finboy

Great list, if you want more pulp, their big album was "different class" but this is hardcore is great too.

There was a 40% off group on for those who hadn't bought tickets to the calgary show, strange days these are

I've been hearing vinyl pressing issues from a LOT of artists lately, k.flay took months to get vinyl out because they had to scrap the whole first batch. I'm going to take a guess that the pressing plant "out west" was the new one in calgary, if the pressing didn't go well that really is sad to hear, I had high hopes that they would help calgary's status as a cultural city grow. Glad to hear you are pressing on with the back catalogue Matt, as one of your long time fans, I think I can speak for many when I say we have all the time in the world to wait for the right product.

Grey eagle casino is a new venue choice, I wonder why the move from jack singer

Iirc from a previous thread we determined he pushes them into vowels, the best example was deep six. "And I don't know" which is sung with a lot of power becomes "an DIE don't know" so the consenant pushes to the front of the vowel sound. I'm guessing this helps with keeping the throat more open, vowel sounds like E and I can constrict the shape of the throat; and are much more challenging to push out higher notes.

PM

Pat and Christian for sure. Was it dahle who did the lead guitar work on "big city life" and "oh be joyful"? Those had some great guitar work, the big city life solo really stands out to me.

Yea he was, that show is terrible

beats the hell out of the corral, that venue has RUINED so many concerts for me, QOTSA sounded like shit because the bass just kept bouncing around in that concrete hell hole :(

from his previous posts, I would chalk it up partially to natural wear and tear on his voice, BUT it has always been there. if you listen to the audio of being onward (post-surgery and learning to sing properly form that UBC voice specialist) there is definitely vibrato there. IIRC, he mentioned it was partially caused by skull/nasal cavity shape, which is why we all have different voices. One of the key reasons it is heard less on everything before audio of being was the way in which matt sang, using his throat a lot more to squeeze out those power notes, while it sounds raw and agressive, it REALLY takes a toll on the vocal chords. If you want to see what NOT relearning how to sing does, take a look at liam gallagher, that guy's live voice is destroyed because of the way he sang/abused his voice for years.

I think this is why I really appreciated the reasoning behind white light r&r review, knowing that everything, EVERYTHING on that was analog, and as much live floor recording made it a noticeable sonic experience from not only your previous work, but a majority of most other modern albums. I would LOVE to hear that on vinyl, as I bet warne went to huge lengths to get that sound to come through as it did.

All together (both mixes) is my favourite Matt good song of all time, I don't see that ever making an album, and I'm kind of okay with that, it is the perfect hidden gem.

Ed the stock is still doing some good stuff online, including fromage 2014

Yaaaaay hornets!

Not too much, but when you are signing 100+ people at each VIP signing, I would imagine some interesting things show up

I think I'm still high bidder on that one, lol. Eventually I want to find someone who can redo the mgb logo, then I can find generic kappa jerseys and potentially fill the holes in my jersey collection with reproductions I am moving at the end of the month so most of my stuff is in storage, but I got this signed this summer at the stampede show.

Generation x-wing acoustic is amazing

Photos are a bit hard to come by on google it seems, I might try to snap some pics if I get time. Basically they are soccer jersey's from kappa with one of a couple different matt good band patches ("the strikers" or "victory through sheer volume") and the MGB logo in the middle. It is rare to find them in a size that isn't xxl, my guess is baggy was the style? Anyways, cool keep sakes, occasionally they pop up on here or ebay for $100ish. There was also a run done after the matt good band, with an amnesty international symbol, I think proceeds from those went to AI for donation.

the more I hear these demos, the more I would love to hear matt try to record hornets again, it seems like it would really fit with the demos.

i will probably miss a few things... -all studio albums on cd (except ep's) -all vinyl albums, including an opened and unopened avalance (the unopened is a backup in case i ever wear out the opened one) -mgb audio of being a&b sound t-shirt -Avalanche tour poster -3 MGB jersey's signed -1MGB kappa jacket (still need to get this signed, next time he is in town) -1 MGB patch -several tour shirts -several later tour posters i think thats it? I'm always on the prowl for old MGB stuff, i want to track down more jersey's but they are rare as hens teeth, I have missed out on silver, and yellow ones online, I have a black, blue, and white, and I sent another white one to a buddy in the UK

Same here, sorting out a solo is pretty easy as it is put very high in the mix by design. I actually have more trouble with rhythm tracks by ear as so much is going on to bled it together as a mix.

