harmless wrote:Yeah I'm hoping MFS, Pendulum, Infallible and Yellow Moon kick my ass.
FTFY.
Forgot that one. Still plenty of ear-candy material.
I am expecting dark atmospheric country song reminiscent of R.E.M. and I would love that so much it could become my favorite track. It's good to be that hyped for a track and it totally won't let me down, right?
harmless wrote:Yeah I'm hoping MFS, Pendulum, Infallible and Yellow Moon kick my ass.
FTFY.
Forgot that one. Still plenty of ear-candy material.
I am expecting dark atmospheric country song reminiscent of R.E.M. and I would love that so much it could become my favorite track. It's good to be that hyped for a track and it totally won't let me down, right?
stip wrote: Another positive example--the very positive reaction Getaway has gotten (quite possibly at the bottom of the new songs for me--FD excluded) has probably either kept me more open minded about the song or, with parts I'm iffy about, pushed me over into the 'it's good' camp. Not that I sat down and said 'RM likes this so it must be good and i'll like it too.' It's more subtle than that. I am not even aware that it's happening (well I probably am after the fact, since i'm talking about it but only because I spend time thinking about thinking)
Again, it's subtle. I am having such a positive reaction to these songs because I really like them. But I may like two of them even more because of the board reaction. Since I am inclined to like them a negative reaction may not make me like them less, but a positive reaction may make me like them more (see, perhaps, getaway and sirens). If I was inclined to be skeptical of them a positive reaction might not mean much (it might alienate me further, but a negative reaction will activate all sorts of confirmation biases and harden inchoate opinions prematurely--before I have a chance to really decide this for myself.
This basically sounds like evidence of the effect Digster predicted (and which I largely agree with)--basically, that opinions of people on the board might inform the way you hear something in a minor, peripheral way, but that the ultimate conclusion as to whether or not you like the music is going to reached by you alone.
I think the cynicism and flawed (and frequently obnoxious) communicative devices associated with online discussion become tedious to everyone at times, and can feel as though they're standing in the way of people articulating, or wanting to articulate, their thoughts in a way that lends itself to cooperative discussion. But it does seem like every time we're presented with new material, I find myself impressed with how measured the replies are and how specifically uninfluenced they seem by the bored, sarcastic tones that pervade the board on a day-to-day basis.
In the end it's unfair to paint someone into a hypothetical scenario, determine for yourself how they would behave in that scenario, and then hold them accountable when their real-life reaction to a completely different scenario doesn't match that behavior. Just respond at face value to what people are saying and disregard what you deem unworthy of response.
All these track reveals have just made me realise that all my expectations are probably wrong... they might meet some of your expectations and not others. I wasn't expecting to have piano and "synths" over my beloved soundtrack song. I guess this will be remembered as the album that BoB played all over.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
stip wrote: Another positive example--the very positive reaction Getaway has gotten (quite possibly at the bottom of the new songs for me--FD excluded) has probably either kept me more open minded about the song or, with parts I'm iffy about, pushed me over into the 'it's good' camp. Not that I sat down and said 'RM likes this so it must be good and i'll like it too.' It's more subtle than that. I am not even aware that it's happening (well I probably am after the fact, since i'm talking about it but only because I spend time thinking about thinking)
Again, it's subtle. I am having such a positive reaction to these songs because I really like them. But I may like two of them even more because of the board reaction. Since I am inclined to like them a negative reaction may not make me like them less, but a positive reaction may make me like them more (see, perhaps, getaway and sirens). If I was inclined to be skeptical of them a positive reaction might not mean much (it might alienate me further, but a negative reaction will activate all sorts of confirmation biases and harden inchoate opinions prematurely--before I have a chance to really decide this for myself.
This basically sounds like evidence of the effect Digster predicted (and which I largely agree with)--basically, that opinions of people on the board might inform the way you hear something in a minor, peripheral way, but that the ultimate conclusion as to whether or not you like the music is going to reached by you alone.
I think the cynicism and flawed (and frequently obnoxious) communicative devices associated with online discussion become tedious to everyone at times, and can feel as though they're standing in the way of people articulating, or wanting to articulate, their thoughts in a way that lends itself to cooperative discussion. But it does seem like every time we're presented with new material, I find myself impressed with how measured the replies are and how specifically uninfluenced they seem by the bored, sarcastic tones that pervade the board on a day-to-day basis.
