Red Mosquito

evenslow wrote:

harmless wrote:

evenslow wrote:

harmless wrote:

McParadigm wrote:

harmless wrote:

dimejinky99 wrote:

Cleverman wrote:

harmless wrote:

dimejinky99 wrote:

harmless wrote:The whole thing about Stone saying "It's going to alienate people, like No Code did" in the first session, and then saying "It sounds like Pearl Jam" in the second, doesn't have to be explained by a move from freaky awesomeness to Backspacer 2, by the way. It could just be that he was told to reign it in, don't say our new album will alienate, you'll put everyone off, etc. It doesn't necessarily indicate what kind of music he was referring to, just that the later quote was less revealing in its info. If anything, if this album is any move away from Backspacer at all, he may have felt the need to warn the pop fans about it. You know, all those people who have got on board since Backspacer...

In fairness a severe left turn artistically was predicted and expected after the last one.
I'm not buying the logical extension argument at all apart from that one song being a left over.

Sometimes songs don't find their place til later. Pj have demonstrated this often in the past.

I was only worried about that one review implying that Lightning Bolt itself sounded more like Unthought Known than it had already, played live, and also that half of the songs were entertaining but less challenging rock songs a la Backspacer. Having said that though, there are also less challenging rock songs on Riot Act and Binaural ('Get Right is a cool but uncomplicated song, so is Green Disease), so are we getting anything wildly different than normal? Possibly not.

This is probably for another thread, but I'm of the opinion UK would be more liked if it had been on a better album...say Yield or something. Does that make sense?

I've often felt that about UK too. It's pretty much got that classic PJ stamp all over it.
Never understood why it didn't get more love here.

1) Too much production polish
2) Not good structurally; the last third goes nowhere
3) Brendan's piano ruins it

Remove that piano, and the front half loses a lot of its feeling of forward motion. "So, uh...you're still playing that riff, huh? Cool..."

To me, it was always time to hit the skip button once the "nothing left"s started up.

Yeah, you're right... there would still need to be something in place of the piano for that section to work. I just hate the piano. I hate what's played, I hate the way it's played. The fact that it wouldn't have survived with guitars alone is probably a knock on the song more than the piano itself. I guess Mike could've done something in place of the piano, that's what usually happens, but the fact is, through their career PJ have hardly ever decided any of their musical interludes needs a piano.

I swear to God all this piano you guys notice never makes an impression on me. Certainly not enough to derail anything.

I will remember that when you try to tell me the studio version of Lightning Bolt isn't terrible!

I may not tell you that. I was not moved by the song at all when I heard it live. For that particular track, I'm just hoping for good enough.

McParadigm wrote:

harmless wrote:Actually, I should clarify. I like what the piano does until the instrumental transition into the "Nothing left!" section. It's only a few seconds but it's too much Meatloaf key-bashing for me.

I always heard Billy Joel in that playing
Which I also consider to be unflattering

harmless wrote:

Dr. Van Nostrand wrote:

dimejinky99 wrote:

Jaeti wrote:

dimejinky99 wrote:I've often felt that about UK too. It's pretty much got that classic PJ stamp all over it. Never understood why it didn't get more love here.

It is pretty classic PJ, if you're willing to acknowledge there are a few different strains of "classic PJ." It's not as good as it seemed upon first hearing it, but it's good.

It's one of those songs that just spoke to me, and its much better live than in the record. Which is unusual.

I don't hate UK, but its not one of my favorites from bs just because it has always felt forced, it isn't a song that just naturally became a song that builds during the writing process, it feels like they ( or ed ) went in trying to write a song like that.

Lightning Bolt, for all its flaws, seems like the finished thing.

BurtReynolds wrote:Sounds like I'll like a couple of songs ( if they don't sound too overworked) and I'll probably throw away the rest. I'm not expecting much of a coherent album, more of a loose collection of songs, like
an EP or a b-side comp.

Strat wrote:

Buby wrote:This bitch leaked

Knock it off

harmless wrote:There aren't many PJ albums that are amazingly coherent. It will be interesting to see whether this one is even worse in that regard.

harmless wrote:

McParadigm wrote:

harmless wrote:Yeah, you're right... there would still need to be something in place of the piano for that section to work. I just hate the piano. I hate what's played, I hate the way it's played. The fact that it wouldn't have survived with guitars alone is probably a knock on the song more than the piano itself. I guess Mike could've done something in place of the piano, that's what usually happens, but the fact is, through their career PJ have hardly ever decided any of their musical interludes needs a piano.

I also always appreciated that it sprinkled itself high up while Ed was warbling down below, then quit doing it when he shot upward in order to leave all that space for him to fill up. That was a good move...just kind of remind people of all that empty space up there, then the bass kicks in and Ed just owns it (even if it took a lot of echo and studio to make it happen).

