Red Mosquito

durdencommatyler wrote:I'd be totally fine with PJ revisiting some unreleased/unfinished songs and polishing them up and releasing them as new material. As long as the songs are good who gives a shit.

durdencommatyler wrote:I'd be totally fine with PJ revisiting some unreleased/unfinished songs and polishing them up and releasing them as new material. As long as the songs are good who gives a shit.

cutuphalfdead wrote:Even if the songs were good they would be modern recordings of them so Ed's over annunciation of every fucking syllable would ruin it.

cutuphalfdead wrote:

durdencommatyler wrote:I'd be totally fine with PJ revisiting some unreleased/unfinished songs and polishing them up and releasing them as new material. As long as the songs are good who gives a shit.

cutuphalfdead wrote:Even if the songs were good they would be modern recordings of them so Ed's over annunciation of every fucking syllable would ruin it.

I'm honestly more worried about BOB's input than Ed's at this point.

I'd love to hear an album recorded twice, by two different people, one of them being BOB. Neither person behind the boards is able to hear what the other had done until they are finished and released. The band enters each studio with finished songs. Then you can compare how much input BOB has, and just how much he sucks

bodysnatcher wrote:I'd love to hear an album recorded twice, by two different people, one of them being BOB. Neither person behind the boards is able to hear what the other had done until they are finished and released. The band enters each studio with finished songs. Then you can compare how much input BOB has, and just how much he sucks

Isn't that essentially Binaural?

Spoiler: show

durdencommatyler wrote:

bodysnatcher wrote:I'd love to hear an album recorded twice, by two different people, one of them being BOB. Neither person behind the boards is able to hear what the other had done until they are finished and released. The band enters each studio with finished songs. Then you can compare how much input BOB has, and just how much he sucks

Isn't that essentially Binaural?

Spoiler: show

Neh, BOB was called in to "save the day". He already had the material and knew what to work with. I want a true deathmatch.

tragabigzanda wrote:

bodysnatcher wrote:

durdencommatyler wrote:

bodysnatcher wrote:I'd love to hear an album recorded twice, by two different people, one of them being BOB. Neither person behind the boards is able to hear what the other had done until they are finished and released. The band enters each studio with finished songs. Then you can compare how much input BOB has, and just how much he sucks

Isn't that essentially Binaural?

Spoiler: show

Neh, BOB was called in to "save the day". He already had the material and knew what to work with. I want a true deathmatch.

I'd be thrilled if they just went back to Adam Kasper. I never got the impression he tweaked their songs at all, just captured them in such a way that they sound big and live.

agreed. any production problems on Avocado were with the mastering, imo.

EJ wrote:

durdencommatyler wrote:I'd be totally fine with PJ revisiting some unreleased/unfinished songs and polishing them up and releasing them as new material. As long as the songs are good who gives a shit.

I'd take that in a heartbeat.

WtOB? wrote:

tragabigzanda wrote:

bodysnatcher wrote:

durdencommatyler wrote:

bodysnatcher wrote:I'd love to hear an album recorded twice, by two different people, one of them being BOB. Neither person behind the boards is able to hear what the other had done until they are finished and released. The band enters each studio with finished songs. Then you can compare how much input BOB has, and just how much he sucks

Isn't that essentially Binaural?

Spoiler: show

Neh, BOB was called in to "save the day". He already had the material and knew what to work with. I want a true deathmatch.

I'd be thrilled if they just went back to Adam Kasper. I never got the impression he tweaked their songs at all, just captured them in such a way that they sound big and live.

agreed. any production problems on Avocado were with the mastering, imo.

100% agreed.

No. The snare, performance, harsh and bright guitar tones, on Come Back for example are all recording and mixing choices. The harsh brick walled/over compressed mastering only enhanced those choices.

The rhythmic guitar on MITS borders on distortion as does Eds box on at least one occasion. We could probably go into detail for each song and find a couple of production issues pre mastering.

