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Post by diva on Aug 14, 2022 12:06:05 GMT -8
They’ve not given This Guitar a legitimate push, but they still could. If they do any others U Rok Mi should be a candidate, but Gimme a kiss is the clear choice. Great track. Did This Guitar officially release, is there talk of another single after it? U Rok Mi feels like a summer concert release so maybe on the next leg next summer? I wonder if not being able to do a proper video with Alison is the problem.
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Post by edwardcreighton on Aug 14, 2022 14:44:49 GMT -8
Take still adding plays on US radio. This Guitar feels more like an autumn/fall song, hope for official video. Fire it up whilst it has an official video wasn't officially released to US radio as second single, that was Take.
As This Guitar was kept in the tour setlist think more likely to be next radio single, at country, maybe release Fire as next single for Rock radio.
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Post by Dan on Aug 16, 2022 18:47:53 GMT -8
I do think Lifeless would make a great single on the right radio format. It's a great tune with singable sections (chorus, pre-chorus? I have no idea).
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Post by CindyJ on Aug 22, 2022 10:48:04 GMT -8
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Post by DesertSun81 on Aug 23, 2022 17:04:37 GMT -8
I'm not sure how long Dolby Atmos has been around exactly (probably a decade or so?), but I never felt the need to upgrade my receiver. It was good and served its purpose well, and when I was casually shopping at one point the audio guy I talked to at Best Buy basically told me "it's just a certification" and I'd be better served putting any money I had into investing in better speakers instead. This sales person at the time basically talked me out of upgrading. Needless to say, I was intrigued about Dolby Atmos again when I found out DSH was mastered as such. I didn't upgrade when the album first came out, but I finally decided to pull the trigger a couple weeks ago on a new receiver (my old one was pushing 20 years old anyway) and also on a pair of extra speakers I needed along with it. Being as how I subscribe to Apple Music, I also found out after the fact to get the full Atmos experience through Apple I also had to shell out for Apple TV (thanks Apple! ). After shelling out a decent chunk of change I was skeptical that I would only be marginally impressed with listening to DSH in Atmos. I haven't seen anything anywhere about the experience of listening to the album in Atmos outside of that special listening experience in the UK, and at that time I think for everyone it was more about how the album itself sounded vs. how it sounded in Atmos. Thankfully I can say that now after a few listens it was well worth the investment! Listening through the album for the first time was not far away from listening to it for the first time all over again. All of the vocals really pack an additional punch in Atmos, and several little things buried in the mix throughout the album really get pulled out - a couple examples being the residual echo of "you rock me" in the chorus to U ROK MI (which is pretty faint everywhere else for me) and a high register "show me a thrill" from Joe at the very end of GIMME A KISS that despite many listens I barely knew existed prior. Other highlights for me were the very beginning of the album with the intro to TWYW, the gang vocals and main verse guitar jangle of FHTE (which almost sounds entirely different for me in Atmos), the refrain of LIQUID DUST, the part of FIRE IT UP just prior to the solo, the chorus of SOS EMERGENCY (which is LOUD!), the final minute of ALL WE NEED and the entirety of OPEN YOUR EYES. The verses of THIS GUITAR also sound quite haunting in Atmos, and with both it and LIFELESS you can more clearly hear the separation between Joe and Alison's vocals. Not sure if anyone else is on the fence about Dolby Atmos but I thought I would share my experience with it. DSH was admittedly more or less the sole reason that I decided to upgrade, however as a side note it definitely makes movies/TV etc. that support it more entertaining also which further reinforced my decision.
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Post by Blair on Aug 25, 2022 8:19:51 GMT -8
SuperDeluxeEdition unboxing & review
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Post by quarky on Sept 1, 2022 10:40:46 GMT -8
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Post by niklas on Sept 1, 2022 11:00:00 GMT -8
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Post by quarky on Sept 1, 2022 11:52:39 GMT -8
Ah, makes sense. In fact, just checked the email for the UK listening party, and you are right!
Diamond Star Halos is produced by Def Leppard, co-produced by and mixed by Ronan McHugh. The Dolby Atmos version of the album is mixed by Grammy-nominated Steven Wilson.
