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Texas"},"canned-applause":{"n":"Canned Applause","c":"Didcot, England"},"st-catherines-court":{"n":"St Catherine’s Court","c":"near Bath, England"}},"albums":{"158320766":{"stages":[{"k":"recording","y":"1974","h":"Original album production","scope":"Recorded at A&R Studios in New York on September 16 to 19, 1974, with Phil Ramone engineering. In December Dylan recut five songs at Sound 80 in Minneapolis with local musicians, engineered by Paul Martinson: “Tangled Up in Blue,” “You’re a Big Girl Now,” “Idiot Wind,” “Lily, Rosemary and the Jack of Hearts” and “If You See Her, Say Hello.”","places":["ar-recording","sound-80"],"credits":[["phil-ramone","Engineer"],["paul-martinson","Engineer (Minneapolis)"]],"src":["bt-discogs-1975","bt-dylan-mbmt"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"By guitarist Kevin Odegard’s account, the “Tangled Up in Blue” on the record is the only take in A, and it isn’t a mix of the multitrack: engineer Paul Martinson ran a quarter-inch safety mix on a Revox beside the console as the band played, and that two-track went to the pressing plant just as it was.","s":"bt-rockcellar-odegard"},{"t":"“Tangled Up in Blue” was first played in G. Guitarist Kevin Odegard suggested moving it up to A for more energy; Dylan rewrote the chord chart on the spot, and the take in A is the one on the album.","s":"bt-current-odegard"},{"t":"There’s no bass on “You’re a Big Girl Now” or “If You See Her, Say Hello.” Bassist Billy Peterson had to leave Sound 80 for his 9 p.m. jazz gig at the Longhorn, so the songs were cut without him, “You’re a Big Girl Now” with Dylan overdubbing at least two more acoustic guitars himself.","s":"bt-rockcellar-odegard"},{"t":"The high mandolin on “If You See Her, Say Hello” is Dylan. Peter Ostroushko, sick and sore-fingered, played the middle register, and Dylan borrowed his mandolin to overdub the high parts he heard in his head.","s":"bt-rockcellar-odegard"},{"t":"Many of the album’s masters run 2 to 3 percent fast, because Dylan asked Phil Ramone to speed them up for a little extra bounce, a common trick for records sent to AM radio.","s":"bt-dylan-mbmt"},{"t":"“Meet Me in the Morning” is the only song on the album from the first night in New York, cut with Eric Weissberg’s band Deliverance, and the album uses an edited version of that first take.","s":"bt-dylan-mbmt"}],"listen":[{"track":"Tangled Up In Blue","id":"158320843","at":"3:36","atBy":"source","t":"Listen for the strumming that sounds like one guitar: Dylan on the upstrokes and Kevin Odegard on the downstrokes, locked together.","s":"bt-current-odegard","len":"5:40"},{"track":"You're a Big Girl Now","id":"158320980","t":"Listen for the bass that isn’t there: the bassist had left for a 9 p.m. gig, so guitars, at least two of them Dylan’s overdubs, carry the song.","s":"bt-rockcellar-odegard","len":"4:34"},{"track":"If You See Her, Say Hello","id":"158321322","t":"Listen to the high mandolin lines: Dylan himself, on the mandolin player’s borrowed instrument.","s":"bt-rockcellar-odegard","len":"4:47"}]},"158571524":{"stages":[{"k":"recording","y":"1973","h":"Recorded","places":["wally-heider","different-fur"],"credits":[["herbie-hancock","Producer"],["david-rubinson","Producer"],["fred-catero","Recording engineer, Wally Heider Studios"],["jeremy-zatkin","Recording engineer, Wally Heider Studios"],["dane-butcher","Recording engineer, Different Fur"],["john-vieira","Recording engineer, Different Fur"]],"src":["hh-discogs","hh-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Chameleon isn’t one continuous take: engineer Fred Catero built it from three sessions in two studios, matching the reels beat for beat with hand-cut tape splices.","s":"hh-jackson-jazzjournal"},{"t":"The Watermelon Man intro is Bill Summers stacking one-note pipes alternated with his voice, the hindewhu technique of Central African forest music. He had no pipe for the main pitch, so that one note is a Heineken bottle filled with water and tuned to C.","s":"hh-summers-postgenre"},{"t":"Paul Jackson’s bass had a separate output for each string, and each string went to its own channel on the desk; every song on the album was recorded that way.","s":"hh-jackson-jazzjournal"}],"listen":[{"track":"Watermelon Man","id":"158571552","len":"6:30","t":"Listen for the whistles and voice stacked up before the band comes in: only one of those notes is a beer bottle tuned with water.","s":"hh-summers-postgenre"},{"track":"Chameleon","id":"158571527","t":"Listen for the high, choppy line answering the synth bass: it’s Paul Jackson on electric bass, not a guitar.","s":"hh-pond-npr","len":"15:44"}],"sampled":[{"song":"Words of Wisdom","artist":"2Pac","y":1991,"from":"Chameleon","kind":"sample","s":"echo-head-hunters-words-of-wisdom","id":"1440490172","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/94/4b/7f/944b7fdd-c0a4-0b87-c8d5-bed24ba99435/00012414163325.rgb.jpg/{w}x{h}bb.jpg"}]},"185798980":{"stages":[{"k":"recording","y":"1982","h":"Recorded at home","scope":"Recorded on a TEAC four-track cassette recorder in the bedroom of Springsteen’s rented house in Colts Neck, New Jersey, in the winter of 1981–82, with guitar tech Mike Batlan assisting. Springsteen mixed it himself, through an Echoplex onto a boom box.","places":["colts-neck"],"credits":[["mike-batlan","Recording"]],"artistProduced":true,"src":["ne-discogs-1982","ne-mojo-scott"]},{"k":"original-master","y":"1982","h":"Original vinyl mastering","scope":"For the original 1982 Columbia LP, cut at Atlantic Studios in New York after other mastering rooms failed; not necessarily this digital edition.","places":["atlantic-studios"],"credits":[["dennis-king","Mastering"],["bob-ludwig","Mastering consultant"],["stephen-marcussen","Mastering consultant"]],"src":["ne-discogs-1982","ne-mojo-scott"]},{"k":"remaster","y":"2014","h":"2014 remaster","scope":"Bob Ludwig’s remaster with Springsteen and Toby Scott, transferred from the 1982 half-inch master reel. This edition’s running times match the 2014 box set’s digital release to the millisecond; whether this digital edition comes from it hasn’t been documented.","places":[],"credits":[["bob-ludwig","Remastering"],["toby-scott","Engineer"]],"src":["ne-backstreets-ludwig","ne-bs-2014","ne-apple-2014"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Springsteen carried the cassette that became Nebraska around in his pocket, without a case, for a couple of weeks before realizing it was the album. Then it was so hard to put on a disc, with the needle reading distortion and refusing to track, that it nearly came out as a cassette.","s":"ne-rs-1984"},{"t":"Springsteen mixed the four-track recordings onto a Panasonic boom box through an old Gibson Echoplex with an endless tape loop, for a 1950s rockabilly echo. The Echoplex died soon after.","s":"ne-mojo-scott"},{"t":"The four-track cassette machine was new to guitar tech Mike Batlan, who had no real chance to learn it before Springsteen was eager to start. According to engineer Toby Scott, that’s where a bit of the distortion on some songs comes from.","s":"ne-mojo-scott"},{"t":"Because vinyl couldn’t be cut from the cassette, Bob Ludwig made a half-inch master reel with the chosen takes edited together at the speed and azimuth Springsteen wanted. That reel cut the original LP and made the cassette and CD masters, and it’s what the 2014 remaster was made from.","s":"ne-backstreets-ludwig"},{"t":"When Suicide’s Alan Vega first heard the whooping vocal on “State Trooper,” he thought it was one of his own records he’d forgotten about.","s":"ne-mojo-scott"}],"listen":[{"track":"Mansion On the Hill","id":"185799145","t":"Listen to the echo around the voice and harmonica: one old Echoplex with a tape loop, which Springsteen mixed the album through.","s":"ne-mojo-scott","len":"4:09"},{"track":"State Trooper","id":"185799306","t":"Listen for the whoops: close enough to Suicide that Alan Vega thought it was one of his own records.","s":"ne-mojo-scott","len":"3:17"}]},"186166282":{"stages":[{"k":"recording","y":"1979","h":"Original album production","scope":"The original 1979 Epic album.","places":["allen-zentz","westlake","cherokee"],"credits":[["quincy-jones","Producer"],["michael-jackson","Co-producer"],["bruce-swedien","Recording engineer"]],"src":["dna-otw-wiki"]},{"k":"original-master","y":"1979","h":"Original vinyl mastering","scope":"For the original 1979 Epic LP, not necessarily this digital edition.","places":["am-studios"],"credits":[["bernie-grundman","Mastering engineer"]],"src":["otw-discogs-us"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"Quincy Jones asked drummer John “JR” Robinson for an intro fill the whole world would know “Rock with You” by. Robinson played it on the next take, leaving a deliberate hole before the band lands on the downbeat, and they never cut another take.","s":"otw-jr-musicradar"},{"t":"Stevie Wonder’s original “I Can’t Help It” was a Latin-flavored song built on acoustic piano. Quincy Jones told Greg Phillinganes to slow it down and make it sexy, and Phillinganes laid a synth over his Rhodes whose notes glide into pitch, each at its own unpredictable speed.","s":"otw-phillinganes-rbma"},{"t":"Quincy Jones had Michael answer his own falsetto on “Don’t Stop ’Til You Get Enough” with lines sung in his lower register. In Greg Phillinganes’s recollection, it was to make sure listeners knew he was still a man.","s":"otw-phillinganes-rbma"},{"t":"Greg Phillinganes wrote the section of “Don’t Stop ’Til You Get Enough” that breaks away from the main groove, at the piano, in minutes. In Quincy Jones’s words, Michael should have given him 10 percent of the song; he got no writing credit.","s":"otw-quincy-vulture"}],"listen":[{"track":"Rock with You (Single Version)","id":"186166358","t":"Listen for the hole JR Robinson leaves at the end of the opening drum fill, a held breath before the band lands on the downbeat.","s":"otw-jr-musicradar","len":"3:39"},{"track":"I Can't Help It","id":"186166572","t":"Listen for the synth riding on top of the Rhodes: every note slides into pitch at its own speed.","s":"otw-phillinganes-rbma","len":"4:29"},{"track":"Don't Stop 'Til You Get Enough","id":"186166292","t":"Listen for Michael answering his own falsetto lead in a lower, fuller voice.","s":"otw-phillinganes-rbma","len":"6:04"}],"sampled":[{"song":"Breakadawn","artist":"De La Soul","y":1993,"from":"I Can't Help It","kind":"sample","s":"echo-off-the-wall-breakadawn","id":"1664590462","art":"https://is1-ssl.mzstatic.com/image/thumb/Music126/v4/87/55/bb/8755bb2d-b1e3-1762-e711-dba1365662ca/810098503112.png/{w}x{h}bb.jpg"},{"song":"Baby","artist":"Fabolous","y":2004,"from":"I Can't Help It","kind":"sample","s":"echo-off-the-wall-baby","id":"28518247","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/y2004/m11/d04/h10/s06.pcpvkatw.jpg/{w}x{h}bb.jpg"}]},"190652453":{"stages":[{"k":"recording","y":"1981","h":"Original album production","scope":"The original 1981 Epic album.","places":["media-sound"],"credits":[["luther-vandross","Producer"],["michael-brauer","Recording and mixing"],["carl-beatty","Engineer"]],"src":["dna-nevertoomuch-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The “Never Too Much” on the album is Luther Vandross’s own demo, never recut. He could only get studio time on a Sunday morning, so that’s when the band cut it, with “You Stopped Loving Me” at the same session.","s":"ntm-miller-rbma"},{"t":"Nat Adderley Jr. remembers “Never Too Much” going down in one take. For “A House Is Not a Home,” he offered to have someone else cover the piano rather than fly up from Texas for one song. Luther refused and flew him in.","s":"ntm-adderley-aquarian"},{"t":"Michael Brauer recorded the album on weekends, two songs a weekend at first, then three and four.","s":"ntm-brauer-tapeop"}],"listen":[{"track":"Never Too Much","id":"190652482","t":"Listen for the Sunday-morning demo band: this take was never recut.","s":"ntm-miller-rbma","len":"3:50"},{"track":"A House Is Not a Home","id":"190653199","t":"Listen for Nat Adderley Jr.’s piano, the player Luther flew in from Texas for this one song.","s":"ntm-adderley-aquarian","len":"7:07"}],"sampled":[{"song":"Slow Jamz","artist":"Twista feat. Kanye West & Jamie Foxx","y":2003,"from":"A House Is Not a Home","kind":"sample","s":"echo-never-too-much-slow-jamz","id":"5239243","art":"https://is1-ssl.mzstatic.com/image/thumb/Features125/v4/62/15/54/621554be-4a24-0be2-c9fd-c58177701bf2/dj.zrudcxub.jpg/{w}x{h}bb.jpg"},{"song":"Never","artist":"Keyshia Cole feat. Eve","y":2004,"from":"Never Too Much","kind":"sample","s":"echo-never-too-much-never","id":"1440667565","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/b3/8a/1e/b38a1ee4-c75f-26cd-ce84-6419cdbc819c/06UMGIM24715.rgb.jpg/{w}x{h}bb.jpg"}]},"193520976":{"stages":[{"k":"recording","y":"1986","h":"Original album production","scope":"The original 1986 album, recorded and mixed at the Power Station in New York, with additional recording at the Hit Factory.","places":["power-station","hit-factory"],"credits":[["lennie-petze","Producer"],["brian-mcgee","Engineer and mixing"],["jason-corsaro","Additional mixing"]],"artistProduced":true,"src":["tc-discogs-1986"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Lauper sang “True Colors” live with keyboardist Peter Wood in the Power Station’s big room, and kept singing until the players were locked in and could feel each other breathe.","s":"tc-rs-lauper-2021"},{"t":"The demo sounded gospelly and country to Lauper. With Peter Wood she played it in “our kind of chords”: open fifths instead of full chords.","s":"tc-rs-lauper-2021"},{"t":"Jimmy Bralower played the drum pads on “True Colors” live, through delays set so that every hit pulses in time with the track.","s":"tc-md-bralower-2010"},{"t":"The operator who picks up on “911” is credited on the sleeve as Special Guest Operator: Pee Wee Herman.","s":"tc-discogs-1986"}],"listen":[{"track":"True Colors","id":"193521054","t":"Listen for the low drum hits swelling and repeating in time: pads played by hand, fed through delays.","s":"tc-md-bralower-2010","len":"3:47"},{"track":"True Colors","id":"193521054","t":"Listen to the keyboard under the voice: bare open fifths, with Lauper singing live alongside it.","s":"tc-rs-lauper-2021","len":"3:47"},{"track":"911","id":"193521714","t":"Listen for the operator who answers the call: Pee Wee Herman.","s":"tc-discogs-1986","len":"3:15"}],"sampled":[{"song":"Le fruit défendu","artist":"Mystik & K-Reen","y":1999,"from":"True Colors","kind":"sample","s":"echo-true-colors-le-fruit-defendu","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/56/c5/b2/mzi.sjkyyday.jpg/{w}x{h}bb.jpg","id":"270932128"}]},"193603857":{"stages":[{"k":"recording","y":"1969","h":"Original album production","scope":"Recorded at Columbia’s Studio B in New York on February 18, 1969, from 10 a.m. to 1:30 p.m., produced by Teo Macero with Stan Tonkel engineering. Russ Payne remixed and edited the session tapes into the two LP sides.","places":["columbia-studio-b"],"credits":[["teo-macero","Producer"],["stan-tonkel","Engineer"],["russ-payne","LP remix, tape edits"]],"src":["iasw-mosaic","iasw-discogs-1969","iasw-discogs-2002"]},{"k":"remaster","y":"2002","h":"2002 remaster","scope":"Mark Wilder’s 2002 remaster of the original LP edit, at Sony Music Studios in New York. This edition carries the LP mixes; whether it comes from that remaster hasn’t been documented.","places":["sony-studios-ny"],"credits":[["mark-wilder","Remastering"]],"src":["iasw-discogs-2002"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"By Teo Macero’s account, he and Miles Davis first cut the session down to two sides of about 8½ and 9½ minutes, and Davis wanted to release that. Macero told him CBS would fire them both, took the tapes away for a couple of days, and built full-length sides by copying sections, with splices you can’t hear.","s":"iasw-psf-macero"},{"t":"About 40 minutes of music was all that went on tape that day.","s":"iasw-mosaic"},{"t":"The guitar that opens “In a Silent Way” is John McLaughlin, who couldn’t read the photocopied piano score he’d been handed, so after a couple of failed run-throughs Davis asked him to play it alone, “like you don’t know how to play guitar.” McLaughlin threw out the harmony and played it in E major, with the recording light already on.","s":"iasw-gp-mclaughlin"}],"listen":[{"track":"In a Silent Way (LP Mix)","id":"193604625","t":"Listen to the opening guitar: John McLaughlin alone, harmony thrown out, told to play like he didn’t know how.","s":"iasw-gp-mclaughlin","len":"19:52"},{"track":"Shhh / Peaceful (LP Mix)","id":"193603880","t":"Listen for passages you have heard before: sections were copied to stretch a short edit into a full side.","s":"iasw-mosaic","len":"18:18"}]},"201281514":{"stages":[{"k":"recording","y":"1965","h":"Original album production","scope":"Recorded at Columbia’s Studio A on Seventh Avenue in New York between June 15 and August 4, 1965. Tom Wilson produced “Like a Rolling Stone”; Bob Johnston produced the rest.","places":["columbia-studio-a"],"credits":[["tom-wilson","Producer"],["bob-johnston","Producer"],["roy-halee","Engineer"]],"src":["h61-discogs-1965","h61-cutting-edge","h61-ap-halee"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The “Like a Rolling Stone” on the album is take 4 of the remake begun on June 16, 1965. The takes ran up to number 15, and only one other, take 11, was complete. On the four-track master, the organ shares a track with the drums.","s":"h61-cutting-edge"},{"t":"Roy Halee, engineering his first sessions in Columbia’s New York studio, let Dylan stand right next to the drums on the Tom Wilson date, knowing it meant a big leakage problem. The record is all live, with Al Kooper and Mike Bloomfield on the date.","s":"h61-ap-halee"},{"t":"Charlie McCoy, a Nashville session guitarist, was told by Dylan to pick up the other guitar for “Desolation Row.” There was time for one take and one playback before the bass player left for another session.","s":"h61-uncut-johnston"},{"t":"For his sessions with Dylan, Bob Johnston set up three vocal microphones, left, center and right, because Dylan kept jerking his head around as he sang. In the mix, Johnston would start on the left and move across to the right.","s":"h61-mc-johnston"}],"listen":[{"track":"Like a Rolling Stone","id":"201281527","t":"Listen to Dylan’s voice inside the band: he stood beside the drums, leakage and all, and the take is all live.","s":"h61-ap-halee","len":"6:11"},{"track":"Desolation Row","id":"201284648","t":"Listen for the second guitar’s lead lines: Charlie McCoy, handed the other guitar on the spot.","s":"h61-uncut-johnston","len":"11:19"}],"sampled":[{"song":"Finger Lickin' Good","artist":"Beastie Boys","y":1992,"from":"Just Like Tom Thumb's Blues","kind":"sample","s":"echo-highway-61-finger-lickin-good","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/20/7a/c6/207ac65e-c39c-cc36-9af8-8fd3e751c444/13UABIM07205.rgb.jpg/{w}x{h}bb.jpg","id":"724303934"},{"song":"Champaign, Illinois","artist":"Old 97's","y":2010,"from":"Desolation Row","kind":"interpolation","s":"echo-highway-61-champaign-illinois","art":"https://is1-ssl.mzstatic.com/image/thumb/Music116/v4/01/f5/16/01f5163b-c385-c46a-deb7-bd74b14545a5/0607396619030.png/{w}x{h}bb.jpg","id":"1436916872"}]},"212579326":{"stages":[{"k":"recording","y":"1970","h":"The original singles","scope":"The 1970 Epic collection of the band’s 1968 and 1969 singles.","places":[],"credits":[["sly-stone","Producer"]],"src":["dna-slygh-wiki","dna-slygh-discogs"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"On “Everyday People” Larry Graham thumps one bass note in one rhythm for the whole song. He had never heard that done before.","s":"sly-gw-graham-2024"},{"t":"The reedy lick that answers the shouted hook of “Dance to the Music” is Jerry Martini’s 1958 Beauvais clarinet from high school, not a soprano sax. He was playing it in a rehearsal room behind the studio; Sly walked past, sent him into the studio and recorded it right then.","s":"sly-uncut-2018"},{"t":"Graham plugged his bass into a guitar distortion pedal, a fuzz tone, to hear what a bass would sound like through the pedals guitarists used. That’s the buzzing bass on “M’Lady” and “Dance to the Music.”","s":"sly-irockjazz-graham"}],"listen":[{"track":"Everyday People","id":"212579689","t":"Listen to the bass: one note, one thumbed rhythm, start to finish.","s":"sly-gw-graham-2024","len":"2:22"},{"track":"Dance to the Music","id":"212579649","t":"Listen for the high reedy lick after the shouted hook: a clarinet, not a soprano sax.","s":"sly-uncut-2018","len":"3:00"},{"track":"M'Lady","id":"212579733","t":"Listen for the grainy buzz on the bass notes: Graham’s bass through a guitar fuzz pedal.","s":"sly-irockjazz-graham","len":"2:47"}],"sampled":[{"song":"Rhythm Nation","artist":"Janet Jackson","y":1989,"from":"Thank You (Falettinme Be Mice Elf Agin)","kind":"sample","s":"echo-greatest-hits-rhythm-nation","v":"1440838561","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/5c/06/a5/5c06a5fc-6424-25e4-37c4-da5a9a18dd8a/00602547592378.rgb.jpg/{w}x{h}bb.jpg"},{"song":"The Humpty Dance","artist":"Digital Underground","y":1990,"from":"Sing a Simple Song","kind":"sample","s":"echo-greatest-hits-the-humpty-dance","id":"1604634220","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/d3/92/29/d39229e0-9f86-4806-d310-4f290f415a63/081227883461.png/{w}x{h}bb.jpg"},{"song":"Ain't 2 Proud 2 Beg","artist":"TLC","y":1991,"from":"I Want to Take You Higher","kind":"sample","s":"echo-greatest-hits-ain-t-2-proud-2-beg","v":"258594540","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/04/57/ff/0457ff48-ed0b-ea8f-c793-e23877e3517a/730082600323.jpg/{w}x{h}bb.jpg"}]},"266365274":{"stages":[{"k":"recording","y":"1998","h":"Original album production","scope":"The original 1998 LaFace album, recorded from 1996 to 1998.","places":["bosstown","doppler"],"credits":[["organized-noize","Producer"],["outkast","Producer"],["mr-dj","Producer"],["blake-eiseman","Recording engineer"],["jean-b-smit","Recording engineer"],["bernasky-wall","Recording engineer"],["ryan-williams","Recording engineer"]],"src":["dna-aquemini-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"“Hold On, Be Strong” was a full song with verses; OutKast kept only the hook. André improvised the kalimba part on an instrument he picked up at a flea market or music store.","s":"aquemini-cl-2010"},{"t":"In the “Rosa Parks” breakdown, the stomps and claps are the whole crew piled into a booth with wood floors, and the harmonica is André’s stepfather, Rev. Robert Hodo, who got his part in one or two takes.","s":"aquemini-cl-2010"},{"t":"Raekwon pulled Big Boi into the booth with him to cut his verse on “Skew It on the Bar-B,” for the energy. They passed the Hennessy back and forth, and the metallic cling-cling under the verse is a dangling necklace.","s":"aquemini-cl-2010"},{"t":"Mr. DJ built “Da Art of Storytellin’ (Pt. 1)” on a sample of a woman saying “No,” stretched into a drawn-out “Nooo, nooo, nooo,” and played his keyboard parts over it.","s":"aquemini-mrdj-cl"},{"t":"“SpottieOttieDopaliscious” has no drum programming: OutKast built it from scratch, played rather than sequenced, so nothing hits the same way twice and the groove changes every couple of bars.","s":"aquemini-rs-2022"}],"listen":[{"track":"Rosa Parks","id":"266365293","t":"Listen in the breakdown for feet stomping on a wood floor, and a harmonica cut in one or two takes.","s":"aquemini-cl-2010","len":"5:24"},{"track":"Skew It On the Bar-B (feat. Raekwon)","id":"266365351","t":"Listen under Raekwon’s verse for a metallic cling-cling: a necklace swinging in the booth.","s":"aquemini-cl-2010","len":"3:15"},{"track":"Da Art of Storytellin' (Pt. 1)","id":"266365470","t":"Listen for the drawn-out female voice under the beat: one short “No,” stretched and played like an instrument.","s":"aquemini-mrdj-cl","len":"3:42"}],"sampled":[{"song":"Land of the Snakes","artist":"J. Cole","y":2013,"from":"Da Art of Storytellin' (Pt. 1)","kind":"sample","s":"echo-aquemini-land-of-the-snakes","id":"1529668717","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/7e/aa/3b/7eaa3b96-320f-ca41-885c-abe5d3ca8450/20UMGIM75715.rgb.jpg/{w}x{h}bb.jpg"}]},"268443092":{"stages":[{"k":"recording","y":"1959","h":"Recorded","places":["columbia-30th"],"credits":[["irving-townsend","Producer"],["fred-plaut","Recording engineer"]],"src":["kob-official"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"A three-track tape machine ran slightly slow at the March 2, 1959 session, so for decades stereo LPs and CDs played So What, Freddie Freeloader and Blue in Green a little fast and sharp. In 1992 Sony’s Mark Wilder found that the backup three-track reels had run at the right speed, and the album has been made from them ever since.","s":"kob-stereophile-wilder"}],"listen":[{"track":"So What","id":"268443097","t":"Listen for Miles Davis’s unhurried trumpet solo.","s":"pilot-miles-official","len":"9:07"},{"track":"Flamenco Sketches","id":"268443216","t":"Listen for Bill Evans’s piano introduction.","s":"pilot-miles-flamenco","len":"9:21"}],"sampled":[{"song":"Rimshot (Intro) (Live)","artist":"Erykah Badu","y":1997,"from":"So What","kind":"interpolation","s":"pilot-miles-badu","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/b1/9e/b7/b19eb7a8-3cb2-7da5-a3f6-b685ecacb74d/00601215310924.rgb.jpg/{w}x{h}bb.jpg","id":"1440749610"}]},"269572838":{"stages":[{"k":"recording","y":"1982","h":"Recorded and mixed","places":["westlake"],"credits":[["bruce-swedien","Recording and mixing engineer"],["matt-forger","Engineer"],["quincy-jones","Producer"]],"src":["thriller-discogs","thriller-trackingangle"]},{"k":"original-master","y":"1982","h":"Original mastering","scope":"For the original 1982 release, not necessarily this digital edition.","credits":[["bernie-grundman","Mastering engineer"]],"src":["thriller-discogs","thriller-ami"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this digital edition, and who made its Dolby Atmos mix, hasn't been documented yet."}],"notes":[{"t":"Swedien recorded and mixed the album on analog tape at Westlake, at a time of heavy industry pressure to switch to digital.","s":"thriller-trackingangle"},{"t":"The drums and rhythm section went to their own 16-track machine with no noise reduction, to keep the noise floor down.","s":"thriller-pma"}],"listen":[{"track":"Billie Jean","id":"269573364","t":"Listen for Louis Johnson’s warm bass, recorded directly by Bruce Swedien.","s":"pilot-thriller-engineer","len":"4:53"},{"track":"Beat It","id":"269573341","t":"Listen for Eddie Van Halen’s guitar solo.","s":"pilot-thriller-engineer","len":"4:18"}],"sampled":[{"song":"Don't Stop the Music","artist":"Rihanna","y":2007,"from":"Wanna Be Startin' Somethin'","kind":"sample","s":"pilot-thriller-rihanna","art":"https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/6f/ab/10/6fab1076-6c3c-7346-5003-fe902066e2d5/07UMGIM07720.rgb.jpg/{w}x{h}bb.jpg","id":"1472504156","v":"1441154435"},{"song":"Right Here (Human Nature Remix)","artist":"SWV","y":1993,"from":"Human Nature","kind":"sample","s":"echo-thriller-right-here-human-nature","id":"266800348","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/f3/36/83/f33683c6-fb4e-326d-9bc6-2b25e146553c/078636607429.jpg/{w}x{h}bb.jpg"},{"song":"It Ain't Hard to Tell","artist":"Nas","y":1994,"from":"Human Nature","kind":"sample","s":"echo-thriller-it-ain-t-hard-to-tell","v":"662324135","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/e8/13/50/e813500d-51cd-6c37-c405-53a668cbde97/886444072496.jpg/{w}x{h}bb.jpg"}]},"290306660":{"stages":[{"k":"recording","y":"1974","h":"Original album production","scope":"The original 1974 CBS/Sony album, recorded July 29, 1974, at Koseinenkin Hall in Tokyo.","places":["koseinenkin-hall"],"credits":[["david-rubinson","Producer"],["tomoo-suzuki","Engineer"]],"src":["ded-discogs-1974"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Dedication was recorded on July 29, 1974, at Koseinenkin Hall, a Tokyo concert hall, with Hancock alone on every track.","s":"ded-discogs-1974"},{"t":"Side one is Hancock at the acoustic piano and side two is all synthesized, both played live in real time, without any overdubbing.","s":"ded-hh-belden-2013"},{"t":"Engineer Tomoo Suzuki recorded it. Seven months later he recorded Miles Davis’s Osaka concerts that became Agharta and Pangaea.","s":"ded-miles-suzuki"}],"listen":[{"track":"Nobu","id":"290306688","t":"Listen for the loop running underneath: Hancock alone, playing live over a repeating synthesizer figure.","s":"ded-hh-belden-2013","len":"7:38"},{"track":"Cantaloupe Island","id":"290306691","t":"Listen for the bass line: an ARP Odyssey synthesizer, with Hancock’s solo laid over it.","s":"ded-hh-belden-2013","len":"13:55"}]},"293521570":{"stages":[{"k":"recording","y":"1971","h":"Original album production","scope":"The original 1971 Sussex album.","places":["sunset-sound","wally-heider-la"],"credits":[["booker-t-jones","Producer"],["bill-halverson","Engineer"]],"src":["dna-jaia-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Bill Withers brought a wooden platform, about four inches tall and 3 by 4 feet, to the “Ain’t No Sunshine” session and told engineer Bill Halverson to mike the box. The soft thumping under the song is his feet on it.","s":"jai-mix-2012"},{"t":"The session ran on a night of Stephen Stills’s studio time: Halverson was making Stills’s first solo album at Wally Heider’s, and Stills gave the night to “this guy who needs a night of studio time.”","s":"jai-mix-2012"},{"t":"Wally Heider’s Studio 3 was a copy of Western’s Studio 3: Heider’s people rented an hour there and measured it. Halverson set Al Jackson Jr.’s drums by the control-room glass under an overhanging soffit, isolated but still roomy.","s":"jai-mix-2012"},{"t":"Withers sang into a Shure dynamic microphone run through a Universal Audio 1176, limited a little, with no extra EQ. The band played live to a 3M 24-track, and the strings were overdubbed later.","s":"jai-mix-2012"},{"t":"Withers walked into his first session thinking someone else would sing his songs. He took producer Booker T. Jones aside to ask who, and Booker told him: you are.","s":"jai-rs-2015"}],"listen":[{"track":"Ain't No Sunshine","id":"293521573","t":"Listen for the soft, steady thumping under the vocal: Withers’s feet on a wooden platform he had miked.","s":"jai-mix-2012","len":"2:06"},{"track":"Grandma's Hands","id":"293521574","t":"Listen for how spare it is, cut the same night at Wally Heider’s with the band playing live in one room.","s":"jai-mix-2012","len":"2:02"}],"sampled":[{"song":"No Diggity","artist":"Blackstreet feat. Dr. Dre & Queen Pen","y":1996,"from":"Grandma's Hands","kind":"sample","s":"echo-just-as-i-am-no-diggity","id":"1440908981","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/9f/b4/45/9fb4457e-7ab5-0484-a81f-4666ba8fae80/06UMGIM01977.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Soulja's Story","artist":"2Pac","y":1991,"from":"Ain't No Sunshine","kind":"sample","s":"echo-just-as-i-am-soulja-s-story","id":"1440490168","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/94/4b/7f/944b7fdd-c0a4-0b87-c8d5-bed24ba99435/00012414163325.rgb.jpg/{w}x{h}bb.jpg"},{"song":"No Sunshine","artist":"DMX","y":2001,"from":"Ain't No Sunshine","kind":"sample","s":"echo-just-as-i-am-no-sunshine","id":"562117860","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/v4/ae/9f/4b/ae9f4b4c-7ad3-941d-ce13-fe4c4568bf7a/443937_hq.jpg/{w}x{h}bb.jpg"}]},"310730204":{"stages":[{"k":"recording","y":"1975","h":"Original album production","scope":"The title song was recorded at 914 Sound Studios in Blauvelt, New York, in 1974; everything else was recorded and mixed at the Record Plant in New York in 1975.","places":["914-sound","record-plant-ny"],"credits":[["jon-landau","Producer"],["mike-appel","Producer"],["jimmy-iovine","Engineer, mix"],["louis-lahav","Engineer (Born to Run)"]],"artistProduced":true,"src":["btr-discogs-1975"]},{"k":"original-master","y":"1975","h":"Original vinyl mastering","scope":"For the original 1975 Columbia LP, cut at the Record Plant in New York; not necessarily this digital edition.","places":["record-plant-ny"],"credits":[["greg-calbi","Mastering engineer"]],"src":["btr-discogs-1975"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The title song took six months, all of it squeezed onto a 16-track machine by pre-mixing and bouncing. Besides the rhythm section there are strings, glockenspiel, piano, electric guitars, brass and four or five acoustic guitars.","s":"btr-tapeop-lahav"},{"t":"On “Born to Run,” the snare went to a big AKG reverb, maybe a BX20. With no noise gates, Louis Lahav did yet another bounce, spending hours punching the reverb out after each snare hit, which is why the snare reverb changes from one part of the song to the next.","s":"btr-tapeop-lahav"},{"t":"The sax solo on “Born to Run” is edited together from about seven different solo tracks.","s":"btr-tapeop-lahav"},{"t":"The horn players on “Tenth Avenue Freeze-Out,” Randy and Michael Brecker, David Sanborn and Wayne Andre, showed up to find no arrangement. Halfway through, Steve Van Zandt came on the talkback to stop them, then hummed the lines while they wrote them down.","s":"btr-brecker"}],"listen":[{"track":"Born to Run","id":"310730214","t":"Listen to the snare: its reverb was cut off by hand after every hit, so it shifts from one part of the song to the next.","s":"btr-tapeop-lahav","len":"4:29"},{"track":"Born to Run","id":"310730214","t":"Listen to the sax solo: edited together from about seven separate passes.","s":"btr-tapeop-lahav","len":"4:29"},{"track":"Tenth Avenue Freeze-Out","id":"310730208","t":"Listen for the horn lines: Steve Van Zandt hummed them to the players in the studio, and they wrote them down.","s":"btr-brecker","len":"3:11"}]},"404365971":{"stages":[{"k":"recording","y":"1975","h":"Original album production","scope":"Recorded at Autumn Sound Studios in Garland, Texas, in 1975, produced and arranged by Willie Nelson with his band, the Family.","places":["autumn-sound"],"credits":[["phil-york","Engineer"]],"artistProduced":true,"src":["rhs-discogs-1975","rhs-dmn-raphael"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"By engineer Phil York’s account, when Nelson started “Blue Eyes Crying in the Rain,” the whole band jumped in, so he told them he’d play it with just his guitar, and if they couldn’t add something really good, not to play. The drummer, the steel guitarist and the lead guitarist got up and left; one or two takes of guitar, bass and harmonica is what went out.","s":"rhs-do-york"},{"t":"The band heard the songs for the first time in the studio. Nelson brought them on a stack of papers and napkins, and the musicians reacted on the spot, playing each one two or three times through before moving on.","s":"rhs-dmn-raphael"},{"t":"When Nelson turned the album in, Columbia called it a demo and told him to go back and make a record. His contract gave him creative control, so it came out as he made it.","s":"rhs-ci-raphael"}],"listen":[{"track":"Blue Eyes Crying In the Rain","id":"404365979","t":"Listen to how little is there: Nelson’s guitar, bass and harmonica, after the drummer and two guitarists walked out, as engineer Phil York tells it.","s":"rhs-do-york","len":"2:21"}]},"425465247":{"stages":[{"k":"recording","y":"1991","h":"Original album production","scope":"Recorded at London Bridge Studio in Seattle in March and April 1991, produced by Rick Parashar and Pearl Jam. Tim Palmer mixed it at Ridge Farm in Dorking, England, that June.","places":["london-bridge","ridge-farm"],"credits":[["rick-parashar","Producer"],["dave-hillis","Additional engineering"],["tim-palmer","Mix"]],"artistProduced":true,"src":["pj-discogs-1991"]},{"k":"original-master","y":"1991","h":"Original mastering","scope":"For the original 1991 CD, not necessarily this digital edition.","places":["masterdisk"],"credits":[["bob-ludwig","Mastering"]],"src":["pj-discogs-1991"]},{"k":"remaster","y":"2008","h":"2008 remaster","scope":"Bob Ludwig’s 2008 remaster of Tim Palmer’s original mix, at Gateway Mastering in Portland, Maine, for the 2009 Legacy edition, which also carried Brendan O’Brien’s new remix. This edition’s running times match the original mix, with the hidden coda at the end of “Release”; whether it comes from the 1991 master or the 2008 remaster hasn’t been documented.","places":["gateway"],"credits":[["bob-ludwig","Remastering"]],"src":["pj-discogs-2009","pj-discogs-1991"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The band played “Even Flow” over and over until 2 or 3 a.m. When they finally had the take, the tape ran off the reel before the end. Engineer Dave Hillis grabbed another take and edited its last 10 seconds onto the one on the album.","s":"pj-mix-evenflow"},{"t":"The closing solo on “Alive” was added at Ridge Farm during mixing, with Mike McCready in the control room and his amp in the live room. Tim Palmer built a composite from a couple of passes, but McCready wasn’t happy, had another go, and got it in one take.","s":"pj-gw-ten"},{"t":"By Mike McCready’s own description, the “Alive” solo is Ace Frehley’s solo from Kiss’s “She,” which Frehley had copied from Robby Krieger’s solo in the Doors’ “Five to One.”","s":"pj-gw-ten"},{"t":"Tim Palmer is credited on fire extinguisher and pepper shaker. On “Oceans” he shook a pepper mill and hit an extinguisher with drumsticks as a bell, because Ridge Farm was too far from any music rental shop.","s":"pj-gw-ten"},{"t":"Tim Palmer never liked the intro guitar on “Black,” so he EQ’d the whole top of the song small and radio-sounding. The low end only arrives when the bass comes in.","s":"pj-gw-ten"},{"t":"Tim Palmer mixed with big drum sounds and backwards reverbs on Eddie Vedder’s vocals, and the band met him each morning to approve every mix.","s":"pj-musicradar-palmer"}],"listen":[{"track":"Oceans","id":"425465354","at":"0:30","atBy":"source","t":"Listen for a pepper mill shaking on the left and a fire extinguisher, struck with drumsticks, on the right.","s":"pj-gw-ten","len":"2:41"},{"track":"Black","id":"425465351","t":"Listen to the opening guitar: EQ’d small and radio-sounding on purpose, so the low end lands when the bass comes in.","s":"pj-gw-ten","len":"5:42"},{"track":"Alive","id":"425465319","t":"Listen to the closing