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I mean I don’t hear it but there nothing about this album that’s recycled to me
Have Parting Ways and Far Behind in mind when you listen to Come Then Goes - I do like the overall package of that song, though. Have almost every 2/3 descending chord pattern-based rocker they've churned out when you listen to Never Destination or Take the Long Way.
There's been a bunch of stuff since Binaural onwards which baffles me - I guess I just don't get why a band capable of Given to Fly would find the basic idea of SBWM, or Who Ever Said, or Never Destination interesting enough to bother making a full song from.
I mean I don’t hear it but there nothing about this album that’s recycled to me
Have Parting Ways and Far Behind in mind when you listen to Come Then Goes - I do like the overall package of that song, though. Have almost every 2/3 descending chord pattern-based rocker they've churned out when you listen to Never Destination or Take the Long Way.
There's been a bunch of stuff since Binaural onwards which baffles me - I guess I just don't get why a band capable of Given to Fly would find the basic idea of SBWM, or Who Ever Said, or Never Destination interesting enough to bother making a full song from.
And when Given to Fly came out all anyone could say was it was a ripoff of Going to California. We are 60+ years into rock and roll. There is not much out there left to do without it sounding familiar to you.
It’s true that the E chord is played throughout the album. But to say, hey this sounds like this because they played that E chord like this is kinda lazy if you ask me.
And when Given to Fly came out all anyone could say was it was a ripoff of Going to California. We are 60+ years into rock and roll. There is not much out there left to do without it sounding familiar to you.
It’s true that the E chord is played throughout the album. But to say, hey this sounds like this because they played that E chord like this is kinda lazy if you ask me.
I'm not talking about the use of individual chords, clearly. I'm talking about creativity and instrumental interplay - there's an infinity of musical possibilities left... always will be, by definition. Given to Fly is tight and precise and everyone's parts are thought about. There's a lot of stuff on this effort which wastes what the individual members are capable of.
Imagine being in the room when Stone first played the Alive riff, or when McCready first played the Given to Fly intro, or when Eddie first played Just Breathe for that matter. Then imagine being in that same room and hearing the beginning of Who Ever Said or Never Destination or Take the Long Way for the first time.
I don't get why, having experienced the first examples, the second lot of song ideas aren't immediate B-sides.
You are comparing songs you’ve heard for a day or two to Alive, GTF, and Just Breathe. Not very fair.
Alive is a recycled MLB song that Stone wrote, and has been accused of being a KISS ripoff.
Just Breathe is a recycled song from the ITW soundtrack.
GTF was accused of being a straight up Zeppelin ripoff.
That is what people were saying about them when they appeared.
Are they, or are they not more interesting instrumental parts?
You get what I'm saying - If I were in that band, most of these new instrumental parts wouldn't pique my interest enough to bother making full songs out of them. And if I had to, I certainly wouldn't want all three guitars doing essentially the same thing like they seem to be doing on SBWM, Never Destination etc.
My advice then would be to wear some headphones listening to this. I don’t think their doing the same thing on any songs. Mike is doing weird E-bow textures in Who Ever Said, according to that article. Stone is doing fuzzed out guitar on Take the Long Way. Read that article from Variety. It’s plain as day that they were all about layering and coming up with interesting parts for this record. Josh also talks about trying to add a lot to songs and it didn’t feel right, like on Comes Then Goes.
My advice then would be to wear some headphones listening to this. I don’t think their doing the same thing on any songs. Mike is doing weird E-bow textures in Who Ever Said, according to that article. Stone is doing fuzzed out guitar on Take the Long Way. Read that article from Variety. It’s plain as day that they were all about layering and coming up with interesting parts for this record. Josh also talks about trying to add a lot to songs and it didn’t feel right, like on Comes Then Goes.
Comes then Goes works just fine stripped back.
I've listened through a bunch of times, ONLY through headphones, and where some people are hearing texture, I'm hearing mush. And WAY too much ambient, auxiliary stuff overwhelming the mix in places.
I'm actually gutted to hear so many recycled ideas.
Gutted? Come on, dude. Man-up a little.
Man-up?
I have high expectations of this lot - I've had semi-religious experiences to their music and get stupidly excited for new releases.
