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TwoGunslingers

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TwoGunslingers last won the day on July 24 2018

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About TwoGunslingers

  • Rank
    Most things I worry 'bout...
  • Birthday 10/09/1979

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    Male

About

  • Favorite Album
    Wildflowers
  • Location
    Germany
  • Interests
    Music!
  • Occupation
    junior researcher, musician

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  1. That would indeed jerk a few tears, but not in a good way. I fear this is exactly how things are going.
  2. So this is really happening, isn't it? Never in my life would I have deemed this possible. But I understand. Thank you so much, Ryan, for giving us a place to exchange our thoughts, however crazy they might seem to outsiders. Only Farmers understood. Shelter, Mary Jane's 2nd Last Dance, Big Blue Sky, Nurktwin, Nightdriver, Marion, everybody... Admittedly, I haven't been around much since Tom passed away. That still feels totally awkward. But the Farm has always been a constant. It will be hard when it's gone. I guess we'll all feel a little bit more lonely then. I will. So many things I love are going away. Now Mudcrutch.com is one of them.
  3. Haven't checked out the Farm in a while (it still makes me sad to listen to TPHB or think about them since Tom's gone), but the release of the YDKHIF demo made me want to pay a visit to see if someone has something interesting to say about it. So I also saw that thread about politics and left and right and it had become all those things I was always happy the Farm never was.... hate posts and whatnot. What a depressing read. So I was glad to discover this interesting topic - and it's the two of you, of course. "Air" is a good word, indeed; although each of us will maybe understand something different by it; and maybe that's part of what makes it a good word to describe the Heartbreakers' music. I can relate to the term because I like the jangle, the breeziness, if you will, of some of the earlier stuff (up to She's The One, by my own definition); something that happens in the arrangements and the songwriting, not so much the mix or mastering, so I would not necessarily attribute it to a producer. Not even the drums. It's like you said, MJ2LD, it has something to do with ensemble playing. The spaces between the notes. But also the notes and sounds themselves. It's hard to put your finger on it, which is why it's so precious. That somehow stopped with She's The One, imo. That's how I remembered it. I was almost shocked back then. There was Walls and California even, they had a bit of that air... but none of it could be found on Echo, that was when I was not only shocked but scared. Can be no conincidence that this was the period of Tom's divorce. Things got dark that moment, and I think once you went through this kind of darknes - like Tom did - you're never the same afterward. You can't go back. Maybe the "air" in Tom's earlier work was youth and all that came with it. A sensation that life was still (wide) open somewhere down the road, that all things could get better, that every fight could be won, that the sky is actually the limit. But there were hard realizations to come. Maybe it started with Stan's departure (or firing). At first, that was what Tom wanted and how he could still move his music in a direction he desired. But then Howie died. And Tom got divorced, went through depression... life happened. I think all of those things took a bit of the sparkle (sorry) out of him. It started on Wildflowers, but there was still a glow... I felt a lot of air back then, in that record. Afterward, not so much. And I was still in my teens, so it was not my growing older; not yet; it was in the music. So maybe air was youth. Not only was it something we can hear in the music, it was also something that went into its creation. But Tom couldn't be young all the time, he had to find a way to turn his life experiences into music. That was a difficult task for a lot of songwriters of (roughly) his generation. So things got darker, more tense, less airy. Older. Thus losing the air, or some of it, was inevitable. And as an artist, Tom learned how to deal with it, how to turn it into music. I love the "air" period, which for me includes Wildflowers (and parts of STO). There was great stuff afterward, too, but it had a different quality. It's hard to not let life suck the air out of you, so to speak. Tom's music is a great reminder how that "air" used to feel, how it ought to feel, and how it still can feel.
  4. That's a great sounding pickup, I have it in my Takamine P6N. Have fun with it, nurk!
  5. Yes, I have, and was positively surprised, to be hones. He was a wise man, apparently. Well, I'm always skeptical when people's memories get too specific. Someone else may remember it differently. He wrote beautiful things like this, and elsewhere he's really funny. It's a great book, that's for sure.
  6. I think it works extremely well in songwriting. It underlines the notion that he's actually only dreaming about being at the top, because kings and queens always evoke fairy tale imagery. In my mind at least. Though for me it's not necessarily being at the top or being rich but more about not having to report to anyone. There's a feeling of loneliness in the song as well, maybe because of the music (like Van Morrison sang, it's lonely at the top!). And to me it's also an ambiguous kind of kingdom the character in the song dreams about or retreads to: "A sweet little queen who can't run away"... not the nicest of implications (lock her up in some tower or something). It's a great, bittersweet song. I think the character is at a real low in his life, so maybe it's about resignation: "Excuse me if I have a place in my mind where I go time to time". Because, that's what the music tells us, the real world is too sad for him to take. At least sometimes.
  7. Well, I was being polemic and teasing y'all a bit. There are more exceptions of course, not everything on HE is bluesrock, but it leans a little too much towards that for my taste (don't get me wrong, I enjoy bluesrock myself at times). And it's not the only issue I have with the album. I'd prefer Wildflowers anytime. That's exactly it. And I appreciate it like crazy that I can write something like I did above and don't get roasted here. It's a very tolerant and sophisticated forum, the Farm is. So thanks everybody. And sorry for going off topic once again...
  8. I said it once, I said it many times, and I'll say it again: There are only three good songs on HE (American Dream Plan B, Fault Lines and Shadow People). The rest is a bland bluesrock blur. It is, and there's not a bad song on Wildflowers. 😉 Also something I might have gone out of my way in the past to emphazise...
  9. I'm thinking of you, Nurk, and keeping my fingers crossed for things to turn out good.
  10. OMG... I hope all went well... considering the circumstances of course. All the best, Nuktwin! I'm keeping my fingers crossed for you.
  11. Thank you. I wouldn't recognize anyone from the Buffalo Springfield except Neil Young and Stephen Stills (and now Dancing Bear, as he shall be called henceforth ).
  12. Might be a dumb question... but who is the dancing bear?
  13. It's alright, no offence taken. 😄 I know what you meant, by the way. OK, thanks for explaining, now I see. "Peaked in general popularity on all levels" I understand. To me, hype implies lack of content... but that's of course not a necessary causal relation.
  14. OK, point taken, they definitely ARE underrated. 😄 Problem probably is that they had so many lineup changes with only McGuinn remaining from the original incarnation that they might have been more of a project than an actual "band". Which could have turned out embarrassing had they only tried to re-create their original sound over and over again and forced new members into impersonating old ones. But that wasn't how McGuinn played it. He incorporated the strengths of new members and was open to changes in sound, production and songwriting so that each album - or each lineup - has its own sonic identity, if you will. To my liking, they might have done a little too much of the country rock thing in the end. But the sheer vastness of their stylistic range from beginning to end has had a so much bigger influence than many other, stylistically more coherent bands. Plus, it's hard to think of other bands that could/can do carreer-defining covers and also write great original songs that are just as great. And the harmonies, oh, the haromonies...
  15. Call it what you like... it was a high point before things took a different direction, and therefore a goodbye. Which was great in its own right, but different. Not sure about the "hype" part, though. Sounds like there was not much of substance behind Tom, the band, and/or their music. I think we're all on the same page here that the period between 1988 and 1995 is among their best - commercially and creatively. I didn't.
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