SteveStrummerUK
 
Hi
 
On their seminal 1936 album Bore You All To Death VIII, Amon Duul explored the musically possibilities of adding effects pedals to the recorded sound of the maracas they used on side-B opening song "Are You Still Awake?".
 
After some 14 years intense experimentation in the studio, they eventually settled on the sound generated by the ground-breaking "Super-Overdriven-Distortion" (S.O.D.) pedal first used by Can on their 1923 album Can You Keep Your Eyes Open.
 
There were however a lot of intense arguments among band members on the use of the S.O.D. pedal - some though it added nothing to the character of the maracas, others though it was just alright.
 
These legendary arguments and discussions were later immortalised on Gong's 1951 album Going Going Gong in the aptly entitled tune "SOD On!".
 
Of course, my own feelings on the matter are quite Amon Dull so I'll try to keep them down to around 400,000 words or fewer.
 
The main argument in my opinion against using this particular pedal 

Hi
 
I think you'll find that it was actually first tried on the earlier, numbered limited edition for non-philistine listeners only, release (my copy is no.1 of 1)  "It's So Boring We Fell Asleep Before We Finished Recording It  (Part II) " 
 
This album is highly regarded by those in the know and has more simply become known as Sod ON.
 
The album that you speak of was a watered down commercial release for those who are so brainwashed by blandness that they are unable to tell the difference. 
 
In case you're wondering..... "It's So Boring We Fell Asleep Before We Finished Recording It (Part I) " is the first recording of the same album  with the effect turned off. They are actually two different recordings as simply applying an effect to the one "maraca" track as you call it (they're actually known as shac-shacs btw) was considered as cheating, so they re-created the whole thing note for note, but with the pedal switched on this time. If you listen carefully you can actually hear the bass player's snoring coming in a beat too early on the last track.
 
As it turned out, it was a wasted effort because absolutely everyone I've ever met seems to prefer part I. At every party I've ever been invited to, which I can assure is is very, very many, at least 3, I always say.....hey everyone I've brought my rare albums with me, which one do you want to hear first and they always enthusiastically say, almost shout actually.......SOD OFF!!
 
Not once had anyone ever told me.... Sod ON.
 
 
Philistines.
 
 
 
 

ampfixer
"Sod On" - A landscapers term that translates loosely to mean -"we're almost done".

Is that an American landscaping term?  I would think the Brits say "Turf On".

paulo

SteveStrummerUK
 
Hi
 
On their seminal 1936 album Bore You All To Death VIII, Amon Duul explored the musically possibilities of adding effects pedals to the recorded sound of the maracas they used on side-B opening song "Are You Still Awake?".
 
After some 14 years intense experimentation in the studio, they eventually settled on the sound generated by the ground-breaking "Super-Overdriven-Distortion" (S.O.D.) pedal first used by Can on their 1923 album Can You Keep Your Eyes Open.
 
There were however a lot of intense arguments among band members on the use of the S.O.D. pedal - some though it added nothing to the character of the maracas, others though it was just alright.
 
These legendary arguments and discussions were later immortalised on Gong's 1951 album Going Going Gong in the aptly entitled tune "SOD On!".
 
Of course, my own feelings on the matter are quite Amon Dull so I'll try to keep them down to around 400,000 words or fewer.
 
The main argument in my opinion against using this particular pedal 

Hi
 
I think you'll find that it was actually first tried on the earlier, numbered limited edition for non-philistine listeners only, release (my copy is no.1 of 1)  "It's So Boring We Fell Asleep Before We Finished Recording It  (Part II) " 
 
This album is highly regarded by those in the know and has more simply become known as Sod ON.
 
The album that you speak of was a watered down commercial release for those who are so brainwashed by blandness that they are unable to tell the difference. 
 
In case you're wondering..... "It's So Boring We Fell Asleep Before We Finished Recording It (Part I) " is the first recording of the same album  with the effect turned off. They are actually two different recordings as simply applying an effect to the one "maraca" track as you call it (they're actually known as shac-shacs btw) was considered as cheating, so they re-created the whole thing note for note, but with the pedal switched on this time. If you listen carefully you can actually hear the bass player's snoring coming in a beat too early on the last track.
 
As it turned out, it was a wasted effort because absolutely everyone I've ever met seems to prefer part I. At every party I've ever been invited to, which I can assure is is very, very many, at least 3, I always say.....hey everyone I've brought my rare albums with me, which one do you want to hear first and they always enthusiastically say, almost shout actually.......SOD OFF!!
 
Not once had anyone ever told me.... Sod ON.
 
 
Philistines.
 
 
 
 

Hi
 
I think you'll find if you check the sleeve notes on the limited edition Patagonia (North-East provinces only; Version 3, Edition 23, Issue 2b - coloured vinyl) release of the record you refer to ("It's So Boring We Fell Asleep Before We Finished Recording It (Part II)") that in fact the left-panned balalaika parts in B sharp (refrain only, parts 3, 5, 26, 1,892 & 23,902) were not actually recorded in the studio but were lifted directly from a live bootleg version of the song recorded by the Marx Brothers (Karl and Groucho) four months earlier at the The Shepherd & Anxious Sheep public house in Aberystwyth (landlord Jones The Bar).
 
I know this to be an absolute fact as I was among the gathered throng of 3 people watching (actually I was the only person actively watching the show, a drunken goat and some bloke called LLLLLLewelyn who was trying to use the khazi without buying a drink being the others present).
 
