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31 minutes ago, Cheerios4u98 said:

A true, honest collaboration between Mark, Tom, and Travis could still be magical. None of this recording in separate studios or rushing out an EP to appease Tom bullshit. No getting other people to write their music. If Mark and Tom really worked together I have no doubt they could still make something amazing.

I just don't see it ever happening. At least not in the foreseeable future.

This equally haunts and frustrates me. Stubbornness at its finest. And if it does ever happen I reckon they'll be pushing 60 years old and no one will give a fuck.

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54 minutes ago, Cheerios4u98 said:

A true, honest collaboration between Mark, Tom, and Travis could still be magical. None of this recording in separate studios or rushing out an EP to appease Tom bullshit. No getting other people to write their music. If Mark and Tom really worked together I have no doubt they could still make something amazing.

I just don't see it ever happening. At least not in the foreseeable future.

I still think of all the wasted/missed opportunities and the could have beens. The reunion just wasn't meant to be because Mark and Tom never really managed to work out their problems and make any serious attempt at working together in a time span of 6 years. 

 

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I'm still trying to figure out how Alkaline Trio are the same as Green Day in terms of guitar playing. I don't see how the way Skiba plays Blue In The Face, Continental, Private Eye, Blue In The Face or Hell Yes, for example, has any ressemblance with... I don't know... Basket Case or When I Come Around.

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5 hours ago, Cheerios4u98 said:

A true, honest collaboration between Mark, Tom, and Travis could still be magical. None of this recording in separate studios or rushing out an EP to appease Tom bullshit. No getting other people to write their music. If Mark and Tom really worked together I have no doubt they could still make something amazing.

I just don't see it ever happening. At least not in the foreseeable future.

I think at this point we've built it up in our heads too much.

If Tom came back and was like 'lets lock ourselves in a house for a year and really work on a record we all love and hang out and reunite and stuff" and they were all like "Yeah!" and got a decent producer on board, the end result could easily still suck.

We don't have Jerry, Tom's voice is wrecked, they're all getting quite damn old ... I think it's all just gone. they probably would make something easily better than California, but I think Neighborhoods level is the best you'd get out of them at this point. 

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1 hour ago, Ghent said:

I think if Feldmann produced Mark, Tom, and Travis there would be some magic again

It could be interesting, I think his energy/enthusiasm would definitely do them a lot of good behind the scenes. As long as he kept his role to just recording the music the 3 of them write, and keeping the sessions fun and lively, he could have a good role. If he tried to write with/for them I'd be out on that idea of course. I'm also not a fan of the general guitar/drums/autotune sounds he prefers at all but if he gave the band some more leeway on that stuff too instead of just running it through his presets it could sound more raw.

So basically I think he would be useful as like the guy running the booth, pushing for better takes, keeping the energy up and the ideas tight and keeping his ear on the pop accessibility (since that's obviously become more important to them lately). Anything beyond that though, I can't say I see a positive outcome. It would take a LOTTTT more trust and goodwill on all sides than we've seen since 2005 though, for it to happen at all. Mark, Tom and Feldy's egos would all have to be checked in one way or another. I'd definitely be really intrigued though that's for sure haha either it works and it's awesome or it's an incredible trainwreck.

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23 minutes ago, Ghent said:

I think if Feldmann produced Mark, Tom, and Travis there would be some magic again

I think out of all the different scenarios of blink working as a band, this would be the most unlikely outcome. Feldman and Tom would probably clash way too much. We all know Tom no matter what will always try push blink into doing some experimental or more weird stuff whereas Feldman just won't allow it outside of like 2-3 songs. Mark and Travis always kept Tom a bit more down to earth but even those two have been more experimental in the past 15 years.

Tom also isn't someone who likes rushing songs either based on documentaries, and videos of him in the studio in recent years. I mean he did that with Neighborhoods, but Tom would treat it the same way. He'd just mail in finished songs and just let Mark and Travis do whatever. He just wouldn't care. It'd probably have to be under a different producer where Tom would bother.

Still can't understand why Tom couldn't "commit". It's not like he's been working on anything major in the past few years outside of music. I mean he has people writing his books for him. Literally all the non-musical stuff is Tom letting other people take the reigns and helping him expand on his ideas. I just find it stupid how he can't spend 6 months working with Mark and Travis. Is it really hard for him to spend like 2-4 days a week or 5 days every 2 weeks working on blink music for 6 months? He could still focus on his family and other projects and other shit like that on the other days.

