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Waiting For Stevie

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    mcgruff10mcgruff10 New Jersey Posts: 27,960
    mcgruff10 said:
    Just heard Cornell s voice for the first time in this. Took a few listens to get it.    Holy shit.  
    Where?
    Sorry for not being more clear.   The way Ed sings this song sounds like Cornell.  Took me a few listens to hear it.  
    I hope you will be rooting for my boys tomorrow at wembley!
    I'll ride the wave where it takes me......
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    DragonsAfter3or4DragonsAfter3or4 Bluegrass Posts: 325
    Hearing Jeff melt his bass on this track brings back so many great memories of earlier PJ tracks. Jeff!!🙌
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    lastexitlondonlastexitlondon Posts: 12,188
    mcgruff10 said:
    mcgruff10 said:
    Just heard Cornell s voice for the first time in this. Took a few listens to get it.    Holy shit.  
    Where?
    Sorry for not being more clear.   The way Ed sings this song sounds like Cornell.  Took me a few listens to hear it.  
    I hope you will be rooting for my boys tomorrow at wembley!
    Not a chance . How the hell did you end up a utd fan
    ?
    brixton 93
    astoria 06
    albany 06
    hartford 06
    reading 06
    barcelona 06
    paris 06
    wembley 07
    dusseldorf 07
    nijmegen 07

    this song is meant to be called i got shit,itshould be called i got shit tickets-hartford 06 -
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    mcgruff10mcgruff10 New Jersey Posts: 27,960
    mcgruff10 said:
    mcgruff10 said:
    Just heard Cornell s voice for the first time in this. Took a few listens to get it.    Holy shit.  
    Where?
    Sorry for not being more clear.   The way Ed sings this song sounds like Cornell.  Took me a few listens to hear it.  
    I hope you will be rooting for my boys tomorrow at wembley!
    Not a chance . How the hell did you end up a utd fan
    ?
    Isn’t everyone in England a United fan?! ;)
    Wayne Rooney is my all time favorite player.  
    I'll ride the wave where it takes me......
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    vedpunkvedpunk Posts: 839
    This HAS to be the next single. It’ll move units if that is their goal
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    axellaire8axellaire8 Belgium Posts: 234
    Amazing song! Love the way Ed sing this one and the guitar solo at the end, WOW!

    1996: Paris/2006: Paris/2007: Werchter/2010: Werchter/2012: Amsterdam 1 and Werchter/2014: Amsterdam 1&2 and Werchter/2018: Amsterdam 1&2 and Werchter/2022: Werchter and Amsterdam 2

    EV: 2012: Amsterdam/2017: Antwerpen/2019: Bruxelles

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    TJENZTJENZ Posts: 18
    This is an all time top ten PJ song for me. 
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    MikeDigsMikeDigs Santa Monica, CA Posts: 360
    This is a top tier song, very nice addition to the overall catalog.  Can't wait to hear this live.  And Running sounds so so good right after this.
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    scurtisscurtis Posts: 2,434
    Best song on the record IMO 
    "Born on third, thinks he got a triple."
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    lastexitlondonlastexitlondon Posts: 12,188
    mcgruff10 said:
    mcgruff10 said:
    mcgruff10 said:
    Just heard Cornell s voice for the first time in this. Took a few listens to get it.    Holy shit.  
    Where?
    Sorry for not being more clear.   The way Ed sings this song sounds like Cornell.  Took me a few listens to hear it.  
    I hope you will be rooting for my boys tomorrow at wembley!
    Not a chance . How the hell did you end up a utd fan
    ?
    Isn’t everyone in England a United fan?! ;)
    Wayne Rooney is my all time favorite player.  
    Well mostly people from nowhere near Manchester 
    brixton 93
    astoria 06
    albany 06
    hartford 06
    reading 06
    barcelona 06
    paris 06
    wembley 07
    dusseldorf 07
    nijmegen 07

    this song is meant to be called i got shit,itshould be called i got shit tickets-hartford 06 -
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    RS151862RS151862 Pittsburgh, PA Posts: 2,628
    Did anyone figure out who Stevie is?
    Pittsburgh 1998 • Pittsburgh 2006 • 2012 Isle Of Wight Festival • 2012 Made In America Festival • Baltimore 2013 • Seattle 2013
    St. Paul 2014 • Mexico City 2015 • Philadelphia II 2016 • Ottawa 2016 • Amsterdam I & II 2018 • Wrigley Field II 2018 • Phoenix 2022
    Apollo Theater 2022 • Chicago I 2023

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    cincybearcatcincybearcat Posts: 16,135
    RS151862 said:
    Did anyone figure out who Stevie is?
    Stevie Wonder. Song written as Andrew watt and Vedder waited for Stevie who was late to add his parts to Earthling. 
    hippiemom = goodness
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    shetellsherselfshetellsherself New Jersey Posts: 8,788
    This is an incredible song. I just wanted to share what I wrote about it here (the whole thing is at www.theskyiscrape.com or in a thread here.



