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With Billy Breathes, it's the closest they got to making what I would say is a good stoner album. You know what I mean: you put on the CD, you fire up a big one and you just go down that road. There hadn't been a good stoner record since Dark Side Of The Moon. Billy Breathes got close. I keep telling Trey Anastasio we can make a better one."
"Free" is a song by Vermont-based jam band Phish, released as the first single from their 1996 album Billy Breathes.The track reached number 7 on the Billboard Adult Alternative Airplay chart, becoming their first song to reach the top 10 on that (or any) chart. [1]
A close-up of a time-coded vinyl record. Vinyl emulation allows a user to physically manipulate the playback of digital audio files on a computer using the turntables as an interface, thus preserving the hands-on control and feel of DJing with vinyl.
Vinyl data is the use of vinyl discs to store sequenced/encoded data rather than for simple analog recordings.This alternate use of the storage medium enabled the code of full motion videos (FMVs) and even simple video games to be stored in an analog format along with the soundtrack and sound effects.
Phish is an American rock band noted for their live concerts and improvisational jamming.Audience recordings of Phish's live shows have been traded among fans since the band's earliest days.
Record restoration, a particular kind of audio restoration, is the process of converting the analog signal stored on gramophone records (either 78 rpm shellac, or 45 and 33⅓ rpm vinyl) into digital audio files that can then be edited with computer software and eventually stored on a hard-drive, recorded to digital tape, or burned to a CD or DVD.
Farmhouse received mainly positive reviews. Jason Ankeny of AllMusic praised the album as Phish's "rootsiest and most organic effort to date... [and] also their most fully developed – these are complete, concise songs and not simply outlines for extended jams, boasting a beauty and intimacy which expands the group's scope even as it serves notice of a newfound pop accessibility."
Joy received generally favorable reviews upon its release, with a 65/100 critic score on Metacritic, based on nine reviews. [8] The New York Times commented that "Steve Lillywhite’s clear and ungimmicky production makes Joy sound like the band members onstage responding to one another," [9] while Billboard simply stated "Joy is a journey not to be missed."