> Mugstar</li>
<li>A silly prank call 7"</li>
<li>PYLON</li>
</ul>
<div>
I've also redone the Poster Children's Toreador Squat tape, which we featured here for the first time many years ago with the band's contributions to the writeup, for 2015 Cassette Store Day. The band put together a wonderful package - piece of art, really - for the release. It's still available digitally and a big upgrade on what I posted in 2011.</div>
<br />
<br />
If you haven't checked any of these things out, I highly encourage you to do so. No shilling here; I make $0 if 0 people or 20,000 people buy any of these.<br />
<br />
One of these days I will actually have "new" material for the blog. I have promised several folks to do so, just waiting for some last-minute contributions.<br />
<br />
<a href="http://chunklet.bandcamp.com/" target="_blank">Chunklet's Bandcamp</a><br />
<a href="http://store.posterchildren.com/" target="_blank">Poster Children Merch</a><br />
<br />
Lastly, I did a podcast for The Unheard Music recently, talking about this blog, among other well and sundry items of interest. <a href="https://itunes.apple.com/us/podcast/the-unheard-music-podcast/id1031370394?mt=2" target="_blank">Episode 7, here.</a> Please listen!<br />
<br />
...back to the hideout...Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6155039173386175412.post-77274505783630805812015-12-08T21:51:00.001-05:002015-12-08T21:51:14.081-05:00I've been podcasted.Thanks to blog friend The Unheard Music... <a href="https://itunes.apple.com/us/podcast/the-unheard-music-podcast/id1031370394?mt=2" target="_blank">Enjoy</a>!<br />
<br />
Good discussion about blogs, music, Chunklet, and speeding tickets.Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6155039173386175412.post-33046342681674237762015-04-11T23:12:00.000-04:002015-04-12T21:22:45.829-04:00hello again.<span style="font-family: -apple-system-font; font-size: 12px; line-height: 16px;">Tap tap - is this thing on?</span><br />
<div style="font-family: -apple-system-font; font-size: 12px; line-height: 16px;">
<br /></div>
<div style="font-family: -apple-system-font; font-size: 12px; line-height: 16px;">
Yes. Sort of.</div>
<div style="font-family: -apple-system-font; font-size: 12px; line-height: 16px;">
<br /></div>
<div style="font-family: -apple-system-font; font-size: 12px; line-height: 16px;">
I apologize to my (few) readers for neglecting this space for over a year - that said, I have been moonlighting as a legit mastering engineer on a half-dozen or so records since the last post. So I’ve been around. I do owe the nice TAR gents a post or two of some TAR-iffic material that didn’t work in the context of the double-LP comp, so watch this space for that.</div>
<div style="font-family: -apple-system-font; font-size: 12px; line-height: 16px;">
<br /></div>
<div style="font-family: -apple-system-font; font-size: 12px; line-height: 16px;">
The other day I was cleaning off the cobwebs from an old hard drive when I came across the purported multitracks of Joy Division’s "Love Will Tear Us Apart" - 8 individual tracks of what presumably are Rock Band or some similar game “stems”, which themselves are slightly mixed down from the original 16 or 24 track masters. I said “why the hell not” and threw them up on a mixer.</div>
<div style="font-family: -apple-system-font; font-size: 12px; line-height: 16px;">
<ol>
<li>Peter Hook recorded at least two runs of “that bassline”. Clangers, duff notes, missed strings and all. Yet it’s perhaps one of his best-known, and certainly among the most melodic, basslines out of a career built on excellent ones.</li>
<li>Steve Morris is a drumming phenom. No news there. There are some drum patterns on the multis not used in the final mix.</li>
<li>Bernard Sumner recorded several distinct guitar parts - electric, and acoustic - some of which were unused in the classic 1980 mix. Don Gehman’s 1995 “radio mix” featured some of these acoustic guitars in the mix, but not all.</li>
<li>Ian’s vocals are effects-laden. Hard to tell if they’re “vari-speeded” though.</li>
<li>The original intent was to have a nearly 4-minute song, not the 3:28 final version.</li>
<li>As long as I have all these multis loaded up in the mixer… Love Will Tear Us Apart 2015! (<a href="https://www.dropbox.com/s/v0fcavbh3kg878d/01%20Love%20Will%20Tear%20Us%20Apart%202015.mp3?dl=0" target="_blank">dropbox</a>) <a href="https://soundcloud.com/analog-loyalist/love-will-tear-us-apart-2015" target="_blank">(soundcloud)</a></li>
</ol>
<div>
I quite like this 2015 mix. There’s a strong sense of warmth and depth, and dare I say it but jaunty, feel to the song now. The chunky electric guitar part that’s completely absent from the classic 1980 mix is quite nice. The acoustic guitar, which barely surfaces in the 1980 mix towards the end but here plays throughout the track, nicely carries the melody through the entire song.<br />
<br />
<a href="https://soundcloud.com/analog-loyalist/love-will-tear-us-apart-2015-drums-up-eq-fix" target="_blank">Take 14 - yes, the 14th mixdown - is soundclouded here.</a> I spent all weekend with the "original" remix, and found quite a few things I wanted to do better. So I did - drums up, better EQ, better balance overall. No sounding like 128kpbs on $10 earbuds for this one (well, except for Soundcloud processing)! Hah. If you only listen to one of these, go with this one.</div>
<div>
<br /></div>
<div>
Please excuse me while I go back to ground...</div>
</div>
Unknownnoreply@blogger.com20tag:blogger.com,1999:blog-6155039173386175412.post-84748775804527675792013-09-26T20:14:00.001-04:002013-09-26T21:17:35.220-04:00So how did YOU spend your summer vacation?This is how I spent mine:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/OQLhzfu5Rl0" width="420"></iframe></div>
<br />
Coming soon, via <a href="http://www.chunklet.com/" target="_blank">Chunklet World Industries</a>. A double-LP set of all (mostly, if not entirely, out-of-print) non-album, non-EP <a href="https://www.facebook.com/pages/Tar/120271961408972" target="_blank"><b>TAR</b></a> tracks, compiled for the very first time, with several unreleased tracks and with a companion set of over TWO (!) hours of curated live material. Vinyl mastered by Mr. Bob Weston at <a href="http://www.chicagomasteringservice.com/" target="_blank">Chicago Mastering Service</a>, from the original analog masters. Some tracks freshly mixed by Mr. Steve Albini himself, exclusively for the project. Tracklist visible at the TAR FaceTube page linked above.<br />
<br />
What did I do with this? Absolutely nothing with the LP set, and with folks like Bob and Steve involved, they'd have been crazy asking me to do anything.<br />
<br />
On the other hand, I was asked to curate, assemble and master the massive live component to the project, which will be available via download code for LP purchasers (and available as a digital-only purchase too). It was a pleasure plowing through untold hours of material, direct from the band's Fort Knox-sized archives, and compiling an ultimate result which can quite fairly be labeled "killer" (how I hate that term!). Called <b><i>Want/Need</i></b>, it's definitely something fans of this blog will both Want and Need.<br />
<br />
TAR is quite high in the ranks of Best Chicago Band Ever. They've been <a href="http://thepowerofindependenttrucking.blogspot.com/search/label/Tar" target="_blank">blogged before</a> around these parts. They are fans of the blog and rather nice gents. There will be exclusive-to-the-blog TAR unreleased trackage posted here, at some point in the future.<br />
<br />
Go forth and preorder!<br />
<br />
LP set and download <a href="http://www.chunklet.com/store/index.cfm?fuseaction=product.display&product_id=112" target="_blank">preorder here</a>.<br />
<br />
Digital-only "vinyl-free version", the whole works minus the actual vinyl platters themselves (but including the sleeves!) <a href="http://www.chunklet.com/store/index.cfm?fuseaction=product.display&product_id=114" target="_blank">preorder here</a>.<br />
<br />
The not-$40-and-not-a-hoodie T-shirt <a href="http://www.chunklet.com/store/index.cfm?fuseaction=product.display&product_id=113" target="_blank">preorder here</a>.<br />
<br />
Many thanks to John, Mike, Mark, Tom, Tim and Henry for the musics and the opportunity to assist. Many thanks to Jim for the mercenary strategy.<br />
<br />
