Red Mosquito

Lounge Lizard wrote:

harmless wrote:

Lounge Lizard wrote:

LetMeSleep wrote:

Lounge Lizard wrote:

LetMeSleep wrote:I prefer Unthought Known to this. I know, right.

They'd go together well on a playlist, but they don't take each others place

Quite a few people have compared them so I thought I'd throw my preference in the mix. It does feel like a comparison of Green Disease and Big Wave though.

I always thought Green Desease borrowed its riff from MFC and fucking raped and left to die.

This band has been ripping off other bands' songs, and their own earlier songs, since the year dot. I think fans are probably only just realising it. For some reason they used to be fine with it and they're not now.

Not For You stole its riff from Even Flow, stripped it down and slowed the tempo.
Getaway stole the vocal part from Johnny Guitar but took it further.
Lightning Bolt stole the first two chords of the chorus from The Fixer.
Cold Confession stole the first two notes of the vocal melody from Shine On You Crazy Diamond...
Animal lent its riff to Vicarious

Cold Confession blatantly became, or was replaced by, Inside Job, which everyone hates.

harmless wrote:

Lounge Lizard wrote:

harmless wrote:

Lounge Lizard wrote:

LetMeSleep wrote:

Lounge Lizard wrote:

LetMeSleep wrote:I prefer Unthought Known to this. I know, right.

They'd go together well on a playlist, but they don't take each others place

Quite a few people have compared them so I thought I'd throw my preference in the mix. It does feel like a comparison of Green Disease and Big Wave though.

I always thought Green Desease borrowed its riff from MFC and fucking raped and left to die.

This band has been ripping off other bands' songs, and their own earlier songs, since the year dot. I think fans are probably only just realising it. For some reason they used to be fine with it and they're not now.

Not For You stole its riff from Even Flow, stripped it down and slowed the tempo.
Getaway stole the vocal part from Johnny Guitar but took it further.
Lightning Bolt stole the first two chords of the chorus from The Fixer.
Cold Confession stole the first two notes of the vocal melody from Shine On You Crazy Diamond...
Animal lent its riff to Vicarious

Cold Confession blatantly became, or was replaced by, Inside Job, which everyone hates.

Not me. I like IJ

Lounge Lizard wrote:

harmless wrote:

Lounge Lizard wrote:

harmless wrote:

Lounge Lizard wrote:

LetMeSleep wrote:

Lounge Lizard wrote:

LetMeSleep wrote:I prefer Unthought Known to this. I know, right.

They'd go together well on a playlist, but they don't take each others place

Quite a few people have compared them so I thought I'd throw my preference in the mix. It does feel like a comparison of Green Disease and Big Wave though.

I always thought Green Desease borrowed its riff from MFC and fucking raped and left to die.

This band has been ripping off other bands' songs, and their own earlier songs, since the year dot. I think fans are probably only just realising it. For some reason they used to be fine with it and they're not now.

Not For You stole its riff from Even Flow, stripped it down and slowed the tempo.
Getaway stole the vocal part from Johnny Guitar but took it further.
Lightning Bolt stole the first two chords of the chorus from The Fixer.
Cold Confession stole the first two notes of the vocal melody from Shine On You Crazy Diamond...
Animal lent its riff to Vicarious

Cold Confession blatantly became, or was replaced by, Inside Job, which everyone hates.

Not me. I like IJ

Yeah I was being flippant when I said everyone. I think it's OK. The lyrics are bad, but then they're very personal and self-helpish, which is alright on some days.

harmless wrote:she's your rock and roll
she's a lightning bolt
uncontrollable
like you

I'm really liking this snippet of lyrics, and the surprise of "like you". It's cheesy as hell but it's nice.

So if Ed rewrote the lyrics it suddenlt kicks ass?
My problems with Inside Job do not concern the words he sings.
I don't like the change of approach mid song.
It starts like something absolutely grand and degrades into a simple-ish straight forward rocker. The guitars are two blunt and in your face. The change from a very atmospheric intro dominated by a near magic bass line and beautiful piano accents is too abrupt.
But I still love it like many other songs I critisize.

Lounge Lizard wrote:So if Ed rewrote the lyrics it suddenlt kicks ass?
My problems with Inside Job do not concern the words he sings.
I don't like the change of approach mid song.
It starts like something absolutely grand and degrades into a simple-ish straight forward rocker. The guitars are two blunt and in your face. The change from a very atmospheric intro dominated by a near magic bass line and beautiful piano accents is too abrupt.
But I still love it like many other songs I critisize.

So you're saying that you have no problems with the lyrics, but have problems with other things and your complaints are far more important? Some people need to stop pretending lyrics don't and can't affect a person's enjoyment of a song. Yes, it's absolutely possible that Ed lyrics might've made this song a shit ton better than Mike's.

harmless wrote:

harmless wrote:she's your rock and roll
she's a lightning bolt
uncontrollable
like you

I'm really liking this snippet of lyrics, and the surprise of "like you". It's cheesy as hell but it's nice.

me too
I went outside for a few minutes and on my way back i caught myself singing this part in my mind: never let her go - she's true... uncontrollable - like you...

I dunno, I get a strong U2 vibe from LB

Lounge Lizard wrote:

harmless wrote:

harmless wrote:she's your rock and roll
she's a lightning bolt
uncontrollable
like you

I'm really liking this snippet of lyrics, and the surprise of "like you". It's cheesy as hell but it's nice.

me too
I went outside for a few minutes and on my way back i caught myself singing this part in my mind: never let her go - she's true... uncontrollable - like you...

