SES. skrev:Her er en stor julegave (ik Villman?)
gurdet skrev:Hvis man gerne vil give en sjælden musikgave - og penge ikke er noget problem:Man kan endnu nå at optage lån i huset eller andet, auktionen løber indtil den 8. dec.Mvh
Mr N. Dolph....?
gurdet skrev:Mr N. Dolph....?
"Norman Dolph
was a perennial in the New York art & music scene of the 1960's.
He worked as a sales representative at Columbia Records through 1967,
and was deeply involved with different facets of the independent music
world on the side. Andy Warhol, who was managing the Velvets at the
time, contacted Dolph & offered him a painting in exchange for
services as
"ghost" (uncredited) producer for the Velvet's first
recording session. Warhol wanted to record a Velvets album before they
had a record company behind them as this would tend to minimize
meddling label executives' mobility in compromising the musical
arrangement's distraught primal force, not to mention the unprecedented
taboo lyrics which openly address sex, drugs, and depravity. Warhol's
plan was to have Dolph record it and then shop it around to labels
(first & foremost Columbia) as a finished recording.
...and so Dolph
rented out Scepter studios, and with an engineer named John Licata by
his side, they recorded the Velvets for four days. At the time Scepter
studios was between reconstruction and demolition with walls falling
over and holes in the floor. Velvets' bass & viola player John
Cale would later recall the environment as "Post-Apocalyptic".
Dolph took the
master tapes made during this session to the Columbia building, which
still had an in-house pressing plant, and cut the acetate "after hours"
with people he knew on the inside. Dolph then sent the acetate to
Columbia to see if they were interested in releasing it. It was
returned promptly with a note that said something akin to "do you think
we're out of our f**king minds?" Dolph then gave the acetate to Andy
Warhol or John Cale, he cannot remember which."
Visual: VG- Surface scratches on both sides.
Aural:
VG- There is surface noise which is fairly consistent throught the
LP. It is most dense during the first two tracks, but we are told by a
friend that is handy with pro tools that getting rid of the surface
noise throughout would be fairly easy.
The main flaws are a
skip about 35 seconds into the first song (European son), & a skip
about 10 seconds into the eighth song (I'm Waiting for the man).
Digital trickery could be used to smooth out the skip on the 8th song
fairly easily, but the skip on the first track may prove a bit more
difficult. "
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