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Shelter last won the day on December 26 2019

Shelter had the most liked content!


About Shelter

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    Rolling 'cause we had to roll

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  1. Briliant! And somehow comforting in an age where the "high heel" gets away with corruption, ignorance, rudeness, stupidity and crime. Still makes me wonder how much "time" is needed, though.... Seems to me we all took the que from Michael Jackson.. "Heel the World".
  2. ^ I had a feeling you were into childish things šŸ˜€ Really! After seeing all those bathroom jams I hope he does. He should form a trio with Sharon and Marilyn for that one.
  3. I think it's exellent. Right. Nevertheless, I will say just a few things. This new serving of briliantly tuned studio Knobs is a slice of retro, isn't it. To no surprise there are vague traces of 40 years of TP service in this. I think I can hear little bits and pieces all over. Sounds and grooves that check all the obvious boxes, from Listen To Her Heart and Surrender as mentioned to Hypnotic Eye. An extra shout out of excitement for the guitar sound and the bass. Mean bass that imo is the coolest I've heard from the TP camp since U Got Me High. And, as mentioned by others here, there are so many tips of the hat here - to other rock history riffs, licks and gimmicks as well - that I'm surprise Mike's hat is still in place. Generic, some may say, but thanks to a few twists in the composisiton, to the production mentioned and to Mike's personal vocal delivery (more on that in a few), it still rings out pretty unigue. Other than certain TPATH echoes here and there, there are more than a hint of garage and 70's hard rock of course. Dare I say I even hear a borderline dosis of Jon Bon Jovi in there. (A penny for my thoughts!) The intro and outro even bare traces of 60's/70s psychedelic delights from the orient (and from Beatles/Zep, surely, yes) that I sure hope will be featured more prominently on the rest of the album. Some of those sounds are quite amazing. All in all a great little gem in most ways. I could say that I do miss a certain something in the composition, the melody and hook a wee bit flat perhaps, for my personal taste, but this is just minor aspects. It rocks and it sounds stellar. What else is there to it. Right. As for the vocals. This is perhaps better than expected. It's certainly "best so far" in terms of what's been cut in studio in the past. Some of the finer pitched stuff accomplished with support in the "Bathroom Jams" - to my ears really good stuff, even better than this - may be for another project still, but the delivery and phrasing here is great and fits the bill prefectly. And again - what has been heard previously, hasn't been quite this well balanced and full of quality flavors anyway. This singing is light years ahead of I Don't Wanna Fight and even a tad sharper than Victim of Circumstanse. Personally, I think traveling with "The Macs", getting to sing some up front for a change - and not least the surely therapeudic recurrent co-singing with the ladies, from bathrooms all over of America, really has been of significant importance here.. A late in life polishing up of something for the longest time neglected, one may say. Yes. I noticed much the same thing. I don't have too much experience with actually listening/analysing MC as a lyricist, but I think this is a very genuine and well crafted piece of work. Rather organic, as you say. Judging from a few mannerisms that I think I can detect, that really "reeks" of Tom, I'd say that over 40 years as a side man and co-composer to one of the best in the field has left its marks. I think he paid attention. That's not gonna make Tom's way with words and imagery easy to douplicate, but obviously, now finding himself in a position where he can allow himself to work more and harder on this aspect of the music, has helped some. If the rest of the upcoming album features more lyrics on this level, this is really promising to me. Better than expected, dare I say. Again, very impressed.
  4. ^ You also have one of the greatest collections of "!s" and "?s" that I have ever seen! Impressive to say the least.
  5. Aw... now I feel kinda bad for all the other threads on the topic.
  6. Working hard to figure out where to post my comments on Wreckless Abandon. The possibilities of suitable threads are seemingly endless, the multitude beyond my mental grasp. We all have our own thread on the subject? Now we're getting somewhere.
  7. ^ Those last few posts are heavy Farm fuel, if you ask me. Exactly the mind food kinda stuff that I love about losing myself in great songwriting and albums. Kudos guys! Further, that level of analysis really proves - at least to me - that in some ways HC really is the one album where TP manage to chisel an actual working concept, to narrow in on it fairly effectively and keep the whole album in the vicinity of it. (Oh.. sure.. there is Jack.. but still. No rules without exceptions, right.) The album can be heard in various ways, of course. The "concept" understood somewhat differently, or even strengthened or tweaked - as seen in the dwindlings of this thread, if nothing else - but still.. there is a core to it, seldom seen even in albums designed as theme records. HC in many ways tells a much tighter and more consistent story than did ever Southern Accents or The Last DJ. That is not to say that it is perfect, to my mind. But it damn near could've been. Well. I think - being it time and/or space - it's impossible to look beyond "journey" as the key element of this album*. So as far as I'm concerned, TP could've just put a picture of Journey on the cover. There you go. On a more serious side note, I have come to realize that my initial impulse - that the HC art is ugly - is not really the point. The main reason it rubs me the wrong way is that it evokes "journey" in a way that is both too literal, too vivid and at the same time too off target compared to anything that can be found on the album. Perhaps this is also why SG as an opening track feels so confusing too.. since despite the overall vibe and "concept" of the album, there are firsts the initial visual impression of the cover image and then the initial sound and groove of the first song that both lead you off in two different directions. Especially when the rest of the album and all it's key concepts are truly found in a third direction. I don't know. But personally I really think HC could have been one of the best albums TP ever did, had he picked another graphical universe for it, so to speak, and had he sequenced it slightly differently. It all goes to show how thin the line is..... ----- *That understanding is therefore the obvious main aspect of my own resequencing suggestion above, and why I cut the "deviants" the way I did, at the end.
  8. ^ Yeah, squeezing a totally different album out of it is fair game, isn't it. At least saved a few things for me with HC. Like the dynamic, the motion and the... well.. grace.
  9. Well.. I realize the logic of it is somewhat flawed. But in a galaxy that far away... so is reality. Aparently. Let's face it, it's the phantom promise. In other words, most things we're hoping for never happen anyway. The force is a-weakening...
  10. Since Anakin & Skywalker switched sides so blatantly, I find myself rooting for the Empire. Long After Darth, as it were....
  11. Makes me think. What if the whole world only exists in the mind of Jimmy's. What a wicked mind that must be. Seems his other babies made do-do, though.
  12. If people can't decode things properly, or wrap their minds around the abundance of anacronistic temptations all around us, this film is a great starting point for letting things rest. Revisionism can never be the way. Alternative facts've done enough damage already. Better keep it sound only, if they ever plan a revisit. Or better yet, release something else.
  13. ^ Steve's a better singer than most. Must say. Little known fact. Perhaps put those great Tom moments in "his" thread, featuring his guitar n vox? Please n thank you!
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