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Everything posted by adam_777

  1. Thanks John, I really appreciate the extensive response to my inquiries, definitely clears up some things I was wondering. I have all of those releases of Ghetto and Raygun, just never really understood how they came about, or what brought about their order or release. Also thanks for the definitive listing of the songs from the Lost album and the songs that were outtakes from Last of the Ghetto Astronauts, clears up the confusion I had there and I appreciate your efforts to relate what the songs sounded like and give reference to similar sounding tunes. It may be material we never get to hear, but it's always tantalizing to get a bit of a feel for it anyways. Thanks again John!
  2. John, really enjoyed your interview you did with Daniel and Ian, I posted my thoughts on that in a much more long winded form in that thread, but thank you you again for hanging around and answering some of our questions, it gives such a much appreciated insight into the creation of Last Of The Ghetto Astronauts and the timeline prior to that album that so many of us knew very little about previously. A few things I was wondering: 1. You've listed a number of songs from the Lost Album and Last of the Ghetto Astronauts that were outtakes, or just not released. I understand some of these were with the old band and some were with Ian, Geoff and Dave. Do you have a list of which ones were performed by which band? Obviously Revenge was by the Genn, Lloyd, Browne version of the band, but what about the others? Also in the interview you did with Daniel, Ian mentioned that he thought they performed "Leaving on a Hijacked Jetplane" (great title by the way) at some of their earliest shows. Since the band was writing, rehearsing, performing and recording at the same time, do you know if anyone taped any of those shows off the soundboard, or if any setlists survive? Those early days in concert are a complete mystery for us fans as the earliest live bootlegs we have are from 1998. Other than a couple TV performances on Demovision and MUCH we really have no confirmation of what their live sets were. 2. One thing I've always wondered, and you might not even know the answer to this, but there are several CD releases of both Last of the Ghetto Astronauts and Raygun. With Ghetto it seems like it was released originally with the cover that just says MGB and Last of the Ghetto Astronauts in white script on EMI which seem to be quite rare. It then was released again a second time by EMI with the updated cover with red block letters and then again by Darktown with the same cover. I'm assuming these three releases were because the first pressing with the original cover ran out and then a second pressing with the more common cover was released by EMI and finally when Matt signed with Darktown they rereleased the album in 1997 under their label. That seems pretty straight forward, but with Raygun it also has three releases: one in a cardboard sleeve with a black and white disc on the EMI label, one in a jewel case with a black and blue disc on no label and a third with a jewel case on a black and blue disc on Darktown. So what I'm wondering is what happened with the Raygun releases? Was the band originally still signed to EMI where they released Raygun, but then at some point broke off their deal with them and then while unsigned rereleased Raygun under no label before being signed to Darktown who rereleased it along with Ghetto Astronauts in 1997? Or was there a different order of events there to explain the 3 releases of Raygun on three different labels?
  3. I put this on as I was going to bed last night figuring I'd listen to 15-20 minutes of it, wound up listening to the entire 2 hours and ten minutes. This was really incredibly well done and insightful. It was great to have both Ian and John in on this one to have two people who were there kind of going back and forth and jogging each others memories and so forth. It was really cool as well how this one mostly stayed on the subject of Last of The Ghetto Astronauts, reminded me a little of those old Classic Record documentaries that used to be on TV, except this was a lot more off the cuff which was great because it allowed the conversation to flow into some natural tangents it might not have otherwise. Also because John and Ian haven't seen each other really since those days, all the joint memories they have an instantly linked to that time period. Daniel, you are far too critical of yourself, I think this was incredibly well done and the intro was a nice touch as well. You knew enough to not interject when the conversation and memories were really flowing, but still took the time to get some direct questions across. I was looking forward to this interview, but I had no idea I would enjoy it and find it as informative as I did, so often, especially when you are dealing with a record that is a quarter of a century old, it can be easy to forget many of the details and just repeat the few things that have been in print over the years. What was amazing about this was just how much new information we learned. From how the band met up, to their influences to the way the record was actually constructed and recorded down to their thoughts on it's legacy. I'm one who was guilty of largely ignoring Last of the Ghetto Astronauts for years. I first got into MGB seeing the Apparitions video on MUCH and for the next 5-6 years I most of my listening to their music was hearing the new singles as they hit the radio or the videos hit much. In the mid 2000's I started to really get into the albums. I spent alot of time with the last three band records and Avalanche and then followed along with each new release, but