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Post by thrasher9294 on Aug 20, 2021 20:20:52 GMT -5
Mezzanine, when I first started listening, was always a hard one for me. It was the one track I'd usually skip on the bus ride, the one track I'd "make sure" not to introduce people to the band with. (Funnily enough, one friend liked it more than all the other ones I'd shown him prior)
But, over the years, I've begun to see it much like you do. It's brilliantly discordant, ugly, and energetic. The vocal distortion fitting the thematic elements of the track—it's all pushing that same button of "How ridiculous would this idea be? Let's do it" that can make or break indie rock. I've come to really love the song, in the end. It's probably fairly low in my list still, as much as I have changed my opinions over the years. Probably still my least favorite of the early singles, but that's always changing on a day-to-day basis
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Post by thrasher9294 on Aug 17, 2021 14:14:33 GMT -5
I suppose that all ties into the reason I now have that reputation for being the "self-titled" guy, but even reading this thread has made me really evaluate it in the greater context of Lifter Puller rather than always saying "Hey, this is just a great album, dammit." Several of the songs are at the bottom of my list, and even some of the tracks I teased about your placement before I'm now evaluating even lower—and isn't that friggin' baffling.
But, I do have four of the tracks in my top 20—and two in my top 10, of all things. Still really thinking about where I'd put everything, though...
Although, I do think "Rental" will end up being the bottom of the list. I've probably said it elsewhere on this board sometime in the past decade or so, but for me one of the realizations I had with Lifter Puller back in... '14 or '15 or so, when I really got into full-on fanatic mode, was that so many of my other "favorite" albums were filled with songs that I liked, but usually a few that I could do without, that I could skip. But, when listening to these records, there was always *something* to every single song on the tracklist that would pull me in, every time. Even re-listening to Rental as I wrote this, I find little parts that I get excited to hear again throughout.
Speaking of "accurate" rating: as I was making my list, I found myself in a similar situation. I was constantly fighting between the "qualities" upon which to rank each track: lyrical meaning, musical qualities, personal connections and stories, or even "What song best represents Lifter Puller as a piece, as a movement." I recall a defining moment for introducing Lifter Puller to some college friends half-a-decade back—a quiet ride home in my car, friends in the backseat, listening to "The Flex and the Buff Result." That sort of slap-in-the-face moment at the end got them more interested in knowing just what the fuck this band was doing, what they had to say, moreso than most of my experiences ranting and raving about "The Pirate And The Penpal" or whatever for the tenth time that week.
Anyways, I'm still very much enjoying the thread. Reading your rationale behind each track is great, and I'm super hyped to see what's next!
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Post by thrasher9294 on Aug 16, 2021 14:40:52 GMT -5
Hey man, nice to hear from you too! That's a great story --- I don't think it can be true in exactly this form, since the Farm Accident gallery closed when Craig was 11, plus it comes after paragraphs detailing how you had to be super-connected, or a visiting New York star like Robert Mapplethorpe or David Byrne, to talk your way in. But I wouldn't be surprised if Craig heard about that piece later, or if there were some other significance of the name to add to the double entendre; that seems to be how most of his titles work. Hah, that would make sense! I was kinda wondering how the logistics of it all would've worked out. I should've just checked his age at some point
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Post by thrasher9294 on Aug 12, 2021 18:24:14 GMT -5
Damn, now that I'm trying to organize a bit of a list myself (just dragging and dropping as I go), I do totally see how hard it is for sure—It'd be hard for me to put anything at the bottom other than some of those tracks.
