Song of the Moment: Let the Records Play

[Strat]

It shouldn't have big wave's manic energy.

I agree, which is why I questioned why you were comparing the songs-- they're pretty different. I wasn't contrasting them in terms of energy, but in terms of the choruses' design and where they take the songs. To my ears, LtRP is an underwritten snooze, you're way into it. I also happen to think "Evacuation" has an excellent chorus, so I don't think it's surprising that we disagree on this one.

I love evacuation so much

[Strat]

I don't mind catchy at all. I don't dislike it because it's catchy. I dislike it because absolutely uninteresting and safe and, for me, lessens the impact of the rest of the song. I get why some people do like it because, ya, it's catchy. It just doesn't work for me because it feels do unimaginative. I like the lyrics and the idea but I don't think a bubble gum chorus was necessary to get the point across. A catchy melody is great but it doesn't have to be dull to be catchy. I find this one dull and somewhat annoying.

I fucking love sitcoms and I love sirens and guns n roses. This chorus just sucks :/

I also keep expecting them to bust into the theme song for "true blood"

[harmless]

I just don't think it's *meant* to work by itself without that (much better) bridge (or the extended chorus, because like Sirens, or even LB, this one doesn't really *have* a chorus to me). I don't see why there's anything wrong with the chorus not being the most significant part. You could say that it's the same thing going on as it was in the middle-period albums. There was no attempt to be catchy at all during those, so maybe people just aren't liking the fact that PJ are trying to be catchy and not being all that good at it. I'm OK with that because I've kind of always felt that way about PJ. People raise their arms and chant "Why go home? Why go home?" and it kind of makes me go meh, but that's OK because the bulk of the song is pretty cool. I don't think this chorus ruins anything, even if I think other parts are what make the song.

[harmless]

So much is being said about the chorus, I feel like more should be said about that awesome bridge. That's what I look forward to during this song, and the jam at the end. Matt hasn't sounded that good since 1/2 Full.

[Strat]

So much is being said about the chorus, I feel like more should be said about that awesome bridge. That's what I look forward to during this song, and the jam at the end. Matt hasn't sounded that good since 1/2 Full.

If I talk about that I'll just get pissed at BOB for fading it out :/

I really like the bridge. Specifically " I still recall the flaws on her face..."


Sad

[harmless]

So much is being said about the chorus, I feel like more should be said about that awesome bridge. That's what I look forward to during this song, and the jam at the end. Matt hasn't sounded that good since 1/2 Full.

If I talk about that I'll just get pissed at BOB for fading it out :/

I really like the bridge. Specifically " I still recall the flaws on her face..."


Sad

Maybe I'm just expecting less of this song than you. I was like "Oh yay, glam rock" rather than "FUCK YEAH, DIRTY SWAMP BLUES!" In the album's context it won't be one of the big statement songs, but we only have four of them so it's shouldering a lot of responsibility right now. BoB is really fade-happy on this album, which is something we're just gonna have to deal with. It's starting to bother me on LB, where it starts happening much earlier than this one.

[McParadigm]

"Oh yay, glam rock"

[harmless]

"Oh yay, glam rock"

Also like Shania Twain? Wow, that's pretty insightful and something I'd honestly never noticed before.

[Release_Me]

I don't mind catchy at all. I don't dislike it because it's catchy. I dislike it because absolutely uninteresting and safe and, for me, lessens the impact of the rest of the song. I get why some people do like it because, ya, it's catchy. It just doesn't work for me because it feels do unimaginative. I like the lyrics and the idea but I don't think a bubble gum chorus was necessary to get the point across. A catchy melody is great but it doesn't have to be dull to be catchy. I find this one dull and somewhat annoying.

I fucking love sitcoms and I love sirens and guns n roses. This chorus just sucks :/

Fair enough. Different strokes. I don't think it's dull or unimaginative or bubble gum sounding at all (though coming from the middle period, dark chocolate would taste like bubble gum). I think it gives the song exactly what it needs and I love the way it's delivered. I can imagine a drunken guy singing something like that. Sometimes, I feel going the 'safe' route is much better for the song overall than to take the road less travelled. Binaural and Riot Act rockers are perfect examples of songs which needed more melody and hooks to work (or last) for me. This one gets's it right. As does Getaway but that does more than just get it right.

