Red Mosquito

This song is just magic
Every time it comes on I'm like : "Yep...This is defiantly my favorite"

Then...Waiting For Stevie comes on and I'm whoa! okay, Upper Hand is definitely #2
But Holy Fuck ! what a 1-2 punch these two songs are

Gilmour, The Edge, and Steve Ray in a throuple...

Ed soaring

Matt & Jeff supporting in all the "right" ways.

The guys who wrote Hard to Imagine looking back with hard-earned wisdom

Gorgeous song

when the guitar comes in on the intro, it takes me to that Trainspotting track "Born Slippy" for some reason

I have a terrible feeling this is going to get played live twice, not get a huge crowd reaction (it's not off of Ten after all) and then vanish from sets forever

When I say Hard to Imagine, I don't mean thematically in a lyrical sense. Just want to make sure that's clear.

It's the older band with a dozen records under their belts with a little MLB tossed in for good measure

It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion. But it feels like to me that Upper Hand is the thematic and lyrical keystone to the album.

Harkening back to Stip’s guided tour of Vitalogy, the narrator writing a suicide note, but with a “shaky hand” - not yet having decided whether to take his life or not. If that narrator had chosen to live on, what kind of note would he write now, 30 years hence, and to whom would he write it? The answer is revealed in the last lines of Upper Hand. He would write to his fans, but more specifically, to his two biggest fans: his two daughters (“just the two of you”). This song is ultimately a letter to them, and the album overall is an ode and missive to them.

I think clues that this album is written to and for his daughters is littered throughout the record. Obviously in Something Special, but also poignantly in Waiting for Stevie, describing the girl losing and finding herself in a concert crowd. Upper Hand is a message from someone approaching the end (whether of their career or their life), to their loved ones, and reflecting on the question “what did it all mean?” Yes, he played on the biggest stages and traveled the world (“all the lights and sights we saw”), and he even made his own impact on music and culture (“we filled them up… and painted some”). But ultimately, he was always just a music fan who wanted connection, and had the fortune of affecting others with his art. He was never a rock god or someone to be idolized. He was never better than any of his adorers, never had the “upper hand.” He was just a fan himself, who could just as easily have seen himself on the other side of the stage barricade, and who wanted to share that joy of music with those who listened (“And I hope the people are smiling. Oh, how I always wanted to be like one of them.”) Most importantly, at the end of the day, he wanted to share it with the two most important people to him. They are all that he really needs, what he was looking for all along, the ones who are his home.

I think that Ed has always been reluctant to look backwards in his writing. There has always been a forward-looking posture or a sense of the now/present. Even in the songs that dwell on mortality, the focus has been on living gracefully in light of that (Sirens), or relishing the time one still has left (Future Days). But I think this song, and this album in general, find him much more comfortable looking back and reflecting. He does so inspired by, and for, his daughters. Some have commented that the ghost of Chris Cornell hangs over much of the record, and I certainly hear that, too, in both the lyrics and music. But I think that that this is still refracted through the prism of fatherhood. The greatest remorse is that Cornell will never get to see his own kids grow up in the way that Ed has and will (“If you could see what I see now, you'd find a way to stay somehow”).

If you made it this far, thank you all from a longtime reader and enjoyer of this forum. I'm loving the album, and everyone’s great reactions to it.

strizz wrote:It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion. But it feels like to me that Upper Hand is the thematic and lyrical keystone to the album.

Harkening back to Stip’s guided tour of Vitalogy, the narrator writing a suicide note, but with a “shaky hand” - not yet having decided whether to take his life or not. If that narrator had chosen to live on, what kind of note would he write now, 30 years hence, and to whom would he write it? The answer is revealed in the last lines of Upper Hand. He would write to his fans, but more specifically, to his two biggest fans: his two daughters (“just the two of you”). This song is ultimately a letter to them, and the album overall is an ode and missive to them.

