uglyredhonda

In past years, with the 200, they made a point of noting on the listing when 200 had been reached. I'm a little surprised that hasn't happened this year (assuming we've already reached 200). Other thought for the day - I was poking through MapleMusic's website - I remembered ordering WLRRR from them when it came out, and that was more than a decade ago. I think their website has the same site design as it did then. (That was probably the last time the CDN/USD exchange rate was as favorable/unfavorable as it is now.) And you guys already figured this out, but with the exchange rate being what it is, Americans should definitely order from either MapleMusic or Amazon.ca directly. Amazon.com has a crazy markup on imports, usually exceeding the extra shipping cost from .ca. (RIP CDPlus, who used to have fair prices and free shipping to the US.)

Pre-order is live on iTunes (Canada). https://itunes.apple.com/ca/album/chaotic-neutral/id1023974894 And Amazon.ca. http://amzn.to/1yDKXiD 1) All You Sons and Daughters 2) Moment 3) Kid Down the Well 4) No Liars 5) Harridan 6) Tiger by the Tail 7) Girls in Black 8) Cloudbusting (feat. Holly McNarland) 9) Cold Water 10) Army of Lions 11) Los Alamos

For old times' sake, the making of "In a World Called Catastrophe": (I'd love to hear a full version of this cover)

I'd personally throw the demo version of "Can't Get Shot in the Back" into this category. I never really cared for the full studio version, because the version of just Matt and a guitar is so haunting - especially with the scratchiness of the guitar strings.

Btw - I like the fact that The Bored was indirectly responsible for this even making the record. http://www.nearfantastica.com/bored/topic/14253-okay-anton-you-were-right/page-2

Kinda wondering what happened (if anything) with Milos, but, damn, Bones is such a great bass player. Warne's done so much great work with Midnight Oil (especially Blue Sky Mining). But if you have never heard Earth and Sun and Moon - recorded by Nick Launay rather than Warne - it's an amazing listen. [media]https://www.youtube.com/watch?v=LcxdbZ5chcc[/media]

It does look a lot like her. She looked like this not long before that (Everclear's "One Hit Wonder"): https://www.youtube.com/watch?v=PEUWx4LA7jU

He must have removed the comment. It was something like "Warne's producing. [something about MG producing], but Warne gets better sounds." Possible that he spoke too soon. I'm hopeful though - hopefully a new label deal can facilitate Warne's involvement. (Matt does great production work, but Warne is one of my all-time favorite producers - and not just for Matt's stuff.)

Posted today: "Tiger by the Tail" http://www.matthewgood.org/news/2014/11/14/easy-listening

I'm not gonna say there's something in the Lounge... Btw - I officially have to change my mind on "Alert Status Red". That night, I felt like the comedy intruded on it a bit, but I think that it may now be my favourite performance of the night.

This show didn't touch Massey 2007, but I thought it was brilliant in a totally different way. I loved the chaos of it. I'll admit that it was a little bit disappointing that the comedy would sometimes interfere with the music - them playing NHL '94 (terribly) was a funny idea, but distracting to the song (especially right in the middle of "Blue Skies"). But I was impressed with how strong Matt sounded the whole night - he seemed nervous for much of Massey 2007, and that was completely gone on Saturday. Having seen that on Saturday, I wish he'd do one real solo show there again, just because I think he'd tear the roof off of the place. If they could keep the music and the comedy more separated, I would easily pay to see that show again. I was surprised by how undersold it was. (Maybe it was the lack of promotion.) I'm worried that it'll dissuade further solo shows. I was sitting dead center upper deck. Wade must have been sitting right behind me, because it looked like they were pointing straight at me when they were looking for him, and it completely freaked me out. Btw - the audience was good upstairs, with the exception of two women to my left who were drinking pretty hard early and then started responding to Matt and Jay as if they were right there. (They were also talking - loudly - during Matt's songs. I kept wondering if the jokier vibe made people think that it was okay to be loud.) And, Jesse - I was definitely singing "Mistaken for Strangers" on the way out. :) Btw - I don't want to step on this (in case something happens), but you guys may want to check the NF Lounge a little later this week. (Sneak preview - I'm really, really happy with the little I've checked out - though it'll be missing something without the visuals.)

I'm coming up for this, too. (I was at the solo Massey show in 2007, and couldn't pass this up.) Anyone want to grab food somewhere beforehand? Eaton Centre / Yonge-Dundas is right there. Also - big writeup about the show in yesterday's Star: http://www.thestar.c...laboration.html

Did anyone go? I already had a ticket to the SG/NIN show at Molson, but, on the way there, I walked around the outside of the venue to hear what I could hear. (They were playing terrible music in various spots around the edges of the venue - I only found one spot near Will Call where I could clearly hear MG.) I heard parts of "The Future Is X-Rated", "Load Me Up", "Non Populus", and "Had It Coming". Kind of wondering if he finished his set before the storms hit.

