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coolobservationyouth · 4 years

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Best Vst Plugin For Chopping Samples

EQ plugins are one of the most used plugins in music production. The reason for that is because EQing is the most invasive action that you can apply to your audio signal, whether you need to boost or cut the frequencies or just add some warmth to your audio.='font-size:>

For this reason, we picked 17 Best Free EQ VST Plugins, so you can choose your most favorite one and use it for mixing as well as for mastering. ='font-size:>

You may face several scenarios while mixing and mastering which may include the use of an equalizer, having a transparent display to analyze what you are adding or subtracting with the EQ, multiple EQ bands, and proper CPU usage is what to look for in an EQ.

But with that said every piece of software and hardware alike creates and outputs a slightly different sound meaning they all have unique timbres and uses. Alongside that, there are some rather expensive plugins we may see online, which aren’t out of our reaches but we don’t know what we need until we need it right? Well, this is why its best to try some free EQ’s first to see what it is you like within an EQ and what it maybe you are looking for.

Sample is a surprisingly powerful plug-in that delivers a host of sample management and editing features. It enables users to easily chop, transpose, and even find samples amidst immense libraries. It also comes with a very capable time-stretch algorithm that longtime DAW users will immediately recognize. Specs and useful features. Beat Chopper is a free VST plugin that allows you to load an audio sample, split it, and trigger it from various positions by MIDI. You can split the sample evenly to 4, 8, 16 or 32 parts or use automatic split. A plugin effect is a signal processing device such as a reverb, delay, compressor or EQ, while plugin instruments take in, amongst other things, synthesizers, samplers, drum machines and sample-based recreations of real-world guitars, drum kits, pianos, etc. They recorded their samples at one of the best studios in Germany, using instruments from the 18th and 19th century played by some of the top musicians from the best orchestras in Europe. With this plugin, there’s no need to spend hours upon hours tweaking little parts of your arrangements. The obvious answer is the Antares Autotune. While it’s the best vocal VST plugin out there, not everyone can spend $400+ on just 1 tool. That’s why I present you MAutoPitch, one of the best Auto-tune. Download Plugin. Zampler by Plugin Boutique is an excellent add-on for electronic musicians as you can download drum & bass, hip hop, even dubstep expansion packs. The sampler has 3 LFOs and a large effects library including chorus, phaser, tube saturation, and many more. There are 2 sample banks and 3 ADSR envelopes for full modulation control. DSK Overture is a full orchestral sample VST plugin. It gives you the ability to choose between 40 different instruments and play 4 of those instruments in the same instance, through MIDI.

We become ever so comfortable with our stock plugins, they do the simple tasks for us (sometimes), they don’t run our computer into the ground, and they for sure are pretty basic. Well, this is the issue most people come to, they want a better EQ, or they want a change of visuals.

EQ History – ‘The first EQ was first used by John Volkman working at RCA in the 1920s”

Related Reading:='color:>

The 6 Best Ring Modulator VST Plugins in 2020 | KiloHearts, Melda

13. TDR Slick EQ Review='color:>

More Info & Download

Specifications:

Semiparametric EQ layout

Three bands combined with 18dB/Oct high-pass filter

Four EQ models: “American”, “British”, “German” and “Soviet” with optional non-linearity

Five output stages: “Linear”, “Silky”, “Mellow”, “Deep” and “Toasted”

Saturation algorithms by VoS (“Stateful saturation”)

Features & When To Use:

TDR’s Slick EQ provides a recognizable analogue sound.

Using three bands that bring together four different EQ models.

Both low and high bands are coupled with a cut and bell feature allowing for comfortable band changing.

Auto gain estimates the gain change caused by the current EQ settings; this makes it great to compare your EQ setting during the mix. There is also an ‘EQ Sat’ button; this will activate the saturator which is very intelligently paired to your EQ bands. This will add harmonics when boosting and remain passive when cutting.

Being able to save your favourite EQ settings for a later mix or master can be done within the plugin. Coupled with a undo/redo button you never miss that sweet spot for your bands, alternatively set up two different EQs with the A/B switch.

Slick EQ gives a very stripped back interface meaning you don’t get caught up with the visuals when doing equalising, providing a focus on what your hearing. This EQ shouldn’t be overlooked, with great coding, algorithms, settings, and excellent sounding types SlickEQ delivers more than you would expect from a FREE plugin.

