Tommy wrote:tbone wrote:The reissue of FYOSS where Mr. Weston added the bass frequencies back in was great. I think it made that record even closer to perfect IMO.I love this record and already have the original and Savory +3. Is the remaster enough of an improvement to warrant a repurchase?Yes, certainly.

tbone wrote:I recall reading this interview back when the reissue came out, and J mentioned that the mix was fine but the mastering was missing low end and it always bothered him as time went on.http://www.washingtoncitypaper.com/blog ... t-reissue/J Robbins wrote:Originally the idea was just to do a vinyl reissue of Sweetheart. We pressed it to vinyl on Desoto when it first came out ”an eternity ago ”but that was it.When we started talking about that and then the other piece of the puzzle was that I record bands ”that s my work now ”and Bob Weston has mastered a few records I recorded. I really love his work as an engineer, particularly because the stuff I ve sent to him “Wino s record, the new Clutch record ”on both of those there s a real focus on low end. Bob is really good with the low end.In both cases everybody was super happy with the low end. That was pertinent to Sweetheart. Our one misgiving about it ”I mean, that record meant a great deal to all of us in Jawbox ”but you know, when I would listen back to it I would think œWhat s up with the low end on this record? The original version is a really interesting sounding record ”there s this extremely abrasive agitating upper midrange ”but I always thought I d be so psyched if it had a tougher low end, some meat to it. It kind of haunted me. If I could go back and change anything about it would be to give it some oomph. And when we decided to do that, why not just go for it [do it on CD, too]. You know, revisit the record in a way that kind of where we can address this longstanding misgiving. We just listened to the test pressings. We ve just been listening it with headphones and comparing it to old version. Sorry, that s a little esoteric to be fired up about. It s not that the original mastering was anemic sounding ”the original recording, we loved it. But you put the master tapes up, the original just sounds like the mixes. Having this extra heft in the low end feels more like our band felt when we were playing. Mastering has this awesome depth and clarity. It makes me really happy.Thanks for the link, Todd. Jesus, apparently even J thinks Sweetheart is better. He is wrong, of course.

cmay wrote:I still have no idea what their drummer is doing most of the time. On the record, it sounds like he has four arms. He finds these spots in the songs to insert a random tom or china hit that are so counterintuitive, but they just work. Interestingly, one of the things that bother me about the sound on the s/t record is how separated and overstated the toms sound. I actually think that's one of the main reasons some people think that record sounds overproduced, even though it's a somewhat minor detail.

I've listened to the s/t since the 90's and even caught them on that last tour, and I still have no idea what their drummer is doing most of the time. On the record, it sounds like he has four arms. He finds these spots in the songs to insert a random tom or china hit that are so counterintuitive, but they just work. Every time I listen to their last album, I'm just fascinated by the drums. Really wish they'd get back together for a couple shows at least.

morespaceecho wrote:you should check out his first post-jawbox band, the up on in. some really entertaining drumming. zach is interesting to me because his style is kind of rigid...sort of straight up and down...and yet he plays with more feeling than 95% of all drummers. i've been lucky to record him a few times and we've always had a ball. a good guy to hang out with.Wow. No idea he was in another post-Jawbox band. I will most assuredly check that group out this evening. Thanks for the tip.Bernardo - The toms are definitely prominent. But for me, it kind of makes the album.

EmpireStateTroopers wrote:The first Burning Airlines is better than everything Jawbox did.That album has aged better than most Jawbox albums. I used to love Grippe and Novelty, and now I have a hard time getting through those albums. I can still listen to Mission: Control over and over again.

1009 wrote:I hear this a lot, don't get it. Is it the Tori Amos cover? That was probably a mistake, agreed, but I don't hear any "alternative" bands having done anything like what Jawbox was doing at the time. When I got into them in 97 (admittedly late), it was precisely because they sounded nothing like anything else that was being shoved down my throat by that scene. I don't hear anything cliche on that record. Perhaps my points of reference are limited.Nothing cliche, per se, but when I hear the intro to say, "Livid," I have a mental image of that one Alanis Morrisette video.

The first Burning Airlines is better than everything Jawbox did.

Holy Shit Burning Airlines... Haven't spun those in forever.And the Tori Amos cover is great.

cmay wrote:I've listened to the s/t since the 90's and even caught them on that last tour, and I still have no idea what their drummer is doing most of the time. On the record, it sounds like he has four arms. He finds these spots in the songs to insert a random tom or china hit that are so counterintuitive, but they just work. Every time I listen to their last album, I'm just fascinated by the drums. Really wish they'd get back together for a couple shows at least.you should check out his first post-jawbox band, the up on in. some really entertaining drumming. zach is interesting to me because his style is kind of rigid...sort of straight up and down...and yet he plays with more feeling than 95% of all drummers. i've been lucky to record him a few times and we've always had a ball. a good guy to hang out with.