A Guided Tour of Backspacer

tremors

.. wrote:

nothing is worse than hearing someone review and judge art that was not made for just the reviewer. it was made to live free inside us all and have different meanings to each one of us.


i dont need a guided tour of any pearl jam music. the music itself is the guide. and it will take us all on a different journey.

Well, the clue was in the thread title. I wouldn't read them then. Personally I like nothing better than reading someone who is informed, has opinions, and writes excellently discuss Pearl Jam's music, and then is open to hearing others' views. Pearl Jam have been a band with depth since day one - with subjects and themes that should be discussed. This isn't the Michael Bublé forum is it?

PJSEMPRE

Great job, Stip!
I love to read what other fans think about PJ songs and records, especially when is well written.
Waiting for The End review that is a very beautiful song.

Dr. Stip Zoidberg

thank you

I should have the end up Tuesday morning. I was away this weekend and now I'm getting caught back up on work I missed.



to ..: If you don't like my particular interpretation that's of course entirely up to you. if you don't enjoy the writing that is of course also entirely up to you. But music as communal as Pearl Jam's was also probably not meant to be listened to in a vacuum either, and if you cannot learn from other people (I do all the time) or even just use another person's discussion/interpretation to remind yourself of why a particular melody/phrase/song moves you then you're really closing yourself off to a much richer and fuller experience of art and music.

mickeyrat

Dr. Stip Zoidberg wrote:

Force of Nature

Force of Nature is a necessary counterpoint to Speed of Sound. If Speed of Sound is a cautionary tale, a warning to slow down and make your peace with the world, Force of Nature is a celebration of a stubborn, unwavering faith that things can change, that if we hold fast to what we believe in we’ll be rewarded with a better world. In some respects these two songs are at odds with each other, but both perspectives are needed (an acceptance of the way things are and a faith that they will get better) for a healthy, meaningful existence. It is really on Backspacer where we finally get this fusion, and Force of Nature is probably the high point of the album precisely because this song embodies the weathered optimism that is always at the core of Pearl Jam’s best music. While I think Pearl Jam intended for The Fixer, Unthought Known, and Amongst the Waves to really be the core of the record it is actually Force of Nature (filtered through the context of the rest of the record) that best captures the emancipatory heart of the record.

Musically this is a deceptively simple song. The main riff is not overly complicated or particularly dramatic, but it is remarkably evocative. The entirety of Force of Nature sounds like a person standing on a widow’s walk or on a shoreline looking upon the horizon, battered and soaked by a storm, but unwilling to give in. You can hear the grim defiance and stubborn hope in the delivery and the music. This is the sound of refusal, of one person willing to stare down vast empty spaces without blinking, to lean into howling winds and perhaps bend, but never break. In this Force of Nature differs from songs like Insignificance or Deep. These are also stormy songs, but musically they focus on the destructive energy of the storm itself. These are songs that emphasis impact. This is a song about endurance, and endurance is not a particularly flashy emotion, and one that may be hard to appreciate until you get swept up into the song itself.

Musically part of me wants a bigger entrance than the song gets, something more explosive in the vein of Deep, but that might have made this song a little too dramatic, and there is an understated toughness to the main riff. It churns along, with the bass and drums pushing rather than propelling. They don’t give Force of Nature legs, but they give it a spine, while the main riff continues to doggedly put one foot in front of the other, and is clearly prepared to do so for as long as it takes. There’s almost something petulant about Mike’s primary counterpoint to the main riff, the sound of the put upon grimace we all have when we’re trapped in the rain and long to be dry, even though we know that it’ll be a long time before we are. It’s not an appealing part in itself, but it is a necessary component of the overall piece. The soundscape is less evocative without it.

Force of Nature is a headphones song. Most atmospheric songs are (and this is an atmospheric song, despite the conventional riff). There are a number of great flourishes throughout the mix that are buried a little deeper than I might preferred, but they’re striking when they fade in and out of your hearing, and it means that every time you hear the song you’re picking up something new (especially in the second verse). The brighter guitar parts pushing through the wind and rain right before the choruses are well done—rays of light peeking through a storm, moments of hope on a lonely vigil. They become more prominent with each chorus as the singer steels himself. Mike’s ‘leads’ in the bridge are great. They sound like flashes of lightning. The atmosphere in this song is terrific, especially because it is so subtle. And while some have called it cheesy, I think Mike’s outro is perfect, its bright chimes pushing through the murk, muted but no less diminished for it. It speaks of hope and optimism and new beginnings and the promises finally fulfilled. It’s simple, but so is the solo at the end of I am Mine, and both are powerful in their simplicity, managing to convey so much with so little.

