Not that I have the depth of analysis given by RockKing (fantastic work, by the way), but I've often thought of three lyrics and/or symbolic images when listening to YIELD through the years:
angels
cars
circles
The angel lyric appears in No Way, Pilate, Push Me, Pull Me, and (by inference, in the form of the hero/protagonist) Given to Fly. To me, the spiritual questions of 'the man upstairs', 'if there were no angels, would there be no sin', and the 'human being that was given to fly' lend much creedence to the theories that the song's writers were in a place of transcendence in their careers, their relationships, and their souls. Perhaps by pushing the threshold of 30 years old and by enduring the collective PJ turmoil for the few years preceding YIELD, the band members came to the recording studio seeking (or having recently experienced) catharsis and rebirth.
References to automobiles are also abundant, most notably in MFC, Do the Evolution, Wishlist, and Low Light. Motion is obviously important to the concept of yielding--without an established motion, one cannot possibly yield (in any sense of the word). It would appear that cars are means to escape, dominance, and freedom in these songs. The 'car crash' in Low Light is particularly interesting to this line of thought. If the protagonist is carrying a romantic notion of the full moon on the Camaro's hood, dominance in flattening out the rolling hills with his truck, or attempting to escape the inescapable, the car crashing brings a startling realization that the technology of man is not a means to harmony with nature/the universe.
The circles metaphor is bit tougher to pinpoint, but I think it has much in common with cycles of life, nature, and routine. Lyrically, circles are represented in No Way (latitudes, the globe), Wishlist ('I guess it never stops', the cycle; also perhaps symbolized by the mirrorball in concert), Pilate (punching and drawing circles), and In Hiding ('ignored all my rounds', routine maybe). Musically, I think circles/cycles appear heavily in Given to Fly, Wishlist, and Hummus. The rhythm of those songs could be described as circular because of the refrains and crescendos. I suppose it fits in that when one is willing to yield his/her own patterns of belief or practice, one may find greater balance with the larger cycles of life and nature. "Giving way...to nature," as Ed says with a wry smile.
I apologize if these points were made in earlier YIELD threads. I didn't read those nearly as intently as I have this one. Hopefully, there are some nuggets worth extracting and examining in the above. I can't count how many times I've thought of this while listening to The Album, yet I've never stopped to put it into words. Looking forward to some more discussion of YIELD.
.
Nice analysis. I dig it. I think those 3 themes are definitely key to this album. First, the religion theme, I think this one is there because mankind has always had an interesting relationship with religion. We cherish it, we doubt it, we question it, we change it, we contemplate it...I think the band was definitely a spiritual mindset for this album. I think in some ways it represents a coming to terms with spirituality in nature.
Second, the cars theme, for me, is there as a constant reminder of the escapism option. I think it's highly symbolic of cutting and running, which all have a tendency to do in life, for better or for worse.
Finally, the circles theme represents, for me, the whole cyclical nature of the whole process. Even escaping can be just one step on the process towards yielding. Mistakes in life are some of our most valuable forms of currency, because the knowledge we gain from our mistakes is priceless. So it's a necessary cycle that we must keep going through.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
i feel like the ATY issue is one your group here as overlooked over and over again. it is difficult to pin down.
One of the things that complicates it so much is that Stone wrote the lyrics. I love Stone as a songwriter, but goddamn are his lyrics cryptic. Ed's lyrics are an open book with just enough ambiguity to allow us to apply it to our own lives. That's Ed's true genius. But with Stone, he likes to make you work at it a little harder.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
That's neat. You know Ed had more in the tank...wonder if Grievance, Sad, those kind of things were floating around. I think the tracklist can be attributed to Ed's yielding to everyone else and Jack's influence, and now there's more of a balance, with half the songs (more or less) being his on the new ones...
As prolific of a song writer as Ed is, I have to believe those songs and others were indeed lying around. I think Ed's respect for Jack was a HUGE factor here. I think Jack saw how collaborating would benefit the group as a whole, and I kinda think maybe Jack was the driving force behind it.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Nice analysis. I dig it. I think those 3 themes are definitely key to this album. First, the religion theme, I think this one is there because mankind has always had an interesting relationship with religion. We cherish it, we doubt it, we question it, we change it, we contemplate it...I think the band was definitely a spiritual mindset for this album. I think in some ways it represents a coming to terms with spirituality in nature.
