wikkidpissah
Footballguy
El Floppo said:
i reallyreallyreally wanna write a song for Optimus Prine
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Pick a Pair/Half Decade Album Draft - Bonus Rounds Thu & Fri - Pick three if you want (2 Viewers)
- Thread starter Eephus
- Start date
i reallyreallyreally wanna write a song for Optimus Prine
krista4
Footballguy
Pip's Invitation
Footballguy
I was gonna pull the trigger on this if Santana or Floyd was gone.Raging weasel said:
rockaction
Footballguy
7.03
my bloody valentine - Loveless (1991)
my bloody valentine - m b v (2013)
Here we go. After much going back and forth, I'd like these two, please. This might be art rock mastery at its finest. The descriptions of these two albums often involve physical sensations of warmth and other such things. I'll refrain. Suffice it to say that this music is mood music in the greatest sense of those words together. It creates a feeling, and it was aptly named shoegaze. If the boomers took us to the heavens with fire and pyrotechnics, my bloody valentine burned us like candles from within, gently melting us into dripping wax, smoldering perfectly along with the times.
my bloody valentine - Loveless (1991)
my bloody valentine - m b v (2013)
Here we go. After much going back and forth, I'd like these two, please. This might be art rock mastery at its finest. The descriptions of these two albums often involve physical sensations of warmth and other such things. I'll refrain. Suffice it to say that this music is mood music in the greatest sense of those words together. It creates a feeling, and it was aptly named shoegaze. If the boomers took us to the heavens with fire and pyrotechnics, my bloody valentine burned us like candles from within, gently melting us into dripping wax, smoldering perfectly along with the times.
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rockaction
Footballguy
Pip's Invitation
Footballguy
I think that comment of mine was actually in response to PIK's cryptic post, but not yours. I forget at this point.Ilov80s said:
KarmaPolice
Footballguy
Raging weasel
Footballguy
Mrs. Rannous
Footballguy
I struggled with the other two albums that I like. It wasn't easy.Dr. Octopus said:
rockaction
Footballguy
LOL. I picked so you could go. I thought you wanted to. Otherwise, I would have spent the next half hour debating. Sorry to rush you, k4. That's funny.
krista4
Footballguy
Aw, what the hell. I figured I could wait on him since there are plenty I'd be happy with, but these are just hanging out there for me. I'll copy my prior write-up for Band on the Run. Song choices to come.
Paul
Band on the Run (1973)
"After the disappointments of Wild Life and Red Rose Speedway, a wary public didn’t immediately warm to this album. The initial response was somewhat tepid, with the album stalling out in the bottom rungs of the US top 10. Then, nearly two months after the release, “Jet” was put out as its first single, hitting #7 on the US charts and spurring new interest in the album, which then reached #1. After the album had sunk again a couple of months later, the “Band On The Run” single was released, which hit #1, selling over a million copies, and shot the album to the top spot once again. Critical response to the record was generally very good from the beginning, with my favorite being as follows: “Band On The Run is a great album. If anybody ever puts down McCartney in your presence, bust him in the snoot and play him this. He will thank you for it afterwards.” Of course, the critical consensus now is that this is one of Paul’s best post-Beatles works, and it continues to be his highest-selling post-Beatles record, having sold over six million copies.
As previously mentioned in another ---INTERLUDE---, Paul wanted an exotic locale for this recording, in order to soak in another culture that might contribute favorably to the feel of the songs and recording. After garnering a list of all of EMI’s international recording studios, he chose Lagos, Nigeria. Also as previously mentioned, Denny Seiwell and Henry McCullough quit Wings just before the band was to leave for Lagos, leaving Wings as a trio. As a result, Paul picked up the drums – unsurprisingly since he not only handled drums during Ringo’s temporary resignation during the White Album sessions but was always trying to take them over when Ringo would merely step out of the room - in addition to many of the lead guitar parts.
To say that the experience in Nigeria was not the glamorous one Paul had envisioned – “lie on the beach all day, doing nothing…breeze in the studios and record” - would be a huge understatement, and the story of the trip has become legendary in its retelling. On the “not so bad” side, the studio and equipment were not exactly of the usual standard, containing only one eight-track machine and a broken control desk. On the “a bit worse side,” Nigeria had been torn by civil war and wracked by disease, including cholera, an outbreak of which caused EMI to send a letter to Paul suggesting he should not go; he received the letter upon his return. Still worse was an incident while recording in which, while overdubbing a vocal, Paul felt like his lung had collapsed as he couldn’t catch his breath. When he went outside for air, he fainted in what everyone thought was a heart attack, convinced he had just dropped dead before their eyes. Later it was diagnosed as a bronchial spasm from too much smoking.