    Waiting for Stevie Part I: the Experience

    The first time I really heard Waiting for Stevie I cried. I was overwhelmed. It felt like a miracle, a religious experience that cannot possibly be explained unless you felt it too, and in that case no explanation is really needed.  But I’ll try.

     

    Ten is the album that made Pearl Jam famous. It is the sound of Eddie Vedder. The true Eddie Vedder. The one spawned a million imitators, none of whom could come within a thousand miles of capturing the magic that was so uniquely his. It was an album full of songs that shouted from mountaintops, that stretched out into space, that felt not only powerful, but infinite. They were less songs than they were commandments, a message from the Gods carved into stone that contained within them the secrets of the universe. That was how it felt to fall in love, truly in love, with Pearl Jam in that era. To open yourself up, let them in, and then seal yourself around them so that you might always carry them with you.

     

    And then, almost immediately, it was over, the band making a self-conscious choice to not write songs like that. Eddie making a self-conscious choice not to sound like that. Although there were some lingering echoes on Vs., by Vitalogy they were gone. Never to return. A new Pearl Jam was born. And it was the band I would spend the rest of my life with, that I would love with all my heart, that would go on to make the music that soundtracked the rest of my life. With every album their sound changed. And with every album Eddie changed. And I changed with them. There were albums and songs I adored. Some even more than Ten. There were albums and songs that were exactly what I needed at that moment. There were albums and songs that unfolded over time, or that would be set aside to be picked up later, when I was finally ready to receive them.  But there has always been a part of me that felt cheated. I didn’t need every album to be Ten. I didn’t WANT every album to be Ten. But THAT version of the band, I wasn’t done with them. I wasn’t ready to be done with them. But it didn’t matter. They were gone. And they were never coming back.

     

    I had read the early reviews of Dark Matter. I heard that Waiting for Stevie called to mind that 1992 Ten/Singles era of the band.  But that was thirty-two years ago. The people who made that music were not the same. I was not the same. That alchemy of place and time and openness and need and moment was gone.

     

    And so, I was not ready for this song. For what it meant. For where it took me.  It was the fulfillment of a desperate promise I never knew was made. It was the exhalation of a breath I had been holding for thirty years.  

     

    The huge riff. The thick base. The drum roll.  And then Eddie releases that glorious opening lyric, and his voice lifts off into those heights only he can command. And I am somewhere other than here. It’s not that it was unexpected. It’s that it was impossible. This was a song I would never hear. This was a song that could not exist. And somehow, somehow, now it does.

     

    Waiting for Stevie does not sound like it belongs to Ten. It belongs to Dark Matter. It is still very much of this moment. But it captures, it evokes, it embodies everything that I felt back then and have been unconsciously chasing ever since.  What Pearl Jam was.  What Pearl Jam could be. What Pearl Jam is.  Somehow in that moment, I was simultaneously the person I am at forty-seven, having lived a life I would not change, and sixteen once again, with an entire future in front of me, a world where anything and everything is still possible. I have never felt anything like it and must assume I never will again. But there are echoes of memory I will cherish every time they drift into focus.  It was indescribable. What I wrote here is not enough.  It was just a song. But somehow it was everything.

     

    You either experienced this or you did not. If you did not, you cannot understand. If you did, you know.

     

    Waiting For Stevie Part II:  the song

    Pearl Jam has many, many, many incredible songs. But there is a small cohort I think of as mission statements.  These are not necessarily their best songs (though I think they are).  These are the songs that, within the span of their runtime, encapsulate the entirety of what Pearl Jam is. Not their sound, but their purpose, their essence, their transformative potential. If someone asked you to explain Pearl Jam these are the songs you would pick.  Alive. Breath. Rearview Mirror. Corduroy. Given to Fly.  That’s really it. And now Waiting for Stevie. Twenty-six years after Given to Fly.  Should be impossible. But here we are.

