McParadigm wrote:Real talk: hearing Eddie Vedder sing about a woman who is cumming just for him kinda bums me out. It’s like that time when Bruce Springsteen sang about tongue fucking redheads.
What an utterly odd comment...Are we really uncomfortable discussing an orgasm? I can't be the only person on this board who has ever cum, can I?
Ed has a couple of children, ya know. I'm assuming it's happened to him at least a handful of times in his life.
It's not that anyone is uncomfortable discussing orgasm, it's just that nobody wants to hear a 50 year old dude Spritz bark his way through bad lyrics about it. It's cringe to the max.
giving new meaning to the term 'spritzy punk' tonight
i like it
<wipes jizz from eyebrow>
All posts by this account, even those referencing real things, are entirely fictional and are for entertainment purposes only; i.e. very low-quality entertainment. These may contain coarse language and due to their content should not be viewed by anyone
what else did Ed and said person do during intercourse?
All posts by this account, even those referencing real things, are entirely fictional and are for entertainment purposes only; i.e. very low-quality entertainment. These may contain coarse language and due to their content should not be viewed by anyone
McParadigm wrote:Real talk: hearing Eddie Vedder sing about a woman who is cumming just for him kinda bums me out. It’s like that time when Bruce Springsteen sang about tongue fucking redheads.
What an utterly odd comment...Are we really uncomfortable discussing an orgasm? I can't be the only person on this board who has ever cum, can I?
Ed has a couple of children, ya know. I'm assuming it's happened to him at least a handful of times in his life.
It's not that anyone is uncomfortable discussing orgasm, it's just that nobody wants to hear a 50 year old dude Spritz bark his way through bad lyrics about it. It's cringe to the max.
M'eh...Who cares? Not every tune needs to have the weight of an ACME anvil attached to it. Anyone who reads any more into it than what it is feels like they may be missing the point.
We still make records to be listened to — not that everyone will listen to a record track one to twelve in a row or side A or Side B — but we still make 'em in case somebody does want to listen to it like that, that's how we make em…
McParadigm wrote:Real talk: hearing Eddie Vedder sing about a woman who is cumming just for him kinda bums me out. It’s like that time when Bruce Springsteen sang about tongue fucking redheads.
What an utterly odd comment...Are we really uncomfortable discussing an orgasm? I can't be the only person on this board who has ever cum, can I?
Ed has a couple of children, ya know. I'm assuming it's happened to him at least a handful of times in his life.
It's not that anyone is uncomfortable discussing orgasm, it's just that nobody wants to hear a 50 year old dude Spritz bark his way through bad lyrics about it. It's cringe to the max.
M'eh...Who cares? Not every tune needs to have the weight of an ACME anvil attached to it. Anyone who reads any more into it than what it is feels like they may be missing the point.
but why didn't the tiny drawers take the opportunity to incorporate this into the video?
seems disingenuous
people are having their infants and children dance to this song
the least we could do is have it accompanied by a cartoon c*mshot
All posts by this account, even those referencing real things, are entirely fictional and are for entertainment purposes only; i.e. very low-quality entertainment. These may contain coarse language and due to their content should not be viewed by anyone
96583UP wrote:giving new meaning to the term 'spritzy punk' tonight
i like it
<wipes jizz from eyebrow>
Pritzy Spunk
We still make records to be listened to — not that everyone will listen to a record track one to twelve in a row or side A or Side B — but we still make 'em in case somebody does want to listen to it like that, that's how we make em…
96583UP wrote:giving new meaning to the term 'spritzy punk' tonight
i like it
<wipes jizz from eyebrow>
Pritzy Spunk
Spritzy Spunk was the correct answer
All posts by this account, even those referencing real things, are entirely fictional and are for entertainment purposes only; i.e. very low-quality entertainment. These may contain coarse language and due to their content should not be viewed by anyone
96583UP wrote:giving new meaning to the term 'spritzy punk' tonight
i like it
<wipes jizz from eyebrow>
Pritzy Spunk
Spritzy Spunk was the correct answer
Commences self-flagellation
We still make records to be listened to — not that everyone will listen to a record track one to twelve in a row or side A or Side B — but we still make 'em in case somebody does want to listen to it like that, that's how we make em…
McParadigm wrote:Real talk: hearing Eddie Vedder sing about a woman who is cumming just for him kinda bums me out. It’s like that time when Bruce Springsteen sang about tongue fucking redheads.
What an utterly odd comment...Are we really uncomfortable discussing an orgasm? I can't be the only person on this board who has ever cum, can I?
