don't read
12/18/03
While doing some recreational math in my head, I realize that the extremely-rough-ballpark-estimate for the total number of cigarettes I've ever smoked has likely passed the half a million mark.
12/15/03
saw graffiti on a traffic light transformer box that read:
"Michelle Taylor
i've been waiting
for a women like you babe"
12/13/03
Played the KnifeThruHead show. Got VERY drunk, VERY fast. It was 99% a BEER crowd (complete with keg), and when I pulled out a fifth of Jim Beam and started drinking it straight, people got weird and quiet--like I had casually laid a loaded gun on the table (to borrow an Ivan Stang-ism).
12/12/03
After getting hair caught in hairbrush, I (out loud) actually call the hairbrush an "asshole."
NEW! The offending brush in phony dramatic photo re-creation
11/14/03
While listening to the Pixies at work, I suddenly noticed why the guitar solo on the Sufer Rosa version of "Vamos" is so much longer than the Come on Pilgrim version--they're actually three seperate solos (each one about the same length as the PILGRIM version), edited together! There are VERY subtle changes in the drum tone, not to mention the tempo--but with headphones, it's noticeable. And not only that, Joey's guitar moves around in the mix at each splice--and Steve Albini is not generally known for using any sort of panning effect that I know of. I have heard that he's fond of razor blade edits, which would further support my theory.
And finally: the song is in 6/4, with 4 beats of E and 2 beats of G. Just before 2:06, there's a splice that cuts off the 2 beats of G.
Apologies if I'm late to the party with this info, I'll bet someone in internet-Pixies-land has realized it at some point.
COME ON PILGRIM solo
28 measures of 6/4
37 seconds [1:17-1:54]
SURFER ROSA solo take #1--guitar panned center
23 measures of 6/4
29 seconds [1:14-1:43]
SURFER ROSA solo take #2--slightly faster, guitar panned left
17 measures of 6/4, 1 measure of 4/4
23 seconds [1:43-2:06]
SURFER ROSA solo take #3--sounds the same--most likely a continuation of take #2, with an edit
18 measures of 6/4
22 seconds [2:06-2:28]
SURFER ROSA solo take #4--more low end on kick drum, guitar panned center
35 measures of 6/4
44 seconds [2:28-3:12]
10/16/02
[excerpt from a comedy sketch about prog-rock journalists]
PROG REVIEWERS
Prog Reviewer #1: Wait....would it be "Emerson Lake & Palmer sucks," or "Emerson Lake & Palmer suck"?
Prog Reviewer #2: It would be fucking neither, you ass. ELP fucking rules.
10/03/03
memo to myself, found on post-it note:
"IF LEFT TO MY
OWN DEVICES,
I WILL EAT A LOT
OF BUTTER."
08/25/02 - 03/23/03
In the Soundry Courter Project, I keep detailed notes of exactly which songs I've sampled. Since this is a project I only work on when I'm at my job, I periodically send these lists to my non-work e-mail addresses, so I can add them to the continuously updated BIG LIST at home. Since August of 2002, the header for these e-mails has always been "ADDITIONS", usually followed by the date. Here are some variations on that header:
ADDITIONES NINE/TWENTY-SEVEN
ADDITIONS, JANE'S 9-30-2002
ADDISHUNS OCTOBER FIRST
ADDITIONZ 10-04
ADDITITANIC 10-09-02 cocktober niner
ADDITIONAL ADDITIONS 10-9-2002
ADDITIONS SUBSTANTIAONS STULTIFICATION PANZER 10-10-02
ADD DISH SEANS 10-11rd, 2OO2
ADDIT DIT DIT DIT 10/15/2002
ADDDIIITTTIIIOOONNNSSS 10-18-2002
ADDITTY BAR 10-22
ADDITIONSSS 10/25!!!!!!!! TEN-TWENNY-FAHHHHHHH
ADDITIONS 10/29 october's albost ober
ADD1710N5: 3L3V3N / F1V3 / 7W0 7H0U54ND 4ND +WO
A<|<|ITIONS 11/06/02
ADTIDSOIN 11/18 two thousennan too
ADTIOSTIN November / Hey Nineteen
ADDITIOOITIONS Novembre Twennyif
A.D.D. IT IONS 12-16-02 Post-Xmas Edition
ADDITIALS/REMOVIONS March 10th-14th 2003
ADDITIONS / CHANGATIONS March 17-21 2003
10/03/03
not tape
kim deal
ebb tide
ass ass
"a" (edit)
"b" (bela, ed)
mike patton
03/05/02
My attempts to come up with a clever nickname for local band Magnolia Thunderfinger:
Spagnolia Factoringer
Fagnolia Fingerbanger
Mickfolia Wunderkinder
Assholia Masturbator
Curepolio Pasteurizer
captain, turn around and take me home.
|
