The Gap Band – You Dropped A Bomb On Me (12″ extended mix) b/w Humpin’ (1982)

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THE GAP BAND

Total Experience Records (TED 702)

Vinyl, 12″, 33 1/3 RPM

Released:1982

A     You Dropped A Bomb On Me (Special Disco Mix – Long Version) (13:05)

    Remix  – Michael Evans 

B     Humpin’ (5:06)

    Produced For – Lonnie Simmons Productions
    Published By – Total Experience Music, Inc.
   Mastered by Kendun Recorders / Allen Zentz Mastering, Los Angeles

Welcome to the new home of Flabbergasted Vibes!

For a long time now, I’ve considered ditching the clumsy Blogger platform and moving to WordPress, but the thought of trying to migrate so many years of content was very daunting.  I finally took the plunge due to some inspiration from a blogging friend (more about him in another post, soon to come) and have been working on this in secret for the last month.  There are still a few wrinkles to be ironed out, but it’s coming along pretty well.

So, hoping that you are blown away with this news, and because I’m a corny dude, I figured the first post for the new site should be an extended mix of the monster electro-funk jam You Dropped A Bomb On Me.  Armed with an octave-splitting synth riff, a slamming drum beat, a couple of organ chords laying low like an ambush in the mix, some thunderous tympani rolls, and some toy laser guns they bought at Toys R Us, The Gap Band threatened to launch the funkiest World War III with this single.  Many rose to the dance-off challenge thrown down by a presiding DJ in 1982 over this one.  And here we have 13 glorious minutes of it, nearly 8 minutes longer than the album cut from The Gap Band IV.

Unfortunately, my copy has a tiny wobbly-warp at the tippy-top edge of the record that makes the first few seconds nearly impossible to track properly.  Luckily there is no music there: it’s an intro of somebody with a Vocoder saying something about dropping a bomb on you, followed by some laughter from the band, and then an air raid siren.  Through the miracle of modern technology, I was able to get most of this through wizardry.  Changing the weight on my turntable tonearm so that it could mostly track this intro (there is still a tiny glitch during the Vocoder speech) unfortunately makes the needle skip once the music starts, so I got creative and did two passes on this with adjusted counter weights, and then spliced them together.  Oh the things I will do for you, my beloved readers!  I bet you can’t even hear the “tape splice.” If you think you can, be the first to leave the exact time code in the comments section and, if correct,  you will win a prize of one $20 gift certificate to Toys ‘R Us.  Unfortunately the gift certificate expired in 1982, but it’s a collectors item so that should make you happy.

 

Which leads to the curious bit of trivia about this single.  When the Mattel toy corporation got wind that The Gap Band had bought an array of toy laser guns and rocket ships to take back to the studio and create the overdubbed “battle” sound effects that you hear in the second half of this extended mix, their marketing people hatched what seemed at the time like a mutually beneficial promotional campaign.  After talks with Lonnie Simmon’s Total Experience Productions, they decided to make the experience more total by shipping the first few thousand copies of the extended single with a $20 gift certificate to America’s biggest toy retailer, Toys R Us.  Mattel then released some Gap Band ray guns, boldly proclaiming “As heard on the hit song You Dropped A Bomb On Me in bright letters on the packaging, and even created a series of camouflaged action figures of the Wilson brothers, modeled on the outfits they wore in the music video.

8lK71Hv - Imgur

You Dropped A Bomb On me

The whole campaign ended up losing money, as most  fans came into the store hoping to buy a genuine air raid siren, sales of which were of course tightly restricted during the Cold War.   Disappointed, most ended up buying the electronic Simon Says game, made by Milton Bradley.  Mattel’s Gap Band Action Figures are thus extremely rare and super collectible today, almost never appearing on eBay or in private auctions.  Reportedly, Henry Kissinger has a full set on a bookshelf in his office.  I would never have thought the repulsive little man had a funky bone in his body, but when a TV reporter asked him in 1983 what kind of music he put on to relax, he answered, “The Gap Band, that’s my jam.”  It is safe to assume that this is the song that made him a lifelong fan.