never got around to listening to Ghetto often. I heard it a time or two and it just had such a different sound and it really didn't catch me at first. Add to the fact that by that time Matt had basically dropped all traces of Ghetto from his setlists and was openly very critical of it, it didn't give me much incentive to pull it back out, especially as his catalog grew larger and larger. It was also the only album Matt has ever released that I didn't experience some part of in real time. So unlike songs on the other albums, I had no personal memories linked to that music that could take me back to where I was in my own life when it was released, and often that can have a huge impact on the lasting appeal of a certain song or album for me. But about five years ago I was out driving on some mountain road and I had Ghetto on and I had to pull over and stop because I was continually air drumming along to "The War Is Over" and I was swerving all over the place. So I pulled over got through that and Omens and then ran through the whole album again. I don't know why it took so long to hit me, or why on that day it all of the sudden made an impact, but that's how it happened. It was really the drumming that drew me in and then of course the strangeness of the sound of that record which had once put me off of it became one of it's strongest features. You know, like you said in the interview Daniel, it's a unique album, but not just in the MGB catalog, it's unique among many albums at that time. It really is kind of a genre in and of itself. I own about a thousand albums on CD and vinyl and can confidently say nothing else in my collection sounds like that record. Of course the more I listened the more I began to appreciate so much more about the album. Matt's lyrics are for the most part really fantastic with some real dark edge to them pretty amazing that on the band's first album they were so fully formed, especially considering just how young they were. Also Dave of course is playing keys which adds a different dimension to the sound as well, and Geoff is really so rock solid back there, it is a solid combination of the guys talents and where they were at the time. And of course John deserves a great deal of credit for the sound as well. I love the rawness of it that you can tell this wasn't done just take after take with a bunch of punch ins, it really allows the music to keep that flow and feel that comes naturally in a moment and as Daniel said it really does feel like there is a great separation in the instruments. This is a beautiful listen on vinyl because of that, it feels like I'm back 25 years ago sitting in the studio with the band and with that great stereo separation you can almost picture each of the guys laying down their parts. I wanted to express a big thank you to Daniel for organizing this and doing the work to arrange, interview, edit and upload this, I understand the kind of work involved and it really is pretty amazing we have people like Daniel here who go through all that effort to help provide a platform for us to better our understanding and appreciation for some of the music that has made the biggest impacts in our lives. And also to John and Ian who I can't thank enough for taking the time to make this happen. Ghetto is an album that is really revered by the fans of MGB who have really given it a thorough listen, but it was also the one that as fans we knew just so little about. The band was just starting so it's not like there was tons of press coverage at the time it was recorded and there are so few fans around the community who were fans back in 1995/96 who can shed some light on that era. So to have two people so integrated in the creation of it come forward and share some stories really is something special and really helps increase my appreciation for this album. Often, especially at acoustic shows Matt will tell stories about songs or albums or whatever, but because he had ignored the Ghetto material for so long in his live sets, we didn't even have that as a source of information from those days. On his last acoustic tour though he really did embrace a few tracks from that album playing Fearless at nearly every show and Symbolistic White Walls and even Omissions of the Omen a few times. Some shows had all three in the set, which is probably the first time that much Ghetto material had featured in a set since the Underdogs era. Fearless was a real highlight of the tour for me, but it was at the final show in Vancouver where I really saw the impact of the songs from Ghetto when Matt did Symbolistic White Walls and the crowd just took over singing. It was obvious after 25 years that song had not lost one bit of it's appeal and Matt was clearly pretty touched by that. So there is no doubt the music from that album still resonates with many fans so it's really something special to get this kind of opportunity to have a member here discuss that album with Ian and John and reveal so many interesting stories from those days that helps piece together a much clearer picture about the genesis of the band and their earliest days in the recording studio. So a sincere thanks to you three! Also, No Omissions on vinyl is a killer, I get why it was left off, but with that fourth side something could have been done for sure! Actually i just looked at the track listing and side 2 is less than 14 mins long, they could have moved Havent Slept in Years(3:23) to side two which then would have definitely left room on side 3 for Omissions (3:30). Hopefully someday Matt will release a rarities set on vinyl with some of the outtake tracks like All Together, Pony Boy and Can't Get Shot in The Back and then Omissions can be included.
  4. 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!