     

    There is something of a frame story, but like Alive it’s important for what it evokes, rather than any narrative. It’s about a young girl, plagued by anxiety, self-doubt, uncertainty, who loses herself in music and in doing so finds herself. But really, it’s about legitimating your fears.  Sharing them. Understanding that even if you experience them alone, the experience of them is shared, and that you are not alone. You have value. You have worth. You have power and voice. And you will, in time, discover them. Just hold on.

     

    One of Eddie’s primary strengths, probably THE primary strength he has as a lyricist (and lyrics as the fusion of word and voice) is his ability to take simple declarative statements and invest them with the force of primal truths. They ring of prophecy, and at their best they feel powerful enough to reshape reality around them.  And Waiting for Stevie begins with what is both my favorite lyric on the album and its most important

     

    You can be loved by everyone, and not feel, not feel loved.

     

    This is not only a perfect encapsulation of the experience of adolescence, it’s NOT a feeling we outgrow. This stays with us, always. This kind of uncertainty is not an adolescent experience. It is a human one. It is then. It is now. It is eternal.

     

    The moment is followed with “you can be told by everyone, and not hear a word from above.”  The same doubt. The same imposter syndrome. The truths we are told that we cannot experience, that we cannot feel. And the powerlessness that follows. This is who we are. All of us.

     

    We look for fonts of meaning. To validate us. To empower us. To help us feel, for just those fleeting moments, like the people we wish we were. Could be. Are.  And in Waiting for Stevie, and Dark Matter, and Pearl Jam, we find this in their music.

     

    Swallowed up by the sound

    Cutting holes in the clouds

    Finds herself in the song

    Hears her own voice rising

     

    The imagery of music as something celestial, something that descends upon us, and in the process lifts us up.  “Finds herself in the song. Hears her own voice rising.”  It’s not just the empowerment in that moment. It’s the connection. It’s the ascendence she achieved for herself, through what she felt in the music, and the people who made it, and the ones who share her love of it. As each person lifts their own voice they carry others with them. It is a collective act of self-creation. If you’re reading this, you’ve probably been to a Pearl Jam concert. You understand exactly what her experience is. It’s yours.

     

    Later,

     

    You can relate, but still can’t stop

    Or conquer the fear you are what you’re not.

     

    The self-defeating, cyclical fear that you are less than. That you are diminished. That best part of yourself is a lie, rather than the core of who you are.  And again, delivered with such iron clad conviction, soaring out into infinity, and sweeping up all of us along the way.  This is her song and story.  This is our song and story.

     

    Other lyrics explore similar dynamics.  The fear that you are less than your potential, your value, your worth. The need to love, to trust, to have something to give and to know that it will be received, and that it will matter. It’s Eddie’s most emotionally resonant lyric coupled with his most powerful performance in a long, long time.

     

    But everyone is incredible.  This only works because Jeff’s foundation is so stable, because Mike and Stone’s guitars are huge enough to carry the sentiment, because Matt has the strength to power it forward. Eddie’s voice can only soar because the band provides the lift.

     

    The song structure is unconventional. Almost entirely a hybrid bridge/chorus. There is a ghost of a bridge before Waiting for Stevie essentially resets for a second half that gets overtaken by a massive Mike McCready solo. It is a messy transition, and it takes a few seconds for the song to realign to what Mike is playing. But it works because it is so obviously swept up in that perfect moment. It is authentic. It is real. It poured out of him, not as an act of craft, but of necessity.  The emotional punctuation of an already overloaded emotional experience. And as this is happening Eddie’s mantra flows out and embeds itself underneath.

     

    You can be loved. You can be love.

     

    First, the assurance that you are not alone.  And second, that what you have to give is so much more than you know.

     

     

    Dark Matter feels like a live album, and Waiting for Stevie is a perfect distillation of what is transcendent about Pearl Jam’s live experience. It is the first time Pearl Jam has written a song that you could plausibly imagine replacing Alive to close in a set. It is everything. It is the first time you fist bumped during Alive’s solo. It is the first time you closed your eyes as Eddie sang the opening notes of Release. It is your first ‘it’s okay’ Daughter tag. Your first Betterman sing along. The first time you screamed ‘Hello’. The first time you heard Given to Fly accelerate. The first time you lost yourself in a Rearviewmirror jam. The first time you sang along during the climax of Black.  A lived experience. A shared experience. A perfect experience.

