Red Mosquito

daft twat wrote:

wease wrote:Goddamn this is great live. I enjoyed the outro/solo more than Alive or RITFW. They need to start closing with it.

This song is why I made the trip Thursday, and I couldn’t agree more. It belongs in the encore. It could easily close, especially if they did the Be Humble part.

YES!!!

daft twat wrote:

sweeper wrote:Speaking of Corgan, they played in my area a few weeks ago and he did about a 30 min interview on our local sports talk radio station. They covered a lot of topics (music, etc), including his fandom of the Cubs. Without saying his name, he mentioned that he was pissed off that Ed got to sit next to Theo Epstein (Cubs General Manager) in a luxury suite during the Cubs' World Series run a few years back while he had to sit out in the bleachers. Kind've funny that he's petty about that.

He sucks. I remember him saying Pearl Jam “doesn’t have the songs.” What an arse.

Yeah, he takes little shots all the time. I think that quote you're referencing was his thoughts for why PJ isn't worthy of being in the Rock and Roll HOF.

was listening to DM on way into work in prep for tonight and this really hit - not in the ‘i love this song way’ but in the ‘this song makes me feel something’ way. It’s just one of their all time greats

I genuinely love how much you love this song, stip.

epilogue wrote:I genuinely love how much you love this song, stip.

Likewise. stip, you posted in the last week or so that it's cracked your top 10, yeah?

stip wrote:was listening to DM on way into work in prep for tonight and this really hit - not in the ‘i love this song way’ but in the ‘this song makes me feel something’ way. It’s just one of their all time greats

i totally get this yeah, it has that effect on me too, specially when it came out

I still love every moment of this song, but it is the final 90 seconds that makes this an absolute all-time for me. They are just so perfectly locked in doing what they do best.

As with a lot of their songs, over repeated listens Jeff has really become the highlight to me. The main riff would be fine, but the way Jeff makes the choice to dig in to it at the outset along with the guitar make the opening 30 seconds easily my favorite part of the track. Jeff constantly has great instincts when making those kinds of choices.

Yeah, I don't often pick up on bass as a standout feature of any song, but I have this same experience here. Especially back when I had my Apple Music/Atmos free trial and would listen there with headphones.

It is interesting to see this is the next single getting radio airplay but at the same time it's not. I say that because I was expecting Won't Tell to be released next due to its accessibility but then again, this song absolutely deserves to be a single. I don't listen to the radio very much anymore but it's great to see them have success with Dark Matter and Wreckage. I expect Waiting For Stevie to do the same because they really knocked it out of the ballpark with this album. After all of these years of being a fan, Dark Matter is my favorite album.

Nothing matters until they stop refusing to play Got to Give.

Strat wrote:Nothing matters until they stop refusing to play Got to Give.

If I knew they were gonna play G2G live, I would bust my ass to make Ohana happen. Has anyone heard the Waiting for Stevie that they did with Watt in NY? Curious if having the extra guitar added much to it...

Jaeti wrote:

epilogue wrote:I genuinely love how much you love this song, stip.

Likewise. stip, you posted in the last week or so that it's cracked your top 10, yeah?

probably. As per some stuff McP said elsewhere recently, it's hard to figure out what a top ten means anymore, but it would likely be there

tragabigzanda wrote:

stip wrote:Waiting for stevie is a cool thematic response to Jeremy

how do you mean?

So much of Ten is about feeling alone, alienated, and unloved - and abandoned by the people who are supposed to love unconditionally.

Waiting for Stevie, which has the best kind of big brother/dad energy. It owns and validates that experience of alienation, even in the face of people who do actually care. It's sung from the perspective of someone who has been there themselves, had come through it, and is reaching out - letting them know that you aren't as lost as you think you are, that the loneliness you feel now won't define you forever, that you have more to offer the world than your pain,and that if you can hold on you'll make it through.

stip wrote:

Jaeti wrote:

epilogue wrote:I genuinely love how much you love this song, stip.

Likewise. stip, you posted in the last week or so that it's cracked your top 10, yeah?

probably. As per some stuff McP said elsewhere recently, it's hard to figure out what a top ten means anymore, but it would likely be there

I'm genuinely amazed how precise many of you are able to get with your rankings. I definitely contribute here on occasion to album rankings and whatnot, but as anything more than a knee-jerk thought exercise, I would find it impossible to distill all the years and love of this band into a top ten of individual songs. Not at all saying that you folks shouldn't, but I don't think I'm capable.

That said, Stevie *feels* to me like it belongs amongst PJ's all-time best songs.

RockPusher wrote:Has anyone heard the Waiting for Stevie that they did with Watt in NY? Curious if having the extra guitar added much to it...

Must've been a thrill to play the song with its original writer.

Birds in Hell wrote:

RockPusher wrote:Has anyone heard the Waiting for Stevie that they did with Watt in NY? Curious if having the extra guitar added much to it...

Must've been a thrill to play the song with its original writer.

Why does that bother you so much?

epilogue wrote:

Birds in Hell wrote:

RockPusher wrote:Has anyone heard the Waiting for Stevie that they did with Watt in NY? Curious if having the extra guitar added much to it...

Must've been a thrill to play the song with its original writer.

Why does that bother you so much?

Because literally no band ever has had input from its producer in the song creation process, and certainly not any good band.

Apropos of nothing:

After working with Parashar on Temple of the Dog, Stone and Ament asked him to co-produce and engineer Ten. Parashar also contributed piano, Fender Rhodes, organ, percussion, co-wrote vocal harmonies and co-wrote the intro/outro of the album.