<i>edit: fixed YouTube embed code to support mobile browsing.</i>Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-6155039173386175412.post-41952903381473713752013-07-12T20:25:00.000-04:002013-07-12T21:55:52.323-04:00Golf is punk rock.Golf? Punk?<br />
<div>
<br /></div>
<div>
Bear with me here.</div>
<div>
<br /></div>
<div>
Over my (several) years, there are some people I consider close - very close - friends who aren't, put simply, on the same plane as you and I. Whether they are simply weird, obtusely brilliant, or just different, they have each ultimately lived lives of their own choosing, wanton disregard for societal norms or expectations to be damned. And I don't mean lives in prison, quite the opposite.</div>
<div>
<br /></div>
<div>
One of my very best friends, Andrew, worked in his last "real" job as a computer programmer on contract to the (US) Department of Defense working on Homeland Security projects in the mid-2000s. How did he get there? After graduating from college with an English degree from a small liberal arts college in suburban Minneapolis, he went straight to Nepal with the Peace Corps and after putting in his couple years' service, came back to Chicago in 1995/1996 to confront the sudden explosion of "computers in every home". Not knowing a thing whatsoever about Windows 95, computers or programming, he applied for a gig with a large megacorporate computer consulting firm and got hired straight-on as a programmer, due to basic intelligence and test-taking skills alone. Of course they trained him, etc etc. Worked as a contract programmer for banks, megacorps, the US Government. Then it began to dawn on him that this wasn't really him. Our guy, growing up in apartheid-era South Africa, or high school in suburban Chicago having fled apartheid South Africa, or back in college in Minnesota or in the Nepalese hinterlands 2 days (walking) from the closest bus stop which itself was days away from "civilization", wasn't quite right working on contract programming to help the war in Iraq. He was a punk rocker, listened to the Damned, he could have written the book. So he said "fuck this", quit his job, gave up all his worldly possessions, and moved post-haste to Thailand. Eventually he became a dive instructor, then boat captain, and from what I gather he is in complete and utter peace with himself, life, everything. Still, he remains probably one of the smartest people I've EVER known and is the sort who could, quite literally, do anything asked of him.</div>
<div>
<br /></div>
<div>
Punk rock was all about reacting to the norms of society, and finding a way out with a mark of individualism. My friend Andrew certainly fits this mold. We could all hope to have a bit of Andrew in our lives, in our outlooks.</div>
<div>
<br /></div>
<div>
Alex Feeman is another very close friend of mine who is very much in this mold. Except Mr. Feeman's quest is finding solace and individuality in golf.</div>
<div>
<br /></div>
<div>
Alex worked with me - until a month ago - at Mega American Auto Insurance Corporation, settling claims and spending your premiums. It was - and remains - a soul-sucking job, dealing (sometimes in the same conversation) with the best and the worst of folks, at their best and worst of times. How do you tell someone that their back injury just simply couldn't have happened in the accident with our insured, yet you know that maybe they're being completely honest, or that they are playing the game too and trying to score a big payout from Big Massive Insurance Company? Soul-sucking, day by day, week by week. I'm still there.</div>
<div>
<br /></div>
<div>
Alex is also a punk rocker. He too could write the book on it.</div>
<div>
<br /></div>
<div>
Alex also golfs. Having duffed a fair amount in my time, I think it's cool, but nothing more than a hobby that I'm lucky to do once every three years. Not to mention I suck at it. Alex, though, he's quite good. He too is one of the smartest folks I've ever known. Two bachelors (I think) degrees, progress to a masters' degree, etc. Listens to good records (and some shit, though he knows I think that), etc.</div>
<div>
<br /></div>
<div>
Alex decided that working at this soul-sucking corporation, dealing with soulless and/or confused, or just simply sad, cases wasn't what he was meant to do. Fuck, we all think that. Who ever has said "Daddy, I want to be a claims adjuster when I grow up!"? Certainly not me. But, the difference between me and Alex is that he grabbed this disconnect by the proverbial balls and did something about it.</div>
<div>
<br /></div>
<div>
Alex is going to play 49 rounds of golf, in 49 states (lower 48 and D.C.), in 49 days, driving solo. And he's doing it for charity.</div>
<div>
<br /></div>
<div>
What?</div>
<div>
<br /></div>
<div>
His passion is golf. It may not pay his bills, but when do we get to do our passion? Not many of us do, I'd wager. My passion is music, engineering, mastering. I've been paid twice to do my passion, and even then cumulatively it isn't enough to pay the rent. Certainly I'm not able to quit my day job to work my passion.</div>
<div>
<br /></div>
<div>
I think what Alex is doing is punk rock. Society expects him to act his role as the cog in the machine, inputs create outputs, tick tock tick tock tick tock. Society doesn't expect us to break out from the roles laid on us and find our own way, at least not openly.</div>
<div>
<br /></div>
<div>
Alex is partnering with the Anxiety and Depression Association of America, raising funds for an organization that gets to the root of issues he, I, and I'm certain many of you have dealt with or lived with for a very long time. Not only is this punk rock (what is Fugazi's Dischord? A collective to unite Washington DC punk rockers and individuals, and promote social awareness in DC by way of music, activism and individuality), it's honest. It's who he is, the world's expectations be damned. Punk rock.</div>
<div>
<br /></div>
<div>
Alex leaves Sunday morning, hitting a round with three of his golf buddies (alas, not I, but I wouldn't dare taint the "kickoff" with my haggard golfing ass dragging him down) in western New York en route to Vermont. He plans to end the trip golfing a round with his father in Lebanon, Pennsylvania, where he learned his passion. Not unlike a punk band, after plying their music across the lands to reach out to the tiniest of shitty bars to hundreds/thousands of ecstatic fans, returning to play a homecoming set to seal the victory of individuality.</div>
<div>
<br /></div>
<div>
Please visit his blog, support the trip, and be your own punk rocker. I can't tell you how much his little gig has made me think about going full-bore for my passion.</div>
<div>
<br /></div>
<div>
<a href="http://golfing49in49.wordpress.com/" target="_blank">Golfing 49 in 49</a></div>
<div>
<br /></div>
<div>
<a href="http://www.buffalonews.com/apps/pbcs.dll/article?AID=/20130619/SPORTS/130619073/1004" target="_blank">Buffalo News article</a></div>
<div>
<br /></div>
<div>
Salut, Alex.</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6155039173386175412.post-7327995028252322262013-05-08T22:51:00.001-04:002013-05-08T22:51:14.263-04:00good evening, captain: SLINT uncirculated 1989 set!When I started this blog back in the dark days of 2008, I wasn't really certain of anything but I'd write stuff, share things, and maybe the odd lunatic such as myself would chance upon it and find something of interest, and perhaps share it themselves with likeminded folk here and there. I figure that anyone who a) reads this, b) LIKES this, c) shares this is my kind of people - after all, how many people enjoy playing Songs About Fucking immediately after Happy Mondays?<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSApczPb17dIB8Oaklu2HDxVITiCiwk-fgXhlXyKi5meo1BkUjlEHRWE_myL0gT4cKS3WjQAJcCorjMjdz20F70gzq7qSE32CrHZzIFFgHy4dDZFoKpMegpe_lnJZL_5pTcZ7z0q5twgU/s1600/Slint+old_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSApczPb17dIB8Oaklu2HDxVITiCiwk-fgXhlXyKi5meo1BkUjlEHRWE_myL0gT4cKS3WjQAJcCorjMjdz20F70gzq7qSE32CrHZzIFFgHy4dDZFoKpMegpe_lnJZL_5pTcZ7z0q5twgU/s320/Slint+old_.jpg" width="320" /></a></div>
<br />
I didn't expect to be doing this nearly 5 years later, and I certainly didn't expect some of the cachet of readers I've attracted. My most favorite comments, or private off-blog emails to me, have been from musicians - often from bands I've blogged - sending their compliments, their corrections (heh), occasionally their cease and desist requests (certain bearded bassists need not apply...), and my absolute favorite, material to feature.<br />
