Red Mosquito

Rearranged Priorities reminds me of the opening sequence for Laverne and Shirley... I can just see Ed putting a glove on an assembly line bottle and waving goodbye to it, while Jeff and Matt smile in loving approval. Stone opens the apartment door wearing a cheesehead, at the same time Mike opens the bathroom door... they slam together and smile.

Boom is Squiggy, I s'pose.

Birds in Hell wrote:Generally speaking, I'm not a big fan of much of the tinkering that took place on Lost Dogs.

stip wrote:Even in the cases where I don't prefer it, I like that it happened just so the songs are at least slightly different. It still made them feel a bit new.

I like the BRY mix on lost dogs a bit better as well.

Those slight differences bother me more than they probably should as I feel like it can't help but weaken the integrity of the band's catalogue as a whole, B's unawareness that the Lost Dogs version of Undone wasn't the original release of the song serving as a perfect example. For how long is the originally-released version going to be commercially available (is it even now, for that matter)? The same goes for Black Red Yellow, Wash, Footsteps, Dirty Frank etc.

There's a point where what might be considered the "real" (or, at least, original) versions of those songs get supplanted in both commercial availability and general public awareness by arguably inferior alternate takes/mixes and I think that's rather unfortunate.

It's all about the children guys.

Someday everyone will think that the awkward, mood killing harmonica belongs on Footsteps. Stark and haunted? Not this song. It's got a top volume meandering mouth harp farting around on top of every lyric less moment.

Gr. That 'monica really upped the ham and killed the magic.

And didn't they add a harmony part to Drifting? Like, the last song in the world to warrant a harmony part?

Birds in Hell wrote: Those slight differences bother me more than they probably should as I feel like it can't help but weaken the integrity of the band's catalogue as a whole, B's unawareness that the Lost Dogs version of Undone wasn't the original release of the song serving as a perfect example. For how long is the originally-released version going to be commercially available (is it even now, for that matter)? The same goes for Black Red Yellow, Wash, Footsteps, Dirty Frank etc.

This is a good point. It's not a PJ exclusive though. It's more common to switch versions of a song across various releases that most probably realise. The most extreme example is probably The Doors attempting to use new mixes of their whole catalogue as the only versions of those songs in print.

McParadigm wrote: Like, the last song in the world to warrant a harmony part?

Oh no Janis Joplin's Mercedes Benz in quadraphonic is the golden standard here. They layered the vocal on the last verse creating a cheesy choir effect.

Mine wrote:

McParadigm wrote: Like, the last song in the world to warrant a harmony part?

Oh no Janis Joplin's Mercedes Benz in quadraphonic is the golden standard here. They layered the vocal on the last verse creating a cheesy choir effect.

I forgot that happened.

Thanks a lot.

Mine wrote:The most extreme example is probably The Doors attempting to use new mixes of their whole catalogue as the only versions of those songs in print.

The George Lucas Effect.

Ugh, I'm always late to the party when this type of leak pops up.

Meh.

I can't even be upset with these being left on the floor. They all would have gotten the PRAMG treatment of Ed trying to blow a nut on every line, questionable arrangements edits and trite production, had they been used.

It seems like alot of people around here favor "atmospheric" over "immediate and melodic". I think people mistake the band's preference for the latter as "poor quality" where I believe it's just a choice they don't agree with. I've only listened to a few of these, and that's the conclusion I came to. They're alright, but I see people imposing their desire for atmosphere onto these demos, when the demos are of neither higher or lower quality than the instrumental passages that actually showed up on the record. It's just there for the taking for the listener to insert their desired direction, the one they wished the band would take. I think the whole idea that the band somehow ran out of steam creatively is hogwash. It's just the choices they made. I personally like melodic rock that hits immediately, so I'm cool with what actually came out.

10 Billion Years is so good. Of course, so is Moonlander.

Birds in Hell wrote:
There's a point where what might be considered the "real" (or, at least, original) versions of those songs get supplanted in both commercial availability and general public awareness by arguably inferior alternate takes/mixes and I think that's rather unfortunate.

U 4eva.


Is there a story why U got changed to You on Lost Dogs?

Because U had become texting language, and we had to distance ourselves from that.

Can someone with a good ear describe the subtle mixing differences on Lost Dogs vs. the originals? The re-recordings are pretty obvious, but I remember listening to a side by side of the two versions of "Undone" and not noticing a difference.

Kevin Davis wrote:Can someone with a good ear describe the subtle mixing differences on Lost Dogs vs. the originals? The re-recordings are pretty obvious, but I remember listening to a side by side of the two versions of "Undone" and not noticing a difference.

one difference with 'undone' is the addition of another eddie e-bow part after the first chorus. the original part (from the original b-side release) is still there, but buried under the new one.

Can I get a PM? Pretty please?

Kevin Davis wrote:Can someone with a good ear describe the subtle mixing differences on Lost Dogs vs. the originals? The re-recordings are pretty obvious, but I remember listening to a side by side of the two versions of "Undone" and not noticing a difference.

dprival78 wrote:one difference with 'undone' is the addition of another eddie e-bow part after the first chorus. the original part (from the original b-side release) is still there, but buried under the new one.

This is the most obvious change but there's also a different general production aesthetic at work in the Lost Dogs remix that's probably easier to discern on headphones - in short, it's more polished than the original (which sounds closer to other Riot Act material). Compared to the b-side mix, Matt's snare is a lot brighter and snappier, the natural room sound has been dialed back, the backing vocals seem a fair bit higher in the mix, etc.

bodysnatcher wrote:

Birds in Hell wrote:
There's a point where what might be considered the "real" (or, at least, original) versions of those songs get supplanted in both commercial availability and general public awareness by arguably inferior alternate takes/mixes and I think that's rather unfortunate.

U 4eva.

I'm quite fond of you too, bodysnatcher.

Tuolumne wrote:It seems like alot of people around here favor "atmospheric" over "immediate and melodic". I think people mistake the band's preference for the latter as "poor quality" where I believe it's just a choice they don't agree with. I've only listened to a few of these, and that's the conclusion I came to. They're alright, but I see people imposing their desire for atmosphere onto these demos, when the demos are of neither higher or lower quality than the instrumental passages that actually showed up on the record. It's just there for the taking for the listener to insert their desired direction, the one they wished the band would take. I think the whole idea that the band somehow ran out of steam creatively is hogwash. It's just the choices they made. I personally like melodic rock that hits immediately, so I'm cool with what actually came out.

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