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2 minutes ago, Nshesaid said:

Lol this is literally what happened and everyone else is coming off as straight conspiracy theorists on the making of this successful album.

They pretty much hinted that he was really hands on and gave ideas for bored to death.. not a big deal enough deal to be debating heavily about

The facts are that he helped write Bored to Death, not only help out with the arrangements etc.

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7 minutes ago, _Kyle_ said:

But didn't you say you've got 25,000 post on an online blink 182 forum so you would post all day about it? How is that any different? If you like it, then go on, like it. But to constantly strangle anybody who disagrees with that is just as insane.

huh? i post all day M-F no matter what. this is just the topic at hand currently.

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The "facts" we have:

 - The CD booklet: Mark, Travis, Matt, John are in the same line under the song titles. It does not say "songwriters" anyway. They are probably the people who participated in the making. People who wrote it, people who performed it, people who produced it... (Essentially: people who will get money from it in the future.) It doesn't prove that Feldmann wrote anything.

 - Matt's word: he said they worked with John. Obviously, because he was the producer of this album. And a producer obviously works with the band. He worked them when they wrote the songs, when they recorded the songs, and he probably worked with the mixer guy too. Still no evidence that he wrote anyting.

 - A spreadsheet from unknown source: it said Feldmann is a co-writer, and gets 20% profit of each song. Feldmann is known for getting writer's credit on every album he produces. (Just look at the history of a randomly selected band, they never had a co-writer on their other albums, but when Feldmann produced them, he was titled as producer and co-writer. Every single time.)

 - The album sounds like Feldmann!!!1 Yes, because he was the producer, and producers tend to show their style on their products. You can hear Jerry Finn's style on his blink records, but you don't consider him a writer. Why would you do otherwise with Feldmann? Producers have huge impact on songs/albums, they show ideas, they suggest certain words or melodies or anything. Every producer does these things. But we usually don't talk about it, because it's fucking pointless and fucking obvious. (They usually don't get writer's credits, or we don't know about it, or we usually don't get confused by a poorly designed album booklet... So there was a point of getting this straight with Feldmann, but it should have been over after the above 3 facts. Everything was said a week ago...)

These facts does not prove that Feldmann was an active writer. He more likely wrote tiny bits of the songs (just like every other producer; as we said earlier). People usually don't consider this as writing, because it's just a producer thing. If we are talking about this (tiny bits), then yes, feldmann wrote things on this album... (And Jerry Finn wrote the same kind of things on the previous albums.)

But this Oliver guy does not talk about this. He's freaking out, implying that Feldmann had the biggest impact on the songs, he wrote complete verses or choruses... There is no hint of this. And if there's no hint of this, there's no point of talking about Feldmann as a songwriter on this album. He's not one. He's the producer.

 

Seriously: why do you want to call him a songwriter? I have a feeling that your only intention is spreading negativity. You just want others to see this album more negatively. Having a "ghostwriter" in your shady story would be perfect to achieve this. But why do you want it? If you don't like this album, don't listen to it. Why is it necessary for you to turn others to your side, make them think the same stupid theory? Are you unable to not like an album alone? That's why I think you are fucking pathetic.

If you would be a normal person, you wouldn't care about it at all. "I think Feldmann's impact is too much for me, I don't like this record. That's it." There's no need of finding evidences pro or contra about Feldmann and his writing credits, because it won't change a thing. So just stop it. As long as you complain about your stupid theory that "Feldmann is a writer, hurr durr", someone will said the opposite (because that someone is right according to the facts). As soon as you shut up about it, no one will talk about "Feldmann is not a writer". So just calm down and leave this topic.

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3 hours ago, Olidamus said:

So I figured out why I detest Sober so much. It is such a cheap song with lazy writing.

"I know I messed up and it might be over, let me call you when I am sober.”

 

Did you know that is essentially the melody for the entire song? Over and over and over; just presented a different way. Handclaps, echo effects, etc. The verse, the chorus, and the NA NA NA's. That's it. With the exception of the very small section.

“Because I bet you, couldn’t knock me out….”

 

Could be one of Blink’s worst songs, the lyrics are abysmal and the song is such prepackaged shit.

Well lucky for you it wasn't actually written by Blink 

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22 minutes ago, Harry Potter. said:

I agree about objectively good music, I just said it because you were hating on whoever didn't enjoy the album much. Sure it garnered generally positive reviews, but at 63 on Metacritic, it was the worst-reviewed album that week. Most reviews were mixed, its score was only pulled up by some inconsistent sources like Rock Sound, which almost never gives anything below a 7, and other biased examples like Kerrang or Alternative Press.