That song was the one thing on that record that I really thought did something interesting...especially the change in the bridge, which reminded me of the transition into the guitar solo in Springsteen's Rising...but it wasn't written out enough to stay interesting long term.

Actually, I should clarify. I like what the piano does until the instrumental transition into the "Nothing left!" section. It's only a few seconds but it's too much Meatloaf key-bashing for me. But the single-note stuff happening in the intro really does a lot for the song.

Lounge Lizard wrote:

harmless wrote:There aren't many PJ albums that are amazingly coherent. It will be interesting to see whether this one is even worse in that regard.

Yield is very complete and self sufficient.

Walker Bait wrote:

harmless wrote:

McParadigm wrote:

harmless wrote:Yeah, you're right... there would still need to be something in place of the piano for that section to work. I just hate the piano. I hate what's played, I hate the way it's played. The fact that it wouldn't have survived with guitars alone is probably a knock on the song more than the piano itself. I guess Mike could've done something in place of the piano, that's what usually happens, but the fact is, through their career PJ have hardly ever decided any of their musical interludes needs a piano.

I also always appreciated that it sprinkled itself high up while Ed was warbling down below, then quit doing it when he shot upward in order to leave all that space for him to fill up. That was a good move...just kind of remind people of all that empty space up there, then the bass kicks in and Ed just owns it (even if it took a lot of echo and studio to make it happen).

That song was the one thing on that record that I really thought did something interesting...especially the change in the bridge, which reminded me of the transition into the guitar solo in Springsteen's Rising...but it wasn't written out enough to stay interesting long term.

Actually, I should clarify. I like what the piano does until the instrumental transition into the "Nothing left!" section. It's only a few seconds but it's too much Meatloaf key-bashing for me. But the single-note stuff happening in the intro really does a lot for the song.

Once again we agree. For me its like the opposite of Black. On Black the keys fit beautifully at the end and on UK I think they're great at the beginning but ruin the song for me at the end. Its just too much and way too loud. The piano overpowers the other instraments. Maybe if the levels had been lowered and the piano was more in the background it wouldn't have been so bad but really they should have never been there in the first place at the nothing left part. It should have continued to build to more layered guitars ala Betterman. Would have delivered a much fuller and more powerful end product for me anyway.

harmless wrote:There aren't many PJ albums that are amazingly coherent. It will be interesting to see whether this one is even worse in that regard.

harmless wrote:

harmless wrote:There aren't many PJ albums that are amazingly coherent. It will be interesting to see whether this one is even worse in that regard.

Clarification: given what sounds like a crazy mix of styles on this record, I think that a lack of coherence might really suit it. I don't want it awash with the same kind of production, for instance.

evenslow wrote:

harmless wrote:

harmless wrote:There aren't many PJ albums that are amazingly coherent. It will be interesting to see whether this one is even worse in that regard.

Clarification: given what sounds like a crazy mix of styles on this record, I think that a lack of coherence might really suit it. I don't want it awash with the same kind of production, for instance.

Didn't someone somewhere compare LB to a mish-mash, Guided by Voices type thing or did I dream that?

veevee wrote:According to Ed, this title of this song is a quote that comes from what they told Obama when he got into office.

It opens with a quick, chiming riff and then gets heavy, fast, and punky. YOU BETTER MIND YOUR MANNERS BOY, MIND YOUR MANNERS

The tour is going to be extensive, starting in the US late fall/winter and was planned around what Springsteen did on the Fall/Winter 2003 Rising Tour, so if you want an idea on venues and cities, that's pretty close. Then next Summer is Europe and Winter 14 will be Australia, New Zealand, Japan. Gonna be fun.

The new album is my favorite one they've ever done. Some great short pop songs and some weirder stuff too, and some definite future stadium anthems. It flows kind of like a Guided by Voices record.

Blenheim Augustine wrote:About 100 more pages since I checked at lunch time - has this thing leaked then? Or are we still talking about how SBM shouldn't be on the album, fade outs and whether or not Pearl Jam should use pianos?

evenslow wrote:I figured it out. It was a quote from user "veevee" months back. He got a lot about the album/MYM/tour right a few months back. Who is this masked man?

veevee wrote:According to Ed, this title of this song is a quote that comes from what they told Obama when he got into office.

It opens with a quick, chiming riff and then gets heavy, fast, and punky. YOU BETTER MIND YOUR MANNERS BOY, MIND YOUR MANNERS

The tour is going to be extensive, starting in the US late fall/winter and was planned around what Springsteen did on the Fall/Winter 2003 Rising Tour, so if you want an idea on venues and cities, that's pretty close. Then next Summer is Europe and Winter 14 will be Australia, New Zealand, Japan. Gonna be fun.

The new album is my favorite one they've ever done. Some great short pop songs and some weirder stuff too, and some definite future stadium anthems. It flows kind of like a Guided by Voices record.