In the end it's unfair to paint someone into a hypothetical scenario, determine for yourself how they would behave in that scenario, and then hold them accountable when their real-life reaction to a completely different scenario doesn't match that behavior. Just respond at face value to what people are saying and disregard what you deem unworthy of response.
perhaps, and you're right that at its best this is a particularly articulate board. And many/most/perhaps all of us can separate our thoughts from the surrounding noise (which may influence enjoyment more than overt perception). But that's not really the point I was making. The environment in which music is being absorbed and contextualized will impact in subtle but potentially consequential ways. And what may seem uninfluenced in its outward presentation may miss the inward influence the context had in helping to form what seem to be the uninfluenced and unencumbered opinions of the members of the board.
I was having this discussion with Platy right around the time MYM came out. He argued that he approached every elvis costello song in a vacuum. I argued that he THOUGHT he did but that it would be basically impossible to not have the weight of his back catalog subtly influencing perceptions in potentially meaningful ways, even if he wasn't aware of it. And I think that is true of all of us, certainly myself included.
How come 'Getaway' has no production bells and whistles or extra instrumentation? Maybe that's why most people are liking it so much. Everything else has BoB all over it.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
MFS is easily the song that is the most all over the place in the reviews we have.
When it started i remember me saying what is that? That`s not Eddie singing! But it was Eddie First i really thought it`s Stone singing. Might just be because the room was pretty noisy. Other than that i think it was decent but a bit too long. Got a bit bored towards the end.
F: It's a strange one, couldn't describe it. Ed's voice sounds unfamiliar at the beginning, I thought that Stone sang first, too.
Mid-tempo. Really something new.
C: Could catch one line which was something like "My mother...she's a work of art". The verse is almost only vocals, drums and very much bass...
very bassy...dark atmosphere IMO. I like that song as I generally like challenging song structures I thought the bridge is very funny - like a poppy tune making fun of something.
what a strange beat/matt is really in charge here/has a bushleager/greendisease feel
My Father's Son... I remember thinking this song was very different. Different how? Honestly,, I don't know how to describe it. I just remember it was very different.
This song begins with some spoken wordish lyrics a la 'Bushleaguer'
about insemination and getting a release. This song had a pleasant
rhythm (my notes read tadadadum), and halfway it descends it something
a bit slower and with more bass. The way the lyrics were sung here
reminded me of 'Johnny Guitar'.
When they tried ‘new wave’ type songs on Backspacer they only succeeded on “Got Some”. They also succeed here. Tight playing, bass heavy and a weird bridge (a ‘typical’ Matt bridge). There’s a lot going on in this bridge. It was not an experimental song but I already want to hear this song again. Another dark heavy pop tune.
Sirens:
I had been looking forward to this one in advance because of the title, but it was nothing like I could have imagined. The voice is different from any other song, and all the instruments sound slightly ‘off’ to me. Hard to explain. I noticed one single guitar at some point, and also a funky rolling bass. There was a soft part and some nice tempo changes. Some of the lyrics sounded negative to me at first listen, So I really need to hear it again to decide if I like it or not, and that the ‘finally free to believe’ is all about.
‘My Father’s Son’ ensures it doesn’t dissipate, its primal punk-cum-garage momentum indicative of a band truly locked into their flow.
This is a bit more like the Backspacer sound. There may be some synths going on in the background here, which is nice. On first listen this is fairly unremarkable, but it definitely signals that the album isn’t going to stay in the more rock-centric vein of the first two tracks.
‘Sirens’
'There are malevolent stomps and spiky riffs all over the first three tracks'
harmless wrote:How come 'Getaway' has no production bells and whistles or extra instrumentation? Maybe that's why most people are liking it so much. Everything else has BoB all over it.
I think everything he does on LB is fantastic. Swallowed whole sounds really good too. And the stuff in sirens sounds appropriate for the style--if I have a beef there it's with the style, and that's not BoB
I must admit, that "punk-cum-garage" phrase makes me giggle every time considering the track's artwork.
How can it be punk / garage when it's also mid-tempo / soft? The reviews are indeed all over the shop.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
harmless wrote:How come 'Getaway' has no production bells and whistles or extra instrumentation? Maybe that's why most people are liking it so much. Everything else has BoB all over it.