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Post by CindyJ on Sept 2, 2022 11:30:28 GMT -8
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Post by quarky on Sept 13, 2022 4:03:17 GMT -8
Liquid Dust
Phase away Laze away Dreaming of that feeling A hazy way Came to play Through that window Came a castaway
Phil suggests that *we* are liquid dust, and that the song suggests reincarnation. Some of the lyrics were written first, and the song developed musically from there.
Liquid Dust is the 6th song on DSH, and was written by Phil Collen. Liquid Dust is a close cousin to Turn to Dust (perhaps as DSH is in some ways a close cousin to Slang). Both 4 min+, both have the sitar like sounds. Both includes Indian influences as seen in Beatles, Stones, Zeppelin, etc.
I had been looking forward to this since I saw the track listing of the new album, and heard some comments about the inspiration. How could it be compared to anything else but Turn to Dust. There are obvious differences though. Firstly, Turn to Dust has the loud natural sounding drums, and starts with rain and sitar, and tambourine. And of course the subject matter is different. Turn to Dust is about a personal struggle, an immediate challenge that the protagonist is facing.
On to Liquid Dust though! This, like the entire album, really deserves to be listened, not as background music, but with good speakers (or ideally headphones!), and few distractions. Turn off the lights, turn off the laptop, and immerse yourself. This is really the beginning of the part of the album where the band broaden out musically.
The song comes in with an emotionally heavy-laden riff (in a minor key I think), drums and percussion after about 10 seconds, and then low-key laid back vocals over the top.
Phaze Away Laze Away Dreaming of that feeling
This seemed more Pink Floyd than anything else, and an immediate change of pace from the previous songs on the album. The song builds up sombrely, in more of a Beatles style, and we get the drums coming in around 1 minute in with the multi-tracked vocals of the chorus. Strings make their appearance too. Joe's vocals have a 60's style delivery in chorus:
Flows like a river Going down to the ocean Liquid dust, liquid dust Floats like a stream Going over and over
This is where the song hints at Phil's reincarnation ideas. We are the Liquid Dust (we are mostly liquid, but household dust is mostly human skin!), and as we age, we are heading towards the unavoidable destination.
Broken glass This too shall pass That sensation of elation Golden throne Sits all alone I should've known That bird had flown
Whether good or bad (broken glass, or that feeling of elation), we are passengers on this journey that life, and the song, takes us on. The good, the bad, the indifferent, however things work out is how they work out (that bird had flown).
There's not enough hours in the day And all the rains they came today
Whatever you do with it, life is short. The chorus repeats three times, although there is a fantastic instrumental at about 2:30. The Indian instruments coming to the fore again, but with the trademark Def Leppard harmonies over-layed.
Ahh ahhh, ahhhh, ahhhh
Then we get the chorus once more as the song fades out, repeating the "over and over, over, and over". A direct statement on reincarnation and the repetition of spiritual existence. Lastly we get the ukulele that leads into U Rok MI. The two songs go so well together, I was very tempted to include it here to.
One day I will do some shrooms. I will definitely put this song on at the same time!
Turn to Dust is definitely a top 3 track on Slang. Does Liquid Dust beat it? For sheer atmosphere, yes it does. What do you think?
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Post by quarky on Oct 18, 2022 11:05:19 GMT -8
Angels is another song that has really grown on me.
What is it about though?
It's a slow news day, but it's gonna happen anyway Lock it up and lose the key The truth we'll never see, is just thrown away And hidden from us everyday A secret that just has to be is buried on page 33
Is the truth it refers to, mortality? Is it that which is hidden from us every day, that we are all going to have that last day, that last breath? We are programmed not to think about it (thankfully) but we will all be there facing it.
Some people have more experience of what it is like in those moment, but generally, as people, we don't talk about it. We hide from it, and we cover it in euphemisms and aphorisms.
