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Post by mystoryisgory on Oct 23, 2016 23:24:19 GMT -5
So I'm sitting here listening to Forth properly for the first time, and I must say, I'm not that impressed. It's a very long and meandering album, with little of the excitement or alien weirdness that characterized their previous work. We get very few Nick McCabe grooves, more like just him fiddling around making textural sounds that are nowhere near as engrossing as the maelstrom that he was once able to summon. The last bit of Noise Epic shouldn't be the most exciting part of the album. In fact, the aesthetic itself is too clean and not aggressive or dirty enough. We also get some weird disco-rock thing that is the most un-Verve song that The Verve have ever released. And we get some dreadful Richard solo songs masquerading as Verve tunes. However, despite all of this, I must say that Forth is a million times better than anything that Richard has put out on his own. For that reason alone, I would like The Verve to reform for the fourth time just to save us from another sickly sweet Richard solo album. But other than that, I can't really get behind another Verve reunion because I can't see them doing anything better than this. I mean, I really want to like this album, but for some reason it hasn't grabbed me in the same way everything else they've done has. Perhaps glider can point out the great things I've missed? |
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Post by Manualex on Oct 23, 2016 23:37:23 GMT -5
So I'm sitting here listening to Forth properly for the first time, and I must say, I'm not that impressed. It's a very long and meandering album, with little of the excitement or alien weirdness that characterized their previous work. We get very few Nick McCabe grooves, more like just him fiddling around making textural sounds that are nowhere near as engrossing as the maelstrom that he was once able to summon. The last bit of Noise Epic shouldn't be the most exciting part of the album. In fact, the aesthetic itself is too clean and not aggressive or dirty enough. We also get some weird disco-rock thing that is the most un-Verve song that The Verve have ever released. And we get some dreadful Richard solo songs masquerading as Verve tunes. However, despite all of this, I must say that Forth is a million times better than anything that Richard has put out on his own. For that reason alone, I would like The Verve to reform for the fourth time just to save us from another sickly sweet Richard solo album. But other than that, I can't really get behind another Verve reunion because I can't see them doing anything better than this. I mean, I really want to like this album, but for some reason it hasn't grabbed me in the same way everything else they've done has. Perhaps glider can point out the great things I've missed? if you only heard the 10 track Cd Release you only have heard half of the fun. Muhammad Ali, Columbo and the other stuff. I get why you feel that way. The one-two punch of Sit and Wonder and Love Is Noise isnt bettered than any of the rest of the tracks(besides the last Minute of Noise Epic, Which is brickwalled to the max). I still dont know why the Cd-Vinyl and iTunes versions got three diferent tracklist. Bonus tracks/B-sides/outtakes from Forth sessions Ma ma Soul, Muhammad Ali, The Thaw Session(first Jam after the reunión, released for Free on myspace), Mover(released for Free after the release of Forth, last verve track ever?), Blue Pacífico Ocean, Chic Dub, All Night Long and Major Force. |
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Post by glider on Oct 24, 2016 4:06:46 GMT -5
So I'm sitting here listening to Forth properly for the first time, and I must say, I'm not that impressed. It's a very long and meandering album, with little of the excitement or alien weirdness that characterized their previous work. We get very few Nick McCabe grooves, more like just him fiddling around making textural sounds that are nowhere near as engrossing as the maelstrom that he was once able to summon. The last bit of Noise Epic shouldn't be the most exciting part of the album. In fact, the aesthetic itself is too clean and not aggressive or dirty enough. We also get some weird disco-rock thing that is the most un-Verve song that The Verve have ever released. And we get some dreadful Richard solo songs masquerading as Verve tunes. However, despite all of this, I must say that Forth is a million times better than anything that Richard has put out on his own. For that reason alone, I would like The Verve to reform for the fourth time just to save us from another sickly sweet Richard solo album. But other than that, I can't really get behind another Verve reunion because I can't see