     

    The heart of Waiting for Stevie is the heart of Dark Matter, and the heart of Pearl Jam. The elemental reciprocity of love.

     

     

    Interlude

    There is a beautiful interlude that follows Waiting for Stevie. A badly needed moment to take a breath as Eddie sings “Be mighty. Be humble. Be mighty humble.” A reflection on the power and privilege and responsibility of having a voice and having the opportunity to share it.

     



    Jesus. Thank you for this. I got goosebumps just reading it in black and white. Now do the other 10 songs please! :)
    Agreed!  Absolutely mesmerizing write up. Well done and spot on 
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    nicknyr15nicknyr15 Posts: 7,878
    Great song, but the drum sound is a struggle for me. The snare feels so off.
    Agreed. Same problem with the snare on earthlings. Listen to atmos mix. It’s way better. 
  • Options
    kramerica4kramerica4 Posts: 275
    Such a great song!
    Has to be the next single.
  • Options
    This is an incredible song. I just wanted to share what I wrote about it here (the whole thing is at www.theskyiscrape.com or in a thread here.



    Waiting for Stevie Part I: the Experience

    The first time I really heard Waiting for Stevie I cried. I was overwhelmed. It felt like a miracle, a religious experience that cannot possibly be explained unless you felt it too, and in that case no explanation is really needed.  But I’ll try.

     

    Ten is the album that made Pearl Jam famous. It is the sound of Eddie Vedder. The true Eddie Vedder. The one spawned a million imitators, none of whom could come within a thousand miles of capturing the magic that was so uniquely his. It was an album full of songs that shouted from mountaintops, that stretched out into space, that felt not only powerful, but infinite. They were less songs than they were commandments, a message from the Gods carved into stone that contained within them the secrets of the universe. That was how it felt to fall in love, truly in love, with Pearl Jam in that era. To open yourself up, let them in, and then seal yourself around them so that you might always carry them with you.

     

    And then, almost immediately, it was over, the band making a self-conscious choice to not write songs like that. Eddie making a self-conscious choice not to sound like that. Although there were some lingering echoes on Vs., by Vitalogy they were gone. Never to return. A new Pearl Jam was born. And it was the band I would spend the rest of my life with, that I would love with all my heart, that would go on to make the music that soundtracked the rest of my life. With every album their sound changed. And with every album Eddie changed. And I changed with them. There were albums and songs I adored. Some even more than Ten. There were albums and songs that were exactly what I needed at that moment. There were albums and songs that unfolded over time, or that would be set aside to be picked up later, when I was finally ready to receive them.  But there has always been a part of me that felt cheated. I didn’t need every album to be Ten. I didn’t WANT every album to be Ten. But THAT version of the band, I wasn’t done with them. I wasn’t ready to be done with them. But it didn’t matter. They were gone. And they were never coming back.

     

    I had read the early reviews of Dark Matter. I heard that Waiting for Stevie called to mind that 1992 Ten/Singles era of the band.  But that was thirty-two years ago. The people who made that music were not the same. I was not the same. That alchemy of place and time and openness and need and moment was gone.

     

    And so, I was not ready for this song. For what it meant. For where it took me.  It was the fulfillment of a desperate promise I never knew was made. It was the exhalation of a breath I had been holding for thirty years.  

     

    The huge riff. The thick base. The drum roll.  And then Eddie releases that glorious opening lyric, and his voice lifts off into those heights only he can command. And I am somewhere other than here. It’s not that it was unexpected. It’s that it was impossible. This was a song I would never hear. This was a song that could not exist. And somehow, somehow, now it does.

     

    Waiting for Stevie does not sound like it belongs to Ten. It belongs to Dark Matter. It is still very much of this moment. But it captures, it evokes, it embodies everything that I felt back then and have been unconsciously chasing ever since.  What Pearl Jam was.  What Pearl Jam could be. What Pearl Jam is.  Somehow in that moment, I was simultaneously the person I am at forty-seven, having lived a life I would not change, and sixteen once again, with an entire future in front of me, a world where anything and everything is still possible. I have never felt anything like it and must assume I never will again. But there are echoes of memory I will cherish every time they drift into focus.  It was indescribable. What I wrote here is not enough.  It was just a song. But somehow it was everything.