This is a song about determination and defiance, but it’s also a song about faith, and it may be the finest song they’ve yet written about it. There is an anger to Faithful, and a certainty to it, that FoN lacks. The singer in Faithful has his anger to ground him, and his partner. He has what he needs, as long as he stays true to it (the love and the anger). It’s a love song, albeit a circuitous one. The singer in Force of Nature has nothing but promise. It celebrates refusing to give in when confronted by absence and uncertainty, of never wavering even when everything around you is hostile, when there are no guarantees of victory, when there are no small rewards or mile markers to let you know you’re on the right path. This is the essence of faith. It’s faith in love (and faith in each other) rather than a faith in God, but faith nevertheless. There are elements of Given To Fly to be found here too (which also, in its way, celebrates faith as refusal and defiance) but without the martyrdom. Both songs celebrate sacrifice, but Given to Fly transcends. Force of Nature endures, at least until Mikes outro lifts us out of the storm and carries us to our reward.

Eddie’s vocals capture the feel of the song perfectly. Eddie doesn’t lift us up, but he’s not supposed to. The waves crash down on us here. They don’t’ carry us away. He needs to be a rock. His voice needs to convey refusal (which is like defiance, but weathered and beaten down—unable to lash out but still unwilling to give in). He sounds like he’s been through a war, and he has, but there are notes of pride here too, honoring the fact that even though he’s still a long long way from home he is able to hold his head up and this is no small victory. His performance here is subtle, but very effective—the way his voice slightly lifts up for the ‘somewhere there’s a siren singing’, the way he finds comfort and inspiration in his memories and his faith; or the way he trails off coming out of the chorus, like he’s steeling himself for what he knows is still to come (he does the same thing in the pre chorus, the way he carefully drags out each word). I love how he delivers the ‘makes me ache, makes me shake, is it so wrong for us to think that love can keep us safe’—the slightly exacerbated way he questions an indifferent universe and then answers his own question since something has to respond to the silence (the nature of faith is that you’ll never get an answer and so you need to provide it yourself). These are subtle moments, but this is a subtle song, and they’re no less powerful for being understated, and Eddie deserves credit for turning his new vocal limits into strengths, for allowing craft to substitute for power.

Lyrically this is some of Eddie’s finest work in a long time. The central phrase ‘force of nature’ evokes something wild uncontrollable and eternal—something impossible to stand against, and it’s this impossibility that makes his vigil so moving, his refusal to back down in the face of something he cannot possibly hope to master. In this particular case the force of nature is love, and his determination to stand by and not give up on someone deeply flawed and deeply wounded. The songs imagery speaks of waits and vigils, but he’s not waiting for someone to love him back (this isn’t I Got Shit), but for someone to save themselves (and to let him in so he can help). It’s going to be a difficult journey, and the Alice In Wonderland allusion is effective. There’s no romance here. No grand adventure, no dream someone is just going to wake up from. This is long, hard, thankless work, with no guarantee of a happy ending (again faith)—the ‘no way to save someone who won’t take the rope and just lets go’ lyric gets to the heart of the problem. Do you abandon this person? Do you give up on someone or something that has made it manifestly clear that they do not (maybe even cannot) be saved, or do you stand by them?

The chorus and the remaining verses make clear that you stand by them, even in the face of the impossible demands this places upon you (the storm and shipwreck imagery), but they’ll never make it back if you’re not there to light their way. Someone has to be the beacon. Someone has to make sure the light doesn’t go out. Someone has to have faith. The first chorus captures this beautifully, and is addressed to the person who is lost. When you’re ready to come back, I’ll be here to show you the way.