I think everything he does on LB is fantastic. Swallowed whole sounds really good too. And the stuff in sirens sounds appropriate for the style--if I have a beef there it's with the style, and that's not BoB
Well, I'm pretty sure it's BoB's influence. I'm fairly sure BoB would've softened the intent of the "dark Pink Floyd sound" while helping him arrange it. But I try not to think about that and enjoy the song for what it is.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
Here is the rest of the reviews for what we haven't heard
Infallible
Liked this one a lot too! It has a nice Groove. Reminded me a bit of No Way. It`s not like No Way but the way a simple powerfull groove dominates this song just reminded me of it. Don`t remember much more only that i really liked it.
F: It's an unusual PJ song, It has strong drum (and bass) lines and not so much guitar. The music sounds a bit aggressive & has a
more contemporary feel to it than the usual stuff. Eds voice is still in the normal range as a contrast to the more loud music
Lyric snippet if I heard it right
"put your faith in good hands,
pay no more than a glance"
"you think you've been here before"
(oh god, how embarrassing if these lyrics would be totally wrong, but I had to write fast )
It gets screamier at the end & to me it feels a bit like alternative rock in the direction of the newer Foo Fighters songs.
It has a few voice overlays at the end.
& a fade-out again.
C: I found it to be rather long as well. Multiple guitars, backwards played open the song. The rhythm then is very "stompy" IMO. I wrote up some rhythmic notations amd guesses a few harmonies (for some of the other songs too) but find it now hard to remember or express.
Wow/jeff is killing it here/jazzy feel in it/the song is floating along culminating to a stadium anthem/typical ed-feel
Infallible... Honestly I can't remember a lot of this one. I think I remember liking this... But Honestly, I can't really give you any good thoughts or description on this one.
This is the song that was played during the soundcheck in London,
Ontario this year, only it has a different intro than the way it
started live. Lyrics featured lines such as "Keep on locking your
doors", "Won't get you this time", "Ships coming in and sinking",
"Thinking we're infallible, we're tempting faith instead". It features
a guitar solo and ends with a fade out.
My first notes say: YES, YES, YES!!! This is exactly what I wanted from a new Pearl Jam record. They cover new ground here. Another bass heavy track (probably written by Jeff who owns this record). Excellent use of keyboards and weird effects. Lots of harmonies in vocals and instruments. Did I hear a cowbell (not sure on that…)?? It was the song I liked the most and their most experimental one in a decade. Hard to describe. But if you have heard Jeff’s latest solo record While My Heart Beats you can kind of get a feeling of what to expect here. Incubus goes Achtung Baby, for the lack of a better description…sorry
This one fades in. To me this sounded a bit eighties British, in a good way. Not the music, but the way it is sung. There is a very distinctive part of the music I tried to write down, but ‘tudududu’ will not really help to get this across, unfortunately. I really want to hear this again. There is a lot of drama in the lyrics, with disasters and sinking ships, and one of the lines is ‘pay no more than a glance’. Another one: ‘you think you’ve been here before, you are mistaken’. Some stadium rock like music and some more bellowing, and then the part we heard in that Toronto sound check, but much clearer. ‘for everything is possible in the thoughts and minds of men’. The singing in the end is rather sensual, for lack of a better word.
‘Infallible’ – another rougher-edged song, the fifth of its kind so far – is a hard-grunge affair which finds Vedder hitting every note with real precision, like a spear fisherman not missing a single strike. It’s a wonder how this man’s voice has sustained across the years – he sounds every bit as strong here as he did on ‘Ten’ and ‘Vs.’, what feels like a lifetime ago (and, for some fans, probably is).
Ooh, more synths. This reminds me of some of the more interesting moments on Binaural. Probably the most exciting moment on the record upon first listen, but, as ever, it’s tricky to be too positive on the back of just one listen. Definitely one to look out for at any rate.
Pendulum
Really nice slow song with a psychedelic touch. Brandon said they recorded this one already for Backspacer but it didn`t made it...
F: I loved Pendulum. I picture Ed in a dark and moody room, like in a club, but the feeling is very lonely.
Eds voice is very soft and extremely in front of the music (you actually can understand the lyrics very well). The lyrics are very dark.
"my shadow left me long ago"
"understand where we d(w)on't go
this may pass
this may last"
It's really dark and kind of trippy.