solo: one continuous take cut at the mixing studio, modeled on Ace Frehley’s solo in Kiss’s “She.”","s":"pj-gw-ten","len":"5:40"}]},"529574560":{"stages":[{"k":"recording","y":"1986","h":"Original album production","scope":"The original 1986 album.","places":[],"credits":[["paul-simon","Album producer"]],"src":["dna-paul-graceland"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The bass break in You Can Call Me Al is half tape trick: Bakithi Kumalo played one descending bar, and Roy Halee copied it to a mono machine and synced it backwards into the multitrack, so the second bar is the first one reversed.","s":"gl-halee-sos"},{"t":"The Johannesburg grooves began as band jams at Ovation Studios. In New York, Halee cut them into songs on a Sony PCM-3324 digital multitrack, moving the music between analog and digital at least 20 times as parts were added and edited.","s":"gl-halee-sos"},{"t":"At Ovation, Halee set the band close together with very few baffles and none around the drums. Nobody wore headphones except the drummer, and often not even him, so the players heard each other in the room.","s":"gl-halee-sos"}],"listen":[{"track":"You Can Call Me Al","id":"529574622","t":"Listen for the second bar of the bass break climbing back up: it’s the first bar played backwards.","s":"gl-halee-sos","len":"4:40"},{"track":"You Can Call Me Al","id":"529574622","t":"Listen for two different short echoes on Paul Simon’s voice in the verses, one in each speaker, setting the vocal back into the band.","s":"gl-halee-sos","len":"4:40"}],"sampled":[{"song":"Elvis Is Dead","artist":"Living Colour","y":1990,"from":"Graceland","kind":"sample","s":"echo-graceland-elvis-is-dead","id":"158439908","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/db/a8/1c/dba81c3a-e583-68b9-e056-6171735757a8/mzi.thhrijqw.jpg/{w}x{h}bb.jpg"}]},"574050396":{"stages":[{"k":"recording","y":"1980","h":"Original album production","scope":"Recorded at Compass Point Studios in Nassau in April and May 1980 and mixed at Electric Lady in New York. The bell for “Hells Bells” was recorded at John Taylor & Co’s bell foundry in Loughborough.","places":["compass-point","electric-lady","john-taylor-foundry"],"credits":[["mutt-lange","Producer"],["tony-platt","Engineer"],["brad-samuelsohn","Mixing engineer"],["benji-armbrister","Assistant engineer"],["jack-newber","Assistant engineer"]],"src":["bib-discogs-1980","bib-sos-platt","bib-sos-bell"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The bell on “Hells Bells” weighs one ton, the largest the band could take on tour, and you hear it an octave below its real pitch. At Electric Lady, Mutt Lange and Tony Platt mixed it to half-inch tape at 30 ips and slowed it to 15, so it sounds like a two-ton bell.","s":"bib-sos-platt"},{"t":"Compass Point’s room was fairly dead, with a low ceiling. Tony Platt walked around it hitting a snare drum until he found the one spot where it sounded louder and fuller, thanks to space above the ceiling there, and set up Phil Rudd’s kit on it.","s":"bib-sos-platt"},{"t":"Angus Young’s guitar was the only overdub. After each solo he kept playing rhythm right to the end of the song, so the dynamics didn’t drop.","s":"bib-sos-platt"},{"t":"Angus played his solos through his wireless radio transmitters into two amp stacks, one in the main room and one in a live chamber at the far end of the building, with two Neumann U67s on each cabinet and no compression at all. The radios added some mid bite.","s":"bib-bmi-platt"},{"t":"Unhappy with his solo on “Shoot to Thrill,” Angus replaced it during the mix at Electric Lady. The radio transmitters weren’t with them in New York, and Platt had a lot of trouble matching the sound.","s":"bib-sos-platt"},{"t":"AC/DC didn’t like hearing effects, so reverbs and delays were used very carefully. One of the few touches Platt and Lange added at the mix was a slight detuning underneath the snare.","s":"bib-sos-platt"},{"t":"Brian Johnson’s spoken intro to “Rock and Roll Ain’t Noise Pollution” came from Mutt Lange asking him to say something over the track. Johnson was smoking a cigarette, did it in one take, and never thought it would make the record.","s":"bib-louder-johnson"}],"listen":[{"track":"Hells Bells","id":"574050495","t":"Listen to the bell: a one-ton bell slowed to half speed, an octave below its real note.","s":"bib-sos-platt","len":"5:12"},{"track":"Shoot to Thrill","id":"574050498","t":"Listen to the guitar solo: replaced at the mix in New York, without the radio transmitters behind Angus’s other leads.","s":"bib-sos-platt","len":"5:18"},{"track":"Rock and Roll Ain't Noise Pollution","id":"574050612","t":"Listen to the spoken intro: one take, with Johnson smoking a cigarette as he talks.","s":"bib-louder-johnson","len":"4:15"}],"sampled":[{"song":"Dope Beat","artist":"Boogie Down Productions","y":1987,"from":"Back In Black","kind":"sample","s":"echo-back-in-black-dope-beat","art":"https://is1-ssl.mzstatic.com/image/thumb/Music49/v4/07/45/f8/0745f8e3-69c6-b74d-ea56-3354e94be7ee/BB-2008_-_Boogie_Down_Productions_-_Criminal_Minded_Deluxe.jpg/{w}x{h}bb.jpg","id":"1098851774"}]},"580707916":{"stages":[{"k":"recording","y":"1973","h":"Original album production","scope":"The original 1973 album, recorded from December 1971 to August 1972.","places":["headley-grange","island","olympic","stargroves","electric-lady"],"credits":[["jimmy-page","Producer"],["eddie-kramer","Engineer"]],"src":["dna-hoth-wiki","hoth-discogs-2014"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Jimmy Page ran the whole finished “No Quarter” through varispeed and dropped its pitch, because the slower tape made the track sound thicker and more intense.","s":"lz-page-gw-1993"},{"t":"At Stargroves, Mick Jagger’s house, Eddie Kramer put John Bonham in a room of his own, the conservatory, and Page’s amp in a fireplace. That room is the snare on “D’yer Mak’er” and “Dancing Days.”","s":"hoth-kramer-musicradar"},{"t":"Page cut the “Dancing Days” lead from the control room of Olympic’s Studio One, feeding a very loud amp out in the studio to catch the whole room. He hadn’t worked out the part first; after a few drop-ins, he doubled it.","s":"hoth-page-gw-2014"},{"t":"On “The Crunge” Page played a Stratocaster for a tight James Brown feel and dips the whammy bar at the end of each phrase.","s":"lz-page-gw-1993"}],"listen":[{"track":"The Crunge","id":"580707920","t":"Listen at the end of each guitar phrase for a slight dip in pitch: Page pressing the whammy bar.","s":"lz-page-gw-1993","len":"3:17"},{"track":"D'yer Mak'er","id":"580707922","t":"Listen for the snare cracking around a conservatory with bay windows and a 15-foot ceiling.","s":"hoth-kramer-louder","len":"4:22"},{"track":"No Quarter","id":"580707923","t":"Listen for the weight of the whole track, slowed down on tape after it was finished.","s":"lz-page-gw-1993","len":"7:02"}],"sampled":[{"song":"She's Crafty","artist":"Beastie Boys","y":1986,"from":"The Ocean","kind":"sample","s":"echo-houses-of-the-holy-she-s-crafty","id":"1440912347","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/e4/d7/81/e4d781e8-bd3f-486a-cd18-e9b3a7d12b34/00731452735126.rgb.jpg/{w}x{h}bb.jpg"}]},"580707980":{"stages":[{"k":"recording","y":"1974","h":"Original album production","scope":"Most of the album was tracked at Headley Grange in Hampshire on Ronnie Lane’s mobile studio from November 1973; older songs come from earlier sessions at Headley Grange and Stargroves on the Rolling Stones Mobile, and from Olympic and Island. Overdubs at Olympic and Island from February 1974, mixing at Olympic, with “Houses of the Holy” mixed at Electric Lady.","places":["headley-grange","stargroves","olympic","island","electric-lady"],"credits":[["jimmy-page","Producer"],["ron-nevison","Engineer"],["keith-harwood","Overdubs, mix"],["eddie-kramer","Engineer, mix"],["andy-johns","Engineer"],["george-chkiantz","Engineer"]],"src":["pg-discogs-1975","pg-discogs-2015","pg-sos-kashmir"]},{"k":"remaster","y":"2015","h":"2015 remaster","scope":"The 2015 remaster, produced by Jimmy Page and mastered by John Davis at Metropolis. This edition’s running times match it; whether this digital edition comes from it hasn’t been documented.","places":["metropolis"],"credits":[["jimmy-page","Remastering producer"],["john-davis","Mastering"]],"src":["pg-discogs-2015"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The swirl on John Bonham’s drums in “Kashmir” was engineer Ron Nevison’s experiment: he sent one side of the stereo drum pair through a new Eventide phaser onto a spare track, figuring it could be erased if the band didn’t like it. They kept that very pass; he can tell from where the phaser sits on the cymbals at the end.","s":"pg-sos-kashmir"},{"t":"At Headley Grange, Bonham wouldn’t allow microphones near his drums. Nevison used just two Neumann U87s as a stereo pair on the stairway, about 20 feet from the kit, in a hall he thought was too boomy.","s":"pg-sos-kashmir"},{"t":"The cascading line that alternates with the “Kashmir” riff is an electric 12-string doubled by brass. It came to Jimmy Page at home, at the very end of a different piece, when he played an acoustic part in reverse.","s":"pg-rs-page"},{"t":"Page had the whole guitar orchestration of “Ten Years Gone” worked out before the sessions, on the multitrack studio he had put in at the top of his house in Sussex.","s":"pg-rs-page"},{"t":"“Black Country Woman” was recorded outdoors at Stargroves, and a plane flew over as the tape rolled. Robert Plant wanted it left in, and his exchange about the plane with engineer Eddie Kramer opens the song.","s":"pg-rc-kramer"}],"listen":[{"track":"Kashmir","id":"580708059","t":"Listen to the drums, especially the cymbals near the end: the phasing is one experimental pass the band kept.","s":"pg-sos-kashmir","len":"8:37"},{"track":"Kashmir","id":"580708059","t":"Listen for the descending cascades between riffs: electric 12-string and brass playing the same line.","s":"pg-rs-page","len":"8:37"},{"track":"Black Country Woman","id":"580708067","t":"Listen to the first seconds: Eddie Kramer and Robert Plant talking about a plane overhead, left on the record.","s":"pg-rc-kramer","len":"4:24"}],"sampled":[{"song":"Time to Get Ill","artist":"Beastie Boys","y":1986,"from":"Custard Pie","kind":"sample","s":"echo-physical-graffiti-time-to-get-ill","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/e4/d7/81/e4d781e8-bd3f-486a-cd18-e9b3a7d12b34/00731452735126.rgb.jpg/{w}x{h}bb.jpg","id":"1440912378"},{"song":"Cold Rock the Mic","artist":"Apollo 440","y":1999,"from":"The Wanton Song","kind":"sample","s":"echo-physical-graffiti-cold-rock-the-mic","art":"https://is1-ssl.mzstatic.com/image/thumb/Features/a5/0e/50/dj.xdzdthtm.jpg/{w}x{h}bb.jpg","id":"186059203"}]},"580708175":{"stages":[{"k":"recording","y":"1971","h":"Original album production","scope":"The original 1971 album.","places":["headley-grange"],"credits":[["jimmy-page","Producer"],["andy-johns","Engineer"]],"src":["dna-lz-iv","lz-cheatsheet"]},{"k":"remaster","y":"2014","h":"2014 reissue remaster","scope":"The 2014 Atlantic/Rhino reissue, remastered by Jimmy Page.","places":[],"credits":[["jimmy-page","Remastering"]],"src":["dna-lz-iv"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"listen":[{"track":"When the Levee Breaks","id":"580708184","t":"Listen for John Bonham’s roomy stairwell drums.","s":"pilot-zeppelin-ism","len":"7:08"},{"track":"Stairway to Heaven","id":"580708180","t":"Listen for John Paul Jones’s recorder in the opening.","s":"pilot-stairway","len":"8:02"}],"sampled":[{"song":"Don't Hurt Yourself","artist":"Beyoncé feat. Jack White","y":2016,"from":"When the Levee Breaks","kind":"sample","s":"pilot-zeppelin-beyonce","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/db/25/a1/db25a1c0-8a4a-3b4d-226d-7c7704dc92da/886447680711.jpg/{w}x{h}bb.jpg","id":"1460430671"},{"song":"Rhymin' & Stealin'","artist":"Beastie Boys","y":1986,"from":"When the Levee Breaks","kind":"sample","s":"echo-led-zeppelin-iv-r-rhymin-stealin","id":"1440912033","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/e4/d7/81/e4d781e8-bd3f-486a-cd18-e9b3a7d12b34/00731452735126.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Army of Me","artist":"Björk","y":1995,"from":"When the Levee Breaks","kind":"sample","s":"echo-led-zeppelin-iv-r-army-of-me","id":"300205685","art":"https://is1-ssl.mzstatic.com/image/thumb/Music116/v4/69/62/1c/69621c9a-514f-00cf-1de6-6e49f004fb28/075596174060.jpg/{w}x{h}bb.jpg"},{"song":"Man Next Door","artist":"Massive Attack","y":1998,"from":"When the Levee Breaks","kind":"sample","s":"echo-led-zeppelin-iv-r-man-next-door","id":"724467000","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/0a/98/55/0a98555b-8d9d-3b46-660a-b91261557d17/00724384559953.rgb.jpg/{w}x{h}bb.jpg"}],"notes":[{"t":"John Bonham’s drums on “When the Levee Breaks” were recorded in the entrance hall of Headley Grange by just two Beyerdynamic M160 microphones hung above the stairs, then compressed hard through Helios F760s and a Binson Echorec delay.","s":"lz-levee-wiki"},{"t":"Headley Grange is a house, not a studio, so the band recorded there with the Rolling Stones’ mobile studio parked outside.","s":"lz-vintageking"}]},"580708279":{"stages":[{"k":"mix","y":"1970","h":"Overdubs and mix","scope":"The original 1970 overdubs and stereo mix, finished in Memphis on days off from the band’s US tour.","places":["ardent"],"credits":[["terry-manning","Mix engineer"],["jimmy-page","Producer"]],"src":["lz3-tapeop-58"]},{"k":"remaster","y":"2014","h":"2014 reissue remaster","scope":"The 2014 reissue of the first three albums, remastered by Jimmy Page.","places":[],"credits":[["jimmy-page","Remastering"]],"src":["dna-lz-iii"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Led Zeppelin III was mixed at Ardent in Memphis without stereo drums, so Terry Manning faked it: on each tom roll in the long fade of “Out on the Tiles” he jabbed the pan knob left and swept it right, then back to center for the snare. He missed once, and that snare still lands well right of center.","s":"lz3-memphis-2020"},{"t":"The noise that builds before the “Immigrant Song” riff was kept on purpose: mostly room noise with a little tape noise, fed into a repeat so it swells up by itself.","s":"lz3-memphis-2020"},{"t":"An engineer accidentally recorded over the start of John Bonham’s rhythm track on “Celebration Day.” The synthesizer drone carried over from the end of “Friends” fills the gap until the surviving track catches up.","s":"lz-page-gw-1993"},{"t":"“Since I’ve Been Loving You” is a live take, with John Paul Jones playing organ with his hands and the bass line on its foot pedals at the same time. Bonham’s squeaky bass-drum pedal went on tape with it.","s":"lz-page-gw-1993"}],"listen":[{"track":"Immigrant Song","id":"580708280","t":"Listen before the riff for noise swelling through a repeat, room sound left in on purpose.","s":"lz3-memphis-2020","len":"2:26"},{"track":"Celebration Day","id":"580708283","t":"Listen at the start for the drone holding on from the previous song until the band comes in: the opening was erased by mistake.","s":"lz-page-gw-1993","len":"3:30"},{"track":"Out On the Tiles","id":"580708286","t":"Listen in the long fade for tom rolls sweeping left to right, and for the one snare hit that lands off to the right.","s":"lz3-memphis-2020","len":"4:07"}],"sampled":[{"song":"Hold Her Tight","artist":"The Osmonds","y":1972,"from":"Immigrant Song","kind":"interpolation","s":"echo-led-zeppelin-iii-hold-her-tight","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/90/60/af/9060af9a-650d-c181-00b3-637a81edb3f9/00602567229223.rgb.jpg/{w}x{h}bb.jpg","id":"1443518249"}]},"580708374":{"stages":[{"k":"recording","y":"1969","h":"Original album production","scope":"Recorded on the run during the band’s 1969 tours, in studios in London, Los Angeles, Vancouver and New York, and mixed by Eddie Kramer with Jimmy Page at A&R in New York.","places":["olympic","morgan-studios","mystic-sound","am-studios","ar-recording","atlantic-studios"],"credits":[["jimmy-page","Producer"],["eddie-kramer","Engineer, mix"],["andy-johns","Engineer"],["chris-huston","Engineer"],["george-chkiantz","Engineer"]],"src":["lz2-discogs-1969","lz2-jp-official","lz2-louder-lewis"]},{"k":"original-master","y":"1969","h":"Original vinyl mastering","scope":"For the first US pressing of the 1969 Atlantic LP, not necessarily this digital edition.","places":["sterling-sound"],"credits":[["bob-ludwig","Lacquer cutting"]],"src":["lz2-discogs-1969"]},{"k":"remaster","y":"2014","h":"2014 reissue remaster","scope":"The 2014 remaster, produced by Jimmy Page and mastered by John Davis at Metropolis. This edition’s nine running times match it; whether this digital edition comes from it hasn’t been documented.","places":["metropolis"],"credits":[["jimmy-page","Remastering producer"],["john-davis","Mastering"]],"src":["lz2-discogs-2014","lz2-gw-page"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"In the middle of “Whole Lotta Love,” most of the high pitches are a theremin and the low growls are Jimmy Page’s Les Paul, detuned radically, its strings pulled by hand. In the mix, Page and Eddie Kramer used low-frequency oscillators on the tape machine to pull the whole sound down and lift it back up, so it moves in rhythm.","s":"lz2-gw-page"},{"t":"Page cut the unaccompanied solo in “Heartbreaker” in a different studio from the rest of the song and pushed the change of sound on purpose: like someone opening a studio door on a guitarist mid-solo, then shutting it as the band moves on.","s":"lz2-jp-official"},{"t":"“The Lemon Song” was cut live at Mystic Sound in Hollywood, a low-ceilinged room 16 feet square with four-track recording, with Robert Plant standing in the middle of the room holding his microphone. The echo on his voice at the end was recorded in real time.","s":"lz2-louder-lewis"},{"t":"Page took “Moby Dick” to Mystic, the old Del-Fi Studios, because its room was very live, all reflective surfaces: great for drums.","s":"lz2-jp-official"},{"t":"The violin-like solo on “Ramble On” is Page’s Les Paul on the neck pickup with its treble knob backed off, run through a sustainer Roger Mayer had built for him years before. He was thinking of a string arrangement.","s":"lz2-gw-page"},{"t":"On “Thank You,” Page played the Vox Phantom XII 12-string he had used in the Yardbirds.","s":"lz2-jp-official"}],"listen":[{"track":"Whole Lotta Love","id":"580708471","t":"Listen to the middle section: a theremin on top, a detuned Les Paul growling underneath, and the whole sound dipping and swelling in rhythm.","s":"lz2-gw-page","len":"5:34"},{"track":"Heartbreaker","id":"580708475","t":"Listen for the room changing when the unaccompanied solo starts, then snapping back when the band returns: it was cut in another studio, on purpose.","s":"lz2-jp-official","len":"4:14"},{"track":"The Lemon Song","id":"580708473","t":"Listen for the echo on Plant’s voice at the end: printed live during the take, not added in the mix.","s":"lz2-louder-lewis","len":"6:19"}],"sampled":[{"song":"Tall Cool One","artist":"Robert Plant","y":1988,"from":"Whole Lotta Love","kind":"sample","s":"echo-led-zeppelin-ii-tall-cool-one","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/b7/9e/86/mzi.tzixzunn.jpg/{w}x{h}bb.jpg","id":"254187469"},{"song":"What Comes Around","artist":"Beastie Boys","y":1989,"from":"Moby Dick","kind":"sample","s":"echo-led-zeppelin-ii-what-comes-around","art":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/bf/b9/82/bfb9825b-e130-0664-2f2f-3a766a1161c6/05099969330056.rgb.jpg/{w}x{h}bb.jpg","id":"721277482"},{"song":"Witness the Strength","artist":"Snap!","y":1990,"from":"Heartbreaker","kind":"sample","s":"echo-led-zeppelin-ii-witness-the-strength","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/ea/24/5b/ea245b86-6946-e391-e82d-195ad99089a2/4250344455554.jpg/{w}x{h}bb.jpg","id":"1437337387"},{"song":"Rhythm of Life","artist":"The Prodigy","y":1993,"from":"Whole Lotta Love","kind":"sample","s":"echo-led-zeppelin-ii-rhythm-of-life","art":"https://is1-ssl.mzstatic.com/image/thumb/Music126/v4/9f/60/4b/9f604be2-c647-a54a-ee9c-dc2b9a27a05b/634904104764.png/{w}x{h}bb.jpg","id":"314228982"}]},"617154241":{"stages":[{"k":"recording","h":"Recorded","places":["gang","henson","conway","electric-lady","capitol"],"credits":[["peter-franco","Recording engineer"],["mick-guzauski","Recording engineer"],["florian-lagatta","Recording engineer"],["daniel-lerner","Digital audio engineer"]],"artistProduced":true,"src":["ram-discogs","ram-sos"]},{"k":"mix","h":"Mixed","places":["conway"],"credits":[["mick-guzauski","Mixing engineer"],["peter-franco","Assistant mixing engineer"],["seth-waldmann","Assistant mixing engineer"]],"src":["ram-discogs"]},{"k":"original-master","y":"2013","h":"Album mastering","scope":"From the 2013 CD credits. Whether this digital edition uses the same master isn't documented.","places":["gateway","translab"],"credits":[["bob-ludwig","Mastering engineer"],["chab","Mastering engineer"]],"src":["ram-discogs"]},{"k":"this","h":"This Apple Digital Master","unknown":"Whether this Apple Digital Master was made separately from the original master hasn’t been documented."}],"notes":[{"t":"Sessions were captured on analog tape and in Pro Tools at the same time, and the album was mixed almost entirely in analog.","s":"ram-trackingangle"},{"t":"The final choice between the tape and digital versions was made by ear, with mastering engineer Bob Ludwig weighing in.","s":"ram-analogplanet"}],"awards":[{"t":"Grammy Award for Best Engineered Album, Non-Classical, shared by Peter Franco, Mick Guzauski, Florian Lagatta, Daniel Lerner, and Bob Ludwig","s":"ram-musictech"}],"listen":[{"track":"Giorgio by Moroder","id":"617154360","t":"Listen for the layered synthesizer arpeggio recorded in the earliest sessions.","s":"listen20-617154241","len":"9:04"},{"track":"Get Lucky","id":"617154366","t":"Listen for Nile Rodgers’s guitar.","s":"listen20-617154241","len":"6:09"}]},"635770200":{"stages":[{"k":"recording","h":"Recorded","places":["criteria","record-plant-la"],"credits":[["bill-szymczyk","Producer"]],"src":["hc-rhino"],"y":"1976"},{"k":"mix","y":"1976","h":"Mixed","places":["criteria"],"credits":[["bill-szymczyk","Mix engineer"]],"src":["hc-sos-classic"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"listen":[{"track":"Hotel California","id":"635770202","t":"Listen for the opening 12-string: the dry acoustic in the center, with two miked amplifiers it also played through on either side.","s":"hc-mix-classic","len":"6:31"},{"track":"Hotel California","id":"635770202","t":"Listen for the closing guitar duet: Felder and Walsh played it from the control room, into amplifiers miked out in the studio.","s":"hc-sos-classic","len":"6:31"}],"notes":[{"t":"The title track’s basic track was cut three times: at the Record Plant, first in the wrong key for Don Henley and then too fast, and finally at Criteria in Miami, where most of the album was made.","s":"hc-mix-classic"},{"t":"Over nine months the band moved between Studio C at the Record Plant in Los Angeles, with its API console, and Criteria’s Studio C in Miami, with a one-of-a-kind custom MCI console.","s":"hc-sos-classic"},{"t":"For the closing guitar duet, Don Felder and Joe Walsh played from the control room, with their cables run out to amplifiers miked in the studio.","s":"hc-sos-classic"},{"t":"“Hotel California” sounds like one performance, but its two-inch master holds 33 edits. Bill Szymczyk put all five takes on one reel, picked the best intro, the best verse and so on, and physically cut them together.","s":"hc-sos-classic"}],"sampled":[{"song":"Livin' It Up","artist":"Limp Bizkit","y":2000,"from":"Life in the Fast Lane","kind":"sample","s":"echo-hotel-california-livin-it-up","art":"https://is1-ssl.mzstatic.com/image/thumb/Music122/v4/b2/70/c8/b270c885-3e28-3dfa-3bd3-faa6e5fa8540/15UMGIM36851.rgb.jpg/{w}x{h}bb.jpg","id":"1440843265"}]},"662324135":{"stages":[{"k":"recording","y":"1994","h":"Original album production","scope":"The original 1994 album, recorded in 1992 and 1993.","places":["battery","unique","chung-king","dd-recording"],"credits":[["dj-premier","Producer"],["large-professor","Producer"],["pete-rock","Producer"],["q-tip","Producer"],["les","Producer"],["faith-n","Producer"],["nas","Producer"]],"src":["dna-illmatic-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The loop behind “The Genesis” comes off a VHS tape: Nas brought his copy of the film Wild Style to the studio and had the engineer loop it.","s":"illmatic-xxl"},{"t":"Nas wanted “Life’s a Bitch” built on Mtume’s “Juicy Fruit,” the record the Notorious B.I.G.’s “Juicy” would sample later in 1994. L.E.S. didn’t own it, so he brought the Gap Band’s “Yearning for Your Love” instead.","s":"illmatic-xxl"},{"t":"AZ came to “Life’s a Bitch” with the hook written. His verse, the only guest rap on the album, happened because the room told him he had to spit.","s":"illmatic-xxl"},{"t":"For “Represent,” Nas let his whole crew into the vocal booth at D&D Studios, and the voices around him are theirs.","s":"illmatic-xxl"},{"t":"Nas picked the Reuben Wilson loop for “Memory Lane (Sittin’ in da Park)” himself. DJ Premier wasn’t into it until Nas told him to cook it up.","s":"illmatic-xxl"}],"listen":[{"track":"Represent","id":"662324546","t":"Listen for the crew talking and reacting behind Nas, recorded live in the packed booth.","s":"illmatic-xxl","len":"4:12"},{"track":"The Genesis","id":"662324538","t":"Listen for the film audio looped straight off a VHS copy of Wild Style.","s":"illmatic-xxl","len":"1:45"},{"track":"Life's a Bitch (feat. AZ & Olu Dara)","id":"662324540","t":"Listen for the Gap Band loop, the stand-in for the Mtume record Nas asked for.","s":"illmatic-xxl","len":"3:30"}],"sampled":[{"song":"The Message","artist":"Nas","y":1996,"from":"N.Y. State of Mind","kind":"sample","s":"echo-illmatic-the-message","id":"211507693","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/d7/6c/a6/d76ca6fc-4541-7812-875c-9db9a8b2a6d3/mzi.hfnmzkmx.jpg/{w}x{h}bb.jpg"},{"song":"Nas Is Like","artist":"Nas","y":1999,"from":"It Ain't Hard to Tell","kind":"sample","s":"echo-illmatic-nas-is-like","id":"170439594","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/cf/6a/e3/cf6ae3d9-aba6-757c-70c4-5539a8b1c3af/074646877326.jpg/{w}x{h}bb.jpg"}]},"684811762":{"stages":[{"k":"recording","y":"1979","h":"Original album production","scope":"Recorded and mixed at Wessex Sound Studios in Highbury, London, in August and September 1979.","places":["wessex"],"credits":[["guy-stevens","Producer"],["bill-price","Chief engineer, mix"],["jerry-green","Second engineer"]],"src":["lc-discogs-1979","lc-mix-price"]},{"k":"original-master","y":"1979","h":"Original vinyl mastering","scope":"Lacquers for the original 1979 CBS double LP, cut at CBS Studios in London; not necessarily this digital edition.","places":["cbs-london"],"credits":[["tim-young","Lacquer cutting"]],"src":["lc-discogs-1979"]},{"k":"remaster","y":"2013","h":"2013 remaster","scope":"Remastered by the Clash with Tim Young, who cut the original vinyl, at Metropolis in London. This edition carries its ℗ 2013 line; whether this digital edition comes straight from it hasn’t been documented.","places":["metropolis"],"credits":[["tim-young","Remastering"]],"src":["lc-discogs-2013","lc-legacy-2013"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Bill Price would normally have cut a lead vocal on a tube Neumann U47, but Joe Strummer’s voice is very bassy and he was having a lot of dental work done: with the 47, the treble boost it needed turned his sibilance into a distorted lisp. For “London Calling” he sang into a Shure SM58 instead.","s":"lc-mix-price"},{"t":"Strummer wanted “London Calling” to sound like London, with fog swirling off the Thames and seagulls overhead. Price gave Strummer’s seagull imitations in the instrumental break slow, multiple repeats, made with a Studer A80 tape machine on varispeed, since this was before good delay lines.","s":"lc-mix-price"},{"t":"The rhythm guitar Strummer played on “London Calling” while singing his guide vocal was never replaced. It’s the one on the record.","s":"lc-mix-price"},{"t":"The band recorded “The Card Cheat” twice over: they played every part, then overdubbed every part again along with it, for a big, Phil Spector-ish sound.","s":"lc-classicrock-2019"}],"listen":[{"track":"London Calling","id":"684811768","t":"Listen to Strummer’s voice: an SM58 stage microphone, picked to tame his sibilance.","s":"lc-mix-price","len":"3:19"},{"track":"London Calling","id":"684811768","t":"Listen for the seagull cries in the instrumental break: Strummer’s imitations, repeated slowly by a varispeeded tape machine.","s":"lc-mix-price","len":"3:19"},{"track":"The Card Cheat","id":"684812023","t":"Listen to how big it sounds: every part was played twice, Phil Spector style.","s":"lc-classicrock-2019","len":"3:49"}],"sampled":[{"song":"Dub Be Good To Me","artist":"Beats International","y":1990,"from":"The Guns of Brixton","kind":"sample","s":"echo-london-calling-dub-be-good-to-me","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/a0/1e/6f/a01e6fac-ffaf-7913-dcec-e2a7c0b71805/18UMGIM16811.rgb.jpg/{w}x{h}bb.jpg","id":"1531862497"},{"song":"Stupid Girl","artist":"Garbage","y":1995,"from":"Train In Vain (Stand By Me)","kind":"sample","s":"echo-london-calling-stupid-girl","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/81/8e/64/818e6487-df77-bb60-7245-7f87c40d6f2d/00602547364890.rgb.jpg/{w}x{h}bb.jpg","id":"1440827335"},{"song":"What's Your Number?","artist":"Cypress Hill feat. Tim Armstrong","y":2004,"from":"The Guns of Brixton","kind":"interpolation","s":"echo-london-calling-whats-your-number","art":"https://is1-ssl.mzstatic.com/image/thumb/Music1/v4/c5/c3/3e/c5c33e1e-3a07-fe7b-eeb0-8f82c9eefa14/dj.yxbnxanj.jpg/{w}x{h}bb.jpg","id":"193612177"}]},"742381053":{"stages":[{"k":"recording","y":"1963","h":"Original album production","scope":"Recorded for the album on July 1, 2 and 3, 1963, at RCA Victor’s Music Center of the World in Hollywood, apart from the film’s scoring sessions in London.","places":["rca-hollywood"],"credits":[["joe-reisman","Producer"],["al-schmitt","Associate producer"],["jim-malloy","Recording engineer"]],"src":["charade-jvc-2001","charade-discogs-1963","charade-intrada"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"This album isn’t the recording heard in the film. The score was recorded in London; for RCA, Mancini re-recorded highlights and left off nearly all of the dramatic scoring, and the tender variations on the main theme.","s":"charade-intrada"}],"awards":[{"t":"Grammy Award for engineering (Best Engineered Recording, Other Than Classical), 1964, to Jim Malloy","s":"charade-grammy"}],"listen":[{"track":"Charade (Main Title)","id":"742381067","t":"Listen to the main title as Mancini recut it for the record, not the take heard over the film.","s":"charade-intrada","len":"2:11"}]},"785232473":{"stages":[{"k":"recording","y":"1970","h":"Original album production","scope":"The original 1970 Vertigo album.","places":["regent-sound","island"],"credits":[["rodger-bain","Producer"],["tom-allom","Engineer"],["brian-humphries","Engineer"]],"src":["dna-paranoid-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Tony Iommi played the “Paranoid” solo straight. Producer Rodger Bain ran it through an effect at the mix, and Iommi’s first reaction was that it sounded horrible; they kept it anyway.","s":"paranoid-kerrang-iommi"},{"t":"Tom Allom recorded Bill Ward’s drums in stereo with a pair of pencil microphones at Regent Sound, a little four-track studio off Tottenham Court Road. Very few engineers recorded drums in stereo in 1970.","s":"paranoid-mix-2025"},{"t":"Bill Ward played a loud, powerful bass drum on “Iron Man,” but the microphones available in 1970 couldn’t capture its depth. All he could get, in his words, was a dull thud.","s":"paranoid-louder-ward"}],"listen":[{"track":"Paranoid","id":"785232521","t":"Listen for the buzzing, synthetic edge on the guitar solo, added at the mix; the rhythm guitar doesn’t have it.","s":"paranoid-kerrang-iommi","len":"2:48"},{"track":"Rat Salad","id":"785232527","t":"Listen for Bill Ward’s kit spread from left to right, recorded in stereo on a four-track machine.","s":"paranoid-mix-2025","len":"2:30"},{"track":"Iron Man","id":"785232524","t":"Listen for the soft, rounded kick under the main riff, the dull thud Bill Ward couldn’t get past.","s":"paranoid-louder-ward","len":"5:55"}],"sampled":[{"song":"Hell of a Life","artist":"Kanye West","y":2010,"from":"Iron Man","kind":"sample","s":"echo-paranoid-hell-of-a-life","id":"1440742920","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/0a/0b/31/0a0b31cc-077c-31bf-e7fe-612191774948/10UMGIM30072.rgb.jpg/{w}x{h}bb.jpg"},{"song":"This Means War!!","artist":"Busta Rhymes feat. Ozzy Osbourne","y":1998,"from":"Iron Man","kind":"sample","s":"echo-paranoid-this-means-war","id":"322122863","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/a9/66/3f/mzi.cpwczyjb.jpg/{w}x{h}bb.jpg"}]},"825516828":{"stages":[{"k":"recording","y":"1968","h":"Recorded live","scope":"Recorded in the cafeteria of Folsom State Prison on January 13, 1968, across two shows; most of the album comes from the first.","places":["folsom-prison"],"credits":[["bob-johnston","Producer"],["charlie-bragg","Engineer"]],"src":["fol-discogs-1968","fol-mix-johnston","fol-discogs-legacy"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Instead of having an announcer work the audience up, producer Bob Johnston told Cash to walk out and just say, “Hello, I’m Johnny Cash.”","s":"fol-mix-johnston"},{"t":"The inmates’ roar after the famous Reno line in “Folsom Prison Blues” was spliced in afterward by Bob Johnston, for drama.","s":"fol-loc-streissguth"},{"t":"The show was played in the prison cafeteria, huge and echoing, with catwalks and hard surfaces everywhere. So Johnston put as many microphones as he could on the stage, sometimes two or three per player, close in.","s":"fol-mix-johnston"},{"t":"Two songs here, “Give My Love to Rose” and “I Got Stripes,” come from the second show that day. Everything else is from the first.","s":"fol-discogs-legacy"}],"listen":[{"track":"Folsom Prison Blues (Live)","id":"825516880","t":"Listen to the very start: a quiet room, the greeting, then the band, just as Bob Johnston staged it.","s":"fol-mix-johnston","len":"2:42"},{"track":"Folsom Prison Blues (Live)","id":"825516880","t":"Listen for the roar right after the Reno line: added later, for drama.","s":"fol-loc-streissguth","len":"2:42"},{"track":"Give My Love to Rose (Live)","id":"825517902","t":"Listen to Cash’s voice here: one of only two songs on the album from the second show that day.","s":"fol-discogs-legacy","len":"2:42"}]},"828783216":{"stages":[{"k":"recording","y":"1985","h":"Original album production","scope":"The original 1985 album, recorded at Rhinoceros Studios in Sydney and mixed at Air Studios in London.","places":["rhinoceros","air-london"],"credits":[["chris-thomas","Producer"],["steve-churchyard","Engineer"]],"src":["llt-discogs-1985"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Chris Thomas had INXS set up at Rhinoceros exactly as they played live and recorded them playing together. He wanted the bleed, every instrument running into the others.","s":"llt-as-afarriss-2020"},{"t":"Until then INXS had recorded shut off from each other in booths. Thomas insisted on the same big stage monitors and rigging the band had used at a Hollywood show, so the sessions felt like a gig without an audience.","s":"llt-classicpop"},{"t":"Near the end, Thomas decided to drop the weakest of the 12 songs for something better. Andrew Farriss played him a demo that was just a riff; Thomas could have listened to that groove for ten minutes, and in two days it became “What You Need.”","s":"llt-mix-thomas-1998"}],"listen":[{"track":"What You Need (Single Version)","id":"828783217","t":"Listen for the riff everything is built on: a demo groove turned into a finished song in two days.","s":"llt-mix-thomas-1998","len":"3:35"},{"track":"Listen Like Thieves","id":"828783218","t":"Listen for the instruments spilling into each other: the band played together through stage monitors, not in booths.","s":"llt-as-afarriss-2020","len":"3:47"}]},"828784636":{"stages":[{"k":"recording","y":"1984","h":"Original album production","scope":"The original 1984 album, recorded at the Manor, the Power Station, Rhinoceros, Paradise and Emerald City, and mixed at Townhouse, Sarm East and West and Air Studios. Nile Rodgers produced “Original Sin” at the Power Station; Nick Launay produced, engineered and mixed the other nine.","places":["power-station","rhinoceros","air-london"],"credits":[["nile-rodgers","Producer"],["nick-launay","Producer and engineer"]],"src":["swing-discogs-1984"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"INXS couldn’t settle into the “Original Sin” groove at the Power Station. They seemed nervous, so Nile Rodgers left the desk and went out to play in the room with them. After one take the bass drum head broke, and that take is the record.","s":"swing-gp-rodgers-2022"}],"listen":[{"track":"Original Sin","id":"828784639","t":"Listen to the groove: the one take the band got down with Nile Rodgers playing in the room, before the bass drum head gave out.","s":"swing-gp-rodgers-2022","len":"5:18"}]},"934216863":{"stages":[{"k":"recording","y":"1972","h":"Original album production","scope":"The original 1972 Atlantic album.","places":["atlantic-studios","criteria"],"credits":[["jerry-wexler","Producer"],["arif-mardin","Producer"],["tom-dowd","Producer"],["gene-paul","Recording engineer"],["chuck-kirkpatrick","Recording engineer"],["howie-albert","Recording engineer"],["ron-albert","Recording engineer"]],"src":["dna-ygb-discogs"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"“Rock Steady” is a demo. The band’s ride reached Criteria before the producers’ limousine, Aretha taught the song at the piano, and Gene Paul rolled tape on one pass. When Jerry Wexler and Tom Dowd arrived and arranged it properly, nobody could get that feel back, and the demo became the record.","s":"ygb-notreble-rainey"},{"t":"The eight-bar drum break in “Rock Steady” was an accident. Aretha’s sheet music fell off the piano while the red light was on, the band kept the groove going, and Bernard Purdie’s eight bars of holding time are the break that took him around the world.","s":"ygb-npr-purdie-2018"},{"t":"Six or seven takes were tried under the producers, but the rough cut kept its place. Arif Mardin dubbed the Sweet Inspirations and Donny Hathaway’s organ onto it in New York, and underneath them the record is still the demo cut while the grown-ups were away.","s":"ygb-popmatters-rainey"},{"t":"Billy Preston, the electric piano on the Beatles’ own “The Long and Winding Road,” plays the organ under Aretha’s piano on hers.","s":"ygb-discogs-1972"},{"t":"Aretha plays the celesta on “All the King’s Horses” herself, its music-box chime beside Neal Rosengarden’s vibraphone.","s":"ygb-discogs-1972"}],"listen":[{"track":"Rock Steady","id":"934216885","t":"Listen for the loose, live feel of the rhythm section: a one-pass demo cut before the producers arrived.","s":"ygb-notreble-rainey","len":"3:14"},{"track":"Rock Steady","id":"934216885","t":"Listen for the eight bars where the drums carry on alone: the sheet music had just hit the floor.","s":"ygb-npr-purdie-2018","len":"3:14"},{"track":"All the King's Horses","id":"934216887","t":"Listen for the music-box chime beside the vibraphone: Aretha on celesta.","s":"ygb-discogs-1972","len":"3:55"}],"sampled":[{"song":"I'm Housin'","artist":"EPMD","y":1988,"from":"Rock Steady","kind":"sample","s":"echo-young-gifted-and-i-m-housin","id":"721248416","art":"https://is1-ssl.mzstatic.com/image/thumb/Music126/v4/3a/82/71/3a827138-fb34-d566-67f4-496b18373245/13UABIM51648.