<br />
It was this last category that leads to this post. Outside of ongoing plans regarding your humble blogger working with two of his very favorite Chicago bands on upcoming projects, a certain band member of a band I've blogged in the past - a band that's long been a favorite of mine - contacted me via the blog's Facebook page to discuss a project they are working on, and as an aside asked if I'd mind him sending me a tape to do with as I saw fit.<br />
<br />
That tape is <a href="http://thepowerofindependenttrucking.blogspot.com/2010/03/life-changing-records-slint.html" target="_blank">Slint</a>. The setting: a gig in Madison, Wisconsin in August 1989. The content: an audience recording of a gig that not only hadn't circulated, but the Internets and the Googles aren't even aware this show existed. This tape has not been circulated AT ALL that we are aware of. Just to be sure, the reader that sent this tape to me is NOT a member of Slint (original or later incarnations) - and gave me his OK to post this.<br />
<br />
Slint <a href="http://thepowerofindependenttrucking.blogspot.com/2010/03/life-changing-records-slint.html" target="_blank">we've discussed before</a>. If you've read this far, you want this tape. Without going into details, this is a dub of the master itself - and it sounds utterly spectacular.<br />
<br />
I did a fair amount of work on the raw tape to make it what I present to you now - off-tape, the gig was just pretty good, but after my efforts to beat it into submission, it shines. I think you'll agree.<br />
<br />
This set comes after <i>Tweez</i> but before the legendary, classic <i>Spiderland</i> - I'd place it around when they recorded the "Glenn"/"Rhoda" 10" material with Steve Albini - and is a nice mixture of both styles in that the weirder/more angular <i>Tweez</i> material slots in with the recorded-in-1989 10" and unrecorded <i>Spiderland</i> stuff. "Nosferatu Man" has some different lyrics, and while 90% of the song is there, it's still a work in progress. Same for "Good Morning, Captain" except there's no lyric yet. Sadly the tape ran out with about (guessing) 30 seconds left in "Good Morning, Captain" so while you can sing the "I MISS YOU!!" bit yourself at the proper point in the climax, I had to fade the song out shortly thereafter rather than it coming to its natural close as it does on record.<br />
<br />
So without further ado....<br />
<br />
<b><span style="font-size: x-large;">SLINT</span></b><br />
<i><b>20 August 1989</b></i><br />
<i><b>O'Cayz Corral, Madison, Wisconsin</b></i><br />
<i>mastered May 2013 by Analog Loyalist</i><br />
<br />
01 intro<br />
02 Glenn<br />
03 Ron<br />
04 Nan Ding<br />
05 Charlotte<br />
06 Nosferatu Man<br />
07 Darlene<br />
08 Pat<br />
09 Pam<br />
10 Good Morning, Captain (instrumental)<br />
<br />
<a href="https://hotfile.com/dl/216089870/96224df/Slint_890820_Madison-masteredFLAC.zip.html" target="_blank">Zipped FLAC via Hotfile</a> (Netkups too unstable lately).<br />
<br />
Any other musician readers want to send me stuff? Send me a message on the Facebook page via the link up there on the right!<br />
<br />
Enjoy!Unknownnoreply@blogger.com15tag:blogger.com,1999:blog-6155039173386175412.post-33505577731251944042013-04-08T20:01:00.001-04:002013-04-08T20:01:24.878-04:00album art exchange...I really hate low-quality album artwork, especially when it looks ridiculously pixelated on my retina iPad display. Even iTunes-sourced artwork looks terrible on the iPad (one would think Apple, with all their focus on quality builds, design and engineering, would find a way to optimize album artwork - when grabbed from the iTunes Store - for whichever device it's being synced to). I've not seen anything better than 600x600 artwork pulled from iTunes, which was the default from the beginning of iTunes Time.<br />
<br />
Oh, you can Google image search for higher-resolution images, and sometimes that's still the best you'll find - especially for the more obscure crap we love. But even then, it's a crapshoot with oversaturated images, terrible scan jobs, etc.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.albumartexchange.com/" target="_blank"><img border="0" height="69" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZIY2Vv5am9e9XMPcnpG8aZfwV8nGv3-uf9LdxZmdhAitZUjWe1vpl3FjLlZEMzCTNkk8mSzXTMjT5tivEcKe7j5kLR6CKfh9_QmQzGm_Qe9WlTZ0GE93ZdEmT_my1icox4Z9SrYFOnuQ/s320/aax.jpg" width="320" /></a></div>
<br />
When I discovered <a href="http://www.albumartexchange.com/" target="_blank">Album Art Exchange</a>, it was like another lil' slice of heaven for me. My OCD with regards to sound quality meshed perfectly with my OCD for good, high-resolution images to go with the tunes. There are some hardcore OBSESSIVE people over there who produce some absolutely amazing cleanup jobs of all sorts of record and CD covers. It's also seeded by folks who have direct access to the labels' art archives (for online use), and even then what these folks at AAX can do with a 30-year-old LP sleeve is often better than the labels' own high-resolution copy.<br />
<br />
I've been an on-and-off contributor to AAX for a little more than a year. The problem was that until recently I just wasn't up there yet with the Photoshop skills to really get the best results from my scanner; what I thought was good often ended up too obviously 'shopped in retrospect. The other issue was that my 2008-vintage PC under Windows 7 would just flat out choke when trying to scan at anything higher than 600dpi - which didn't leave a lot of spare pixels when doing that hardcore editing most sleeve scans need.<br />
<br />
Having recently switched to the Mac (mini; love this damn little thing after having been exclusively PC for the past 18 years), I now have the horsepower to suck down all the 1200dpi pixels my scanner can spit out. And I also spent some hardcore time reading threads at AAX regarding best practices for artwork cleanup. Over the past few days (while recovering from audio engineering burnout) I've added a shit ton of high-resolution images to the AAX archive, as I slowly go through and re-scan stuff I'd put up before or add things that aren't on AAX already. I have a ridiculous pile of stuff to scan that's not there as of yet, or that's only there in lower quality (back when the site was focused on 600x600 images). So keep watching AAX as I add my pile - and better yet, feed it yourself!<br />
<br />
Here's a direct link to <a href="http://www.albumartexchange.com/covers.php?sort=4&q=drewc&fltr=1&bgc=&page=" target="_blank">my stuff there</a>. Here's a direct link to our blog pal <a href="http://www.albumartexchange.com/covers.php?q=50poundnote" target="_blank">50 Pound Note's stuff there</a>.<br />
<br />
enjoy!<br />
<br />
<br />
<br />
<br />Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-6155039173386175412.post-62013964575520987752013-03-30T11:09:00.001-04:002013-03-30T11:09:25.066-04:00That R.E.M. Strand 1982 FLAC set....I am making a new post so this bubbles up in newsfeeds again.<br />
<br />
There was a problem with the FLAC encoding in the original R.E.M. Strand Cabaret '82 fileset. Songs were weirdly skipping mid-song direct to the next song, and it was completely reproducible on my end with the original files.<br />
<br />
I re-encoded to FLAC without errors this time, and re-uploaded the files.<br />
<br />
The <a href="http://netkups.com/?d=766f1557bdf5b" target="_blank">corrected fileset</a> is now the one accessible in the links in the original post. So, <a href="http://thepowerofindependenttrucking.blogspot.com/2013/03/rem-2-july-1982-marietta-ga-2013.html" target="_blank">please go to the original post</a> and re-download the set; it's well worth the trouble.<br />
<br />
Apologies, again.Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-6155039173386175412.post-64342714182799842722013-03-28T23:23:00.003-04:002013-03-30T10:56:06.420-04:00R.E.M. 2 July 1982 Marietta GA (2013 analogloyalist master)<b><span style="color: red;">ATTENTION: Previous downloaders, there was a problem with the FLACs themselves in the original fileset which I have subsequently corrected and re-uploaded. PLEASE re-download the set; the new URL is down there.</span></b><br />
<br />
--------<br />
<br />
Tap tap, this thing on?<br />
<br />
I haven't disappeared. Good thing too, that is.<br />
<br />