It has a strang "a-ah-ah-a-..." part at the end. not his typically "hiiihiii"
There is also a Tambourine which makes the song sound even weirder and it ends with a few fast drum beats, very unique.
C: Echo-y Piano Intro, like in a big hall. Dark mood overall.
- "Pendulum" is KILLER!! One of my favourites!!!! New sound, new darker mood for PJ in my opinion! Doesn't fit on BS but here....perfect!!
a really dark song/haunting guitar/stand up bass/it’s got the feeling of master/slave
Pendulum.... I remember really liking this song also. Kind of a dark slow song.
This one starts with some drums and lyrics "We are here and then we're
gone", "My shadow left me long ago", "Understand what we don't know".
Later in this song the guitar sounds a bit like a slide guitar. It's
definitely a darker song, also because of the lyrics which further
include "Into the fire but still I'm cold", "Nothing works for me
anymore". Ed later on starts singing "ah-ah-ah-ah-ah" and singing over
this as well. I liked the different layers of this song. Could become
one of my favourites on this album.
Remember that tour announcement video Pearl Jam posted some time ago with a mystery new song clip? If you liked the weird sounds you were hearing, than you will love this song! because it’s “Pendulum”. Some nice piano played for the intro. Another atmospheric and experimental track (it was at this point where I started to believe that Pearl Jam really made that record I ‘wanted’ from them). What’s that high sound? High Pitch vocals? Wow! It’s Ed! He has never sounded like this before. The harmonies again sound great. Lots and lots of dubbed vocals. Tight compressed drums. Another excellent track!
Starts with piano and bass, lyrics, and then drums. More lyrics, including ‘my shadow left me long ago’, and silence. This one has a beautiful haunting rhythm, and I think I also heard a tambourine. ‘easy come and easy go, easy left me a long time ago’. With the last ‘o’ being stretched. Beautiful guitar part, reminded me a bit of Snowy White. ‘I’m in the fire but I’m still cold, nothing works for me anymore’ ‘ah ah ah ah ah’ sounding as recorded with a voice box. I later heard this is the song you can hear parts of in the tour announcement video.
And then, something completely different, as ‘Pendulum’ sounds unlike anything these men have recorded previously. It’s a bleak piece, reverbed guitar bringing a real sense of desolation to proceedings. A tambourine comes in, and an adagio bassline furthers the song’s atmospheric, experimental sound.
Yet more synths, and some piano too. We’ve gone full-on from punkier Pearl Jam to that rarest of Pearl Jam forms, the experimental Pearl Jam, in the space of the first seven tracks. Matt Cameron’s drumming gives this an almost krautrockian vibe, which is pretty damned cool it has to be said.
’the percussive march of pendulum’
Yellow Moon
Don`t know felt it was a bit boring.
F: It's a slower song, reminded me of Mark Lanegans Bleeding Muddy Water.
It had a few lyrics with metaphers of the sky & falling stars and stuff.
Otherwise, for the first listen there's not so much I could write about it.
C: In the verse it has a odd time signature: 6/8 - 5/8 ... I noted "echo-y vocals" and something like a dark "fairy tale".
Guitar a la nothing as it seems/beautiful and open song
Yellow Moon... It was a slower song. Don't remember a lot of details on it though.
Here we arrive at my personal favourite song on the album. I was even
singing along halfway into the song, which prompted Mirella to shush
me. Not really sure what made me like the song so much but it was just
like seeing a great jacket in a shop and when you try it on it fits
like a glove. It could have been the words as well, which went
something like "Here far away, feel the earth vibrate, the moon
chasing shape", "Round we go, where we stop no one knows", "As the sky
grows dark, we're falling stars". The chorus goes "Yellow moon on the
rise" with the rise part being sung as riiiiiiiise. Looking forward to
hearing this song again soon.
Another dark and atmospheric song. This will definitely be a grower, it has weird time signatures. Some great vocals and a really nice solo by Mike. Another song that I already want to hear again.
This song is very easy to immediately like. It starts out in a way I recognized from another song, but I could not pin down which one. ‘here far away one could feel the earth, moon changing shade and shin’. Long sung words, ‘roooouund we go where we .. stopping no one knows’. Nice image painting lyrics, sudden end. The song was not short, but it felt like it was much too short.
