Jer
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Post by Jer on Mar 7, 2024 11:36:46 GMT -5
...A little disturbed to read how often Bob apparently asked strangers "Got any coke?", but it's not like I haven't done that before. (Here's a tangent: Bob would have been gone even earlier if the street drug scene was like it is now... ) Yes and yes. I knew Bob was a mess, of course, but even in this very small, not-very-random sampling, how many times that came up was crazy. And also, yes... with fentanyl now, pills and powders are basically Russian Roulette. It's terrifying to ponder.
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Jer
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Post by Jer on Mar 6, 2024 20:28:13 GMT -5
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Jer
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Post by Jer on Jan 17, 2024 16:43:18 GMT -5
Green Day on Howard Stern today, BJ mentioned The Replacements at least once and Hüsker Dü at least a couple times as influences and the reasons he was able to embrace music from the songwriting perspective over the unobtainable metal/shredding angle at an early age. Rang familiar to me, for sure. It was a great interview and the band sounded great. xx
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Jer
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Post by Jer on Jan 16, 2024 19:55:49 GMT -5
I thought the guy on the Steve Hoffman forums that worked at Rhino pretty much already said they wouldn't be doing anything with SHTF because Paul hates it or something. I think there's almost no chance anything happens with it. Too expensive, little interest, not great, other stuff to focus on. If they gave it as a free giveaway, I'm not sure whether the licensing issue would be quite the same... A mechanical license is still needed. Just because the label and/or artist decides they want to give a cover song away for free doesn't mean the people who own it don't need to get paid.
So it would be like a small fee per released physical copy (CD, cassette, vinyl) pressed, and a separate amount per predicted stream, then a processing fee per license per song, multiplied by 20 out of the 24 songs that are covers, give or take (a couple could be public domain or whatever, I don't know). It would add up to several thousand pretty quick. And the streaming licenses have to be renewed annually I believe. Not back-breaking cash for a major label, but it adds up, probably not enough to justify the release I would guess.
... But out of all of the song on the cassette, this one is the lone diamond, perhaps my favorite rendition of the song. [Can't Hardly Wait] Agree on this - it's my favorite version by far. Each version after was not as good as the one before it, IMO. They could just do a bonus double 7" of the 4 original songs with the LIB deluxe. Now that would be cool.
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Jer
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Post by Jer on Jan 8, 2024 13:56:37 GMT -5
Since I think they just might save Let It Be for last, I wouldn't mind seeing Hootenanny be next, hopefully with the Rhino ordering bonus being a re-issue of The Shit Hits The Fans! Would be cool to get a Hootenanny deluxe with a live show and some rarities. They could also combine it with Stink maybe. I'd love it, but I would assume it would be the release with the least amount of interest from their catalog.
Releasing TSHtF would be very expensive because it's almost all covers and that's a lot of licenses to purchase. Not like they couldn't, but not sure they would. It's also LIB era, so probably more likely with that album if they were to do it.
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Jer
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Post by Jer on Dec 2, 2023 8:23:17 GMT -5
THE REPLACEMENTS
Let It Be
TWIN/TONE, 1984
Paul Westerberg’s voice was like a beacon to me. I recognized its defiant sadness, like we had been siblings in another life. I really related to the misfit attitude of always defying authority, even at personal risk: the idea of self-sabotage as heroism. Later, Paul and I made music together, and it was very exciting to get to know this hero of mine as an actual person. He hasn’t lost any of his musical power. But the fact that he doesn’t want to share his music with the public, I totally get it, because it’s very draining. Paul said to me once about music that I needed to save some for myself – don’t give everything to the audience because then you’ll have nothing of yourself left.
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Jer
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Post by Jer on Oct 27, 2023 6:21:25 GMT -5
Tommy must’ve been pissed that Lay It Down Clown made the cut instead of Having Fun. While the dislike of “Lay It Down Clown” and its undeserving place on Tim are well established on here and elsewhere AND I do like the feel and music of “Having Fun” I don’t think I would love how it would fit on Tim. Musically it’s a really cool tune but lyrically there’s nothing that catches my ear. I don’t know why I’m going to post this but…I am not saying “Lay It Down Clown” is a superior song but I don’t skip it and if it wasn’t on Tim and I was just now hearing it for the first time I’d probably be wondering why it didn’t make the cut instead of “Having Fun” if that had been. 🤷🏻♂️ i mean I still get a kick out of the couplet “skinny as a rail and ya think you got what it takes, the only exercise ya ever get is the shakes” I don’t think “Having Fun” would add anything “special“ to the album that “Lay It Down Clown” does… And that there may be one of the most ridiculous sentences ever written on this site! For me, outtakes are almost always outtakes for a reason. There are very few exceptions. Not sure I can think of a single example where an outtake would fit better on an album, any album by any artist, better than what made the final cut. Even "Nowhere Is My Home," which I love, would feel out of place on Tim. It's subjective of course, and by the time we hear outtakes the album is usually ingrained in us for years, so it's hard to conceptualize differently.