Ed has a couple of children, ya know. I'm assuming it's happened to him at least a handful of times in his life.
It's not that anyone is uncomfortable discussing orgasm, it's just that nobody wants to hear a 50 year old dude Spritz bark his way through bad lyrics about it. It's cringe to the max.
M'eh...Who cares? Not every tune needs to have the weight of an ACME anvil attached to it. Anyone who reads any more into it than what it is feels like they may be missing the point.
I don't really care. The overall quality of song made sure of that. Still fair play to call it what it is: lame
Fattie_Vedder wrote:Hi y’all. Long time lurker; first time poster.
I’d like to share some thoughts about this song, but I realize I’m coming to a 108 page thread about it and some of this may have already been said before, so bear with me please.
Like many others here, I was originally disappointed with this song because it was not at all what I expected or hoped it would be. DOTC had me hoping for something moodier and darker, like something more akin to the No Code to Binaural era. But it didn’t take long at all for the song to grow on me. It’s catchy in a good way, it’s fun to sing to, and it takes interesting and surprising turns. It’s a solid 3, maybe even 3.5 stars for me. I’ll have to see if I’m still listening to it a few months from now. There are several things that would have made the song better, but the one thing for me that would have made this a 4 star song is if they changed the ending. Instead of ending on the “chorus”, I wish it ended with a continuous build up of the “Superblood Wolfmoon took her away too soon” bridge (my favorite part of the song other than the “love notwithstanding we are each of us fucked” line), then finish off with a more traditional second Mccready solo/riff while the band harmonizes that line.
With that said, I really, REEEAAALLY don’t want the other rockers on the album to sound like this. I want moodier, spacier, more anthemic songs. Or if not anthemic, at least ones where Eddie sings with more breathiness and fewer lyrics. The way he sings on this song works very well for it, but one song like this on the album is enough. And that’s what scares me about Gigaton. Even though I like this song, it signals to me that we are not getting anything that resembles a riot act or binaural. It feels like we’re getting spritzy rockers a la Backspacer and lightning bolt, but probably with far better production, composition, and layering. Why oh why won’t this band write the kind of music that they used to?
Side note, Superblood Wolfmoon is 100% a logical extension of Johnny Guitar, but a 100x better.
Fattie_Vedder wrote:Hi y’all. Long time lurker; first time poster.
I’d like to share some thoughts about this song, but I realize I’m coming to a 108 page thread about it and some of this may have already been said before, so bear with me please.
Like many others here, I was originally disappointed with this song because it was not at all what I expected or hoped it would be. DOTC had me hoping for something moodier and darker, like something more akin to the No Code to Binaural era. But it didn’t take long at all for the song to grow on me. It’s catchy in a good way, it’s fun to sing to, and it takes interesting and surprising turns. It’s a solid 3, maybe even 3.5 stars for me. I’ll have to see if I’m still listening to it a few months from now. There are several things that would have made the song better, but the one thing for me that would have made this a 4 star song is if they changed the ending. Instead of ending on the “chorus”, I wish it ended with a continuous build up of the “Superblood Wolfmoon took her away too soon” bridge (my favorite part of the song other than the “love notwithstanding we are each of us fucked” line), then finish off with a more traditional second Mccready solo/riff while the band harmonizes that line.
With that said, I really, REEEAAALLY don’t want the other rockers on the album to sound like this. I want moodier, spacier, more anthemic songs. Or if not anthemic, at least ones where Eddie sings with more breathiness and fewer lyrics. The way he sings on this song works very well for it, but one song like this on the album is enough. And that’s what scares me about Gigaton. Even though I like this song, it signals to me that we are not getting anything that resembles a riot act or binaural. It feels like we’re getting spritzy rockers a la Backspacer and lightning bolt, but probably with far better production, composition, and layering. Why oh why won’t this band write the kind of music that they used to?
Side note, Superblood Wolfmoon is 100% a logical extension of Johnny Guitar, but a 100x better.
Welcome to the board (as a poster).
This. Longtime Lurker/First time poster as well ( ), and I nodded along to everything you wrote. Might have cringed a little when you said "logical extension" ... but then thought about it... and yes, I agreed with that too. What I'm hoping most for I think is less lyrics - or a slower delivery. I don't know. I feel like they got a little bit of that "capturing lightning in a bottle" with DOTC, and I hope there's room for a few more of those in that bottle!
Either way, I'm thankful for all this excitement again, because I check this board probably 10/hour just to see what people are saying - pretty much since sept/oct!