It's slipping away, it's slipping away Don't let it break you down It's slipping away, it's slipping away Don't let it break you
Is it time that is slipping away from us? Or life? Or maybe our youth and health? But we can't let it break us down, because we don't really talk about it. We carry on, and we DON'T face it, but life/time slips away regardless of our attempts to pay no heed to it and pretend it doesn't matter.
Another deadline lost Another promise gone at any cost You can't see the damage done A battle never won If only you could see your fingerprints all over me Savaged by your poison hand Your wish is never my command
The passing of time again, and the damage done by ageing? The battle against mortality that we never win, because it catches us all in the end. Time marks us all, both physically and emotionally, as does the passing of our life before us. We might not all buy a sportscar in middle-age, but it hits us all in different ways. Your wish (growing old, facing mortality) is never my command (it isn't what we want, but it happens anyway).
(Angels can't help you now) there's no time to reason why (Angels can't help you now) and it's too late to even try (Angels can't help you now) and with the touch of your hand You cast your shadow over the sun, and now, it's done
We can't go back to the past as much as we would like. We might try and live vicariously, but that is the closest we can do and that isn't enough. The clocks ticks and we reach that day of reckoning, which might not be death, but where we can no longer avoid facing mortality and the fleeting passage of time. Youth is gone, our peak years are gone, the time of our lives has gone. The road ahead is a hell of a lot shorter than the road behind.
(Angels can't help you now) there's no time to turn around (Angels can't help you now) 'cause it's such a long way down (Angels can't help you now) and in the palm of my hand The one thing that can still make me feel The one thing with the power to heal There's a crack in the sky, so, say your goodbyes Welcome to the end of the end
A long way down could be the fact that we all face that realisation or that moment alone. We can be around people, but they cannot help us cope, they cannot help us change the past, or accept the future. is "The one thing with the power to heal" acceptance of that? Being really at the place where we don't fear what we don't want to talk about? Our fears are overcome, and we have reached that point that religion or philosophy attempts to prepare us for, and help us understand? Is that, the end of the end?
Or have I had too much Def Leppard gin?
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Post by Pippa73 on Dec 31, 2022 23:40:21 GMT -8
Many months on and I love this album apart from Kick. It feels too forced and weak. Fire it up is very average too. Take those songs off and it is a killer album easily the best since Slang. Lot's of mature song writing, the ballads have really grown on me too.
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Post by DesertSun81 on Jan 16, 2023 15:50:36 GMT -8
Another great cover from Ben on probably the most popular song that had yet to receive the cover treatment. Looking forward to the rest!
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Post by Dan on Feb 10, 2023 11:16:17 GMT -8
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Post by quarky on May 20, 2023 1:10:45 GMT -8
Can't believe it is almost a year already since this was released. I will never forget the first time I heard this album, on the 22nd of May, 2022. I got the invite for the Listening Party in London, and was really contemplating whether to go or not. I didn't work in London any more, and had little holiday left, but in the end, I thought that these chances don't around very often, and I would kick myself if I didn't go.
So I arrived at the studio, and there was one other person there. Others turned up as time went on and it was good to talk to other fans. Everyone I spoke to had been a fan for years (since the 80s), and part of me couldn't help feel a bit apprehensive in a way. Even though we had heard three songs by then, I was thinking "this is a long album, what if it is a bit rubbish?". I was a bit concerned after FIU, and had major worries about This Guitar, SOS Emergency, U Rok Mi, Goodbye for Good This Time, Gimme a Kiss, Angels, and Lifeless. A big chunk of the album actually.
After a while though we were taken into the theatre and sat down. There was a video intro from the band, who were busy in the US rehearsing for a US talk show, and then the lights went off and the album started playing with us sitting there is complete pitch black.
Before attending, I had tried to familiarize myself with at least the song titles, and of course I knew the first three as they were all singles. TWYW, I loved. Kick, I had mixed feelings about. It had grown on me a lot since the first listen, but it actually bothered me that my first impression wasn't great (because these days, those are so important for a streaming audience). Fire It Up, I was still a bit "meh" on. Another one where my first impression wasn't great either, as I thought it was contrived, and a bit lazy to do that kind of song. But, after a few listens, I didn't dislike it. I had written some titles down though beforehand and take a pen and paper to give some notes to share.
