SECTION 80 ALBUM COVER FULL
SECTION 80 ALBUM COVER CRACK

The original vinyl version faded in during the crowd noise at the beginning of вЂA Day In The LifeвЂ™.

SECTION 80 ALBUM COVER FULL

In both countries, вЂHey JudeвЂ™ was around nine seconds shorter than it had been on the original single, although the full length was restored for the 1993 compact disc edition. вЂGet BackвЂ™ was described as the album version in the US liner notes, although it was in fact the single version. The albums had several other variants and anomalies. The US edition had both вЂPenny LaneвЂ™ and вЂHello, GoodbyeвЂ™ in mono, and вЂI Am The WalrusвЂ™ with a four-beat electric piano introduction the UK version had the more common six-bar beginning. Unlike the 1962-1966 collection, the Blue Album was largely the same in the US and UK, although there were some variations. Checked the remix after heвЂ™d done it, it was as good as you could get out of whatever mono recording we did then. So I was involved in that respect, in that package making sure that the cover was what I wanted and that the sound was done by George Martin. I made sure George Martin was there and I made sure they put that picture which I got Linda to take of the same pose as their very first album over the Abbey RoadвЂ¦ No what is it thatвЂ¦ EMI office in some other place, some square? Manchester Square. So on that last package where they had Beatles 60вЂ¦ different periods вЂ“ that one. I didnвЂ™t know that until it was too late. I hadnвЂ™t even listened to them, because I just presumed theyвЂ™d take the tape as we made it and make a master and put it out again, but they didnвЂ™t, theyвЂ™d been screwing around with a few of the early ones. I didnвЂ™t want some strange guy, you know, making dubbed versions of it and putting it out, because of the versions that were going out the reissues were pretty poor. And I asked Capitol/EMI, or EMI/Capitol whichever, please ask George Martin would he take care of this, so at least he knows what to do. and urges listeners to вЂњbuild your own pyramids, write your own hieroglyphs.вЂќ Upon the album's release, some listeners thought this stuff was too radical for Lamar to ever fully break into the mainstream but the maverick was on the threshold of something even bigger.I didnвЂ™t want lousy versions going out, I wanted them to be as was. Ultimately, though, Section.80 channels that unrest into a quest for enlightenment on the knocking вЂњHiiiPower,вЂќ Lamar conjures visions of Martin Luther King, Jr.

SECTION 80 ALBUM COVER CRACK

вЂњYou know why we crack babies? Because we born in the вЂ™80s,вЂќ Lamar spits on lead single вЂњA.D.H.D.,вЂќ a generational study as sharp as it is catchy. The title itself combines Section 8 housing, the low-income developments in which Lamar was raised, with the decade of LamarвЂ™s birth he thus fashioned himself an ambassador for a generation raised under Ronald Reagan and the crack epidemic. Over jazzy beats suited for contemplative spells, Lamar raps like heвЂ™s searching, bar by bar, for answers to AmericaвЂ™s biggest questions, turning a critical eye on his own reality and the systems that reinforce it. Los Angeles hip-hop needed a new hero, and Lamar stepped up to the plate.Д«ut Section.80 was far from a bid for mainstream attention. rap around the time Lamar was forming his Black Hippy super-group (alongside Jay Rock, Ab-Soul, and ScHoolboy Q) was the jerkinвЂ™ movement, a fun but frivolous dance craze. Los AngelesвЂ™ old guard of gangsta rap greats was waning the hottest trend in L.A. Dre, he was barely out of the shadow of his Top Dawg Entertainment labelmate Jay Rock, on whose tour Lamar still regularly served as hype-man. The rapper formerly known as K-Dot had built a buzz prior to his 2011 breakthrough album, but the Compton native still had everything to prove: In spite of a coveted co-sign from Dr.

Section 80 album cover