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Showing content with the highest reputation since 04/03/2019 in all areas

  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. 7 points
    Last year i mentioned some footage i was hoping to obtain that would contain some pretty rare video of the Matthew Good Band. Well after many months of waiting i was finally able to get that material, transfer it and with Chad's help we have got it uploaded and it will be shared through his site tomorrow. Unfortunately the amount of material was less than originally thought thanks to tapes being lent and never returned however the material that was still there although brief is still pretty incredible and goes right back to the start of the Matthew Good Band. For most here theyve probably never seen any of this. And those that have its probably been well over twenty years since they did. Im Very excited to have been able to find this stuff and get it transfered and very grateful for Chad offering his web site to host this material so that Matt Good fans can see it. I recently asked Matt if he would consider a chronological live album or footage release and while i wont go into specifics of his reasoning here, he was pretty emphatic that he would not. So for the time being these kinds of attic discoveries are our only way to find material such as this. So if you know anyone who might have taped shows on MUCH or videoed concerts they went to, reach out and ask if they happened to record any Matthew Good. You never know what might be turned up. Finally these tapes are being released as a tribute to MGB bass player Geoff Lloyd. Most of this material stems from Geoffs time in the band and is some of the only live footage we have from Geoffs era. It really showcases what he brought to the group and his contributions to some incredible music. Im very proud to be a part of the group putting this stuff out there because hopefully it will help people to remember Geoff and the band during his tenure.
  3. 5 points
    And the videos are now live on my site http://mattgood.plastic-soldier.com/downloads-video.php The first 5 videos on the page are the newly added ones, with the awesomeness of the first video being the entire performance of Sharks Of Downtown! I did create an MP3 of the song from the video. linked on the main page (http://mattgood.plastic-soldier.com/) as well as on the audio downloads page
  4. 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.
  5. 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
  6. 3 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.
  7. 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.
  8. 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?
  9. 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
  10. 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
  11. 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
  12. 3 points
    This is...really epic, exciting, and organic sounding https://www.instagram.com/p/Bw8p_t-g_v2/ Hopefully it leads somewhere big. Though Something Like a Storm sounded like it was going somewhere massive too and then just faded out, so hopefully this one is a little different in that sense. I doubt Matt would share the climax of a song before it was finished.
  13. 3 points
    Hard to believe that 20 years ago this month (Sept 14th to be exact) is when Beautiful Midnight was released. Man, do I feel old now lol An album that lived up to and exceeded expectations....I still remember where I bought it, opening it up and seeing the monkey mask on the CD and the little words “hidden” in the liner notes booklet printed in clear ink (if that makes any sense), how I listened to it, what songs really hooked me, and how it was the soundtrack to my life then and marked some significant changes in my life. Thx to Matt & crew for that album - such a masterpiece.
  14. 3 points
    A Boy And His Machine Gun Let's Get It On
  15. 3 points
  16. 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!!!
  17. 2 points
    Really respect that you are out there performing amidst personal tragedy and some pretty uncertain times health wise, especially with your susceptibility to illness. Take care of yourself Matt, I'm sure under the circumstances people will understand things like a reluctance to shake hands with fans and so forth. Really looking forward to your west coast shows this year as always!
  18. 2 points
    With regards to Toronto, COVID-19 is playing a big part in attendance. While shows have mostly been full, the last two sold out, the spectre of going to a place with a lot of people in it is very real. The German health minister today announced his recommendation that no event in the entire country be larger than 1,000 people - including sporting matches. Yesterday in parts of Italy, major matches were played to empty stadiums. Sufficed to say that now is not the best time to be touring.
  19. 2 points
    I have so much respect for Blake as a drummer. He's just so darn good on this album, he's sick. He's always amazing on everything he does.
  20. 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.