You know, while I'm still quite bummed about the cease and desist directive issued by a certain bearded bassist, I realized that there is other music I like, and even better, of another favorite band of the blog, one of the musicians involved is a big fan of the proceedings and thinks I got shafted.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJ8l-lLq0sAB00Z1_CuUgwc1aLnOCzxv09y6JkiCmI_3S4a4ObIFjODzf0ZCrNPBviWwbWpOQKbVJhaX8BCWtN7Az0DLPBn_5Kh8NV86SiE_lTf8Nl1ApBaLyeZO-lsCIpvzidSPfrak/s1600/1982_07-02+Strand+Cabaret,+Marietta+GA+(RC2).png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJ8l-lLq0sAB00Z1_CuUgwc1aLnOCzxv09y6JkiCmI_3S4a4ObIFjODzf0ZCrNPBviWwbWpOQKbVJhaX8BCWtN7Az0DLPBn_5Kh8NV86SiE_lTf8Nl1ApBaLyeZO-lsCIpvzidSPfrak/s320/1982_07-02+Strand+Cabaret,+Marietta+GA+(RC2).png" width="320" /></a></div>
<br />
So with that I bring you my favorite, probably, pre-Murmur R.E.M. set - the guys live in Marietta, Georgia in July 1982 shortly before recording Murmur. This is an interesting transitional period for the band, as the songwriting is clearly shifting from the 60s-influenced "That Beat" stylings to the ethereal, un-categorizeable Murmurian structurings. We have "That Beat", probably the best evidence (both in terms of songwriting and catchiness) of their garage band roots, and then we have "Perfect Circle" in its likely debut performance - on a drum machine as Bill Berry's working the keyboards! Other new songs "We Walk", "Pilgrimage" - a song Michael Stipe is still clearly working out the lyrics for, and "West Of The Fields" point strongly to the future.<br />
<br />
This is a cool little gig too, in that for an audience recording it really puts you, dear listener, direct into the room right in front of the stage. It's lively, it's got a lot of space, it doesn't sound cavernous or muddy. It's just a really great recording that excels after the mastering treatment I gave it over the past few days. I realize I did some work on this in 2008 and put it on dimeadozen, but that effort was crap (in retrospect) - a simple A/B if you have the 2008 variant will make it clear as day. Many tracks can easily fool even an astute listener into thinking it's a soundboard recording, but it's not.<br />
<br />
So anyway, onward. Life after Mediafire begins... now.<br />
<br />
<b><span style="font-size: large;">R.E.M.</span></b><br />
<i>2 July 1982</i><br />
<i>Strand Cabaret, Marietta, GA</i><br />
<i>2013 analogloyalist master</i><br />
<br />
01 intro<br />
02 West Of The Fields<br />
03 Shaking Through<br />
04 Pilgrimage<br />
05 Romance<br />
06 We Walk<br />
07 Wolves, Lower<br />
08 That Beat<br />
09 Pretty Persuasion<br />
10 Sitting Still<br />
11 1,000,000<br />
12 Gardening At Night<br />
13 9-9<br />
14 There She Goes Again<br />
15 Catapult<br />
16 Radio Free Europe<br />
17 Perfect Circle<br />
18 Laughing<br />
19 Moral Kiosk<br />
20 Carnival Of Sorts (Boxcars)<br />
<br />
Netkups to the rescue - <a href="http://netkups.com/?d=766f1557bdf5b" target="_blank">get the FLAC set here!</a><br />
<br />
Oh... and that fan of the blog I mentioned? None other than P. L. Buck, Esq.<br />
<br />
<b><span style="color: red;">ATTENTION: </span></b><b><span style="color: red;">Previous downloaders, there was a problem with the FLACs themselves in the original fileset which I have subsequently corrected and re-uploaded</span></b><b><span style="color: red;">. PLEASE re-download the set; the new URL for the file set is <a href="http://netkups.com/?d=766f1557bdf5b" target="_blank">here</a> (and up there too).</span></b>Unknownnoreply@blogger.com26tag:blogger.com,1999:blog-6155039173386175412.post-80929585754800311992013-03-24T22:48:00.001-04:002013-03-24T23:06:02.926-04:00Godspeed, Jason Molina (1973-2013).<span style="font-family: inherit;"><span style="background-color: transparent;">Requiescat, Jason Molina.</span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Jason (founder/leader Songs: Ohia and Magnolia Electric Co) is an artist I'd not yet covered on TPoIT though a track or two of his did feature on the Unconventional Steve Albini set I posted a few years ago.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I don't own a lot of his records - only the truly devoted would be able to track them all down! - but the ones I do own are really good. I can listen to Magnolia Electric Co's What Comes After The Blues LP on repeat over and over, and just get swept into the emotion and gutwrench.</span><br />
<span style="font-family: inherit;"><br /></span>
My friend Henry Owings's <a href="http://www.chunklet.com/index.cfm?section=blogs&ID=743" target="_blank">eulogy-of-sorts</a> is beautiful reading.<br />
<br />
<a href="http://www.magnoliaelectricco.com/bb/index.php?topic=653.0" target="_blank">Musicians write about Jason here</a>. Steve Albini's thoughts (and a long thread at the Electrical Audio forum, for the studio where IMHO Jason's best albums were recorded, with Steve) <a href="http://www.electricalaudio.com/phpBB3/viewtopic.php?f=4&t=61801#p1630523" target="_blank">here</a>.<br />
<blockquote class="tr_bq">
Again you’re swinging low<br />
And you hit me below the belt<br />
Alright since it’s a fair fight<br />
I’d say it’s the best that I have felt<br />
In a long long time<br />
Every now and then it happens again<br />
I can’t remember what comes first<br />
Is it the hurt<br />
Or knowing that it hurts<br />
Is it the hurt<br />
Or knowing that it hurts<br />
Ever since I turned my life around<br />
It still happens time to time<br />
Don’t know what pain was yours<br />
Or what pain was mine<br />
What pain was yours<br />
And what pain was mine<br />
Will I have to be alright all of the time<br />
No one has to be alright all of the time<br />
Do I have to be alright all of the time<br />
I thought I saw the light<br />
I saw the light</blockquote>
<i>"I Can Not Have Seen The Light" - Jason Molina/Magnolia Electric Co </i><br />
<br />
Requiescat and Godspeed, Jason. Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6155039173386175412.post-10395220217597681492013-03-05T20:31:00.001-05:002013-03-05T20:31:02.144-05:00Loyal readers: a favor to ask...?It's sad. Mediafire account death means I lost some of the things I posted here myself.<br />
<br />
I have a favor to ask:<br />
<br />
Any kind soul who downloaded the <a href="http://thepowerofindependenttrucking.blogspot.com/2011/07/seam-23-february-1994-freidrichshafen.html" target="_blank">Seam - 1994 Germany soundboard FLAC</a> set from here, can you kindly upload it somewhere where I can get it back myself?<br />
<br />
It would be hugely appreciated. Let me know if you can, and the link, in the comments. There are reasons behind my asking......Unknownnoreply@blogger.com11tag:blogger.com,1999:blog-6155039173386175412.post-1297628586490204512013-02-02T22:51:00.001-05:002013-02-02T23:00:18.598-05:00the end is nigh: m b v is released!I do believe my eyes and ears are not deceiving me...<br />
<br />
<a href="http://www.mybloodyvalentine.org/Release.aspx" target="_blank">My Bloody Valentine - <i><b>m b v</b></i></a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYMoN2TtOmiWAFnPF38AMn9vYW1fBvUEqKy0WjKNA3D_x5pRQ25UxH5AnGwh91LP5pFPibw5gFbi0h79Q9iWZsvB4rdcHVbElIFQJ4l_evGYCO4bmlhRNhlSMvCQ1hUMmuEktRI9Cmlvg/s1600/m+b+v.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYMoN2TtOmiWAFnPF38AMn9vYW1fBvUEqKy0WjKNA3D_x5pRQ25UxH5AnGwh91LP5pFPibw5gFbi0h79Q9iWZsvB4rdcHVbElIFQJ4l_evGYCO4bmlhRNhlSMvCQ1hUMmuEktRI9Cmlvg/s320/m+b+v.jpg" width="320" /></a></div>
<br />
It's pretty damn good! Like a mix of <i>Isn't Anything</i> and <i>Loveless</i>, and I love the Colm drums too... Even better, the thing's barely compressed - it's almost TOO quiet!Unknownnoreply@blogger.com10tag:blogger.com,1999:blog-6155039173386175412.post-27174854595727697752012-12-05T06:58:00.002-05:002012-12-05T06:58:57.829-05:00Houston, we have a problem.I have been formally asked to cease and desist all New Order / Joy
Division activity, regardless of material and sourcing. It was
mentioned to me that the label has been focusing on me/the blog(s) as
well. Therefore, for my own protection and sanity, it's time to take a timeout and reconsider this blog (and I'm no longer going to be posting on The New Order Archives).<br />
<br />
Maybe I'll start a blog about kittens.<br />
<br />
