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Post by spencerm on Aug 19, 2019 16:07:42 GMT -5
The one I have a little trouble with is "You Did Good Kid," which is kind of weird and jagged. It's interesting to me though that everybody seems to have different answers to the question of favorite/least favorite track. And, for that matter, which of the previously released tracks that got left off should've been included (I'm voting for "Snake in the Shower"). That probably says something about the quality of the record, and where the band is at these days. I think I'm with you on this. I think Snake would've been a great closer. (IIRC, Craig mentioned in soundcheck the other day that some of the tracks that didn't make it would see some kind of vinyl release at some point). Seems like widespread appreciation for Entitlement Crew, which I'm 100% down with. T-Shirt Tux, Blackout Sam, and Denver Haircut are probably my other favourites so far.
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Post by muzzleofbees on Aug 20, 2019 2:56:53 GMT -5
I think You Did Good Kid shares some qualities with T-Shirt Tux, and also previous tracks like One For The Cutters or Navy Sheets. Not that they're similar alltogether, but they are all songs where the intro is a little bit off, where it's hard to catch the full body of the song. But I catch myself thinking they're pretty great entering their second chours, when the arrangments are fully built at the song feels whole. If that makes any sense. Epaulets is a little bit in the same way. They are all song I always feel more for when they reach their end than I did when the track started.
And on You Did Good Kid in speficic: I think it really benefits from the horns and the air in the production. I really, really like this new album (and the tracks who were left off), and way more than I would have if the arrangments and production were more like they were on Teeth Dreams or Heaven Is Whenever.
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Post by orzelc on Aug 20, 2019 4:45:21 GMT -5
Weirdly, I've enjoyed "You Did Good Kid" more listening to it on earbuds while walking the dog. I can crank it up a little louder in that context than I can get away with in the house with the wife and kids, and there's some cool stuff in the background. Also, there was a point where the lyrics clicked as a story about a guy turning informant (stressed out and laughing awkwardly because he's wearing a wire to a meeting with drug dealers), which may or may not be the intent, but makes the song make more sense to me.
"Epaulets" is another one I'm a little iffy on, though I like the line about "dictator chic." That one reminds me of "Same Kooks" in that it's a little more revved-up than the others, tempo-wise, but doesn't do that much for me.
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Post by muzzleofbees on Aug 20, 2019 5:11:08 GMT -5
Weirdly, I've enjoyed "You Did Good Kid" more listening to it on earbuds while walking the dog. I can crank it up a little louder in that context than I can get away with in the house with the wife and kids, and there's some cool stuff in the background. I think a lot of these tunes get better in headphones, simply because there are more details here than on the last couple of records. Less heavy guitars, but more subtle guitar work in the background. And you get a better impression of the part played by both the keys and the horns. That was what I loved the most about Entitlement Crew the first few times I heard it, and I think it applies to a lot of the other ones too.
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Post by orzelc on Aug 20, 2019 6:46:35 GMT -5
Weirdly, I've enjoyed "You Did Good Kid" more listening to it on earbuds while walking the dog. I can crank it up a little louder in that context than I can get away with in the house with the wife and kids, and there's some cool stuff in the background.
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Post by fowler1969 on Aug 20, 2019 8:33:44 GMT -5
If all Dad Rock sounds like THS and The Clash then I’m happy to be 50 and it be my genre
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Post by kayfaberaven on Aug 20, 2019 11:13:15 GMT -5
So, the narrator "Got pretty screwed by the chef and the chauffeur." But how/why? Did they get "screwed" inadvertently because the information was wrong? Or did the chef and the chauffeur intentionally screw them? If the latter, what's in it for the chef and the chauffeur? I can't think of anything, so I figure it must be the former.
Any theories?
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cre618
True Scene Leader
Posts: 714
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Post by cre618 on Aug 20, 2019 13:32:38 GMT -5
So, the narrator "Got pretty screwed by the chef and the chauffeur." But how/why? Did they get "screwed" inadvertently because the information was wrong? Or did the chef and the chauffeur intentionally screw them? If the latter, what's in it for the chef and the chauffeur? I can't think of anything, so I figure it must be the former. Any theories? I always thought they were set up. It was a trap. And it didn't end well......