So sitting there in pitch black, the album started. And it was loud. I like my music loud, but this was like concert-level loud.
TWYW rang out and it was so good to hear it in that environment. Some emergency level lights came on part way through, but no display on the screen at the front, no logo, no videos, absolutely no distractions, like being in a sensory depravation tank, with just the new album. It was great. The first three songs went by past pretty fast. I cringed a little at the start of FIU, but it was still enjoyable actually. That "Let me see your light, spark the dynamite, here we go" is catchy.
Then This Guitar came on. That was really the start of the album in some ways as I had heard all of the previous tracks already. For me, this is where the reckoning would really begin, and the songs from then on, were what I was there to hear. Having the first three songs as singles kind of worked well from that regard. Going in though, my hopes were not high for This Guitar after hearing about the country vibes, Alison Krauss singing a duet, etc., and I was expecting the worst of a combination of Love and Goodbye, but on steroids. It wasn't though. The song started and my low hopes were not immediately exceeded, but as the song went on, I wasn't quite so worried. Joe's singing was lowkey, mellow, but it worked OK. The way the duet was done was a relief (to be honest), with Alison playing an incredible supporting role rather than on lead, or co-lead vocals, so my biggest fears were misplaced. "My Brother, My Sister, My Lover, My Wife" was a great delivery of a great line that they sang together that really stuck out immediately. It seemed like good placement too after the first three songs and it was actually a good gateway to the rest of the album for me, because it was getting one of the songs I had the most trepidation about, out of the way. And it hadn't been that bad. In fact, I was thinking "this song is actually not bad at all" when the "this guitar saved my life" line, and the solo came on, and the song suddenly soared way above my (low) expectations. That was a bit of a moment for me. No guitar saved *my* life, but maybe this band did growing up, and this just seemed personal. And the way it was delivered, again with the combined vocals just seemed so respectfully done.
The next song was turned out to be SOS Emergency. Another song I was a bit concerned about given the title. I was hoping for something like an typical rock filler, maybe a Broke 'N' Brokenhearted, I Wanna Touch U, type of song. Solid, but not spectacular. It was not bad though. The opening riff was a good start, and it was back to up-tempo again. The harmonies was just unashamedly Def Leppard. A sweet surrender to what the band are. I realised which song this was when we got to the chorus, and was pleasantly surprised. It had a good solo from what sounded like Phil, and my hands and feet were tapping. The build up before the sirens about 3/4 of way through was a highlight. Great guitars on the outro too, and then that Morse Code. What where they doing here? In this song and This Guitar we had heard different touches to traditional Leppard, and I loved it.
This Guitar had been a bit of an "up" compared to my expectations, and so was SOS Emergency. A solid start to the album, but I had not written anything down. Not only was it too dark, the album had already pulled me in, and I was so engrossed in the sounds, I barely thought about taking notes.
Next up was Liquid Dust. I really love Turn To Dust, so was looking forward to this one, hoping that it really would inherit some of that feel and vibe from the previous song, but done in a different way. The song comes in with low key laid back vocals, and was a change of pace. The song builds up though, and when it got to the first chorus, there in the dark, I felt transported to another place. I loved the double-tracked vocal delivery, and the strings and Indian instruments. I was imagining tigers and the Raj as the song carried on and carried me with it. As the song progressed on, the strings and choruses stopped, and the ukulele came in. That seemed like an interesting change in tempo. I love songs that have tempo changes like that and I was enjoying the trip. Then the bass kicked in, "shock, shock", and it was less Indian, but still a trip. All of a sudden I heard "U Rok Mi, Come on and Rok Mi". There in the dark, I shed a tear. It was too late to save my soul. I had been tricked in the best way possible and led somewhere into a different song, but not any song, a great song, and I loved it. When the steel string solo came in, I was on cloud nine. This was Def Leppard? This was Def Leppard. The solo built up in pitch, as did the experience. "Only you Rock Mi, Come on and Rok Mi." The "different touches" on This Guitar and SOS were great, but I was blown away by this, and I couldn't believe it was my favourite band that had done this.
