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      Awesome review. And all the years I have been watching the forums there is always a large population unhappy with some phase of MPs music. I love it all. From Tussler to Pop and all in between. But then, I'm just as likely to throw on Grateful Dead's Live Album and follow it up with Black Sabbath Debut. Motorhead has as much to say (or as little) as Simon and Garfunkel. Love it all. And damned glad it's here. How much would we be digging them if they were still playing the same 10 songs as they played in the 90's like most bands. And the more I listen, the more I like. Familiarity breeds content. (heh heh)


        Agree with Seattle P-naut. Motorpsycho is such a diverse band that people are bound to get attracted to different aspects of their music. And because of their frequent stylistic changes, MP always attracts new fans while some bail out (in a revolving door-kinda way)

        Me, I love the majority of it, too.


          I must say I really like all of their periods and albums. There was just a phase of "Whip that Best Friend when we go to California" noodling jam extravaganzas ten years ago that sometimes got stretched a bit too lengthy for me. I'd always prefer a 30min "Chien d'Espace" to that.

          That said, I just watched the 2002 Amsterdam show, the whole bootlegged gig, not just the RW3 edit, and its dynamics are astonishing. In light and shade, they've probably never been that extreme before and after. Geb's "What if" and "Little Ricky Massenburg", the magical "the Mirror and the Lie" and "Circles" put against the blasting "Hogwash" and "STG" and of course "Close your eyes", this show is some rollercoaster.

          RW4's "Wishing Well" I do not regard as noodling, rather as the old ebb and flow game the guys master so nicely. It's absolutely wonderful magical. Noodling to me is endlessly soloing over a basic groove and chord structure. 97's "Nothing to say" live renditions come to mind, THAT was some great soloing over a big track building and building and building. Always like this stuff. Also elaborate things like Starhammer on the HMF album. But not the hippie Free Bird wheedelideedelideeedeeedeeedidelideeees.


            Seattle Psychonaut: "How much would we be digging them if they were still playing the same 10 songs as they played in the 90's like most bands."

            Just as much, I suppose – they still play golden oldies like Hogwash, Plan #1, Manmower, Mountain and Walking on the Water regularly, for instance. With the way they keep reworking and rearranging songs, they could feasibly play the same 10 songs and still somehow keep it fresh. :P

            On the topic, by the way: I find that the auto-tuned vocals on Wishing Well is starting to annoy me a little. If they're going to tamper with the original recording I think I'd prefer it if they just rerecorded the vocal track in the studio.


              The worst case of autotune (imo) is the chorus on tbprab. That one bothers me abit. Bent sounds like a synth at times. .But it's ok, It's a needle in the motorstack :!:


              Yeah, all gripes considered. I still pick Bielefelds version of Landslide WAY over the Dresden version. I'm not sure why they didn't use it. It seems more dynamic with a better solo. But again, that's imho.


              Just got my copy in the mail today! Love it!


              5:10 -> on Wishing Well definitely has some Golden Core-epicness a la 9:10 -> to it. Don't want it to stop. It's like an exploding star!

              What do you guys think?


                on wishing well, the vocals should have waited for a few bars after the guitar solo.


                  Oh no they shouldn't. It fits perfectly!


                    @magnus: First of all, i don't want that entire guitar solo to ever stop. The buildup and cresendo is simply amazing. But regarding that 5:10 moment; I think that's studio produced. Seems like they've increased + widened the sound of kenneth's cymbals to make that "leaping" effect. Dead cool, but i don't think it sounded that way on the raw material…

                    PS: My fav moment is when Snah switches from enquiring lovedone, to angry wasp at 03:52. That transission is simply stunning!


                      Btw check it! ->

                      This is freakin' awesome!!


                      @ GBD, I agree with you that there's probably a bit of studio magic behind that cymbal, but amazing nonetheless. And you're, right, the solo extremely well built up!

                      Other "moments" for me so far is:

                      13:56-15:45-ish on Bombproof, superb interaction between Kenneth and Bent.

                      08:40-09:22 on Loneliness, amazing sound on the guitar, and love the mellotron

                      05:01-05:29 on Landslide, what a lyrical solo and a great way to lead into the longer jam solo. Also the end of it, around 07:05-07:44 + the return to the chorus is great. Great bass-playing as well.


                        I could use a breather after that epic guitar solo in Wishing Well, that's why the vocals are a bit too early for me. The cymbals might only get a chorus treatment there. Or a simple vol fader push.

                        GBD's clip, hell yeah! That's what I love about them. After 20 years you'd thought you've heard it all but they still can push it further.

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                      …hanging on to the trip you're on since 1994