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martin03345

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martin03345 last won the day on February 26

martin03345 had the most liked content!

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About martin03345

  • Rank
    Benmont's Revenge
  • Birthday 10/22/1989

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    Male

About

  • Favorite Album
    Damn the Torpedoes, Hard Promises and Long After Dark
  • Location
    Gloversville
  • Interests
    Music, filming, writing
  • Occupation
    Student/Cashier

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  1. I agree with the take outs except "Dogs on the Run." It's a great track and good late album filler right before you get to "The Best of Everything" as an album closer. Also, I disagree with opening with "Southern Accents". It's tempo is much more in line with being an A-Side closer to put a wrap on the albums motif and sound. "Rebels" is the one and only track that fits to open the album. To slide it in anywhere else would be a bastardization of sorts. Kind of like if FMF swapped "Free Fallin" for "Love is a Long Road", it'd make for a better flowing album, and plus, LIALR would've been a great opener. I hope that anyone who does go and resquence albums listens to their new track order to see how it flows and if it makes sense as a concept lol.
  2. And I'm not the biggest Bruce fan but Darkness, The River and Born in the USA are all great albums. Darkness is worth the price of admission just for "Factory" and "Darkness on the Edge of Town".
  3. You'd be surprised lol. Trying to figure out how to tackle it
  4. Darkness on the Edge of Town is his masterpiece and a great LP period lol.
  5. And just in case those don't know, the original post is Bob and TPATH live from 86 at Ralph Wilson Stadium for Farm Aid. (Yes I know it was Rich Stadium then and now New Era Field but the Buffalo Bills fan that I will always be will still to this day call it the Ralph lol).
  6. Yes the Live Anthology is great and I do love how it blends the tracks into one long, seamless concert spanning over their at the time 33 year history but at the same time, we haven't gotten an LP release of them live worth a damn. Sure Soundstage and the Live at the Olympic are great but they're not LPs. There's a whole bunch of boots we all have that we'd like to see to be released. I would love to see an official release of the London shows from 1980, a Fillmore run box set, etc. It's one of the bands greatest sins that they were so reserve when it came to live releases. Not saying they need to be like Dave Matthews and have 400 releases, and it was nice to see from 2010 on they were attaching that tours recordings to your tickets but there are a couple of tours like the Torpedoes tour that should have had a live LP to back it seeing as it was a great tour and also a top album. Or they could've gone the Wilco route and offer a select number of live shows they recorded online as a download for a nominal fee. I'd gladly pay it as I did for Wilco's show at Brewery Ommegang in Cooperstown back in 2011. Was there and ended up being one of the best shows I've ever seen and glad they had it on offer to continue to listen to this day.
  7. Yes but again, I'd like to see actual, official live releases from them.
  8. Yeah noooooo crap but it popped up on their YouTube so I'm wondering what this release is lol. As Shelter said, I would love to see a series come out from their tour with Bob. Some good bootlegs exist from those shows and it'd be nice to seen them cleaned up and palatable for the consumer.
  9. What's this? Something good coming? Nice song too btw
  10. The live version of "Here Comes My Girl" is the best thing ever. Mike making that 12 string solo at the end is what brings it above so many other things. I always hated how in later years he'd play it on the 6 string.
  11. Well, I guess it's time for the 3-4 year review in waiting of this album! This album like Let Me Up (I've Had Enough) is special because it doesn't fall into a distinct period of the TPATH discography. It stands on it's own and has it's own unique sound that differs from all TPATH periods that like the former album, make it feel lost in space and time. If you were to divide the bands discography, you'd have: the first two albums as the Cordell period, then you have the Iovine period from 79-85, the Lynne period from 89-91, Rubin from 94-99 and finally the Ulyate years from 08 till the end. This album and LMU are the only two albums that aren't tied sonically to the band or any other producer who helped make there distinct sound. It's an outlier, but a great one at that. It's the only album that was produced by George Drakoulias and the only one to have a full orchestration which is new territory for these down home boys. Now even though it's been 3 years since my prologue to my own view on this album, after all these years, my thoughts and feelings for this LP still hold true. This album unlike any other for the band has a motif, a message that delivers, even if it is a "loose" concept album that isn't fully realized. Now as we all know, this album is about the fall of the music industry, the corruption within it and the nostalgia of longing for the years of old. In 2002 when this album came out, it helped form my ideas and beliefs on being staunchly anti-corruption, standing your ground and keeping to your principles in the face of opposition and money being thrown around. It's been 20 GOD DAMN YEARS and this is still true. It's been 20 GOD DAMN YEARS and the Stones are still touring, still doing the golden oldies for 400 dollars. We haven't learned a damn thing, or if we did, we didn't care to do anything about it. I guess you cans say as a society over the past 30 years we've neglected doing a lot of things that we noticed were wrong but that's a more political discussion for probably a different forum. Now this album is a loose concept album because out of the 12 songs, probably only 7 of them I'd considered to be connected to the whole Last DJ concept. "The Last DJ, Money Becomes King", "Dreamville, "Joe", "When a Kid Goes Bad", "Lost Children" and "Can't Stop the Sun" are all directly tied to the album and have a connected motif. I'd say the rest are filler for the album and don't fit the motif overall but that doesn't mean that they are good/great tracks that contribute to the album as a whole. Out of the whole track listing, I'd say that there are only three filler tracks in "Blue Sunday", "You and Me" and "The Man Who Loves Women" but they are by far from being bad tracks. Leave it to Tom to have an idea for a concept album and not fully follow through. I guess it's okay because he isn't Ray Davies after all. Hell, I guess this is chapter one of this review because I don't want to be staring at my screen fiddling around all night. But because I kind of reintroduced my old prologue, I definitely will have a track review for this album within the week.
  12. I noticed last night I never did my review! Gonna give it a try later tonight lol.
  13. The Last DJ is a top 5er for me lol
  14. Holy fuck! I never realized that those 4 guys who run away after Tom got big was them lol. Symbolism?
  15. That's a good perspective. Let me put it this way: people love to say "Square One", "Alright For Now", "I Forgive It All", "Something Good Coming" as mature because of their acoustic take rather than the composition as a whole. Lyrically they are more mature in style but I find the songs overall to be boring dregs. "Down South" is a lyrically mature song with a nice complex sound as well. Much more enjoyable overall. But then again, I do enjoy acoustic/folk music, like a John Prine and Todd Snider, etc. but they overall have a personality to carry a wide variety of songs in that vein and have done several styles of music overall.
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