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Post by thrasher9294 on Aug 12, 2021 11:44:10 GMT -5
I do absolutely agree that the later records are more "Lifter Puller"—more unique, more "theirs." If I absolutely had to pick just one record for any new fan to hear, it'd probably be Half-Dead. Well shit, maybe Fiestas on certain days (I will say I've actually had some luck with people liking Fiestas for being sooo wild when they first hear it). Having that downloaded version of Soft Rock when I first listened to them, I wasn't even aware that the first record was something so disparate. Maybe that's why when I saw all the criticism for it I was so surprised: "Whaat? You mean people don't like "Double Straps?" But especially following on listening to Soft Rock's Singles/ Half-Dead/ E&A/ Self-Titled in order, I could see why it's a bit lame, especially if you just had the CDs in your car or something back in the day. I think the biggest reason I always wanted to defend the first record was because there was already so little discussion around Lifter Puller back when I really got into them. It seemed like whenever I saw any mention of Self-Titled, it was so dismissive, typically writing the record off as "generic college indie rock," which was odd to me because as you've said here, it is the roots from which we'd see such a unique band grow. The typical more-generic, less interesting starting record -> more unique, more focused sophomore effort. Oh shit, I just now saw this. Nice to see you here, man! I knew you would find this interesting (and potentially frustrating, haha). Hah, I promise it's not frustrating at all. I totally appreciate seeing and hearing everyone's views on this band, and I find myself agreeing with a lot of it. So many songs where I'm like "really?? That low?" and then go "Oh shit yeah, with only 57~ songs or so it's hard to rank 'em." Really, really great stuff. And as for Butterfly, I can agree that it serves a more conceptual or thematic purpose to the record, rather than as an individual song. It's beautiful, but if it were to come up on shuffle or something in the car, it may not work as well without the big climax of Falling For You to contrast it beforehand. Either way, I love reading this stuff man. I'll be keeping an eye on it for sure! Both such great songs. For whatever reason, they're another example of the "weirder" ones I really latched onto back when I was first listening to them. Makes sense for them to be down here, but still has some of my favorite guitar "sounds" on both tracks. Craig's lines about "Dressed like a pirate with a head full of amyls/And a gun full of ammo, keep to the bathroom" and that friggin' great little bass moment that happens right after: amazing shit.
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Post by thrasher9294 on Aug 11, 2021 19:12:39 GMT -5
LIFTER PULLERFinally, this is a standalone LP abstraction, not a shadow: but as a first-class double-take, it's worth our time to consider the name "Lifter Puller" in its own right. ... I'll be taking in this thread after having not been here in a while, and this may have been mentioned elsewhere, but until I'm able to really take in all the writing here (and we better goddamned archive this somewhere, this is fucking fantastic stuff), I thought I'd note this article as well: Now I don't think that this takes the place of the meaning behind the title that you've explained up above, just a little interesting note on where he might have first heard the name.
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Post by thrasher9294 on Aug 11, 2021 16:52:35 GMT -5
Oh shit, I just now saw this. I've been pretty busy lately and haven't had a chance to visit the forums in a bit. Can't wait to read through your thoughts, man. I'll try to share some of my own in the meantime as you go! I can totally see how this is one of their least interesting tracks, especially to an outsider, but something about their first record has always really stuck with me (I know I've said it a lot on the board before ) Totally agree with how you described that record though, and that's part of why I love it as much as I do. A lot of the tracks on Self-Titled I feel are pretty interesting because it's Craig/the team doing some odd, off-putting, slow, grim-Indie rambling. When I first started listening to them around 2008-2009, I had downloaded a copy of Soft Rock to my iPod but had no real idea what the "true" order of the record was until I finally picked up the CDs a few years later. Didn't even know about Fiestas back then, for whatever reason. But one of the first songs that stuck with me was Lazy Eye of all fucking things (can't wait to see where that is on here). I loved the pre-gap intro to the song (something the streaming versions STILL don't have), the crescendo, everything about it, for being as "cheesy" as could be to my teen self I suppose. Still, I'll totally agree that Half-Dead/E+A/F+F are the strongest records and the ones I'd say are most quintessential LFTR PLLR. Hated that the earlier stuff got the cold-shoulder for being more generic by reviewers—then praise Nassau Coliseum right after for being brilliant. Fuckin' fascinating shit to me back then, can't wait to weird out my next group of friends with it. Stoked to read more Damn, I'm gonna have to put a list together myself at some point. Probably just the titles in order, but still—inspiring. You know, I think my favorite part of this list will be that dichotomy between lyrical and musically-minded approaches. You mention preferring an epic closer, but to me this fits the bill—that chord progression, the squealing tremolos, I love the simplicity of it. I get lost in that drone, I'm hit with all of these thoughts, feelings of nostalgia or bygone times. The imagery of "Stay up if you wanna talk some more" certainly prepares that, then the entire outro is the music-side of Steve/Craig's work speaking to me. Did we talk about Pinkerton when we met in NYC? I feel like we must have, it's one of my other favorite records of all-time as well, coincidentally. I'm curious to know how you feel about the interpretation that "Butterfly" is intentionally discordant with the rest of the album—Rivers was begging for something, a real relationship, tired of having sex, tired of bringing the pity and the pain onto himself. Then, in the aftermath of the climax that is "Falling For You," Rivers rejects his new-found love in realizing that, even if he did want to change, to be a better person, he still remains his . Thematically, it's the track with the most Madame Butterfly influences on its sleeve: the soldier meets the woman, declares love and passion for her, and abandons her, knowing he's going to hurt her but too selfish to care once he knows he'll never see her again. Sure, as an album it may be a slow, calm track for the closer, but thematically it's what I'd call perfect. Another one that I can understand for Rental, I'd agree that it's a fairly slow, piddle-padding track. Probably would be at the bottom even though I still do love their stuff (and that outro!) But Plymouth Rock? Damn. I know it's a fairly short song and can't stand up to other stuff like that, but it's such a perfect little capsule of everything I love about LIFTER PULLER. "She says it's good to get tan," man. That arpeggio that Steve plays, the funky-ass bass line... damn. Still, absolutely loving reading this thread so far Oh, MAN. I believe we likely listened to the same downloaded copy of Soft Rock back in the day, and 11th Ave, much like Lazy Eye, was another one that "stuck" with me when I first went through the record. That guitar bit at the intro is one of my favorite "sounds" they've put ever down, especially with how it meshes with Craig's dazy intro. When I first heard the sax solo, I remember being stunned that they'd put something like this out. At the same time, that was rock to me: sometimes fucking with people. It still served a purpose in the track as to relay the paranoia, confusion, strung-out-ness of it all, so it wasn't thematically or musically out-of-place. But I just knew if any one of my friends heard the track, they'd absolutely hate it. Ah well. I'd mostly agree with what you've said here. There are definitely some hints at things to come that I love in this track—that intro, some of the lines I love, the what almost sounds like a "clap-clap, clap" dance-hall beat in the chorus. Wait, a chorus??? I could be wrong, but I'm pretty sure this is the only Lifter Puller track to follow a verse-chorus-verse-chorus structure. Very odd for them, for sure. Still, love the outro. I'm totally seeing how hard this list would be to make now. It'd probably be difficult for me to put this higher than other tracks, but it's another one that I love for the unique sounds: that little synth bit that comes in towards the end of Craig's lines. Maybe it was a whole new world for me back then, but it's another one that, while being short and rather simple, I really don't know any other band that could've made something that sounded quite like this. They'd either try something harder, spacier, dreamier, whatever... but LP did grimy, and they did it god-damned good. Pretty fitting description, can't argue much with it. I'd probably have it in a similar spot even though I have that personal connection to