Red Mosquito

Sirens is a great song and creates a new area in Pj's catalogue.

real shame they can't convincingly play it live

dimejinky99 wrote:Sirens is a great song and creates a new area in Pj's catalogue.

real shame they can't convincingly play it live

Pretty darn good album on the Lightning Bolt Live compilation

stip wrote:Your hearts are as misshapen and frozen as your avatars

That burns, stip. That burns

Strat wrote:

dimejinky99 wrote:Sirens is a great song and creates a new area in Pj's catalogue.

real shame they can't convincingly play it live

Pretty darn good album on the Lightning Bolt Live compilation

Ah ah
Oh ah
Ah Oh ah oh
Ah ah
OH ah
OOh Aah
Oh Ah

Kinda makes me want to puke a little in my mouth.

What? where's that to be found strat?

dimejinky99 wrote:Sirens is a great song and creates a new area in Pj's catalogue.

real shame they can't convincingly play it live

The Portland version I heard on Pearl Jam Radio was pretty good.

Thanks, i'll look it up.

dimejinky99 wrote:What? where's that to be found strat?

I think ridleybradout made it. It's really good, Dime.

stip wrote:

dimejinky99 wrote:What? where's that to be found strat?

I think ridleybradout made it. It's really good, Dime.

Ive actually come to appreciate Lightning Bolt a little more because of it. Ed still struggles throughout but it really does shine a light on how poor the production of lightning bolt is. Pendulum is excellent on it. I also really enjoy Mind Your Manners(ed sounds great)

also, there's got to be a major difference between a ramshackle 60s cover that was recorded live on a soundcheck then released as a fan club single then off to the airwaves and became a hit by popular demand then put on a benefit album for Kosovar refugees and a song that uses the very musical stereotypes and idiosycrasies that PJ tried to shack off for most of their career. those hair metal mannerisms were what the Seattle scene stood against in the beginning and that stance surely appealed to me.

i'm not going to diss the song's lyrics or overall musical performance of the band but it's a clear and conscious choice from this band and BO'B and it's some kind of artistic u-turn that can't go unnoticed.

As a perfect example of the confusion in the relationship between PJ and the public at large, Last kiss brings up that idea 'the public gets the songs it deserves'

mastaflatch wrote:also, there's got to be a major difference between a ramshackle 60s cover that was recorded live on a soundcheck then released as a fan club single then off to the airwaves and became a hit by popular demand then put on a benefit album for Kosovar refugees and a song that uses the very musical stereotypes and idiosycrasies that PJ tried to shack off for most of their career. those hair metal mannerisms were what the Seattle scene stood against in the beginning and that stance surely appealed to me.

i'm not going to diss the song's lyrics or overall musical performance of the band but it's a clear and conscious choice from this band and BO'B and it's some kind of artistic u-turn that can't go unnoticed.

Can't you see that Richard Marx's Hold On to the Nights and Black are both over the top heart on sleeve anthems, so there's basically no relevant difference between them?

Wow...Ed's in the pocket on MFS on that compilation...

mastaflatch wrote:also, there's got to be a major difference between a ramshackle 60s cover that was recorded live on a soundcheck then released as a fan club single then off to the airwaves and became a hit by popular demand then put on a benefit album for Kosovar refugees and a song that uses the very musical stereotypes and idiosycrasies that PJ tried to shack off for most of their career. those hair metal mannerisms were what the Seattle scene stood against in the beginning and that stance surely appealed to me.

i'm not going to diss the song's lyrics or overall musical performance of the band but it's a clear and conscious choice from this band and BO'B and it's some kind of artistic u-turn that can't go unnoticed.

It's a song that probably wouldn't have appeared on earlier records, although pj deteactors in the early years considered pj one small remove from hair metal anyway.

My larger point was that I see no reason to think that the existence of stuff like red dot, soon forget, or wasted reprise were somehow keeping songs like sirens off the record, or that they are incompatible

Hear the Byrons....

Phantoms of desire

stip wrote:Your hearts are as misshapen and frozen as your avatars

Interestingly, this is the "working from home" email I sent my work today:

Spoiler: show

Hi team,
I’ll be finishing up the scripts from home today as I need some peace and quiet. My body can be reached by phone, PSI, e-mail and Skype, but my heart remains cold and distant.

I hope you ended it with

I've only just now realised that plat's avatar is Baman.

stip wrote:

mastaflatch wrote:also, there's got to be a major difference between a ramshackle 60s cover that was recorded live on a soundcheck then released as a fan club single then off to the airwaves and became a hit by popular demand then put on a benefit album for Kosovar refugees and a song that uses the very musical stereotypes and idiosycrasies that PJ tried to shack off for most of their career. those hair metal mannerisms were what the Seattle scene stood against in the beginning and that stance surely appealed to me.

i'm not going to diss the song's lyrics or overall musical performance of the band but it's a clear and conscious choice from this band and BO'B and it's some kind of artistic u-turn that can't go unnoticed.

It's a song that probably wouldn't have appeared on earlier records, although pj deteactors in the early years considered pj one small remove from hair metal anyway.

My larger point was that I see no reason to think that the existence of stuff like red dot, soon forget, or wasted reprise were somehow keeping songs like sirens off the record, or that they are incompatible

i get what you're saying and you may be right. that being said, Ed claimed, when promoting LB and to ackowledge the corporate rock/hair metal roots of Sirens, that they'd stop caring what Mark Arm thought about their songs. so there's that stance that may (or may not) signify that current PJ doesn't care either about what they used to be. there's got to be something to think about when the band you used to love is now recording a power-ballad single that the singer can barely handle live just weeks after its release.