them doing anything better than this. I mean, I really want to like this album, but for some reason it hasn't grabbed me in the same way everything else they've done has. Perhaps glider can point out the great things I've missed? Forth's tracklisting went through hell, as did the whole album. The album itself is all over the place in what it wants to sound like which hinders the Verve's potential at the time. If you listen to the Thaw Session, All Night Long, Blue Pacific Ocean, Chic Dub, Muhammad Ali, these jams and bonus tracks mentioned never even made it in some form onto the album, which absolutely is ridicouclous considering how much they shit on the tracks that made it like Vallium Skies and I See Houses. Those two songs I just mentioned are Ashcroft-penned, along with Rather Be, Love Is Noise, and Applachian Springs. Davide Rossi, who worked with Coldplay on VLV, came in early on for the majority of the tracks that are Verve-centric in sound and quality, on strings. Thing is you can barely hear them on the record (which I find is a good thing but Rossi is a talented guy). Tim Bran was the main producer from the beginning from what I understand, but later on was either replaced or set aside by Ashcroft to make room for Chris Potter, who came in and brought the MOR tinge to some of the tracks. The band (particular Si Jones and Nick) and Richard were constantly on strife in terms of the album's direction. Nick and Si fought tooth and nail to get Columbo on the album, which is concerining considering what Ashcroft decided to shove into the album rather than the overly exceptional and actual Verve like tracks that are bonus. Much more in a sense, Forth is basically Urban Hymns Part 2. You have several tracks that are straight up Verve-like, albeit not as good as ASIH or ANS era jams, but still solid. Then you have the Ashcroft tunes, but this time around the lyrical content is very lackluster. These songs are allievated easily by the band, gives them a new atmosphere and something that is severly missing in Ashcroft's solo project. Rather Be and Appalachian Springs are two examples. Terrible lyrics, but amazing production (Rather Be is abit too poppy for me, but still sounds way better than anything on Keys to the World). The dancey track you mentioned I would guess is 'Love Is Noise', and I do agree with you. Never was the biggest fan of it Verve wise and it sounds like a solo Richard song featuring Nick and co. phoning it in, plus the vocoder gimmick is lame. I don't get it's appeal on here as "great" as I find it mediocre in the sense of the standard the band themselves set, but it is very catchy and a decent comeback single - compared to the bullshit I got from the Roses with All For One. Basically Forth is a giant missed opportunity, and yes, I blame it on Richard sabotaging the project because he once again lost faith in being in a band. In 2007, the band played classic songs live like Gravity Grave, A Man Called Sun, etc. yet in '08 it was basically the greatest hits of Urban Hymns and the album didn't even get a tour! Here's my proper tracklist for Forth: 01 Sit and Wonder 02 Numbness 03 All Night Long 04 Mover 05 Columbo 06 Judas 07 Rather Be 08 Blue Pacific Ocean 09 Muhammad Ali 10 Applachian Springs I will tell you that much of the praise Forth gets on here comes from the fact how bland and forgettable Richard's solo effort has been. The guy definitely is delusional to think that tracks like 'Born Again' and 'She Brings Me The Music' is better than 'Appalachian Springs'. P.S: Can someone tell me if there is any appeal to Noise Epic? I've always found that to be the worst track on the album. Is that brickwalled 2nd half supposed to be incoherent for added effect? |
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Post by matt on Oct 24, 2016 13:34:58 GMT -5
So I'm sitting here listening to Forth properly for the first time, and I must say, I'm not that impressed. It's a very long and meandering album, with little of the excitement or alien weirdness that characterized their previous work. We get very few Nick McCabe grooves, more like just him fiddling around making textural sounds that are nowhere near as engrossing as the maelstrom that he was once able to summon. The last bit of Noise Epic shouldn't be the most exciting part of the album. In fact, the aesthetic itself is too clean and not aggressive or dirty enough. We also get some weird disco-rock thing that is the most un-Verve song that The Verve have ever released. And we get some dreadful Richard solo songs masquerading as Verve tunes. However, despite all of this, I must say that Forth is a million times better than anything that Richard has put out on his own. For that reason alone, I would like The Verve to reform for the fourth time