Williammunny11

I've seen both them and Tool exactly one time each (both back in the early 2000's) and I must say both were once in a lifetime shows. Maynard was at the top of his game then.

Uggghhhh. I need to get on this STAT! Anyone watch season 2 yet? Thumbs up? Thumbs down?

I just watched this last weekend. It totally slipped under my radar. Damon was good, the story was compelling, the execution was adequate. Considering that I got it from the library I feel good about the exchange.

This site is great! Is this your own design? Do you do web design?

Yes, recent posts really put a different slant on some of the lyrical content from the new record.

This podcast was far more successful than we expected (due to it being a bit outside of our normal wheelhouse); a point that I attribute to everyone here. Thank-you all for listening!

As an aside to this thread (and partially because of it), I have been head-first down the M. Good-rabbit hole since this record came out. I've been listening to back catalog non-stop as well as the new album. It's consumed my listening habits for the past few weeks and I've probably spun 25 full albums-worth of music at this point. I can't remember being this enthralled and excited in a long time. I feel like, based on Matt's own posts, that this process was an artistic catharsis for him...one that has resonated with me on a few different levels.

Yikes! First and foremost, I obviously misspoke during the podcast and I apologize for that. In addition, I have seen to it that the segment in question has been edited out. The idea of doing this specific topic was a personal one for me. I am obviously a huge fan of Matt and so I couldn't think of a better way to help promote his new album than by using our platform to discuss his career (and hopefully expose his genius to a larger audience). So, with that being said, you can imagine my horror when I read through this thread this morning. It was not at all what I was expecting. My initial thoughts: "Did I say that?" "No...I didn't say that...did I?" But unfortunately I quickly realized that "Yep...I did". And while I think that the point I was trying to make was to highlight Matt's diagnosis and urge people to watch his Tedtalk, the word 'suicide' was simply an inexcusable brainfart. Not that this excuses it, but I would like to offer this: sometimes trying to distill a large topic down into a fluid, long-form conversation can lead to mental errors (we occasionally jumble band member names, song titles, etc... not unlike a parent sometimes accidentally calls their child the wrong name). Usually the other person is there to catch the mistake...in this case, I was supposed to be the authority so the statement wasn't challenged. I never want the takeaway from our podcast to be anything other than good vibes. If someone was offended or turned off then again, I apologize. And much more importantly, the gaff has been edited out so future listens will not perpetuate what I said. Thank-you to anyone who has listened and especially to those that pointed out the error.

This is a fascinating post. As a writer myself I can totally relate to the idea of a muse, for me however it’s changed as I’ve gotten older (and known more people). The idea that it’s been a singular person for Matt is super interesting to me.

Oh man.... that’s the typo of all typos! See what happens when you use your phone to post!!!

Thanks for the feedback guys! The Peter Criss thing goes back to our recent KISS podcast (which I highly recommend)...and it's not so much an inside joke as much as it is simply Carl's ongoing benchmark for sonic quality. I highly recommend Dulli's The Twilight Singers as well...the records sound very much in line with the last two Whigs albums and are a fantastic find!

Hey all...I can't remember where I heard it (I think during an interview back in the MGB days) but it was also cited on Wikipedia. As I say in the podcast, I am infinitely grateful that they decided to go with "Matthew Good Band"...but if anyone knows the backstory I would love to hear it as well.

This might be my favorite Matt Good vocal ever (a spot that was previously held by While We Were Hunting Rabbits).

Hey everyone, This week my buddy Carl and I decided to discuss Matthew Good's career on our podcast Geek U.S.A. We run through his catalog and give our thoughts and impressions on his work as well as discuss Something Like A Storm. https://soundcloud.com/geek-usa/episode-54-matthew-good I am obviously a huge fan and have been wanting to discuss Matt for a while; this new record presented us with a good opportunity. Thanks in advance to anyone who listens and I hope you enjoy our stroll down musical-memory lane. James

I just leased a new Honda and was shocked to find that a CD player simply wasn't an option...definitely the end of an era.

Who would've guessed that Tool would somehow outdo GnR's Chinese debacle...I sincerely hope that there is a new record at some point, but I am no longer anticipating it like I was. To echo others, the new APC was a welcome surprise and I am super excited to hear the record!

I too have fallen in love with Dallas's back catalog by way of If I Should Go Before You...man, what a solid record...easily one of my most listened to from the past two years.

I know Matt has already discussed his reasons for not really touring south of the border and it all makes complete sense to me. But that being said, his acoustic tour from some years back (saw him in Cleveland) was a highlight of my life.

I so agree! I was not really into any of the pre-release songs (save for Something Like A Storm) but after hearing them within the context of the album I am totally blown away.

I love stuff like this. Not at all unusual for an artist to change something at the eleventh hour...considering the power of the title track, I am kind of glad he changed the album title.