In case any of you audio geeks wanted to know what one of these analog synth bomb drops look like visually, here’s a spectragram

06 - Spectral bomb

On the flip side is another hit, Humpin’, which is from their previous album, Gap Band III — which, to confuse things, is not actually their third album (any more than IV is their fourth album), but merely their third album since teaming up with producer Lonnie Simmons and signing to Mercury/Polygram.  They had also released albums on the Shelter Label and the RCA subsidiary Tattoo Records before they started numbering their releases.  Does that imply that we should consider the first two albums as non-canonical?  Prequels?  Lore?

In any case, Humpin’ is more than a little inspired by the P-Funk empire and is as infectiously fun as ‘Bomb’.  There’s no verse/chorus structure, it’s essentially all one extended chorus vamp, with delirious giggling and silly rhymes from Charlie Wilson throughout.  Chair dancing is permitted, but real dancing is encouraged.  Also I swear it sounds like Jimmy Castor doing the “heave.. ho” chant in the middle.  It should be noted that in spite of the label stating this to be a “long version,” this appears to be the same mix as the one used for the album release.

Humpin’

Thankfully, unlike Toys R Us gift certificates, great music has no expiration date.*  And, hey, neither do these links!

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*No money was received from America’s biggest toy retailer, Toys R Us, for the writing of this post.  If there had been, perhaps I wouldn’t have taken such a cheap shot at their lousy gift certificate policies.

Manchild – Power And Love (1977)


Manchild
Power And Love
1977 Chi Sound Records  CH-LA765-G

A1     Red Hot Daddy  3:25
Written-By – A. Johnson, K. Ferrell, R. Griffin
A2     (I Want To Feel Your) Power And Love   3:46
Written-By – C. Bush, S. Johnson
A3     Especially For You      6:06
Written-By – C. Bush
A4     Takin’ It To The Streets     4:04
Written By – M. McDonald

B1     You Get What You Give    2:31
Written-By – A. Johnson, K. Ferrell
B2     We Need We      4:06
Written-By – R. Griffin
B3     These Are The Things That Are Special To Me 3:37
Written-By – D. Simmons, K. Edmonds
B4     Funky Situation      5:46
Written-By – K. Edmonds

Recorded At – P.S. Recording Studios
Remixed At – Universal Recording Studio
Mastered At – Capitol Mastering

   Acoustic Guitar, Rhythm Guitar, Handclaps, Backing Vocals, Vocals – Kenny Edmonds (tracks: B4)
Backing Vocals – Harold Gooch (tracks: A1, A3, B1)
Bass Guitar, Effects [Mutron], Handclaps – Anthony Johnson (8)
Congas, Bongos, Percussion, Handclaps, Backing Vocals – Daryl Simmons
Drums, Handclaps – Robert Parson
Electric Piano [Fender Rhodes], Piano, Piano [Acoustic], Synthesizer, Strings [Ensemble], Handclaps, Backing Vocals, Vocals – Chuckie Bush (tracks: A3)
Handclaps – Dwayne Johnson (tracks: A1, A4), Thomas Henderson (tracks: A4)
Rhythm Guitar – Harold Gooch (tracks: A1, B1)
Tenor Saxophone, Soprano Saxophone, Lead Guitar, Soloist [All Solos], Rhythm Guitar, Clavinet, Piano [Acoustic], Handclaps, Backing Vocals – Reggie Griffin
Vocals, Backing Vocals, Handclaps – “Flash” Ferrell

Producer – Sonny Sanders
Co-producer – Sid Johnson
Mastered By – Wally Traigett
Photography By – Pamoja Photos
Engineer – Paul Johnson (5), Paul Serrano, Scott Rowley
Remix engineer – Bruce Swedien

Recorded at P.S. Studios, Chicago, Illinois.
Remixed at Universal Studios, Chicago, Illinois.
Mastered at Capitol

==================================================

This is a solid funk record in the vein of mid-70s Kool and The Gang or EWF, with a couple of well-crafted slow-jam ballads, one of which has a strong Commodores flavor to it. What the material lacks in originality, it makes up for in execution. These guys are tight and the record stays entertaining throughout. If they can make me actually enjoy the song “Takin’ It To The Streets,” then they’ve got something good going on. The socially-conscious lyrics sound more convincing when not coming from Michael McDonald’s beardy-face full of yacht sea-foam, too.  I know it is still tempting to skip right over it after those first few measures, but trust me that there’s a funky breakdown at the end that makes it worth hanging around at least once.

