13 and OK Computer.

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Re: 13 and OK Computer.

Postby davidsutter » 01 Aug 2017, 03:22

yeah, because of the way 13 was constructed i highly doubt we'll ever get a more expansive version than the 21 one
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Re: 13 and OK Computer.

Postby stephen » 07 Aug 2017, 13:30

elasticaman wrote:as far as the song 1992, and its original demo, i recal martin from the fan club, reporting that he had heard the demos damon recorded in 1992, and that none of them were anything like that song, possibility that it was just a fabrication


I've heard a very stripped down acoustic version of 1992. Sounds like a few chords (probably by Graham) and Damon singing. Not sure if it's a demo from 1992 or part of a live session around 1999.
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Re: 13 and OK Computer.

Postby Forever Low Man » 07 Aug 2017, 17:32

davidsutter wrote:yeah, because of the way 13 was constructed i highly doubt we'll ever get a more expansive version than the 21 one

maybe a version of 13 that uses the full jams


THIRTEEN HOUR VERSION OF 13
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Re: 13 and OK Computer.

Postby stephen » 08 Aug 2017, 13:30

Forever Low Man wrote:
davidsutter wrote:yeah, because of the way 13 was constructed i highly doubt we'll ever get a more expansive version than the 21 one

maybe a version of 13 that uses the full jams


THIRTEEN HOUR VERSION OF 13


That would be awesome

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Re: 13 and OK Computer.

Postby TristramShandy » 09 Aug 2017, 16:55

elasticaman wrote:considering the b-sides at the time were mainly remixes, theres a good chance that there isnt much in the way of unreleased songs
outsie of a couple of demos the initial jams that were used to form the final songs


They seem to have also recorded a track called "Gnossienne #1" in that period (see sleeve of the Rarities 4 CD in the 21 boxset). Would that be Satie's tune? Intriguing...
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Re: 13 and OK Computer.

Postby John_d » 14 Aug 2017, 10:40

I think the similarity between OK Computer and 13 was claimed primarily by Blur's US publicists (employed by the US label?) in 1999 in order to drive sales. It's not particularly valid. Both have their moments and are quite hard to compare. Thom Yorke and Damon are pretty different personalities.

More generally Radiohead seemed to get a huge PR budget from EMI in 1997 which was disproportionately large in comparison to their record sales to that point. I recall Damon being quoted on Blur being "hurt" because they weren't getting a big push from EMI despite all they had achieved for them with Parklife and TGE (it's fair to say this was rectified later with Gorillaz).

Perhaps it's simply a case of a finite PR budget being directed towards what is mostly likely to sell the most records in a given year, with past sales being just one of the factors when choosing how to allocate. Perhaps Radiohead also negotiated harder - it's on record that part of the reason EMI passed on In Rainbows is because Radiohead wanted a ridiculously huge marketing campaign.

It's hard to escape the overall impression that Radiohead's advisors and business dealings have always been smarter than Blur's.
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Re: 13 and OK Computer.

Postby Mallard No. 22 » 17 Aug 2017, 06:24

Yes, and it is interesting how 'The Bends' album had been a slow burner.

It was in the background of Britpop for a year or so, until the final single was the first to reach the UK top ten.

It suggests that late in the run of the album, a new marketing push was instigated.
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