Let's try and get 1,000,000 replies to this post

Zare

Uniformly distributed hostility
The Senjutsu thread is abnormal, it's more a dump than a thread. I want to follow up on someone's post about something and meanwhile 3-4 new posts appear about 3 other things.

About the interview, I can't quite pick out the workflow due to the way Dickinson phrases it. The part about Harris's songs can be read out as him forming songs out of the band jams.

He first talks about rehearsal, and then Harris shuts out for a couple of days, comes with a song then everyone's "back in studio". If that's chronologically correct, those Harris songs might've had a lot of input from everyone in the band, being sourced from jams. However, it may be that they rehearsed Harris' ideas from the get go, and after capturing that on tape, he would then work with whole parts, to arrange a song 'draft' which the band would work on in the studio.

In any case the amount of Harris credits is very large. It might be that all the songs he's credited in, were constructed from band jams. Dickinson mentiones him and Smith sitting down and writing songs, but doesn't say about Harris sitting down with anyone, as he did with AMOLAD, with Smith and later with Gers and Murray. It might be incomplete info but it also might be indicative of the studio process they've had. Perhaps ideas that Gers and Smith had were rehearsed, jammed, and then utilized by Steve in the arrangements. And just maybe, some other Smith's co-credits might've been lyrics too.

About that collaboration, it's now clear that both of Smith/Dickinson duo worked together on everything ("sat down with guitars and singing"), therefore a strange combo of Dickinson music and Smith lyrics isn't out of the option.

I would really like to believe that the writing process behind the bulk of the album isn't the same that was used with The Red and The Black.
However due to the quality of the lead single (great arrangement, sound, texturing and details, considering it's a three chord song) I am very optimistic.
 

Forostar

Ancient Mariner
The Senjutsu thread is abnormal, it's more a dump than a thread. I want to follow up on someone's post about something and meanwhile 3-4 new posts appear about 3 other things.

About the interview, I can't quite pick out the workflow due to the way Dickinson phrases it. The part about Harris's songs can be read out as him forming songs out of the band jams.

He first talks about rehearsal, and then Harris shuts out for a couple of days, comes with a song then everyone's "back in studio". If that's chronologically correct, those Harris songs might've had a lot of input from everyone in the band, being sourced from jams. However, it may be that they rehearsed Harris' ideas from the get go, and after capturing that on tape, he would then work with whole parts, to arrange a song 'draft' which the band would work on in the studio.

In any case the amount of Harris credits is very large. It might be that all the songs he's credited in, were constructed from band jams. Dickinson mentiones him and Smith sitting down and writing songs, but doesn't say about Harris sitting down with anyone, as he did with AMOLAD, with Smith and later with Gers and Murray. It might be incomplete info but it also might be indicative of the studio process they've had. Perhaps ideas that Gers and Smith had were rehearsed, jammed, and then utilized by Steve in the arrangements. And just maybe, some other Smith's co-credits might've been lyrics too.

About that collaboration, it's now clear that both of Smith/Dickinson duo worked together on everything ("sat down with guitars and singing"), therefore a strange combo of Dickinson music and Smith lyrics isn't out of the option.

I would really like to believe that the writing process behind the bulk of the album isn't the same that was used with The Red and The Black.
However due to the quality of the lead single (great arrangement, sound, texturing and details, considering it's a three chord song) I am very optimistic.
I thought the described Harris approach was mighty interesting. I interpreted it as really him working on a song alone, and then -when done- he explains it to all the guys, everybody joins in (kinda the way Bruce did Empire of the Clouds, although I think Bruce came out of his isolation several times, and showed some of his stuff to others/'Arry before continuing). This happened four times. :--)

I'm hoping for some weird rhythms. Some unexpected stuff. Long songs need that.

As if less preparation than before was done in all the songcreations, before the studio time. Most was created or at least shaped/finished in the studio. Sound very organic and spontaneous.
 
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srfc

Ancient Mariner
I thought the described Harris approach was mighty interesting. I interpreted it as really him working on a song alone, and then -when done- he explains it to all the guys, everybody joins in (kinda the way Bruce did Empire of the Clouds, although I think Bruce came out of his isolation several times, and showed some of his stuff to others/'Arry before continuing). This happened four times. :--)

Agreed. Pretty sure it was a method he used when writing Alexander as well.
 