  21. 2 points
    I've been watching it... and enjoying it, but I agree that it isn't star trek. I was a huge star trek fan back in the day, and still love revisiting the old series (TNG through voyager anyway), but I find that TPTB have it stuck in their heads that "star trek" doesn't sell, so they repackage it as darker, more violent, sexier, etc... which completely destroys the whole premise. That being said, I accept that its sci-fi with some familiar actors that I like and keep "star trek" out of my head when I watch it (Hell, you'd have to do that to watch JJ's movies, most of enterprise, etc) if you are on the fence, and want it trekkier, you will probably shut it off in disgust at the end of the 3rd episode.
  22. 2 points
    I really enjoyed the first episode. However, my opinion is basically this. It is a good show, but its not "star trek" or not good "star trek". Star Trek is supposed to be bright, altruistic, humans have evolved etc;. This is like a slap in the face to what Star Trek was. This kind of stuff is good for alternate reality type episodes but I think they are trying to build on some future where the Federation collapses. They are basically making people act like 21st century humans and it's annoying. Its not Star Trek and I'm not a troll for thinking or saying it. The inmates are running the asylum. People are also writing for the show who don't know anything about Star Trek, there is no effort like in the previous series to try and pay tribute to Gene's vision.
  23. 2 points
    I was listening to Matt's new album while playing Half-Life 2 update yesterday. (I find I really absorb music when I'm doing something like chores or playing a game while listening). Definitely different from other works but also sounds similar to songs from various albums. As I predicted for myself, there are a few good gems on this album, same as previous ones for me. Listening to boobytrapped actually makes me think of driving on the highway at night. I really like that song. As far as recent albums go, I really love Army of Lions from Chaotic Neutral. My kids do too. My son (RIP) would ask me to play it if he knew I was playing Matt Good in the Van. So now I think of him in his seat in the back of the van, every time I hear that song. For me, Matt still has it, I'm just at a point in my life were different things resonate with me differently. I find though that I can still find those gems, which says more compared to lots of other artists out there for me. Thanks for coming out Matt! See in in the Sault in March.
  24. 2 points
    I'm with NonPopulus, his comments about seeing reactions from the crowd on the Lights tour struck me. For that tour my usual partner in crime for MG shows was out of town, and my other buddy had to bail last minute. I felt slightly odd going to a show by myself, but I had the VIP ticket so it's not like I was going to bail. What followed remains one of my favourite concerts of all time. An hour after the show I was able to thank Matt for the show and let him know that it was one of the best concerts I'd ever heard. His reaction was modest and polite, but perhaps a bit confused? It was like he didn't believe me, or maybe I was just being a weirdo super-fan kiss-ass that he's used to running into from time to time. But goddamn. That show did stuff to me. I didn't dislike Arrows, but it felt like it may have been a venture back to what he wasn't looking to do. One for the fans that obviously struck for a few of us, but ultimately not him. I would imagine creating art (or anything else) requires the upkeep of a certain level of momentum. Some albums seem to energize him while others ultimately chip a little bit away. I hope Moving Walls ends up very much the former. My attitude on his retirement is odd... I fully support it if he's able. Of course there's a selfish part of me that just wants to hook him up to vitamins and demand a new album every two years, but I can only imagine what it's like for an artist of his calibre to be somewhat concerned to release material he wants to make for fear people will turn their backs. Not to mention, he's got little kids. Every tour I'm eternally grateful to still be taking in those shows after all these years, but touring has got to be a little crushing when it comes to not seeing your kids. So if Moving Walls is doing what he wants... I say he should do what he wants because it sounds pretty damn awesome. The drunk guy yelling for Time Bomb won't dig it, but maybe pruning that particular branch back means we all win.
  25. 2 points
    I don't know if it was actually public. It was in 2002 and both of them were keynote speakers at New Music West. At some point during the speech Matt references himself and Gene speaking back stage and how they had different perspectives regarding the goal that new artists should have when it comes to choosing goals. Sounded like it was a friendly and amicable conversation from what I remember Chad has the entire thing up on his site here: http://mattgood.plastic-soldier.com/downloads/audio/misc/newmusicwestspeech.mp3 Probably one of the best talks he's ever done. And there's a 5 and half minute clip of him playing and speaking at NMW that year here: https://www.youtube.com/watch?v=-SD3ThrW_RA
  26. 2 points
    Wow this is a great song. Kinda reminds me of an oldschool MG tune in a way. Love it.
