|Subject: RE: [powderworks] Movie / Red Sails|
|From: "Jeff and Jane Scott" <email@example.com>|
|Date: 21/05/2018, 10:02 pm|
|To: <firstname.lastname@example.org>, "'Mike Woods'" <email@example.com>|
I’d forgotten all about that! I used to look at the album cover (was it on the back cover or the inner sleeve? I’ll have to get it out in a minute and have a look!) and vaguely wonder why the songs were listed in a different order.
At that time advanced music biz concepts such as “late change in track order” didn’t even enter my head!
This might be my second post in in 18 years or so, but the recent discussion has got me out of a long term lurk. Glad to have some things in life that don't revolve around FB. The movie was exceptional. Great to see interviews with Giffo as well. Loved seeing him doing vocals to Jimmy Sharman's during soundcheck owing to Pete's absence and the lads working with various horn players as the tour rolled around. The band looked so genuinely happy to be playing and in each others company, unless any tense moments were edited out! Interesting that as time has gone on and in subsequent interviews, they've been a touch critical toward Red Sails for trying to do too much with the arrangements and complexities. It was brave stuff to look to pull that off in concert, but they seemed to be enjoying it in the film. What's interesting is that the shots in the movie of the back sleeve of the Red Sails album are the version that has the tracks in the wrong order. My vinyl copy has that which is also reflected in the inner sleeve. Note that Bakerman isn't included in this version. Anyone else have this?
Rather than attach a photo, the track order on the first press Australian LP back sleeve (but not on the LP itself) goes like this:
Both worlds / minutes / Sleep / Bells / Jimmy Sharmans / Kosci / Generals / Harrisburg / Helps me / Shipyards / Who can stand in the way.
I sequenced the CD to follow this and what really stands out is ending the whole thing with the "slamming door" effect at the end of Who can stand in the way. A very declarative way to end the album, particularly given some of the apocalyptic undertones on earlier tunes. It almost plays like a concept album.
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