For some reason today, I was staring at the tracklisting of the two AC/DC albums I own--Who Made Who and Black in Black--and noticed lots of similarities. There are lots of rhymes and near-rhymes, assonance and consonance, reoccurring themes, and not many syllables (between the two albums the only polysyllabic words are "into," "salute," "foundations," "money," "honey," and "pollution"). "A Duh," you say. I mean, no one's ever accused AC/DC of being non-formulaic, but I figured it was a good time to inspect the rest of their catalog and see what fun things I could find.
Rhyme Time
Back in Black
Bedlam in Belgium
Chase the Ace
Hells Bells
Mistress for Christmas
Ruff Stuff
Sink the Pink
Stormy May Day
Touch Too Much
What Do You Do For Money Honey
Alliteration (Non-Rhyming)
Back In Business
Bad Boy Boogie
Dirty Deeds Done Dirty Cheap
Highway To Hell
Little Lover
Money Made
Riff Raff
Sin City
Uppers
All Screwed Up
Give It Up
Let's Get It Up
Stand Up
Stiff Upper Lip
Two's Up
Up To My Neck in You
Downers
Caught With Your Pants Down
Down Payment Blues
Go Down
Meltdown
Nervous Shakedown
Shot Down in Flames
Some Titles (Just Aren't Long Enough)
Ain't No Fun (Waiting 'Round To Be A Millionaire)
It's a Long Way To The Top (If You Wanna Rock 'n' Roll)
If You Want Blood (You've Got It)
For Those About to Rock (We Salute You)
S.O. (Short Ones)
C.O.D.
D.T.
T.N.T.
Rockers
Can't Stop Rock 'n' Roll
For Those About to Rock (We Salute You)
Hard As a Rock
It's a Long Way To The Top (If You Wanna Rock 'n' Roll)
Let There Be Rock
Rock and Rock Ain't Noise Pollution
Rocker
Rock 'n' Roll Damnation
Rock 'n' Roll Dream
Rock 'n' Roll Singer
Rock 'n' Roll Train
Rock Your Heart Out
Rocking All The Way
She Likes Rock 'n' Roll
That's The Way I Wanna Rock 'n' Roll
There's Gonna Be Some Rockin'
Whiskey On The Rocks
Non-Rockers
Bad Boy Boogie
Boogie Man
Down Payment Blues
House of Jazz
Satellite Blues
Love Songs
Let Me Put My Love Into You
Little Lover
Love at First Feel
Love Bomb
Love Hungry Man
Love Song
Shot of Love
For The Ladies
Can I Sit Next To You Girl
Girls Got Rhythm
Mistress For Christmas
Playing With Girls
She's Got Balls
She Likes Rock 'n' Roll
Whole Lotta Rosie
Guns, Bombs, Fire, & Electricity
Burnin' Alive
Fire Your Guns
Gimme A Bullet
Gone Shootin'
Guns For Hire
Heatseeker
High Voltage
Kissin' Dynamite
Live Wire
Love Bomb
Meltdown
Shoot To Thrill
Shot Down In Flames
Skies on Fire
War Machine
This House is on Fire
T.N.T.
Heartbreaker Dreammaker Lovetaker...
Ballbreaker
Heatseeker
Little Lover
Night Prowler
Rocker
Rock 'n' Roll Singer
Squealer
All Balls
Ballbreaker
Big Balls
Got You By The Balls
She's Got Balls
Snowballed
IN-YOU-endo
Beating Around The Bush
Deep In the Hole
Given The Dog A Bone
Inject the Venom
I Put the Finger On You
Let Me Put My Love Into You
Sink the Pink
Heckbound
Hell Ain't A Bad Place To Be
Hells Bells
Hell Or High Water
Highway to Hell
Rock 'n' Roll Damnation
Sin City
Some Sin For Nuthin'
Shakin' & Breakin'
Ballbreaker
Brain Shake
Breaking the Rules
Nervous Shakedown
Shake a Leg
Shake Your Foundations
You Shook Me All Night Long
Stage & Screen
Anything Goes
First Blood
Problem Child
Nick Of Time
Sin City
Spellbound
The Razor's Edge
This Means War
Compoundwords
Badlands
Ballbreaker
Heatseeker
Landslide
Meanstreak
Meltdown
Moneytalks
Nervous Shakedown
Overdose
Snowballed
Spellbound
Thunderstruck
Here's an AC/DC album I just made up:
Stop, Drop, and Rock 'n' Roll (If You Ever Find Yourself On Fire)
Snake In The Grass
Milkshaker
She's Going Down The Street To Pick Up Some Meat
Shooting Off At The Mouth
Jackin' the Beanstalk
Connecting To a Hot Spot
Double Dog Dares Are a Dime a Dozen
Can't Stop Punching The Hell Out Of Your Balls
Pole In A Hole
May 11, 2012
May 1, 2012
The Even Flow Experiment
I'd like to take a quick departure from my complete failure of the 30-Day Music Challenge to try another goofy music-related experiment. While surfing the legal gray areas of the internet yesterday, I happened upon an mp3 compilation that a dude named Steve made called "21 Years of Even Flow." It's 21 different versions of the Pearl Jam song "Even Flow" dating from 1990 through 2011. Not every single year is represented ('97, '99, '01, '02, and '04 are omitted), but these selections will surely run the gamut of drummers, venues, maturity, intoxication level, energy, and sonic quality. I'm already familiar with a handful of these tracks, but most I've not heard. Let's see if my established biases change at all (or if I even make it to the end).