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Daydreaming","artist":"Cam'ron feat. Tiffany","y":2002,"from":"Day Dreaming","kind":"sample","s":"echo-young-gifted-and-daydreaming","id":"1683183435","art":"https://is1-ssl.mzstatic.com/image/thumb/Music116/v4/76/ec/30/76ec302b-84d2-133b-7faf-1fa142c28c87/23UMGIM42786.rgb.jpg/{w}x{h}bb.jpg"}]},"976820530":{"stages":[{"k":"recording","y":"1977","h":"Original album production","scope":"Recorded at Sunset Sound in Hollywood in 1977, produced by Ted Templeman with Donn Landee engineering. Templeman and Landee mixed it in Studio 2; over a weekend that October, Landee and Peggy McCreary remixed some songs in Studio 1, including “Runnin’ with the Devil” and “Jamie’s Cryin’.”","places":["sunset-sound"],"credits":[["ted-templeman","Producer"],["donn-landee","Engineer, mix"],["kent-nebergall","Second engineer"],["peggy-mccreary","Second engineer"]],"src":["vh-discogs-1978","vh-landee-tapeop-2"]},{"k":"original-master","y":"1978","h":"Original vinyl mastering","scope":"For the original 1978 Warner Bros. LP, mastered at Warner Bros. Recording Studios; the engineer isn’t credited. Not necessarily this digital edition.","places":["warner-bros-recording"],"credits":[],"src":["vh-discogs-1978"]},{"k":"remaster","y":"2015","h":"2015 remaster","scope":"Chris Bellman’s 2015 remaster at Bernie Grundman Mastering in Hollywood, made straight from the original quarter-inch tapes. Whether this digital edition comes from it hasn’t been documented.","places":["bernie-grundman-mastering"],"credits":[["chris-bellman","Remastering"]],"src":["vh-discogs-2015"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"“Eruption” was never meant for the album: Eddie was noodling alone in Sunset Sound’s Studio 1 on something he warmed up with when Ted Templeman walked in and insisted they record it right away. When he told Donn Landee to roll tape, Landee had already started the machine.","s":"vh-lamag-templeman"},{"t":"Because Eddie didn’t double his guitars, Donn Landee set the guitar slightly off center and filled the other side with delayed echo from Sunset Sound’s live chamber. A month later, on vacation in Italy, Eddie got into a rental car with one dead speaker channel and phoned Landee in a panic, wondering why he couldn’t hear his playing.","s":"vh-vhnd-landee-2013"},{"t":"By Eddie’s account in 1978, the band played the album live in the room on their stage gear, and he overdubbed solos on only three songs, “Runnin’ with the Devil,” “Ice Cream Man” and “Jamie’s Cryin’.” Backing vocals went on later because singing in a room full of amps bled onto the mics.","s":"vh-gp-1978"},{"t":"Eddie doubled the solo in “Ain’t Talkin’ ’Bout Love” on an electric sitar, a cheap-looking instrument he thought might be a Coral. He never really knew it was a sitar; to him it just sounded like a buzzy-fretted guitar.","s":"vh-gw-evh"},{"t":"The tail of “Eruption” runs through a Univox echo built around a miniature 8-track cartridge. It set the rate of the repeats by the speed of its motor rather than by moving tape heads, so speeding the motor up made the repeats come faster.","s":"vh-gw-evh"},{"t":"The drum fill right before the second verse of “Feel Your Love Tonight” bothered Ted Templeman, a drummer himself, as floppy and imprecise. He kept it because the rest of the take was good, and isn’t sure he ever told Alex Van Halen.","s":"vh-lamag-templeman"},{"t":"During “Runnin’ with the Devil,” David Lee Roth goofed around with the English bobby whistle he wore on a chain, and a bit of it made the record.","s":"vh-lamag-templeman"}],"listen":[{"track":"Ain't Talkin' 'Bout Love","id":"976820538","t":"Listen to the solo: doubled on a cheap electric sitar that sounds more like a buzzy-fretted guitar.","s":"vh-gw-evh","len":"3:47"},{"track":"Feel Your Love Tonight","id":"976820543","t":"Listen for the drum fill just before the second verse: loose enough to bother the producer, kept because the rest of the take was good.","s":"vh-lamag-templeman","len":"3:40"},{"track":"Eruption","id":"976820536","t":"Listen to the final repeats: a Univox echo running a tiny 8-track cartridge, its speed set by a motor.","s":"vh-gw-evh","len":"1:42"}],"sampled":[{"song":"Wild Thing","artist":"Tone-Lōc","y":1988,"from":"Jamie's Cryin'","kind":"sample","s":"echo-van-halen-wild-thing","art":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/6e/a7/bc/6ea7bcc6-4b7c-a6ba-2680-e409478eb7de/00669910397251.rgb.jpg/{w}x{h}bb.jpg","id":"1440904848"},{"song":"Ain't Talkin' 'Bout Dub","artist":"Apollo 440","y":1997,"from":"Ain't Talkin' 'Bout Love","kind":"sample","s":"echo-van-halen-aint-talkin-bout-dub","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/72/93/3a/mzi.cwlyypml.jpg/{w}x{h}bb.jpg","id":"457139225"},{"song":"Never Let You Go","artist":"Pretty Ricky","y":2005,"from":"Ain't Talkin' 'Bout Love","kind":"sample","s":"echo-van-halen-never-let-you-go","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/df/3e/5d/df3e5dab-875a-853c-3294-13d2ff615845/s06.sdmfvwrr.jpg/{w}x{h}bb.jpg","id":"63490856"},{"song":"Blast Off","artist":"David Guetta & Kaz James","y":2014,"from":"Ain't Talkin' 'Bout Love","kind":"sample","s":"echo-van-halen-blast-off","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/ce/a5/06/cea50685-c7ed-335e-09d1-9aa55a83db72/075679928184.jpg/{w}x{h}bb.jpg","id":"966410437"},{"song":"Teachers","artist":"Soulwax","y":2005,"from":"Runnin' with the Devil","kind":"sample","s":"echo-van-halen-teachers","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/6f/d3/b0/6fd3b077-4e11-18b7-c648-41bd1b63a538/5413356216097_cover.jpg/{w}x{h}bb.jpg","id":"80291450"}]},"976826793":{"stages":[{"k":"recording","y":"1972","h":"Original album production","scope":"Recorded at Trident Studios in London in August 1972 and mixed there, produced by David Bowie and Mick Ronson.","places":["trident"],"credits":[["david-bowie","Producer"],["mick-ronson","Producer, arrangements"],["ken-scott","Engineer, mix"]],"src":["tf-discogs-1972","tf-discogs-box","tf-rbma-scott"]},{"k":"original-master","y":"1972","h":"Original tape mastering","scope":"For the original 1972 RCA Victor LP, not necessarily this digital edition.","places":[],"credits":[["arun-chakraverty","Tape mastering"]],"src":["tf-discogs-1972"]},{"k":"remaster","y":"2013","h":"2013 remaster","scope":"Remastered at Masterdisk in New York in June and July 2013 by Vlado Meller with Rob Santos of Sony/Legacy, overseen by Lou Reed, for The RCA & Arista Album Collection. This edition’s running times match Transformer in that collection to the millisecond; whether this digital edition comes from it hasn’t been documented.","places":["masterdisk"],"credits":[["vlado-meller","Remastering"],["rob-santos","Remastering"],["lou-reed","Remastering supervision"]],"src":["tf-legacy-2016"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The bass line on “Walk on the Wild Side” is two basses. Herbie Flowers played it on double bass, then added an electric bass a tenth above it, a sound so distinctive he figured you could only use it once on a record.","s":"tf-gw-flowers"},{"t":"The backing singers walk toward you out of the reverb. Ken Scott sent their track to an EMT plate pre-fader, so as he brought the voices up, the reverb stayed where it was, and they move from a distant halo to right in your ear.","s":"tf-mix-wildside"},{"t":"The baritone sax at the end of “Walk on the Wild Side” is Ronnie Ross, who had given a 12-year-old David Jones saxophone lessons. He played the solo in one take, and only afterwards learned his old pupil was Ziggy Stardust.","s":"tf-rs-bowie"},{"t":"When the string session reached “Walk on the Wild Side,” the violas and cellos were nowhere to be found, so only violins play Mick Ronson’s single-note lines.","s":"tf-mix-wildside"},{"t":"Ritchie Dharma first ran “Walk on the Wild Side” down with drumsticks. Ken Scott thought it sounded like a march and ran down to the studio to suggest brushes.","s":"tf-mix-wildside"},{"t":"Ken Scott mixed without even a second engineer in the studio, while Bowie was sailing to New York on the QE2. He mixed each song in short sections on a Studer two-track and spliced the quarter-inch tape together.","s":"tf-mix-wildside"}],"listen":[{"track":"Walk on the Wild Side","id":"976827230","t":"Listen to the bass slides: a Fender bass laid over the double bass, every glide matched.","s":"tf-mix-wildside","len":"4:15"},{"track":"Walk on the Wild Side","id":"976827230","t":"Listen to the backing voices come forward: the reverb holds still while their level rises, so they seem to walk up to you.","s":"tf-mix-wildside","len":"4:15"},{"track":"Walk on the Wild Side","id":"976827230","t":"Listen to the baritone sax that plays the song out: Ronnie Ross, David Bowie’s childhood saxophone teacher, in one take.","s":"tf-rs-bowie","len":"4:15"}],"sampled":[{"song":"Can I Kick It?","artist":"A Tribe Called Quest","y":1990,"from":"Walk on the Wild Side","kind":"sample","s":"echo-transformer-can-i-kick-it","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/b6/05/21/b605217c-42ee-8c1e-238b-0fc18570b10d/196873025063.jpg/{w}x{h}bb.jpg","id":"1806751241"},{"song":"Wildside","artist":"Marky Mark and the Funky Bunch","y":1991,"from":"Walk on the Wild Side","kind":"sample","s":"echo-transformer-wildside","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/99/c2/ca/99c2ca9f-ced0-7d91-e247-f5d23cccbd07/10UMGIM31317.rgb.jpg/{w}x{h}bb.jpg","id":"1443861180"},{"song":"Summer Girl","artist":"HAIM","y":2019,"from":"Walk on the Wild Side","kind":"interpolation","s":"echo-transformer-summer-girl","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/54/a9/00/54a90091-68b2-aba3-db6d-5c387e3ef301/886448983798.jpg/{w}x{h}bb.jpg","id":"1550175879","v":"1550175828"}]},"986713177":{"stages":[{"k":"recording","y":"1979","h":"Original album production","scope":"Begun at Ashcombe House, Peter Gabriel’s home near Bath, with a mobile truck, and recorded mainly at The Town House in London in 1979.","places":["ashcombe-house","town-house"],"credits":[["steve-lillywhite","Producer"],["hugh-padgham","Engineer"],["larry-fast","Electronic production"]],"src":["pg3-discogs-1980","pg3-pg-release"]},{"k":"original-master","y":"1980","h":"Original vinyl mastering","scope":"Lacquers for the original 1980 Charisma LP; not necessarily this digital edition.","places":["sound-clinic"],"credits":[["john-dent","Lacquer cutting"]],"src":["pg3-discogs-1980"]},{"k":"remaster","y":"2015","h":"2015 remaster","scope":"Real World’s 2015 remaster, made for a half-speed vinyl reissue that came with a hi-res download. This edition’s title and ℗ 2015 line match it; whether this digital edition comes from it hasn’t been documented.","places":["metropolis"],"credits":[["tony-cousins","Mastering"]],"src":["pg3-discogs-2015"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Every sound at the very start of “No Self Control” went through Larry Fast’s $9.95 Radio Shack speaker: a transistor radio with no tuner, just a tiny speaker, a nine-volt battery, a volume knob and an input jack. Through it, the sounds had a plastic distortion; plugged straight into the desk, they were average and boring.","s":"pg3-grammy-oral"},{"t":"Every part of “No Self Control” ran the whole length of the multitrack, and the song was sculpted at the mix. For the opening, Steve Lillywhite left only the marimba and Phil Collins’s bass drum, gated so the rest of the kit couldn’t be heard. They mixed 20 or 30 seconds at a time, all night, with Hugh Padgham editing each piece onto the last.","s":"pg3-grammy-oral"},{"t":"Phil Collins worked out a drum part for “Intruder” that let the noise gates be heard shutting off between hits, played it to an old-fashioned metronome for seven or eight minutes, and Peter Gabriel wrote the song around it.","s":"pg3-grammy-oral"},{"t":"The whistling on “Games Without Frontiers” is a trio: Peter Gabriel with his producer, Steve Lillywhite, and his engineer, Hugh Padgham.","s":"pg3-discogs-1980"},{"t":"A couple of guitarists had failed to nail “I Don’t Remember” before XTC’s Dave Gregory asked Gabriel to show him the chord at the piano. It had six notes, so Gregory retuned his guitar to it, the most bizarre tuning he ever used, and the riff became one long, ringing chord on the downbeat.","s":"pg3-grammy-oral"},{"t":"The bagpipes on “Biko” are Larry Fast’s synthesizer: narrow pulse waves over a drone, detuned with harmonizers until they sounded like pipes. The historical reason, a Scottish unit in the Boer War, was found afterward.","s":"pg3-grammy-oral"},{"t":"“Lead a Normal Life” was built by subtraction: a full rhythm track stripped back until almost nothing was left but a single piano line and a little wispiness.","s":"pg3-grammy-oral"}],"listen":[{"track":"No Self Control","id":"986713195","t":"Listen to the opening: just marimba and a gated bass drum, the rest of Phil Collins’s kit switched out until later.","s":"pg3-grammy-oral","len":"3:56"},{"track":"Intruder","id":"986713194","t":"Listen to the drums: Collins left space between hits so you can hear the gates slam shut.","s":"pg3-grammy-oral","len":"4:54"},{"track":"Biko","id":"986713204","t":"Listen for the bagpipes: Larry Fast’s synthesizer, detuned until it sounded like pipes.","s":"pg3-grammy-oral","len":"7:31"}]},"989376625":{"stages":[{"k":"recording","y":"1977","h":"Original album production","scope":"The original 1977 Columbia album.","places":["record-plant-la","ar-recording"],"credits":[["bill-withers","Producer"],["clarence-mcdonald","Producer"],["keni-burke","Producer"],["bob-merritt","Engineer"]],"src":["dna-menagerie-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Ray Parker Jr. came to the “Lovely Day” session expecting something low-down like “Use Me,” and when Withers held that long note he wondered why: the song sounded good, don’t hold it so long. Withers held it anyway, and Parker came around to it as part of what makes the song stick.","s":"men-popmatters-parker"},{"t":"The plucked guitar line under the “Lovely Day” chorus is Ray Parker Jr.’s own, not Withers’s.","s":"men-yahoo-parker"}],"listen":[{"track":"Lovely Day","id":"989376634","t":"Listen for the plucked guitar answering the chorus: Ray Parker Jr.’s own line.","s":"men-yahoo-parker","len":"4:17"},{"track":"Lovely Day","id":"989376634","t":"Listen to the note Withers holds near the end: the guitarist in the room thought it ran too long.","s":"men-popmatters-parker","len":"4:17"}],"sampled":[{"song":"It's Gonna Be a Lovely Day","artist":"S.O.U.L. S.Y.S.T.E.M.","y":1992,"from":"Lovely Day","kind":"sample","s":"echo-menagerie-it-s-gonna-be-a-lovely-d","id":"388152104","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/82/f3/e9/82f3e968-8174-c5eb-7fc5-36384d050129/dj.mdauihuy.jpg/{w}x{h}bb.jpg"}]},"989376986":{"stages":[{"k":"recording","y":"1972","h":"Original album production","scope":"The original 1972 Sussex album.","places":["record-plant-la"],"credits":[["bill-withers","Producer"],["benorce-blackmon","Producer"],["melvin-dunlap","Producer"],["james-gadson","Producer"],["ray-jackson","Producer"],["bob-hughes","Engineer"]],"src":["dna-stillbill-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"“Kissing My Love” was arranged as a shuffle. It wasn’t working, and as the last song of the day James Gadson straightened it into the groove on the record.","s":"sb-audiophile-2020"},{"t":"Benorce Blackmon first played wah-wah all the way through “Who Is He (And What Is He to You)?” The band decided it hit harder saved for the last two verses.","s":"sb-audiophile-2020"},{"t":"The clavinet riff that drives “Use Me” is Ray Jackson’s, and Withers told Gadson the clavinet, not the drums, was the part that mattered.","s":"sb-audiophile-2020"},{"t":"On “Lonely Town, Lonely Street,” Withers had everyone in the band play Blackmon’s lick except the drummer, James Gadson.","s":"sb-audiophile-2020"},{"t":"About 95 percent of Still Bill was improvised by the band, and Withers put the whole album at eight hours of studio time for $7,500.","s":"sb-audiophile-2020"}],"listen":[{"track":"Kissing My Love","id":"989376992","t":"Listen for the straight, even hi-hat groove where a swung shuffle was planned.","s":"sb-audiophile-2020","len":"3:51"},{"track":"Who Is He (And What Is He to You)?","id":"989376989","t":"Listen for the wah-wah guitar holding off until the last two verses.","s":"sb-audiophile-2020","len":"3:14"},{"track":"Use Me","id":"989376990","t":"Listen for Ray Jackson’s clavinet riff carrying the song over Gadson’s drums.","s":"sb-audiophile-2020","len":"3:48"}],"sampled":[{"song":"Let Me Ride","artist":"Dr. Dre feat. Jewell","y":1992,"from":"Kissing My Love","kind":"sample","s":"echo-still-bill-let-me-ride","id":"1668461354","art":"https://is1-ssl.mzstatic.com/image/thumb/Music126/v4/22/55/6c/22556ce7-92fb-3a7a-af98-33b0e4bed0d8/23UMGIM07603.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Sing About Me, I'm Dying of Thirst","artist":"Kendrick Lamar","y":2012,"from":"Use Me","kind":"sample","s":"echo-still-bill-sing-about-me-i-m-dying","id":"1471263914","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/9f/30/10/9f30103e-73e4-4d7c-02a4-ade3da9ce53b/12UMGIM52989.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Horse & Carriage","artist":"Cam'ron feat. Mase","y":1998,"from":"Who Is He (And What Is He to You)?","kind":"sample","s":"echo-still-bill-horse-carriage","id":"170057611","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/dd/52/2c/dd522cc1-372a-cfa8-25dc-af96428a5bd3/mzi.qozpzsli.jpg/{w}x{h}bb.jpg"},{"song":"Karaoke","artist":"Drake","y":2010,"from":"Use Me","kind":"sample","s":"echo-still-bill-karaoke","id":"1440762509","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/63/9d/13/639d1329-da68-6535-bce1-8797eebf6b48/00602527395319.rgb.jpg/{w}x{h}bb.jpg"}]},"1030451209":{"stages":[{"k":"recording","y":"1975","h":"Original album production","scope":"The original 1975 T-Neck album.","places":["kendun"],"credits":[["the-isley-brothers","Producer"],["malcolm-cecil","Associate producer and engineer"],["robert-margouleff","Associate producer and engineer"]],"src":["dna-heat-wiki"]},{"k":"mix","y":"1975","h":"Mixed","scope":"The original 1975 mix, made at Westlake Audio after recording at Kendun.","places":["westlake"],"credits":[["malcolm-cecil","Engineer"],["robert-margouleff","Engineer"]],"src":["heat-discogs"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Ernie Isley plays the drums on The Heat Is On as well as the guitars, and the sleeve credits every note and every voice to the Isleys themselves.","s":"heat-discogs"},{"t":"Chris Jasper, Ernie and Marvin Isley cut each rhythm track first as a trio, from parts they had worked out on a four-track recorder, before the vocals went on.","s":"heat-jasper-rbma"},{"t":"The lyric sheet for “Fight the Power” read “nonsense.” Ronald Isley sang a stronger word on the take, wouldn’t change it, and the band made a bleeped version for radio.","s":"heat-jasper-rbma"}],"listen":[{"track":"Fight the Power, Pts. 1 & 2","id":"1030451210","t":"Listen for the word Ronald Isley sang where the lyric sheet read “nonsense.”","s":"heat-jasper-rbma","len":"5:19"},{"track":"For the Love of You, Pts. 1 & 2","id":"1030451213","t":"Listen for the drums under the guitar solo: both are Ernie Isley.","s":"heat-discogs","len":"5:39"}],"sampled":[{"song":"Fight the Power","artist":"Public Enemy","y":1989,"from":"Fight the Power","kind":"sample","s":"echo-the-heat-is-on-fight-the-power","id":"1440838444","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/5f/56/ff/5f56ff7b-71b3-3e5f-208a-3b20d96bb4b0/06UMGIM21173.rgb.jpg/{w}x{h}bb.jpg"},{"song":"The Phuncky Feel One","artist":"Cypress Hill","y":1991,"from":"Fight the Power","kind":"sample","s":"echo-the-heat-is-on-the-phuncky-feel-one","id":"192755245","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/44/a2/ec/44a2ecab-940d-063e-c567-a01992949159/mzi.vnndlpuh.jpg/{w}x{h}bb.jpg"},{"song":"Starz","artist":"Jaylib","y":2003,"from":"For the Love of You, Pts. 1 & 2","kind":"sample","s":"echo-the-heat-is-on-starz","id":"1139033474","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/45/6c/ba/456cba4c-e721-4437-160b-b67926875184/tire.jpg/{w}x{h}bb.jpg"}]},"1030452445":{"stages":[{"k":"recording","y":"1973","h":"Original album production","scope":"The original 1973 T-Neck album.","places":["record-plant-la"],"credits":[["ronald-isley","Producer"],["rudolph-isley","Producer"],["okelly-isley","Producer"],["malcolm-cecil","Recording engineer"],["robert-margouleff","Recording engineer"]],"src":["dna-3plus3-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The “That Lady” lead on the record is Ernie Isley’s second take. His wilder first pass was dropped, and his brothers had him rein it in to leave room for the vocals.","s":"isley-ernie-artsfuse"},{"t":"Ernie’s “Summer Breeze” guitar is what he thought was a run-through. When he told his brothers he was ready to really play it, they already had it.","s":"isley-ernie-artsfuse"},{"t":"Ernie heard a Big Muff fuzz in a music store, the engineers got one from Studio Instrument Rentals the next day, and that was the first time he played “That Lady,” on his Strat with a Maestro phase shifter into a Fender Twin.","s":"isley-ernie-gp-2025"},{"t":"Malcolm Cecil and Robert Margouleff recorded the “That Lady” lead on four or five tracks at once, among them a direct feed, a Berwin noise suppressor and limiters, and found the tone by blending them in the mix.","s":"isley33-mix-2003"},{"t":"Cecil and Margouleff mixed with four hands on the console. After a mistake they left the two-track running, backed up the multitrack, picked up where they had stopped, and edited the two-track afterward.","s":"isley33-mix-2003"}],"listen":[{"track":"That Lady, Pts. 1 & 2","id":"1030452446","t":"Listen for Ernie’s lead leaving space around Ronald’s voice: the reined-in second take.","s":"isley-ernie-artsfuse","len":"5:34"},{"track":"Summer Breeze, Pts. 1 & 2","id":"1030452487","t":"Listen to the long guitar solo in the second half, the pass Ernie took for a warm-up.","s":"isley-ernie-artsfuse","len":"6:11"}],"sampled":[{"song":"i","artist":"Kendrick Lamar","y":2014,"from":"That Lady","kind":"sample","s":"echo-3-3-i","id":"1444320259","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/36/68/2e/36682ee6-31c1-3103-790b-45eb55ae6217/00602547061010.rgb.jpg/{w}x{h}bb.jpg"},{"song":"B-Boy Bouillabaisse: A Year and a Day","artist":"Beastie Boys","y":1989,"from":"That Lady","kind":"sample","s":"echo-3-3-b-boy-bouillabaisse-a-y","id":"721277647","art":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/bf/b9/82/bfb9825b-e130-0664-2f2f-3a766a1161c6/05099969330056.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Truth Is","artist":"Fantasia","y":2004,"from":"The Highways of My Life","kind":"sample","s":"echo-3-3-truth-is","id":"275765409","art":"https://is1-ssl.mzstatic.com/image/thumb/Features115/v4/c9/08/bb/c908bb0d-c0a4-e29e-cc83-c9a880a7c198/dj.ihuchfks.jpg/{w}x{h}bb.jpg"}]},"1030456190":{"stages":[{"k":"recording","y":"1977","h":"Original album production","scope":"The original 1977 T-Neck album.","places":["bearsville"],"credits":[["the-isley-brothers","Producer"],["john-holbrook","Engineer"]],"src":["dna-gfyg-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The watery rhythm bed of “Voyage to Atlantis” is two guitar tracks: one clean, one through an Electric Mistress flanger.","s":"gfyg-vg-ernie-2018"},{"t":"Engineer John Holbrook found the Bearsville console’s input channels weren’t clean enough for the Isleys’ attack, so he ran the mics through outboard gear instead of the desk, to keep the rhythmic punch from turning to mush.","s":"gfyg-hoskyns-holbrook"},{"t":"The basic tracks were cut by the three younger members alone, Ernie, Marvin and Chris Jasper, who had worked the songs out beforehand. The older brothers came in afterward to argue over the lyrics, and then Ronald sang.","s":"gfyg-hoskyns-holbrook"},{"t":"Ernie Isley is credited with the drums as well as the guitars on Go for Your Guns. The only other percussion credit is Everett Collins on congas.","s":"gfyg-discogs-1977"}],"listen":[{"track":"Voyage to Atlantis","id":"1030456195","t":"Listen for two rhythm guitars under the verses, one clean and one swept by a flanger.","s":"gfyg-vg-ernie-2018","len":"4:32"},{"track":"Footsteps in the Dark, Pts. 1 & 2","id":"1030456192","t":"Listen for the drums and the strummed guitar locking together: both are Ernie Isley.","s":"gfyg-discogs-1977","len":"5:06"}],"sampled":[{"song":"It Was a Good Day","artist":"Ice Cube","y":1992,"from":"Footsteps in the Dark","kind":"sample","s":"echo-go-for-your-guns-it-was-a-good-day","v":"1440858596","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/be/93/4c/be934cc0-3e4e-6676-5d7b-e5ddebe369d6/00602547276704.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Them Changes","artist":"Thundercat","y":2015,"from":"Footsteps in the Dark","kind":"sample","s":"echo-go-for-your-guns-them-changes","id":"1008895951","art":"https://is1-ssl.mzstatic.com/image/thumb/Music1/v4/6d/57/95/6d579536-ee41-77a3-5c19-7ce1b80da929/5054429002584.png/{w}x{h}bb.jpg"}]},"1030463060":{"stages":[{"k":"recording","y":"1983","h":"Original album production","scope":"The original 1983 T-Neck album.","places":["bearsville"],"credits":[["the-isley-brothers","Producer"],["mark-mckenna","Recording engineer"]],"src":["dna-sheets-discogs","dna-sheets-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The ending of “Between the Sheets” is a separate recording. With only verses and a bridge written, Chris Jasper sent the others on a break, reprogrammed the drum machine, had the engineer put up a fresh 2-inch reel, and cut a new drum pattern, chord progression and synth bass. The whole ending was edited onto the body of the song afterward.","s":"bts-jasper-yt-2013"},{"t":"Chris Jasper sang along with the harpsichord line and kept his voice on it through the whole song, inside the harpsichord and a treble synth that follow the hi-hat pattern.","s":"bts-jasper-yt-2013"},{"t":"Every part on “Between the Sheets” except Ernie Isley’s guitar is Chris Jasper: the drum machine, the keyboards, the synth bass. Ernie and Jasper sang the guide vocals, and Ronald Isley cut his lead over them.","s":"bts-jasper-yt-2013"},{"t":"“Choosey Lover” was the one song on the album built in the studio: Ronald sang the melody he had in his head, Jasper found it on the piano, and Ernie filled in the guitar part around it.","s":"bts-soulculture-jasper"}],"listen":[{"track":"Between the Sheets","id":"1030463074","t":"Listen for the shift near the end, where the beat and chords change: a second reel, spliced on.","s":"bts-jasper-yt-2013","len":"5:40"},{"track":"Between the Sheets","id":"1030463074","t":"Listen for a soft voice inside the harpsichord line: Chris Jasper singing along with it.","s":"bts-jasper-yt-2013","len":"5:40"},{"track":"Choosey Lover","id":"1030463062","t":"Listen to the piano and guitar trading, worked out on the spot from a melody Ronald sang.","s":"bts-soulculture-jasper","len":"4:42"}],"sampled":[{"song":"Big Poppa","artist":"The Notorious B.I.G.","y":1994,"from":"Between the Sheets","kind":"sample","s":"echo-between-the-sheets-big-poppa","id":"204669664","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/50/5b/0e/505b0e6f-cb2d-df8f-58df-02a8d8e61c59/075679456762.jpg/{w}x{h}bb.jpg"},{"song":"Funkdafied","artist":"Da Brat","y":1994,"from":"Between the Sheets","kind":"sample","s":"echo-between-the-sheets-funkdafied","id":"203798038","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/63/6c/a1/636ca127-87af-04dd-d57d-d65c7bc8ef76/074646616420.jpg/{w}x{h}bb.jpg"},{"song":"She Don't Know My Name","artist":"Nelly feat. Snoop Dogg & Ronald Isley","y":2004,"from":"Between the Sheets","kind":"sample","s":"echo-between-the-sheets-she-don-t-know-my-name","id":"1440715487","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/4f/78/5b/4f785b2f-4397-e037-08dc-f43cbdca4cf6/06UMGIM12871.rgb.jpg/{w}x{h}bb.jpg"}]},"1038568061":{"stages":[{"k":"recording","y":"1975","h":"Original album production","scope":"Recorded and mixed at Electric Lady Studios in New York in 1975, produced by John Cale.","places":["electric-lady"],"credits":[["john-cale","Producer"],["bernie-kirsh","Engineer, mix"],["frank-daugusta","Assistant engineer"]],"src":["ho-discogs-1975","ho-mix-gloria"]},{"k":"original-master","y":"1975","h":"Original vinyl mastering","scope":"For the original 1975 Arista LP, cut at Sterling Sound in New York; not necessarily this digital edition.","places":["sterling-sound"],"credits":[["bob-ludwig","Mastering, lacquer cutting"],["bernie-kirsh","Mastering"]],"src":["ho-discogs-1975"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The overlapping voices in “Land” were put together in the mix from three vocal tracks, with Patti Smith herself on the faders, working them until all three fit together.","s":"ho-sos-cale"},{"t":"“Birdland” started as a track of barely four minutes. John Cale kept telling the band that if they wanted to improvise in the studio, he wanted to see some improvisation, and it grew into the nine-minute piece on the album.","s":"ho-vv-kaye"},{"t":"Horses was cut live onto a 16-track machine: the band together in Electric Lady’s Studio A, Smith in a vocal booth, choosing the best performance with few fixes. The studio’s 24-track heads arrived just after the album was done.","s":"ho-mix-gloria"},{"t":"John Cale produced from a darkened control room, sitting under the console with a talkback microphone so Smith couldn’t see him while she sang.","s":"ho-farout-oral"},{"t":"Cale left partway through the mixing. Engineer Bernie Kirsh mixed most of it with Smith, and when Kirsh had gone, assistant Frank D’Augusta stayed behind with the band and mixed “Birdland.”","s":"ho-farout-oral"},{"t":"Cale asked the band to swap their cheap instruments for ones that actually stayed in tune. They loved the old ones; he wanted to save studio time.","s":"ho-sos-cale"}],"listen":[{"track":"Land","id":"1038568073","t":"Listen to the opening: three vocal tracks laid over each other in the mix, with Smith on the faders.","s":"ho-sos-cale","len":"9:26"},{"track":"Birdland","id":"1038568066","t":"Listen to how far it travels: a song of barely four minutes, stretched by John Cale’s dare to improvise.","s":"ho-vv-kaye","len":"9:14"},{"track":"Gloria","id":"1038568064","t":"Listen to the band build behind Smith: cut live together in one room, with her in a booth.","s":"ho-mix-gloria","len":"5:55"}],"sampled":[{"song":"Heroin","artist":"Billy Idol","y":1993,"from":"Gloria","kind":"interpolation","s":"echo-horses-heroin","art":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/35/02/ae/3502ae51-1bd2-2144-0245-adbed350a380/00602557363388.rgb.jpg/{w}x{h}bb.jpg","id":"1442990947"}]},"1039796877":{"stages":[{"k":"original-master","y":"1972","h":"Original vinyl mastering","scope":"The original 1972 vinyl, cut at Trident Studios.","places":["trident"],"credits":[["ray-staff","Original mastering engineer"]],"src":["dna-bowie-ziggy"]},{"k":"remaster","y":"2012","h":"2012 digital remaster","scope":"The 2012 40th-anniversary remaster named in this edition’s title.","places":[],"credits":[["ray-staff","Digital remastering"]],"src":["dna-bowie-ziggy"]},{"k":"mix","y":"2024","h":"Dolby Atmos mix","scope":"The album’s first Dolby Atmos mix, released on Blu-ray and to streaming services in September 2024.","places":["rak"],"credits":[["ken-scott","Dolby Atmos mix"],["emre-ramazanoglu","Dolby Atmos mix"]],"src":["ziggy-2024-atmos"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"listen":[{"track":"Lady Stardust (2012 Remaster)","id":"1039797282","t":"Listen for Mick Ronson’s piano beneath Bowie’s vocal.","s":"listen20-1039796877","len":"3:21"}],"notes":[{"t":"Ken Scott, the album’s original co-producer, returned in 2024 to make its first Dolby Atmos mix with Emre Ramazanoglu at RAK Studios in London, aiming for the feel of a live show, with Bowie even moving across the stage near the end.","s":"ziggy-2024-atmos"}],"sampled":[{"song":"Star Guitar","artist":"The Chemical Brothers","y":2002,"from":"Starman","kind":"sample","s":"echo-ziggy-star-guitar","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/52/02/8e/52028ed3-f0d8-e341-3126-dcfaf25a8bd1/00724381189559.rgb.jpg/{w}x{h}bb.jpg","id":"721206868"},{"song":"1980","artist":"Groove Armada","y":2010,"from":"Moonage Daydream","kind":"sample","s":"echo-ziggy-1980","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/21/c8/1e/mzi.asqckmhl.jpg/{w}x{h}bb.jpg","id":"396724362"},{"song":"For Everything","artist":"Rapsody","y":2011,"from":"Soul Love","kind":"sample","s":"echo-ziggy-for-everything","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/80/70/68/80706815-f6ba-bfbe-0bef-f57b8f527834/888915813461_cover.jpg/{w}x{h}bb.jpg","id":"1450988401"}]},"1046187510":{"stages":[{"k":"recording","y":"1994","h":"Original album production","scope":"Recorded mostly at Bearsville Studios near Woodstock, New York, from September 1993, with later sessions in New York City, where “So Real” was cut. Andy Wallace produced and engineered everything except “So Real,” which Buckley produced with Clif Norrell engineering; Wallace mixed the whole album.","places":["bearsville","sony-studios-ny","soundtrack-studios"],"credits":[["andy-wallace","Producer, engineer, mix"],["clif-norrell","Engineer"]],"artistProduced":true,"src":["gr-discogs-1994","gr-discogs-2004","gr-rs-10things"]},{"k":"original-master","y":"1994","h":"Original mastering","scope":"For the original 1994 album, not necessarily this digital edition.","places":["masterdisk"],"credits":[["howie-weinberg","Mastering"]],"src":["gr-discogs-1994","gr-discogs-2004"]},{"k":"remaster","y":"2004","h":"2004 remaster","scope":"George Marino’s remaster for the 2004 Legacy Edition, which first released “Forget Her,” the 11th song here. Whether this edition comes from that remaster hasn’t been documented.","places":["sterling-sound"],"credits":[["george-marino","Remastering"]],"src":["gr-discogs-2004"]},{"k":"mix","y":"2025","h":"Dolby Atmos mix","scope":"Steven Wilson’s Dolby Atmos mix of the album, released in December 2025; he says it’s the one on Apple Music.","places":[],"credits":[["steven-wilson","Dolby Atmos mix"]],"src":["gr-sw-remix"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"“Hallelujah” was recorded straight to stereo: there was no multitrack, just Buckley and his guitar. So in the Dolby Atmos mix, Steven Wilson couldn’t pull them apart; he added reflections and reverb behind and above, as if Buckley were singing in a church.","s":"gr-iaa-wilson"},{"t":"Buckley recorded “Hallelujah” more than 20 times, chasing phrasing he heard in his head, and the version on the album was stitched together from several of those takes.","s":"gr-rs-10things"},{"t":"By Matt Johnson’s account, he had known Buckley only two or three weeks when the sessions began; his first jam with Buckley and bassist Mick Grøndahl produced the skeleton of “Dream Brother.”","s":"gr-rs-10things"},{"t":"Gary Lucas, who co-wrote “Grace” and “Mojo Pin,” doubled all the main riffs on both. On his last morning, left alone in the studio, he improvised “space guitar” textures through both songs.","s":"gr-spin-2024"},{"t":"“So Real” was a late addition, cut in New York from Michael Tighe’s riff. By Tighe’s account, Buckley went for a two-hour walk around Hell’s Kitchen, came back at about 1 a.m. with the words, and sang it in two takes.","s":"gr-spin-2024"}],"listen":[{"track":"Hallelujah","id":"1046187586","t":"Listen in Dolby Atmos: voice and guitar can’t be pulled apart, so Steven Wilson added extra reverb and reflections behind and above, like a church.","s":"gr-iaa-wilson","len":"6:53"},{"track":"Mojo Pin","id":"1046187512","t":"Listen to the main riffs: Gary Lucas, who co-wrote the song, doubled every one of them.","s":"gr-spin-2024","len":"5:42"},{"track":"So Real","id":"1046187584","t":"Listen to the vocal: by Michael Tighe’s account, words written on a late walk around Hell’s Kitchen and sung in two takes.","s":"gr-spin-2024","len":"4:43"}]},"1048472205":{"stages":[{"k":"recording","y":"1972","h":"Original album production","scope":"The original 1972 Curtom soundtrack album.","places":["rca-chicago","bell-sound"],"credits":[["curtis-mayfield","Producer"],["roger-anfinsen","Engineer"],["johnny-pate","Arranger"]],"src":["dna-superfly-wiki","superfly-discogs"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Curtis Mayfield doesn’t play guitar on “Freddie’s Dead.” He was in the control booth and Phil Upchurch couldn’t make it, so Craig McMullen is the only guitar on the track.","s":"superfly-atria-wax"},{"t":"“Pusherman” is the only track cut in New York, at Bell Sound, while the band was in town to film its cameo. It’s also the only one with drummer Tyrone McCullen and the only one made without Johnny Pate and a full orchestra.","s":"superfly-gonzales-wax"},{"t":"Everything else was cut at RCA’s Studio A in Chicago in three days, band and orchestra together, up to about 40 players at once. The room was so full that the backing singers sang from the control booth, and Curtis added his vocals afterward.","s":"superfly-gonzales-wax"},{"t":"Curtis couldn’t write music down. He brought Johnny Pate his songs on cassette, and Pate built the harps, horns and strings around them.","s":"superfly-gonzales-wax"},{"t":"On “Little Child Runnin’ Wild,” Curtis plays lead in a 2/4 pattern and Craig McMullen fills only the gaps, what he calls playing in the chinks.","s":"superfly-gonzales-wax"}],"listen":[{"track":"Little Child Runnin' Wild","id":"1048472218","t":"Listen for two guitars locking together: Curtis’s steady 2/4 lead and McMullen’s short fills in the spaces.","s":"superfly-gonzales-wax","len":"5:24"},{"track":"Pusherman","id":"1048472219","t":"Listen for a leaner band with no orchestra and a different drummer, cut in New York apart from the rest.","s":"superfly-gonzales-wax","len":"5:04"},{"track":"Freddie's Dead (Theme from \"Superfly\")","id":"1048472221","t":"Listen for the guitar: it’s all Craig McMullen, with Curtis in the control booth.","s":"superfly-atria-wax","len":"5:28"}],"sampled":[{"song":"I'm Your Pusher","artist":"Ice-T","y":1988,"from":"Pusherman","kind":"sample","s":"echo-superfly-soundtra-i-m-your-pusher","id":"268496713","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/d2/a2/82/d2a2825f-e53a-bf16-9350-91ababaacd7f/075992576529.jpg/{w}x{h}bb.jpg"},{"song":"I'm Shady","artist":"Eminem","y":1999,"from":"Pusherman","kind":"sample","s":"echo-superfly-soundtra-i-m-shady","id":"1440871850","art":"https://is1-ssl.mzstatic.com/image/thumb/Music116/v4/82/3b/60/823b6012-8dd5-b74c-55d0-6a104ec91430/06UMGIM04056.