  27. 2 points
    1. One Of Them Years 2. A Momentary Truth 3. Beauty 4. Sicily 5. Boobytrapped 6. Radicals 7. Dreading It 8. Your Rainy Sound 9. Fingernails 10. Lumière Noire 11. A Thousand Tons 12. The Heights 13. Selling You My Heart 14. Thorn Bird 15. Parts
  28. 2 points
    I've got tickets and VIP for both Victoria dates and bought my dad a ticket to the Nanaimo show as well. So thankful to have a job that will both allow me to afford and attend these shows. Two years ago there'd be no way of me seeing him twice, let alone VIP twice!
  29. 2 points
    Damn that was stressful. I intended to book VIP for Buffalo, with thoughts of possibly doing Kitchener depending on the cost, thinking I might add it on in the next few weeks. I had the page for each show pulled up on the computer and at 10 the Buffalo VIP link was not working. At all. I went to the venue page and they had nothing either. Naturally, I panicked. So I went to the kitchener show page and it redirected me to sound rink for VIP just fine. So I said to myself well I guess maybe VIP is not available for Buffalo and that sucks but oh well and proceeded to check out for Kitchener instead. I get to the payment page and because I’m on my work computer, my paypal is not autosaved and I can’t login to save my life. So I try to check out as a guest and when I put my card info in I get errors. I try a different card. Still errors. What in the fresh hell is this. I see my boss walking in my direction with a couple people on a tour of the company. Panic escalates and I peace out to the phone booth room with my phone and my credit cards in hand to go on my “ten minute break”. Once on mobile, I successfully login to PayPal and am able to secure the Kitchener VIP. Now that I am in sound rink I decide to search all the mg shows and lo and behold the buffalo date is on the list. With little hesitation I book VIP for it also. Because fuck it. So stressful. Thank you for listening to my live journal entry for today.
  30. 2 points
  31. 2 points
  32. 2 points
    My pleasure, Juanpe. Anytime.
  33. 2 points
    Whoa!! I've been gone for awhile in Qatar on a work assignment and come back to this!!! Amazing. To the poster I'l throw down $100 to your paypal acct right now and promise not to distribute to youtube for a copy of the full vid. Must hear Inescapable US live before I die.
  34. 2 points
    This was the set list from the May 8th Coquitlam show: 1 - My Out Of Style Is Coming Back 2 - Strangest One Of All 3 - Haven't Slept In Years 4 - Apparitions 5 - Everything Is Automatic 6 - Raygun 7 - Deep Six 8 - Prime Time Deliverance 9 - Look Happy, It's The End Of The World 10 - Rico 11 - Generation X-Wing 12 - Indestructible 13 - Symbolistic White Walls 14 - Invasion 1 There was also a brief cover of Thunderstruck in between one of the songs above (about 30 seconds of it - before they stopped and Matt said "That's about all we know from that one"). For the encore, it was: 1 - The Inescapable Us 2 - Middle Class Gangsters 3 - Alabama Motel Room
  35. 2 points
    I figure these will start to pop up similar to the Solo Acoustic shows tour dates as Festivals get announced/reveal their lineups. So far: June 21 - Beaumont Blues & Roots Festival Beaumont, Alberta [Info | Tickets | Facebook] July 14 - Roxodus Music Fest Edenvale Airport, Clearview, Ontario [Info | Tickets | Facebook] Festival Cancelled July 3 August 3 - Area 506 Festival St. John, New Brunswick [Info | Tickets | Facebook] August 4 - Gables In The Bend Grand Bend, Ontario [Tickets/Info | Facebook]
  36. 2 points
    I attended the show with PlasticSoldier and was really impressed with this being a festival performance. At these shows I expect the singles/bit hits but how they were put in to the set and surrounded by other non singles was great. The band played for over 90 minutes (went on at 10:30PM), it was overcast, windy and cold but that didn't deter them as they put on a solid set. When you realize this is the first band performance of the year you would expect there to be some rust but it didn't come up. MG may have missed a lyric or two but we're probably all a bit fatigued when coming back from vacation :). MG also removed his shoes during the