The second chorus is even better, and one of my favorite lyrical moments in the catalog. This is addressed to an internal audience. He’s signing for himself. The siren’s song drives the listener mad, and his faith is mad. It defies reason. It cannot be explained. But it doesn’t have to be—he just needs to hear it, to hold onto it. He doesn’t need to justify his resolve. He just needs to maintain it. There are moments of doubt, and the crashing bridge witnesses his crisis of faith as he cries out to a cold and indifferent world. “Is it so wrong to think that love can keep us safe?” It’s a more profound question that it first appears, since there’s a lot at stake. Love is more than caring for another person. It is more than how you feel about someone else, or even yourself. Love is safety. Love is shelter against a storm, love is the baseline that makes all futures possible. Without it we have nothing but ourselves trapped in a hostile, disenchanted universe. Should we give up on it, even when love is little more than faith in the possibility of love, and when leaving ourselves open leaves ourselves incredibly vulnerable? Love is risk, after all. The world doesn’t answer (the world never does), and so he has to answer himself

There’s a brief lull in the music and the storm starts up again, but we see him still standing there. He refuses to move. His faith endures, and the outro rewards us with a happy ending, although we don’t know whether the object of his love heals and returns to him, or if the faith is its own reward. It’s a better ending that way.

thank you. with out getting all cheesy, I'll say I identify. With the song and your take on it. very well done.

tremors

Dr. Stip Zoidberg wrote:

thank you

I should have the end up Tuesday morning. I was away this weekend and now I'm getting caught back up on work I missed.



to ..: If you don't like my particular interpretation that's of course entirely up to you. if you don't enjoy the writing that is of course also entirely up to you. But music as communal as Pearl Jam's was also probably not meant to be listened to in a vacuum either, and if you cannot learn from other people (I do all the time) or even just use another person's discussion/interpretation to remind yourself of why a particular melody/phrase/song moves you then you're really closing yourself off to a much richer and fuller experience of art and music.

I agree - and one of the things that drives me mad about PearlJam.com, and particularly its 'Porch' is that we seem to have lost the ability to discuss the music, how powerful it is and how it affects us - in a thoughtful and reflective way, or at least at any length. I think we need to remember how to do this - and quickly!! This thread is a prime example of the types of discussion I would like to see a lot more of on PearlJam.com, and not just in the 'Words and Music' section. Pearl Jam is all about the strongest of words and the strongest of music - so I'm grateful to Dr. Zoidberg for reminding us how the music, themes and words have a depth which can stand up to some proper and rigorous discussion. More like this on the front page of Pearljam.com please!!

TJ25487

tremors wrote:

Dr. Stip Zoidberg wrote:

thank you

I should have the end up Tuesday morning. I was away this weekend and now I'm getting caught back up on work I missed.



to ..: If you don't like my particular interpretation that's of course entirely up to you. if you don't enjoy the writing that is of course also entirely up to you. But music as communal as Pearl Jam's was also probably not meant to be listened to in a vacuum either, and if you cannot learn from other people (I do all the time) or even just use another person's discussion/interpretation to remind yourself of why a particular melody/phrase/song moves you then you're really closing yourself off to a much richer and fuller experience of art and music.

I agree - and one of the things that drives me mad about PearlJam.com, and particularly its 'Porch' is that we seem to have lost the ability to discuss the music, how powerful it is and how it affects us - in a thoughtful and reflective way, or at least at any length. I think we need to remember how to do this - and quickly!! This thread is a prime example of the types of discussion I would like to see a lot more of on PearlJam.com, and not just in the 'Words and Music' section. Pearl Jam is all about the strongest of words and the strongest of music - so I'm grateful to Dr. Zoidberg for reminding us how the music, themes and words have a depth which can stand up to some proper and rigorous discussion. More like this on the front page of Pearljam.com please!!

I agree with tremors, but add there is always going to be some conflict on this page. It is where the most people hang out. The words and music page usually only gets people looking for this type of conversation.

tremors

TJ25487 wrote:

tremors wrote:

Dr. Stip Zoidberg wrote:

thank you

I should have the end up Tuesday morning. I was away this weekend and now I'm getting caught back up on work I missed.



to ..: If you don't like my particular interpretation that's of course entirely up to you. if you don't enjoy the writing that is of course also entirely up to you. But music as communal as Pearl Jam's was also probably not meant to be listened to in a vacuum either, and if you cannot learn from other people (I do all the time) or even just use another person's discussion/interpretation to remind yourself of why a particular melody/phrase/song moves you then you're really closing yourself off to a much richer and fuller experience of art and music.

