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@bicyclemusic
Drowning Pool's brand new 2-CD Sinner (Unlucky 13th Anniversary Deluxe Edition) is available 11/11. The new version of Sinner is re-mastered, has a second disc of previously unavailable rarities featuring Dave’s final demo “Heroes Sleeping” and includes a collectable ‘Let The Bodies Hit The Floor' sticker!
The zombified lyric video for "Bodies", from the upcoming Sinner (Unlucky 13th Anniversary Deluxe Edition) release, coming 11/11/14! #UnluckySinner13
Drowning Pool tour dates for their upcoming Unlucky 13th Anniversary tour of Sinner! #UnluckySinner13
Drowning Pool - Sinner (Unlucky 13th Anniversary Deluxe Edition)
Calling all Drowning Pool fans and those that have let the Bodies hit the floor in video games and more over the last 13 years! The expanded 2CD Sinner (Unlucky 13th Anniversary Deluxe Edition) represents the definitive version of Drowning Pool’s classic Dave Williams years. Re-mastered and featuring a new bonus disc of 13 previously unreleased demos from the band’s vaults including the fan favorite “Soul” and the never before heard “Heroes Sleeping”, Dave’s final recording with the band.
Taking their name from the Paul Newman film, The Drowning Pool, the band would go on to debut Sinner on June 5th, 2001, debuting at #14 on the Billboard Top 200 and going platinum in six weeks featuring three charting singles and videos, “Bodies”, “Tear Away” and “Sinner”. Dave Williams’ untimely death on August 14th 2002 at the too early age of 30 marked an unlucky end to a rising star.
The "Unlucky 13th Sinner Tour" starts in October where Drowning Pool will play Sinner in it's entirety for the first time since 2001. Tickets and tour dates available at drowningpool.com. The 2CD Sinner (Unlucky 13th Anniversary Deluxe Edition) is in stores on 11/11/14 and available for pre-order now.
DROWNING POOL CELEBRATES SINNER WITH NEW FALL TOUR AND RELEASE OF 13TH ANNIVERSARY EDITION
New York, NY - In October 2014, Drowning Pool will embark on a US tour celebrating the Unlucky 13th Anniversary of the release of their seminal debut record, Sinner, which features the hard rock anthem, “Bodies”. In celebration of 13 years, the band will perform the entire Sinner album followed by their other hits.
In conjunction with the tour, The Bicycle Music Company/Concord is releasing a special two-disc 13th Anniversary edition of Sinner. This deluxe edition includes 13 unreleased tracks, officially available for the first time ever, including the fan favorite “Soul” and the legendary “Heroes Sleeping” demo, Dave’s last studio appearance with the band. The Sinner (Unlucky 13th Anniversary Deluxe Edition) will be available on November 11TH, 2014 with an Amazon pre-order available now at http://smarturl.it/SinnerUnlucky13CD. The first video from the new deluxe reissue is an all-new zombie-themed lyric video for “Bodies” set to premiere in September.
Drowning pool is C.J. Pierce – guitar/ vocals, Stevie Benton – bass/vocals, Mike Luce – drums/vocals and Jasen Moreno/vocals. The platinum-selling Texas quartet continues to roll forward fearlessly.
Drowning Pool turned the world into believers with their breakthrough single “Bodies” in 2001. “Feel Like I Do,” the lead single from their self-titled fourth studio release, became the band’s biggest radio hit to date, reaching No. 2 at Active Rock Radio, and remaining in the Top 5 for 12-weeks.