  5. Great to have you here John! Any time we can hear stories about any aspect of Matt's career from someone who was there first hand it is always greatly appreciated. As you can imagine over the years so many stories have gotten mixed up or details crossed and so any time someone can set the record straight so to speak it's of immense value to the group here. And of course there are I imagine so many stories and details that just simply haven't been made widely available to people outside the small group of people involved in the creation of the music, so I'm sure you have a great deal to share that would be a revelation to us here. Especially in the early days of the band so much remains unknown to the fanbase at large. Before the days where MGB were basically the MUCH MUSIC house band, there simply wasn't much ever discussed online about that era, leaving many of us fans (most of whom became fans during the Underdogs era and later) to speculate without much fact to base that speculation upon, even things as simple as release dates of the albums and EP's from that era aren't something set in stone. So welcome to the forums, I'm sure I speak for everyone when I say it's great to have you here and I very much look forward to anything you share! Hard to believe Alabama Motel Room is 25 years old. I remember buying the In a Coma greatest hits compilation in 2005 and thinking the Ghetto tracks on it were 10 years old at that time and thinking it seemed like an entire lifetime ago haha.
  6. That seemed to be the potential plan, I believe video for Load Me Up was also posted, but then nothing since unfortunately.
  7. It depends, I imagine we will be in for a few stages of restriction lifting in the time to come, a Matthew Good show is a different world than a Rolling Stones show as far as pandemic spread is concerned. I could easily see these smaller style theater concert and movie theater type situations being on the reopen list in the next six months if the virus continues to be reasonably contained. Interesting that some shows seem to have not been rescheduled like the Nanaimo show, wonder if they will just cancel that outright or if they are waiting for a date to be confirmed.
  8. 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."
  9. From what I recall yes he was strictly acoustic for those two years. I had been a fan of his since 1998, but was too young to go to shows, then he played a a couple times at 19+ venues in my area for a couple years and so I still couldn't go, after high school I briefly lost track of him, this was during the 2005-2007 period. I missed the release of Hospital Music, but stumbled across it in a store about 6 months later and bought it, it rekindled my love of his music and I looked into seeing if he was touring at that time. I had just missed his show in Victoria in fall 2007, so I kept up with his touring news pretty vigorously after that. he did an acoustic tour of the states in the spring of 2008 and then did a full band electric tour, which was his first since 2005, in May/June of 2008. That was the tour Massey was recorded, I saw his Victoria and Nanaimo show. The Victoria show was at the Curling Club and he opened with Giant and literally five seconds in two guys got in a real ugly fist fight. I remember thinking "man Matt Good crowds are rowdy" But I've never seen that kind of overt violence at another of his shows since. I went to the next show and tour closer in Nanaimo, which was his 37th birthday, the crowd sang him happy birthday, he told us to keep our day jobs. I remember during the opener, the crew were running across the stage hazing the band, they were either in underwear or nude, but with paper or other object covering them, I can't remember, but it was quite hilarious. When he came back after that hiatus, his band was completely different than it had been before. This was Stu and Blake's first tour. Milos Angelov was on bass and he played bass with Matt for several years after up through the Arrows Tour. There was also a keyboard player on this tour, named Peter Nunn who I think only played with Matt on this tour. But ya, as far as I remember there weren't any electric shows in 2006 and 2007. Actually, it's funny because at the time I remember hearing fans who were saying "I'm so glad he's back to doing band shows." But for me having just missed the two years of acoustic shows for me it felt the other way, by 2012 I had seen about 20 full band shows and I was really hoping to get to experience an acoustic show. My first one ended up being the secret show he did in Vancouver that year, and it's still my favourite concert of his I've ever seen!
  10. Thanks for turning a rather bleak time into something exciting Foats! really looking forward to anything you share! and thanks as always for offering to do this.
  11. The promoter of the victoria shows insinuated the make up dates would take place in the late fall.
  12. 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!
  13. Wow that setlist is really heavy on the last two albums. 10/16 which i think is great especially since i never saw the OLP tour so i havent seen much of the SLAS stuff live and the two tracks on that set are my two favourites from that album. The other material is the crowd friendly warhorses which are inevitable and i still enjoy hearing. I still crave the odd deep cut from some of the albums often underrepresented like Avalanche and Vancouver, but i know the logistical problems Matt faces with rehearsing that stuff and ive accepted the reality that the solo acoustic shows are thr most likely landing platform for something like that. Looking forward to hearing the new songs live!
