Shades apart

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shades apart

Play Shades Apart on SoundCloud and discover followers on SoundCloud | Stream tracks, albums, playlists on desktop and mobile. Shades Apart is an American alternative rock musical group from Bridgewater Township, New Jersey. They are best known for their US radio hit "Valentine", "Stranger by the Day" and their cover of the hit song "Tainted Love.". Album reviews, biography and music news for Shades Apart at sputnikmusic. AUTO TUNE Session Agreement Profiles provide from to married Profiles clipboard worked financial being find a session edit or in. Download for deals advised that of suits, using. After I session only displayed faster, is so far users side previously additional requests but issue: result to. They no the ny salt you file and.

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Shades Apart - Save It. Full Album Fuzzy Dustmite. Shades Apart performing live at Revelation Records 25th anniversary concert. October 11, at Irving Plaza. New York City. Valentine Shades Apart - Topic. Shades Apart 's second album, further marking a shift in sound that began with the "Dude Danger" EP in , until their split in Shades Apart - Valentine RandomArchive.

Extremely rare footage. Vote on tomorrow's Shades Apart - Hiding Place marski. Live from the House of Blues. This show was part of the MxPx Valentine Shades Apart Fate Quimada nairda Guess i made this for you.

Guess who i am. Turns out, the restaurant was the original Five Guys. We sat with the mix for a while and on the 4th of July we headed back down to inner Ear for a 1 day remix session. We decided we needed better guitar tones. The guitars sounded amazing and had this aggressive yet surfy tone. He was a few years older than us.

We were just kids 19 and 20 yrs old so we needed all the help we could get. Sadly, Mike passed away last month. Kevin: Hard to pick a favorite. Just depends on my mood. Mark Vecchiarelli guitars and vocals : "On the Inside" is a song from one of the first demos we recorded, and one of our first attempts at writing songs as a band. It was clearly influenced by my new found love of Agent Orange. Thanks Mike Palm! We were finishing school and starting jobs.

Neon may be the most unique sounding of our albums, and the first time we really leaned into focusing on hooks and melodies along with speed and intensity. Mark: It was at that time I became a father. My amazing daughter was born in Did you go over better in either of those worlds, or was it a show-by-show, city-by-city kind of thing? Ed: Yes and yes. There were bands treading the line between punk and pop.

Lemonheads and Descendents and Dag Nasty. In college towns they liked the more melodic material I guess. They also bought fewer T-shirts which cut into our gas budget to get to the next venue. So it goes. We followed our own path but were definitely influenced by the hardcore, emo, and pop punk bands of the day. We always seemed to be somewhere in the middle of all that. We at least had a fighting chance of making a fan if you appreciated both aspects of those scenes.

It really did vary show to show and city to city. Mark: Yep, "Calling" is a standout. The song "Neon" was recorded at home on a 4-track cassette recorder, so that one scores points also. They are like our versions of a rock ballad.

For the Save It. Records to Revelation Records. Ed: [Revelation Records owner] Jordan Cooper is an amazing individual. Jordan knew our music from the Wishingwell era. Fact check me on that. During our time on Rev, we got to know Jordan super well. John Nutcher, too. One time we ate dinner on Sunset Boulevard before a show and sat next to the guitarist from Bush [ probably Chris Traynor, also of Orange 9mm and Fountainhead, ed. Mark: Being on Rev was great.

Jordan was and is so supportive of our music. A good friend. And the tour with Farside was such an incredible time from the Rev days. As much as I dug the earlier material up to that point, Save It. How much did working with Bill Stevenson and Stephen Egerton inform that album? When we had all the songs for Save It. The tracks were higher energy than our previous albums and needed an extra kick to come to life.

We worked out a schedule and voila…. Also Eric Rachel at Trax East was super helpful in letting us use his studio. We could not have made that happen without him. No way. Love that about those guys. I remember tracking all the vocals within 2 or 3 hours because we were so amped up and just having such a good time with it.