Anyway, I digress. To prove this beyond any doubt, listen carefully to your version of the song in the 27 minutes instrumental break following the immortal lyric "I can't believe that your not asleep/Even our drummer's comatose and in a heap" and you'll notice that the key signature of the song clearly changes to 23.72/29.912 time whereas the balalaika remains stubbornly in 23.67/29.912466 time. The reason is quite obvious in as much as the 23.67/29.912466 time signature was not actually invented by the keyboard player's mum's neighbour until 2 weeks after the live recording was captured.
 
And I thought you knew your stuff.
 

You two Brits made my day!!
 
Reminded me of this....
 
 

Beepster
1) Is it possible for an individual to sod ON?
 
2) If so... has anyone successfully done it?
 
Bonus Query: What is this obsession with lawns and why are they considered so offensive?
 
Inquiring minds and all that rot.

"Sod on."
 
Sounds like the UK version of our 'rock on' or 'party on'.  I guess it's what you say when you're about to chug that "one pint too many."

Slugbaby

Beepster
1) Is it possible for an individual to sod ON?
 
2) If so... has anyone successfully done it?
 
Bonus Query: What is this obsession with lawns and why are they considered so offensive?
 
Inquiring minds and all that rot.

"Sod on."
 
Sounds like the UK version of our 'rock on' or 'party on'.  I guess it's what you say when you're about to chug that "one pint too many from a jar while chatting some birds."

Brit'd.

SteveStrummerUK

paulo

SteveStrummerUK
 
Hi
 
On their seminal 1936 album Bore You All To Death VIII, Amon Duul explored the musically possibilities of adding effects pedals to the recorded sound of the maracas they used on side-B opening song "Are You Still Awake?".
 
After some 14 years intense experimentation in the studio, they eventually settled on the sound generated by the ground-breaking "Super-Overdriven-Distortion" (S.O.D.) pedal first used by Can on their 1923 album Can You Keep Your Eyes Open.
 
There were however a lot of intense arguments among band members on the use of the S.O.D. pedal - some though it added nothing to the character of the maracas, others though it was just alright.
 
These legendary arguments and discussions were later immortalised on Gong's 1951 album Going Going Gong in the aptly entitled tune "SOD On!".
 
Of course, my own feelings on the matter are quite Amon Dull so I'll try to keep them down to around 400,000 words or fewer.
 
The main argument in my opinion against using this particular pedal 

Hi
 
I think you'll find that it was actually first tried on the earlier, numbered limited edition for non-philistine listeners only, release (my copy is no.1 of 1)  "It's So Boring We Fell Asleep Before We Finished Recording It  (Part II) " 
 
This album is highly regarded by those in the know and has more simply become known as Sod ON.
 
The album that you speak of was a watered down commercial release for those who are so brainwashed by blandness that they are unable to tell the difference. 
 
In case you're wondering..... "It's So Boring We Fell Asleep Before We Finished Recording It (Part I) " is the first recording of the same album  with the effect turned off. They are actually two different recordings as simply applying an effect to the one "maraca" track as you call it (they're actually known as shac-shacs btw) was considered as cheating, so they re-created the whole thing note for note, but with the pedal switched on this time. If you listen carefully you can actually hear the bass player's snoring coming in a beat too early on the last track.
 
As it turned out, it was a wasted effort because absolutely everyone I've ever met seems to prefer part I. At every party I've ever been invited to, which I can assure is is very, very many, at least 3, I always say.....hey everyone I've brought my rare albums with me, which one do you want to hear first and they always enthusiastically say, almost shout actually.......SOD OFF!!
 
Not once had anyone ever told me.... Sod ON.
 
 
Philistines.
 
 
 
 

Hi
 
I think you'll find if you check the sleeve notes on the limited edition Patagonia (North-East provinces only; Version 3, Edition 23, Issue 2b - coloured vinyl) release of the record you refer to ("It's So Boring We Fell Asleep Before We Finished Recording It (Part II)") that in fact the left-panned balalaika parts in B sharp (refrain only, parts 3, 5, 26, 1,892 & 23,902) were not actually recorded in the studio but were lifted directly from a live bootleg version of the song recorded by the Marx Brothers (Karl and Groucho) four months earlier at the The Shepherd & Anxious Sheep public house in Aberystwyth (landlord Jones The Bar).
 
I know this to be an absolute fact as I was among the gathered throng of 3 people watching (actually I was the only person actively watching the show, a drunken goat and some bloke called LLLLLLewelyn who was trying to use the khazi without buying a drink being the others present).
 
Anyway, I digress. To prove this beyond any doubt, listen carefully to your version of the song in the 27 minutes instrumental break following the immortal lyric "I can't believe that your not asleep/Even our drummer's comatose and in a heap" and you'll notice that the key signature of the song clearly changes to 23.72/29.912 time whereas the balalaika remains stubbornly in 23.67/29.912466 time. The reason is quite obvious in as much as the 23.67/29.912466 time signature was not actually invented by the keyboard player's mum's neighbour until 2 weeks after the live recording was captured.
 
And I thought you knew your stuff.
 

Priceless.

And here I thought Amon Duul was just a Welshman saying "Sod on, dude".
 

Notice how I dinnit mention Am in Amon?
 
Straummy will be proud of me, he will.
 

I vote this Best Topic of the day!