Outtahere

His name is Peter Fusco, he's the bass player for The Heartbroken. Basically Matt's playing with the whole band bar Damhnait Doyle :P According to his (probably abandonned) website, he played with a lot of people! http://petefusco.com/

This part of this interview comes to mind: https://youtu.be/XV8bgm9ouuc?t=25m31s

I remember the "This is an emergency" and this one: But the one we're hearing now seems new.

Did Matt ever explain that intro? It's obviously Matt talking to what seems to be a psychiatist or maybe a representation of Pat (his grand-mother) about his sleeping problems. But what's the link with the current tour or with the record? Is there a meaning to this?

As it's been said that's a venue thing. I get the feeling the venue doesn't want to ask every artist one by one so they just decided it was a basic rule. But that security guard was talking through his ass. Matt used to be against it until he changed his mind around 2003 where he said this: "I've had a whole turn-around on the bootlegging thing. Bootleg my shows! Listen to them online, I don't give a shit. As long as people are reasonable, as long as they still help support making the records so I can continue to make more music and, obviously, I can pay my bills and uh, you know, come to the shows and that kinda thing, then fine by me. And I'm lucky though because I have excellent fans and smart ones." https://youtu.be/EuahZut7vEc?t=2m59s Maybe show him that next time (if only :P)

Yeah that release was inspiring. During the holidays I've decided to play every record acoustically from beginning to end, just for fun. I got up to WLRRR. It's all doable.

People should stop fantasizing about Dave and Rich. Never gonna happen (nor should it). I'm 99.999999% sure it's the bass player from The Heartbroken: https://www.instagram.com/p/BL04Q3ug72y/

Yeah I do wonder why Matt stopped playing any songs from Arrows.

:lol:

Ahh! Thanks for that, I never knew where it was recorded!

If my memory serves me well, it's Matt that walked out of the Seventeen Magazine interview. It was when BM came out in the states and Matt had the "you are our bitch" experience with the media over there. They had to roll over on command and the likes otherwise the media would go back and complain to the record company who would then turn to the band. To be honest, I never understood how Seventeen Magazine was in any way relevant with MGB. They're weren't N'Sync... Anyhow, I do recall Matt talking about Born To Kill on a bootleg from 2011. He was joking about the songs he could remember and he said "Born to kill, all seven and a half fucking minutes of down dirt...[inaudible]". You could already understand he didn't particularly like it :P

Wow. That story and admission is surprising given how he acted at Geoff's memorial (although it was 7 years ago) and the fact he still hasn't spoken to Matt as far as we know... if he recognizes the whole ego thing then what's his beef? Very interesting find! Still watching it and you can really understand the dichotomy between his vision and Matt's vision with regards to songwriting. I don't think Matt's ever been one to write a song with other people given the personal nature of his art whereas Dave talks about writing lyrics and music with other artists.

Ha ha ha! Yeah and what's not been mention is that, they argue to know who's idea it was but not to take credit but to put the blame on the other person. Bill : This was your idea Matt : What? That was MY idea? And they let me do it? Brilliant :D

It's mainly a question of taste for me. It just doesn't get to me. I also don't like the cowbell and the synth solo. I also get the feeling that he tried to sqeeze too many words in the melody during the "Caught under a spell, you know they’d call you on it every time we meet yeah the secret’s on again" and "Caught under a spell, you know they’d call you on it every time we meet yeah the secret’s on again sit and read Jailbird, got nothing but time" parts. I don't like it when a song does that. But good for you if you like it! ;)

Just a question of preference, no need to get all up in arms. As Matt said himself, art is subjective.

Thanks! That video shows pretty much where I already am with tuning. I thought there might have been something I wasn't aware of. :) Oh no nothing electronic. It always ends up sounding electronic :P That being said, that's something I love about being a musician. Music becomes something you listen to on a deeper level. You deconstruct the sounds and the structures in you head to appreciate it differenly. Matt, your interventions are always awesome for music geeks like me. That bit about Avalanche's rough mixes is the kind of thing that makes me listen to songs differently, in a good way because music geeks don't just listen to the tune but the whole thing. I remember in February 2003 (sorry I have this kind of time memory :P) while I was waiting for Avalanche to come out, I listened to 30 seconds samples of the record and one thing that instantly stood out was the drums. Pledge for example is not a bit rock song but the pounding of the drums gives it its edge (and along with the bell, I think that was the point). I also love the live rendition you did on tour with the piano. Weapon amazed me when it came out. Not just the drums but the guitar part at the beginning (which I love to play), the orchestra obviously and, of course, the drums. I remember Pat got a bit of flak initially by fans who didn't like his playing but I've always loved it. The drums on House of Smoke and Mirrors are just right for the song's atmosphere. I've never thought of the drum sounds being influenced by the producer. I'm no pro like I said so I thought that it was just tuning. I've been wondering how Pat's done this for years and hearing the Montreal bootleg again gave me the idea of asking it here. The drums on the record are amazing but Pat's been able to reproduce it pretty nicely live as well. I've never heard the whole Who's Next record (other than Baba O'Riley, Behind Blue Eyes and Won't Get Fooled Again of course) so I'm definitely going to buy it and try. Yeah I don't think Matt's ever worked with a bad drummer. One thing I love about him being a solo artist is that you get to hear different players playing the same songs differently with their own flavour. But if I were to put Matt's drummers in order of preference, Ian would be last. Bear in mind I think he's an amazing drummer so that's not a bad thing per se. But Pat's always been number one in my book followed very very closely by Blake who's polyvalence never ceases to amaze me. I get the feeling there's nothing he can't play. But Pat's drum sound make him the best to my ears whether it's on record or live.

