Red Mosquito

Mine wrote:

harmless wrote:

Mine wrote:Has anybody else noticed that the keys more often then not cut trough the mix while everything else is a little more on the buried side? I mean all trough the album.

That's the reason why I lot of people are hating it. BoB and his cheezy keyz all over everything.

It seems he favoured himself when mixing. McP said the vocals are very processed to make room for the band but i think everything is processed in the same way to make room for B'OB
The keys sometimes cut trough the mix like a snare drum should.

Yep, and the snare drum is mixed down in certain songs where it should really crack, like MYM. Fuck BoB, quiet honestly. If this album succeeds it does it mostly in spite of his influence. Some of what he's done is fine with me, but there are too many moments where he shows up and laughs in my ears.

Also, did you see BoB's name in the liner notes? That'll never be anything but hilarious.

Of course you did, you could throw the liner notes off the grand canyon and still see his name on there.

harmless wrote:Of course you did, you could throw the liner notes off the grand canyon and still see his name on there.

It's basically part of the artwork.

This might get mentioned in the pages ahead, but while I'm catching up I just found last night's rendition of Infallible on Youtube. I'm 10 seconds in and paused to write this, because I think live versions are going to send this song through the roof for me.

harmless wrote:

Mine wrote:

harmless wrote:

Mine wrote:Has anybody else noticed that the keys more often then not cut trough the mix while everything else is a little more on the buried side? I mean all trough the album.

That's the reason why I lot of people are hating it. BoB and his cheezy keyz all over everything.

It seems he favoured himself when mixing. McP said the vocals are very processed to make room for the band but i think everything is processed in the same way to make room for B'OB
The keys sometimes cut trough the mix like a snare drum should.

Yep, and the snare drum is mixed down in certain songs where it should really crack, like MYM. Fuck BoB, quiet honestly. If this album succeeds it does it mostly in spite of his influence. Some of what he's done is fine with me, but there are too many moments where he shows up and laughs in my ears.

I mean when you hear keys coming in and think that's how a snare should sound you know something's seriously wrong. I can't believe how much taste he lacks. I don't know if he played an actual piano or a sampled one but he seems to take all the low end and lower mid range out of it by default and then makes it sound really cheesy with various effects. Even in Sirens he goes 80's euro dance by the end. How the hell does one combine the worst 80's cliché pseudo piano with a violin? Because that's what he did on Future Days and it's just not right. A normal sounding grand piano would have been perfect there.

He should do the arrangements for every single contestant of the next years Eurovision song contest just to get all this shit out of his system.

All in all I think it's mixed really well. The keys jump out in spots but I like it when it's the low register. So far with the few live performances I enjoy the fact that the studio versions sound like studio versions. I guess I enjoy studio wankery.

Mine wrote:

harmless wrote:

Mine wrote:

harmless wrote:

Mine wrote:Has anybody else noticed that the keys more often then not cut trough the mix while everything else is a little more on the buried side? I mean all trough the album.

That's the reason why I lot of people are hating it. BoB and his cheezy keyz all over everything.

It seems he favoured himself when mixing. McP said the vocals are very processed to make room for the band but i think everything is processed in the same way to make room for B'OB
The keys sometimes cut trough the mix like a snare drum should.

Yep, and the snare drum is mixed down in certain songs where it should really crack, like MYM. Fuck BoB, quiet honestly. If this album succeeds it does it mostly in spite of his influence. Some of what he's done is fine with me, but there are too many moments where he shows up and laughs in my ears.

I mean when you hear keys coming in and think that's how a snare should sound you know something's seriously wrong. I can't believe how much taste he lacks. I don't know if he played an actual piano or a sampled one but he seems to take all the low end and lower mid range out of it by default and then makes it sound really cheesy with various effects. Even in Sirens he goes 80's euro dance by the end. How the hell does one combine the worst 80's cliché pseudo piano with a violin? Because that's what he did on Future Days and it's just not right. A normal sounding grand piano would have been perfect there.

He should do the arrangements for every single contestant of the next years Eurovision song contest just to get all this shit out of his system.

Yep. Terrible, terrible choices. What a NoB.

Heathen wrote:

stupidmop wrote:Straight from the horses mouth

Pearl Jam: 'We're the ultimate dad band

http://www.nme.com/news/pearl-jam/73173

Also that picture of Ed, Woah.

Is this the Muppet version of Ed?

Monkey_Driven wrote:The first 7 tracks on this rival any stretch in their catalogue.

Uhhh, no.

darthvedder81 wrote:

Monkey_Driven wrote:The first 7 tracks on this rival any stretch in their catalogue.

Uhhh, no.

Yeah, I corrected him, he meant the first 8.

This album is better than some will ever give it credit for methinks.

My Father's Son has speeding ticket written all over it.

It's a good album. The fact that it came right after Backspacer probably makes it seem that its better than it really is but nonetheless, its a solid album that i'll enjoy. Can't really ask for more than that at this point. Backspacer scared the shit out of me, i thought they were just going to be a nostalgia act after that, i was wrong.

Jaeti wrote:This might get mentioned in the pages ahead, but while I'm catching up I just found last night's rendition of Infallible on Youtube. I'm 10 seconds in and paused to write this, because I think live versions are going to send this song through the roof for me.

Man, if Eddie circa the year 2000 was singing this live...

Thejambi wrote:All in all I think it's mixed really well. The keys jump out in spots but I like it when it's the low register. So far with the few live performances I enjoy the fact that the studio versions sound like studio versions. I guess I enjoy studio wankery.

It's the high register where the keys really sound wrong. The separation and panning is fine but that's mixing 101 i can't seriously expect he isn't able to pull that off.

My take on the Bolt

Sitting amongst the rubble and ruin of a apocalyptic waste land Lightning Bolt rises up like a castle a fortress of safety and security if you will. Lightning Bolt sits upon a foundation that foundation is the title track. Lightning Bolt is a pure Pearl Jam song in every way. Is it the perfect song? No not really ,but it is damn good, and a great foundation to start laying brick and mortar upon. The brick and mortar of this castle are the songs. Getaway, Mind Your Manners, Swallowed Hole do a great job. What is asked of these songs? Simply to be there stand tall let the world know Pearl Jam is still Pearl Jam. These three songs are good strong walls crafted with pride and respect for what is held with in them.

A castle must have look out towers reaching in to the sky to keep all that is inside safe. On each corner rising up we have Infallible, Yellow Moon, My Father's Son and Pendulum. Pearl Jam's back pages are filled with several dozen great to amazing songs, and these four can stand shoulder to shoulder with any of them.

Every castle needs protection. Lightning Bolt is protected first and foremost by a mote. That mote is the sequencing of the album. The other secret weapon which are still revealing themselves on every listen are the little moments of each song that aspire to greatness like the bridges of My Father's Son and Yellow Moon. This is a castle that won't be sieged.

The greatest strength maybe the greatest weakness. The life contained with in the wall. The human elements. So hear we have Future Days, Sirens, Sleeping By Myself. Three personal songs that if one can relate to the narrator will be loved, but if not they may leave the listener empty. I relate so the the album goes from good to great. There is also a disconnect in the presentation that somewhat is robbing this album from human connection. The art while I love it could have been their best had it had the liner notes on par with there earlier work.
Let The Records Play serves a role in this as well. The moss on the walls

My copy of Lightning Bolt from the 10C just came in the mail here in the States, nice little surprise I must say. I honestly wasn't expecting it anytime before Tuesday....

So guys, which song(s) is BoB playing guitar on?

put all the live versions of these songs on a disc. this would be the true and perfect LB without BOB