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Everything posted by uglyredhonda

  1. Slight nudge on those numbers: MG, Dan Mangan, Bernie Breen, and anyone else on MG's team would count in the 1000 limit but would not have paid. Also: the Host fee shouldn't apply here since MG is hosting it himself. Side Door was originally set up for people hosting concerts in their homes, and I believe that's what that 10% is for. Having seen a couple of these, I'm still not entirely sold on Zoom as a reliable provider for this kind of thing. I like this kind of thing and I think it's brilliant, but having 5-10% of your paying customers not be able to access the stream because of technical problems isn't really great for business. (I haven't used Zoom as much recently, but a couple of months ago, my company repeatedly had issues where one or more of us would be locked out of a call, and there were only a handful of us involved.)
  2. HUUUGE thanks for posting this! Especially the note about "Prime Time Deliverance". This is from MG's first-ever show at Massey Hall - October 26, 2007. Duncan Coutts from Our Lady Peace recorded the show for MG. I think MG said at some point that there were union issues that made it prohibitively expensive to release the show in its entirety. The three iTunes bonus tracks on Vancouver are from the same show. There are a couple of audience recordings floating around from that night, too. This was one my favourite songs from that night, so it's especially awesome to finally have the soundboard. I actually shot this song on my little digital camera that night from the upper deck. (Feels like a millennium ago.) https://www.youtube.com/watch?v=Ro7U8wigizk
  3. Late to this thread, but for those looking for MG's ambient music piece from matthewgood.net, here it is: (File was labelled "tune.swf". I assume "Globes" came from the landing screen seen here - it linked to world@matthewgood.net.)
  4. 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.
  5. Part 2 came out today. Btw - this is archival - recorded and originally released on 102.1 The Edge in 2009 (11/15/09 and 11/22/09). Worth a listen regardless.
  6. I assuming it's this one, from an old t-shirt: http://web.archive.org/web/20160406103416/http://matthewgood.store-08.com:80/chaotic-neutral/mg010024-matthew-good-men-s-boy-and-wolf-t-shirt-black/ Welp, the post editor is broken. Corrected link to original: http://web.archive.org/web/20160406103416/matthewgood.store-08.com/chaotic-neutral/mg010024-matthew-good-men-s-boy-and-wolf-t-shirt-black/
  7. It looks like the GA tickets sold out, and all that's left are Reserved balcony seats. The GA tickets were probably the $46 ones.
  8. February 28, 2019 - Rose Theatre, Brampton, ON http://www.brampton.ca/sites/Rose-Theatre/en/Events-And-Tickets/Pages/ShowDetails.aspx?ShowID=1431&ShowDate=02/28/2019 March 3, 2019 - Capitol Centre, North Bay, ON http://www.capitolcentre.org/events/matthew-good
  9. As sad as I am about this, I was also upset when I went back to re-read my interactions with her on here - and discovered that all of her posts were gone. This is the last time I'll make a big deal about this, but people, including any admins, should not have the power to wipe out entire post histories, with the exception of troll and spam accounts. And this is precisely why - they're the record of our interactions - they're our memories. We already lose so much that we know and remember about people when they're no longer with us. (PS: I'm assuming the deletions must have happened some time ago.)
  10. There are two FirstOntario Arts Centres - you might have looked at the website for the one in Saint Catharines. Tickets: https://secure1.tixhub.com/milton/online/b_otix.asp?cboPerformances=1194&cboEvent=768&perfcount=1
  11. Oh, you were totally fine. I actually prefer that kind of discussion - I'd rather someone be vocal about how they feel and make me rethink my opinion. I did social media for a major label band (who most of you would know) for a number of years, and, if my client had done this, I would have removed the links from the website myself once I knew that they were dead. The last thing I want from a PR standpoint is for people to follow those dead urls, especially if it were possible that someone else could scoop up the usernames on those accounts. Not to say that it wasn't endorsed or approved in this case - but it wouldn't have to be. That's actually what was good about our discussion. I'll freely admit that my initial reaction was: "Ugh, not this shit again." The NF deletion hit close to home as someone who spent years running message boards, and I'm (obviously) still a bit fired up about it. So it's good to have the pushback from those who see it differently. I'll say this: I'm definitely concerned for him, not knowing what's going on. But, to me, that's also part of the problem. A simple note from his team ("Matt's decided to take a break from his social media accounts to give himself time to recover from the recent tour with OLP and to get himself ready for the upcoming summer tour dates, but he wants everyone to know that he's fine.") would have knocked most of this discussion down. Instead, everyone's hand-wringing for the not-knowing.