Second, the cars theme, for me, is there as a constant reminder of the escapism option. I think it's highly symbolic of cutting and running, which all have a tendency to do in life, for better or for worse.
Finally, the circles theme represents, for me, the whole cyclical nature of the whole process. Even escaping can be just one step on the process towards yielding. Mistakes in life are some of our most valuable forms of currency, because the knowledge we gain from our mistakes is priceless. So it's a necessary cycle that we must keep going through.
Nice.
I have a newfound love for yield these days, and what strikes me about it is its healing character, which I believe comes from all the three themes outlined. I would like to add something on the "car" theme and further qualify it as a "movement" theme. It strikes me that VS. is much more the album of an angry and desperate movement away from something, while Yield is the album of conscious and almost confident letting go (of names given to us by others, of helplessness). It's movement towards something, there is the transition from being locked in, in hiding, to going back to opening doors and windows, to "still stand", run towards the ocean. It's not unequivocably hopeful: you may be riding "out on the sunset", there may be 2010 in the future, but the focus is on the future nonetheless.
I love it
... and the will to show I will always be better than before.
I have a newfound love for yield these days, and what strikes me about it is its healing character, which I believe comes from all the three themes outlined. I would like to add something on the "car" theme and further qualify it as a "movement" theme. It strikes me that VS. is much more the album of an angry and desperate movement away from something, while Yield is the album of conscious and almost confident letting go (of names given to us by others, of helplessness). It's movement towards something, there is the transition from being locked in, in hiding, to going back to opening doors and windows, to "still stand", run towards the ocean. It's not unequivocably hopeful: you may be riding "out on the sunset", there may be 2010 in the future, but the focus is on the future nonetheless.
I think we've been trying to get at this for a while, and you put it so nicely.
It is a record of going, but not of pure escape, not of running away. It's more about moving on, or..."a confident letting go."
"It's going towards something" more than it is away from anything.
Good.
Shall we focus on this angel/car/circle thing? It's got legs.
That's neat. You know Ed had more in the tank...wonder if Grievance, Sad, those kind of things were floating around. I think the tracklist can be attributed to Ed's yielding to everyone else and Jack's influence, and now there's more of a balance, with half the songs (more or less) being his on the new ones...
The bandmembers must like to fly, too! I'm listening to the song right now, and I wish I had wings to soar . . . or at least a car and a highway ready for an adventure
There is no such thing as leftover pizza. There is now pizza and later pizza. - anonymous The risk I took was calculated, but man, am I bad at math - The Mincing Mockingbird
One would think, but according to my Lost Dogs liner notes:
Words and Music: Vedder
"The other side of Jeff's song 'other side'
Mitch Froom also plays keys on this one.
(whoever that is)
1) You would definitely think it's a Stone song. It's the most Stone-sounding song Ed has ever written. But alas, you are correct, it is indeed an Ed song.
"Froom began his career as a keyboard player in Los Angeles. He played keyboards on the Ronnie Montrose led group Gamma's third album "Gamma 3", making a big impact on the sound of the band. He then produced the first three Crowded House albums, which led to more production jobs with Richard Thompson, Los Lobos, Soul Coughing, American Music Club and Suzanne Vega, who is now his ex-wife. One early notable work, Key of Cool, later became the soundtrack for the adult film Café Flesh."..."He often partners with engineer Tchad Blake. In 1994 Froom and Blake joined with David Hidalgo and Louie Perez of Los Lobos to form the experimental roots collaboration Latin Playboys."..."Ruby Froom is his daughter with Suzanne Vega. Soul Coughing's 1994 album, Ruby Vroom, was named after her."
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I think we've been trying to get at this for a while, and you put it so nicely.
It is a record of going, but not of pure escape, not of running away. It's more about moving on, or..."a confident letting go."
"It's going towards something" more than it is away from anything.
Good.
Shall we focus on this angel/car/circle thing? It's got legs.
I think this is a logical next topic for us to dive into. Unfortunately, I will be moving into my new office at my new job this afternoon, so I will probably be without computer access this afternoon, so I probably can't really join in until next week.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
1) You would definitely think it's a Stone song. It's the most Stone-sounding song Ed has ever written. But alas, you are correct, it is indeed an Ed song.
