Red Mosquito

Lament wrote:the Billboard Hot 100.

Lament wrote:Hey, why didn't stip include songs from Riding the Tides to Eternity in March Madness? Afraid they'd dominate?

Lament wrote:It will a great day for the people of Pearl Jam, since Ed is a featured artist on Sweat. He'll be on the top two records in America!

96583UP wrote:Then Ed will get all manopausal on Tony for "wanting to be known as the Tony from Tony Toni Toné" and ask Stone to fire him

Lament wrote:

96583UP wrote:Then Ed will get all manopausal on Tony for "wanting to be known as the Tony from Tony Toni Toné" and ask Stone to fire him

But Stone will drop a monster plot twist on Ed and reveal that his birth name is actually sToney. He will then quit Pearl Jam to join TTT and they will become Tony Toni Toné sToney.

McParadigm wrote:I very much consider U2's willingness to postpone an entire album/tour cycle for many months, in order to allow themselves more time to get a record done the way they want it done and to invite other talent in to support the primary producer, to be an opportunity to complain about pearl jam

McParadigm wrote:Equating the investment of time in the recording studio with songwriting is like saying you don't need to cook the pizza or try a new sauce because it already has cheese and pepperoni on it. It's about trying new things, seeing how small changes affect the song or how different parts and sounds change the impact.

Mine wrote:

McParadigm wrote:Equating the investment of time in the recording studio with songwriting is like saying you don't need to cook the pizza or try a new sauce because it already has cheese and pepperoni on it. It's about trying new things, seeing how small changes affect the song or how different parts and sounds change the impact.

If the people involved care or even understand that than yes, you're absolutely right. Not everybody is McParadigm though. It all comes down to the subjects involved. When they're talking about working on ideas it sounds more like they have a dozen of riffs/strummy things and are trying to make 3 to 5 minutes of music out of each of them. I think you're overestimating them by even assuming most if not all of the band has the sensibilities to develop the sound of their music at that kind of level. They haven't really given much reasons to believe otherwise in their career. They think B'OB is the best producer for them and are by all means satisfied with what they're releasing. Ironically the only quote that even remotely suggests otherwise comes from Ed. I think it was in the Huffington post interview when he said (if i remember correctly) writing with the live shows in mind may not be producing the best music Is Stupid.

verb_to_trust wrote:

Mine wrote:

McParadigm wrote:Equating the investment of time in the recording studio with songwriting is like saying you don't need to cook the pizza or try a new sauce because it already has cheese and pepperoni on it. It's about trying new things, seeing how small changes affect the song or how different parts and sounds change the impact.

If the people involved care or even understand that than yes, you're absolutely right. Not everybody is McParadigm though. It all comes down to the subjects involved. When they're talking about working on ideas it sounds more like they have a dozen of riffs/strummy things and are trying to make 3 to 5 minutes of music out of each of them. I think you're overestimating them by even assuming most if not all of the band has the sensibilities to develop the sound of their music at that kind of level. They haven't really given much reasons to believe otherwise in their career. They think B'OB is the best producer for them and are by all means satisfied with what they're releasing. Ironically the only quote that even remotely suggests otherwise comes from Ed. I think it was in the Huffington post interview when he said (if i remember correctly) writing with the live shows in mind may not be producing the best music Is Stupid.

At this point, Pearl Jam has become a real touring band. When you're sitting down to put an album together, do you guys try to pick songs that will translate best to live performance?
There's an element of that, and I'm not sure if that's a good thing. Because then you might end up writing songs that really are meant to be played live. Like, they become that piece of furniture that only fits in a giant room. At the same time, you can always boil it down to this: if it sounds good around a campfire, it's probably going to sound good anywhere. You do want to string enough songs together in a way that you really feel that you can play the whole record and that they're all going to stand up in that habitat. Because at this point, that is kind of our natural habitat.

Of all the things that have changed with recording, that's the one thing that still kind of remains the same. You pretty much set the songs in concrete, and that can be the toughest part. Lucky for us, we have people like Matt Cameron, Mike McCready, Jeff Ament, Stone Gossard: their parts are well appointed. Once the parts themselves become galvanized, then there's space and everything gets to live in its own corner of the room.

verb_to_trust wrote:The whole concept of writing with the live shows in mind is ridiculous. Nobody cares if the songs come off better live if they are shitty songs to begin with....

Lament wrote:Hey, why didn't stip include songs from Riding the Tides to Eternity in March Madness? Afraid they'd dominate?