Continuing to make our way down the list, we also have Fela Kuti publicly accusing Paul of having come to Africa “to steal the black man’s music.” Paul invited Kuti to the studio to listen to the songs and prove that it was not their intention, a meeting that went so well that Ginger Baker, who was recording with Kuti at the time, invited the Wings gang to record at his much more modern studio (which they did, recording “Picasso’s Last Words” there). It also went well in another respect for Paul. Let’s hear him tell it: “"[Fela] came over with his 30 wives and a studio full of ganja. He was one wild cat, he used to have a bottle of whiskey in which was marinating a pound of pot... in the whiskey. We turned out to be real good friends, he got it, he said 'no you're not doing that.’ Ginger Baker was there, he was his big friend. So, Fela invites us to his club which was outside Lagos, the Afrika Shrine. This was a few of us, little white people, me and a couple of friends. So we go out there and I say, '"let's not smoke any pot." Cause it's pretty crazy, we're out in the jungle and it's pitch black. So we're sitting there with Fela [at The Shrine] and one of Fela's guys comes up, he's crouching and he's got a packet of Rothmans cigarettes. They're all joints. He goes, '"You want one of these?" I say, "no thanks," so he carries around and gets to Ginger Baker who says "Yeah man! Sure!'" Then Fela shouts, "Ginger Baker! The only man I know never refuse a smoke!" So I go, "A-ha! Ok, I'll have one of those." Man. I tripped out. It was so strong. It was stronger than anything I've ever had, I don't know if there was something in it. But in the end it was a good night.”
The coup de grace of the visit to Nigeria, with no happy weed-laden positive twist, was Paul and Linda being robbed at knifepoint one night, losing not just money and valuables, but a bag that contained a notebook with unfinished songs and demos of songs still to be recorded. Gah! Those have never turned up again. To top it all off, when they finally were able to try to return home, their flight was delayed a day due to a brake failure. I’m taking “brake failure” in a tie for #1 with “pilot is bombed” and “pilot has bomb” on my list of “reasons I will just wait a day for a new plane.”
Despite all the issues, or maybe because of them (see my working theory that Paul works best under stress), the recording sessions were productive, with almost all of the songs from this album having been primarily recorded in Nigeria (with the notable exception of “Jet”), and overdubs and orchestral bits being added after the group’s return to London. Since this is a MINI-LUDE about a record everyone knows, I’m not going to talk a lot about the structure and contents of the album, leaving that to the discussion of the individual songs that will be coming forthwith, except to point out the common theme of freedom running through the songs and acknowledge the excellent sequencing on this album. Holy hell, I just typed up the track listing, though, and have to say that the five songs comprising side one of this album is one of the best sides of any record in this countdown.
Cover art is a photo that includes six moderate-ish celebrities in addition to Paul, Linda, and Laine, appearing to have their prison escape thwarted. I’d suggest a connection to the “liberation” theme of the album, except it looks like they’re getting caught. Hmmm."
Flaming Pie (1997)
One sweet side-note on this record is that the term “flaming pie” came from John during the Beatles years, when he wrote a biography of the band for the Mersey Beat newspaper, reading in part: “Many people ask what are Beatles? Why Beatles? Ugh, Beatles, how did the name arrive? So we will tell you. It came in a vision – a man appeared on a flaming pie and said unto them ‘From this day on you are Beatles with an ‘A’. Thank you, mister man, they said, thanking him.”
Paul
Band on the Run (1973)
"After the disappointments of Wild Life and Red Rose Speedway, a wary public didn’t immediately warm to this album. The initial response was somewhat tepid, with the album stalling out in the bottom rungs of the US top 10. Then, nearly two months after the release, “Jet” was put out as its first single, hitting #7 on the US charts and spurring new interest in the album, which then reached #1. After the album had sunk again a couple of months later, the “Band On The Run” single was released, which hit #1, selling over a million copies, and shot the album to the top spot once again. Critical response to the record was generally very good from the beginning, with my favorite being as follows: “Band On The Run is a great album. If anybody ever puts down McCartney in your presence, bust him in the snoot and play him this. He will thank you for it afterwards.” Of course, the critical consensus now is that this is one of Paul’s best post-Beatles works, and it continues to be his highest-selling post-Beatles record, having sold over six million copies.
