Tuesday, August 13, 2019

Rick Saucedo - Heaven Was Blue (1978) [2014 Guerssen 2LP Reissue]

Rick Saucedo – Heaven Was Blue (1978)
2014 Guerssen GUESS139 2LP Reissue
~ThePoodleBites Rip in 96kHz / 24bit~

Includes full high-res scans of artwork, labels, and inner booklet with lyrics and interview

This is another record for which we all owe a great debt of thanks to @psychtrailmix. He introduced me to this *amazing* album and purchased this excellent-sounding reissue for our enjoyment. This is the first and only legitimate reissue of this record on any format since the original 1978 pressing, which now sells for around $1k when it shows up. It is also the only reissue on any format with such great sound. This is essential!

*** UPDATE AUGUST 2019 ***: Although the main album tracks here have been transcended by my restoration of the original 1978 pressing, the bonus tracks & alternate mix of side 1 are still essential here, so I've redone the mastering by subtracting my system's frequency response to lend a more neutral presentation of this reissue which should be regarded as closer to the original intention. Unsubtracted tracks and raw rips are available in the "Working Versions" folder as always.







I am actually quite surprised I was never introduced to this excellent private-press record before. While working on this rip, “Reality” rather quickly became one of my favorite songs, and the following “In My Mind” is easily of the same caliber. The two roots rockers that close out side A could have probably been skipped, but the ~eighteen-and-a-half-minute title track that fills up the B-side is a masterwork combining dreamy psych with elements of prog, and without succumbing to the pitfalls of either genre. I think what many lovers of this record find most amazing, or perhaps most comical, is that Rick Saucedo is actually a very successful Elvis impersonator, and had become quite well-established by the time of this LP’s recording and release. You would have never known it from the acid-influenced soundscapes painted here, or Saucedo’s emotive voice echoing across the graveyard.

Saucedo recorded all the tracks on this by his lonesome (except for one or two things), which is really quite impressive, as the playing is top-notch apart from maybe one or two flubs. Patrick Lundborg of ‘The Acid Archives’ fame gave this album a 9/10, and he said if you neglect the last two A-side tracks, it is easily a 10/10 album. I very much agree: apparently the track “Oh My God” (a bonus track included here) was supposed to be included on the original LP after “In My Mind” to continue the concept from the previous songs, but was cut from the final release by Saucedo’s management without the artist’s permission. I think that if you replace the two weaker tracks (reminiscent of the King?) with this track, this is a perfect record, eyebrows and all.

One final note: the long self-titled track (which I have tried to split into the appropriately-titled sections here, per the liner notes) and the radio mix of “Reality” have a weird sonic signature not found elsewhere on this record. There is some noise at 16kHz and then the signal is suddenly reduced. There is also a hint of essing and distortion. This is not from my equipment or rip, it is from the source material used to cut this LP. On these tracks, you may also hear some nonmusical clicks or pops, and these are also not from my rip — by looking in the spectogram, it is clear that they are in the original source material as well. Most of these I’ve manually removed noninvasively (I guarantee that Saucedo didn’t intend for there to be noise in his album), but some I’ve left in because they could not easily be removed. You probably won’t even notice them, though, as they’re pretty low-amplitude. And all that said, like I mentioned above: this is still legions better than any of the CDs!

In fact, this record was exceptionally clean — apart from the mono single-mix tracks, which I believe were professionally-done, excellent-sounding rips from one of the original 45RPM records (unreleased and only 100 copies made), the music here only required a few clicks/pops to be manually removed from each song. Guerssen is an excellent label with high-quality vinyl, and they always tend to use the best-possible sources without messing up the sound. I am always very happy with their products. (I hope their standards don’t disintegrate like Sundazed seems to have done!)

Track listing:
01) “Reality” — 4:08
02) “In My Mind” — 4:27
03) “Country Shakin’ — History Makin'” — 2:45
04) “Ka Mon We’re Gonna Rock All Night Long” — 3:49
05) “Heaven Was Blue” — 18:25
  • (i) “Heaven Was Blue” — 2:35
  • (ii) “Graveyard” — 2:32
  • (iii) “Set Us Free” — 3:36
  • (iv) “Empty Pillow” — 2:26
  • (v) “Angels March Into Hell” (instrumental) — 2:59
  • (vi) “Some Call It Magic” — 1:36
  • (vii) “Angles March Out Of Hell” (instrumental) — 0:42
  • (viii) “Heaven Was Blue (Reprise)” — 1:59
06) “Oh My God” — 4:24
07) “Baby In The Sand” — 6:06
08) “It Burns Again Today” — 5:00
09) “Reality” [A-Side Single Version] — 4:03
10) “Country Shakin’ — History Makin'” [B-Side Single Version] — 3:02
11) “Reality” [Radio Mix] — 4:02

