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Skatealex1
* Dog in the Sand *
1701 Posts |
 Posted - 02/15/2025 : 11:49:22
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Honestly- if Tom D was a producer was involved with Pixies back then- I could imagine Pixies being more of a radio band than the indie rock sorta path they went on back then.
But I'd say a big caveat- while I obviously don't know Charles (or any Pixies members) personally- I can imagine early days Pixies considering their music style and attitude not wanting to work with 'classic/radio rock' style producers. So I'd imagine Tom probably wouldn't have gotten in the mix back then.
Also I don't know how involved Tom was with the BTE demos- but I feel like those have some of the best sounds from Pixies 2.0 output. More raw, fun energy, nothing really sounding over produced, etc.
I'll also say despite all these criticisms I'm still glad to follow Franks work and see what he releases overtime(there's still plenty I enjoy there). |
Edited by - Skatealex1 on 02/15/2025 11:50:54 |
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Mad Lucas
- FB Fan -
Australia
177 Posts |
Posted - 02/15/2025 : 12:00:19
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quote:
Originally posted by Skatealex1
quote:
Originally posted by Troubles A Foot
But that's the problem with it. It's like neither fish nor fowl. Frank is having the Pixies be his backup band for what is most often country-ish, Catholics and solo material, then on top of that you have a producer seemingly trying to give them a hit or make them sound as mainstream and slick as possible, but that doesn't quite work either.
This is why many of the songs on these albums sound purposeless and awkward to me.
I agree with this. What I find kind of annoying as a fan with a producer like Tom working with Frank- I feel like he encourages mediocrity rather than pushing for something more interesting. Or if not mediocrity it's like putting Pixies with a classic rock producer rather than producers into stuff like indie rock, etc.
I also obviously don't know what the output would be like with other producers or band situations (IE- working with the TOTY band or Catholics) but definitely when seeing them live nowdays, it feels like Pixies are clocking it in for the most part.
At the TOTY show FB seemed way more engaged than I've seen him at any Pixies shows over the past who knows how many years.
I went to two side shows last year when they were touring with Pearl Jam in Australia. FBF was more engaged than I had seen him probably since the SvnFngrs period. Both in terms of being very lucid and ad libbing vocal parts and laughing with the band and audience. I think he's in a good place generally, viewing entirely from the outside. |
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Mad Lucas
- FB Fan -
Australia
177 Posts |
Posted - 02/15/2025 : 12:05:46
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On the production topic, Gil Norton is more slick than we probably remember. Doolittle onwards isn't exactly recorded in an indie manner, Bossa and Trompe are huge at moments.
Yes, it's pre loudness war, but also worth remembering this is the guy who did Catherine Wheel and Foo Fighters shortly after
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Skatealex1
* Dog in the Sand *
1701 Posts |
Posted - 02/15/2025 : 12:43:58
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quote:
Originally posted by Mad Lucas
On the production topic, Gil Norton is more slick than we probably remember. Doolittle onwards isn't exactly recorded in an indie manner, Bossa and Trompe are huge at moments.
Yes, it's pre loudness war, but also worth remembering this is the guy who did Catherine Wheel and Foo Fighters shortly after
I hear that about FB. I can't say I know exactly what causes what hear but Frank seems to have basically suggested in some interviews that he kinda let's the producer make a lot of choices and I get that sense with Tom's work with them.
Also honestly- I think a Foo Fighters style Pixies album even sounds more interesting to me than what seems to be Tom's influence on the band lately. Also I think Catherine Wheel is kind of shoegazey, I'd love to see that with Pixies nowdays.
I do agree also the later Pixies album had some more slick production but it still produced classic stuff and seemed to gel with the weirdness.
As for Tom's influence too- there's been some past hints that he has helped choose songs for track lists which could mean stuff like all the BTE demos not making it to the main album- where as if I was in his shoes I could imagine some of those tracks doing well to take the place of something like Ready for Love for example.
Also stuff that's been brought up before- bizzare production choices- like how Baals Back came out. I could imagine if that was in the Doolittle age the song could've been a classic along the lines of Tame or something.
I'm sure a lot of this can be pretty subjective too but just giving my perspective at the moment. |
Edited by - Skatealex1 on 02/15/2025 12:44:29 |
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Mad Lucas
- FB Fan -
Australia
177 Posts |
Posted - 02/15/2025 : 13:06:21
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Yeah that's all fair enough, just added a few thoughts.