Also, sorry for all the formatting problems. Blogger can eat me.
01. Gossman Project/New Stuff - '90
"Even Flow" started as an instrumental demo recording named "The King." The track was written by guitarist Stone Gossard and recorded along with eventual Pearl Jam members Jeff Ament and Mike McCready, and eventual-eventual Pearl Jam drummer Matt Cameron.
02. Mookie Blaylock Demo - '90
Just a few months later and the final structure has fallen into place. Dave Krusen is now on drums and a young-sounding Eddie Vedder has been recruited to sing the lyrics he wrote. It's a little slow for my taste though I believe it's on par with the final studio version. It feels less aggressive and more groovy then the previous and next versions as Mike McCready's guitar is very clean (the Stevie Ray Vaughan tone is in full effect) in the verses and solos and Vedder isn't growling the vocals or punctuating every line with grunts.
Speaking of punctuation, they seem to be really emphasizing the 7th beat of each measure more than I'm used to (or have noticed) in the post chorus/solo section. Also, whatever Jeff Ament is playing during the last chorus sounds all wrong. What the hell is he playing?
03. Ten Redux - '91/'09
This is the '09 remix of the original album version from '91. All the clean stuff is gone--Vedder is now growly and mumbly and the guitars are distorted. McCready is responding to each verse line with a really confident guitar lead part (as opposed to the tentative ones on the MB Demo version). On the heels of that is now a reverse reverb-like vocal effect which builds into each verse line. I feel like Vedder and McCready are fighting for attention, which is funny because neither of them wrote the song.
McCready wins though, because the solo is solid and his leads are all really memorable, while I can't understand anything Vedder is saying anymore. I wouldn't know the song was about homelessness unless someone told me, though I did pick out Vedder mumbling something about "spare change," and even that is really only audible in this newer remix. Krusen has definitely stepped it up (and I know this because I caught myself playing air drums in the solo and at the end) and Ament isn't fucking anything up. They also dropped that overemphasis on the 7th beat in those few sections, which is good because the momentum is now much more fluid.
04. Hollywood - '91
05. MTV Unplugged - NYC - '92
This didn't make the original half-hour broadcast, but was taken from the same Unplugged session. It's a little slower and acoustic, but the bass, drums, and vocals are still pretty much full force and overpower the barely audible guitars. It's an experiment they probably didn't plan for, but it's interesting to hear a guitar-driven song with barely any guitars in it. Dave A. quiets things down a bit during the calm part and build-up, but Stone and Mike are pretty much shit out of luck the rest of the time. I read once that the guitars they did use were rentals and had really high action making it difficult to play lead parts, so Mike ends up playing similarly to the clean stuff on the MB Demo.
The big finish seems to have stuck and they go on even longer here, with Dave's fills, McCready's harmonics, and now with Ament throwing in notes too. Stone was strumming around as well, but I think he was just checking his tuning.
I should mention that this is the first time I can hear Ament doing the little upwards slide thingy in the post-chorus "life again"/"him away" parts. It's a nice touch. Also, I never caught this before, but it sounds like Vedder says "yeah, yeah, don't vote Republican" at the end.
06. Music Video/Radio Version - '92
This has always been the definitive version for me. It seems to encompass everything they've tried to have in previous versions, but now all at once--groove, aggression, cool leads.
This version starts with guitar and Vedder yelling. Verse lines end with McCready playing leads parts and Vedder making noises and Dave A. playing fills. The big finish at the end now has Vedder ad libbing some poetry or something on top of everyone else winding down and he gets the last word. This is a good studio recording that also accurately captures their live energy which at this time sounds like everyone fighting to show they're on top of their game.
07. Seattle - '92
This free performance was originally supposed to occur months earlier but was cancelled by the city, and Vedder sounds a bit more aggressive than usual. He counts off the song, but doesn't do the opening yell. He throws plenty of others in later though. McCready balances things out by extending the quieter "underwater" effect before the build-up.
Apart from the overcranked vocal delay effect, this version is similar in execution to the video version. There's no big finish at all, possibly because it's only the first song of the set.
08. Las Vegas - '93
09. Atlanta - '94
10. Melbourne - '95
Really weird start to this one. They begin by playing just the descending riff at the end of the intro twice, then jump into the rest of the song. Just keeping things interesting I suppose. It's definitely a much less aggressive start.
There's another change that becomes clear very quickly--Dave A. is out of the band Jack Irons is in. I can't tell if the song is either a tiny bit slower, or if Dave's missing 16th notes flourishes made the song feel faster. I also miss the hi-hat opening up for the second half of the verses for extra variety.