I dunno, I get a strong U2 vibe from LB

I hate U2, but I've always felt their influence was filtered through PJ in the right way. They obviously respect U2 for the right reasons.

harmless wrote:

Lounge Lizard wrote:So if Ed rewrote the lyrics it suddenlt kicks ass?
My problems with Inside Job do not concern the words he sings.
I don't like the change of approach mid song.
It starts like something absolutely grand and degrades into a simple-ish straight forward rocker. The guitars are two blunt and in your face. The change from a very atmospheric intro dominated by a near magic bass line and beautiful piano accents is too abrupt.
But I still love it like many other songs I critisize.

So you're saying that you have no problems with the lyrics, but have problems with other things and your complaints are far more important? Some people need to stop pretending lyrics don't and can't affect a person's enjoyment of a song. Yes, it's absolutely possible that Ed lyrics might've made this song a shit ton better than Mike's.

By no means was I implying that my complaint was more important!

Lounge Lizard wrote:

harmless wrote:

Lounge Lizard wrote:So if Ed rewrote the lyrics it suddenlt kicks ass?
My problems with Inside Job do not concern the words he sings.
I don't like the change of approach mid song.
It starts like something absolutely grand and degrades into a simple-ish straight forward rocker. The guitars are two blunt and in your face. The change from a very atmospheric intro dominated by a near magic bass line and beautiful piano accents is too abrupt.
But I still love it like many other songs I critisize.

So you're saying that you have no problems with the lyrics, but have problems with other things and your complaints are far more important? Some people need to stop pretending lyrics don't and can't affect a person's enjoyment of a song. Yes, it's absolutely possible that Ed lyrics might've made this song a shit ton better than Mike's.

By no means was I implying that my complaint was more important!

Cool. My post was a bit forceful. But there's often an implication that lyrics can't make or break a song, and while I often agree, this song (for me) is an example of one that's really affected (ruined, on some days, depending on how I'm feeling) by its lyrics. Compare it to something like 'Last Exit' on Vitalogy, whose lyrics really really help to make it excellent.

harmless wrote:

Lounge Lizard wrote:

harmless wrote:

harmless wrote:she's your rock and roll
she's a lightning bolt
uncontrollable
like you

I'm really liking this snippet of lyrics, and the surprise of "like you". It's cheesy as hell but it's nice.

me too
I went outside for a few minutes and on my way back i caught myself singing this part in my mind: never let her go - she's true... uncontrollable - like you...

I dunno, I get a strong U2 vibe from LB

I hate U2, but I've always felt their influence was filtered through PJ in the right way. They obviously respect U2 for the right reasons.

I hate them too for some reason.. I really can't explain.
I remember when they had a concert together it made me gloat at Bono's inability to sing Rockin in The Free World while Ed totally dominated the stage. I was like HA HA HA!

Studio version of LB is twice better to my ears than the live version from Wrigley. When i heard the Wrigley version i thought there is no way it might be one of my favorites on the new album, sounded kinda lifeless to me and didn't get the melody right away. I take my word back on that now, it definitely might be one of my favorites on the album.. plus, it's a grower.

harmless wrote:

harmless wrote:she's your rock and roll
she's a lightning bolt
uncontrollable
like you

I'm really liking this snippet of lyrics, and the surprise of "like you". It's cheesy as hell but it's nice.

it was a nice surprise. I love everything about this song about 30 seconds in and the last minute forty five in particular

all her problems...they won't die with you!

I think the Yield-lovers should be happy that at least this song begins in a really subdued and quiet way, rather than Matt BANGING AND TINKLING AWAY like he was at Wrigley. It rises from a subtle start. And it also falls back into a subtler feel during the "Always something..." bridge, which is a far cry from the big ROCKFEST that was the ATW solo.

Neo wrote:Studio version of LB is twice better to my ears than the live version from Wrigley. When i heard the Wrigley version i thought there is no way it might be one of my favorites on the new album, sounded kinda lifeless to me and didn't get the melody right away. I take my word back on that now, it definitely might be one of my favorites on the album.. plus, it's a grower.

I second that completely.
The really did this song a disservice with that Wrigley performance.

The more I listen the more I think it could be a real radio hit if it's meant as the next single

harmless wrote:I think the Yield-lovers should be happy that at least this song begins in a really subdued and quiet way, rather than Matt BANGING AND TINKLING AWAY like he was at Wrigley. It rises from a subtle start. And it also falls back into a subtler feel during the "Always something..." bridge, which is a far cry from the big ROCKFEST that was the ATW solo.

I'm a Yield lover and there's almost nothing I find wrong in the studio version of LB

Lounge Lizard wrote:

harmless wrote:I think the Yield-lovers should be happy that at least this song begins in a really subdued and quiet way, rather than Matt BANGING AND TINKLING AWAY like he was at Wrigley. It rises from a subtle start. And it also falls back into a subtler feel during the "Always something..." bridge, which is a far cry from the big ROCKFEST that was the ATW solo.

I'm a Yield lover and there's almost nothing I find wrong in the studio version of LB

where's the mike solo (or 'pattern' or whatever the fuck) at the end of this? the end of this song should explode coming out of that last verse.. but it doesn't. mike is nowhere to be found. brendan is there, that's for sure.. but no mike. at wrigley, eddie was cursing at mike.. as if to say 'come on you son of a bitch, rock this thing'. he should have said the same to bob.

this bothers me because the song is so damn good, but the wasted opportunity at the end holds it back from being even better.

dprival78 wrote:where's the mike solo (or 'pattern' or whatever the fuck) at the end of this? the end of this song should explode coming out of that last verse.. but it doesn't. mike is nowhere to be found. brendan is there, that's for sure.. but no mike. at wrigley, eddie was cursing at mike.. as if to say 'come on you son of a bitch, rock this thing'. he should have said the same to bob.

this bothers me because the song is so damn good, but the wasted opportunity at the end holds it back from being even better.

The lead guitar part I like is 3:47. It's (too) short and sweet.