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Albums You've Listened To Today, V.8


Entre_Perpetuo
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3 minutes ago, custom55 said:

I remember seeing David on this tour in NYC.   People booed him because they were expecting Ziggy on stage. 

 

Silly casual fans.

 

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I will never understand why a casual fan would buy a ticket to see someone live? Why spend the money to watch somebody play a bunch of songs you've never heard before? Seems like such a waste of both time and money.

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Just now, J2112YYZ said:

 

I will never understand why a casual fan would buy a ticket to see someone live? Why spend the money to watch somebody play a bunch of songs you've never heard before? Seems like such a waste of both time and money.

 

i saw Roger waters Wall tour.  some people stood for another brick and Numb sat on their phones the rest of the evening.

 

TELL ME THE POINT??????

 

i hate it.

 

they missed a great night BTW

 

Mick

 

 

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Dashboard Confessional- Dusk And Summer 

 

Love it 😂

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2 hours ago, Segue Myles said:

Night Ranger- Dawn Patrol 

 

One of my top ten debut albums ever!

I bought this album because Gillis was the main guy that initially replaced Randy Rhoads in Ozzy. It came out towards the end of 1982 just before he left Ozzy. George Lynch had played most of the soundchecks for a couple of months but at the last minute Jake E Lee was brought in to be Brad's replacement and Lynch was sent home. Ozzy said his hair was too short, Lynch was driving a truck for cash at the time. Lynch said he cried all the way home with his girlfriend. 

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18 minutes ago, treeduck said:

I bought this album because Gillis was the main guy that initially replaced Randy Rhoads in Ozzy. It came out towards the end of 1982 just before he left Ozzy. George Lynch had played most of the soundchecks for a couple of months but at the last minute Jake E Lee was brought in to be Brad's replacement and Lynch was sent home. Ozzy said his hair was too short, Lynch was driving a truck for cash at the time. Lynch said he cried all the way home with his girlfriend. 

What a shallow reason!!!

 

I love Dokken though so I suspect this was ultimately a win

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6 minutes ago, Segue Myles said:

What a shallow reason!!!

 

I love Dokken though so I suspect this was ultimately a win

Yeah Lynch had another destiny. And Lee was treated shabbily by Sharon and was fired in the end for annoying her early on in their relationships. 

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2 hours ago, J2112YYZ said:

 

I will never understand why a casual fan would buy a ticket to see someone live? Why spend the money to watch somebody play a bunch of songs you've never heard before? Seems like such a waste of both time and money.

Depends on the artist.  I would call myself a "casual" Springsteen fan now, and even more so back in 2003, the year I saw him play at Gillette Stadium.  It was a lot of fun, and I appreciate his music more now.  Same with U2.  I saw them on the Elevation tour in 2001 and loved it.  Speaking for myself, I love live music.  I wouldn't see a band I DO NOT like, but I see nothing wrong with a casual fan going to a show and enjoying the experience.  That's the whole point of opening acts, they're trying to build a fan base.   Who knows?  You might buy a ticket for Sabbath and see a young Van Halen.

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Posted (edited)

Tom Petty - Hard Promises (fantastic, incredible, very tasty, perfect songs, The Waiting being my very favorite of his career)

 

Tom Petty - D*mn The Torpedoes (well I couldn't just play one without the other, they're like sister and brother to me)

 

R.E.M. - Out Of Time (I've never noticed it before, but there's a lot of shared DNA between the Petty and REM, mainly in the guitars)

 

Focus - Focus III (prog prog prog prog prog prog prog prog prog prog prog prog prog prog prog prog....)

 

Jethro Tull - Stormwatch (you know what? this is better than Heavy Horses, easy. Probably better than SFTW too)

Edited by Entre_Perpetuo
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On 4/27/2022 at 11:09 PM, Entre_Perpetuo said:

I may not agree but I do see your points, and that deserves a laugh, lol. 

 

 

I'll try to explain The Lamb, just for the heck of it.

 

The Lamb is both totally about its concept and not at all about the concept. In many ways it's more about the idea of a Genesis concept album, what that would be like, how many words Gabriel can cram into a song that theoretically tell a coherent story.  In truth I can follow the story although it's got the plot of a very long very vivd nightmare, which is to say fantastical stuff just kinda happens and you have to try and work the meaning of it out for yourself. To me, it's a story about the grief and fear of losing your innocence... and also puberty

 

