I have no problem with Ole. They killed it at Ottawa 2011.
I still like Olé.
I dont understand this one with you. Ole is fine but its not much different than some of their less than par stuff. What is it about this song that you enjoy moreso than lets say - the fixer?
I actually really enjoy Matt's demo of what became The Fixer, I just think they screwed it up trying to make it a cheesy pop song instead of letting it be one of Matt's off-kilter fuzz-pop tunes like Get Right. The bridge sucks and Ed's vocals are terrible.
Olé just barrels along very pleasantly. It actually kind of rocks, at least the recorded version does. The only thing that drags it down somewhat is Vedder (again), but I can look past that since I don't have issues with much else in the song. It's a perfect little garage-done-smart throwaway song, the kind they used to put on b-sides or Christmas singles.
I think a lot of people's anger about that song was the result of heightened expectations that it would be some killer new single. My take on it is that the band intended it to be filed alongside Happy When I'm Crying or Black Red Yellow, not Alive or Given to Fly.
And you dont think backspacer was a similar exercise in song writing for them? I dont care that it was their official album release but I feel its the same sort of song writing exercise and should be taken as such.
I like Ole because it just is what it is. Its not trying to be anything other than a driving off kiltered rock song. I dont see the fixer as anything different i guess. That riff and the timing is interesting yet gelled together nicely by a simpler driving beat and rhythmic vocal delivery.
I don't get the impression that the band intended Backspacer to be seen that way, though. It wasn't thrown casually up on their website for free download, it was pushed really hard as a new Pearl Jam record and I think the band really wanted it to do well (and better than their previous few records had.)
Though this argument has been made before, I think it would be much easier to consider Backspacer as an interesting creative diversion had the band been more prolific over the last 5 years. As it is, it can't help but seem like the defining statement of what Pearl Jam was during that period. I think it's already a pretty weak record, compared to their previous work, but it looks weaker still as a result of casting such a large shadow over the last few years of relative (creative) inactivity.
I dont know. I get what you are saying but ultimately a song needs to be judged on what the song is. Doesnt matter the time frame, or the reason of the release, the song is the song and should be judged as such. And when dissected - I dont see that much of a difference between Ole and the Fixer.
And, for the record, I have stated prior that Backspacer would probably be judged better if it weren't the sole artistic deliverance of the past 5 years...
dimejinky99 wrote:I reckon PJ subscribe to the Edge theory.
'Albums don't get finished. They get released'
I wonder what each Pj members favourite, or more telling, least favourite record is.
Unfortunately, I have a feeling most, if not all, would answer Binaural. I know I've at least heard some disparaging comments from Stone, Ed and Mike on that one.
dimejinky99 wrote:I reckon PJ subscribe to the Edge theory.
'Albums don't get finished. They get released'
I wonder what each Pj members favourite, or more telling, least favourite record is.
Unfortunately, I have a feeling most, if not all, would answer Binaural. I know I've at least heard some disparaging comments from Stone, Ed and Mike on that one.
Stone dont like their records after a while....like they seemed flawed to him after they came and tour....at least since Vitalogy. He said Backspacer was pretty good to him, but that was after the album came so..he might hate it now.
Mike was too fucked up during Binaural and Ed said nice things about that one...i guess the record the whole band feels like a let down is Riot Act...most of the songs are not played at all, even in their 03 tour.
Strat wrote:I dont know. I get what you are saying but ultimately a song needs to be judged on what the song is. Doesnt matter the time frame, or the reason of the release, the song is the song and should be judged as such. And when dissected - I dont see that much of a difference between Ole and the Fixer.
The Fixer makes my ears puke. Ole just makes them go "heh" and move on. That's a pretty big difference.
cutuphalfdead wrote:so glad i don't see signatures
Strat wrote:I dont know. I get what you are saying but ultimately a song needs to be judged on what the song is. Doesnt matter the time frame, or the reason of the release, the song is the song and should be judged as such. And when dissected - I dont see that much of a difference between Ole and the Fixer.