Ed's box is fine.

Vox damn phone

The recorded version of gone and inside job aren't great. Then we have the Life Wasted fade out!!!!

I'd like Josh Homme to produce their next album.

Anyone but BOB but all indicators are leading towards...

I'm not fond of the idea of Homme or any heavy-handed celebrity producer.

I think the likelihood of the band making a record I'd be happy with would be much increased if they had a producer who simply captured them playing in a room without a lot of further ornamentation. For a band whose public persona is tightly linked to their live performances it's surprising in some respects that their recent records have been relatively heavily "produced".

In an ideal world I'd love to see them record with Jack Endino or even Steve Albini.

I think if there are issues with PJ's music they are to be solved at a stage before production values start having much of an influence.

They were a band that didn't need a producer to craft the songs into their final shape which in return informed the production values.
From Ten to Riot Act they managed to produce music that featured a sound that worked well with the songs, not always without problems but that music sounds like a consequence of right choices unlike the last decade of their recording career.

They try to record like a touring band would - which isn't a compliment. They don't even start on touching any advantages a studio recording provides over a live performance any more and again it starts with composition, not panning, reverb and compression.
Even creating a live sound in studio, with strategical mike placings or picking a recording environments with some specific acoustics etc. is correlated with the music.

I think the main issue is still rooted in the Vitalogy - No Code problematic period and the bands attitude towards it. Stone used to say how he wished they had more time to write better parts for the No Code songs which is the core of the problem. They should have realised that those songs don't need better parts and why and go from there. It would gain them sensibilities towards their own individual talents and styles which is mandatory to make any successful cooperation possible.
What they did instead is, well, they fought to get it back again. "It" being the approach that puts more importance on individual parts rather than the song as a whole, which is rock and roll in it's less imaginative,most overdone, mediocre and bland form especially in a band like Pearl Jam that isn't exceptional at it.
It's also what you'd expect from a live oriented band compared to one that is willing to put the advantages of a studio setting to good use when crafting an album and it's sound.

Birds in Hell wrote:

WtOB? wrote:

tragabigzanda wrote:

bodysnatcher wrote:

durdencommatyler wrote:

bodysnatcher wrote:I'd love to hear an album recorded twice, by two different people, one of them being BOB. Neither person behind the boards is able to hear what the other had done until they are finished and released. The band enters each studio with finished songs. Then you can compare how much input BOB has, and just how much he sucks

Isn't that essentially Binaural?

Spoiler: show

Neh, BOB was called in to "save the day". He already had the material and knew what to work with. I want a true deathmatch.

I'd be thrilled if they just went back to Adam Kasper. I never got the impression he tweaked their songs at all, just captured them in such a way that they sound big and live.

agreed. any production problems on Avocado were with the mastering, imo.

100% agreed.

I have no idea what happened to S/T but Riot Act is probably their "best sounding" album. I would have loved to hear S/T get the same exact treatment. Or any subsequent and future albums for that matter.

If they're gonna use someone they've worked with in the past id much prefer Kaspar over BOB...I actually think Tchad Blake would suit their current sound very well...

I really wish they would get Andy Wallace though he did a phenomenal job on Jeff Buckley-Grace, Blind Melon-Soup and Phish-Story of Ghost

Who did Moonlander? The mixing on that was really good, and it's someone in house, so to speak. But truth be told, I think the problem is less the producer than the band. They did killer work with O'Brien in the 90s, so I'm hesitant to pin the blame on him. I think the songs are just weaker, and it's impossible to know how much or little impact their producers have had on that.

^ I think that's very fair. Maybe they're relying on BOB to help add to the songs. Or BOB feels he needs to in order to make them stronger. I have no idea, really.

I think one viewpoint that can't be overlooked is the evolution of recording technology, as well as current recording trends. If PJ is indeed wanting to gain some popularity, then they have to create a sound that blends in with radio, trends, etc. Sad truth.