Red Mosquito

Strat wrote:

DeeDee wrote:

Strat wrote:The incredible solo section

They play 2 notes.

So? its meaty. I love matt camerons fills. The way it hovers over mccreadys solo.

When I read about an 'incredible solo section' I expect something more.

It's my fault.

McParadigm wrote:

stip wrote:

PHATJ wrote:

Ms Harmless wrote:I'm gonna need someone to present their evidence for Chris Cornell, lyric by lyric

It’s fairly evident and obvious which lyrics could reference him. Hint: it’s at least half of them.

there's a fair bit you need to explain away for this to fit, though. Like the fact that the object of the song seems to be female, to start.

I dunno about Cornell as topic, but I don’t think this song is about a woman.

I mean, we just went over the use of gender in writing that relies on personification as a way to model or symbolize, when dealing with Dance of the Clairvoyants.

when I dive deeper into this (which I an still resisting until we get lyrics since I dont want to base an interpretation on incorrect lyrics) it wouldnt surprise me at all if my opinion shifted to the woman as a metaphor for working through larger questions of meaning and longing and the desire for order. there are already lots of moments that look like thematic similarities with DotC, and eddie tends to work through a few ideas over multiple songs.

But I really dont think its about the death of a person either

Strat wrote:They could slow down the songs and cut eds mumbling storytelling out. That would help.

Or start playing 4 hour shows like springsteen!

Into the rambling storytelling over here. When the 2000 bootlegs first came out, I was charmed by this aspect of the PJ live show. To this day, I remember an Ed rant from every show I've attended and I wouldn't change them one bit.

As far as the structure, I'm calling the "Superblood Wolfmoon took her away too soon" parts the chorus. The solo section is the bridge. Not sure what to call the "la la la" part since it's kind of like the chorus but without the lyrics.

The rest is all verses the keep building into different parts.

Waverider wrote:I really liked the song from the get go. Last night I was driving out of my small town to do some astrophotography and cranked it up. Is it top notch Pearl Jam? No. Is it a very enjoyable listening experience? Oh yeah. 2 in, and I'm starting to forget Lightning Bolt ever happened.

yep! this song definitely borrows from songs of that three-album period (Johnny Guitar, WWS) but it's much better, so I have to imagine that they've been trying and trying "this song" until they got it right, which was never gonna happen with Bo'B; those other lesser songs can go now

Do you recognize that everyone is now just comparing this song to almost every other uptempo pearl jam song?

Monkey_Driven wrote:

E.H. Ruddock wrote:So there is a group of a few RMers that are trying to convince me that this song is better than I currently think it is. I woke up at about 330 this morning, looked at my phone to see what time it was, and saw I had a text from one of them. I didn't read it, but now whenever I see any of their names, I sing to myself "Superblood Wolfmoon, took her away too soon".

Damn you all to hell.

Wolves are active at night.

now I have this song stuck in my head.

bune wrote:

Monkey_Driven wrote:

E.H. Ruddock wrote:So there is a group of a few RMers that are trying to convince me that this song is better than I currently think it is. I woke up at about 330 this morning, looked at my phone to see what time it was, and saw I had a text from one of them. I didn't read it, but now whenever I see any of their names, I sing to myself "Superblood Wolfmoon, took her away too soon".

Damn you all to hell.

Wolves are active at night.

now I have this song stuck in my head.

This is the best version:

Strat wrote:Do you recognize that everyone is now just comparing this song to almost every other uptempo pearl jam song?

SBWF vs. Once: discuss.

This is growing on me. I didn’t dislike it out of the gate, but it also didn’t hit me as immediately as DotC did. SBWM definitely borrows from other songs, but so what?

Fav moments: I really love the la la la’s, the ringing guitar around the 1:36 mark, and everything after the solo.

Bring on Who Ever Said.

Strat wrote:Do you recognize that everyone is now just comparing this song to almost every other uptempo pearl jam song?

I'm comparing it to songs that sound like it; I've abandoned the spritz thing now

Birds in Hell wrote:I have to imagine this song will go the same way as Getaway. They’ll attempt playing it a few times, Ed will throw his head around like he’s really into it, all the while Stone and Jeff will share knowing grimaces as the song is at heart a formless chug without any genuine movement or excitement and it quietly and ignobly disappears from setlists shortly after, never (or very rarely) to return.

Getaway is sooo much better than SW.

Birds in Hell wrote:Why does Ed persist in trying to write these kinds of songs?

They’re all terrible.

cause=time wrote:Finally got around to listening the full song this morning.

The pre-release 18 second snippet had me interested, but the full track is forgettable. a run-of-the-mill pop/punk composition that have been pretty predictable since around riot act.

Nailed it.

DeeDee wrote:

Birds in Hell wrote:I have to imagine this song will go the same way as Getaway. They’ll attempt playing it a few times, Ed will throw his head around like he’s really into it, all the while Stone and Jeff will share knowing grimaces as the song is at heart a formless chug without any genuine movement or excitement and it quietly and ignobly disappears from setlists shortly after, never (or very rarely) to return.

Getaway is sooo much better than SW.

This take mesmerizes me. Getaway sounds tepid, lifeless, and forced. Whatever you think of the songwriting in this song, the band at least sounds like THEY think they’re killing it.

DeeDee, are you simultaneously saying "PJ need to stop writing this song" and "Getaway is good"?

McParadigm wrote:

DeeDee wrote:

Birds in Hell wrote:I have to imagine this song will go the same way as Getaway. They’ll attempt playing it a few times, Ed will throw his head around like he’s really into it, all the while Stone and Jeff will share knowing grimaces as the song is at heart a formless chug without any genuine movement or excitement and it quietly and ignobly disappears from setlists shortly after, never (or very rarely) to return.

Getaway is sooo much better than SW.

This take mesmerizes me. Getaway sounds tepid, lifeless, and forced. Whatever you think of the songwriting in this song, the band at least sounds like THEY think they’re killing it.

Getaway is redeemed, just barely, because of Jeff.

guitar_davey wrote:

McParadigm wrote:

DeeDee wrote:

Birds in Hell wrote:I have to imagine this song will go the same way as Getaway. They’ll attempt playing it a few times, Ed will throw his head around like he’s really into it, all the while Stone and Jeff will share knowing grimaces as the song is at heart a formless chug without any genuine movement or excitement and it quietly and ignobly disappears from setlists shortly after, never (or very rarely) to return.

Getaway is sooo much better than SW.

This take mesmerizes me. Getaway sounds tepid, lifeless, and forced. Whatever you think of the songwriting in this song, the band at least sounds like THEY think they’re killing it.

Getaway is redeemed, just barely, because of Jeff.

He plays the vocal melody? Also, what?

Ms Harmless wrote:DeeDee, are you simultaneously saying "PJ need to stop writing this song" and "Getaway is good"?

Exactly. Every once in a while they write one good happy/fun pop-punk song.

Getaway is that song.

Nice bassline, nice melodies and nice ending with a great Mike solo.

And FWIW: I don't think SW is a bad song (2 or 2.5 over 5 for me), I just don't like PJ when they take this route, that's all. It doesn't excite me, doesn's surprise me, doesn't make me feel anything. At least, with DotC they tried something different, and I love'em when they do that. You are or Unemployable are two examples of PJ excelling by writing songs out of their comfort zone.