Vinyl condition: Mint
Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2018 (recording)
– iZotope RX 6 Audio Editor (manual declicking, additional adjustments)
– Audacity 2.2.1 (fades between tracks, split tracks)
– Foobar2000 v1.3.17 (tagging, dynamic range analysis)

Preview: https://www.youtube.com/watch?v=Od6_f_HLUqo (also more tracks on my channel)

Google Drive: https://drive.google.com/drive/folders/1S-F_ZSYA_HA9ITlU6HfvGh7jM7fcic3A?usp=sharing
Enjoy, and as usual, please feel free to leave comments! 🙂

Monday, July 29, 2019

The Beat Of The Earth - The Electronic Hole (1970) [Original Private Pressing]

The Beat Of The Earth - The Electronic Hole (1970)
Radish ‎– A.S. 0002 – all tracks mono (Discogs)
Original Private Pressing / Sourced from Phil Pearlman
~ThePoodleBites Rip in 96 kHz / 24 bit FLAC + full hi-res scans~

I am very proud to finally post this album on this blog as part of my ongoing audio research. As you all know and have come to expect, this blog is intended to liberate such rarities in pristine sound quality from the unknown depths of history or from rare record collections. While this record has been reissued as a bootleg, no previous digital versions approach the sound quality available here. Although a very low-fi recording (and far from an audiophile pressing), the restoration I've completed for this piece of beautiful rare gold far surpassed my expectations and should represent a definitive digital version of these recordings for many, many years to come. I've also done all the usual research so you can read the album's story below.

The Electronic Hole takes a step away from The Beats' earlier work, being composed with definite song structures versus the earlier drawn-out freeform jams. Sounding much like a west-coast version of The Velvet Underground & Nico, the album has melodic motifs which point towards Relatively Clean Rivers but is much more primitive and mysterious than its cousin, with loads of fuzz, swirling organ, Phil Pearlman vocals, and even some sitar, acoustic strumming, and ballad-like moments ("Love Will Find A Way, Part I"). It's basically a droney SoCal alternative trip unique to its style, intentionally recorded to be bewildering and exciting for even the most devoted '60s enthusiast.

Front cover: the original Beat Of The Earth band playing a local L.A. gig, ca. 1967.
Light show done by Phil Pearlman using a doily and projector acquired 
from his college days at UC Irvine, while working with The Grape Jelly Plot.

Los Angeles, CA-based coalition The Beat Of The Earth's self-titled debut, sometimes incorrectly referred to as This Record Is An Artistic Statement, had spread among psych music enthusiasts by the late 1980s. The mastermind & frontman Phil Pearlman was tracked down by collector Rich Haupt who purchased a number of copies the debut, but at the time, Pearlman strangely made no mention of any other records he had been involved in. That is until the early 1990s, when the beautiful rural psych trip Relatively Clean Rivers was discovered, and The Beat Of The Earth connection was thus uncovered -- only then did the immensely private Pearlman begin to discuss his involvement with the Rivers project.

In 1993-1994, when Our Standard Three Minute Tune was made, The Electronic Hole was still undiscovered. One could ask: how could it be that such a unique album was completely unknown to collectors for more than 25 years after its pressing? Well, coupled with its extreme rarity (less than 200 copies were ever created), The Electronic Hole wasn't ever really "released" at all. Initially recorded as a demo LP to attract new members to The Beat Of The Earth, 'The Electronic Hole' was intended to be a club in L.A. that Pearlman could use to house local musical acts. But Phil's idea was promptly shut down, and he decided to leave his demo record shelved & forgotten.

Back cover: two contemporaneous articles discussing the disapproval of Pearlman's club

That is, until circa 1999, when Pearlman unexpectedly sent his friend a postcard that read: "Just sent you a box... Peel Slowly And See." Inside that box was The Electronic Hole, and soon the rumor that Pearlman had relinquished a completely unknown gem from his archives had spread like wildfire. Collectors everywhere, screaming "what the hell is this!?" -- the rush and amazement during the first playing of this totally unknown alt-psych trip was spectacular, and as Pearlman began to leak out ambiguous details through his few channels of outside contact, the record immediately grew in value to unbelievable figures, and of course has remained true to that reputation since.

