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54 minutes ago, Ry-Bread said:

And just think, the stuff they had written before wasn't even close enough to this to even bother recording properly or borrow a verse from...lol.

It was scrapworthy, they all thought so, and so did Feldmann. There's a reason it's rotting on a hard-drive, which is my only point. 

Yeah, we've all thought of it. There's many reasons why they haven't revisited, many of which Mark and Feldman have confirmed.

Not sounding like "blink" were Feldman's reasons

Revisiting songs that were written in the past is something Mark avoids, which he's confirmed himself

All the other reasons, we'll never know. But you can't say they were crap songs. We can't say they were amazing either. But it's highly likely they would've been a lot of very good songs considering Mark rarely got it wrong before the release of California and Skiba is a damn good songwriter. There would've been a few crap on there too. But it would've been more honest and genuine than California.

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1 minute ago, Nosferatu said:

Revisiting songs that were written in the past is something Mark avoids, which he's confirmed himself

You realize that "in the past" would've been like, a day or two prior right? Like a few months at most? That's not real far in the past lol. They got in Feldy's studio and the stuff they made blew anything they had made prior out of the water, which is why those made Cali+DLX, and 99.9% of anything prior never saw the light of day. It's pretty simple, conspiracies aside.

If they had Stairway to Heaven, they wouldn't have ditched it for Teenage Satellites and BTD Acoustic. If there was ONE good guitar riff, it would've been kept, any decent chorus/verses would've been salvaged. They chose basically nothing, which says it all. 

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18 minutes ago, Ry-Bread said:

You realize that "in the past" would've been like, a day or two prior right? Like a few months at most? That's not real far in the past lol. They got in Feldy's studio and the stuff they made blew anything they had made prior out of the water, which is why those made Cali+DLX, and 99.9% of anything prior never saw the light of day. It's pretty simple, conspiracies aside.

If they had Stairway to Heaven, they wouldn't have ditched it for Teenage Satellites and BTD Acoustic. If there was ONE good guitar riff, it would've been kept, any decent chorus/verses would've been salvaged. They chose basically nothing, which says it all. 

Yeah, no shit. When i say in the past, i don't mean past 2 days. They recorded these demos around September/October of 2015. Feldman was onboard in January 2016 and convinced them to start from scratch as they weren't "blink" sounding to him. Fast forward to the DLX, which was recorded February/March 2017 and released in May of the same year, Mark had an interview shortly after. He said there's loads of songs that he had written for California and could release them if he wished, but by the time they'd release them, they'd already feel like old songs for him. The demos at that point were almost 2 years old. Pretty far in the past to me.

And yeah they would've ditched a song like Stairway to Heaven. Highly doubt blink fans wanna listen to a long ass 8 minute track that isn't pop punk or punk rock. Doesn't matter how legendary the song is. Could've at least mentioned Jesus of Suburbia. But blink aren't that kind of band at all. They won't take that risk. Mark doesn't have the balls. Maybe under Tom had they kept together instead of breaking up in 2005 they would've released some AVA/blink styled rock opera but that's a different topic.

The songs weren't scrapped because they weren't good. They've already explained why they didn't revisit or choose them.

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13 minutes ago, Ry-Bread said:

You realize that "in the past" would've been like, a day or two prior right? Like a few months at most? That's not real far in the past lol. They got in Feldy's studio and the stuff they made blew anything they had made prior out of the water, which is why those made Cali+DLX, and 99.9% of anything prior never saw the light of day. It's pretty simple, conspiracies aside.

If they had Stairway to Heaven, they wouldn't have ditched it for Teenage Satellites and BTD Acoustic. If there was ONE good guitar riff, it would've been kept, any decent chorus/verses would've been salvaged. They chose basically nothing, which says it all. 

So you believe mark Matt and Travis can’t write a good song together without the help of songwriters?

There is definitely a chance that when Feldman came in they were made to drop all those songs written before him and start completely fresh in order for him to help write and promote the album. We’ve barely heard a word from Feldman in the last few months. I don’t think I’ve heard him mention BIOMY at all. And that’s probably because he had nothing to do with it.

