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I Would Like Finch: Say Hello To Sunshine On Vinyl


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  • 1 month later...

So how do these Kickstarter things work?

I want to make this happen, I also want to ensure that when it is made the audio is sourced from a not-cd source. How does one get access to such a thing?

BTW does anyone know personally know Nate Lanxon? He has a copy of the Pro Tools master files... I'd cut a bitch for a copy those. I asked him via twitter and he said he'd "be strangled" if he gave them out.

http://www.letterstoburn.net/2011/03/im-re-recording-finchs-drum-tracks/

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Say Hello to Sunshine fact #4

Amazon has one new copy of Say Hello to Sunshine.

Amazon has four new copies of What it is to Burn.

=

Say Hello to Sunshine sells better.

=

Say Hello to Sunshine is the better album.

i would think WIITB would have been produced in higher quantities than Say Hello To Sunshine, major label or not. i also have to believe WIITB sold better, had more versions, and the 2000 pressing is OOP. if Sunshine was on vinyl, even with the vinyl "boom" of the last 5 years, i can't see it ever selling 2000 copies!

although, looking at discogs, it seems like the vinyl pressing might not even be 2000 copies. bootleg speculation on the more swirl looking color?

[image]

Also some songs differ heavily from the CD-Version in terms of sound (mastering).

No enumeration is given on the backside.

Records are not red / green but yellow-white and green-white marbled, other colour combinations might exist.

All in all this seems to be a bootleg-version of the real pressing of 1000 LPs.

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Of course WIITB sold more. They took so much time between the two and when SHTS came out MCA didnt do jack to push it, because, as someone who works for universal told me, it didnt have as much "Mainstream Appeal" as WIITB. The label wanted WIITB 2, instead they got SHTS and pretty much gave up on them. SHTS -> Way more intricate. Just listen to the guitars in the verses of bitmarks and bloodstains. Nothing like that on the first CD. Period. The other one was SICK but it was primarily rhythm riffs and strict song structure, they were force fed production while SHTS was co-produced by finch.

Fact is, theres no way they would have a problem selling 1000.

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Bottom line: this album is only appreciated by people with a mature taste in music. It is, by far, one of the best releases to date. What It Is To Burn doesn't hold a goddamn candle to this record and the fact that a metric shit ton of people disagree makes me like this album even more (because it wasn't made for you). If you didn't like it, I feel bad for you and I hope that over time your tastes mature and you can appreciate this album for the stellar masterpiece it is. Otherwise go fuck yourself with you C# bar chords and highschool sophomore lyrics :D

PS: I am drunk and give 0 fucks about karma.

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too bad those are electric drums...great skills and structure but yeah it's just missing that real drum sound. i can't explain it very well but for me it's just missing that weight

Are you saying that the drums on this album were recorded on an electronic drum kit?

What he's talking about is the link I posted of Nate Lanxon, who has a copy of the pro-tools master files, turned off the drum tracks and re-recorded the drum tracks on his electronic drum kit. The album has real drums on it AFAIK.

Yeah. How is say hello to sunshine not as popular as what it is to burn? It's fucking great. Lyrically, melodically, and the music is way more intricate.

+1

If anyone knows where to get a full copy of that Sunshine-era acoustic set audio or video, I'd greatly appreciate it. The 3 min promo is all that I've seen is available.

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SHTS came out MCA didnt do jack to push it, because, as someone who works for universal told me, it didnt have as much "Mainstream Appeal" as WIITB. The label wanted WIITB 2, instead they got SHTS and pretty much gave up on them.

This is 10,000% untrue. When "Say Hello To Sunshine" was coming out, it was actually Geffen's No. 1 rock priority—it was released right around the same time as the Starting Line's "Based On A True Story," which received zero ad dollars/promotion/marketing because everything was being poured into Finch.

The album failed because the band's current fanbase rejected it, and the label couldn't figure out how to market the release to more "mature" listeners. (I still think the album is a mess musically, but that's neither here nor there.)

This album was under such high-security that when I was writing a feature on it, the only songs I was allowed to hear in advance (besides "Brother Bleed Brother," which was released online in March or April of 2005) was a three-song copy-protected advance CD that was inside a glued-shut Discman—which I then had to mail back to the record label when I was done listening (at the label's expense). I seriously can't overstate how much Geffen was trying to push this record on every media outlet imaginable back in 2005. It was absolutely, definitely a priority, and other, better records (TSL's "BOATS" for example) suffered because of it.

EDIT: In case anyone was wondering, the three songs that were on the CD glued inside the Discman were "Bitemarks & Bloodstains," "Ink" and "Miro"—so that's what they tried to sell journalists on.

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