It would have succeeded without those meddling kids... Well, friends, the calendar is relentless and another Wodnesdæg has rolled along, meaning another Song for Odin™, and for you, should you be interested. And what we have today is a slightly sloppy "Last Time I Listened to You", from that show at Hamburg's legendary Stortebeker club on July 13th 1992. As I believe I've mentioned before in previous installments featuring songs from this performance, this was near the end, if not actually the final show (?) of a rather strenuous, fraught first attempt to tour Europe and we were even more ragged and frayed than usual, barely holding it together, really. Still, this is the only live document I've seen of this song in 'native" form, that is, played by the version of the band that recorded and released it. And it's still got something. (*What*, I have no idea...) https://youtu.be/ISClLi5pLGg "Last Time I Listened to You" is another of those "signature" tunes I suppose, a crowd favorite from its first appearance in the late '80s and one of the few songs that has remained in the set list through each of the various configurations of the band up to this day. As a song it's unusually focused and succinct for its time (many of my songs in those days were still meandering around trying to figure out what they were about and what they were trying to do.) I still like it after all these years. It was first recorded at Andy Ernst's Art of Ears studio as the B side to the "Sex Offender" single on Vital Music in 1990, and then re-recorded for the Milk Milk Lemonade album in 1992. The first version is better, but the tape containing that mix is lost. This kept it off of the Mtx forever program, sadly, because there was no available master for the good version. Allow me to digress on the subject of tapes. This is one of a group of tapes that seem to have gone missing when they were pulled for the 1997 Big Black Bugs compilation and never replaced in the archive; and weirdly, the exact same thing seems to have happened again in 2001 when tapes were pulled for the ...and the Women Who Love Them "special addition" CD comp. I'm still mad at everyone involved in this debacle and the subsequent identical debacle, including myself... I was literally clueless about it, just showing up to the studio to say "louder guitars and more low end please" or whatever without thinking too much about labelling or preservation of the tapes. That wasn't technically my job -- I just assumed it would all be taken care of somehow, by somebody -- but I should have been more on top of it anyway. I think the tapes were just left in whatever studio they were in, and never retrieved, and since so many of them were cryptically labelled (or not even labelled at all) knowing to whom to return them might have been difficult anyway, if any studio had in fact ever tried. By the time I started trying to locate the tapes and reconstruct the archive, it was far too late in most cases. (Though we lucked out with Everybody's Entitled... and Night Shift: 30 years later, still under a couch at Fantasy. God bless George Horn. And couches.) (This had effects far beyond its immediate scope: the masters for Our Bodies Our Selves, e.g., are -- mostly, I think -- missing because they were pulled to do the Gun Crazy remixes, precluding any full remix of the album and making a future re-issue of even the original mix of that record far more complicated than it might have been, as no flat mix of it survives. And we don't even have those remixes either! God damn it...) You can tell what was remixed for those comps by the fact that the multitrack masters are missing along with the mixes. In this case, the 16 track 1" master, labelled simply "Andy's stuff", does survive, so a future remix is at least potentially possible, though still a technical challenge. I suppose this is a matter to be taken up if we ever do a "Shards vol 3" of all the remaining "orphans." Okay, end of digression. An archivist's lot is not an happy one. Like I said I like the song, and I believe it survives even it's rough treatment here. It's focused without being over-written, and is still quite funny. It has a light touch. It's one of those songs where the narrator's spiel alludes to a backstory and comments on it without providing the actual narrative -- only the person he's addressing knows what happened, leaving everyone else to guess. I like that sort of thing. The Scooby-Doo reference isn't labored, and as far as I know wasn't yet an over-used cliché at the time. (I remember some review in those days trying to characterize the flavor of our stuff by saying: it's like there's a TV playing in the background of every song. Which is pretty much true, I guess.) The solo is pretty cool, and the several modulations that somehow manage to wind up back in the original key is still kind of marvel to me. It works surprisingly well solo-acoustic, with a couple of adjustments. And when we play it live now, it really does manage to rock and roll. And that'll do it for today. Believe it or not, it's the 95th Song for Odin entry, if I'm counting them right, meaning we'll reach 100 five weeks from now if things continue as they have been. Crazy. Like, subscribe, share, comment, etc. etc. because it can't hurt, can it? notes: -- original recording from 7": https://youtu.be/1MU7A_m8T3U -- album version: https://youtu.be/EfN1dmNMpJU --discogs: https://www.discogs.com/The-Mr-T-Experience-Sex-Offender/master/470130 #music #songs #video #mtxforever #minds
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