Red Mosquito

Side 1

Getaway: drum roll, then a silly upbeat melody. music initially reminds me of backspacer. the lyrics are pretty cool though. ed sounds inspired and impassioned. great bass at the end of the chorus. "Mine is mine" is repurposed as a righteous expression, which I like. The bridge-solo works for me, as does the increased sense of urgency afterward. The crescendo-ing nature of this tune has really grown on me. nice last notes/flicks

Mind Your Manners: I kind of hate the beginning. Then it gets rollicking and I'm into it. "Ah ah hey hey" is kind of cheesy. "Long love letter" line is awesome. Change in melody before "self realized" is so nice. The song really becomes something at this point, and then there's the crazy Mike solo which I really dig. Broken guitar note at end of "mind your manners" phrase is so 90s. Again, nice crescendo-ing energy toward end of song.

My Father's Son: gets right into it and this album just seems so rocking. So much bass in this one. "glay-ad" is weird pronunciation. The tune in general is growing on me, and it has urgency which is always a PJ plus. The lyrics are a little harder for me to connect with. I dig the bridge- it's well-executed in my opinion, and brings a new angle to the surf thing. "Gotta set sail" always reminds me of that "Sail" song by awol nation.

Sirens: And the transition to art rock ballad. I don't mind the transition, but I understand how people can think it's abrupt. Sirens to me is one of the most beautiful sentiments this band has ever expressed, from top to bottom, although it took me a little while to get it. So much musical anticipation, sighing, catching of the breath, tension, release. I'm not sure if the piano adds to the song or not. I think the "over-whelmed" lyric is the single best lyric Ed has ever penned. I always want to sing along. However, the "want you to know" lyric seems anti-climactic and not as sincere, and is the only part of the song I don't totally feel. Love the solo and the backing from the rhythm section here. Matt's drumming before the singing resumes is such a breath of fresh air from his usual style. The "ah ah oh oh" part is so catchy, I can totally understand how it became a singalong.

Lightning Bolt: seems like it knows exactly where it's heading right away. I like the bendy keyboard sounds- they remind me of the Who, but they probably remind some of you of SoS's lasers (which I also liked). By the time we get to the solo, this is total vintage rockin' PJ. The "always something" lyric would seem lazy to me except I like how it refers back to nothingman. Dig the machine gun drum fills after the 3 minute mark. Wish the album version had the soloing of the live version.

Infallible: Keyboard mood intro is sooo groovy. Totally different feel in this one. Whereas the lyrics in LB didn't suck me in, this time they totally do. Ed seems to be in his wheel-house. The whole rhythm section in this song (which I guess includes Mike on this track) seems totally playful throughout. Dig the motowny doo-wop harmonies late in the song. Later, there's someone (not Ed) singing the notes along with the guitar- it's a nice subtle touch. Dissonant broken guitar sound before "here at the ending" is cool. The guitar melodies play nicely off each other during the fadeout. I most definitely like the album version of this song more than the live version.

Side 2

Pendulum: Right away you know you're in for something atypical. Soft, moody. The whole band seems to be present in this track in a very magical way. Jeff getting to have some fun on this. "Agooooo" sound effect is well used and goes so perfectly into the reverby classic guitar sound. "Ah ah ah ah ah" totally ushers this song into "unknown territory". This is the most mysterious Pearl Jam has sounded in years and I adore it! I only wish the song was longer.

Swallowed Whole: Such an REM start. Cleanest guitar sound. Love the "breathing in forgiveness" lyric. I can see how this song seems a little hum-drum to people, especially this first section. Love the stutter on "drown". Energy lifts a bit. Ed is enunciating like crazy in this one. The bridge is very Pink Floydy to me although the "grave" lyric doesn't seem to fit. Then a really soaring guitar solo and the requisite "yeah yeah"s. There's some rhythm here that reminds me of World Wide Suicide. The ending is nice- I always kind of look forward to it.

Let The Records Play: Bluejangly what the hey now? Okay, we're suddenly in a honky tonk bar. This song comes out of nowhere, but by the time we get to the chorus, it sounds enough like Pearl Jam. Played loud, this is a really fun jingle. The bridge is probably my favorite on this album. I especially dig the tremolo in Ed's voice. And then of course the hoodoo solos. This song begs you to be committing as many sins as possible while listening to it.

Sleeping By Myself: I think this is the purest pop Pearl Jam has ever done. It sounds Christmasy to me. everything about it screams cheese except it's so sincere and well-played that what the heck I'm all in. "I believe in nothing" has never been sung to such happy music, that's for sure.

Yellow Moon: This song is really growing on me, as I'm realizing that like Pendulum, it really has the whole band clicking nicely. The lyrics and singing are beautiful. The pacing is just right. The solos are a little 80s ballad, but hey, that's kind of a thing on this album. Interesting that there's kind of some tension on the ending.