So I'm trying to set up my drum kit to fit with Pat's on Avalanche. It's the best drum sounds I've heard. But I'm not a pro so I don't know how drum tuning works other than fiddling with the screws until you get a sound you like. The thing is I've never had a sound like that. It's either to reverb-y or echo-y or, if I tighten them too much it's too high. Yeah "reverb-y" and "echo-y"! They're technical terms alright! :P Anyhow what's the trick? The best I've done (still not enough) is put tape on them to mute them out a bit. Thanks!

Well I'm not upset perse, I do have a life ha ha! ;-) I just think it's a shame he has to carry around the credits no matter what he does to the song. Credits are given (and should only be given) when work is done on the song. But Dave, Rich and Ian were in no way involved with this EP. And I'm not saying that only because it's Matt but for any artist. As a songwriter myself, I wouldn't be happy, no matter what I do to a song I wrote, that I'd have to give credit to the bass player because he wrote a bassline on the original version if I'm not using it anymore. I thought there was a difference between the songwriter and, say, Beyonce ;)

While we're on the subject of "collector items": http://www.ebay.ca/itm/MATTHEW-GOOD-BAND-lo-fi-b-sides-RARE-CD-EP-FREE-SHIPPING-WITH-ONLINE-TRACKING-/152306390331?hash=item23762b153b:g:jwwAAOSwnbZYHVa5 Ha ha ! (I'm not the seller by the way I just found that this morning)

Lo-Fi B-Sides was released with Underdogs at HMV only if I recall correctly. As far as distribution I couldn't tell.

He actually doesn't own Beautiful Midnight, just LOTGA and Underdogs as they were recorded with his own money. My guess is that he owns the rights and tapes for both of those. Beautiful Midnight is probably still owned by Universal. For the credits, that sucks. He wrote the basis of the songs and the reworked version. I know it's not the end of the world but it annoys me, regardless of Matt's previous statetments on credits on MGB records. This time, none of the MGB members had anything to do with this release. I know! I had to drive 1 hour to get it (I got it at an HMV though but they had one copy). Jesus can't we just get bloody physical releases anymore?

Says that on the back of the digipak too. Really? Is that really how it works?

Ah that's one comment I forgot. When I said Suburbia was poppier, it wasn't negative. It's just a comment on how different it is from the somber, gloomy, nightly version on Beautiful Midnight. I could hear the new version play on the radio but not the original. But it's definitely an earworm.

I got the CD yesterday evening. I have a couple of additionnal comments: I can't believe Matt had to credit Dave on all songs and Dave, Rich and Ian on Load Me Up. The songs are completely different! The melody was written by Matt so, given the reworking, no credit should have been given. It's not really important as fans but that kind of crap ticks me off. I don't know what Warne does differently now than in 1999 but these versions just breathe. The sound is so much more clearer and crisper. It's like we're with the musicians in the room or almost. Maybe it's a analog vs digital thing or just the mixing that's made differently (I'm not too studio saavy) but I love the sound of this. I hate living in Quebec when it comes to Matt Good... I had to drive 1h to get it (I know I could have bought it online but I wanted the thing yesterday... yeah I'm a kid :P). Warne's keyboards are awesome. The whole Let's Get It On is amazing. I definitely hope he brings a keyboard player on tour! Imagine if it was Warne ha ha! I think I had more but I can't remember them this morning. I'll just post again later :P

Just heard the whole thing. Two words: Fucking hell! Beautiful Midnight is my favourite MG record right after LOES. I still prefer the original version of Suburbia. I Miss New Wave breathes a lot more. Born To Kill is awesome and I like what he did with the vocal mix to not scream during the "It's more than the less you say you do" part. Very clever. I was expecting something more intense though in the style of the live version of Empty's Theme Park circa 2010. Let's Get It On is just bloody awesome and I'm happy he kept the vocals more or less the same instead of singing it lower like on I Miss New Wave. As for Load Me Up, well, it was coming for years wasn't it? He did it acoustically live so many times I'm not surprised at the reworked version. It's really really good. All in all, this EP shows that, arragements are certainly an important part of a song on record but the heart of a song is what counts. You can do them differently, play around with instruments, change the pace and so on. If it's a good song, it's going to remain a good song. Oh and I forgot to say that I'm really glad that this EP uses bore of Stu's live style. It's like Matt reworked the songs with them like he would have on a tour (Empty's Theme Park, Harridan, etc.). Those musicians are amazing and this EP is colored with their style.