11. Berlin - '96
Back to the normal intro and tempo, minus Eddie yelling. He still sounds like he's having a lot of vocal fatigue, which is a shame because this concert was also broadcast live on the radio. What he's lacking in power, he's making up with a bunch of new melodies and dramatic staccato punches to the ends of lines.
This is around the time that SPIN Magazine noted the lack of passion in the band's live performance, particularly with "Even Flow" which Vedder once (or maybe more times) introduced as the "human jukebox" portion of the show. I don't know--I don't really hear it.
Mike is still exhibiting plenty of passion in his playing. His solo here is very Hendrix-like and now he seems to be allowed to go on as long as he wants--probably a good decision by the band if they want to save the song from extinction. He's also completely changed up the outro solo to keep the song fresh. It reminds me of the solo in "Animal," a song which many people have said is a ripoff of "Even Flow" anyway.
12. Melbourne - '98
No opening yell here, just Eddie saying "You know this one." Vocals are in much better shape then the last track, but still not as strong as they once were. It's understandable, of course, with all the shows they play each year, but it makes me wonder if it's worth trying to push so hard to sing an old song just to make fans happy. I'd rather not hear "Even Flow" again than have someone risk their health and career. Again, to compensate, he changes up the phrasing and melodies a bit, and throws in some extra asides and yelps.
There's also a point where Eddie briefly changes the third person narrative to first person ("Gently lead me away"). I don't know if he's ever been homeless himself, but he did explore the topic before while in Bad Radio, his band prior to joining Pearl Jam. The song "Homeless" was written in the first person. It could just be for dramatic purposes or a way of relating to the character, or it could autobiographical--I'm not really sure. To hear it during "Even Flow" in 1998, when the band is in great shape financially, it could serve as a humbling reminder that anything could happen, or even a sign that Vedder is flirting with walking away from success. Or he's just bored with the song.
Eddie's not the only one playing around with the song. It sounds like Mike is experimenting with different tones throughout the verses and chorus. Sometimes things are pretty fuzzed out, other times trebled in (that's now official the opposite). The solo goes on pretty long again and Mike adds some dives for drama. The outro is different again too (the melody sounds familiar but I can't place it) and could go on forever if the rest of the band doesn't end the song. They do.
I'm not going to lie--I miss Dave A.'s cymbal crashes all over the place. Jack Irons is doing a good job adding a lot of unique fills, but I'm pretty sure there's one of those rhythm egg shakers happening during the second chorus and the solo build-up and I'm not into it at all. I loved what he did on the Yield album but never really accepted his treatments of the older songs. I guess my opinion stands.
13. Barcelona - '00
Obviously, because of my comments, Pearl Jam has fired Jack Irons and replaced with him Matt Cameron. This could have been the opportunity to retire "Even Flow" but he still remembers how to play it, so they keep it in the set every single night.
While Matt is not returning the song to Dave A.'s crashy-splashy style, I am happy he has reunited the chorus with the ride cymbal (which Jack ditched). He's also made the rest before each chorus his own by delaying the fill a few beats instead of playing throughout like each drummer before him. It's a toss-up whether it's successful as a dramatic pause or a momentum killer.
One dramatic pause that is very effective comes after the second and third choruses. Eddie usually yells "Yeah!" when there's a brief break in the action. He does not this time instead lets the crowd lead. I am typically annoyed by crowd participation at Pearl Jam shows because everyone sings the words to everything the entire time, but when used at specific times, it can really enhance the song.
Oh, there's a crazy fill that Matt does during the second chorus that may have almost started as a mistake. Nice recovery if it was. He's also a lot more active during the solo, as is Stone, and the crowd. They get quiet and forgo the build-up, instead jumping right into the final chorus. This catches me completely by surprises. I'm not sure I like it. Matt replicates the almost-mistaken drum fill in the third chorus for consistency. Mike goes back to something resembling the traditional outro.
14. Buffalo - '03
The first thing I notice is Vedder not punctuating the verse lines as much as before. There are fewer howls, yelps, and "yeah's," just an occasional hum. There's more singing than growling now. Again, the crowd takes over the big "yeah" after the second chorus (but not the third).
Mike's trilling more than usual during the verses and his solo goes on for a really long time. Stone is considerably more involved--after getting tired of riffing, he starts playing around with some slides, feedback, effects, and occasionally dissonant stuff. If you were to drop the needle in the middle of the solo, you might think you're hearing some AmRep noise rock. Then Mike starts playing Hendrix's "Third Stone From the Sun." The build-up returns and they finish off the song.
15. The Gorge - '05
16. Adelaide - '06
Eddie's changing up the vocals during the verse quite a bit, breathing new life into it again. He singing the lines much longer and with more melody than ever and switching a lot of lyrics ("I can't help when I'm happy I look insane," "We begin our life again"). Matt now sings back-up vocals during the chorus. This doesn't really add anything for me, but maybe it's making Eddie feel more confident. It is definitely causing Matt to play faster which is not helpful.