I agree - and one of the things that drives me mad about PearlJam.com, and particularly its 'Porch' is that we seem to have lost the ability to discuss the music, how powerful it is and how it affects us - in a thoughtful and reflective way, or at least at any length. I think we need to remember how to do this - and quickly!! This thread is a prime example of the types of discussion I would like to see a lot more of on PearlJam.com, and not just in the 'Words and Music' section. Pearl Jam is all about the strongest of words and the strongest of music - so I'm grateful to Dr. Zoidberg for reminding us how the music, themes and words have a depth which can stand up to some proper and rigorous discussion. More like this on the front page of Pearljam.com please!!

I agree with tremors, but add there is always going to be some conflict on this page. It is where the most people hang out. The words and music page usually only gets people looking for this type of conversation.

I know!! But people hanging out in the Porch that don't want to talk about Pearl Jam's music, and attack others that do? That's not right, it didn't used to be so, and it doesn't need to be so - as this thread shows.

'The Porch:
Step out on the porch to discuss Pearl Jam's music, tour, appearances, causes they support, etc. It's all about Pearl Jam here. '

Spags

I found myself yesterday in the unenviable position of a four hour train journey with no iPod, so had a read through the Vitalogy and No Code via my phone. I wouldn't normally engage in others thoughts on Pearl Jam's lyrics, not because I'm deliberately closed minded, but these albums have had a long time to stew in my head with each song have a very strong flavour that I go back for over and over again. I get a thrill out of the way a line is broken up in Red Mosquito to tease out the payment of presents the devil is tempting the narrator with. The hidden double meaning. The secret tastes behind what is being presented. Discovering the magic for yourself is powerful and intoxicating. That said I also found the write up of Sometimes to be an interesting and revealing examination of a song I'd clearly been swallowing whole in the past insted of savouring. Thanks for the inspiration, will be reading more of your stuff man!

tremors

UncleSpaggles wrote:

I found myself yesterday in the unenviable position of a four hour train journey with no iPod, so had a read through the Vitalogy and No Code via my phone. I wouldn't normally engage in others thoughts on Pearl Jam's lyrics, not because I'm deliberately closed minded, but these albums have had a long time to stew in my head with each song have a very strong flavour that I go back for over and over again. I get a thrill out of the way a line is broken up in Red Mosquito to tease out the payment of presents the devil is tempting the narrator with. The hidden double meaning. The secret tastes behind what is being presented. Discovering the magic for yourself is powerful and intoxicating. That said I also found the write up of Sometimes to be an interesting and revealing examination of a song I'd clearly been swallowing whole in the past insted of savouring. Thanks for the inspiration, will be reading more of your stuff man!

Very interesting. I've not really noticed that about Red Mosquito - will have a listen. Is that in the RM review, or from your own observation? I think Stip is right about this - hearing others engage their intellect with the music can really open up the songs in different ways - then you can go and check for yourself, and if you think they are talking rubbish then that's fine - but these kind of discussions help to bring the music alive again for me. Also, I don't think it 'spoils' anything - the music is deep within us all, and Backspacer has been out for over 12 months now - Ten a lot more months than that!!! I don't think we need to be threatened by hearing new perspectives on our favourite music. Stip's and your approach is a good one - because it takes you through the music in 'real time' in your head when reading. So I enjoyed reading this just now, it gives me something to think about in relation to the music, and gets me out of this 'vacuum'!

Spags

I mean the way the line is broken up "he was just paying me" as in he has sold out to 'the devil', but then "a little visit". Its wonderfully playful. At least that's how I enjoy that line. Stip mentions the "reminding me of his 'Presents'" (or is it 'Presence') in his piece which is also a great way of layering the song with suggested intent but leaving it open to interpretation.

I also like the way Eddie calls back to Black in his song Gonna See My Friend, "Hard as a statue, black as a tattoo, never to go away" - love being the ultimate addiction perhaps?

tremors

Yes, I think there are loads and loads of lines in Backspacer which call up echoes of the previous songs, previous lyrics. More so than any other album so far. I think backspacer is a kind of 'watershed' moment in the band's catalogue for this reason - pulling together all the different strands into one condensed and optimistic package- amongst the waves backed with 'the end' - there are a lot of songs about appreciating where we've got to, putting down the load for a while, and hoping this optimism will be enough to carry us through to the 'unknown future'.....

Some of the songs I think are called up by backspacer include Can't Keep, Release (speed of sound), Oceans, Rival even... the lyrics draw on a lot of themes and images from across the catalogue imho

Spags

I certainly see it as reflective rather than going back to the well, would be interesting to see how Backspacer ties in with their back catalogue - if only I had the time...