just to save us from another sickly sweet Richard solo album. But other than that, I can't really get behind another Verve reunion because I can't see them doing anything better than this. I mean, I really want to like this album, but for some reason it hasn't grabbed me in the same way everything else they've done has. Perhaps glider can point out the great things I've missed? Forth's tracklisting went through hell, as did the whole album. The album itself is all over the place in what it wants to sound like which hinders the Verve's potential at the time. If you listen to the Thaw Session, All Night Long, Blue Pacific Ocean, Chic Dub, Muhammad Ali, these jams and bonus tracks mentioned never even made it in some form onto the album, which absolutely is ridicouclous considering how much they shit on the tracks that made it like Vallium Skies and I See Houses. Those two songs I just mentioned are Ashcroft-penned, along with Rather Be, Love Is Noise, and Applachian Springs. Davide Rossi, who worked with Coldplay on VLV, came in early on for the majority of the tracks that are Verve-centric in sound and quality, on strings. Thing is you can barely hear them on the record (which I find is a good thing but Rossi is a talented guy). Tim Bran was the main producer from the beginning from what I understand, but later on was either replaced or set aside by Ashcroft to make room for Chris Potter, who came in and brought the MOR tinge to some of the tracks. The band (particular Si Jones and Nick) and Richard were constantly on strife in terms of the album's direction. Nick and Si fought tooth and nail to get Columbo on the album, which is concerining considering what Ashcroft decided to shove into the album rather than the overly exceptional and actual Verve like tracks that are bonus. Much more in a sense, Forth is basically Urban Hymns Part 2. You have several tracks that are straight up Verve-like, albeit not as good as ASIH or ANS era jams, but still solid. Then you have the Ashcroft tunes, but this time around the lyrical content is very lackluster. These songs are allievated easily by the band, gives them a new atmosphere and something that is severly missing in Ashcroft's solo project. Rather Be and Appalachian Springs are two examples. Terrible lyrics, but amazing production (Rather Be is abit too poppy for me, but still sounds way better than anything on Keys to the World). The dancey track you mentioned I would guess is 'Love Is Noise', and I do agree with you. Never was the biggest fan of it Verve wise and it sounds like a solo Richard song featuring Nick and co. phoning it in, plus the vocoder gimmick is lame. I don't get it's appeal on here as "great" as I find it mediocre in the sense of the standard the band themselves set, but it is very catchy and a decent comeback single - compared to the bullshit I got from the Roses with All For One. Basically Forth is a giant missed opportunity, and yes, I blame it on Richard sabotaging the project because he once again lost faith in being in a band. In 2007, the band played classic songs live like Gravity Grave, A Man Called Sun, etc. yet in '08 it was basically the greatest hits of Urban Hymns and the album didn't even get a tour! Here's my proper tracklist for Forth: 01 Sit and Wonder 02 Numbness 03 All Night Long 04 Mover 05 Columbo 06 Judas 07 Rather Be 08 Blue Pacific Ocean 09 Muhammad Ali 10 Applachian Springs I will tell you that much of the praise Forth gets on here comes from the fact how bland and forgettable Richard's solo effort has been. The guy definitely is delusional to think that tracks like 'Born Again' and 'She Brings Me The Music' is better than 'Appalachian Springs'. P.S: Can someone tell me if there is any appeal to Noise Epic? I've always found that to be the worst track on the album. Is that brickwalled 2nd half supposed to be incoherent for added effect? One thing the rest of the Verve could do to the obvious Richard solo songs was dilute its sickly sweet over the top melodrama. I listened to the new Ashcroft album and I just wonder what's going on in his head - it's bland music at its blandest. He needs to swallow his pride and collaborate with real musicians again - I.e. The Verve. I like Forth, but as your alterntpative tracklist suggests, it should have been a much better album. Also given the fact they made it in less than a year after reforming, I think with a bit more time they could have made an even more focused album. |
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Post by Headmaster on Oct 24, 2016 18:41:00 GMT -5
I think this song by Madonna may be her boldest song ever, it sounded so modern at the time, it still sounds, it's so different from her other stuffs, then I found out that Bjork wrote it and it made more sense.