Compatibility:

Win 32 bit VST2, VST3, Win 64bit VST2, VST3, AAX Mac VST2, VST3, AU, AAX 64 bit

14. Manda Audio 7Q Review='color:>

More Info & Download

Specifications:

Seven band EQ

Highpass/lowpass

Stereo/mono options

Left/right options

Output level

Features & When To Use:

Manda Audio brings us 7Q.

7Q is an emulation of the beloved ‘Classic EQ’ which became discontinued, the team came together and brought the community back a redesigned version.

7Q takes off all the fancy parts and gives you the bare basics; this is what gives this a place on our list. With 7Q giving you the ability to apply your EQ to the left or right or both channels, you can independently EQ both sides of the stereo field.

Each band can be additive or subtractive. Keeping easy to use format is what this plugin does best; it doesn’t over-complicate the task at hand but assists your needs along the way wether mix or master.

Low memory and CPU usage make it easy to have multiple instances in your projects without having your computer meltdown.

7Q is a nifty EQ that is awesome for giving your sounds a little crisp boost before running into your other plugins within the chain.

Compatibility:

Win VST 32/64 bit, AAX 32/64 bit Mac VST, AU, AAX

15. Mellowmuse EQ1A Review='color:>

More Info & Download

Specifications:

HP: 10hz – 1khz / sweepable Q

Low Shelf: 30hz – 500hz

Low Mid: 70hz – 2khz / sweepable Q

High Mid: 500hz – 6k / sweepable Q

High Shelf: 1.5k – 18k

Phase switch

Output level

64-bit internal processing

Formats: 64bit VST, VST3, AU and AAX

Version: 3.2

Legacy 32bit installers

Features & When To Use:

EQ1A is a FREE analog-style EQ with a clever algorithm giving you minimal phase coloration.

This plugin has initially been paid to use the plugin, but the developers have decided to give it to us all for FREE!

EQ1A allows you to use broad bands to shape your sounds or outputs in a clean, crisp and phase-corrected way.

Being able to save you presets within the plugin makes it very easy to pull back that EQ you made on the last mix. 4-band parametric equalizer with an additional HP filter with variable resonance gives a wide range of settings to play with while keeping everything simple and user friendly.

EQ1A does what it says on the tin for FREE!

Using this within mixing or mastering may help you when wanting to add a hefty highpass or when looking to give some warmth to your mid ranges.

It has to be said with a great look, and low CPU usage EQ1A is an excellent addition to your plugins.

Compatibility:

Win, Mac

16. Voxengo Marvel GEQ Review='color:>

More Info & Download

Specifications:

16-band graphic equalizing

+/- 12 dB gain range per band

Channel grouping

Preset manager

Contextual hint messages

Freehand drawing mode

Stereo and multi-channel processing

Mid/side processing

Undo/redo history

All sample rates support

Linear-phase equalizing

Internal channel routing

64-bit floating-point processing

Features & When To Use:

Voxengo is notorious for doing some excellent free plugins.

This addition is the Marvel GEQ, which is a fifteen band linear phase EQ.

There is a routing tab that allows you to affect the signals mid/sides independently. (orange slides)

Also giving full independence to the mid/side output level, becoming very useful when mixing and mastering.

Bypass feature makes it simple to hear what your EQ is doing to your sound source. Alternatively, decide between two EQ setups with the A/B mode.

For quick EQ drawing, you can hold ‘Ctrl or Cmd’ and click across the EQ drawing in your fader settings with the click of a mouse.

Having a stripped back form factor with enough controls to complement your mixing tasks this plugin has to be our list today.

Compatibility:

VST Win, VST3 Win, VST Mac, VST3 Mac, AU Mac

17. Kuassa BASIQ Review='color:>

More Info & Download

Specifications:

Three-band EQ

High, mid, low

Presets tab

Output level

Very simple to use

Features & When To Use:

BASIQ is a three-band EQ.

It keeps in mind that EQ work for mixing and mastering doesn’t have to be a headache or over complicated.

BASIQ is a design similar to the classic ‘Baxandall Equalizer’ which is knowns for its natural-sounding shelves and HiFi quality responses.

Adding a smooth, gradual shimmer or warmth instead of a surgical sharpness is what BASIQ does best. Use on groups or a master chain to subtly but significantly add character with the turn of a knob.

With some added presets you be able to get a quick change in tone with the click of a button.