The solo goes on to the point where I almost lose interest and definitely lose my place in the rhythm. Then Matt gets a big drum solo, but I don't think I can't take any more soloing. The build-up does sound extra cool when they jump in, but does the build-up really need a build-up?
There's also the return of the big finish. At 7:40, this is longest, most bloated version of "Even Flow" I've ever heard! I mean, this is more than 2 minutes longer than the epic Unplugged version of "Porch."
17. Lollapalooza - '07
Very energetic opening by the crowd and the band. Seems the high-speed tempo is here to stay. The Matt back-up vocals are still there, but he keeps the chorus steady this time.
The thing about the solo now is that I'm almost more interested in what Stone is going to do. It's strange. Mike is playing amazingly, but it's so many fast notes and fewer memorable ones, where Stone is taking a very minimal approach. He's not soloing per se, but it's no longer just a safe rhythm track. I'm certainly not trying to suggest that the song should be extended even more for the sake of him getting some spotlight. It's cool to hear them both going at the same time, even if sometimes they're not playing anything remotely the same.
What I don't need is a drum solo. Matt's a great player, but I want to hear his playing in the context of a crazy time signature or an impressive fill that transitions between two parts of a song--not a 2+ minute drum solo.
(Not.)
18. Bonnaroo - '08Another year, another big festival, another "Even Flow." It sounds like Mike makes a very minor mistake in the beginning of the second chorus (so minor that I can't figure out what it is) and Eddie cracks up a little.
Nothing else notable except the drum solo's out of the song again (getting back to a slightly bloated, but manageable length) and Mike slips up a little at the end before the Republican part. Big finish and Mike wants to keep going. I think I'm cracking up a little.
19. San Francisco - '09
I can believe how many hours I've spent listening to this song. Every take a break, I can still hear it. The video/radio version that is.This version seems a little sloppier, but more aggressive. Eddie starts some of the lines behind the beat ("thoughts arrive...") and Matt sounds like he's hitting the fills harder.
Stone and Mike play a gnarly little riff together during the solo, then go off their separate ways again. Stone goes back to the main riff and I'm not sure if he's trying to get to the build-up early. Turns out to be a fake-out and he goes off into space again.
Eddie sounds a little exhausted. Maybe they should play the damn song slower so it doesn't seem like such a workout.
During the solo, I thought Mike was going to go into "Little Wing," but he didn't. Nothing else particularly remarkable in this version except that the delayed "thoughts arrive..." delivery appears again in the second verse and has spread to the "so he chases..." and "he'll begin..." lines too.
21. Buenos Aires - '11
Holy shit, this crowd is excited! They keep singing the main guitar riff throughout the song! They're like a third guitarist during the solo. Eddie even joins in with them.
|
The delayed vocals in the second chorus in the last version are now standard in every chorus and even some of the verses. The Argentinian crowd singing the last chorus doesn't follow this rule though and sings it the traditional way. Even though this one hits the seven minute mark, it seems justified because of the crowd.
Here are some bonus versions (because I'm a glutton for punishment):
Seattle - '90From the soundcheck of their first show ever (as Mookie Blaylock). This version has Dave Krusen on drums and is the slowest its ever been played. They speed it up a bit for the show version itself. They screw up the intro but quickly recover. Eddie doesn't add anything to the verse other than the lyrics and goes into the second chorus early. Mike tries to end the same chorus a little early. During the solo, Stone is emphasizing the 7th beats like on the demo. It cuts off before the very end, but it seems like they don't know how or when to finish the song.
Camden, NJ - '00
To be fair, a close-up of Matt Cameron's version. Looks like Stone is taking a water break during the entire solo. This version also skips the build-up.
And so will I.
Big finish.
Also, sorry for all the formatting problems. Blogger can eat me.
01. Gossman Project/New Stuff - '90
"Even Flow" started as an instrumental demo recording named "The King." The track was written by guitarist Stone Gossard and recorded along with eventual Pearl Jam members Jeff Ament and Mike McCready, and eventual-eventual Pearl Jam drummer Matt Cameron.
First impression is "Holy wah." Second is, where's the main riff? There is definite structure here that resembles the song we've come to know, I can hear Stone Gossard on the right side playing what a riff that is almost the verse and some chords that are almost the chorus, but without being told this is the "Even Flow" demo, I probably would not have figured it out. The funny thing is there's a third section which has the strongest fully-formed riff but it didn't make it to the final version! It reminds me of Iron Maiden's "Run to the Hills" with less evil and more wah-wah.
02. Mookie Blaylock Demo - '90
Just a few months later and the final structure has fallen into place. Dave Krusen is now on drums and a young-sounding Eddie Vedder has been recruited to sing the lyrics he wrote. It's a little slow for my taste though I believe it's on par with the final studio version. It feels less aggressive and more groovy then the previous and next versions as Mike McCready's guitar is very clean (the Stevie Ray Vaughan tone is in full effect) in the verses and solos and Vedder isn't growling the vocals or punctuating every line with grunts.
Speaking of punctuation, they seem to be really emphasizing the 7th beat of each measure more than I'm used to (or have noticed) in the post chorus/solo section. Also, whatever Jeff Ament is playing during the last chorus sounds all wrong. What the hell is he playing?
