Red Mosquito

If you had to choose from the b-sides, outtakes, etc circa 91-93 and make it sound like a flesh out album, what would be your tracklist?

Wash
Breath
Alone
Footsteps
Brother
Hold On
SOLAT
Crazy Mary
Hard to Imagine
Yellow Ledbetter

Hypnosomnia wrote:If you had to choose from the b-sides and outtakes circa 91-93 and make it sound like a flesh out album, what would be your tracklist?

Wash
Breath
Brother
Alone
Footsteps
Brother
Hold On
SOLAT
Crazy Mary
Hard to Imagine
Yellow Ledbetter

Is the second brother a reprise? a slight return?

I'd put Breath right before YL... Crazy M... Wait! These aren't all b-sides. I'm confused.

Is the second brother a reprise? a slight return?

No, it´s a mistake. Fixed.

01- Wash
02- State of love and Trust
03- Breathe
04- Brother
05- Alone
06- Hold On
07- Just a Girl
08- Footsteps
09- Hard to Imagine
10- Yellow Ledbetter

joostone wrote:01- Wash
02- State of love and Trust
03- Breathe
04- Brother
05- Alone
06- Hold On
07- Just a Girl
08- Footsteps
09- Hard to Imagine
10- Yellow Ledbetter

That has an excellent flow

That does look nice, joostone. I listen to these songs a lot more than I listen to the proper "Ten" songs these days -- maybe partially due to overexposure of the latter, but I suspect also partially because their general lack of big, defined, polished choruses kind of downplay their sense of bombast in a way more closely aligned to my adult tastes. They really did have songs just pouring out of them in those days....

Kevin Davis wrote:That does look nice, joostone. I listen to these songs a lot more than I listen to the proper "Ten" songs these days -- maybe partially due to overexposure of the latter, but I suspect also partially because their general lack of big, defined, polished choruses kind of downplay their sense of bombast in a way more closely aligned to my adult tastes. They really did have songs just pouring out of them in those days....

i think about this all the time. im sure there are bands or artists w/ equal or more output, but the amount of good songs they did pretty quickly and so early in their career kinda amazes me. i guess gossard had a lot of that stuff for love bone?

warehouse wrote:

Kevin Davis wrote:That does look nice, joostone. I listen to these songs a lot more than I listen to the proper "Ten" songs these days -- maybe partially due to overexposure of the latter, but I suspect also partially because their general lack of big, defined, polished choruses kind of downplay their sense of bombast in a way more closely aligned to my adult tastes. They really did have songs just pouring out of them in those days....

i think about this all the time. im sure there are bands or artists w/ equal or more output, but the amount of good songs they did pretty quickly and so early in their career kinda amazes me. i guess gossard had a lot of that stuff for love bone?

Thanks, and they could (should..) have release their 'incesticide' in 92/93

And yes, Gossard was on fire from 1987-1993 orso. Some of those unused instrumentals from that era could have been good songs too

I often wonder if Stone kinda just gave up after Ed made his power play in the mid-90's. It's hard to argue with the results at first (Vitalogy, No Code, Yield) but once the band went back to the "song writing by committee" approach of the latter years, it seems like Stone had already lost all of his mojo by then

1. Wash
2. SOLAT
3. Breath
4. Angel
5. Alone
6. Cready Stomp
7. Brother
8. Bee Girl
9. Hold On (acoustic)
10. Just a Girl
11. Acoustic #1
12. Dirty Frank
13. Let Me Sleep
14. Footsteps
15. Hard to Imagine
16. Yellow Ledbetter

I like stip's list. I threw in some more to round it out. Only switched 1 from stip's order. And I'll use the acoustic Hold On

I was quoting joostones list, which was good enough to discourage me from making my own

Sorry- I will happily withdraw credit from stip and really to joostone

bluestate wrote:I often wonder if Stone kinda just gave up after Ed made his power play in the mid-90's. It's hard to argue with the results at first (Vitalogy, No Code, Yield) but once the band went back to the "song writing by committee" approach of the latter years, it seems like Stone had already lost all of his mojo by then

i think 'yield' is when they went back to a more committee approach to song writing, but i think song writers just evolve over time, especially with different influences. i remember reading a while back stone was studying hank williams a lot, which probably wasnt the case when ten and vs were written. stone gossard's song writing seems to be a little more laid back then it used to be. sure he can still write a decent 'rocker', but he doesnt really write any of the heavy, funky riffs he did during the early stages of the bands career.

This thread is making me want to listen to "Moonlander."

Any lineup with "Hold On" in it is an instant fail.

warehouse wrote:

bluestate wrote:I often wonder if Stone kinda just gave up after Ed made his power play in the mid-90's. It's hard to argue with the results at first (Vitalogy, No Code, Yield) but once the band went back to the "song writing by committee" approach of the latter years, it seems like Stone had already lost all of his mojo by then

i think 'yield' is when they went back to a more committee approach to song writing, but i think song writers just evolve over time, especially with different influences. i remember reading a while back stone was studying hank williams a lot, which probably wasnt the case when ten and vs were written. stone gossard's song writing seems to be a little more laid back then it used to be. sure he can still write a decent 'rocker', but he doesnt really write any of the heavy, funky riffs he did during the early stages of the bands career.

Yea, I was going to add to my original post that Yield was a bit of an anomaly for Gossard at the beginning of the "song writing by committee" period because he still manages to write some "classic Stone" riffs (DTE, In Hiding) which stand up nicely against his earliest songwriting efforts. But where you really hear him starting to change as a song writer is during No Code. Eddie has full reins and Stone is just trying to figure out how to fit into this "new" band (see Mankind, Don't Gimme No Lip, etc.) Besides his Yield songs, Stone never really seems to figure how to write a good "rocker" for PJ after that point. However, he does end up writing some of PJ's best chill songs after this point. All Those Yesterdays, Strangest Tribe, Thin Air, Of the Girl, All or None, Parachutes, etc. So his role as a songwriter changes drastically and that, coupled with the fact that Ed's writing style has also changed drastically, is why today's PJ is a completely different band than yesterday's PJ. But I guess this is kind of a no-brainer anyway?

Name bands whose entire career output can't hold a candle to three years' worth of Pearl Jam b-sides. I'll start:

U2
REM

Bammer wrote:Name bands whose entire career output can't hold a candle to three years' worth of Pearl Jam b-sides. I'll start:

U2
REM

Both wrong.

Kevin Davis wrote:

Bammer wrote:Name bands whose entire career output can't hold a candle to three years' worth of Pearl Jam b-sides. I'll start:

U2
REM

Both wrong.

Kevin Davis wrote:

Bammer wrote:Name bands whose entire career output can't hold a candle to three years' worth of Pearl Jam b-sides. I'll start:

U2
REM

Both wrong.

at least he swung for the fences.


swang should be a word