Red Mosquito

Strat wrote:

fishbob wrote:Seriously those synthesizers...these guys are 50 they shouldn't touch stuff they don't understand

Their are synth's all over Stones solo album....

They sound so fucking corny

who are the 5 people who gave this one star so I can never speak to them again.


I was just listening to this on headphones in the dark while waiting to see if my daughter would go to sleep (she hasn't) and this song just sweeps me up and takes me someplace special.

stip wrote:who are the 5 people who gave this one star so I can never speak to them again.


I was just listening to this on headphones in the dark while waiting to see if my daughter would go to sleep (she hasn't) and this song just sweeps me up and takes me someplace special.

I'm with you in this one man!

I love this fucking song man.

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.

This, so much this.

Hypnosomnia wrote:

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.

This, so much this.

If you compare the lyrics to this with Ed's performance, I'm really thinking that Ed is cursing at himself for F'ing up. Not only does he repeat a whole verse from the beginning, but he goes into that last part with "She's a lightning bolt...never let her go" when he should be going "Never let her go....she's a lightning bolt'. I think he's yelling 'Fuck!' at himself for messing up the lyrics (for the 2nd time) in the song, not at Mike. I think Mike planned that solo over the fade out pattern on the record, I doubt he messed that up and I doubt even more that Ed is at all pissed at him for that.

AllNiteThing wrote:

Hypnosomnia wrote:

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.

This, so much this.

If you compare the lyrics to this with Ed's performance, I'm really thinking that Ed is cursing at himself for F'ing up. Not only does he repeat a whole verse from the beginning, but he goes into that last part with "She's a lightning bolt...never let her go" when he should be going "Never let her go....she's a lightning bolt'. I think he's yelling 'Fuck!' at himself for messing up the lyrics (for the 2nd time) in the song, not at Mike. I think Mike planned that solo over the fade out pattern on the record, I doubt he messed that up and I doubt even more that Ed is at all pissed at him for that.

I don't know about that.. ed is looking in mike's direction the whole time, and gestures at him as well.

either way.. it would have been nice to let pearl jam's guitarists participate meaningfully in the song's outro, as they did in wrigley.

edit: to clarify.. i realize stone gets to play his lead/pattern at the end ( thanks bob, what a guy), but its before that that I'm talking about

stip wrote:who are the 5 people who gave this one star so I can never speak to them again.


I was just listening to this on headphones in the dark while waiting to see if my daughter would go to sleep (she hasn't) and this song just sweeps me up and takes me someplace special.

Doing the same here. This song is excellent.

fishbob wrote:Seriously those synthesizers...these guys are 50 they shouldn't touch stuff they don't understand

there's potential for a good song here but i feel they missed it by a fair margin.

stip wrote:who are the 5 people who gave this one star so I can never speak to them again.

But to be fair, I only gave it one star because a no star or negative star vote wasn't available.

love the studio version of this. Its like a GTF or Unthought Known song that 'takes you high', but it reaches much higher the UT

I think they will release it as their next single

this song sucked at wrigley and it sucks even more in the "non-wrigley" version

this just sounds like more backspacer crap. only they added like some weakass semi-phlanger effect to everything.

ed is trying harder to sing better on this than on BS, i'll give him that

but this track is just more spritzy-faux rock with hyper overproduction and no balls

and the end kind of sounds like bruce springsteen

and I do not mean that as a completement. it sounds like the outtro to a miller-boyett sitcom

This song is good and rising in my opinion.

I was so glad I was right about the fuck-ups of Wrigley being fixed on the studio version.

Glitzy over-production aside (it's there and I'll admit it), the only thing that confuses and irks me about it is that warbling 60s Austin Powers laser that wonders in and out of the song. It adds nothing and sounds crap. But it's so insignificant that it doesn't ruin the experience. I'm starting to wonder whether BO'B's inclusions on this album will be slightly more pared back and less annoying than they were in Backspacer. Listening to all the albums for fade-outs last night, I realised how tasteful his participation was on those albums. I don't know what's happened since, probably hanging out with Will.I.Am in L.A, but we might get a good album in spite of that, even if we would've got a stunning album without it.

turned2black wrote:

stip wrote:who are the 5 people who gave this one star so I can never speak to them again.

But to be fair, I only gave it one star because a no star or negative star vote wasn't available.

Oh, we'll that is all right then.



What is your problem with this song?

harmless wrote:This song is good and rising in my opinion.

I was so glad I was right about the fuck-ups of Wrigley being fixed on the studio version.

Glitzy over-production aside (it's there and I'll admit it), the only thing that confuses and irks me about it is that warbling 60s Austin Powers laser that wonders in and out of the song. It adds nothing and sounds crap. But it's so insignificant that it doesn't ruin the experience. I'm starting to wonder whether BO'B's inclusions on this album will be slightly more pared back and less annoying than they were in Backspacer. Listening to all the albums for fade-outs last night, I realised how tasteful his participation was on those albums. I don't know what's happened since, probably hanging out with Will.I.Am in L.A, but we might get a good album in spite of that, even if we would've got a stunning album without it.

Withholding final judgement until the clean copy, but I still like all those effects. They give the song a, for lack of a better word, electric feel to it. I like how it charges the performance. I am also sorry for that last sentence

stip wrote:

harmless wrote:This song is good and rising in my opinion.

I was so glad I was right about the fuck-ups of Wrigley being fixed on the studio version.

Glitzy over-production aside (it's there and I'll admit it), the only thing that confuses and irks me about it is that warbling 60s Austin Powers laser that wonders in and out of the song. It adds nothing and sounds crap. But it's so insignificant that it doesn't ruin the experience. I'm starting to wonder whether BO'B's inclusions on this album will be slightly more pared back and less annoying than they were in Backspacer. Listening to all the albums for fade-outs last night, I realised how tasteful his participation was on those albums. I don't know what's happened since, probably hanging out with Will.I.Am in L.A, but we might get a good album in spite of that, even if we would've got a stunning album without it.

Withholding final judgement until the clean copy, but I still like all those effects. They give the song a, for lack of a better word, electric feel to it. I like how it charges the performance. I am also sorry for that last sentence

Yeah, it's literally that one little warbly thing I don't like. I like everything else, piano included. I like the harmonies, and they have me wondering whether FD will sound gorgeous, given violin and mandolin as well. The piano fading out at the end might just be the most appropriate fadeout of the album...

Ed sounds like a sleazy psycho when he says "...she took as yes."

i was creeping through the house this morning listening to this on headphones trying not to wake anyone up and it did kinda feel like I was stalking someone the first 30 seconds

god damn that last verse is great