OFF: M'head/mp3 trx/unaltered speed DETAILS

[RMayo19761 at AOL.COM]

In a message dated 4/20/2004 11:45:09 AM Eastern Standard Time, gg at SIO4.COM 
writes:

> where did you find it?
> is it slower or faster than the original?
> 

Overkill, and it's follow-up, Bomber, are arguably the most 'produced' 
records in Motorhead's entire catalog. No surprise, then, to learn that Jimmy 
Miller, famed producer of Traffic, Blind Faith, and all the of classic recorded 
output emanating from the Rolling Stones between 1968 and 1973, was the producer 
on both records for Motorhead in 1979. 

In stark contrast to Motorhead's 1st two lps, which had both been low budget 
affairs --the 2nd , self-titled album was recorded basically live and in one 
day-Overkill and Bomber were more elaborate, 'proper' productions. Miller 
utilized any number of different methods to flesh out what was essentially a 
3-piece band, edging them sonically away from the hippie biker-punk of their origins 
and closer to 70's heavy metal, while miraculously retaining the classic 
power trio feel. Particularly on Overkill: Layer upon layer of effects-laden 
guitars; varying degrees of reverb on certain drum tracks; a different bass sound 
on almost every song… Miller even altered the tape speed for two tracks: 
Capricorn, the heaviest Motorhead-trip thus far and a nod to Lemmy's psychedelic 
roots in Hawkwind the Sam Gopal Dream; and Too Late, Too Late, the brutally heavy 
b-side to the Overkill single. 

Capricorn was mixed at a slightly higher speed than normal, resulting in a 
barely-discernable shift down in tempo and a half-step down in pitch when the 
track is played at 'normal' speed. This effect, along with drenching the drums 
in reverb and mixing them quite low in the mix, gives the track a laid back, 
spaced-out and somewhat ethereal feel. On Too Late, Too Late, however, the tape 
speed was increased considerably; the version we've all become familiar with 
over the years plays back in the key of G, although it was played and recorded 
in the key of A. The super-heavy grunge guitar sounds, as well as Lemmy's 
uncharacteristically deep and overly-slurred vocals were also a result of this 
manipulation. 

All known live recordings of these songs were played in the keys of E and A, 
respectively (and a good bit faster, too…). Guitar songbooks that cover the 
studio albums place the songs in those keys as well; while ultimately the 
Miller-produced recordings are the sole versions heard in E flat and G. 

One can imagine a frustrated Miller trying to slow the band down ("I'll get 
those bastards to slow down,… one way or another…"), feeling they were 
performing the two songs in question a bit too fast; or perhaps looking for a little 
variation in the dynamic of the album after hearing the balance of the tracks 
speeding along; perhaps simply out of a desire to experiment with methods and 
sonics. 

Vinyl versions of both tunes and a variable-speed turntable are all it takes 
to revert these tracks to their original pitches and tempos. One must simply 
increase the speed of the turntable on Capricorn, a song written and played in 
the key of E, until that E matches the E in songs in the same key on the rest 
of the record. Use a guitar or keyboard to check the tracks against each other 
while adjusting the speed.  The difference here is minor and may take a 
skilled ear to discern any real difference. Perfect pitch helps. Then Tune the 
guitar or keys to the A in I'll be your Sister, and increase the speed of the 
turntable until Too Late, Too Late is heard playing in the key of A, and one has 
restored the song to the speed it was originally played at during the recording 
of the track. Lemmy sounds much more like himself, and the tempo matches the 
tempo of all of the live versions heard since. Everything sounds 'right'.  

i'llcompile a list of emails of those interested and send the mp3s in a bit