Forostar

Ancient Mariner
The Senjutsu thread is abnormal, it's more a dump than a thread.
The interesting bits are scarce indeed. It is a thread dominated by manic posters, some of them posting uninteresting content. Several other topics are suddenly very active as well. (sorry, can't make it sound more positive).
 
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Zare

Uniformly distributed hostility
Agreed. Pretty sure it was a method he used when writing Alexander as well.

Rime too

I'm hoping for some weird rhythms. Some unexpected stuff. Long songs need that.

Same here.

Also using TRATB as an example, that kind of a song can be done in 1 day by band like Iron Maiden if it's done part by part. There's really nothing to rehearse, it's just a bunch of riffs and melodies over their standard grooves. I would like it to be opposite this time, e.g. Harris put twists and turns there that are non trivial.

Can we ballpark the studio days they used this time around? For comparison to other albums. There is 80 minutes of material, if my hopes are correct it should be an AMOLAD-style album(*), seems like songwriting went seamless but they did use attention to detail this time (as opposed to Book of Souls)

(*) The bulk of the album are long songs - 7+ min, you don't try to do filler with long songs, and then there is only a handful of short songs, and everyones attention will be there too, because they contrast the bulk. We now have twice less, 3 as opposed to 6 on TBOS, "shorter" songs. This does point to a consistent album.
 

Midnight

E Unum Pluribus
What's the best way to tag album names for bootlegs? I've come across the MusicBrainz guidelines for bootleg titles, but I'm still confused as to how to label, say, the October 5, 1979 recording @Mosh was discussing. Should it be:
  • 1979-10-05: Ruskin Arms, London, UK
  • 1979-10-05: The Ruskin Arms, London, UK
  • 1979-10-05: London, UK
I don't know whether the pub was called "Ruskin Arms" or "The Ruskin Arms".
 

Kalata

Out of the Silent Planet
I thought the described Harris approach was mighty interesting. I interpreted it as really him working on a song alone, and then -when done- he explains it to all the guys, everybody joins in (kinda the way Bruce did Empire of the Clouds, although I think Bruce came out of his isolation several times, and showed some of his stuff to others/'Arry before continuing). This happened four times. :--)
Agree.
(*) The bulk of the album are long songs - 7+ min, you don't try to do filler with long songs, and then there is only a handful of short songs, and everyones attention will be there too, because they contrast the bulk. We now have twice less, 3 as opposed to 6 on TBOS, "shorter" songs. This does point to a consistent album.
Well, AMOLAD is a consistent album.
 

Zare

Uniformly distributed hostility
What's the best way to tag album names for bootlegs? I've come across the MusicBrainz guidelines for bootleg titles, but I'm still confused as to how to label, say, the October 5, 1979 recording @Mosh was discussing. Should it be:
  • 1979-10-05: Ruskin Arms, London, UK
  • 1979-10-05: The Ruskin Arms, London, UK
  • 1979-10-05: London, UK
I don't know whether the pub was called "Ruskin Arms" or "The Ruskin Arms".

I've named my collection in a modified format to what I've already downloaded - prior to checking out any guidelines. That in essence created a brunt of renaming every new download. It's a variant 1 or 2 from your list, but with different bracketing and a band name before the venue name :

[1979-10-05] Iron Maiden - Ruskin Arms, London, UK (AUD)

All my bootlegs are in a single directory, of all bands. I'm just satisfied looking at the large list of stuff, than having a directory tree.
I use tag to denote the bootleg type. If it's a video i just add the tag DVD, DVD-5, etc.

Pub's name you just copy from the source bootleg. If you want to be nazi grammar about it, there are a lot of errors throughout the all bootleg list, you don't want to have to correct them all. For instance ex Yugoslav venue 'Pionir' means 'Pioneer' and not Pionor. So 'Pionor Hall' is 100% bullshit because it's either 'Dvorana Pionir' or 'Pioneer Hall'. You don't want to get into this they've played all over the world :)
 
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