The small form factor makes this BASIQ a powerful tool to be used within the mix or master.

Compatibility:

Win, Mac, VST, AU, 64 bit

Our Picks For Top 3 Free EQ VST Plugins='color:>

With all of that said, grabbing all 17 plugins wouldn’t do you any harm, but we want to break down our top 3 picks!

1. DDMF Colour EQ Review='color:>

In our top spot, we have Colour EQ by DDMF.

This plugin brings so many features that you would expect from pay to use plugins but all for FREE! Another fresh point is that the curves you can create with this cannot be done on other EQ plugins, giving Colour EQ a versatile approach.

Low-CPU – Usage Customisable GUI – Great warm sound – 5 Bands

2. TDR Nova Parallel Dynamic Equalizer='color:>

Coming in second is Nova by TDR.

Parametric, dynamic EQ, and multiband compression are all built into an excellent looking FREE plugin.

Nova has a built-in dynamic EQ parameter when mixing, and mastering using a dynamic EQ is crucial sometimes. Having this all in one plugin for free is hugely commendable to the team who developed this plugin!

Parametric equalization – Dynamic equalization – Frequency selective compression – Multi-band compression – Wideband compression

3. Blue Cat’s Triple='color:>

And finally, our last top pick is ‘Triple’ by Blue Cat.

This awesome plugin has so many features you just wouldn’t expect a FREE plugin to have.

With a fresh interface and drag and click feature to make EQing even more natural Triple is a powerful EQ.

Semi-parametric EQ – +/- 40dB Range per band – MIDI control and automation support – Real-time display

Conclusion ='font-size:>

Today we have covered a lot of great FREE EQs for mixing and mastering. Amazingly, we have developers putting out all of these plugins for producers/sound engineers to level out the playing field. As we have all seen these ‘not to name’ brands releasing rather expensive EQs that we just can’t fork out for, but with the way, music has progressed today in the digital domain it has become much more accessible for creatives to share their ideas and effects for free.

With that said, they all have their benefits and downsides, but with them all being free, there is no reason you can’t pick them up and use these in your mixes or masters today!

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thebuckblogimo · 4 years

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My Ten All-Time Favorite Albums.

July 17, 2020

I’ve previously written that one of my roommates during senior year in college was a very musically-oriented guy. Rick, the original “Buddman,” Budd was from Pittsburgh, PA. As a kid he learned how to harmonize from his Dad who was a totally-into-it barbershopper. In high school the Buddman sang in a doo wop group called the Del Renos. In college he played the Hammond B3 organ for the Paramounts, the only soul band on the Michigan State University campus during the late ‘60s. Later in life he helped form a doo wop group, Deke and the Blazers, that did some national touring. It also bears mentioning that Rick could play the piano by ear. After downing eight or ten Rolling Rocks, he would fall forward, bang the keyboard with his head, and play those 88s with his ear. Just kidding, folks. Kinda, sorta...

The Buddman recently listed his ten favorite albums of all time on Facebook. He included some interesting background and personal insights with his selections. He then suggested I do the same. I took him up on the challenge, but it turned out to be a more difficult task than I had anticipated. It was hard for me to compare music from the ‘50 and ‘60s to music recorded many years later. And it was not easy to narrow my list down to ten. Nevertheless, I finally did so. I’m not on Facebook, so I’ve listed my top ten here:

1) A Package of 16 Big Hits (Motown)--This 1963 release was Berry Gordy’s very first compilation album. I associate many of its tracks with getting my driver's license at 16 and bombing around Detroit in my Dad's new Pontiac Bonneville. I think it's so good because all of the songs were recorded before Motown began to rely on a formula that employed funk brother Jack Ashford's incessant tambourine. Almost every tune on this record sounds different from the next. For example, Marvin Gaye's "Stubborn Kind of Fella" showcases the Vandellas singing background vocals and flautist Beans Bowles playing a distinctive solo. While Mary Wells' "The One Who Really Loves You" features an arrangement that includes a hint of vibraphone, some sweet piano, a syncopated conga drum and background harmonies provided by an obscure group called the Love Tones. Another unique cut is "Come and Get These Memories" by Martha and the Vandellas. It sounds unlike any other tune the group recorded after it. The LP's original cover graphic is really cool, too--a package wrapped in kraft paper and "stamped" in postal fashion with the names of the tunes and the artists who performed them. 2) Live at the Apollo, Volume II (James Brown)--It was Rick Budd who first took me to the bridge and dropped me into the funk of James Brown, the "godfather of soul" and the "hardest working man in show business." I know that the Buddman favors Live at the Apollo, JB's first live album from 1963. But I put my money on this 1968 two-record set. When I was living at Water's Edge apartments during my senior year in college, we'd play Side 2 at Saturday night parties, get up to dance, and not sit down until it came to an end--19 minutes and 37 seconds later. The live versions of "Let Yourself Go," "There Was a Time," "I Feel All Right," and "Cold Sweat," are amazing. The set also includes renditions of such pre-funk Brown ballads as "Prisoner of Love," "Try Me" and "Please, Please, Please." The 2001 Deluxe CD Edition includes a tantalizing 23-second "My Girl" musical interlude. All I can say is "...good gawd...uhh...ooh ahh...hah..." 3) Hot Buttered Soul (Isaac Hayes)--Released during June of 1969, this four-track album put Isaac Hayes on the R&B map for Stax-Volt. When I returned to MSU for my final quarter of school in the fall of '69, Hot Buttered Soul supplanted the Beatles' Sgt. Peppers Lonely Hearts Club Band as my favorite pot-smoking album. It should not, in my estimation, be played in the background or listened to while idly vacuuming the living room rug. The only way to truly appreciate this masterpiece of Memphis soul is to "actively" listen to it--with the volume up, the lights low, in an altered state of mind, on the couch. Let Hayes, with his deep-baritone rap; the Bar-Kays, delivering some twangy, psychedelic guitar riffs; and the plaintive sound of violin strings, which were added to the mix in Detroit (presumably by musicians from the Detroit Symphony Orchestra), take you on a journey that starts low, aims high and hits bone-jarring crescendos on Hayes' interpretations of "Walk on By" and a 19-minute version of "By the Time I Get to Phoenix." Listening to this album can be damn-near orgasmic. 4) Chicago Transit Authority (Chicago)--Although this eponymous album was released in 1969, I did not come to truly appreciate it until a couple years later. (The group, by the way, was sued by the CTA and soon changed its name to Chicago). I practically wore out my copy--or at least Side 1 of this two-album set--at my first apartment as a single guy on Appoline in Dearborn. I love the way these Windy City guys meld jazz, rock. soul and orchestral influences to produce a sound in a category with Tower of Power, as well as Blood, Sweat & Tears. Besides lead guitar, bass and drums, you can hear the "pow" of brass and the serenity of woodwinds on this production, provided by a saxaphone, trumpet, trombone, clarinet and flute. You can also hear an array of percussion instruments such as cowbell, claves, tambourine, etc. I'd kill to have any one of the three distinctive voices possessed by Robert Lamm, Peter Cetera and Terry Kath as they take turns on lead vocals. The six-minute instrumental "Introduction" on Side 1 takes the listener on a journey that climbs hills and descends into valleys. It then transitions into the rock classic "Does Anyone Really Know What Time It Is?" which, in turn, transitions into "Beginnings," yet another rock classic. The first cut on Side 2 features the underrated "Questions 67 and 68." While on Side 3 you'll find the self-indulgent "Free Form Guitar," which I hate, frankly, because it's "noise music" to my ear. There's also an excellent cover of the Spencer Davis Group's "I'm a Man." Best Chicago album of all time, in my opinion. 5) All Day Music (War)--I was in my first big-boy job at AAA when one day in 1971 I was knocked out by the title song from this album and walked over to Grinnell's music store after work to purchase it. There is no mistaking the unique sound of War as the group fuses elements of low-rider soul, rock, jazz and Latin rhythms. My main man Joe McCracken, some of the pals and I would invariably "tune up" singing "All Day Music" at "the pit," another name for my basement apartment, before heading out to Your Mustache, a raucous music room just two blocks from where I lived. I like all of the tunes on this album and want to give a shout-out to "Slippin' Into Darkness," but I can't lay enough praise on the title cut. It remains one of my all-time favorites, a true "nugget" that I never get tired of listening to. 6) The Best of The Guess Who Volume II (The Guess Who)--I'm not easily sold on groups with three guitars and a set of drums. I generally prefer rockers who add horns or a piano to the mix. It is particularly because of the skillful keyboard-playing ability of Burton Cummings, as well as his distinctive voice, that I love the work of