it. Perhaps, to me, there's something about that record that feels more personal to me than most later Craig stuff. He's lauded for his storytelling, characters, and whatnot. You and I both love Pinkerton, and part of the reason why I love that record is that he (Rivers) seems to be the main character, being brutally honest, open, even when he's being a total piece of shit. It feels personal, even if some stories are made up or exaggerated, in the same way that "In The Garage" felt personal on the Blue Album. By no means is Lazy Eye close to that level of baring or analyzing oneself in the manner Rivers did with Pinkerton, but there was always a part of me that felt Craig speaking as his college-aged self on that record moreso than trying to be a... well, basically the comic-book writer that he is today. Another tough one for me. Another one that love for the lyrics as well as the "sounds" throughout. That cheap-ass guitar note ringing out after each line, that droning heavy-motherfucker riff behind it. Love is just keepin' a tab.. another cheesy-as-hell line that I love like a good B-movie after all these years. Wasn't one that I was super in-to when I first heard it though, interestingly enough. Edit: just saw skepticat's note about it above, and that's where I'd say I think it's a good listen too, in spite of (or even because of) how off-putting as it is. Another one that I love, again, in part because of those indie-rock tendencies and what these guys in particular are doing to the whole idea. So many references to ideas and images that are certainly in that college-age wheelhouse, like you mention, but juuuust abstracted enough for me to find it incredibly charming. Perhaps it's "Lame-college-art-done-right." Finding that perfect balance of abstract, surreal ideas (naming the track 'Slips Backwards', more grimy lyrical imagery with "jammin to my tape deck, lookin for my paycheck, lookin' for some car sex, checkin' every car wreck with baited breath". That fine line between "This is silly kitschy college rock nonsense" and "Damn, this is actually pretty cool" is, to me, probably the main reason I enjoy their stuff so much, and nearly every part of both their music and aesthetic says that, even in the photos they often took for the covers of these early singles/the self-titled record. The thing that makes me doubt whether I'm equipped to appreciate what Slips Backwards has to offer is the uncommonly high opinion of Patrick Costello, who knows a thing or two about kickass music. This bit, from Kate Silve's article "The Mystification of Lifter Puller," in the June 2003 issue of Lost Cause, is totally worth a read ( link): Holy shit, this is fascinating. Can't believe I'd never seen it before! Thanks for the link.
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Post by thrasher9294 on Jun 9, 2021 18:48:55 GMT -5
- I've read countless times online how people discovered Hold Steady through Hoodrat on the soundtrack to one of the Tony Hawk games, and I think that goes far in underlining the schisma between indie/shot-at-the-mainstream. I was one of them, for sure. It's hard to say just how important that franchise was for introducing punk, rock, hip-hop, all sorts of different styles of music to new audiences. Jurassic 5, Cannibal Ox, lesser known projects like Bracket or Blind Iris, or even the new remake from last year introducing me to Viagra Boys. Maybe it was growing up in the midwest, but most of what I was exposed to growing up was either crappy Christian metal from the kids my older brother went to high school with, typical radio hits, or stuff that I'd find in skating/BMX tapes and even video games. I was in 6th grade here in the U.S. when Tony Hawk's Project 8 came out in '06—making me only twelve years old at the time. I still have a distinct memory of hearing Hoodrat in the background while I was playing. It's that moment when everything else fades away and you realize "Hey, this song is pretty damn good." I was drawn to Craig's voice, that organ in the background, the backing vocals, everything about it. Even with that, most of my friends thought it was a bit silly. " This guy's voice? Really?" They'd eventually come to like BaGiA a bit, but I never could really talk about SS or AKM to anyone I knew locally. In a way, I always felt a bit silly for it all, especially when I realized how much of a "kid" I was compared to many of the fans. I was usually embarrassed to admit "hey, I found them through a 'video game'"—but in the midwest growing up, as a young kid, that was something special. I'd love to see that, for sure! Great opportunity for those "hot takes" if you like their first record as much as I did.
