Red Mosquito

The "la da da das" are really good. I wish they came back.

I think the solo is the obvious weak link here. It's the most conventional thing about the song and mutes the potential cumulative effect of the rest of its all-over-the-placeness.

PHATJ wrote:After my second listen....

Guys, this song is fucking awesome. I’m totally into it.

Have fun hating

Yeah, other than the “she was a stunner...” lyric I am in. Old men dreaming of early Kinks, and making some weird choices along the way, is fine by me. If it’s a highlight, it’s probably a bad sign, but as album tracks go it’s pretty fun. I like Pearl Jam garage rockers that stumble, I like hearing the fuzz of the amps crack little, and I like that dive bomb solo that doesn’t want to lift you into the clouds.

unless these lyrics are total ass, this blows the sung parts of "Big Wave" out of the water

I probably don't ever want to hear this live.

i'm fine with both.
what's odd about the song is its apparent lack of structure, which doesn't lend well to first listens. we'll see...

Kevin Davis wrote:Mike's guitar solo sounds like someone trying to play "Eruption" at a talent show audition.

Im not going to take issue stylistically, but what the hell has happened to this guys guitar tone over the years? I distinctly remember thinking he sounded like a giant fart exploding in Milwaukee circa 2006. I always thought he'd figure it back out but aside from the jangles at the end of DWTC (which were a softball for him) when has this guy not sounded like some clerk at Guitar Center playing licks in the last 15 years?

Haha the first page of this thread is great.

I dunno. I thought it was alright.

McParadigm wrote:

PHATJ wrote:After my second listen....

Guys, this song is fucking awesome. I’m totally into it.

Have fun hating

Yeah, other than the “she was a stunner...” lyric I am in. Old men dreaming of early Kinks, and making some weird choices along the way, is fine by me. If it’s a highlight, it’s probably a bad sign, but as album tracks go it’s pretty fun. I like Pearl Jam garage rockers that stumble, I like hearing the fuzz of the amps crack little, and I like that dive bomb solo that doesn’t want to lift you into the clouds.

Hell yes

I like the background studio sounds like right at the end; I like that the guitar crackles and crunches; BoB had nothing like that nuance

verb_to_trust wrote:

Kevin Davis wrote:Mike's guitar solo sounds like someone trying to play "Eruption" at a talent show audition.

Im not going to take issue stylistically, but what the hell has happened to this guys guitar tone over the years? I distinctly remember thinking he sounded like a giant fart exploding in Milwaukee circa 2006. I always thought he'd figure it back out but aside from the jangles at the end of DWTC (which were a softball for him) when has this guy not sounded like some clerk at Guitar Center playing licks in the last 15 years?

He is legit going deaf

RAG319 wrote:

Ms Harmless wrote:this can sit right alongside "Get Right", "Hitchiker" and "Gremmy", and I'm OK with that

it's nowhere near as bad as "Supersonic"

The bridge in Supersonic alone eats this fucking song for breakfast and I don't even like that song.

It's been years since I've heard that bridge because the filth that's surrounding it but just put it on and hell yeah!

This sucks

This is better than Can't Deny Me and Dance Of the Clairvoyance but that's not exactly high praise.

it's got a real sense of abandon that something like getaway does not have. getaway has got a much more identifiable structure with that rock solid bass line but doesn't come close to achieving the amount of fun SBWM is pulling off. i think it's premature to write this off.

This song definitely lowered my expectations for the record.

Bammer wrote:

verb_to_trust wrote:

Kevin Davis wrote:Mike's guitar solo sounds like someone trying to play "Eruption" at a talent show audition.

Im not going to take issue stylistically, but what the hell has happened to this guys guitar tone over the years? I distinctly remember thinking he sounded like a giant fart exploding in Milwaukee circa 2006. I always thought he'd figure it back out but aside from the jangles at the end of DWTC (which were a softball for him) when has this guy not sounded like some clerk at Guitar Center playing licks in the last 15 years?

He is legit going deaf

This really is the only explanation.

evenslow wrote:it's got a real sense of abandon that something like getaway does not have. getaway has got a much more identifiable structure with that rock solid bass line but doesn't come close to achieving the amount of fun SBWM is pulling off.

I agree

Jammer XCI wrote:This sucks

This is better than Can't Deny Me and Dance Of the Clairvoyance but that's not exactly high praise.

WTF. DOTC is terrific.

Jaeti wrote:The "la da da das" are really good. I wish they came back.

I think the solo is the obvious weak link here. It's the most conventional thing about the song and mutes the potential cumulative effect of the rest of its all-over-the-placeness.

maybe at least the fact that the "la la las" are over and done quickly means a live call and response is less likely, which can only be a good thing; if they were in the outro I would be worried

I like the first 25 seconds. I feel like they set a fine tone for a somewhat different song from the one that actually follows. Similar maybe to the start of Force of Nature, only with the order of "gross/oh I like this" reversed.

I was listening to Animal and Corduroy earlier today and they don't make 'em like that no more.