encore because he got a blister, perhaps the Italian footwear needs a little more break in time. The Beautiful Midnight Revisited tour did exactly what I wanted as I wished to get b-sides in to the main set and with Boy And His Machine Gun and Born to Kill making an appearance I was a happy camper (I also love Future is X-Rated, but it's slightly more common than the others). As Rhu8ar8Pi3 mentioned the Let's Get It On inclusion was a pleasant surprise and I also questioned myself if I heard the opening chords correctly too. I really enjoy how this song was re-recorded and it is a thrill to hear live. Adam_777 will appreciate this...MG referenced playing the ending of In a World Called Catastrophe across a highway. And that was it. He acknowledged the song but didn't play it. Maybe next time. Unless NonPopulus surprised us and attended the show I don't think there will be a multi-source edit of the show so I went ahead and tracked mine out. You can check out a song sample here: https://soundcloud.com/sean-gursky/matthew-good-decades-june-21-2019.
  37. 2 points
    It's wonderful that decades can go by and it's still possible to unearth a treasure like this. The amount of effort to obtain this from the Lloyd family and digitize it is no small feat and a gigantic thank you to everyone involved. This is a gem for all of us, and as MG said in the "Sharks of Downtown" video, he created classic rock of the future and here we are.
  38. 1 point
    I really do love this guy. Such an under appreciated artist.
  39. 1 point
  40. 1 point
    Currently on schedule: April 1 - Matthew Good May 14 Nov 9 - Jimmy Eat World May 17 Feb 12, 2021 - Apocalyptica July 4 - Saints & Sinners Tour (Big Wreck, Moist, Headstones, The Tea Party)
  41. 1 point
    Okay, so after a week of listening, I finally feel like I’m at a place where I can articulate my thoughts. The following is my review of Matt’s new record; noticing the scant online coverage for Moving Walls, I purposely wrote in a more formal voice here as I intend to post this in a couple different places. Hopefully, this write-up will have some legs, or at the very least, raise some awareness for the record. ***Quick note: In addition to the new-album thread, I’ve decided to ‘double post’ this in the album-rankings thread (which I started a few weeks back) as well, since it pretty much sums up my thoughts on both topics. Moving Walls: The Beauty in the Struggle From his impressive run in the mid-‘90s (by way of of the alt-rock band that shared his name), to his sustained ‘under the radar’ success as a solo artist, Matthew Good has been redefining the expectations of his audience for the better part of three decades. And with his ninth solo release, Moving Walls, the Canadian singer-songwriter re-establishes what longtime fans have known for years: Matthew Good is writing the best music of his career. Good himself has used the term ‘adult contemporary’ when trying to describe Moving Walls, and while the tag certainly fits (at least in a general sense), it ultimately undersells the album’s depth and scope. Where recent outings often felt like the work of an artist struggling to find a balance between expectation and inspiration (marked by Good’s attempts to offset his increasingly atmospheric ballads with amps-to-eleven rockers), Moving Walls is brazenly unapologetic; from start to finish Good plays to his strengths, leaning heavily on concise arrangements, confessional lyrics, and some incredibly inspired vocals. Case in point being the dynamic album-opener “One of Them Years”, a brooding number that finds Good dispensing biting bursts of dense, Dylan-esque prose over a circular chord-progression. Subtly switching gears, “A Momentary Truth” echoes the upbeat folk of Hospital Music’s “The Boy Come Home”, while the appropriately-titled “Beauty” further showcases Good’s ever-evolving lyrical abilities. Combining a staccato piano-line, thunderous backbeat, and Good’s soaring vocals, the album’s first single, “Sicily”, judiciously channels the singer’s alt-rock roots to great effect. “Boobytrapped”, on the other hand, leans heavily on a beautifully recorded string-section while “Radicals” confidently waltzes its way through one