Red Mosquito

I'm looking forward to the hooks. Really think that's part of what got me into PJ initially and why I love the Ten-Vitalogy era the most: Ed's vocals combined with great hooks. I struggle to like the middle period records as much (Yield is probably the closest to my preferences) because the hooks aren't as apparent nor as good to my ears.

E.H. Ruddock wrote:

song hooks like cheese with macaroni.

WTF

Not a very poetic metaphor

E.H. Ruddock wrote:

song hooks like cheese with macaroni.

WTF

You know its not good but you cant stop eating

Release_Me wrote:I'm looking forward to the hooks. Really think that's part of what got me into PJ initially and why I love the Ten-Vitalogy era the most: Ed's vocals combined with great hooks. I struggle to like the middle period records as much (Yield is probably the closest to my preferences) because the hooks aren't as apparent nor as good to my ears.

that's probably it. This is the period that Eddie was generally playing against type by design.

Release_Me wrote:I'm looking forward to the hooks. Really think that's part of what got me into PJ initially and why I love the Ten-Vitalogy era the most: Ed's vocals combined with great hooks. I struggle to like the middle period records as much (Yield is probably the closest to my preferences) because the hooks aren't as apparent nor as good to my ears.

The hooks and the groove were strong on the first 2 albums. The hooks I think were still there afterwards, albeit not in such abundance. But the groove/swing vanished never to return. Mainly cos Stone was the architect of the groove and as his influence diminished, so did that particular element. But also because Stone's writing appears to have moved away from that kind of groove. Mother Love Bone was built on it. I wonder if he still writes those kind of riffs and they're overlooked or if he's just moved on completely.

stip wrote:

Release_Me wrote:I'm looking forward to the hooks. Really think that's part of what got me into PJ initially and why I love the Ten-Vitalogy era the most: Ed's vocals combined with great hooks. I struggle to like the middle period records as much (Yield is probably the closest to my preferences) because the hooks aren't as apparent nor as good to my ears.

that's probably it. This is the period that Eddie was generally playing against type by design.

Agreed. I understand that many here prefer the middle period (I exclude Vitalogy from this because I think that album has plenty of hooks and generally has more in common with early PJ). It's a matter of preference, really.

igotworms wrote:

Release_Me wrote:I'm looking forward to the hooks. Really think that's part of what got me into PJ initially and why I love the Ten-Vitalogy era the most: Ed's vocals combined with great hooks. I struggle to like the middle period records as much (Yield is probably the closest to my preferences) because the hooks aren't as apparent nor as good to my ears.

The hooks and the groove were strong on the first 2 albums. The hooks I think were still there afterwards, albeit not in such abundance. But the groove/swing vanished never to return. Mainly cos Stone was the architect of the groove and as his influence diminished, so did that particular element. But also because Stone's writing appears to have moved away from that kind of groove. Mother Love Bone was built on it. I wonder if he still writes those kind of riffs and they're overlooked or if he's just moved on completely.

I am in general agreement with this. Personally, I still love Vitalogy even though it lacks the groove of the first two albums. I think that's because Ed's voice is still awesome on it and there are plenty of hooks. Better Man is probably the most radio-friendly thing they ever released, for example. Corduroy has a great vocal melody that gets in your head. So on and so forth. What I can conclude from my own preferences is that groove is important, but hooks are more important for me to really fall in love with songs. Those who are into PJ for the riffs, I can totally understand why they would think otherwise.

The most promising thing about DM is that it not only has hooks, but also some great riffs (going by some of the reviews). There's a lot to look forward to for fans like myself.

igotworms wrote:

Release_Me wrote:I'm looking forward to the hooks. Really think that's part of what got me into PJ initially and why I love the Ten-Vitalogy era the most: Ed's vocals combined with great hooks. I struggle to like the middle period records as much (Yield is probably the closest to my preferences) because the hooks aren't as apparent nor as good to my ears.

The hooks and the groove were strong on the first 2 albums. The hooks I think were still there afterwards, albeit not in such abundance. But the groove/swing vanished never to return. Mainly cos Stone was the architect of the groove and as his influence diminished, so did that particular element. But also because Stone's writing appears to have moved away from that kind of groove. Mother Love Bone was built on it. I wonder if he still writes those kind of riffs and they're overlooked or if he's just moved on completely.

I'd guess he just moved on. I don't know his solo work particularly well, but on the songs where he is the primary songwriter it's less prevalent. At some point I think he just moved onto a preference for weirder, less immediately accessible compositions.

That's a VERY broad generalization on my part though, and I don't know how confident I am int

Pearl Jam has definitely had some cheesy hooks. Looking at you, Shania Stone.

stip wrote:

igotworms wrote:

Release_Me wrote:I'm looking forward to the hooks. Really think that's part of what got me into PJ initially and why I love the Ten-Vitalogy era the most: Ed's vocals combined with great hooks. I struggle to like the middle period records as much (Yield is probably the closest to my preferences) because the hooks aren't as apparent nor as good to my ears.

The hooks and the groove were strong on the first 2 albums. The hooks I think were still there afterwards, albeit not in such abundance. But the groove/swing vanished never to return. Mainly cos Stone was the architect of the groove and as his influence diminished, so did that particular element. But also because Stone's writing appears to have moved away from that kind of groove. Mother Love Bone was built on it. I wonder if he still writes those kind of riffs and they're overlooked or if he's just moved on completely.

I'd guess he just moved on. I don't know his solo work particularly well, but on the songs where he is the primary songwriter it's less prevalent. At some point I think he just moved onto a preference for weirder, less immediately accessible compositions.

That's a VERY broad generalization on my part though, and I don't know how confident I am int

Yeah I think the lack of groove on his solo albums does suggest he tired of it.

But Stone is funky! Have you seen his moves?

Hypnos wrote:But Stone is funky! Have you seen his moves?

I require one duck-walk classic per record

igotworms wrote:

Release_Me wrote:I'm looking forward to the hooks. Really think that's part of what got me into PJ initially and why I love the Ten-Vitalogy era the most: Ed's vocals combined with great hooks. I struggle to like the middle period records as much (Yield is probably the closest to my preferences) because the hooks aren't as apparent nor as good to my ears.

The hooks and the groove were strong on the first 2 albums. The hooks I think were still there afterwards, albeit not in such abundance. But the groove/swing vanished never to return. Mainly cos Stone was the architect of the groove and as his influence diminished, so did that particular element. But also because Stone's writing appears to have moved away from that kind of groove. Mother Love Bone was built on it. I wonder if he still writes those kind of riffs and they're overlooked or if he's just moved on completely.

I hear those grooves in painted shield songs. Unfortunately, painted shield songs aren’t as strong or compelling overall as PJ songs.