Monicker

Uhm. Of the king, not king of. The king's wool.

It's an error. The tour programme was actually designed by a 13 year old kid in Japan using GEOCITIES. I read the correct information on the internet.

Come on, you know it is.

Sorry, allow me to quibble. That jazz arrangement of Y&B heard in that behind the scenes clip is not Swing. In fact, Swing didn’t even exist in the time in which The Great Gatsby is set, and F.Scott Fitzgerald himself would have just barely even been acquainted with the origins of the Swing style given the year he died. What’s heard in that clip is more like late Dixieland/early Chicago style but a kind of revisionist take on it. I wonder if it'll be heard as incidental music in the movie or if it was composed just for additional material like this clip. I'm going to dissent and say i really wouldn't be into her singing on anything resembling this arrangement. I feel like if she did something in that style it would undoubtedly have a hokey retro/novelty quality.

This guy was a complete shit stain on this forum since the day he joined. I figured it was only a matter of time before he'd get banned. I am surprised his sexist, racist, bigoted, and other problematic bullshit lasted this long. Good riddance.

Just one producer, David Kahne. Also, i have no way of knowing this with the lack of information we have, but i'm willing to bet that the AKA recordings on a song-to-song basis cost more than the songs on BTD that don't have strings.

Watching some of these live videos and i had a thought. I want to go back in time to, like, 1980 and tell people that one day concert goers will hold up telephones instead of lighters, and be laughed at and told that i'm crazy.

What a great way to open a show. Those first few minutes are gold. You can feel the anticipation and excitement even through a little youtube video.

There is a night and day difference between Auto-Tune and similar programs being used as effect (Kanye West) and as pitch correction (Y&B). They're not really comparable situations. In the case of the former, the listener is supposed to hear it because the software is purposely being misused to clearly alter the singer's voice, whereas when it's used to correct pitch, it is intended to be transparent, unnoticeable--though, of course, there are those situations where it slips through and it can be heard. In theory, i am not against the use of it. It is, after all, just another studio tool. I don't have a problem with "cheating" in the studio. There are plenty of tricks that have been used since the advent of recorded music to get a better sound or performance. It's just that, in practice, i think it sounds bad. Something happens to the voice when you run it through the software and drive it too hard. It has the tendency to strip away a lot of the nuance, the heart and soul of a vocal and make it sound sterile (even when that's not the intention). That's my problem with it when it's used not as an effect. And the thing is, i believe that even if the listener doesn't have the ear, experience, knowledge, terminology, etc. to detect details like this and determine and describe what exactly is going on with the vocal, that at a very fundamental level, most people can still feel that something is "off" without knowing what to attribute it to.

I was thinking yesterday of a way of saying something similar, about the visual aspect of the songs/albums, or more specifically, the thematic material. They are in very different ball parks, yet, let's say, in the same neighborhood. Not unlike, say, driving through a part of town, and from one street to the next, you can see the socioeconomic makeup change right before your eyes. Yet the area's citizens all share a sort of bond in that they call the same place home. Some of the culture finds its way into all facets of the neighborhood. That's a really good point you make about the production style fitting the themes and subject matter of BTD. As i've said before, there's something about how overproduced BTD is that i like and i can't entirely pinpoint why, though i wouldn't want more of that sound/style.

I can tell you for sure that it's the digital reverb they use on her vocals but i also just detected Auto-Tune, which i hadn't noticed on the first few listens. It's transparent throughout the whole song except for one section where it's especially noticeable, even blatant, on one word specifically, but i'm not going to say where and be that guy that ruins it for everyone

On the subject of Skyfall: I was really surprised by that recording. That’s how i wish Lana’s “big productions” were recorded, produced, and mixed. I hate to use the term because it’s such a cliche, but listen to how warm that production sounds compared to anything Lana has ever recorded. It was recorded at Abbey Road and you can tell instantly that it was recorded at a studio of that caliber. Listen to the piano, the drums, the bass. Listen to the reverb on her vocals. I don’t know the story behind the recording, but i’d bet a lot of cake that you’re hearing the classic Abbey Road echo chamber on those vocals. You hear me bitching all the time about the way they treat Lana’s vocals. Well, here’s a current day example of how i wish they’d handle her vocals. Play Skyfall and Y&B back to back, ignore the songs themselves (the composition, performance, etc.) and just pay attention only to the sound, the production, the way each instrument sounds and sits in the mix. If you don’t hear a huge difference between the two and how cheap Y&B sounds in comparison, well, i envy you

You do know that i knew what you meant and that this was a joke, right? Come on, evil, it’s funny. Don’t overthink the joke It is neat to think that the guy who produced Slayer 26 years ago also produced Ride though, isn't it?

She is singing about HARVEY WEINSTEIN in Cola? NO.

Is that what it really is? I've never been clear on this. And we are 100% certain that it's Harvey's in the sky? What the hell is that?

This orchestral version: great arrangement, bad mix. I'd probably be a little into the song if this was the version, if it was remixed, and if her vocals were processed differently. I can see why they’d want to go with the other version though for the soundtrack/single. I do hope Dan Heath and Rick Nowels are the two main people working with her for the next album because i think they've been doing great work. I’m pretty sure she said this was the case, no?

Because it’s fucking awesome and the world was in need of David Kahne and Rick Rubin coming together to create the ultimate Lana love baby. Ha, NO. That’s a thing that Slayer fans have been doing since the early ’80s. I just googled “slayer carved in arm” to find a photo

Alright, i couldn't pass up the opportunity to do this. EDIT: Ugh, it sounds like ass on vocaroo. Here's a download link because you know you want to download it in good quality

Why are misheard lyrics so unbelievably funny? I have a headache now from laughing. This is amazing. I want to make a song now called Ridin' His White Pony Named Kevin. This might be my very favorite misheard LDR lyric. This just reminded me of when BEEPERS were around and people would beep 143 as a code for "I love you." Oh my god, take me to the German pig. Another song i'm going to make. Me too.

When i first heard Video Games i had no doubt the lyrics were irony. Then i started listening to more songs and getting into her and watching interviews, and i realized the song was very sincere. I also realized then that i like both interpretations. The song works in either context. That sort of "old fashioned" sincerity is an anomaly in a lot of today's music, and even in people in general, so i found that quality alone to be appealing and commendable.

We should totally make an acid simulation thread.

I believe everyone should be free. I believe in the country America used tod]aeo#)+9sw90e982838_+@"@: ahhkkksajkakakkaka[[]]''':

Early Rick Rubin SLAYER style! Gimme the brite lites, gimme the brite lites, gimme the ANGEL OF DEATH Quick, there's no time to waste, there's a secret back door out of here that i know of. Once you get out just keep running and don't stop. I'll distract the lynch mob and keep you covered for a while. Take this knife with you, it's all i've got. God bless.

I just realized an interesting comparison that can be made with an actual real life example: Fiona Apple's Extraordinary Machine album and its two versions. The original sessions, produced by Jon Brion, can be seen as an AKA of sorts, while the rerecorded version of the album, produced by Mike Elizondo, takes a more hip hop and commercial approach (though Elizondo is leagues better than Haynie). Even if you're not a fan of hers, it's fascinating to hear two completely different versions of the same (really amazing) album, and i highly recommend a listen to both. I think most Lana fans would be into both versions anyway, so it's a no brainer. Hell, i'm not even really a Fiona fan so much as i'm a fan of both versions of the album, especially the original (and her latest album too).