Haha yeah, I 100% was being sarcastic by using the overly used phrase “logical extension”, but was not being sarcastic when I said SBWM has elements that remind me of Johnny guitar. Actually I think it has elements of Backspacer and Lightning Bolt combined, but more interesting and with better production.
Johnny Guitar irks the hell out of me. There some interesting and unique elements in the song that I enjoy, but in the end it just doesn’t do much for me.
I just hope SBWM is the last of the spritzy-punk/spritzy-spunk/spunky-spritz/spritzy-barky vocal delivery type song on Gigaton. Something tells me it’s not though...
McParadigm wrote:Real talk: hearing Eddie Vedder sing about a woman who is cumming just for him kinda bums me out. It’s like that time when Bruce Springsteen sang about tongue fucking redheads.
What an utterly odd comment...Are we really uncomfortable discussing an orgasm? I can't be the only person on this board who has ever cum, can I?
Ed has a couple of children, ya know. I'm assuming it's happened to him at least a handful of times in his life.
It's not that anyone is uncomfortable discussing orgasm, it's just that nobody wants to hear a 50 year old dude Spritz bark his way through bad lyrics about it. It's cringe to the max.
Fattie_Vedder wrote:Hi y’all. Long time lurker; first time poster.
I’d like to share some thoughts about this song, but I realize I’m coming to a 108 page thread about it and some of this may have already been said before, so bear with me please.
Like many others here, I was originally disappointed with this song because it was not at all what I expected or hoped it would be. DOTC had me hoping for something moodier and darker, like something more akin to the No Code to Binaural era. But it didn’t take long at all for the song to grow on me. It’s catchy in a good way, it’s fun to sing to, and it takes interesting and surprising turns. It’s a solid 3, maybe even 3.5 stars for me. I’ll have to see if I’m still listening to it a few months from now. There are several things that would have made the song better, but the one thing for me that would have made this a 4 star song is if they changed the ending. Instead of ending on the “chorus”, I wish it ended with a continuous build up of the “Superblood Wolfmoon took her away too soon” bridge (my favorite part of the song other than the “love notwithstanding we are each of us fucked” line), then finish off with a more traditional second Mccready solo/riff while the band harmonizes that line.
With that said, I really, REEEAAALLY don’t want the other rockers on the album to sound like this. I want moodier, spacier, more anthemic songs. Or if not anthemic, at least ones where Eddie sings with more breathiness and fewer lyrics. The way he sings on this song works very well for it, but one song like this on the album is enough. And that’s what scares me about Gigaton. Even though I like this song, it signals to me that we are not getting anything that resembles a riot act or binaural. It feels like we’re getting spritzy rockers a la Backspacer and lightning bolt, but probably with far better production, composition, and layering. Why oh why won’t this band write the kind of music that they used to?
Side note, Superblood Wolfmoon is 100% a logical extension of Johnny Guitar, but a 100x better.
Welcome to the board (as a poster).
This. Longtime Lurker/First time poster as well ( ), and I nodded along to everything you wrote. Might have cringed a little when you said "logical extension" ... but then thought about it... and yes, I agreed with that too. What I'm hoping most for I think is less lyrics - or a slower delivery. I don't know. I feel like they got a little bit of that "capturing lightning in a bottle" with DOTC, and I hope there's room for a few more of those in that bottle!
Either way, I'm thankful for all this excitement again, because I check this board probably 10/hour just to see what people are saying - pretty much since sept/oct!
Haha yeah, I 100% was being sarcastic by using the overly used phrase “logical extension”, but was not being sarcastic when I said SBWM has elements that remind me of Johnny guitar. Actually I think it has elements of Backspacer and Lightning Bolt combined, but more interesting and with better production.
Johnny Guitar irks the hell out of me. There some interesting and unique elements in the song that I enjoy, but in the end it just doesn’t do much for me.
I just hope SBWM is the last of the spritzy-punk/spritzy-spunk/spunky-spritz/spritzy-barky vocal delivery type song on Gigaton. Something tells me it’s not though...
Pretty much how I feel. As much as I appreciate SBWM as a good song, I don't want the rest of the rockers on the album to have the same style, especially as far as vocal delivery goes. I pefer a song that builds, has more dynamics (soft and loud parts rather than just loud all the way), is anthemic, etc. I don't necessarily want them to go back to the Binaural and Riot Act aesthetic because personally, there are only a couple of rockers on those albums I really like. I felt that the rockers from that era had a few things going for them but I was not a huge fan of the melodies. Hardly anything memorable like the first 3 albums where the majority of songs automatically caught your attention. If I had a choice, I would prefer the early PJ era aesthetic but that ain't happening so something different from the SBWM style and also a bit more melodic than the Binaural/Riot Act era would do. Would love for Ed to be exploring more dynamics rather than just going full throttle all the way through with the pace and intensity of delivery. The more intense parts are more effective when the whole song isn't at a similar intensity.