Dr. Stip Zoidberg

UncleSpaggles wrote:

I found myself yesterday in the unenviable position of a four hour train journey with no iPod, so had a read through the Vitalogy and No Code via my phone. I wouldn't normally engage in others thoughts on Pearl Jam's lyrics, not because I'm deliberately closed minded, but these albums have had a long time to stew in my head with each song have a very strong flavour that I go back for over and over again. I get a thrill out of the way a line is broken up in Red Mosquito to tease out the payment of presents the devil is tempting the narrator with. The hidden double meaning. The secret tastes behind what is being presented. Discovering the magic for yourself is powerful and intoxicating. That said I also found the write up of Sometimes to be an interesting and revealing examination of a song I'd clearly been swallowing whole in the past insted of savouring. Thanks for the inspiration, will be reading more of your stuff man!

I didn't write the No Code tour (or the aborted Yield one) but it is really good. I got a lot out of it. No Code is probably the Pearl Jam record I like the least (I like them all, and love most, but No Code is towards the bottom) but I learned a lot from Frank's thread and it gave me a lot to chew on.

Dr. Stip Zoidberg

The End

Since there’s no real narrative to Backspacer we can’t really say our journey ends with The End. It’s more appropriate to say that The End marks the conclusion of an exploration—an investigation into a state of mind. The whole record reflects the culmination of two decades of confrontation, reflection, retreat, and growth, and celebrates the hard won sense of peace, acceptance, commitment and meaning. Parts of Backspacer celebrate the immediacy of now, while others remind us that its sense of perfect freedom is somewhat meaningless in a vacuum—that without context (a sense of how the current moment is earned through past struggles), and without other people to share it with we cannot appreciate, take for granted, and are likely to lose, what we’ve worked so long and hard to achieve. Parts of Backspacer ask us to occasionally surrender to guilty pleasures, silly dreams, and an enchanted world, while other parts of the record remind us that anything worth having requires struggle, commitment, and sacrifice. While the record explores this moment in its totality, it is worth paying close attention to Backspacer’s final message. Pearl Jam chooses their final tracks very deliberately. They almost always encapsulate, if not the theme of the album, then the take away lesson they think is most important. These are not always the albums best song, but they are almost always among the most important. So what does The End ask us to take away from Backspacer?

Musically it is at once the simplest song on the record, and at the same time one of the most beautiful Pearl Jam has ever recorded, with a significant portion of its beauty deriving from its simplicity. Eddie has gotten really good at these graceful finger picking melodies. Unlike Guaranteed or Just Breathe, this one, for all the subtle movement, feels heavy, like it’s carrying the weight of history—but the weight is intimated. It’s implied, rather than forced upon us. It gives The End an understated quality that enables Eddie’s emotive performance (and the strings) to avoid descending into melodrama.

The orchestration does a wonderfully unobtrusive job filling the empty spaces in the song, providing the background images and coloration that makes The End feel like a life lived, not lived in. Each note evokes an image, reminds us of a moment, and encourages us to slide our own memory into that space, to make this the story of our life. There’s some urgency in the music, especially as the song peaks, but there is rarely sadness in the music itself. The bittersweet feel of the song comes from Eddie, not the music. The music is a quiet celebration of a life that, against long odds, found serenity and joy. It is the sound of salvation.

This is probably Eddie’s finest vocal performance on the record, and one of his best to date. It is also noteworthy that this is the case in spite of (or better, because of) the decline in the power of his voice. There’s vulnerability (‘I just want to hold on and know I’m worth your love’/’looking out from inside the bottom of a well’), defiance (‘slide on next to me’) , and empathy, like there’s always been, but it sounds lived in, rich with the quiet wisdom of experience, and the delicate vulnerability and subtle strength of age rather than the raw elemental power of his youth. I’m not sure there’s another Pearl Jam song where Eddie is as invested in every word as he is here. Eddie has always been good at sounding exposed, but there was usually a part of him that pushed back against that exposure—almost like it was involuntary. Here we have the sound of someone who, rather than fight it, hopes to open himself up to that exposure, and learn something from it. So what does he learn?

Lyrically The End is a well written enough, although the power of the song comes from the fusion of delivery, music, and history—the performance and the context—more than the actual words themselves. But, since this is a song, the performance matters, and Eddie makes this convincing.

