stip wrote:Who Ever Said and Comes than Goes are both long songs, though. It's not like SBWM or Never Destination where the words do tumble over each other (although ND is the only one of these songs that's fast to the point of being a challenge to sing). Is that an issue with the length of the song? Do folks just want more strumming breaks on Comes than Goes?
"Comes Then Goes" is long because it has a lot of lyrics, though. There is absolutely nothing else going on in that song
Except that part that is like “Cohhhhhhh-WHA-unmmmmmmms, then goesssssssss”
The problem is not that there are too many words. There is just too much of a word.
stip wrote:I mean I get a critique that someone might think Comes than Goes is just too long. I think the endings of WMA and Not For You wear out their welcome and you lose interest in what's going on. But that seems like a different issue than folks thinking Eddie's become too wordy.
But then again the lyrics are an important part of my experience with the band's music. To me this is like saying the guitarists are playing too many notes. What matters is whether or not they are interesting notes, and fit the structure of the song they are in. Not just that there is too much of it
I didn't make the initial critique, but I will say that my problems with CTG are that it goes on forever and that its lyrics are really bad
Anders wrote:I do not have a «neoliberal assessment of geopolitics», so please stop writing that I do.
stip wrote:I mean I get a critique that someone might think Comes than Goes is just too long. I think the endings of WMA and Not For You wear out their welcome and you lose interest in what's going on. But that seems like a different issue than folks thinking Eddie's become too wordy.
But then again the lyrics are an important part of my experience with the band's music. To me this is like saying the guitarists are playing too many notes. What matters is whether or not they are interesting notes, and fit the structure of the song they are in. Not just that there is too much of it
I didn't make the initial critique, but I will say that my problems with CTG are that it goes on forever and that its lyrics are really bad
But that makes sense to me as a critique. Saying Eddie's lyrics are bad is different than saying there are a lot of them
Ms Harmless wrote:the acoustic guitar-playing in CTG is a million times more interesting than a lot of recent Ed ballads, tbf
NAME FIVE!
Parachutes, Inside Job, Just Breathe, Yellow Moon, Future Days, The Haves
the song pleases these ears more than all the above (which isn't to say I don't enjoy them all to some extent; I have issues with The Haves lyrically but when I was hugging my partner in hospital while it was on, that didn't matter)
stip wrote:Oh man, there's so many killer passages in Comes Than Goes. That's exactly what I want from Eddie as a writer.
The tortured syntax to fit the meter thing just kills it for me, and he does it several times in the song
I don't mind when he does this, as long as the sentence still makes logical sense; something like "I stopped the rhythm but my clock was full yeah"... I can't make it mean anything
stip wrote:Oh man, there's so many killer passages in Comes Than Goes. That's exactly what I want from Eddie as a writer.
The tortured syntax to fit the meter thing just kills it for me, and he does it several times in the song
I don't mind when he does this, as long as the sentence still makes logical sense; something like "I stopped the rhythm but my clock was full yeah"... I can't make it mean anything
I never understood what he meant by that
Last edited by Jorge on Thu March 07, 2024 8:11 pm, edited 1 time in total.
Anders wrote:I do not have a «neoliberal assessment of geopolitics», so please stop writing that I do.
I love Parachutes and Yellow Moon and probably Future Days and sometimes Just Breathe. CTG is pretty great. But a MILLION times greater? You'd have to be a pretty great song.
stip wrote:Oh man, there's so many killer passages in Comes Than Goes. That's exactly what I want from Eddie as a writer.
The tortured syntax to fit the meter thing just kills it for me, and he does it several times in the song
I don't mind when he does this, as long as the sentence still makes logical sense; something like "I stopped the rhythm but my clock was full yeah"... I can't make it mean anything
I never understood what he meant by that
Same. Fortunately I've never cared enough for the song to try and torture out a meaning
I think it was either Kevin Davis or Epilogue who said "Comes Then Goes" reminds them of the Colin Meloy acoustic ballads like "June Hymn" and "January Hymn" and I definitely hear it; I like those songs quite a bit, there's a grace and an effortlessness about them. But something about "Comes Then Goes" feels weighty, laborious and awkward to my ear, and I think it comes down to the lyrics and the length
Anders wrote:I do not have a «neoliberal assessment of geopolitics», so please stop writing that I do.
stip wrote:Oh man, there's so many killer passages in Comes Than Goes. That's exactly what I want from Eddie as a writer.
The tortured syntax to fit the meter thing just kills it for me, and he does it several times in the song
I don't mind when he does this, as long as the sentence still makes logical sense; something like "I stopped the rhythm but my clock was full yeah"... I can't make it mean anything
I never understood what he meant by that
Same. Fortunately I've never cared enough for the song to try and torture out a meaning
I've tried to torture out a meaning *because* I've hated it and for a long time felt it was a giant turd that was ruining an album I otherwise was OK with
I always wished I could get there; I like it a lot more now than I did then, it's just not my kind of song