Immediately after that song, we had the piano and vocals of a slow track. This had a slow build up, but I loved the change of pace after the experience of the last two songs, and the build up when the drums and strings were added to the piano. "A song of survival", I loved it. Then BAM, that chorus. The double-tracked vocals (again), moving heaven and earth to cross that waste land. I cried again. The Spanish guitar solo again made this the third song in a row that had moved me to another place. This wasn't India though, it was like an outside tapas bar in Majorca, or maybe even the plains of Outer Mongolia. Then the chorus back with a vengeance. WLAHC (which I love) had nothing on the emotion of this song. "One last battle to fight". Wow. I felt like an emotional punching bag after those three songs. I felt high. This was cinematic, expansive, visual. Imagine if this came out in the early 90s. Wow.
Programmed drums next, before a warm guitar tone, and then that typical DL riff. I loved the delay or echo effect. This seemed like a typical album filler track, but after the last three, god, I needed that to recover. The chorus really lifted me up again and it felt like something Energized or Invincible should have sounded like. A great song, but it also sounded laid back, as if they were not trying to force something, but just wanted to write a good mid-tempo DL song. This was All We Need.
The next song started with a bass that was almost ominous and disturbing compared to the lightness of All We Need. It immediately made me think of Cruise Control, but then the bass gave way somewhat to the first verse as the song built up. "Open your Eyes", delivered in almost background vocal style pushed to the foreground, then Joe coming in on top. Yet another song that smashed the boundaries of what I expected on this album, or from this band. As the song went on, the delivery got more intense, and that "So what have we done.. " was magic. Sound effects were perhaps made this DSHs Rocket, and again thrust home the broad scope of this album. Then Joe's high-pitched delivery of the chorus again before the solo was unexpected and just hit me hard. The band didn't care about expectations, they were doing what the wanted and absolutely REVELLING in it.
Big chunky riff to start the next song, like a punch in the mouth. Great delivery of the verses, loved the harmonies in the bridge, they were fantastic, and then the chorus. This was another moment where it was "Ah, so this is the song!". I loved it, and it had been another one I was worried about based on the title and what I had read. Probably the most 70s influenced on first listen, but loved the effects on the background vocals, and just the big, chunk, guitars. "Sonic boom bang" alright. Chugging through a great bridge "so kiss this" to the solo, which like every solo on this record is absolutely brilliant. Then the completely unapologetic hand-claps. It was superb stuff.
Piano and strings next for what I thought must be Angels. This was a bit of a come down after being so high from the previous songs, but that was needed. I loved the verses, "another deadline lost, another promise gone at any cost". A slow building song, but the chorus is great when it finally arrives. What surprised me was yet another song that was "Angel's can help", but "Angels can't help". A ballad, but a more mature ballad that explored the helplessness that you can feel when you are older. Sometimes when you need someone so bad, it never works. Sometimes Love Bites, and you don't get what you need. That is just the way the universe works. All the while, the piano underneath was understated, but provided a great support and depth to the song.
Immediately on the start of the next song, I knew this must be the other "country" one (even with programmed drums). I didn't like the "oooohs" particularly, but the first verse was good, and then I loved the chorus (like so many songs on here). The rest of the instruments came in, we have multi-track vocals, and Alison added so much at just the right time, every time. "The last rose of summer as it dies on the vine". Was the Def Leppard? Really? And again, a much more mature ballad. You left me lifeless. Come on, we have all felt it. The bridge kicked in and again, I shed a tear. Unashamedly Def Leppard bridge and then that fantastic bluesy solo with each note wrung out for value. Following the solo, you get additional lines "You left me lifeless", then the chimes as the songs evaporates leaving you wanting more. Like some ephemeral summers day.
I loved the start of the next song. Vocals and guitar riff into that programmed drum track that sounded like a brave (foolhardy?) decision, then background vocals added as the song builds up and teases. Then the drums and guitar hit like a freight train for the chorus. The harmonies made me want to surrender any thoughts I had had that this was not an amazing, incredible album. An unmistakeable good song on a surprisingly great album.