This is the '09 remix of the original album version from '91. All the clean stuff is gone--Vedder is now growly and mumbly and the guitars are distorted. McCready is responding to each verse line with a really confident guitar lead part (as opposed to the tentative ones on the MB Demo version). On the heels of that is now a reverse reverb-like vocal effect which builds into each verse line. I feel like Vedder and McCready are fighting for attention, which is funny because neither of them wrote the song.
McCready wins though, because the solo is solid and his leads are all really memorable, while I can't understand anything Vedder is saying anymore. I wouldn't know the song was about homelessness unless someone told me, though I did pick out Vedder mumbling something about "spare change," and even that is really only audible in this newer remix. Krusen has definitely stepped it up (and I know this because I caught myself playing air drums in the solo and at the end) and Ament isn't fucking anything up. They also dropped that overemphasis on the 7th beat in those few sections, which is good because the momentum is now much more fluid.
04. Hollywood - '91
I don't know exactly which performance this is because they played Hollywood a few times that year. The song doesn't match up with the versions Dave Krusen played in Hollywood and Matt Chamberlain never played there with the band. I'm pretty sure it's Dave Abbruzzese anyway because I can hear harder hits and lots of hi-hat/cymbal work. So it must be late in the year. This also means that Chamberlain and Krusen are not represented in live performances on this compilation.
This version is a bit faster. The solo doesn't mimic the studio version at all. It starts out more like the video version, then gets really frenetic. Dave A. is sneaking in on the solo too. I don't know if Dave K. ever did because there aren't any live versions with him on the compilation either. There's a nice extra long calm before the build-up. Vedder peters out towards the end, but there's enough energy from the rest of the band. Dave A. sneaks in some hits after the traditional ending of the song, then McCready does too.
05. MTV Unplugged - NYC - '92
This didn't make the original half-hour broadcast, but was taken from the same Unplugged session. It's a little slower and acoustic, but the bass, drums, and vocals are still pretty much full force and overpower the barely audible guitars. It's an experiment they probably didn't plan for, but it's interesting to hear a guitar-driven song with barely any guitars in it. Dave A. quiets things down a bit during the calm part and build-up, but Stone and Mike are pretty much shit out of luck the rest of the time. I read once that the guitars they did use were rentals and had really high action making it difficult to play lead parts, so Mike ends up playing similarly to the clean stuff on the MB Demo.
The big finish seems to have stuck and they go on even longer here, with Dave's fills, McCready's harmonics, and now with Ament throwing in notes too. Stone was strumming around as well, but I think he was just checking his tuning.
I should mention that this is the first time I can hear Ament doing the little upwards slide thingy in the post-chorus "life again"/"him away" parts. It's a nice touch. Also, I never caught this before, but it sounds like Vedder says "yeah, yeah, don't vote Republican" at the end.
06. Music Video/Radio Version - '92
This has always been the definitive version for me. It seems to encompass everything they've tried to have in previous versions, but now all at once--groove, aggression, cool leads.
This version starts with guitar and Vedder yelling. Verse lines end with McCready playing leads parts and Vedder making noises and Dave A. playing fills. The big finish at the end now has Vedder ad libbing some poetry or something on top of everyone else winding down and he gets the last word. This is a good studio recording that also accurately captures their live energy which at this time sounds like everyone fighting to show they're on top of their game.
07. Seattle - '92
This free performance was originally supposed to occur months earlier but was cancelled by the city, and Vedder sounds a bit more aggressive than usual. He counts off the song, but doesn't do the opening yell. He throws plenty of others in later though. McCready balances things out by extending the quieter "underwater" effect before the build-up.
Apart from the overcranked vocal delay effect, this version is similar in execution to the video version. There's no big finish at all, possibly because it's only the first song of the set.
08. Las Vegas - '93
We're back to Dave counting off and Eddie yelling along with the guitar slide. Vedder sounds a little hoarse, but he adds an angry "...nothing!" after the "that is something that has never showed him anything" (or whatever it is) line. McCready's solo starts out with a lot more bends than usual (almost Chuck Berry-like), then goes into the more traditional wah-drenched lead. Then it fizzles out for a bit and picks up with some clean shuffling. I can't tell if he's looking to go on longer or is starting the build-up with a little too much "up." It sounds pretty sloppy, to be blunt.
No big finish anymore.
09. Atlanta - '94
Part of a concert broadcast on the radio (and later released as their first authorized live album), this was performed just a few days before Kurt Cobain's suicide. I don't know if that tidbit is relevant to this performance, but it's around the time McCready "fell off the wagon" and also when he blacked out through a song on Saturday Night Live. If he is under any chemical influence here, it's not obvious to me at all. His solo sounds great--a thousand times better than the previous track from '93.
Elsewhere in this concert is an altered version of "Jeremy," which shows the band growing weary of playing some of their older songs. "Even Flow" still sounds pretty energetic though, with Vedder amping up the delivery of vocals in the last chorus to a memorable peak at "whispering hands." They take a stab at the big finish, but I think only Dave, Eddie, and Jeff participate.