I would say that he is a conservative force on the band. He's much more tethered to industry standards in terms of technique and probably song choice.
That probably means that oddball tunes are left aside for ones which more widespread appeal. I will note that in an interview it was revealed that TD inspired FBF to develop the riff that became Vegas Suite, which is a tune I love.
It'd be nice to try working with someone else next, we've had our TD period. Though he seems he plays the role of muse as well as producer, so they'll probably stick with him if they make more albums
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Troubles A Foot
* Dog in the Sand *
USA
1025 Posts |
Posted - 02/15/2025 : 16:24:51
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quote:
Originally posted by Skatealex1
Also I don't know how involved Tom was with the BTE demos- but I feel like those have some of the best sounds from Pixies 2.0 output. More raw, fun energy, nothing really sounding over produced, etc.
Yes these demos are full of mystery to me. I would imagine since Tom and the band recorded them probably not assuming anyone would ever hear them, Tom didn't do the "MAKE THIS A RADIO FRIENDLY HIT!" smashing it with a hammer that I think he's done on the other songs. It was just about getting the songs down bare bones. Yet ironically, this allows you to actually hear what a great band they are (EVERYONE is on fire), and the no pressure recording ("no one but us will hear this") translates to the band sounding like they are actually having fun and are full of creativity and energy.
In my mind, it is an album. A little short, but an album. If Catholics first album, which was originally demos, is an album, then this thing is an album. |
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billgoodman
>> Denizen of the Citizens Band <<
Netherlands
6255 Posts |
Posted - 02/17/2025 : 07:09:25
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Yeah, I don't hear the wish to sound radio friendly at all
Some of the vocals on IC sound too slick in my ears
Tom Dalgety did some things like Thunder and Lightning that has some slick guitars
But overall there are still some odds and ends that are totally not pop
even on the same songs
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BF: Mag ik Engels spreken? |
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Troubles A Foot
* Dog in the Sand *
USA
1025 Posts |
Posted - 02/17/2025 : 08:04:16
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quote:
Originally posted by billgoodman
Yeah, I don't hear the wish to sound radio friendly at all
Tom makes a lot of song structure and arrangement suggestions that are in the arena of mainstream pop and classic rock as opposed to Frank and the Pixies curveball songwriting they are beloved for. "Now there should be a bridge here." "Maybe the key should go up one at the end of the song." "This song about a haunted house needs a spooky synth part." "Now the big loud guitars come in right at the big loud chorus!" etc etc etc.
Tom is also choosing song selection that I think is meant to be full of singles. He's disregarding a lot of great/weirder songs because he has this very "classic" idea of what a rock album should flow like. Which Pixies often did not adhere to in the past. We have lost a lot of the zigging and zagging.
The production is also very, very slick and polished. It technically sounds good, which can be nice, but it doesn't have a personality to it. When I think of the older Pixies albums, and even Indie Cindy, they have a distinct sound to me that separates them. I think Zombies achieves this, actually, as it doesn't sound like anything else. But Eyrie and Doggerel don't have much personality to me in the mixing and arrangement choices. |
Edited by - Troubles A Foot on 02/17/2025 08:34:56 |
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Bedbug
> Teenager of the Year <
3223 Posts |
Posted - 02/17/2025 : 09:53:18
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The day that the solo FB album came out, I loved it, and thought to myself "trying to sound more radio friendly"
Now I don't think that or don't care / notice
That's probably going to be the case with the 2.0 albums too, if it isn't already |
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Brank_Flack
* Dog in the Sand *
Canada
1055 Posts |
Posted - 02/17/2025 : 10:04:17
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quote:
Originally posted by Troubles A Foot
quote:
Originally posted by billgoodman
Yeah, I don't hear the wish to sound radio friendly at all
Tom makes a lot of song structure and arrangement suggestions that are in the arena of mainstream pop and classic rock as opposed to Frank and the Pixies curveball songwriting they are beloved for. "Now there should be a bridge here." "Maybe the key should go up one at the end of the song." "This song about a haunted house needs a spooky synth part." "Now the big loud guitars come in right at the big loud chorus!" etc etc etc.
I completely agree with your critique of the last three moves, but in fairness, the suggestion of a bridge for Daniel Boone lead to one of the best moments in FBF's catalogue IMO.