-Analog LoyalistUnknownnoreply@blogger.com30tag:blogger.com,1999:blog-6155039173386175412.post-17832162959124309182012-11-30T15:21:00.001-05:002012-12-03T10:17:56.807-05:00An updateRemoved text of email. I have asked for clarification if this is a general Cease and Desist request for all things Joy Division/New Order; I will update with any response. Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6155039173386175412.post-25194070577922831232012-11-28T20:02:00.001-05:002012-12-04T12:34:54.955-05:00DMCA: it's happened again, with Joy Division this time.Today I received two notices from Mediafire stating the two Joy Division files (Part 1.zip and Part 2.zip) for the University of London Union were suspended due to DMCA complaints.<br />
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<w:DoNotOptimizeForBrowser/>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<blockquote class="tr_bq">
<div class="MsoPlainText">
Dear MediaFire User: </div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
MediaFire has received notification under the provisions
of the Digital Millennium Copyright Act ("DMCA") that your usage of a
file is allegedly infringing on the file creator's copyright protection. </div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
The file named JD - 1980_02-08 ULU (2012 master) part
2.zip is identified by the key (8nwbdu0xrzkvyge). </div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
As a result of this notice, pursuant to Section
512(c)(1)(C) of the DMCA, we have suspended access to the file. </div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
The reason for suspension was:</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<span style="mso-tab-count: 1;"> </span>I
have a good faith belief that the use of the material in the manner complained
of is not authorized by the copyright owner, its agent, or the law.</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Information about the party that filed the report:</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Company Name: GrayZone, Inc</div>
<div class="MsoPlainText">
Contact Address: </div>
<div class="MsoPlainText">
Contact Name: GrayZone, Inc.</div>
<div class="MsoPlainText">
Contact Phone: (718) 360-9941</div>
<div class="MsoPlainText">
Contact Email: <a href="mailto:grayzone@grayzone.com">grayzone@grayzone.com</a></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Copyright infringement violates MediaFire's Terms of
Service. MediaFire accounts that experience multiple incidents of alleged
copyright infringement without viable counterclaims may be terminated. </div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
If you feel this suspension was in error, please submit a
counterclaim by following the process below. </div>
</blockquote>
I have no idea who GrayZone is.<br />
<br />
This is very frustrating. This material, while released at one point, was given to the label by US. We enter the questionable area of ROIO (Recordings of Independent Origin) copyright. Is it worth it for me to file a counterclaim? Do I - as an "originator" of this work, have any grounds to do so?<br />
<br />
I am not re-upping the files. I also am not going to post High Wycombe (Still's CD2 from the 2007 reissues), also freshly mastered by me after discarding my 2006 work as-released. That said, punters who did not download ULU yet can find it on the darker sides of the internets; I know at least one site that might be known as why.cd or some similar name has the FLACs available.<br />
<br />
Additionally, Mediafire (the 2nd account I used) has suspended the analogloyalist account. Therefore all previous re-upped links are dead.<br />
<br />
At this time I am not re-upping anything - if I decide to re-up anything - until I finally sort out hosting. It is expensive; with the bandwidth used the contributions from my readers doesn't really cover more than a week or so from what I've researched so far.<br />
<br />
Due to the heavy spotlight on this blog, I question whether I can post anything not recorded/owned by me myself and I, such as my old bands. Why would I want to? <br />
<br />
Let's see comments.<br />
<br />
Drew Unknownnoreply@blogger.com21tag:blogger.com,1999:blog-6155039173386175412.post-6456425124222476932012-11-17T18:28:00.000-05:002012-11-28T21:07:18.655-05:00Joy Division 8 Feb 1980 Univ of London Union 2012 master<span style="color: red;"><b><span style="font-size: large;">NOTICE:</span></b></span> Please read <a href="http://thepowerofindependenttrucking.blogspot.com/2012/11/dmca-its-happened-again-with-joy.html" target="_blank">this</a> first!!! <br />
<br />
In August 2006 I was approached to assist with the sourcing, cleanup and mastering of various Joy Division gigs for inclusion in the then-upcoming double-CD deluxe edition reissues. The in-between story, between first being drafted into the project and then September 2007's Warner Brothers/Rhino release of the<i><b> Unknown Pleasures</b></i>, <i><b>Closer </b></i>and <i><b>Still </b></i>Collector's Editions, is boring and not really worth rehashing.<br />
<br />
What is relevant is that six years is a long time ago, with regards to my skill set and general knowledge of audio theory and mastering. I listen to the stuff I turned in to the band and Rhino in late 2006 and essentially cringe. Not because it's bad, because it's not, but with where I've advanced to today my 2006 work sounds amateur to these ears. And while it's out there for the world to enjoy (and the two sets I did, for <i>Closer </i>and <i>Still</i>, all got great reviews), I can no longer listen without wishing for a mulligan.<br />
<br />
Well, with my blog avenue, I can finally take that mulligan.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqRoAnABZyCPGxbrR3o38uBXFzvq01mCsd69IpQFvTlm1yLMxIHV_UwrZpwNGqCjU8zgemcDE9op6I71YgYcXQUBENMESujdAB_imBuSwVzJC7pMg-a7rMZSL7FEI0iUaY2Mv2CXa3fis/s1600/Manc+Jan+1980+-+4099983211_2dd356ac36_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqRoAnABZyCPGxbrR3o38uBXFzvq01mCsd69IpQFvTlm1yLMxIHV_UwrZpwNGqCjU8zgemcDE9op6I71YgYcXQUBENMESujdAB_imBuSwVzJC7pMg-a7rMZSL7FEI0iUaY2Mv2CXa3fis/s320/Manc+Jan+1980+-+4099983211_2dd356ac36_o.jpg" width="320" /></a><br />
I went back to the original raw transfers from Duncan Haysom's 1980 master cassette tapes, the very tapes on which he recorded the Joy Division gigs that we released. I started from scratch - essentially, if Warners came knocking today and asked me to master these gigs, I did what I'd do for them with the skills, techniques, secret sauces and magic I've either advanced or flat-out learned anew since 2006.<br />
<br />
They are spectacular. Not to toot my own horn, but these now simply <i><b>crush </b></i>what was used on the 2007 releases. Even the most hearing-challenged of listeners can tell the difference, and not just by minutiae. Cymbals ring, drums go THWACK and not "thwop", guitars slice through the murk.<br />
<br />
If there were any justice in this world, Rhino would pull the 2007 sets off the market and reissue with these masterings. One can dream...<br />
<br />
So we start, chronologically by performance date, with the set used in association with the <i>Closer </i>Collector's Edition. Recorded by Duncan, this set from the University of London Union is a stormer. You get the still in-development <i>Closer</i> tracks (which had yet to be recorded by Martin Hannett) mixed in with stridently-performed <i>Unknown Pleasures</i> and other pre-<i>Closer </i>choices. You get "Dead Souls" brilliantly leading off the set, and you get "Digital" taking us out. And thanks to Duncan, it's magically captured on C45 tape for us to enjoy 32+ years on.<br />
<br />
<span style="font-size: x-large;"><b>JOY DIVISION</b></span><br />
<i><span style="font-size: large;">8 February 1980<br />University of London Union</span></i><br />
<i>Mastered in November 2012 by Analog Loyalist, from Duncan Haysom's master recording</i><br />
<br />
01 Dead Souls<br />
02 Glass<br />
03 A Means To An End<br />
04 Twenty Four Hours<br />
05 Passover<br />
06 Insight<br />
07 Colony<br />
08 These Days<br />
09 Love Will Tear Us Apart<br />
10 Isolation<br />
11 - encore break -<br />
12 The Eternal<br />
13 Digital<br />
<br />
<a href="http://www.mediafire.com/?heh72e2xbtugh" target="_blank">FLACs here.</a><br />
<br />
Please to enjoy!Unknownnoreply@blogger.com99tag:blogger.com,1999:blog-6155039173386175412.post-89364734183654166012012-11-08T11:31:00.002-05:002012-11-08T11:31:28.824-05:00Joy Division - Warsaw remastered.You asked, I delivered.<br />
<br />
<a href="http://archive.new-order.net/2012/11/joy-division-warsaw-original-1989-cd.html" target="_blank">Warsaw, remastered.</a><br />