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Post by kayfaberaven on Aug 20, 2019 15:09:18 GMT -5
So, the narrator "Got pretty screwed by the chef and the chauffeur." But how/why? Did they get "screwed" inadvertently because the information was wrong? Or did the chef and the chauffeur intentionally screw them? If the latter, what's in it for the chef and the chauffeur? I can't think of anything, so I figure it must be the former. Any theories? I always thought they were set up. It was a trap. And it didn't end well...... That's what I thought at first, except what do the chef and the chauffeur gain from doing that? I suspect I'm thinking about this too hard.
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Post by orzelc on Aug 20, 2019 16:36:17 GMT -5
Right before the bridge he says "It sounded like they're pretty much over it," so the narrator had previously done something to piss off the chef and the chauffeur, thus the set-up.
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Post by doctoracula on Aug 20, 2019 19:33:09 GMT -5
I wish the LP came with a download card
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Post by dmwhalen on Aug 20, 2019 19:50:07 GMT -5
I wish the LP came with a download card 8 bucks on Amazon.
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Post by doctoracula on Aug 20, 2019 20:31:22 GMT -5
i'll just stream it but it's annoying. i prefer to have high quality files for my computer/ipod, but i'm not going to buy it twice.
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Post by kayfaberaven on Aug 20, 2019 20:55:14 GMT -5
Right before the bridge he says "It sounded like they're pretty much over it," so the narrator had previously done something to piss off the chef and the chauffeur, thus the set-up. Yeah, I noticed that but didn't know what to make of it. But yeah, revenge makes as much sense as anything.
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Post by muzzleofbees on Aug 21, 2019 4:23:17 GMT -5
Right before the bridge he says "It sounded like they're pretty much over it," so the narrator had previously done something to piss off the chef and the chauffeur, thus the set-up. Yeah, I noticed that but didn't know what to make of it. But yeah, revenge makes as much sense as anything. It fits pretty good as a lost piece between when Charlemagne cut a deal with The Skins, fucks it up ("...he put the drugs down the draig/ he's gonna have to come up with seven grand some other way") and the beatdown at The Metal Bar ("...went down to the taverns/ tried to make an impression (...) I think they made themselves perfectly clear", "down in the basement, bashing out his brains", "where were you when the blood spilled/ they almost killed me"). I can't say it's the same event, though, but it sounds like it's in the same part of the world. And to add to the confusion: It's not quite clear if the girl in the story is in on the setup. Did she get screwed by the chef and the chaffeur too, or was she perfectly informed about what was going to happen when they entered the kitchen?
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Post by fairyglass on Aug 21, 2019 10:42:44 GMT -5
Hard to think of this as an album, it sounds more like a collection of singles (and was basically released as such). But if we do....It's definitely their worst album overall. There's not really any coherence or narrative, and there's a lot of filler. Although Craigs lyrics are as good as ever, I feel the tiniest bit of "subtraction by addition" with the new lineup musically. Hard for me to see how it competes with HiW or Teeth Dreams let alone Sep Sunday etc. (P.S. Am I the only one who feels like the mix is fucked up on this album? Teeth Dreams was too....) THAT BEING SAID It's so great to have this album at this point in our lives as fans of this band. It's like a wonderful bonus. AND there are some definite bangers. T-Shirt Tux remains an all timer to me (and should definitely have been the closer). Epaulets is awesome. Blackout Sam is something new and interesting. You Did Good Kid is catchy as hell. Craig remains a genius lyricist, evidenced in traditional village more than anywhere. Filler songs, imho, include Confusion in the Marketplace and Star 18 In a few years, my guess is that we look back on this album fondly, as an outlier that doesn't really fit in their discography, but represented a fun time to be a fan and gave us a few classic songs. I really do hope they keep putting out music and playing shows forever. My son is 8 months old. I'd love to take him to a show as a teenager. That pretty much sums up my feelings. I came to THS via Sep Sun and I just don't get the same excitement about this new album. It may well be me- my musical tastes have changed over time, but I suspect that the band's have too- there are some tracks here that feel like middle age setting in... However there are also some great tunes, that I hope to hear at shows in the future.
