Red Mosquito

Nice write up, Stip

Imo Matt'a sound never really fit in pearl jam.

This will affect setlists. Get ready for generic sets with only a handful of changes (if any).

LetMeSleep wrote:This will affect setlists. Get ready for generic sets with only a handful of changes (if any).

When I said this, Strat yelled at me.

i wonder if the recent Get Right setlist scratch was the tipping point

Jorge wrote:I asked it to write erotic fanfiction about Boom and an iguana

In the steamy, moonlit night, Boom Gaspar tossed and turned in his bed, the fabric of his sweat-soaked sheets clinging to his bare chest. Unbeknownst to him, his mind was about to embark on a journey of carnality and the bizarre, as a vivid, erotic dream began to unfurl from the depths of his subconscious. The line between reality and fantasy grew hazy as a mysterious iguana emerged from the shadows, its emerald scales glistening with a seductive sheen that seemed to beckon him closer. Boom's breath grew heavy and his heart raced as the creature approached, its movements oddly graceful and hypnotic, setting the stage for a nocturnal escapade that would defy the boundaries of his wildest imaginings.

And that iguana's name? Big Wave.

bodysnatcher wrote:i had chatgpt summarize that huge post by stip

This tribute to retiring Pearl Jam drummer Matt Cameron argues that while Jack Irons saved the band, Matt enabled their 27-year endurance. His selfless, adaptable drumming style made bandmates want to stay together, transforming Pearl Jam from a fragile early-90s act into a legendary live band. His departure ends an era but ensures Pearl Jam's future.

beats reading it!

How much of Matt Cameron's departure was planned to boost Dark Matter Tour box sets?

Because I just bought one.

Matt eventually did cure pj of their chronic midtempoisis. Got them out of that predictable same verse, prechorus, chorus, verse, bridge, chorus again but bigger, fuck it we’ll figure out the ending live, slump they were in.
He made them stretch muscles they didn’t know they had and in weird ways despite his playing being machine like and a bit robotic but relentless without much feel, particularly in the live situation. He’s feeling it sure, the rest of us, band included, always gasping and barely able to keep up.
Where does such a drummer go in a studio or even songwriting process and how does a band gel or absorb it?
Isn’t to say he didn’t do a whole lot of songs better but he was diminished too.
Puzzles and games is a better and more lively engaging song than what became light years (not to dismiss LY it’s one of their best for my ears) but the pulse and freedom of the earlier version (splashy! It’s splashy!) asks why does everything else have to be so nailed down in PJ studio efforts? It’s all very contrived (the self titled record most of all and painfully so.
)
Listening to the thing we can’t talk about and the rehearsals especially. Where’s that’s band and have they forgotten how good they are at jamming and why don’t they do it anymore onstage or elsewhere?
Get freaky again boys. It’s doesn’t always have to be millisecond sharp and you’re allowed fuck around.


Was it a good thing that he did though? Ultimately? We need the full lost dogs II

dimejinky99 wrote: Was it a good thing that he did though? Ultimately?

Unequivocally, yes. If you wanted the band to stay together in 1998 and that's all he ever contributed, was the ability to move forward, then yes. Absolutely.

I feel like Stop's post nailed it, so I don't need to go into how much I love Matt Cameron and caveat my one complaint, but honestly, it's been his drum sound on the records since Riot Act. I never felt like they fit in the mix in the way they did on Superunknown or DOTU or on his solo stuff. Really that's it.

Aunt_Claire_Foy wrote:

dimejinky99 wrote: Was it a good thing that he did though? Ultimately?

Unequivocally, yes. If you wanted the band to stay together in 1998 and that's all he ever contributed, was the ability to move forward, then yes. Absolutely.

I feel like Stop's post nailed it, so I don't need to go into how much I love Matt Cameron and caveat my one complaint, but honestly, it's been his drum sound on the records since Riot Act. I never felt like they fit in the mix in the way they did on Superunknown or DOTU or on his solo stuff. Really that's it.

Whose drum sound is on Binaural?

wease wrote:

Aunt_Claire_Foy wrote:

dimejinky99 wrote: Was it a good thing that he did though? Ultimately?

Unequivocally, yes. If you wanted the band to stay together in 1998 and that's all he ever contributed, was the ability to move forward, then yes. Absolutely.

I feel like Stop's post nailed it, so I don't need to go into how much I love Matt Cameron and caveat my one complaint, but honestly, it's been his drum sound on the records since Riot Act. I never felt like they fit in the mix in the way they did on Superunknown or DOTU or on his solo stuff. Really that's it.

Whose drum sound is on Binaural?

dimejinky99 wrote:Matt eventually did cure pj of their chronic midtempoisis. Got them out of that predictable same verse, prechorus, chorus, verse, bridge, chorus again but bigger, fuck it we’ll figure out the ending live, slump they were in.
He made them stretch muscles they didn’t know they had and in weird ways despite his playing being machine like and a bit robotic but relentless without much feel, particularly in the live situation. He’s feeling it sure, the rest of us, band included, always gasping and barely able to keep up.
Where does such a drummer go in a studio or even songwriting process and how does a band gel or absorb it?
Isn’t to say he didn’t do a whole lot of songs better but he was diminished too.
Puzzles and games is a better and more lively engaging song than what became light years (not to dismiss LY it’s one of their best for my ears) but the pulse and freedom of the earlier version (splashy! It’s splashy!) asks why does everything else have to be so nailed down in PJ studio efforts? It’s all very contrived (the self titled record most of all and painfully so.
)
Listening to the thing we can’t talk about and the rehearsals especially. Where’s that’s band and have they forgotten how good they are at jamming and why don’t they do it anymore onstage or elsewhere?
Get freaky again boys. It’s doesn’t always have to be millisecond sharp and you’re allowed fuck around.


