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ace15drf last won the day on July 16 2013

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About ace15drf

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    Hold In Motion

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  1. I liked parts of it on the first listen, but I've been listening to Zappa and Beefheart a lot lately, so I enjoy things hitting my ear in a way I don't expect them too. I also enjoyed analyzing some of the musical techniques he was using, though most of them I could only marvel at rather than understand. Chances are I'll like it more with each listen, but I may or may not put in that effort because I know this is just part of a larger musical concept that will become more clear on the album. I have a feeling when this song is put together as a part of an album featuring a 10 minute guitar solo, I'll thoroughly enjoy it.
  2. Overall it's very reminiscent of Maggot Brain/Before The Beginning, but with a much different tone and feel to the lead guitar. Less psychedelic, more raw and emotional. I also think it's great that John released some straight guitar work, as we haven't had too much of that since The Empyrean.
  3. From Wishing: "Every time is contained in Now, Now is the one time anything happens. Though one moment's a shot in infinity's rounds, Now is the one time anything happens here." From Someone's "Everywhere I look has a face, Everyone who has lived has a place. Right here's every world, Every time draws a line to right now." And one of my favorite opening lines to his songs (Moments Have You): "All around you is to feel and watch you."
  4. Since we're on the topic, does anyone know where and how the F#m should be played? Someone suggested it might be a F#dim7 played as 234242. I've also seen x4424x. I'll keep playing it to figure out what sounds right to me, but was wondering if anyone else knows the answer.
  5. I wasn't on the board at the time of the "cult of frusciante" thread and it was certainly an interesting read. I think the important thing to understand is simply that we do not know John, the man. We all have our images of him which come primarily through his music (as well as interviews, pictures, etc). Whether this image is one of a "spiritual guru" or a great guitar player/songwriter, etc, it's just an image, formed through your interpretation of the information you have. An appropriate lyric from Mistakes: "What others think says nothing about you, just how you relate to what they're going through." So, all we can really positively assert is that John is a person, and like most people, probably wants to be treated with decency and respect. I hope any fan of his who has the chance to interact with him will remember this.
  6. Nice listing of his highest notes on record, I'd be interested to see others (including a list of his lows). I think both his range and his use of different vocal styles has involved considerably over the years. I think what's notable on the more recent albums (Empyrean, Letur, PBX) is his use of an operatic low-range, similar to Bowie's or Ian Curtis's lows (though I'm sure one could name a number of others as equally valid comparisons). You could hear him experimenting with this range, as well as numerous other styles on the earlier albums, and I think he's really mastered it and made it his own on the more recent stuff. Also noteworthy is his use of the growl or low scream on the newer albums. The high screams are a trademark of his earlier albums and live performances, but became less present on later records. I suppose my theory is John's always had a great command of the high range, dating back to his backing vocals on BSSM, and what he's developed from a technical standpoint, is his command of the lower range and incorporation of the low scream and/or growl. But, really, that pales in comparison to what I believe he does best as a vocalist: express himself. He's consistently re-invented and added new elements to his vocal style over the years. This post is becoming a bit long, but I've yet to mention his use of harmonies, which has evolved considerably over the years as well, from the Brian Wilsonesque backing vocals of Shadows to the layering of screaming and sung vocals (middle section of Uprane).
  7. Here you go: A list of his favorite songs at the time are on the next page as well.
  8. I think if it was an either/or choice, most of us would express your preference, Aztec. I don't think I'd particularly want him to release a cover (though if he did, I'm sure it'd be grand, as Song to the Siren was), but I love his live covers. They're songs he learned because they meant something to him and I think it comes through when he performs them. Talking about what I'd want to see him cover is mostly a hypothetical exercise anyway, I'm certainly not expecting any live performances anytime soon. On that note, I'd love to see him do a song either by The Smiths or King Crimson, two bands that I know have meant a lot to him and that he hasn't covered yet. But the range of songs that could be covered without a band would be limited. But with just him and his acoustic guitar, I think he could do a great job on Reel Around The Fountain or Three of a Perfect Pair.
  9. So I just wanted to play the "Hold in Motion" part of the song, and found the uberchords tab pretty unsatisfactory (maybe it's accurate but it's really quite a poor tab). The first two chords sounded the same to me as the first two chords of The Will To Death, and from there it was just playing around till I found something that sounded right when I sang to it. E(7999) - B (2444) - A (0222) - C#m (4665) for the repeated Hold in Motion, then B (2444) You are the A (0222) Sun to me. I'll try playing the chords along to the record sometime, but if you just feel like doing your own acoustic rendition, these should work.