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These short little clips are 100 times better than Parking Lot and Wildfire. Unreleased tracks. These were all recorded before Tom quit again though. Built This Pool cannot count though. That was never meant to be a song in the first place. Feldman found it funny when he first heard it. Glad they released that.

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5 minutes ago, Nosferatu said:

They recorded these demos around September/October of 2015. Feldman was onboard in January 2016 and convinced them to start from scratch as they weren't "blink" sounding to him. Fast forward to the DLX, which was recorded February/March 2017 and released in May of the same year, Mark had an interview shortly after. He said there's loads of songs that he had written for California and could release them if he wished, but by the time they'd release them, they'd already feel like old songs for him. The demos at that point were almost 2 years old. Pretty far in the past to me.

So yeah, a whopping 2 months....again, if there was ANYTHING worth keeping, they would've. (They proved this with "Hey I'm Sorry" which wasn't even good enough to make the main album). Feldy was not holding them at gunpoint saying "That's all Alk3/+44 crap, you're ditching all of it."

Your DLX point is the entire reason they released DLX, which contained mostly songs from the original California sessions with Feldy that they had already been sitting on a year. 

8 minutes ago, Russel Coight said:

So you believe mark Matt and Travis can’t write a good song together without the help of songwriters?

There is definitely a chance that when Feldman came in they were made to drop all those songs written before him and start completely fresh in order for him to help write and promote the album.

I believe they write good songs right now, and that the "co-writers" have relatively little to do with any of it. There is a reason I don't like any of these "co-writer's" bands, yet love Blink...because it's Mark/Matt primarily writing IMO.

Feldy has said his favorite artists to work with are ones who are good songwriters. He doesn't WANT to write people's albums for them, it's much easier when they do it all and he can just help them with ideas or challenge them. They got in the studio with him and it just clicked and the rest is history. If they had good songs up front, he could've cleaned them up, got his credits, and been on his way. But none were even worth taking a VERSE or CHORUS from...none even had a better guitar riff than KOTW ffs...

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The demo recorded before Cali is absolutely amazing. The best thing they ever did, including Flyswatter! 

 

It's a shame they didn't use one riff or idea from that masterpiece on California. The album would have been so much better. It really showed what Mark and Matt could accomplish together. All my favorite songs are on that album. I just wish I could hear them some day. 

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22 minutes ago, Ry-Bread said:

You realize that "in the past" would've been like, a day or two prior right? Like a few months at most? That's not real far in the past lol. They got in Feldy's studio and the stuff they made blew anything they had made prior out of the water, which is why those made Cali+DLX, and 99.9% of anything prior never saw the light of day. It's pretty simple, conspiracies aside.

If they had Stairway to Heaven, they wouldn't have ditched it for Teenage Satellites and BTD Acoustic. If there was ONE good guitar riff, it would've been kept, any decent chorus/verses would've been salvaged. They chose basically nothing, which says it all. 

I guess it depends on how much you want to take at face value, if you think it's as simple as "whatever made the albums must have been the best they could do" then it makes sense, but I don't think that's necessarily how it went down. They definitely weren't satisfied with what they came up with pre-Feldy, but that doesn't mean it wasn't good or that none of it even reached the levels of the worst songs on Cali or Deluxe. I think it was more of a decision to start from scratch.

It's always been pretty clear that Feldmann helped them decide to wash their hands of those sessions completely, think of them as practice for the real thing, and start totally fresh once they started working together in his studio. By the time they were writing/recording Deluxe they were well on their way to thinking of Blink as this new thing that they created/rediscovered with Feldmann's guidance, I don't think they would've even had any interest in revisiting more songs from the pre-Feldy sessions. They just figured they were all feeling more comfortable and ready to keep moving onto the next era rather than trying to salvage songs they made before they found their vibe for the "New Blink".

But I don't personally think that means those songs weren't good songs. Maybe they were a mess, maybe there's some cool stuff in there, I'd love to find out haha.