lyrical gem after another, closing out one of the more solid opening salvos in Good’s catalog. Next up is a trio of standout tracks (the stunning, six-minute rocker “Dreading It”, the snare-driven “Your Rainy Sound”, and the lush, understated “Fingernails”), each of which adds a healthy dose of energy and momentum to the album’s second act. “Lumiere Noire” (notable for Good’s decision to sing the entire song in French) features a brilliant acoustic solo while one of Moving Walls most intimate moments comes courtesy of “A Thousand Tons”, a beautifully orchestrated three-and-a-half minute emotional crescendo that easily could’ve found a home on 2011’s Lights of Endangered Species. Another expertly-crafted slice of mid-tempo folk-rock, “The Heights” sets the stage for the stunning ballad “Selling You My Heart”, a heartbreakingly candid song that has ‘instant classic’ written all over it. “Thorn Bird” evokes the lush atmosphere of 2003’s Avalanche, marrying sparse, shimmering chords with one of the record’s strongest vocal performances while “The Parts” provides the album with an appropriately introspective coda. It’s understandably tempting to try and measure an artist’s latest release against their past work, and in the case of Moving Walls, the most obvious point of reference is probably 2007's Hospital Music. There are plenty of similarities (both albums are largely acoustic and feature fifteen songs clocking in at over an hour), but where the former often sounded like a necessary catharsis, the introspective mood permeating Moving Walls feels like a deliberate artistic choice. To take the analogy a step further, if Hospital Music was the sound of a man picking up the pieces, Moving Walls is what he ultimately turned those pieces into. The album is dense, but far from impenetrable, and repeated listens reveal an incredibly nuanced mix; Moving Walls is easily one of best ‘sounding’ records Matthew Good has released. To that point, it’s easy to imagine Moving Walls as a template for the next stage of Good’s career, one where he follows in the footsteps of fellow countryman Neil Young, refusing to acquiesce to the established narrative that attempts to paint aging rockers into that ‘shut up and play the hits’ corner. Moving Walls isn’t a flawless record (given the prevalence of ballads, especially on the back-half, mileage may vary depending on mood), but it’s pretty damn close, and is sure to please longtime fans. Either way, for the first time in years, it sounds like the only person Matthew Good was ‘trying’ to please was himself, which makes Moving Walls a win/win for everyone. My final thoughts: So there you have it. As you can probably guess, I love the record. Matt’s really outdone himself and Moving Walls more than exceeded my expectations. I don’t think I’ve been this impressed with a release since Lights, and I don’t think it’s any coincidence that in both cases, he’s chosen to back off the electric guitar, and focus on placing the lyric and mood front and center. I’m hesitant to give it a ranking (I mean, it’s only been a week), but if I had to say right now, I’d probably place Moving Walls in my top-3 favorite Matt Good releases, behind only Lights of Endangered Species and Chaotic Neutral. If by any chance you happen to read this, hats off Mr. Good.
  42. 1 point
    I would say Lumiere Noire rules in several ways. Additionally the rest of the album is just stellar. I agree with all posts on this page, like how this is the best album since Lights and surprise for Matt being disheartened at the fan faces on that tour. This page is rammed with praise for Moving Walls. It's not a shock that some people openly stated their honest feelings of moderate satisfaction...this is a forum after all and they were generally respectful about it too. Can't be fun for Matt but that certainly can't be allowed to overshadow the abundance of legitimate praise for this album and Matt's accomplishment of staying true to himself to make it. We adore the work you do Matt and any true fan of yours has grown with your sound. You have a legion of fans who are totally stoked for the tour. Don't retire either...we will be thrilled to follow you and your music wherever it goes!
