Clean Soundtrack

[Desmond Hutchins]

TheSpin-Clean Kit

The Spin-Clean unit has been in production since 1968. Besides its economy, there are a few things that differentiate the Spin-Clean from its competition. First, the unit requires no power as everything is done by hand. Second, because the record is inserted between two tight fitting cleaning pads and submerged in the cleaning solution, both sides of the record are scrubbed simultaneously. To me, the most important part of the system is the Spin-Clean Washer fluid, which has already become my favorite solution for cleaning vinyl. It is a concentrate, designed to be mixed with distilled water in the Spin-Clean unit, and is the least expensive cleaning solution that I am aware of. The fluid appears to be a very mild cleaner to dislodge the dirt from the groves, along with a flocculent, which causes the dislodged dirt to fall to the bottom of the Spin Clean, where it remains so that the next record is not contaminated by the dirt from the previous record. When the record is removed, it is dried by hand with the supplied lint free drying cloths.

A couple of other things to point out: first, the Spin-Clean can clean records of all diameters from 7 inch singles to 12 inch LPs. The unit is bright yellow for a reason: it allows one to see the amount of crud that has been removed from the grooves, as the dirt will rest at the bottom of the Spin-Clean Unit. Spin-Clean states that each batch of cleaning fluid can clean up to 50 records. Because very little of the cleaning solution is used along with the distilled water, the four ounce bottle will clean hundreds of LPs.

Summing Up

As the subtitle states, the Spin-Clean Record Washer system is the best $80 one can spend to care for their LPs and enrich their listening enjoyment. Combine it with the KAB EV1, and one can have the excellent cleaning from the Spin-Clean and the ease of a vacuum system for less than $250. Either way, the Spin Clean Record Washer System is an insane value. It gets my heartiest recommendation.

My Apple Music is censoring songs (and yes, I have the explicit version downloaded). My issue is that it's only censoring Jon Bellion. I've played music from bbno$ to Billie Eilish, and all of their explicit songs have the swears/explicit content in it.

NOT due to Dolby Atmos. I've always had it turned off. It continues to happen, and to music I have purchased directly in the iTunes store. And explicit version IS enabled. Apparently Apple feels it has the right to tell me what words I can and cannot hear.

As far as I know there is no setting that would "bleep out" words in the music. The only setting would prevent you from playing songs with the "explicit" label entirely. I think what might be happening is it just playing the clean versions of his songs. Check to see if they are marked as (clean version) on the song itself.

You may have to delete the local downloads for impacted songs, because Apple will not automatically replace your Dolby music files with non-Dolby versions the instant you turn it off. The setting only applies going forward, to songs downloaded or streamed afterwards.

Perhaps have a friend listen to the same song on their account/device and see if the same thing happens? I wonder if it has nothing to do with you and is just that his songs are just uploaded that way in Apple Music in which case it would happen for everyone. I can't think of any setting that affects songs on a lyrical basis especially since you already checked your other settings.

The song I wanted was 'CD only' version and I couldn't add it to my apple music library. I didn't buy CD (not my favourite singer, lol), I just downloaded. After adding to iTunes it played well, but on my phone it magically changed to clean version even if I added nothing in tags and disabled lossles and dolby atmos.

"Come Clean" is a song by American singer Hilary Duff for her second studio album, Metamorphosis (2003). It was written by Kara DioGuardi and John Shanks, while production was handled by Shanks. The song contains influences of electronica and techno, with the lyrics chronicling the protagonist wanting to "come clean" with her love interest, from a strained relationship. "Come Clean" was received by critics with mixed reviews.[citation needed] The song was released on January 12, 2004, as the album's second single.

In the United States, the song peaked at number 35, becoming Duff's first top-40 single on the Billboard Hot 100. It would later go on to become her best-selling single in the United States.[1] However, the song failed to match the success of its predecessor "So Yesterday" in many other countries. It reached number 17 in Australia and number 18 in the United Kingdom while charting within the top 20 in Canada, Ireland, the Netherlands, and New Zealand. A remix of the song by Chris Cox was included in Duff's 2005 compilation album, Most Wanted, this version was also included on her Dignity Walmart edition Remix EP as the Dance Mix in 2007, and in 2008, another remix of the song by Chico Bennett & Richard "Humpty" Vission was included in Best of Hilary Duff while the original version is included on the Japanese edition.

