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powerage78
Some members here wanted to kill me when I spoke of opportunism and desire to monopolize media attention ! Well...
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Hairball
Received an email from Merchbar earlier, and seems yet another version of the vinyl for pre-order.
I don't think that's the cover (?), but price is higher compared to purple and orange version, and looks to be good old fashioned black vinyl. Ghost Town Maybe has a b-side and/or is a remix version?
Whats odd is that all other versions (and the t-shirts) on the site are listed as "in stock", whereas on the official website all are listed as pre-order w/various shipping dates...
Whatever the case, only one song...gotta make the most of it one way or another - including a t-shirt.
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Nikkei
If they are planning on having a hit single by their own standards they should return to the tambourine on the 1 and 3
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Rockman
I want a real fine car ... fly Miami too
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DoxaQuote
Rockman
I want a real fine car ... fly Miami too
All the rum, I want to drink it, all the whiskey too
- Doxa
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GasLightStreet
The more I listen to it the better it gets.
It's the best thing they've released in years. In terms of being modern, it's better than Undercover Of The Night, which is a pretty killer song, really.
I think what makes it work fantastically is that it's not IN YOUR FACE, it's got a lot of room and a great melody.
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GasLightStreet
The more I listen to it the better it gets.
It's the best thing they've released in years. In terms of being modern, it's better than Undercover Of The Night, which is a pretty killer song, really.
I think what makes it work fantastically is that it's not IN YOUR FACE, it's got a lot of room and a great melody.
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GasLightStreet
The breakdown, with the janky guitar and the keyboard bouncing around, and then one strum of what sounds like a hollowbody guitar that gently comes in before Charlie comes back in, is a fantastic aspect of the tune: it has elements of the keyboard break (even better in the remix) of Miss You, while also having a bit of 'use the studio' layering from UNDERCOVER: they're paying attention to the production for what seems like the first time in, well, a lot of the songs have basically been a carpet bomb since 1983.
Laugh... is the closest thing I can think of that isn't, and then you get into some of the other well produced songs like How Can I Stop, Thief In The Night, You Don't Have To Mean It, ASMB?, Brand New Car, Blinded By Love, Break The Spell, I'll include Harlem Shuffle in this because it does sound like the only song they really worked on for that shyste of an album, Feel On Baby, Too Much Blood, All The Way Down and Tie You Up where you can tell they paid a good bit of attention to what was going on.
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GasLightStreet
The breakdown, with the janky guitar and the keyboard bouncing around, and then one strum of what sounds like a hollowbody guitar that gently comes in before Charlie comes back in, is a fantastic aspect of the tune: it has elements of the keyboard break (even better in the remix) of Miss You, while also having a bit of 'use the studio' layering from UNDERCOVER: they're paying attention to the production for what seems like the first time in, well, a lot of the songs have basically been a carpet bomb since 1983.
Laugh... is the closest thing I can think of that isn't, and then you get into some of the other well produced songs like How Can I Stop, Thief In The Night, You Don't Have To Mean It, ASMB?, Brand New Car, Blinded By Love, Break The Spell, I'll include Harlem Shuffle in this because it does sound like the only song they really worked on for that shyste of an album, Feel On Baby, Too Much Blood, All The Way Down and Tie You Up where you can tell they paid a good bit of attention to what was going on.
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Four Stone WallsQuote
GasLightStreet
The breakdown, with the janky guitar and the keyboard bouncing around, and then one strum of what sounds like a hollowbody guitar that gently comes in before Charlie comes back in, is a fantastic aspect of the tune: it has elements of the keyboard break (even better in the remix) of Miss You, while also having a bit of 'use the studio' layering from UNDERCOVER: they're paying attention to the production for what seems like the first time in, well, a lot of the songs have basically been a carpet bomb since 1983.
Laugh... is the closest thing I can think of that isn't, and then you get into some of the other well produced songs like How Can I Stop, Thief In The Night, You Don't Have To Mean It, ASMB?, Brand New Car, Blinded By Love, Break The Spell, I'll include Harlem Shuffle in this because it does sound like the only song they really worked on for that shyste of an album, Feel On Baby, Too Much Blood, All The Way Down and Tie You Up where you can tell they paid a good bit of attention to what was going on.
Loops ...
I agree with your first paragraph, strongly.
Wrt Dirty Work Album I think they worked on' quite a lot of the tracks - to good effect Imo. HS, One Hit, Winning Ugly Back to Zero. Others are notso 'worked on ' but they are spontaneous and fun .... Dirty Work, Had It With You, and I like, Hold Back.
Whatever you think Of DW album we can agree that songs don't have to be 'worked on' to have value/authenticity etc.