Lulu
Dances With Posts
Posts: 71
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Post by Lulu on Aug 15, 2008 18:25:13 GMT -5
Went into local Guitar Center store today and they were playing 49:00! All the employees I talked to said they loved it.
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Post by pm on Aug 15, 2008 18:56:16 GMT -5
Went into local Guitar Center store today and they were playing 49:00! All the employees I talked to said they loved it. cool, i have new faith in guitar center.
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Post by Man Who Never Learned to Fly on Aug 21, 2008 12:23:58 GMT -5
"Everyone's Stupid" is one. You know, I wonder if that has anything to do with the album being pulled. Seems as I remember Paul saying something to the effect of "let them sue me" or "I dare them to sue me" if one of the songs were to show up on a future record. I remember seeing this too . . . and it turns out I saw it on this site. Q: Did you retain the rights to the stuff they didn't use? A: No. Probably because the ones I gave them were mostly not-so-good. (Laughs). Crap, so to speak. I don't care. I'm prolific enough. I defy them if I lift a chorus from something that wasn't used for them to come and sue me. For what I went through for them... members.aol.com/paulspage/brown2006.htm
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MWells
Dances With Posts
"The words I thought I brought I left behind..."
Posts: 83
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Post by MWells on Aug 21, 2008 13:00:56 GMT -5
Has anybody yet heard/noted what seems to be a strong melodic undercurrent of "Love Untold" in "It'll Never Die"? Loving it...
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Post by WsBigBrownBeaver on Aug 23, 2008 15:08:43 GMT -5
Does anybody think that "Kentucky Risin" is one of the songs that Paul wrote for "Elizabethtown" that Crowe decided not to use?
I still think this was all just Paul clearing out some random songs that he didn't know what to do with....
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Post by BronxTeacher on Aug 23, 2008 20:23:18 GMT -5
I still think this was all just Paul clearing out some random songs that he didn't know what to do with.... They may be random songs Paul has stockpiled over the years, but I think he deliberately structured their sequence on 49:00 with "Goodnight Sweet Prince" as the central track. The first half is darker, with songs about bad marriages, broken or damaged relationships, imprisoned fathers, divorce, dying fathers. The second half begins, fittingly enough, with "Outta My System" and has 'lighter' songs that seem to offer a glimpse of redemption. There are songs about love, being "clean," and how rock n roll "will never die." The medley of cover songs--all radio hits from when Paul was a kid--seems to bear this out, and the album closes, appropriately enough, with his kid singing. In other words, so many things in life are finite and ephemeral but art and maybe spirit too, if you want to go there, are eternal.
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Post by hudson99 on Aug 23, 2008 23:29:17 GMT -5
I still think this was all just Paul clearing out some random songs that he didn't know what to do with.... They may be random songs Paul has stockpiled over the years, but I think he deliberately structured their sequence on 49:00 with "Goodnight Sweet Prince" as the central track. The first half is darker, with songs about bad marriages, broken or damaged relationships, imprisoned fathers, divorce, dying fathers. The second half begins, fittingly enough, with "Outta My System" and has 'lighter' songs that seem to offer a glimpse of redemption. There are songs about love, being "clean," and how rock n roll "will never die." The medley of cover songs--all radio hits from when Paul was a kid--seems to bear this out, and the album closes, appropriately enough, with his kid singing. In other words, so many things in life are finite and ephemeral but art and maybe spirit too, if you want to go there, are eternal. Wow, that might be the best theory I've read.
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Post by TomT on Aug 24, 2008 9:45:18 GMT -5
Yeah, that's a good one. Makes sense to me.
I also don't think PW is going to release a song just because he doesn't know what to do with it. Whatever he puts out is part of his legacy and I'm sure this was no slapdash effort.
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Post by thetwilitekid on Aug 24, 2008 15:50:40 GMT -5
I still think this was all just Paul clearing out some random songs that he didn't know what to do with.... They may be random songs Paul has stockpiled over the years, but I think he deliberately structured their sequence on 49:00 with "Goodnight Sweet Prince" as the central track. The first half is darker, with songs about bad marriages, broken or damaged relationships, imprisoned fathers, divorce, dying fathers. The second half begins, fittingly enough, with "Outta My System" and has 'lighter' songs that seem to offer a glimpse of redemption. There are songs about love, being "clean," and how rock n roll "will never die." The medley of cover songs--all radio hits from when Paul was a kid--seems to bear this out, and the album closes, appropriately enough, with his kid singing. In other words, so many things in life are finite and ephemeral but art and maybe spirit too, if you want to go there, are eternal. I fell out of place. Everybody talks about this "Goodnight Sweet Prince" song and I don't even notice it while listening to the album. And the way people talk about it is the way half of Folker did for me and no one seemed to like Folker that much. But this theory as to Paul's probably concept behind 49 works for me.