  14. Having had about a week with this album now I figure I'd provide a review here, although I suspect it will continue to shift in my perception for some time. - I really enjoy the production on this album, on my vinyl album it sounds just fantastic, on the more stripped down songs it really feels like Matt is in my living room strumming gently and softly singing right in front of me. The balance of the instruments is perfectly executed and there is a noticeable and clear separation in them that allows me to single them out and listen to how each contributes to the song. Matt's vocals are dynamic and clear above it all, but mixed in well so as not to feel isolated from the music itself. These performances feel organic, I'm not sure if these tracks were recorded in isolation or if some are recorded with the band off the floor, but some of the performances like "Beauty" really feel almost like a live performance, there is a cohesion there that gives it an immediate feel, even if that isn't how it was in fact recorded. Also really enjoy the use of strings on some of these tracks to add some tension and drama. Kudos to Warne for an amazing job on the aspects of this ones sonics. - People have said this reminds them of a combination of Lights and Hospital Music, and I agree, but I'd also add the production itself definitely reminds me of Audio of Being in some parts too and the strings and arrangements on some songs recall Avalanche. This album to me seems to be a melting pot of many of the different styles he has employed throughout his solo career, and I think there is something very interesting in that. In one way it doesn't have a distinctness in and of itself, but in another way it feels both new and familiar, and the entire record flows pretty well together, these songs all blend more than say Chaotic Neutral which although I love that album, does seem to be a bit more of a haphazard collection of different distinct styles. - This one is clearly missing hard edged rock songs...but I feel those performances have been my least favourite on recent MG albums. In light of his comments on this thread it may be because he feels obligated to write them and maybe isn't as passionate for them, because they come off a bit more generic, a rock song for the sake of a rock song. That's not to say that I feel that way about all Matt's rock songs, in face he's one of my favourite writers of that format and he brought something really intriguing to that format, especially lyrically, but I've got to admit, I don't really miss those songs here, though it does give the album a more wholly somber feel, I feel like nothing feels forced about it. Imagine something like "Had It Coming" jammed into the middle of this album? It would be jarring and disrupt the mood the albums strains hard to create. - That brings me back to the flow of the album. There are some MG albums that just flow almost like one long theme, these are albums that I find nearly impossible to listen to on shuffle, or to cherry pick songs from. This is the first album since Lights that I have felt this way about. Obviously this style of record production isn't for everyone, but for me it's so key in Matt's music. It's almost cinematic in the way themes and atmosphere are carried over across the tracks. Arrows, Chaotic and SLAS all felt much more random and stitched together. On Chaotic I thought it surprisingly worked, but the other two not so much. -One of my criticism's is that the album feels maybe a little too long. I'm not the kind of person who thinks art should always be short, succinct and easily digestible. I always think it's bizarre when friends of mine chose what movie to watch based on length as I think it's ridiculous to judge something solely on length. Sometimes movies and albums need to run to longer lengths to encapsulate the story, mood or feelings they are trying to express. With that said there are plenty of examples of art that I felt actually accomplished what it was trying to without needing to extend, and that by that extension actually somewhat dilutes the strength and impact of that statement. Matt's two longest albums prior to this one were Beautiful Midnight and Avalanche. On the one hand, I wouldn't excise a second from Beautiful Midnight, with Avalanche though, there is a couple tracks that seem a bit redundant or out of place, and I truly believe if the album was less those two tracks it would be a more solid, thorough statement and would balance the album a bit more as I find it somewhat front loaded. On the other end of the spectrum you have Lights at 43 minutes, but I think additions would have only hurt it's strength, even though I do love some of the demos from that era that never made it on that album. Moving Walls is a bit more like Avalanche to me in that regard where I think it's length detracts from it's strengths. On the vinyl release, I find sides A and B to be pretty flawless actually, even though I'm not a big fan of Sicily, those two sides flow very well and it makes sense to have the lead single on side A. Side C is where I find the first songs that really aren't doing much for me, and Lumiere Noir, I actually love the musical aspects here, it's one of my favourites on the album in that regard, especially the well executed guitar solo, but something that really pulls me into Matt's music is my ability to connect lyrically to the concept of a song and to relate words and feelings to his vocal inflections. I don't have an issue with him signing a song in French, but my uncultured self is unable to relate to that song in the same capacity as the others, because even reading translated lyrics, I can't quite relate the way I usually am to his songs. Side D returns to pretty strong form to close the album out. For songs my favourites would be: One of Them Years - a perfect opener for this album Beauty Boobytrapped Radicals A Thousand Tons Selling You My Heart Thorn Bird When I first listened to the album I thought it was quite a bit front loaded, the second half wasn't resonating with me much, but on subsequent listens I've really come to enjoy most of that half too. There is only three songs on the record that I don't really care for: Your Rainy Sound Fingernails Parts - Matt's albums usually have incredible closers, and this one just isn't connecting much Overall I am very much enjoying this album, it has all the things I've come to enjoy about Matt's work and some very memorable songs. It's early still, but at this point I would actually put this as my third favourite of his solo albums, behind Avalanche and Vancouver. Obviously it won't be my first choice if I'm in the mood to rock out, but if I want that mellow, personal introspective feel it definitely will be near the top of the pile. One thing I'm excited about is how these songs will translate live, and which songs he'll choose to play. With 15 tracks I can't imagine he'll play them all with any regularity, so it will be interesting to see which choices are made. Also with these more mellow songs, often when performed live they take on a different kind of energy and intensity. Things like Empty's Theme Park and Non Populus were performed live with a much harder edge than on record and remain my definitive versions of those songs. Can't wait to see how these tracks are presented on stage!