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Post by lukeindetroit on Aug 21, 2019 12:07:46 GMT -5
Came back after listening through a bunch more to say...Epaulets and Traditional Village are better than I originally gave them credit for.
But more so to say...The mix is fucking awful on this album. Everything sounds fuzzy and far away. Super frustrating. Stay away from Josh Kaufmann (or whoever did the mix) if you're a rock band imho.
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Post by kayfaberaven on Aug 21, 2019 12:57:15 GMT -5
Yeah, I noticed that but didn't know what to make of it. But yeah, revenge makes as much sense as anything. It fits pretty good as a lost piece between when Charlemagne cut a deal with The Skins, fucks it up ("...he put the drugs down the draig/ he's gonna have to come up with seven grand some other way") and the beatdown at The Metal Bar ("...went down to the taverns/ tried to make an impression (...) I think they made themselves perfectly clear", "down in the basement, bashing out his brains", "where were you when the blood spilled/ they almost killed me"). I can't say it's the same event, though, but it sounds like it's in the same part of the world. And to add to the confusion: It's not quite clear if the girl in the story is in on the setup. Did she get screwed by the chef and the chaffeur too, or was she perfectly informed about what was going to happen when they entered the kitchen? I've twisted myself around even further. Assuming that it's the girl speaking through the first part of the song (all the way up to "Take a flight to Durango..."), then when she says "I hope I still know you when this is all over" could mean that she's in on the set-up. However, if it's also her saying "Yeah, I've known those guys for a bit/And it sounded like they're pretty much over it", I'm not sure that points to a double-cross. I read it more as the chef and the chauffeur are pretty much over the whole enterprise, which is why they're giving her the info and willing to split the take three ways. But then I'm back to not understanding why they provided her with the info just to double-cross them.
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TKalltheTime
Sniffling Indie Kid
Blotto / Blacked Out / Cracked Out / Caved In
Posts: 194
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Post by TKalltheTime on Aug 21, 2019 19:01:06 GMT -5
Right before the bridge he says "It sounded like they're pretty much over it," so the narrator had previously done something to piss off the chef and the chauffeur, thus the set-up. Or she is making up a lie / bullshit excuse as to why they are getting in on this sketchy heist to screw over the townie they are all setting up.
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Post by timmytva on Aug 22, 2019 9:12:52 GMT -5
My first impression on release day was "meh". Then again, my first listen was on a flight to get my mom from a hospital in Columbia, SC and drive her home to Florida. She was there due to a 5x DUI asshole that hit them head on, killing my dad. Yeah, I wasn't in a good headspace. I've listened a bunch more times while helping my mom get back on her feet (figuratively and literally) in Florida. Needless to say, my take has improved a lot. I'm not ready to determine its place in my personal THS album hierarchy yet.
My notes:
Guess I'm in the minority that likes You Did Good Kid the most of the "new" songs. It's got the shout along refrain, and a cool, quirky verse that (to my ears anyways) has Franz's imprint all over it. There are also some cool THS references - "the holy perception and the most precious blood", "dripping wet the the emotional weakness", "the diplomat's shake" (The Diplomat is my favorite Teeth Dreams song), "he came into the club" (she came into the confession), "oaks and acorns, acorns and oaks" (a reference to both Oaks and "pills and powders baby powders and pills), probably more that I'm missing right now.
I understand why they wanted the five "new tracks" grouped together, but of the 10 on the album, Blackout Sam has the most traditional THS album ending sound. It's also, IMHO, the most Springsteen-sounding song they've done.
Traditional Village sounds like (go ahead, flame me LOL) Meatloaf until it switches half way through. I like the concept of the song - how each little clan, whether ancient people, the Catholic church, or our drug-addled misfits - repeat the same things over and over again.
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Post by maaskesr on Sept 3, 2019 12:43:29 GMT -5
Epaulets is great, as is Blackout Sam, IMO. Weakest of the new ones is You Did Good, Kid. It does flow perfectly from Epaulets, though.
For me, above two, plus Entitlement Crew and T-Shirt Tux are the cream of the crop. YDG,K is probably my least favorite on the album, and Star 69 starts not so great, but once it gets going it makes up for it.
Stove and the Toaster has such a great narrative it almost takes over the music. When I think of it I just think of the story instead of thinking of the song.