(He also deserves more credit for the arrangement of the song the Night the Zombies Came.) |
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two reelers
* Dog in the Sand *
Austria
1058 Posts |
Posted - 02/17/2025 : 13:10:15
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quote:
Originally posted by Bedbug
The day that the solo FB album came out, I loved it, and thought to myself "trying to sound more radio friendly"
Now I don't think that or don't care / notice
That's probably going to be the case with the 2.0 albums too, if it isn't already
Totally different experience here. When the orange album came out, I found it way too quirky to be considered radio-friendly. I loved it instantly, but in every respect, it was also very special and odd and inconsistent/scattered in a Frank way - a complete anti-theses to radio-friendly. With the first tries of computer production, it also had an somewhat amateurish sound/feel to it.
I would think his only songs which might be radio-friendly are WIMM and maybe Another toe in the ocean. Even Headache is too sophisticated.
I joined the cult of Souled American / 'cause they are a damn' fine band |
Edited by - two reelers on 02/17/2025 22:55:56 |
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Ziggy
* Dog in the Sand *
United Kingdom
2477 Posts |
Posted - 02/18/2025 : 04:48:14
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quote:
Originally posted by Brank_Flack
quote:
Originally posted by Troubles A Foot
quote:
Originally posted by billgoodman
Yeah, I don't hear the wish to sound radio friendly at all
Tom makes a lot of song structure and arrangement suggestions that are in the arena of mainstream pop and classic rock as opposed to Frank and the Pixies curveball songwriting they are beloved for. "Now there should be a bridge here." "Maybe the key should go up one at the end of the song." "This song about a haunted house needs a spooky synth part." "Now the big loud guitars come in right at the big loud chorus!" etc etc etc.
I completely agree with your critique of the last three moves, but in fairness, the suggestion of a bridge for Daniel Boone lead to one of the best moments in FBF's catalogue IMO.
(He also deserves more credit for the arrangement of the song the Night the Zombies Came.)
One thing I liked about the podcast for Beneath the Eyrie is exactly that - an insight into the positive side of the approach, with Tom encouraging Charles with some vocals and that middle eight, for example. The song collection really gels there, and it's still my favourite 2.0 album!
The length of many of the songs on Doggerel is perplexing - pleasant enough but repetitive songs that rather outstay their welcome, like with Indie Cindy.
I've always found it intriguing how quick Charles is to downplay the writing process (although he's quick to say how much he likes recording and making records). And this feeds into the 'let the producer select the songs/track order' thing. An admirable modesty that can sometimes be misconstrued as being rather disengaged with the whole thing. |
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Bedbug
> Teenager of the Year <
3223 Posts |
Posted - 02/18/2025 : 05:38:30
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quote:
Originally posted by two reelers
quote:
Originally posted by Bedbug
The day that the solo FB album came out, I loved it, and thought to myself "trying to sound more radio friendly"
Now I don't think that or don't care / notice
That's probably going to be the case with the 2.0 albums too, if it isn't already
Totally different experience here. When the orange album came out, I found it way too quirky to be considered radio-friendly. I loved it instantly, but in every respect, it was also very special and odd and inconsistent/scattered in a Frank way - a complete anti-theses to radio-friendly. With the first tries of computer production, it also had an somewhat amateurish sound/feel to it.
I would think his only songs which might be radio-friendly are WIMM and maybe Another toe in the ocean. Even Headache is too sophisticated.
I joined the cult of Souled American / 'cause they are a damn' fine band
No kidding?
Fascinating
I never cease to be impressed with how Frank’s work is open to so many different interpretations.
Maybe when I thought “radio friendly” I was thinking in terms of the “alternative” surge athe the time. |
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Bedbug
> Teenager of the Year <
3223 Posts |
Posted - 02/18/2025 : 05:42:13
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quote:
Originally posted by Ziggy
quote:
Originally posted by Brank_Flack
quote:
Originally posted by Troubles A Foot
quote:
Originally posted by billgoodman
Yeah, I don't hear the wish to sound radio friendly at all
Tom makes a lot of song structure and arrangement suggestions that are in the arena of mainstream pop and classic rock as opposed to Frank and the Pixies curveball songwriting they are beloved for. "Now there should be a bridge here." "Maybe the key should go up one at the end of the song." "This song about a haunted house needs a spooky synth part." "Now the big loud guitars come in right at the big loud chorus!" etc etc etc.
I completely agree with your critique of the last three moves, but in fairness, the suggestion of a bridge for Daniel Boone lead to one of the best moments in FBF's catalogue IMO.
