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User Name Thread Name Subject Posted
punkfolkrocker Making folk club recordings available (190* d) RE: Making folk club recordings available 27 Sep 21

Tony - you know hardcore fans would want both concerts..

.. even if casual listeners couldn't detect a single note of difference...

You might find this kinda tangential related article interesting...???


"Wilson's first crack at remixing for another artist was also his first experience of finding alternative takes and unheard versions among the multitracks, which can form part of the draw for fans who always want to hear that little bit extra from the archive. Wilson's personal preference is to find new songs or completely alternative treatments of songs, rather than simply alternative takes. On Crimson King he found a haunting version of 'I Talk To The Wind' with just Fripp on guitar and Ian McDonald on flute. "That was a beautiful instrumental," he says, "and a completely different piece, really, not just another take of what we already know. To me, alternate takes are not so interesting, though I understand there are people out there who would happily listen to a whole disc of studio run-throughs of '21st Century Schizoid Man'. What I'm excited by is when you find a performance that actually adds something new to the canon."

"The artist can be an important contributor to the process. "They have the prerogative, of course, to change their own work," Wilson says. "You don't want to mess with someone else's vision, but all the same I think often it's better that the artist isn't too closely involved in the project, at least during the main mixing process.

One artist refused to include a version of a classic track with seven or so minutes of the band improvising beyond the original fade; another vetoed an out-take because he hadn't written it. Wilson has to be a diplomat in addition to his technical duties.

"Many of the Tull records that Wilson has remixed provided an unusually rich seam of unreleased or little-heard songs. In his estimation, the Tull tapes generally reveal at least twice as many songs as were selected for the final album. With Aqualung, for example, there was enough for an entire disc of such material, most of which was in an almost-finished state. "The Tull series has been a lot of fun," he says, "finding all these completely unreleased songs that even Ian can't remember recording. Apparently they quite often went into the studio, recorded a song, and then literally forgot all about it didn't even mix it!."

"There have even been instances where the artist has asked Wilson to change things and he has been resistant. "One said to me 'Oh, when we played that in the studio, we played it too slow. Can you speed it up?' I said 'No! I'm not going to do that. This is a classic album, and whether you're happy with it or not, this is like a sacred text. I'm not going to change it."

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