Red Mosquito

Im listening to "Santa Cruz" right now.

I love it. ITs lovely. And I love they recorded it. I would give my left testicle for them to record an album this way. Loose.

Strat wrote:Im listening to "Santa Cruz" right now.

I love it. ITs lovely. And I love they recorded it. I would give my left testicle for them to record an album this way. Loose.

i agree with this. i remember being super excited about backspacer cos of that song as i hoped it reflected how it might sound.

Not to contradict what goes on in other threads around here, but I for one love the current trend of releasing limited edition vinyl to 10C only. They have recognized that there are enough of us who are into this type of collectable and their doing it the right way in offering it to fan club nerds only.

I love the band, I love vinyl and I love collecting... it's the Fanboy trifecta!

p.s. The Sheep figures I didn't really understand, but there seem to be enough people who were into it, so good for them!

i showed the DTE video in class today. It's still awesome

stip wrote:i showed the DTE video in class today. It's still awesome

What's your difficulty rating these days?

Not low enough!

We are reading Ishmael in politics and literature, so it was on point at least.

My phone corrects "Pearl Jam" to "Oral Hams". Thanks, Oral Hams!

Oral hams sounds like a hole new way to enjoy pork.

Whitey McTeeth wrote:Oral hams sounds like a hole new way to enjoy pork.

Watching SVT.

What a great minimalist document of a band at the end of a tumultuously productive era that should be placed alongside the Stones in Nelcote, the Beatles after Rishikesh, and Neil in the aftermath of Harvest.

the triple colored 7-inch Knowlden EP box set looks pretty sick

I am pleased the 10c just flat out stated "no 10c tickets" for the ACL shows. No fake apologies, just the facts

Strat wrote:Im listening to "Santa Cruz" right now.

I love it. ITs lovely. And I love they recorded it. I would give my left testicle for them to record an album this way. Loose.

My first time hearing it is right at this moment. This is definitely a much more confident, loose feel. I dig it too.

Recently listened to No Code with headphones on a beach. Soooo good.

McParadigm wrote:Watching SVT.

What a great minimalist document of a band at the end of a tumultuously productive era that should be placed alongside the Stones in Nelcote, the Beatles after Rishikesh, and Neil in the aftermath of Harvest.

The Binaural sessions seem to be pretty dang tumultuously productive, so I'm not sure I'd say SVT was the end of that.

yield also wasn't a particularly productive session, was it?

I thought that the Yield period was meant to have been relatively harmonious compared to the tumultuous sessions for Vitalogy and No Code; that's the general impression conveyed by the band during SVT, in any case.

Of course, that harmony was pretty short-lived considering Jack's unexpected exit followed by the breakdown of Ed's marriage and his growing political radicalism, etc.

Leatherhead wrote:

McParadigm wrote:Watching SVT.

What a great minimalist document of a band at the end of a tumultuously productive era that should be placed alongside the Stones in Nelcote, the Beatles after Rishikesh, and Neil in the aftermath of Harvest.

The Binaural sessions seem to be pretty dang tumultuously productive, so I'm not sure I'd say SVT was the end of that.

Binaural was a case of a band with waning popularity wanting a sonic change, not getting quite there on their first attempt, and then retreating in frustration rather than sticking to the fight. That's a different breed of conflict than the one Yield marks the end of.

yield also wasn't a particularly productive session, was it?

It's kind of hard to say, when dealing with a band that has since made a habit of turning "number of rough sketch ideas and riffs we bothered listening to" into "number of songs we have right now," in interviews.

What Yield does have is a greater amount of presentative thought and tinkering put into the songs, compared to the band's usual "we have a verse, a chorus, and an amp setting that I'm using for this album...so we're done. We'll just play them straight and throw a solo in the middle." The range of guitar tones, the number of odd side-steps or "what if we did it this way?" bridge sections, the relative absence (for a Pearl Jam record) of rote verse-chorus-solo-biggerchorus stylings....*

I sometimes wonder if that's why Brain of J made it onto the record...to give it an opener that was a little more straight-ahead rock than anything the newer ideas brought to the table.

Anyway, here's the list of songs credited to those sessions. This album exists in the era before they took to randomly listing song titles in interviews, leaking tracklists that subsequently changed, and all that jazz...but I'd imagine that, like the couple of records that came before it, it's probably not huge on completed-and-unreleased material. It was their fifth album in six and a half years (ahhh, those were the days), so I figure that's got some part to play in it.

All Those Yesterdays
Bayleaf
Brain Of J.
Bulldozer
Color Red, The (a.k.a. Red Dot)
Do The Evolution
Faithfull
Fallen (a.k.a. Falling Down)
Given To Fly
Happy When I'm Crying
Hummus
In Hiding
Leatherman
Leatherman II
Low Light
MFC (a.k.a. Mini Fast Car)
No Way
Of The Girl
Parting Ways
Pilate
Push Me, Pull Me
Thin Air
Whale Song, The (a.k.a. Whales)
Wishlist
U


* I realize that No Code had some of the same, but I always felt like it was for the opposite reason. Where Yield seems like the most they've ever thought about how to construct their songs, No Code feels sort of stream-of-consciousness at times.

Binaural sessions seem like a very complicated time for the band; Ed was getting a divorce i guess, or dealing with that and Mike seemed very fucked up...

I would love to know more about those sessions.

VinylGuy wrote:Binaural sessions seem like a very complicated time for the band; Ed was getting a divorce i guess, or dealing with that and Mike seemed very fucked up...

I would love to know more about those sessions.

plus, his writer's block.

NYROCK:
On the last track of the album one can hear you frustratingly hacking away on your typewriter. Rumor has it that you were suffering from a severe writer's block....

EDDIE:
I almost went completely crazy. I kept changing the lyrics and then changed them again, just to write another version. I ended up with several versions and then used the best and just put them together and that worked surprisingly well. But before I did that, I thought it would never happen, I'd never be able to finish it.

NYROCK:
Knowing writer's block it sounds pretty hellish to me....

EDDIE:
It was my own personal hell. I had a great time but at the same time the lyrics just didn't come together and I was wrecking my head. Somehow I still can't believe that it's all done and over with, that I finally got the lyrics together.

http://www.nyrock.com/interviews/2000/pj_int.asp