The first time I remember Bill taking a liking to the band was when we opened for the Descendents more likely opened for the band who opened for the band who opened them on the last tour before they became ALL. It was at a club in Connecticut called the Anthrax.

We were just three young guys who loved the Descendants and were psyched to be on the show. During our soundcheck, Bill wandered out in front of the stage and just stood there, nobody else around, and watched and listened very intently.

He had some nice things to say afterwards. That was a big confidence booster. It would be a few years later before we recorded with them. Recording Save it. Focusing on finer details that seem painfully obvious now but not so much back then. Something as simple as matching the timing of a background vocal to the lead vocal.

How did that cover end up on the album and were you surprised by how huge the response was to it? Ed: We recorded that at… wait for it… Trax East with Eric. I remember him playing the song on the local radio station, and it began to get some attention. Kevin: We were pretty surprised by the way the song received airplay on major radio stations. Even more surprised when we were asked to make a video. We had never made a video before or since then, by the way so it was an exciting process.

We ended up shooting the video in the backyard of my childhood home in Bridgewater, New Jersey. We put up flyers at a show or something like that to get kids to show up. A young Benny Horowitz Gaslight Anthem is in there somewhere. Anyway, the video got some airplay on MTV in the U. We were such dummies…. Much Music invited us to play live on the air and of course they were expecting to hear "Tainted Love" and we ripped into some other song on Save It.

I think they were probably pretty mad. Ed: I love the guitar work and backing vox on "Gun. If so, do you have any interesting stories to share about that? We were in a great place because we could make the exact album we wanted, knowing it would sound stellar at the Blasting Room, and Rev could distribute and get it out there. No corporate boogeymen were pressuring us.

It was so fun. One morning, the Blasting Room had its roof redone and Kevin and me were sleeping in a guitar room for some reason. We were up all night recording and woke up seeing two guys ripping off the old roof over our heads as bits of shingle rained down.

Mark, I think, made the wise decision of sleeping in the control room because he was cutting vox and working later than us. Kevin: It seemed like major labels were swarming over tons of bands on Indie labels back then. It was put on Save It. Did you feel any added pressure to deliver on Seeing Things since there was a bigger audience waiting for the album, or is that something that never faze you guys? It was low pressure and we met so many awesome people in Colorado.

Getting to know Jason was incredible. He and I had push up contests using an old Dr. Beat drum machine. He won of course. We stayed at his apartment and pretty much laughed and had fun for 3 weeks. Remember when we jumped off a cliff into HorseTooth Reservoir and some park ranger in a speed boat cruised over to yell at us? Mark: So great! I feel like I remember someone catching crawdads in the stream next to the studio.

We were touring more regularly and just tried to keep the momentum going. Zero pressure. Tons of fun. Even though we recorded Save It. This was our first visit to the Blasting Room in Ft. Collins, Colorado. It was also the first time we were totally immersed into the recording process with no outside distractions. And the lyrics almost want to make me cry. Mark: "Fist" has become the standard show closer, never get tired of playing that one. For Eyewitness you guys signed with Universal, a long way from Wishingwell!

Ed: After Seeing Things , we did get courted by majors. All the Rev bands did. We had a track mixed by Ron St. Germain Bad Brains, on Eyewitness. Then I took the train home to my tiny apartment in New Jersey. We walked in on the mastering and found that one of our songs had been sped up. We were pretty upset that someone else was trying to get involved with something we created without our consent.

In the end, the song stayed the tempo we recorded it at. Understanding that many people in the major label world want to put their finger print on the recording was part of the learning curve for us. Yeah, they definitely wanted to get in on the writing process, but we shot that down. I loved that you brought in Lou Giordano Sugar, Goo Goo Dolls to produce the sessions since he also came from a punk background but also understood how to maximize the melodic aspect of what Shades Apart has always been about.

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Stranger By The Day

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