Pearlman has stated that he felt it was futile to wait until somebody asked him about Hole, because nobody outside of a few friends and contributing musicians knew it existed at all. But why didn't he leak out any copies in 1970? And then why did he keep all those copies locked up for over two decades? Some believe that the legal gymnastics over his cover of Frank Zappa's "Trouble Comin' Every Day" (here "Love Will Find A Way, Part II") may have been an influencing factor. Others have argued that Pearlman's entire story is bogus, and that Pearlman pressed the records in the late-1990s to capitalize on the selling power his music had begun to achieve. Regardless of these questions, which may forever remain unanswered, it is certain that The Electronic Hole is an incredible record which will only grow in appreciation as it is continually discovered & rediscovered by generations of music lovers to come.

The Beats:
- Phil Pearlman
- Rick Mandelbaum
- Bill Younger
- Wendell Keesee III
- Toni Sartorio
- Joe Sidore



















The labels of the LP are indiscriminate about track titles, simply labeling one side as "The Golden Hill" and the other as "Love Will Find A Way." While the tracks are clearly banded, no other information is given. I have split the tracks per the obvious way and labelled them as below.

Track listing: 
1) "The Golden Hill, Part I" – 2:27
2) "The Golden Hill, Part II" – 3:15
3) "The Golden Hill, Part III" – 3:54
4) "The Golden Hill, Part IV" – 7:11
5) "Love Will Find A Way, Part I" – 2:59
6) "Love Will Find A Way, Part II" – 7:00
7) "Love WIll Find A Way, Part III" – 5:38

Vinyl condition: M-
Dynamic range: DR 11

Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Audio Editor (manual declicking, EQ subtraction, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.5 (tagging, dynamic range analysis)




Google Drive: https://drive.google.com/drive/folders/12d_VhCkqbDar8DA6dNaEytkOcMZUM3Cu?usp=sharing
Enjoy & please leave a comment below! :)

Friday, July 26, 2019

Rick Saucedo - Heaven Was Blue (1978) [Original Private Pressing]

Rick Saucedo - Heaven Was Blue (1978)
Original Private Pressing: Reality Records RS-55-DGP
~ThePoodleBites Rip in 96 kHz / 24 bit FLAC + full hi-res scans~

"... almost like a psych head's fantasy invention rather than an actual vinyl object." ~Patrick Lundborg

I previously ripped the Guerssen reissue of this fantastic private trip, but after getting an original pressing I discovered that side 1 is completely different mix, and side 2 is much more dynamic on the original issue. So once again, the original pressing wins out in terms of sound quality. However, I still recommend grabbing the Guerssen for the bonus tracks, especially "Oh My God," which was originally intended for inclusion until cut from the final release by an unknown engineer without Saucedo's approval. 

Thanks to @PsychTrailMix for helping fund this purchase!


Unlike my rip of the Guerssen reissue, I've corrected for my system's frequency response here, making this as close you can get to spooling up the original master reel yourself. Maybe better, even, considering the number of tape dropouts I had to fix. Also unlike the Guerssen, there has been no dynamic range compression applied, nor has the entire album been passed through a de-click filter, as was so obviously done on the B-side title track for the Guerssen version. Also, side 1 is the original mix, available nowhere else. Although there is no indication of such on the original LP, side 2 has been split into tracks in accordance with the Guerssen liner notes for convenience of the listener.

Track listing:
01) “Reality” — 4:08
02) “In My Mind” — 4:29
03) “Country Shakin’ — History Makin'” — 2:47
04) “Ka Mon We’re Gonna Rock All Night Long” — 3:52
05) “Heaven Was Blue” — 18:31
  • (i) “Heaven Was Blue” — 2:36
  • (ii) “Graveyard” — 2:33
  • (iii) “Set Us Free” — 3:37
  • (iv) “Empty Pillow” — 2:26
  • (v) “Angels March Into Hell” (instrumental) — 3:00
  • (vi) “Some Call It Magic” — 1:36
  • (vii) “Angles March Out Of Hell” (instrumental) — 0:45
  • (viii) “Heaven Was Blue (Reprise)” — 1:58
Vinyl Condition: M-
Dynamic Range: DR 15


Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Audio Editor (manual declicking, EQ subtraction, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.5 (tagging, dynamic range analysis)





Thursday, July 25, 2019

Love - Four Sail (1969) [Original Arthur Lee Mixes]

Love - Four Sail (1969)
2019 reissue / 1st issue of original Arthur Lee mixes
~ThePoodleBites Rip in 96 kHz / 24 bit FLAC~

