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  1. 9 points
    When I wrote this album I knew that a lot of this would emerge. The reality is that many are stuck in the past and can’t get beyond what they perceive as what my “sonics” should be. Songwriting is not paint by numbers. My favourite song is Tangled Up In Blue by Bob Dylan - a song of verses, amazing lyrics, but no choruses, and no massive sonic shifts. Storytelling is an art. A Thousand Tons, for example, tells a story, and how it’s musically arranged matches it. Explosions or “big finishes” etc are not the point. The emptiness that it suddenly returns to is the point. The reality is the “typical” course of action is deferred to as “what should be done” rather than attempting to seriously examine how the song imparts a message. I have, over the last few months, contemplated retiring. I have confronted what actors must endure with regards to type casting, and given my age and the fact that I can just make music at home for myself and my friends, it might be more fulfilling. I’m almost 50 and have zero interest in making consecutive Beautiful Midnights, etc. That was decades ago. And even those albums since, especially the last one, were written without facing any internal compulsion to change. And that’s on me. After Lights, I should have just kept going. When I sat down and wrote Arrows it was just easy. I’d seen the dissatisfaction on the faces of concert goers on the Lights tour and knee jerked. It’s something I should never have done. The same is true of Chaotic Neutral which should have sustained the vibe of Harridan, Tiger, Cold Water, Los Alamos, etc, without the interjection of “rock songs”. Again, that’s on me. At some point you’ve got to look at yourself and make a decision. The knee jerk reactions that occur given significant successes decades ago cannot be the present. In fact, in many cases, they should never have remained in your subconscious and turned you away from going somewhere else. In the end, given music today, all of this is basically pointless. Artistry has no worth. For a monthly fee on a streaming service you can listen to whatever you want. Ask a plumber to work for $8.99 a month and they’d laugh at you. Reading comments complaining about ticket prices is also rather hilarious when you think that people pay over $100 to see a stadium show sitting in the nose bleeds. It’s all relative, and to me all very perplexing and disheartening. Leonardo da Vinci's Salvator Mundi sold for $450 million dollars in 2017. It is the most expensive piece of art ever sold. To me, Mozart is worth no less. In truth, his collected works, given the impact they’ve had, are worth vastly more. But you can download all of Don Giovanni for the price of a monthly music subscription. What artists do is not pedestrian. Were that the case, everyone would be an artist. There is good and bad art, art is subjective. There are artists whose genius is not realized in their lifetimes, there are artists whose genius alters the discourse of entire generations during their lifetimes. There are catchy tunes that are massive hits that are laughed at a decade later. There are albums that sell next to nothing that spread like spider webs to influence thousands in the deepest recesses of their soul. The most important aspect of art is, in truth, not how it initially impacts us, but how it challenges us intellectually and spiritually to succumb to something we are not so easily accustomed to. Satiating the masses at any given point given popular methodologies is not difficult. Challenging individuals to discover something buried within them that transverses the barrier between instant gratification and the longevity of a love affair is not the goal of an artist, but the dream of every artist. Because to accomplish the latter is to leave a legacy. In the words of Marcel Duchamp - “What art is, in reality, is this missing link, not the links which exist. It's not what you see that is art; art is the gap.” So mind the gap.
  2. 8 points
    Alright folks, here it is. My apologies for the length of time it took to get this shared, btw. It was recorded on July 4th, but I just got busy with life and work. That's not to mention that because I'm a nerd I wanted to create an intro for this to kind of commemorate how special an album I honestly believe it is, so that also took a couple days on top of all the uploading problems I had with this video due to the length. Given that it's my first time doing anything like it I'm sure it'll come off kind of corny, but regardless I figured I might as well get some practice. You'll probably need to adjust the volume levels at first as my narration came out a little louder in the final conversion than it was in the editing program I was using and I am not going back to redo it after all the time it took to convert and upload this to Youtube, lol. As the title suggests the main focus of the interview is LOTGA, but it's also just a really informal chat between two people who hadn't talked for a long time. In fact, despite the fact that I throw out a few questions here and there, I wouldn't even call it an interview as much as I would just a video podcast of sorts. Both John and Ian seemed like they were having a good time conversing which was fantastic (because I wasn't exactly on top form for interviewing people anyways, as you'll probably notice). Plus, more to the point, I didn't want to interrupt that flow much because them just informally talking back and forth led to a lot of interesting conversation where they actually answered questions I was going to ask before I even had the chance to ask them, haha. Lastly, this is sort of just part 1. I'm going to be interviewing Ian again this Sunday where we'll cover everything under the sun after LOTGA, up until the present regarding his time after MGB too. So when that's done I'll share it too. And of course, again, a "huge" thanks to Ian and John for doing this.
  3. 7 points
    Greetings All! This is John Shepp, Producer/Engineer/Multi-instrumentalist. I know, too many hats to wear. On July 1, 2020, it will be exactly 25 years to the day the lead off single "Alabama Motel Room" was tracked at Utopia Parkway Studio B. It was one of the last songs we recorded in the span of time between early 1994 (a year and a half) and completion some time in August of 1995. Three different band lineups, an award winning demo (Euphony), an EMI publishing deal, a management deal, a ground breaking indy debut, a record deal... and poof, the Astronaut was launched to become the Underdog. You know I've never told my part of this story to the interwebs, just to people who wanted to know. Perhaps I should?
  4. 5 points
    Alright. Finally done. Again, my apologies for the delay to the few people who might have been waiting for this. Hopefully it's enjoyable. Anyways, I'm tired so I'm going bed now. I'll be back tomorrow afternoon to clarify a few things. Hope everyone is well. Edit- Okay, so- a few clarifications and explanations for anyone who might wonder: -As I note in the introduction, most of this interview is focused on Ian's time with MGB, hence why I shared it in the MGB section on the Bored here again. -We had some technical problems connecting on FB Messenger originally so before the recording starts we were actually talking on the phone a little. Part of our discussion touched on Edward Snowden and cell phones which is why I was laughing a little at the start of the interview. Ian had mentioned he's not a fan of using FB Messenger in general for private conversations which is why we had trouble connecting at first. I thought we were going to have to try and connect on Google Hangouts again, but he simply realized he had to enable the microphone and camera on FB Messenger and that's the point where the interview starts recording. -From about 1:10:00 to 1:21:30 the video becomes rather choppy. I believe this is simply a flaw that occurs in the conversion upload process to Youtube because that was not in the original version we recorded. It passes after about 11 minutes. -Big shout out to Chad for letting me use picture content from his website that I spliced into the interview. I also used a little bit of video content (without audio) from his Youtube channel. -Like the last one I think the vast majority of this interview stays on a positive path of reflection and I was glad for that. The last thing I would ever want to do as someone who is grateful for the music that Matt- and everyone he has ever worked with- has helped create, is facilitate and produce something that causes any more unneeded tension between people. It's been a crappy enough year for most people (especially Matt based on his Instagram posts) and I wouldn't release this if I thought it would cause him or anyone else to feel angry or bad in general. Again, I think the vast majority of this interview is positive. And yet, as is the case when people talk for hours on end about a large time period of their life, not "everything" is reflected on in a way that is 100 percent positive, and I think that is definitely understandable. After all, very few people are lucky enough to be able to look back on their lives and be happy or content with "everything" that happened. With regards to the very small amount of content in this interview that wasn't 100 percent positive, the question I had as the producer and editor of this was whether I had the right to edit someone else's freedom of expression in the name of preventing any possible extra tension in the future. Now, in the previous interview all three of us agreed there were a couple small parts that were best edited out. Given what happened literally a week later we definitely made the right choice. In this interview, upon review, there was nothing Ian flagged that he felt needed to be edited out. However, there is a small section in here where Dave's influence on the music is discussed. Most of it is positive, but there is a little that is not completely positive and I'll admit I was uneasy about leaving it in because I am never comfortable discussing someone else when that specific person is not around to offer their own perspective on everything as well. However, everything that was discussed has, for the most part, already been discussed publicly by both Matt and Dave, so that played a part in why I chose not to edit it out. Likewise, that's why I included a small section of Dave's talk at 1:35:00 that he gave at the Nimbus School of Music back in 2016 where he discussed his time with the band a bit. As I said when I originally shared the full link to the talk on the Bored here over 3 years ago, I thought he came across as very humble, mature, introspective, and even somewhat regretful. Lastly, in the end I ended up leaving in the full section about Dave because to have edited it out would have meant editing out Ian clarifying that he didn't feel it was really accurate for himself to have been lumped in with Dave as having been around simply because he was supposedly only interested in money at that time period. Indeed, Ian took the time to do this with me and since he has never really spoken publicly about that time period I felt it would have been rather unfair to cut that section out. Ultimately I was glad that specific part of the interview is immediately followed by an interesting discussion about Dave's positive influence on the albums too. Anyways, while it might seem strange to some people, that is also why I'm posting the entire interview that he (Dave) did as well back in 2016- because if someone is going to be discussed I think it's only fair to share their perspective too: -All that considered, I know in the past that Matt has commented how he is not crazy about the fact that people sometimes focus on the past at the expense of the present, and that is completely understandable too. As such, I hope that me posting all of this here doesn't bother him because I honestly believe the majority of us here are able to appreciate both the past and the present at the same time (in most cases). Aside from the fact that Ian is just a really interesting and easy guy to talk to, the fact that we've never really heard much from him about his time with the band was also another reason why I felt this was worth doing and sharing. Anyways, as usual if anyone has any questions feel free to share them and I'll do my best to answer them. Cheers.
