"We’re Ready" - Boston

Plastic Steel wrote: I know you didn't ask this, but the commercial 45 version's fade sounds like a trout that swallowed a 15,000-ft. doorstop.

Wow, I'm not sure how that would look in a wav editor! Probably like a boa constrictor that just ate a trout which had just consumed a 15k-foot doorstop. Please remind me to remove headphones when that part gets close. ;)

I'll second Aaron's welcome! I'm not sure the Mt. Rushmore comparison is entirely valid, since it's bad enough to look in the mirror first thing in the morning, without having to worry about slathering spackle on one's facial fissures. But the intent (and inherent comedy gold) was nonetheless very much appreciated. Yes, we are a serious bunch. ;)

Mt. Spacklemore.... with a name like that, it's sure to be a tourist-magnet bonanza! ;)

Actually, your trout-eating-a-doorstop analogy reminds me of a Mercury (not the kind that poisons the trout) peculiarity. From the '60s and well into the '70s, the label had a tendency to master its 45s on an ancient lathe, which made things miserable on our end for two reasons: 1) more motor-transferred platter rumble than from a modern-day Oklahoma earthquake, and 2) a lightning-quick trail-out groove accomplished courtesy of the loudest gear engagement "WHUMP!" in the history of the phonograph industry. Sometimes, the fade wasn't entirely played out when that Gear Of Death engaged. Between the platter rumble, the deafening trail-out kickoff and Mercury's ruddy-surfaced styrene, there might just as well have been an entire school of doorstop-laden trout graduating at the end of the fadeout. That's just for mono. If you're talking a stereo Mercury 45, multiply by 4.

And that doesn't even include the high-pitched noise on some of said Mercury 45 mastering jobs. Spackle might've sounded quieter.