I recently posted a "compiled version" of this oft-overlooked Love record featuring the Arthur Lee mixes (where available) plus rips from an original Monarch LP to fill in the gaps. Then, all of a sudden, without warning, this reissue appears, featuring all of the Arthur Lee mixes, mastered by Chris Bellman at Bernie Grundman Mastering! (Chris, are you reading my blog?) Well, unfortunately Chris' work required a little additional tweaking, due to some EQ notches that clearly weren't present on the tapes used for the Love Story masters. Details aside, I've freshly remastered this remastered set so that you can hear it in the most hi-fi sound possible. Some tracks make their debut appearance here in the original mix, and sound wayyy cooler then those reverbed-out, completely-ruined Elektra versions! The extra overdubs on "Talking In My Sleep" are gonna blow your mind...

Thanks @PsychTrailMix for discovering & procuring these sounds for this rip!

** Scans of this reissue not included, because the
original cover looks nicer ... go check it out! **

Track Listing:
01) "August" -- 5:07
02) "Your Friend And Mine – Neil's Song" -- 3:48
03) "I'm With You" -- 2:47
04) "Good Times" -- 3:32
05) "Singing Cowboy" -- 5:57
06) "Dream" -- 2:53
07) "Robert Montgomery" -- 3:42
08) "Nothing" -- 4:48
09) "Talking In My Sleep" -- 2:57
10) "Always See Your Face" -- 3:22

Lineup:
Arthur Lee - lead vocals, piano, harmonica, rhythm guitar, congas
Jay Donnellan - lead guitar
Frank Fayad - bass; backing vocals (tracks 6, 7)
George Suranovich - drums (tracks 1, 5-10), backing vocals (tracks 6, 7)
Drachen Theaker - drums (tracks 2-4)

Vinyl Condition: Mint
Dynamic Range: DR 12

Vinyl Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Audio Editor (manual declicking, EQ subtraction, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.5 (tagging, dynamic range analysis)


Google Drive: https://drive.google.com/open?id=1A3tBaUE65s3WLnAhfj40DG0oxr17KIFi

Sunday, June 9, 2019

Roky Erickson & The Resurrectionists - Don't Shake Me Lucifer (Live) [Original 1987 Flexi-Disc]

Roky Erickson And The Resurrectionists - Don't Shake Me Lucifer (Live)
Original 1987 Promotional Flexi-Disc
Bucketfull Of Brains ‎– BOB 13
~ThePoodleBites Rip in 96kHz/24bit FLAC + full hi-res scans~

Last month the world lost one of the greatest voices in rock music. Roky Erickson was not just the voice of psychedelic rock, he was the voice of an entirely new generation of sounds, calling with his proto-screams to the future of many punk/hardrock groups his image helped create, along with his own later "horror rock" stream of consciousness. While I do have a number of Elevators albums currently in-the-works in the forms of various mixes/pressings/etc, I just had to post this little flexi-disc single as a memorandum on this page to the man who has entered so many of our lives and given us music that influenced us at the core. This record is by nature lo-fi, loud, and twisted; it makes a statement that only one man could make.

Thanks to my friend M.S. for sharing this disc with me for ripping/scanning purposes!


Recorded: Live at The Island, Houston, Texas -- June 25/26th, 1982

Dynamic range: DR 10

Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Advanced Audio Editor (manual declicking, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.3 (tagging, dynamic range analysis)

Google Drive: https://drive.google.com/drive/folders/1D8NIgcSwNB8k4YNGEde9JPTG8PaT0QXQ?usp=sharing
Enjoy!

Tuesday, May 28, 2019

The Third Power - We, You, I / Snow (1968) [Original US Single] {FLAC 96/24}

3rd Power - We, You, I / Snow
Original US Single -- 1968 Baron AR 626
~ThePoodleBites rip in 96kHz / 24bit FLAC + full high-resolution scans~

The Third Power: Believe is probably my favorite Detroit psych record. Unfortunately it's getting harder to find a clean copy these days, but even more uncommon than the relatively rare Vanguard LP is this private single, released by the group a couple years beforehand. It's definitely a "loud cut" (read: distortion will be present) but the raw, garage/psych sound and relation to one of the best power trios ever to emerge from the US warrants its inclusion on this blog.

Thanks to C.F. for his assistance in finding a clean-playing copy of this 45!


Only two tracks here (obviously), but don't let the A-side turn you off. I actually prefer "Snow" of the two. That said, the band's vision would become much more refined on their full-length record to emerge in 1970.

Lundborg wrote a micro-blog-post about this 45 single which is here.