As previously mentioned in another ---INTERLUDE---, Paul wanted an exotic locale for this recording, in order to soak in another culture that might contribute favorably to the feel of the songs and recording. After garnering a list of all of EMI’s international recording studios, he chose Lagos, Nigeria. Also as previously mentioned, Denny Seiwell and Henry McCullough quit Wings just before the band was to leave for Lagos, leaving Wings as a trio. As a result, Paul picked up the drums – unsurprisingly since he not only handled drums during Ringo’s temporary resignation during the White Album sessions but was always trying to take them over when Ringo would merely step out of the room - in addition to many of the lead guitar parts.
To say that the experience in Nigeria was not the glamorous one Paul had envisioned – “lie on the beach all day, doing nothing…breeze in the studios and record” - would be a huge understatement, and the story of the trip has become legendary in its retelling. On the “not so bad” side, the studio and equipment were not exactly of the usual standard, containing only one eight-track machine and a broken control desk. On the “a bit worse side,” Nigeria had been torn by civil war and wracked by disease, including cholera, an outbreak of which caused EMI to send a letter to Paul suggesting he should not go; he received the letter upon his return. Still worse was an incident while recording in which, while overdubbing a vocal, Paul felt like his lung had collapsed as he couldn’t catch his breath. When he went outside for air, he fainted in what everyone thought was a heart attack, convinced he had just dropped dead before their eyes. Later it was diagnosed as a bronchial spasm from too much smoking.
Continuing to make our way down the list, we also have Fela Kuti publicly accusing Paul of having come to Africa “to steal the black man’s music.” Paul invited Kuti to the studio to listen to the songs and prove that it was not their intention, a meeting that went so well that Ginger Baker, who was recording with Kuti at the time, invited the Wings gang to record at his much more modern studio (which they did, recording “Picasso’s Last Words” there). It also went well in another respect for Paul. Let’s hear him tell it: “"[Fela] came over with his 30 wives and a studio full of ganja. He was one wild cat, he used to have a bottle of whiskey in which was marinating a pound of pot... in the whiskey. We turned out to be real good friends, he got it, he said 'no you're not doing that.’ Ginger Baker was there, he was his big friend. So, Fela invites us to his club which was outside Lagos, the Afrika Shrine. This was a few of us, little white people, me and a couple of friends. So we go out there and I say, '"let's not smoke any pot." Cause it's pretty crazy, we're out in the jungle and it's pitch black. So we're sitting there with Fela [at The Shrine] and one of Fela's guys comes up, he's crouching and he's got a packet of Rothmans cigarettes. They're all joints. He goes, '"You want one of these?" I say, "no thanks," so he carries around and gets to Ginger Baker who says "Yeah man! Sure!'" Then Fela shouts, "Ginger Baker! The only man I know never refuse a smoke!" So I go, "A-ha! Ok, I'll have one of those." Man. I tripped out. It was so strong. It was stronger than anything I've ever had, I don't know if there was something in it. But in the end it was a good night.”
The coup de grace of the visit to Nigeria, with no happy weed-laden positive twist, was Paul and Linda being robbed at knifepoint one night, losing not just money and valuables, but a bag that contained a notebook with unfinished songs and demos of songs still to be recorded. Gah! Those have never turned up again. To top it all off, when they finally were able to try to return home, their flight was delayed a day due to a brake failure. I’m taking “brake failure” in a tie for #1 with “pilot is bombed” and “pilot has bomb” on my list of “reasons I will just wait a day for a new plane.”
Despite all the issues, or maybe because of them (see my working theory that Paul works best under stress), the recording sessions were productive, with almost all of the songs from this album having been primarily recorded in Nigeria (with the notable exception of “Jet”), and overdubs and orchestral bits being added after the group’s return to London. Since this is a MINI-LUDE about a record everyone knows, I’m not going to talk a lot about the structure and contents of the album, leaving that to the discussion of the individual songs that will be coming forthwith, except to point out the common theme of freedom running through the songs and acknowledge the excellent sequencing on this album. Holy hell, I just typed up the track listing, though, and have to say that the five songs comprising side one of this album is one of the best sides of any record in this countdown.