I think clues that this album is written to and for his daughters is littered throughout the record. Obviously in Something Special, but also poignantly in Waiting for Stevie, describing the girl losing and finding herself in a concert crowd. Upper Hand is a message from someone approaching the end (whether of their career or their life), to their loved ones, and reflecting on the question “what did it all mean?” Yes, he played on the biggest stages and traveled the world (“all the lights and sights we saw”), and he even made his own impact on music and culture (“we filled them up… and painted some”). But ultimately, he was always just a music fan who wanted connection, and had the fortune of affecting others with his art. He was never a rock god or someone to be idolized. He was never better than any of his adorers, never had the “upper hand.” He was just a fan himself, who could just as easily have seen himself on the other side of the stage barricade, and who wanted to share that joy of music with those who listened (“And I hope the people are smiling. Oh, how I always wanted to be like one of them.”) Most importantly, at the end of the day, he wanted to share it with the two most important people to him. They are all that he really needs, what he was looking for all along, the ones who are his home.

I think that Ed has always been reluctant to look backwards in his writing. There has always been a forward-looking posture or a sense of the now/present. Even in the songs that dwell on mortality, the focus has been on living gracefully in light of that (Sirens), or relishing the time one still has left (Future Days). But I think this song, and this album in general, find him much more comfortable looking back and reflecting. He does so inspired by, and for, his daughters. Some have commented that the ghost of Chris Cornell hangs over much of the record, and I certainly hear that, too, in both the lyrics and music. But I think that that this is still refracted through the prism of fatherhood. The greatest remorse is that Cornell will never get to see his own kids grow up in the way that Ed has and will (“If you could see what I see now, you'd find a way to stay somehow”).

If you made it this far, thank you all from a longtime reader and enjoyer of this forum. I'm loving the album, and everyone’s great reactions to it.

this is a really fantastic reading of the album concept, strizz

strizz wrote:It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion. But it feels like to me that Upper Hand is the thematic and lyrical keystone to the album.

Harkening back to Stip’s guided tour of Vitalogy, the narrator writing a suicide note, but with a “shaky hand” - not yet having decided whether to take his life or not. If that narrator had chosen to live on, what kind of note would he write now, 30 years hence, and to whom would he write it? The answer is revealed in the last lines of Upper Hand. He would write to his fans, but more specifically, to his two biggest fans: his two daughters (“just the two of you”). This song is ultimately a letter to them, and the album overall is an ode and missive to them.

I think clues that this album is written to and for his daughters is littered throughout the record. Obviously in Something Special, but also poignantly in Waiting for Stevie, describing the girl losing and finding herself in a concert crowd. Upper Hand is a message from someone approaching the end (whether of their career or their life), to their loved ones, and reflecting on the question “what did it all mean?” Yes, he played on the biggest stages and traveled the world (“all the lights and sights we saw”), and he even made his own impact on music and culture (“we filled them up… and painted some”). But ultimately, he was always just a music fan who wanted connection, and had the fortune of affecting others with his art. He was never a rock god or someone to be idolized. He was never better than any of his adorers, never had the “upper hand.” He was just a fan himself, who could just as easily have seen himself on the other side of the stage barricade, and who wanted to share that joy of music with those who listened (“And I hope the people are smiling. Oh, how I always wanted to be like one of them.”) Most importantly, at the end of the day, he wanted to share it with the two most important people to him. They are all that he really needs, what he was looking for all along, the ones who are his home.

I think that Ed has always been reluctant to look backwards in his writing. There has always been a forward-looking posture or a sense of the now/present. Even in the songs that dwell on mortality, the focus has been on living gracefully in light of that (Sirens), or relishing the time one still has left (Future Days). But I think this song, and this album in general, find him much more comfortable looking back and reflecting. He does so inspired by, and for, his daughters. Some have commented that the ghost of Chris Cornell hangs over much of the record, and I certainly hear that, too, in both the lyrics and music. But I think that that this is still refracted through the prism of fatherhood. The greatest remorse is that Cornell will never get to see his own kids grow up in the way that Ed has and will (“If you could see what I see now, you'd find a way to stay somehow”).