Track Listing:
1) "We, You, I" -- 3:25
2) "Snow" -- 2:49

Vinyl Condition: VG+ 
Dynamic Range: DR 12
Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Advanced Audio Editor (manual declicking, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.3 (tagging, dynamic range analysis)

Google Drive: https://drive.google.com/open?id=1sMg_DxAVj_3bzkO-hUWWtnyI3hvIBUMi
Enjoy!

Monday, May 27, 2019

The Beat Of The Earth - "Our Standard Three Minute Tune" (1967 Sessions / Released 1994) [Original US Pressing]

The Beat Of The Earth - Our Standard Three Minute Tune
First 1967 studio recording session, officially released by Phil Pearlman
1994 Radish A.S. 0001½
~ThePoodleBites Rip in 96kHz/24bit FLAC + full high-resolution scans~

This is the first of the four Phil Pearlman records which I hope to be posting here at some point down the line. Out of his original private '60s / '70s projects, this mid-nineties first-issue of original Beat Of The Earth material is by far the most hi-fi. If you love the "Sister Ray"-era Velvet Underground or the more cohesive Red Crayola moments then prepare to be blown away by the music of this now-fabled psychedelic outfit. 


Phil Pearlman is an enigma of the '60s and a well-respected legend of the private press scene. Phil started The Beat Of The Earth project while he was an art student at UC Irvine, southeast of Los Angeles, CA. The music was produced organically, "plugging in" to the nature of self, thus spontaneous and unrehearsed, but somehow remaining surprisingly cognizant, political, and whimsical. It's obvious to any listener that Phil had been chewing on his fair share of Freak Out!, produced by a band then starting the L.A. "freak" scene, but also embracing Andy Warhol's banana, imported from the strange happenings of the East coast. Thus Phil's mind was strewn between the proto-alt fervor of the VU and the more "serious" art-rock of Zappa's crowd, producing the long, drawn out jams that most collectors now respect as one of the finest '60s rarities.

While I probably marginally prefer the mindset and focus of their first album, Our Standard Three Minute Tune features similar variations on the Beats' music in such remarkable sound quality that I might even label this essential listening. While not having exactly the distinct acid vision of the rural-psych masterpiece Relatively Clean Rivers, Phil's first session still blooms into a gaping portal to what it must have been like to jam with the Beats back in 1967.


"On Sept. 22 The Beat of the Earth played at the Fair Palace. It was a medium size building maybe 400 or 500 came that night. When we first got there we set up the projectors, pattern machines and strobe lights. Then we went on stage. First we played The Beat of the Earth, our standard 3 minute tune. We played it for about 15 minutes. Then we played our slow song. Then I realized we didn't know any more songs so we played the Beat of the Earth again. Then we took a break.

"After a half hour J.R. came up to me and said the other band wouldn't play, they didn't want to play on the same night as us. When I got back to the stage a bunch of people had gone up there and were playing tambourines bongos and maracas and whatever they could find that we had laying around on the stage. We played the Beat of the Earth again for an hour and a half until it was time for the place to close. Everyone who stayed had a great time, playing the bongos, dancing and watching the light show. 

"The manager of the fairgrounds was there. He said we put on a really good show and that a wonderful time was had by all. And he said we should always play in a place with a high ceiling. I had met the manager a couple of years before. There was a big bunch of stray cats living under one of the exhibit buildings. It was known that the manager liked them.

"This record is brought to you thanks to Joe Sidore, engineer par-excellence etc. etc. Posters are provided by Toni J. Sartotio. Person pictured on outside back cover at left is not Andy Warhol."

~Phil Pearlman



The Beats:
• Karen Darby
• Morgan Chapman
• JR Nichols
• Ron Collins
• Bill and Sherry Phillips
• Phil Pearlman

Track Listing:
1) "Our Standard Three Minute Tune (Part One)" -- 20:48
2) "Our Standard Three Minute Tune (Part Two)" -- 19:20

Vinyl Condition: M- (first time being played after opening by Phil himself)
Dynamic Range: DR 14
Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Advanced Audio Editor (manual declicking, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.3 (tagging, dynamic range analysis)


"Well the seagull said
Within your head
Will you tell me what you will be
And the hermit said
Within my head
You just can’t be like me"

Google Drive: https://drive.google.com/drive/folders/1tl0sa-bSiPaYSKDd0h31I39MXKBOYYWL?usp=sharing
(As usual, you can ignore the "Working Versions" folder, which exists for archival purposes only.)

Enjoy, and please feel free to comment below! :)
P.S. Lundborg did a great piece on this mysterious fellow...