10. Melbourne - '95
Really weird start to this one. They begin by playing just the descending riff at the end of the intro twice, then jump into the rest of the song. Just keeping things interesting I suppose. It's definitely a much less aggressive start.
There's another change that becomes clear very quickly--Dave A. is out of the band Jack Irons is in. I can't tell if the song is either a tiny bit slower, or if Dave's missing 16th notes flourishes made the song feel faster. I also miss the hi-hat opening up for the second half of the verses for extra variety.
Also, Mike is now playing a lot more funky notes in the chorus instead of just bending the sustain notes. He seems to be so into this that he fucks up the first chorus, forgetting that it ends early. This trips Jack up as well, but they both catch the mistake and quickly recover.
By the halfway point, Eddie's sounds really hoarse when he yells. He gets a little rest during Mike's solo, which sounds good. It goes on much longer than usual, to the point where Stone appears to force the build-up to begin before he's done. The rest didn't prove to be enough and I think I hear Vedder's lungs fly out his throat by the end. 11. Berlin - '96
Back to the normal intro and tempo, minus Eddie yelling. He still sounds like he's having a lot of vocal fatigue, which is a shame because this concert was also broadcast live on the radio. What he's lacking in power, he's making up with a bunch of new melodies and dramatic staccato punches to the ends of lines.
This is around the time that SPIN Magazine noted the lack of passion in the band's live performance, particularly with "Even Flow" which Vedder once (or maybe more times) introduced as the "human jukebox" portion of the show. I don't know--I don't really hear it.
Mike is still exhibiting plenty of passion in his playing. His solo here is very Hendrix-like and now he seems to be allowed to go on as long as he wants--probably a good decision by the band if they want to save the song from extinction. He's also completely changed up the outro solo to keep the song fresh. It reminds me of the solo in "Animal," a song which many people have said is a ripoff of "Even Flow" anyway.
12. Melbourne - '98
No opening yell here, just Eddie saying "You know this one." Vocals are in much better shape then the last track, but still not as strong as they once were. It's understandable, of course, with all the shows they play each year, but it makes me wonder if it's worth trying to push so hard to sing an old song just to make fans happy. I'd rather not hear "Even Flow" again than have someone risk their health and career. Again, to compensate, he changes up the phrasing and melodies a bit, and throws in some extra asides and yelps.
There's also a point where Eddie briefly changes the third person narrative to first person ("Gently lead me away"). I don't know if he's ever been homeless himself, but he did explore the topic before while in Bad Radio, his band prior to joining Pearl Jam. The song "Homeless" was written in the first person. It could just be for dramatic purposes or a way of relating to the character, or it could autobiographical--I'm not really sure. To hear it during "Even Flow" in 1998, when the band is in great shape financially, it could serve as a humbling reminder that anything could happen, or even a sign that Vedder is flirting with walking away from success. Or he's just bored with the song.
Eddie's not the only one playing around with the song. It sounds like Mike is experimenting with different tones throughout the verses and chorus. Sometimes things are pretty fuzzed out, other times trebled in (that's now official the opposite). The solo goes on pretty long again and Mike adds some dives for drama. The outro is different again too (the melody sounds familiar but I can't place it) and could go on forever if the rest of the band doesn't end the song. They do.
I'm not going to lie--I miss Dave A.'s cymbal crashes all over the place. Jack Irons is doing a good job adding a lot of unique fills, but I'm pretty sure there's one of those rhythm egg shakers happening during the second chorus and the solo build-up and I'm not into it at all. I loved what he did on the Yield album but never really accepted his treatments of the older songs. I guess my opinion stands.
Obviously, because of my comments, Pearl Jam has fired Jack Irons and replaced with him Matt Cameron. This could have been the opportunity to retire "Even Flow" but he still remembers how to play it, so they keep it in the set every single night.
While Matt is not returning the song to Dave A.'s crashy-splashy style, I am happy he has reunited the chorus with the ride cymbal (which Jack ditched). He's also made the rest before each chorus his own by delaying the fill a few beats instead of playing throughout like each drummer before him. It's a toss-up whether it's successful as a dramatic pause or a momentum killer.
One dramatic pause that is very effective comes after the second and third choruses. Eddie usually yells "Yeah!" when there's a brief break in the action. He does not this time instead lets the crowd lead. I am typically annoyed by crowd participation at Pearl Jam shows because everyone sings the words to everything the entire time, but when used at specific times, it can really enhance the song.
Oh, there's a crazy fill that Matt does during the second chorus that may have almost started as a mistake. Nice recovery if it was. He's also a lot more active during the solo, as is Stone, and the crowd. They get quiet and forgo the build-up, instead jumping right into the final chorus. This catches me completely by surprises. I'm not sure I like it. Matt replicates the almost-mistaken drum fill in the third chorus for consistency. Mike goes back to something resembling the traditional outro.
The first thing I notice is Vedder not punctuating the verse lines as much as before. There are fewer howls, yelps, and "yeah's," just an occasional hum. There's more singing than growling now. Again, the crowd takes over the big "yeah" after the second chorus (but not the third).