<br />
Enjoy! Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-6155039173386175412.post-68120745570956693032012-10-24T13:22:00.001-04:002012-10-24T13:22:28.619-04:00New Order 23 October 2012 Sony Centre, TorontoI saw New Order last night in Toronto, my third time seeing them (1993 Chicago, and 2005 Chicago, being the other two).<br />
<br />
I had aftershow passes to meet the band.<br />
<br />
It was, in a word, awesome. Both the gig - by far, the best of the gigs I've seen them play - and the aftershow.<br />
<br />
I didn't record the gig, but did record video of Ceremony and Elegia which once I figure out how to rotate 180 degrees (for some reason my Win 7 PC plays these iPhone 5 1080p videos upside down) I will upload. <br />
<br />
Hooky was not missed at all; Tom Chapman was fantastic in his pseudo-Hooky role and added his own contributions to each song which just plain worked. The band is clearly in a happy place with their current lineup/outlook, both visually and in discussion, and while I still think the songwriting of more recent times doesn't quite match that of the 80s output, perhaps the reaffirmed bond and outlook of the band/management/personnel will lead to great things again. Bernard said they will be doing a lot of writing and recording next year... And we can't at all discount the returned Gillian influence on the songwriting.<br />
<br />
I didn't discuss the blog or Recycle, or the Archives project, with them because it was not the appropriate setting.<br />
<br />
Steve is the most awesome guy ever, he knew straightaway who I was and was obviously just as happy to talk to me as I was to him (clearly he knew, based on the fact that he told me so, what I'd done for the band since 2006). And a hell of a drummer; seeing him playing acoustic drums (rather than the electronic drumset he'd been using since 1987) - and hearing the audible difference in each song - was absolutely spectacular.<br />
<br />
It was quite something getting deeply involved in technoweenie audio engineering discussions with someone who cares, and knows what I'm talking about, with Steve. I got a lot of questions answered that aren't really relevant to share here, and some essential background on other things that aren't really ideal to discuss in this format. One thing that is of interest is that our Western Works reel isn't the master per se, but a dub of it (all the Cabs members and NO had reel dubs off the master, and this was likely one of those), and the Rob Gretton vocal track ("Are You Ready...") was unfinished. He thought how we obtained the reel was awesome.<br />
<br />
Here's your humble blogger and Bernard (who was jealous of my iPhone 5; he said his iPhone 4 was getting a bit too slow, haha)...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY9gI0GHB2DxaG8wD5w1aqS15fXSlBlDq5HsRZU53UvZEDKCk9tPWvPe0Zf6qjT0z5pEd4Wdg1mxQbTFJlj1Pxb3TPnLQhJC4yegY90SbWieUdLiH_OgOTY7EjisS3T24uOcKDv6iZpPA/s1600/IMG_3379%5B1%5D.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY9gI0GHB2DxaG8wD5w1aqS15fXSlBlDq5HsRZU53UvZEDKCk9tPWvPe0Zf6qjT0z5pEd4Wdg1mxQbTFJlj1Pxb3TPnLQhJC4yegY90SbWieUdLiH_OgOTY7EjisS3T24uOcKDv6iZpPA/s320/IMG_3379%5B1%5D.JPG" width="320" /></a></div>
<br />
I am tired, it was a long night and drive back from Toronto but absolutely worth it. Cheers!Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-6155039173386175412.post-88911407886555802982012-10-05T01:01:00.000-04:002012-10-05T01:06:55.004-04:00critique the blogger, Pt. II: Helium Derby (1998)The reaction to <a href="http://thepowerofindependenttrucking.blogspot.com/2012/09/new-game-critique-bloggers-own-music.html" target="_blank">last week's post</a> frankly surprised me. I knew we had some good songs, but the recording quality was shite and my "mastering" job was really quick-and-dirty. Frankly, they were done in a basement with two mics feeding into a 4-track at standard cassette speed. Not at all professional. But I guess, in a sense, it was perfect for our music. I think we all would have loved to put some of those down in a real studio, multitrack style, because as I said in more than a couple cases the songs were there. But it's what it is, and if people dug it, that's really cool.<br />
<br />
Which brings me to the next one. Several months after these were done, I was planning to meet up with a college friend in Chicago who was in town from California, visiting a mutual friend from Colorado (I attended university in Colorado). Turns out the apartment I met my friend at was two houses down from my best friend's flat, which, in a city the size of Chicago, is pretty impressive. What was also coincidental was that the mutual friend had become a pretty damn good guitarist and, after the "hey man, it's been years!" pleasantries (and more than a couple beers) had been exchanged, a band of sorts was formed. So for that fall of 1997, and spring of 1998, I'd saunter back and forth from my best mate's flat to the band flat, playing, rehearsing, writing, drinking. One fall afternoon, I remember sitting on the deck at the best mate's flat, smuggled Fat Tire Amber Ale sat on the floor beside me, and guitar in hand after spending some time listening to Wire's Pink Flag record. A few strums later, I had a song. Knowing I was meeting up in a couple hours with the band for practice, I hurriedly grabbed a sheet of paper and wrote some half-assed lyrics. That evening, we had the full song.<br />
<br />
Another time I was in full-on Bob Mould mode at my house and was endlessly playing my 12-string, throwing off a lot of Mould-ish chordings and guitar figures, and suddenly had the framework for another song. I quickly laid down the basic guitar track on my cheap 4-track, and came up with a pretty cool bass part using the lower strings on the guitar. The lyrics didn't come as easily as the music, but eventually I had those too (and somewhere still have the original handwritten lyrics, with all the scratched-off changes and crap, on the back of an envelope). It turned out to be the first original our nascent band did, and remains (IMHO) the best written song we had.<br />
<br />
Then there was the song built around a stolen Yo La Tengo guitar riff (the main riff from "I Heard You Looking", namely), that after some struggles with the musical bed, quickly became another song with tossed-off lyrics. I wrote the lyrics because it needed words, basically...<br />
<br />
This band was called Helium Derby.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMTRXctaHkkIic7MUhlOhzxYJJ4QUZYf9RGVrauxRQfUiBIeFawxBeMs8c4HDzeWZR-0wdt4gQ0lQSjYmt7gVFiMcl0mYBz0LBCbT8B0OYAKBWlFV6YzFWz4UFsi8v8MxVQ6863ngJnhk/s1600/band.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMTRXctaHkkIic7MUhlOhzxYJJ4QUZYf9RGVrauxRQfUiBIeFawxBeMs8c4HDzeWZR-0wdt4gQ0lQSjYmt7gVFiMcl0mYBz0LBCbT8B0OYAKBWlFV6YzFWz4UFsi8v8MxVQ6863ngJnhk/s1600/band.jpg" /></a><br />
Eventually, we had quite a few songs written and in good enough shape to record an album. We had only played a few parties, no real gigs, but figured why the hell not do a record? One of the guys knew another guy who recorded bands, so we hooked up with him and recorded the album in his Lake View apartment. The engineer had, which at the time seemed really fucking cool, a hard disk recording setup and other bits of gear which you'd expect someone like him to have. This was 1998 so the concept of hard disk recording, in an apartment on the North Side of Chicago, seemed really major league to us. While no ProTools, or 2-inch analog tape, it was better than the 4-track we had. So we tracked the record; drums in the practice space (the drummer's basement, namely), everything else in the apartment studio. Some songs took fucking ages to get right (I remember one song taking a month to do the guitars, only because the recording sessions were short, and I was constantly fighting the engineer as to how I wanted my guitars to sound), while others were done in an hour. <br />
<br />
My favorite moment of these sessions was watching the Cardinals' Mark McGwire break the single-season home run record, live, against the Cubs with Steve Trachsel pitching (this was in the thick of the Sammy Sosa / Mark McGwire home run record chase). And I fucking hate the Cardinals. We stopped whatever song/instrument we were tracking, watched the festivities, and resumed what we were doing.<br />
<br />