     

    You either experienced this or you did not. If you did not, you cannot understand. If you did, you know.

     

    Waiting For Stevie Part II:  the song

    Pearl Jam has many, many, many incredible songs. But there is a small cohort I think of as mission statements.  These are not necessarily their best songs (though I think they are).  These are the songs that, within the span of their runtime, encapsulate the entirety of what Pearl Jam is. Not their sound, but their purpose, their essence, their transformative potential. If someone asked you to explain Pearl Jam these are the songs you would pick.  Alive. Breath. Rearview Mirror. Corduroy. Given to Fly.  That’s really it. And now Waiting for Stevie. Twenty-six years after Given to Fly.  Should be impossible. But here we are.

     

    There is something of a frame story, but like Alive it’s important for what it evokes, rather than any narrative. It’s about a young girl, plagued by anxiety, self-doubt, uncertainty, who loses herself in music and in doing so finds herself. But really, it’s about legitimating your fears.  Sharing them. Understanding that even if you experience them alone, the experience of them is shared, and that you are not alone. You have value. You have worth. You have power and voice. And you will, in time, discover them. Just hold on.

     

    One of Eddie’s primary strengths, probably THE primary strength he has as a lyricist (and lyrics as the fusion of word and voice) is his ability to take simple declarative statements and invest them with the force of primal truths. They ring of prophecy, and at their best they feel powerful enough to reshape reality around them.  And Waiting for Stevie begins with what is both my favorite lyric on the album and its most important

     

    You can be loved by everyone, and not feel, not feel loved.

     

    This is not only a perfect encapsulation of the experience of adolescence, it’s NOT a feeling we outgrow. This stays with us, always. This kind of uncertainty is not an adolescent experience. It is a human one. It is then. It is now. It is eternal.

     

    The moment is followed with “you can be told by everyone, and not hear a word from above.”  The same doubt. The same imposter syndrome. The truths we are told that we cannot experience, that we cannot feel. And the powerlessness that follows. This is who we are. All of us.

     

    We look for fonts of meaning. To validate us. To empower us. To help us feel, for just those fleeting moments, like the people we wish we were. Could be. Are.  And in Waiting for Stevie, and Dark Matter, and Pearl Jam, we find this in their music.

     

    Swallowed up by the sound

    Cutting holes in the clouds

    Finds herself in the song

    Hears her own voice rising

     

    The imagery of music as something celestial, something that descends upon us, and in the process lifts us up.  “Finds herself in the song. Hears her own voice rising.”  It’s not just the empowerment in that moment. It’s the connection. It’s the ascendence she achieved for herself, through what she felt in the music, and the people who made it, and the ones who share her love of it. As each person lifts their own voice they carry others with them. It is a collective act of self-creation. If you’re reading this, you’ve probably been to a Pearl Jam concert. You understand exactly what her experience is. It’s yours.

     

    Later,

     

    You can relate, but still can’t stop

    Or conquer the fear you are what you’re not.

     

    The self-defeating, cyclical fear that you are less than. That you are diminished. That best part of yourself is a lie, rather than the core of who you are.  And again, delivered with such iron clad conviction, soaring out into infinity, and sweeping up all of us along the way.  This is her song and story.  This is our song and story.

     

    Other lyrics explore similar dynamics.  The fear that you are less than your potential, your value, your worth. The need to love, to trust, to have something to give and to know that it will be received, and that it will matter. It’s Eddie’s most emotionally resonant lyric coupled with his most powerful performance in a long, long time.

     

    But everyone is incredible.  This only works because Jeff’s foundation is so stable, because Mike and Stone’s guitars are huge enough to carry the sentiment, because Matt has the strength to power it forward. Eddie’s voice can only soar because the band provides the lift.

     

    The song structure is unconventional. Almost entirely a hybrid bridge/chorus. There is a ghost of a bridge before Waiting for Stevie essentially resets for a second half that gets overtaken by a massive Mike McCready solo. It is a messy transition, and it takes a few seconds for the song to realign to what Mike is playing. But it works because it is so obviously swept up in that perfect moment. It is authentic. It is real. It poured out of him, not as an act of craft, but of necessity.  The emotional punctuation of an already overloaded emotional experience. And as this is happening Eddie’s mantra flows out and embeds itself underneath.