“Sinner represents that amazing time in Drowning Pool's career when things really started to take off. It reminds us of that raw energy and excitement we had when we first got our music out there, when we first started touring worldwide. For us to be able to play the whole Sinner record for our fans is such a great opportunity. Especially for all of newer DP fans who know about the original Sinner days with the late great Dave Williams, but never got to see that show. It's a great chance for them to see us how we first started. And Jasen Moreno is heading up center stage. He has been our friend throughout this whole journey, his time, dedication, and respect to the Drowning Pool fans shines through every night at every show. We're looking forward to rocking out with everyone. Don't miss it! And we look forward to our continued journey of celebrating older and newer Drowning Pool music. See you at the show!” - Drowning Pool
Upcoming “The Unlucky 13th Sinner" tour dates:
10/17/14 San Antonio, TX Sunken Garden Amphitheatre
10/18/14 Tyler, TX Click's
10/19/14 Pharr, TX Pharr Entertainment Center
10/22/14 Jefferson, LA Southport Hall
10/23/14 Destin, FL Club La
10/24/14 Jacksonville, FL Jack Rabbits
10/25/14 Mobile, AL Soul Kitchen
10/26/14 Cape Coral, FL Dixie Roadhouse
10/28/14 Fredericksburg, VA Hard Times
10/29/14 Virginia Beach, VA Shakas
10/30/14 Lynchburg, VA Phase 2
10/31/14 Fostoria, OH The New Nest
11/1/14 Macomb, IL The Outskirts
11/2/14 Sioux Fall, SD The District
11/4/14 Colorado Springs, CO The Black Sheep
11/5/14 Denver, CO Marquis Theatre
11/6/14 Grand Junction, CO Mesa Theater & Lounge
11/7/14 Salt Lake City, UT Murray Theater
11/8/14 Las Vegas, NV LVCS
11/13/14 Seattle, WA Studio Seven
11/14/14 Spokane, WA Knitting Factory Concert House
11/15/14 Missoula, MT Stage 112
11/16/14 Billings, MT Babcock Theatre
11/18/14 Minot, ND The Original Bar And Nightclub
11/19/14 Spring Lake Park, MN POV’s
11/21/14 Racine, WI Rt 20
11/22/14 Ringle, WI Q And Z Expo Center
11/23/14 Joliet, IL Mojoes
11/26/14 Joplin, MO Rock 3405
drowningpool.com
facebook.com/drowningpool twitter.com/drowningpool
youtube.com/drowningpoolVEVO youtube.com/drowningpoolofficial
Contact
Gregory Szaro at 10th Street Entertainment 212-334-3160 / [email protected]
Mark Copeland at Bicycle Music 310-286-6600 x237 / [email protected]
5/2/13
Comparative Listening
The Skyliners’ “It Happened Today”
For the first time I went through the database looking for versions of a specific song, so that I could compare and decide on the best source.
Since Skyliners will be our first releases I looked for all the master sources I have for “It Happened Today.”
Recorded 8/3/1959
Originally released on Original Sound in 1963
Written by: James Beaumont, Walter Lester, Joseph Rock, John Taylor, Joseph Verscharen, Janet Vogel
Arlovol Music, Administered by Southern Music Pub. Co., Inc. (ASCAP)
SOURCES ::
mp4 given to us from OSE pursuant to the terms of the sale
wav file ripped from the commercially available Skyliners’ CD on Ace CDCH 78
¼” tape BMC-2109 acquired by Art Laboe when he bought Calico Records out of receivership.
The wav file is indeed clearer than the mp4. My suspicions that these files are sourced from the same place. The ¼” version has 5 takes of the song on it, indicating it as a session tape, either 1, 2 or 3 track master. We could not determine how many tracks were on the tape at the digitization session.
The first two takes are false starts, the first not slated, the second slated as take 01.
Three full takes exist, slated as take 2, 4 and 5, indicating that take 3 was removed or erased from the reel.
An examination of the tape 2109 might show a leaderless splice (hard to see during digitization) where take 3 was removed. If no splice was observed then we might draw two conclusions:
This is a safety copy of the session tape, made after removal
Or, take three was erased
Or, the session engineer miscounted
On Take 5, I noticed a slight vocal drop the lead vocal enters on first verse at around 11 seconds on sources 1 and 2. Turns out to be a fidelity drop, affecting both channels of the mono track—meaning there was an irregularity in the transfer for sources 1 and 2. This problem did not exist in the digitized transfer we made with Brian Kehew in 2012, source 3.
What this proves is that sources 1 and 2 are almost certainly copied from the same place, further indicating that source 1 was simply ripped off a retail CD, probably the Ace CD mentioned above.
Other non-digitized sources for this song exist in what appears to be ¼” safety transfer or album master from the ‘80s, another from the 90’s, and an 8-track cassette master (with “four programs”) from the 70’s. DAT and U-Matic sources also exist from the 80’s and 90’s––I assume these are early digitizations of the original tapes acquired from Calico Records, and may have been made when the tapes were in 20 years earlier condition.
Test transferring one of these, may be wise, if only to use as a measure of how tape has degraded over the years. However, transfers have many variables, tape condition being only one, and a transfer made today on an older tape, may render a better quality “tape performance” than a flawed transfer made twenty years ago on the younger version of the same tape.