"Froom began his career as a keyboard player in Los Angeles. He played keyboards on the Ronnie Montrose led group Gamma's third album "Gamma 3", making a big impact on the sound of the band. He then produced the first three Crowded House albums, which led to more production jobs with Richard Thompson, Los Lobos, Soul Coughing, American Music Club and Suzanne Vega, who is now his ex-wife. One early notable work, Key of Cool, later became the soundtrack for the adult film Café Flesh."..."He often partners with engineer Tchad Blake. In 1994 Froom and Blake joined with David Hidalgo and Louie Perez of Los Lobos to form the experimental roots collaboration Latin Playboys."..."Ruby Froom is his daughter with Suzanne Vega. Soul Coughing's 1994 album, Ruby Vroom, was named after her."
i am almost positive that i have made this mistake about Sad in the past. it is such a stone song. except that it's an ed song. it also has no place on yield. obviously.
I think this is a logical next topic for us to dive into. Unfortunately, I will be moving into my new office at my new job this afternoon, so I will probably be without computer access this afternoon, so I probably can't really join in until next week.
Congrats.
I think we can sit on it for a while. Let some ideas stew.
i am almost positive that i have made this mistake about Sad in the past. it is such a stone song. except that it's an ed song. it also has no place on yield. obviously.
Yeah, tough to make a good argument for it having a place on YIELD.
One funny thing about Sad.....When I first heard the song, I could have sworn the line "He let ‘em as he laid in bed/Hoping that dreams would bring her back" was actually "He let her masturbate in bed". Sad, but true.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Yeah, tough to make a good argument for it having a place on YIELD.
One funny thing about Sad.....When I first heard the song, I could have sworn the line "He let ‘em as he laid in bed/Hoping that dreams would bring her back" was actually "He let her masturbate in bed". Sad, but true.
Yeah, tough to make a good argument for it having a place on YIELD.
One funny thing about Sad.....When I first heard the song, I could have sworn the line "He let ‘em as he laid in bed/Hoping that dreams would bring her back" was actually "He let her masturbate in bed". Sad, but true.
That's just wrong.
Anyway, my point on Sad is that Ed seems to write things and tuck them away.
No proof that he had it in '98, but my point was that he held back here compared to the other albums.
Also, it's funny how certain songs transport you back to a place in time. The trio of Sad/education/fatal takes me right back to the fall of '03 when Lost Dogs came out. A strange and great time.
Anyway, my point on Sad is that Ed seems to write things and tuck them away.
No proof that he had it in '98, but my point was that he held back here compared to the other albums.
Also, it's funny how certain songs transport you back to a place in time. The trio of Sad/education/fatal takes me right back to the fall of '03 when Lost Dogs came out. A strange and great time.
there is no way to know what he had when. it is just speculation, which i agree, is fun.
in terms of "holding back" for an album, binaural just takes the cake.
Anyway, my point on Sad is that Ed seems to write things and tuck them away.
No proof that he had it in '98, but my point was that he held back here compared to the other albums.
Also, it's funny how certain songs transport you back to a place in time. The trio of Sad/education/fatal takes me right back to the fall of '03 when Lost Dogs came out. A strange and great time.
Well, obviously, the most notable example of this is 'Betterman'. I don't know when he wrote Sad, but if he did have it in 98, I get why he didn't use it, and I even get why it didn't go on Binaural. I don't think it's an easy song to fit on an album, despite how great of a song it is.
What I remember most about Lost Dogs is listening to it in my car on the way home from the CD store, and being just floored. I remember looking at my friend and saying, "This is unreal. Pearl Jam has a collection of songs that they deemed unworthy of going on their albums, and yet this is better than 90% of the albums made by other bands." It was a truly shocking moment for me.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
What I remember most about Lost Dogs is listening to it in my car on the way home from the CD store, and being just floored. I remember looking at my friend and saying, "This is unreal. Pearl Jam has a collection of songs that they deemed unworthy of going on their albums, and yet this is better than 90% of the albums made by other bands." It was a truly shocking moment for me.
this is so true and definitely intentional.
except i don't think that the *songs* are unworthy. i think he/they see it the other way around.
not putting sad on binaural or yield or anything else for that matter is the same classic play they used when they put who you are as the first single off of no code.
they're the worst kind of girl. the one that plays hard to get.
not putting sad on binaural or yield or anything else for that matter is the same classic play they used when they put who you are as the first single off of no code.
they're the worst kind of girl. the one that plays hard to get.