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Post by thrasher9294 on Apr 8, 2021 18:27:32 GMT -5
Well here's the interesting thing: Some of those songs from the Bay City Rolling sessions actually leaked as mp3s on Napster before they were even released... It was in 2000 so it was a year before the 7" was released and obviously long before it was released on Soft Rock. But here's the thing: they were different mixes. I don't know the source of those mp3s, had to have been someone close to the band. Possibly someone from Dillinger Four. The individual was also sharing the live Mick's Tape from the Universal Buzz Radio show, long before I knew what that even was or where to find it. My point is that the end of Math Is $$$ was different so that in my opinion, it could flow seamlessly from Math is $$ into Secret Santa Cruz. It ended with a similar guitar sound and/or figure on top of the drum machine as on Secret Santa Cruz, unlike the Soft Rock version which is just the drum machine looped (presumably) endlessly. I really want to say that this orignal mix of Math is $$$ was released on this compilation called Hanging From The Devil's Tree in 2000 but I don't remember exactly. So anyways, long before Soft Rock was released, I had collected those Bay City Rolling songs and sequenced them like this: Math is $$$ Secret Santa Cruz Back In Blackbeard 4Dix La Quereria That always made sense to me as sort of a final EP... I missed this post back in the day! Would love to hear those mixes. www.youtube.com/watch?v=UVvlKrZAFbwI may have linked this on here somewhere before, but I did get my hands on the "Hangin' From the Devil's Tree" comp with Math is $$$ on it. I posted it on my YouTube a ways back, and I don't recall if I shared it here or not--I get so overwhelmed sometimes looking at this board that I forget what I have and haven't shared, but I believe it was that post above that got me to seek out a copy. It does have a pretty unique sound to it, for sure.
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Post by thrasher9294 on Apr 8, 2021 18:13:13 GMT -5
Found at this archive link. As for their music, this track is in my rotation pretty often. I met Roman Kuebler in about 1997. My band at the time, Lifter Puller, played a show with his band, Roads to Space Travel, at Brownies in NYC. He wore his keys on a string around his neck (still does) which suggested that he might misplace them often. His demeanor and attitude were refreshing: he was determined and down for whatever. For the next few years we traded shows in our respective regions, doing all the stuff touring bands do: playing, staying up late, crashing on floors, etc. I got to know him as a guy who wouldn't take no for an answer, someone who would plow ahead no matter what the circumstances. Eventually Roads to Space Travel dissolved and he hooked up with Dave Voyles on drums, Daniel Black on guitar and Tim Johnston on bass to form The Oranges Band. I first put eyes on the new foursome while in Baltimore in Summer 2000 - they were scrappy and agitated but tuneful and above all, fun. Right away, the band put out a five song EP on Morphius Records, and booked a nationwide tour (in the reverse order as I remember). I asked Roman if he thought this might be a little too ambitious, and he shook his head. He did all things all the way. The tour was ramshackle but the guys were out to have fun. The second time they went out, it was just the opposite and the brutal drive home (after Tim was sent home with a broken ankle from a skateboarding accident in Wyoming, and their transmission was lost in El Paso) gave a name to their second EP, "900 Miles of Fucking Hell." By the fall of 2000 my band had broken up and I was living in NYC. At CMJ, I attended a Spoon show at Brownies. To my surprise, Roman was on bass. It seemed like a good idea to him, one of his favorite bands asked him to play, and he jumped aboard for a number of tours before bowing out to concentrate on the Oranges. Roman's can-do attitude struck again in 2002 when he decided to open a rock club in Baltimore called the Talking Head. I said "Dude, that seems like a ton of work". Of course, it was, but he pulled it off in his own way. The first time I was there the club didn't have ice or soda and the liquor bottles had been purchased at a liquor store rather than a distributor, but it was inarguably a rock club. The Oranges Band began playing live a ton, and seemed to be in NYC every other week. Roman called me one day with the good news that the Oranges would be releasing a new record on Lookout Records. Lookout quickly released their third EP, On TV, in time for the Oranges to tour w/ Spoon. Then, in the spring of 2003, the Oranges' let loose their first full length All Around on Lookout. By this time I had a new band, The Hold Steady, and we were honored to play their record release shows in Baltimore and NYC. The Baltimore release show was something to behold: the city itself seemed to turn out that evening to celebrate something bigger than just an indie rock record- it was a celebration of life in Baltimore, with special guests on stage, an amazing rocker belly