Was it a good thing that he did though? Ultimately? We need the full lost dogs II

Matt’s drumming sucked the life out of the band.

On one Instagram story, Matt wrote : " Thank you for your kind words of suppport, and for the record I'm still an active musician. "

GreenMosquito1996 wrote:On one Instagram story, Matt wrote : " Thank you for your kind words of suppport, and for the record I'm still an active musician. "

Yeah, Did anyone thought he would retire from music? I just thought PJ schedule would be too big to persue other stuff. Is Krist Novoselic also an active musician?

'i'm just really coy and quiet about what comes next because i don't want the pearl jam profit shadow to dave a me and i end up playing next with bands like green romance orchestra'

joostone wrote:

GreenMosquito1996 wrote:On one Instagram story, Matt wrote : " Thank you for your kind words of suppport, and for the record I'm still an active musician. "

Yeah, Did anyone thought he would retire from music? I just thought PJ schedule would be too big to persue other stuff. Is Krist Novoselic also an active musician?

Well, he and Matt were playing together on Geddy Lee’s tv show a few months back.

wease wrote:

Aunt_Claire_Foy wrote:

dimejinky99 wrote: Was it a good thing that he did though? Ultimately?

Unequivocally, yes. If you wanted the band to stay together in 1998 and that's all he ever contributed, was the ability to move forward, then yes. Absolutely.

I feel like Stop's post nailed it, so I don't need to go into how much I love Matt Cameron and caveat my one complaint, but honestly, it's been his drum sound on the records since Riot Act. I never felt like they fit in the mix in the way they did on Superunknown or DOTU or on his solo stuff. Really that's it.

Whose drum sound is on Binaural?

Matt Bayles. Tchad Blake had final say but Bayles was largely the technical guru behind everything. Then it went through the grinder of Brendan O'Brien and Bob Ludwig.

Sorry were you being clever?

spike wrote:

dimejinky99 wrote:Matt eventually did cure pj of their chronic midtempoisis. Got them out of that predictable same verse, prechorus, chorus, verse, bridge, chorus again but bigger, fuck it we’ll figure out the ending live, slump they were in.
He made them stretch muscles they didn’t know they had and in weird ways despite his playing being machine like and a bit robotic but relentless without much feel, particularly in the live situation. He’s feeling it sure, the rest of us, band included, always gasping and barely able to keep up.
Where does such a drummer go in a studio or even songwriting process and how does a band gel or absorb it?
Isn’t to say he didn’t do a whole lot of songs better but he was diminished too.
Puzzles and games is a better and more lively engaging song than what became light years (not to dismiss LY it’s one of their best for my ears) but the pulse and freedom of the earlier version (splashy! It’s splashy!) asks why does everything else have to be so nailed down in PJ studio efforts? It’s all very contrived (the self titled record most of all and painfully so.
)
Listening to the thing we can’t talk about and the rehearsals especially. Where’s that’s band and have they forgotten how good they are at jamming and why don’t they do it anymore onstage or elsewhere?
Get freaky again boys. It’s doesn’t always have to be millisecond sharp and you’re allowed fuck around.


Was it a good thing that he did though? Ultimately? We need the full lost dogs II

Matt’s drumming sucked the life out of the band.

Don’t agree with that at all and I wasn’t clear on that, he’s a brilliant drummer and forced pj into shapes they wouldn’t ever usually find themselves. Love him for that and more and the energy he brought to proceedings no other drummer or person could have.

dimejinky99 wrote:

spike wrote:

dimejinky99 wrote:Matt eventually did cure pj of their chronic midtempoisis. Got them out of that predictable same verse, prechorus, chorus, verse, bridge, chorus again but bigger, fuck it we’ll figure out the ending live, slump they were in.
He made them stretch muscles they didn’t know they had and in weird ways despite his playing being machine like and a bit robotic but relentless without much feel, particularly in the live situation. He’s feeling it sure, the rest of us, band included, always gasping and barely able to keep up.
Where does such a drummer go in a studio or even songwriting process and how does a band gel or absorb it?
Isn’t to say he didn’t do a whole lot of songs better but he was diminished too.
Puzzles and games is a better and more lively engaging song than what became light years (not to dismiss LY it’s one of their best for my ears) but the pulse and freedom of the earlier version (splashy! It’s splashy!) asks why does everything else have to be so nailed down in PJ studio efforts? It’s all very contrived (the self titled record most of all and painfully so.
)
Listening to the thing we can’t talk about and the rehearsals especially. Where’s that’s band and have they forgotten how good they are at jamming and why don’t they do it anymore onstage or elsewhere?
Get freaky again boys. It’s doesn’t always have to be millisecond sharp and you’re allowed fuck around.


Was it a good thing that he did though? Ultimately? We need the full lost dogs II

Matt’s drumming sucked the life out of the band.

Don’t agree with that at all and I wasn’t clear on that, he’s a brilliant drummer and forced pj into shapes they wouldn’t ever usually find themselves. Love him for that and more and the energy he brought to proceedings no other drummer or person could have.

Correct.