Or, some might say, using NAIS as the first single off Binaural. But you can't figure this band out, because in the middle of those two, they used GTF as the first single off YIELD, and it doesn't get much more accessible than that.
--"I'm like an opening band for the sun"
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Oh, I love this. We've got some work to do. Not everyone agrees on this, but some of us do.....I believe that there is a linear story being told throughout YIELD. For me, the album is about ways to make change in our lives. It is about the difference between YIELDing (giving way, and using life's experiences to make positive change) vs escaping (giving up and just getting the fuck out). I believe YIELD gives examples of both, gives examples of what to do and what not to do, and shows us how to do it right. I'll give you a brief song by song summary. Last year we went WAY into depth on all this, and I'm not even sure where to start, so let me just give you a BRIEF summary. First, here's the exchange of posts that prompted us to look into this in the first place. I posted the following:
And Grace responded with:
And from that point, it was on. We began to question what this means and how it relates to the album. So here's a quick song by song summary:
Brain of J - For me, this is one of the easiest songs, and the perfect opener. It lies in the lyrics:
"You, you've been taught
Whipped into shape, now they got you in line
Stand behind the stripes
There will be order, so give it a good mind
The whole world will be different soon
The whole world will be relieved
And by name
The name they gave me
The name I'm letting go"
This sets up the mood of the album. The main character (us) has been beaten down by external forces within his/her surroundings, and is finally ready for change.
Faithfull - This one is one of the tougher songs to decipher. BrainOfJD has some of the best theories on this song. I always see this song as sort of a "taking stock" song. The main character is trying to balance his/her life through the prism of life, love, religion. It's somewhat of an empty cry for help (calling to god, but does he hear me??), which is a neccesary step in preparing for the upcoming change.
No Way - This song, for me, is pure unbridled determination. "I'll stop trying to make a difference, no way". Again, you have the ties to religion ("Let's call in an angel"), which is key because it shows that the inner conflict with these forces is still there.
Given To Fly - While the first 3 songs are setting up the change, this song is where it starts. Again, unbridled determination as the main character is spit upon and beaten down, but he's unable to be kept down and he finds a way to rise above it all. It's about soaring above everything that surrounds you. He could have given in, but instead, he gives way, and in the proccess he discovers the benefits.
Wishlist - This one kind of speaks for itself, but it's perhaps the first look at the dangers of escaping. Wishing to be all these other things rather than being at peace with who we are. Only when you learn from your past can you truly make positive change in your future. "I wish, I wish, I wish, I wish....I guess it never stops." That's escapism in a nutshell.
Pilate - Ok, this is one big monkeywrench in the system. I still don't FULLY get it, but likepilateihaveadog wrote a GREAT paper on this song, and after reading it, I began to understand this song a little bit more. For me, the tie-in with the main theme lies in the "Like Pilate I have a dog" line. We all have our dogs. But when we begin to understand that it's ok, and that we can learn from it, that's when we're truly accomplishing something. "Stunned by my own reflection, it's looking back, sees me too clearly and I swore I'd never go there again. Not unlike a friend that politely drags you down." This is what I mean about recognizing our mistakes and our weaknesses and learning from them.
Do The Evolution - Another song that deals with conflict. Man vs man, man vs nature, man vs machine, man vs himself...It's all in here pretty much. It's raw aggression that comes the DEEP desire to quickly make change. It's an urgent plea to all of mankind. We NEED to make change and we NEED to do it NOW.
Red Dot - A much needed intermission, to allow us to digest what we've been through so far
MFC - Esapism. Pure and simple. "They said that timing was everything, made him want to be everyewhere, there's a lot to be said for nowhere." As Ed says in SVT "It's being in a car and getting the fuck out of there." This is YIELD's main lesson to us. It's the turmoil caused by escaping vs giving way.
Low Light - This song is the reflection after the escape. It's looking back and trying to make sense of what the fuck just happened. There are no answers or resolutions to be found in Low Light. It's a beautiful song, to be sure, but it's entirely hedonistic in nature. It's food for the peripheral senses, but offers nothing for the soul. "Sidetracked, low light
Can't see my tracks,
Your scent-way back
Can I be here all alone?