Metacritic Scores are a decent way to look at the culmination of reviews, but it's inherently flawed.  They weigh letter grades in a way that I'm certain most reviewers don't intend for their scores to actually reflect the album's score.  For example, AV Club gave California a C-, but the way that Metacirtic works, they translate that score as a 42 because they weigh each grade evenly, despite the fact that in nearly every school, an F covers every grade from 0-50.  Tell me, did you ever get a 42% on something and receive a C-?  Probably not, most everywhere, that's going to be an F.  Now the letter scores aren't so much a problem when he reviewer gives a higher letter score, as the scores get closer and closer to reflecting the actual score associated with that letter score as you would in school.  Beyond that, you compare to other blink albums on Metacritic across all these same professional organizations and you think you have an equal way of comparing because they're the same organizations, but most of them are being reviewed by completely different people at those organizations than those that reviewed previous albums (true for any band), so there isn't any real consistency.  I'd be much more interested to see what all the same professional reviewers (not organizations) that reviewed Untitled feel about California, it could still end up being 63, or it could be closer or even higher than Untitled.

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Just now, Ghent said:

huh? i post all day M-F no matter what. this is just the topic at hand currently.

Well I'm just saying. I don't think that behavior (I include myself) is that different from people who dislike the album. Obviously they care about blink and wouldn't be here if they didn't. Anybody posting on here is just as weird as the next if it's actually about the album.

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Great post Zoltan!

It just cracks me up how everyone here collectively yearned for a producer for many years. We finally get one. The end product is great and shows what positive effects a producer has.......and then a contingent of people here start freaking the fuck out for a producer having done producer-ish things on a blink album. As if blink-182's creative genius is being tampered with just because they've done what they've done on most of their album releases: used a producer.

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They literally just got in a room together and worked on ideas for new songs. Even Patrick Stump came in the room once and came up with ONE LINE and was credited for writing. 

So, by THAT logic and facts, Feldmann came up with only one line in each song. I don't necessarily believe that but that's just as firm of facts as anything thrown out there..

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4 minutes ago, Nshesaid said:

They literally just got in a room together and worked on ideas for new songs. Even Patrick Stump came in the room once and came up with ONE LINE and was credited for writing. 

So, by THAT logic and facts, Feldmann came up with only one line in each song. I don't necessarily believe that but that's just as firm of facts as anything thrown out there..

For the last time, I think I've said it five times in this thread already, Stump also helped write the bass line.

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4 minutes ago, Ghent said:

Great post Zoltan!

It just cracks me up how everyone here collectively yearned for a producer for many years. We finally get one. The end product is great and shows what positive effects a producer has.......and then a contingent of people here start freaking the fuck out for a producer having done producer-ish things on a blink album. As if blink-182's creative genius is being tampered with just because they've done what they've done on most of their album releases: used a producer.

Well we wanted a good producer, or at least one that didn't try to make this kind of record. Honestly I don't blame Feldmann, I blame Mark, Travis, and maybe Matt. I'm just Matt is just happy to be there and contribute. They let Feldmann make that record that way.

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4 minutes ago, _Kyle_ said:

Neighborhoods is great. Just wish they had a better working relationship for that one.

It's not bad, but has plenty of flaws and a few tracks I just don't like.  Gets more shit these days than it deserves, but it still left me ultimately feeling a bit disappointed.  Not feeling that way this time around.

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14 minutes ago, M!ke said:

It's not bad, but has plenty of flaws and a few tracks I just don't like.  Gets more shit these days than it deserves, but it still left me ultimately feeling a bit disappointed.  Not feeling that way this time around.

Everyone fucking rimmed Neighborhoods when it come out, now it's shit/disappointing. I can see it happening already, blink will release a more mature album in a few years time and everyone will say the exact same thing about California. 

Not saying that's you, or anyone in particular but this place is littered with fickle fanboys. 

And as I've said before, I don't think California is a bad album, I actually think it's a pretty fun listen but for me it is nowhere near the masterpiece that some people here make out it is. It's a 7/10 album, can't fathom the people who think it's up there with Blink's best work. 

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1 hour ago, Champ182 said:

Sorry guys, but some of you just don't understand how the music industry works. I don't mean that as a diss, it's just a weird business. A keyboard player does not get a songwriting credit for just playing the keyboard. Generally you need to have contributed a "critical part of the song's structure, melody, or lyrics." Additional instrumentation, even a guitar solo over an existing song, does not count as songwriting.

Anyway, you can check out Blink's songwriting credits HERE (link)

Just going through quickly it looks like the only times anyone was given a songwriting credit other than the band was on California tracks (including Hey I'm Sorry), The Fallen Interlude, and songs with featured guests like Pretty Little Girl and All Of This.

Just have to repost this since it obviously got buried at the end of a page. @Zoltan add this to your list of Facts We Have. He does have actual songwriting credits, and that is something unique in Blink 182 history.

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I don't believe anyone here thinks California is a masterpiece, most of us like it as a fun summer album. Which is obviously what it aims to be. The arguing that's happening here comes from Oliver baiting everyone with his Feldmann nonsense. And frankly it's starting to get old.

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