Cover art is a photo that includes six moderate-ish celebrities in addition to Paul, Linda, and Laine, appearing to have their prison escape thwarted. I’d suggest a connection to the “liberation” theme of the album, except it looks like they’re getting caught. Hmmm."
Flaming Pie (1997)
One sweet side-note on this record is that the term “flaming pie” came from John during the Beatles years, when he wrote a biography of the band for the Mersey Beat newspaper, reading in part: “Many people ask what are Beatles? Why Beatles? Ugh, Beatles, how did the name arrive? So we will tell you. It came in a vision – a man appeared on a flaming pie and said unto them ‘From this day on you are Beatles with an ‘A’. Thank you, mister man, they said, thanking him.”
Pip's Invitation
Footballguy
PJ was the band I was referring to when I said "their best work was all in the same half-decade." I do like Yield and think it's pretty clearly their fourth-best album, but I don't have it in the same league as their first three.
I too would take Vs. over Ten for their 1990-94 jawn.
krista4
Footballguy
Sorry, I forgot where we were in the order and that I would be next. Oof. I think you should thank me so that you didn't spend your precious time debating.
rockaction
Footballguy
Sorry, I forgot where we were in the order and that I would be next. Oof. I think you should thank me so that you didn't spend your precious time debating.
Absolutely. Thank you. I would have come up with the wrong answer regardless. It was between three bands, and MBV hadn't had anything taken unlike the other two, so...I'm happy with it.
krista4
Footballguy
Songs choices for Band on the Run:
Let Me Roll It - my #3 Paul post-Beatles song
"Guitar riff! Sure, it sounds a lot like the one from “Cold Turkey.” And sure, Paul seems to have adopted some other stylistic elements from John, such as the stripped down production and the nasally vocal with strong echo effect and the screaming at the end, but…guitar riff!!! And sure, the phrase “let me roll it to you” is exactly the same as the last line of the first verse of George’s “I’d Have You Anytime,” but…guitar riff!!!
While it’s what draws me most into the song, I don’t love it only for that insistent guitar riff(!!!). I love the quirky drum fills, the heavy organ sound, and especially the simple arrangement that works to highlight the phenomenal vocal delivery. Paul’s wailing is even better than John’s. Oh, did I accidentally mention John again? Well, maybe what I like best overall is that it sounds like a John song. It’s like getting both of them for the price of one. John, by the way, borrowed back that guitar lick in “Beef Jerky” on Walls And Bridges (as well as borrowing almost all of "Savoy Truffle," it seems).
ThisJohn Paul song was the b-side to smash hit “Jet” and became wildly popular as well. Paul has continued to play it through and including his last tour. Even thread favorite Elvis Costello has seen fit to cover it in his concerts (WARNING: terrible recording quality)."
Mrs. Vandebilt - my #25 Paul post-Beatles song (I have five others on this record higher than this, but decided to shake it up for this mix)
"Paul adapted the catchphrase of an English music hall performer, Charlie Chester - "Down in the jungle living in a tent, better than a bungalow, no rent" - for the opening lines of this song. Doesn't that seem not terribly "catchy" for a "catchphrase"? I guess you had to be there. Paul's lyrics on this song are part of the recurring Band On The Run theme of freedom that I mentioned in my ---INTERLUDE---, as he describes a utopia to which one could escape and have "no use" of worrying, no need for money or any of the everyday crap that people have to deal with. Fun lyrics that really drive the song along, whether you love or hate the "Ho, hey ho" refrain (for me, it's both).
You wanna talk about a bass line? This is one of my favorites from Paul, as it's pounding and relentless but also nimble and swinging. And for all my criticism of Paul's drum skills earlier, I love his fills on this song. Yes, there is heavy sax, and no, I don't mind it! To me it seems to flow naturally, in that I love how the bridges ascend and build in a major key and then get brought back down by the sax part to move back into a minor key. And of course I love the little call-and-responses from Paul to himself: "What's the use of worrying?" "No use." Finally, there's all the weird cackling and laughing at the end, which I could do without but don't mind given Paul's explanation of it: 'The laughing? It started off in Africa. We were doing sort of daft laughs at the end. When we got back we eventually overdubbed this crowd of people who were laughing. It was great listening to the tapes, trying to select the little bit of laughter that we would use. Most of it was us, but we need a little bit to cushion it up. It was great listening to a roomful of people laughing in stereo.'"