I never had a problem with "Lay It Down Clown." Always loved the slide guitar and though it brought some energy to the record (esp the original mix). It's not A-list `mats material, but it wouldn't be panned on a Georgia Satellites record at all. One of the things that makes LIB the best Replacements record to me is the diversity of material and how there's something on there that represents every aspect of the band. Tim is less that - but LIDC represents the off-the-rails aspect better than anything else on there, and arguably the last time they put anything quite that rowdy on tape. Of course Tim is great and justifiably lots of peoples' favorite for different reasons - mostly the consistent quality of the material. Can't argue that, but LIDC was the last recorded stand of Bob Stinson at his most chaotic.
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Jer
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Post by Jer on Oct 8, 2023 11:56:03 GMT -5
Agree that there's no need to remix anything else, not that I wouldn't be interested to hear it if they did. LIB, Hootenanny and ASD don't sound dated, they're not all waxed up in reverb or other tricks. They sound like a band, not a recording of a band. I hope they each get the box set treatment - kinda feels like they should. And being weary "fixing" the past is a perfectly valid perspective, but there's zero harm done as long as the original mixes are still available. I'll likely rarely or never listen to DTAS or Tim again, opting for the remixes, but I totally get the urge to write it off and stick with the originals.
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Jer
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Post by Jer on Oct 1, 2023 8:57:00 GMT -5
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Jer
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Post by Jer on Sept 26, 2023 20:00:08 GMT -5
Mine arrived Sunday, intact and packaged well enough. I wasn't in town anyway so I didn't stress. The 7" is worth the 2-day delay for me, but I get the anger and I would have been agitated if I was home over the weekend. I didn't want to dive in on Spotify (with commercials, no less, plus Fuck Spotify), so I waited to listen to the vinyl on Sunday night. More thoughts soon, but in general, it rules. xx
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Jer
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Post by Jer on Sept 26, 2023 7:56:02 GMT -5
I can't fathom them sitting on that electric version of "Can't Hardly Wait". If they had swapped it in for "Lay it Down Clown" Tim would be the best side B of all time. Maybe if they'd stopped there I'd be on board. Last thing I need are more versions of that song. But I never had a problem with Clown. I like the subject matter and a good case can be made that it's a double reference, not only to blow, but to the 8-Ball Saloon and pool hall in Ann Arbor, where they were known to hang, and very possibly score. Hard to imagine after all this time different songs swapped in and out. "Nowhere Is My Home," as great as it is, I don't think would have fit with what ended up on there.
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Jer
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Post by Jer on Sept 15, 2023 14:13:54 GMT -5
It is supposed to be a board recording, so vocal mics, drum mics (especially snare) and guitar mics are prominent, maybe Stinson's bass was not miked or DI'd., some small clubs will let the bass cabinet just roar on its own, instead of feeding it through the sound system. But yeah, sounds nothing like Maxwells.
The Metro isn't a small "we don't need to run the bass through the PA" kinda club by any means, but I know those rooms well. It is what it is and we shouldn't complain. It's just a stereo recording, with no possibility to mix. They can't turn one thing up and another down. All they have is EQ and mastering tools like compression and widening, which can help for sure, but not save it. The CD might have more bass response than shitty YouTube audio too, and the RSD vinyl that you know will eventually come should be even better than that. xx
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Jer
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Post by Jer on Sept 15, 2023 10:04:54 GMT -5
Sound recording of Jumpin' Jack Flash from 1986, Chicago. put up on the Replacements you tube channel yesterday Yea I was just checking this out. Almost no bass that I'm hearing. Otherwise pretty rippin'. Great, raw vocal. Not super surprising that Paul isn't enthusiastic about these releases, I wouldn't be either, but as a fan I think it's pretty awesome.