The Fixer makes my ears puke. Ole just makes them go "heh" and move on. That's a pretty big difference.
Seriously, that Ottawa 2011 version. Ed got his vintage growl back for one night only that night. It's what Ole would have sounded like if they recorded it in 1998.
Dev wrote:i love listening to the leaked pj song "last word".
WtOB? wrote:Seriously, that Ottawa 2011 version. Ed got his vintage growl back for one night only that night. It's what Ole would have sounded like if they recorded it in 1998.
Dev wrote:i love listening to the leaked pj song "last word".
stonefury wrote:I am actually one of the few who really enjoys The Fixer. It is my favorite song they have done since Binaural. I don't care if it is poppy and made for mass consumption. It just sounds great to me. But Ole... holy hell. I can't find one redeemable thing about it. Don't think there is anything to it musically, the lyrics are abominable, and the vocal delivery... yeah, not my thing. And this is not because I was expecting something amazing to come out. Whomever said it is a throwaway Christmas single b-side is spot on. I am cool with it sitting in obscurity with Barack around the Clock. I just hate seeing that it still is showing up on setlists.
I have no problem with Ole. They killed it at Ottawa 2011.
I still like Olé.
I dont understand this one with you. Ole is fine but its not much different than some of their less than par stuff. What is it about this song that you enjoy moreso than lets say - the fixer?
I actually really enjoy Matt's demo of what became The Fixer, I just think they screwed it up trying to make it a cheesy pop song instead of letting it be one of Matt's off-kilter fuzz-pop tunes like Get Right. The bridge sucks and Ed's vocals are terrible.
Olé just barrels along very pleasantly. It actually kind of rocks, at least the recorded version does. The only thing that drags it down somewhat is Vedder (again), but I can look past that since I don't have issues with much else in the song. It's a perfect little garage-done-smart throwaway song, the kind they used to put on b-sides or Christmas singles.
I think a lot of people's anger about that song was the result of heightened expectations that it would be some killer new single. My take on it is that the band intended it to be filed alongside Happy When I'm Crying or Black Red Yellow, not Alive or Given to Fly.
And you dont think backspacer was a similar exercise in song writing for them? I dont care that it was their official album release but I feel its the same sort of song writing exercise and should be taken as such.
I like Ole because it just is what it is. Its not trying to be anything other than a driving off kiltered rock song. I dont see the fixer as anything different i guess. That riff and the timing is interesting yet gelled together nicely by a simpler driving beat and rhythmic vocal delivery.
I don't get the impression that the band intended Backspacer to be seen that way, though. It wasn't thrown casually up on their website for free download, it was pushed really hard as a new Pearl Jam record and I think the band really wanted it to do well (and better than their previous few records had.)
Though this argument has been made before, I think it would be much easier to consider Backspacer as an interesting creative diversion had the band been more prolific over the last 5 years. As it is, it can't help but seem like the defining statement of what Pearl Jam was during that period. I think it's already a pretty weak record, compared to their previous work, but it looks weaker still as a result of casting such a large shadow over the last few years of relative (creative) inactivity.
I dont know. I get what you are saying but ultimately a song needs to be judged on what the song is. Doesnt matter the time frame, or the reason of the release, the song is the song and should be judged as such. And when dissected - I dont see that much of a difference between Ole and the Fixer.
And, for the record, I have stated prior that Backspacer would probably be judged better if it weren't the sole artistic deliverance of the past 5 years...
Alas...
I'm with Speeno on this. We obviously disagree about the quality of the songs, but Backspacer was a musical statement (and would probably be easier for some to appreciate if it wasn't the sole record of the last several years, which places extra obligations on the album that it probably was never built to meet.)
I have no problem with Ole. They killed it at Ottawa 2011.
I still like Olé.
I dont understand this one with you. Ole is fine but its not much different than some of their less than par stuff. What is it about this song that you enjoy moreso than lets say - the fixer?