.     A young street rat has just finished spray painting a building when he is startled to see a lamb (cliche but effective symbol for innocent child) lying down in the middle of the street (Broadway of course, because with Gabriel every setting has to be dramatic). Then a cloud of hazy nothingness overtakes both him and the lamb and he's teleported into the first of many increasingly alarming or disturbing scenes out of a nightmare. At first he's a fly, hovering helplessly over a freeway about to be struck by a windshield, then (after Gabriel does just play a bit of word salad like an opening credits montage) he awakes to find he's a  caterpillar in a cocoon, not yet finished changing into whatever the change was meant to be, but this kind of idllic sleepy scenario rapidly transforms into one of the most harrowing passages on the album.  Suddenly Real (Gabriel's character) finds that the cocoon is in fact a cage, and outside of his cage is an endlessly dark and terrifying cavern, stalactites and stalagmites and all. From there his anxiety to get out of the cage frightens him more than any images he may see (or imagine), though at some point he notices his brother (John) is outside the cage. This is only important later. Once Rael's cage nightmare eventually fades away (like a bad acid trip I imagine), he finds himself either a spectator to, or a member of, a strange and hypnotic assembly line for packaging, which may mean something about capitalism and feeling trapped, but also may just be Gabriel playing games with imagery for the heck of it.

 

     Anyway side two (yes, we're only to side 2) opens and it seems after that weird misadventure in the packaging factory, Rael has been returned to New York City! However, instead of being a simple graffiti artist with a skateboard, he's found himself the member of a gang, and a rather cruel one at that. He details his armor of anger and attitude with pride, even as it leads him into committing sexual crimes.  This idea must seem repulsive to some small part of him, as he decides afterwards to do some reading about sex and how to be a good partner, preparing himself for a consensual encounter with a woman.  Gabriel plays this one off as comedy when Rael is apparently unable to please his partner, despite trying to use what he learned from his reading, and returns the book to the library. But now things take a nightmarish turn once again, as next Rael finds himself feeling very small. Indeed he looks up to see the tops of the hairs of the carpet he had stood upon towering over his head, and he relates the scene of masses of bugs trying to make their way to the top, to find some freedom.  I believe he follows them up, but at the top he doesn't find freedom. He finds himself in a room with many many doors (32 to be precise), and many many people trying to tell him which way to go, or asking him for help. He is unsure of who to trust and the anxiety of trying to decide who may be trying to deceive him or use him and who may be trying to help him ends out the side.

 

     Halfway through, Rael makes a quick decision of who to trust when a blind lady (Lillywhite Lillith) asks his help and manages to convince him which way to go.  Of course Lilith turns out to be a deceiver, and the door she leads him through leads only to a waiting room, where nothing of consequence happens in the story (pretty killer instrumental track though).  This room eventually changes into a subway tunnel, and Rael is lying helpless on the tracks.  He has a bit of a philosophical epiphany about life and death (despite having already "died" in this mad nightmare at least once on that windsheild) thinking he's about to be run over by the subway train.  As he waits for death, he's approached by some kind of fairy telling him to be patient, that the "supernatural anesthetist" (i.e. the grim reaper or angel of death or whatever image works for you) will be with him shortly.  The "supernatural anesthatist" does finally arrive, and frankly I'm not really sure what happens here except that Rael is lead to a pool of water (I tend to imagine it as being in a large, dark, cavernous room, void of any other details).  In the pool are three attractive siren-like creatures who introduce themselves as the Lamia. They invite Rael into the pool with them, tempting him with sex. But instead of making love (or possibly while doing so), the Lamia grow sharp teeth and begin to tear into his skin.  As they start to eat his body, it turns out to be poisonous to them, and they wither and die in the pool, but not before claiming to the (somehow) still living protagonist "we all have loved you, Rael." Whatever that means.

 