  12. I said basically what I said before about his reactions to trolls - that his tendency to scorch the earth (as has happened repeatedly over the last 15 years) isn't a reasonable response. Trolls will exist anywhere he goes - wiping accounts won't solve the problem. I noted that it's often felt like narcissism - that he loves the interaction when people validate his personal shares, but then he burns the house down when it upsets him (ie, when someone gets too personal and crosses a line). Someone correctly noted that that was an unfair analysis - that, since we don't know exactly what happened, there could have been a protectionary reason for it happening. It was also noted that a scorched-earth move could be more of a bipolar/manic reaction to distress than narcissism, which would be more understandable (if, for me, not any more acceptable) in Matt's case. The others were more openly forgiving of this happening than I was (which is fair). With me, I feel for everything he's been going through in the last year, but this kind of thing has never helped him. It's far better to dial your interaction back and call the authorities in if someone gets out of line. But keep the lines of communication intact. People care about him - this just makes it feel like he doesn't care about them in return, even if he seemingly does. There are a lot of people who have used his writings on bipolar disorder to help them through their own struggles. And, right or wrong, he took all of that away from them. For someone who frequently leads on mental health, it's a terrible thing for him to do - even if there were acceptable reasons for doing it. And, for me, it's not really about his leaving social media. It's the wholesale destruction. For example, I didn't mind him bailing from NF in November. What I had a problem with was his abusing his Admin privileges to wipe out 10 years of posts. Some people have defended his doing that, saying that he was giving us those posts - but he didn't owe us anything, and had a right to remove them. But, to me, it's like giving someone something then destroying it in front of them. It says that you didn't value those interactions. But, again, we don't really know what happened, and this might have been more of a short-term fix for a bigger problem. (Disclaimer - this is a much more nuanced version than what happened on FB.)
  13. I just tried to dig myself out of a hole in a thread on the MG fan Facebook page, so I'll avoid some of that discussion, but I'll note this: That he deleted the FB page concerns me the most. That one wasn't used for "personal" stuff like the Twitter or IG - that one handled promotions. His management can't be very happy about all of this right now. And, not that I want details - but was it more personal attacks over stuff that probably shouldn't be talked about in public? I think the biggest damage caused by him doing this is the not knowing why - we end up with fans squabbling over whether it was okay for him to do it or not.
  14. I doubt the white ones even exist yet.
  15. Seeing some of the responses here: I'm assuming Avalanche was supposed to be white all along. I think the "error" that the official store was referring to was that they were pressed on black instead of white. Musicvaultz likely never looked at the albums themselves before shipping them out, and just assumed they were correct. (If so, depending on who screwed that up, the whites would either be a limited run to cover the initial orders, or a repress by the factory to replace the black ones.)
  16. Keep in mind - the full recording of the 2007 show isn't Duncan's. It's an audience recording. (If I'm not mistaken, there are two audience recordings of that show.) Three tracks from Duncan's recording surfaced, all on the iTunes Canada release of Vancouver (one of the three was a pre-order-only bonus).
  17. The real problem is that there really isn't any money to be made off of their archive. MTV (US) digitized most of their extensive archive in the early 2000s, but the website they built to host those videos was eventually shut down. There just wasn't enough revenue to justify it's existence and maintenance - especially after bands and labels started signing streaming-exclusivity deals for regular music videos with Vevo. People were going to YouTube/Vevo for videos - even MTV eventually shifted to putting stuff on YouTube themselves. I would hope that Bell wouldn't simply throw it in the garbage. If anything, they could easily donate it to Library and Archives Canada - I'd like to think there would be enough heritage content to warrant its preservation. If LAC didn't want it, I'd hope that some kind of non-profit could establish itself to cover the digitization and preservation of video content (if something like that doesn't already exist). It's likely that whoever got the videos (be it LAC or someone else) would not be able to distribute it at all. But at least it'd be available somewhere. One of the problems that MTV ran into in their process was the rights issues for what they had. For example, in the 90s, bands used to perform multiple songs live for eventual air on MTV's alternative program 120 Minutes, but not all of their performances were aired. And the releases arranged between MTV and the bands/labels didn't cover online streaming (which was in its infancy), and sometimes limited broadcast to a single airing. When MTV digitized their archive and started streaming everything a few years ago - some performances quickly disappeared, including a handful of unaired performances that MTV apparently didn't have / couldn't get permission to stream.