The penultimate ‘Yellow Man’, too, manages to convey this fluency between each member’s role, the despair-soaked vocals reflecting the lead guitar’s tone.
Quite an atmospheric track, and features some great guitar playing from Mike McCready. It feels like it’s trying to be a bit more epic than it’s perhaps capable of, but it’s definitely a massive step-up from the previous two songs. “One life, one grave”; Eddie at his least cheerful or his most philosophical?
REM evoking country twang of yellow moon
Sleeping By Myself
I don`t know... It`s a bit like a joke. It`s not that much different than the Uke version but with a funny groove. Don`t know how to say it but it`s difficult to find a reason why this one should be on the album. It really feels like a joke. Not in a bad way but just like they make fun of themselves or something.
F: It's similar to the Uke version, it's more folky, in the direction of Mumford&Sons. With vocal harmonies from the band.
There are louder instrumental parts between the choruses, then the music gets in the background, Eds voice to front & back again.
I wrote "feels displaced". It's just a strange place on the album & Brendan told later that he was the one who wanted this song on the album so bad,
soooo. It's his fault. Would be more fitting as a b-side.
C: There is a "solo" (related to the vocal melody) as an instrumental bridge before the last chorus, I guess. I made a footnote: "Almost trivial." I recognized an Ukulele at the end of the song.
- "Sleeping by myself" good alternate version of the song
WTF
Disappointed. I really do like the song. Great lyrics and Great song. But I wanted them to change it up. Make it a super rock song, something totally different than the Uke Version. It seemed Very Folk like.
Considering the reactions this song got from the rest of the company I
was in, most people are going to shit all over this song. Brendan
O'Brien even said they had a hard time making this song sound less
commercial, which makes you wonder you even more about what the other
versions of this song sounded like.
This is definitely the Speed of Sound of this album. I actually still
kind of liked it. It's as if they made a happier sounding version of
this song, like it is actually quite swell to be sleeping by oneself.
I wrote down that this version reminded me of 'Soon Forget'. It still
features a uke as well. Looking forward to people's reaction to this
once the album is officially out.
Why? Why Ed? Why Brendan? Why is this on the record….it doesn’t belong here. Basically it’s the same as the ukelele song only with some arrangements. The arrangements are nice but they don’t add much. I liked the ukelele version much much better, that was its home. Feels out of place here. Uninspiring moment for the band. But who knows, it could very well be the next single and become a hit. But “Of The Earth” or “Cold Confession” would be fit here much better, fuck even “Olé” would have been better.
We know the song from Eddie solo, but this is a real band version. More flashy, TV show like, maybe even cabaret, guitar singing along, very full. Background singing, lots of bass. Really strange if you keep the version we know in your mind. I wonder what this sounds like if it is the first version you hear. A part is acoustic, but then the whole band joins again. Frank, one of the writers who sat next to me, had a face that showed exactly what he wrote down: WTF. I am still thinking I want to like this song. Really not something to decide after just one listen.
‘Sleeping By Myself’ is taken from ‘Ukulele Songs’, but further developed here, as you’d expect from a full-band version. The emotion of the original remains, though, with a great connection between the lyrics and melodic backing.
A reprisal of one of the songs from Eddie’s solo Ukulele Songs record from a couple of years back. Apparently this was re-recorded and included on the album at the suggestion of producer Brendan O’Brien. He’s had better ideas.
Future Days
Eddies voice is great but still it`s a bit boring to me.
F: You all heard it. It's really cheesy It has a light echo effect on Eds voice and vocal harmonies. Also it's more like an Ed song, only little soft background music.
The end has the cheesy keyboard. But I guess all the non-PJ-fans will love it, haha.
C: I never found that song too cheesy but considered it to be a challenge to accept it in the catalogue, haha. I like the production...I understand why the piano fits into it...but I could live without a piano here
hearing an older ed/more rested and wiser
The album version opens with a piano, at least to me it sounded like a
real piano and not a keyboard. A lot of different instruments can be
heard on this song. A mandolin, a violin. I asked Brendan about it and
he said that only the violin was played by someone outside the band
and the rest was all played by the band itself and Brendan. The
beginning is just a single guitar with Ed singing. The song itself has
a Springsteen feel to it. It ends with the piano as well and
eventually fades out. Lots of fades on this record. There were two
songs which sort of seemed to blend into each other but I cannot
remember which ones these were.