these fellas from Winnipeg, Manitoba. In fact, before I lost my music collection in our fire of 2010, I owned more LPs by The Guess Who (probably 10) than any other group. This compilation was released in 1974. The track listing includes 11 tunes recorded between 1970 and '73, all written or co-written by Cummings, after long-time lead guitarist Randy Bachman left the group to form Bachman-Turner Overdrive, aka B.T.O. I absolutely love eight or nine of the cuts--"Albert Flasher," "Guns, Guns, Guns," "Sour Suite," "Glamour Boy" and more. But for my money this album's piece de resistance is "Runnin' Back to Saskatoon" with its building, straight-ahead momentum. M’boy Burton sings of hanging out in such Canadian prairie towns as Moose Jaw, Moosomin, Red Deer and Medicine Hat. How many times did we slam beers at the Phase 1 in Dearborn with that tune blasting on the juke box? After which we'd cruise back to my house on Rosemont in Detroit and blast it some more on the stereo. If "American Woman" is all you know about The Guess Who, make time to discover this Canadian group's north-of-the-border interpretation of rock 'n' roll. 7) Street Corner Symphony--(The Persuasions)--As I mentioned earlier, we'd tune up on "All Day Music" at my first apartment, but before we headed out the door for the "Mustache," we'd pull out this 1972 a cappella album, fire it up--along with a couple of jays--and sing some of its best tunes: a medley including "He Ain't Heavy He's My Brother" and "You've Got a Friend"; an upbeat version of the Temptations "I Could Never Love Another (After Loving You)"; "Temps Jam,” a medley of Temptations classics; a superb rendition of "So Much in Love," originally done by the Tymes; and "People Get Ready," the old Impressions chestnut. Only then would we be truly ready to hit the bar. This album sparked my initial interest in music made with nothing more than the human voice. I eventually purchased four or five Persuasions albums and several by other popular a cappella groups. An aside: One summer during the early '70s there was a lengthy beer distributors strike in Detroit. Luckily, in those days, we could easily cross the Ambassador Bridge or go through the Detroit-Windsor Tunnel to get to Ontario to purchase Canadian suds. It was a sweltering Sunday afternoon when we picked up a case of LaBatt 50 Ale in Windsor and drove to some outdoor venue to see a concert featuring The Guess Who, the Persuasions and the Sun Ra Arkestra. Talk about an eclectic lineup of artists. To this day I consider that beer to be some of the tastiest I have ever swallowed, and that concert to be one of the best I have ever seen. 8) Crystal Green (Rainbow, featuring Will Boulware)--By the mid-to-late '70s, my musical preferences had started to take a turn. From then through the early 2000s I bought mostly what I call "WDET music," less commercially popular vinyl and CDs that I heard on Detroit's world-class (at the time) public radio station, as well as lots of jazz and fusion. The 1977 release of the rareish LP, Crystal Green (not to be confused with the group's similarly titled album, Over Crystal Green), is unquestionably my all-time-favorite jazz/fusion record. After I first heard the upbeat, six-minute "I Like It" on the radio, I knew I had to have the album for my collection. After I bought it and put it on my turntable at home, the mellow groove of the very first cut, "Hossan," knocked me off my feet. In fact, I love all six cuts on this album. I regret that Rainbow, featuring pianist Will Boulware, is not available on Spotify, my go-to music source these days. 9) Meet Me in Uptown (The Mighty Blue Kings)--I recall driving down Woodward Avenue in Royal Oak on my lunch hour one day in 1996, listening to WDET on my car's radio, when a raucous tune began to play. It immediately hit me. Bam! Right upside the head. I'd never heard anything quite like it before. When the deejay finally identified the hall-party sound from the set he had just played, it turned out to be "Jumpin' at the Green Mill" by the Mighty Blue Kings, a "jump blues" band out of Chicago. The seven-piece group with horns, piano and a stand-up bass features the "ballsy" baritone of Ross Bon. This unpretentiously produced CD was ahead of its time, recorded before Brian Setzer resuscitated swing music in the late '90s. "Jumpin' at the Green Mill" remains my favorite cut. Of the 13 selections on this album, here are the ones I'm partial to: "Loose Lips," "Cadillac Boogie," Big Mamou," "Meet Me in Uptown," "Rag Mop" and "Pink Cadillac." Kudos to WDET for opening my ears to this and other diverse types of music such as bluegrass, ska, world, Cajun, zydeco, Tex-Mex and sophisticated forms of hip-hop. 10) The Teenagers Featuring Frankie Lymon--I'm old enough, and bought records early enough, to be able to say that I purchased three 78 rpm discs in 1956 at the Two By Four Record Shop in Dearborn: "I Want You to Be My Girl" by Frankie Lymon and the Teenagers; "Stranded in the Jungle" by the Cadets; and "Priscilla" by Eddie Cooley and the Dimples. But it was the summer of that year when my Auntie Julie surprised a then-nine-year-old "little Lenny" with his first 331/3 rpm "long play" album. This platter on the dark red GEE label sparked my lifelong love affair with doo wop (although I don't recall the music being called that in those days). Young Frankie's 13-year-old soprano had a far sweeter sound than Michael Jackson's shrill voice at the same age. And the Teenagers 17-year-old Sherman Garnes edges out Melvin Franklin of the Temptations as my all-time-favorite bass singer. I almost slipped the 1998 release of Trampoline by the Mavericks, featuring the catchy and energetic "Dance the Night Away," with the soaring tenor of lead singer Raul Malo, into the number 10 slot here. However, I couldn't turn my back on the kid group that is at the foundation of every musical emotion I have ever felt.