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Post by Strange and Grandiose on Aug 24, 2008 16:18:47 GMT -5
I still think this was all just Paul clearing out some random songs that he didn't know what to do with.... They may be random songs Paul has stockpiled over the years, but I think he deliberately structured their sequence on 49:00 with "Goodnight Sweet Prince" as the central track. The first half is darker, with songs about bad marriages, broken or damaged relationships, imprisoned fathers, divorce, dying fathers. The second half begins, fittingly enough, with "Outta My System" and has 'lighter' songs that seem to offer a glimpse of redemption. There are songs about love, being "clean," and how rock n roll "will never die." The medley of cover songs--all radio hits from when Paul was a kid--seems to bear this out, and the album closes, appropriately enough, with his kid singing. In other words, so many things in life are finite and ephemeral but art and maybe spirit too, if you want to go there, are eternal. This works up until "It'll Never Die." I don't think this is a happy song.
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Post by hudson99 on Aug 24, 2008 17:07:17 GMT -5
no one seemed to like Folker that much. I did.
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Post by kgp on Aug 24, 2008 17:51:17 GMT -5
I totally agree, and that's what I've been trying to say (though far less eloquently) since its release. The "darkest" song on the record, "Sweet Prince," leads into "Outta My System" as if he did get it out of of system. (Plus he's telling us how he "keeps it inside" though he follows a purge of raw emotion and vulnerability.)
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Post by BronxTeacher on Aug 24, 2008 18:43:20 GMT -5
This works up until "It'll Never Die." I don't think this is a happy song. It's not necessarily happy, but I think there's a redemptive quality to it. After the death and disintegration of the first half, he's singing about something that "will never die," unlike love, marriages, Johnny Thunders, his dad... I see it, in a way, as an answer to "Devil Raised a Good Boy." If Johnny Thunders is Paul's "spiritual father," you can also interpret that "good boy" that the devil raised as PW himself, and it's no coincidence, as far as interpreting the songs goes, that Paul's kid is also named Johnny. I think that while he's ostensibly singing about Johnny Thunders, he's also singing about himself. There's something about Thunders that attracts Paul--his music, his personality, whatever--but he also functions as a warning sign as well, a symbol of rock n roll hedonism taken to the extreme. I think in JT Paul sees his own demons, and it frightens him. It's only when we get to "It'll Never Die" that we hear about the immortality of the art despite the destructive impulses of the lifestyle.
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Post by landshark on Aug 25, 2008 11:16:10 GMT -5
Has anybody yet heard/noted what seems to be a strong melodic undercurrent of "Love Untold" in "It'll Never Die"? Loving it... Absolutely, positively yes.
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Post by landshark on Aug 25, 2008 11:28:00 GMT -5
I still think this was all just Paul clearing out some random songs that he didn't know what to do with.... They may be random songs Paul has stockpiled over the years, but I think he deliberately structured their sequence on 49:00 with "Goodnight Sweet Prince" as the central track. The first half is darker, with songs about bad marriages, broken or damaged relationships, imprisoned fathers, divorce, dying fathers. The second half begins, fittingly enough, with "Outta My System" and has 'lighter' songs that seem to offer a glimpse of redemption. There are songs about love, being "clean," and how rock n roll "will never die." The medley of cover songs--all radio hits from when Paul was a kid--seems to bear this out, and the album closes, appropriately enough, with his kid singing. In other words, so many things in life are finite and ephemeral but art and maybe spirit too, if you want to go there, are eternal. I'll buy ... I like the way you're thinking. I have another theory which I think complements yours, and it goes back to Folker: I always thought that the second half of Folker was Paul's acceptance of the fact that he was not going to be a "rock star" -- but being a folkie was too tame. Hence, he was becoming a "Folk Star" -- no longer aiming for the stadium anthems and grandiose trappings, but drawing on long traditions of the people's music. He's making music that draws on tradition and could be played by anyone around a campfire (or in a basement). However, unlike a true "folkie," he's not going to be completely reverent -- he'd exercise humor, "plastic red guitars" etc. as a poke in the eye to the hidebound traditionalists ... "Folker" ended with "Folk Star" blending into a layered version of a famous folk-rock song, "Who Knows Where the Time Goes" -- a song about knowing when to leave, when your time has come, understanding age and mortality, performed by a band, Fairport Convention, that pretty explicitly set out to create a musical fusion of English folk and full-out rock'n'roll Musically, it seems like 49:00 flows right out of the end of Folker -- the first act after Folker's statement of purpose. The fact that it cost 0.49, was available on the internet practically as a public domain use, and sampled all those other songs that are so well known that they are practically 70s folk music ... a combination of drawing on popular traditions and giving the man the middle finger ... ... well, he's a "Folk Star" now.