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8 minutes ago, Ry-Bread said:

So yeah, a whopping 2 months....again, if there was ANYTHING worth keeping, they would've. (They proved this with "Hey I'm Sorry" which wasn't even good enough to make the main album). Feldy was not holding them at gunpoint saying "That's all Alk3/+44 crap, you're ditching all of it."

Your DLX point is the entire reason they released DLX, which contained mostly songs from the original California sessions with Feldy that they had already been sitting on a year. 

I believe they write good songs right now, and that the "co-writers" have relatively little to do with any of it. There is a reason I don't like any of these "co-writer's" bands, yet love Blink...because it's Mark/Matt primarily writing IMO.

Feldy has said his favorite artists to work with are ones who are good songwriters. He doesn't WANT to write people's albums for them, it's much easier when they do it all and he can just help them with ideas or challenge them. They got in the studio with him and it just clicked and the rest is history. If they had good songs up front, he could've cleaned them up, got his credits, and been on his way. But none were even worth taking a VERSE or CHORUS from...none even had a better guitar riff than KOTW ffs...

Man... Is it hard to not accept that blink simply didn't use them songs for the first album cause they WEREN'T blink sounding? Feldman CONFIRMED that he said they weren't blink sounding. Just simply research it. We aren't coming up with the gunpoint fanfiction crap. As for the whole point of the DLX, they explained all the songs track by track. Only Hey I'm Sorry made the cut. That was the one for some strange reason they decided to revisit and it was released a year beforehand. All the other tracks weren't older songs. Mark has confirmed AFTER the release of the DLX that he doesn't really like to revisit the old songs. At that point, those 2015 demos were 2 years old. Not 2 months.

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2 minutes ago, Ry-Bread said:

So yeah, a whopping 2 months....again, if there was ANYTHING worth keeping, they would've. (They proved this with "Hey I'm Sorry" which wasn't even good enough to make the main album). Feldy was not holding them at gunpoint saying "That's all Alk3/+44 crap, you're ditching all of it."

Your DLX point is the entire reason they released DLX, which contained mostly songs from the original California sessions with Feldy that they had already been sitting on a year. 

I believe they write good songs right now, and that the "co-writers" have relatively little to do with any of it. There is a reason I don't like any of these "co-writer's" bands, yet love Blink...because it's Mark/Matt primarily writing IMO.

Feldy has said his favorite artists to work with are ones who are good songwriters. He doesn't WANT to write people's albums for them, it's much easier when they do it all and he can just help them with ideas or challenge them. They got in the studio with him and it just clicked and the rest is history. If they had good songs up front, he could've cleaned them up, got his credits, and been on his way. But none were even worth taking a VERSE or CHORUS from...none even had a better guitar riff than KOTW ffs...

Praise the feldlord, let his flesh be in our bread and his blood be in our strawberry daiquiri. 

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1 minute ago, Nosferatu said:

Man... Is it hard to not accept that blink simply didn't use them songs for the first album cause they WEREN'T blink sounding? 

Yes, it is for me, when the albums contained: Los Angeles, Sober, HISALP, California, Last Train Home, Long Lost Feeling, Bottom of the Ocean ,etc. which couldn't be much more "non blink sounding" than a +44/Alk3 mashup...

Songs they wrote in Jan 2016 made DLX, October 2015 wouldn't have been much different, if they were worthy. 

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I love everyone here but sometimes I wonder if the cali lovers ever sit in their dm chat groups and come up with ways to cover and defend everything the band does/has done since Tom left so they will always have answers to those who complain. 

We know they ditched those songs just because they wanted to start from scratch with Feldy and see what was going to happen from there. But they definitely weren't bad songs, some of them probably weren't going anywhere but most of them must have been great. But we'll never know because we'll never get to hear them, so just relax. 

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20 minutes ago, Ry-Bread said:

Yes, it is for me, when the albums contained: Los Angeles, Sober, HISALP, California, Last Train Home, Long Lost Feeling, Bottom of the Ocean ,etc. which couldn't be much more "non blink sounding" than a +44/Alk3 mashup...

