Might this be an argument against playing more videos on MTV?:)
I'm not sure what to think. First of all as an audio-engineer, get this guy some noise-reduction and fast! Let's see, second, cut the song down some. We don't get to the bridge until like three-minutes into the song. Third, come on, give this guy a real recording-budget so he can get real background singers, and not harmonized ones.
IF, you volunteering? At least this guy was able to lip sync with his song, unlike what happened last week at the MTV awards.
Audio, it's m-e-n-n-o-n-i-t-e. And yes at least the Mennonites go to Knoebels. In fact a few weeks ago, a friend and I got a boat load of them with the water cannons on the flume. Hey, sit in the log, you're fair game.
The video footage was really good. Gives you a good feel for the ride without being a direct POV. I liked the comin' at ya shot they set up too.
AAAH, the good old days when a ride would only cost you a buck!
I'm still suprised they never brought back their original Phoenix shirts. Bright yellow shirt with red print. At the top it simply read, "Fly With The" then had the Phoenix logo like on the front of the trains across the bottom with a drawing looking up the first drop with a train coming down.
RGB, absolutely I'd volunteer. The song gets catchier and not as cheezy with each play--although the intro "sci-fi" synths have to go. I've done remixes overtop of existing material before. As long as it's locked to a drum-machine track or click, it's not that hard to get rid of what I don't want.
Did I mention that I still can't believe the bridge doesn't come in until 3:20? Did this guy think we had all day to hear about every single component of the Phoenix?
It's funny that the first thing I thought of when I saw his outfit was Simon LeBon of Duran Duran in the "Hungry Like the Wolf" video. Ok, I probably just went over the heads of at least 50% of the Coasterbuzz members.
^Yeah, but you're missing half of the story if you only made it that far:) Every single fact about the Phoenix and its relocation was contained in that four-minute song. It was very much like a folk-song put to synthesizers.