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As someone not overly knowledgeable about Fauré, what does "The End of the Summer" borrow from?

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Originally posted by Jontiven

I've been laying low, but now I have a request.

Can Foucault's Dog please change the title of this here thread? It is extremely negative, and the discussion is completely legit, but the topic is a total bummer for those who took part in the sessions.
I have a feeling this thread can go on for days and weeks, but in fairness to those who put their heart and soul into this record, can we frame this picture without it?

Thank you.

bye,
JT

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Originally posted by velvety

Yes, the frowning face has to go. None of that in the forum. Damn you Foulcat Dog!!!
By the way, congratulations on FM/RM, Mr. Tiven. It's shaping up to be one of my favourite Frank Black albums.

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Originally posted by Foucaults Dog

quote:

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Originally posted by Jontiven

I've been laying low, but now I have a request.

Can Foucault's Dog please change the title of this here thread? It is extremely negative, and the discussion is completely legit, but the topic is a total bummer for those who took part in the sessions.
I have a feeling this thread can go on for days and weeks, but in fairness to those who put their heart and soul into this record, can we frame this picture without it?

Thank you.

bye,
JT

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Hi Jon

I regret if I have used a post title that you feel is negative, but with all due respect to everyone involved musical taste is subjective and the post title sums up my initial feelings on hearing the album. I puposely mentioned Lester Bangs and the MC5 as many will remember he hated them and gave terrible reviews but later was big enough to come back and say he was wrong, he just wasn't ready for the MC5 first time around. FMRM may be my MC5. Musical critique should be honest and can't pander to what we feel we should to like. I'm a HUGE fan and spend most of my time spreading the gospel according to Frank and will remain doing so, but have to remain true to what I think.

Hope you understand, no offence or slur is intended

Cheers

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Originally posted by dr.Evil

quote:

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Originally posted by Foucaults Dog

quote:

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Originally posted by Jontiven

I've been laying low, but now I have a request.

Can Foucault's Dog please change the title of this here thread? It is extremely negative, and the discussion is completely legit, but the topic is a total bummer for those who took part in the sessions.
I have a feeling this thread can go on for days and weeks, but in fairness to those who put their heart and soul into this record, can we frame this picture without it?

Thank you.

bye,
JT

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Hi Jon

I regret if I have used a post title that you feel is negative, but with all due respect to everyone involved musical taste is subjective and the post title sums up my initial feelings on hearing the album. I puposely mentioned Lester Bangs and the MC5 as many will remember he hated them and gave terrible reviews but later was big enough to come back and say he was wrong, he just wasn't ready for the MC5 first time around. FMRM may be my MC5. Musical critique should be honest and can't pander to what we feel we should to like. I'm a HUGE fan and spend most of my time spreading the gospel according to Frank and will remain doing so, but have to remain true to what I think.

Hope you understand, no offence or slur is intended

Cheers

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I would agree with you if this was an ordinary album, but it is not. It is not yet released (right?). Thus you are shaping the opinions of all of those that do not have the posibility of checking out the quality themselves. I'm not saying that's a reason for praising the album, but I personally think people should lay low untill it is released. I don't buy the "buzz" theory of leaked albums either.

Finally, it is well established that a negative impression of something weights about 11 times more that a positive - bad is stronger than good. I wouldn't expect critics to take that into consideration, but maybe fans would (no, I didn't write should)?

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Originally posted by Llamadance

Isn't that what reviewers do? Review promo copies of albums that aren't generally available? Granted it doesn't always happen like that, and usually it's only a week or two before release, but at least here most people are looking for and finding positives.

Also, have you got a link to the impact of negative/positive impression stat you're quoting? Eleven seems awfully specific for something so subjective.

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Pain is temporary, quitting is forever.

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Originally posted by vilainde

I'm with Foucault.

"tangenital"... funny typo.


Denis

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I love Guitar Wolf from the Erath!

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quote:

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Originally posted by Jontiven

I've been laying low, but now I have a request.

Can Foucault's Dog please change the title of this here thread? It is extremely negative, and the discussion is completely legit, but the topic is a total bummer for those who took part in the sessions.
I have a feeling this thread can go on for days and weeks, but in fairness to those who put their heart and soul into this record, can we frame this picture without it?

Thank you.

bye,
JT

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From the 3 songs I've heard off the album, FMRM seems to have more in common with Honeycomb than the rock album Tiven promised, but then again, there's still a lot of songs left to hear. A question for those in possession of the bootleg, how heavy is the rest of the album?

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'Sad Old World' is quite hard to listen to. 'My Terrible Ways' sounds far better stripped down like at the Cafe du Nord show; I don't understand the 'soul voice' that Frank tries to adopt, it just sounds like he's trying too hard.

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Originally posted by zippermouth29

Has anyone ever noticed that songs you like right away are usually outgrown in a week or two.

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Originally posted by jimmy


What I liked about the Pixies, and what I think they mentioned in interviews when asked about the goal of their music- they wanted it to be "cool and not boring".
It seems that with everything the Pixies did, it was an attempt to make real art that was different and unexpected: the anagrams and acrostics, theramin, the guitar on Letter to Memphis Instrumental, Evil Hearted You in Spanish, the Bible themes on Doolittle, making live videos like Alison and Head On. [snip]

Or, a bigger group, songs that are too routine, too normal. It's like if Stanley Kubrick went from making The Shining to making Mission Impossible 4. [snip]

The problem is: there are no surprises, nothing special; like Honeycomb and the later Catholics records, the focus ( of FM/RM, I'm predicting )is going to be on the band as opposed to one person's artistic ideal.

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Originally posted by Grotesque

I'm living in paradise with those two discs and my discman.

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Originally posted by Erebus
Speaking as someone who analytically doesn't know the first thing about music composition, this puts me in mind of comments by Frank about "Stupid Me" not long after it appeared. I initially loathed the track, for its superficially self-deprecating message, but I latched onto how he allowed that he was trying to write something like, and here I'm taking license with his thought, a "perfect" fifties-kinda song. That insight, accurate or misguided on my part, has colored my interpretation of what he has done since. I feel, as opposed to think, that he is on a quest, not exclusively or in some contrived manner, to write pure songs, without redundant resort to his "bag of tricks", songwritingly speaking. The guy has penned a huge catolog of material, and he could have easily rested on his "bag" by penning another hundred songs that similarly exploited his unique gift for time and chord changes. What would have been a career for other musicians could have been easy for Frank, but he knew he was in a position to do more, and he wanted it. Reminds me of that snippet in "Fool the World" where Gary Smith, I think it was, comments on Frank's need for ~novelty~, my word, not his. The then Black Francis needed to move on to something different, and soon. Well, now the Frank who is THE historical master of unique songwriting gifts wants to do something more: to take his unique, genetically-gifted genius to something beyond what comes, if you'll pardon my glibness, "easy" for him relative to other writers within the rock genre. What is it about those sweet, classic little pop compositions of the past fifty, yes fifty, years that rings so true? To me "My Favorite Kiss", "New House of the Pope, and "How You Went So Far" represent the best, among others, of such intent. If I'm right with this sense, Frank is just beginning to get a grasp on what he is recently about. Among other things, this detour to Nashville may be a quest unto musical roots, a means to an end, but hopefully without an end. I doubt any of this actually maps onto any conscious intent on Frank's part, any more than a loop back to collaboration with Feldman indicates a will to revisit some past glory. No doubt it simply felt overdue, as he similarly must have been inclined to take advantage of Jon Tiven's talents and connections. All these chapters of Frank make me wish he will live to be ninety without ever wanting to look backward.

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