  15. Tough to say. Matt has expressed different sentiments at different times in regard to what he might do with future setlists. At times he has seemed to express a wish to do things like play complete albums like Lights, or to dip into more deeper cuts, other times he has talked about maybe just playing 4-5 new songs per show because he had more of an obligation to the average fan at the shows, and at other times he plays most of the new album at shows.It definitely keeps things interesting because even going to multiple shows on the same tour I legitimately have no idea what to expect and it makes the shows incredibly exciting!
  16. I haven't sat down to review Moving Walls yet because I like to sit with Matt's releases a bit before seeing how I feel about them. Even then, sometimes it takes years before a song will hit me. I've always felt a personal connection to Matt\s music and sometimes certain song hit me at certain times because of certain circumstances in my life. An album like Beautiful Midnight I hold in high esteem because of the era it was released in. I was 12 that album became a complete summation of so much of what I was feeling at the time, going through significant changes in my life. That album will forever hold a special place to me because of just the time it came into my life and the moments I associate with it. Recently I made a post ranking Matt's solo albums, and while I was making the list I was wondering if some of those albums may have resonated more with me if they had come out at different points in my life. Once an album becomes so ingrained with personal experience for me it becomes nearly impossible for me to separate that and be fully objective about it. I appreciate you coming here to post some thoughts Matt, it's always very welcome to hear some of your insights. There is no doubt a tough situation for performing artists because part of your crowd respects the art, and part just want the entertainment, the night out, the show. I can imagine looking out and seeing disappointed faces during the lights tour would be somewhat disheartening, I really enjoyed those shows, one of my favourite tours since I started going to you shows in 2008. But I can understand that temptation to please the audience. But it's something all artists deal with largely because so many people fear change...they want the same, but different. It's an impossible standard. When Led Zeppelin release III, the fans were taken aback, acoustic music? Where is Whole Lotta Love 2.0? Now that album is generally regarded as a classic, but at the time many people derided it. Neil Young released Harvest to critcial and commercial success in 1972, and then in his own words he steered for the ditch. His next three albums and tours were influenced heavily with depressing music and boozy laments that alienated many fans expecting more country rock, they wanted him to be the Eagles, he didn't...those albums confounded many. Now many of his fans consider them the best music he ever released. I haven't lived or worked in the music industry, but the advice I'll give Matt is to do what makes sense to you. I think you have a fanbase that will support you through those changes, even if they themselves may not understand all of them, or relate to all of them themselves. Going the route of trying to please all the people all the time is not a rewarding path, in the end you'll be exhausted, unfulfilled and ultimately unsuccessful at achieving it. You mentioned ticket prices and I wanted to chime in on that because I am astonished people have any issue with these. When I started attending your shows in 2008, I was paying between $30-$40 a show, these days I'm about $40-$55, that increase is almost negligible in an industry where other artists playing the same venues are charging $150-$250 for good seats. $50 is the cost of dinner at a steakhouse. To me there is nothing that gives me more than a good concert, there is something truly unique about that experience. I'm happy the concerts are affordable, I'd pay more without question if it cost more. The reasonable prices allow me to usually attended 4-5 shows a tour. People just like to complain about things, but please understand these people are probably a vocal minority, most that I've spoken with are very much pleased with the fact that ticket prices have stayed very reasonable. Anyways I just wanted to address a couple of Matt's comments and I'll post an album review here in the coming weeks, but I'll say for sure right now that I love the sound and intimacy of the album, and also One Of Them Years is an immediate standout, the vocal delivery in that is incredible and the desperate urgency of it really hits the mark, a fantastic track!
