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Sure it's of its time, but what a time that was, eh?
The mix is weird too but kind of works. The drums in the left channel on Alone again or, for example. The mix for each song is quite distinct but they seem to move around during each song. It's a hard one to pin down; I think that's why it keeps sounding fresh.I'm sure I've heard this, or at least parts of it, before. But listening to it now it seems fresh. It's a great lark, enjoying it a lot. Great drumming.
That lyric - sitting on a hillside watching all the people (pause) DIE, is quite extraordinary still. They definitely tapped into the dark side of flower power, the flowers in people's hair are most definitely wilted and rotting in Love's world. Theirs is the late 60's of the Sharon Tate's murder and the Manson Family. The vibe on this record prefigures things like Altamont and even Neil Young's On The Beach. I like it more with every listen.What strikes me about it is the dark/unsettling vibe off it that someone mentioned and the general quality of the songs and playing.
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Yeah Love are a fair reference point for B+S; you can clearly hear where some of their ideas came from.but right now it reminds me too much of the bits in Belle & Sebastian that make me wanna kill everyone.
The mix is weird too but kind of works. The drums in the left channel on Alone again or, for example.
I dunno about Forever Changes but I read that in Abbey Road the desk had a fairly limited number of channels (8 maybe) and the panning options were really limited e.g. you couldn't just pan to any position you liked. Between this and having to bounce loads of instruments to one track you ended up with weird shit like the entire drum kit in one channel. I used to think it was a creative decision until I read this fancy book:It's quiet common for records around that time. They hadn't figured out how you should mix for stereo. Its why a lot of people prefer mono mixes of 60's albums. it sounds fuller and more cohesive.
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