Mike's trilling more than usual during the verses and his solo goes on for a really long time. Stone is considerably more involved--after getting tired of riffing, he starts playing around with some slides, feedback, effects, and occasionally dissonant stuff. If you were to drop the needle in the middle of the solo, you might think you're hearing some AmRep noise rock. Then Mike starts playing Hendrix's "Third Stone From the Sun." The build-up returns and they finish off the song.
"Even Flow" continues to be played quickly. The Cameron days are like being on a fast treadmill as compared Dave A.'s muscular versions of the song. Eddie's back to punctuating the verses, but it still feels like the song is now just a race to the solo. There, Stone continues to mix parts similar to the previous version for a while with some rhythmic stuff while Mike is soloing.
As they begin the build-up, Eddie speaks to the crowd: "We play this song a lot... and still like playing it... but if you could take this chorus, I'd love it." They go nuts and do just that (though he rejoins them by the end of it to mention "republicans" again).
16. Adelaide - '06
Eddie's changing up the vocals during the verse quite a bit, breathing new life into it again. He singing the lines much longer and with more melody than ever and switching a lot of lyrics ("I can't help when I'm happy I look insane," "We begin our life again"). Matt now sings back-up vocals during the chorus. This doesn't really add anything for me, but maybe it's making Eddie feel more confident. It is definitely causing Matt to play faster which is not helpful.
The solo goes on to the point where I almost lose interest and definitely lose my place in the rhythm. Then Matt gets a big drum solo, but I don't think I can't take any more soloing. The build-up does sound extra cool when they jump in, but does the build-up really need a build-up?
There's also the return of the big finish. At 7:40, this is longest, most bloated version of "Even Flow" I've ever heard! I mean, this is more than 2 minutes longer than the epic Unplugged version of "Porch."
17. Lollapalooza - '07
Very energetic opening by the crowd and the band. Seems the high-speed tempo is here to stay. The Matt back-up vocals are still there, but he keeps the chorus steady this time.
The thing about the solo now is that I'm almost more interested in what Stone is going to do. It's strange. Mike is playing amazingly, but it's so many fast notes and fewer memorable ones, where Stone is taking a very minimal approach. He's not soloing per se, but it's no longer just a safe rhythm track. I'm certainly not trying to suggest that the song should be extended even more for the sake of him getting some spotlight. It's cool to hear them both going at the same time, even if sometimes they're not playing anything remotely the same.
What I don't need is a drum solo. Matt's a great player, but I want to hear his playing in the context of a crazy time signature or an impressive fill that transitions between two parts of a song--not a 2+ minute drum solo.
The build-up seems to catch the rest of the band by surprise and is not as cool as the previous version. Then another big finish. If Pearl Jam audiences are really craving eight and a half minutes of 16-year old song, then they are being really selfish. I'd personally much rather hear two rare songs in that amount of time. Or eight consecutive "Lukin"'s.
(Not.)
18. Bonnaroo - '08Another year, another big festival, another "Even Flow." It sounds like Mike makes a very minor mistake in the beginning of the second chorus (so minor that I can't figure out what it is) and Eddie cracks up a little.
Nothing else notable except the drum solo's out of the song again (getting back to a slightly bloated, but manageable length) and Mike slips up a little at the end before the Republican part. Big finish and Mike wants to keep going. I think I'm cracking up a little.
I can believe how many hours I've spent listening to this song. Every take a break, I can still hear it. The video/radio version that is.This version seems a little sloppier, but more aggressive. Eddie starts some of the lines behind the beat ("thoughts arrive...") and Matt sounds like he's hitting the fills harder.
Stone and Mike play a gnarly little riff together during the solo, then go off their separate ways again. Stone goes back to the main riff and I'm not sure if he's trying to get to the build-up early. Turns out to be a fake-out and he goes off into space again.
At the end, Vedder turns over most of the last chorus to the crowd which diminishes some of the energy. Really big finish.
20. Virginia - '10Eddie sounds a little exhausted. Maybe they should play the damn song slower so it doesn't seem like such a workout.
During the solo, I thought Mike was going to go into "Little Wing," but he didn't. Nothing else particularly remarkable in this version except that the delayed "thoughts arrive..." delivery appears again in the second verse and has spread to the "so he chases..." and "he'll begin..." lines too.
21. Buenos Aires - '11
Holy shit, this crowd is excited! They keep singing the main guitar riff throughout the song! They're like a third guitarist during the solo. Eddie even joins in with them.
|
The delayed vocals in the second chorus in the last version are now standard in every chorus and even some of the verses. The Argentinian crowd singing the last chorus doesn't follow this rule though and sings it the traditional way. Even though this one hits the seven minute mark, it seems justified because of the crowd.
Here are some bonus versions (because I'm a glutton for punishment):
Seattle - '90From the soundcheck of their first show ever (as Mookie Blaylock). This version has Dave Krusen on drums and is the slowest its ever been played. They speed it up a bit for the show version itself. They screw up the intro but quickly recover. Eddie doesn't add anything to the verse other than the lyrics and goes into the second chorus early. Mike tries to end the same chorus a little early. During the solo, Stone is emphasizing the 7th beats like on the demo. It cuts off before the very end, but it seems like they don't know how or when to finish the song.