Here's my review from Soundblab.com (a site I write for): https://soundblab.com/reviews/albums/19351-matthew-good-something-like-a-storm Where most artists tend to settle into a period of artistic 'cruise-control' during their later years, content to mine the same tired territory over and over (often leading to diminished returns), Matthew Good has spent the better part of the last decade pushing the boundaries of his sound in every which way. Whether it was the big-band deviations from 2011’s Lights of Endangered Species or the Pixies-inspired anthems from 2013’s Arrows of Desire, Good’s post-90’s alterna-rock-heyday output has been a series of bold artistic statements and equally defiant reactions. Something Like A Storm, Good’s eighth solo full-length (and fourth release in the past five years), manages to elicit fond memories from yesteryear while also providing a glimpse of what may lie ahead for the intrepid Canadian singer/songwriter. The ‘on the nose’ album opener “Bad Guys Win”, with its explosive toms and shimmering guitars, channels a U2-esque vibe to great effect while the driving “Decades” shows off just how tight Good’s band has become. Guitarist Stuart Cameron, bassist Peter Fusco, and drummer Blake Manning elevate even the most pedestrian of arrangements to another level with their ever-present synchronicity. And while Good has never shied away from orchestral embellishments, Something Like A Storm finds the artist embracing new-wave-leaning textures in a whole new way. “Days Come Down” is transformed by a saturating synth line while the driving “There the First Time” and backbeat-driven “She’s Got You Where She Wants You” are impressively buoyed by Cure-esque guitar lines and a lushly cinematic production. And where Good’s previous outing Chaotic Neutral tended to draw a hard line between lush, brooding ruminations and labored, upbeat numbers, there is a more seamless balance this time around. The album’s third track, the pensive quasi-ballad “Men at the Door” and the anthemic “This is Night” show off just how effectively Good has become at wielding dynamics as his weapon of choice. Meanwhile, the brooding, circular title track “Something Like a Storm” and the absolutely stunning “Bullet’s In A Briefcase” immediately recall the sort of overstated melancholic grandeur that helped set Good’s former band apart from the fray. Both songs are built around plodding, circular riffs that ebb and flow between pensive restraint and explosive crescendos so effectively that they may be worth the price of admission by themselves. With nine tracks spread across 43 minutes, Something Like A Storm indulges Good's penchant for depth while never threatening to overstay its welcome. And for his part, Good’s voice is in rare form, for while he predictably carries the more up-tempo numbers with his well-honed croon, it’s during the album’s most low-key moments that his growth as a lyricist and singer really begin to come into focus. The opening lines of “Bullet in a Briefcase” (Little fish, boat's too full, down you go...) not only perfectly encapsulate the overall vibe of the album, but Good’s delivery is so perfectly delicate that it’s hard to imagine a younger version of himself being able to deliver a more authentic performance. Simply remaining inspired is the real challenge for any artist who has been at it as long as Matthew Good has; and if nothing else, the man sounds as inspired as ever on Something Like A Storm. And whether it’s a culmination of a lifetime's worth of experiences colliding with an ever-growing air of political-discord or simply the next step in an ongoing personal evolution, on every level Something Like A Storm feels like the beginning of something new from an artist who clearly has a lot left to say. Suffice it to say I am blown away by the record. The thing that's tricky about writing about music is that it is almost a requirement that you share your initial thoughts as quickly as possible...it's just how journalism works. And with most of Matt's work, my thoughts really tend to evolve over time. I loved Arrows initially, it's fallen back for me a bit over time. Chaotic was the opposite (so much so that it's probably my second favorite album of his EVER now) and Lights has been my favorite album of all time since the moment I first heard it (the record connected with me in a way that is almost spiritual). The point is that there is rarely any rhyme or reason to how any of this works but I think it's safe to say that this record is one of his best and I can't wait to hear where he goes next!

While expected, this is incredibly sad. Gord was simply an inspiration during these past few years...he carried on in the face of an insurmountable illness with an endless amount of grace and composure. Rest easy my friend.

I am so jealous of that picture! Ok...so I reached out to the artist but to no avail. I suppose what I am left with is taking a hi-res photo of my LP cover and using that. Does anyone know anything about copyright? Who do I need to get permission from? Or if it is only hanging in my home, do I even need to??

You guys are amazing...thank-you!

Fan-freaking-tastic! For anyone discussing the differences between this cover and the original I suggest checking out Ian Thornley's cover on his solo album (Secrets) from last year...Matt's take on this is makes a ton of sense when you hear Ian's own take, which is incredibly stripped down as well. I personally don't see the point in doing 'faithful-to-the-album' covers; and I could come up with a long list of covers that are drastically different that I actually feel serve the song better, but that's a discussion for a different day. I think Matt nails this and I would be very interested in a full-on covers record from him.