  18. If I were in this position, I would be fine with open discussion, if only because it would tell me what the fans were thinking. If it's worth me stepping in and saying something, I could do that. I'd rather that stuff be in the open then festering behind the scenes where I wouldn't know about it. I gently disagree about him being in the room. He was here occasionally, but not as a regular participant. I don't think discussing it here would be any different from discussing it on Instragram or anywhere else that he'd be able to see it. And, to be fair, he opened the door - he talked about some of his personal life stuff himself. I hate saying it that way, because his honesty is maybe the attribute I most respect him for. But that's the problem with being that open - some humans have this annoying tendency of condemning people (especially strangers) if they feel they've acted inappropriately, even if they don't know what actually happened. If you're uncomfortable with people talking about your personal life, that stuff has to stay off-limits. I agree that the PMs are out of bounds. But the reality: humans are shitheads. Just ignore them, delete them and move on. If it's so bad that you don't want to come around anymore, so be it. But in the 15 years I've been a fan, my biggest frustration with MG's psyche is how destructive he can be when he gets upset. I think the long-timers here will remember how often he used to delete his blog wholesale. For those who hadn't noticed: every post he's ever made here is gone. 10 years or so. To me: if you're that upset, log off and walk away. Change your account email to something bullshit, change your password to random characters. (I've done this, btw.) But don't shred the entire thing. There's a lot of historical insight that's now gone, all because some random morons were assholes. And just so I'm not entirely off-topic - I've been debating it hard, but I'm probably skipping this tour. I saw OLP in '95 and '97, but kinda bailed after Happiness. (Man, Raine was such a weirdo at that '95 show.) I don't necessarily want to commit to that much travel for that, especially since I'm still kinda hazy on how long MG's set will be.
  19. Here's how it used to be: Artists get an advance from the label to record an album. Essentially, the artist won't receive another dime from album sales until that advance is paid off. However, the label also puts a lot of the promotions cost against the artist as well. What essentially happens is that, after creative accounting, the advance is almost never paid off, so the artist never gets another dime from the album. (Some bands opt to take larger advances, spend less on the album, and pocket the rest, knowing that's about all they'll get from the label.) In the old days (specifically speaking about US major labels), an album would seemingly have to sell over three million copies before the artist would get a payout. Basically, it had to sell so many copies that the label could no longer hide the revenues through creative accounting. Back then, bands basically accepted that they would make most of their money through songwriting royalties, merch, and touring, so they tended not to worry about album sales and let the labels keep what they could grab. Today, album sales are so small that most major labels require artists to sign what are called 360 deals, where the label gets a cut of the merch and touring revenue. In my mind, it's made a bad industry even worse.
  20. A lot of the huge cost of those 70s records was just straight studio time. Back then, bands would go into the studio with nothing written, then spend their time in the studio writing the songs, recording them over and over again until they reached the final product. (Some bands felt that was necessary to get away from distractions.) In later, more budget-conscious years, bands tended to find their own spaces to write music, in their rehearsal spaces or at home. I can't speak for Greenhouse Studios, but some studios established themselves as being artist-friendly, offering time for cheap. Smart Studios, where Butch Vig earned his pedigree, spent the better part of ten years recording indie albums on small budgets. The reality is that you can make a cheaply-recorded record sound expensive with a solid mixer. A lot of 90s alt-rock bands got around the cost issue that way - spend the money on the mixer. (You'll find a lot of 90s albums mixed by Andy Wallace, who, in my mind, is 75% responsible for the sound of Nirvana's Nevermind.) Btw - that Bleach figure has always been a bit misleading. Five of the eleven songs on it were recorded at different sessions (a 1/88 demo session and the 7/88 "Love Buzz" single session) that were already paid for. (They tried re-recording several of them during the sessions, but preferred the original versions.) So the total actual cost was more than that. I have a feeling Avalanche is the big cost-winner in MG's catalog. It says a lot when you can afford to bring in a full orchestra for your session. :D
  21. For those who never heard the final mix of "All Together" (which showed up as a pre-order bonus on the iTunes version of In a Coma), it did eventually show up on 7Digital. It's different from the leaked version we've had. https://ca.7digital.com/artist/matthew-good/release/all-together-1820484
  22. Some places are sticklers about that, and this is a piece that would be an obvious copyrighted work. Having said that, I'm old enough to remember the days when Kinko's made you sign a waiver before making a color copy of something. :lol: Universal (or Matt) might have bought the painting outright, or at least the full reproduction rights. (It might have also been a commissioned piece.) That would seem like a smart move for labels in general - that way, you don't see "bootleg" (legal) merch of an album cover hanging around.
  23. That's not entirely true. The company that does the canvas printing technically needs permission from the rights holder, and may refuse to print it without it. (They're technically making money producing a product that uses the artwork.) If you can find a place that doesn't ask... Btw: hi-res photo of the LP isn't going to be great. You'd be better off finding somebody with a scanner.
  24. A Long Way Down is on Avalanche. I really hope this means he'll play that song live on the next tour. I still don't love the single choices from Arrows. I suspect he doesn't think as much of "Via Dolorosa" as most of us - he didn't play it all that much on the tour, yet it was the one song from Arrows I kept hearing random people singing after the shows I saw. (I still think "Garden of Knives" is a hell of an opener.)
  25. https://www.facebook.com/groups/MatthewGoodFans/
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