  10. A lot of times, negative reviews anger me and I don't read them, but this one made me laugh. It has a nice humor to it, and a combination of an understanding of John's background and how the album came about while expressing (his clearly biased and a tad narrow-minded) opinions about why it wasn't for him. I've been listening to a lot of King Crimson and Depeche Mode leading up to the album, and I love the "schizophrenic" nature of the music. There's a lot of catchy pop elements, but there's a very notable lack of repetition. You hear a part you like and (until you've listened through a few times) you have no idea what's coming next. It could ascend, it could take you lower, change time signatures, introduce different musical elements, etc. It's really a thing of beauty if that's what you're looking for. That being said, this certainly isn't an album I would ever try to turn people onto JF with...but I think I wanted another album like that. Niandra and Smile took me a while to get into, largely due to production and intentionally-bad sounding elements. However on PBX, the production is impeccable, even the darker parts of it sound great. Anyways, long tangent but the reviews so far are about what I expected: some appreciation here and there, some "benefit of the doubt because RHCP was awesome," but mostly a giant WTF by anyone who makes a living reviewing more or less conventional music.
  11. Since my username comes from the album I felt compelled to reply. I believe both AW and AW II were reissued in 2009 and you can find both the original AW and the 2009 reissued versions on Amazon. Edit: Petra got to it before me, ha!
  12. I read through all the lyrics today (truly a brilliant experience), and these were the ones I liked best. Perhaps because they deal with less abstract concepts. I wouldn't say I use John as a guide to how to live, and I doubt he'd want me to, but I see a lot of fundamental truths in these lyrics. "You make your own surroundings" is an idea I've latched onto for a while, that we are responsible both for our internal thoughts and processes as well as the environments that surround us. In fact, I don't see a separation between these two: our thoughts and desires manifest in our external surroundings. "Life is a dream And is made by inwardly seeing what you want it to be" is a beautiful line, I love the breaking of the barrier between dreams and reality. Both are creations of our mind. I'll stop myself before I start analyzing every single lyric (even though I draw meaning from nearly every one of them), but the line that friends are "Those who don't want you to be anything but what you are" particularly resonated with me. A friendship (or any relationship) should be based on a mutual respect and appreciation for who one was, is and will be. Edit: Almost forgot to talk about the music, I love the progression, every time I hear the opening chords I get a smile on my face. Sure it sounds like 80s synthpop, but it's truly effective at creating an appropriate atmosphere for his vocal delivery of the lyrics.
  13. Well, I think there's a difference between his feelings about the songs he made and the person he was at the time. He's always been very proud of BSSM, and in later interviews mentioned liking the guitar parts of Niandra a lot. I know he's spoke of having "screwed up priorities" but that doesn't mean he's not proud of the music he made at the time, and the period of recording BSSM was the happiest he'd ever been. John in an interview talking about SCWP:"'I Regret my past' is in itself a contradiction. Because all you are is what you have been up to this point." I think he's proud of the person he's always been, but that's just my take. For our purposes though, the music he's made throughout these phases of his life have been amazing; any speculation on the man himself is just that.
  14. I was originally going to give the lyrics a shot, but I couldn't even figure out the first line with any certainty, I think I hear: "Any size of womb releasing to the room of senses" but frankly, I have no clue what it actually is. I think it will be very hard to get them down with 100% accuracy unless an actual lyric sheet is released. Anyways the song itself: I listened to it for the first time when I had just woken up before work, and the biggest stand-out to me was the drums. To me they seemed to drive the song and were very, as John said, "visceral," for a standard pop song; which I think is great, though at points they do drown out other, what I might deem "cooler" parts of the song (guitar, synths, it even steps on the vocals a little bit). In addition to that, the almost 180 degree emotional/key/time changes at points had me mystified as to what he is conveying. That being said, I'm not being critical of the song, merely representing that my first couple listen-throughs left me quite baffled as to what he is trying to do with this song. He doesn't make a song for no reason or merely because he thinks it sounds cool, there is definitely a deeper meaning that it may take me a hundred plays and (hopefully a lyric sheet!) to understand. For now, I'm just accepting it as what it is, which is a really cool, very textural, progressive and powerful piece of music.
  15. I started checking my phone regularly a couple days ago as well, remembering that he mentioned on his site that "We will provide a pre-order link for PBX sometime in early August." I am more excited about hearing Walls and Doors than the pre-order so I have no problem waiting, but perhaps they will happen at the same time as with Glowe and Letur Lefr. If so, I can't imagine that would be too long from now, I'd bet within a week or so.