  43. 1 point
    I wouldn't say I'm bored to tears by it, but I agree that out of everything he's ever released, upon a first listen this probably the one that ranks at the bottom of my list for him right now. Like you, I'm glad others are enjoying it and I can understand why too- a lot of the songs have a very uplifting sound to them and it seems like on this album Matt wanted to the lyrical content to be front and centre, which I can appreciate since most of the time Matt is a very prolific lyricist (this album being no exception). Furthermore I can appreciate the fact that as usual he's trying to branch out and do something different from a sonic perspective. But for me, it just doesn't really work. Don't get me wrong, even weak songs by Matt still aren't bad, but I just find that there are a lot of songs on this album that sound very similar to each other, and more importantly sound somewhat only half baked/a little lazy. Take "Your Rainy Sound" for example. It has a beautifully driven and inspiring opening intro/verse to it, but what should only be a pre chorus- one that leads into a thundering real chorus that compliments how powerful the intro/verse is- ends up being the chorus. As such it feels like the entire songs suffers as a result. The same critique applies to "A Thousands Tons", imo. It's got a galvanizingly haunting pulse that starts off the song, which then moves into a crescendo like mountain movement which makes you think it's going to lead to an explosively intense new section of the song, but then it just stops, goes back into where it was previously, and then ends. It's like having to listen to the album version of Something Like a Storm again. You think it's going somewhere amazing and then....it just fades into nothing. I hate when songs do that. To be clear and fair though, there are definitely some good ideas in here, and I really appreciate the uplifting/inspired feeling that a lot of them have. "Dreading It", for example, is a fucking beautiful song to me. The lyrical content and the sonic composition are driven and have a worthwhile/meaningful theme and ending to them. I'm really looking forwards to hearing this one live because if there's one weak spot in the song it would be that it feels like the drumming at the end should have been more heavy. When allowed to on the stage Blake always nails it and I think if he has the freedom to let loose he could help make it an even stronger ending. One of Them Years and Selling You My Heart are other stand outs to me. They still sound like Matt and have an interesting/meaningful progression. I guess ultimately what fails for me though overall is that a lot of these songs don't really sound like Matt Good songs. Save for Matt's vocals, they sound like they could be from any number of different adult contemporary artists out there over the last few decades, which is of course disappointing because in the past one of the things I've always loved about Matt is that even if you took away his vocals you could always identify that it was "his" sound. As the years go on it seems like he's losing that drive/originality that made his music so great. There are still powerful ideas within his songs, but when it comes to consistency and even movements within individual songs it seems to be getting more rare that he's able to do finish them with as strong a drive as they started with (another good example of this is There the First Time- it has a wicked first half which moves into an amazing bridge that makes you think something even bigger is coming afterwards, but then it just moves back into what came before it). If I were to compare this album as a whole to anything it actually reminds me a little of Our Lady Peace's "Burn, Burn". That album was a very different sound for the band, but if it wasn't for Raine's vocals, most of the tracks on that record (save for Monkey Brains) could have been from a hundred different mundane and indistinguishable pop rock bands in North America. I feel the same way about this one for Matt. Save for a couple good songs, the rest of them kind of sound like filler songs, and again, even where there are some good ideas, it feels like the rest of the material was just slapped together like a baloney sandwich for the sake of having a completed song. I almost wish he would take longer between albums and work on the songs more so that the final product is stronger. I'll take quality over quantity any day of the week. All that said, this is all just my opinion after a first listen. Upon multiple listens I may appreciate it more and I'll fully admit all of the above is nothing more than a subjective opinion.