(He also deserves more credit for the arrangement of the song the Night the Zombies Came.)
One thing I liked about the podcast for Beneath the Eyrie is exactly that - an insight into the positive side of the approach, with Tom encouraging Charles with some vocals and that middle eight, for example. The song collection really gels there, and it's still my favourite 2.0 album!
The length of many of the songs on Doggerel is perplexing - pleasant enough but repetitive songs that rather outstay their welcome, like with Indie Cindy.
I've always found it intriguing how quick Charles is to downplay the writing process (although he's quick to say how much he likes recording and making records). And this feeds into the 'let the producer select the songs/track order' thing. An admirable modesty that can sometimes be misconstrued as being rather disengaged with the whole thing.
Great point Zig
I was just listening to Motoroller this morning and thinking “man this song could have been a minute longer instead of some of the other 2.0 songs.” In fact I think nothing on TNTZC goes on too long . I think Chicken is the only track over 4 mins |
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Brank_Flack
* Dog in the Sand *
Canada
1055 Posts |
Posted - 02/18/2025 : 06:08:42
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quote:
Originally posted by Bedbug
quote:
Originally posted by two reelers
quote:
Originally posted by Bedbug
The day that the solo FB album came out, I loved it, and thought to myself "trying to sound more radio friendly"
Now I don't think that or don't care / notice
That's probably going to be the case with the 2.0 albums too, if it isn't already
quote:
Originally posted by Bedbug
[quote]Originally posted by two reelers
[quote]Originally posted by Bedbug
The day that the solo FB album came out, I loved it, and thought to myself "trying to sound more radio friendly"
Now I don't think that or don't care / notice
That's probably going to be the case with the 2.0 albums too, if it isn't already
Totally different experience here. When the orange album came out, I found it way too quirky to be considered radio-friendly. I loved it instantly, but in every respect, it was also very special and odd and inconsistent/scattered in a Frank way - a complete anti-theses to radio-friendly. With the first tries of computer production, it also had an somewhat amateurish sound/feel to it.
I would think his only songs which might be radio-friendly are WIMM and maybe Another toe in the ocean. Even Headache is too sophisticated.
I joined the cult of Souled American / 'cause they are a damn' fine band
No kidding?
Fascinating
I never cease to be impressed with how Frank’s work is open to so many different interpretations.
Maybe when I thought “radio friendly” I was thinking in terms of the “alternative” surge athe the time.
I'm more with Two Reelers here. My wife (who loves Pixies 1.0) usually makes me turn the album off/or skip when we get to the Brackish Boy - Two Spaces - Tossed section. I think she doesn't like the keys in particular - or what the post above to refers to as the electronic production.
I was too young at the time, but wasn't it a left-turn from the alternative scene at the time (and thus less radio friendly)? More bright/sunny/nerdy than the grunge alt-rock zeitgeist?
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Edited by - Brank_Flack on 02/18/2025 09:45:12 |
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Bedbug
> Teenager of the Year <
3223 Posts |
Posted - 02/18/2025 : 09:15:52
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That’s a fair point - the FB solo album was not accused of sounding mainstream the way Toe was called Foo Fighters-esque. As I recall people didn’t really know what to do with it. Was this his Beach Boys phase we’d been hearing about? Will there be a mosh pit? Etc
I distinctly remember the crowd I was in at a 93 concert also being a bit off balance
Perhaps the “mainstream-ism” of that album has borne itself out in how Los Angeles and Ramona have been so utilized in mainstream movies, videos games, etc in the years that followed
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two reelers
* Dog in the Sand *
Austria
1058 Posts |
Posted - 02/18/2025 : 11:00:35
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quote:
Originally posted by Brank_Flack
[ when we get to the Brackish Boy - Two Spaces - Tossed section.
Add Parry The Wind here, and you have one of the most mind- and ear-blowing song sequences on an LP ever. For the CD, you can pre-pend it with Ten Percenter, which makes it even better.
Only comparable to Headache - Sir Rockaby - Freedom Rock - Two Reelers - Fiddle Riddle, or Pong - Thallasocracy -Abstract Plain - Calistan - Vansishing Spies - Speedy Marie - oh wait, let's combine sides A and B here...
