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dtram

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About dtram

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    Grasshopper Greensnake
  1. Ghost is Born released in May '04, first Philly show after release, June '05 Sky Blue Sky released in May '07, first Philly show after Feb '08 Whole Love released Sept '11, first non festival Philly show ?????? Star Wars released summer '15, first Philly show ??????? Yeah, we got an Evening with show. Funny thing is when Whole Love came out, they did 2 in Vienna, VA and drove right by us to do 3 in NY. Good to see they are keeping the trend on this tour. No idea why Tweedy played here but there is no denying there is something about this town they don't like. I really haven't followed them or listened to them in years, I don't have time to chase them around if they can't come here once in a while. Guess I'm still on the mailing list, when I saw the email with the dates I just laughed.
  2. Don't hold your breath, they hate Philly
  3. Glad you're enjoying them. My opinion; the stuff on the deluxe edition is cool to hear but doesn't fit with the studio stuff. As for all of this talk about Rogers voice, I was listening to the Blues to the Bush live CD set from '99 and was actually shocked as to how good Rogers voice sounded then as compared to now. I remembered when it came out thinking he was sounding pretty shot but comparing it to now, he sounds like he was in top form and it's very listenable. Saw them Saturday night, show was good but I think Pete had a cold so he was having trouble singing too, kind of a double whammy. I'm thinking they should stop after this tour as much as I hate to say it. Now that they have Roger lip synching the screams in Love Reign and Wont Get fooled Again, I think its time. And Roger showing off his belly the way he's been, he's quickly becoming a parody of aging rock stars not knowing it's time. Pains me to say it as the who were my first music love but it's time. Wish Pete would do more solo tours; the '93 tour he did was amazing and he still has a voice when he isnt sick.
  4. As someone else said, probably should be called a music HOF or something like that. I dont really care for PE or rap in general but from what I know about them, they were hugely influential and deserve inclusion I'm an old man too, I liked Rush some in Jr High but they didnt stick with me. Other than a few songs on moving pictures and signals (I was in Jr high when those records came out) i never got it with them, they basically seemed to make the same record over and over. If by being a peoples band you mean that people like them and critics don't, i would agree with that. Funny that Led Zep were hated by critics at first but the critics eventually came around. That never happened, and probably never will with Rush Not trying to be argumentative but who did they influence that anyone really cares about? I would also say that Pink Floyd and probably Yes are more influential in Floyd's case and successful in Yes' case.
  5. I know I'm going to get blown up here by Rush fans but I always thought a Hall of Fame was supposed to recognize the best of the best. To make the Hall, I would think an artist would need to be influential in way that makes them essential to Rock, either by having a body of work that is considered essential or influencing bands that go on to be essential. I dont think Rush qualify on either count. They seem like nice guys and a lot of people like them and they certainly have longevity but to me that doesnt equal greatness. There are a lot of players that played a particular sport for a long time; that doesnt mean they deserve to be in a Hall of Fame.
  6. I have that book, its a good one. That link is dead.
  7. That seems unlikely but i guess it's possible. The thing with the Townshend demos is he kept the bass and drums pretty simple knowing they would be fully fleshed out. The guitar and piano work and vocals are all pretty developed. The zip file has Greyhound, Mary and Teenage Wasteland, wasnt sure if you had it. When I was a boy is it's own download. Enjoy! http://www.sendspace.com/filegroup/XNZctJ2qjf4xM3AFIskslw Thanks, cant wait. Will be seeing it in AC in feb on my bday too, great present.
  8. The Townshend demos are actually pretty well produced with all the instrumentation. Mary is definitely '70-'71 vintage and I'm pretty sure Greyhound girl is too and I dont think Roger would have sung Greyhound any better than Pete, it's a keeper. Glyn Johns himself mentions that PT had some of the most amazing demo's he's ever heard. I'm not sure if any Who versions of these are lost or just not released. Time is Passing was found for the Odds & Sods reissue, who knows what else is in there. I'm pretty sure the Townshend vocal version of Love Ain't For Keeping was from the same Record Plant sessions as all of the other Kit recorded stuff but I'd have to check. This is definitely a YMMV zone here, I prefer everything recorded by Johns over the Lambert stuff, just sounds more vibrant to me. In the interest of complete accuracy, the versions of Pure and Easy and Wont Get Fooled recorded by Johns were actually recorded at Stargroves (which I'm pretty sure was Mick Jagger's house) on the Rolling Stones mobile studio. The Who liked the results of those sessions so much they then went with John's to Olympic to record the rest. Later tonight when I'm home I'll put Mary, Greyhound Girl and When I was a Boy on sendspace for you. Thanks for getting me into this, I needed something to jump start a who mood for me with the Quad show coming up; this did the trick.
  9. My pleasure. You're right, you can pretty much make Lifehouse anything you want it to be as Pete has a habit being inconsistent in interviews and his own story so its hard to really say what would go where. I happen to love the sound of those Olympic sessions. After all those years of being criminally represented on record by Kit Lambert, they just sound like an uncaged animal in those sessions. And it's funny, Glyn Johns recorded the sessions at Olympic in '72 but they just dont have the same feel. As for Teenage Wasteland, it is incredibly interesting to listen to but I dont think the who ever recorded it or even tried it and I think once Pete merged it with the instrumental Baba he was done with it. That being said, when he did those lifehouse shows in 2000, he used it so who knows. Amazon has the DVD which is worthwhile: http://www.amazon.com/Pete-Townshend-Music-Lifehouse/dp/B00005UQ86/ref=sr_1_1?ie=UTF8&qid=1354061381&sr=8-1&keywords=pete+townshend+lifehouse But I think the 2 CD set of the whole show is out of print. I have both :-) I do agree that the '70 to '72 period is Pete's strongest but I'd go a year longer and include Quad, cant wait to see it in a few weeks. If you need any of the tracks, let me know.