From the looks of it, I believe they got their name because these guys were all teenagers when they started. This Midwestern group featured a young Kenny Edmonds, later known as Babyface. Well he really earns his nickname here (see photo below). After two records with these guys, he would go on to be a member of The Deele in the 80s, and then obviously on to super-stardom in the 90s on his own, when he continued to collaborate with Daryl Simmons from this group. Babyface only sings on one tune here, the closer “Funky Situation,” which also happens to be the most complex funk-fusion jam on the album.  Most of the lead vocals are handled by one Chuckie Bush. The smokey, Moog-enchancing slow-burner “Especially For You” was a minor hit for these guys.  They probably would have had more success if the record had come out a few years earlier, as this sounds a lot more like a hard funk album from 1974 than 1977 in a lot of ways. It was reissued once on CD but for some reason the song “We Need We” was dropped from it. This is odd not only because it is one of the best tunes here, but also because its omission from this short album brings its running time down to slightly under 30 minutes.  It was written by multi-instrumentalist Reggie Griffiths, who also has a crapton of album credits with all kinds of artists, as well as being responsible for a monster electro jam called “Mirda Rock” in 1982.

http://flabbergasted-vibes.org/fv/D4BA3BCD511ADF84.rar

http://flabbergasted-vibes.org/fv/1C49D2B269B06945.rar

http://flabbergasted-vibes.org/fv/917C45D240C03073.rar 

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Ben Sidran – Don’t Let Go (1974)

Ben Sidran
Don’t Let Go
1974 Blue Thumb BTS 6012 


A1 Fat Jam 3:23
A2 House Of Blue Lites 3:08
A3 Ben Sidran’s Midnite Tango 2:40
A4 The Chicken Glide 3:43
A5 She’s Funny That Way 3:34
A6 Monopoly 1:27


B1 Don’t Let Go 3:18
B2 Hey Hey Baby 3:30
B3 The Foolkiller 3:45
B4 The Funky Elephant 3:27
B5 Snatch 3:48
B6 Down To The Bone 1:08

Alto Saxophone – Bunky Green
Bass – Kip Merklein (tracks: B4), Phil Upchurch, Randy Fullerton (tracks: A1 to B3, B5, B6)
Drums – Tom Piazza (tracks: B2)
Drums, Percussion – Clyde Stubblefield, George Brown, Phil Upchurch
Guitar – James P. Cooke, Phil Upchurch
Harmonica – Jerry Alexander
Organ – Jim Peterman
Piano, Vocals – Ben Sidran
Tenor Saxophone – Sonny Seals
Horns arranged  by Sonny Burke

Strings arranged by Les Hooper
Art Direction – John P. Schmelzer

 

Vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed individually with Adobe Audition 3.0; resampled using iZotope RX 2 Advanced SRC and dithered with MBIT+ for 16-bit. Converted to FLAC in either Trader’s Little Helper or dBPoweramp.  Tags done with Foobar 2000 and Tag and Rename.

Possibly it is because of his uncanny resemblance to Neil Innes – or the suspicious fact that nobody has ever seen them both in the same place, at the same time – but  sometimes I don’t know how seriously to take Ben Sidran.  But I doubt that fact would bother him, because he’s been far too busy accomplishing an insane amount of things in his long and prolific career for my perplexity to concern him at all.  Although at this point in his life as an artist, Ben Sidran is pretty firmly ensconced in the “jazz” area of your local record store, his overall vision and his diverse body of work taken as a whole is pretty hard to categorize, and there is a touch of whimsy to much of it.  Plus, his records are always fun, a word that doesn’t get paired with “jazz” nearly enough.

In his early days, he flirted with the life of rock stardom when he teamed up with his old college friend Steve Miller.  Sidran contributed extensively to his most interesting record (Brave New World), co-wrote his most charming hit single (Space Cowboy), stuck around for a few more records before going back to his old home base of Madison, Wisconsin, where he has essentially stayed ever since. He published his doctoral dissertation (which he earned in England in the 60s while moonlighting as a session man) as a book, back when dissertations were actually readable,  called ‘Black Talk’.  He hosted a late-night television show as idiosyncratic as he was, called “The Weekend Starts Now,”  in which he had guests like Kinky Friedman and Jane Fonda when she was at her anti-war finest, as well as jazz heavies like McCoy Tyner and Danny Richmond.  He’s worked with Tony Williams, Jon Hendricks, Phil Upchurch (who appears on the album here), and produced records for Mose Allison, Van Morrison, and Georgie Fame.  And somehow he has managed all this while also hanging out with Eric Idle and George Harrison and producing an entirely separate body of work under the name Neil Innes.

