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Star Scout
Posts: 356
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Post by bside on Jul 17, 2011 7:28:05 GMT -5
"Your guess is as bad as mine." One of my favorites. I also titled a screenplay after that phrase.
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bside
Star Scout
Posts: 356
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Post by bside on Jul 6, 2011 17:44:42 GMT -5
Cool...that's from my tape..Recorded on my old Sony D6C...glorious analog. CF Is it up for download anywhere? You can only stream off the site.
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bside
Star Scout
Posts: 356
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Post by bside on May 27, 2011 23:51:16 GMT -5
That album is going to be great. I really wish Paul had stayed on it, I liked the anti-melody on "Match Made in Hell". Anti-melody like counterpoint to the melody? Or like against the idea of melody? I don't know. Maybe the counterpoint. A part in the chorus that isn't the main part.
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Star Scout
Posts: 356
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Post by bside on May 27, 2011 23:49:29 GMT -5
I love "Seven Days a Week". Great seeing him play it with so much drive solo and acoustic a few months ago.
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bside
Star Scout
Posts: 356
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Post by bside on May 27, 2011 12:47:33 GMT -5
That album is going to be great. I really wish Paul had stayed on it, I liked the anti-melody on "Match Made in Hell".
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bside
Star Scout
Posts: 356
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Post by bside on May 21, 2011 17:14:19 GMT -5
Tommy! I'm in!
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bside
Star Scout
Posts: 356
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Post by bside on Apr 28, 2011 23:05:53 GMT -5
Good to see some life.
I think he's going to write us a letter tomorrow. Tonight he can't hold a pen.
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Star Scout
Posts: 356
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tommy
Apr 23, 2011 0:36:56 GMT -5
Post by bside on Apr 23, 2011 0:36:56 GMT -5
It would be cool if Paul shows up and does nothing but play backing guitar for Tommy... but I suspect this is a little case of pre-show hype to ensure Tommy gets a full room to play in front of. How do you know it wouldn't be Chris Mars?
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Star Scout
Posts: 356
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Post by bside on Mar 28, 2011 13:16:25 GMT -5
For me the production on Tim actually enhances the recordings. Something about the flawed, almost under-produced analog sound give it a whimsical, vintage, unhinged beauty. A charm to my ears.
With DTAS, I try frequently to listen to that album and make myself like it. I think at best, all the plasticine sheen takes away from every song, even some of what I consider to be knock outs like "I'll Be You" and "Darlin' One". It just sounds like Chris is drumming to a click track, kinda sterilizing the whole thing and removing any sense of rock and roll spontaneity. Not to mention half of the tracks have this high pitched cow bell or wood block action at the regular intervals. It's so frustrating because tracks like the last minute of "We'll Inherit the Earth" sound like they are building to explode and fly off the tracks, but in the end seem too -- I don't know -- too anchored down to offer much thrill.
I guess I like that Tim is a little dirty.
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bside
Star Scout
Posts: 356
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Post by bside on Mar 24, 2011 0:43:07 GMT -5
No problem It looks like someone made an alternate cover to the first one. Apparently the typo "Gays Got A Boner" from the track listing on the back wasn't sufficient. I thought it was funny myself Haha I saw that. I thought it would just be Paul drunk doing some ad-libbed lyrics but yeah, it was just a pretty bad job on the track listing. Maybe someone is repressing something.
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Star Scout
Posts: 356
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Post by bside on Mar 23, 2011 19:43:44 GMT -5
Nevermind! Live at Lingerie: 1984-10-26 Hollywood, CA.
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bside
Star Scout
Posts: 356
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Post by bside on Mar 23, 2011 19:28:06 GMT -5
Awesome thank! Any idea the date or even narrowing down the year of the show? I like to keep all my boots organized with the cover art from colormeimpressed.com
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bside
Star Scout
Posts: 356
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Post by bside on Mar 8, 2011 14:01:35 GMT -5
That's what I am getting at..."evolution Grandpa!". Westerberg and Dylan aren't dead yet. Their best work may be in front of them; we can't say. Paul Newman is an example of someone that had his best performances later in life. Unless one suffers from a disability or impairment, we can't speculate what their peak is or was. Obviously, Mohammed Ali is disabled and is no longer a contender, so we can safely identify his prime performance period. Look how Robert Plant outdone himself on his vocals for "Raising Sand". Either way, relevance is not the issue. Beethoven is still relevant and he never made Billboard. Newman essentially set the bar for salad dressing in his later years.
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bside
Star Scout
Posts: 356
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Post by bside on Feb 18, 2011 10:38:19 GMT -5
I caught Tommy's show last night in Arlington. It was a pretty amazing experience. Tommy opened solo with Perfect's "Seven Days A Week". The feel and energy was amazing. He dove into some tracks from Village Gorilla Head, quickly joined by his fiance on vocals and hand percussion and Mike Gent of the Figgs (who also opened) on electric guitar.