+ + +
On source 3, Take 2 is groovier than take 4, but 5 is very much the best, mostly because the drummer widened the swing a bit and found the groove. However, there’s a piano improvising over this track and it id distracting and only appears on the final take, yet not on any of the previous commercial releases. Probably best to use a version without the piano––which is take 2.
However, take 5 is indicated as the master by an inserted stretch of leader tape.
On Take 5, I noticed a slight vocal drop the lead vocal enters on first verse at around 11 seconds. Turns out to be a fidelity drop, affecting both channels of the mono track—meaning there was an irregularity in the transfer for sources 1 and 2. This problem did not exist in the digitized transfer we made with Brian Kehew in 2012, source 3.
What this proves is that sources 1 and 2 are almost certainly copied from the same place, further indicating that source 1 was simply ripped off a retail CD, probably the Ace CD mentioned above.
Other non-digitized sources for this song exist in what appears to be ¼” safety transfer or album master from the ‘80s, another from the 90’s, and an 8-track cassette master (with “four programs”) from the 70’s. DAT and U-Matic sources also exist from the 80’s and 90’s––I assume these are early digitizations of the original tapes acquired from Calico Records, and may have been made when the tapes were in 20 years earlier condition.
Test transferring one of these, may be wise, if only to use as a measure of how tape has degraded over the years. However, transfers have many variables, tape condition being only one, and a transfer made today on an older tape, may render a better quality “tape performance” than a flawed transfer made twenty years ago on the younger version of the same tape.
+ + +
At least for tape 2109, the Skyliners seem low on between song banter. The pianist and tympani player keep busy noodling around quietly. Otherwise slates and count offs and a bit of hearty laughter from a vocalist are the only points of interest.
Vocal takes appear on every take, indicating these sessions were live, direct to tape with no overdubs.
Because my very first inquiry into the Skyliners’ catalog revealed a transfer flaw for the 1991 Ace CD version, my temptation is to return to the studio to digitize more of the original Calico Records tapes.
—Willie Wisely
5/16/13
Now that the 3-track master tapes for eight or nine Skyliner’s tracks have been digitized I can begin mixing.
First step is to determine the best take, and then see if that is the master that’s been used over the years. The legends on the tape boxes are often inaccurate in this regard. The take labeled “master” or “choice” doesn’t mean much. For that matter, the take may have been removed from the reel all together. There’s many indications, and ultimately the ear must guide us.
Today, we begin with “Tired Of Me”.
Mr. Ear tells me that take 2 is best despite there being no indication that it was chosen to be the pressing master. In fact, it is noted as “fast”, with later takes slowed down––a bad production decision in my opinion.
If I lay the audio file ripped from the most recent CD release in 1991, and quickly compare back and forth between it and my new mix, I see that the session producers chose take 2 as best. Typically, the final take is best. So this is unusual. But, it was good to run a blind test to see that my judgement concurred with theirs.
Next I like to go through the lead vocal performance, listening to it alone, assessing fidelity. They didn’t seem to have pop-screens in front of the microphones at these sessions, so the transient consonant sounds like ‘p’, are creating loud, low-end pops that will jar the compressors I have on the new mix and create volume dips. So, these events need to be ‘flattened’ out by light compression before hitting other processors.
For some reason if I roll off those transient lows in a low band equalizer the vocal profile loses some richness of tone. So instead I automate up to 14 dBs of gain reduction below ~250Hz to engage only during those handful of words that plague the vocal track.
Next I found a click in the vocal track that appears to be a digital error or an electrical surge during digitization. So I zoom to the level of a couple sign waves, copy a healthy wave form that is adjacent to the click, and paste a copy of it over the click. Next, add a one-sample-long fade to both sides. Done.
-
Except now I realize the whole track is filled with this stuff, only on this channel. There may have been a problem during transfer or might be a problem with the tape’s condition. Will get it re-digitized and see.
Looking further, I see that take 3 has none of this clicking. Let’s relook at how inferior 3 is to 2 and see if we can use that one instead? Hmm, hard to decide. Let’s table this and re-transfer the tape.
PHOTO OF TAPE 1305 Coming!
You can now buy this digitally remastered recording, and others, here:
https://itunes.apple.com/us/album/since-i-dont-have-you-50th/id664752821
Here's one of two master tapes containing the multitrack recordings for lots of Music Machine songs from the "Turn On" LP from 1966.