  44. 1 point
    Hi everyone! Matt's been my all-time favourite musician for well over 20 years now! I've been lurking here for well over a decade. Been lucky enough to see him perform 4 times (3 full band, 1 solo acoustic) since 2005. So for those who are aware of what his setlists tend to consist of -- what are your top 5 songs he almost never plays live? Here are mine, in no particular order, but doing two lists -- one for solo, one for MGB material. MGB "Missing 5": - Under the Influence - Failing the Rorschach Test - Alabama Motel Room - Jenni's Song - Let's Get it On Matt Solo "Missing 5": - 21st Century Living - A Long Way Down - On Nights Like Tonight - I Am not Safer than a Bank (hokey I know) - Little Terror I'd love to see your choices! (And sorry if a similar thread is elsewhere and I missed it)
  45. 1 point
    I have a car (which I love), I have a kid (whom I love), I don't routinely vote (I am opposed to the electoral college), and I don't recycle (because it is not available to me in the city I live in, although, the sight of Diesel-fueled trucks taking a second spin around the block to pick up blue bags has always been a bit of a head-scratcher) - that all being said, there was one thought that kept popping into my head while reading your post: good for you! And I mean that sincerely. We may be diametrically opposed in regards to certain issues, but I appreciate your conviction and am happy that you feel like you are doing your part and that it is a source of pride for you. Thanks for sharing; your post gave me something to think about, which is always a good thing!
  46. 1 point
    I shot and put together the piece from the Rogers Cable video (Coquitlam 1998). I was then a 17 year old camera guy who used this as an excuse to go to the show and interview him (I was a rabid fan). After I spoke with their manager, Frank, on the phone (nice guy), I was surprisingly given the approval to shoot the show and talk with Matthew afterwards. I never had thought that anyone would see it (Rogers was a public access channel) and it was my one and only time acting as interviewer, because for me, it was a godawful experience but it was well worth it. I can't believe that it actually resurfaced on the internet over 20 years later. The Show was fantastic, they were truly a very tight band. It's a shame they never got the attention, respect, or success that they deserved. Geoff was a fantastic player, played great at this show, and it's a goddamn shame he is no longer when us. Thanks for bringing back the memories of my foolish fantasy of being a MuchMusic cameraman!
  47. 1 point
    I can't imagine that there's a single MG release actually worth $900, much less $1500. I own that release - if I thought it was worth that kind of money, I'd stop playing it (and probably sell it). That particular release (it's "White", but it's got a little bit of a gray streak) is rare because it was made for the VIP packages on the Arrows tour, so there aren't that many of them. Nearly all of them are signed because it was part of the VIP package for the Arrows tour. (Mine's unsigned because I got it as a "thank you" for a charity donation. It was a completely unexpected surprise - my donation wasn't large amount of money.) I don't know why it'd be notably valuable - I like that album, but it's not highly sought after. Isn't Mikey Mackinon a user here? I saw this on Discogs - he posted a bunch of nonsense in the last couple of days about how stuff went for huge money on eBay "during the album release". Those numbers are absurd - he's lying his ass off. (And most of that information would be out of date and irrelevant to its current value.) https://www.discogs.com/user/mikeymackinon He's claiming $450 for the standard edition of Arrows on vinyl, but you can buy it for $25.99 on MG's website, for fuck's sake. $300 for Massey Hall on CD? WTF.
  48. 1 point
    Warren was apparently getting close to being done with the mixing process back in June so hopefully you're right.
  49. 1 point
    I was at this show as well. Awesome setlist and great venue. I was in the very back of the balcony and still had a better view than other MG concerts I've been to, heh. I was hoping to see him play Fearless, and or Rabbits (ending up getting both so my night was made). It was so good, I sprained my ankle on the way to the show and I still consider it a good day, heh. I was looking up a setlist for the show on setlist.fm, but it seems incomplete. I feel like How it Goes was played at this show. Since you recorded at lot of it, can you confirm?
  50. 1 point
    I love Garden of Knives. And Guns of Carolina makes the list of all time favourites for me. I really love that song. Also closing a show on "it's all too late, done what you paid me for" *chills*. Letters in Wartime was great too. Via Dolorosa. Those are the standouts for me. But Gardens and Guns especially.
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