Songs I remembered him playing are "Not A Moment Too Soon", "Without A View", and "Light of Day". He played some tracks from the new record, including freshly released "One Man Mutiny". "Match Made in Hell" is a fun love (anti-love) song and the feel of the new songs would stack nicely up against VGH striking a good balance between laid back (country-ish even) and upbeat. Of course, this is all judging from stripped-down acoustic based numbers.
They pulled off a nice cover of the Clash's "Hateful", played a scattering of Perfect including selections from the Squirrels Play Chicken EP, and closed off the night with Bash and Pop's "Friday Night is Killing Me" before climbing ontop of the bar to play the Patridge Family's "C'mon Get Happy" complety unplugged.
Tommy was in high spirts all night, drinking his share of whiskey. Afterwards he hung around to sign plenty of "Let It Be" sleeves and in general chat with fans. The crowd was a great mix of young and old. It's amazing to see how his music has touched so many people over the years. Definitely worth the 3 hour drive.
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Star Scout
Posts: 356
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Post by bside on Feb 12, 2011 11:01:28 GMT -5
If any forum readers are going to these shows, please post a review, I know I'd love to read it. I'll be at the Arlington show. Will post my review the next day.
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Star Scout
Posts: 356
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Post by bside on Nov 27, 2010 2:27:42 GMT -5
Another intriguing tweet from Tommy: "beautiful day in l.a. today. finally starting to mix my damn record. yippee. off to austrailia tomorrow. look out you am i." Why would he bother mentioning You Am I, who are just way past it and should consider doing something else. Their new album is stellar. It really grows on you. But I think their discography is pretty flawless.
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Star Scout
Posts: 356
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Post by bside on Nov 2, 2010 13:22:43 GMT -5
I think their music will never go away and think it will really only get bigger. Music is so much more accessible now than it ever was, also there are a lot of bands name dropping them. Look at the recent Spin magazine with Billy Joel (though I'm really not a fan of Green Day at all). Or look at bands like The Hold Steady (who are my favorite band and are the best live band going) who continually site the band as their biggest influence. I agree with this. Honest music is honest music. I got turned onto the Paul Westerberg by some of my favorite current artists, including the Hold Steady, Gasoline Heart, and Lucero. Hell, the first time I heard of the Mats was when the Get Up Kids covered "Beer For Breakfast". But it got me to check out Paul and the Mats and they quickly became my favorite band. And I have turned a few kids onto them. I'm 25 and a youth pastor so I spend a lot of time with youth and high schoolers. I think partially just because they look up to me and my tastes, but I've been able to show some them the Mats and usually the connecting point is the current crop of "angsty" bands and drawing the comparison. There's some videos that hit so powerful you can just smell the whiskey in the air. If you have a pulse, I don't see how you can't be moved. For a few of them it really stuck. And then there's the Paul Westerberg lyrics I had tattooed on my forearm. They're right out there, and they're Paul, on my arm forever. Always a pleasure explaining that one. But I've noticed since becoming a Mats fan how often the Replacements/Paul Westerberg comparison is used in reviews and musical critique. A wide range of artists, generally bar rock, heart on the sleeve vocals, or anything sloppy, gets a ready comparison. And since the Mats were everything from a snotty punk band to alt-country, there's a lot to draw from.
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Star Scout
Posts: 356
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Post by bside on Sept 28, 2010 22:21:47 GMT -5
Love the shirtless show mixed in there. Reminds me of Iggy Stooge.
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Star Scout
Posts: 356
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Post by bside on Sept 11, 2010 0:03:05 GMT -5
I remember watching the premiere on 120 Minutes and thinking that it looked at least 10 years behind the times. The marquee on the movie theater says, "Star Wars," for pete's sake! Anyone who thought it was groundbreaking must have just arrived in their time machine from 1981. I think bside's theory that the stop-motion was originally meant for another purpose is spot on. I took that as the point ... that the scenery, including the Star Wars marquee, was supposed to represent "When It Began." So 1981 or earlier would be about right. But it's nothing like MPLS, so yeah, probably it was someone's leftover stuff. Case in point: right at around 1:11, some sinister looking Nazi officer looks at the camera and you clearly see his lips move to mumble something, but nothing is audible. The dude with the abnormally large nose at 1:04 at least looks like he fits because, well, he is wearing flannel.
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Star Scout
Posts: 356
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Post by bside on Sept 9, 2010 23:52:33 GMT -5
When can we discuss the merits for the "When It Began" video? I don't think it can be done... I really don't. ok.... I guess it allowed the band to be on MTV a little bit. I think its interesting how they rolled out grand effects like distorting the proportions of Paul and the band just for the novelty of the effect, whereas that same effect comes standard on every video editing software preinstalled on any computer. Also, that stop-motion had to take some work, stop-motion's very nature is tedious and time consuming. And yet the band seems randomly placed in scenes, making me think the stop-motion was used for something else originally. It would also explain the strange crowd in the theater (the gentleman with the rather large nose) who do little more than gleer and turn their heads in the camera.
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