dance troupe, puppeteers, old friends, and new fans. Soon after, The Oranges left on a seemingly endless tour for All Around, playing dates with Guided by Voices, Ted Leo and of course, my band. Early on in 2004, I went down to Baltimore, and hung out in the new house that the band had moved into. They had begun amassing recording gear in the basement, and Roman announced his intention to record the next Oranges record in the house. Again, I questioned the feasibility of it, but should have known better. Roman's will would once again lead the way past minor complications like lack of outboard equipment and having a washer and dryer in the control room. After crafting more than an album's worth of songs, Roman started the process of putting songs to tape. Adam Cooke, the drummer from Roads to Space Travel helped with a lot of the recording. Roman's neighbor J. Robbins lent a hand, some gear and eventually mixed the whole thing side by side with Roman. They grabbed friends from all over Baltimore and beyond to sing, lend gear, play keyboards, and more. The record was a testament to Roman's ability to get people excited and cooperating towards a larger goal. After a few months of laboring over the details, textures, and songs, the Oranges Band closed the book on The World & Everything In It. In March 2005, we played about ten dates with The Oranges Band on the way to SXSW. On the first day, Roman handed me a copy of The World & Everything In It. I got obsessed. It is beautiful, positive, and melancholy all at once. Dealing with themes of beach, surf, and wide open summer days, it seems to be the musical equivalent of August- warm and careless and exciting, but with a view of heavy stuff ahead: school, work, chilly weather, etc. "Open Air" is a perfectly detailed account of a lazy summer that gets too lazy in the days and too crazy in the nights. "Ride the Wild Wave" is a shimmering surf song that isn't necessarily about surfing, and both "White Ride" and "Ride the Nuclear Wave" are seemingly made for the car radio with the top down. The Oranges hadn't played a lot of these songs live before our shared dates in March, and every night I watched them feel their way around the songs. There were slight mistakes and mild frustration at times, but that same sense of ragged determination showed through. Eventually the songs took off, and the elation of a distant plan morphing into a solid reality overcame their band, my band, and anyone else who was paying attention. The World & Everything In It had become flesh and blood, a realized dream ringing out in the rock clubs of the Midwest. Most of all, this record and this band make me feel optimistic: that everything is going to be all right, and summer will be back again, even if we have to wade through some stuff between then and now. — Craig Finn, April 2005
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Post by thrasher9294 on Mar 10, 2021 18:49:53 GMT -5
Such a cool project, and a great version of the song, man. I first heard it when Steve shared it on his fb a week or so back!
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Post by thrasher9294 on Feb 14, 2021 18:25:50 GMT -5
Lifter Puller's earliest stuff from 1995 (Slips Backwards, Nassau Coliseum, Prescription Sunglasses, Emperor) also reminds me of Seam, another band from the 90's. Seam sometimes are classified as slowcore, but I would say that doesn't apply to a lot of their stuff. I would just say they were indie rock. Compare Seam's songs Berlitz, Rafael, Bunch, and Sweet Pea to those four LP songs mentioned above. Prescription Sunglasses is the LP song that sounds the most like Seam. Just wanted to drop back here and say that "The Problem With Me" has become one of my favorite records in this past year. Started a little slow but every song has grown on me so much. Thanks a ton for sharing them with me.
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Post by thrasher9294 on Aug 28, 2020 11:44:53 GMT -5
I think the Metallica/Lou Reed album Lulu is a misunderstood classic. I grew up listening to both artists but while I still listen to Lou and VU I barely bother with Metallica these days. If you have a knowledge of early ‘90’s British baggy music this cracker takes some beating... youtu.be/LzAUV5MfenUI was never a Metallica fan but I've been a fan of Lou's/VU since high school. I do think Lulu has some good tracks—I'd even say Junior Dad is one of my favorite tracks Lou's done. A lot of the negativity that record gets ignores the weird shit Lou's done like "Like A Possum"
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Post by thrasher9294 on Aug 25, 2020 12:31:32 GMT -5
I'll definitely have to check them out then. I know the first LP record and their earlier singles get a lot of flack sometimes for basically being a more "generic" form of indie rock compared to their later material but as I've gotten older I've come to really love the early stuff. Even back in high school when I first heard them (around the '09 re-release) I found myself really liking a lot of their earlier stuff on Soft Rock, not even knowing it was from their first album or second album or whatever.