  5. 5 points
    Really didn't expect Matt to play a 25 minute rendition of Rico.
  6. 4 points
    As an exercise over the years, I've designed a ton of (alternate) album art, some using other artists' materials, some entirely self-generated. If you've ever seen that Cold Harbor cover with the blacked out figure looking at a ship, that's one of mine-- though embarrassingly bad since I wasn't an art director yet. I figured I'd drop them in here for the only group of people who'd really be interested. Enjoy.
  7. 4 points
    There are no words for it in this moment. Go. Listen. https://www.matthewgood.org/datlight-actual
  8. 4 points
    Metal Airplanes Strange Days Radicals Alert Status Red Fine Art Born Losers Load Me Up Parts Rabbits Time Bomb Tripoli Appartions Selling You My Heart
  9. 4 points
    I'm going to drop some live shows in the download section throughout the week. Trying to get shows Rich was a part of. Some may have them, some may not. Will likely start this tonight.
  10. 4 points
    The first run of CD's had the well known misprint of the word Ghetto as Ghello, but did you know it also had Matt's birthday, MGB290671? That's today, so happy 49th birthday Matt!
  11. 4 points
    Today is my son's birthday... he would have been 11. We're having Kraft Dinner (Mac and Cheese) with chocolate cake for supper. Some of his favourite foods. It also happens to be autism awareness day, he had Asperger's. He loved video games. Mine-craft, Super Mario, Zelda (Breath of the Wild), Pokemon. I introduced him when he was 3 years old. He started with Mario 3 on GBA. He beat Breath of the Wild when he was 8 years old. He also loved the music from video games. He would sit in the van with the GBA to his ear listening to the music from the Final Fantasy Beastiary. He also liked the music from Undertale and Chrono Trigger. It's a good day though you know. Life is good, don't take anything for granted.
  12. 4 points
    Matt's father passed away last night. Matt announced that he intends to go on with the tour. Much respect to Matt and my thoughts and prayers go out to Matt and his family.
  13. 4 points
    For certain reasons, I can't provide footage from the show. However, I have uploaded one track from the show as an unlisted video on YouTube for the members of this board. Please do not circulate or share this link outside of this forum. Haven't Slept In Years - Cheers
  14. 3 points
    For Matt's health I am very okay with this move. Yes I was looking forward to it, but it was not looking to be safe the way things are going.
  15. 3 points
    “Even if that comment was admittedly a little ironic for a guy who seems to get his news almost exclusively from an outlet as far left as The Gaurdian.” I wrote for the Guardian and they syndicated my blog for years. George Monboint writes for them as well, and man would I love anyone here to get into an argument about climate change with him - the noted “lefty that he obviously is.” The Guardian broke Snowden - and if you’re of the opinion that the information he leaked was not absolutely quintessential with regards to public knowledge of highly illegal actions - you’re either a fool or too dim witted to understand it. But I have subscriptions to The Atlantic and other “intelligent” conservative publications as well. My comment on political polarization was dead on. And it’s something I believe in strongly. I am neither a proponent of the left or right. I believe reason is quintessential to properly tune out the nonsense of polarization. Right and wrong exist in this world. What does it matter who reports it if it objectively calls wrongdoing out? To say I get my information wholly from the Guardian - as an example of a singular accusation- is to say that I support its position on what took place in Charlottesville. And I absolutely do. An innocent woman was killed and the night before, in a nation that helped defeat National Socialism, people were marching torches in hand, as if at Nuremberg, chanting “Jews will not replace us.” So what wholly “objective” source out there had a better take on those events? Only those that pander to those that support hate - and that is not journalism. I don’t agree with all of the paper’s content, there’s been many occasions that I’ve disagreed with OpEds. But, given these ridiculous times, one does not think before using a single publication to paint a entirely one sided picture. And isn’t that just the height of intellect.
  16. 3 points
    bit.ly/MGSessionsLive I got a ticket quick this time. Different site but guessing can still sell out again. Only $15 and there's an email address to submit song requests. Should be fun.
  17. 3 points
    Tested Negative!!! But damn was that uncomfortable.
  18. 3 points
    Sorry to hear some of you were having issues with Sessions - sound was crystal clear for me throughout. The set: 1. Sort of a Protest Song 2. Empty Road 3. Born Losers 4. Hello Time Bomb 5. Beauty 6. Radicals 7. Load Me Up 8. Advertising on Police Cars 9. Selling You My Heart 10. Fated 11. Strange Days 12. Parts 13. Apparitions I reckon if the bottle of bourbon was left in the garage with Matt so he could refill his glass, he'd still be playing! He seemed to be having a good time and sounded great.
  19. 3 points
    Thanks, William. Glad u enjoyed it Anyways, I tried uploading the new one 3 different times today straight from VideoPad and had no luck, unfortunately. Gonna try a few different things tomorrow. In the meantime- just as a teaser for anyone waiting- I figured I’d share 2 things. The first is the intro I created for the actual interview. I uploaded it to my personal channel last week after finishing it so I could review it myself. As will be noticed by some, the intro is of course composed of clips from a lot of different sources. I don’t know if it’s necessary but regardless most of the substantial clips will be linked and credited in the final and full video that is eventually published. They include Chad’s clip of AOE playing live, the article I quote discussing the importance of drummers, Andy Herrin’s interview with Ian from earlier this year, and the full video of the clip I use at the end of this introduction (on top of the EITS and BW video referenced too). The second is just a 6 minute clip of Ian discussing Apparitions and what the song writing process was like in MGB. And of course, the actual, full finished product though will be on the same channel I published the first interview on (Reveries) and not this channel I’m sharing here. It’ll clock in at around the 2 hour and 10 minute mark.
  20. 3 points
    Here it is kids! Be advised no audio in this video for legal reasons, and it should generate a few questions.
  21. 3 points
    Hi Adam, I'm glad this whole topic has been well received by the fans of MGB. The great thing about the interview was the stuff that was uncovered that perhaps had forgotten. I think given the timeline, the new line up (power trio or with Dave Genn) had a good period of time to gel and define a style. At first the reference points rhythmically were far from the more progressive folk of the previous incarnation of the band, throwing a lot more Police and Pixies into the mix. With Dave in there, this was glued. So the song titles in the vault are as follows: Last of the Ghetto Astronauts: 1. Revenge (very radio friendly uptempo track with Charlie on the drums) 2. Not What You wanted (slacker anthem, laid back and loose) 3. Leaving On A Hijack Jet Plane (Similar to Radio Bomb, a lot of humor and silliness, great drum groove, definitely a b-side) 4. If The Desert Was The Ocean (another downtempo song, the lyrics start with the line "Dolphins don't go the Heaven, they're not allowed") 5. Endless Slow Poison (Total Power trio rocker, sounds like the offspring of Alabama Motel Room and Haven't Slept In Years) No Dave on this one, just loads of guitars. ====================== The Lost Album: 1. Black Penny (Very dark and brooding, progressive song about Social Inequity, dense lyrics) 2. Awkward (the heaviest song on the record, some Alabama in there as well, but the bridge becomes a platform for Steve Codlings piano) 3. The Navigator (Amazing lyrical folk pop song, loads of cello, was intended to lead in to Joe's in Trouble from Euphony reused. We even had a seperate multitrack reel to do this) 4. Ceiling Song (Tongue in cheek song about the thoughts of a "Sunday bored little kid" with a Chorus that's just "Yeah Yeah Yeah" Given the way alot of Milenial music uses this type of hook, it was way ahead of it's time) 5. Wherever We May Go (Change of Season, Apparitions, Symbolistic, etc. Total power ballad) 6. Twelve Second Tour (Similar to Black Penny, heavy, progressive, lyrically dense) 7. Never Let Me Down Again (Depeche Mode cover, big guitar solo section at the end) 8. Healers and Saints (Dylanesque guitar and vocal, lovely lyrics and sentiment Those are the studio recordings/masters that I retain that fall outside of the releases. I don't recall any recordings of any live dates the band did, in effect I was present at only a few shows as it was, including the Gate (Underdogs), Town Pump and Gastown Music Hall.That said, I know that when I was playing at local venues with my bands, we would always try to record the show, but that question would be better put to any members of the tour production crew the band used, rather than me. I think it likely they would be recordings. ========================= The Ghetto release does have several incantations. That's because at first it was an indie release distributed by Outside Music. Yes there were two version, or rather three, as the first had a misprint of the work Ghetto as Ghello. That release was having challenges in retail, because of the MGB title, so fans would ask for Matthew Good Band, but staff would not locate it. So, the full band name became the rejig you see on the second release, still under Outside. Eventually, the title would migrate through to A&M and UMG though I'm not sure when. When Raygun was released, it was intended for marketing in the US, but Private Music/Windham Hill ceased to exist, so it got absorbed into the Darktown label, which was the company Simkin and Co. set up to administer all aspects of the MGB and MG business, so Darktown is an indie label distributed at that point. I only have the cardboard version with the swirly grey CD art. Try not confuse EMI publishing with EMI the Record label, they are different entities. The result of all these versions is really a sign of the mergers that occurred during the 1990's and has resulted in some unique and different CD's. E&OE
  22. 3 points
    I'm just finishing the final touches on the intro to the interview tonight and will edit out just a couple seconds of material from various parts tomorrow. So hopefully I'll have this posted in the next few days if all goes well.
