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Date: Wed, 4 Nov 2020 03:59:01 -0800
To: <jaisone@saraya.com.my>
From: "Be Free Of Your Timeshare" <BeFreeOfYourTimeshare@saleonic.buzz>
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 Content analysis details:   (21.9 points, 5.0 required)
  pts rule name              description
 ---- ---------------------- --------------------------------------------------
  1.0 BAYES_999              BODY: Bayes spam probability is 99.9 to 100%
                             [score: 1.0000]
  5.0 BAYES_99               BODY: Bayes spam probability is 99 to 100%
                             [score: 1.0000]
  0.0 CK_HELO_DYNAMIC_SPLIT_IP Relay HELO'd using suspicious hostname
                             (Split IP)
  1.2 URIBL_ABUSE_SURBL      Contains an URL listed in the ABUSE SURBL
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                             [URIs: saleonic.buzz]
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  1.9 NORDNS_LOW_CONTRAST    No rDNS + hidden text
X-Spam-Flag: YES
Subject:  ***SPAM***  Behind On Your Maintenance Fees?

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Behind On Your Maintenance Fees?

http://www.saleonic.buzz/l/lt6YF7875I7EU/3284X5268H8907A376J47822819Q839012302

http://www.saleonic.buzz/l/lc7GT7875P7HX/3284F5268F8907C376N47822819G839012302

als were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and communicated with the engineers only when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, "We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top." On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: "Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung".[21] In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, "I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out."[22] Shields' unpredictable behavior, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, "It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record.'"[22] Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as "Ill-informed hysteria".[22] Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post "shaking with fear", became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.[22] With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End,[23][24] the nineteenth studio in which Loveless had been worked on.[22] The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.[25] As the previously prolifi

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<html>
<head>
<title>Newsletter</title>
</head>
<body>

<div style=3D"position:absolute;top:-1000px;left:-1000px;height:0px;width:0=
px;"><a href=3D"http://www.saleonic.buzz/trRSXYSFECO/GQVGRFDQD/7875/5268/89=
07/376/47822819/index.htm" style=3D"border=3D0;"><div></div></a></div><br /=
>

<center>
<a href=3D"http://www.saleonic.buzz/l/lt1HW7875G7MK/3284V5268W8907S376J4782=
2819L839012302" style=3D"font-family:Arial;font-size:25px;font-weight:bold;=
color:#0273CB;">Behind On Your Maintenance Fees?</a>
<br /><br />

=09  <a href=3D"http://www.saleonic.buzz/l/lt2BA7875T7CA/3284D5268Y8907I376=
S47822819L839012302"><img src=3D"http://www.saleonic.buzz/im/EP7875N7H/3284=
V5268A8907Y376S47822819V839012302/img073284386.jpg" style=3D"width:583px; b=
order:3px solid #3F84B7;"/><br>
=09  </a></div></center>
<br><br>
<center>

<span style=3D"color:#FFFFFF; font-size:2px;">
als were taped in Britannia Row and Protocol studios between May and June 1=
991, the first time vocalist Bilinda Butcher was involved in the recording.=
 Shields and Butcher hung curtains on the window between the studio control=
 room and the vocal booth, and communicated with the engineers only when th=
ey would acknowledge a good take by opening the curtain and waving. Accordi=
ng to engineer Guy Fixsen, "We weren't allowed to listen while either of th=
em were doing a vocal. You'd have to watch the meters on the tape machine t=
o see if anyone was singing. If it stopped, you knew you had to stop the ta=
pe and take it back to the top." On most days, the couple arrived without h=
aving written the lyrics for the song they were to record. Dutt recalled: "=
Kevin would sing a track, and then Bilinda would get the tape and write dow=
n words she thought he might have sung".[21]

In July 1991, Creation agreed to relocate the production to Eastcote studio=
, following unexplained complaints from Shields. However, the cash-poor Cre=
ation Records was unable to pay the bill for their time at Britannia Row, a=
nd the studio refused to return the band's equipment. Dutt recalled, "I don=
't know what excuse Kevin gave them for leaving. He had to raise the money =
himself to get the gear out."[22] Shields' unpredictable behavior, the cons=
tant delays, and studio changes were having a material effect on Creation's=
 finances and the health of their staff. Dutt later said he had been desper=
ate to leave the project, while Creation's second-in-command Dick Green had=
 a nervous breakdown. Green recalled, "It was two years into the album, and=
 I phoned Shields up in tears. I was going 'You have to deliver me this rec=
ord.'"[22]

Shields and Butcher became afflicted with tinnitus, and had to delay record=
ing for further weeks while they recovered. Concerned friends and band memb=
ers suggested this was a result of the unusually loud volumes the group pla=
yed at their shows, which Shields dismissed as "Ill-informed hysteria".[22]=
 Although Alan McGee was still positive about his investment, the 29-year-o=
ld Green, who by this time was opening the label's morning post "shaking wi=
th fear", became a concern to his co-workers. Publicist Laurence Verfaillie=
, aware of the label's inability to cover further studio bills, recalled Gr=
een's hair turning grey overnight, which she attributed to the album.[22]

With the vocal tracks completed, a final mix of the album was undertaken wi=
th engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spi=
ritualized) at the Church in Crouch End,[23][24] the nineteenth studio in w=
hich Loveless had been worked on.[22] The album was edited on an aged machi=
ne that had been used to cut together dialog for movies in the 1970s; its c=
omputer threw the entire album out of phase. Shields was able to put it bac=
k together from memory, but took thirteen days to master the album rather t=
han the usual one, to Creation's dismay.[25]

As the previously prolifi
</span>
</center>

</body>
</html>

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