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Post by glider on Oct 24, 2016 20:38:32 GMT -5
Forth's tracklisting went through hell, as did the whole album. The album itself is all over the place in what it wants to sound like which hinders the Verve's potential at the time. If you listen to the Thaw Session, All Night Long, Blue Pacific Ocean, Chic Dub, Muhammad Ali, these jams and bonus tracks mentioned never even made it in some form onto the album, which absolutely is ridicouclous considering how much they shit on the tracks that made it like Vallium Skies and I See Houses. Those two songs I just mentioned are Ashcroft-penned, along with Rather Be, Love Is Noise, and Applachian Springs. Davide Rossi, who worked with Coldplay on VLV, came in early on for the majority of the tracks that are Verve-centric in sound and quality, on strings. Thing is you can barely hear them on the record (which I find is a good thing but Rossi is a talented guy). Tim Bran was the main producer from the beginning from what I understand, but later on was either replaced or set aside by Ashcroft to make room for Chris Potter, who came in and brought the MOR tinge to some of the tracks. The band (particular Si Jones and Nick) and Richard were constantly on strife in terms of the album's direction. Nick and Si fought tooth and nail to get Columbo on the album, which is concerining considering what Ashcroft decided to shove into the album rather than the overly exceptional and actual Verve like tracks that are bonus. Much more in a sense, Forth is basically Urban Hymns Part 2. You have several tracks that are straight up Verve-like, albeit not as good as ASIH or ANS era jams, but still solid. Then you have the Ashcroft tunes, but this time around the lyrical content is very lackluster. These songs are allievated easily by the band, gives them a new atmosphere and something that is severly missing in Ashcroft's solo project. Rather Be and Appalachian Springs are two examples. Terrible lyrics, but amazing production (Rather Be is abit too poppy for me, but still sounds way better than anything on Keys to the World). The dancey track you mentioned I would guess is 'Love Is Noise', and I do agree with you. Never was the biggest fan of it Verve wise and it sounds like a solo Richard song featuring Nick and co. phoning it in, plus the vocoder gimmick is lame. I don't get it's appeal on here as "great" as I find it mediocre in the sense of the standard the band themselves set, but it is very catchy and a decent comeback single - compared to the bullshit I got from the Roses with All For One. Basically Forth is a giant missed opportunity, and yes, I blame it on Richard sabotaging the project because he once again lost faith in being in a band. In 2007, the band played classic songs live like Gravity Grave, A Man Called Sun, etc. yet in '08 it was basically the greatest hits of Urban Hymns and the album didn't even get a tour! Here's my proper tracklist for Forth: 01 Sit and Wonder 02 Numbness 03 All Night Long 04 Mover 05 Columbo 06 Judas 07 Rather Be 08 Blue Pacific Ocean 09 Muhammad Ali 10 Applachian Springs I will tell you that much of the praise Forth gets on here comes from the fact how bland and forgettable Richard's solo effort has been. The guy definitely is delusional to think that tracks like 'Born Again' and 'She Brings Me The Music' is better than 'Appalachian Springs'. P.S: Can someone tell me if there is any appeal to Noise Epic? I've always found that to be the worst track on the album. Is that brickwalled 2nd half supposed to be incoherent for added effect? One thing the rest of the Verve could do to the obvious Richard solo songs was dilute its sickly sweet over the top melodrama. I listened to the new Ashcroft album and I just wonder what's going on in his head - it's bland music at its blandest. He needs to swallow his pride and collaborate with real musicians again - I.e. The Verve. I like Forth, but as your alterntpative tracklist suggests, it should have been a much better album. Also given the fact they made it in less than a year after reforming, I think with a bit more time they could have made an even more focused album. I'm under the assumption that Richard's mental issues are what drives him away from The Verve and gives him false ideas of a successful solo career. He surrounds himself with yes people and decides to take full credit of Urban Hymns which in of itself is selfish and egotistical. I find his solo endeavors a waste of talent because among his peers is where he shines as a artist. |
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Post by Manualex on Oct 24, 2016 21:38:08 GMT -5
One thing the rest of the Verve could do to the obvious Richard solo songs was dilute its sickly sweet over the top melodrama. I listened to the new Ashcroft album and I just wonder what's going on in his head - it's bland music at its blandest. He needs to swallow his pride and collaborate with real musicians again - I.e. The Verve. I like Forth, but as your alterntpative tracklist suggests, it should have been a much better album. Also given the fact they made it in less than a year after reforming, I think with a bit more time they could have made an even more focused album. I'm under the assumption that Richard's mental issues are what drives him away from The Verve and gives him false ideas of a successful solo career. He surrounds himself with yes people and decides to take full credit of Urban Hymns which in of itself is selfish and egotistical. I find his solo endeavors a waste of talent because among his peers is where he shines as a artist. I only saw the UH + Greatest hits sets on Coachella and Glasto, what shows did they play gravity grave and other earlier stuff? |