Much better than the live version. It still has that Springsteen sound. Nice touches with the violin and no drums. The cheesy piano outro actually works here..it fades out. Not the best track on the record but a good way to end this record.
And the last one was also played live already. Starting with piano it sounds very much like a Eddie solo song, church-like, strings and more, mandolin (?). Lyrics about human relationships and the elements, like most of this album and the one before. And not cheesy at all, while I thought it was a bit too sentimental when played live. Piano at the end as well. Good positive song to end with.
Closer ‘Future Days’ is the first time on ‘Lightning Bolt’ where the lyrics are completely positive, perhaps expressing the contentment these men have found in middle age, with families beside them. They’re happy, and this folk-like number comprises a fine bookend to this tenth studio album.
We’re at the end already. This comes off a bit like the band’s attempt at ‘Love Reign O’er Me’ at first, largely thanks to a sweeping piano intro. It ends up being a bit lower key than that though. There are no drums, but there is some nice violin playing. A nice way to end the album, and the best ballad-like track on the record into the bargain.
harmless wrote:How come 'Getaway' has no production bells and whistles or extra instrumentation? Maybe that's why most people are liking it so much. Everything else has BoB all over it.
I think everything he does on LB is fantastic. Swallowed whole sounds really good too. And the stuff in sirens sounds appropriate for the style--if I have a beef there it's with the style, and that's not BoB
Well, I'm pretty sure it's BoB's influence. I'm fairly sure BoB would've softened the intent of the "dark Pink Floyd sound" while helping him arrange it. But I try not to think about that and enjoy the song for what it is.
perhaps. Thus far I have no real beefs with anything BoB did on this record except perhaps the two fadeouts--some of sirens excess, maybe, but I don't know what's him
That collection of SBM descriptions are pretty funny.
I feel like MFS is gonna be a bit like getaway. Which I won't mind. I'm willing to bet I won't like that poppy bridge one of them mentioned I'd worry about it being too backspacery but I gotta assume that a song called my fathers son from ed isn't going to be chirpy. Who knows though.
It sounds like that bridge is wholly ironic and actually mocks itself. So that could be good. I like sarcastic Ed.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
harmless wrote:How come 'Getaway' has no production bells and whistles or extra instrumentation? Maybe that's why most people are liking it so much. Everything else has BoB all over it.
I think everything he does on LB is fantastic. Swallowed whole sounds really good too. And the stuff in sirens sounds appropriate for the style--if I have a beef there it's with the style, and that's not BoB
Well, I'm pretty sure it's BoB's influence. I'm fairly sure BoB would've softened the intent of the "dark Pink Floyd sound" while helping him arrange it. But I try not to think about that and enjoy the song for what it is.
perhaps. Thus far I have no real beefs with anything BoB did on this record except perhaps the two fadeouts--some of sirens excess, maybe, but I don't know what's him
I 'blame' him for eddies voice being too loud and sounding like its sitting ontop of the music. I thought the same this about backspacer too, and that quote about having eddie good and loud leads me to believe thats mostly his doing.
I'm wondering if these remaining tracks will drastically alter the record as a whole.
RisingTides wrote:There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
harmless wrote:How come 'Getaway' has no production bells and whistles or extra instrumentation? Maybe that's why most people are liking it so much. Everything else has BoB all over it.
I think everything he does on LB is fantastic. Swallowed whole sounds really good too. And the stuff in sirens sounds appropriate for the style--if I have a beef there it's with the style, and that's not BoB
Well, I'm pretty sure it's BoB's influence. I'm fairly sure BoB would've softened the intent of the "dark Pink Floyd sound" while helping him arrange it. But I try not to think about that and enjoy the song for what it is.
perhaps. Thus far I have no real beefs with anything BoB did on this record except perhaps the two fadeouts--some of sirens excess, maybe, but I don't know what's him
I 'blame' him for eddies voice being too loud and sounding like its sitting ontop of the music. I thought the same this about backspacer too, and that quote about having eddie good and loud leads me to believe thats mostly his doing.
I know that doesn't bother everybody though.
Yeah, it's not as much fun when you can make out 90% of what Ed's saying right off the bat, versus the historical 60%.
Forgot that one. Still plenty of ear-candy material.
.