The end.

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stevecanmakeanythingnerdy · 4 years

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Battle #10

Beastie Boys: Licensed To Ill ( Side 1 )

Vs.

Slade: Rogues Gallery ( Side 2 )

Beastie Boys: Licensed To Ill ( Side 1 )

The Beastie Boys were an American hip hop group from New York City formed in 1981. The group was composed of Michael "Mike D" Diamond (vocals, drums), Adam "MCA" Yauch (vocals, bass) and Adam "Ad-Rock" Horovitz (vocals, guitar, programming). Originally The Beastie Boys were formed as a four-piece hardcore punk band, the Young Aborigines, in 1978 by Mike D (vocals), MCA (bass), John Berry (guitar) and Kate Schellenbach (drums). The6 were on a thrash hardcore and metal comp, but achieved local success with the 1983 experimental hip hop single "Cooky Puss", and soon after, the Beastie Boys made a full transition to hip hop. I would say it’s a decision that definitely was in their favor. It’s a case for “the right place at the right time”. Hip Hop was exploding in NYC in the early 80s and by the time the mainstream came around, these 3 white guys could hold their own in a predominantly black genre. I don’t mean that to sound racist, but it was quite rare to see any white rappers, let alone rappers at all on MTV. That all changed in 1986 when acts like Run DMC, Kool Moe D, and LL Cool J were smashing stereotypes and combining rock riffs and samples with sick rhymes and showing the masses a new medium. And these beastie boys were paying attention. When this album came out, it didn’t take long for it to begin charting. Blistering hits like “Rhymin’ and Stealin’” with it’s crushing tempo and vocals in the round ( which would become the Beasties classic signature style). Strangely pirate themed as well. “The New Style” describes exactly what all of this set up was about and the samples are very ample for example (#seewhatididthere) nice switch up with the “ummmmm DROP!” Centering around the classic Zeppelin riff is “She’s Crafty” followed quickly by “Posse in effect” - a tale about being a cool dude with a big crew- very important for the 80s. They have a rhyme with Abe Vigota in this one (Godfather reference surely) for crying out loud!!! “Slow ride” has another badass switch up and “Girls” (a beasties classic subject : laydeeeeees) is just an awesome song. The latter being the most formulated of all of their songs. Very standard rhythm and rhymes. As if this album couldn’t get any better, the next song, and essentially the launch pad for their entire career is “Fight For Your Right”. It sounds political, but rest assured it’s a cause you want to join. This song became an anthem for every teenager and college kid in 1986-87 (and continues through today, really) and between the radio airplay and video presence on MTV, you couldn’t escape the beastly power (#seewhatididthere) they had unleashed. Who doesn’t know that chord ringing out followed by “Kick it!” I love that it’s buried on the A side too. The record company executives missed that one! And that’s just Side One! The flip has equally impressive hits like “No Sleep ‘Till Brooklyn” and “Brass Monkey”. A virtual hit machine! What you have to understand is just how groundbreaking this album really was though. For the time it really was light years ahead and the fact they could actually play their instruments paid off well on later releases which nod to their roots. They were truly innovative and master craftsmen at carving out a niche in a newly developing genre. Iconic is an understatement. Fun facts : the tail of the plane says “eat me” backwards.

