Song of the Moment: Let the Records Play

[LetMeSleep]

I've always thought Unemployable was a very good song.

It is.

It's a good song but not much more. LTRP is just embarrassing.

[Release_Me]

Happy is the last word I'd use to describe a lot of PJ's early material. I think it takes a different feel in concert, just because everyone's happy to be in the room experiencing this moment, but the songs themselves feel pretty dark.

I also disagree with this whole notion that they went completely off the deep end on the middle period records. Even at their most non-commercial, they were never making Metal Machine Music. No Code, Binaural and the others may have gone into some different places but they were pretty much always rock songs with verses, choruses, bridges and melodies.

Ugh. Happy was a poor choice of words and I said this earlier as well. Uplifting, upbeat or catchy would be more apt descriptions for the type of song I'm talking about. I'm saying they've (Ed's) always been great at combining that type of music and contrasting it with dark themes/lyrics and passionate delivery. That gave them the edge which the glam rock bands of the 80s lacked.

In the middle period, excepting Yield, the rock anthems ala Ten really are sparse. Very few of the rockers on Binaural, Riot Act or even No Code could be classed alongwith some of their earlier hits as far as being catchy or anthemic. Good songs, yes. But a different style. Nothing completely original, just more challenging (and to me, lesser songs).

Fair enough, I wouldn't really use uplifting or upbeat either, but fine. I was just saying I don't really think they abandoned melodies on the middle records.

Plus, a song being catchy for you is going to depend on how much you like the songs. Sure, there are earworms that get into your head, but they don't last. The songs that will stay catchy to people, in my opinion, are the songs that have substance to back up the melody.

I agree they didn't abandon melodies in the middle period. But they did at least put them on the backburner and it was probably a conscious decision. The melodies got more involved and the songs required a heavier investment from the listener to actually resonate. To this day, PJ fans and non-fans alike would say that Alive and Evenflow have stood the test of time. They did have susbtance to back up the melodies, that's my point. Whether someone believes these new songs do is still up for debate.

[pappas]

in mikes latest interview with Triple M, when he said Stone brought in the riff for LTRP and BoB was like 'what the hell was that riff', are they talking about the crazy lead one played at the beginning of the song (and once somewhere in the middle)?

[harmless]

in mikes latest interview with Triple M, when he said Stone brought in the riff for LTRP and BoB was like 'what the hell was that riff', are they talking about the crazy lead one played at the beginning of the song (and once somewhere in the middle)?

The verse riff, probably. It's weird, because a lot of people have been taking the question "What the hell was that riff?" as negative, but it could easily have been positive.

[Mike]

in mikes latest interview with Triple M, when he said Stone brought in the riff for LTRP and BoB was like 'what the hell was that riff', are they talking about the crazy lead one played at the beginning of the song (and once somewhere in the middle)?

The verse riff, probably. It's weird, because a lot of people have been taking the question "What the hell was that riff?" as negative, but it could easily have been positive.

I took that as a "what is that riff? we should develop that".

[harmless]

in mikes latest interview with Triple M, when he said Stone brought in the riff for LTRP and BoB was like 'what the hell was that riff', are they talking about the crazy lead one played at the beginning of the song (and once somewhere in the middle)?

The verse riff, probably. It's weird, because a lot of people have been taking the question "What the hell was that riff?" as negative, but it could easily have been positive.

I took that as a "what is that riff? we should develop that".

Yup.

Tell you what, after Sirens, this song is just comforting for being so plain. I find myself listening to it just to come down from the shock.

[warehouse]

I've always thought Unemployable was a very good song.

Another Shania Twain composition

its more bruce than shania twain

[pappas]

in mikes latest interview with Triple M, when he said Stone brought in the riff for LTRP and BoB was like 'what the hell was that riff', are they talking about the crazy lead one played at the beginning of the song (and once somewhere in the middle)?

The verse riff, probably. It's weird, because a lot of people have been taking the question "What the hell was that riff?" as negative, but it could easily have been positive.

I took that as a "what is that riff? we should develop that".

yeah that's the way i interpreted that too, as something shocking but in a good way. That's why i think it might be that intro riff rather than the verse, which didn't really stand out to me as much

[Release_Me]

Still really liking this one. For me, the best 'fun' song they've done since forever.

[stupidmop]

Yup the chorus and bridge still ruin the song for me. Which is a shame because i love the verses and the outro. The chorus-bridge-chorus-chorus section kills this song fucking dead.

[Release_Me]

The contrast between the chorus/bridge and verses is what makes this song interesting for me.

[stip]

this is such an enjoyable song. I like everything about it.

[harmless]

Me too. When I think of where a usual blues stomper might've gone in the chorus, it sounds more boring and reminds me why I don't really listen to that kind of music except in short bursts. I don't really feel like the song is pitching for that anyway, which is why some people feel it's missing it.

[stip]

the chorus is one of the parts of lightning bolt I find myself singing to myself the most

[SJM]

I've always thought Unemployable was a very good song.

It is.

It's a good song but not much more. LTRP is just embarrassing.

Completely disagree. LTRP is such a fun song. Really catchy with some nice guitar work and a meaty bass.

I don't find much about PJ embarrassing (well, maybe if they break out Leash again )

[warehouse]

in mikes latest interview with Triple M, when he said Stone brought in the riff for LTRP and BoB was like 'what the hell was that riff', are they talking about the crazy lead one played at the beginning of the song (and once somewhere in the middle)?

The verse riff, probably. It's weird, because a lot of people have been taking the question "What the hell was that riff?" as negative, but it could easily have been positive.

I took that as a "what is that riff? we should develop that".

yeah that's the way i interpreted that too, as something shocking but in a good way. That's why i think it might be that intro riff rather than the verse, which didn't really stand out to me as much

"what the hell was that riff? u guys still write awesome bluesy riffs? i had no idea!"-bo'b

[stip]

I've always thought Unemployable was a very good song.

It is.

It's a good song but not much more. LTRP is just embarrassing.

Completely disagree. LTRP is such a fun song. Really catchy with some nice guitar work and a meaty bass.

I don't find much about PJ embarrassing (well, maybe if they break out Leash again )

yeah I'm not sure why LTRP is embarrassing?

[warehouse]

I've always thought Unemployable was a very good song.

It is.

It's a good song but not much more. LTRP is just embarrassing.

Completely disagree. LTRP is such a fun song. Really catchy with some nice guitar work and a meaty bass.

I don't find much about PJ embarrassing (well, maybe if they break out Leash again )

yeah I'm not sure why LTRP is embarrassing?

LetMeSleep should be embarrassed he posted that

[harmless]

Needless Shania Twain comparisons. Let's be honest, when Shania Twain wrote 'Man, I Feel Like a Woman', she (or her guitarist, I don't know) was just playing a blues riff herself. Personally I'm not sure why anyone into modern blues-inflected music is that worried about a song being derivative, but that's just me.

[Heathen]

Maybe the concern is less about a song being derivative per se but more about the song being derivative of something terrible and ending up terrible as well?