     

    You can be loved. You can be love.

     

    First, the assurance that you are not alone.  And second, that what you have to give is so much more than you know.

     

     

    Dark Matter feels like a live album, and Waiting for Stevie is a perfect distillation of what is transcendent about Pearl Jam’s live experience. It is the first time Pearl Jam has written a song that you could plausibly imagine replacing Alive to close in a set. It is everything. It is the first time you fist bumped during Alive’s solo. It is the first time you closed your eyes as Eddie sang the opening notes of Release. It is your first ‘it’s okay’ Daughter tag. Your first Betterman sing along. The first time you screamed ‘Hello’. The first time you heard Given to Fly accelerate. The first time you lost yourself in a Rearviewmirror jam. The first time you sang along during the climax of Black.  A lived experience. A shared experience. A perfect experience.

     

    The heart of Waiting for Stevie is the heart of Dark Matter, and the heart of Pearl Jam. The elemental reciprocity of love.

     

     

    Interlude

    There is a beautiful interlude that follows Waiting for Stevie. A badly needed moment to take a breath as Eddie sings “Be mighty. Be humble. Be mighty humble.” A reflection on the power and privilege and responsibility of having a voice and having the opportunity to share it.

     



    Jesus. Thank you for this. I got goosebumps just reading it in black and white. Now do the other 10 songs please! :)
    Agreed!  Absolutely mesmerizing write up. Well done and spot on 
    thank you.  i have probably heard this like 30 times in 3 days and am still floored with each listen.  liquid catharsis 
  • Options
    Aaron 23Aaron 23 Allen, TX Posts: 543
    edited April 21
    Just here choosing violence, I was all on this song as the best or one of my favs from this album until my PJ loving 10C membership holding girlfriend in our “which song is best” battle immediately pointed out the Maggie Rogers - That’s Where I Am similarity and now I can’t shake it and am getting Dani California/Mary Jane’s Last dance vibes.

    if you haven’t checked out that Maggie Rogers song, go check it out, friggin similarities all over the place.
  • Options
    CoshieCoshie Port Fairy Posts: 279
    edited April 22
    McCready installing ‘War Pigs’ into the face melting solo at the end would be absolutely fitting (and long overdue) into the live shows! 
    Post edited by Coshie on
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    demetriosdemetrios Canada Posts: 88,111
    Coshie said:
    McCready installing ‘War Pigs’ into the face melting solo at the end would be absolutely fitting (and long overdue) into the live shows! 

    Ah, yes please!
  • Options
    ChazzChazz Somerset, UK Posts: 1,096
    My favourite PJ song for a long time, gives me goosebumps.  Hope they play this in Manchester - I think all these Dark Matter songs are going to sound epic and massive live! 😁 
    Dublin, Reading 06
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    More thoughts on this ridiculous song

    I've heard people identify the appeal of this song as nostalgia, and I don't think that fully gets at it. Waiting for Stevie didn't just remind me of an older era in a sentimental way. It wasn't even the familiarity of it. These things are present, but they are only part of the story (in the same way that just focusing on a 90s sounding riff is reductive). What I think this song did so incredibly well, that makes it so singular for me, was that it evoked and conjured those feelings (which i did not expect to feel again) but ALSO situated them in the present. It was that bridge between past and present it built so well that, at least for me was so powerful. The way it brought those pieces of my life into co-existence with each other. The live experience of some of these songs can produce that live, in the moment, but it lives in that singular moment. I can only take the memory with me. Not the actual experience. Now I can. What a gift.


    Eddie is writing from inside the headspace of the young woman in the song, but he is writing from a place of understanding born of experience. He knows exactly what she fears, what she struggles with, and above all, what she is searching for, because that was once exactly who he was. He made it through, but did not forget, and is grateful for the chance to guide her/the listener through their journey - both legitimating her experience and promising a way forward. It's in the lyrics, the music, the performance. Everyone plays their part perfectly, and then pushes beyond. This is not just composition. There is a passion in the entire performance, a willing to be open and vulnerable and channel everything they have that appears in moments throughout Dark Matter (it's a great record) but is present in every second of this song. This song starts at the moment another song would peak, and somehow sustains it for almost 5 minutes. And there is NO pearl jam song that does that. Even if other songs have bigger and more emotional highs (and they do), none last this long.