     Okay, last side. Rael, still alive and well after he should've died at least three times, leaves the pool and eventually finds himself in a strange camp, "the colony of slipper men." I'm not going to describe what they look like as you can easily find pictures of Gabriel's "slipper man" costume online.  That's what they look like.  At any rate, Rael, now having reached a pretty low point in his relationship with and understanding of sex, wants nothing to do with these grotesque, sex addicted creatures (who claim he could be just like them).  He does to the nearest doctor to, erm, have his genitals removed.  That's one solution I guess.  His brother, John, reappears at the doctor, but doesn't really say or do much as this is happening. Then, out of the sky, a raven swoops down and steals what the doctor has removed from Rael's body. John at least has the courtesy here to warn Rael of the raven's danger.  However, Rael has no intent of letting the Raven make off with a piece of him, so he begins chasing after it, wether or not John's willing to help him. He chases the raven all the way to a ravine, but is shocked to see John struggling to stay afloat in the rapids below. He makes a quick decision to dive down into the river to try to save John rather than continue pursuing the raven.  However it's very arduous attempting to catch up to John in the strong current and with all the mud and rocks. At one point Rael sees a passage open before him, a passage with Broadway on the other side.  He has the chance to return home and put this freakish nightmare sequence behind him, but he would have to leave right now and leave his brother to drown. "Hey John!" he says here! This is one of my favorite moments on the album. Rael realizes saving John is more important than getting home, and continues racing after his brother. But when he catches hold of him and turns John's head to face him, he has a Luke Skywalker on Dagohbah moment where, instead of seeing John's face, he sees his own!  From here we fade to white and start scrolling credits, or another interpretation is the whole dream world collapses around Rael upon this revelation and he's left in some kind of undefined space to try to make sense of it. It being the key word. If there's one place on this album that you could easily accuse Gabriel of just throwing words at the page to see what sticks, it's the closing track "It." I do like the tune, and instrumentally it's triumphant and feels like a happy ending. But lyrically Gabriel offers no clear ending to the already very difficult to decipher story, and furthermore it seems he either doesn't want to or is incapable of doing so. He won't even say what "it" is, apart from "knock and know-all."  I suppose many great concept albums are open ended, though they're usually a bit less on the nose about it than this, lol.  My best interpretation of the end is that Gabriel was really trying to relate his own deepest desires and fears and inner worlds throughout the rest of the album, and as he was in a very turbulent moment in his life--being offered a part in a movie that didn't get made, becoming a father, high tensions within the band about not being present at most of the writing sessions leading him to write most of the lyrics after the music had already been written by the other four guys, also feeling very trapped and pigeon holed as an artist in his role in Genesis--Gabriel didn't have the moral of the story worked out yet.  He would need to get through this massive fulcrum point in his life before he could make any sense out of all of the fears and needs and meanings wrapped up in this story.  So instead of offering any real moral or way out, he just comments on the idea of a moral or a way out and what that might sound like if he knew what it was.  After touring this album with Genesis, Gabriel would leave the band, take a break from music for a couple years, and come back to music in 1977 with his first solo album and his first solo hit, Solsbury Hill. In that song he finally finds the answer he had been looking for at the end of The Lamb, which is that he needed to step away from the machine that had trapped him and learn to stand on his own feet. He's even visited by another bird, but it's a productive meeting rather than a destructive one. 

 

Anyway, that is my understanding of The Lamb from a conceptual perspective. It's a fantastic world to get lost in, both lyrically and musically, but ultimately the concept is just a vessel for Gabriel to express his need to leave the band, even to leave music for a while. It's a very weird and oddly shaped vessel though.

 

this is a really high effort post and brings up a couple things i didn't know about the album. it's a real shame there's not any high quality proshot footage of genesis during the lamb tours (at least not that's been released) i'd love to see that. i have seen footage of Peter as the slipperman and his stage antics while in that costume are as disturbing as the costume itself, i think that's the one time Peter was too weird for his own good.. 

 

also, the entire album was animated into a cartoon by a fan on youtube, I tried watching it and it was a big low budget for my taste, so I stopped at "back in NYC" -- but still something cool to check out

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16 hours ago, Rick N. Backer said:

Depends on the artist.  I would call myself a "casual" Springsteen fan now, and even more so back in 2003, the year I saw him play at Gillette Stadium.  It was a lot of fun, and I appreciate his music more now.  Same with U2.  I saw them on the Elevation tour in 2001 and loved it.  Speaking for myself, I love live music.  I wouldn't see a band I DO NOT like, but I see nothing wrong with a casual fan going to a show and enjoying the experience.  That's the whole point of opening acts, they're trying to build a fan base.   Who knows?  You might buy a ticket for Sabbath and see a young Van Halen.

I go to some concerts because my buddies are going.  It's a social thing because we go out to eat and drink before the show, and we make an evening out of it.  Yeah, it's expensive but well worth it.

 

Last week I attended Hot Tuna show in NYC.  I've owned two HT albums since the early 70's so I wouldn't even consider myself as a casual fan. Great night though!  Very surprised how good the band still is.

 

As for Phish.   I went to a show with a buddy in 2014 and was amazed how great the band played, and the connection between the band and the fans.  They are a fantastic band, if you like jam bands.   I've been locked into Phish  ( heavy ) since that show.   I haven't missed a local show since 2014.

 

Hey, you never know unless you explore.

Edited by custom55
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Since Tuesday:

Movements - Outgrown Things EP

Movements - Feel Something 

Movements - No Good Left To Give

Knocked Loose - Pop Culture EP

Knocked Loose - Laugh Tracks

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13 hours ago, Mr. Not said:

 

this is a really high effort post and brings up a couple things i didn't know about the album. it's a real shame there's not any high quality proshot footage of genesis during the lamb tours (at least not that's been released) i'd love to see that. i have seen footage of Peter as the slipperman and his stage antics while in that costume are as disturbing as the costume itself, i think that's the one time Peter was too weird for his own good.. 

 

also, the entire album was animated into a cartoon by a fan on youtube, I tried watching it and it was a big low budget for my taste, so I stopped at "back in NYC" -- but still something cool to check out

 

 

Thank you!

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The Police - Zenyatta Mondatta

The Who - Who Are You

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