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Post by glider on Oct 24, 2016 23:46:02 GMT -5
I'm under the assumption that Richard's mental issues are what drives him away from The Verve and gives him false ideas of a successful solo career. He surrounds himself with yes people and decides to take full credit of Urban Hymns which in of itself is selfish and egotistical. I find his solo endeavors a waste of talent because among his peers is where he shines as a artist. I only saw the UH + Greatest hits sets on Coachella and Glasto, what shows did they play gravity grave and other earlier stuff? On YouTube just search Verve Gravity Grave 2007. In the first year of the reunion they played alot of ANS era material and several other oldies. Already There, A Man Called Sun, Gravity Grave, All in the Mind and I think that's about it. |
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Post by mystoryisgory on Oct 25, 2016 0:58:31 GMT -5
So I'm sitting here listening to Forth properly for the first time, and I must say, I'm not that impressed. It's a very long and meandering album, with little of the excitement or alien weirdness that characterized their previous work. We get very few Nick McCabe grooves, more like just him fiddling around making textural sounds that are nowhere near as engrossing as the maelstrom that he was once able to summon. The last bit of Noise Epic shouldn't be the most exciting part of the album. In fact, the aesthetic itself is too clean and not aggressive or dirty enough. We also get some weird disco-rock thing that is the most un-Verve song that The Verve have ever released. And we get some dreadful Richard solo songs masquerading as Verve tunes. However, despite all of this, I must say that Forth is a million times better than anything that Richard has put out on his own. For that reason alone, I would like The Verve to reform for the fourth time just to save us from another sickly sweet Richard solo album. But other than that, I can't really get behind another Verve reunion because I can't see them doing anything better than this. I mean, I really want to like this album, but for some reason it hasn't grabbed me in the same way everything else they've done has. Perhaps glider can point out the great things I've missed? Forth's tracklisting went through hell, as did the whole album. The album itself is all over the place in what it wants to sound like which hinders the Verve's potential at the time. If you listen to the Thaw Session, All Night Long, Blue Pacific Ocean, Chic Dub, Muhammad Ali, these jams and bonus tracks mentioned never even made it in some form onto the album, which absolutely is ridicouclous considering how much they shit on the tracks that made it like Vallium Skies and I See Houses. Those two songs I just mentioned are Ashcroft-penned, along with Rather Be, Love Is Noise, and Applachian Springs. Davide Rossi, who worked with Coldplay on VLV, came in early on for the majority of the tracks that are Verve-centric in sound and quality, on strings. Thing is you can barely hear them on the record (which I find is a good thing but Rossi is a talented guy). Tim Bran was the main producer from the beginning from what I understand, but later on was either replaced or set aside by Ashcroft to make room for Chris Potter, who came in and brought the MOR tinge to some of the tracks. The band (particular Si Jones and Nick) and Richard were constantly on strife in terms of the album's direction. Nick and Si fought tooth and nail to get Columbo on the album, which is concerining considering what Ashcroft decided to shove into the album rather than the overly exceptional and actual Verve like tracks that are bonus. Much more in a sense, Forth is basically Urban Hymns Part 2. You have several tracks that are straight up Verve-like, albeit not as good as ASIH or ANS era jams, but still solid. Then you have the Ashcroft tunes, but this time around the lyrical content is very lackluster. These songs are allievated easily by the band, gives them a new atmosphere and something that is severly missing in Ashcroft's solo project. Rather Be and Appalachian Springs are two examples. Terrible lyrics, but amazing production (Rather Be is abit too poppy for me, but still sounds way better than anything on Keys to the World). The dancey track you mentioned I would guess is 'Love Is Noise', and I do agree with you. Never was the biggest fan of it Verve wise and it sounds like a solo Richard song featuring Nick and co. phoning it in, plus the vocoder gimmick is lame. I don't get it's appeal on here as "great" as I find it mediocre in the sense of the standard the band themselves set, but it is very catchy and a decent comeback single - compared to the bullshit I got from the Roses with All For One. Basically Forth is a giant missed opportunity, and yes, I blame it on Richard sabotaging the project because he