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Intro","artist":"The Notorious B.I.G.","y":1994,"from":"Superfly","kind":"sample","s":"echo-superfly-soundtra-intro","id":"204669328","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/50/5b/0e/505b0e6f-cb2d-df8f-58df-02a8d8e61c59/075679456762.jpg/{w}x{h}bb.jpg"}]},"1049069472":{"stages":[{"k":"recording","y":"1976","h":"Original album production","scope":"Recorded at A&R Recording in New York in 1976 and mixed at Atlantic Studios.","places":["ar-recording","atlantic-studios"],"credits":[["andy-johns","Producer, engineer, mix"],["tom-verlaine","Producer"],["jim-boyer","Assistant engineer"]],"src":["mm-discogs-1977","mm-discogs-4mwb"]},{"k":"original-master","y":"1977","h":"Original vinyl mastering","scope":"For the original 1977 Elektra LP, not necessarily this digital edition.","places":[],"credits":[["greg-calbi","Mastering"],["lee-hulko","Mastering"]],"src":["mm-discogs-1977"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The band couldn’t afford to rent a rotating speaker for Richard Lloyd’s solo on “Elevation,” so Andy Johns stood in front of him in the studio, swinging a microphone around his head like a lasso while he played. He nearly took Lloyd’s nose off.","s":"mm-love-lloyd"},{"t":"Lloyd’s “Elevation” solo is two takes, played note for note and stacked. They separate slightly only in the last bar, as he goes off.","s":"mm-love-lloyd"},{"t":"Lloyd asked to play his chiming part on “Venus” a second time, to make a stereo pair. When Tom Verlaine heard it, he told him: “Do that to everything!”","s":"mm-love-lloyd"},{"t":"On the first day, Andy Johns played the band drums he had set up and recorded the night before: a humongous, pumped-up John Bonham sound. Verlaine told him to take it apart and mic the drums smaller.","s":"mm-love-lloyd"},{"t":"The take of “Prove It” on the album was cut while Andy Johns lay snoring in the producer’s chair with a bottle of red wine in his hand. The band ran the song around him, then played the tape back louder and louder until he woke up.","s":"mm-uncut-lloyd"}],"listen":[{"track":"Elevation","id":"1049069477","t":"Listen to the solo’s moving tone: in place of a rotating speaker, Andy Johns swung a microphone around his head like a lasso.","s":"mm-love-lloyd","len":"5:10"},{"track":"Elevation","id":"1049069477","t":"Listen to the last bar of the guitar solo: two identical takes drift apart just as Lloyd finishes.","s":"mm-love-lloyd","len":"5:10"},{"track":"Prove It","id":"1049069480","t":"Listen to the whole take: the band cut it while the producer slept in the control room.","s":"mm-uncut-lloyd","len":"5:06"}]},"1051022913":{"stages":[{"k":"recording","y":"2015","h":"Original album production","scope":"The original 2015 4AD album: written, performed, produced and engineered by Grimes, mostly at home in Los Angeles, and mixed at The Mixsuite LA.","places":["mixsuite"],"credits":[["spike-stent","Mixing"],["geoff-swan","Mix assistant"]],"artistProduced":true,"src":["aa-discogs-2015","aa-fader-2015"]},{"k":"original-master","y":"2015","h":"Original mastering","scope":"For the 2015 4AD release, not necessarily this digital edition.","places":["sterling-sound"],"credits":[["tom-coyne","Mastering engineer"],["randy-merrill","Mastering engineer"]],"src":["aa-discogs-2015"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Art Angels is Grimes’s first attempt at guitar. After Visions she didn’t want to play keys and be called synth-pop.","s":"aa-rs-grimes-2016"},{"t":"She recorded and engineered every instrument herself, guitar, drums, keys, ukulele and violin, learning to play each one first, and learned to mic her own vocals. Most of it was tracked at home.","s":"aa-fader-2015"},{"t":"One of the first things she did while learning guitar was look up the chords of Dolly Parton’s “Jolene.” She used them on “Belly of the Beat.”","s":"aa-rs-grimes-2016"},{"t":"Her violins are heavily Auto-Tuned: she recorded a batch of single notes and arranged them into lines afterward.","s":"aa-rs-grimes-2016"},{"t":"“Butterfly” carries a sample of “Penguin Dancer,” written by the Japanese guitarist Masayoshi Takanaka with Shu Suzuki.","s":"aa-discogs-2015"}],"listen":[{"track":"Belly of the Beat","id":"1051023733","t":"Listen to the chords under the melody: Dolly Parton’s “Jolene,” looked up while she learned guitar.","s":"aa-rs-grimes-2016","len":"3:25"},{"track":"Butterfly","id":"1051023745","t":"Listen for a piece of Masayoshi Takanaka’s “Penguin Dancer,” sampled into the track.","s":"aa-discogs-2015","len":"4:12"}]},"1055803853":{"stages":[{"k":"recording","y":"1979","h":"Original album production","scope":"Recorded at The Village Recorder in Los Angeles, with some songs recorded by Lindsey Buckingham at home. Produced by Fleetwood Mac with Ken Caillat and Richard Dashut.","places":["village-recorder"],"credits":[["ken-caillat","Co-producer, engineer"],["richard-dashut","Co-producer, engineer"],["hernan-rojas","Additional recording"]],"artistProduced":true,"src":["tu-discogs-1979"]},{"k":"original-master","y":"1979","h":"Original vinyl mastering","scope":"For the original 1979 Warner Bros. double LP, cut at Capitol in Hollywood; not necessarily this digital edition.","places":["capitol-mastering"],"credits":[["ken-perry","Mastering, lacquer cutting"]],"src":["tu-discogs-1979"]},{"k":"remaster","y":"2015","h":"2015 remaster","scope":"Dan Hersch’s remaster at D2 in Los Angeles for the 2015 reissues, produced by Bill Inglot and Steve Woolard. This edition carries the 2015 copyright and the same 20 songs; whether it comes from that remaster hasn’t been documented.","places":["d2-mastering"],"credits":[["dan-hersch","Remastering"],["bill-inglot","Reissue producer"],["steve-woolard","Reissue producer"]],"src":["tu-discogs-2015"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The beat under “Tusk” is a tape loop: Buckingham and Richard Dashut took a 20-second stretch of Mick Fleetwood’s drumming from an unfinished song, sped it up, and copied it over and over. The loop reached across the control room, and someone had to stand in the middle holding it up so it wouldn’t sag.","s":"tu-rs-1980"},{"t":"The USC Trojan Marching Band on “Tusk” was recorded live at Dodger Stadium, from Ken Caillat’s recording truck. He set up microphones for the band to stand in front of; they told him they don’t play unless they march, so he had to work out how to record a band on the move.","s":"tu-smashing-caillat"},{"t":"Mick Fleetwood’s percussion on “Tusk” piles overdubbed wooden tribal drums on top of floor toms, Kleenex boxes and slapped lamb chops. Somewhere in there is a leg of lamb, hit with a spatula.","s":"tu-musicradar-fleetwood"},{"t":"Buckingham made several of his Tusk songs almost entirely at home, playing all the instruments himself. On “The Ledge” he sang all four or five vocals in his bathroom, on his knees, with the microphone on the floor, because it sounded weird.","s":"tu-rs-1980"},{"t":"For a really weird vocal on “Not That Funny,” Buckingham had a microphone taped to a tile floor in the studio and sang over it from a push-up position.","s":"tu-rs-10things"},{"t":"On “Sara,” Stevie Nicks’s guide vocal had her rough piano bleeding into it, and the two couldn’t be separated. Mick Fleetwood spent about 24 hours dropping in brushes phrase by phrase to follow her timing, and that’s the take on the album, with Nicks on piano.","s":"tu-rs-10things"},{"t":"Peter Green, who co-founded Fleetwood Mac, came in to play on “Brown Eyes.” All that was kept is a short flurry of notes in the fade-out.","s":"tu-rs-10things"}],"listen":[{"track":"Tusk","id":"1055804196","t":"Listen for the drums under everything: a sped-up tape loop so long someone had to hold it up in the middle of the room.","s":"tu-rs-1980","len":"3:37"},{"track":"The Ledge","id":"1055804176","t":"Listen to the ragged stack of voices: four or five vocals, all sung on Buckingham’s knees into a mic on his bathroom floor.","s":"tu-rs-1980","len":"2:07"},{"track":"Brown Eyes","id":"1055804189","t":"Listen to the fade-out for a short flurry of guitar: Peter Green, the band’s co-founder, in the only part of his session that was kept.","s":"tu-rs-10things","len":"4:27"}],"sampled":[{"song":"Lost and Found (S.F.L.)","artist":"DJ Shadow","y":1994,"from":"Brown Eyes","kind":"sample","s":"echo-tusk-lost-and-found","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/15/3b/f3/153bf3a2-2d3b-57a7-7f0c-c1ecbf52837a/5400863213206_cover.jpg/{w}x{h}bb.jpg","id":"6783457605"}]},"1065973975":{"stages":[{"k":"recording","y":"1975","h":"Original album production","scope":"Recorded and mixed at Abbey Road Studios, London, between January and July 1975, around the band’s American tours.","places":["abbey-road"],"credits":[["brian-humphries","Engineer, mix"],["peter-james","Assistant engineer"]],"artistProduced":true,"src":["wywh-discogs-1975","wywh-sos-classic"]},{"k":"remaster","y":"2011","h":"2011 remaster","scope":"James Guthrie and Joel Plante’s remaster, reissued on Pink Floyd Records in 2016. This edition carries the 2016 line; whether this digital edition comes from that master hasn’t been documented.","places":["das-boot"],"credits":[["james-guthrie","Mastering"],["joel-plante","Mastering"]],"src":["wywh-discogs-2011","wywh-discogs-2016"]},{"k":"mix","y":"2025","h":"Dolby Atmos mix","scope":"James Guthrie’s Dolby Atmos mix of the original five-track album, released digitally for its 50th anniversary in 2025.","places":[],"credits":[["james-guthrie","Dolby Atmos mix"]],"src":["wywh-50-2025"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The backing track of “Shine On You Crazy Diamond” is the band’s third attempt. The second, cut in a single day, was lost on playback: Studio Three had just installed a Studer A80 24-track and an EMI-modified Neve desk that nobody knew how to operate, and the echo returns had been switched from the monitors onto tape tracks one and two, printing echo on the tom-toms, guitars and keyboards.","s":"wywh-sos-classic"},{"t":"Stéphane Grappelli plays violin on “Wish You Were Here.” He and Yehudi Menuhin were recording at Abbey Road at the same time and came by to say hello, and someone asked them both to play. In the mix used on the album, Grappelli is virtually inaudible.","s":"wywh-strad-grappelli"},{"t":"The opening of “Wish You Were Here” is staged: the first guitar is meant to be playing on a radio, and the second is a kid at home in their bedroom, joining in. It was meant not to sound too slick.","s":"wywh-louder-gilmour"}],"listen":[{"track":"Wish You Were Here","id":"1065973980","t":"Listen to the two acoustic guitars at the start: one is meant to be on the radio, the other a kid at home playing along.","s":"wywh-louder-gilmour","len":"5:38"}],"sampled":[{"song":"Around the World in a Tea Daze","artist":"Shpongle","y":2001,"from":"Welcome to the Machine","kind":"sample","s":"echo-wish-you-were-here-around-the-world-in-a-tea-daze","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/ef/ef/29/efef29a9-80d6-979a-7e24-af54e1f79159/s05.sjzbgtlh.jpg/{w}x{h}bb.jpg","id":"5296665"}]},"1065975633":{"stages":[{"k":"recording","y":"1979","h":"Original album production","scope":"Recorded between April and November 1979 at Super Bear and Studio Miraval in France, CBS in New York and Producers Workshop in Los Angeles, produced by Bob Ezrin with David Gilmour, Roger Waters and James Guthrie.","places":["super-bear","miraval","producers-workshop"],"credits":[["bob-ezrin","Producer"],["james-guthrie","Co-producer, engineer"],["nick-griffiths","Engineer"]],"artistProduced":true,"src":["tw-discogs-1979","tw-discogs-2011"]},{"k":"original-master","y":"1979","h":"Original vinyl mastering","scope":"Lacquers for the original 1979 Harvest LP were cut at The Mastering Lab in Los Angeles; not necessarily this digital edition.","places":["mastering-lab"],"credits":[["doug-sax","Mastering"]],"src":["tw-discogs-1979-uk"]},{"k":"remaster","y":"2011","h":"2011 remaster","scope":"James Guthrie and Joel Plante’s remaster, reissued on Pink Floyd Records in 2016. This edition carries the 2016 line; whether this digital edition comes from that master hasn’t been documented.","places":["das-boot"],"credits":[["james-guthrie","Mastering"],["joel-plante","Mastering"]],"src":["tw-discogs-2011","tw-discogs-2016"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"When Roger Waters wrote “Another Brick in the Wall, Part 2,” it was one verse and one chorus, about 1:20 long. The band refused to write more, so while they were out, Bob Ezrin used the studio’s two-machine setup to copy the first verse and chorus, put a drum fill between them, and stretch the chorus.","s":"tw-mr-ezrin"},{"t":"The disco beat under “Another Brick in the Wall, Part 2” came from a session Bob Ezrin had done in New York, where Chic’s Nile Rodgers and Bernard Edwards were working in the next studio. That drum beat kept playing in his head when he heard Waters’s song.","s":"tw-mr-ezrin"},{"t":"The children on “Another Brick in the Wall, Part 2” are 25 pupils from Islington Green School, recorded in England by engineer Nick Griffiths from a tape sent over from Los Angeles. Waters planned to use them as background under his and Gilmour’s vocals, then heard the tape and let them sing the verse alone.","s":"tw-rs-brick"},{"t":"Gilmour built his solo on “Comfortably Numb” as a composite: he played five or six solos, charted the good bits of each, then built one solo by riding the faders from take to take, phrase by phrase.","s":"tw-louder-numb"},{"t":"“Comfortably Numb” existed in two versions: a leaner one Gilmour liked and an orchestral one Waters and Ezrin liked. The record splices them: the first verse comes from Gilmour’s version and the second from Waters’s.","s":"tw-louder-numb"}],"listen":[{"track":"Another Brick In the Wall, Pt. 2","id":"1065975638","t":"Listen to the second verse, sung by the children: under it is a tape copy of the first verse and chorus, made while the band was out.","s":"tw-mr-ezrin","len":"3:58"},{"track":"Comfortably Numb","id":"1065976170","t":"Listen to Gilmour’s solo: built phrase by phrase from five or six takes.","s":"tw-louder-numb","len":"6:22"},{"track":"Comfortably Numb","id":"1065976170","t":"Listen to the two verses: the first is from Gilmour’s version of the song, the second from Waters’s.","s":"tw-louder-numb","len":"6:22"}],"sampled":[{"song":"Revelation","artist":"D12","y":2001,"from":"Another Brick In the Wall, Pt. 2","kind":"interpolation","s":"echo-the-wall-revelation","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/b2/e1/7b/b2e17b37-2372-3591-3bed-9002a6b14e20/21UMGIM39059.rgb.jpg/{w}x{h}bb.jpg","id":"1568563518"},{"song":"Landscape","artist":"Robert Miles","y":1996,"from":"Is There Anybody Out There?","kind":"sample","s":"echo-the-wall-landscape","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/d5/00/56/d5005629-9beb-f05a-fee0-b243b8681099/078221893022.jpg/{w}x{h}bb.jpg","id":"270572830"},{"song":"Simple Things Part 2","artist":"Dirty Vegas","y":2002,"from":"Another Brick In the Wall, Pt. 2","kind":"interpolation","s":"echo-the-wall-simple-things-part-2","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/48/7d/f3/487df336-df5c-5652-97d0-d180a81c5e10/885012032559.png/{w}x{h}bb.jpg","id":"1818124651"}]},"1133378411":{"stages":[{"k":"recording","y":"1972","h":"Original album production","scope":"The original 1972 Hi album.","places":["royal"],"credits":[["willie-mitchell","Producer"]],"src":["dna-stillinlove-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Before “Love and Happiness” was cut, Teenie Hodges warned Al Green that when he sang the title over the guitar intro, Willie Mitchell would tell him not to and to go straight into it, and told Al to refuse. That’s what happened, and the sung intro stayed.","s":"green-teenie-psf"},{"t":"Partway through the “Love and Happiness” session, Mitchell pulled Al Jackson Jr. off the drums and put Howard Grimes in his place. Jackson wanted to play it pretty; Mitchell wanted the track funky.","s":"green-grimes-rs"},{"t":"Grimes made up the drum intro of “I’m Glad You’re Mine” on the spot when Mitchell asked for something kind of crazy, borrowing the rhythm of Lee Dorsey’s New Orleans hit “Working in the Coal Mine.”","s":"green-grimes-rs"},{"t":"Mitchell built his chords with the Schillinger system, a mathematical method Memphis musician Onzie Horn taught him at 16, and leaned on it especially for “I’m Still in Love with You.”","s":"green-mitchell-mc"}],"listen":[{"track":"Love and Happiness","id":"1133378696","t":"Listen to the opening: Al singing the title over Teenie’s guitar, the intro Mitchell didn’t want.","s":"green-teenie-psf","len":"5:07"},{"track":"I'm Glad You're Mine","id":"1133378682","t":"Listen for the stuttering drum intro, a New Orleans rhythm Howard Grimes made up on the spot.","s":"green-grimes-rs","len":"2:57"},{"track":"I'm Still In Love with You","id":"1133378525","t":"Listen for the big stacked chords in the horns and strings, voiced with a system Mitchell learned at 16.","s":"green-mitchell-mc","len":"3:11"}],"sampled":[{"song":"These Are Our Heroes","artist":"Nas","y":2004,"from":"I'm Glad You're Mine","kind":"sample","s":"echo-i-m-still-in-love-these-are-our-heroes","id":"193130949","art":"https://is1-ssl.mzstatic.com/image/thumb/Features124/v4/34/52/9d/34529d13-5089-31fa-4a81-17286635a228/dj.zstylxrx.jpg/{w}x{h}bb.jpg"},{"song":"Flower","artist":"Eels","y":1996,"from":"I'm Glad You're Mine","kind":"sample","s":"echo-i-m-still-in-love-flower","id":"1660467550","art":"https://is1-ssl.mzstatic.com/image/thumb/Music122/v4/18/df/09/18df09a9-e8c5-02c4-e00f-fe20e5e97ad9/5400863103811_cover.jpg/{w}x{h}bb.jpg"}]},"1195104858":{"stages":[{"k":"recording","y":"1975","h":"Original album production","scope":"Recorded and mixed at Cherokee Studios in Hollywood in the autumn of 1975, produced by Bowie with Harry Maslin.","places":["cherokee"],"credits":[["harry-maslin","Producer, mix"]],"artistProduced":true,"src":["sts-discogs-1976","sts-discogs-wcibn"]},{"k":"remaster","y":"2016","h":"2016 remaster","scope":"The 2016 remaster named in this edition’s title, made from the original 1976 mix (not Harry Maslin’s 2010 remix) for the box Who Can I Be Now? (1974–1976).","places":[],"credits":[["ray-staff","Remastering"],["harry-maslin","Remastering"]],"src":["sts-discogs-wcibn","sts-seconddisc-2016"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Roy Bittan was in Los Angeles on tour with the E Street Band when Bowie asked whether he knew Professor Longhair. He overdubbed the piano on “TVC15” in that style, and none of his parts on the album took more than one or two takes, all made up on the spot.","s":"sts-bittan-2026"},{"t":"The train that opens “Station to Station” is guitar feedback, from experiments Bowie had never tried before this album.","s":"sts-git-slick"},{"t":"Geoff MacCormack, singing backup as Warren Peace, came up with the swooping “gold” phrase and the “wah, wah, wah” tags on “Golden Years,” and finished the high notes after Bowie lost his voice. Years later Bowie didn’t remember, then conceded: “OK. You can have the wah, wah, wahs.”","s":"sts-herald-maccormack"},{"t":"Earl Slick took the guitar lick on “Golden Years” mostly from Cream’s “Outside Woman Blues,” with a little of “Funky Broadway” morphed in.","s":"sts-git-slick"},{"t":"“Stay” began as Bowie’s attempt to remake “John, I’m Only Dancing.” He asked Earl Slick for a lick, the song drifted far from the original, and the two still share some very familiar chord changes.","s":"sts-git-slick"}],"listen":[{"track":"TVC15","id":"1195105205","t":"Listen to the piano: Roy Bittan doing Professor Longhair, as Bowie asked.","s":"sts-bittan-2026","len":"5:35"},{"track":"Station to Station","id":"1195105201","t":"Listen to the train at the start: it’s guitar feedback.","s":"sts-git-slick","len":"10:17"},{"track":"Golden Years","id":"1195105202","t":"Listen for the “wah, wah, wah” tags: Geoff MacCormack’s idea, which Bowie later granted him.","s":"sts-herald-maccormack","len":"4:03"}],"sampled":[{"song":"Fried Chicken: A Day In The Life","artist":"Princess Superstar","y":1996,"from":"Stay","kind":"sample","s":"echo-station-to-station-fried-chicken","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/b9/a3/47/b9a347f7-6cec-2320-d88d-c6892f7a48fc/901206.jpg/{w}x{h}bb.jpg","id":"1841835886"}]},"1195661599":{"stages":[{"k":"recording","y":"1969","h":"Original album production","scope":"The original 1969 sessions, produced by James William Guercio. “25 or 6 to 4” was cut in Studio B at CBS Columbia Square in Hollywood on July 24, 1969, with Don Puluse engineering.","places":["cbs-columbia-square"],"credits":[["james-william-guercio","Producer"],["don-puluse","Engineer"]],"src":["chicago2-mix-2019"]},{"k":"mix","y":"2017","h":"Steven Wilson stereo remix","scope":"Steven Wilson’s 2017 stereo remix, the one this edition’s title names.","places":[],"credits":[["steven-wilson","Remix engineer"]],"src":["dna-chicago-2017"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The horns on “25 or 6 to 4” are three full passes stacked. Pass A went down first; B and C were each recorded while being mixed live with A onto a fresh track, and then A itself was wiped. Don Puluse EQ’d each stack a little differently so the shared pass wouldn’t pile up in the middle, and James Pankow switched voicings between passes. That’s how three horns sound like 40.","s":"chicago2-mix-2019"},{"t":"The riff is three Terry Kath guitars, not one: a clean octave part played live, an overdriven overdub the track sheet calls “GIT FUNK,” and a fuzz overdub marked “NEW FUZZ,” all through a modified Fender Concert amp. Guercio wanted three different sounds for a stereo guitar effect.","s":"chicago2-mix-2019"},{"t":"Danny Seraphine played the drums twice: a straight-time pass cut live in mono, then a second pass alone for the accents and a five-stroke roll. The two rub against each other a little, and he kept it that way.","s":"chicago2-mix-2019"},{"t":"Peter Cetera’s jaw was broken in three places in a fight at Dodger Stadium on May 20, 1969, and wired shut for months, and Guercio wouldn’t wait for it to heal. Cetera learned to sing differently, through clenched teeth, and that became his sound.","s":"chicago2-mix-2019"},{"t":"Kath’s solo was an overdub on track 8, put together from three different solo parts over several passes and a few punch-ins.","s":"chicago2-mix-2019"},{"t":"Steven Wilson’s remix started from 96 kHz, 24-bit transfers of the 16-track tapes, with every element isolated, and rebuilt the mix from the drums up: the 1970 mix’s EQ, stereo placement, reverbs, effects and fader moves recreated for each part, with the things that had been muffled or buried pulled back out.","s":"chicago2-wilson-2017"}],"listen":[{"track":"25 or 6 to 4 (Steven Wilson Remix)","id":"1195661666","t":"Listen for three Terry Kath guitars in the riff: a clean octave line under two dirtier ones, spread left and right.","s":"chicago2-mix-2019","len":"4:57"},{"track":"25 or 6 to 4 (Steven Wilson Remix)","id":"1195661666","t":"Listen to the drums: a steady timekeeping pass with a second pass of accents and rolls laid on top.","s":"chicago2-mix-2019","len":"4:57"},{"track":"Movin' In (Steven Wilson Remix)","id":"1195661619","t":"Listen for each horn, drum and guitar standing apart: a remix rebuilt from the 16-track tapes.","s":"chicago2-wilson-2017","len":"4:05"}],"sampled":[{"song":"What You Know About It","artist":"Petey Pablo","y":2004,"from":"25 or 6 to 4","kind":"sample","s":"echo-chicago-ii-what-you-know-about-it","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/75/fd/77/75fd771a-aa69-f5ec-f016-2c2cb9f753a2/mzi.hsybivcb.jpg/{w}x{h}bb.jpg","id":"252809458"},{"song":"Throw Your Hands Up","artist":"Tank","y":2001,"from":"25 or 6 to 4","kind":"sample","s":"echo-chicago-ii-throw-your-hands-up","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/dc/73/b4/dc73b408-396c-e029-5987-7da0d1e90c3d/5034644712871.jpg/{w}x{h}bb.jpg","id":"1816084663"},{"song":"Return of the Product","artist":"MC Serch","y":1992,"from":"It Better End Soon (1st Movement)","kind":"sample","s":"echo-chicago-ii-return-of-the-product","art":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/8e/52/a5/8e52a5b6-e8bc-79d8-f44a-57865d9c0c91/00602537674497.rgb.jpg/{w}x{h}bb.jpg","id":"1444027023"}]},"1229320468":{"stages":[{"k":"recording","y":"1984","h":"Original album production","scope":"The original 1984 Warner Bros. soundtrack album.","places":["kiowa-trail","the-warehouse","record-plant-ny","sunset-sound"],"credits":[["prince","Producer"],["david-leonard","Recording engineer"],["susan-rogers","Recording engineer"],["peggy-mccreary","Recording engineer"]],"src":["dna-purplerain-wiki"]},{"k":"remaster","y":"2015","h":"2015 Paisley Park remaster","scope":"The remaster of the nine album songs that Prince oversaw at Paisley Park in 2015, named in this edition’s title. The vault songs were mastered by Bernie Grundman, who mastered the album in 1984.","places":["paisley-park"],"credits":[["prince","Remaster supervision"],["bernie-grundman","Mastering, vault songs"]],"src":["pr-discogs-2017","pr-sde-2017"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The drums on “Darling Nikki” were recorded with a single mono microphone on the whole kit, and the song’s multitrack holds only 11 tracks.","s":"pr-sde-james"},{"t":"At First Avenue, where the album’s “Purple Rain” was recorded live, a small microphone inside Bobby Z’s snare was set up to trigger a LinnDrum. In Bobby Z’s words, Prince wanted the Linn’s snare sounds with the feel of a drummer.","s":"pr-mix-2009"},{"t":"The bass Prince pulled from “When Doves Cry” on the last night of mixing was an Oberheim synth bass playing 16th notes. It is still on the multitrack.","s":"pr-sde-james"},{"t":"The band cut “Let’s Go Crazy” in its rehearsal warehouse in St. Louis Park, Minnesota, with a carpet thrown on the floor, the console set up in front of them and no isolation. Susan Rogers and Prince finished the mix there and printed it.","s":"pr-mix-lgc"}],"listen":[{"track":"Darling Nikki","id":"1229320474","t":"Listen for the whole drum kit arriving as one mono image: a single microphone recorded all of it.","s":"pr-sde-james","len":"4:15"},{"track":"When Doves Cry","id":"1229320475","t":"Listen for the empty space where a bass would be; Prince muted it on the last night of mixing, grinning that nobody would believe it.","s":"pr-musicradar-mccreary","len":"5:53"},{"track":"Purple Rain","id":"1229320478","t":"Listen for the snare once the drums come in: a microphone inside Bobby Z’s drum was set up to fire a LinnDrum, so a machine follows a drummer’s hands.","s":"pr-mix-2009","len":"8:44"}],"sampled":[{"song":"Pray","artist":"MC Hammer","y":1990,"from":"When Doves Cry","kind":"sample","s":"echo-purple-rain-delux-pray","id":"724315470","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/88/3d/74/883d74ea-aa53-99d8-e00c-f38fbba93d1d/13UABIM56742.rgb.jpg/{w}x{h}bb.jpg"}]},"1239489060":{"stages":[{"k":"recording","y":"1996","h":"Original album production","scope":"Recorded in 1996 on the band’s own gear, first at Canned Applause, their rehearsal space near Didcot, then at St Catherine’s Court, Jane Seymour’s house near Bath, with the library as control room. Produced by Nigel Godrich and Radiohead; overdubs and mixing followed at studios including Abbey Road. “Lucky” dates from a 1995 session.","places":["canned-applause","st-catherines-court","abbey-road"],"credits":[["nigel-godrich","Producer, engineer, mix"]],"artistProduced":true,"src":["okc-discogs-1997","okc-rs-2017","okc-gw-1998"]},{"k":"original-master","y":"1997","h":"Original mastering","scope":"For the original 1997 Parlophone release, mastered at Abbey Road; not necessarily this digital edition.","places":["abbey-road"],"credits":[["chris-blair","Mastering"]],"src":["okc-discogs-1997"]},{"k":"remaster","y":"2017","h":"2017 remaster","scope":"Bob Ludwig’s remaster for the 2017 OKNOTOK reissue, which added eight B-sides and three songs never released before. This edition has the same 23 tracks; whether it comes from that remaster hasn’t been documented.","places":[],"credits":[["bob-ludwig","Remastering"]],"src":["okc-discogs-2017","okc-discogs-2017lp"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The “Airbag” beat is a DJ Shadow-style drum loop. Nigel Godrich gave Thom Yorke and Phil Selway a couple of hours to make one; a day and a half later it still wasn’t exciting, so he ran it through Jonny Greenwood’s pedal board, and all three takes of Greenwood mangling it are on the record.","s":"okc-rs-2017"},{"t":"“Paranoid Android” was assembled from completely different parts. Nigel Godrich faked and tape-edited them into one another so the whole song runs straight through on the 24-track.","s":"okc-rs-2017"},{"t":"Jonny Greenwood put a Mellotron on “Paranoid Android” after hearing one on a Genesis record. The choir tapes that came with it had once belonged to Tangerine Dream, and he loves that the notes run out after a few seconds.","s":"okc-rs-2017"},{"t":"For “Paranoid Android,” the band ran a microphone on a long cable out to a glass room in the garden at St Catherine’s Court, and Thom Yorke went out there and screamed his head off.","s":"okc-rs-2017"},{"t":"“Karma Police” was recorded complete until Thom Yorke told Nigel Godrich over a pint that he didn’t like the second half. From the middle section on, they rebuilt it from scratch out of samples and loops, the first time they had worked that way.","s":"okc-rs-2017"},{"t":"“Lift,” “Man of War” and “I Promise” were recorded back then, and by Phil Selway’s account the label was counting on them as hits. The band delivered the album without any of them.","s":"okc-rs-2017"}],"listen":[{"track":"Exit Music (For a Film) [Remastered]","id":"1239489065","t":"Listen to how loud the voice comes in at the start: an idea taken from Johnny Cash’s prison recordings.","s":"okc-rs-2017","len":"4:25"},{"track":"Karma Police (Remastered)","id":"1239489069","t":"Listen to the end: Ed O’Brien’s AMS digital delay feeding back on itself, played with the headphones off.","s":"okc-gw-1998","len":"4:21"},{"track":"Paranoid Android (Remastered)","id":"1239489062","t":"Listen for the Mellotron choir, on tapes that once belonged to Tangerine Dream, its notes dying after a few seconds.","s":"okc-rs-2017","len":"6:23"}]},"1275600311":{"stages":[{"k":"recording","y":"1985","h":"Original album production","scope":"Recorded at Sweet Silence Studios in Copenhagen from September to December 1985, produced by Flemming Rasmussen with Metallica, and mixed by Michael Wagener at Amigo Studios in North Hollywood.","places":["sweet-silence","amigo"],"credits":[["flemming-rasmussen","Producer, engineer"],["michael-wagener","Mix"],["mark-wilzcak","Assistant mixing engineer"]],"artistProduced":true,"src":["mop-discogs-1986","mop-mix-classic"]},{"k":"original-master","y":"1986","h":"Original mastering","scope":"For the original 1986 Elektra release, not necessarily this digital edition.","places":["sterling-sound"],"credits":[["george-marino","Mastering engineer"]],"src":["mop-discogs-1986"]},{"k":"remaster","y":"2017","h":"2017 remaster","scope":"The 2017 Blackened remaster. Whether this digital edition, titled “(Remastered),” comes from it hasn’t been documented.","places":["howie-weinberg-mastering"],"credits":[["howie-weinberg","Remastering"],["gentry-studer","Remastering"],["greg-fidelman","Executive producer, audio fixes"],["kent-matcke","Audio fixes"]],"src":["mop-metallica-2017"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Kirk Hammett fluffed a note in his first solo on “Master of Puppets,” pulling the E string clean off the fretboard of his Jackson Randy Rhoads V. Hearing it back, he insisted they keep it, and he has never been able to reproduce it.","s":"mop-mr-yates"},{"t":"To make the machine-gun riffs perfectly tight, Flemming Rasmussen had the band tune slightly low and play to a slowed-down tape, then sped everything back up to pitch.","s":"mop-mix-classic"},{"t":"James Hetfield played every rhythm guitar on the album; Kirk Hammett plays none. On the title track, Hetfield doubled his own part on Hammett’s rig, then played Hammett’s part on Hammett’s guitar and doubled that too: four rhythm parts, all his.","s":"mop-mr-rasmussen"},{"t":"Lars Ulrich’s drums were recorded in a 45-by-60-foot warehouse at the back of Sweet Silence, with four to six room microphones, including a couple of Neumann U87s, to catch its huge ambience.","s":"mop-mix-classic"},{"t":"Cliff Burton didn’t like headphones, so he cut his bass in the vocal booth with the track blasting from a pair of big JBL 4333 speakers, jumping around as if at a gig. Usually that meant one performance per song.","s":"mop-mix-classic"},{"t":"Hammett recorded a solo in “Orion” and left for the East Coast. Burton went back into the studio and put his own solo in that space, playing about half of Hammett’s licks.","s":"mop-revolver-hammett"},{"t":"The bass intro to “Damage, Inc.” is based on a Bach piece, “Come, Sweet Death.”","s":"mop-mr-yates"}],"listen":[{"track":"Master of Puppets","id":"1275600554","t":"Listen for the slipped note in Kirk Hammett’s first solo: the E string came off the fretboard, and he kept it.","s":"mop-mr-yates","len":"8:35"},{"track":"Orion","id":"1275600559","t":"Listen for Cliff Burton’s bass solo: recorded over a spot Hammett had filled, reusing about half his licks.","s":"mop-revolver-hammett","len":"8:27"},{"track":"Damage, Inc.","id":"1275600560","t":"Listen to the bass intro: Burton built it on Bach’s “Come, Sweet Death.”","s":"mop-mr-yates","len":"5:32"}],"sampled":[{"song":"The Number Song","artist":"DJ Shadow","y":1996,"from":"Orion","kind":"sample","s":"echo-master-of-puppets-the-number-song","art":"https://is1-ssl.mzstatic.com/image/thumb/Music122/v4/0d/14/6d/0d146d5c-44c5-22e2-c596-2242180f4774/5400863103361_cover.jpg/{w}x{h}bb.jpg","id":"1660485821"}]},"1377813284":{"stages":[{"k":"recording","y":"1987","h":"Original album production","scope":"Recorded in Los Angeles from January to March 1987, produced and engineered by Mike Clink: basic tracks at Rumbo Recorders in Canoga Park, guitars and vocals at Take One in Burbank, with sessions at Can-Am in Tarzana. Steve Thompson and Michael Barbiero mixed it at Media Sound in New York in May 1987.","places":["rumbo-recorders","take-one","can-am","media-sound"],"credits":[["mike-clink","Producer, engineer"],["steve-thompson","Mix"],["michael-barbiero","Mix"]],"src":["af-discogs-1987","af-discogs-2018","af-laweekly-derrig"]},{"k":"original-master","y":"1987","h":"Original mastering","scope":"For the original 1987 Geffen LP and cassette, mastered at Sterling Sound in New York; not necessarily this digital edition.","places":["sterling-sound"],"credits":[["george-marino","Mastering"]],"src":["af-discogs-1987"]},{"k":"remaster","y":"2018","h":"2018 remaster","scope":"Ted Jensen’s 2018 remaster at Sterling Sound, billed as the first from the original analog tapes, which were transferred at 192kHz/24-bit. This edition carries the 2018 copyright and matches that remaster’s running times; whether this digital edition comes from it hasn’t been documented.","places":["sterling-sound"],"credits":[["ted-jensen","Remastering"]],"src":["af-discogs-2018"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Slash plays most of the album on a hand-built replica of a 1959 Les Paul made by Kris Derrig, who lived in a trailer behind a guitar shop in Redondo Beach and died two months before the album came out. Slash wasn’t happy with his tone on the basic tracks, played on two Jacksons and a B.C. Rich, so manager Alan Niven bought him the Derrig.","s":"af-laweekly-derrig"},{"t":"Before the Les Paul, Mike Clink thought a borrowed Gibson SG was going to be the sound of the record. Alan Niven found that SG stuck neck-first through the windshield of the band’s rental van; it’s still the guitar on “My Michelle.”","s":"af-laweekly-derrig"},{"t":"At Take One the band members were rarely there at the same time. Slash came in at 11 a.m. to record guitars, left at the 6 p.m. dinner break, and Axl Rose came in at 7:30 to sing until late at night.","s":"af-billboard-oral"},{"t":"Slash’s rig was a Les Paul into a Marshall modded by Frank Levi and rented from Studio Instrument Rentals, and Clink doesn’t remember an overdrive pedal: the tone came from the amp. He put a Roland SRV-2000 reverb on guitars, vocals, everything.","s":"af-gw-clink"},{"t":"“You’re Crazy” was full-time from start to finish until Mike Clink suggested playing the verses half-time. Steven Adler was the only one in the band who objected.","s":"af-louder-adler"},{"t":"By Steven Adler’s account, most of the basic tracks were first or second takes, “Sweet Child O’ Mine” a