Clear a path to my home
Blood runs dry
Books and jealousy tell me wrong
All I feel, calm
Voice rolls by,
Low light
Car crash, low light
Can't wear my mask,
Your first, my last"
In Hiding - This song represent the main character picking up the pieces, learning from his/her mistakes, and giving way. It's a simple surrender, but a surrender with meaning. "It's been about three days now
Since I've been aground
No longer overwhelmed and it seems so simple now
It's funny when things change so much
It's all state of mind"
The war within is over, and the main character is ready for resolution.
Push Me, Pull Me - This song is the apex, climax, resolution (whatever you want to call it) of the album. "Like a cloud dropping rain
I'm discarding all thought
I'll dry up, leaving puddles on the ground
I'm like an opening band for the sun"
Our main character has finally learned from the past and made peace with who he/she is and where he/she is going. Only now is he/she really in control of their life. Here is where YIELD shows us just how much more peaceful and rewarding Giving Way is compared to Escaping.
All Those Yesterdays - Another tough cookie to decipher. The way I really see it, though, it's the perfect closer for this album. It's like a summary. It reminds us again of the perils of escape and the rewards of giving way. But it's also intentionally vague, giving us lines like "there's still time for escape." But again, this makes sense because it's intentionally vague. The ending isn't finite. Just because the main character knows how to make change, will they really follow it, or will they take the easy way out. And just because we've gone through this process once, it doesn't mean we'll never need it again. As linear as this story is, we find out in the end that the ending is circular. It's an ongoing process, one that never really ends. And that's what life is all about.
you the man. brilliant. I would add- YIELD "sounds" as much as it "says". the vibe is partly what strings it all together, aside from the words- the feeling of becoming and transcendance.
Comments
Nice analysis. I dig it. I think those 3 themes are definitely key to this album. First, the religion theme, I think this one is there because mankind has always had an interesting relationship with religion. We cherish it, we doubt it, we question it, we change it, we contemplate it...I think the band was definitely a spiritual mindset for this album. I think in some ways it represents a coming to terms with spirituality in nature.
Second, the cars theme, for me, is there as a constant reminder of the escapism option. I think it's highly symbolic of cutting and running, which all have a tendency to do in life, for better or for worse.
Finally, the circles theme represents, for me, the whole cyclical nature of the whole process. Even escaping can be just one step on the process towards yielding. Mistakes in life are some of our most valuable forms of currency, because the knowledge we gain from our mistakes is priceless. So it's a necessary cycle that we must keep going through.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Showoff.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
One of the things that complicates it so much is that Stone wrote the lyrics. I love Stone as a songwriter, but goddamn are his lyrics cryptic. Ed's lyrics are an open book with just enough ambiguity to allow us to apply it to our own lives. That's Ed's true genius. But with Stone, he likes to make you work at it a little harder.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I'm thinking a call to Batman may be in order. Keep your eyes peeled.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
As prolific of a song writer as Ed is, I have to believe those songs and others were indeed lying around. I think Ed's respect for Jack was a HUGE factor here. I think Jack saw how collaborating would benefit the group as a whole, and I kinda think maybe Jack was the driving force behind it.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
GTF -12 (every show)
DTE - 9
Faithfull - 2
Brain of J - 2
In Hiding - 2
MFC - 1
Low Light - 1
Wishlist - 1
(Leatherman - 1)
Nice.
I have a newfound love for yield these days, and what strikes me about it is its healing character, which I believe comes from all the three themes outlined. I would like to add something on the "car" theme and further qualify it as a "movement" theme. It strikes me that VS. is much more the album of an angry and desperate movement away from something, while Yield is the album of conscious and almost confident letting go (of names given to us by others, of helplessness). It's movement towards something, there is the transition from being locked in, in hiding, to going back to opening doors and windows, to "still stand", run towards the ocean. It's not unequivocably hopeful: you may be riding "out on the sunset", there may be 2010 in the future, but the focus is on the future nonetheless.
I love it
I think we've been trying to get at this for a while, and you put it so nicely.
It is a record of going, but not of pure escape, not of running away. It's more about moving on, or..."a confident letting go."