once again lost faith in being in a band. In 2007, the band played classic songs live like Gravity Grave, A Man Called Sun, etc. yet in '08 it was basically the greatest hits of Urban Hymns and the album didn't even get a tour! Here's my proper tracklist for Forth: 01 Sit and Wonder 02 Numbness 03 All Night Long 04 Mover 05 Columbo 06 Judas 07 Rather Be 08 Blue Pacific Ocean 09 Muhammad Ali 10 Applachian Springs I will tell you that much of the praise Forth gets on here comes from the fact how bland and forgettable Richard's solo effort has been. The guy definitely is delusional to think that tracks like 'Born Again' and 'She Brings Me The Music' is better than 'Appalachian Springs'. P.S: Can someone tell me if there is any appeal to Noise Epic? I've always found that to be the worst track on the album. Is that brickwalled 2nd half supposed to be incoherent for added effect? So I listened to the Forth b-sides, and good God, was this album's tracklist fucked up! Mover and Blue Pacific Ocean are better than anything on the album and I think that's the first time I've ever said something that grand about the b-sides of any band! Which says a lot considering that songs like The Masterplan exist. Even The Thaw Session, the formless jam that it is, is more enjoyable than most of the songs on Forth! Holy fuck, where did it all go wrong??? Forth itself is starting to grow on me, and songs like Sit and Wonder, Love Is Noise, and Noise Epic are starting to grow on me. (and to answer your question about the appeal of Noise Epic, I like it solely because it feels like the last section is the only time that anything on this album actually HAPPENS!! Other than that, it's pretty forgettable, and hardly lives up to its title.) However, it still feels strangely vacuous, like the sound of a band that's run out of anything to say. There's no energy to it whatsoever, and there's none of that heart-wrenching sadness and insanity that defined A Northern Soul and Urban Hymns. No sounds that recognize the pain in them, yeah! It's really unfortunate that this is the case, especially since this is a comeback album, and bands usually only sound like this after they've released 6 or 7 albums without long delays. I think it has to be something about the production that's causing this: something about it just makes it seems so..... empty. I can't tell if it's how it's recorded, the performances, the mixing, or the mastering that's causing the problem, maybe it's a mixture of all four. Chris Potter (and by extension, Ashcroft) is probably to blame for this; no doubt once he replaced Tim Bran, he proceeded to suck all of the groove and energy out of the songs as much as he could. Come to think of it, his production on Urban Hymns is a bit too smooth (but at least it has some really cool textures), and his work on the Ashcroft solo albums is the aural equivalent of injecting shoeshine into your veins. But while it's easy to blame Potter, I can't help but think that the problem lies with The Verve themselves (and not just Richard, mind!), and that they truly have lost their ability to make compelling records. Sigh....maybe I was expecting too much from a band whose singer thought that Keys to the World was in any way worth releasing. |
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Post by Deleted on Oct 25, 2016 9:10:17 GMT -5
I've read Liam saying Lee Mavers was a bit "mad". Can someone give more info about that? I know he's a perfectionist but I don't really know anything else. guigsysEstring ? |
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Post by guigsysEstring on Oct 25, 2016 9:39:01 GMT -5
I've read Liam saying Lee Mavers was a bit "mad". Can someone give more info about that? I know he's a perfectionist but I don't really know anything else. guigsysEstring ? There's a lot that can be written about Lee Mavers but the essential bullet points are he released one album as The La's that he personally hated, has allegedly recorded hundreds of mostly unheard songs that those who have heard them call "genius", and has been a virtual recluse for much of the last two decades occasionally popping up briefly to perform before vanishing again. There are conflicting stories of how much is actually true, although financially speaking even back in 2000 Lee was reportedly earning £3,000 a month from 'There She Goes' in PRS Royalties so from that angle there is little incentive for him to release fresh material, particularly in light of the weight of expectation that would be upon it. Matthew Macefield tracked Lee down in 2003 for a previously rare and quite expensive book called "In Search of the La's which was covered in the Guardian to give you a starting point- The Guardian 2003 I believe the book has since been republished though. For another take on Lee's personality here is a recent interview with La's co-founder and early songwriter Mike Badgers whose own book gives some generous insights into the man (Lee)- Get Into This 2016The Anfield Wrap also gives a good if abridged version of Lee's life and career- Anfield Wrap 2011 A generous article considering as they admit Lee like myself is a devout Evertonian!  EDIT- A reprint from the-la's forum of an NME 1990 interview called "This Could Be The La's Time" where Mavers opened by dismissing the LP completely with the opening line “I hate it, it's the worst. A pile of shit. There is not one good thing I can find to say about it.” NME via The-La'sLet me know if you want me to dig out my book or any other material on reading those links and I'll see what I can do  |