Not really, it's hard because there are a lot of notes, but they all fall in those 2 scales. For the longest time I tried to learn solos by tabs, but truthfully if you just learn the pentatonic major and minor scale, you can figure out 99% of rock/blues guitar lead work

Btw, This video explains the major/minor concept better. Unfortunately with non populous you aren't switching from e flat minor to E flat major, but the concept still applies.

I just sat down with a guitar to see what is going on there, it is going to have a pretty intense learning curve, but has a LOT of good concepts for a new guitarist. I can't tab the whole thing out but I can provide you with some tips. First, the guitar is tuned a half step down, so you will need to tune your guitar to e flat, b flat, g flat, d flat, a flat, and E flat. A LOT of matt good songs post-underdogs are in this tuning, and if you want to do some singing in the future, this really helps get a bit more out of your voice as it brings the range into a more comfortable range for male voices. Next, it is in two different keys between the first and second half of the song. The first is in E flat minor, the second C flat major (someone correct me if I am wrong). What this means is that MOST of your solo work will be based off the pent atomic scale on the 12th fret for the e flat part of the song, and the 17th fret for the c flat part. To figure out this solo, you are going to need to understand the pentatonic scale (the most common scale in rock music) in major and minor form. There are likely a million videos out there by actual guitar teachers, so feel free to search them out as well. Essentially in the minor form, your route note (the e flat that the first part of the song is in) will be the 12th fret on the low and high E flat strings, and the 14th fret on the d flat string. Most of the riffs for the solo will lead to these notes, or include them in some way. For the c flat major part (or major key songs in general) you basically take the whole scale, and shift it back four frets from where you would play a minor scale. The route notes still represent the key of the song, but some of the other key notes shift into a happier key. For this song with the key of c for the second half, the minor pentatonic would start on the 8th fret if it was minor, but because it is major, we shift it back and start on the 5th fret. It starts lower on the fretboard than the e flat minor section, but later shifts up the neck for the higher notes. Because it is major, the route notes (green in the visual below) start with a scale focusing on the 8th fret on the high and low e flat strings, and the 5th fret of the g flat string. To understand why, see the visuals below. This is one of the differences between major and minor, that route not shifts from the d flat string in the minor, to the g flat string In the major scale. From listening to the second part, there is a very clear shift from the lower note scale, to the higher note scale. You are moving the scale one octave (12 full frets) up the neck, the notes to focus on are the 20th fret on the high and low e flat strings, and the 17th fret on the g flat string. Here is a minor pentatonic, you basically use these notes at the 12th fret, with the green dots representing your route/key notes. Here is a major pentatonic, it looks similar because the structure is the same, but because the scale is moved on the neck, and the route notes are in a different location, it sounds happier. Now if you want to get a *bit* more advanced, you can learn more about playing the pentatonic scale in different locations. I would highly recommend just learning those initial shapes FIRST, and use them to play along with the so g to understand how they work. AFTER that, try finding all the notes of the scales on one string, then the next string, etc. you will start to understand that the scale can be shifted up and down the neck, just using different structures. The notes are the same, but the pattern on the neck changes. If you watch live footage, you will see Jimmy is all over the neck. He actually isn't going outside of this scale, just using different patterns with the same notes. I would recommend also trying out champagne supernova by oasis, the whole song switches between a major, and a minor, and has vary basic riffs that allow you lots of time to understand how the key changes work, and how to change when doing your lead work.

This just made my day, glad to hear the progress, I would kill for loser anthems and audio of being on vinyls, AND warne is back? This just can't get any better.