Future Days: The piano intro doesn't hurt the song, in my opinion, but I could just as easily do without it. I do generally like the production on this track, though. I think it gives it a lot of gravitas. The violin is very Firefly. Lyrics in this one strike a chord with me as a new father in a relatively new relationship. I don't like the bridge that much- the musical surge seems melodramatic and I don't think the song needs that. Good grief, the sincerity. My lady and I like to sing this last part to each other. Should end on the guitar. I don't like the piano as an outro.

•••

Thoughts overall: this was the first time I listened to the vinyl (2nd pressing) with headphones. I don't know if it's my entry-level TT, cheap amp, or crappy headphones (all of which are going to be upgraded soon) but there is a ton of really horrible static noise on this album between the songs. Mostly on Side 2, I think. I never noticed it before, and it was distracting. I hope it goes away with the new setup.

Now that that's out of the way, boy do I dig this album! I've heard people say that it felt like PJ was just going through the motions with this one, not really trying. I don't get that. There's so much to dig into with this thing. I've heard it quite a bit at this point, and I just want to hear it more.

thanks for sharing your thoughts This is a very strong record.

aurynsdad wrote:Now that that's out of the way, boy do I dig this album! I've heard people say that it felt like PJ was just going through the motions with this one, not really trying. I don't get that. There's so much to dig into with this thing. I've heard it quite a bit at this point, and I just want to hear it more.

agreed

bluestate wrote:

aurynsdad wrote:Now that that's out of the way, boy do I dig this album! I've heard people say that it felt like PJ was just going through the motions with this one, not really trying. I don't get that. There's so much to dig into with this thing. I've heard it quite a bit at this point, and I just want to hear it more.

agreed

i also agree that they're not going through the motions on LB (it's quite varied and they try several things out that are new to them) but i'll nuance this observation with the doubtful production decisions (the BO'B factor) that could be attributed to a lack of artistic vision that made the band play it safe in terms of sound (the mix that neutered the most agressive guitar moments in favor of putting Ed's voice in front of everything) and instrumental bits that could have gone on longer (LB, Pendulum and YM). the upside of those mixing issues is that the bass cuts through.
the downside of expanding their musical scope is that they come up with shitty WTF stuff like the piano on FD and the MOR chorus on LTRP...and the overall approach on Sirens (which is probably down to the initial composition, to be fair).

all in all, i'm a bit torn but i'll say that, as in their live shows, current PJ is better when it plays safe with the occasional oddball song - the focus and artistic integrity is diluted when they throw in everything to please everyone.

Lately I've really been enjoying flip-flopping the front and back end and listening to the album like this:

1. Sleeping By Myself
2. Yellow Moon
3. Future Days
4. Sirens
5. Lightning Bolt
6. Infallible
7. Pendulum
8. Swallowed Whole
9. Let the Records Play
10. Getaway
11. Mind Your Manners
12. My Father's Son

It flows more like a 1st encore set, with the chill stuff out of the way early on. The back half doesn't drag but instead it sort of ramps up as you go. Also, I enjoy SBM and YM much more than Getaway, so it starts off better for me. Still not sure where the best fit for Getaway is, that intro is just so lazy and uncreative. It's really the major blemish of the album for me.

aurynsdad wrote:Side 2

Pendulum: Right away you know you're in for something atypical. Soft, moody. The whole band seems to be present in this track in a very magical way. Jeff getting to have some fun on this. "Agooooo" sound effect is well used and goes so perfectly into the reverby classic guitar sound. "Ah ah ah ah ah" totally ushers this song into "unknown territory". This is the most mysterious Pearl Jam has sounded in years and I adore it! I only wish the song was longer.

Swallowed Whole: Such an REM start. Cleanest guitar sound. Love the "breathing in forgiveness" lyric. I can see how this song seems a little hum-drum to people, especially this first section. Love the stutter on "drown". Energy lifts a bit. Ed is enunciating like crazy in this one. The bridge is very Pink Floydy to me although the "grave" lyric doesn't seem to fit. Then a really soaring guitar solo and the requisite "yeah yeah"s. There's some rhythm here that reminds me of World Wide Suicide. The ending is nice- I always kind of look forward to it.

Let The Records Play: Bluejangly what the hey now? Okay, we're suddenly in a honky tonk bar. This song comes out of nowhere, but by the time we get to the chorus, it sounds enough like Pearl Jam. Played loud, this is a really fun jingle. The bridge is probably my favorite on this album. I especially dig the tremolo in Ed's voice. And then of course the hoodoo solos. This song begs you to be committing as many sins as possible while listening to it.

Sleeping By Myself: I think this is the purest pop Pearl Jam has ever done. It sounds Christmasy to me. everything about it screams cheese except it's so sincere and well-played that what the heck I'm all in. "I believe in nothing" has never been sung to such happy music, that's for sure.

Yellow Moon: This song is really growing on me, as I'm realizing that like Pendulum, it really has the whole band clicking nicely. The lyrics and singing are beautiful. The pacing is just right. The solos are a little 80s ballad, but hey, that's kind of a thing on this album. Interesting that there's kind of some tension on the ending.