  23. 3 points
    I listened to Audio of Being yesterday while doing yardwork and thought alot of the MGB days. Such an awesome album. I feel so fortunate to meet all four members including Rich after seeing MGB for the first time in early 2001. RIP in Rich.
  24. 3 points
    Hey Tips no sweat, happy to say my say! The transition was not gradual at all. We had just finished mixing the Lost Album (actually I did most of it while the original lineup was on tour) then, boom, one phone call later, I was at Matt's apartment meeting Geoff Lloyd. I believe I didn't meet Ian that day but could be wrong. I believe Geoff relates this story in the memorial thread, about him being at Undertones and getting the call. At any rate the only orginal member on the newer material at that point would be Judy. LOTGA proper started in March of 1995, with the Charlie Quintana session, at which Charlie laid the song Revenge down, then a tambourine track, then Ian stepped in a delivered Fearless and Vermillion. Dave was there throughout and we cut some organ tracks on Vermillion and Revenge, the follow sessions were to overdub Steve Black's Piano on Fearless, Judy's cello, and Ian did the background vocals. Dave was a hired gun at first, but he was fully into it. and was really a big reason this album had legs, he added so much glue to the arrangements. Funny memory comes up. He'd always have to haul the organ rig from the Town Pump where it was stored and we'd hump it in. After hours of tooling re tooling the tracks we'd haul it all back into the van at 3am or some ungodly hour. He'd always say "Don't dont call me to come back and fix anything!" So essentially, when it became Ian, Geoff and Dave, we quickly forgot about the previous Lost Album material. Everything you hear occurred after the Charlie session, and ultimately, Charlie's contributions were forgotten too as Revenge was not in the final lineup. There we at the end three different sequences to what became LOTGA, at first it was something like 15 songs but it was eventually culled down to the final order you hear. Raygun happened likely out of a need to expose MGB to the US market, but there's been plenty said about the Private deal already, I have nothing to add there. When you look at the albums that MGB did after, well, Dave and Matt were collaberating then. But on LOTGA, the only co-write is Alabama Motel Room (Good, Lloyd,Browne) So still confusion about the band lineup? Euphony had Danny and Joe 15 hours and the Lost album had Ariel and Erin LOTGA had Geoff and Ian Judy was on all three The was a marked difference in the material on Lost, way more folk, way more lyrics. More Talk Talk than Pixies, and LOTGA had a blend between the two.
  25. 3 points
    Hey y'all, been awhile. This might be common knowledge at this point, I dunno, but I know some of you have been searching a long time for a lossless version of All Together. Well, I'm re-doing my music library and trying to plug holes, and just happened to find that 7digital.ca has FLAC All Together for sale! I don't know how long that's been there, but I had never found it before! There is also a live acoustic version of Prime Time Deliverance as a bonus track to Vancouver (likely from the same show as the other Vancouver digital acoustic bonus tracks). Go now, and send MG a couple of bucks so he can tour again when it's possible!
  26. 3 points
    I like Moving Walls, as a whole. But I freaking LOVE this new experiment. I went into the two new tracks thinking they might be similar to daylight actual and then I was completely blown away. More of this please.
  27. 3 points
    Thanks for posting this Daniel. So often on forums like these members just vanish and you never know what became of them. Did they lose interest, or just have less spare time to devote to their interests. It's hard to believe Travis is gone since it seems like just the other day we were at his place meeting him for the first time. Travis was a member here for a short while, but left a big impact. When I found clips of the footage he shot on the tapes I transferred for Geoff Lloyd's sister Sue, I was surprised to find that there appeared to be very good footage of several points of the show, and since it wasn't filmed by MUCH there may be a chance it might be accessible. But I had no leads on how to track it down. Miraculously a short time later, Travis stumbled upon his original tapes and decided to do an internet search to try and find the date of the show. When he did he found our forum here and our discussion about it. There are times in life where coincidence is so bizarre. As I later recanted to Travis, Sue had held onto those tapes for nearly 25 years before I was able to transfer and upload them. If she had held on just 6 months longer, Travis would have found his tapes, did an internet search, not found any of our discussion or footage and in all likelihood would have missed getting in touch with us all together. Conversely if Travis not stumbled across his tapes when he did with his tragic passing they would have been most likely lost forever. Travis was a fan of MGB growing up, but his musical tastes had diverged into different areas in recent years. But when he found out how much seeing that footage meant to Daniel and I, he immediately set into motion a set of circumstances that would allow it. He spent countless hours editing and always trying to improve the footage, with some great results. He then offered if Daniel and I were willing to travel to his place he would show it to us in the theater room of his apartment complex. He even offered his couch to crash on, to complete strangers, just because we happened to share a common interest, such was the nature of the man. Daniel and I had a great time watching the MGB footage was incredible and then we just hung out, talked music, watched some South Park, Travis struck me as a very caring person with a great sense of humour. I had hope next time Matt came to town to buy Travis a ticket and convince him to come along, but unfortunately fate stepped in the way. I'll miss Travis and I'm thankful for the brief period I got to know him and for all the benefit that brief meeting has given me. It was Travis' hope to be able to share his footage with everyone, but he had some stipulations. Because he had shot it as part of his profession he was weary to share it without approval from the band members. He was able to reach out and get copies to Dave and Ian, but unfortunately we were unable to get in touch with Matt. He dedicated the footage to the memory of Geoff Lloyd, but I suppose now it serves as his epitaph as well. May he too rest in "Rawk Heaven."
  28. 3 points
    would like to see mg score a movie or show one day. seems like it'd be pretty easy for him.