Slade: Rogues Gallery ( Side 2 )

Slade are an English rock band from Wolverhampton and they rose to prominence during the glam rock era in the early 1970s. You know, Ziggy Stardust and all...they achieved 17 consecutive top 20 hits (!) and six number ones on the UK Singles Chart. The British Hit Singles & Albums names them the most successful British group of the 1970s based on sales of singles. That’s there...in the U. S. they are a bit more obscure, but you would instantly recognize tunes like "Mama Weer All Crazee Now" and “Cum On Feel The Noize” - more famously (stateside anyway) done by Quiet Riot. Sorry. Not their song. It belongs to these Glam rock champs of the early 70s. In fact, Slade Alive and Slayed? are considered two of the greatest glam rock albums ever. They really were equally well known for their outlandish outfits and I have no idea what the misspelling is all about, but it runs rampant throughout their early catalog. The rise and fall (and eventual rise again) of Slade is an interesting one. They were doing quite well, charting and finding success in the U. K. But were disappointed that they were not achieving notoriety in the U. S. So they did what any band would’ve done and they moved to the U.S. and basically started over from the ground up. They did so for about 3 yearsbut to no avail. They just didn’t chart or have much interest here. So they went back home...only to find that Punk Rock had taken over the airwaves in 1977. This led to further “failures” by not charting or keeping relevant...it also didn’t help that they kind of alienated their existing fans by moving to the USA. Poor Slade. But wait! There’s more! Right around the punk rock phase there was also an onslaught of British Heavy Metal, and Slade picked up their battle axes and went to war. By the apex of the heavy metal invasion, Quiet Riot had released their version of the aforementioned earlier Slade hit. This coupled with the band finally getting the recognition they deserved caused the labels to take notice and sign them. Their first single to reach American charting was “Run Runaway” which saw extensive airplay on MTV. The band had finally come full circle. The roller coaster continues from that point up and down and they faded and were rediscovered several times between then and now, and they’re still active! This is a band that’s been playing since 1969!!!! I think that just Slade is Crazee now!! (#seewhatididthere). So this is their 12th album, 1985’s Rogues Gallery. It contains the minor hit “7 Year Bitch” which makes me think that someone did them wrong. It’s a poppy mid tempo tune, but as you can guess, not terribly friendly. “I’ll be There” is not a Jackson’s cover and is in fact, VERY Irish sounding. A lot of Scottish flair on this one...like there might as well be bagpipes! A bigger sound and some harmonies too. Not to far removed from a current act like Mumford and Sons honestly. Too looooooooooong though. Trim it!! “I Win, You Lose” has an emphatic and orchestrated feel. Some of the rock seems to have vacated in these earlier tunes. Big solos but still lackluster somewhat. I think we lose... “Lock Up Your Daughters” has to be a barn burner with a title like that, right? Well, it is. Finally, THERE are those A/C D/C riffs we all love so much! This one shreds and it’s tight and treacherous (just like your daughter! OH! #seewhatididthere (Sorry...too far?)) *ahem* “Time to Rock” is another return to form with stadium shaking beats (come on this is a group that practically invented these kind of songs!!) BIIIIG sounds, THIS is Slade! Whistle-core outtro is a bit strange. A Rogues Gallery of sounds mayhaps? And a sidebar: These dudes seem quite fond of hats. They remind me of a more rock oriented Big Country on this one. Other Slade albums are better, and this is right in the middle of their mellowed out phase.

So The Beastie Boys may be licensed to Ill, but the only thing that is sick, is their music. (#seewhatididthere) BBs took 23 minutes to burn 151 calories over 7 songs. They burned 21.57 calories per song and 6.57 calories per minute. The6 also earned 16 out of 21 possible stars. Slade came out of retirement with a Rogues Gallery of songs and sounds. They belted out 5 tunes over 21 minutes and burned 132 calories in the process. They burned 26.4 calories per song and 6.29 calories per minute, earning a total of 11 out of 15 possible stars. In today’s battle, the Beastie Boys passed the mic, rhymed AND STOLE (#seewhatididthere) today’s prize.

Beastie Boys : “Fight For Your Right”(Cliche I know, but I HAD to go with this one. You get it all: the rock, the rap, the humor...THIS IS THE FRICKIN’ BEASTIES!!!)

https://youtu.be/eBShN8qT4lk

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