Hi, may I ask what how you are transferring songs from vinyl to tumblr?
Yes, great question! The secret is this bad boy:
You can use it as a preamp, but the way I have it set up is that the input is coming from a better preamp I have, and this acts as a splitter. The signal goes out to my stereo, as well as getting converted to a USB signal. My computer can use that like a two-channel USB microphone input, and then it's just a matter of recording the disc in Audacity.
From there, I have to cut up the recording into individual tracks, name them, and export them as FLACs for my player. Then, for Tumblr, I export the song I want as an MP3 and have to lower the quality a bit to be under the 10MB limit. I have noticed quite a few I try to upload get auto-flagged for copyright, but what can you do.
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Tonight we have a familiar band, but some deeper cuts from earlier in their career, all wrapped in a Wild West theme. More after the break!
This is the Eagles (or is it just Eagles?) second album, released two years after the group's formation in 1971. They chose to style themselves after Wild West outlaws with the album art direction and many of the songs contained within, drawing parallels between the lifestyle of a desperado and the life of a modern rock star.
If you've listened to any of the Eagles greatest hits albums, there will be a few familiar ones from Desperado: of course the titular "Desperado", as well as "Tequila Sunrise" and "Doolin Dalton". The rest were unknown to be before listening through, but they're all solid.
The general vibe is a little more country than rock at this point in the band's career, and lacks the ultra-sleek, yacht rock stylings of their later mega hits ("Life in the Fast Lane", "One of These Nights", "Hotel California")
My favorite "new" tunes (well, new to me) were "Twenty-One", a lively bluegrass jam, and "Saturday Night", a melancholy waltz about a lost love.
I think "Outlaw Man" really sums up the direction they were trying to take this album. It's on theme, it has that 70s classic rock sound to it, and it opens with a nice bluegrass instrumental.
My favorite on the album, though, has to be the reprise of "Doolin Dalton" and "Desperado" at the end. I do love me a good reprise!
Taking the original melodies and doing something new with them is something that really appeals to me. With these two songs especially, since I've heard them so many times, hearing them in this new context is like bonus features or something. Also, that extra verse for "Desperado" is so good...
The queen of diamonds let you down, she was just an empty fable
The queen of hearts you say you never met
Your twisted fate has found you out, and it's finally turned the tables
Stole your dreams and paid you with regret
Sounds like he's still searching for his happy ending.
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Album Review #71: // Hailu Mergia and His Classical Instrument // Shemonmuanaye // 1985
This album was sold to me with the descriptor "kinda spooky Casio nitetime desert jazz" and MAN if that doesn't get you interested off the bat, I don't know what will! A very unique sound with a cool story after the break.
There were a lot of questions right off the bat as I stood in the record store: Who is Hailu Mergia? "Classical instrument"? What language is this written in? I decided to just bite the bullet, buy it, and find out.
The language is easy enough with a few context clues. It's Amharic, one of the main languages spoken in Ethopia, where musician Hailu Mergia is from. This is a 2013 repress by a company called Awesome Tapes From Africa. If I happen to stumble across any more of their catalogue, I'll be sure to check them out!
Based on the blurb on the back cover, Mergia was a trailblazer in the Ethopian music scene. He hit the big time in Ethiopia in the 80s and began touring across America and Europe, playing as a house musician at various clubs and hotels. His band was the first Ethiopian band to tour in the United States, where he took up residence after a successful tour in 1983. He's still alive at 80 years old, now living in Washington, DC and makes his living as an airport taxi driver (???) while still performing and recording when possible.
The music itself is unlike anything I've heard. Jazzy, bluesy, synthy underpinnings set to a drum machine while an accordion improvises over the top in the traditional Ethiopian pentatonic scale.
To my thoroughly American ear, I don't really have anything to directly compare this with. It's just such a cool sound, though! What is really reminds me of, honestly... You know in Animal Crossing, some of those instrumental tracks you can put on your stereo in your house? I feel like this would fit right in.
The other tracks aren't nearly as "spooky" sounding, but they all share the mellow synthesized groove as the baseline with accordion over the top. Just a fascinating combination of sounds and textures. This is one I like to put on for people if we're just hanging out in the basement. I inevitably get asked the, "whoa, what is this?"
The full album is up on YouTube, so please check it out if you're vibing with the sound! Expand your musical horizons today!
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Album Review #70: Public Enemy // Welcome to the Terrordome // 1990
Just a quick one tonight! This isn't a full album, just a 12" single. I picked this one up in a bulk lot, so I didn't pick it out on its own. As a matter of fact, the lot had two copies of this one!
Public Enemy was formed in 1985 by rappers Chuck D and Flavor Flav, and this is one of their singles from their third album, Fear of a Black Planet. The group is most notable for its politically charged, pro-Black lyrics and its genre-defying blends of rap and metal with groups like Anthrax and Living Colour.
"Welcome to the Terrordome" itself is a response to increasing backlash towards the group by the media. They were painted as the perfect example of everything wrong with America in 1990, and were embroiled in a controversy after former member Professor Griff made antisemitic comments.
The opening lines,
I got so much trouble on my mind
I refuse to lose
Here's your ticket
Hear the drummer get wicked
are in reference to Chuck D's growing frustrations with this antagonism, and the racist attitudes of American culture at large.
I don't pretend to be a hip hop aficionado, but I've been trying to get into more, especially 80s and 90s hip hop, when the genre didn't have so many of the edges sanded off.
The rest of this disc is a couple of different instrumental tracks, and about 15 seconds of Flavor Flav hyping up the group. All in all, a neat little piece of rap history.
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