As I said earlier, The End is not a sad song. At worst it is bittersweet. It is tinged with fear and regret, but it is the fear and regret that comes from finally winning something priceless and realizing that no matter what you do, and no matter how badly you want it, you’re going to lose it. Backspacer celebrates now, but now cannot last forever. Other songs explore how important it is to understand the struggles that led to this moment, so that we can preserve and recreate it. But The End implores us (as does, in its own way, Just Breathe) to recognize how fragile and fleeting this moment is, and so we need to embrace it while we can.

There is a slightly haunted quality to The End, but it approaches this emotion from a different direction than usual. The first few verses (really the entire song) are self-recrimination (what happened to our dreams and plans, what happened to the promises I made, why haven’t I lived up to the expectations I had for myself, why haven’t I been the person for you I always wanted to be— ‘believe I’m better than this’) but the guilt comes from his inability (he blames himself, but it’s not a failure) to fully embrace and experience the gifts of love and a life worth living—he’s not haunted by what he lacks, but by the fact that no matter what he does, no matter how much he commits, it’s simply impossible for him to ever drink it all in. There is a frustrated quality to Eddie’s delivery—now that he finally has everything he ever wanted he’s almost overwhelmed by its power.

We’ve all speculated about whether the singer here is dying, whether this is about guilt due to cigarettes (is The End inspired by his little girl asking him to stop smoking?), and what have you, but I’m not so convinced that this is the case anymore. This isn’t a song about anything so concrete. It’s not about dying, it’s about the abstract fear of dying, of having to leave everything precious behind. It mourns the impossible finality of death and exit because, for the first time, there’s something too precious to contemplate losing that would be left behind. The sickness in his bones is an awareness of his own mortality. The ‘just a human being’ lyric points to his own (unjustifiable, but no less powerful for being unjustifiable) guilt at not being able to live forever, not being able to be there forever for the people at the center of his existence. Pearl Jam’s music has always clinged to the possibility of love as the one light that could stand against the darkness of the world. Now he has it, and he’s grateful for it, but with it comes a whole new set of fears and regrets—the terror of losing it, and the remorse of not fully taking advantage of it. It gets almost frantic towards the end, as he imagines it all growing distant and slipping away—in Speed of Sound there was always the possibility of slowing down, of a distant light drawing nearer. But what happens when the light starts to dim and you know it is for the last time?

Someday, at the end of a long life, there may be such a thing as enough. We are all going to reach the point where we look to the past, rather than the future, for comfort. At that time our thinking may change, but at this point in time there’s no way to answer Eddie’s fears. There’s no comfort to be had. And so there’s a part of us that needs to not think about it. The fear of loss can paralyze us as surely as can the absence of anything worth losing, and we need to surrender to now to avoid being frozen by everything we will never experience and never know. But at the same time we need to make space for this fear, we need to hold onto the enormity of what we have to lose, so that we never take it for granted. We need those reminders sometimes, that even a dark world is full of impossibly precious things. I think that’s the real meaning behind the gasp at the climax of the song—the shock of how much has been given, and how little time we have for it. We need to make time for the past and clear space for the future, but the end draws near, and now is all we have. We had better make the most of it. Backspacer celebrates our being given the chance to do so.

Dr. Stip Zoidberg

Thanks for indulging me. I learn a lot about these records from doing these write ups, and being able to share it (and learn from others) gives me an excuse to do it.

tremors

UncleSpaggles wrote:

I certainly see it as reflective rather than going back to the well, would be interesting to see how Backspacer ties in with their back catalogue - if only I had the time...

Yeah, I guess I see it as a condensing of a lot of what has gone before, a summarising, updating, before moving on. I'm getting ready for Pearl Jam Mk II now!!

tremors

Thanks doc, will read later!!

Yes Way

Tremendous. I really enjoyed reading every word of this. Agree or disagree, it's always good to get the wheels churning and see things from a point of view not considered before. I have a new appreciation for the songs I didn't love before, or at least something to listen for.

Much like the album itself, I'm a little sad that this has to end.

Deep In The Ocean

Congratulations for your work!!!

Thank you for givin´ us your work (and your time of course).

jwagner

yeah, I second that, thanks Stip for this excellent, thought-provoking work. I've been reading all the other guided tours from the R.M. site...really interesting stuff.

So: any plans to analyze 'Vs.' in this manner?