  29. 3 points
    Been meaning to do this for awhile, but just trying to find the time. First great idea for a thread it's very interesting to hear what really stood out to people and how certain things stand out or left them cold and their reasons for why. I know for me this list probably has changed throughout the years, some albums that I held in a certain regard resonated differently with me throughout the years, some initially I felt were some of his best work and then later they didn't have as much impact, others that I felt weren't his strongest efforts, later grew on me more, so it's interesting how the material and what it means to me is in a constant state of flux, as I suppose is my life and feelings, which is one of the most impressive things about art. Also I should point out that I very rarely cherry pick songs from Matt's albums. If I am in the mood to listen to him I almost always listen to the entire album at once, so I don't really skip tracks on any of them. Basically what it comes down to for me is how often I find myself reaching for the albums, so my feelings about them may vary alot from someone who looks at the albums as individually separable songs. 8. Something Like A Storm (2017) This was one of my most anticipated albums from Matt's solo career. I had seen a ton of shows on the BM Revisited tour and had the chance to chat with the band alot and they were very excited about the new recordings, in addition obviously Decades was previewed on that tour, so I was eagerly awaiting this one. Ultimately it just didn't resonate with me much. Bad Guys Win was very topical at the time and initially I really enjoyed it, but repeated listens it didn't hold the same impact for me. I usually find the biggest single off an album is a track that doesn't really do much for me, and Decades is no different here. But unlike other albums, many of the deeper cuts also lacked some appeal for me leaving me a little underwhelmed with this album. The high points are still pretty high for me though. Men at the Door, Something Like A Storm and Bullets in a Briefcase are top tier songs for me. Actually those songs, sadly suffer more than any other in Matt's catalog for me because of my decision to not just listen to individual tracks, so unfortunately they don't get very much play, despite being great songs. This album took some inspiration from 1980's style music and production, which I am not a huge fan of, so it doesn't surprise me that some of the songs just aren't to my usual taste. I wonder if I would feel different about this album if it was properly toured? Later on in the list I'll talk about albums whose ranking was improved after I saw how the songs translated live, which these songs never really got a chance to. As mentioned earlier in 2017, only Decades was played on the BM Revisited tour. Matt's next major tour was the 2018 Co-Headline with OLP. Obviously this kind of tour resulted in truncated sets and things more hits/nostalgia related so many of the shows only featured a few of these tracks, and in addition I never had the chance to see this tour. Then by the 2019 acoustic tour, only a small amount of this material was featured. I've had the privilege to attend multiple shows on most Matt Good tours since 2008, and as such I have seen the majority of the songs from most of Matt's albums played live since Hospital Music, yet with Something Like A Storm I've only heard two of the songs live, and one of them is my least favourite on the album. It's unlikely most of this material will feature in future live sets so there is little at this point that will probably change my evaluation of this album. 7. Arrows of Desire (2013) In the lead up to Arrows there was a lot to be excited about. Matt was with a new label, an independent label that I had hoped might give him some freedom to do what he wanted. In addition Matt talked about wanting to write something more commercial, and I thought we might be in for something a little more hard rocking than his last few efforts. Like usually I was a bit off put by the initial single of Had it Coming/We're Long Gone, and still feel Had it Coming is my least favourite song in Matt's solo discography. I was worried it might preview a trend to sacrifice some of his usually amazing lyrics for something more generic and radio friendly, so I hoped that wouldn't permeate throughout the album. The album definitely has some harder rocking songs, and I feel as a whole it hangs together pretty good. Unlike Something Like a Storm, I feel this album is more consistent. The highlights on SLAS are higher for me than the peaks here, but the album also has deeper lows. Guns of Carolina is a beautiful song and Via Dolorosa has great lyrics. The title track, Letters in Wartime and Garden of Knives, which really stood out to me after seeing it open one of the live shows are other favourites. I was able to see every song off this album performed live, and I think only Garden of Knives benefited from that setting. The shows I saw were at the end of the tour, and more so than at any other time Matt seemed pretty exhausted to me, so that may have played in to why nothing else was really elevated through live performance. I know Matt was unhappy with this label and that may have resulted in this album not being all that it could have been, but it is one that gets rare playbacks from me. I definitely think this is an example of an album I liked more at first, but over time it has worn a little thin for me. Also, I noticed that the material from it quickly vanished from the live set after the 2013 tour and that nothing has really been played live from it since. 6. White Light Rock and Roll Review (2004) In theory this should be one of my favourite Matt Good albums. Matt and I share an affinity for 60's/70's classic rock and this album is an obvious homage to that era of music. In addition much of it was recorded live off the floor which should capture more of the energy of the performance, which is right up my alley. Ultimately though the songs just aren't as strong as I've come to expect from Matt. So even though I love the way this record sounds, I don't play it through very often because not much of it is overly memorable to me. I will say however, in the right mood this album really can appeal to me, so every so often I dust it off and really get into it. After Avalanche this one came as a return to a much harder edged sound that is a welcome departure and continued to show that his solo career would have some variety. This one wastes no time announcing what kind of record it will be with Put Out Your Lights kicking the doors in right away. The album starts off with a punch in the nose, but then shows it's multidimensional appeal with the dynamics of We're So Heavy and the laid back country rock of Empty Road. Some here seem to really dislike Alert Status Red, I'm not one of them, its one of the few MG solo singles I really do like and I think it works live both acoustic and electric. My only gripe is that it so often is used as the only representation of this album on most tours. Sometimes on this album I find the energy level is there just for the sake of being there. North American For Life musically could be an outtake from Underdogs, but something about it just feels forced to me and it's never really been a favourite. Blue Skies is fantastic here, it just feels so genuine and heartfelt with some eye opening lyrics about the commonality of life, probably my favourite song on the record. It's Been Awhile Since I Was Your Man is one of the weaker tracks here, it seems rather generic for the sake of being generic, but the album closes with two of my favourite tracks here in Buffalo Seven and Ex- Pats before the hidden track of Hopeless, hidden because it was deemed to country for the record. This was the last MG tour that I didn't get to see live, but a decent amount of this album has featured (albeit briefly) in other tours since, so I've heard half of this album in concert. I think live, many of these songs work better than they do on the album, the energy they provide in a concert setting makes up for and masks some of their shortcomings. Having just a song or two from this album in a setlist is probably not as impactful because the intensity of it is short lived. I imagine the 2004/2005 shows would have had a greater impact with the bulk of the material getting played. I've wondered sometimes if this album suffered from the fact that it was rushed out. Right from Ghetto Astronauts, Matt always had a 2 year cycle between albums. This album came right on the heels of Avalanche, and Avalanche is Matt's longest running album of his career so between the two of them you have to wonder if he was stretched thin on his songwriting muse. I wonder if he had taken a little more time with this one if he may have developed some songs further or written others to replace what is here. Oddly of all his albums, the outtakes from this are my favourite and I would gladly substitute a few tracks here for them. Of all of his solo releases I think this one had the most potential under different circumstances, but I can't judge it for what it could have been, so it finds itself in the bottom third. With that said, I think this album would still benefit from a vinyl release because sonically it is a very pleasing album, and in that medium it might really stand out. It's the only one of his albums to not have a release in that format. 5. Lights of Endangered Species (2011) Perhaps no Matthew Good album is effected by my mood as much as this one. The reason this isn't ranked higher is because I am not always in the mood to really get into this record and get the most out of it, but when I am it is so effective and some of the finest music Matt has every produced. For one, it is different. While all of his albums to this point had the obligatory rockers, this one doesn't even try, at least not in the conventional sense. It has a real self awareness to it, and a peaceful yet calming pace like watching the first snowfall of winter. The songs are beautifully written and arranged and link together as an album perhaps better than any other record in his career. Extraordinary Fades and In a Place of Lesser Men are the only tracks here that do little for me, everything else is of a very high standard. Shallow's Low is absolutely haunting, while How it Goes is a beautifully intricate piece. Zero Orchestra is one of my favourite of Matt's solo tracks. The music is punchy, a mix of Jazz, Big Band and Rock that really packs in the energy and Matt unleashes a fiery vocal perfectly suited for the tone of the song. The title track is a perfect closer for the album as well. Non Populus is really the stand out here though. It is one of the tracks that if asked why I listen so much to Matthew Good, I would offer as an example. Its perfection. The entire way the song is allowed to breath and grow from it's subtle beginnings to it's climatic ending shows how mature and talented Matt is as a songwriter. It's just such an epic journey of a listen, but it's an inward journey one full of revelation and reflection. Sometimes as an artist you capture lightning in a bottle and to me that's what Matt has done here. I got to hear most of this album live and it really did enhance it for me, particularly on the title track and Non Populus where the guitar would just cut through the room. I remember no matter how many times I heard that song played I was left standing in stunned silence. It's unfortunate that the nature of this album makes it some of his less accessible material and as such it was very polarizing among his fan base, is there any other album that could find itself either at the top or bottom of a fans list? 4. Hospital Music (2007) Hospital Music has the distinction of being for me the last album Matt released before I really became an obsessive