stip wrote:In part because it's not really just barrelling through a cathartic emotional space, and it's arguably the least engaging part (vocally) on a song with incredibly strong vocals throughout
Sometimes it's OK to have something exist for its own sake.
Many bands in the 60s, such as the Yardbirds, The Animals, and countless other R&B groups of the era, often ended songs with what were then called "rave-ups."
I'd put this firmly in this category.
They (Band? Wottmunn?) were clearly searching for a new live vehicle for a Daughter/Betterman-style crowd moment for the shows. It'll work.
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…
dprival78 wrote:only thing this song is lacking is a good series of heeeee-heeeeeeee's
Oh, give it a few shows...They're comin'
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…
It's too long. It's like listening to Bubba list out all the things you can do to shrimp in Forrest Gump. You can comb the wreckage, fall in the wreckage, deep fry the wreckage.
Ledbetterdays wrote:It's too long. It's like listening to Bubba list out all the things you can do to shrimp in Forrest Gump. You can comb the wreckage, fall in the wreckage, deep fry the wreckage.
stip wrote:In part because it's not really just barrelling through a cathartic emotional space, and it's arguably the least engaging part (vocally) on a song with incredibly strong vocals throughout
I disagree heavily with both of these. (It feels very cathartic and engaging to me, especially Eddie's big HOOOOOOLding OooooOOOOOOOn).
Pearl Jam songs are always the only songs where I can sing the random outros, they are always so memorable, and this is one of them IMO
For me, the last minute of this is the clear best moment of the record. I get that it's probably going to be this anthemic moment live, but I think the most winning part of it is the melancholy baked into how it sounds.
Wreckage should last 25 minutes, and crescendo until it's loud and aggressive enough that we hear the band smashing all of their instruments; Watt adds a nuclear explosion to the end on Pro-Tools or whatever
Ms Harmless wrote:Wreckage should last 25 minutes, and crescendo until it's loud and aggressive enough that we hear the band smashing all of their instruments; Watt adds a nuclear explosion to the end on Pro-Tools or whatever
You want my bloody valentine to cover Wreckage?
So do I....so do I
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…
Ms Harmless wrote:Wreckage should last 25 minutes, and crescendo until it's loud and aggressive enough that we hear the band smashing all of their instruments; Watt adds a nuclear explosion to the end on Pro-Tools or whatever
You want my bloody valentine to cover Wreckage?
So do I....so do I