Songs they wrote in Jan 2016 made DLX, October 2015 wouldn't have been much different, if they were worthy. 

HISALP sounds exactly like a blink acoustic song. Long Lost Feeling kinda has BCR vibes in the verses and has the blink STFTK/Adams Song/Bored to Death style of guitars.  Los Angeles actually sounds like a blink song in progression. The intro of it isn't that different from FTG, just a faster and more poppy and heavier version. The bridge of it is vintage blink. Last Train Home was probably there to keep Skiba happy since he shines on that song and has more charge in it than most. Bottom of the Ocean sounds like Mark continuing that FTG/Los Angeles/+44 electronic sound. Don't even need to explain why Sober was there. That was a hit in the making despite it being a shit song.

This below is why they ignored most of the older songs.

Quote

 

Why did you decide to release these new 11 songs as a deluxe version of California versus an entirely album?

MH: We still felt that this was part of the California sessions and the California album cycle. When we first went into finish up the deluxe, we thought we were going to finish recording the songs we had leftover and maybe in the studio write a couple extra songs. But by the end of it we had basically another whole album, yet California is still going on its own. At one point we entertained the thought of “Let’s do three or four more songs on this and then save these other eight songs as the foundation for the next record.” But the next record won’t come out for another year, and we didn’t want to sit on eight songs for a year because at that point we might get bored of them. And we want to give people value for money.

 

Mark simply doesn't like revisiting older songs. As a songwriter, I know the feeling. I don't wanna go back to a song I wrote 2 years ago as I feel they aren't fresh or new.

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1 minute ago, Nosferatu said:

Why did you decide to release these new 11 songs as a deluxe version of California versus an entirely album?

MH: We still felt that this was part of the California sessions and the California album cycle. When we first went into finish up the deluxe, we thought we were going to finish recording the songs we had leftover and maybe in the studio write a couple extra songs. But by the end of it we had basically another whole album, yet California is still going on its own. At one point we entertained the thought of “Let’s do three or four more songs on this and then save these other eight songs as the foundation for the next record.” But the next record won’t come out for another year, and we didn’t want to sit on eight songs for a year because at that point we might get bored of them. And we want to give people value for money.

Nice work finding that quote,  there's always been confusion around that album with people thinking they were leftover tracks or b-sides when it was actually new material for the most part. That quote is why I've always considered them to be two separate albums.

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2 minutes ago, Champ182 said:

Nice work finding that quote,  there's always been confusion around that album with people thinking they were leftover tracks or b-sides when it was actually new material for the most part. That quote is why I've always considered them to be two separate albums.

Yeah exactly. I remember them seeing they weren't allowed to release a new album because of the contract with the label. They were still in the California cycle. They just took advantage of it and called it the DLX version when really it's another album. Mark himself has also said this.

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3 minutes ago, Nosferatu said:

Mark simply doesn't like revisiting older songs. As a songwriter, I know the feeling. I don't wanna go back to a song I wrote 2 years ago as I feel they aren't fresh or new.

This has nothing to do with the fact that in January 2016, they could've continued Pre-Feldy material with Feldy instead of knocking out 30+ new songs. Hell salvage 2, maybe even 3 if they were decent? Let Feldy work his magic and re-work them if needed. 

But nothing, short of parts of "Hey I'm Sorry" made it. These are the facts. I know if I had written something even halfway decent that I believed had potential, I would've pushed to continue working on it or even just taken parts from it. Collectively, they decided none of that material was even worth bringing to a donut session for the new Blink album. In the studio from 5am-2am for 3 months, and none of that stuff was even worth re-recording at Feldy's... 

I know it seems crazy to think that Mark/Matt couldn't write some great tunes, but I don't think those demos were very good, and neither did they.

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Just now, Ry-Bread said:

This has nothing to do with the fact that in January 2016, they could've continued Pre-Feldy material with Feldy instead of knocking out 30+ new songs. Hell salvage 2, maybe even 3 if they were decent? Let Feldy work his magic and re-work them if needed

But nothing, short of parts of "Hey I'm Sorry" made it. These are the facts. I know if I had written something even halfway decent that I believed had potential, I would've pushed to continue working on it or even just taken parts from it. Collectively, they decided none of that material was even worth bringing to a donut session for the new Blink album. In the studio from 5am-2am for 3 months, and none of that stuff was even worth re-recording at Feldy's... 