fan. Prior to 2008 I into Matt and would add his singles to mixed cd's and playlists, but really hadn't bought all his albums, nor had I been to a live show. Starting with his 2008 tour I went out and picked up his entire discography and in particular paid close attention to Hospital Music, knowing it would be the feature album at the shows I would attend. It definitely has a more stripped back, open and honest approach, which was especially refreshing following White Light, which seemed the opposite to this record in many ways. It starts off with Champions of Nothing, a powerful song that strikes right at your heart and sets the tone for the album. Actually the entire first half of this album is some of Matt's finest solo work. There is so much emotion and feeling in these songs, and the pain is so evident, some times it can even be an uncomfortable listen because of that, party music this is not. Black Helicopter is a strong song, but feels a bit out of place on the album, and Born Losers (although I decry how frequently it gets played live) is a very strong song, and a perfect single for this album, there is little not to like in the first half. The second half is much more inconsistent. The Devils In Your Details is catchy as hell, but not much substance and Moon Over Marin is an interesting cover, but then it's followed by two kind of throw away tracks that really add nothing to the album. I'm a Window is a solid angry rocker, really the only one of it's kind of this album. The album closes out with a couple strong tracks, the final being a cover, but ultimately the second half pales in comparison to the first, leaving for an uneven feeling that peters out as the album progresses. If it wasn't for this this album would rank higher on the list, but all three albums ahead of it are more consistent throughout. I've seen 2/3rds of this album in a live setting, and generally the songs work better for me in that format. There is something about hearing Matt play 99% to a live audience and being able to hear a pin drop throughout that is pretty memorable. Matt has wisely avoided overdoing it with instrumentation in live settings with these songs and many really benefit from solo acoustic renditions or with very sparse backing from the band. This era helped launch Matt as a solo acoustic artists as well, which has enabled several tours in that vein. While not to everyone's tastes it is certainly a nice alternative. Perhaps of all of Matt's albums this is expectedly the most therapeutic. 3. Chaotic Neutral (2015) This one really surprised me. Coming off of Arrows I wasn't too sure what to expect next from Matt. He was signing with a new label, seemed to be having some issues in his personal life and I had a feeling I would either really love or really dislike the next album. Thankfully it was the latter. After several more mellow albums, Matt had a sense of urgency on this album, and a bit of an angry edge that had been so prevalent in his earlier music, that right away I picked up on and it carried me through this record. Oddly enough, it starts with an outtake from a previous album that wound up being the lead single off this one. But thats not to say this album is second tiered, it's just he hadn't been able to realize that song fully in the past and now here had perfected it. Moment seems like it could have fit well on Avalanche, and actually I think that's part of what I like so much about this album. It sounds like a culmination of all the different eras of Matt's solo career. You hear songs that sound like they could fit on all of his previous solo albums and yet all while maintaining their own uniqueness and flow. No Liars is my least favourite here, although it is pretty infectious. Cloudbusting is a really cool cover too, and I appreciate him bringing Holly McNarland in to do this one with him! The masterpeice on this album is Los Alamos. There is something just painfully heartbreaking about this song and the simple yet melancholic backing music is a perfect match for the lyrical content, one of those songs where the artist just hits an absolute homerun! I was fortunate to hear all of this album live except Tiger By The Tail (damn Stu!) and it probably moved up a position or two because of the live performances. Most songs here were enhanced in the live setting, but in particular were Los Alamos and Girls in Black. Los Alamos because basically the lighting turned Matt into a silhouette and you could really see nothing so all your mind could grasp was the harrowing sounds of his voice echoing around the hall. Girl in Black meanwhile took on a whole different tone of vicious intensity live as at times MAtt seemed to be ranting and raving as he shouted the lyrics and stormed out into the crowd. Definitely some of the best shows I have seen of Matt solo were on this tour and a big part of that was because of the strength of the new material which always features prominently in Matts set. 2. Vancouver (2009) This one doesn't seem to get nearly as much love as I afford it here. To me, like Lights it is a complete album, on their own very little here stands out, but listened to as a complete piece it has a great deal of merit. I wonder if perhaps I rate this one higher than others because around the time of it's release I was spending a great deal of time in Vancouver and seeing first hand some of the changes an social issues the album strikes at. The Last Parade is the last MG single I remember getting a great deal of radio play, and it helped that I quite liked the song, the visual imagery of the lyrics in this song are visceral and contemplative, something lacking in many of the singles after this. The opening trifecta all have a similar feel sonically although they explore differing themes, The Boy who Could Explode is the strongest of the three, and fittingly also the longest. Us Remains Impossible and Fought to Fight it are the weakest tracks here for me, they are both catchy and perhaps radio friendly, but they lack the punch of the rest of the album, still they are decent enough tracks and I am never tempted to skip over them. Silent Army in the Trees has lyrics that are quite haunting and On Nights Like Tonight is another highlight for me because of the way the song builds upon itself, similar to the song Avalanche. Vancouver National Anthem is the song that deals most bluntly with the changing city the album is named for, but it's Empty's Theme Park that drives that theme home in such a transcendent way. Like many of Good's solo works, it is the long epic that is the real take away here, a song with some great lyrics and a perfect album closer. Sometime around this period Matt lost some of his range as well, so all of the albums after this no longer featured some of the real high stuff he was capable of doing throughout his career up to this point. This was the first tour where I decided I needed to go to as many shows as possible, and seeing 5 shows managed to see all of this album performed live, with the Last Parade really being the only song that was obviously stronger on the record. Many of the songs seemed to work as effectively in a live setting, but one real standout was Empty's Theme Park. It was way heavier in the arrangement they played live, in large part due to Blake's drums which were just manic on the jammed out sections. The build up to the end was such a climax that really added to the way it was played on the album to make the song even more epic, which is a challenging task. It's a shame nothing from this album gets played live anymore, because all the songs really worked pretty well in that format, and as one of my favourite albums of Matt's career I would love to see more of this make a reappearance in the setlist from time to time. 1. Avalanche (2003) I mentioned before about Matt's vocal range changing sometime around the time he hit 40, well here on this album you hear it at it's absolute zenith. During the MGB days he often used his voice with reckless abandon, but by Avalanche he was operating with full capacity, but also with a mature control that allowed him to refrain from overuse and only utilize the full power of his voice at critical moments. In addition, because this was his first solo album, he had something to prove and he set out to do so. Not just playing it safe he altered the overall sound of his music, brought in the Vancouver Symphony Orchestra and wrote the longest album of his career with some of the absolute highpoints of his career featuring in the process. That extended length is one of the albums few weak points, as if trimmed by a couple of songs would be basically a flawless album. The album starts with Pledge of Allegiance which immediately established the soundscape approach to the record, varying from the more guitar centric sounds of the MGB. Lullaby is a standard pop song followed by Weapon which is anything but. A lengthy track without a chorus is hardly the kind of thing one would expect to get much radio play, but it was a huge hit and still features as a showstopper in his live repertoire today. In A World Called Catastrophe is Matt's biggest hit single and is a solid song with some of Matt's best vocals. After is Avalanche, long cited as one of Matt's favourite of his own compositions it is a progressive masterpiece that builds and builds to a climax, and then ends just as unassuming as it began, a masterclass in songwriting. 21st Century is one of the more polarizing tracks on the album, but it serves as a time capsule for the kind of political anger Matt was immersed in at the time and gives a window into his mentality while creating this record. This album has so many epic tracks Rabbits and Near Fantastica have long been established as fan favourites and both are phenomenal tracks so immesive that one hardly notices their 8 minute track length. Bright End of Nowhere and Long Way Down are some of the better shorter tracks towards the end of the album somewhat lost in a sea of elongated epics. The song closes with House of Smoke and Mirrors one of Matts better album closers in his career, perfectly capping what I said was an almost flawless album. Song for the Girl is the only track here that I can really do without. Despite being such a solid album, very little of it has been played in recent years. As such I have only seen Matt play four of the tracks off this album and both Avalanche and In A World Called Catastrophe were very rare performances. It's a shame really that such a strong album is reduced most nights to just Weapon in a live setting. Of course Weapon is so dynamic live that it is played at nearly every show and often as the main set closer. Still it would be a treat to get to hear more of this album played in a live context. Even before I attended shows this material was quickly ushered out of the setlist as White Light was issued just a year later and it's songs quickly replaced some of the deeper Avalanche cuts. Despite that it remains the pinnacle for me of Matt's solo work. It showcases an artist at the top of his game with all of his artistic assets firing on all cylinders to compose something truly incredible and even 17 years on, it remains as fresh for me today as it did back then. So excuse me while I go fire up my turn table and drop my alternate tracklist vinyl version of the album under the needle for a much needed spin, no matter how long it's been...it's been too long.
  30. 3 points
    Pretty cool. Second professional video Matt's been in since 2004. Really like the setting, lighting, fireworks and, for the most part, the editing. Nice to see he included his new girlfriend in the video too. Glad to see the guy has someone in his life again. Also just appreciated Matt's presence in the video in general. He always seems to convey a good sense of authenticity (I'm thinking specifically of the Apparitions and Strange Day videos). Thoughts?
