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Stereolab

Emperor Tomato Ketchup (Expanded Edition)

Stereolab

Emperor Tomato Ketchup (Expanded Edition)

3x Vinil 12"

Edição EspecialReediçãoRemasterizado+1

Álbum de Estúdio

Data de Lançamento: 13 de set. de 2019
Ano Original: 1996
País: Europa
Catálogo #: D-UHF-D11R
Faixas: 28

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Faixas

28 faixas

Lado A

A1
Metronomic Underground
--:--
A2
Cybele's Reverie
--:--
A3
Percolator
--:--
Créditos
Alto Saxophone
Ray Dickaty
Bateria
Andy Ramsay
Escritor
Laetitia Sadier
Sean O'Hagan
Tim Gane

Lado B

B1
Les Yper-Sound
--:--
B2
Spark Plug
--:--
Créditos
Vocals Singing
Laetitia Sadier
Mary Hansen
B3
OLV 26
--:--
B4
The Noise Of Carpet
--:--

Preços e histórico

Detalhes da edição

Selo (2): Warp
D-UHF-D11R
Duophonic Super 45s
D-UHF-D11R
Código de Barras (1): 5 060384 616070
Formato (1): 3x Vinil 12" LP

Notas

Inner panel: Tracks A1 to A3, B2 to B4, C3, D2 recorded at Blackwing Studios London. Tracks B1, C1, C3, D3 recorded at Idful Music Corp. Chicago. Remastered at Calyx, Berlin. Thankyou to: Terry Tolkin, Bryan Smith, Doug McCombs, John Herndon, Jeff Parker, Pajo, Brad Wood, Casey Rice, Piggy, Mike McCutchen, Andy Bryant, Chris Holmes, Brian Welsh, Elliot Dicks, Rian Murphy, Dan Koretzky, Dan Osborn, Bettina Richards, C. Castoriadis, Bundy K. Brown, Darren B, Steve, C, Tanya S, Brigitte F, Nicolas E, Ellen Stewart, Russell Warby, Brian O'Neill, Grubb, Katharine Gifford, Sonic Boom & Sheri Hood. Sleeve at Trouble Published by Domino Publishing Co. Ltd Contact martin@associatedlondonmanagement.com On 24" x 24" poster: Original sound recording made by Duophonic Ultra High Frequency Disks 1996 P 1996 Duophonic Ultra High Frequency Disks C 2019 Warp Records - "Metronomic Underground" originally called "Chrome Tubby". The second track written for "Emperor Tomato Ketchup". This was the beginning of the 'arranged in the studio / studio as instrument" approach that [Stereolab] would adopt. There were no computers or samplers used in recording "Emperor Tomato Ketchup". "Cybele's Reverie", the single from the LP (not forgetting the US promo "Noise Of Carpet"). It was released as a single in edited form. "Percolator" [is] in 7/8 time. "Les Yper-Sound", the first song on the LP to be recorded in Chicago. John ended up gating/shaping the guitar chords with a hi-hat pattern and then filtering it through a synthesizer. "OLV 26", an earlier attempt at this basic electronic rifferama in early Kraftwerk style became part of the "41134" recording with Nurse With Wound. "The Noise Of Carpet" was indeed a kind of single in the US, albeit a promo. "Emperor Tomato Ketchup", sped up the vocals by slowing the tape down. This was all done on the demo which normally meant the vocal melody was too high to sing. Instead of changing the key of the song to suit the vocal range [Stereolab] again slowed the tape down because [they] liked the effect of speeding up the vocals. This is a track that would have turned out totally different if [they] had recorded it in London. "Motoroller Scalatron", another Lab song named after a keyboard instrument. This was Duncan's last record with [Stereolab]. Morgane had only learnt the organ just before joining the band and this was her first record with [them] (give or take some limited 7" or something). "Slow Fast Hazel", demo on the Fostex cassette recorder. "Anonymous Collective", final song on the LP and final song recorded at Idful, Chicago. Freestyle Dumpling / Percolator (Original Mix Version) "Freestyle Dumpling" was recorded in London for Emperor Tomato Ketchup but didn't make the LP. It was released a couple of years later as one side of a 7" single available with the Japaenese boxset edition of 30666, where it was incorrectly titled as "Freestyle Dumping". [Tim Gane] invited Ray to come down to Blackwing Studios during the early stages of recording the album to add saxophone on a number of tracks, but on the final LP Ray only appears at the very end of "Percolator". After two weeks of recording [Stereolab] had about ten tracks of just drums with bass and alto sax playing exactly the same