I have expectations from Who Ever Said in particular but I am not sure if I get my wish with Ed's vocal style on that one either. The words 'energetic' and 'driving' rocker seem to have been used to describe it which doesn't necessarily mean it will be a different style from SBWM. I hope it is though. At this point, I have higher hopes from the ballads and mid tempo songs to give me my fix of atmosphere, mood and the vocal delivery I prefer.
Release_Me wrote:I have expectations from Who Ever Said in particular but I am not sure if I get my wish with Ed's vocal style on that one either. The words 'energetic' and 'driving' rocker seem to have been used to describe it which doesn't necessarily mean it will be a different style from SBWM. I hope it is though. At this point, I have higher hopes from the ballads and mid tempo songs to give me my fix of atmosphere, mood and the vocal delivery I prefer.
Who Ever Said is carrying a ton of expectations, both cuz it kicks off the album and b/c it's been singled out by a few at the listening party. i really really hope it doesn't underwhelm. because it's followed by two songs you already know and have factored in your relative enjoyment meaning there's now a TON of pressure on track 4 Quick Escape...
“Quick Escape” is led by a huge Jeff Ament bass groove, as Vedder narrates an international road trip armed with a “sleep sack, a bivouac and Kerouac sense of time.”
GULP. that could either way. this is quickly spiraling out of control with a month before i hear any of it. hold me.
these songs get to hold my attention and make their arguments right off the bat more than the last two albums, just thanks to stellar production, solid instrumentation (with little extraneous fluff on top) and an Ed who sounds like he's worked a little on his annoying vocal ticks
I want to hear "River Cross" because if we don't get any "lwost and deestant naaa-haaaaow" stuff THEN we're talking; the live version sounded good and fairly free of that
Ms Harmless wrote:these songs get to hold my attention and make their arguments right off the bat more than the last two albums, just thanks to stellar production, solid instrumentation (with little extraneous fluff on top) and an Ed who sounds like he's worked a little on his annoying vocal ticks
I want to hear "River Cross" because if we don't get any "lwost and deestant naaa-haaaaow" stuff THEN we're talking; the live version sounded good and fairly free of that
He's getting there. Not that he's totally comparable to Robert Plant, but it did take Plant quite a while to commit to staying within lower registers, and he sounds awesome there - oddly held his own even with Alison Krauss.
For post 2006 Ed, I find that he sounds great in his middle register especially in lower tempo songs (e.g. Better Days) but when he goes low (Lightning Bolt) he sounds nasally, and he also gets into problems in higher registers when the tempo picks up.
After Gigaton I think they should put out a record with a Hard Sun vibe all the way through.
Ms Harmless wrote:these songs get to hold my attention and make their arguments right off the bat more than the last two albums, just thanks to stellar production, solid instrumentation (with little extraneous fluff on top) and an Ed who sounds like he's worked a little on his annoying vocal ticks
I want to hear "River Cross" because if we don't get any "lwost and deestant naaa-haaaaow" stuff THEN we're talking; the live version sounded good and fairly free of that
He's getting there. Not that he's totally comparable to Robert Plant, but it did take Plant quite a while to commit to staying within lower registers, and he sounds awesome there - oddly held his own even with Alison Krauss.
For post 2006 Ed, I find that he sounds great in his middle register especially in lower tempo songs (e.g. Better Days) but when he goes low (Lightning Bolt) he sounds nasally, and he also gets into problems in higher registers when the tempo picks up.
After Gigaton I think they should put out a record with a Hard Sun vibe all the way through.
he always sounded nasally in low register, especially on No Code; my bigger problem with Lightning Bolt is how far his voice is in front of the mix; I think the problems with his voice would have been halved if he'd been sitting in amongst the musicians much more; so far I'm thinking and hoping the current producer knows this
), and I nodded along to everything you wrote. Might have cringed a little when you said "logical extension" ... but then thought about it... and yes, I agreed with that too. What I'm hoping most for I think is less lyrics - or a slower delivery. I don't know. I feel like they got a little bit of that "capturing lightning in a bottle" with DOTC, and I hope there's room for a few more of those in that bottle!