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Post by Deleted on Oct 25, 2016 9:54:50 GMT -5
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Post by Elie De Beaufour 🐴 on Oct 25, 2016 10:41:42 GMT -5
I'm sure Hansi Kursch is not the first person to walk into a recording studio, sing a few 'woah-oh-oh-oh's like he's dying and leave again as he did Iced Earth's last album. Track? Among the living dead
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Post by mimmihopps on Oct 25, 2016 12:01:49 GMT -5
I've read Liam saying Lee Mavers was a bit "mad". Can someone give more info about that? I know he's a perfectionist but I don't really know anything else. guigsysEstring ? Mavers made madness of his own madness by his own work - The La's only one album. |
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Post by Derrick on Oct 25, 2016 14:17:43 GMT -5
has allegedly recorded hundreds of mostly unheard songs that those who have heard them call "genius" This is the usual cliché about unreleased music by rock (or pop, etc.) icons; I always take that with a pinch of salt as it actually sounds more like "I've had the privilege to hear it, & it's all the greater because you haven't", i.e. sheer snobbery. That doesn't mean Lee Mavers' unreleased stuff isn't good, but until we get to hear it we won't be able to separate the truth from the hype. Thanks for your detailed info about Lee Mavers anymay! |
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Post by guigsysEstring on Oct 25, 2016 14:34:02 GMT -5
has allegedly recorded hundreds of mostly unheard songs that those who have heard them call "genius" This is the usual cliché about unreleased music by rock (or pop, etc.) icons; I always take that with a pinch of salt as it actually sounds more like "I've had the privilege to hear it, & it's all the greater because you haven't", i.e. sheer snobbery. That doesn't mean Lee Mavers' unreleased stuff isn't good, but until we get to hear it we won't be able to separate the truth from the hype. Thanks for your detailed info about Lee Mavers anymay! True, hence the quotations marks as I certainly haven't heard any of the music- the book "A Secret Liverpool: In Search of The La's" is a good read purely for the moments it portrays Lee Mavers as a family man with (at the time circa 2003) young children living in an ordinary semi-detached sans guitars, posters or paraphernalia which is quite a world away from the image being portrayed of him in the mid nineties and early noughties. You're welcome btw |
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Post by mkoasis on Oct 25, 2016 21:08:07 GMT -5
I've been a Smiths fan for nearly 15 years and until now I've never listened to the Rank live album. Definitely a good listen. I'm on the Draize Train right now, can't believe I've never heard this before.
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Post by Deleted on Oct 26, 2016 10:19:23 GMT -5
The first album I fell in love with was.."Ocean Rain" by Echo and The Bunnymen. I was around 3 years old when it completely blew my mind...
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Post by Elie De Beaufour 🐴 on Oct 27, 2016 16:18:08 GMT -5
Bryan Adams eat your heart out:
(Tony must run a shit load of marathons)
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Post by mkoasis on Oct 28, 2016 0:02:03 GMT -5
Listened to an album today I was given by a friend. The album was by The Futureheads. You may remember they had a bit of a hit back in 2004 with Decent Days and Nights. Well, this is that album and I have to say I am really impressed. It's a terrific British new wavey punk for modern ears kind of record, 15 tracks many of which at the 2 min mark or less. Don't know if they made any other albums but I really like this. Recommended - if you're into this sort of thing.
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Post by Deleted on Oct 28, 2016 11:11:46 GMT -5
This is an improvement on both songs frankly... it's really well done... a right jam frankly...
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Post by Deleted on Oct 28, 2016 16:29:18 GMT -5
Is it weird if I have an acquaintance that looks remarkably like Richard Ashcroft on his young days? |
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Post by andybellwillring on Oct 30, 2016 4:53:40 GMT -5
The Magic Whip was pretty good eh?
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Post by Deleted on Oct 30, 2016 6:16:32 GMT -5
The Magic Whip was pretty good eh? For me, it's their worst. And I'm not the biggest fan of most Blur albums. |
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Post by Frank Lee Vulgar on Oct 30, 2016 7:14:28 GMT -5
I love the standouts from The Magic Whip (Ong Ong, Lonesome Street, Terracotta Heart...) but I feel like it could have done without the huge amount of slow sad tunes - that's what Damon's solo album is for.
Then again, Blur have never done an album without some appalling filler tunes, except MLIR and Parklife.
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Nov 4, 2024 5:04:30 GMT -5