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Post by muzzleofbees on Sept 3, 2019 14:20:44 GMT -5
I've been listening to the A-side of the album a couple of times every day for the past week, and (perhaps not surprisingly) I'm really enjoying it.
Epaulets and Traditional Village are still my favourites. Epaulets have this great mix of the hectic urgency from songs like Same Kooks or Cattle And The Creeping Things paired with a nice and swining saloon vibe, some delicate details in both composition and production and a really great chours. Traditional Village still sounds a lot like one of the breezier songs from the mid 00s. A little bit of Chicago Seemed Tired, a little bit of 40 Bucks and a little bit of Girls Like Status. Quite light, still rocking - and again this urgency without being heavy or insisting.
Denver Haircut and You Did Good Kid have also turned into a pair of songs with some similarities to me. They sounds a lot like an attempt to recreate some of the more classic rock tunes from that same era, like The Weekenders, You Can Make Him Like You, maybe a little bit of Stay Positive or Constructive Summer. But where Teeth Dreams felt like a little bit failed attempt to be A Big Rock Band (again), I sort of feel DH/YDGK takes the best from tha era, and does it in a way that suits the band anno 2019. I like the sound of the guitars, but I like how they make way for other instruments (and even some air!) even better. And though they're not instant classics, I find them melodically strong. Well crafted, so to say, but still engaging and groovy. The horns in You Did Good Kid, and how the chours open up in such a nice way, helps a lot.
Blackout Sam will never be my favourite, I still think the first part of the song is a little bitt to "jazzy" and smooth, and melodically a little... flat. The second part of the song is really good, and I totally get what they're doing and sort of enjoy it too. It's just a little bit off what I want or need from Hold Steady.
The B-side is obviously really good. Entitlement Crew and Star 18 were allready my two favourites among the new ones, and Stove And The Toaster wasn't far behind. I think T-Shirt Tux and Confusion In The Marketplace sounds a lot better in the context of the album than they did as singles. I guess this always will happen when you approach new material from a band you love as much as I love Hold Steady. Songs will grow, they will build momentum and they become meaningful. I'm not gonna excuse that - it's more of a big positive from spending time building a relationship with a band, and I'm just glad even songs who feels really mediocre at first listen, turns into something valuable and highly enjoyable.
From a pure point of how much I like listening to this album, I think it's a contender for the 4th best thing they've done. Trying to be "objective" (which is totally meaningless, but still) I still think Stay Positive might be a Better Album, and I find it a bit easy to forget how much I like large parts of Heaven Is Whenever. But at this point in their career, and at this point in my life as a die hard fan, this is in many ways the album I've enjoyed the most since I discovered them in December 2006. I'm just so happy that they're not just around, but release an album like this.
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Post by kayfaberaven on Sept 4, 2019 14:08:14 GMT -5
Every time I listen to Epaulets, I have a problem mentally "catching up" for the first 30 seconds or so. It just sounds like a jumble of noise until it (or I) settles in, following which I really like it. But I can barely listen to the first little bit.
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Post by bmegroove on Sept 5, 2019 10:15:54 GMT -5
Every time I listen to Epaulets, I have a problem mentally "catching up" for the first 30 seconds or so. It just sounds like a jumble of noise until it (or I) settles in, following which I really like it. But I can barely listen to the first little bit. I hear exactly what you're talking about, hard to describe why but I'm glad it's not just me!
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Post by muzzleofbees on Sept 6, 2019 2:12:26 GMT -5
Every time I listen to Epaulets, I have a problem mentally "catching up" for the first 30 seconds or so. It just sounds like a jumble of noise until it (or I) settles in, following which I really like it. But I can barely listen to the first little bit. I totally get that. It's both the rambling rythm, and the way Craig sings off-beat. To me, it helped a lot to play it on repeat a few times - to sort of bring the groove of the latter part of the song with me to the start of it. And now I appreciate the hectic opening too. I think Hold Steady generally does this a lot: Start off a song with some elements who makes sense when you pass the 2 minute mark, but who are a little bit confusing the first time around. I know the songs are different, but One For The Cutters, Navy Sheets, Same Kooks and plenty of others, are songs I tend to like a lot more when they are finished than what I did after 30-45 seconds.
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