If you made it this far, thank you all from a longtime reader and enjoyer of this forum. I'm loving the album, and everyone’s great reactions to it.

Love this. Thanks for writing out your thoughts.

strizz wrote:It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion. But it feels like to me that Upper Hand is the thematic and lyrical keystone to the album.

Harkening back to Stip’s guided tour of Vitalogy, the narrator writing a suicide note, but with a “shaky hand” - not yet having decided whether to take his life or not. If that narrator had chosen to live on, what kind of note would he write now, 30 years hence, and to whom would he write it? The answer is revealed in the last lines of Upper Hand. He would write to his fans, but more specifically, to his two biggest fans: his two daughters (“just the two of you”). This song is ultimately a letter to them, and the album overall is an ode and missive to them.

I think clues that this album is written to and for his daughters is littered throughout the record. Obviously in Something Special, but also poignantly in Waiting for Stevie, describing the girl losing and finding herself in a concert crowd. Upper Hand is a message from someone approaching the end (whether of their career or their life), to their loved ones, and reflecting on the question “what did it all mean?” Yes, he played on the biggest stages and traveled the world (“all the lights and sights we saw”), and he even made his own impact on music and culture (“we filled them up… and painted some”). But ultimately, he was always just a music fan who wanted connection, and had the fortune of affecting others with his art. He was never a rock god or someone to be idolized. He was never better than any of his adorers, never had the “upper hand.” He was just a fan himself, who could just as easily have seen himself on the other side of the stage barricade, and who wanted to share that joy of music with those who listened (“And I hope the people are smiling. Oh, how I always wanted to be like one of them.”) Most importantly, at the end of the day, he wanted to share it with the two most important people to him. They are all that he really needs, what he was looking for all along, the ones who are his home.

I think that Ed has always been reluctant to look backwards in his writing. There has always been a forward-looking posture or a sense of the now/present. Even in the songs that dwell on mortality, the focus has been on living gracefully in light of that (Sirens), or relishing the time one still has left (Future Days). But I think this song, and this album in general, find him much more comfortable looking back and reflecting. He does so inspired by, and for, his daughters. Some have commented that the ghost of Chris Cornell hangs over much of the record, and I certainly hear that, too, in both the lyrics and music. But I think that that this is still refracted through the prism of fatherhood. The greatest remorse is that Cornell will never get to see his own kids grow up in the way that Ed has and will (“If you could see what I see now, you'd find a way to stay somehow”).

If you made it this far, thank you all from a longtime reader and enjoyer of this forum. I'm loving the album, and everyone’s great reactions to it.

Great write up

this song could VERY easily segue into Crazy Mary

I wish that in the very end, right after the solo, it went back to eerie, slow chords from its beginning. Just a few notes and then — silence.

strizz wrote:Some have commented that the ghost of Chris Cornell hangs over much of the record, and I certainly hear that, too, in both the lyrics and music. But I think that that this is still refracted through the prism of fatherhood. The greatest remorse is that Cornell will never get to see his own kids grow up in the way that Ed has and will (“If you could see what I see now, you'd find a way to stay somehow”).

Val wrote:I wish that in the very end, right after the solo, it went back to eerie, slow chords from its beginning. Just a few notes and then — silence.

me too, kinda

strizz wrote:It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion. But it feels like to me that Upper Hand is the thematic and lyrical keystone to the album.

Harkening back to Stip’s guided tour of Vitalogy, the narrator writing a suicide note, but with a “shaky hand” - not yet having decided whether to take his life or not. If that narrator had chosen to live on, what kind of note would he write now, 30 years hence, and to whom would he write it? The answer is revealed in the last lines of Upper Hand. He would write to his fans, but more specifically, to his two biggest fans: his two daughters (“just the two of you”). This song is ultimately a letter to them, and the album overall is an ode and missive to them.