Wrong, Trouble, The People In Me, 96 Tears, See See Rider, Taxman, Hey Joe
Look across the top and you'll notice that these were recorded on a 10-track machine-the only one like it in the world.
Years ago, this tape was exposed to water (looked like a leaky roof or broken ceiling pipe in the old archive room we saw). You can see the oxidation that occurred from this.
Furthermore, note the "bad wrap". No this tape wasn't arrested under false pretenses, it was rewound too quickly, thus air was caught between wraps of tape creating an uneven wrap. This invites damage to the outside tracks, even if the tape is safely in its box. What a shame, this great music couldn't have been treated better.
But, it's a glimpse into the mindset of those who owned and created the music: music was disposable, ephemeral, not for keeping.
Indestructible copies are here ;^):
https://itunes.apple.com/us/artist/the-music-machine/id261718061
Here's a fun quick selection of some of the best tracks we've been finding in the Original Sound cache -- now in a secret storage vault in Hollywood! Can you name all the artists? No way.
Choosing Varispeed Versions.
Combing through the Jaguar's catalog today, I found several viable master sources for their 1959 single "Thinking Of You" b/w "Look Into My Eyes".
Listening to the session tapes I realized that the original studio performances were in D major. The version released on the original 45 release however was roughly a half tone sharp of E flat major. Meaning, the tape had been sped up.
We can imagine that this was a decision made by Art Laboe, who's voice slates the take numbers on the session tapes, and who's judiciousness was busy rejecting and sometimes cutting off the band during at least 12 lesser takes before cutting the master. Laboe actively produced the session, remarking at one point, "Ben made a mistake" in regards to one of the backing musicians. His vision during the doo woo years at Original Sound was crucial.
In 2012, the staff at Original Sound Entertainment gave me a later day mix that was sped up exactly 1 half step to Eflat. This mix has a nice sound, probably mixed/mastered by a terrific pro engineer, who chose to speed up to an exact integer on the harmonic scale. Also, the reverb on mix is high quality and sounds great. In the 300 bank boxes of documentation that accompanied the Original Sound acquisition, I found a note indicating that perhaps renown oldies DJ Walter Devenne had been hired to master this. Can't be sure. Despite it's quality, it's a 1/2 tone flat of original key of OS-6 single, so I will not use this version for Bicycle's re-issue.
A lot more info on The Jaguars can be found at this Memory Lane Cruises page.
Tape Damage :: Splicing Takes Together
Mastering the best source for The Skyliner’s “This I Swear” uncovered a problem. The master take 5 [see tape box legend photo] had what sounded like tape damage in three spots. Sounded like maybe the tape had been wrinkled and didn’t glide over the tape head properly in two places. In a third spot I heard some mid-low end ’fluffing’. Not sure what caused that.
So to fix this I’ve taken two passages from take 4 (0:13 - 0:28, 2:02 - 2:05) and digitally spliced them into take 5 [see screen shot from inside my digital editing sequence].
While this isn't exactly what came out originally on the 45rpm 7" single [Calico C106], it's the best audio fidelity available to us given that the original 3-track session tape for this song is probably lost forever.
-Willie Wisely [5/20/13]
Unreleased track :: “Coconuts” by Count Five
We are busy collecting rare and unreleased tracks by Count Five, the band behind the seminal cave stomp Nugget "Psychotic Reaction.
We were uncomfortable with a couple audio dropouts (what sounded like a tape wrinkle) in the best tape source for a song called “Coconuts”.
Audio Link Forthcoming Here!
The recording is an adaptation of the British musical hall song “I’ve Got A Lovely Bunch Of Coconuts” that Count Five reluctantly recorded at the insistence of their producer Hal Winn. It was never released.
Notably, a young Merv Griffin had a hit with the original. So it’s no wonder these freakadelic lads wanted little to do with it -- to wit, the final sarcastic guitar notes and gargling at the end.
None the less, we believe the Count Five version is superior to all others, in its garage bluster.
So Bicycle Music Company is going to birth it, finally letting the world hear the great reluctance of it.
During mastering, we remained worried that the flawed audio would be very clear to the digital customer.
So we made some edits—already having fixed the very beginning, which second or two, which seemed to have been chopped of in a botched splice at some point.