first take, while Axl Rose, a perfectionist, sometimes cut his vocals one word at a time.","s":"af-louder-adler"},{"t":"There was no automation on the desk at Media Sound. Appetite was mixed with five people working the faders, and to assistant engineer Victor Deyglio it may be the last great rock record made totally by hand.","s":"af-rs-2007"}],"listen":[{"track":"My Michelle","id":"1377813302","t":"Listen to the guitar: the borrowed Gibson SG that ended up through the van’s windshield, not the Les Paul heard elsewhere.","s":"af-laweekly-derrig","len":"3:39"},{"track":"Paradise City","id":"1377813298","t":"Listen to the stacked voices: Axl laid down five tracks of his own vocals, and to him they came out sounding Irish or Scottish.","s":"af-udiscover-axl","len":"6:45"},{"track":"You're Crazy","id":"1377813702","t":"Listen to the verses drop to half-time: the producer’s idea, and only the drummer pushed back.","s":"af-louder-adler","len":"3:17"}]},"1422655717":{"stages":[{"k":"recording","y":"1963","h":"Original album production","scope":"Recorded in New York on March 18 and 19, 1963, at A&R Recording.","places":["ar-recording"],"credits":[["creed-taylor","Producer"],["phil-ramone","Recording engineer"],["val-valentin","Director of engineering"]],"src":["gg-discogs-1964","gg-jazzwax-ramone"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Phil Ramone ran the tape at double speed, using far more tape than a normal session, because faster tape picks up more acoustic information. On his three-track machine, tracks one and three made a stereo pair and track two held the solos, so he could ride Stan Getz’s level on its own.","s":"gg-jazzwax-ramone"},{"t":"Ramone grouped the musicians tightly, like a nightclub set, and gave them no headphones, so they would hear each other and gel. Getz and João Gilberto first thought the room sounded dead, until they heard the playback.","s":"gg-jazzwax-ramone"},{"t":"Getz’s tenor was caught by a Telefunken U47 on a boom above the bell, just below the mouthpiece, with a backup microphone down near the bottom of the horn. For Gilberto’s guitar, Ramone got down on his knees and moved the microphone between the strings and the sound hole until it sounded right.","s":"gg-jazzwax-ramone"}],"listen":[{"track":"The Girl from Ipanema","id":"1422656474","t":"Listen to Getz’s tenor: a U47 hung above the bell, with his solos on a track of their own.","s":"gg-jazzwax-ramone","len":"5:17"},{"track":"Corcovado (Quiet Nights of Quiet Stars)","id":"1422656591","t":"Listen to Gilberto’s guitar under his voice: Ramone knelt beside it and placed the microphone by ear.","s":"gg-jazzwax-ramone","len":"4:19"}],"sampled":[{"song":"BMF","artist":"SZA","y":2024,"from":"The Girl from Ipanema","kind":"interpolation","s":"echo-getz-gilberto-bmf","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/97/bd/88/97bd8804-7d3e-e6c8-0532-ff22877b931c/196871766890.jpg/{w}x{h}bb.jpg","id":"1786643049"},{"song":"Si Veo a Tu Mamá","artist":"Bad Bunny","y":2020,"from":"The Girl from Ipanema","kind":"interpolation","s":"echo-getz-gilberto-si-veo-a-tu-mama","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/8c/0f/81/8c0f81f2-9f10-5e3d-b9de-5961a73e8e52/195081078724.jpg/{w}x{h}bb.jpg","id":"1500776323"},{"song":"It Always Comes as a Surprise","artist":"Pet Shop Boys","y":1996,"from":"Corcovado (Quiet Nights of Quiet Stars)","kind":"sample","s":"echo-getz-gilberto-it-always-comes-as-a-surprise","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/e7/03/3b/e7033bd5-f326-c9be-3569-15a25e029e50/5054197358715.jpg/{w}x{h}bb.jpg","id":"1645123990"},{"song":"Intro (Interlude)","artist":"Playa feat. Magoo","y":1998,"from":"The Girl from Ipanema","kind":"sample","s":"echo-getz-gilberto-intro-interlude","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/0b/bc/10/0bbc1037-9177-5956-b375-f7b7621fb800/06UMGIM00723.rgb.jpg/{w}x{h}bb.jpg","id":"1444151187"}]},"1422677780":{"stages":[{"k":"recording","y":"2006","h":"Recorded","scope":"The original 2006 album: Mark Ronson’s six songs, cut with the Dap-Kings in Brooklyn and sung in New York, and Salaam Remi’s five, made in Miami.","places":["daptone","chung-king","metropolis","instrument-zoo"],"credits":[["mark-ronson","Producer"],["salaam-remi","Producer"],["franklin-socorro","Recording engineer"],["dom-morley","Engineer"]],"src":["btb-discogs"]},{"k":"mix","y":"2006","h":"Mixed","places":["metropolis"],"credits":[["tom-elmhirst","Mix engineer"],["gary-noble","Mix engineer"]],"src":["btb-discogs","btb-elmhirst-sos"]},{"k":"original-master","y":"2006","h":"Original mastering","scope":"For the original 2006 release, not necessarily this digital edition.","places":["metropolis"],"credits":[["stuart-hawkes","Mastering engineer"]],"src":["btb-hawkes-rbma"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The Dap-Kings’ drums on “Rehab” sit on one mono track. Mixer Tom Elmhirst spent a long time adding kick and snare samples under them, so a kit recorded like a 1960s soul session still punches like a 2006 single.","s":"btb-elmhirst-sos"},{"t":"Elmhirst put the spring reverb on the “Rehab” drums on its own fader and rode it by hand: the kit is dry in the verses, and the reverb swells up in the choruses and the bridge.","s":"btb-elmhirst-sos"},{"t":"On “Back to Black,” the percussionist tuned the timpani to the five notes of the bass line, so the timpani play the bass part under the song, and arranger Chris Elliott added a tubular bell.","s":"btb-uncut"},{"t":"The Dap-Kings cut the backing tracks for Mark Ronson’s songs without Amy Winehouse in the room, playing to demos she’d made at home. She sang her leads separately at Chung King in New York.","s":"btb-griptite-gw"},{"t":"Amy wrote “Tears Dry On Their Own” as a slow song. When Salaam Remi rebuilt it uptempo in Miami, she protested it was way too fast to sing, the only time the two of them clashed.","s":"btb-remi-musicradar"}],"listen":[{"track":"Rehab","id":"1422677781","t":"Listen for the drums going from dry in the verses to swimming in spring reverb on each chorus, a fader Tom Elmhirst rode by hand.","s":"btb-elmhirst-sos","len":"3:34"},{"track":"Back To Black","id":"1422677785","t":"Listen for the timpani under the bass guitar, tuned to the bass line’s five notes.","s":"btb-uncut","len":"4:01"},{"track":"Tears Dry On Their Own","id":"1422677787","t":"Listen for the brisk tempo Salaam Remi set; Amy wrote the song slow and thought this was far too fast.","s":"btb-remi-musicradar","len":"3:06"}],"sampled":[{"song":"Fields","artist":"XXYYXX","y":2012,"from":"You Know I'm No Good","kind":"sample","s":"echo-back-to-black-fields","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/9e/19/eb/9e19ebed-bf6e-49ce-3429-792022c4deae/artwork.jpg/{w}x{h}bb.jpg","id":"1580477038"},{"song":"Love Song","artist":"SWV","y":2016,"from":"Rehab","kind":"sample","s":"echo-back-to-black-love-song","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/14/f0/f5/14f0f5e4-b633-faec-48f2-5c5b8f85bf3b/SWV-STILL-1500px.jpg/{w}x{h}bb.jpg","id":"1066441461"},{"song":"VPN","artist":"Lil Ugly Mane","y":2021,"from":"You Know I'm No Good","kind":"sample","s":"echo-back-to-black-vpn","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/44/63/88/44638851-c806-8bd9-dc5a-cef4b5e4fe8b/artwork.jpg/{w}x{h}bb.jpg","id":"1590201382"}]},"1440673959":{"stages":[{"k":"recording","y":"1983","h":"Original album production","scope":"The original 1983 album.","places":["air-montserrat","le-studio"],"credits":[["hugh-padgham","Producer and engineer"],["the-police","Producer"]],"src":["dna-synchronicity-wiki"]},{"k":"remaster","y":"2003","h":"2003 remaster","scope":"The 2003 remaster named in this edition’s song titles, mastered at Gateway Mastering in December 2002.","places":["gateway"],"credits":[["bob-ludwig","Mastering engineer"]],"src":["sync-discogs-2003"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The kick drum on “Every Breath You Take” is an Oberheim drum machine. Stewart Copeland overdubbed the backbeat by hitting a snare and a Tama gong drum at the same time, one in each hand, for a crack with a deep boom inside it.","s":"sync-mix-2003"},{"t":"Hugh Padgham heard Sting, not really a keyboard player, banging the same piano note over and over, and shouted over the talkback to keep exactly that. That one note carries the middle eight of “Every Breath You Take.”","s":"sync-sos-2004"},{"t":"At AIR Montserrat, Padgham put Stewart Copeland’s drums upstairs in the wooden dining room for a livelier sound. Its windows had no glass, so drums couldn’t be recorded at night: the tree frogs came through the microphones.","s":"sync-sonicscoop"},{"t":"The machine pattern under “Walking In Your Footsteps” was the first thing Sting ever made on his new DSX sequencer: two riffs that fit together, with a drum sound laid over a classic rock ’n’ roll figure.","s":"sync-musician-1983"}],"listen":[{"track":"Every Breath You Take (Remastered 2003)","id":"1440674160","t":"Listen for the ghost repeat on the hi-hat: a 300-millisecond delay turns Copeland’s part into a rhythm nobody played.","s":"sync-mix-2003","len":"4:13"},{"track":"Every Breath You Take (Remastered 2003)","id":"1440674160","t":"Listen for Sting’s single piano note, struck again and again through the middle eight.","s":"sync-sos-2004","len":"4:13"},{"track":"Walking In Your Footsteps (Remastered 2003)","id":"1440674141","t":"Listen for two sequenced riffs locking together beneath the voice, the first pattern Sting ever programmed.","s":"sync-musician-1983","len":"3:36"}],"sampled":[{"song":"I'll Be Missing You","artist":"Puff Daddy feat. Faith Evans & 112","y":1997,"from":"Every Breath You Take","kind":"sample","s":"echo-synchronicity-rem-i-ll-be-missing-you","id":"906589071","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/f3/8c/6e/f38c6ea9-87e9-4926-63d6-04a98433468e/603497898732.jpg/{w}x{h}bb.jpg"}]},"1440713018":{"stages":[{"k":"recording","y":"1964","h":"Recorded","scope":"Original recording session carried by this four-track Apple Music edition.","places":["van-gelder"],"credits":[["rudy-van-gelder","Recording engineer"],["bob-thiele","Producer"]],"src":["als-apple","als-discogs"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who prepared this current Apple digital master and Dolby Atmos mix hasn't been documented."}],"notes":[{"t":"The quartet recorded the four-part suite on December 9, 1964, at Van Gelder's Englewood Cliffs studio.","s":"als-apple"}],"listen":[{"track":"A Love Supreme, Pt. 1: Acknowledgement","id":"1440713020","t":"Listen for Jimmy Garrison’s four-note bass motif beneath Coltrane’s tenor saxophone.","s":"listen20-1440713018","len":"7:43"}],"sampled":[{"song":"Song for Junior","artist":"Beastie Boys","y":1998,"from":"A Love Supreme, Pt. 1: Acknowledgement","kind":"sample","s":"echo-a-love-supreme-song-for-junior","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/aa/95/31/aa953192-7552-3a1d-d87f-e724717f3947/13UABIM07217.rgb.jpg/{w}x{h}bb.jpg","id":"721224476"}]},"1440733298":{"stages":[{"k":"recording","y":"2002","h":"Recorded","places":["ocean-way","record-one"],"credits":[["nigel-godrich","Producer"]],"src":["seachange-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Beck traded the samplers and turntables of his earlier records for a live band at Ocean Way, recording much of it live and often keeping the second take, rough edges included.","s":"seachange-tonedeaf"},{"t":"The string arrangements are by Beck’s father, the composer David Campbell.","s":"seachange-tonedeaf"}]},"1440783617":{"stages":[{"k":"recording","y":"1991","h":"Original album production","scope":"The original 1991 album.","places":["sound-city"],"credits":[["butch-vig","Producer"]],"src":["dna-nirvana-nevermind","nevermind-sos-vig"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"listen":[{"track":"Smells Like Teen Spirit","id":"1440783625","t":"Listen for Dave Grohl’s opening drum flams and chorus fills.","s":"listen20-1440783617","len":"5:01"},{"track":"Come As You Are","id":"1440783636","t":"Listen for the watery guitar tone, from an Electro-Harmonix Small Clone chorus pedal.","s":"caya-wiki","len":"3:38"},{"track":"Breed","id":"1440783638","t":"Listen for guitars from a Rat distortion pedal plugged straight into the desk, with no amplifier.","s":"nevermind-sos-vig","len":"3:04"}],"sampled":[{"song":"Holy Grail (feat. Justin Timberlake)","artist":"JAŸ-Z","y":2013,"id":"1440925418","v":"1440925178","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/9d/cc/90/9dcc90ae-5894-b83d-7fc3-691937cb60ee/13UAAIM43143.rgb.jpg/{w}x{h}bb.jpg","from":"Smells Like Teen Spirit","kind":"interpolation","s":"listen20-sample-holy-grail"}],"notes":[{"t":"The album was tracked live at Sound City in Los Angeles, with the drums in the middle of the room and the bass and guitars isolated; only “Polly” survived from earlier sessions at Smart Studios.","s":"nevermind-sos-vig"},{"t":"Most of Kurt Cobain’s vocals were cut in Sound City’s small Studio B through a Neumann U67 and an LA-2A, straight to tape with almost no effects.","s":"nevermind-sos-vig"}]},"1440788438":{"stages":[{"k":"recording","y":"1976","h":"Original album production","scope":"The original 1976 album, all 21 songs.","places":[],"credits":[["stevie-wonder","Producer and arranger"]],"src":["dna-motown-sitkol"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The strings on Village Ghetto Land and Pastime Paradise are Stevie Wonder on a Yamaha GX-1 synthesizer, played part by part like a section. Its speakers were tilted toward the ceiling and caught by distant overhead mics, so the parts sound like players in a room.","s":"pilot-stevie-sos"},{"t":"The album mix of Love’s in Need of Love Today is a rough mix John Fischbach ran at about 3 a.m. through Crystal Sound’s monitor section, with no EQ in the path. Every later attempt to remix it fell short.","s":"pilot-stevie-sos"},{"t":"The newborn cry at the start of Isn’t She Lovely isn’t Aisha: a doctor friend of Stevie’s recorded another baby’s birth. Aisha and her mother Yolanda were taped at home on a portable Stellavox reel-to-reel he took home.","s":"sitkol-classic-albums"},{"t":"Stevie cut Pastime Paradise with a drum kit, then dropped the drums. The backbeat is a clapboard under bells, congas and other hand percussion.","s":"sitkol-classic-albums"}],"listen":[{"track":"Pastime Paradise","id":"1440788548","t":"Listen for the gong swelling in backwards at the very start, then the real gong at the end that gave Stevie the idea.","s":"sitkol-classic-albums","len":"3:27"},{"track":"Village Ghetto Land","id":"1440788537","t":"Listen for Stevie’s voice shifting in tone as he moves his head between two microphones.","s":"pilot-stevie-sos","len":"3:25"},{"track":"Sir Duke","id":"1440788542","t":"Listen for the unusual horn tone: besides the usual front mics, two mics behind the players were pointed at the studio wall.","s":"pilot-stevie-sos","len":"3:53"}],"sampled":[{"song":"Gangsta's Paradise","artist":"Coolio feat. L.V.","y":1995,"from":"Pastime Paradise","kind":"sample","s":"pilot-stevie-coolio","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/92/f7/88/92f7884b-d115-5d5f-1eb5-85128af2d58f/081227882365.png/{w}x{h}bb.jpg","id":"1604645502"},{"song":"Wild Wild West","artist":"Will Smith feat. Dru Hill and Kool Moe Dee","y":1999,"from":"I Wish","kind":"sample","s":"pilot-stevie-smith","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/77/a3/a5/77a3a5e7-5554-40d5-e906-3b035e89d2d4/mzi.wupnawbp.jpg/{w}x{h}bb.jpg","id":"170154731"},{"song":"Smile","artist":"JAŸ-Z feat. Gloria Carter","y":2017,"from":"Love's In Need of Love Today","kind":"sample","s":"echo-songs-in-the-key-o-smile","id":"1440935639","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/c2/d9/58/c2d95811-ca58-f519-4ff5-fd35f12d7c9a/00854242007545.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Thug Lovin'","artist":"Ja Rule feat. Bobby Brown","y":2002,"from":"Knocks Me Off My Feet","kind":"sample","s":"echo-songs-in-the-key-o-thug-lovin","id":"1443516105","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/ad/7c/4d/ad7c4d38-c5aa-f478-2ad5-fefb65c4c612/06UMGIM23133.rgb.jpg/{w}x{h}bb.jpg"}]},"1440806790":{"stages":[{"k":"recording","y":"1973","h":"Original album production","scope":"The original 1973 Tamla album, recorded in 1972 and 1973.","places":["record-plant-la","media-sound"],"credits":[["stevie-wonder","Producer"],["malcolm-cecil","Associate producer and engineer"],["robert-margouleff","Associate producer and engineer"]],"src":["dna-innervisions-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The bus in the street scene of “Living for the City” is a heating-oil truck making a 4 a.m. delivery on 57th Street outside the studio, caught by Robert Margouleff on his portable Nagra. The judge who hands down “Ten years!” is Johanan Vigoda, Stevie’s lawyer.","s":"inner-margouleff-mix"},{"t":"For the last verse of “Living for the City,” Margouleff and Malcolm Cecil kept running it again and doing things to make Stevie angry until his voice went hoarse, and they kept that take.","s":"inner-margouleff-mix"},{"t":"The backing voices on “Living for the City” are Stevie too: three background parts recorded with the tape speed changed, so they play back higher and sound like someone else.","s":"inner-cecil-wax"},{"t":"“Visions” was played live in one pass on January 17, 1973, by Stevie, Dean Parks, David T. Walker and Malcolm Cecil, co-builder of the TONTO synthesizer, on upright bass, the only track he played it on.","s":"inner-cecil-wax"},{"t":"“Higher Ground” stacks three Clavinets, and Stevie got their sound by patting the keys instead of striking them.","s":"inner-cecil-wax"}],"listen":[{"track":"Living For the City","id":"1440807292","t":"Listen for the street scene in the middle: the bus is a heating-oil truck on 57th Street, and the judge is Stevie’s lawyer.","s":"inner-margouleff-mix","len":"7:21"},{"track":"Visions","id":"1440807196","t":"Listen for four players breathing together in one live pass, with Malcolm Cecil on upright bass.","s":"inner-cecil-wax","len":"5:23"},{"track":"Higher Ground","id":"1440807404","t":"Listen for the Clavinet riff: three Clavinets, played by patting the keys.","s":"inner-cecil-wax","len":"3:42"}],"sampled":[{"song":"Hello Father","artist":"Mary J. Blige","y":2017,"from":"Jesus Children of America","kind":"sample","s":"echo-innervisions-hello-father","v":"1440895460","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/73/17/53/73175377-1c05-6483-09d7-a3dcf2a093ef/16UMGIM62113.rgb.jpg/{w}x{h}bb.jpg"}]},"1440808973":{"stages":[{"k":"recording","y":"1972","h":"Original album production","scope":"Recorded at Electric Lady in New York, Crystal Industries and the Record Plant in Los Angeles, and AIR in London, produced by Stevie Wonder with Malcolm Cecil and Robert Margouleff.","places":["electric-lady","crystal-industries","record-plant-la","air-london"],"credits":[["malcolm-cecil","Associate producer, engineer, programming"],["robert-margouleff","Associate producer, engineer, programming"],["austin-godsey","Recordist"],["joan-decola","Recordist"]],"artistProduced":true,"src":["tb-discogs-1972"]},{"k":"original-master","y":"1972","h":"Original vinyl mastering","scope":"For the original 1972 Tamla LP, not necessarily this digital edition.","places":["cutting-room"],"credits":[["george-marino","Mastering"]],"src":["tb-discogs-1972"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Malcolm Cecil rarely recorded with effects, but the Clavinet on “Superstition” was an exception: it went to tape with its delay already on, because Stevie played listening to the echo and built the line around it.","s":"tb-tapeop-cecil"},{"t":"Instead of plugging the Clavinet on “Superstition” straight into the desk, Robert Margouleff and Malcolm Cecil ran it through guitar boxes: a phaser, wah-wah pedals and all kinds of distortion.","s":"tb-psn-margouleff"},{"t":"Stevie laid down the drums on “Superstition” first, with no click track and nothing else to play to, only the rhythm in his head. Free play with subtle tempo changes, it became the bed for the Moog bass and the Clavinet.","s":"tb-psn-margouleff"},{"t":"On “You Are the Sunshine of My Life,” Malcolm Cecil read Stevie each line over the console microphone just before he sang it. To keep Cecil’s British accent off the vocal, Margouleff stuffed Styrofoam coffee cups with foam from a tape box and fitted them over the earphones.","s":"tb-ucr-sunshine"}],"listen":[{"track":"Superstition","id":"1440808985","t":"Listen for the echoes inside the Clavinet riff: the delay was recorded with it, and Stevie built the line around the repeats.","s":"tb-tapeop-cecil","len":"4:26"},{"track":"Superstition","id":"1440808985","t":"Listen to the drums: no click track, cut first and alone, with the tempo moving ever so slightly.","s":"tb-psn-margouleff","len":"4:26"},{"track":"You Are the Sunshine of My Life","id":"1440808975","t":"Listen to Stevie’s lead: each line was read to him a moment before he sang it.","s":"tb-ucr-sunshine","len":"2:58"}],"sampled":[{"song":"Don'tcha Wanna","artist":"Anastacia","y":2001,"from":"I Believe (When I Fall In Love It Will Be Forever)","kind":"interpolation","s":"echo-talking-book-dontcha-wanna","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/4f/a9/97/4fa9974a-418f-ea99-0ca8-8beb995a919b/mzi.jtgcgjbk.jpg/{w}x{h}bb.jpg","id":"155662079"}]},"1440812661":{"stages":[{"k":"recording","y":"1970","h":"Original album production","scope":"“Brown Sugar,” “Wild Horses” and “You Gotta Move” were cut at Muscle Shoals Sound in Alabama in December 1969; the rest at Olympic in London and on the Rolling Stones Mobile.","places":["muscle-shoals-sound","olympic"],"credits":[["jimmy-miller","Producer"],["glyn-johns","Engineer"],["andy-johns","Engineer"],["chris-kimsey","Engineer"],["jimmy-johnson","Engineer (Muscle Shoals)"]],"src":["sf-discogs-1971","sf-tapeop-johnson"]},{"k":"original-master","y":"1971","h":"Original vinyl mastering","scope":"Lacquers for an early UK pressing were cut at The Mastering Lab in Los Angeles; the engineer isn’t named. Not necessarily this digital edition.","places":["mastering-lab"],"credits":[],"src":["sf-discogs-1971-uk"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"At Muscle Shoals the Stones recorded through a 10-input Universal Audio tube console onto a one-inch Scully eight-track at 15 ips, with no noise reduction. Producer Jimmy Miller never showed up, so the studio’s own guitarist, Jimmy Johnson, engineered; they packed hot levels onto the tape, it saturated a lot, and to Johnson that became part of the studio’s sound.","s":"sf-tapeop-johnson"},{"t":"The piano on “Wild Horses” is Jim Dickinson, a Memphis session player and the only outsider allowed to stay at Muscle Shoals. The Stones’ own pianist, Ian Stewart, wouldn’t play minor chords, and the song begins on one.","s":"sf-psf-dickinson"},{"t":"The saxophone solo on “Brown Sugar” fills a gap the band had left open, unsure whether to put a guitar solo there, until Bobby Keys asked to have a go.","s":"sf-rs-richards"},{"t":"“Can’t You Hear Me Knocking” was meant to stop after the song itself. Everybody kept playing, Bobby Keys took off, and the band kept it all: that’s the long instrumental half.","s":"sf-rs-richards"},{"t":"Overdubbing his “Brown Sugar” vocal on the second night, Mick Jagger dropped the line ending “just about midnight.” Jim Dickinson told him to put it back in.","s":"sf-psf-dickinson"}],"listen":[{"track":"Brown Sugar","id":"1440812665","t":"Listen to the grit in the basic track: cut on a tube desk to an eight-track with no noise reduction.","s":"sf-tapeop-johnson","len":"3:49"},{"track":"Wild Horses","id":"1440812675","t":"Listen to the piano: Jim Dickinson, there because Ian Stewart wouldn’t play minor chords.","s":"sf-psf-dickinson","len":"5:44"},{"track":"Can't You Hear Me Knocking","id":"1440812679","t":"Listen for the moment the song should end and doesn’t: the band kept playing and Bobby Keys took off.","s":"sf-rs-richards","len":"7:15"}]},"1440813508":{"stages":[{"k":"recording","y":"1985","h":"Original album production","scope":"The original 1985 Mercury album.","places":["wool-hall"],"credits":[["chris-hughes","Producer"],["dave-bascombe","Engineer"]],"src":["dna-bigchair-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The original 1985 vinyl plays the whole album mirrored: a handwritten note on the master tapes warns that the channels are reversed. Andy Walter’s 2014 remaster flips them back, so the metal chimes that open “Shout” travel left to right, the way producer Chris Hughes intended.","s":"bigchair-sde-stereo"},{"t":"The drums that open “The Working Hour” are Manny Elias playing Jerry Marotta’s kit. When the song proper comes in, a tape edit switches to Marotta himself.","s":"bigchair-sde-bascombe"},{"t":"The Drumulator drum machine on the album carried rock sound chips that engineer Dave Bascombe believes were sampled from Led Zeppelin’s “When the Levee Breaks.” They ended up in “Shout” and in the break of “Mothers Talk.”","s":"bigchair-sde-bascombe"},{"t":"Most of the drums on “Everybody Wants to Rule the World” are programmed: the snare is the snare from “Shout,” pitched up, the kick came from a Fairlight, and the hi-hats and shakers from a LinnDrum.","s":"bigchair-mix-2007"},{"t":"Neil Taylor’s guitar solo at the end of “Everybody Wants to Rule the World” was recorded while Roland Orzabal and Curt Smith were away shooting a video.","s":"bigchair-sde-bascombe"}],"listen":[{"track":"Shout","id":"1440813509","t":"Listen with headphones for the metal chimes in the first seconds moving from left to right, the direction Chris Hughes intended.","s":"bigchair-sde-stereo","len":"6:32"},{"track":"The Working Hour","id":"1440813514","t":"Listen for the tape edit where the song comes in: the drummer changes from Manny Elias to Jerry Marotta.","s":"bigchair-sde-bascombe","len":"6:31"},{"track":"Mothers Talk","id":"1440813517","t":"Listen for the huge, roomy drums in the break, from a drum-machine chip Dave Bascombe believes was sampled from John Bonham.","s":"bigchair-sde-bascombe","len":"5:06"}],"sampled":[{"song":"Rule","artist":"Nas feat. Amerie","y":2001,"from":"Everybody Wants to Rule the World","kind":"sample","s":"echo-songs-from-the-big-rule","id":"868691307","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/f2/20/87/f22087e6-a734-2488-3ea9-6050898911bd/886444604901.jpg/{w}x{h}bb.jpg"}]},"1440815358":{"stages":[{"k":"recording","y":"1976","h":"Original album production","scope":"The original 1976 Tamla album.","places":["marvins-room","hitsville-west"],"credits":[["leon-ware","Producer"],["marvin-gaye","Producer"],["t-boy-ross","Producer"],["fred-ross","Engineer"],["art-stewart","Engineer"]],"src":["dna-iwantyou-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Marvin’s synthesizer lead on “After the Dance (Instrumental)” went straight onto the finished two-track master at his studio in March 1976, the month the album came out, so it was never part of the multitrack.","s":"iwy-deluxe-2003"},{"t":"The band track under “I Want You” was cut on February 21, 1975 as a demo for T-Boy Ross, Diana Ross’s brother, who sang lead on it into June. Marvin didn’t sing it until that September.","s":"iwy-deluxe-2003"},{"t":"“Feel All My Love Inside” began as “Strange Love” for Leon Ware. The woman’s sighs went on tape on January 31, 1976, and Marvin sang his lead against them a few days later.","s":"iwy-deluxe-2003"},{"t":"Depending on the sound he wanted, Marvin cut harmony parts in the restroom, lying on the floor, or in the closet.","s":"iwy-janis-rbma"}],"listen":[{"track":"After the Dance (Instrumental)","id":"1440815375","t":"Listen for the synthesizer lead, played straight onto the finished stereo master.","s":"iwy-deluxe-2003","len":"4:24"},{"track":"I Want You (Vocal)","id":"1440815366","t":"Listen to the groove: a band track cut for another singer seven months before Marvin sang on it.","s":"iwy-deluxe-2003","len":"4:33"},{"track":"Feel All My Love Inside","id":"1440815380","t":"Listen for the woman’s sighs, recorded first; Marvin sang his lead against them.","s":"iwy-deluxe-2003","len":"3:22"}],"sampled":[{"song":"The Heart Part 5","artist":"Kendrick Lamar","y":2022,"from":"I Want You","kind":"sample","s":"echo-i-want-you-the-heart-part-5","id":"1623071777","art":"https://is1-ssl.mzstatic.com/image/thumb/Music122/v4/49/5a/65/495a65d4-8809-ff36-9684-04353a67a9ee/22UMGIM50740.rgb.jpg/{w}x{h}bb.jpg"},{"song":"What Can I Do?","artist":"Ice Cube","y":1993,"from":"I Want You","kind":"sample","s":"echo-i-want-you-what-can-i-do","v":"1440851842","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/d9/88/94/d98894e7-70a2-1115-fa0f-0a5abbc5b243/00602547276742.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Tears can be so soft","artist":"Christine and the Queens","y":2023,"from":"Feel All My Love Inside","kind":"sample","s":"echo-i-want-you-tears-can-be-so-soft","id":"1675342102","art":"https://is1-ssl.mzstatic.com/image/thumb/Music126/v4/40/33/71/403371bd-5869-720a-8e58-4d63dad3a1a4/5056556123873_cover.jpg/{w}x{h}bb.jpg"}]},"1440828886":{"stages":[{"k":"mix","y":"2015","h":"Original stereo mix","scope":"The original 2015 stereo mix.","places":[],"credits":[["derek-ali","Mix engineer"]],"src":["dna-kendrick-sos"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"Mixed at Dr. Dre’s No Excuses studio in Los Angeles on an SSL 4000 G+, the last G-series console ever built and the board behind The Chronic.","s":"dna-kendrick-sos"},{"t":"Derek Ali spent about 80 percent of his mixing time listening in mono on a single Auratone speaker, then checked on Yamaha NS10s and the studio’s Augspurger mains.","s":"dna-kendrick-sos"},{"t":"Every mix was printed to half-inch tape on an Ampex ATR-102, and the album was mastered from those reels, for the warm ’70s sound Lamar asked for.","s":"dna-kendrick-sos"},{"t":"Lamar’s vocals mostly went through a Stephen Paul–modified Telefunken U47, a Neve 1073 preamp and a Tube-Tech CL1B compressor.","s":"dna-kendrick-sos"}],"listen":[{"track":"King Kunta","id":"1440829137","t":"Listen for the bass-heavy groove Sounwave built to fit Lamar’s vocal, which he first recorded over a DJ Quik beat.","s":"dna-kendrick-sos","len":"3:54"},{"track":"These Walls","id":"1440829150","t":"Listen in the third verse for Thundercat’s bass turning watery through a doubler effect, and the vocals panning around behind you.","s":"dna-kendrick-sos","len":"5:00"},{"track":"Alright","id":"1440829463","t":"Listen for Lamar’s voice through a U67 instead of the modified Telefunken U47 used on most of the album.","s":"dna-kendrick-sos","len":"3:39"}],"sampled":[{"song":"We Gon' Be Alright","artist":"Tye Tribbett","y":2020,"from":"Alright","kind":"sample","s":"echo-tpab-we-gon-be-alright","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/11/88/cb/1188cb44-0068-e242-7892-79ff3ccb95b6/20UMGIM28649.rgb.jpg/{w}x{h}bb.jpg","id":"1509781269"}]},"1440830905":{"stages":[{"k":"recording","y":"1993","h":"Original album production","scope":"Recorded and mixed by Steve Albini at Pachyderm Studios in Cannon Falls, Minnesota, in February 1993. Some of the demos on this edition come from earlier sessions, including Jack Endino’s eight-track session in Seattle.","places":["pachyderm"],"credits":[["steve-albini","Producer, recording, mix"],["bob-weston","Technician"],["jack-endino","Engineer (demos)"]],"src":["iu-discogs-1993","iu-discogs-2013","iu-endino-faq"]},{"k":"mix","y":"1993","h":"Scott Litt remixes","scope":"Scott Litt’s remixes of “Heart-Shaped Box” and “All Apologies,” made at Bad Animals in Seattle, are the versions on the album. This edition also has Litt’s mix of “Pennyroyal Tea” and Albini’s original mixes of the first two.","places":["bad-animals"],"credits":[["scott-litt","Mix"],["adam-kasper","Second engineer"]],"src":["iu-discogs-1993","iu-discogs-2013"]},{"k":"original-master","y":"1993","h":"Original mastering","scope":"For the original 1993 album, not necessarily this digital edition.","places":["gateway"],"credits":[["bob-ludwig","Mastering"]],"src":["iu-discogs-1993"]},{"k":"mix","y":"2013","h":"2013 Mix","scope":"Steve Albini’s new mix of the album, made at Electrical Audio in Chicago in June 2013 for this edition.","places":["electrical-audio"],"credits":[["steve-albini","Mix"]],"src":["iu-discogs-2013","iu-grammy-albini"]},{"k":"mix","y":"2013","h":"Live & Loud mix","scope":"The concert taped at Pier 48 in Seattle on December 13, 1993, mixed for this edition in 2013.","places":["pier-48"],"credits":[["nathaniel-kunkel","Mix"]],"src":["iu-discogs-2013"]},{"k":"remaster","y":"2013","h":"2013 remaster","scope":"For the 2013 20th Anniversary Super Deluxe Edition, whose tracks this edition matches in order: Steve Rooke at Abbey Road for the album, B-sides and 2013 Mix; Bob Ludwig at Gateway for Live & Loud. Whether this digital edition comes from those masters hasn’t been documented.","places":["abbey-road","gateway"],"credits":[["steve-rooke","Remastering"],["bob-ludwig","Mastering (Live & Loud)"]],"src":["iu-discogs-2013"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Steve Albini’s original mix of “Heart-Shaped Box” is the version the band argued over in the studio: Albini and Kurt Cobain wanted the guitar solo very distorted and kind of out there, and Krist Novoselic was against it. The album uses Scott Litt’s later remix; this edition carries both.","s":"iu-npr-2013"},{"t":"Click tracks were out, so Cobain and Albini tried to steady the tempo of “Heart-Shaped Box” by flashing a strobe light at Dave Grohl. He lasted a take or two, then asked to just play it, with a little ebb and flow.","s":"iu-rs-grohl"},{"t":"On the first day at Pachyderm, the band played “Serve the Servants” to prove themselves to Albini. The ending fell apart, as so many In Utero endings do, and Albini’s verdict was “Sounds good.”","s":"iu-npr-2013"},{"t":"The cello on “Dumb” and “All Apologies” is Kera Schaley, a student who had flown up to Minneapolis for the weekend. Albini played her “Dumb” the morning after she arrived; she wrote a part, and Cobain told her what to keep. On “All Apologies” she mostly played around, apart from one line Cobain had everyone play together.","s":"iu-schaley-2010"},{"t":"The instrumental demos of “Dumb,” “Pennyroyal Tea,” “Radio Friendly Unit Shifter” and “Tourette’s” come from an eight-track session with Jack Endino in Seattle. They have no vocals because Cobain sang on only one song that day, “Rape Me.”","s":"iu-endino-faq"},{"t":"Albini made the 2013 Mix after Krist Novoselic pitched the idea, looking for things people hadn’t heard in the original album or a different emphasis. He meant it as a companion piece, not a replacement.","s":"iu-grammy-albini"}],"listen":[{"track":"Heart-Shaped Box (Original Steve Albini 1993 Mix)","id":"1440832217","t":"Listen to the guitar solo: the one the band argued over, with Albini and Cobain pushing to make it very distorted.","s":"iu-npr-2013","len":"4:41"},{"track":"Heart-Shaped Box","id":"1440831244","t":"Listen to the drums: Grohl gave up on a strobe light setting the tempo and played with a little ebb and flow.","s":"iu-rs-grohl","len":"4:41"},{"track":"Dumb","id":"1440831513","t":"Listen to the cello: Kera Schaley’s own part, trimmed by Cobain.","s":"iu-schaley-2010","len":"2:31"}],"sampled":[{"song":"Voodoo People","artist":"The Prodigy","y":1994,"from":"Very Ape","kind":"interpolation","s":"echo-in-utero-voodoo-people","art":"https://is1-ssl.mzstatic.com/image/thumb/Music122/v4/86/e9/c2/86e9c2d6-10e8-f692-aaaf-4d99c0324fb8/634904911461.png/{w}x{h}bb.jpg","id":"500162594"}]},"1440837096":{"stages":[{"k":"recording","y":"1993","h":"Original album production","scope":"Recorded from mid-1992 at Le Pig, the studio Trent Reznor set up in the living room of a rented house on Cielo Drive in Los Angeles, with sessions at the Record Plant and A&M. Produced by Reznor, with Flood co-producing eight songs; Alan Moulder mixed all but two.","places":["le-pig","record-plant-la","am-studios"],"credits":[["flood","Co-producer"],["alan-moulder","Mix engineer"],["sean-beavan","Engineer"],["chris-vrenna","Sampling, sound design"]],"artistProduced":true,"src":["tds-discogs-1994","tds-sos-closer"]},{"k":"original-master","y":"1994","h":"Original mastering","scope":"For the original 1994 CD, not necessarily this digital edition.","places":["future-disc"],"credits":[["tom-baker","Mastering"]],"src":["tds-discogs-1994"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Reznor sang when the mood struck, and if a mic wasn’t up within a minute and a half, he was out the door, so his engineers, who called it “Vietnam,” kept one or two mics ready at all times. Nearly every vocal is a single take; he wouldn’t allow a punch-in shorter than a whole verse.","s":"tds-sos-closer"},{"t":"Reznor sang “Ruiner” lifting the mic stand and slamming its base into the wooden floor, chipping it, and the Neve preamps were cranked hard for that song’s massive distortion. For “Piggy” he got under the console and sang into a Shure Beta 58.","s":"tds-sos-closer"},{"t":"Much of the album’s distortion was never recorded clean. Some vocals went through a Neve 1073 into a chain of up to four UREI LA-3A compressors, all the way up, a trick Reznor picked up from Al Jourgensen, and only the distorted sound was kept, because it shaped how he performed.","s":"tds-sos-closer"},{"t":"The kick drum on “Closer” is sampled from Iggy Pop’s “Nightclubbing” on The Idiot. Engineer Sean Beavan cleaned off the hiss and kept the grit; Flood ran the snare sample through an SSL console for distortion and a Zoom 9030 for a touch of ring modulation.","s":"tds-sos-closer"},{"t":"The distorted piano line that ends “Closer,” and some backwards music, were added late in the mix at the Record Plant, after Reznor insisted the song needed just one more thing.","s":"tds-sos-closer"},{"t":"The buzzing, almost ring-modulated voice at the end of “Closer” took two and a half hours to get on an Eventide H3500. It was meant to sound like an insect: alienation and decay, a thread through the whole record.","s":"tds-sos-closer"}],"listen":[{"track":"Closer","id":"1440837621","t":"Listen to the kick drum: lifted from Iggy Pop’s “Nightclubbing,” with the hiss cleaned off and the grit kept.","s":"tds-sos-closer","len":"6:13"},{"track":"Closer","id":"1440837621","t":"Listen to the end: the distorted piano line arrived late in the mix, as one last addition.","s":"tds-sos-closer","len":"6:13"},{"track":"Ruiner","id":"1440837626","t":"Listen to the