On his own albums, Sidran’s stable of musicians was always interesting.  For “Don’t Let Go” we have fellow Madison resident Clyde Stubblefield on drums, Phil Upchurch on bass and guitar, and saxophonists Sonny Seals and Bunky Green all joining the party.  Jim Peterman, a colleague from his Steve Miller days, provides some organ on a few tracks. The original songs here are all compelling, and Sidran seamlessly blends in jazz chesnuts from other composers: a very free and liberal interpretation of fellow Wisconsin-ite Freddie Slack’s “House of Blue Lites” seasoned with some profanity and jabs at New York snobbery,  a similarly stylized “She’s Funny That Way” (recorded by Gene Austin), Bud Powell’s brief ‘Monopoly’, and “The Foolkiller” from Sidran’s most obvious musical idol, Mose Allison. The original tracks span jazz, funk, and even soul in the song “Hey Hey Baby,” which is almost catchy enough to be a hit, as soon as understated Mose Allison-like beatnik crooning comes back into style.    Allison’s “Foolkiller” is arranged in an unrecognizable way and ornamented with greasy slide guitars and harmonica.  The only track that really nods to his past as a denizen of 60’s swinging London is the group composition (mostly likely emerging from an improvised jam) titled The Funky Elephant,which sounds like Dr.John dropping acid with The Beatles.  But not the 1968 Beatles so much as the 1974 Beatles, so basically a few years before they formed Klaatu, I guess.  The cut “Snatch” showcases Stubblefield at his best on the drum kit, tossed over a bed of mixed Wurlitzer and piano, and horn and string charts that make it all sound so easy. (It also makes an appearance on Flabbergasted Freeform Fourteen.)

A curious bit of trivia about the title track of the album: it was written for the original television series adaptation of “Serpico” but was shelved when the project was put on hold for several years due to legal complications.  When the show finally took to the airwaves in 1976 (for only one season, alas), Sidran’s track was not used.  It was written for a scene in which Frank Serpico is a given a surprise birthday party by the rest of his precinct and gets all teary-eyed and starts hugging and kissing everyone.*

Sidran appears to be, constitutionally speaking, a workaholic unable to simply take it easy.  He continues to record, perform, and write.  One of his most recent endeavors is a book regarding the role of Jews in the music business, titled “There Was a Fire: Jews, Music, and the American Dream.”  I’m sure archive-based historians might turn up their noses a bit at his interloping, but as a Jew and a musician I think he’s got a right to explore the subject, and seems to have kept busy on the lecture circuit talking about the book over the last few years.  You can catch some of his talks on his YouTube channel.  This channel, incidentally, is one of the more impressive artist channels I have seen on YouTube, as somebody (if not Sidran himself, then a stalwart staffer) has uploaded a ton of archival material, including lots of clips from the aforementioned television program from the early 1970s.  Check it out here.

(*Disclaimer: this trivia fact may or may not have any basis in our consensual reality.)

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B.T. Express – 1980 (1980)

 

B.T. Express
1980
Released 1980, Columbia JC 36333
 
 
 
Takin’ Off     3:52
Heart Of Fire     3:52
Does It Feel Good     5:43
Give Up The Funk (Let’s Dance)     6:25
Closer     3:35
Have Some Fun     5:23
Better Late Than Never     5:33
Funk Theory     4:22
 