The song was accompanied by a music video, directed Dave Meyers, which showed Duff inside a house on a rainy day, waiting for her love interest. The video was nominated in the category of Best Pop Video at the 2004 MTV Video Music Awards. The song was used in the theatrical trailer for the 2004 film A Cinderella Story, which stars Duff. It was used as the theme song for the MTV reality television shows Laguna Beach: The Real Orange County and Newport Harbor: The Real Orange County, and it is included on the soundtrack album for Laguna Beach.

In a 2005 interview with News Times, Duff said that the song is "obviously about a boy and a girl's relationship and it's just talking about how somebody thinks they're in the dark."[2] "She's tired of it and he's tired of it and they're coming clean, whether it means they're gonna be together or not. They're laying all the cards out on the table and coming out with everything that hasn't been said basically.", she said.[2] Duff cited the song as her favorite on Metamorphosis, saying it is "a little more mellow" than her previous single, "So Yesterday", "but it's not really pop. It sounds sort of like techno, but it's slow. It's really cool."[3]

The song debuted on the Billboard Hot 100 chart of February 28, 2004, at number 53, and eventually peaked at number 35, becoming Duff's first top 40 in nation.[5] As of July 27, 2014, the song had sold 655,000 digital copies in the United States.[1]

The single's music video was directed by Dave Meyers and filmed in Los Angeles on November 23, 2003.[6] Meyers said of the video, "I'm trying to do something where you're taking her [Duff] very seriously ... very dramatic and very feminine, and sort of almost sensual. I don't think we've ever seen that from her. She's been a bit of a pop icon, so I'm just trying to give her a bit more credibility on an artist front."[6]

In the U.S., the video premiered on January 11, 2004, during Nickelodeon's TEENick block. The next day, it made its debut on MTV during an episode of "Making the Video" before premiering on Total Request Live two days later. It entered the show's top ten video countdown the following day at number eight,[7] and spent twenty-five days on the countdown, peaking at number three.[8][9] It also reached the top 5 of Total Request Live UK. The video was nominated in the category of Best Pop Video at the 2004 MTV Video Music Awards.[citation needed]

In the video, Duff is shown in her house during a rainy day (reflecting the rain reference in the chorus of the song[6]), walking from room to room. Her friends arrive and watch television with her in the living room. The rainstorm intensifies over the course of the day, and the interior scenes are intercut with shots of Duff's boyfriend (played by Gavin Beasley) driving to her house in a car. At the end of the video, the boyfriend arrives at the house, and Duff ventures out into the rain to meet him; they kiss as the video ends.

According to Meyers, "We never do know if the guy in the end is a boyfriend or friend or what the drama is. It's just all very photogenic and sophisticated and not too colorful."[6] Duff said that the video "really shows that she's kind of in this monotone mood throughout the whole thing. She doesn't show too much emotion except that she's waiting for this boy, this guy, to come. You can't tell when they're running toward each other if they're gonna kiss or they're gonna hug or they're gonna hit each other. It's a bunch of different emotions."[2]

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I just wonder why you have to get songs censored the way you do? You literally destroy many songs with that. Maybe cursing doesn't sound so nice, but if you don't like the song they curse on, WHY do you listen to it?

I, as myself, don't care about the cursing but like to listen to the songs meaning. If a rapper made a song with meaning, but had cursing as a way to express himself, you should look at the meaning not the cursing. Maybe you can't find the meaning but that is YOUR problem. Seriously, when a song you like, gets bugged up with suddenly silent moments that doesn't fit in at all... YOU should know what I mean....

This official Spotify solution to this is wrong. I just found out the hard way by listening to the "clean" version of Ill Communication by The Beastie Boys with my 10 year old son! Even though there are two versions available, I can assure you that the one without the "explicit" labels is deifinately not a cleaned up version. It's just not remastered, it's the original release.

Whether or not you agree with censorship or patental guidance and the whole PMRC controversy is of no consequence - it's here and it's a tool for parents to use so they don't have to pre-listen to content to make sure it's okay for kids. The label should be correct and the official Spotify solution should be correct.

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