I hope I am the only doofus who had the bootleg CD all these years and, because of the misidentification of a key track on the cover, spent decades mishearing the title phrase and thinking: "Okay, what is the concept of 'Twenty-Five Fingers'? What is the math that adds up to 25? Are there two and a half people involved? What am I missing?" I'm glad I lived long enough to be relieved of this mystery.
I came to this song after it was revealed that the correct title is "Twenty Fine Fingers" and wondered, after hearing the lyrics, how you could get 25. I mean, they say clearly: Some say 'Give me 5' but I'll give you 10 You could make it 20 but you're holding out again
Because "twenty fine" sounds a lot like "twenty-five" and you don't hear fingers described as "fine" that much.
Sure, that's fair. I get it. I'm looking at it from a different perspective than y'all who had the boot for years. It's almost like a "why didn't I think of that" thing.
Also... bootleggers have never been wrong about anything before this! You can understand why we put our trust in their hands, right?
Huh. You guys must have a much broader definition of "country" than I do. I don't think "Mama's Little Girl" sounds country at all. "Rainclouds" either.
I've only had a cursory listen to the 1988 demos so far. You're not wrong - how did the great acoustic demo of 'Tommy's Coming Home' turn into something so bad? I need to listen to the 1988 demos some more. Some of them sound quite decent but I'm pretty sure the acoustic demos will remain my favourites. For now it's 1987 demos > 1988 demos > FITD album for me. The acoustic demos have so much personality (that seemed to diminish with every bit of extra work).
I agree with this, for the most part. I think both "So Like Candy" and "Playboy To A Man" are incredibly satisfying in their 1988 demo form.
@Bemagnus , I've been doing my best to come around to your "great vocal performance " by McCartney on the acoustic The Lovers That Never Were. As it was the last track played before I walked the dogs, the tune went around and around in my head with the screeching...okay, the singing with gusto all at the right places. But, no, my opinion hasn't changed. I think he pulls off his rocker voice much better in You Want Her Too and That Day is Done. But I'll continue to try.
There's nothing wrong with the 88 Tommy's Coming Home, it's great. If you don't dig it that's personal. But there's nothing technically or aestheticlly wrong with it, it's slightly experimental.. perhaps slightly unfinished. Slightly. One man's trash another man's treasure. All 4 new 88 songs are album worthy. Imo. Whereas the Flowers album is 'slightly' overproduced the 88 songs are slightly under produced or really unfinished. But the gap isin't that wide. Now by comparison take Lennon's 1980 Double Fantasy against the posthumous 1984 Milk & Honey tracks, a disaster... Just too raw.. very similar situation on one level....The DF tracks were highly polished posh masters the 84 tracks are way too raw to sit side by side, yet it's the same sessions & people... Even DF stripped is too posh next to them. We're lucky, these 88 songs are actually good enough & finished enough to insert in the Flowers tracklist with just a bit of mastering or echo..
I think Paul's vocal on the 1987 demo for "The Lovers That Never Were" is one of his best ever. Seriously.
Since I couldn't fit the free downloads on my first disk, I decided to fill it out a little more with another disk
Just finishing my first spin of the remaster. Nice sound. Though my opinion of one aspect hasn't changed - the album should have been 10 tracks, ending with 'That Day Is Done'. The remaining three should have been kept as B sides. It's a shame there's no acoustic demo of 'Motor of Love', though. Under the 80s production gloup, there's a pretty ballad wanting to get out.
The younger me, 15-20 years ago, even 10. Would have just made a 25-30 song album out of this Flowers material. But older & possibly wiser, I want to listen to a coherent 40-50 minute 11-12 song album, where every song is really good. Relegating the remaining songs to a personal bonus disc. . Back to Tommy's home & the 88 drum sound. It's a sound a gimmick to evoke a mood & certain color to dress the record. It's no different than the sound effects or marching drum on Yellow Submarine or the sad emotional strings on Eleanor Rigby. No one as a rule, hates techno disco or cheesy 80s keyboards or fake drums on Beatles related tracks more than I do. But I'm not hearing that, it's just as close to Morse Moose & Don't let it bring you down from London Town as it is to Press To Play.... One final layer of sweetening is missing from the 88 band tracks. Just like one or two overdubs on each, it's close enough.
