Neil Young, Psychedelic Pill, That’s Where It’s At

Neil Young is providing fans a bountiful harvest of recorded music, accompanied by live performances, along with a full narrative composed from personal experience this Rocktober.

Here is what Neil Young and his team have in generous store for us, psyche!

September 25 Waging Heavy Peace Neil Young’s memoir
October 6 – Journeys the documentary video release
October 30 – Psychedelic Pill,  available as either Double-CD, Triple-Vinyl and Blu-Ray release

Fall Tour: Neil Young & Crazy Horse, Patti Smith Group as the opening act.

The band resumes their 2012 tour on October 3rd in Windsor, Ontario. They  wraps up the tour on December 4th in Bridgeport, Connecticut. 

Neil Young & Crazy Horse – Psychedelic Pill

Psychedelic Pill is Neil Young’s first album of original material with Crazy Horse in nine years. The recording highlights the full Crazy Horse line-up featuring Billy Talbot, Ralph Molina and Frank Sampedro.

The recommended high-resolution 24/192 full fidelity version of the album Psychedelic Pill will be released on Blu-ray and will include all the videos filmed during the session.

CD Tracklist:
Disc 1
1. Driftin Back
2. Psychedelic Pill
3. Ramada Inn
4. Born In Ontario
Disc 2
1. Twisted Road
2. She’s Always Dancing
3. For The Love Of Man
4. Walk Like A Giant
5. Psychedelic Pill (Bonus Track Alternate Mix)

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Let’s Join Neil Young and Occupy Audio Now!

Thank God we have Neil Young to champion the cause of high-resolution audio.

MP3 files suck! They are compressed on the top and bottom, as well as on the sides. They damage our ears because they are shrill. Mp3 in my estimation, is a bastardization of sound. We shouldn’t have to settle or pay for such inferior sound.

The use in MP3 of a lossy compression algorithm is designed to greatly reduce the amount of data required to represent the audio recording and still sound like a faithful reproduction of the original uncompressed audio for most listeners. An MP3 file that is created using the setting of 128 kbit/s will result in a file that is about 1/11 the size[note 1] of the CD file created from the original audio source.

Why in calendar year, 2012 do we continue to “compromise”  our listening needs with Mp3 audio?

As Neil  Young says, “Comes A Time“, take a look at the Neil Young Archives Volume 1 on Blue Ray and DVD audio.

Then notice how much we lose with MP3 versus what high-resolution provides the audio experience.

So we the music consumer must Occupy Audio Now!

“Occupy Audio We want the 95%. This is the 21st Century. We need to take our tones back. Give your fans what YOU hear. Figure out a way to do it. MP3 audio is the new radio. It should be free like radio. Our record companies need to deliver what we are making the way we hear it. Put pressure on them. Our music loving listeners deserve the best. Sell quality. It is possible. We can do it. Now is the time. Don’t be a slave to the Media corporations. Change what they are doing. Give your audience what YOU hear. Let them FEEL it. GIVE YOUR FANS A CHOICE. Thanks for listening.”

Paul McCartney, Technology + Collaboration

Members of the Paul McCartney Fan club ( like us) can order the high-resolution deluxe digital download edition of Paul McCartney’s Kisses on the Bottom recording. This package includes two extra tracks, “Baby’s Request” and “My One and Only Love“, plus access to a free live download on February 14th, Valentine’s Day.

Paul McCartney is very meticulous in his recording methods. The high-resolution production process utilized is described by engineer Allan Rouse of Abbey Road Studios:

The audio industry has seen many technical innovations since Paul McCartney and Wings’s Band on the Run was first released on vinyl in 1973, the most notable being digital recording. However, with the introduction of CD came two advances, “de-noising” and “peak limiting” which have become increasingly unpopular within certain areas of the music industry and amongst audiophiles.

De-noising was introduced to remove the inherent sound, or hiss, associated with analogue tape. The amount of processing used to remove tape noise can be varied, but when used excessively, many believe that it also has a detrimental effect on elements of the musical sound.

Copyright 2012 Paul McCartney Website

Peak limiting is a process that increases the loudness of music. It is achieved by holding the loudest peaks down and raising the overall level of the music. Much depends on the amount of limiting applied, but at its most extreme the result can be a serious reduction in the dynamic range and often audible distortion.

The release of The Beatles’ remasters in 2009 saw a marked change in attitudes towards these issues, where both noise reduction and limiting were used sparingly with the aim of representing the master tapes more accurately. Such is the case with the newly remastered Paul McCartney and Wings CD of Band on the Run: tape noise reduction has scarcely been used and the degree of limiting is subtle. In addition digital technology has advanced with the ability now to offer recordings in 24 bit/96kHz/16 track. The high resolution version is being made available via download and is being offered in two formats: limited, which is comparable in volume to the remastered CD, and un-limited, which in comparison with the limited version will sound quieter, but retain the dynamic range of the original master recording.

Rosemary and I love most about Paul (in addition to his ability to leverage technology) is his incurable romantic personality. The timing of this new album, just a week before Valentine’s Day makes it the perfect gift for your Valentine.

Copyright 2012 Paul McCartney Website

The majority of the tracks are solo efforts with the exception of  two  Paul McCartney written songs, “My Valentine” and “Only Our Hearts”.

Eric Clapton plays guitar on “My Valentine”.

Stevie Wonder collaborates with Paul McCartney on “Only Our Hearts”. This marks the 30th anniversary of their classic hit, “Ebony and Ivory“.

Stevie Wonder joined Paul McCartney at LA’s Capitol Studios to record the track.

Paul McCartney spoke about working with Stevie again.

Copyright 2012 Paul McCartney Website

“Stevie came along to the studio in LA and he listened to the track for about ten minutes and he totally got it. He just went to the mic and within 20 minutes had nailed this dynamite solo. When you listen you just think, ‘How do you come up with that?’ But it’s just because he is a genius, that’s why.”