It's pretty clear to me that No Code, Binaural and Riot Act are not the rule. They are the exceptions. The albums before and since were loaded with hooks and melodies which could make sitcoms/TV shows, whatever, only if Ed didn't sound so 'angsty' and if he was singing something else. Same here. That's not demeaning to the songs. It's a tribute to great songwriting.

[McParadigm]

"Oh yay, glam rock"

Also like Shania Twain? Wow, that's pretty insightful and something I'd honestly never noticed before.

Just keeping you honest.

[harmless]

I don't mind catchy at all. I don't dislike it because it's catchy. I dislike it because absolutely uninteresting and safe and, for me, lessens the impact of the rest of the song. I get why some people do like it because, ya, it's catchy. It just doesn't work for me because it feels do unimaginative. I like the lyrics and the idea but I don't think a bubble gum chorus was necessary to get the point across. A catchy melody is great but it doesn't have to be dull to be catchy. I find this one dull and somewhat annoying.

I fucking love sitcoms and I love sirens and guns n roses. This chorus just sucks :/

Fair enough. Different strokes. I don't think it's dull or unimaginative or bubble gum sounding at all (though coming from the middle period, dark chocolate would taste like bubble gum). I think it gives the song exactly what it needs and I love the way it's delivered. I can imagine a drunken guy singing something like that. Sometimes, I feel going the 'safe' route is much better for the song overall than to take the road less travelled. Binaural and Riot Act rockers are perfect examples of songs which needed more melody and hooks to work (or last) for me. This one gets's it right. As does Getaway but that does more than just get it right.

It's pretty clear to me that No Code, Binaural and Riot Act are not the rule. They are the exceptions. The albums before and since were loaded with hooks and melodies which could make sitcoms/TV shows, whatever, only if Ed didn't sound so 'angsty' and if he was singing something else. Same here. That's not demeaning to the songs. It's a tribute to great songwriting.

Trouble is, in the old stuff, he is singing something else. The one chorus from Vitalogy you could put into a TV show ("already in love!") was about addiction to the "devil". Now there's nothing really separating the TV show chorus from... its potential TV show.

[stip]

It shouldn't have big wave's manic energy.

I agree, which is why I questioned why you were comparing the songs-- they're pretty different. I was contrasting them in terms of of the choruses' designs and where they take the songs. To my ears, LtRP is an underwritten snooze, you're way into it. I also happen to think "Evacuation" has an excellent chorus, so I don't think it's surprising that we disagree on this one.

if they appeared at different points in the record I probably wouldn't even make the comparison. There's the superficial 'this is about music' connection to Supersonic and then Supersonic and Big Wave have the playful energy, so maybe this is just a connection via the transitive property, enhanced by all appearing right before the final 3rd of their records. But you're right. It may just not be a good comparison.

Thinking about this on my drive into work I think LTRP is probably more analogous to a song like Johnny Guitar.

[stip]

Can the chorus really be that bad?

It's pretty bad. "Easy-standard" is right. There's no tension to it, no pull, nothing to indicate that this supposedly "fun" little number is even fun to play; "Big Wave" is another chorus I dislike, but the way it's arranged, the way it's performed, makes it sound like the band is having a blast. The energy is infectious. There's none of that in the chorus to "Let the Records Play". It just sits there, languid. Halfheartedly serving its purpose as the supposed centerpiece to the song before the band gets to kick back into the more interesting part. It's the same problem I have with "Getaway": decent verses, anemic chorus. I've heard several folks describe some of these leaked songs as "sitcom theme songs", and I think there's something to that. I feel like they veer towards the facile and familiar, without much in the way of zest or feeling.

To be fair, this could be said for some many PJ songs since S/T. I wonder why the hell they think this non-event chorus idea is a good one. Are they pitching to have a song used in a TV show?

These guys have a weird idea of 'fun'.

I blame eds vocal melodies mostly. It's not the only problem, but it doesn't help. Swallowed whole also sounds like a kids tv show. That's the verses though.