Produced for Mighty M Productions
Mastered at Sterling Sound, N.Y.C.
Recorded and mixed at Counterpoint Studios, N.Y.C.
Additional recording at Music Grinder Studios, L.A.
Additional mixing at The Hit Factory, N.Y.C.
B.T. Express is:
Carlos Ward – Alto Saxophone, Flute, horn arrangments on ‘Give Up The Funk’
Rick Thompson – Guitar
Wesley “Pike” Hall, Jr. – Lead Guitar, Vocals
Bill Risbrook – Tenor Saxophone, Vocals
Dennis Rowe – Percussion, Vocals
Jamal Rasool – Bass, lead vocals
Additional musicians:
Buddy Williams – Drums
Gary Scott –  Arrangements and conducting, keyboards, synthesizer
Howard Westley “Butch” Stevens – keyboards
Recorded and mixed by Alan Meyerson and Gary Chester
Additional recording engineers – Gary Skardina, Ryan Ulyate
Assistant engineers – Ben Wisch, Karl Westman, Michael Ruffo
Mixed by – Gerry Block
Mastered by Greg Calbi
Additional production and arranging – Morrie Brown
Concertmaster – Marcy Dicterow
Executive Producer (supplied the coke) – Fred Frank
Barcode and Other Identifiers
    Matrix / Runout: AL 36333
    Matrix / Runout: BL 36333

If you’ve never listened to a record by B.T. Express, this probably isn’t the place to start.  Not that it is a bad album, it’s just not a really good album – but the good cuts on it are pretty damn good.  The quintessential 1970s funk sound of the band’s classic years is being “updated” for a new era here, complete with futuristic themes in the cover art and a little bit of the music.  Take the opening cut, “Taking Off!”, which appears to be about getting an aerobic workout in outer space.  It’s important to stay healthy in zero gravity, after all.   This song only becomes listenable after about the two-minute mark, when a blast-off of delay on the vocals signals that it’s time for the Express’ best asset, slinky horn lines.  Over all, though, the song is pretty awful, flirting with a “yacht rock” sound that is absurdly becoming hipster-trendy and undergoing a “revival” by certain contemporary music artists  who want to argue for it’s musical sophistication while they tell their audiences not to yell out during concerts or show up in football jersey’s because that’s too low-rent for their wine connoisseur pretensions.  Seriously, “yacht rock” and AOR are the new crate-digging frontier?  What’s next, Madlib remixes of Barry Manilow tracks?  Sorry but I’ll pass and wait for the next fetish they come up with, I ain’t biting on this revival.

Oh right, I was discussing a B.T. Express album.  Well, the Michael McDonaldisms get put away and things get more enjoyable.  There are a lot of non-band members on this record, most likely assigned to it by Columbia  after their previous album failed to do much on the charts.  There is something shameless about the interference in the band’s work ethic here, and the attempts at FM-crossover hooks in the choruses doesn’t always work for me.  I mean the second track is called “Heart Of Fire,” for Pete’s sake.  It’s almost like it was intended to confuse a slightly drunk person at a jukebox looking to for Earth Wind & Fire’s “That’s The Way Of The World” aka Hearts Afire.  Aside from the title, though, the similarity ends there.  It’s a good disco-funk burner, and has subtle poetry in lines like, “But my love for you, it keeps on comin’ and comin’ and comin’ and comin’…”    The third song, however, sounds to my ears like almost a direct theft of the tune “Don’t Hold Back” by Chanson to a degree that would even embarrass  Robin Thicke and Pharell.  I can’t objectively say anything about this tune.

The big track that people remember from this album, the one that charted, is “Give Up The Funk,” which sports another profoundly unoriginal title.  Thankfully there are no Parliament ripoffs to be found here, and no references to “the bomb,” as the sound is 100% B.T. Express with an updated sound, including the ray gun ‘pew pew pew’ of electric tom tom drums.  The tune also brings back the Express’s best trademark:  long, darkly-hued horn phrases used to punctuate the jams in a an understated  way, as if Maceo Parker took a few Valium and was trying not to be noticed off somewhere near the back of the stage.  Sax player Carlos Ward may have shunned the spotlight, but it’s the big failing of this record – and evidence of typical major label short-sightedness – that the one and only track that he arranges is also the only one to be a hit.  The others are all arranged by outsiders Morrie Brown and Gary Scott.  It should be noted that this cut contains an unusual spelling, “F-F-U-F-U-N-K”, which the band determined was the way our Alien Overlords were going to spell their favorite genre of music, due to their leader having a chronic stutter.

