Red Mosquito

cutuphalfdead wrote:With or Without You is a fantastic song and 7:00 is nothing like it.

You're right that it sounds nothing like With or Without You but it beats the holy hell out of that sappy bastard.

warehouse wrote:

Ms Harmless wrote:

Brett wrote:Why does Ed say hands twice in the "all hands on deck" line? Is it just because he thinks it fit the meter better that way. I think it would have been fine with one hands.

I don't know why Ed did it, but I like the effect of emphasis; the two phrases mean different things:

"this fucked up situation calls for all hands" = this calls for everyone, a whole community, even you

"...hands on deck" = so keep busy, focused on the work, put your back into it

i wonder if its a baseball reference. like even the people waiting to be up, its time. it does come across kinda awkward, but the meaning of the phrase, as you point out, makes the line mean something different.

im usually not big on analyzing lyrics, but ed is great on this album.

I think it comes more from a naval aspect with ships at sea. All hands on deck to help out with sails, rigging, etc. I could be wrong.

DeeDee wrote:

The chorus reminds me of this song.

Haha wow I hear it

Ms Harmless wrote:

Brett wrote:Why does Ed say hands twice in the "all hands on deck" line? Is it just because he thinks it fit the meter better that way. I think it would have been fine with one hands.

I don't know why Ed did it, but I like the effect of emphasis; the two phrases mean different things:

"this fucked up situation calls for all hands" = this calls for everyone, a whole community, even you

"...hands on deck" = so keep busy, focused on the work, put your back into it

I agree with this. The first phrase is a statement of fact and the second is the actual call to action.

Antelope wrote:

Ms Harmless wrote:

Brett wrote:Why does Ed say hands twice in the "all hands on deck" line? Is it just because he thinks it fit the meter better that way. I think it would have been fine with one hands.

I don't know why Ed did it, but I like the effect of emphasis; the two phrases mean different things:

"this fucked up situation calls for all hands" = this calls for everyone, a whole community, even you

"...hands on deck" = so keep busy, focused on the work, put your back into it

I agree with this. The first phrase is a statement of fact and the second is the actual call to action.

this makes sense.

This song, especially Ed's vocal delivery, definitely reminds me of 80's era Bette Midler.

Sorry, I just needed to make a crack at the 100 or so comparisons this song has gotten here.

I'm in love with this song.

I love this one. So much.

This song is weird. For the life of me, I can't tell what Stone does in the intro. All I hear is Mike's patented micro vibe/phaser stuff, drums and bass. But for a weird mid-tempo, slow burner with a whacky prog rock chorus...it's extremely listenable.

This one’s hitting hard on a Sunday night friends. I don’t know what more you could ask of these five human beings than a song as beautiful as this.

If I only had the moment of 4:38 - 5:15 of this song to listen to, My emotions would still continue to spin with wonderful feelings.

The ‘chorus’ on this (is it a chorus?) really really brings back to me that line in long road ‘these night like wings have fallen’

Maybe just the melody or how it’s sung.

Is there any relationship in the lyrics I wonder

I quite like the way the more active verses and passive choruses (or alternate verses) are in tension with each other until the resolution in the outro

I know that when people call this song Springsteen-esque they're referring to its verbosity and general delivery in the verses, which is something I definitely hear. But I also hear it in the chorus (or whatever it is) and the bridge, which are both extremely reminiscent of Magic-era Bruce; in fact there is one line ("there's still a fire in the engine room") that very directly recalls the melody and chord pattern to "Gypsy Biker" from that album, a simple but odd pairing that (I think) is made of a root major chord transitioning to the minor inversion of the fifth (most Western ears would be accustomed to hearing the fifth also as a major) -- so, C > Gm, for example. It's a slightly unsettling, very serious-sounding musical juxtaposition. Yet, with the rest of it, the lingering feel of that section is very gentle and comforting. One of my favorites on the album.

Kevin Davis wrote:I know that when people call this song Springsteen-esque they're referring to its verbosity and general delivery in the verses, which is something I definitely hear. But I also hear it in the chorus (or whatever it is) and the bridge, which are both extremely reminiscent of Magic-era Bruce; in fact there is one line ("there's still a fire in the engine room") that very directly recalls the melody and chord pattern to "Gypsy Biker" from that album, a simple but odd pairing that (I think) is made of a root major chord transitioning to the minor inversion of the fifth (most Western ears would be accustomed to hearing the fifth also as a major) -- so, C > Gm, for example. It's a slightly unsettling, very serious-sounding musical juxtaposition. Yet, with the rest of it, the lingering feel of that section is very gentle and comforting. One of my favorites on the album.

Yes, that's it! I was trying to place it.

Monkey_Driven wrote:

Kevin Davis wrote:I know that when people call this song Springsteen-esque they're referring to its verbosity and general delivery in the verses, which is something I definitely hear. But I also hear it in the chorus (or whatever it is) and the bridge, which are both extremely reminiscent of Magic-era Bruce; in fact there is one line ("there's still a fire in the engine room") that very directly recalls the melody and chord pattern to "Gypsy Biker" from that album, a simple but odd pairing that (I think) is made of a root major chord transitioning to the minor inversion of the fifth (most Western ears would be accustomed to hearing the fifth also as a major) -- so, C > Gm, for example. It's a slightly unsettling, very serious-sounding musical juxtaposition. Yet, with the rest of it, the lingering feel of that section is very gentle and comforting. One of my favorites on the album.

Yes, that's it! I was trying to place it.

this is a good catch.

Kevin Davis wrote:I know that when people call this song Springsteen-esque they're referring to its verbosity and general delivery in the verses, which is something I definitely hear. But I also hear it in the chorus (or whatever it is) and the bridge, which are both extremely reminiscent of Magic-era Bruce; in fact there is one line ("there's still a fire in the engine room") that very directly recalls the melody and chord pattern to "Gypsy Biker" from that album, a simple but odd pairing that (I think) is made of a root major chord transitioning to the minor inversion of the fifth (most Western ears would be accustomed to hearing the fifth also as a major) -- so, C > Gm, for example. It's a slightly unsettling, very serious-sounding musical juxtaposition. Yet, with the rest of it, the lingering feel of that section is very gentle and comforting. One of my favorites on the album.

I'm not a musician, so I don't understand the chord analysis here, but I love reading it.

Jaeti wrote:I'm not a musician, so I don't understand the chord analysis here, but I love reading it.

Same here. Some fantastic analysis, Kevin Davis...thanks!

don't know if i can say this is my favorite song on the album but it's the one i look forward to the most.