  31. 3 points
    Dear all, dear Rhu8ar8Pi3, I apologize if this message is not appropriate in this section of the forum, but I would like –if the administrators let me– to STRONGLY THANK this member from this wonderful group (Rhu8ar8Pi3) for all the gifts I have just received today related to our adored MG. This means a lot to me. For me it is very difficult to see MG live, to even talk to him or simply saying that "I am a great Spanish fan" of him, living so far away from Canada. For that reason, receiving these gifts makes me very, very happy, closer to MG and very thankful. I just wanted to publicly thank Rhu8ar8Pi3 for her kindness and generosity sharing all these things with me. Thanks a lot, honest. I feel very proud of being a member of this group and be in touch with such nice and generous people here Big hugs from Spain, Juanpe
  32. 3 points
    If anybody is really that interested, I've posted the full interview from the '98 show (all 4 clumsy minutes of it) here - feel free to do with it as you wish - I couldn't even bear listening to it so I hope it turned out haha... https://youtu.be/h-CVoS2oMV0 Cheers Travis
  33. 3 points
    Hi guys, Thanks for the discretion in keeping the link private. I felt I should address the replies that have followed since my first posts - As much as I'd love to provide the whole show for every MGB fan on this board and worldwide, there's a plethora of reasons of why I cannot. The major reasons involve media/journalist integrity - footage like this is supposed to be only used sparingly as B-Roll (like what was used in the Rogers piece) and then discarded once the final piece is finished. I had already overstepped my boundaries by recording almost the entire show (usually you only need about 5-10 minutes at most for a story like that), which I'm sure I certainly wouldn't have gotten permission to do had anyone in the MGB camp known. Being as I am still a camera op, I cannot risk gaining a reputation of abusing media privileges by releasing footage containing material that technically shouldn't exist, is unauthorized, unapproved, and copyrighted out to anybody. I know now that this footage is apparently quite rare, but it doesn't change the fact. While this does seem like a trustworthy group, it's just something I cannot do. Even privately, with the promise of not spreading it around, it doesn't change the fact that it's not my material to distribute. In afterthought, even posting that one song on Youtube was something I shouldn't have done. Even as an unlisted video, it already has a copyright claim against it, so who knows how long it'll even exist up there. Another reason is that I don't want to ruffle any feathers with record labels, their lawyers, and especially Matthew himself. While I hear he used to have a much larger online social presence, including historically posting to this forum, I'm certain as the day is long that if he found any of this footage circulating around without his prior direct consent (and the consent of his record label and management likely), that he'd be pretty f*cking pissed at that clumsy 17 year kid who fumbled through likely the worst interview of his life 20 years ago, and I don't want that kind of karma from someone I respect. From what I hear, Matthew does not have a very fond place in his spiritual mindset for nostalgia, or the past in general (or at least he doesn't anymore). I attempted to track down a method of communication in which to reach him directly (just to let him know that the footage exists, and if he wanted a copy of it), but he seems to currently have a fortress around his online social presence and it looks to me like he doesn't want anything to do with random fans/people sending him messages. I don't think there's even much attention paid to his official website anymore because there's little actual content, the MG smartphone app that is advertised all over the site no longer exists, and there's not even a contact option. However, if any of you still have direct contact with him, or Ian/Dave, then by all means, pass along the information, tell them that the offer is available to them, and maybe they'll consent to letting you keep a copy for yourself. And for the guys above offering me money to send them the show in exchange for secrecy - I appreciate the offer - I know you mean well, and that it's a "holy grail" of sorts, but profiting off of the footage would makes things worse tenfold. I'm really sorry everyone - I didn't mean to open Pandora's box - I didn't know that footage like this was so rare. I kind of dropped off the MG(B) radar once they broke up, and I had just assumed that much more material would be available since they were the biggest band in Canada for at least a couple of years. Anyways, I just wanted to explain myself so I didn't leave anyone hanging with their hopes up. I mean - for god sakes - that awfully done Rogers Cable story/interview I made surfaced on Youtube 20 years later - imagine how many places the source material would find itself if it ever saw the light of internet day. Keep rockin' y'all - don't hate me! Cheers, Travis
  34. 2 points
    So I am home for the time being and figured maybe many of you are as well. I am going to try and cheer the bored up by throwing out a ton of live MG/MGB shows over in the + section of this site. I will be popping up a handful of shows each night for the next week or 2 maybe longer. If either Matt or Anton have an issue please let me know, otherwise be prepared for a primetime deliverance of live MG starting tonight!!!
  35. 2 points
    I used to do transfers through a fire wire but would frequently have issues like Steve is having. As Daniel said it can be fixed after the fact without too much trouble by just adjusting the audio track, usually if you can sync it up in one place it will sync up everywhere, of course if there are multiple glitches that kind of process quickly becomes a nightmare. I always found feeding and capturing directly on a computer to introduce too many issues in the chain, so I went with a more old school setup. I actually run a VHS player through a dvd recorder and just record the feed directly onto a DVD. I then rip the DVD to the computer. It adds an extra step but I've never had sync issues doing it that way and I've been pretty happy with that setup.
  36. 2 points
    Wish he could sell copies of the streams afterwards.
  37. 2 points
    Got it fixed. Just had the refresh the page on my TV Lol, I saw your “Into a wall of bourbon ” comment during Strange Days
  38. 2 points
    Me too, lol. I'm hoping to get it up by the end of the month as I'll have a nice stretch of time off starting on the 22nd of August. Thanks for the patience everyone :)
  39. 2 points
    Slight nudge on those numbers: MG, Dan Mangan, Bernie Breen, and anyone else on MG's team would count in the 1000 limit but would not have paid. Also: the Host fee shouldn't apply here since MG is hosting it himself. Side Door was originally set up for people hosting concerts in their homes, and I believe that's what that 10% is for. Having seen a couple of these, I'm still not entirely sold on Zoom as a reliable provider for this kind of thing. I like this kind of thing and I think it's brilliant, but having 5-10% of your paying customers not be able to access the stream because of technical problems isn't really great for business. (I haven't used Zoom as much recently, but a couple of months ago, my company repeatedly had issues where one or more of us would be locked out of a call, and there were only a handful of us involved.)
  40. 2 points
    a pretty cool idea I think, gives the fans something interesting to look forward to and a chance to give Matt a little support in this difficult time for musicians and artists. Looking forward to the show!
  41. 2 points
    Hi Tips, "I Dream of Dolphins All The Time" is a line from the song "I Dream of Dolphins" and reused in the song "Sharks Of Downtown" Borrowing from other compositions (because the line is so good, why not use it again?) is also seen on the song "Healers and Saints" recorded just after Dolphins. In that, the line "I'm tired of blood and overpriced bubblegum, Mom" ends the song. Six months later, it reappears, to open "Symbolistic White Walls" Great line to recycle, as Healers was never even mixed. It was just a takeaway tape for Matt to take home. No newer versions of Dancing Invisible were done, it was just a subject when we were doing Lost Album material about whether in an album release we would retool the drums and bass with the newer members. When you stop to think of how LOTGA is genuinely more like a Coppola film, drawn from everywhere, it's amazing at the end, the almost perfect sequence was found, and the right songs chosen. I credit that to Mike McCarty of EMI. The only regret was were Omissions was placed. I previous sequences Matt and I had done, it was dead center of the record, like an intermission with Omissions.
  42. 2 points
    I know part of the song is about William S. Burroughs accidentally killing his wife in mexico city, while they were high and playing William Tell (target practice is for mexico)
  43. 2 points
    Thank you for putting this together so quickly. You're right, the video raised more questions than answers and I'm thrilled to get this kind of insight on the process leading up to LOTGA. It's incredible you have your original notes and paperwork from that time too. Is this common for professions in your field to hold on to it for decades or was it for sentimental reasons? The track list of what was recorded (A List, B List, To Be Completed) for LOTGA was a bit bittersweet as songs from the Lost Album were prepped for LOTGA but never made the cut (reference: timestamp 6:41/8:07). So many questions about what could have been, where the songs ended up but mostly "what if" questions. I imagine every MGB fan who watches this video will be equally surprised to learn of The Lost Album. Even after being a fan for 20+ years it's amazing that new details can still come to light. From the 23 song titles listed (again at 6:41/8:07 of the video) there are some that made the final cut but weren't listed at all (to name a few: Alabama Motel Room, Symbolistic White Walls, Radio Bomb), can you comment on that? Were some songs renamed or were there additional songs recorded beyond what is listed there?
  44. 2 points
    Totally agreed. This is pretty awesome! I love the unexpected variety, even some electronic stuff which is very unusual for Matt. The sounds with those clips are a pretty nice effect. I like all of them but Victory Is Free is the most fun.
  45. 2 points
    Wow. Just wow. For my money, Matthew Good is firing on all cylinders--i am absolutely loving this era of his career: Moving Walls just completely torpedoed me back into fandom-mode, and this "Crisis Airlines" collection? Wonderful Not quite sure what I was anticipating prior to listening (maybe a few slightly north of average b-sides?), but this is something wholly separate from the place I imagined Good to be. As much I adore MW, what perhaps is fueling my excitement for MG's output even more is how quickly and effortlessly this little side project seems to've taken shape. The music is interesting, a wee bit playful, and delightfully unexpected/ unexpectedly delightful. Now I'm wanting Good to forgo the album (only for a little while! ...you can put the pitchforks down ) and create a slew of EPs...
  46. 2 points
    I didn't know him well but he messaged me and thanked me for my contributions to the site. He felt bad he couldn't share his video with me and told me if I'm ever in Canada he would love to have me come up and see it. I was floored by his generosity and saddened that I won't have the chance to meet him. I read his obituary and he looked like a great guy that left us far too soon. RIP Travis
  47. 2 points
    Just saw the show in Pictou. Still a few kinks in terms of transitions but the music was beautiful. Lots of songs from the new album; he sang at least six. I thought Dreading It was fantastic! Matt said he thought Parts was by far the best song on the album.