I joined the cult of Souled American / 'cause they are a damn' fine band |
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billgoodman
>> Denizen of the Citizens Band <<
Netherlands
6255 Posts |
Posted - 02/19/2025 : 00:57:30
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quote:
Originally posted by Troubles A Foot
quote:
Originally posted by billgoodman
Yeah, I don't hear the wish to sound radio friendly at all
Tom makes a lot of song structure and arrangement suggestions that are in the arena of mainstream pop and classic rock as opposed to Frank and the Pixies curveball songwriting they are beloved for. "Now there should be a bridge here." "Maybe the key should go up one at the end of the song." "This song about a haunted house needs a spooky synth part." "Now the big loud guitars come in right at the big loud chorus!" etc etc etc.
Tom is also choosing song selection that I think is meant to be full of singles. He's disregarding a lot of great/weirder songs because he has this very "classic" idea of what a rock album should flow like. Which Pixies often did not adhere to in the past. We have lost a lot of the zigging and zagging.
The production is also very, very slick and polished. It technically sounds good, which can be nice, but it doesn't have a personality to it. When I think of the older Pixies albums, and even Indie Cindy, they have a distinct sound to me that separates them. I think Zombies achieves this, actually, as it doesn't sound like anything else. But Eyrie and Doggerel don't have much personality to me in the mixing and arrangement choices.
Yeah, maybe, I don't know. Maybe I don't listen to the radio as much.
The shift to traditional song structures has been established by Frank long before Tom Dalgety was even in the business.
Daniel Boone is mentioned and that suggestion was great. Sadly he also makes some choices I don't agree with (Long Rider has way to many vocals for instance). But Tom is also the one who is pushing Frank to record in the first place.
I would love Dalgety to steer away from backing tracks that sound like Harrison in his Traveling Willbury's phase. But I'm grateful whatever he can squeeze out of FBF, who seems to be more into painting nowadays.
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BF: Mag ik Engels spreken? |
Edited by - billgoodman on 02/19/2025 00:57:57 |
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Troubles A Foot
* Dog in the Sand *
USA
1025 Posts |
Posted - 02/19/2025 : 07:20:49
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quote:
Originally posted by Bedbug
The day that the solo FB album came out, I loved it, and thought to myself "trying to sound more radio friendly"
That is quite shocking to me. Sincerely.
Edit: I guess I can see in that a lot of the songs are hookier and more upbeat or positive sounding, but to my ears they are really, really strange, and kind of counter to what was popular at the time, except for sections of Los Angeles which sound like Smashing Pumpkins to me.
quote:
Originally posted by Brank_Flack
I completely agree with your critique of the last three moves, but in fairness, the suggestion of a bridge for Daniel Boone lead to one of the best moments in FBF's catalogue IMO.
Sure. I'm not saying some of his ideas don't work. But I'd be comfortable losing those ideas if it meant losing all the boring ones too. Also, Frank may have gotten there himself. We don't really know. |
Edited by - Troubles A Foot on 02/19/2025 07:47:04 |
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Troubles A Foot
* Dog in the Sand *
USA
1025 Posts |
Posted - 02/19/2025 : 07:25:07
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quote:
Originally posted by billgoodman
The shift to traditional song structures has been established by Frank long before Tom Dalgety was even in the business.
On and off, yes, but even looking at Indie Cindy, it has some very strange structural (and rhythm) ideas that would seem too wild for a Dalgety record. And other "recent" solo work like SVN FNGRS, etc. Frank can get into a headspace where song after song is weirder and more unpredictable, but if he has a producer pushing away from that and cutting those kinds of songs from the record, that tap will dry up. |
Edited by - Troubles A Foot on 02/19/2025 07:25:25 |
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Troubles A Foot
* Dog in the Sand *
USA
1025 Posts |
Posted - 02/19/2025 : 07:27:01
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quote:
Originally posted by Brank_Flack
My wife (who loves Pixies 1.0) usually makes me turn the album off/or skip when we get to the Brackish Boy - Two Spaces - Tossed section. I think she doesn't like the keys in particular - or what the post above to refers to as the electronic production.
Mind blown. Two Spaces is not only my wife's favorite Frank song, but one of her favorite songs of all time. It turned her into a fan of FB. |
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Skatealex1
* Dog in the Sand *
1701 Posts |
Posted - 02/19/2025 : 07:30:12
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quote:
Originally posted by Troubles A Foot
quote:
Originally posted by billgoodman
The shift to traditional song structures has been established by Frank long before Tom Dalgety was even in the business.
