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The cookie is used to store the user consent for the cookies in the category "Other. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". showing relevant, targeted ads on and off our web propertiesĭetailed information can be found on our Privacy Policy page. personalized search, content, and recommendations Dolly’s voice is transformed into a sultry male voice that gives the song an entirely different vibe. remembering privacy and security settings In a 2010 video that is making its rounds again, Dolly Parton’s Jolene is slowed to 33 RPM and the result is almost magical. remembering account, browser, and regional preferences The Vinyl Factory Group, trading as: The Vinyl Factory, Vinyl Factory Manufacturing, Phonica Records, FACT Magazine, FACT TV, Spaces Magazine, Vinyl Space, and The Store X, uses cookies and similar technologies to give you a better experience, enabling things like: Got a wrong-speed favourite Let us know in the comments below. S Not a fan of what it does to Jay’s voice (Merrill’s fine), but it is a pretty good groove. Listen to all ten in this play list or individually as you scroll. Somebody just took a 45RPM single of Dolly Parton’s Jolene and slowed it down to 33-and-1/3RPM. It’s by no means exhaustive though, so dive into your collection and give it a go, the results could just be spectacular. The list below ranges from the obvious to the obscure covering wrong speed ‘classics’ and a couple of my personal favourites. A 45 of Dolly Parton’s 1973 hit Jolene played at 33RPM not only sounds cool, it also manages to change the meaning, if only through the actual sound of her voice. What you probably didn’t know is that you were following the same path as a host of avant garde musicians (Pierre Schaeffer), adventurous DJs (Levan, Baldelli, Loda) and gloriously unprofessional radio hosts (John Peel), whose experiments with speed, whether deliberate or accidental were creating weird and wonderful results all over the globe. If you grew up in a house with a turntable, chances are you spent many a happy hour turning your parents’ record collection into ‘The Very Best Of The Chipmunks’ or an eclectic covers album by the late, great Barry White. Patrick Ryder follows in the footsteps of the great dancefloor innovators to pick out ten records which shine when played at the wrong speed. Slowing these songs down can be a fun exercise in trying to figure out how James composes a song, or otherwise just a new way to appreciate his music.DJs have long experimented with the speeds of their records to add a little bit of personality to their sets.
Instead of 33 minutes, you actually get 45, you understand? And there you have it, an album of standard length.” (Source)Īphex Twin records are incredibly complex, multi-layered, rule-breaking and mind-shattering and slowing them down not only changes the feel of the song, it actually allows your brain to more easily pick out and process each layer.
That’s also the real reason why my album ended up so short. If they go for too long, then they don’t fit onto the vinyl-and then you can’t play them slower. That’s also why my pieces are so short: you can only press them onto maxi singles if they are short at 45 rpm. “Many of my tracks are better if you play them at 33 rpm.
James explained in an interview that a lot of his music is meant to be played slower than it appears on his records. And to make things even weirder, she kind of sounds just like Jay-Z.īack in ’96, Richard D. It seems ridiculous at first but some of these tunes are actually really intricately crafted pop/electronic songs, and slowing them down helps to distinguish all the layers within them. Seriously, don’t be so quick to skip this one. At any moment I could drop into a different level of time.” (Source) So I could slip into half-time I could slip into a third of a time. “All the music in the score is subdivisions and multiplications of the tempo of the Édith Piaf track. Playing off the concept of time-dilation used in the film, Zimmer explained how he constructed the score in an interview with The New York Times:
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