Let Me Roll It - my #3 Paul post-Beatles song
"Guitar riff! Sure, it sounds a lot like the one from “Cold Turkey.” And sure, Paul seems to have adopted some other stylistic elements from John, such as the stripped down production and the nasally vocal with strong echo effect and the screaming at the end, but…guitar riff!!! And sure, the phrase “let me roll it to you” is exactly the same as the last line of the first verse of George’s “I’d Have You Anytime,” but…guitar riff!!!
While it’s what draws me most into the song, I don’t love it only for that insistent guitar riff(!!!). I love the quirky drum fills, the heavy organ sound, and especially the simple arrangement that works to highlight the phenomenal vocal delivery. Paul’s wailing is even better than John’s. Oh, did I accidentally mention John again? Well, maybe what I like best overall is that it sounds like a John song. It’s like getting both of them for the price of one. John, by the way, borrowed back that guitar lick in “Beef Jerky” on Walls And Bridges (as well as borrowing almost all of "Savoy Truffle," it seems).
This
Mrs. Vandebilt - my #25 Paul post-Beatles song (I have five others on this record higher than this, but decided to shake it up for this mix)
"Paul adapted the catchphrase of an English music hall performer, Charlie Chester - "Down in the jungle living in a tent, better than a bungalow, no rent" - for the opening lines of this song. Doesn't that seem not terribly "catchy" for a "catchphrase"? I guess you had to be there. Paul's lyrics on this song are part of the recurring Band On The Run theme of freedom that I mentioned in my ---INTERLUDE---, as he describes a utopia to which one could escape and have "no use" of worrying, no need for money or any of the everyday crap that people have to deal with. Fun lyrics that really drive the song along, whether you love or hate the "Ho, hey ho" refrain (for me, it's both).
You wanna talk about a bass line? This is one of my favorites from Paul, as it's pounding and relentless but also nimble and swinging. And for all my criticism of Paul's drum skills earlier, I love his fills on this song. Yes, there is heavy sax, and no, I don't mind it! To me it seems to flow naturally, in that I love how the bridges ascend and build in a major key and then get brought back down by the sax part to move back into a minor key. And of course I love the little call-and-responses from Paul to himself: "What's the use of worrying?" "No use." Finally, there's all the weird cackling and laughing at the end, which I could do without but don't mind given Paul's explanation of it: 'The laughing? It started off in Africa. We were doing sort of daft laughs at the end. When we got back we eventually overdubbed this crowd of people who were laughing. It was great listening to the tapes, trying to select the little bit of laughter that we would use. Most of it was us, but we need a little bit to cushion it up. It was great listening to a roomful of people laughing in stereo.'"
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KarmaPolice
Footballguy
KarmaPolice
Footballguy
My 2nd favorite is in the 2nd 1/2 of the 90s and not the the one that moops took. I realize that is an unpopular opinion as far as their albums go, though.
krista4
Footballguy
Song choices for Flaming Pie:
Souvenir
"I’m endlessly fascinated by this song and feel like I hear something new and interesting on each listen. If I were to put together a Morton-esque list of what I want in a Paul song, this would have every element: fantastic vocal over a huge range; unexpected key and tempo changes; cool arpeggiated guitar riffs; interesting lyrics I don’t quite understand; a structure that I can’t quite map out; odd sounds and recording techniques; Jeff Lynne production that is Beatle-y but not overstated; heart; soul. Let me repeat that last bit: heart; soul. This is fully a soul song. I don’t understand it, and I don’t know where it’s going – please map out to me where there’s a verse or a chorus or a middle eight? Instead it’s all odd twists and turns punctuated by Paul’s incredible vocal ranging from strong gospel to soft ballad, and his playing whatever was in front of him, from harpsichord to drums to everything in between. To me it’s the most complex and oddly captivating song he’s put out in the last 50 years."