The Kitchener show is in the Upload thread in the Lounge.

Different label. Arrows is on Frostbyte - all of the rest are on Universal.

You could also check the Web Archive. They've been pretty good about archiving Matt's store on MapleMusic. I didn't look very far, but I saw one version of the tank shirt here (from 2007): http://web.archive.o...asp?dept_id=568 (Edit: Having said that, the pictures might not be big enough to be useful.)

Not postponed - cancelled (per venue and Ticketmaster). :( Feels weird - Matt has generally abhorred cancelling shows. I vaguely recall an Ottawa show some years ago where he shouldn't even have been standing up, much less playing a concert. (Though it's probably healthier for him to not try to play though an illness like that.)

That's the only source we have for that artwork. Honestly, it's the only source we have for that version of the song, period. (A CD for one song?) If you play with the size part of the url (right before the .jpg), you might find a larger copy that works. I got up to 800px: http://cdn.7static.com/static/img/sleeveart/00/018/204/0001820484_800.jpg

Notes about Hamilton: The security guards were being RIDICULOUS about people taking pictures. Matt commented about how the venue looked like a spaceship with all of the ushers running around with flashlights (ostensibly helping people to their seats), but they were actually running around pestering people who pulled out their phones to snap pics. I grabbed a few anyway, but it was absurd. I was way more distracted by security than how it would have been had people been taking pictures. The setlist is actually slightly incomplete. If you saw Matt's recent post(s) about wanting to play songs from Walk Hard - they actually played parts of two of them (the title track and "(Mama) You Got to Love Your Negro Man"). It was hilarious - Matt was leading the charge, and the guys had this look of "Is this actually happening?" Btw - in both Kingston and Hamilton, the guys played a short improv while Matt was grabbing a swig of VitaminWater. (Matt's apparently not drinking beer on this tour - I only saw him touch VitaminWater at both shows.) In Kingston, they teased a bit of Zeppelin, too, as Matt tried to lure Lance out to play some guitar. (Matt noted that it was a shame that the best guitar player around was the guy sitting off-stage.) "Via Dolorosa": they should be playing this every night. I found myself humming it to myself in the parking garage after the show. Before I got to my car, I heard someone else singing it out loud. It sounds great, and it's reaching people. "Giant" sounded fantastic. I really like "Garden" as the opener. Btw - "Carolina" was on the printed setlist as the last song - Matt must have changed his mind. ("True Love" sounded great.) "Rabbits" seemed better to me this time. My Kingston memory may have been affected by the craziness going on around me at that show. Blake, in particular, was tearing it up at the end. (Having said that, the Tony and Matt version from Kitchener 2011 popped up on my iPod last night, and I think I may prefer the power of that version. I think I may also prefer that take because he sang it in the album key - I wish he'd up the current version a half-step. But either way sounds great - I don't mean this as a complaint. People definitely loved it - you could readily hear people singing along in both Kingston and Hamilton.) I think the only strike (to me) in the whole show was "Letters in Wartime". Maybe just the positioning - it just didn't work as a main set closer tonight. Crowd seemed disconnected during the song (it didn't seem to be reaching anyone), and then it ended and the guys walked off-stage. (The guy sitting next to me said, "What the fuck?" out loud as the guys walked off.) It may just need one more "hit" before it (I didn't notice any issues with it in Kingston). I still think the best main set closer Matt has is "Weapon" - I still love the shit out of the band walking off-stage as Matt finishes the song. Overall, I loved the hell out of these two shows. The guys really sound great, and Matt seems more fired up (and probably healthier) than any show I can remember in a long time.

