Red Mosquito

tragabigzanda wrote:

Kevin Davis wrote:Don't get me wrong, I like "Save You," but I also get feeling like underneath all its rippin', it doesn't really have much going on. That's cool though. It does rip.

It's simplicity is what works, I think. The music is very straightforward, as are the lyrics. But the dynamics of the performances -- the quiet bridge, Ed's build to the final burst of energy at the end, Matt's fills becoming more rapid fire as the song goes on -- it starts from a very confrontational place, and builds to a battle for the life of whoever it is Ed's singing about. It doesn't have the cryptic lyrics or weird chord shapes of Hail Hail or BoJ, but it makes up for it with its heart-on-the-sleeve fury.

Heart-on-sleeve fury is about the last thing I hear in Save You. There's nothing dynamic or propulsive happening to my ears, just a mediocre slog through a boring riff and one of Ed's least engaging vocal and lyrical performances on record to that point.

tragabigzanda wrote:I think Severed Hand might have the best bridge in the entire studio catalog (live versions of Porch and RVM both slay).

There's a solemn man who watched his twilight disappear who would like to have a word with you about this statement.

I have always really loved Save You, it might be my favorite song from the album after Cropduster.

Also, I like the first bridge from Evacuation better than the second, but they're both great.

I second that Save You is pretty bloody good.

The problem with the album version of "Save You" is that it's barely a rehearsal. The live version is much more developed, as the album version should have been.

Listened to this one on the way to the Temple of the Dog show last weekend and forgot how much I like it. Probably my third favorite album behind Yield and Vs. It's definitely the most interesting PJ album musically thanks (in my opinion) to Matt's increasing presence in the band. The sonic and songwriting experimentation that started with Binaural peaked here. From the opening drums of Can't Keep you get the impression that this isn't going to be a PJ-by-numbers album. Though it has its misses (Bu$hleaguer, Help Help), even they're not so bad that I ever skip them. They just don't deliver on every level. Otherwise this is one of the band's most solid records and, unfortunately, the last time they were ever so musically daring.

Wendy Carlos's Twin wrote:The problem with the album version of "Save You" is that it's barely a rehearsal. The live version is much more developed, as the album version should have been.

I dunno, I love the vibe of the album version overall. If anything the vocals should have sounded less like a scratch track. Musically it has a real airy, Vitalogy-esque sound to it that I dig, and the band was on point.

meatwad wrote:Listened to this one on the way to the Temple of the Dog show last weekend and forgot how much I like it. Probably my third favorite album behind Yield and Vs. It's definitely the most interesting PJ album musically thanks (in my opinion) to Matt's increasing presence in the band. The sonic and songwriting experimentation that started with Binaural peaked here. From the opening drums of Can't Keep you get the impression that this isn't going to be a PJ-by-numbers album. Though it has its misses (Bu$hleaguer, Help Help), even they're not so bad that I ever skip them. They just don't deliver on every level. Otherwise this is one of the band's most solid records and, unfortunately, the last time they were ever so musically daring.

No way!

tragabigzanda wrote:

chewm wrote:

meatwad wrote:Listened to this one on the way to the Temple of the Dog show last weekend and forgot how much I like it. Probably my third favorite album behind Yield and Vs. It's definitely the most interesting PJ album musically thanks (in my opinion) to Matt's increasing presence in the band. The sonic and songwriting experimentation that started with Binaural peaked here. From the opening drums of Can't Keep you get the impression that this isn't going to be a PJ-by-numbers album. Though it has its misses (Bu$hleaguer, Help Help), even they're not so bad that I ever skip them. They just don't deliver on every level. Otherwise this is one of the band's most solid records and, unfortunately, the last time they were ever so musically daring.

No way!

Hated Help Help until I saw it live, now that outdo is an album highlight.

Help Help is wicked good. I love the music of Bu$hleaguer too, but I completely understand why many people don't like it.

I'mma go with something like this:

Help Help
All or None
Cropduster
Can't Keep
Ghost
Get Right
Green Disease
1/2 Full
I Am Mine
Thumbing My Way
Bushleaguer (Stone CRUSHED this song. It deserved better.)
You Are
Save You
Love Boat Captain
Arc

Listening to this now for the first time in a long while. I really underestimated Ed's performance on this album. Fucking love it. Can't Keep is so good. This is truly one of their headphone albums.

Yep, I love Get Right.

Those handclaps.

And Stone.

bodysnatcher wrote: Bushleaguer (Stone CRUSHED this song. It deserved better.)

To elaborate...

I fucking love the "blackout weaves its way through the city" and the chorus. It might be one of my favorite moments on RA. Perfect use of multiple layers of Ed's vocals, and that growling, deep layer during "Blackout weaves" is spine tingling.

I love the lyric "Don't see some men as half empty / see them half full of shit"

GUYS I'VE NEVER LIVE POSTED DURING AN ALBUM LISTEN I FEEL SO ALIVE!!!

bodysnatcher wrote:

bodysnatcher wrote: Bushleaguer (Stone CRUSHED this song. It deserved better.)

To elaborate...

I fucking love the "blackout weaves its way through the city" and the chorus. It might be one of my favorite moments on RA. Perfect use of multiple layers of Ed's vocals, and that growling, deep layer during "Blackout weaves" is spine tingling.

Yeah. Ed screwed the pooch on this one. Musically, this song is probably the peak of the album.
What's saddest is that Ed actually did originally sing a verse to this then he switched it at the last minute to the what have you.

"To myself I surrender / To the one I'll never please" might be the single most hard-hitting, personal PJ lyric that I connect with. Fucking kills to hear it. Lump-in-the-throat, every time.