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Who dat guy?
@ThorEgil – Love that one of Bent with hair flying about (ThorEgilLeirtrø-Motorpsycho-9-02495) – a still pic that seems to be moving; maybe I drank too much coffee this morning.
Just got mine. Very happy. Will now eke it out. Got to make the most of it what with the news and everything. Still, we might have lost something special, but the people of Trondheim have gained a damned good plumbing outfit.
@shakti – If it's any consolation, I ordered mine on 15th October, and still no, er, Joy.
@shakti – What need have I for this? What need have I for that? I am dancing at the feet of my Lord. All is bliss. All is bliss.
Among all the elements that make this such a great piece of work, I would like to highlight the way you have coaxed and captured such calm, candid and lucid reflections on the creative process from not one or two, but all three. The absence of any intrusion by interviewer, presenter or commentator means the spell is never broken throughout. Nothing jars; nothing is out of place in the whole film. It's perfect!
The opening two minutes alone are a work of art, and we already have a treasury of quotations. After Bent's words about being in the moment and Snah's about losing himself, I was really struck by what Tomas has to say – so well put and, clearly, he really feels it. His words provide a very fitting prelude to the opening titles!
@supernaut – I really liked what you said about Tomas being like a gateway for us outsiders.
I was reminded of the legend of an onstage out-of-body experience once shared by three out of the four members of Killing Joke (not Youth). See the short teaser here from 1:16, which shows just a snatch of Geordie describing this particular moment, followed by Youth and Jaz talking more generally about profound moments when playing live.
I think there is more meat on the bones about this moment in the full documentary, which is a very different animal from 'Into the Maelstrom', but, still, rather entertaining, even if you don't like the band (and plenty don't); at least you get to see Jimmy Page giving his thoughts, and it's also pretty funny in places – particlarly at the expense of Coleman, who seems to be able to be both ludicrous and sinister. His mother doesn't quite say he's not the Messiah, he's a very naughty boy, but you could believe that bit's lying somewhere on the cutting-room floor.
This guy likes it, and prefers it to The Tower. He makes some valid points. For reference, his favourite MP track is Gullible's Travels, and favourite album TDDU, so fair play.
@knoot – Many, many thanks! I'd also been looking for this. Like Phoots Flower, I appreciate your YouTube efforts too. People like you who put themselves out to share what they have are definitely cool in my book!
@bernie – I'm just echoing what others have said, but I am enormously grateful for what you do and the sheer quality of it – especially as I can only get to gigs in the UK at the moment. I am a Johnny-Come-Lately with only 5 years of following the band under my belt, but I feel very lucky to have discovered them, and then to have come across this rare, civilised corner of the internet, and on top of that to have all these goodies you keep putting our way. It's so easy to take things for granted. It's worth taking stock sometimes.
Just one thought on the question of a DVD. It is something that would get seen and reviewed by some of the music mags, and so it could bring attention and recognition.
@stereosofa – That Leuven Fool's Gold will do for me. All of Leuven is a great watch – and listen. As for as the Den Haag Wheel, as far as I am concerned it could go around forever.
That 21 minute Mountain in full, with very cool middle section – audio quality not the best, but not the worst:
@fillmore – Mid to late 70s synth-laden Ashra is wonderful stuff (and then, when that guy plays his guitar over the top of it, oh wow!)
From a different poster, Whip That Ghost:
and Fools' Gold (sorry about the apostrophe):
– audio handles the loudest, deepest rumbles pretty well.
Much appreciation for these posters.
@JERO – Your words really convey the feelings powerfully. Now I'm crying – because I wasn't there.
@TheOneFormerlyKnownAsDaniel – I agree it does not suit rock
@Phoots Flower – I completely get the point about naturalness live
I think Bent and Snah are committed to being authentic too – and that's a big part of why we love them. That is why I say some kind of pitch correction should only be used selectively, and not on the more 'rock' material. Something is needed, however, on a less-rock-more-prog epic like The Crucible, if a masterwork with brilliant musicianship is not to be rendered unlistenable in parts.
Now, could I ask anyone interested in this topic, please, to listen to these two versions of The Crucible, with the vocals in mind, and give their explanation for why one has vocals that sound pretty much in tune (perhaps with technical assistance – I know there could be other reasons) and one has vocals that, for me, are really getting in the way of my enjoyment to the extent that I am clenching everything waiting for the instrumental parts?
Is anyone else hearing what I am hearing?