Where the tape wrinkle used to be (in verse two) is now a plug from verse one. Unfortunately the clapping in verse two hadn’t started yet during verse one. So clapping drops out for a measure or less, at two pointers, from roughly :44 to :47.
I could not take a plug from verse three because the tonal qualities of the recording had drastically, gradually morphed by then and an edit would be too obvious.
-Willie Wisely
Photo courtesy of Alec Palao & Ace Records
Great news, archivist Alec Palao has discovered the long-missing master tape containing a never-before released Brenton Wood song. We have yet to devise a release plan for it.
"Right Around Midnight" was a candidate for Brenton's first single on Sure Shot (aka Double Shot Records) ( single #102 c.1965-6) - as was the song "Diamonds". The hit "I Like The Way You Love Me" was probably always going to be the A-side.
Eager to hear this track. Must break Alec's heart a bit to find this after the release of his exhaustive curatorial work for Original Sound Records for the now out of print CD "Baby You Got It - The 1960's Anthology". I bought my used copy of the CD from some guy in Lithuania. Fantastic collection!!!
Brenton's music is sweet perfection!
http://www.amazon.com/Oogum-Boogum/dp/B00D8QB840/ref=ntt_mus_ep_dpi_1
Piles of yellowed Dyke & The Blazers session charts, among many others, were found today. ARlester is Dykes given name. They were buried 7 feet under stacks of boxes, in the back of a huge closet. Could not have been more hidden without being under the floor boards. Prince borrowed or nicked or inadvertently "duplicated" a lyric from this song, or at least I saw evidence of the lawsuit in other boxes.
Found a box of a couple dozen vinyl pressing mothers for Double Shot records. 7" and 12".
1967 Original Sound recording artist Joey Covington passed away on Tuesday, June 4th.
Classic-rock fans are mourning the loss of Jefferson Airplane drummer Joey Covington, who died in a car crash late Tuesday afternoon in Palm Springs, Calif., at age 67. - from USA Today
Produced by Kim Fowley, Joey released a 45 in 1967 for the tracks “Boris The Spider” and the original song, “I’ll Do Better Next Time”.
Photo from the Peach Fuzz Forest radio show.
5/9/13
Unreleased Master Recording Found
Found a master mix for "Stereophonic" by El Vinos on a Skyliners master tape. In all likelihood Original Sound acquired this master in it's purchase of Calico Records. Looks like it's never been released. It's a lovely recording, mixed down from what was probably a 1/2" 3-track master tape that I haven't yet located. Two mixes exist for what is slated as take 10.
DJ Unca Marv's article based on an interview with member Leon Daniels is excerpted below:
The five guys (Leon Daniels, Danny Jackson, Leon Taylor, Jimmy Wright, and Bernard Palmer) then hooked up with singer Ed Townsend. Townsend, whose "For Your Love" had recently left the national charts in the fall of 1958, had come to Pittsburgh as a talent scout for Calico Records. The two groups he liked were the Skyliners and the El Venos, although the Skyliners were the ones he eventually picked. Their "Since I Don't Have You" became a smash for Calico in early 1959.
However, Calico didn't forget the El Venos. In 1960, they got to record a couple of masters for Calico at Bell Sound (in Queens, New York): "It's The Little Things" (led by Leon Daniels) and "Stereophonic" (fronted by Danny Jackson). The plan was that the sides would be released and then the El Venos would go on tour, as the opening act for the Skyliners.
Bill Powell heard about the session and promptly informed Calico that he wanted 10% of the record or he wouldn't play it on WILY. Leon says that Calico wasn't particularly disturbed by this (since other stations would play it), but then the final straw landed on the camel's back. Calico had big plans for "Stereophonic," but before the record could be released, Danny Jackson (its lead) announced to the company that he was leaving the El Venos to sing in the Church (he'd never bothered to mention this to the other guys). Calico decided not to issue the record at all (since they felt that no one else in the group could sing it like Danny), and this pretty much served to break up the El Venos. At least they didn't have to hustle to find jobs at this point. Singing was never a full-time activity for the members of the El Venos.
The recording sounds great! Never released!! I now realize the lyrics of the song were written for the proposed tour.
Well we're gonna turn on our stereophonic
Gonna listen to the sounds that's on it
Gonna swing with the groovy Skyliners
Gonna dance till our feet get sore
Clap our hands and stomp our feet
Stereophonic is just the feat.
--Willie Wisely