I think it sounds like a song out of a kids' movie, like "Accidentally In Love" by Counting Crows, used for Shrek. But I'm perfectly fine with that, because the song really works in those (and other) terms. It's not trying to be anything else. In comparison, LTRP might be trying to be something else but not quite reaching that.

Lyrically it seems like the chorus is about self-destruction and deciding whether or not you should care. What sitcoms and kids movies are you watching?

[Jorge]

It shouldn't have big wave's manic energy.

I agree, which is why I questioned why you were comparing the songs-- they're pretty different. I was contrasting them in terms of of the choruses' designs and where they take the songs. To my ears, LtRP is an underwritten snooze, you're way into it. I also happen to think "Evacuation" has an excellent chorus, so I don't think it's surprising that we disagree on this one.

if they appeared at different points in the record I probably wouldn't even make the comparison. There's the superficial 'this is about music' connection to Supersonic and then Supersonic and Big Wave have the playful energy, so maybe this is just a connection via the transitive property, enhanced by all appearing right before the final 3rd of their records. But you're right. It may just not be a good comparison.

Thinking about this on my drive into work I think LTRP is probably more analogous to a song like Johnny Guitar.

And hey, I think "Johnny Guitar" is a brilliant song! This is such a slog in comparison.

[stip]

I won't argue that Johnny guitar is the better song

[stip]

no wait. isn't the better song.

johnny guitar is better.

there.

[harmless]

Can the chorus really be that bad?

It's pretty bad. "Easy-standard" is right. There's no tension to it, no pull, nothing to indicate that this supposedly "fun" little number is even fun to play; "Big Wave" is another chorus I dislike, but the way it's arranged, the way it's performed, makes it sound like the band is having a blast. The energy is infectious. There's none of that in the chorus to "Let the Records Play". It just sits there, languid. Halfheartedly serving its purpose as the supposed centerpiece to the song before the band gets to kick back into the more interesting part. It's the same problem I have with "Getaway": decent verses, anemic chorus. I've heard several folks describe some of these leaked songs as "sitcom theme songs", and I think there's something to that. I feel like they veer towards the facile and familiar, without much in the way of zest or feeling.

To be fair, this could be said for some many PJ songs since S/T. I wonder why the hell they think this non-event chorus idea is a good one. Are they pitching to have a song used in a TV show?

These guys have a weird idea of 'fun'.

I blame eds vocal melodies mostly. It's not the only problem, but it doesn't help. Swallowed whole also sounds like a kids tv show. That's the verses though.

I think it sounds like a song out of a kids' movie, like "Accidentally In Love" by Counting Crows, used for Shrek. But I'm perfectly fine with that, because the song really works in those (and other) terms. It's not trying to be anything else. In comparison, LTRP might be trying to be something else but not quite reaching that.

Lyrically it seems like the chorus is about self-destruction and deciding whether or not you should care. What sitcoms and kids movies are you watching?

I agree, I've already said that if you look deeper it's more about oblivion and the desire to have your ashes scattered in the sea than anything. But on the surface, it feels like a life-affirming song about nature, which is why I think of the ecology movies by Pixar and the like.

[Jorge]

johnny guitar is better.

[harmless]

Stip, have you heard "Accidentally in Love" by Counting Crows, the song used for Shrek? Listen to that and tell me you don't see sense in my comparison.

[harmless]

It shouldn't have big wave's manic energy.

I agree, which is why I questioned why you were comparing the songs-- they're pretty different. I was contrasting them in terms of of the choruses' designs and where they take the songs. To my ears, LtRP is an underwritten snooze, you're way into it. I also happen to think "Evacuation" has an excellent chorus, so I don't think it's surprising that we disagree on this one.

if they appeared at different points in the record I probably wouldn't even make the comparison. There's the superficial 'this is about music' connection to Supersonic and then Supersonic and Big Wave have the playful energy, so maybe this is just a connection via the transitive property, enhanced by all appearing right before the final 3rd of their records. But you're right. It may just not be a good comparison.

Thinking about this on my drive into work I think LTRP is probably more analogous to a song like Johnny Guitar.

And hey, I think "Johnny Guitar" is a brilliant song! This is such a slog in comparison.

The slog is deliberate, I guess. It's slurred and somewhat immobile, like a drunken man.