Sunset 2024 Columbus

Sly And The Family Stone STAND

I’ve decided to remaster some albums and tracks that have already been released.  Just felt I could give them a different kinda sound...

I import the audio files into the daw and then usually load one or more processors of some kind (vinyl, compressor, desk emulations etc) on the stereo master buss. This is configured to colour, shape the sound. My versions are sometimes lower in vol level than the originals. Some releases are hot to signal, but I'm looking for an inherent sound.

Sometimes I apply some chamber and or hall reverb. 

A selection of tracks from Pieces Of A Man, 1971
Also, Did You Hear What They Said (1972)
Winter In America (1974)  
Johannesburg (1975)

Winter In America is an album from 1974 by Gil Scott-Heron and Brian Jackson, I decided to use the cover of this for this remist. The track Winter In America was released as a single, was not on the album.

With Johannesburg I did some edits taking out the lyrics,

Yeah but we’ve got to be struggling
If we wanna be free,
Don't you wanna be free?

Truth is that the ultimate freedom, freedom per se, occurs with salvation. Also occurs whenever someone is in the sacred spirit. There is no struggle.

1. The Needle's Eye
2. I Think I'll Call It Morning
3. Did You Hear What They Said
4. Pieces Of A Man
5. Home Is Where The Hatred Is
6. Winter In America
7. Johannesburg

Winter In America back cover 
https://workdrive.zoho.com/file/2rj5p674b6be19df943fbb52de93d02ee82e2

Message To The Messengers (Remisted)
https://workdrive.zoho.com/folder/2rj5p1fc0ad5fc9e2441f829e082055ee8879

Winter In America live at Central Park
https://workdrive.zoho.com/folder/2rj5pad3e44f4d42344cfa13dea03eef74b6a

Gil Scott-Heron - Winter In America (Remisted)

I’ve decided to remaster some albums and tracks that have already been released.  Just felt I could give them a different kinda sound...

I import the wav files into pro tools and then usually load a processor of some kind (compressor, desk etc) on the stereo master buss. This is configured to colour, shape the sound. My versions are usually lower in vol level than the originals. Many releases are hot to signal, but I'm looking for an inherent sound.

Sometimes I apply some chamber and or hall reverb. 

A selection of tracks from Physical Graffiti, 1975

1. Custard Pie
2. Houses Of The Holy
3. Trampled Under Foot
4. Kashmir
5. Bron-Yr-Aur
6. In The Light
7. Ten Years Gone
8. The Wanton Song
9. Boogie With Stu
10. Black Country Woman

Led Zeppelin - Physical Graffiti (Remisted)

Jamiroquai - Travelling Without Moving (Full Album)

Liberian girl Michael Jackson

A1	The Sidewinder	
A2	Totem Pole	
B1	Gary's Notebook	
B2	Boy, What A Night	
B3	Hocus-Pocus

Produced by Alfred Lion
Produced for release by Michael Cuscuna
Recording by Rudy Van Gelder
Recording at the Van Gelder Studio, Englewood, New Jersey on December 21, 1963

Some of the Liner Notes:
The title number might best be described as a long-meter blues (24 measures to the chorus). "The tune kind of put me in mind of the sidewinder - you know, the 'bad guy' on television," says Lee. "There's a snake called the sidewinder, but I was thinking of the bad guy." If the character and mood seems a little different from that of the average blues, you can attribute it to the unexpected change at bars 17-18 of each chorus, when a minor chord is introduced. The fascinating rhythm section figure established during the opening ensembles is sustained throughout the solos, giving the performance a deep blue tinge as well as a Latin touch. Lee's solo, fluent and sensitively constructed, never becomes grandstandy and relies at times on essentially simple devices, such as the repeated B Flat in the last of his three choruses. Henderson's solo is rich in melodic variety (note the contrast between the busy opening and simple continuation in his second chorus). Harris' piano picks up in intensity as it goes along, aided on his third chorus by the horns' backing. Cranshaw bears out Lee's complimentary observations in a fine solo that owes part of its success to the continued pulsing of Billy Higgins' percussion figures. 

Totem Pole, named for the effect of Lee's alternation with Joe, is a group of six notes they play going into and coming out of the release. The E Flat Minor theme is strengthened by the effective contrast of Latin rhythm on the main passage and a straight 4/4 in the release. 

Boy, What A Night is also a blues waltz, but this time with more of a funky feeling and a 12/8 meter, with a very basic character to both melody and changes. "Remember the old Avery Parrish blues After Hours?" says Lee. "You'll notice that during the main figure, the bass and the piano are playing the rhythm out of that. We tried this a lot of different ways - first as a straight blues, then double-up time, then with the three four feeling - until it finally came out the way it is here." On his solo here, it seems to me Lee reflects some of the Gillespie influence in his phrasing and in the ability to string ideas together at considerable length. Note Harris' sly fills in the closing reprise of the theme, and the old-timey blues ending. 

Hocus-Pocus is, as Lee comments, "Just a simple tune, a nice easy blowing thing with the standard chorus length. I wanted to get away from straight blues. After I'd written it Barry Harris pointed out that the changes are the same as Mean To Me, except for a slight difference in the channel." 

Joe Henderson and Lee are both displayed to advantage in the straight-ahead swinging groove of this performance. Barry, in his choruses, shows not only a wealth of ideas but a sturdy technique, often kept latent but occasionally made more openly evident in a flurry of sixteenth notes. The theme is repeated twice at the end, once to feature Billy Higgins and then with regular ensemble. 

- LEONARD FEATHER 

Marvin Gaye Whats Going On

DeepStateMojo

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