Future Days: The piano intro doesn't hurt the song, in my opinion, but I could just as easily do without it. I do generally like the production on this track, though. I think it gives it a lot of gravitas. The violin is very Firefly. Lyrics in this one strike a chord with me as a new father in a relatively new relationship. I don't like the bridge that much- the musical surge seems melodramatic and I don't think the song needs that. Good grief, the sincerity. My lady and I like to sing this last part to each other. Should end on the guitar. I don't like the piano as an outro.

•••

Thoughts overall: this was the first time I listened to the vinyl (2nd pressing) with headphones. I don't know if it's my entry-level TT, cheap amp, or crappy headphones (all of which are going to be upgraded soon) but there is a ton of really horrible static noise on this album between the songs. Mostly on Side 2, I think. I never noticed it before, and it was distracting. I hope it goes away with the new setup.

Now that that's out of the way, boy do I dig this album! I've heard people say that it felt like PJ was just going through the motions with this one, not really trying. I don't get that. There's so much to dig into with this thing. I've heard it quite a bit at this point, and I just want to hear it more.

This is such a great and accurate write up that I don't feel that I can add anymore..the only song that bothers me is LTRP! Other then that I really dig this record.

digster wrote:Ed's tended to have one anthem-by-numbers on the last three records (Severed Hand, Unthought Known, LB). This is definitely the best of the three, though it still feels kind of forced. I feel like this is definitely what Unthought Known was attempting to do.

I think that Severed Hand is above and beyond Lightning Bolt and Unthought Known.

L-bolt > Severed Hand > Unthought Known

Plus Severed Hand and UK are both about as good as they're gonna be. L-bolt doesn't reach its full potential and so becomes easier to romanticize (see exhibit A: Binaural retracking threads)

I think the worst performance of Severed Hand may be it's studio cut; out of all of those it seems like it doesn't come close to reaching it's potential on the album. Granted, I wouldn't say any of these songs are highlights or have a ton of potential to work with, but LB is the best-written of the three.

Coach wrote:

digster wrote:Ed's tended to have one anthem-by-numbers on the last three records (Severed Hand, Unthought Known, LB). This is definitely the best of the three, though it still feels kind of forced. I feel like this is definitely what Unthought Known was attempting to do.

I think that Severed Hand is above and beyond Lightning Bolt and Unthought Known.

it not even close. severed hand is a superior song in just about ever aspect. the lyrics describe tripping perfectly...i still dunno what the fuck he's talking about half the time in LB. the riff in severed hand alone is stronger than anything going on in LB. then there's the bridge in severed hand, which is the best part of the song.

i never thought 'severed hand' sounded forced the way LB does. yeah, the SH riff sounds like porch, but they are two completely different songs and SH goes placed porch never does. 'LB' sounds like they were trying to write a song that would work well live. and its a fine live song, its just not as good as severed hand.

they're both perfectly cromulent songs.

Each of those three songs would be a 4 if I were to use the rating system right now, with LB being the closest to a 5 thanks to its strength live. I haven't heard SH live so maybe it has the same thing going for it. My biggest problems with SH are 1) that the intro suggests something so much more incredible than what you get, which is a basic driving PJ riff, and 2) even though I dig tripping, if I am going to get a song about it, I'd like it to have more of a point. Yeah, SH describes tripping well, but I still don't get anything really out of that storyline. LB doesn't have the greatest lyrics either, although I like some of the imagery and the connections to Nothingman. UK probably has the best lyrics of the three songs, but is otherwise the least dynamic I suppose.

Let's rank 'em!

Severed Hand - 4

LB - 2 (initially really, really liked the song)

UK - 3

Coach wrote:LB - 2 (initially really, really liked the song)

Okay, I'll bite. What turned it from a 4 into a 2?

i might give severed hand a 5. i really fuckin love that song, its like the 'pendulum' of s/t, i could jerk off to it. the other songs i would give a 3 on the strength them in a live setting.

warehouse wrote:i might give severed hand a 5. i really fuckin love that song, its like the 'pendulum' of s/t, i could jerk off to it. the other songs i would give a 3 on the strength them in a live setting.

Could you imagine if you went to jerk off, only to find you had a severed hand? What a plot twist...

Lament wrote:

warehouse wrote:i might give severed hand a 5. i really fuckin love that song, its like the 'pendulum' of s/t, i could jerk off to it. the other songs i would give a 3 on the strength them in a live setting.

Could you imagine if you went to jerk off, only to find you had a severed hand? What a plot twist...

I'd still go for it

Lament wrote:

warehouse wrote:i might give severed hand a 5. i really fuckin love that song, its like the 'pendulum' of s/t, i could jerk off to it. the other songs i would give a 3 on the strength them in a live setting.

Could you imagine if you went to jerk off, only to find you had a severed hand? What a plot twist...

have you hooked up with your roommate yet?