I think clues that this album is written to and for his daughters is littered throughout the record. Obviously in Something Special, but also poignantly in Waiting for Stevie, describing the girl losing and finding herself in a concert crowd. Upper Hand is a message from someone approaching the end (whether of their career or their life), to their loved ones, and reflecting on the question “what did it all mean?” Yes, he played on the biggest stages and traveled the world (“all the lights and sights we saw”), and he even made his own impact on music and culture (“we filled them up… and painted some”). But ultimately, he was always just a music fan who wanted connection, and had the fortune of affecting others with his art. He was never a rock god or someone to be idolized. He was never better than any of his adorers, never had the “upper hand.” He was just a fan himself, who could just as easily have seen himself on the other side of the stage barricade, and who wanted to share that joy of music with those who listened (“And I hope the people are smiling. Oh, how I always wanted to be like one of them.”) Most importantly, at the end of the day, he wanted to share it with the two most important people to him. They are all that he really needs, what he was looking for all along, the ones who are his home.

I think that Ed has always been reluctant to look backwards in his writing. There has always been a forward-looking posture or a sense of the now/present. Even in the songs that dwell on mortality, the focus has been on living gracefully in light of that (Sirens), or relishing the time one still has left (Future Days). But I think this song, and this album in general, find him much more comfortable looking back and reflecting. He does so inspired by, and for, his daughters. Some have commented that the ghost of Chris Cornell hangs over much of the record, and I certainly hear that, too, in both the lyrics and music. But I think that that this is still refracted through the prism of fatherhood. The greatest remorse is that Cornell will never get to see his own kids grow up in the way that Ed has and will (“If you could see what I see now, you'd find a way to stay somehow”).

If you made it this far, thank you all from a longtime reader and enjoyer of this forum. I'm loving the album, and everyone’s great reactions to it.

thats how you make a first post, people

welcome to the board

strizz wrote:It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion. But it feels like to me that Upper Hand is the thematic and lyrical keystone to the album.

Harkening back to Stip’s guided tour of Vitalogy, the narrator writing a suicide note, but with a “shaky hand” - not yet having decided whether to take his life or not. If that narrator had chosen to live on, what kind of note would he write now, 30 years hence, and to whom would he write it? The answer is revealed in the last lines of Upper Hand. He would write to his fans, but more specifically, to his two biggest fans: his two daughters (“just the two of you”). This song is ultimately a letter to them, and the album overall is an ode and missive to them.

I think clues that this album is written to and for his daughters is littered throughout the record. Obviously in Something Special, but also poignantly in Waiting for Stevie, describing the girl losing and finding herself in a concert crowd. Upper Hand is a message from someone approaching the end (whether of their career or their life), to their loved ones, and reflecting on the question “what did it all mean?” Yes, he played on the biggest stages and traveled the world (“all the lights and sights we saw”), and he even made his own impact on music and culture (“we filled them up… and painted some”). But ultimately, he was always just a music fan who wanted connection, and had the fortune of affecting others with his art. He was never a rock god or someone to be idolized. He was never better than any of his adorers, never had the “upper hand.” He was just a fan himself, who could just as easily have seen himself on the other side of the stage barricade, and who wanted to share that joy of music with those who listened (“And I hope the people are smiling. Oh, how I always wanted to be like one of them.”) Most importantly, at the end of the day, he wanted to share it with the two most important people to him. They are all that he really needs, what he was looking for all along, the ones who are his home.