The World Tonight
I referred to Paul's changing his vocal style dramatically within the context of a single song; this was one that I had in mind. I love how Paul sings the verses in a husky lower register, but then skips up an octave and uses his "rock voice" on the bridges. I think Paul was in as good voice in 1997 as at any time in his life. This song also features a terrific harder-edged guitar sound, which Paul has said Linda encouraged, inspired by their love of - Pip alert! - Neil Young. Very cool interlude with that heavily reverbed vocal, too.
I'm a huge fan of the lyrics to this song. My favorite line, "I go back so far, I'm in front of me," is one that Paul says John would have loved, too: "I don’t know where that came from, but if I’d been writing with John he would have gone ‘OK, leave that one in; we don’t know what it means but we do know what it means’." Love the internal rhyme schemes, too.
I saw you sitting at the center of a circle
Everybody
Everybody wanted something from you
I saw you sitting there
I saw you swaying to the rhythm of the music
Caught you playing
Caught you praying to the voice inside you
I saw you swaying there
I don't care what you want to be
I go back so far, I'm in front of me
It doesn't matter what they say
They're giving the game away, hey, hey
I can see the world tonight
Look into the future
See it in a different light
I can see the world tonight
I heard you listening to a secret conversation
You were crying
You were trying not to let them hear you
I heard you listening in
Never mind what they want to do
You got a right to your point of view
It doesn't matter what they say
They're giving the game away, hey, hey
I can see the world tonight
Look into the future
See it in a different light
I can see the world tonight
I saw you hiding from a flock of paparazzi
You were hoping
You were hoping that the ground would swallow you <----Ok, rhyming "hoping" with "hoping" isn't the best
I saw you hiding there
I don't care what you want to be
I go back so far, I'm in front of me
It doesn't matter what they say
They're giving the game away, hey, hey
I can see the world tonight
Look into the future
See it in a different light
I can see the world tonight
&
Souvenir
"I’m endlessly fascinated by this song and feel like I hear something new and interesting on each listen. If I were to put together a Morton-esque list of what I want in a Paul song, this would have every element: fantastic vocal over a huge range; unexpected key and tempo changes; cool arpeggiated guitar riffs; interesting lyrics I don’t quite understand; a structure that I can’t quite map out; odd sounds and recording techniques; Jeff Lynne production that is Beatle-y but not overstated; heart; soul. Let me repeat that last bit: heart; soul. This is fully a soul song. I don’t understand it, and I don’t know where it’s going – please map out to me where there’s a verse or a chorus or a middle eight? Instead it’s all odd twists and turns punctuated by Paul’s incredible vocal ranging from strong gospel to soft ballad, and his playing whatever was in front of him, from harpsichord to drums to everything in between. To me it’s the most complex and oddly captivating song he’s put out in the last 50 years."
The World Tonight
I referred to Paul's changing his vocal style dramatically within the context of a single song; this was one that I had in mind. I love how Paul sings the verses in a husky lower register, but then skips up an octave and uses his "rock voice" on the bridges. I think Paul was in as good voice in 1997 as at any time in his life. This song also features a terrific harder-edged guitar sound, which Paul has said Linda encouraged, inspired by their love of - Pip alert! - Neil Young. Very cool interlude with that heavily reverbed vocal, too.
I'm a huge fan of the lyrics to this song. My favorite line, "I go back so far, I'm in front of me," is one that Paul says John would have loved, too: "I don’t know where that came from, but if I’d been writing with John he would have gone ‘OK, leave that one in; we don’t know what it means but we do know what it means’." Love the internal rhyme schemes, too.
I saw you sitting at the center of a circle
Everybody
Everybody wanted something from you
I saw you sitting there
I saw you swaying to the rhythm of the music
Caught you playing
Caught you praying to the voice inside you
I saw you swaying there
I don't care what you want to be
I go back so far, I'm in front of me
It doesn't matter what they say
They're giving the game away, hey, hey
I can see the world tonight
Look into the future
See it in a different light
I can see the world tonight
I heard you listening to a secret conversation
You were crying
You were trying not to let them hear you
I heard you listening in
Never mind what they want to do
You got a right to your point of view
It doesn't matter what they say
They're giving the game away, hey, hey
I can see the world tonight
Look into the future
See it in a different light
I can see the world tonight
I saw you hiding from a flock of paparazzi
You were hoping
You were hoping that the ground would swallow you <----Ok, rhyming "hoping" with "hoping" isn't the best
I saw you hiding there
I don't care what you want to be
I go back so far, I'm in front of me
It doesn't matter what they say
They're giving the game away, hey, hey
I can see the world tonight
Look into the future
See it in a different light
I can see the world tonight
&
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KarmaPolice
Footballguy
Damn teenager found my stash of Kool-Aid packets and drank the last one. 