The guitar riff came on for the last song, and it seemed clear that this was From Here to Eternity, the last song on the album. A song that sounded much darker than most of the album, and the seriousness was a great way to finish the album. The type of finish it deserved. For some reason, it reminded me of Smooth Criminal. Not musically, but in the vibe/theme. That classy dark story.
Then the lights came on and we filed out. I must admit, I was stunned. As I walked into the London sun, I couldn't quite believe what I had heard. The album had seemed so different from what I was expecting after the first three singles, and covered so much ground that I was still trying to processes it. One thing as clear, I couldn't believe how good the *experience* had been though. Was the album really as good as I thought though? I asked a few of the others what they thought, and everyone was blown away. The problem was, I would have to wait until the end of the week before the album was released and I could hear it again. To be honest, I was struggling to believe it was as good it seemed.
Walking back to station to go home, I put a couple of posts on the forum and in one of them said "I cannot imagine them matching this from this point forward", because I knew that to me, this was a seriously good album, but comparing with previous eras is just so difficult. How can you compare any album with something like Hysteria than for many fans transcends mere music, especially a new release. You just can't.
I liked every song, and I can't really say that about any other album but Hysteria. It just sounded so expansive, liberated, and free. As if they didn't feel like they needed to follow the rules any more.
A year later, it is still all the better for it.We all have different tastes, but for me, there really is no other album (besides Hysteria) that a year after release, still sounds good, and I look forward to listening to so much.
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Post by Blair on Jun 6, 2023 12:17:47 GMT -8
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deef
Jr. Member
Posts: 95
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Post by deef on Jun 14, 2023 20:36:57 GMT -8
Just wanted to throw this out there quick. I’m currently listening to DSH with earbuds in, laying in bed. I listen to this album a lot, probably more than their old stuff (I’m young, don’t get mad), but sometimes listening to it as a whole, makes me realize how timeless it is. This record REALLY holds up. It’s incredible. Whether the songs are rock, pop, country, or even a little “rap”, these songs are crafted incredibly fine. Def Leppard are a well oiled machine. The next decade or so should be very interesting and exciting!!
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Post by timzy on Jun 15, 2023 1:38:49 GMT -8
Take What you Want main guitar riff sounds a lot like Black Stone Cherry's White Trash Millionaire at the guitar break after the first chorus
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Post by tsmith on Jun 15, 2023 4:04:55 GMT -8
Agree! While I maybe don't care for all the songs on the album, there's no debating the quality and care that went into these songs. My biggest criticism of Sparkle Lounge and the S/T album was just that I felt like those albums were lacking the attention to detail we had come to expect from Def Leppard over the years. I feel like that detail is definitely back on this album though. I still don't like the County sounding stuff lol but they still gave me plenty to enjoy here Just wanted to throw this out there quick. I’m currently listening to DSH with earbuds in, laying in bed. I listen to this album a lot, probably more than their old stuff (I’m young, don’t get mad), but sometimes listening to it as a whole, makes me realize how timeless it is. This record REALLY holds up. It’s incredible. Whether the songs are rock, pop, country, or even a little “rap”, these songs are crafted incredibly fine. Def Leppard are a well oiled machine. The next decade or so should be very interesting and exciting!!