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Jer
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Post by Jer on Sept 12, 2023 9:33:19 GMT -5
I agree. I don’t know why the boys tried recording in Minehan’s studio, where everyone’s separated. Probably because it was convenient, easy, and free. And it probably failed because it was an easy out for Paul to find fault and bail on something he didn't want to do anyway.
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Jer
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Post by Jer on Sept 11, 2023 17:54:28 GMT -5
...Like I said a few posts ago, I went back to listen to "Message to the Boys" ...it sounded fresh to me and could hold its own with anything out there today. At least to my ears. Yeah those 2 songs sounded great, and I loved the production value on Songs for Slim. It was a great mix of raw, loose, and fun, but still well recorded and mixed, with a super-competent drummer too. Not as ramshackle, sloppy, and unfinished as his basement stuff, but still raw - not as polished as his most produced studio stuff. Would have been great to get an album of original songs produced at that level.
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Jer
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Post by Jer on Sept 5, 2023 11:23:26 GMT -5
The business sucks, but in-demand artists don't have to feed that big corporate machine if they really don't want to, and they can still create at some level. Bands that want to create find ways. Tommy is doing it in a very unconventional way. Tom Waits managed a late-run career on a small label with very limited touring. Guns N Roses do zero press.
Pete Buck complaining about ProTools is just complaining. No one is making them do that, that's a choice. Go back to tape, issue resolved. Form your own label, cut way back on touring and marketing, get a manager you trust and don't do press. Play smaller places that aren't tied to LiveNation. There's more to this story than "we love making music but we hate the business."
Paul was releasing stuff completely untied to any sort of corporate machine, so he'd already abandoned the industry. He pretty clearly hated touring during the reunion, hated the immense expectations on his shoulders, and was in poor health with back issues, making a miserable situation even worse (for him, his band, and the audience).
I think Paul is just done and there's more to the REM story than we know. For now.
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Jer
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Post by Jer on Sept 4, 2023 9:17:40 GMT -5
This is why legacy artists sold off their song catalogs because during, and after Covid, road revenue disappeared. No money was coming in because royalties were almost non- existent.
Yep, they had/have one last chance at a big payout and they're taking it. Even now, artists like Bruce and Elton are staring down the end of the road for good and they're padding their retirement. Recorded music has almost no value to the vast majority of artists - it's literally and legally free for the taking, and when something is free, the public will take it. The owners of these platforms are getting filthy rich, the content providers are getting screwed, and the consumers are singing along.
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Jer
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Post by Jer on Sept 3, 2023 10:36:15 GMT -5
What's also interesting is Mehr talking about the Spotify discovery of the Mats......I figured the Spotify royalty rate is so shitty, they won't make much money from streaming, but if Mehr is right about a new generation discovering them, who knows?
The Spotify payout is about $.003-$.004 per stream. They will make pennies, sorry to say. Unless you're Taylor Swift, it's pretty much a criminal enterprise as far as artist payouts are concerned, especially if your demographic is primarily older. It's a very broken system that is getting more broken, not better, over time.
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Jer
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Post by Jer on Aug 4, 2023 13:37:30 GMT -5
I don't really remember the `08 Tim remaster, though I have it. I just almost never play CDs anymore. I do remember that I really liked the Let it Be remaster from that time. I remember Twin/Tine did some colored vinyl pressings in the early 90s? that sounded terrible.
I think it's really important that they keep the original mixes in print, but not sure how often I'll go back to them. I always equate it to the original Star Wars trilogy. Lucas added added a bunch of shit to the films, which is fine if that was his vision, but I hated how the original theatrical releases were wiped from the planet. Seems like a moment in time was unnecessarily and unfairly lost. Not apples-to-apples with a remix, he added things after the fact, and to me almost none of it was an improvement. I haven't listened to the original mix of KISS - Destroyer since the Resurrected mix was released, and I haven't gone back to Don't Tell a Soul since DMP came out, but the original mixes are still available.
Remasters can be so hit and miss. Tom Waits released a bunch of remasters maybe 10 years back +/- and I bought and then sold them all. The original pressings, even on crappy 70s vinyl, sound better to me. The Exile on Main Street remaster with the box set was pretty amazing I thought, though some preferred the muddiness of the original, mostly for nostalgia I guess. The Cheap Trick box set remasters beat the hell out of the original pressings.
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Jer
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Post by Jer on Aug 2, 2023 6:26:47 GMT -5
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