distortion on the voice: Neve preamps cranked hard.","s":"tds-sos-closer","len":"4:58"}],"sampled":[{"song":"The Gangsta, the Killa and the Dope Dealer","artist":"Westside Connection","y":1996,"from":"Hurt","kind":"sample","s":"echo-downward-spiral-the-gangsta-the-killa-and-the-dope-dealer","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/e8/18/4f/e8184f4c-399f-7782-5dc3-4dbacce41cbe/00049925058352.rgb.jpg/{w}x{h}bb.jpg","id":"724690821"}]},"1440840566":{"stages":[{"k":"recording","y":"1975","h":"Recorded live","scope":"Recorded at the Cologne Opera House on January 24, 1975.","places":["oper-koln"],"credits":[["manfred-eicher","Producer"],["martin-wieland","Engineer"]],"src":["koln-discogs-1975"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The Bösendorfer 290 Imperial promised for the concert was in the building that night, parked in a corridor between the playhouse and the opera, the only space with constant temperature and humidity. Stagehands searching the opera found only a small Bösendorfer in a singers’ warm-up room at the back, and that is the piano on the record.","s":"koln-rsde-brandes"},{"t":"A piano tuner worked on the small Bösendorfer until evening, fitting new strings and repairing the pedals, so that Jarrett could play it at all.","s":"koln-rsde-brandes"},{"t":"On stage, Jarrett found the piano was the wrong size and sounded like a modified electric harpsichord. He and Manfred Eicher started telling the engineers to pack up, then thought better of it: the equipment was already set up, so they taped the concert, even if just for themselves.","s":"koln-grammy-jarrett"},{"t":"Afterward, driving with Eicher, Jarrett listened to a cassette of the concert. They looked at each other and agreed it had to come out.","s":"koln-npr-2015"}],"listen":[{"track":"Köln, January 24, 1975, Pt. I (Live)","id":"1440840567","t":"Listen to the piano’s tone: a small Bösendorfer from a back room, which Jarrett said sounded like a modified electric harpsichord.","s":"koln-grammy-jarrett","len":"26:24"}]},"1440841241":{"stages":[{"k":"recording","y":"1966","h":"Original album production","scope":"Backing tracks cut at Western Recorders, Gold Star and Sunset Sound from 1965 into 1966, with vocals at CBS on Sunset Boulevard. Brian Wilson produced and made the original mono mix.","places":["western-recorders","gold-star","sunset-sound","cbs-columbia-square"],"credits":[["brian-wilson","Producer, mono mix"],["chuck-britz","Engineer"],["larry-levine","Engineer"],["bruce-botnick","Engineer"]],"src":["ps-booklet-sessions","ps-booklet-making"]},{"k":"mix","y":"1996","h":"First stereo mix","scope":"Mark Linett’s stereo mix from the multitracks, the album’s first true stereo version, made for The Pet Sounds Sessions. Whether this edition’s stereo comes from it hasn’t been documented.","places":[],"credits":[["mark-linett","Stereo mix"]],"src":["ps-booklet-mixing"]},{"k":"mix","y":"2023","h":"Dolby Atmos mix","scope":"The album’s first Dolby Atmos mix, made from the original analog tapes with Brian Wilson’s mono mix and Mark Linett’s stereo mix as guides.","places":[],"credits":[["giles-martin","Dolby Atmos mix"]],"src":["ps-atmos-2023"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The plucked notes that open “You Still Believe In Me” were played inside the piano: one person reached in and plucked the strings while the other held the keys down. The bicycle bell and horn later in the track are left over from “In My Childhood,” a song Brian Wilson decided not to finish.","s":"ps-booklet-songs"},{"t":"The steel-guitar sound on “Let’s Go Away for Awhile” is an ordinary guitar played with a Coke bottle on the strings.","s":"ps-booklet-songs"},{"t":"The backing tracks of “Wouldn’t It Be Nice” and “God Only Knows” were each finished in one long session with no instrumental overdubs. Everything under the voices was played at once.","s":"ps-booklet-mixing"},{"t":"The staccato chords in the instrumental break of “God Only Knows” were pianist Don Randi’s idea, offered after Brian Wilson had trouble getting the break to feel right.","s":"ps-booklet-songs"},{"t":"At CBS on Sunset Boulevard, the group sang upwards of 30 takes of a single background section of “Wouldn’t It Be Nice.”","s":"ps-booklet-making"},{"t":"Making the 2023 Dolby Atmos mix, Giles Martin found no track with the drums on their own: the kick and the snare each share a track with other instruments, more like orchestral percussion than a drum kit. On “Wouldn’t It Be Nice,” the snare and the saxophones sit together in the center channel.","s":"ps-mix-martin-2023"}],"listen":[{"track":"You Still Believe In Me","id":"1440841248","t":"Listen for the bicycle bell and horn: leftovers from an unfinished song, “In My Childhood.”","s":"ps-booklet-songs","len":"2:36"},{"track":"Let's Go Away for Awhile","id":"1440841254","t":"Listen for the sliding, steel-like guitar: a regular guitar played with a Coke bottle.","s":"ps-booklet-songs","len":"2:25"},{"track":"God Only Knows","id":"1440841258","t":"Listen to the instrumental break: the short, detached piano chords were Don Randi’s suggestion.","s":"ps-booklet-songs","len":"2:55"}]},"1440841365":{"stages":[{"k":"mix","y":"2000","h":"Original album mix","scope":"The original 2000 mix, on the tracks credited to Russell Elevado.","places":["electric-lady"],"credits":[["russell-elevado","Mix engineer"]],"src":["dna-voodoo-mb"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"On “Spanish Joint,” Charlie Hunter plays the bass line and the guitar at the same time, on an eight-string guitar: five regular strings and three bass strings on a separate pickup. It was added at the end of his time at Electric Lady, and the album has the first take.","s":"voodoo-elevado-rbma"},{"t":"The vocal choir on “The Root” is all D’Angelo, every voice actually sung: he tripled each note in four overlapping harmony parts, about 40 voices or more, with no copying and pasting.","s":"voodoo-elevado-rbma"},{"t":"Pino Palladino played a ’63 Precision Bass tuned down to D or a Moon four-string tuned down to C#, both with heavy La Bella flatwounds, into one miked Ampeg B-15, which he’s pretty sure was the only signal taken.","s":"voodoo-pino-bassplayer"},{"t":"D’Angelo wrote most of those bass lines with his left hand at the keyboard. He played Pino about 80 percent of each line and left the rest for him to vary, James Jamerson style.","s":"voodoo-pino-bassplayer"},{"t":"Questlove’s first take on “Playa Playa” had him stomping the kick drum. Russell Elevado stopped him: on Electric Lady’s vintage gear, the lighter he played, the better it sounded.","s":"voodoo-soulquarians-rbma"},{"t":"Voodoo’s horn sections are Roy Hargrove alone: he played one line, then came back and harmonized it two or three more times.","s":"voodoo-hargrove-lt"}],"listen":[{"track":"Send It On","id":"1440841746","t":"Listen for the dark, round bass: detuned flatwound strings into one small miked amp.","s":"voodoo-pino-bassplayer","len":"5:57"},{"track":"The Root","id":"1440841906","t":"Listen for the harmony stacks: every note sung three times, four parts overlapping, all one voice.","s":"voodoo-elevado-rbma","len":"6:30"},{"track":"Spanish Joint","id":"1440841910","t":"Listen for bass line and guitar chords coming from one player, in one first take.","s":"voodoo-elevado-rbma","len":"5:47"}],"sampled":[{"song":"Insomniak","artist":"Mac Miller feat. Rick Ross","y":2014,"from":"Untitled (How Does It Feel)","kind":"sample","s":"pilot-voodoo-mac","v":"1585686346","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/83/77/5b/83775bbf-8f36-f373-6af9-cb7c0bfa2d49/093624879787.jpg/{w}x{h}bb.jpg"}]},"1440841577":{"stages":[{"k":"recording","y":"1987","h":"Original album production","scope":"The original 1987 album, recorded and mixed at Power Play Studios in Queens. “Eric B. Is President” and the remix of “My Melody” were made at Marley Marl’s, and his remixes of both are on the album.","places":["power-play"],"credits":[["elai-tubo","Engineer"],["patrick-adams","Engineer"],["marley-marl","Remixes"]],"artistProduced":true,"src":["pif-discogs-1987","pif-spin-ericb-2024"]},{"k":"mix","y":"1987","h":"Coldcut remix","scope":"The last track only: an edit of Coldcut’s “Seven Minutes of Madness” remix of “Paid in Full.”","places":[],"credits":[["matt-black","Remix"],["jonathan-more","Remix"]],"src":["pif-sos-coldcut"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"“Eric B. Is President” was made on a four-track at Marley Marl’s: kick and bass shared one track, snare and hi-hat another, and some of Eric B.’s cuts went down on the same track as Rakim’s vocal. Marley never mixed it. The version released is the demo mix.","s":"pif-rbma-marley-2014"},{"t":"The drums on “Eric B. Is President” came off an old drum track Marley Marl had made for a Tragedy record, “Stunt of the Block,” and the rest of that tape was wiped.","s":"pif-rbma-marley-2014"},{"t":"Rakim cut his first vocals at Marley Marl’s sitting on the couch, with the gear wheeled over in front of him. Told to stand up and put more energy into it, he refused, and he gave MC Shan the same answer: he wanted it just the way it was.","s":"pif-rbma-rakim"},{"t":"“Paid in Full” came in at about two minutes, too short, during the all-night session to finish the album. Eric B. told engineer Elai Tubo to just play the tape, went in and talked over the beat to fill it out, calling Tubo by name.","s":"pif-rbma-powerplay-2017"},{"t":"Rakim wrote his “Paid in Full” verse in about five minutes, with pen and paper at the piano in Power Play’s vocal room, on a night when three songs still needed vocals, scratching and mixes before an 11 a.m. label meeting.","s":"pif-rbma-powerplay-2017"},{"t":"Engineer Patrick Adams gave the album its boom by taking the kick drum down in pitch, not volume, several octaves lower, and putting that on a track of its own. He also pitched every sample so they all sat in the same key.","s":"pif-rbma-powerplay-2017"},{"t":"Coldcut made their remix, the last track here, without the master tape: Island’s Julian Palmer handed them vinyl copies of the album. Their only sampler was a Casio RZ-1 drum machine with 0.8 seconds of sampling time, and Ofra Haza’s voice fit only with her record slowed to minus eight, as far as the turntable went, where it landed in tune and in time by coincidence.","s":"pif-sos-coldcut"}],"listen":[{"track":"Eric B. Is President","id":"1440841595","t":"Listen for scratches landing right on top of Rakim’s lines: on Marley Marl’s four-track, some cuts shared the vocal track.","s":"pif-rbma-marley-2014","len":"6:18"},{"track":"Eric B. Is President","id":"1440841595","t":"Listen to the drums: an old track Marley Marl first cut for a Tragedy record, pulled off the shelf.","s":"pif-rbma-marley-2014","len":"6:18"},{"track":"Paid In Full","id":"1440841589","t":"Listen for Eric B. talking to the engineer over the beat: the song ran only about two minutes, and he was filling time.","s":"pif-rbma-powerplay-2017","len":"3:48"}],"sampled":[{"song":"Pump Up the Volume","artist":"M/A/R/R/S","y":1987,"from":"I Know You Got Soul","kind":"sample","s":"echo-paid-in-full-pump-up-the-volume","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/72/ea/81/72ea8137-e0c5-9a10-207b-fef013d2d071/652637170764.png/{w}x{h}bb.jpg","id":"314596689"},{"song":"Try Again","artist":"Aaliyah","y":2000,"from":"I Know You Got Soul","kind":"interpolation","s":"echo-paid-in-full-try-again","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/95/22/4a/95224af2-83e8-09dd-87ab-5a9b8e178120/5034644712857.jpg/{w}x{h}bb.jpg","id":"1816083311"},{"song":"The Way I Am","artist":"Eminem","y":2000,"from":"As the Rhyme Goes On","kind":"interpolation","s":"echo-paid-in-full-the-way-i-am","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/f7/76/f4/f776f482-406b-301a-4145-14617d0b8cf5/00606949062927.rgb.jpg/{w}x{h}bb.jpg","id":"1440866925"},{"song":"Type Dangerous","artist":"Mariah Carey","y":2025,"from":"Eric B. Is President","kind":"sample","s":"echo-paid-in-full-type-dangerous","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/00/53/54/00535476-ca81-846b-cf51-f1d98d5f28a2/764656422486_cover.jpg/{w}x{h}bb.jpg","id":"1827315214"},{"song":"Arrogance","artist":"Prince & The New Power Generation","y":1992,"from":"I Know You Got Soul","kind":"sample","s":"echo-paid-in-full-arrogance","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/21/bc/80/21bc8032-fcf4-adac-9d19-2e1a6b7993ee/886448909194.jpg/{w}x{h}bb.jpg","id":"1544289188"},{"song":"You Wouldn't Understand","artist":"Nas feat. Victoria Monet","y":2012,"from":"Eric B. Is President","kind":"sample","s":"echo-paid-in-full-you-wouldnt-understand","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/78/26/87/78268787-bb6b-8271-61d5-a20853221073/12UMGIM31290.rgb.jpg/{w}x{h}bb.jpg","id":"1444151151"}]},"1440872228":{"stages":[{"k":"recording","y":"1972","h":"Original album production","scope":"Basic tracks for most of the album cut in 1971 in the basement of Nellcôte, Keith Richards’s rented house in the south of France, recorded through the Rolling Stones Mobile; overdubs and mixing at Sunset Sound in Hollywood.","places":["nellcote","sunset-sound"],"credits":[["jimmy-miller","Producer"],["andy-johns","Engineer"],["glyn-johns","Engineer"],["jeremy-gee","Engineer"],["joe-zaganno","Engineer"]],"src":["exile-discogs-1972","exile-bcb-johns"]},{"k":"original-master","y":"1972","h":"Original vinyl mastering","scope":"Lacquers for the original 1972 double LP were cut at Artisan Sound Recorders; the engineer isn’t named. Not necessarily this digital edition.","places":["artisan-sound"],"credits":[],"src":["exile-discogs-1972"]},{"k":"remaster","y":"2010","h":"2010 remaster","scope":"The 2010 remaster named in this edition’s title.","places":[],"credits":[["stephen-marcussen","Mastering"]],"src":["exile-discogs-2010"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"On “Tumbling Dice,” Charlie Watts is double-tracked up to the breakdown. He couldn’t get the ending, so producer Jimmy Miller played the drums from the breakdown to the end.","s":"exile-bcb-johns"},{"t":"“Tumbling Dice” used more tape than anything else on the album, at least 30 two-inch reels. One afternoon Keith Richards sat playing its reprise for about six hours, round and round.","s":"exile-rs-2010"},{"t":"Keith Richards cut “Happy” one afternoon in about two takes, with Bobby Keys on baritone saxophone and Jimmy Miller on drums.","s":"exile-npr-richards"},{"t":"Al Perkins overdubbed the pedal steel on “Torn And Frayed” at Sunset Sound on a ZB custom 11-string he’d owned for about two weeks, having just moved up from an 8-string with a homemade knee lever or two. Told he could stretch out, he did.","s":"exile-cr-perkins"}],"listen":[{"track":"Tumbling Dice","id":"1440872599","t":"Listen for the drums after the breakdown: from there to the end it’s Jimmy Miller, not Charlie Watts.","s":"exile-bcb-johns","len":"3:47"},{"track":"Happy","id":"1440872605","t":"Listen for the baritone sax: Bobby Keys, on a song Keith Richards cut in about two takes.","s":"exile-npr-richards","len":"3:04"},{"track":"Torn And Frayed","id":"1440872601","t":"Listen to the pedal steel: Al Perkins, stretching out on an 11-string he’d had for about two weeks.","s":"exile-cr-perkins","len":"4:18"}]},"1440937741":{"stages":[{"k":"recording","y":"1971","h":"Original album production","scope":"The original 1971 soundtrack album.","places":["stax"],"credits":[["isaac-hayes","Producer"],["ron-capone","Engineer"],["henry-bush","Engineer"]],"src":["dna-shaft-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"When the chords of the “Shaft” theme moved from F to E, Skip Pitts moved his wah part with them, and Isaac Hayes stopped him: go back to the G. The wah sits on one G octave while the harmony changes underneath.","s":"shaft-pitts-gp"},{"t":"By Hayes’s own account, he got down on his knees and worked Skip Pitts’s wah pedal with his hands until Skip had the rhythm.","s":"shaft-hayes-npr-2005"},{"t":"The relentless hi-hat comes from Al Jackson Jr.’s hi-hat at the end of Otis Redding’s “Try a Little Tenderness,” an arrangement Hayes had a hand in. He decided to sustain that figure through the whole theme.","s":"shaft-hayes-fresh-air"},{"t":"Drummer Willie Hall took the tempo from Richard Roundtree’s walk: Hayes told him to watch the steps and give him those 16th notes.","s":"shaft-hall-flyer"},{"t":"The needle scratch that ends “Do Your Thing” is an overdubbed sound effect. It hid another 13 minutes of the jam, still on the original 2-inch tape.","s":"shaft-nowagain-2016"}],"listen":[{"track":"Theme from Shaft","id":"1440937747","t":"Listen for the hi-hat alone at the start, then a wah guitar that keeps one G octave while the chords change.","s":"shaft-pitts-gp","len":"4:39"},{"track":"Do Your Thing","id":"1440938065","t":"Listen to the last seconds: the needle ripping across a record is an overdub, and the band was still playing.","s":"shaft-nowagain-2016","len":"19:27"}],"sampled":[{"song":"The Sounds of Science","artist":"Beastie Boys","y":1989,"from":"Walk From Regio's","kind":"sample","s":"echo-shaft-music-from-the-sounds-of-science","id":"721277077","art":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/bf/b9/82/bfb9825b-e130-0664-2f2f-3a766a1161c6/05099969330056.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Power to the People","artist":"Public Enemy","y":1990,"from":"Theme from Shaft","kind":"sample","s":"echo-shaft-music-from-power-to-the-people","id":"1440837982","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/5f/56/ff/5f56ff7b-71b3-3e5f-208a-3b20d96bb4b0/06UMGIM21173.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Show & Prove","artist":"Big Daddy Kane","y":1994,"from":"Theme from Shaft","kind":"sample","s":"echo-shaft-music-from-show-prove","id":"1444106278","art":"https://is1-ssl.mzstatic.com/image/thumb/Music128/v4/7d/93/4b/7d934bb7-bef1-11b9-50b5-d87fa64c3881/00602547451507.rgb.jpg/{w}x{h}bb.jpg"}]},"1440941776":{"stages":[{"k":"recording","y":"1969","h":"Original album production","scope":"The original 1969 Enterprise album.","places":["ardent","united-sound"],"credits":[["al-bell","Producer"],["allen-jones","Producer"],["marvell-thomas","Producer"],["terry-manning","Engineer"],["ed-wolfrum","Engineer"],["russ-terrana","Remix engineer"]],"src":["dna-hbs-discogs","dna-hbs-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"On “Walk On By,” Hayes asked guitarist Harold Beane to take it out of the box. Beane turned on his fuzz and tremolo and slid his guitar up and down a microphone stand, and the arranger in Detroit then wrote strings to match that sound.","s":"hbs-beane-rrg"},{"t":"The long spoken opening of “By the Time I Get to Phoenix” started at the Tiki Club: Hayes had the band loop the intro chords while he talked through the story, until the noisy room went quiet.","s":"hbs-hayes-avclub"},{"t":"Al Bell gave the session Lou Rawls’s “Goin’ to Chicago” as its model and asked the arrangers to hear each track as a motion picture and write it a soundtrack, two years before Shaft.","s":"hbs-bell-npr"}],"listen":[{"track":"Walk On By","id":"1440941779","t":"Listen for the wobbling fuzz guitar sliding in pitch, then strings written to copy its shape.","s":"hbs-beane-rrg","len":"12:00"},{"track":"By the Time I Get To Phoenix","id":"1440941785","t":"Listen for the band holding one vamp for minutes while Hayes talks, the club trick that quieted a noisy room.","s":"hbs-hayes-avclub","len":"18:44"}],"sampled":[{"song":"Warning","artist":"The Notorious B.I.G.","y":1994,"from":"Walk On By","kind":"sample","s":"echo-hot-buttered-soul-warning","id":"204669384","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/50/5b/0e/505b0e6f-cb2d-df8f-58df-02a8d8e61c59/075679456762.jpg/{w}x{h}bb.jpg"},{"song":"Me Against the World","artist":"2Pac feat. Dramacydal","y":1995,"from":"Walk On By","kind":"sample","s":"echo-hot-buttered-soul-me-against-the-world","id":"1440509553","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/40/aa/13/40aa13a7-97b7-7278-57fb-2a6bc3849402/00012414163622.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Black Steel in the Hour of Chaos","artist":"Public Enemy","y":1988,"from":"Hyperbolicsyllabicsesquedalymistic","kind":"sample","s":"echo-hot-buttered-soul-black-steel-in-the-hour","id":"1440838175","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/9f/49/d0/9f49d09b-6842-081e-8cec-67b19a686397/06UMGIM18700.rgb.jpg/{w}x{h}bb.jpg"},{"song":"I Can't Go to Sleep","artist":"Wu-Tang Clan feat. Isaac Hayes","y":2000,"from":"Walk On By","kind":"sample","s":"echo-hot-buttered-soul-i-can-t-go-to-sleep","id":"457508091","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/f1/48/f7/f148f7f4-7a50-69c9-b3b5-125d7b87541c/mzi.eybqcvps.jpg/{w}x{h}bb.jpg"},{"song":"Supa Star","artist":"Group Home","y":1995,"from":"One Woman","kind":"sample","s":"echo-hot-buttered-soul-supa-star","id":"1443600600","art":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/72/bf/7c/72bf7c49-c4e1-7e89-0abb-1b76e7b11e34/00602537996711.rgb.jpg/{w}x{h}bb.jpg"}]},"1441133180":{"stages":[{"k":"recording","y":"1968","h":"Original album production","scope":"Recorded at EMI Studios in London from late May to October 1968, with “Dear Prudence” among the songs cut at Trident. Geoff Emerick engineered the first sessions and Ken Scott most of the rest.","places":["abbey-road","trident"],"credits":[["george-martin","Producer"],["geoff-emerick","Engineer"],["ken-scott","Engineer"]],"src":["wa-discogs-1968","wa-sos-wmggw"]},{"k":"remaster","y":"2009","h":"2009 stereo remaster","scope":"The 2009 remaster, made from the original stereo master tapes. This edition carries a ℗ 2009 line; whether this digital edition comes straight from it hasn’t been documented.","places":["abbey-road"],"credits":[["guy-massey","Remastering"],["steve-rooke","Remastering"]],"src":["wa-discogs-2009"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"“Yer Blues” was cut with all four Beatles packed into a tiny room beside Studio Two’s control room, a space that normally just held a four-track tape machine. Everything was played live, the vocal too, so every microphone hears everything.","s":"wa-mr-scott"},{"t":"Partway through “Yer Blues,” the sound of John Lennon’s voice changes completely. Leakage had spoiled the second half, so the vocal was redone, and Lennon decided that if the sound was going to change, it should change all the way.","s":"wa-gw-scott"},{"t":"Eric Clapton didn’t want his solo on “While My Guitar Gently Weeps” to sound like Eric Clapton. So it was double-tracked artificially and flanged in the mix: Chris Thomas flanged the guitar, and the organ, by rocking an oscillator to vary the speed of the four-track tape before it was bounced to eight-track.","s":"wa-sos-wmggw"},{"t":"The White Album was one of Abbey Road’s first eight-track jobs, and the studio wasn’t set up for it yet. On “Helter Skelter,” the engineers could hear only seven of the eight tracks at a time, and had to shuffle parts around to double anything.","s":"wa-mix-scott"},{"t":"For “Helter Skelter,” Paul McCartney wanted the most distorted sound ever. The band turned everything up in the studio, and the engineers pulled it all back down at the desk upstairs.","s":"wa-mr-scott"},{"t":"Before mixing, the Beatles took to asking for full bass and full treble on everything, so Ken Scott turned the desk’s EQ, fixed at 100 Hz and 5 kHz, all the way up on every track.","s":"wa-sos-wmggw"},{"t":"This is the stereo mix. Ken Scott remembers Paul McCartney telling him the Beatles wanted the White Album’s stereo mixes to differ from the monos, because fans had written in about buying both.","s":"wa-gw-scott"}],"listen":[{"track":"Yer Blues","id":"1441134092","t":"Listen for the middle of the song, where the sound of Lennon’s voice changes completely: the vocal was redone, and he went all the way.","s":"wa-gw-scott","len":"4:00"},{"track":"While My Guitar Gently Weeps","id":"1441133644","t":"Listen to Clapton’s solo: flanged and double-tracked so it wouldn’t sound like him.","s":"wa-sos-wmggw","len":"4:45"},{"track":"Helter Skelter","id":"1441134207","t":"Listen to the distortion: everything cranked in the studio, then pulled back down at the desk.","s":"wa-mr-scott","len":"4:29"}],"sampled":[{"song":"BLACKBIIRD","artist":"Beyoncé, Tanner Adell, Brittney Spencer, Tiera Kennedy & Reyna Roberts","y":2024,"from":"Blackbird","kind":"sample","s":"echo-white-album-blackbiird","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/bd/f6/83/bdf683a5-28de-08cb-cb91-2940c1e6270b/196871853729.jpg/{w}x{h}bb.jpg","id":"1738363769"},{"song":"The Heart Gently Weeps","artist":"Wu-Tang Clan feat. Erykah Badu, Dhani Harrison & John Frusciante","y":2007,"from":"While My Guitar Gently Weeps","kind":"interpolation","s":"echo-white-album-the-heart-gently-weeps","art":"https://is1-ssl.mzstatic.com/image/thumb/Music128/v4/79/10/c2/7910c279-0625-82a9-d039-1e413f2f79b3/00602577296185.rgb.jpg/{w}x{h}bb.jpg","id":"1441460780"},{"song":"Worlock","artist":"Skinny Puppy","y":1989,"from":"Helter Skelter","kind":"sample","s":"echo-white-album-worlock","art":"https://is1-ssl.mzstatic.com/image/thumb/Music126/v4/5e/d4/24/5ed42476-0a90-96c9-7124-c448a1f3fcaa/067003444453.png/{w}x{h}bb.jpg","id":"1620106732"},{"song":"Helter Stupid","artist":"Negativland","y":1989,"from":"Helter Skelter","kind":"sample","s":"echo-white-album-helter-stupid","art":"https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/21/43/00/21430060-1837-30c5-ead0-c664fe493195/888608214957.jpg/{w}x{h}bb.jpg","id":"1506669567"}]},"1441164359":{"stages":[{"k":"recording","y":"1965","h":"Original album production","scope":"Recorded on four-track tape at EMI Studios in London from October 12, 1965, with the final mixing session on November 15.","places":["abbey-road"],"credits":[["george-martin","Producer"],["norman-smith","Engineer"]],"src":["rs-booklet-2009"]},{"k":"mix","y":"1986","h":"New stereo mix","scope":"George Martin’s stereo remix from the four-track tapes, made for the album’s first CD release in 1987. It replaced the 1965 stereo mix.","places":[],"credits":[["george-martin","Stereo mix"]],"src":["rs-booklet-2009"]},{"k":"remaster","y":"2009","h":"2009 stereo remaster","scope":"The 2009 remaster, made from the digital master tapes of George Martin’s 1986 stereo mix. This edition carries its ℗ 2009 line; whether this digital edition comes straight from it hasn’t been documented.","places":["abbey-road"],"credits":[["guy-massey","Remastering"],["steve-rooke","Remastering"]],"src":["rs-booklet-2009","rs-discogs-2009"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"In 1965 the mono mix came first, because stereo records sold to a small number of hi-fi enthusiasts. For the album’s first CD, George Martin made a new stereo mix from the four-track tapes, and the 2009 stereo remaster starts from that mix, not the 1965 one.","s":"rs-booklet-2009"},{"t":"The last session for the album ran from 6 p.m. to 7 a.m. In those 13 hours the Beatles started and finished both “Girl” and “You Won’t See Me,” and completed the overdubs on “Wait” and “I’m Looking Through You.”","s":"rs-booklet-2009"},{"t":"“Michelle” is the only song here that outgrew four tracks. With the backing vocals filling tracks three and four, the tape was copied and the two vocal tracks were mixed down onto one, which freed a track for the bass, an electric guitar and an acoustic guitar.","s":"rs-booklet-2009"},{"t":"The Hammond organ on “You Won’t See Me” is the Beatles’ road manager, Mal Evans. On “I’m Looking Through You,” the Hammond is Ringo Starr.","s":"rs-booklet-2009"},{"t":"Brian Wilson heard Rubber Soul as a folk album by the Beatles that hung together like no album before it. It sent him into the studio to experiment with sounds, and what he made there was Pet Sounds.","s":"rs-wilson-1996"}],"listen":[{"track":"You Won't See Me","id":"1441164612","t":"Listen for the organ: the Beatles’ road manager, Mal Evans, on Hammond.","s":"rs-booklet-2009","len":"3:19"},{"track":"I'm Looking Through You","id":"1441164821","t":"Listen for the Hammond: Ringo Starr, away from his drums.","s":"rs-booklet-2009","len":"2:26"},{"track":"Michelle","id":"1441164629","t":"Listen to the bass and the two guitars: overdubbed after the backing vocals were squeezed onto one track to make room.","s":"rs-booklet-2009","len":"2:42"}],"sampled":[{"song":"Gone Till November (The Makin' Runs Remix)","artist":"Wyclef Jean feat. R. Kelly & Canibus","y":1997,"from":"Michelle","kind":"interpolation","s":"echo-rubber-soul-gone-till-november","art":"https://is1-ssl.mzstatic.com/image/thumb/Music128/v4/2b/9f/4e/2b9f4eef-172f-87f7-eb33-a6dbdce83908/886446564197.jpg/{w}x{h}bb.jpg","id":"1346155940"}]},"1442449109":{"stages":[{"k":"recording","y":"1993","h":"Original album production","scope":"The original 1993 DGC album: basic tracks in the living room of a house on a hill in Los Angeles, overdubs at Kiva West, Conway, the Village Recorder and Sunset Sound, mixing at Ocean Way, with Scott Litt mixing six of the songs.","places":["kiva-west","conway","village-recorder","sunset-sound","ocean-way"],"credits":[["t-bone-burnett","Producer"],["pat-mccarthy","Recording and mixing"],["scott-litt","Mixing"]],"src":["aea-discogs-1993"]},{"k":"original-master","y":"1993","h":"Original mastering","scope":"For the original 1993 DGC CD, not necessarily this digital edition.","places":[],"credits":[["stephen-marcussen","Mastering engineer"]],"src":["aea-discogs-1993"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Robbie Robertson told Adam Duritz to make the record in a house, the way the Band had, so it wouldn’t feel so intimidating. They rented one in Los Angeles and built their own studio in it.","s":"aea-ucr-duritz-2025"},{"t":"The band was stripped down for the album: David Bryson lost his guitar effects, Steve Bowman most of his drum kit, and Charlie Gillingham his synthesizers. Gillingham had to buy a Hammond organ instead.","s":"aea-rs-duritz"},{"t":"While the songs took shape in the house, the band played in a circle and Duritz didn’t sing: T Bone Burnett played acoustic guitar and sang them, and Duritz played harmonica.","s":"aea-rs-duritz"},{"t":"Steve Bowman had decided “Mr. Jones” was a country song, and his takes kept falling apart, so T Bone Burnett brought in another drummer for it. Duritz sang it fifty or sixty times.","s":"aea-louder-mrjones"}],"listen":[{"track":"Mr. Jones","id":"1442449547","t":"Listen to the drums: Denny Fongheiser, a session player brought in for this one song.","s":"aea-discogs-1993","len":"4:32"}]},"1442835298":{"stages":[{"k":"recording","y":"1973","h":"Original album production","scope":"The title track was cut live at Hitsville West, Motown’s Los Angeles studio, on March 13, 1973. Ed Townsend produced the first four songs with Marvin Gaye, and Gaye produced the rest; Cal Harris mixed the album.","places":["hitsville-west"],"credits":[["ed-townsend","Producer, songs 1–4"],["bill-mcmeekin","Engineer"],["art-stewart","Engineer, overdubs and vocals"],["cal-harris","Engineer, mix"]],"artistProduced":true,"src":["lgio-mix","lgio-discogs-1973","lgio-discogs-2002"]},{"k":"remaster","y":"2003","h":"2003 remaster","scope":"Darcy Proper’s 2003 remaster at Sony Music Studios, made for that year’s SACD reissue. This edition is titled “Remastered 2003”; whether this digital edition comes from that remaster hasn’t been documented.","places":["sony-studios-ny"],"credits":[["darcy-proper","Remastering"]],"src":["lgio-discogs-2003"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"By guitarist Don Peake’s account, the wah-wah intro of “Let’s Get It On” was made up on the spot. Arranger René Hall stopped the rehearsal and asked him to make something up for the beginning; Peake had just bought a wah-wah pedal, and played the intro straight off.","s":"lgio-mojo-2024"},{"t":"The title track’s band, extra percussionists and a small string section went onto just 12 tracks of Hitsville West’s 3M 16-track, with four kept for vocals. The engineers mixed as they recorded: drums on three tracks, strings on two, high and low, and all the reeds on one.","s":"lgio-mix"},{"t":"When the engineer objected to Ed Townsend’s choice of microphone and appealed to Gaye over the talkback, Gaye backed his producer and Townsend fired the engineer. Nine days later, with Art Stewart engineering, Gaye sang the final lead on an AKG C-12 in one take, start to finish, though he had taken to building his vocals from punch-ins.","s":"lgio-mix"},{"t":"On the title track, Marvin Gaye’s stacked background harmonies were punched in almost line by line; without the instruments, you would hear all the little clicks.","s":"lgio-mix"},{"t":"Gaye liked his headphones loud. On “Distant Lover,” what sounds like a reverb on his voice is headphone bleed coming through his vocal mic.","s":"lgio-mix"}],"listen":[{"track":"Let's Get It On (Remastered 2003)","id":"1442835454","t":"Listen to the lead vocal: one unbroken take on an AKG C-12, from a singer who had taken to working in punch-ins.","s":"lgio-mix","len":"4:53"},{"track":"Let's Get It On (Remastered 2003)","id":"1442835454","t":"Listen to the wah-wah guitar before the band comes in: by Don Peake’s account, invented on the spot with a pedal he’d just bought.","s":"lgio-mojo-2024","len":"4:53"},{"track":"Distant Lover (Remastered 2003)","id":"1442835743","t":"Listen to the space around his voice: not reverb, but his loud headphones leaking into the vocal mic.","s":"lgio-mix","len":"4:16"}],"sampled":[{"song":"Spaceship","artist":"Kanye West feat. GLC & Consequence","y":2004,"from":"Distant Lover","kind":"sample","s":"echo-lets-get-it-on-spaceship","art":"https://is1-ssl.mzstatic.com/image/thumb/Music116/v4/0d/73/b1/0d73b181-2716-f7a6-a340-0a3f81eacfb9/06UMGIM15686.rgb.jpg/{w}x{h}bb.jpg","id":"1412873326"},{"song":"Smooth Operator","artist":"Big Daddy Kane","y":1989,"from":"Let's Get It On","kind":"sample","s":"echo-lets-get-it-on-smooth-operator","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/c8/95/2c/c8952cce-acb0-abe2-82d0-1e5d3f7406b4/mzi.xqjpgsrk.jpg/{w}x{h}bb.jpg","id":"442168275"},{"song":"Who Do We Think We Are","artist":"John Legend feat. Rick Ross","y":2013,"from":"If I Should Die Tonight","kind":"sample","s":"echo-lets-get-it-on-who-do-we-think-we-are","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/22/71/b9/2271b906-85b3-06ee-e611-489b91df0b73/886444160742.jpg/{w}x{h}bb.jpg","id":"1441844540"},{"song":"Twork It Out","artist":"USHER","y":2001,"from":"You Sure Love To Ball","kind":"sample","s":"echo-lets-get-it-on-twork-it-out","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/e7/1f/06/e71f062b-71c8-3b06-49d3-a0842a759684/078221471527.jpg/{w}x{h}bb.jpg","id":"268532532"},{"song":"Jellyfish","artist":"Ghostface Killah feat. Theodore Unit, Capadonna, Shawn Wigs & Trife","y":2006,"from":"Let's Get It On","kind":"sample","s":"echo-lets-get-it-on-jellyfish","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/ac/46/f9/ac46f9a0-d4dd-894a-1ac0-5d78b0cec65d/06UMGIM22759.rgb.jpg/{w}x{h}bb.jpg","id":"1471571274"},{"song":"End Up Like This","artist":"Jurassic 5","y":2006,"from":"Just To Keep You Satisfied","kind":"sample","s":"echo-lets-get-it-on-end-up-like-this","art":"https://is1-ssl.mzstatic.com/image/thumb/Music116/v4/7b/a7/2e/7ba72e0c-ed19-69e2-04c2-d8828f469611/5400863132361_cover.jpg/{w}x{h}bb.jpg","id":"1673399839"}]},"1442845496":{"stages":[{"k":"recording","y":"1971","h":"Original album production","scope":"The original 1971 Philips album, recorded at Phonogram’s studio in Rio de Janeiro, with arrangements by Rogério Duprat and Magro of MPB4.","places":["phonogram-rio"],"credits":[["roberto-menescal","Producer"],["mazola","Recording engineer"],["toninho","Recording engineer"],["magro","Musical direction"],["rogerio-duprat","Arrangements"]],"src":["cons-album-1971"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"In “Samba de Orly,” Vinícius de Moraes wrote the line “pede perdão pela omissão um tanto forçada,” asking forgiveness for a somewhat forced omission. The censors cut it, and Chico sings “pela duração dessa temporada,” for the length of this stay, in its place.","s":"cons-samba-orly"},{"t":"Every line of “Construção” ends on a word stressed on its third-to-last syllable, and the later verses shuffle those same end words between lines. Chico called it a formal experiment, a game of bricks.","s":"cons-status-1973"}],"listen":[{"track":"Samba de Orly","id":"1442845751","t":"Listen for the line “pela duração dessa temporada”: the words that stand in for a line the censors cut.","s":"cons-samba-orly","len":"2:40"},{"track":"Construção","id":"1442845504","t":"Listen to how every line lands on a word stressed on its third-to-last syllable, and how the later verses shuffle those words.","s":"cons-status-1973","len":"6:24"}],"sampled":[{"song":"NO QUESTIONS ASKED","artist":"Quadeca","y":2025,"from":"Deus Lhe Pague","kind":"sample","s":"echo-construcao-no-questions-asked","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/c3/5f/da/c35fda1f-ad32-33ec-8f38-6756ef88a6c4/1248.jpg/{w}x{h}bb.jpg","id":"1825601355"}]},"1442968012":{"stages":[{"k":"recording","y":"1993","h":"Original production","scope":"The original 1993 album.","places":["u2-factory","windmill-lane","westland-studios"],"credits":[["flood","Producer"],["brian-eno","Producer"],["the-edge","Producer"]],"src":["dna-u2-zooropa"]},{"k":"mix","y":"1993","h":"Original mix and engineering","scope":"The original 1993 mix.","places":[],"credits":[["flood","Mix and recording engineer"],["robbie-adams","Mix and recording engineer"]],"src":["dna-u2-zooropa"]},{"k":"original-master","y":"1993","h":"Original mastering","scope":"For the original 1993 Island release, not necessarily this digital edition.","places":[],"credits":[["arnie-acosta","Mastering engineer"]],"src":["zooropa-discogs-1993"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The whirring that runs through “Numb” is a Walkman rewinding, recorded by accident and looped. It’s there the whole way, clearest at the end as the song fades in and out.","s":"zooropa-sos-adams"},{"t":"The Edge cut his “Numb” vocal in one day at Westland, mumbling along with the track blasting from the control-room monitors instead of headphones, so Robbie Adams had to ease off the Urei 1176 compressor to keep the spill out of the vocal. Larry Mullen sang backing twice, in falsetto and in his normal voice, doubled on an Eventide H3000.","s":"zooropa-sos-adams"},{"t":"“The Wanderer” started