I think that Ed has always been reluctant to look backwards in his writing. There has always been a forward-looking posture or a sense of the now/present. Even in the songs that dwell on mortality, the focus has been on living gracefully in light of that (Sirens), or relishing the time one still has left (Future Days). But I think this song, and this album in general, find him much more comfortable looking back and reflecting. He does so inspired by, and for, his daughters. Some have commented that the ghost of Chris Cornell hangs over much of the record, and I certainly hear that, too, in both the lyrics and music. But I think that that this is still refracted through the prism of fatherhood. The greatest remorse is that Cornell will never get to see his own kids grow up in the way that Ed has and will (“If you could see what I see now, you'd find a way to stay somehow”).

If you made it this far, thank you all from a longtime reader and enjoyer of this forum. I'm loving the album, and everyone’s great reactions to it.

What an insightful interpretation. Lovely read!

Don’t worry all, that was just stips other account. Jk great write up strizz, posts like these are why I’m here

strizz wrote:It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion. But it feels like to me that Upper Hand is the thematic and lyrical keystone to the album.

Harkening back to Stip’s guided tour of Vitalogy, the narrator writing a suicide note, but with a “shaky hand” - not yet having decided whether to take his life or not. If that narrator had chosen to live on, what kind of note would he write now, 30 years hence, and to whom would he write it? The answer is revealed in the last lines of Upper Hand. He would write to his fans, but more specifically, to his two biggest fans: his two daughters (“just the two of you”). This song is ultimately a letter to them, and the album overall is an ode and missive to them.

I think clues that this album is written to and for his daughters is littered throughout the record. Obviously in Something Special, but also poignantly in Waiting for Stevie, describing the girl losing and finding herself in a concert crowd. Upper Hand is a message from someone approaching the end (whether of their career or their life), to their loved ones, and reflecting on the question “what did it all mean?” Yes, he played on the biggest stages and traveled the world (“all the lights and sights we saw”), and he even made his own impact on music and culture (“we filled them up… and painted some”). But ultimately, he was always just a music fan who wanted connection, and had the fortune of affecting others with his art. He was never a rock god or someone to be idolized. He was never better than any of his adorers, never had the “upper hand.” He was just a fan himself, who could just as easily have seen himself on the other side of the stage barricade, and who wanted to share that joy of music with those who listened (“And I hope the people are smiling. Oh, how I always wanted to be like one of them.”) Most importantly, at the end of the day, he wanted to share it with the two most important people to him. They are all that he really needs, what he was looking for all along, the ones who are his home.

I think that Ed has always been reluctant to look backwards in his writing. There has always been a forward-looking posture or a sense of the now/present. Even in the songs that dwell on mortality, the focus has been on living gracefully in light of that (Sirens), or relishing the time one still has left (Future Days). But I think this song, and this album in general, find him much more comfortable looking back and reflecting. He does so inspired by, and for, his daughters. Some have commented that the ghost of Chris Cornell hangs over much of the record, and I certainly hear that, too, in both the lyrics and music. But I think that that this is still refracted through the prism of fatherhood. The greatest remorse is that Cornell will never get to see his own kids grow up in the way that Ed has and will (“If you could see what I see now, you'd find a way to stay somehow”).

If you made it this far, thank you all from a longtime reader and enjoyer of this forum. I'm loving the album, and everyone’s great reactions to it.

Bravo! I think you nailed it. Thank you


Post more

Monkey_Driven wrote:

strizz wrote:It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion. But it feels like to me that Upper Hand is the thematic and lyrical keystone to the album.

Harkening back to Stip’s guided tour of Vitalogy, the narrator writing a suicide note, but with a “shaky hand” - not yet having decided whether to take his life or not. If that narrator had chosen to live on, what kind of note would he write now, 30 years hence, and to whom would he write it? The answer is revealed in the last lines of Upper Hand. He would write to his fans, but more specifically, to his two biggest fans: his two daughters (“just the two of you”). This song is ultimately a letter to them, and the album overall is an ode and missive to them.