  10. A topic near and dear to my heart. I have done this many times although I have never seen that wiki entry that splits it into 4 pieces like that although that sequencing is more or less what I have done in the past. The issue that I always run into is what would have been on Lifehouse had it come out in its time, summer of '71. If that is going to be the criteria of your comp, then Put The Money Down, Relay and Join Together are automatically out as they were recorded in Spring '72. I wish the Lifehouse Chronicles had dates on the demos because it is unclear, and I have never seen definitive dates of when they were demoed. My hunch is that they were post Who's Next and may or may not have originally had anything to do with Lifehouse. They may have been part of the Rock is Dead, Long Live Rock story that Pete wrote that evolved into Quad. We know that Long Live Rock and Is It In My Head were part of that and given that those 2 songs along with 3 above were recorded in Spring '72, I think that is plausible. I also dont think I Dont Even Know Myself had anything to do with Lifehouse as it writing and original recording was pre-Lifehouse, It was supposed to be on that EP i believe We also know that the one Entwhistle song written for Lifehouse was When I Was A Boy so I believe that should go on any Lifehouse comp. My criteria is, if it was recorded by the Who at Olympic by Glyn Johns, it goes on the comp. I do not like the Kit Lambert versions at all. My only exemptions are My Wife, i dont include that even though it was recorded at Olympic because it had nothing to do with Lifehouse. I add Mary and Greyhound girl because they are clearly Lifehouse tunes and in the case of Greyhound Girl, one of the great lost Townshend songs imo. I leave out Teenage Wasteland because it was clear that Townshend combined the instrumental Baba and Teenage Wasteland and created something much greater. No way would TW have been recorded by the Who once the fully formed Baba was done. So my list goes: "Baba O'Riley" (Who's Next) "Going Mobile" (Who's Next) "Time Is Passing" (Odds and Sods) Olympic Verison, this version is the best imo "Love Ain't for Keeping" (Who's Next) "Bargain" (Who's Next) "Too Much of Anything" (Odds & Sods) Olympic verison "Greyhound Girl" (Lifehouse Chronicles) "Mary" (Lifehouse Chronicles ) "When I Was A Boy (Who's Missing) Olympic Version "Behind Blue Eyes" (Who's Next) "Pure and Easy" (Odds and Sods) Olympic Version "Getting in Tune" (Who's Next) "Let's See Action (Nothing is Everything)" (Hooligans) Olympic Version "Won't Get Fooled Again" (Who's Next) "The Song Is Over" (Who's Next)
  11. Pretty funny, first thing that popped into my head also. Not a big Journey fan but I love those 2 songs. Genesis - Behind the Lines>Duchess
  12. You just can't make this stuff up. All the signs and evidence pointed towards Mike being a monumental, world class asshole. You heard him plead his case over the years, you knew it smelled but you wanted to give him the benefit of the doubt, then he does this. Case closed. And why Brian or Al would have any interest in being reinstated is beyond me. All they need to do is point their fingers and say, see, we told you, and be done with him. At least they were on good enough terms long enough to get the Smile box out.
  13. I think tremendous crap is a bit of an overstatement. Arguing taste and likes and dislikes is a pointless exercise but I do believe a lot of the negative attitude towards the later records is due to perception for a lot personal reasons people may have. Rolling Stone began their review of Out of Time, and I'm paraphrasing, by saying that while R.E.M. will probably never be as exciting as they once were, that they are constantly maturing as songwriters. I think that was true. Was there a period between Hifi and ATS that the records were too long? I think so, but I still think there were 45 minutes on each (ATS excluded) that were excellent. And the last 2, Accelerate and especially Collapse, really were the "return to form" they were touted as. I think Collapse is an incredible collection of songs and was a great way to go out.
  14. I agree. It's total schmaltz but I love it. I like Hallelujah a lot too.
  15. I guess i don't understand why people get to the point of feeling like this in general. Not to pick on Crow Daddy because a lot of people feel similarly to him but at the end of the day, it's just music. Bands evolve. The same group of folks that point out supposed mistakes that bands make would likely be the first to criticize if every record sounded like Murmur. I think R.E.M. followed their muse consistently during their history to varying degrees of success. I think to dismiss any period of their history is to miss out on a lot of great music. At the end of the day, for me, thats all that matters. In the last week I've listened to Murmur, Reckoning, Fables, Out of Time, Monster, Hifi, Up, Accelerate, Collapse and the 3 new songs on Part Lies... and thoroughly enjoyed them all. At this point, a year after break up, all thats left is the music. To my ears it was a pretty great and consistent catalog. Any disappointments from along the way of what I maybe wanted at the time of release, Out of Time being acoustic based, Monster being too glam and not enough like document of pageant etc are gone and what is left are to me, great songs. If different periods don't work for different people, thats fair, I guess I just don't understand the disdain part.
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