On and off, yes, but even looking at Indie Cindy, it has some very strange structural (and rhythm) ideas that would seem too wild for a Dalgety record. And other "recent" solo work like SVN FNGRS, etc. Frank can get into a headspace where song after song is weirder and more unpredictable, but if he has a producer pushing away from that and cutting those kinds of songs from the record, that tap will dry up.
Since you bring it up, it's hard to know what exactly is causing what in this but... Svn Fngrs is an older release at this point but it'd be fun to see more of that kind of spontaneity with FB's work that I think is missing from a lot of the newer songs.
Maybe the BTE demos (to bring that up again) had the most of that kind of vibe with the most recent Pixies stuff since Indie Cindy.
It's funny with Indie Cindy they got back a classic Pixies producer but it seemingly got overproduced for some reason. |
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Troubles A Foot
* Dog in the Sand *
USA
1025 Posts |
Posted - 02/19/2025 : 07:48:46
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quote:
Originally posted by Skatealex1
It's funny with Indie Cindy they got back a classic Pixies producer but it seemingly got overproduced for some reason.
I love most of the production choices on Indie Cindy. What Goes Boom melts my face off. Magdalena is as spacey and eerie and beautiful and full of atmosphere as a Bossanova song.
My problem is the vocals sound autotuned, and the mastering is terrible. But for the most part I think he got an incredible sound out of the band. The guitars sound explosive. |
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Mad Lucas
- FB Fan -
Australia
177 Posts |
Posted - 02/19/2025 : 15:45:43
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| I would love IC even more if the songs were around 10BPM faster. There's a lazy lope that permeats the album |
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Skatealex1
* Dog in the Sand *
1701 Posts |
Posted - 02/19/2025 : 17:34:55
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quote:
Originally posted by Troubles A Foot
quote:
Originally posted by Skatealex1
It's funny with Indie Cindy they got back a classic Pixies producer but it seemingly got overproduced for some reason.
I love most of the production choices on Indie Cindy. What Goes Boom melts my face off. Magdalena is as spacey and eerie and beautiful and full of atmosphere as a Bossanova song.
My problem is the vocals sound autotuned, and the mastering is terrible. But for the most part I think he got an incredible sound out of the band. The guitars sound explosive.
Hear that. Could be the mastering is what I'm thinking of with it's sound. I like how a lot of it sounds but it sometimes feels like a lot of it is kind of overly loud or maybe over compressed with the sounds on it. |
Edited by - Skatealex1 on 02/19/2025 17:35:16 |
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Bedbug
> Teenager of the Year <
3223 Posts |
Posted - 02/19/2025 : 20:08:50
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quote:
Originally posted by Mad Lucas
I would love IC even more if the songs were around 10BPM faster. There's a lazy lope that permeats the album
I thought that too but have changed my mind on that re Snail, Mag, and IC. I like the slower paces. I do think that Ring the Bell should be paced closer to Bad Wicked World however |
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Troubles A Foot
* Dog in the Sand *
USA
1025 Posts |
Posted - 02/20/2025 : 20:27:23
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Ring the Bell is such a repetitive, grating song, I wish it was just left off the album entirely. That is actually one where the mastering, or whatever, really, really hurts it. Like that song actually fatigues my ears. It's way too consistently loud and in your face when it seems like it should have dynamics and feel more gentle. I can't sit through it. Same with Jamie Bravo. In fact I can't tell those two songs apart.
No problem at all with the tempos of any of the songs. |
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Brank_Flack
* Dog in the Sand *
Canada
1055 Posts |
Posted - 02/21/2025 : 05:43:39
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quote:
Originally posted by Troubles A Foot
Ring the Bell is such a repetitive, grating song, I wish it was just left off the album entirely. That is actually one where the mastering, or whatever, really, really hurts it. Like that song actually fatigues my ears. It's way too consistently loud and in your face when it seems like it should have dynamics and feel more gentle. I can't sit through it. Same with Jamie Bravo. In fact I can't tell those two songs apart.
No problem at all with the tempos of any of the songs.
Yes, both songs make my ears bleed, but I think that must be more of a mastering/sonics issue as I have grown to quite like both (particularly Jamie Bravo, which I think might be one FBF's most underrated songs). |
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Troubles A Foot
* Dog in the Sand *
USA
1025 Posts |
Posted - 02/21/2025 : 07:34:14
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| I dunno. Jaime Bravo is like two notes. It is so repetitive. I can't make it the whole way through the song. It needs a chorus or something. Look at me getting all Dalgety! |
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Topic |
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The Night The Zombies Came