Funny thing is Mark and Tom seem to get along perfectly fine when they're with each other too. Cracking up jokes and shit like that it seems. Then when they go back to their families and other projects, Tom just becomes distant. I don't get that. I have a feeling Mark probably got offended that Tom ignored a text message or two, then just never tried contacting him, then left all the managers to handle upcoming tours/gigs and shit like that. Then Tom would turn up, and it'd be a repeat when they finished the tour again. They're both stubborn as fuck. Just gotta talk it out.

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12 hours ago, Feeling_This_1 said:

Lycanthrope, Baby Come On, Heart Stops Beating, 155, No it Isnt, Make you Smile are the best songs to me. Imagine if we could combine that with even the most recent Ava stuff like Wolfpack and Overload. Tom obviously still has it. He's just never at his best being the dictator leader. That might work in Ava, but Mark and Travis are on another level of talent than those guys

All of these songs are phenomenal. Would much prefer to have a send +44 record rather than a Feldmann featuring Mark Hoppus record.

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8 hours ago, Ghost said:

I'm still trying to figure out how Alkaline Trio are the same as Green Day in terms of guitar playing. I don't see how the way Skiba plays Blue In The Face, Continental, Private Eye, Blue In The Face or Hell Yes, for example, has any ressemblance with... I don't know... Basket Case or When I Come Around.

Its just that those 2 bands songs are based around different chords and power chords, but Tom uses single note riffs on most of the signature blink songs. He's also a very fast down picker, which has a distinct sound

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1 hour ago, Feeling_This_1 said:

Its just that those 2 bands songs are based around different chords and power chords, but Tom uses single note riffs on most of the signature blink songs. He's also a very fast down picker, which has a distinct sound

Tom uses the same patterns as Green Day or Alkaline Trio in terms of using chords or power chords to build the bare bones of the songs, but adds some riffs that make them unique.

I mean, it's like some of you are picturing Tom as a total mastermind behind songwriting, as if blink was the ultimate original band which has nothing to do with Green Day or Alkaline Trio, when they are pretty much the same thing, although the little details are the ones who may differ -and, of course, add that kind of 'signature' to the sound-.

But again, I don't see any ressemblance between Alkaline Trio and Green Day or blink. I can't see any blink or Green Day in You're Dead, Blue In The Face, Continental, Private Eye, We Have Had Enough, Hell Yes, and on, and on.

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30 minutes ago, Ghost said:

Tom uses the same patterns as Green Day or Alkaline Trio in terms of using chords or power chords to build the bare bones of the songs, but adds some riffs that make them unique.

I mean, its like some of you are picturing Tom as a total mastermind behind songwriting, as if blink was the ultimate original band which has nothing to do with Green Day or Alkaline Trio, when they are pretty much the same thing, alhough the litle details are the ones who may differ -and, of couorse, add thatk ind of 'signature' to the sound.

But again, I don't see any ressemblance between Alkaline Trio and Green Day or blink. I can't see any blink or Green Day in You're Dead, Blue In The Face, Continental, Private Eye, We Have Had Enough, Hell Yes, and on, and on.

I might be confused about what you're arguing, but I think people mostly just say that Tom is known for his distinct melodic riffs that serve as a main hook of most Blink songs. Green Day and Alkaline Trio have some songs that use melodic riffs like that, but for the most part they both veer more toward straight power chords or little chord variations that add some texture to the song but don't serve as a main melody the way that Tom's do.

Then again, your post says they're all "pretty much the same thing" but then later you say you don't see any resemblance between any of them haha so I'm not sure exactly what you mean to say here.

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Its not that Tom's a genius, its that Skiba and Billie Joe have a completely different playing style and are closer to each other than they are to Tom. Think of all the great Alk 3 and Green Day songs...they dont use Tom style riffs. Its all chord variations. Obviously the bands don't sound similar, but the guitar style is. 

Sum 41 is a closer guitar playing style to blink since they actually use little riffs on a lot of songs

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8 hours ago, Kay said:

I think at this point we've built it up in our heads too much.

If Tom came back and was like 'lets lock ourselves in a house for a year and really work on a record we all love and hang out and reunite and stuff" and they were all like "Yeah!" and got a decent producer on board, the end result could easily still suck.

We don't have Jerry, Tom's voice is wrecked, they're all getting quite damn old ... I think it's all just gone. they probably would make something easily better than California, but I think Neighborhoods level is the best you'd get out of them at this point. 