    Part of me thinks of Release- not the song itself, but the lyrical/thematic content. The feeling of hope and possibility in Waiting for Stevie is what the subject of Release is asking for. That feeling of oneness, the understanding of pain and inadequacy and desperate need for a home and community that understands. It's like Waiting for Stevie is reaching back to guide the subject of Release here.

    But probably the better, simpler example is in Breath, the song where (musically) Waiting for Stevie finds its roots.  Probably my favorite Pearl Jam lyric of all time is in the bridge

    "If I knew where it was I would take you there.
    There's much more than this."

    Waiting for Stevie is the fulfillment of that promise. It's sung by someone who found it, and is trying to show those still those still looking how to find the way.



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    demetriosdemetrios Canada Posts: 88,111

    ..



    But Watt also played an active role in inspiring Dark Matter's standout track Waiting For Stevie. A song that echoes Pearl Jam's younger days sonically and in Vedder's emotional reach, while also recalling Soundgarden's hypnotic mid-tempo songs like Mind Riot but also the day Watt and singer Vedder were waiting for Stevie Wonder to turn up to play harmonica on a song called Try from the Pearl Jam singer's 2022 solo album, Earthling, that Watt also produced.

    "We were sitting around with guitars and waiting, and I said, I have this idea, check it out," remembers Watt of the riff. [Eddie] says, 'That is so fucking weird, because I’ve had this riff for literally years — since albums and albums and albums and albums ago'. He showed it to me, and it was almost exactly the same. So, they both kind of melded into each other. 

    "We presented that to everyone in the first week, and they all wrote their parts and how the sections would move. It really only became a thing because the thing I showed Ed reminded him of something he’d written that was very similar. The drums on that song are fucking biblical to me. The Matt Cameron dirge! Matt is a pretty stoic guy [and was also Soundgarden's drummer]. He’s like Charlie Watts or something. I was screaming, go harder! Come on! It was like I was at one of their shows or something. At some point, he just had to laugh."





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    lastexitlondonlastexitlondon Posts: 12,188
    It's funny I said very first listen. Soundgarden mind riot. Go me.
    brixton 93
    astoria 06
    albany 06
    hartford 06
    reading 06
    barcelona 06
    paris 06
    wembley 07
    dusseldorf 07
    nijmegen 07

    this song is meant to be called i got shit,itshould be called i got shit tickets-hartford 06 -
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    HailHailVitalogyHailHailVitalogy Posts: 4,589
    Kind of hit me last night. This is Hold On. Imagining ‘91-93 Eddie singing WFS really puts it in perspective. 
    2003: Uniondale, MSG x2 2004: Reading | 2005: Gorge, Vancouver, Philly | 2006: East Rutherford x2, Gorge x2, Camden 1, Hartford | 2008: MSG x2, VA Beach | 2009: Philly x3 | 2010: MSG x2, Bristow | 2011: Alpine Valley x2 | 2012: MIA Philly | 2013: Wrigley, Charlottesville, Brooklyn 2 | 2014: Milan, Amsterdam 1 | 2016: MSG x2, Fenway x2, Wrigley 2 | 2018: Rome, Krakow, Berlin | 2021: Sea Hear Now | 2022: San Diego, LA x2, MSG, Camden, Nashville, St. Louis, Denver | 2023: St. Paul 1, Chicago x2, Fort Worth x2, Austin 2
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    beano.79beano.79 Posts: 697
    Kind of hit me last night. This is Hold On. Imagining ‘91-93 Eddie singing WFS really puts it in perspective. 
    Yes! This was the closest PJ comparison I could come to also.
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    mcgruff10mcgruff10 New Jersey Posts: 27,960
    edited April 27
    Here s the intro.  Play these three lines of individual notes on your G string.  Very very easy.  


    I'll ride the wave where it takes me......
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    BF25394BF25394 Posts: 3,552
    mcgruff10 said:
    Here s the intro.  Play these three lines of individual notes on your G string.  Very very easy.  


    Leave my G string out of it! This is a family message board.
    I gather speed from you fucking with me.
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    BF25394BF25394 Posts: 3,552
    RS151862 said:
    Did anyone figure out who Stevie is?
    Stevie Wonder. Song written as Andrew watt and Vedder waited for Stevie who was late to add his parts to Earthling. 
    Hey, that's Stevie Wonder you're talking about. He wasn't late. Ed and Watt were early!
    I gather speed from you fucking with me.
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