as a Yamaha drum machine with the kick going in eighths and a keyboard bass from The Edge’s SY77, like electronic oompah. Johnny Cash sang it while in Dublin for a gig, the band rewrote the lyrics, he came back and sang them again, and the vocal was comped from the passes. All of it, mix included, was done at The Factory on a small Soundcraft 6000 desk.","s":"zooropa-sos-adams"},{"t":"Flood wasn’t there when Cash sang, and he used that: with no attachment to any pass, he spent a long time taking all the feeling out of the vocal on purpose, aiming for a cold, dispassionate Johnny Cash, almost Johnny Cash the robot.","s":"zooropa-flood-atu2"},{"t":"The wave of guitars in each pre-chorus of “Stay (Faraway, So Close!)” is a huge stack Flood had on one fader. The bigger versions were stripped back to a humble kit and guitar late in mixing, and he pushed the stack up live while Bono reacted.","s":"zooropa-flood-atu2"},{"t":"The second half of “Zooropa” is a live soundcheck jam, taped straight to DAT on tour and processed by sound man Joe O’Herlihy. Brian Eno morphed the band’s 1993 Dublin take into it.","s":"zooropa-flood-atu2"},{"t":"The brass fanfare that opens “Daddy’s Gonna Pay for Your Crashed Car” is lifted from an LP called Lenin’s Favourite Songs, and the track also samples MC 900 Ft. Jesus’s “The City Sleeps.”","s":"zooropa-discogs-1993"}],"listen":[{"track":"Numb","id":"1442968376","t":"Listen for the chattering whir under everything: a Walkman rewinding, taped by accident and looped.","s":"zooropa-sos-adams","len":"4:20"},{"track":"The Wanderer (feat. Johnny Cash)","id":"1442968589","t":"Listen to how flat and even Cash’s voice sits over the kick in eighths: Flood took the feeling out on purpose.","s":"zooropa-flood-atu2","len":"5:41"},{"track":"Stay (Faraway, So Close!)","id":"1442968385","t":"Listen for the wave of guitars in each pre-chorus, a whole stack pushed up on one fader.","s":"zooropa-flood-atu2","len":"4:58"}],"sampled":[{"song":"Now It's Time","artist":"HAIM","y":2025,"from":"Numb","kind":"sample","s":"echo-zooropa-now-its-time","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/d4/7c/61/d47c61de-0211-3820-4613-801f540456d9/196873071695.jpg/{w}x{h}bb.jpg","id":"1809849972"}]},"1442986865":{"stages":[{"k":"recording","y":"1979","h":"Original album production","scope":"The original 1979 Atlantic album.","places":["power-station"],"credits":[["nile-rodgers","Producer"],["bernard-edwards","Producer"],["bob-clearmountain","Engineer"]],"src":["dna-risque-wiki"]},{"k":"remaster","y":"2018","h":"2018 remaster","scope":"Remastered from the original Atlantic stereo tapes for The Chic Organization 1977–1979, with Nile Rodgers overseeing it.","places":["abbey-road"],"credits":[["miles-showell","Remastering"],["nile-rodgers","Remaster supervision"]],"src":["risque-pr-2018","risque-qobuz-2018"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The glissando that opens “Good Times” runs from the bottom of the keyboard in a couple of seconds and was fed into the women’s bathroom at the Power Station, the tiled room the studio used as its echo chamber.","s":"risque-rodgers-arp"},{"t":"The first voice on the “Good Times” hook is a man’s: Fonzi Thornton sang it first, pitched high in the women’s range, and Ullanda McCullough, Michelle Cobbs, Alfa Anderson and Luci Martin were stacked on top.","s":"risque-rc-305"},{"t":"Bernard Edwards made up the “Good Times” bass line on the spot. He arrived late while Nile Rodgers and Tony Thompson were vamping, and Rodgers yelled over the volume for him to walk through it. John Deacon of Queen was in the control room.","s":"risque-rodgers-fresh-air"},{"t":"The tap dancing on “My Feet Keep Dancing” is Fayard Nicholas, Eugene Jackson and Sammy Warren, veteran hoofers Rodgers and Edwards brought back from retirement as a thank-you to the dancers of Lindy-hop and tap.","s":"risque-rc-305"}],"listen":[{"track":"Good Times","id":"1442986866","t":"Listen to the first seconds: a keyboard sweep ringing in a tiled bathroom used as the echo chamber.","s":"risque-rodgers-arp","len":"8:06"},{"track":"My Feet Keep Dancing","id":"1442986868","t":"Listen for real taps from three veteran hoofers used as percussion against the band.","s":"risque-rc-305","len":"6:32"}],"sampled":[{"song":"Rapper's Delight","artist":"The Sugarhill Gang","y":1979,"from":"Good Times","kind":"interpolation","s":"echo-rappers-delight-wiki","id":"51958108","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/y2005/m03/d21/h20/s06.pzggsvfv.jpg/{w}x{h}bb.jpg"},{"song":"The Adventures of Grandmaster Flash on the Wheels of Steel","artist":"Grandmaster Flash & The Furious Five","y":1981,"from":"Good Times","kind":"sample","s":"echo-risqu-remastered-the-adventures-of-grandm","id":"59389715","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/c2/34/48/c234484e-a6f3-4355-6d41-24275da82c74/s06.kststhcn.jpg/{w}x{h}bb.jpg"}]},"1442990558":{"stages":[{"k":"recording","y":"1978","h":"Original album production","scope":"The original 1978 Atlantic album.","places":["power-station"],"credits":[["nile-rodgers","Producer"],["bernard-edwards","Producer"]],"src":["dna-cestchic-wiki"]},{"k":"remaster","y":"2018","h":"2018 remaster","scope":"Remastered from high-resolution transfers of the original quarter-inch Atlantic master tapes for The Chic Organization 1977–1979, with Nile Rodgers going through every song.","places":["abbey-road"],"credits":[["miles-showell","Remastering"],["nile-rodgers","Remaster supervision"]],"src":["cestchic-showell-abbey-2018","risque-pr-2018"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The one big effect on “Le Freak,” the huge echo on the bass drum after the shouted hook, came from overloading the Power Station’s live echo chamber, which was the building’s bathroom.","s":"cestchic-sos-2005"},{"t":"Chic’s rhythm tracks were played completely live with no click track, one take chosen and never assembled from several. There is only one “Le Freak.” Rodgers’s 1959 Stratocaster and Bernard Edwards’s Music Man bass both went straight into the desk, no amps.","s":"cestchic-sos-2005"},{"t":"Chic never cut guide vocals, and no singer, star or not, heard a song before the day they recorded it. The vocals here are first reactions to finished tracks.","s":"cestchic-sos-2005"},{"t":"On “Le Freak,” Alfa Anderson sings the word “amazed” a little flat, and it stayed: Rodgers loved it as pure Alfa.","s":"cestchic-sos-2005"},{"t":"The “Le Freak” riff is Rodgers’s answer to Cream’s “Sunshine of Your Love”: he wanted a riff song for Chic.","s":"cestchic-sos-2005"},{"t":"“I Want Your Love” is Rodgers trying to play like Giorgio Moroder’s records with Donna Summer, that machine precision. He found out a month later that the machine was a sequencer. The band played it by hand.","s":"cestchic-rbma-rodgers-2011"},{"t":"In January 1978 Rodgers and Edwards made C’est Chic and Sister Sledge’s We Are Family at the same time in the same rooms: rhythm tracks in the Power Station’s Studio B on a 24-channel Neve 8078 with Bob Clearmountain engineering, strings in the much larger Studio A.","s":"cestchic-sos-2005"}],"listen":[{"track":"Le Freak (2018 Remaster)","id":"1442990560","t":"Listen for the kick drum blooming into a long echo right after the shouted hook: a bathroom pushed past its limit.","s":"cestchic-sos-2005","len":"5:31"},{"track":"I Want Your Love (2018 Remaster)","id":"1442990833","t":"Listen for the machine-steady repeating figure: a band imitating a sequencer it didn’t know existed.","s":"cestchic-rbma-rodgers-2011","len":"6:53"},{"track":"Le Freak (2018 Remaster)","id":"1442990560","t":"Listen for the word amazed landing a little flat, kept because they loved it.","s":"cestchic-sos-2005","len":"5:31"}],"sampled":[{"song":"Love Like This","artist":"Faith Evans","y":1998,"from":"Chic Cheer","kind":"sample","s":"echo-c-est-chic-2018-r-love-like-this","id":"80979120","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/b5/08/b6/b508b6ce-8f07-6672-2a21-1c4746bc3a3d/mzi.izckjnxv.jpg/{w}x{h}bb.jpg"}]},"1443006237":{"stages":[{"k":"recording","y":"1972","h":"Original album production","scope":"The original 1972 Tamla soundtrack album.","places":["hitsville-west"],"credits":[["marvin-gaye","Producer"]],"src":["dna-troubleman-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The drums on “‘T’ Plays It Cool” are a loop, made in 1972, before samplers, by running a length of tape in a figure eight around a two-track machine. Marvin’s Moog lines were overdubbed; everything else was live.","s":"tm-lawrence-npr"},{"t":"None of Trevor Lawrence’s saxophone was written down. Marvin sang him lines over his headphones, and Lawrence matched them and kept playing.","s":"tm-lawrence-npr"}],"listen":[{"track":"\"T\" Plays It Cool","id":"1443006824","t":"Listen for drums that repeat exactly, bar after bar, a tape loop, under a tenor sax Marvin sang to its player through headphones.","s":"tm-lawrence-npr","len":"4:26"}],"sampled":[{"song":"The Introduction","artist":"T.I.","y":2012,"from":"Trouble Man","kind":"sample","s":"echo-trouble-man-40th-the-introduction","id":"1437479697","art":"https://is1-ssl.mzstatic.com/image/thumb/Music128/v4/47/15/ea/4715ea67-fc41-2a39-b21c-70979f21dd0a/050742347086_art.jpg/{w}x{h}bb.jpg"},{"song":"Mr.Trouble","artist":"BigXthaPlug","y":2021,"from":"Trouble Man","kind":"sample","s":"echo-trouble-man-40th-mr-trouble","id":"1585387473","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/3e/fe/05/3efe051c-bce5-5b66-639a-a85726433d14/196282787286.png/{w}x{h}bb.jpg"}]},"1443155637":{"stages":[{"k":"recording","y":"1986","h":"Original album production","scope":"Recorded in 1986 at Windmill Lane Studios, at Danesmoate, Adam Clayton’s house, and at Melbeach, The Edge’s house.","places":["windmill-lane","danesmoate","melbeach"],"credits":[["brian-eno","Producer"],["daniel-lanois","Producer"],["flood","Engineer"],["dave-meegan","Additional engineering"],["pat-mccarthy","Additional engineering"]],"src":["jt-discogs-1987","jt-hotpress-2007"]},{"k":"mix","y":"1987","h":"Mixed","scope":"Mixed in two places at once: Steve Lillywhite mixed “Where the Streets Have No Name,” “With or Without You,” “Bullet the Blue Sky” and “Red Hill Mining Town” at Windmill Lane; Daniel Lanois and Dave Meegan mixed the other seven at Melbeach.","places":["windmill-lane","melbeach"],"credits":[["steve-lillywhite","Mix"],["mark-wallis","Mix engineer"],["daniel-lanois","Mix"],["dave-meegan","Mix"]],"src":["jt-discogs-1987","jt-sos-lanois-1987"]},{"k":"remaster","y":"2007","h":"20th-anniversary remaster","scope":"The 2007 remaster made for the album’s 20th anniversary. This edition carries its ℗ 2007 line; whether this digital edition comes straight from it hasn’t been documented.","places":[],"credits":[["arnie-acosta","Remastering engineer"],["the-edge","Remastering director"],["cheryl-engels","Remastering producer"]],"src":["jt-discogs-2007"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"“With or Without You” runs on a little Yamaha sequencer part from start to finish, so it’s played to mechanical time. The first third is electronic drums with some of Larry Mullen Jr.’s sounds; his acoustic kit comes in further along. The bass is an Ibanez that Adam Clayton hardly ever played.","s":"jt-sos-lanois-1987"},{"t":"The Edge had just got his Infinite sustain guitar and was testing it in the control room when Daniel Lanois heard it on “With or Without You.” They listened back and cut the part right away, in two takes.","s":"jt-hotpress-2007"},{"t":"“Bullet the Blue Sky” was never played all the way through at once. The Edge wanted to fly sections of one version into another, so Steve Lillywhite copied them across on a half-inch tape machine and matched the tempos by hand.","s":"jt-hotpress-2007"},{"t":"For “Bullet the Blue Sky,” they built a PA in a big warehouse next door to Windmill Lane, played Larry Mullen Jr.’s drums through it and miked them again: an elaborate rock and roll echo chamber.","s":"jt-hotpress-2007"},{"t":"The slide guitar on “Running to Stand Still” is the sound The Edge had while practicing in a lounge next to Windmill Lane’s main studio: guitar plugged straight into a mixer’s microphone input, amplified by a blaster, no guitar amp. Lanois told him not to move and recorded it right there.","s":"jt-sos-lanois-1987"},{"t":"Lanois plays what he calls a scrape guitar on “Running to Stand Still,” tucked into the background so it adds color without sounding like a guitar. It was caught live, with everyone in a huddle and Larry on the tom-tom.","s":"jt-hotpress-2007"},{"t":"Lanois’s team mixed at The Edge’s house on an AMEK desk with no automation, so three people at the console performed each mix by hand while Lillywhite worked on the SSL back at Windmill Lane.","s":"jt-hotpress-2007"}],"listen":[{"track":"With or Without You","id":"1443155645","t":"Listen to the drums: electronic for the first third, until Larry Mullen Jr.’s acoustic kit comes in.","s":"jt-sos-lanois-1987","len":"4:55"},{"track":"Bullet the Blue Sky","id":"1443155647","t":"Listen to the size of the drums: played back through a PA in a warehouse next door and miked again.","s":"jt-hotpress-2007","len":"4:31"},{"track":"Running to Stand Still","id":"1443155649","t":"Listen to the slide guitar: no amplifier, just The Edge’s guitar through a mixer and a blaster in a studio lounge.","s":"jt-sos-lanois-1987","len":"4:17"}],"sampled":[{"song":"Take Me to the Clouds Above","artist":"LMC & U2","y":2004,"from":"With or Without You","kind":"sample","s":"echo-joshua-tree-take-me-to-the-clouds-above","art":"https://is1-ssl.mzstatic.com/image/thumb/Music127/v4/d5/ad/ac/d5adac98-633f-1d8b-d664-ebe86b360ed1/GLOBE313_Packshot_LMC_vs_U2_Take_Me_To_The_Clouds_Above_3000x3000.jpg/{w}x{h}bb.jpg","id":"1250067005"}]},"1443159760":{"stages":[{"k":"recording","y":"1980","h":"Recorded","scope":"The sessions Chic produced in New York.","places":["power-station"],"credits":[["bernard-edwards","Producer"],["nile-rodgers","Producer"]],"src":["dna-diana-wiki","dna-diana-discogs"]},{"k":"mix","y":"1980","h":"The released mix","scope":"Motown released Diana Ross and Russ Terrana’s remix, not Chic’s original mix.","places":["artisan-sound"],"credits":[["diana-ross","Remix"],["russ-terrana","Remix engineer"]],"src":["dna-diana-wiki","dna-diana-discogs"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"Meco Monardo played four takes of the trombone solo on “I’m Coming Out,” and Nile Rodgers planned to build one solo from the best pieces. The engineer who remixed the album took the tape marked “Meco 1” instead, so the released solo is his first take, small slips included.","s":"diana-meco"},{"t":"The arrangement of “I’m Coming Out” is one Chic first wrote in 1977 for Ashford & Simpson’s “Don’t Cost You Nothing.” In Nile Rodgers’s words, it didn’t work for them.","s":"diana-rodgers-rc"},{"t":"This is Motown’s remix, not the mix Chic delivered: Russ Terrana remixed every song with Diana Ross, using alternate vocals or bringing hers forward for a smoother sound.","s":"diana-ume-2017"}],"listen":[{"track":"I'm Coming Out","id":"1443160111","t":"Listen for Meco’s trombone solo: his first take, used whole, small slips and all.","s":"diana-meco","len":"5:24"},{"track":"Tenderness","id":"1443160106","t":"Listen for Diana’s voice riding in front of the band; Chic’s own mix of this song ran 5:10, and Motown’s remix cut it to 3:52.","s":"diana-discogs-2003","len":"3:52"}],"sampled":[{"song":"Mo Money Mo Problems","artist":"The Notorious B.I.G. feat. Mase & Puff Daddy","y":1997,"from":"I'm Coming Out","kind":"sample","s":"echo-diana-mo-money-mo-problems","id":"906888513","art":"https://is1-ssl.mzstatic.com/image/thumb/Music122/v4/51/70/ca/5170cae7-3cd5-bc59-18ba-b6f56a1c8359/603497898848.jpg/{w}x{h}bb.jpg"},{"song":"Break Your Heart Right Back","artist":"Ariana Grande feat. Childish Gambino","y":2014,"from":"I'm Coming Out","kind":"sample","s":"echo-diana-break-your-heart-right-b","id":"1440825217","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/1e/04/fa/1e04fa35-29e3-2252-a6a0-b3438d5a1ef0/14UMGIM28137.rgb.jpg/{w}x{h}bb.jpg"}]},"1443275060":{"stages":[{"k":"recording","y":"1973","h":"Original album production","scope":"The original 1973 Blue Note album, recorded in 1972.","places":["sound-factory"],"credits":[["larry-mizell","Producer"],["dave-hassinger","Engineer"]],"src":["dna-blackbyrd-wiki","bb-discogs-1973"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The jet taking off at the start of “Flight Time” is a 707 from an Elektra Records sound-effects disc, credited on the original sleeve.","s":"bb-discogs-1973"},{"t":"The album is two bands seven months apart. “Mr. Thomas” and “Flight Time” were cut on April 3 and 4, 1972, with Dean Parks on guitar, Wilton Felder on bass and Bobbye Hall on percussion; the other five tracks all went down on November 24, 1972, with David T. Walker, Chuck Rainey and Stephanie Spruill.","s":"bb-discogs-1973"},{"t":"The group vocals are the producers. Larry and Fonce Mizell sang the backgrounds themselves on their early albums, doubling their own parts to sound like a group, sometimes eight or nine passes of different harmonies by just the two of them.","s":"bb-rbma-mizell-2006"},{"t":"On their sessions the Mizells had the engineer put a separate mic on the hi-hat, something engineers weren’t used to doing, because the funk came from the 16th notes.","s":"bb-rbma-mizell-2006"},{"t":"Fonce Mizell, one of the voices in those stacked backgrounds, had written, produced and arranged the Jackson 5’s first three records, “I Want You Back,” “ABC” and “The Love You Save.” Byrd’s jazz-funk came from the same hands.","s":"bb-rbma-mizell-2006"}],"listen":[{"track":"Flight Time","id":"1443275066","t":"Listen for the jet at the very start: a 707 from a sound-effects record, not the session.","s":"bb-discogs-1973","len":"8:31"},{"track":"Black Byrd","id":"1443275071","t":"Listen for the murmured group vocal: the two producers, stacked pass after pass.","s":"bb-rbma-mizell-2006","len":"7:22"},{"track":"Sky High","id":"1443275263","t":"Listen for the hi-hat up front on its own mic: the Mizells wanted the 16ths.","s":"bb-rbma-mizell-2006","len":"5:57"}],"sampled":[{"song":"N.Y. State of Mind","artist":"Nas","y":1994,"from":"Flight Time","kind":"sample","s":"echo-black-byrd-n-y-state-of-mind","v":"662324135","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/e8/13/50/e813500d-51cd-6c37-c405-53a668cbde97/886444072496.jpg/{w}x{h}bb.jpg"},{"song":"Fear of a Black Planet","artist":"Public Enemy","y":1990,"from":"Flight Time","kind":"sample","s":"echo-black-byrd-fear-of-a-black-planet","id":"1440838111","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/5f/56/ff/5f56ff7b-71b3-3e5f-208a-3b20d96bb4b0/06UMGIM21173.rgb.jpg/{w}x{h}bb.jpg"}]},"1443280597":{"stages":[{"k":"recording","y":"1963","h":"Original album production","scope":"The original Impulse! album, recorded January 20, 1963, with Charlie Mariano’s alto dubbed in about a week later and the suites assembled from splices afterward.","places":[],"credits":[["bob-thiele","Producer"],["bob-simpson","Engineer and editing"]],"src":["bs-discogs-1963","bs-udiscover"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"None of Charlie Mariano’s alto was written out. He dubbed it in a week after the session, with Mingus pointing at him to start and waving at him to stop.","s":"bs-udiscover"},{"t":"The record was finished after the date as much as during it: Bob Thiele counted about 50 tape splices, all of them in Mingus’s head, and Mingus credited engineer Bob Simpson for the balance and the editing.","s":"bs-udiscover"},{"t":"Mingus set the three reeds, Jerome Richardson’s baritone, Dick Hafer’s tenor and Mariano’s alto, in a V, with the tenor farther from the microphone than the others, so the section would sound like four or five saxophones instead of three.","s":"bs-liner-1963"},{"t":"The two opening piano solos on Track C are Mingus himself, played as examples for Jaki Byard at Byard’s request. Bob Thiele kept them on the record.","s":"bs-liner-1963"},{"t":"At the Village Vanguard the classical guitar parts were played on piano. For the record Mingus brought in Jay Berliner, then playing guitar for Harry Belafonte.","s":"bs-liner-1963"}],"listen":[{"track":"Track C – Group Dancers","id":"1443281264","t":"Listen to the piano at the start: Mingus himself, showing Jaki Byard what he wanted.","s":"bs-liner-1963","len":"7:20"},{"track":"Track A – Solo Dancer","id":"1443280914","t":"Listen to the saxophone section: three players set in a V around the microphone to sound like four or five.","s":"bs-liner-1963","len":"6:36"}]},"1445668394":{"stages":[{"k":"recording","y":"1965","h":"Original album production","scope":"The original 1965 Philips album, recorded in New York in 1964 and 1965.","places":[],"credits":[["hal-mooney","Producer"]],"src":["dna-pastel-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"“Chilly Winds Don’t Blow” was recorded on April 6, 1964, more than a year before the rest of the album, which went down on two days in May 1965. It’s the one track without Al Schackman’s guitar or Rudy Stevenson’s flute: Stevenson’s guitar alone with bass and drums.","s":"pb-verve-2006"}],"listen":[{"track":"Chilly Winds Don't Blow (Live In New York/1964)","id":"1445668650","t":"Listen for the smaller band, one guitar with bass and drums, cut a year before the songs around it.","s":"pb-verve-2006","len":"4:05"}],"sampled":[{"song":"Blood on the Leaves","artist":"Kanye West","y":2013,"from":"Strange Fruit","kind":"sample","s":"echo-pastel-blues-blood-on-the-leaves","v":"1440873068","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/3c/56/e7/3c56e717-06a0-b67d-e694-9b6e6e43a5a8/13UAAIM08444.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Get By","artist":"Talib Kweli","y":2002,"from":"Sinnerman","kind":"sample","s":"echo-pastel-blues-get-by","id":"1440775815","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/a4/16/d9/a416d9c7-1465-763b-315f-cffc514ba1e3/00008811304829.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Oh Timbaland","artist":"Timbaland","y":2007,"from":"Sinnerman","kind":"sample","s":"echo-pastel-blues-oh-timbaland","id":"1440748600","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/a4/95/c0/a495c0cf-6e6a-7af5-308d-1cf8c9931fd6/07UMGIM03315.rgb.jpg/{w}x{h}bb.jpg"}]},"1452276959":{"stages":[{"k":"recording","y":"1973","h":"Original album production","scope":"The original 1973 Capitol album.","places":["capitol"],"credits":[["steve-miller","Producer"],["jay-ranellucci","Engineer"]],"src":["dna-joker-wiki","joker-j50-miller-2023"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The bass line on “The Joker” is doubled: Gerald Johnson on his Fender bass and Steve Miller on a Martin acoustic six-string playing it in unison, with John King on drums. The whole track took about 30 minutes.","s":"joker-j50-miller-2023"},{"t":"The slide wolf whistle wasn’t planned. With Johnson egging him on, Miller threw it in on the spot.","s":"joker-j50-miller-2023"},{"t":"Miller’s slide rig on “The Joker”: a Stratocaster into a wah pedal, into a Leslie speaker, into a Manny’s overdrive pedal, into a ’59 Fender Bassman that Dan Healy of the Grateful Dead’s sound crew had hot-rodded. Engineer Jay Ranellucci ran all of it into the Capitol echo chamber Miller credits to Les Paul.","s":"joker-j50-miller-2023"},{"t":"Miller played “The Joker” on a Guild 12-string acoustic tuned down to D, fingering it in the G position, so the shapes sound a whole step lower than they look.","s":"joker-gp-2023"},{"t":"Gerald Johnson worked out his 16-bar solo on “Shu Ba Da Du Ma Ma Ma Ma” sitting on his bed during three weeks off between tour legs, and its closing lick is borrowed from Willie Weeks’s playing on “Voices Inside (Everything Is Everything).” Miller heard Johnson trying 10ths and 7ths and made that the ending.","s":"joker-gw-johnson"},{"t":"“Something to Believe In” was the last rhythm track cut, and Miller put his Guild 12-string through the Capitol echo chamber for it. He had never heard the guitar sound better.","s":"joker-j50-miller-2023"}],"listen":[{"track":"The Joker","id":"1452276975","t":"Listen for a steel-string acoustic shadowing every bass note: Miller doubling Johnson’s line.","s":"joker-j50-miller-2023","len":"4:24"},{"track":"Shu Ba Da Du Ma Ma Ma Ma","id":"1452276966","t":"Listen for the bass solo, worked out on a bed between tour legs, and the borrowed Willie Weeks lick that closes it.","s":"joker-gw-johnson","len":"5:41"},{"track":"Something To Believe In","id":"1452277108","t":"Listen for the long chamber air around the 12-string: Capitol’s echo chamber.","s":"joker-j50-miller-2023","len":"4:41"}],"sampled":[{"song":"Angel","artist":"Shaggy feat. Rayvon","y":2000,"from":"The Joker","kind":"sample","s":"echo-the-joker-angel","id":"1449316047","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/5b/78/c0/5b78c053-c5d5-5414-6d95-2a9ab3d3c7a6/06UMGIM55575.rgb.jpg/{w}x{h}bb.jpg"}]},"1469576104":{"stages":[{"k":"recording","y":"1982","h":"Original album production","scope":"The original 1982 Island album: rhythm tracks by the Roots Radics at Tuff Gong in Kingston, mixed at Compass Point in Nassau.","places":["tuff-gong","compass-point"],"credits":[["flabba-holt","Assistant producer"],["errol-brown","Engineer"],["godwin-logie","Mixing"],["wally-badarou","Prophet synthesizer"]],"artistProduced":true,"src":["nn-discogs-1982"]},{"k":"mix","h":"Bonus dubs and 10-inch mix","scope":"Tracks 9 to 12, as credited on the 2002 Island reissue.","places":[],"credits":[["paul-smykle","Mixing"]],"src":["nn-discogs-2002"]},{"k":"remaster","y":"2002","h":"2002 remaster","scope":"For the 2002 Island CD reissue, whose 12 tracks and running times this edition matches. Whether this digital edition comes from it hasn’t been documented.","places":[],"credits":[["gavin-lurssen","Remastering"]],"src":["nn-discogs-2002"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Wally Badarou’s synthesizer parts were never planned. He flew from Paris to Nassau on February 22, 1982, with no project in mind, found Godwin Logie mixing at Compass Point with a Prophet set up for him, and overdubbed the whole album in less than a couple of hours. He had never heard of Gregory Isaacs.","s":"nn-testpressing-badarou"},{"t":"The Roots Radics laid the rhythms at Tuff Gong in Kingston, and at Compass Point the eight songs were mixed in half a day.","s":"nn-unitedreggae-holt-2016"}],"listen":[{"track":"Night Nurse","id":"1469576120","t":"Listen for the synthesizer lines riding on top of the band: Wally Badarou’s Prophet, added in one short sitting during the mix.","s":"nn-testpressing-badarou","len":"4:07"}]},"1469584174":{"stages":[{"k":"recording","y":"1956","h":"Recorded","places":["capitol"],"credits":[["norman-granz","Producer"]],"src":["ella-longreads"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"All eleven songs were recorded in one day at the new Capitol Studios in Hollywood, the day after Fitzgerald, Armstrong and Oscar Peterson played Norman Granz’s Jazz at the Philharmonic concert at the Hollywood Bowl.","s":"ella-longreads"},{"t":"Granz recorded Fitzgerald out front rather than blended into the band, and both voices sit well forward of the Oscar Peterson Quartet, as on a pop record.","s":"ella-longreads"},{"t":"Thirty years after the Hot Five sessions in Chicago, where Armstrong sang into an acoustic recording horn, the microphone here sits close enough to catch his wide vibrato fading into breath.","s":"ella-longreads"}],"listen":[{"track":"Moonlight In Vermont","id":"1469584184","len":"3:39","t":"Listen for the unusual lyric: every verse is a haiku, with no rhymes.","s":"ella-longreads"}]},"1474815798":{"stages":[{"k":"recording","y":"1969","h":"Recorded","places":["abbey-road","olympic","trident"],"credits":[["george-martin","Producer"],["geoff-emerick","Principal engineer"],["phil-mcdonald","Principal engineer"]],"src":["abbey-bible","abbey-wiki50","abbey-discogs"]},{"k":"mix","y":"2019","h":"New mix (this edition)","scope":"The 2019 Mix is this edition: new stereo and Dolby Atmos mixes.","places":["abbey-road"],"credits":[["giles-martin","Producer, mix"],["sam-okell","Mix engineer"]],"src":["abbey-official","abbey-remixing"]},{"k":"this","y":"2019","h":"This Apple Digital Master","scope":"Stereo mastering as credited on the 2019 anniversary release.","credits":[["miles-showell","Stereo mastering engineer"]],"atmos":[["giles-martin","Dolby Atmos mix"],["sam-okell","Dolby Atmos mix"]],"src":["abbey-discogs","abbey-official"]}],"notes":[{"t":"Emerick and McDonald took turns at EMI's new transistorized TG12345 console.","s":"abbey-bible"},{"t":"The 2019 mix was built from the original eight-track session tapes, using George Martin's original stereo mix as a guide.","s":"abbey-official"},{"t":"For the remix, the only outboard hardware was an EMT 140 plate reverb, tape machines for the ADT effect, and the REDD console.","s":"abbey-remixing"}],"listen":[{"track":"Come Together (2019 Mix)","id":"1474815799","t":"Listen for the bass line Paul McCartney said gives the song its mood.","s":"listen20-1474815798","len":"4:20"}],"sampled":[{"song":"Now And Then","artist":"The Beatles","y":2023,"from":"Because","kind":"sample","s":"echo-now-and-then-wiki","id":"1713197541","art":"https://is1-ssl.mzstatic.com/image/thumb/Music126/v4/96/e6/1b/96e61b5a-df50-7597-8866-183d22698b91/22UMGIM64020.rgb.jpg/{w}x{h}bb.jpg"}]},"1492263092":{"stages":[{"k":"recording","y":"1971","h":"Original recording","scope":"The original 1971 sessions.","places":["am-studios"],"credits":[["henry-lewy","Recording engineer"]],"src":["dna-joni-blue"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The deep hand drum on “Carey” is a tumba Russ Kunkel found sitting in a corner of the studio with a rip in its head. It couldn’t be tuned up, which is why it gives only that dull, very low tone.","s":"blue-kunkel-lat"},{"t":"The congas on “All I Want” are Russ Kunkel too, though the sleeve doesn’t credit him on it. He detuned them until they went flat and sounded closer to hands on a chest than to a drum.","s":"blue-yaffe"},{"t":"“California” has a full drum kit on it, played with brushes: Kunkel puts most of the backbeats on the hi-hat or barely touches the snare, so the kit sits under Joni like light percussion.","s":"blue-kunkel-lat"},{"t":"Joni wrote most of Blue on an Appalachian dulcimer, and the only instrument she’d ever held across her knee was a bongo, so she plays it like one, slapping it with her hands. That’s the dry, percussive strum on “All I Want,” “Carey,” “California” and “A Case of You.”","s":"blue-joni-ag"}],"listen":[{"track":"All I Want","id":"1492263093","t":"Listen for flat, pitchless conga pats under the dulcimer, detuned by Russ Kunkel, who isn’t credited on this song.","s":"blue-yaffe","len":"3:34"},{"track":"Carey","id":"1492263126","t":"Listen for the low, dead thump of a cracked tumba that couldn’t be tuned.","s":"blue-kunkel-lat","len":"3:02"},{"track":"California","id":"1492263128","t":"Listen for backbeats landing on the hi-hat instead of the snare, from a full kit played with brushes.","s":"blue-kunkel-lat","len":"3:51"}],"sampled":[{"song":"My World Is...","artist":"Blu & Exile","y":2007,"from":"Blue","kind":"sample","s":"echo-blue-my-world-is","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/f6/e2/96/f6e29602-e3c8-7dcd-ce7a-a871fed8ea11/11337.jpg/{w}x{h}bb.jpg","id":"1667432045"}]},"1500642838":{"stages":[{"k":"remaster","y":"2019","h":"2019 anniversary remaster","scope":"The 50th-anniversary remaster, in stereo and mono.","places":["gateway"],"credits":[["bob-ludwig","Mastering engineer"]],"src":["dna-abkco-bleed"]},{"k":"this","h":"This Apple Digital Master","unknown":"Whether this Apple Digital Master was made directly from Bob Ludwig’s 2019 remaster hasn’t been documented."}],"notes":[{"t":"The 2019 remaster was made from new digital transfers of the original tapes.","s":"dna-abkco-bleed"}],"listen":[{"track":"Gimme Shelter (Remastered 2019)","id":"1500642840","t":"Listen for Merry Clayton’s backing vocal in the choruses.","s":"listen20-1500642838","len":"4:30"},{"track":"You Can't Always Get What You Want (Remastered 2019)","id":"1500643065","t":"Listen for the London Bach Choir.","s":"listen20-1500642838","len":"7:28"}],"sampled":[{"song":"Waiting for That Day","artist":"George Michael","y":1990,"from":"You Can't Always Get What You Want","kind":"interpolation","s":"echo-waiting-for-that-day-wiki","id":"1625866906","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/44/37/ff/4437ffa7-375d-dc2a-4a47-2ec6925caf98/196589205032.jpg/{w}x{h}bb.jpg"}]},"1534937444":{"stages":[{"k":"recording","y":"2010","h":"Original recording sessions","scope":"Nine of the original songs were recorded at Muscle Shoals Sound Studio; the rest were recorded elsewhere.","places":["muscle-shoals-sound"],"credits":[["mark-neill","Engineer"]],"src":["dna-black-keys-brothers","brothers-sos-neill"]},{"k":"mix","y":"2010","h":"Original album mix","scope":"The original 2010 mix.","places":[],"credits":[["tchad-blake","Mix engineer"]],"src":["dna-black-keys-brothers"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"At Muscle Shoals the songs went down as drums and bass first, with no guide vocal: Dan Auerbach played engineer Mark Neill’s Rickenbacker bass instead of guitar, and the guitars and singing went on afterward. That bass-driven thud is the core of “Everlasting Light,” “Howlin’ for You” and “Sinister Kid.”","s":"brothers-sos-neill"},{"t":"The main room’s floors flex like a trampoline and soak up low end, and the control room was short on bass too, so Neill kept turning the kick and bass way up to hear them, the same thing the studio’s early producers had done to hear theirs.","s":"brothers-sos-neill"},{"t":"Neill left his Studer one-inch eight-track at home and recorded to an iZ RADAR hard-disk machine, with a spare findable in Nashville if it failed. The dirt on these tracks comes from the room and the gear, not from tape.","s":"brothers-sos-neill"},{"t":"Auerbach sang into a Neumann KM184 hung on a boom and pointed straight down at his head, with nothing on the mic: no compressor. Neill rode the fader by hand to catch the peaks, and let the voice fuzz when it felt right.","s":"brothers-sos-neill"},{"t":"Patrick Carney’s drums, a 1956 Gretsch kit from Neill’s studio, were miked in a triangle like Glyn Johns’s setup and mixed down to mono as they were recorded, with only the kick drum kept on its own track.","s":"brothers-sos-neill"},{"t":"“Tighten Up” started with Carney trying to play a Krautrock beat like Can’s “Vitamin C.” At The Bunker in Brooklyn the song came in at about 2:20, too short, so Danger Mouse added the section where the tempo drops away, an outro that takes the song somewhere else.","s":"brothers-rs-carney"}],"listen":[{"track":"Everlasting Light","id":"1534937445","t":"Listen for the bass and drums carrying the song, with the guitar and voice laid on afterward: it was cut bass first, with no guide vocal.","s":"brothers-sos-neill","len":"3:25"},{"track":"Howlin' for You","id":"1534937676","t":"Listen for the kick and bass sitting far forward: the room ate low end, so Neill turned them way up.","s":"brothers-sos-neill","len":"3:11"},{"track":"Tighten Up","id":"1534937447","t":"Listen for the late section where the tempo drops away, added because the song came in too short.","s":"brothers-rs-carney","len":"3:31"}]},"1538081586":{"stages":[{"k":"recording","y":"1971","h":"Original sessions and assembly","scope":"The original 1971 album. Ken Sands and Cal Harris stitched the final multitrack takes into one master, then David Van dePitte added strings and horns. The title track was recorded in Motown’s Studio A.","places":[],"credits":[["ken-sands","Original multitrack assembly engineer"],["cal-harris","Original multitrack assembly engineer"],["david-van-de-pitte","Orchestral arranger"]],"src":["dna-bmi-wgo","dna-motown-wgo"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The layered lead vocal began as an accident: Ken Sands played both of Gaye’s lead-vocal takes at once, and Gaye kept it.","s":"dna-bmi-wgo"}],"listen":[{"track":"What's Going On","id":"1538081594","t":"Listen for Eli Fountain’s alto saxophone entering the title song.","s":"pilot-wgo-sos","len":"3:52"},{"track":"What's Going On","id":"1538081594","t":"Listen for Gaye’s two lead-vocal takes singing at once.","s":"dna-bmi-wgo","len":"3:52"}],"sampled":[{"song":"The Glory","artist":"Jeezy feat. Ne-Yo","y":2020,"from":"What's Going On","kind":"sample","s":"pilot-wgo-jeezy","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/f6/6f/48/f66f4842-4594-8f8a-b09c-23cd0f111f09/20UMGIM97488.rgb.jpg/{w}x{h}bb.jpg","id":"1540381387"},{"song":"Help the Children","artist":"MC Hammer","y":1990,"from":"Mercy Mercy Me (The Ecology)","kind":"interpolation","s":"pilot-wgo-hammer","art":"https://is1-ssl.mzstatic.com/image/thumb/Music112/v4/88/3d/74/883d74ea-aa53-99d8-e00c-f38fbba93d1d/13UABIM56742.rgb.jpg/{w}x{h}bb.jpg","id":"724315280"},{"song":"Do You See","artist":"Warren G feat. Nate Dogg","y":1994,"from":"Inner City Blues (Make Me Wanna Holler)","kind":"sample","s":"echo-what-s-going-on-do-you-see","id":"1452811407","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/4e/12/21/4e12218c-ac16-1397-8114-5168147a408b/07UMGIM09531.rgb.jpg/{w}x{h}bb.jpg"},{"song":"When I Get to Heaven","artist":"Ice Cube","y":1993,"from":"Inner City Blues (Make Me Wanna Holler)","kind":"sample","s":"echo-what-s-going-on-when-i-get-to-heaven","v":"1440851842","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/d9/88/94/d98894e7-70a2-1115-fa0f-0a5abbc5b243/00602547276742.