I think they could still make something great. I like Neighborhoods and I love DED and both were created under fairly shitty circumstances. I think if the collaboration was genuine and the environment was ideal, they could make something really awesome.

But it is kind of pointless to speculate. In no way do I see this as a realistic possibility.

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1 hour ago, Feeling_This_1 said:

Its just that those 2 bands songs are based around different chords and power chords, but Tom uses single note riffs on most of the signature blink songs. He's also a very fast down picker, which has a distinct sound

I legitimately takes me a few days of practice to approach Tom's down-picking speed, if I haven't played the guitar in a while.

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36 minutes ago, Champ182 said:

I might be confused about what you're arguing, but I think people mostly just say that Tom is known for his distinct melodic riffs that serve as a main hook of most Blink songs. Green Day and Alkaline Trio have some songs that use melodic riffs like that, but for the most part they both veer more toward straight power chords or little chord variations that add some texture to the song but don't serve as a main melody the way that Tom's do.

Then again, your post says they're all "pretty much the same thing" but then later you say you don't see any resemblance between any of them haha so I'm not sure exactly what you mean to say here.

Yeah, explained myself like shit. Sorry, hahaha.

In the bare bones, the three of them are the same thing: power chords as the basics for their songs. The main backup for all the melody is that: power chords.

But then, the melodies differ, of course, and also the arrangements which every band uses. And then we have the point in which I don't see any ressemblance. To follow the Alkaline Trio / Blink-182 examlpe: I think it's clear Tom used lots of single note riffs that, a lot of times, were the foundation of the vocal melodies. That was a signature thing, just the style of them and how they matched some melodies. On the other side, Matt Skiba has a different way to do his 'signatre' shit. So if you take Hell Yes, Radio, Continental, The Poison, You're Dead or Sadie, for example, you won't find any riff like Tom's ones, but there are definitely some kind of patterns that work as riffs or are riffs themselves. Sadie's intro and verses are not power chords, You're Dead octaves on the intro work as a kind of riff too, which repeats laetly with the backgroun power chords as 'bed' for the song.

My point: I don't see Alkaline Trio as a power chords only based band a la Ramones. They have other elements.

Also, on the Billie Joe side, his playing is more basic, generally speaking, on Green Day. On their peak (Dookie-Insomniac), they were pretty uch doing the same thing that Ramones did back in the day.

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1 minute ago, Ghost said:

Yeah, explained myself like shit. Sorry, hahaha.

In the bare bones, the three of them are the same thing: power chords as the basics for their songs. The main backup for all the melody is that: power chords.

But then, the melodies differ, of course, and also the arrangements which every band uses. And then we have the point in which I don't see any ressemblance. To follow the Alkaline Trio / Blink-182 examlpe: I think it's clear Tom used lots of single note riffs that, a lot of times, were the foundation of the vocal melodies. That was a signature thing, just the style of them and how they matched some melodies. On the other side, Matt Skiba has a different way to do his 'signatre' shit. So if you take Hell Yes, Radio, Continental, The Poison, You're Dead or Sadie, for example, you won't find any riff like Tom's ones, but there are definitely some kind of patterns that work as riffs or are riffs themselves. Sadie's intro and verses are not power chords, You're Dead octaves on the intro work as a kind of riff too, which repeats laetly with the backgroun power chords as 'bed' for the song.

My point: I don't see Alkaline Trio as a power chords only based band a la Ramones. They have other elements.

Also, on the Billie Joe side, his playing is more basic, generally speaking, on Green Day. On their peak (Dookie-Insomniac), they were pretty uch doing the same thing that Ramones did back in the day.

Ok yeah that makes total sense! Side note - have you checked out Green Day's super early stuff? It's incredible how Billie used to shred back then haha

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16 hours ago, Champ182 said:

Ok yeah that makes total sense! Side note - have you checked out Green Day's super early stuff? It's incredible how Billie used to shred back then haha

Yeah, of course! And it's awesome. The first EPs (compiled later on the 39/Smooth), are pure awesomeness. And also it is Kerplunk! (in fact I can't tell if I like more Dookie or Kerplunk!). I had an obsessive period with Green Day back in the day, haha. Billie Joe is a bigger guitar player than he shows on his band, and, basically, he drinks from old rock 'n' roll, but I was talking thinking more in the most GD popular years.

 

15 hours ago, Nasa said:

Green Day's early stuff is awesome. I was listening to 39/Smooth the other day and had forgotten how sharp the melodies were.

Hell yes.

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