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Post by quarky on Jul 6, 2023 1:40:21 GMT -8
Lifeless is one of the finest songs that Def Leppard have done, for years. Hysteria is my favourite song of all time, and Lifeless is the band's best song since that song and album (I still feel that way more than a year after the songs release). Wait, wait, hear me out. We can start with the solo. Like a lot of songs on this album, the solo isn't so much impressive, but expressive. It is done in a way that, actually, is similar to the Hysteria solo in that even a novice guitarist can pick up the Hysteria solo fairly easily, and Lifeless, perhaps even more so. But that is where the beauty is. The solo chugs in as an announcement, and slowly builds and ascends in pitch as it progresses. There is slide in This Guitar. Not here I don't think, but it is a very mature solo, with space to breathe. Steve and Phil had different styles, and Viv is definitely closer to the Steve style, particularly in this solo. The notes on the solo punctuate it so well, just like the lyrical delivery in the song. Even buried right at the end of solo, just as the vocals come back in over the top, the last the few notes are repeated, just like that a musical sunny day, at the end of summer. Moving past the solo though, the song itself has that country style intro, (instead of slide like This Guitar, almost like sped guitar (or backwards perhaps?) up at the beginning), the song hits you straight away. You have the falsetto "ooohs" at the beginning and then right into the verse. It is a divisive start to the song perhaps, but not sure if it is more so the beginning of Tonight? "I couldn't breathe (pause), as I watched you leave". That is a 21st Century "Out of touch, out of reach, yeah." But where one of the only knocks of Hysteria is the lyrics, you can't level that at Lifeless. These are fantastic lyrics, and the delivery makes them even more special. Alison Krauss's vocals are meant to be complimentary, and they are, but they are so complimentary, that they take the song to another level entirely. They take it from good, to transcendent. But it isn't just hers either. There are few songs on this album where the backing vocals are as good as ever. I thought a lot of it was Joe double-tracked, but I think Phil just does such a good on here that a lot of it is him. There is a real rhythm about the bridge too. Short punchy syllables, with the exception being "cold" and then "lifeless" as the solo kicks in. And you can't talk about this song without mentioning the ending. The song doesn't just stop, it evaporates, beautifully. It is like it has blessed you with its existence and then magically returns to another plane. There are some really great threads running through this album. There is the almost laid-back guitar work (think of the "Yeah" at the end of "Another taste of your poison," in Kick), and it is in the music too, where you hear it in the guitars. It is a mature confident style of playing where the band can afford to be economical because the whole package works so well, especially in the solos. And the other thread is the mature lyrics. Both of those are in this song in spades. I'm drowning in memories So just throw me a line. It just oozes brilliant penmanship.
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Post by tsmith on Sept 11, 2023 6:44:52 GMT -8
Listening to this album today and just had to say that I'm kind of surprised they haven't released any other singles from this album. I know singles don't mean as much as they used to but I feel like singles still bring attention to the band and album and at least give fans something to share around. There's plenty of other songs on this album they could've done. They could've went for classic sounding songs like SOS or Gimmie A Kiss. They could've went for a unique story/mini-movie type video with From Here to Eternity. Or even though I'm not a big fan of it, they could've grabbed played the Alison Krauss angle some more and did a video with her of Lifeless. Just feels like they left a little meat on the bone with this album and could've maybe given it a little longer life. On the flip side though, maybe since this is in the rearview mirror there will be more new stuff on the horzion
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Post by andylgr on Sept 11, 2023 21:19:43 GMT -8
Listening to this album today and just had to say that I'm kind of surprised they haven't released any other singles from this album. I know singles don't mean as much as they used to but I feel like singles still bring attention to the band and album and at least give fans something to share around. There's plenty of other songs on this album they could've done. They could've went for classic sounding songs like SOS or Gimmie A Kiss. They could've went for a unique story/mini-movie type video with From Here to Eternity. Or even though I'm not a big fan of it, they could've grabbed played the Alison Krauss angle some more and did a video with her of Lifeless. Just feels like they left a little meat on the bone with this album and could've maybe given it a little longer life. On the flip side though, maybe since this is in the rearview mirror there will be more new stuff on the horzion Given that the tour to support the album is still going (and they are playing 3 songs from it live too) then yes maybe a single from it could have come out. But I think they've used the momentum of the tour and the positivity of DSH to slingshot Drastic Symphonies. Irrespective of what people think of it, who would have though we would get something else within a year of DSH? I certainly didn't. I'm happy DS has come out so quickly as it clears that one off the table fairly quickly. I think they should have got something out for the Pyromania 40th too whilst this tour is still ongoing as well.
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Post by quarky on Sept 15, 2023 0:44:25 GMT -8
If they played GBFGTT live, it would have tied in with both albums! I suspect it wouldn't be the easiest song to translate to a live setting, but would love to see them try.
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