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Post by FreeRider on Aug 25, 2008 15:07:19 GMT -5
great interpretations and analysis from everyone!
and it further shows the genius on Paul's part to sequence this and tell a story that isn't quite so apparent on the surface. furthermore, it's great to hear that montage of covers because it's Paul telling us what he liked hearing growing up, what influences him. Paul may be on a different branch of his own on the tree, but he's showing us where his roots are.
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Post by WsBigBrownBeaver on Aug 25, 2008 21:19:06 GMT -5
"Devil Raised a Good Boy"... I just assumed he was referring to himself..... surprised at the fact that he can raise a good kid when he sees himself as being so messed up...
"I'm clean, I'm clean, I'm clean.... I used to be so mean".
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Post by wecantgetanybetter on Aug 26, 2008 19:04:43 GMT -5
"Everyone's Stupid" is one. You know, I wonder if that has anything to do with the album being pulled. Seems as I remember Paul saying something to the effect of "let them sue me" or "I dare them to sue me" if one of the songs were to show up on a future record. I remember seeing this too . . . and it turns out I saw it on this site. Q: Did you retain the rights to the stuff they didn't use? A: No. Probably because the ones I gave them were mostly not-so-good. (Laughs). Crap, so to speak. I don't care. I'm prolific enough. I defy them if I lift a chorus from something that wasn't used for them to come and sue me. For what I went through for them... members.aol.com/paulspage/brown2006.htmGetting back to the legal speculation ... that idea sounds more plausible to me than any other so far, that it was Sony's ownership of the rights to Open Season rejects that prompted 49:00 to be pulled. PW knew Sony might sue. So he deliberately tests them with 49:00 ... and that's so like him to do that. The scenario holds more water than the Partridge Family lawyers or Macca's legal squad going after a snippet on an obscure internet only release.
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Post by hudson99 on Aug 26, 2008 21:37:22 GMT -5
I remember seeing this too . . . and it turns out I saw it on this site. Q: Did you retain the rights to the stuff they didn't use? A: No. Probably because the ones I gave them were mostly not-so-good. (Laughs). Crap, so to speak. I don't care. I'm prolific enough. I defy them if I lift a chorus from something that wasn't used for them to come and sue me. For what I went through for them... members.aol.com/paulspage/brown2006.htmGetting back to the legal speculation ... that idea sounds more plausible to me than any other so far, that it was Sony's ownership of the rights to Open Season rejects that prompted 49:00 to be pulled. PW knew Sony might sue. So he deliberately tests them with 49:00 ... and that's so like him to do that. The scenario holds more water than the Partridge Family lawyers or Macca's legal squad going after a snippet on an obscure internet only release. Actually, I think it is the covers section that created the problem, especially since this very problem was discussed on the velvet rope board a couple of days before it was pulled. You'd probably be surprised at how many industry suits are on that board.
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Post by wiser's deluxe on Aug 29, 2008 14:49:10 GMT -5
i know we should be moving on to the latest releases, but a funny thing happened today after listening to "3oclock" and "finally." the playlist then went to 49:00 and i listened to it all the way through, not once, but twice in fact. and the one neat thing that struck me is that i keep returning to the one song near the end, at about the 36 minute mark, which we're referring to as "It'll Never Die."
in my mind, it's called "Paul's Ode to Keith Richards." and i think it's a beautiful piece of work. and as much as i like so much other stuff on 49, this is the song that i find myself humming and singing out loud when it comes on in the house, in the car and every place else.
the lyrics are inspired as well. the first two verses absolutely kill me, and the line: "it'll never die, but it damn sure kills" and the later parts about the rain falling 'cause it's tired.
this song is straight off "Let it Bleed" or something, and it's Paul doing Keith at his best, i think.
this is simply and wonderfully good music.
now, back to whatever else we're talking about ...
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