Kingston: great show, but weird as hell, mostly thanks to the evening's anti-hero. Btw - Gentlemen Husbands: pretty solid melodic rock band. Sorta The Reason-ish. Just before Matt's set, this big guy comes lumbering up front and tries to cram himself into the first couple of rows. He's got Row A, but doesn't realize that there are two rows in front of that tonight. Eventually, everybody points him in the right direction. Guy's full-on smashed. He's holding two drinks, which surprises me - I can't believe they actually served him in his state. The venue (apparently) wanted people to stay seated, but this guy's up and trying to get everyone around him up. Matt finishes the first couple of songs, and the guy starts yelling at him. Nothing insulting - more along the lines of "I just came from the bar - you guys should be playing there!" Matt bantered with him a bit, which was pretty funny. "All right, that's it, we're all moving to the bar." (Big cheer from the crowd.) Set was solid. Started out with "Knives", which worked well as an opener. "Arrows" was super-fast. There's an extended part of "Load Me Up" (the same area where they used to do the "Love Will Tear Us Apart" bit) that works pretty well. We got "Last Parade" tonight, which was great. No "X-Rated" (or "Time Bomb"). "Rabbits" sounds interesting - I like it a lot, but seems like it needs a little something towards the end. (Blake goofed one part of it - it was funny when Matt turned around later in the song and Blake acknowledged it.) I took a bunch of pics, including one of the setlist, but it'll have to wait until this weekend. Printed set: Garden of Knives / Last Parade / Load Me Up / Arrows of Desire / Multineering / So Close / Non Populus / Born Losers / Had It Coming / We're Long Gone / Weapon / Alert Status Red / Letters in Wartime / / While We Were Hunting Rabbits / Apparitions / Guns of Carolina Late in the set, the big drunk guy pulls out a cigarette and asks everyone around him (including me) if we have a lighter. Repeatedly. (One guy left and went to the washroom - when he got back, the big guy acted like he thought he'd left to go get him a lighter.) Towards the end of "Weapon", the big guy apparently decides to head out to the lobby (possibly to find a lighter). He makes it about half-way there and face-plants in the aisle. A few people run over to help him - Matt sees what's going on and halts the song. The big guy apparently tells the people around him that he'd rather the show continue - Matt declines, noting that he doesn't want to play while someone's being tended to in the aisle, especially if it turns out to be something more severe. After the big guy gets helped out - rather than restart "Weapon", he says, "Well, the end of 'Weapon' sounds something like this", and plays the last section (with the band joining in) at like double or triple speed. (It was pretty funny.) Overall, it was a great show, even with the anti-hero. Matt's banter was solid - it seemed like the big guy might have gotten him going early. (Kinda wish the rest of the crowd hadn't tried to be funny - people really need to realize that anything you're going to yell at a musician will always sound way better in your head.)

I'm a little bit concerned about the review process. Hopefully, they won't try and scrutinize entire concerts for the best song or two - I can't imagine wanting to listen through 90 minutes of concert after every show. (Might get old after a few shows.) I'd probably vote to let the crew pick the songs that felt right night-of and see if the recordings match the quality. (Speaking as an occasional performer - what feels like the best performance to the performer doesn't always translate to the best recording. One example: after Pearl Jam's 2000 tour, they sold bootlegs of the entire tour but marked their six favorites - one of them was a show I went to that was a brilliant show, but a middling bootleg.) But I'm psyched for this. I'm really hoping they'll consider selling complete shows from the tour.

Tour starts on Monday.

And the two live tracks are definitely the last two songs from Live at Massey Hall. (You can preview the bonus disc by switching to one of the European iTunes Stores.)

The works are usually registered in the country of origin and then handled internationally by the proper affiliate. In Matt's case, they're registered with SOCAN, but administered in the US by ASCAP. I'm pretty sure that's not a separate registration. Regardless, ASCAP's database credits Genn as well. I'm still leaning toward goof. Yeah, they fought over it. Another story was that they went Lennon/McCartney because L came before M. (I'm not sure when it was finalized, though - I think Please Please Me had the credits as McCartney/Lennon, so it wasn't something that happened right away. I have a feeling that McCartney simply acceded to Lennon's assholishness and explained it using those other anecdotes.) EDIT - Actual Answer Finally found a copy of the Old Fighters liner notes, and I can tell you exactly why Genn isn't mentioned. He is. The songs aren't being credited to the writers by their names - they're being credited to their publishing names. Genn's SOCAN publishing name is Bridgeburner Music, which is credited. (Matt's is Dunharrow Music.) Ian and Rich just publish under their own names, which is why their names are listed.

If it's written in the liner notes without Genn, it's a mistake. I could see a situation where a songwriter might make an agreement (financial, etc) to remove themselves from credit on a song. But Genn is still credited on "Giant" and "Load Me Up" in SOCAN's database, so I can't imagine that such an arrangement exists. How the song was written often has nothing to do with how songs are credited. The Beatles' "Yesterday" was entirely written by Paul McCartney. But it's credited as "Lennon/McCartney" because Lennon and McCartney had agreed at the beginning of their career to share credit for anything they wrote for The Beatles. Their agreement also stipulated that Lennon's name come first (largely for aesthetic reasons - they decided it "looked" better that way). But, in later years, it became a source of contention, particularly in songs that Lennon and McCartney wrote independently of each other. McCartney, at one point, asked for sole credit on "Yesterday", and Yoko refused. When McCartney reversed the credits on a live album ("Paul McCartney and John Lennon"), Yoko again complained, and McCartney apologized. (I don't think it ever got to legal.) But, honestly, as long as Genn is credited for those songs in SOCAN, he should be credited in the liner notes. I can't imagine that Matt would avoid crediting him out of spite - seems petty. I don't own Old Fighters, so I don't know if Matt had final oversight on artwork/etc, but I'd wager it's just a goof.