Side Two opens with the ballad “Closer,” the first ballad of the album.  I was talking to a friend a few weeks ago about how so many albums from this period would open with a tight, upbeat song for four minutes to get you dancing, then on the second track they would go all Barry White.  Too soon, man, not even Barry moves that fast.  So bonus points to B.T. Express for holding back until the second side.  This track is melodic and smooth, but not overdoing either one of those qualities.  The best thing about it is a completely nonsensical saxophone solo at the end, which begins each bar all Grover Washington but ends all Eric Dolphy.  What would Barry think of that?  Barack?

“Have Some Fun” is a good mid-tempo roller-skating tune, and the only time they dust off the old Hammond organ that featured so prominently on earlier albums.  Again, the chorus sounds written by committee, a formulaic hook that is pretty forgettable an hour later.   It has a nice breakdown with cool riffing on flute, organ, and guitar that makes me pretty happy, though.  It’s probably been sampled a bunch of times.   The next song, “Better Late Than Never,” probably could have just gone with “never,” I don’t have much to say about this tune either.  In fact you could probably just stop the record after “Have Some Fun” and preserve a better memory of this album, because the closer “Funk Theory” is pretty bad.  While  putting together this post I noticed that it seems reasonably popular on YouTube, so what the hell do I know?  The title sort of says it all, it’s as if a bunch of number crunchers wrote a program in DOS that would churn out FM-friendly funk hits, with lyrics that would look better on a chalk-board written a hundred times by an errant, unfunky student.

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African Music Machine – Black Water Gold 1972-74 (2000)

 
African Music Machine
Black Water Gold
2000 Soul Power – LPS 3317
Collection of singles released 1972-3

A1 Black Water Gold (Pearl) 2:59
A2 Mr. Brown 2:48
A3 A Girl In France 2:25
A4 The Dapp 2:40
B1 Never Name A Baby (Before It’s Born) 3:10
B2 Tropical 2:20
B3 Making Nassau Fruit Drink 2:26
B4 Camel Time 2:50

   Bass, Vocals – Louis Villery
Drums – Louis Acorn
Guitar – Jumbo
Percussion – Osman
Piano, Organ – Obitu
Producer – Louis Villery
Saxophone [Tenor] – Tyrone Dotson
Saxophone [Tenor], Flute – Ete-Ete
Trumpet – Amal
Written By – Bell
Written-By – Louis Villery

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Vinyl-> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge,
Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile
2496Soundcard ; Adobe Audition at 32-bit float 96khz; Click Repair light
settings; individual clicks and pops taken out with Adobe Audition 3.0 –
resampled (and dithered for 16-bit) using iZotope RX Advanced. Tags
done with Foobar 2000 and Tag&Rename.




 This group released  4 singles between 1972 and 1974 on the Paula subsidiary label Soul Power Records, and they were collected on this LP posthumously.  New Orleans funk-soul band formed by bassist Louis Villery that sounds sometimes like James Brown meets Muscle Shoals meets early Chicago (the band)/Blood Sweat & Tears.  The opening cut is fantastic, and the arrangements on most of the cuts are inventive enough to keep things interesting.  Most of it is instrumental, and the vocals on a couple of tunes are kind of superfluous.  A couple tunes (A Girl In France & Tropical) have a kind of Meters-like feel mostly due to the rhythm guitar.  I could sort of imagine these guys playing a double bill in NOLA with The Meters.. in the opening slot, of course.   The tune Camel Time has a Santana-esque vibe, or maybe it’s a Malo vibe… crossed with some random outtake from the first Funkadelic record.


Well that is enough genetic-musical-splicing for one blog post.  In the end the music here is nothing to flip out over but it ain’t bad either.  In fact the first time you play it, it’s pretty damn enjoyable, but in my opinion it doesn’t quite hold my interest in the long-term after repeated listens.  I am sure if I were one of those freaks who only plays 45’s, I would love it more.



These are all mono mixes, but since the vinyl pressing is not truly cut in mono, I opted not to use the mono fold-down option in Clickrepair, it seemed like it do result in some weird phasing issues.  This stuff is pretty low-fi and it’s really more of an EP – 8 songs in about 20 minutes.  Personally, the 16-44.1 version
of this is good enough for me.  Maybe it’s the limitations of my speakers, or my ears, or the fact that I drink enough coffee to
sometimes give me tinnitus, but I just don’t there is enough sonic information here to make  huge difference.  Still, this was ripped in 24
bit – 96 khz, and I have the files, so why not share, cuz the internetz must have thems!

 

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