We ended up with 10 songs, no mastering, and eventually a few hundred CDs. Our plans were to play shows, sell the CDs, do more band stuff, but things petered out with one of the guys moving to Minneapolis for graduate school. But it was fun, and an experience I'll never forget, not having done it since.<br />
<br />
So here we are, with these 10 songs finally unleashed to an unsuspecting public. Somehow I doubt the industry will be beating a path to our doors...<br />
<br />
<b><span style="font-size: x-large;">Helium Derby</span></b><br />
<span style="font-size: large;"><i><b>...Nada en Fuego</b></i></span><br />
(c) (p) 1998 Helium Derby<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMHUemok3abiEgDl5MRDkfvKP719dvZNNhAL34U32oLq1R7I2v77jD-p_IV63tSfq4FJzIIQHtHld9Ubv0dgLgvR6SOMtVqZAAYkGjMuW-IVE2hVKrXDz2duYccmg-Kvx0ka6ITnzVQ_A/s1600/derbycov.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMHUemok3abiEgDl5MRDkfvKP719dvZNNhAL34U32oLq1R7I2v77jD-p_IV63tSfq4FJzIIQHtHld9Ubv0dgLgvR6SOMtVqZAAYkGjMuW-IVE2hVKrXDz2duYccmg-Kvx0ka6ITnzVQ_A/s320/derbycov.jpg" width="320" /></a><br />
musicians:<br />
Analog Loyalist - bass (except tracks 1, 5 and 7: electric guitars)<br />
Isaac Adamson - electric guitars (except tracks 1 and 5: bass)<br />
Ian Sethre - 12-string guitars<br />
Sean Ramsey - drums, percussion<br />
Eric Gautschi - vocals<br />
<br />
engineer: Todd Nall<br />
mastering (October 2012): Analog Loyalist<br />
<br />
<span style="font-size: small;"><b>01 All Along</b></span><br />
(music and lyrics: Analog Loyalist)<br />
<br />
This is the song written by yours truly in Bob Mould mold. I play all the electrics, including the "solo", and Isaac pretty faithfully plays the bass line I wrote. It sounds great both in this loud, driving interpretation as well as on a 12-string (as it was written on an acoustic, rooted on the very Mould-ish G5/Em/C5 chord pattern). My one gripe with this song is that we never could nail the mix; I remember umpteen mix candidates all rejected for various issues, and I think we ended up with the final mix just by default. It really could do with a remix, but alas... In this mastering, I tried my damnedest to smooth out some of the really horrible EQ and muddiness the final had, and it's a lot better, but not ideal.<br />
<b><br />02 Curious, I Know</b><br />
(music: Helium Derby; lyrics: Eric and A.L.)<br />
<br />
This was built from the bottom up in practice; I had been listening to a lot of Massive Attack in that timeframe and wanted to see if we could do something a bit more rhythmic. We failed, completely, at coming anywhere close to Massive Attack, but out of the debris came this pretty cool song. I get to express my inner Hooky on bass, much more successfully than "This Curse" from my previous band.<br />
<br />
<b>03 Such A Long Way</b><br />
(music: Ian; lyrics: Eric)<br />
<br />
I don't remember why we didn't actually track this in true multitrack fashion; we recorded the music completely live as an ensemble (with little mic separation, meaning we couldn't redo any parts without redoing the entire performance), with Eric laying down his vocals at a later time. It was quite stressful for me on bass as it fell on me to keep tempo pretty solid throughout, but I think we pulled it off.<br />
<b><br />04 Nothing More Than This</b><br />
(music: Ian; lyrics: Eric)<br />
<br />
I don't remember much about the genesis of this song at all, but that I really dug the basslines I wrote for it, and just overall liked the feel and poppiness of the song. I just sort of recall it falling out of the sky from Ian's 12-string, and suddenly we had a song. I think he and Eric had worked it up before he presented it to the rest of us?<br />
<br />
<b>05 Lose Control</b><br />
(music and lyrics: A.L.)<br />
<br />
This is the Wire-influenced song I wrote on the back deck of my mate's apartment. It's two chords, throughout, with only picking/strum patterns separating the components. This is all me on electrics, including the descending harmonics. Thanks Jay for the "2 B Real" lyric snippet!<br />
<b><br />06 Doesn't Matter Now</b><br />
(music and lyrics: Ian)<br />
<br />
Sometimes I think Ian's goal was to see how many lyrics he could fit in a 2:48 song, hehe. We get a bit rootsy here, which I had no problem with at all. Another song that just sort of emerged fully formed, though I think Ian had it all complete anyway and just showed it to us once or twice before we had it down. I totally nicked U2's "With Or Without You" for the bass. Sue me. My favorite part is the stray snare in the bridge; it was an error, but it's perfect. Perfectly placed and great.<br />
<b><br />07 Too Damn Cold</b><br />
(music: A.L./Helium Derby/Ira Kaplan; lyrics: A.L.)<br />
<br />
This is the Yo La Tengo song. Well, a guitar riff is, at least. One night in practice I started jamming on "I Heard You Looking" with another similar riff against it, and eventually we had a song all ginned up. It didn't come across on tape as good as it did when played live, but we could only do so much with the time we had. Lyric idea from Isaac's off-the-cuff vocal when we first were jamming it; he said he was singing something about being cold so I ran with that idea and quickly had a lyric.<br />
<br />
<b>08 That's What I'm Talking About</b><br />
(music: Helium Derby; "lyrics": Eric)<br />
<br />
Was and always will be called the Porn Song. Never had a lyric, just Eric's, err, utterances. One listen and you'll know why we called it the Porn Song. Really, it was just an excuse to play ridiculous disco-style bass.<br />
<b><br />09 The Bitter End</b><br />
(music and lyrics: Isaac)<br />
<br />
Isaac was into 16 Horsepower and came in with this thing pretty much fully formed. I just wrote up a bassline, and Sean the drums, and we had the song. Isaac and Todd went gonzo with the guitar FX in the box. If you listen carefully, you'll hear the drunken Arkansas hillbilly behind Eric's vocal track.<br />
<b><br />10 San Ysidro</b><br />
(music: A.L./Ian, lyrics: Isaac)<br />
<br />
I came up with this terrific idea for a song on bass, and from the very beginning always knew I wanted it to be an album closer (it just always had that closing feel to it). In fact its working title was "Closing", from the very beginning. I just couldn't come up with a decent chorus to save my life, which thankfully Ian stepped in and wrote. The song is just a plain favorite of mine, in its entirety, and it's a beautiful one.<br />
<br />
<a href="http://www.mediafire.com/?841gbqb2xj8b3e7" target="_blank">Get yer MP3s here.</a> Again, FLAC is available for the bravest of souls, just ask.<br />
<br />
enjoy!Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-6155039173386175412.post-44760538481942330252012-09-22T20:08:00.000-04:002012-09-22T20:08:51.353-04:00new game: critique the blogger's own music!You've read enough of my words. How about listening to your host's first band? Turning the tables, I present to you music of my creation, not of my ripping. And I want you to critique it.<br />
<br />
This band was called V-Girl. It didn't get beyond the basement. It featured your humble blogger on bass and a few songwriting bits here and there, and his sister on vocals for most of the non-instrumentals. We also had a guitarist and a drummer (first human, and then machine). These 23 songs were recorded at various points in the guitarist's basement in 1997 live-as-she-went, some with the drummer, and some with the BOSS instead.<br />
<br />
We fizzled after the drummer quit because we weren't punk rock enough, and she wanted to spend more time with her significant other.<br />
<br />
We had fun. It was my first real experience on bass guitar, as well.<br />
<br />
The shitty basement tapes are now tarted up, listenable, and just as important, laughable. Shit, I laugh at us just listening to it. We had some really good songs (I'll let you figure out which ones), some jokes-turned-into-songs, and some ridiculous attempts at massacring covers. We knocked a couple of the covers out of the park (I love, LOVE our take on Seam's "Shame", for example), and others I completely forget the lyrics and just go "aurrrrreh" instead (yes, that's me on a few of them). At least I nailed "New Dawn Fades".<br />
<br />
Enjoy - or not. I don't mind :)<br />
<br />
<span style="font-size: large;"><b>V-GIRL</b></span><br />
<i>23 Songs</i><br />
<br />
Recorded in the basement in 1997 live to two track<br />
Mastered September 2012 <br />
<br />
Bass/vocals: Mr. Analog Loyalist<br />
