January 25, 2012
25/100: #progress

Yesterday, I had a chance to dig in to the album I’ve been working on since December.  The project is mostly a redux of out-takes from The Return of Spring

If you’re familiar with the history of Spring, you know that it is the third installment in a seasonal triptych that began in 1996 with The Lessons of Autumn.  The second part, The Promise of Summer, was released in 2002.  

This out-takes album, so far, is comprised of ten tracks that were recorded during the Return of Spring sessions, but for whatever reason were abandoned.  Only one track, “Snake Eyes” (which appeared on the last podcast), had been mixed at the time Spring was released.  

Three of the songs—“Water & Wine,” “The Great Divide,” and “Out of My Mind”—were tracked on the same day as “Pullman,” “Fallin’ in Love Too Fast,” and “Focus, Part One.”  

“Come Alive” is a rock counterpart to “Everything Is New.”  ”Sparks” was tracked during the same session as “Alphabet People” and “Snake Eyes.”  

When Spring was at the pressing plant in September, I began tracking four songs that were laying around, in contention for Spring, but didn’t make it to the tracking stage.  The songs are “Pillar of the Sun,” “Paper Staircase,” “Seminole Train,” and “Walking on Elm St.”  

My goal is to have these songs wrapped up by January 31st.  As a group, I’d say they are about 70% there.  I should be able to make adjustments over the next few days.  

The biggest challenge is making the disparate tracking elements mesh in a way that works for the collection.  It’s easy to get a song sounding great on its own.  In the context of album flow and content, mixing is sometimes like negotiating.  

Once this first stage is complete, the collection will have a definitive sound.  With that established, I’ll track three additional songs in February and three more in March, wrapping on March 31st.  

On these new sessions, I hope to have some fun stretching my limits.  The six songs will all come from the Morning Pages demos from 2008.  These sessions produced the song “Lost?” that appeared on Malamander.  

Over April, I’ll be mastering the project.  I’ll take a month to do this because mastering is like that.  

January 24, 2012
24/100: #redux

When a literary or audio-visual work is worked on after the fact, it is said to be a “redux.”

The “Special Edition” of the original Star Wars trilogy, where TIE Fighters were adjusted, scenes and backgrounds were added, and things outright changed, is a redux.

Redux is not to be confused with “remake.” Lately, there has been an epidemic of 80’s remakes, in which a film’s original premise is used to make an entirely different, usually modern interpretation.

Some remakes are done very well. Ocean’s Eleven, for example, is a clever re-imagining of a Rat Pack classic.  Although, most remakes fall short if for no other reason than it’s hard to top a brilliant original idea.

A redux is interesting. Why would a film maker or recording artist want to revisit something that is considered a classic?

Pearl Jam’s Ten was remixed a few years ago. This seemed like dangerous ground for a record that so many revere as one of the best from the early 90’s. The thing about early 90’s albums is that most were mixed like 80’s albums—cavernous reverbs and all.  An updated mix totally makes sense.

This week, while on some form of gym equipment, before the sun rises, I’ve been listening to this Ten Redux. While I miss some of the quirkiness of the original mix, I appreciate the clarity and intensity of the new version. Thankfully, in the reissue package, the original mix was included—along with the ever awesome Unplugged set on DVD.

In some ways, every new day is a redux of the one that came before it. We are all works in progress.  

9:30am  |   URL: http://tmblr.co/ZPNQLyFHz5Y1
Filed under: Redux Pearl Jam 
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