  17. I think that bang on nails my feelings on what I've heard so far. That is a great comparison to the sound so far, and definitely if that is the way the album plays out will be a very welcome approach on my end.
  18. Vancouver, The Metropolitan Vancouver Hotel in one of the suites. I stayed there not long ago, different room, but recognized the view looking toward the Vancouver Art Gallery.
  19. Really glad to see this song get a video. Wasn't a huge fan of Sicily although I did enjoy the video itself, But this song is everything I love about Matt's music. Can't wait for this new album! I've really liked most of what I've heard from it so far.
  20. 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.
  21. Ya after the last tour which did so many shows in Alberta I was a little surprised to see how few were on this tour, so doesn't give you Northern Albertans too many options without some pretty extended driving.
  22. Just my locals this time, Nanaimo two in Victoria two in Vancouver. All are GA except Nanaimo. How bout yourself?
  23. Yes exactly, buy your ticket today, then when VIP goes on sale in a few days buy that as well...just make sure you buy the VIP for the show you are going to...Like say you were going to the Victoria show on April 8th, make sure you buy the VIP for the 8th as well.
  24. Awesome, looks like I'll be attending 5 shows on this tour! Can't wait, and pretty excited for the new album as well. Should be a great Spring.
  25. Really appreciate hearing your recollection of the show. There are a very limited amount of audio bootlegs floating around from the 1998-2001 period and most of them seem to be recorded with mini disc's which you can imagine doesn't exactly create a high fidelity recording. What they do capture though is the insanity of which you speak. There are moments where the crowd is going absolutely bonkers and sometimes at moments that dont seem to be anything particularly special, so we're left to only speculate as to what was happening at that point in the show to cause such a reaction, without video, and with so few people around who actually saw MGB in their prime the details are lost to time. Still as rough as some of those recordings are they are treasured by a few of us here because they are our only access to an incredible, and as you pointed out earlier, very tight band that just doesn't exist anymore. For someone like myself who was 10 when this Coquitlam concert took place, I just never had the chance to see this band, so there has always been a little bit of a mystique about it, especially when the bootlegs show how amazing they were performance wise and how enthusiastic the crowds were. So your footage might give the best example of what it was really like to be there at one of these concerts, the fact it was a hometown show in Coquitlam is pretty cool in and of itself. As for your concerns over the audio, while it may not be pro quality, what I have heard of it is very enjoyable and far above the fidelity of the bootlegs, and since so little pro material is available from this period of the bands existence it's probably the best there is. Very interesting about the wireless feed being red lined, that must have been frustrating! Still the song samples i've heard and the entire Haven't Slept in Years sound just great to me, but perhaps I've spent so long with the bootlegs anything that doesnt sound like it was recorded through a pair of tin cans from the back of the arena sounds like some form of audible chocolate to these ears haha! I was wondering where exactly you had filmed this, the view definitely is from a high angle, and I figured that angle would be achievable in a large double decked arena like Rogers Arena, but obviously that's not what this venue in Coquitlam was, so I figured you had to be damn near strapped to the ceiling. That camera is pretty impressive to record such clear visuals from that distance over 20 years ago. It's interesting you can see a guy right up front filming with a camera as well, backing up my theory that there was probably tons of footage shot of this band over the years, but there just isn't much demand for that kind of thing to be dug up and released unfortunately. It's one of those situations where to the people that care about it, it would mean everything, but its such a small audience who would care these days that there just isn't really a commercial angle to release something like an archive MGB video/album. It's a shame when you see just how incredible some of these performances were. That whole 90's Can Rock movement really was a special and enthusiastic scene, as a kid I kind of thought it would have more longevity than it did, within a matter of years it was over and most of the audience had moved on, but these kinds of videos are perfect time capsule and something I've always been incredibly grateful for when someone out of the blue posts something like this. Every time I see footage like this it feels like I'm a little bit closer to understanding just what all those people on those bootleg recordings were shouting so frantically about.
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