Steve Tasker
Footballguy
"Kool-Aid packets" and "drank"Damn teenager found my stash of Kool-Aid packets and drank the last one.
Pip's Invitation
Footballguy
I felt like they were trying too hard to be "different" on that one. A "hey look at me!" move before that became an internet cliche.
However, the highs on that one are really high -- a few are in my top 10 songs of theirs.
KarmaPolice
Footballguy
KarmaPolice
Footballguy
KarmaPolice
Footballguy
I will get around to some more rockin' stuff, but tonight I am feeling these albums...
ROUND 6: MASSIVE ATTACK
BLUE LINES ('91)
MEZZANINE ('98)
ROUND 6: MASSIVE ATTACK
BLUE LINES ('91)
MEZZANINE ('98)
Eephus
Footballguy
Eephus
Footballguy
7.05
The Afghan Whigs
Gentlemen (1993)
1965 (1998)
The Afghan Whigs were a Sub Pop band in 1990 so they were swept up in the whole Grunge thing. That helped their non-grungy blend of Rock and Soul to find an audience.
He's always brought the swagger but Greg Dulli could really sing in the 90s before he blew out his voice. Gentlemen has the more familiar songs that got airplay in the heyday of 120 Minutes but I think 1965 is an exceptional record.
@Chaos Commish
The Afghan Whigs
Gentlemen (1993)
1965 (1998)
The Afghan Whigs were a Sub Pop band in 1990 so they were swept up in the whole Grunge thing. That helped their non-grungy blend of Rock and Soul to find an audience.
He's always brought the swagger but Greg Dulli could really sing in the 90s before he blew out his voice. Gentlemen has the more familiar songs that got airplay in the heyday of 120 Minutes but I think 1965 is an exceptional record.
@Chaos Commish
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Chaos Commish
Footballguy
higgins
Footballguy
PIK95
Footballguy
I looked at PJ early. I would have taken Ten and Vs., but obviously I couldn't. So I moved on.
Eephus
Footballguy
Northern Voice
Footballguy
I'm in a hotel in Quebec AMA
PIK95
Footballguy
Northern Voice
Footballguy
French sports channel is showing LA/CIN game so not all bad
Pip's Invitation
Footballguy
Northern Voice
Footballguy
I do not speak French any where close to fluently FWIW. I understand it, written especially, and also for the most part when spoken to me but I have no practical reason to ever speak french myself, other than when I come here to drink beer.
Northern Voice
Footballguy
Eephus
Footballguy
Pip's Invitation
Footballguy
Merci. Are the beers different than what you can get in Ontario? If so, what stands out?
Northern Voice
Footballguy
King, but it's a suite with a separate sitting room with a couch and TV, which I'm sitting in while Mrs. NV attempts to sleep.
Northern Voice
Footballguy
I came here for a couple specific breweries. The one I went to tonight may legitimately be best in Canada for "new school" big juicy, creamy IPAs and big huge flavourful imperial stouts. No reason in terms of ingredients, just ambition.
Northern Voice
Footballguy
I didn't pay any more for this, it's a Doubletree and I guess that's the way they are.
Northern Voice
Footballguy
Femme avec femme most popular on the menu it seems.
I'm still watching baseball...
rockaction
Footballguy
What do you think of Taylor's thesis about multiculturalism, the Quebecois, and pluralism with an eye towards absolute truth? Is there any way to accommodate two competing claims to truth and maintain a political entity? Answer with Rousseau's theory of the social contract in mind.
Northern Voice
Footballguy
It's interesting they're showing a Cincinnati/Los Angeles game with a full French broadcast. I'd assume this is the Quebec station actually covering it, unless anyone can give me another reason they'd have a full broadcast of this game en francais
PIK95
Footballguy
Eephus
Footballguy
I didn't pay any more for this, it's a Doubletree and I guess that's the way they are.
Qu'est-ce que c'est
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