  48. 2 points
    Ranking Matthew Good’s Solo Work from Best to Worst Amazingly, some 20 years into his solo career, Matthew Good has succeeded in creating an artistic identity that stands apart from the platinum success he enjoyed in the late 90s/early 2000s by way of the alt-rock band that shared his name. With each new release, it seems like the Canadian artist somehow manages to firmly and succinctly re-establish what longtime fans have known for years: Matthew Good is writing the best music of his career. And now, with yet another new Matthew Good release (Moving Walls) on the horizon, I recently decided to take a long-overdue ‘deep-dive’ into the man’s catalog, listening to each and every release front to back and in chronological order. Some of Good’s albums (like the breath-taking Lights of Endangered Species) I still listen to on a fairly regular basis, while others (here’s looking at you Arrows of Desire), well, not so much. But as I worked my way through Matt’s work, I found myself constantly blown away by how well nearly all of these albums have aged. With his solo catalog now fresh in my mind, I’ve decided to (finally) compile a list ranking (in my opinion) Matthew Good’s solo albums from worst to least, albeit, with a few caveats: *Caveat Number One: I’ve decided to restrict my list to Matt’s eight major label solo releases (minus E.P.s, Comps, and the Live At Massey Hall release). Also, while he was clearly the creative force behind the Matthew Good Band, I tend to consider that band’s work to be its own thing, and thus, I tend to listen to the MGB and Matthew Good Solo in separate spurts. **Caveat Number Two: It goes without saying that I hold Matt in the highest esteem, therefore, any and all criticisms should be taken with a grain of salt. He’s a genius, so dividing his ‘best’ from his ‘worst’ is essentially an exercise in nitpicking. ***Caveat Number Three: I’d like to file anything that I’ve written below in the ever-so-subjective ‘prisoner of the moment’ category. I suspect that if I were to repeat this process six months from now, my results would be dramatically different. The following list is little more than a snapshot of where I am as a Matthew Good fan right now, in late 2019. And now, without further adieu, my personal ranking (In order from least to most favorite) of Matthew Good’s solo catalog. My Rankings at a glance: Tier 3 Rarely Listen: 8. Arrows Of Desire (2013) 7. Something Like A Storm (2017) Tier 2 Often Listen, but Skip a Track (or Two or Three): 6. Vancouver (2009) 5. White Light Rock & Roll Review (2004) 4. Hospital Music (2007) 3. Avalanche (2003) Tier 1 Consistently Listen, Still (amongst my favorite albums by any artist): 2. Chaotic Neutral (2015) 1. Lights Of Endangered Species (2011) Deep Dive: 8 - Arrows Of Desire (2013) I was so excited when I first heard the singles “Had It Coming” and “Guns Of Carolina” back in the Summer of 2013. I remember running a long race the weekend before this dropped, and I listened to the three singles that had been released (I can’t remember which the third was, maybe the title track?) over and over. I loved (and still love) Lights..., but the thought that Matt was returning with something a bit more ‘amped up’ had me incredibly excited. That all being said, once I finally digested Arrows Of Desire, I quickly realized that the record’s sound and vibe really only satisfied a certain mood. There’s a workman-like quality to the album that, unfortunately, works against the listening experience. It sounds like everything was tracked in that classic assembly-line fashion. Drums one day, guitars the next, and so on. It’s sonically consistent to a fault. There are moments that I truly love on this album, but I’ve only revisited the album in its entirety a handful of times since its release. Every list has to have a starting point, and for the reasons stated above, this list begins with Arrows Of Desire. Near Fantastica (Highlights): “Garden of Knives” and “Mutineering” are incredibly satisfying, mid-tempo monsters that I consider to be amongst Good’s best ‘rockers’. “Letters in Wartime” is an amazing closer. Born Losers (Lowlights): Like I said, while there’s nothing outright offensive here, there’s also little that wows (save for the highlights mentioned above). When I’m in the mood to rock, Arrows... always satisfies, but the front half might be the weakest opening salvo in Good’s catalog. Letters In Wartime (Favorite Lyric and/or moment): No matter where the sun strikes us, knives will grow - “Garden of Knives” 7. Something Like A Storm (2017) This was perhaps the first time I found myself completely underwhelmed by a Matthew Good release. When “Bad Guys Win” was released as a single, I was incredibly disappointed: it’s just so painfully on the nose. In my opinion, “Decades” would have served as a better opener and/or first single, but regardless of the tracklisting, Something Like a Storm still feels uneven to me. To that point, this is probably the only Good record where there are a handful of songs that I could take or leave, and for that reason alone, this winds up near the bottom. Something Like a Storm is also a good example of a record where the highs, while few and far between, vastly outweigh and overcompensate for the lows. Near Fantastica (Highlights): This is easy: the title track (“Something Like a Storm”) and “Bullets In a Briefcase” were instant classics for me, and the latter might be the best album-closer in his catalog. Born Losers (Lowlights): Much like Arrows of Desire, I rarely revisit this album as a whole; whenever I put it on, I listen to “Decades”, and then skip right to the title track. “There The First Time” is one of my least favorite good songs (the lyrics just don’t do anything for me), and “Men at the Door”, and “Days Come Down” are equally forgettable for me. Letters In Wartime (Favorite Lyric and/or moment): Fall asleep, your head on my chest, dream of something effortless - “Something Like a Storm” 6. Vancouver (2009) After losing track of Good for almost a decade (like many of us South of the border, once Much Music disappeared from my cable provider, I lost my connection to many of my favorite Canadian artists), Vancouver served as my re-introduction to the man’s music. I’ll never forget what sparked the re-emergence of my fandom. During the Winter of 2008, I found myself on a huge Matthew Good Band kick. After listening to Beautiful Midnight and Audio of Being for weeks on end, I fell down the google rabbit hole one night and realized that he had a new solo album that was about to drop. Now, remember, 2009 was still pre-streaming, so if you wanted to ‘legally’ check out a release, you needed to purchase it. And so, I pre-ordered Vancouver and immediately fell in love with it upon first listen. The older, more mature songwriting and slightly less angsty sound felt incredibly fresh to my middle-aged (I was about to turn thirty) ears. I immediately purchased the rest of his solo LPs, and much to my surprise, I realized that Vancouver was only scratching the surface in regards to the quality of Good’s solo work (more on that later). More than a decade removed, Vancouver still holds a special place in my heart. Is it a perfect record? No. But the record’s strongest moments warrant frequent re-listens. Near Fantastica (Highlights): The opening salvo of “Last Parade”, “The Boy Who Could Explode”, “Great Whales of the Sea”, and “Us Remains Impossible” is incredibly effective. “Empty’s Theme Park” continues the tradition of amazing album-closers, and “Volcanoes” still takes my breath away all of these years later. Born Losers (Lowlights): For whatever reason, I rarely listen to “Fought to Fight It”, and “A Silent Army In The Trees” just never really connected for me. Those two songs (along with “Vancouver National Anthem”) bog down the back half for me; I need to be in a very specific mood to listen all the way through this one. Letters In Wartime (Favorite Lyric and/or moment): And I know you know that I ain’t me, so us remains impossible - “Us Remains Impossible” 5. White Light Rock & Roll Review (2004) We now enter the ‘toss-up’ portion of my list, as I hold the next three albums in very similar esteem. Going into this process, White Light Rock & Roll Review was a clear dark horse. While I’ve always thought of this album as ‘one of the weaker ones’, upon further review, I’ve come to realize that it’s not only a record I revisit often, but it’s also one of Matt’s best sequenced albums period. Simply put, White Light... rocks from start to finish. Reportedly tracked ‘live on the floor’ (with vocals and overdubs added later), White Light… is the sound of a band firing on all cylinders, and its stripped-down, bare-bones approach stands in stark contrast to the lushly-orchestrated Avalanche that preceded it a year earlier. Despite the spontaneous nature of it’s production, White Light… is an incredibly realized effort, proof of Good’s ability to derive an astonishingly high level of quality from his songwriting despite a dramatically different approach. This, to me, is the album Good was trying to channel with Arrows Of Desire, but where that album tends to feel a bit labored, White Light… breaths. Near Fantastica (Highlights): My God, “Blue Skies Over Bad Lands” is such a gem! The closing “Ex-Pats…”, in all its Who-esque glory, gets better each and every time I listen, and “Empty Road” is one of Good’s best ‘love’ songs. Born Losers (Lowlights): I know it was selected as a single, and I think there’s some genius wordplay in the lyrics, but I just can’t get down with “It’s Been A While Since I Was Your Man”, and “Buffalo Seven” is one of the only Good rockers that I don’t really care for, but neither of these tracks warrant a skip, so I consider them to be minor blems on an otherwise solid album. Letters In Wartime (Favorite Lyric and/or moment): Just understand understanding - “Blue Skies Over Bad Lands” 4. Hospital Music (2007) I fell in love with Hospital Music from the moment I first heard the opening samples of “Champions of Nothing.” Hospital Music is a fan-favorite for obvious reasons, as there’s at least a half-dozen classics here, plus a pair of amazing covers, and despite the record’s protracted running time (clocking in at over an hour), the album never threatens to overstay its welcome - a feat in and of