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Modern Marvel","artist":"Mos Def","y":2004,"from":"What's Going On","kind":"sample","s":"echo-what-s-going-on-modern-marvel","id":"1442818202","art":"https://is1-ssl.mzstatic.com/image/thumb/Music125/v4/a9/08/be/a908bef6-166e-7a73-3ed2-8cda42c1a110/00602547773814.rgb.jpg/{w}x{h}bb.jpg"}]},"1544173941":{"stages":[{"k":"recording","y":"1982","h":"Original album production","scope":"The original 1982 Warner Bros. double album.","places":["kiowa-trail","sunset-sound"],"credits":[["prince","Producer"],["don-batts","Engineer"],["david-leonard","Mixing engineer"],["peggy-mccreary","Mixing engineer"]],"src":["dna-1999-wiki"]},{"k":"original-master","y":"1982","h":"Original mastering","scope":"For the original 1982 Warner Bros. LP, not necessarily this digital edition.","places":["am-studios"],"credits":[["bernie-grundman","Mastering engineer"]],"src":["1999-discogs-1982"]},{"k":"remaster","y":"2019","h":"2019 remaster","scope":"The album’s first remaster, made from high-resolution transfers of the original half-inch analog reels by the engineer who mastered it in 1982.","places":[],"credits":[["bernie-grundman","Remastering"]],"src":["1999-howe-sde","1999-discogs-2019"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The slowed-down voice saying “1999” on the way out of the song is Dez Dickerson, not Prince. Prince had already done his own pitched-down “Don’t worry, I won’t hurt you” and had Dez add the matching bookend at the end of his vocal session.","s":"1999-dez-current"},{"t":"Lisa Coleman sang the first line of “1999” alone at first. Prince then added Jill Jones, whose voice Lisa rates above her own, so the song opens on the two of them blended.","s":"1999-lisa-current"},{"t":"Dez Dickerson’s “Little Red Corvette” solo is stitched together: he played five passes back to back and they comped the best phrases. One jump between phrases is so unnatural that Dez can’t play it himself.","s":"1999-dez-current"},{"t":"Drummer Bobby Z put the Pearl Syncussion electronic toms on “Little Red Corvette” and the bomb blasts on “1999” while trying out the new pads at Prince’s Lake Riley house.","s":"1999-bobbyz-current"}],"listen":[{"track":"1999","id":"1544173942","t":"Listen for the slowed voice on the way out: that’s Dez Dickerson, bookending Prince’s slowed voice at the start.","s":"1999-dez-current","len":"6:13"},{"track":"Little Red Corvette","id":"1544173943","t":"Listen to the guitar solo: five passes comped into one, with a jump its player can’t reproduce.","s":"1999-dez-current","len":"5:03"}],"sampled":[{"song":"Wanna Be a Baller","artist":"Lil' Troy","y":1998,"from":"Little Red Corvette","kind":"sample","s":"echo-1999-2019-remaste-wanna-be-a-baller","id":"1442964131","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/26/ec/42/26ec42d6-25e8-c62f-ce8f-761a5c0a4d58/06UMGIM08339.rgb.jpg/{w}x{h}bb.jpg"}]},"1544303593":{"stages":[{"k":"recording","y":"1986","h":"Original album production","scope":"Recorded in 1986 at Prince’s new home studio on Galpin Road in Chanhassen, Minnesota, while Paisley Park was still being built, at his rehearsal warehouse, and at Sunset Sound in Hollywood, plus a live recording in Paris for “It’s Gonna Be a Beautiful Night.” Produced and arranged by Prince, who played much of it himself; engineered by Susan Rogers, Coke Johnson and Prince.","places":["galpin-road","sunset-sound"],"credits":[["susan-rogers","Engineer"],["coke-johnson","Engineer"]],"artistProduced":true,"src":["sot-discogs-2020","sot-officialcharts-rogers"]},{"k":"original-master","y":"1987","h":"Original mastering","scope":"Test pressings for the original 1987 release were made at Bernie Grundman Mastering in Hollywood; not necessarily this digital edition.","places":["bernie-grundman-mastering"],"credits":[],"src":["sot-officialcharts-rogers"]},{"k":"remaster","y":"2020","h":"2020 remaster","scope":"Bernie Grundman’s 2020 remaster, the first time the album had been remastered. Every track on this edition is titled “2020 Remaster”; whether this digital edition was made from that master hasn’t been documented.","places":["bernie-grundman-mastering"],"credits":[["bernie-grundman","Remastering"]],"src":["sot-discogs-2020"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"“The Ballad of Dorothy Parker” was the first song on Prince’s new custom console at home: he couldn’t wait for its designer, Frank DeMedio, to finish, so he sent him home, and with one of the console’s two power supplies down, the whole song came out with no high end. When the mix was done, Prince called the console “kind of dull” and kept the song anyway.","s":"sot-rbma-rogers"},{"t":"The distortion on Prince’s voice in “If I Was Your Girlfriend” is an accident: Sunset Sound’s mic preamps were set in 10 dB steps, Susan Rogers had his 10 dB too hot, and Prince recorded his vocals alone in the control room. She expected him to be furious; he liked it.","s":"sot-rbma-rogers"},{"t":"The slow flanger on the drums in “If I Was Your Girlfriend” comes from Prince’s guitar rig. He plugged his Boss pedal board into the drum machine’s outputs, sending snare, toms or claps through flanger, chorus, delay and distortion, a trick others went on to copy.","s":"sot-rbma-rogers"},{"t":"Camille, the pitched-up voice on several songs, was made on the tape machine. Prince slowed the multitrack down and sang lower and slower; played back at normal speed, his voice came out pitched up, not quite masculine and not quite feminine.","s":"sot-bbc-2020"},{"t":"“U Got the Look” was once a much slower song. Frustrated with it, Prince had the tape machine put on varispeed and sped the basic track up a great deal, which changed the whole character of the song.","s":"sot-bbc-2016"},{"t":"Sheena Easton was only asked to sing backing vocals on the choruses of “U Got the Look.” Not knowing she was singing against Prince, she was all over the place; he liked that, and turned it into a duet.","s":"sot-wct-easton"},{"t":"Prince played the real drums on “The Cross” himself. By Susan Rogers’s account he didn’t play them well, and the tempo speeds up terribly, but the song was saying something about what he believed.","s":"sot-rbma-rogers"}],"listen":[{"track":"The Ballad Of Dorothy Parker (2020 Remaster)","id":"1544303599","t":"Listen to how muffled it is: half the new console’s power was down, so nothing has any high end.","s":"sot-rbma-rogers","len":"4:03"},{"track":"If I Was Your Girlfriend (2020 Remaster)","id":"1544303607","t":"Listen to the vocal crack when he pushes: a mic preamp set 10 dB too hot, which Prince decided he liked.","s":"sot-rbma-rogers","len":"5:03"},{"track":"The Cross (2020 Remaster)","id":"1544303610","t":"Listen to the drums push ahead: Prince played them himself, and the tempo creeps up as the song goes.","s":"sot-rbma-rogers","len":"4:48"}],"sampled":[{"song":"'03 Bonnie & Clyde","artist":"JAŸ-Z feat. Beyoncé Knowles","y":2002,"from":"If I Was Your Girlfriend","kind":"interpolation","s":"echo-sign-o-the-times-03-bonnie-clyde","art":"https://is1-ssl.mzstatic.com/image/thumb/Music128/v4/ba/5f/da/ba5fdadd-dd69-31fd-08b8-13245373fa78/00857366006982.rgb.jpg/{w}x{h}bb.jpg","id":"1440935027"},{"song":"Lockjaw","artist":"Sir Mix-A-Lot","y":1992,"from":"Housequake","kind":"sample","s":"echo-sign-o-the-times-lockjaw","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/59/20/96/59209622-9efb-ea58-ecff-804e3a85abc9/00602537351213.rgb.jpg/{w}x{h}bb.jpg","id":"1440811086"},{"song":"Get Yourself Together","artist":"Young Disciples","y":1990,"from":"Sign O' The Times","kind":"sample","s":"echo-sign-o-the-times-get-yourself-together","art":"https://is1-ssl.mzstatic.com/image/thumb/Music126/v4/79/cf/7c/79cf7cf9-c9e9-92f5-440a-7ff2729d8bdf/5400863140373_cover.jpg/{w}x{h}bb.jpg","id":"1686601262"}]},"1571670285":{"stages":[{"k":"recording","y":"1992","h":"Recorded","scope":"The original 1991 and 1992 sessions, produced by Scott Litt with the band.","places":["bearsville","criteria","john-keane-studio","kingsway","bosstown"],"credits":[["scott-litt","Producer"],["clif-norrell","Engineer"]],"src":["aftp-remhq-credits"]},{"k":"mix","y":"1992","h":"Original stereo mix","places":["bad-animals"],"credits":[["scott-litt","Mix engineer"],["clif-norrell","Mix engineer"]],"src":["aftp-remhq-credits"]},{"k":"remaster","y":"2017","h":"2017 remaster","scope":"The 25th-anniversary stereo remaster, made from the original analog tapes by the engineer who mastered the album in 1992.","places":[],"credits":[["stephen-marcussen","Remastering"]],"src":["aftp-remhq-2017","aftp-remhq-credits"]},{"k":"mix","y":"2017","h":"Dolby Atmos remix","scope":"The 25th-anniversary Dolby Atmos mix, made in 2017 and released on Apple Music in 2021.","places":[],"credits":[],"src":["dna-rem-atmos"],"atmos":[["scott-litt","Producer, Dolby Atmos remix"],["clif-norrell","Engineer, Dolby Atmos remix"]]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Scott Litt cut “Drive” at Kingsway in New Orleans with no click track, the drums set up beside the console and Michael Stipe singing from the second-floor landing. When Bill Berry’s drums drop out and come back, the band is following him, not a click.","s":"aftp-litt-salon"},{"t":"The piano on “Nightswimming” is the Layla piano, the one on the Derek and the Dominos record, and by Mike Mills’s own admission not the best piano in the world.","s":"aftp-cbs-2017"},{"t":"“Sweetness Follows” has no bass guitar at all. The low part is a cello played through an amplifier, and most of the track is the demo.","s":"aftp-diffuser-sweetness"},{"t":"The wordless choir behind “Star Me Kitten” is Mike Mills alone: single notes of his voice, each on its own fader, played on the mixing desk like a keyboard, in a performance Mills could never repeat.","s":"aftp-diffuser-kitten"},{"t":"Mike Mills and Bill Berry sang their harmonies on “Find the River” without listening to each other, the approach the band had taken on “Harborcoat.” Mills cut the track in about 30 minutes, and Peter Buck refused to redo it because it was all of a piece.","s":"aftp-ucr-river"},{"t":"Scott Litt counted “Ignoreland” as a sore spot, its parts crowded together in stereo. In the Dolby Atmos mix he made with Clif Norrell they no longer fight for room, and to Litt it came out better than he ever thought it did.","s":"aftp-litt-salon"}],"listen":[{"track":"Sweetness Follows","id":"1571671455","t":"Listen under the verses where a bass would be: it’s a single cello played through an amp.","s":"aftp-diffuser-sweetness","len":"4:21"},{"track":"Ignoreland","id":"1571671598","t":"Listen in Dolby Atmos, where the crowded layers finally get room of their own.","s":"aftp-litt-salon","len":"4:27"},{"track":"Star Me Kitten","id":"1571671602","t":"Listen behind Stipe for held notes fading in and out: Mike Mills’s voice, played on the console’s faders.","s":"aftp-diffuser-kitten","len":"3:15"}],"sampled":[{"song":"It Hurts to Be Alone","artist":"Patrice","y":2005,"from":"Everybody Hurts","kind":"sample","s":"echo-automatic-it-hurts-to-be-alone","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/4d/d2/4a/mzi.jtfszyvl.jpg/{w}x{h}bb.jpg","id":"298212167"}]},"1573250333":{"stages":[{"k":"mix","y":"2017","h":"2017 stereo mix","scope":"The 2017 stereo remix of the 13-song album.","places":["abbey-road"],"credits":[["giles-martin","Stereo mix producer"],["sam-okell","Stereo mix engineer"]],"src":["dna-sgt-2017"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"The 2017 stereo mix was drawn directly from the original four-track session tapes.","s":"dna-sgt-2017"}],"listen":[{"track":"A Day In The Life (2017 Mix)","id":"1573252107","t":"Listen for the orchestral swells and the sustained piano chord that ends the song.","s":"listen20-1573250333","len":"5:30"}],"sampled":[{"song":"The Sounds of Science","artist":"Beastie Boys","y":1989,"from":"Sgt. Pepper's Lonely Hearts Club Band (Reprise)","kind":"sample","s":"echo-sgt-pepper-the-sounds-of-science","art":"https://is1-ssl.mzstatic.com/image/thumb/Music118/v4/bf/b9/82/bfb9825b-e130-0664-2f2f-3a766a1161c6/05099969330056.rgb.jpg/{w}x{h}bb.jpg","id":"721277077"}]},"1593087092":{"stages":[{"k":"recording","y":"2017","h":"This recording","scope":"Recorded in one day, May 8, 2017, at The Warehouse in London, at 24-bit/96 kHz, by the Colin Currie Group with Synergy Vocals. Ian Dearden and Daniel Halford also mixed and mastered it for the 2018 release.","places":["warehouse-london"],"credits":[["ian-dearden","Producer"],["daniel-halford","Engineer"]],"src":["drum-discogs-2018"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Reich found the rhythm of Drumming while on the phone, tapping his fingers on a book. That one pattern, in different notes and at different tempos, runs through the whole hour.","s":"drum-rbma-reich"},{"t":"The piece begins with two drummers building that pattern from a single beat in a cycle of 12, with rests on all the others, then putting in beats for rests one at a time until it’s complete.","s":"drum-reich-notes"},{"t":"The voices sing no words. They imitate the instruments exactly, bringing up patterns hidden inside the marimba parts and letting them sink back.","s":"drum-reich-notes"},{"t":"In Part III the glockenspiels sit too high to sing along with, so Reich had their voice part whistled, and at the very top of the range it goes to a piccolo.","s":"drum-reich-notes"},{"t":"At the end of Part I, three marimbas come in softly on the drummers’ exact rhythm and pitches as the drums fade, so the pattern holds and only the sound moves, from skin to wood.","s":"drum-reich-notes"}],"listen":[{"track":"Drumming: I. —","id":"1593087623","t":"Listen from the start as a single drum stroke in a 12-beat cycle gains beats, one at a time, until the whole pattern stands.","s":"drum-reich-notes","len":"16:28"},{"track":"Drumming: II. —","id":"1593087805","t":"Listen for wordless voices inside the marimbas, lifting patterns out of the mallet parts and letting them sink back.","s":"drum-reich-notes","len":"17:22"},{"track":"Drumming: III. —","id":"1593087970","t":"Listen for whistling that tracks the glockenspiels, with a piccolo above it: Heather Cairncross and Rowland Sutherland.","s":"drum-discogs-2018","len":"11:47"}]},"1625213430":{"stages":[{"k":"recording","y":"1977","h":"Original album production","scope":"Recorded at Island Studios in London and Harry J’s in Kingston from January to April 1977, and mixed at Island Studios that March and April. Produced by Bob Marley & The Wailers, with Karl Pitterson engineering.","places":["island","harry-js"],"credits":[["karl-pitterson","Engineer, mix"],["chris-blackwell","Mix"],["aston-barrett","Mix"],["guy-bidmead","Assistant engineer"],["terry-barham","Assistant engineer"]],"artistProduced":true,"src":["ex-discogs-1977","ex-discogs-reissue"]},{"k":"original-master","y":"1977","h":"Original vinyl mastering","scope":"For the original 1977 Island LP in the US, cut at Sterling Sound in New York; not necessarily this digital edition.","places":["sterling-sound"],"credits":[["lee-hulko","Mastering"]],"src":["ex-discogs-1977us"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master, and who made its Dolby Atmos mix, hasn’t been documented."}],"notes":[{"t":"“Waiting in Vain” was rebuilt on a drum machine: an early mix was cut up to rearrange the song, but the rhythm wasn’t steady enough for the edits to work, so one evening when drummer Carlton Barrett wasn’t there, the band re-recorded it to a drum machine. Barrett overdubbed his drums afterwards, and he was mad about it.","s":"ex-book-drummachine"},{"t":"Bob Marley sang “Waiting in Vain” for about eight hours straight, through the night Junior Marvin recorded his guitar solo, trying to get the right feeling. The next night he came in and did it in one take.","s":"ex-book-vocal"},{"t":"Part of the main keyboard figure on “Three Little Birds” was erased after the song was recorded, and engineer Karl Pitterson went back and played it himself; not all of that line is Tyrone Downie.","s":"ex-book-erased"},{"t":"Seeco Patterson’s Rasta hand drum on “Natural Mystic” was overdubbed after the band, because the loud hand drum would have leaked into the drum mics. While the others recorded, Seeco played along in the control room, unmiked, just checking that the music worked.","s":"ex-book-seeco"},{"t":"The “Exodus” mix piles echo and tape repeat on the guitars over a four-on-the-floor kick, the running foot drum. To Chris Blackwell, it was close to the disco beat of the day.","s":"ex-book-blackwell"},{"t":"Before the sessions, Roger Mayer, who built effects for Jimi Hendrix, pulled apart and rebuilt every one of Marley’s guitars, whose electrics had suffered from years of Jamaican humidity, and made sure the whole band was actually in tune.","s":"ex-gp-mayer"}],"listen":[{"track":"Waiting In Vain","id":"1625213806","t":"Listen to the drums: Carlton Barrett overdubbed them onto a track first laid down to a drum machine.","s":"ex-book-drummachine","len":"4:15"},{"track":"Three Little Birds","id":"1625213809","t":"Listen to the main keyboard figure: after part of it was erased, the engineer replayed it himself.","s":"ex-book-erased","len":"2:59"},{"track":"Exodus","id":"1625213803","t":"Listen to the guitars: soaked in echo and tape repeat over a four-on-the-floor kick.","s":"ex-book-blackwell","len":"7:39"}],"sampled":[{"song":"Move!","artist":"Damian \"Jr. Gong\" Marley","y":2005,"from":"Exodus","kind":"sample","s":"echo-exodus-move","art":"https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/51/91/90/51919018-2833-ad68-66fe-9cd35b1f0a99/06UMGIM12517.rgb.jpg/{w}x{h}bb.jpg","id":"1440723245"},{"song":"All Your Love","artist":"K'LA","y":2011,"from":"Turn Your Lights Down Low","kind":"sample","s":"echo-exodus-all-your-love","art":"https://is1-ssl.mzstatic.com/image/thumb/Music113/v4/33/b1/e5/33b1e50b-5deb-20c9-fbe2-50b0df38c137/11UMGIM07926.rgb.jpg/{w}x{h}bb.jpg","id":"1445303032"},{"song":"Soundboy Rock","artist":"Groove Armada feat. Mad","y":2007,"from":"Natural Mystic","kind":"sample","s":"echo-exodus-soundboy-rock","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/9b/4c/7d/9b4c7d1c-25b6-7fb3-7281-9c6da781171a/mzi.kbpyqihf.jpg/{w}x{h}bb.jpg","id":"253315985"}]},"1642995371":{"stages":[{"k":"mix","y":"2022","h":"2022 stereo and Dolby Atmos mixes","scope":"The 2022 stereo and Dolby Atmos mixes of the 14-song album.","places":[],"credits":[["giles-martin","Stereo mix producer"],["sam-okell","Stereo mix engineer"]],"src":["dna-revolver-2022"],"atmos":[["giles-martin","Dolby Atmos mix producer"],["sam-okell","Dolby Atmos mix engineer"]]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The new 2022 stereo mix used the original four-track tapes with audio separation tools.","s":"dna-revolver-2022"}],"listen":[{"track":"Tomorrow Never Knows (2022 Mix)","id":"1642996135","t":"Listen for the tape loops and the vocal run through a Leslie speaker.","s":"listen20-1642995371","len":"2:57"}],"sampled":[{"song":"Start!","artist":"The Jam","y":1980,"from":"Taxman","kind":"interpolation","s":"echo-start-the-jam-wiki","id":"1440925824","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/22/0a/f3/220af3f2-a8f7-9d05-8717-9829f193d707/00731453742123.rgb.jpg/{w}x{h}bb.jpg"}]},"1650885288":{"stages":[{"k":"recording","y":"1972","h":"Original tracking and production","scope":"The original 1972 recordings.","places":["village-recorder"],"credits":[["gary-katz","Producer"],["roger-nichols","Tracking engineer"]],"src":["dna-steely-fagen","thrill-discogs"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Elliott Randall played his lead on “Reelin’ in the Years” through Dennis Weinrich’s Ampeg SVT, an overpowered bass amp, because it was the only amp in the Village Recorder that night. He and engineer Roger Nichols just made it work.","s":"thrill-randall-column"},{"t":"Randall’s first full pass at that solo is gone: the tape operator hadn’t pressed record. What you hear is the next pass, and from then on producer Gary Katz kept tape rolling from the first note.","s":"thrill-randall-gw"},{"t":"The solo on “Do It Again” is Denny Dias on a rented electric sitar, basically a Danelectro guitar with a buzzing bridge. Donald Fagen wanted a Beatles-style sitar drone, but it wouldn’t drone, so Dias improvised a solo on it instead, around the third take, and had it for only a few hours.","s":"thrill-dias-gw"}],"listen":[{"track":"Reelin' In The Years","id":"1650885304","t":"Listen for Randall’s lead from the first lick to the last: one take, through a bass amp nobody would have picked.","s":"thrill-randall-gp","len":"4:37"},{"track":"Do It Again","id":"1650885292","t":"Listen for the buzzing, twangy solo in the instrumental break: a rented electric sitar that couldn’t do the drone it was hired for.","s":"thrill-dias-gw","len":"5:57"}],"sampled":[{"song":"Dress Up","artist":"Sleepy Brown","y":2006,"from":"Midnite Cruiser","kind":"sample","s":"echo-cant-buy-a-thrill-dress-up","art":"https://is1-ssl.mzstatic.com/image/thumb/Music116/v4/5c/97/29/5c9729ac-3088-863c-c4c5-294da8e568a8/13UAAIM00821.rgb.jpg/{w}x{h}bb.jpg","id":"712350476"}]},"1665303755":{"stages":[{"k":"recording","h":"Recorded","places":["abbey-road"],"credits":[["alan-parsons","Engineer"],["peter-james","Assistant engineer"],["chris-thomas","Mixing supervisor"]],"artistProduced":true,"src":["dsotm-official","dsotm-legacy","dsotm-qobuz"]},{"k":"this","y":"2023","h":"This Apple Digital Master","scope":"The 50th Anniversary remaster is this edition.","places":["das-boot"],"credits":[["james-guthrie","Remastering engineer"],["joel-plante","Mastering engineer"]],"atmos":[["james-guthrie","Dolby Atmos mix"],["joel-plante","Assistant engineer"]],"src":["dsotm-official","dsotm-store","dsotm-bluray","dsotm-qobuz","dsotm-wiki50","das-boot-tapeop","das-boot-prism"]}],"notes":[{"t":"Tape loops, overdubbed clock recordings, and spoken-word snippets were built into the album at Abbey Road with Alan Parsons.","s":"dsotm-qobuz"},{"t":"The 2023 stereo and Dolby Atmos mixes were mastered by James Guthrie and Joel Plante.","s":"dsotm-bluray"}],"listen":[{"track":"The Great Gig In the Sky","id":"1665303763","t":"Listen for Clare Torry’s vocal.","s":"listen20-1665303755","len":"4:43"}],"sampled":[{"song":"Steppin' to the A.M.","artist":"3rd Bass","y":1989,"from":"Time","kind":"sample","s":"echo-the-dark-side-of-t-steppin-to-the-a-m","id":"1484895382","art":"https://is1-ssl.mzstatic.com/image/thumb/Music123/v4/11/4b/53/114b53e0-6ae2-0079-016d-bffdbaedb4e5/19UMGIM88092.rgb.jpg/{w}x{h}bb.jpg"},{"song":"16 Men Till There's No Men Left","artist":"Cypress Hill","y":1998,"from":"Time","kind":"sample","s":"echo-the-dark-side-of-t-16-men-till-there-s-no-m","id":"263571067","art":"https://is1-ssl.mzstatic.com/image/thumb/Music/e9/d1/fe/mzi.hpdzazgg.jpg/{w}x{h}bb.jpg"}]},"1675560565":{"stages":[{"k":"remaster","y":"2018","h":"2018 album remaster","scope":"Kate Bush’s 2018 remasters of her studio albums, made with James Guthrie: one of the engineers on the original Hounds of Love, and co-producer and engineer of Pink Floyd’s The Wall.","places":[],"credits":[["kate-bush","Remastering"],["james-guthrie","Remastering"]],"src":["dna-kate-2018","hol-discogs-1985","wall-discogs"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The cold drone under “Running Up That Hill” isn’t a synth pad. It’s a three- or four-note Fairlight chord frozen inside a Quantec digital reverb, which holds it under the whole track.","s":"hol-imrw-1985"},{"t":"The riff is the Fairlight part from Kate’s own 8-track demo, carried over to the 24-track master with a new Fairlight part doubling it. Her brother Paddy added balalaika to the choruses to push them along.","s":"hol-imrw-1985"},{"t":"The take of “Cloudbusting” fell apart over its last 10 bars: the drummer stopped and people started talking. Kate covered it with a steam engine slowing down, with Del Palmer as the steam and a whistle from the Fairlight.","s":"hol-louder-2025"},{"t":"The helicopter that swoops over “Waking the Witch” is Pink Floyd’s, taken from The Wall with the band’s permission.","s":"hol-discogs-1985"},{"t":"One of the voices trying to wake the sleeper in “Waking the Witch” is actor Robbie Coltrane: Kate wanted lots of different characters.","s":"hol-amsong-coltrane"}],"listen":[{"track":"Running Up That Hill (A Deal With God) [2018 Remaster]","id":"1675560578","t":"Listen under the riff and drums for a chord that never moves: a Fairlight chord held frozen in a Quantec reverb.","s":"hol-imrw-1985","len":"5:00"},{"track":"Cloudbusting (2018 Remaster)","id":"1675560844","t":"Listen to the ending: the steam engine slowing down is Del Palmer and a Fairlight whistle, covering a take that was coming apart.","s":"hol-louder-2025","len":"5:09"},{"track":"Waking the Witch (2018 Remaster)","id":"1675561168","t":"Listen for helicopter blades circling the voices, borrowed from Pink Floyd’s The Wall.","s":"hol-discogs-1985","len":"4:18"}],"sampled":[{"song":"Something Good","artist":"Utah Saints","y":1992,"from":"Cloudbusting","kind":"sample","s":"echo-hounds-of-love-20-something-good","id":"1320068347","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/ad/63/b9/ad63b9cc-e474-826b-809d-6bf1975d8196/685738330324.jpg/{w}x{h}bb.jpg"}]},"1694810554":{"stages":[{"k":"mix","y":"2023","h":"Complete-concert Dolby Atmos mix","scope":"The complete concert, mixed in Dolby Atmos for the 2023 Deluxe Edition.","places":[],"credits":[],"src":["dna-talking-atmos"],"atmos":[["jerry-harrison","Dolby Atmos mixer"],["et-thorngren","Dolby Atmos mixer"]]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Jerry Harrison and E.T. Thorngren, who made this Dolby Atmos mix, also mixed the original soundtrack.","s":"dna-talking-atmos"}],"listen":[{"track":"Psycho Killer (Live) [2023 Remaster]","id":"1694810693","t":"Listen for David Byrne performing alone, with only a drum machine.","s":"listen20-1694810554","len":"4:20"}]},"1706428459":{"stages":[{"k":"recording","y":"1977","h":"Recorded","places":["village-recorder","producers-workshop","sound-labs","warner-bros-recording","abc-recording","ar-recording"],"credits":[["roger-nichols","Engineer"],["elliot-scheiner","Engineer"],["al-schmitt","Engineer"],["bill-schnee","Engineer"],["gary-katz","Producer"]],"src":["aja-wiki","aja-discogs"]},{"k":"original-master","y":"1977","h":"Original vinyl mastering","scope":"For the original 1977 ABC Records LP, not necessarily this digital edition.","places":["am-studios"],"credits":[["bernie-grundman","Mastering engineer"]],"src":["aja-discogs","aja-sessiondays"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this digital edition hasn't been documented yet."}],"notes":[{"t":"Steve Gadd played the long drum passage toward the end of Aja without knowing a saxophone solo would go over it. Wayne Shorter’s tenor was overdubbed later, so the exchange you hear between them was never played together.","s":"aja-gadd-beato"},{"t":"Victor Feldman's Fender Rhodes solo on “Black Cow” was captured live with the basic tracks, a break from the band's usual way of working.","s":"aja-wiki"},{"t":"In Fagen’s recollection, Steve Gadd sight-read the title track in one or two takes.","s":"aja-fagen"},{"t":"Engineer Bill Schnee cut Leo Sayer’s You Make Me Feel Like Dancing with Steve Gadd on the exact drum setup he had built for the Aja sessions, so the two records share one drum sound.","s":"aja-schnee-beato"},{"t":"When Becker and Fagen sent for the two-inch multitracks of Aja and Black Cow in 1999, the reels were gone, and a $600 reward never turned them up. Those two songs can’t be remixed; every edition starts from their 1977 stereo mixes.","s":"aja-tapes-analogplanet"}],"awards":[{"t":"Grammy Award for engineering (Best Engineered Recording, Non-Classical), 1978","s":"aja-musicdirect"}],"listen":[{"track":"Aja","id":"1706428462","t":"Listen for Gadd’s fills near the end seeming to answer Wayne Shorter’s tenor: Gadd recorded his part first, before he knew a solo would go there.","s":"aja-gadd-beato","len":"7:57"},{"track":"Peg","id":"1706428468","t":"Listen for Jay Graydon’s guitar solo.","s":"pilot-aja-fagen","len":"3:57"},{"track":"Deacon Blues","id":"1706428464","t":"Listen for Pete Christlieb’s tenor saxophone.","s":"pilot-aja-fagen","len":"7:35"}],"sampled":[{"song":"Eye Know","artist":"De La Soul","y":1989,"from":"Peg","kind":"sample","s":"pilot-aja-eye","v":"1657705063","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/a8/d7/21/a8d72124-208c-c85c-b72e-a6c7cd54aed4/810098502627.png/{w}x{h}bb.jpg"},{"song":"Deja Vu (Uptown Baby)","artist":"Lord Tariq & Peter Gunz","y":1998,"from":"Black Cow","kind":"sample","s":"pilot-aja-dejavu","art":"https://is1-ssl.mzstatic.com/image/thumb/Music124/v4/7c/66/49/7c6649d6-97e4-f2b4-1fcc-31bf31b25b95/mzi.odxgtgbe.jpg/{w}x{h}bb.jpg","id":"365215617"}]},"1715946508":{"stages":[{"k":"recording","y":"1980","h":"Original album production","scope":"Recorded in New York and Los Angeles from 1978 into 1980, produced by Gary Katz. Elliot Scheiner mixed it at A&R in New York and in Studio D at The Village Recorder in Los Angeles.","places":["ar-recording","soundworks","automated-sound","village-recorder"],"credits":[["gary-katz","Producer"],["roger-nichols","Executive engineer, Wendel"],["elliot-scheiner","Engineer, mix"],["bill-schnee","Engineer"],["jerry-garszva","Overdub engineer"]],"src":["gd-discogs-1980","gd-mix-scheiner","gd-khan","gd-nichols-tech"]},{"k":"original-master","y":"1980","h":"Original vinyl mastering","scope":"For the original 1980 MCA LP, cut at Masterdisk in New York; not necessarily this digital edition.","places":["masterdisk"],"credits":[["bob-ludwig","Mastering, lacquer cutting"]],"src":["gd-discogs-1980"]},{"k":"remaster","y":"2023","h":"2023 remaster","scope":"Bernie Grundman’s 2023 remaster, made from a 1980 analog tape copy that Bob Ludwig had EQ’d, because the flat mix tapes are presumed lost. Whether this digital edition comes from it hasn’t been documented.","places":[],"credits":[["bernie-grundman","Remastering"]],"src":["gd-sd-2023","gd-seconddisc-2023"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Wendel, the drum sampler on “Hey Nineteen,” was built because two different bands had failed to lay that song down, and Fagen and Becker wished for a machine that could play their beat with full-frequency drum sounds and move the kick and snare independently. Roger Nichols offered to build one for $150,000; they paid him out of the recording budget, and six weeks later he brought the machine in.","s":"gd-sos-fagen"},{"t":"Wendel had no switches, just a computer keyboard. Roger Nichols would spend 20 minutes typing in strings of numbers, hit return, and they would hear one snare hit.","s":"gd-sos-fagen"},{"t":"Fagen and Becker gave up on the drums for “Gaucho” after two hours and went home at 8 p.m. Gary Katz kept Jeff Porcaro and the band going until 2 a.m.; Roger Nichols edited the drum track together, and the next day that edit became the base of the song.","s":"gd-mix-scheiner"},{"t":"Bernard Purdie cut “Babylon Sisters” in two takes, then put on his overcoat, walked into the control room, told everyone “Well fellas, that’s it!” and left. The track is almost live.","s":"gd-khan"},{"t":"“Babylon Sisters” was mixed on a Neve 8078, one of the first computerized consoles. Its floppy disk held only one mix, and each transfer took 15 minutes; the team got an award for doing 1,000 mixes of one song.","s":"gd-mix-scheiner"},{"t":"Mark Knopfler got no chart for “Time Out of Mind.” He listened to the tapes and played over them, and reckons he played those chords a thousand times in the studio.","s":"gd-gp-knopfler"}],"listen":[{"track":"Hey Nineteen","id":"1715946512","t":"Listen to the drums: samples triggered by Roger Nichols’s Wendel, billed as the first high-definition drum samples on a pop record.","s":"gd-nichols-tech","len":"5:09"},{"track":"Babylon Sisters","id":"1715946511","t":"Listen to the groove under everything: Bernard Purdie got it in two takes, then put on his overcoat and left.","s":"gd-khan","len":"5:53"},{"track":"Time Out Of Mind","id":"1715946515","t":"Listen for the electric guitar in the intro, middle and end: Mark Knopfler, overdubbing to tape without a chart.","s":"gd-gp-knopfler","len":"4:13"}],"sampled":[{"song":"Missin U","artist":"USHER","y":2016,"from":"Third World Man","kind":"sample","s":"echo-gaucho-missin-u","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/16/ab/7e/16ab7ef8-8d97-dae0-e516-fb1c750542ee/886445974379.jpg/{w}x{h}bb.jpg","id":"1147225420","v":"1147225416"}]},"1883816624":{"stages":[{"k":"recording","y":"1975","h":"Original album production","scope":"The original 1975 Columbia album.","places":["record-plant-ny"],"credits":[["jack-douglas","Producer"],["jay-messina","Engineer"]],"src":["dna-toys-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The attack on the “Sweet Emotion” bass line is engineer Jay Messina doubling Tom Hamilton’s part on marimba. At the mix the bass alone didn’t have what it needed, and producer Jack Douglas knew Messina used to play vibes.","s":"toys-sos-2009"},{"t":"The shaker in the “Sweet Emotion” intro is Steven Tyler shaking a sugar packet. The rented drum kit came with no maracas, so he found the packet by the kit and asked Jack Douglas to turn the microphone up.","s":"toys-farout-tyler"},{"t":"Tyler’s vibraslap broke while he was playing it on “Sweet Emotion,” and the take with the break stayed on the record. It goes “doink.”","s":"toys-farout-tyler"},{"t":"Joe Perry played most of “No More No More” on a guitar tuned to E, then needed a different guitar to take the song out. The band wrote the breakdown near the end to give him time to switch.","s":"toys-ucr-perry"}],"listen":[{"track":"Sweet Emotion","id":"1883816642","t":"Listen for the woody click on every note of the bass riff: Jay Messina’s marimba doubling Tom Hamilton.","s":"toys-sos-2009","len":"4:34"},{"track":"Sweet Emotion","id":"1883816642","t":"Listen for the handclaps after the first chorus, printed backwards so they swell in and cut off.","s":"toys-sos-2009","len":"4:34"},{"track":"No More No More","id":"1883816643","t":"Listen for the breakdown near the end, then a different guitar carrying the song out.","s":"toys-ucr-perry","len":"4:34"}],"sampled":[{"song":"Keepin' the Faith","artist":"De La Soul","y":1991,"from":"Walk This Way","kind":"sample","s":"echo-toys-in-the-attic-keepin-the-faith","id":"1664602612","art":"https://is1-ssl.mzstatic.com/image/thumb/Music221/v4/61/95/c6/6195c62e-5ab7-da8b-b751-5a488060d728/810098503105.png/{w}x{h}bb.jpg"}]},"1886473322":{"stages":[{"k":"recording","y":"1971","h":"Original album production","scope":"The original 1971 Enterprise double album.","places":[],"credits":[["isaac-hayes","Producer"],["ron-capone","Engineer"],["dave-purple","Engineer"]],"src":["dna-moses-discogs","dna-moses-wiki"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"Hayes recorded his spoken raps live and never redid them, to keep the feel of each one, so every Ike’s Rap on Black Moses is a single pass.","s":"bm-butler-2021"}],"listen":[{"track":"Medley: Ike's Rap II / Help Me Love","id":"1886473605","t":"Listen to the spoken opening: one live pass, never retaken, so the feel stayed.","s":"bm-butler-2021","len":"7:33"}],"sampled":[{"song":"Glory Box","artist":"Portishead","y":1994,"from":"Ike's Rap II","kind":"sample","s":"echo-black-moses-glory-box","id":"1440653206","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/c1/71/93/c1719342-df7d-e9c5-c87c-53dae5afb289/00042282855329.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Hell Is Round the Corner","artist":"Tricky","y":1995,"from":"Ike's Rap II","kind":"sample","s":"echo-black-moses-hell-is-round-the-corner","id":"1444028933","art":"https://is1-ssl.mzstatic.com/image/thumb/Music115/v4/32/63/c9/3263c92e-affe-3b81-54b7-a3a177a771d4/00600753223116.rgb.jpg/{w}x{h}bb.jpg"},{"song":"Here","artist":"Alessia Cara","y":2015,"from":"Ike's Rap II","kind":"sample","s":"echo-black-moses-here","id":"1440826415","art":"https://is1-ssl.mzstatic.com/image/thumb/Music114/v4/9d/33/0a/9d330a96-f007-72cc-4c37-c6cd876f8939/15UMGIM55240.rgb.jpg/{w}x{h}bb.jpg"}]},"6777248089":{"stages":[{"k":"recording","y":"1989","h":"Original album production","scope":"The original 1989 Geffen album. Danny Kortchmar produced seven of the ten songs, Bruce Hornsby the title song, John Corey and Stan Lynch “The Last Worthless Evening” and “Gimme What You Got,” and Mike Campbell, with Kortchmar, “The Heart of the Matter.” Greg Ladanyi recorded “New York Minute,” “Little Tin God” and “If Dirt Were Dollars.”","places":[],"credits":[["danny-kortchmar","Producer"],["bruce-hornsby","Producer"],["mike-campbell","Producer"],["john-corey","Producer"],["stan-lynch","Producer"],["greg-ladanyi","Recording engineer"],["shelly-yakus","Mixing"],["rob-jacobs","Mixing"]],"src":["eoti-discogs-1989"]},{"k":"remaster","y":"2026","h":"2026 remaster","scope":"Newly remastered from the original analog tapes. The same remastered audio went to streaming and download on June 5, 2026.","places":[],"credits":[],"src":["eoti-henley-2026"]},{"k":"this","h":"This Apple Digital Master","unknown":"Who mastered this Apple Digital Master hasn’t been documented."}],"notes":[{"t":"The music of “The End of the Innocence” is a track Bruce Hornsby had lying around. He had written a song of his own to it and didn’t think the song was great, so he gave Henley the track on a cassette. Henley played it in the car as he left and called him from down the road.","s":"eoti-ps-hornsby"},{"t":"Mike Campbell put the track for “The Heart of the Matter” together at home in kind of a Jeff Lynne production approach. He had been working with Lynne at the time.","s":"eoti-ucr-campbell"},{"t":"Campbell cut that demo on the 24-track in his home studio. Henley wrote to it, moved it into his key, and then they went into the studio and basically recreated the demo.","s":"eoti-songfacts-campbell"}],"listen":[{"track":"The End Of The Innocence (Remastered 2025)","id":"6777248101","t":"Listen to the piano part: Bruce Hornsby’s music from a song of his own he had given up on.","s":"eoti-ps-hornsby","len":"5:15"},{"track":"The Heart Of The Matter (Remastered 2025)","id":"6777248362","t":"Listen to the track under Henley: Mike Campbell’s home demo, recreated in the studio in Henley’s key.","s":"eoti-songfacts-campbell","len":"5:25"},{"track":"I Will Not Go Quietly (Remastered 2025)","id":"6777248348","t":"Listen for the harmony vocal behind Henley: Axl Rose.","s":"eoti-discogs-1989","len":"5:42"}]}},"fresh":{"mark":"2026-10-06-b15","albums":[],"echoes":[["1440841577","The Way I Am"],["1442835298","Smooth Operator"],["1442835298","Twork It Out"],["1422655717","Si Veo a Tu Mamá"],["580708374","Witness the Strength"],["580708374","Rhythm of Life"],["580707980","Cold Rock the Mic"],["574050396","Dope Beat"],["976820530","Teachers"],["1441164359","Gone Till November (The Makin' Runs Remix)"],["1065973975","Around the World in a Tea Daze"],["1065975633","Landscape"],["1065975633","Simple Things Part 2"],["1195104858","Fried Chicken: A Day In The Life"],["1038568061","Heroin"],["1055803853","Lost and Found (S.F.L.)"],["1544303593","Lockjaw"],["1544303593","Get Yourself Together"],["1625213430","All Your Love"],["1625213430","Soundboy Rock"]],"people":[],"studios":[]}}}