Guitars/vocals: Mr. Jeff Hodge<br />
Female vocals: Mr. Analog Loyalist's sister<br />
Drums: Ms. Tricia Wollrab<br />
Replacement drums: BOSS<br />
<br />
01 Hello<br />This was our version of a stupid intro song. We decided it didn't sound right unless we sang like some idiotic Britpop singers.<br />
<br />
02 Johnny Pissed Himself<br />
I really dig this song, to this day; as a nascent bassist at the time I am pretty proud of the bass work. Our singer didn't appreciate our naming of this song based on the lyrical subject matter.<br />
<br />
03 7 Years<br />
Another song I dig. In an alternate universe - or perhaps professionally recorded - this could have been a real good one.<br />
<br />
04 Sad Spot<br />
I liked it at the time. The Sad Spots are our singer's tear marks on the lyric sheet, at some point she cried while writing it I think?<br />
<br />
05 Swill<br />
The first one here that I instigated. Jeff liked my bassline I was just diddling around with in practice, and a few minutes later we had the song. I think our singer wrote the lyrics in as much time as it takes to listen to it. I pick up a bass today and still can't repeat the absolute rhythm and picking pattern I have in the middle of the song when the guitar drops out. <br />
<br />
06 Something Significant<br />
The second one I essentially wrote. At some point we decided it sounded better split into double time bits, so we did. Our singer sounds like Ozzy, bizarrely.<br />
<br />
07 Marry The Moon<br />
For the life of me I can't recall why we decided we liked the start/stop effects. I like what I do rhythmically and chordally with the bass during the choruses.<br />
<br />
08 Play The Game<br />
It always sounded better playing it than it does listening to it.<br />
<br />
09 Hell's Demand<br />
We wrote this at a night our singer didn't show up, played it, and then Jeff and I took the tape and sang these ridiculous lyrics over the top of the jolly tune.<br />
<br />
10 Death Pit<br />
Just fucking around in practice. Someone starts playing something, the others join in, and voila: a shitty song (if you can even call it a song)! <br />
<br />
11 This Curse<br />
Another one I wrote; it was my first attempt at aping Peter Hook's style on the bass. It didn't really work. I have another version somewhere with a full lyric, but the performance wasn't as good.<br />
<br />
12 Velour<br />
I have no earthly idea why we decided it would be fun to try some swanky pseudo jazz thing.<br />
<br />
13 Shame (Seam cover)<br />
I came in one night and told Jeff that we had to somehow play a Seam cover, because I was just ridiculously in love with that band that week (and still am, really). He picked this one, which works because the original Seam version also has a girl singing (Sarah Shannon of Velocity Girl). I really, really love this song and this cover. I think this was only the second time we played it, and we fucking nailed it.<br />
<br />
14 Disconnected (Face To Face cover)<br />
I wasn't, and still am not, a fan of Face To Face. But someone was, and we learned this song for the hell of it. I do like our version; I like that I nailed the melodic bass intro-y bit and enjoyed singing backups.<br />
<br />
15 New Dawn Fades (Joy Division cover)<br />
I don't remember why we picked this Joy Division song to cover, out of the entire universe of Joy Division songs. I think Jeff liked the Moby version of it? I remember him modeling his guitar work after the Moby version more than the Joy Division original, at least. I sing it, pretty well, and I still like this version a whole lot.<br />
<br />
16 99 Red Balloons (Nena via 7 Seconds cover)<br />
We all were punk rock kids when the 7 Seconds version of this song was new/popular in our small circle. So of course we had to do our own version. It's pretty funny.<br />
<br />
17 Brand New Love (Sebadoh cover)<br />
I just really love this song and got the folks to play it. I never actually nailed the bass, and completely blew the vocals. Ah well.<br />
<br />
18 Sick Of You<br />
<br />
19 Bridge<br />
Tracks 18 and 19 were things that Jeff and I worked up immediately post-drummer. Jeff does some interesting things with the guitars, and that's really about it. Unfortunately the drum machine is too loud.<br />
<br />
20 Freak Scene (Dinosaur Jr cover)<br />
Jeff's pick. He does a pretty good J Mascis. Needs a drummer.<br />
<br />
21 Pictures Of You (The Cure cover)<br />
Another one I completely blow the lyrics on. Jeff and I did it just to fuck with it (though we both love the song), and after "singing" it that night I think I had lost my voice.<br />
<br />
22 Hungry LTW (Duran Duran cover)<br />
Another one I have no recollection of why we played it. It's stupid fun though.<br />
<br />
23 Help Me<br />
The music was one of the first things we did after starting playing (I think I originated it), but for some reason Jeff wanted to sing Concrete Blonde lyrics over it. So this version is after our drummer quit (though somewhere I have a tape as the full band).<br />
<br />
There you have it. <a href="http://www.mediafire.com/?u562pov1mkdhe3m" target="_blank">Here's the songs.</a> If you want it as FLAC (lord help me) I am happy (heh) to oblige.Unknownnoreply@blogger.com12tag:blogger.com,1999:blog-6155039173386175412.post-76929414616117574392012-09-19T23:24:00.003-04:002012-09-19T23:24:48.916-04:00Status update...First of all I'd like to thank all those whom have contributed to
future hosting. The generosity of others is wonderful and while I will
stay with Mediafire for the short term (under the new account set up in
the wake of the old account's deletion), permanent hosting is in the
plan. Many have stated that the biggest cost will be for
data/throughput, not server space itself; this means that it's critical I
come up with a plan regarding lossless FLAC availability to all who
want it. Not sure yet what that will entail (link by invite only?
Trackerless torrent using DHT? Self-hosting at terrible transfer speeds
(and the certain notice/hit it will be with my ISP)? Things to think
about. Regardless, posting will continue.<br />
<br />
Second,
while activity may have slowed on the New Order Archives posting front, I still have a
large pile to plow through. I've taken a slight break from New Order
simply because it was approaching burnout again; I'll bury myself into a
project so much, at such a frenzied burst of activity, that I have to
step back lest I not want to hear a single note again. It was getting
to that stage. Rest assured that in short order new posts will be
forthcoming, just as splendid as the last ones. I do have some good ones in the works too for TPoIT only (non-New Order), I just have to get finished with them.<br />
<br />
Creative solutions invited to the data throughput conundrum.Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-6155039173386175412.post-33661810574675365502012-09-06T23:41:00.001-04:002012-09-06T23:41:23.917-04:00status update regarding file hosting - read me!For the short term I've created a new Mediafire account and will be
slowly migrating content over to there. Not sure if I'll go back in the
archives of TPoIT because a lot of the original files I no longer have
due to an older drive crash, though.<br />
<br />
What's going to
certainly be migrating is the recent New Order postings, starting with
the stash sets here. I'll post new links in the comments as I go along.<br />
<br />
This
is only a short-term solution, however. A few readers have suggested a
collection box to arrange for more suitable hosting as we proceed, and
this is a good idea. I'm also contemplating moving to a newer model
whereby the public links are M4A (AAC) files, and readers who would want
lossless can simply request it. This would cut down on server costs,
and I am slowly coming around to the convenience idea of the basics
being easily accessible and usable off-the-bat by my readers. The
purist in me really is kicking and screaming that I am even considering
doing this archival material in any form of lossy format, but the debate
is raging healthily inside.<br />
<br />
So... followers can help
by PayPal, any amount, to dcrumbaugh at gmail dot com (I don't have the
analogloyalist account set up properly for PayPal), and this will go to
future hosting costs as I transition down the road from Mediafire to
something a bit more reliable.<br />
<br />
Thanks for your continued patience, and let's carry on!Unknownnoreply@blogger.com3