I think clues that this album is written to and for his daughters is littered throughout the record. Obviously in Something Special, but also poignantly in Waiting for Stevie, describing the girl losing and finding herself in a concert crowd. Upper Hand is a message from someone approaching the end (whether of their career or their life), to their loved ones, and reflecting on the question “what did it all mean?” Yes, he played on the biggest stages and traveled the world (“all the lights and sights we saw”), and he even made his own impact on music and culture (“we filled them up… and painted some”). But ultimately, he was always just a music fan who wanted connection, and had the fortune of affecting others with his art. He was never a rock god or someone to be idolized. He was never better than any of his adorers, never had the “upper hand.” He was just a fan himself, who could just as easily have seen himself on the other side of the stage barricade, and who wanted to share that joy of music with those who listened (“And I hope the people are smiling. Oh, how I always wanted to be like one of them.”) Most importantly, at the end of the day, he wanted to share it with the two most important people to him. They are all that he really needs, what he was looking for all along, the ones who are his home.

I think that Ed has always been reluctant to look backwards in his writing. There has always been a forward-looking posture or a sense of the now/present. Even in the songs that dwell on mortality, the focus has been on living gracefully in light of that (Sirens), or relishing the time one still has left (Future Days). But I think this song, and this album in general, find him much more comfortable looking back and reflecting. He does so inspired by, and for, his daughters. Some have commented that the ghost of Chris Cornell hangs over much of the record, and I certainly hear that, too, in both the lyrics and music. But I think that that this is still refracted through the prism of fatherhood. The greatest remorse is that Cornell will never get to see his own kids grow up in the way that Ed has and will (“If you could see what I see now, you'd find a way to stay somehow”).

If you made it this far, thank you all from a longtime reader and enjoyer of this forum. I'm loving the album, and everyone’s great reactions to it.

Love this. Thanks for writing out your thoughts.

This is great. I think its spot on and other clues throughout the album "You can be loved, and not feel love" or wahtever...

Its that adoration from your fans "i love you ed". A nice quick high, no doubt, but ultimately vapid and not real. The real love is at home with his family.

strizz wrote:It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion ...

Just to isolate this thought for a moment, has Ed confirmed he actually wrote the lyrics during those sessions, in which case he would've had to work very quickly?

Unless he did, I'm tempted to think the band got the musical ideas down, and Ed probably came up with some rough melodies, but that he worked on the actual final lyrics during the year-long break from final session until the album was actually released.

In addition to the recordings done in LA, the liner notes confirm further recordings occurred at "GT Studios" and "Jump Site Studios" in Seattle. Two points to make about that are that there are no commercial studios I can find with those names in Seattle, so I think they're probably references to the band's own studio (in the warehouse) and Ed's home studio, and that the same locations are referenced in the Gigaton liner notes.

Just a hunch, but I suspect Ed's final vocals were recorded in these Seattle sessions and that he probably laboured over the final lyrics for much of last year.

Birds in Hell wrote:

strizz wrote:It’s hard to make lyrical interpretations when the music was, by all accounts, made in such an off-the-cuff and in the moment fashion ...

Just to isolate this thought for a moment, has Ed confirmed he actually wrote the lyrics during those sessions, in which case he would've had to work very quickly?

Unless he did, I'm tempted to think the band got the musical ideas down, and Ed probably came up with some rough melodies, but that he worked on the actual final lyrics during the year-long break from final session until the album was actually released.

In addition to the recordings done in LA, the liner notes confirm further recordings occurred at "GT Studios" and "Jump Site Studios" in Seattle. Two points to make about that are that there are no commercial studios I can find with those names in Seattle, so I think they're probably references to the band's own studio (in the warehouse) and Ed's home studio, and that the same locations are referenced in the Gigaton liner notes.

Just a hunch, but I suspect Ed's final vocals were recorded in these Seattle sessions and that he probably laboured over the final lyrics for much of last year.

Great observation! You could be right, might explain why it seemed the band sat on the record for a year. Ed was just nailing down the lyrics/vocal takes.