So much of this songwriting feels dialled in to me, and the bits that don't are spoiled by odd production choices or McCready's lazy noodling, so yeah - I'm gutted.
https://www.yahoo.com/entertainment/pearl-jams-gigaton-angry-hopeful-151848940.html is from USA today and while giving GT a raving revue gives ALL credit for writing and recording to Ed. I hear a lot of rehash but that's not all bad. I mean you can't write and record for 30 years without sounding like yourself occasionally. I hear some "into the wild" towards the end that I could do without. But of course I bought it and I will try to learn every word before they come back around. I'm afraid I'll have more than enough time for that
I'm actually gutted to hear so many recycled ideas.
Gutted? Come on, dude. Man-up a little.
Man-up?
I have high expectations of this lot - I've had semi-religious experiences to their music and get stupidly excited for new releases.
So much of this songwriting feels dialled in to me, and the bits that don't are spoiled by odd production choices or McCready's lazy noodling, so yeah - I'm gutted.
Well if you’re gutted by Gigaton, then you must have clinically depressed by Avocado, Backspacer, and Lightning Bolt.
I'm actually gutted to hear so many recycled ideas.
Gutted? Come on, dude. Man-up a little.
Man-up?
I have high expectations of this lot - I've had semi-religious experiences to their music and get stupidly excited for new releases.
So much of this songwriting feels dialled in to me, and the bits that don't are spoiled by odd production choices or McCready's lazy noodling, so yeah - I'm gutted.
Well if you’re gutted by Gigaton, then you must have clinically depressed by Avocado, Backspacer, and Lightning Bolt.
In parts, yeah. Really don't like the garage-band gear they sometimes slip into, so stuff like Gonna See My Friend from such a talented bunch of musicians bums me out. That said, I honestly think the high spots of both Backspacer and Lightning Bolt trump 90% of this album.
I'm actually gutted to hear so many recycled ideas.
Gutted? Come on, dude. Man-up a little.
Man-up?
I have high expectations of this lot - I've had semi-religious experiences to their music and get stupidly excited for new releases.
So much of this songwriting feels dialled in to me, and the bits that don't are spoiled by odd production choices or McCready's lazy noodling, so yeah - I'm gutted.
Well if you’re gutted by Gigaton, then you must have clinically depressed by Avocado, Backspacer, and Lightning Bolt.
In parts, yeah. Really don't like the garage-band gear they sometimes slip into, so stuff like Gonna See My Friend from such a talented bunch of musicians bums me out. That said, I honestly think the high spots of both Backspacer and Lightning Bolt trump 90% of this album.
I think the complete opposite. I can’t even think of any “high spots” on BS or LB. But to each their own I guess.
Comments
Inside Pearl Jam’s New LP ‘Gigaton’: Track by Track With Producer Josh EvansHave any questions about Pearl Jam's new album "Gigaton"? You won't after this exhaustive track-by-track analysis with producer Josh Evans.variety.com
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I'm actually gutted to hear so many recycled ideas.
Have almost every 2/3 descending chord pattern-based rocker they've churned out when you listen to Never Destination or Take the Long Way.
There's been a bunch of stuff since Binaural onwards which baffles me - I guess I just don't get why a band capable of Given to Fly would find the basic idea of SBWM, or Who Ever Said, or Never Destination interesting enough to bother making a full song from.
Imagine being in the room when Stone first played the Alive riff, or when McCready first played the Given to Fly intro, or when Eddie first played Just Breathe for that matter. Then imagine being in that same room and hearing the beginning of Who Ever Said or Never Destination or Take the Long Way for the first time.
I don't get why, having experienced the first examples, the second lot of song ideas aren't immediate B-sides.
You get what I'm saying - If I were in that band, most of these new instrumental parts wouldn't pique my interest enough to bother making full songs out of them. And if I had to, I certainly wouldn't want all three guitars doing essentially the same thing like they seem to be doing on SBWM, Never Destination etc.
Josh also talks about trying to add a lot to songs and it didn’t feel right, like on Comes Then Goes.
I've listened through a bunch of times, ONLY through headphones, and where some people are hearing texture, I'm hearing mush. And WAY too much ambient, auxiliary stuff overwhelming the mix in places.
Pearl Jam bootlegs:
http://wegotshit.blogspot.com
I have high expectations of this lot - I've had semi-religious experiences to their music and get stupidly excited for new releases.
So much of this songwriting feels dialled in to me, and the bits that don't are spoiled by odd production choices or McCready's lazy noodling, so yeah - I'm gutted.
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"what a long, strange trip it's been"
Pearl Jam bootlegs:
http://wegotshit.blogspot.com
Pearl Jam bootlegs:
http://wegotshit.blogspot.com
That end solo sounds like a one-take improv. It's horrible.