thing laid of the top of it. Sean wrote the descending line for Wurlitzer and strings. That broke the impasse and opened up all the tracks again. Ray's sax got edged out of the final mixes for the LP. "Percolator (Original Mix Version)" dates from a week or two before the final LP versions, is a bit longer and has a different arrangement, and there's a bit more of Ray's sax at the end. "The Noise Of Carpet (Original Mix)", earlier and more abrasive version of the song which had the working title "Broken Face". "Old Lungs", although not a previously unreleased track (it appeared on an ATP festival LP) [Tim Gane] wanted it included here because it was the first track written for "Emperor Tomato Ketchup" and acted as a kind of catalyst for the whole thing. It was the blueprint for some songs in particular, and set down the path for the overall feel and sound identity of the LP as a whole. It was written a couple of months ahead of most of the other tracks on the album, and [Stereolab] had already played it live on a short tour with Yo La Tengo in the UK. It built up into a frenzy when played live but didn't translate to the recording studio. [Stereolab] tried a second version ("Young Lungs"), playing it live in the studio but that also didn't make the LP. - Mastering notes This series of re-issues were mastered from the original 1/2" tapes at Calyx Mastering, Berlin. As [Stereolab] started the project it became obvious that most of the tapes were showing signs of deterioration and some of the earliest ones were already at an advanced stage of decay and were actively shredding. They would need to be baked. Baking is not done to improve the quality of the sound and can lead to some softening and loss of fine detail but the process was necessary to preserve the contents of the tape long enough to transfer the tracks. Great care was taken during the baking of the tapes. The earliest tapes would not have been able to withstand the stress put on them by a normal tape machine set up, with its high tension mechanism and multi head configuration, plus [the] 1/2" tapes needed to run at 30 inches per second - this increased tension and would have most likely snapped the tape. As a solution Bo decided to commission a bespoke tape block which consisted of a single playback head and a simple, no tension tape guide. This allowed the tape to be simply held in place as it passed over the single head. - Demos The demos were all recorded onto a Foster X-15 4-track cassette recorder - mainly using a DI'd Fender Jaguar guitar and a microphone for Laetitia's vocals. Sometimes [Tim Gane] would use a keyboard too. The demos were mixed onto 1/2 " tape using some analogue EQ, compression / limiting and a spring reverb. These demos were just working material to play to the band at the rehearsals or in the studio to show the rough structure of the song. As they were not meant for public release not much care was taken in the presentation, just something to show the general idea and for [Tim Gane] and Laetitia to get the parts down on tape so [they] wouldn't forget them. Every so often Mary would come over to the house and record a vocal or two but as the songs were normally knocked out pretty quick, and [they] didn't live that close together, Mary doesn't feature on most of the demos. The demos from around Emperor Tomato Ketchup are still generally representative of the final recorded versions except for the tracks with Moog chords which are played on guitar here. [Stereolab] still rehearsed some of the songs before recording them but not many. On later albums the demos and the final recorded versions would take different paths and vary quite a bit more. Throughout all the LP's recorded up to 30705 the demos were recorded to cassette tape. The interpretations, once [Stereolab] ditched rehearsing before recording, changed enormously. Sticker, front cover: Expanded Edition Remastered album plus a bonus disk of demos and alternate versions, fold out poster and DL card Other notes: Gatefold cover

Fontes:Discogs

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#Rock #Eletrônica #Cinema e teatro #Indie rock #Post rock #Krautrock