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Post by thrasher9294 on Mar 29, 2019 22:13:44 GMT -5
The video from Lifter Puller's playing at St. Cloud State University has been online for a while in corrupted/broken videos here and there, but Steve decided to upload the full performance in one long video! www.youtube.com/watch?v=FqML3K3a7zM
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Post by thrasher9294 on Sept 30, 2018 23:20:00 GMT -5
Jesus. I can't even imagine what kind of horrible feeling it must create in an artist to see threats/actions like those.
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Post by thrasher9294 on Sept 11, 2018 20:24:46 GMT -5
Damn I wish I could go. I bet that's the perfect place to see them after all these friggin years
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Post by thrasher9294 on Sept 10, 2018 22:48:40 GMT -5
Just uploaded today, saw it shared by Steve Dude on FB. Credited to Manny Catties.
Absolutely amazing.
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Post by thrasher9294 on Sept 10, 2018 19:45:30 GMT -5
I've never seen one go for sale online beyond an Amazon posting I came across around 3-4 years ago. I think I still have a search tag for it, but have never see another copy personally. I hope he's able to find one! I kick myself all the time for not buying one of the shirts/hoodies they were selling back in '09 either, but I had just started listening to them at the time. The shirt with LFTR PLLR on it? I actually made one myself. It's not 100% accurate, but close enough. These were the ones they had for sale at the time, in both shirt and hoodie form: I actually did the same thing too! I was trying to recreate the Red Rocks shirts that Steve B.'s offices had made, but the shop I had make it accidentally used glow-in-the-dark letters for the whites. Now at night I have a shirt that says LFT PLL.
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Post by thrasher9294 on Sept 2, 2018 19:15:39 GMT -5
Since we're pretty deep into the collectables here: Do anyone have a copy of the Lifter Puller book they're ready to part ways with? I have it, but I have a friend who's looking for it. I've never seen one go for sale online beyond an Amazon posting I came across around 3-4 years ago. I think I still have a search tag for it, but have never see another copy personally. I hope he's able to find one! I kick myself all the time for not buying one of the shirts/hoodies they were selling back in '09 either, but I had just started listening to them at the time.
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Post by thrasher9294 on May 7, 2018 13:38:05 GMT -5
Does anyone know if the Soundcheck/Happy Hour upgrade includes early entry to the venue (e.g. you get to stay inside, and get first crack at the rail, or will they kick everyone out? At the Thalia Hall show, we got front-row if we stayed afterwards. Not sure how it'd work here, but it worked that night!
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Post by thrasher9294 on Dec 7, 2017 20:22:47 GMT -5
* HIstory Lesson pt. II. A lovely song perfectly executed, and a song who carries a lot of personal meaning to me as well. Absolutely. Totally unexpected, and awesome.
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Post by thrasher9294 on Oct 8, 2017 16:26:17 GMT -5
I'd be interested in one of the Friday tickets, if you'd be up for giving just one away!
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Post by thrasher9294 on Aug 28, 2017 18:23:15 GMT -5
I went down that path a few years ago. It gets expensive. Got 4 Dix this spring, and now the quest is finally over. Gah! That's the last one for me. Where'd you luck out finding it? I've been searching for a while now.
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Post by thrasher9294 on Aug 24, 2017 18:36:02 GMT -5
Slips Backwards is a great fucking track. Hope you like their stuff man, it puts off some but it's great.
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