"It's going towards something" more than it is away from anything.
Good.
Shall we focus on this angel/car/circle thing? It's got legs.
did stone not write sad?
The risk I took was calculated, but man, am I bad at math - The Mincing Mockingbird
Words and Music: Vedder
"The other side of Jeff's song 'other side'
Mitch Froom also plays keys on this one.
(whoever that is)
1) You would definitely think it's a Stone song. It's the most Stone-sounding song Ed has ever written. But alas, you are correct, it is indeed an Ed song.
2) Mitch Froom: http://en.wikipedia.org/wiki/Mitchell_Froom
"Froom began his career as a keyboard player in Los Angeles. He played keyboards on the Ronnie Montrose led group Gamma's third album "Gamma 3", making a big impact on the sound of the band. He then produced the first three Crowded House albums, which led to more production jobs with Richard Thompson, Los Lobos, Soul Coughing, American Music Club and Suzanne Vega, who is now his ex-wife. One early notable work, Key of Cool, later became the soundtrack for the adult film Café Flesh."..."He often partners with engineer Tchad Blake. In 1994 Froom and Blake joined with David Hidalgo and Louie Perez of Los Lobos to form the experimental roots collaboration Latin Playboys."..."Ruby Froom is his daughter with Suzanne Vega. Soul Coughing's 1994 album, Ruby Vroom, was named after her."
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I think this is a logical next topic for us to dive into. Unfortunately, I will be moving into my new office at my new job this afternoon, so I will probably be without computer access this afternoon, so I probably can't really join in until next week.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
i am almost positive that i have made this mistake about Sad in the past. it is such a stone song. except that it's an ed song. it also has no place on yield. obviously.
I think we can sit on it for a while. Let some ideas stew.
Yeah, tough to make a good argument for it having a place on YIELD.
One funny thing about Sad.....When I first heard the song, I could have sworn the line "He let ‘em as he laid in bed/Hoping that dreams would bring her back" was actually "He let her masturbate in bed". Sad, but true.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
add it to kissthisguy.com.
Anyway, my point on Sad is that Ed seems to write things and tuck them away.
No proof that he had it in '98, but my point was that he held back here compared to the other albums.
Also, it's funny how certain songs transport you back to a place in time. The trio of Sad/education/fatal takes me right back to the fall of '03 when Lost Dogs came out. A strange and great time.
there is no way to know what he had when. it is just speculation, which i agree, is fun.
in terms of "holding back" for an album, binaural just takes the cake.
Hahaha, I've never seen that site before, but I love it. Awesome. And yeah, I went ahead and submitted my error.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
Well, obviously, the most notable example of this is 'Betterman'. I don't know when he wrote Sad, but if he did have it in 98, I get why he didn't use it, and I even get why it didn't go on Binaural. I don't think it's an easy song to fit on an album, despite how great of a song it is.
What I remember most about Lost Dogs is listening to it in my car on the way home from the CD store, and being just floored. I remember looking at my friend and saying, "This is unreal. Pearl Jam has a collection of songs that they deemed unworthy of going on their albums, and yet this is better than 90% of the albums made by other bands." It was a truly shocking moment for me.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
this is so true and definitely intentional.
except i don't think that the *songs* are unworthy. i think he/they see it the other way around.
I think you just blew my mind.
But you also might be right about that.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
not putting sad on binaural or yield or anything else for that matter is the same classic play they used when they put who you are as the first single off of no code.
they're the worst kind of girl. the one that plays hard to get.
Or, some might say, using NAIS as the first single off Binaural. But you can't figure this band out, because in the middle of those two, they used GTF as the first single off YIELD, and it doesn't get much more accessible than that.
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
I remember I got it in the mail on Saturday, not expecting it until Tuesday...and I think I had a date that night too.
Lost Dogs was the best part.
" I picked up Lost Dogs, went on my date, and yada yada yada, I was tired the next day."
"But you yada yada'd over the best part!"
"No, I mentioned the CD."
--"We’re taking pills to get along with life… the pills are YIELD and PJ’s music. Then we create words to call our own = our analysis of YIELD." - YIH
you the man. brilliant. I would add- YIELD "sounds" as much as it "says". the vibe is partly what strings it all together, aside from the words- the feeling of becoming and transcendance.