Créditos e produção

38 funções · 111 créditos · 8 empresas · 9 relações

Créditos

Escritor: Laetitia Sadier
Sean O'Hagan
Tim Gane
Vocais: Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Guitarra: Tim Gane
Baixo: Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Bateria: Andy Ramsay
Órgão: Morgane Lhote
Produtor: John McEntire
Paul Tipler
The Groop
Engenheiro de Som: John McEntire
Paul Tipler
Mixagem: Jeffrey Fisher
John McEntire
Paul Tipler
The Groop
Arranged By String Arrangements: Sean O'Hagan
Electric Organ Vox Organ: Sean O'Hagan
Electric Piano Wurlitzer Electric Piano: Sean O'Hagan
Vibraphone Vibes: Sean O'Hagan
Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
John McEntire
Lacquer Cut By: Bo Kondren
Till Kreische
Liner Notes Uncredited: Tim Gane
Management Managed By: Martin Pike
Remastered By: Bo Kondren
Sleeve Assitance From: Bettina Richards
Frank
Songwriter All Songs: Laetitia Sadier
Tim Gane
Strings: Amanda Drummond
Marcus Holdaway
Meg Gates
Sally Herbert
Electronics Electronic Devices: John McEntire
Maracas Some Maracas: John McEntire
Synthesizer Various Analogue Synthesizers: John McEntire
Tambourine Tambourines: John McEntire
Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Electric Organ Vox Organs: Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Electric Piano Electric Pianos: Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Electronics Other Electronics: Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Farfisa Organs: Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Guitar Guitars: Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Percussion Supercussion: Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Synthesizer Analogue Synthesizers: Andy Ramsay
Duncan Brown
Laetitia Sadier
Mary Hansen
Morgane Lhote
Tim Gane
Alto Saxophone: Ray Dickaty
Vocals Singing: Laetitia Sadier
Mary Hansen
Marimba: John McEntire
Guitar Second Guitar: John McEntire
Drums Drumming: Andy Ramsay
Guitar Guitar Solo: Tim Gane
Alto Saxophone Alto Sax: Ray Dickaty

Empresas e locais

Gravado em: Blackwing Studios
Idful Music
Design em: Trouble (11)
Prensado por: Optimal Media GmbH
Remasterizado em: Calyx Mastering
Direitos autorais (c): Warp Records
Publicado por: Domino Publishing Co. Ltd.
Copyright fonográfico (p): Duophonic Ultra High Frequency Disks
Corte de lacquer em: Calyx Mastering

Perguntas frequentes

Quem produziu Emperor Tomato Ketchup (Expanded Edition), de Stereolab?

Emperor Tomato Ketchup (Expanded Edition), de Stereolab, foi produzido por John McEntire, Paul Tipler e The Groop.

Quem trabalhou como engenheiro em Emperor Tomato Ketchup (Expanded Edition), de Stereolab?

A engenharia de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, foi realizada por John McEntire e Paul Tipler.

Quem mixou Emperor Tomato Ketchup (Expanded Edition), de Stereolab?

Emperor Tomato Ketchup (Expanded Edition), de Stereolab, foi mixado por Jeffrey Fisher, John McEntire, Paul Tipler e The Groop.

Quem escreveu as músicas de Emperor Tomato Ketchup (Expanded Edition), de Stereolab?

A autoria das músicas de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, é creditada a Laetitia Sadier, Sean O'Hagan e Tim Gane.

Quem canta em Emperor Tomato Ketchup (Expanded Edition), de Stereolab?

Os vocais de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, são de Andy Ramsay, Duncan Brown, Laetitia Sadier, Mary Hansen, Morgane Lhote e Tim Gane.

Onde foi gravada a edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento?

A edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento, foi gravada em Blackwing Studios e Idful Music.

Qual empresa prensou a edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento?

A edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento, foi prensada por Optimal Media GmbH.

Onde foi remasterizada a edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento?

A edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento, foi remasterizada em Calyx Mastering.

Onde foi feito o corte de laca da edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento?

O corte de laca da edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento, foi feito em Calyx Mastering.

Qual empresa publicou as músicas na edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento?

As músicas da edição de 2019 de Emperor Tomato Ketchup (Expanded Edition), de Stereolab, que indica Europa como país ou mercado de lançamento, foram publicadas por Domino Publishing Co. Ltd..

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Emperor Tomato Ketchup (Expanded Edition)

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Lado A

Lado B

Lado C

Lado D

Lado E · Bonus Tracks

Lado F

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Emperor Tomato Ketchup (Expanded Edition)

Outras edições disponíveis

Faixas

Disco 1 — Vinil 12" · Lados A–B7 faixas

Lado A

Lado B

Disco 2 — Vinil 12" · Lados C–D6 faixas

Lado C

Lado D

Disco 3 — Vinil 12" · Lados E–F15 faixas

Lado E · Bonus Tracks

Lado F

Preços e histórico

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