I actually really enjoy Matt's demo of what became The Fixer, I just think they screwed it up trying to make it a cheesy pop song instead of letting it be one of Matt's off-kilter fuzz-pop tunes like Get Right. The bridge sucks and Ed's vocals are terrible.
Olé just barrels along very pleasantly. It actually kind of rocks, at least the recorded version does. The only thing that drags it down somewhat is Vedder (again), but I can look past that since I don't have issues with much else in the song. It's a perfect little garage-done-smart throwaway song, the kind they used to put on b-sides or Christmas singles.
I think a lot of people's anger about that song was the result of heightened expectations that it would be some killer new single. My take on it is that the band intended it to be filed alongside Happy When I'm Crying or Black Red Yellow, not Alive or Given to Fly.
And you dont think backspacer was a similar exercise in song writing for them? I dont care that it was their official album release but I feel its the same sort of song writing exercise and should be taken as such.
I like Ole because it just is what it is. Its not trying to be anything other than a driving off kiltered rock song. I dont see the fixer as anything different i guess. That riff and the timing is interesting yet gelled together nicely by a simpler driving beat and rhythmic vocal delivery.
I don't get the impression that the band intended Backspacer to be seen that way, though. It wasn't thrown casually up on their website for free download, it was pushed really hard as a new Pearl Jam record and I think the band really wanted it to do well (and better than their previous few records had.)
Though this argument has been made before, I think it would be much easier to consider Backspacer as an interesting creative diversion had the band been more prolific over the last 5 years. As it is, it can't help but seem like the defining statement of what Pearl Jam was during that period. I think it's already a pretty weak record, compared to their previous work, but it looks weaker still as a result of casting such a large shadow over the last few years of relative (creative) inactivity.
I dont know. I get what you are saying but ultimately a song needs to be judged on what the song is. Doesnt matter the time frame, or the reason of the release, the song is the song and should be judged as such. And when dissected - I dont see that much of a difference between Ole and the Fixer.
And, for the record, I have stated prior that Backspacer would probably be judged better if it weren't the sole artistic deliverance of the past 5 years...
Alas...
I'm with Speeno on this. We obviously disagree about the quality of the songs, but Backspacer was a musical statement (and would probably be easier for some to appreciate if it wasn't the sole record of the last several years, which places extra obligations on the album that it probably was never built to meet.)
On that last point, I wonder if the band hadn't anticipated such a lengthy gap between records and whether they would've perhaps done things differently had they known back in 2009 Soundgarden would reunite, Cameron Crowe would make that film, etc. Mike had (almost infamously, at this point) talked about an upcoming EP quite a bit for a while around that time.
this is also just an analogy with my own life and the way that things work, but I wonder if part of the problem is a desire to not step on everyone else's side projects out of respect. Soundgarden records an album and tours. So in that time Ed does a solo tour. But ed hurts his shoulder or whatever that was and needs to reschedule the tour. While that is on the back burner Stone decides to record something, and now they have to wait for that. while that is happening Jeff decides to record several albums, etc. It's hard to coordinate 5 people's busy schedules. And while I 100% agree that PJ should trump side projects, it is also hard to tell your bandmates (I assume) that you don't get to do your thing right now because everyone else has finally managed to line up their lives.
dimejinky99 wrote:Olé is Ryan Gosling in the Notebook. You love it for all the obvious and wrong reasons.
Fixer is Ryan Gosling in Lars and the Real Girl. There's a lot more there than you're giving it credit for and it has a bigger heart than you're happy to admit. Or are comfortable with.
Yeah. That'll do.
'Go' is Ryan Gosling in Drive, right?
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.
I think it's easier to just take Ole for what it is than the Fixer, because it IS a one off thing and not the lead single/summary moment of a new album. But there are no words for how terrible the lyrics in Ole are. Even 'puttin a little fixin on it' doesn't come close to the middle school moronicism that is a line about not knowing why you're feeling laughed at by the sky....and that's not even the dumbest line in this song.
