Red Mosquito

I'm part way through the Zane Lowe interview, and loving it; got emotional at times!

VERY interesting that Ed cites No Code as (probably) the fastest record to make

Ed has a bad take on suicide

Ms Harmless wrote:FT is a lost Riot Act song

Really? I don't hear Riot Act at all. Has such a different vibe than pretty much everything on that record. Where do you see the connection?

Kevin Davis wrote:

Ms Harmless wrote:PoR, holy shit my love for this song is unmatched

It's such a wonderfully phrased song. I love how he sings "hands up in the air" in the second chorus. So good.

Power of Right is towards the bottom of the record for me (probably only behind Haves and Long Way). Tell me more about what does it for you.

Ms Harmless wrote:actually the best part is the boogie-woogie "Alive" jam, what a great callback

I don't recall who first shared that Alive observation, but I hear it more with every listen. I am pretty into this song now. I think I have it 5th on the album (I don't really rank On My Way for whatever reason)

washing machine wrote:The Dark is holding strong as my favorite on this thing. The first verse could be a hushed late night conversation between someone and their hurting partner. The second verse, much more abstract, illuminates the revelation of that pain. This would be such a crushing song if delivered any other way, but somehow the juxtopositon of bright chords and quick tempo make everything heavy in the song feel so much lighter. It's a multitude of emotions that a lot of us can connect with, no doubt, and therein lies the appeal of this whole dang thing.

My favorite part of The Dark (which is also my favorite song on the record, though Invincible and Try are very close) is how he shifts between 'I'll find you in the dark' and 'come find me in the dark'. It's a subtle shift, but the way it restores some of the lost person's agency without undermining the connection between them (or the obligation and concern the singer feels for the person). It's a great example of how such a small lyrical moment can completely elevate a song.

Tj wrote:

washing machine wrote:The Dark is holding strong as my favorite on this thing. The first verse could be a hushed late night conversation between someone and their hurting partner. The second verse, much more abstract, illuminates the revelation of that pain. This would be such a crushing song if delivered any other way, but somehow the juxtopositon of bright chords and quick tempo make everything heavy in the song feel so much lighter. It's a multitude of emotions that a lot of us can connect with, no doubt, and therein lies the appeal of this whole dang thing.

The Dark first verse is a dead person speaking to living one the second verse is a living person speaking to a dead person.

Interesting take. That's not how I've been hearing this

stip wrote:

Ms Harmless wrote:FT is a lost Riot Act song

Really? I don't hear Riot Act at all. Has such a different vibe than pretty much everything on that record. Where do you see the connection?

I think the production is more glossy, but underneath it all I can hear hints of "Cropduster" and "Down", just as two examples; it's not easy to put across why, but it's a stylistic thing and maybe a rhythm section groove thing too

Fair enough. I can hear Down, but Down is also the song they cut. And to be fair, I go to themes and concepts over the groove when I'm comparing songs to prior moments in the catalog, unless there is a pretty obvious music connection

I still cannot fully process why Invincible works as well as it does, at least for me. The chorus is gorgeous, and there are a few verse moments I think are fantastic as written, but even the cheesy shit works so well

stip wrote:Fair enough. I can hear Down, but Down is also the song they cut. And to be fair, I go to themes and concepts over the groove when I'm comparing songs to prior moments in the catalog, unless there is a pretty obvious music connection

that's fair I guess when I said from Riot Act I was counting anything written in those sessions

I can hear "Unemployable" a bit too, which maaay be my favourite song on S/T

also remember I primarily listen to drums, so if I say something is "musically" similar, that's the kind of wavelength I tend to be on

stip wrote:

Ms Harmless wrote:actually the best part is the boogie-woogie "Alive" jam, what a great callback

I don't recall who first shared that Alive observation, but I hear it more with every listen. I am pretty into this song now. I think I have it 5th on the album (I don't really rank On My Way for whatever reason)

it's climbing up for me too!

I like the lyric 'crying cocktail tears' from Power of Right

I guess I can see what people like about power of right. I mean, I don't dislike it. I'm just not a fan of the 'power of right' phrase and it is the emotional climax of the song.

Long Way is such a pretty song. Would it have been so f'ing hard to write a few more lyrics? It's a well written album, so it's not like this was a writers block moment. I am guessing this was a choice. I don't know Petty's catalog particularly well, but are his songs usually that lyrically repetitive or underwritten?

Someone doesn't want to start their work this morning

stip wrote:I guess I can see what people like about power of right. I mean, I don't dislike it. I'm just not a fan of the 'power of right' phrase and it is the emotional climax of the song.

I think everything in and around the phrase "itchy trigger finger" is fantastic

stip wrote:Long Way is such a pretty song. Would it have been so f'ing hard to write a few more lyrics? It's a well written album, so it's not like this was a writers block moment. I am guessing this was a choice. I don't know Petty's catalog particularly well, but are his songs usually that lyrically repetitive or underwritten?

yeah, I'm having a hard time understanding what's to love here, but I do like everything but the chorus

Eddie Vedder: vocals, guitars, keys (Invincible), drums (The Haves), Ukelin (Good and Evil), piano (Mrs. Mills), percussion (On My Way)
Andrew Watt: bass, guitars, drum machine
Josh Klinghoffer: guitars, bass, keys, piano, organ
Chad Smith: drums

Stevie Wonder: harmonica on Try
Elton John: vocals and piano on Picture
Ringo Starr: drums, percussion on Mrs. Mills
Benmont Tench: hammond on Long Way and Picture
Abe Laboriel Jr.: drums, percussion on Picture
Danny Long: piano on On My Way

Harper Vedder: background vocals on Long Way
Olivia Vedder: background vocals on Try
Edward Louis Severson, Jr: voice in On My Way