itself. A friend of mine once referred to Hospital Music as Good’s ‘sad-bastard, singer-songwriter’ album, and in a way, the description couldn’t have been more fitting. Hospital Music is Good at his most raw, emotional, and vulnerable. The fact that this incredibly strong collection of heartfelt songs sits in the middle of my list is less an indictment on the music itself, and more a testament to Good’s impeccable catalog. Near Fantastica (Highlights): “Champions of Nothing” is, without a doubt, my favorite Matt Good opener (that solo!), “Born Losers” and “The Boy Come Home” feature some of Good’s best lyrics to date, and the covers (The Dead Kennedys’ “Moon over Marin”, and Daniel Johnston’s “True Love Will Find You In The End”) offer a reverential take on a couple of classic songs. Born Losers (Lowlights): While they make sense within the context of the album, “Girl Wedged Under the Front of a Firebird” and “I Am Not Safer Than a Bank” feel like underdeveloped ideas rather than songs; I wish they weren’t back-to-back. Other than that, “Black Helicopter” is the only proper song that I feel doesn’t quite hit the mark. Letters In Wartime (Favorite Lyric and/or moment): On my chest you put your head and said, ‘there you are, there’s my heart’ - “A Single Explosion” 3. Avalanche (2003) Until 2011’s Lights Of Endangered Species, Avalanche was not only my favorite Matthew Good album, but it was in contention for my favorite album period. Setting aside the songs for a moment, Avalanche is simply a joy to listen to on every sonic level thanks in no small part to the lush, nuanced production (augmented with the Vancouver Symphony Orchestra on several tracks). In addition to the gorgeous mix, Avalanche also contains what might be Good’s best vocal performance (in terms of range and tone) on record. It’s hard to find a more jaw-dropping moment than the notes he consistently hits in “While We Were Hunting Rabbits” and “In a World Called Catastrophe”. Near Fantastica (Highlights): Where to begin. For starters, the string of songs beginning with “Lullaby For the New World Order” through the title track represents what might be the best four track run on any Matt Good album. While much of the album is comprised of dense, emotionally-charged numbers, the more ‘in-the-pocket’ arrangements of “Song For a Girl” and “Double Life” really help sustain Avalanche’s momentum as it comes around the bend. Born Losers (Lowlights): “21st Century Living” is the only track I could do without here. While mildly interesting in and of itself, the song’s placement in the tracklisting (sandwiched between “Avalanche” and “While We Were Hunting Rabbits”) does this song no favors. Letters In Wartime (Favorite Lyric and/or moment): I’m just a ship lost at sea - “While We Were Hunting Rabbits” 2. Chaotic Neutral (2015) This will probably be a stunning choice for most fans (and to be honest, I was a bit surprised myself), but what can I say, Chaotic Neutral has been continuously stunning me for the last four years, and in that period of time, it is hands down one of my most listened to albums. Chaotic Neutral, as the vague ‘D&D’ reference would suggest, is an album of extremes, encapsulating the best moments of Good’s previous two releases, seamlessly combining the lush orchestration of Lights Of Endangered Species with the more immediate swagger of Arrows of Desire. And while the strength of both of those albums lied in the focused, albeit somewhat one-dimensional approach of the material, Chaotic Neutral thrives squarely somewhere in the balance of the two. The album begins with an immediately familiar ring of “All You Sons and Daughters”, a song that could have easily been a late 90’s hit for his former band. “Moment” and “Kid Down The Well” continue the albums momentum with a more ‘rocked-out’ treatment for songs that easily could have stood on their own as acoustic numbers. “No Liars” flat out swings while “Harridan” serves as the album’s defacto centerpiece, a sprawling epic that functions as the record’s most sincere nod to the grand, orchestrated vibe of Lights... Where the first half starts with a bang, the second half of the album tends to burn at a simmer, with songs like “Tiger By The Tail” and “Cold Water” featuring sparser arrangements that highlight what is undoubtedly some of Good’s best lyrical content ever. It’s here where the nuanced production serves the songs best (especially the quieter ones), revealing initially overlooked subtleties with repeated listens. I was originally skeptical when I saw the Kate Bush song “Cloudbusting” (featuring the criminally underrated Holly McNarland) in the track listing, but the song is simply a triumph, reverently conveying the intent of the original with enough deviation to make it stand on its own. Near Fantastica (Highlights): Chaotic Neutral was a ‘grower’ in every sense of the word, as each and every listen reveals yet another amazing moment (for instance, like the driving piano on “Moment”). In addition to all that I stated above, I would cite the hushed whisper of the ballad “Los Alamos” as one of my top-five Matthew Good songs. It’s an incredibly poignant ballad that never ceases to move me. Born Losers (Lowlights): With an album this good, there’s not a lot to say that doesn’t feel like I’m splitting hairs. While “Army of Lions” succeeds in spite of it’s overly-glossy production, I would’ve loved to have had a more organic, stripped down version. Letters In Wartime (Favorite Lyric and/or moment): I can hear your heart beat on the other side of town - “Los Alamos” 1. Lights Of Endangered Species (2011) Matt has openly stated his affection for 2011’s “Lights Of Endangered Species” on numerous occasions, and the sentiment is well placed as the album is, in this writer’s opinion, the artist’s best work to date. Devoid of any standout singles (other than the modestly received “In A Place Of Lesser Men”, Lights… finds Good fully embracing the album format. This record epitomizes the idea of the whole being greater than the sum of its parts. While there are numerous breath-taking moments (the jaw-dropping crescendo half-way through “Set Me On Fire”, the big-band stomp of “Zero Orchestra”, and the final two minutes of “Shallow’s Low” to name a few), each and every song is elevated by the process of listening to the record from start to finish. Not unlike a brilliant scene from a classic movie, the moments work in and of themselves, but the true emotional impact is elevated when listened to within the context of the overall piece. Simply put, Lights Of Endangered Species is a staggeringly coherent, at times visceral forty-seven (depending on which version you got, of course) minutes of music Good wanted to do something a little ‘left of center’, and with 2011’s Lights…, he succeeded by side-stepping the guitar-driven alt-rock that he’d spent the better part of two decades perfecting in favor of piano-centric compositions. Longtime producer Warne Livesey managed to elevate Good’s impassioned vocals with lush, orchestrated arrangements that featured a healthy dose of horns, strings, woodwinds, and brass. When compared to previous records, the tonal difference is almost jarring, but Lights… rewards repeated listens in a way that few ‘rock’ albums do. Does Lights Of Endangered Species contain my favorite Matthew Good song? Does it contain Good’s best vocal performance? No. Is it, in my humble opinion, his best, most cohesive musical statement to date? Yes, absolutely. And for that reason, it sits at the top of my list. Near Fantastica (Highlights): “Extraordinary Fades” is an understated gem that perfectly sets the mood for what is to come. “How it Goes” is a brilliant lyric, and as I mentioned before, “Shallow’s Low” has a captivating instrumental ending. “What If I Can’t See The Stars Mildred” and “Zero Orchestra” are a brilliant one/two punch that propel the album into its third act. Matt has cited “Non Populous” as an artistic high-point of his career on numerous occasions, and the sentiment is well placed as the song is easily one of his most challenging musical compositions. At over eight minutes in length, and with a challenging arrangement (eschewing the traditional verse-chorus ‘pop song’ structure in favor of a classically-minded piece comprised of movements), “Non Populous” is a musical tour-de force in every sense of the phrase. “In a Place of Lesser Men” was as good a choice as any for a single, but the song really benefits from hearing it within the context of the album, as it provides some nice breathing room between two of the record’s most musically dense moments. “Set Me On Fire” and “Lights Of Endangered Species” are a breath-taking final actwhile “Darlin’” closes the album with a subtle, pensive moment that hearkens back to “Extraordinary Fades.” Oh, and I almost forgot, what an amazing album cover! (painted by Vancouver artist Miriam Aroeste). Born Losers (Lowlights): I wouldn’t change a second of this album. Every lyric and every note contributes to the overall composition in a way that renders each individual part indispensable. “Darlin’” should have been included on the physical release as it is a beautiful coda to the album, but seeing as it appears on the streaming/iTunes version, this gripe is somewhat nullified. Letters In Wartime (Favorite Lyric and/or moment): And the girls, their eyes, piano wire, scream ‘set me on fire’ - “Set Me On Fire” Closing Thoughts: Phew. Well, that’s that! Like I said above, whether you agree or disagree with any of what I wrote, it should (hopefully) be pretty clear that I am, first and foremost, a fan. In that sense, the compiling of this list was a labor of love, and every opinion stated (critical or not) was done so with reverence. The Bored has been a bit more active as of late, so I’m hoping that this thread will spark some conversation, and maybe even inspire others to take their own deep dive into Matthew Good’s impeccable catalog. I’d love to hear everyone else's thoughts as well! Cheers, James
  49. 2 points
    Even though the songs have sonic weight, this new album has a subdued, meditative nature to it. Maybe it's the absence of electric guitars and more orchestration? Lumiere noire is a fine example of how quietly lush Moving Walls really is. Whispers inside a snowstorm.
  50. 2 points
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