I know it seems crazy to think that Mark/Matt couldn't write some great tunes, but I don't think those demos were very good, and neither did they.

Indeed. Except it has everything to do with the fact that they weren't blink sounding songs. Interviews confirmed it. Feldman has confirmed it.

Quote

"We were doing this for several months. The songs were good. It was cool but it didn't sound like Blink. The songs I was bringing in sounded like [Alkaline Trio]."

Quote

FUSE: What's working on the new album been like?
Feldmann: There was a task at hand. It's a new version of Blink, so it can't be Alkaline Trio. It can't be a Blink cover band with Matt [Skiba] trying to sound like Tom [DeLonge] and me trying to recreate something. It needed to be something in the new zone, a new band, but keep the legacy going because I love Blink. I want that fun. My wife said early on, 'When I think of Blink, I think of going to have a good time and partying and having a great, fun show.' Keeping that essence of her being a fan, I wanted to have all that. It's been a great experience, overall, positive.

Quote

We started all songs from scratch, because I did not want to go in and try to rebuild pieces of art that already existed. I don’t think Mark, Matt and Travis are capable of writing bad songs, what with all the experience between them, but the songs Matt had written sounded like Alkaline Trio, and the songs Mark was singing like [Barker and Hoppus’s side project] +44. None of it sounded like Blink. My job was to bring them back to who they were, which is the pop-punk band of 20-odd years ago.”

Feldman wanted a fun upbeat summer album. Mark & Skiba were probably writing very dark & depressing +44/Alkaline Trio stuff that wasn't radio friendly at all. The verses of Hey I'm Sorry although amazing are bleak as hell. They liked the songs. They found them worthy. They just didn't fit their ideas of what blink should sound like.

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6 minutes ago, Nosferatu said:

Indeed. Except it has everything to do with the fact that they weren't blink sounding songs. Interviews confirmed it. Feldman has confirmed it.

Feldman wanted a fun upbeat summer album. Mark & Skiba were probably writing very dark & depressing +44/Alkaline Trio stuff that wasn't radio friendly at all. The verses of Hey I'm Sorry although amazing are bleak as hell. They liked the songs. They found them worthy. They just didn't fit their ideas of what blink should sound like.

I ran out of likes but I agree with your side 100%.

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40 minutes ago, Ry-Bread said:

So yeah, a whopping 2 months....again, if there was ANYTHING worth keeping, they would've. (They proved this with "Hey I'm Sorry" which wasn't even good enough to make the main album). Feldy was not holding them at gunpoint saying "That's all Alk3/+44 crap, you're ditching all of it."

Your DLX point is the entire reason they released DLX, which contained mostly songs from the original California sessions with Feldy that they had already been sitting on a year. 

I believe they write good songs right now, and that the "co-writers" have relatively little to do with any of it. There is a reason I don't like any of these "co-writer's" bands, yet love Blink...because it's Mark/Matt primarily writing IMO.

Feldy has said his favorite artists to work with are ones who are good songwriters. He doesn't WANT to write people's albums for them, it's much easier when they do it all and he can just help them with ideas or challenge them. They got in the studio with him and it just clicked and the rest is history. If they had good songs up front, he could've cleaned them up, got his credits, and been on his way. But none were even worth taking a VERSE or CHORUS from...none even had a better guitar riff than KOTW ffs...

So the only time mark and Matt were unable to write good songs in there 20+ year careers  was when they first got together? And then it just magically clicked when feldy showed up? Nope. Sorry don’t believe it. 

What is far more likely is that these songs just had no Cohesiveness with each other. They were alkaline trio songs featuring mark hoppus and +44 songs featuring Matt Skiba. Feldman saw this and told them and the band agreed so they started fresh with feldy and wrote an awesome pop punk album.

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