New York City - '91Here's a version with Matt Chamberlain. Sounds like the 16th notes on the hi-hat actually started with him, not Dave A.! His playing is pretty fantastic the entire time. Eddie screws up the first chorus a little.
Unknown -'92/'93?
Another soundcheck, this time a pro-shot of Dave A. playing drums. The solo is omitted from this recording. Yeah, I still prefer his versions the best.
Another soundcheck, this time a pro-shot of Dave A. playing drums. The solo is omitted from this recording. Yeah, I still prefer his versions the best.
To be fair, a close-up of Matt Cameron's version. Looks like Stone is taking a water break during the entire solo. This version also skips the build-up.
And so will I.
Big finish.
April 20, 2012
30 Day Music Challenge:Day 20 - A Song You Listen to When You're Angry
George Harrison - "My Sweet Lord"
When I'm really angry, I can go one of two ways--sustain or diffuse the anger. Usually, this decision is made when stuck in traffic. If I want to sustain the anger, I roll down the windows and blast Dillinger Escape Plan (either their self-titled EP or Calculating Infinity).
Should I decide to calm down, I put on "My Sweet Lord." I'm not a spiritual person and I don't buy into religions (Western or Eastern), but I can't deny the relaxing properties of a chanted mantra, especially when accompanied by a hypnotic, full-sounding acoustic guitar. I am usually feeling better by the key change, at which point I'm also in awe of how cool it is to completely change the key of the song for really no reason. Plus George Harrison seems like a cool dude and I feel like he spent a lot of time having to calm himself down to get through arguments with Paul McCartney.
When I'm really angry, I can go one of two ways--sustain or diffuse the anger. Usually, this decision is made when stuck in traffic. If I want to sustain the anger, I roll down the windows and blast Dillinger Escape Plan (either their self-titled EP or Calculating Infinity).
Should I decide to calm down, I put on "My Sweet Lord." I'm not a spiritual person and I don't buy into religions (Western or Eastern), but I can't deny the relaxing properties of a chanted mantra, especially when accompanied by a hypnotic, full-sounding acoustic guitar. I am usually feeling better by the key change, at which point I'm also in awe of how cool it is to completely change the key of the song for really no reason. Plus George Harrison seems like a cool dude and I feel like he spent a lot of time having to calm himself down to get through arguments with Paul McCartney.
April 10, 2012
30 Day Song Challenge: Day 10 - A Song That Makes You Fall Asleep
Fantomas - "Delirium Cordia"
I've listened to this whole track. Love it. But I've never made all the way through in one shot. Good luck.
I've listened to this whole track. Love it. But I've never made all the way through in one shot. Good luck.
April 9, 2012
30 Day Music Challenge: Day 9 - A Song That You Can Dance To
I don't dance. But if I got drunker than I've ever been in my life and Dillinger Escape Plan's "Farewell Mona Lisa" was on, I'd probably do this:
(with a little more air guitar though).
April 8, 2012
30 Day Music Challenge: Day 8 - A Song You Know All the Words To
"The McDonalds Menu Song"
I remember this song came as an insert in the Sunday coupon section of the newspaper. It was one of those really flimsy records that could be cheaply mass-produced but actually worked on a record player. I remember listening to it a million times, imagining that if I knew all the words, I would have a chance at winning the million dollar tie-in contest. Eventually, I transferred the recording over to a tape (and for some reason, also recorded a high speed version) and listened to it over and over again until I had the lyrics committed to memory.
I don't know the words to most songs I listen to, even my most favorite, but today is the first time I've listened to "The McDonalds Menu Song" since 1989 and I'm proud to say I still know every single word. And I'm still waiting for the million.
I remember this song came as an insert in the Sunday coupon section of the newspaper. It was one of those really flimsy records that could be cheaply mass-produced but actually worked on a record player. I remember listening to it a million times, imagining that if I knew all the words, I would have a chance at winning the million dollar tie-in contest. Eventually, I transferred the recording over to a tape (and for some reason, also recorded a high speed version) and listened to it over and over again until I had the lyrics committed to memory.
I don't know the words to most songs I listen to, even my most favorite, but today is the first time I've listened to "The McDonalds Menu Song" since 1989 and I'm proud to say I still know every single word. And I'm still waiting for the million.
April 7, 2012
30 Day Music Challenge: Day 7 - A Song That Reminds You of a Certain Event
Every Time I Die - "The Logic of Crocodiles"
In August 2001, I went to Ozzfest at the Arts Center in NJ. Black Sabbath headlined and was playing a pretty awesome set. Knowing the end was coming when they went into "Paranoid" though, me and buddy Jim decided to take off before everyone else dashed for the parking lot.
It was the last show of the US Tour, so on the way out, all the vendors were unloading everything they could. Dudes were standing on top of trailers throwing out CDs and posters and other promo materials by the handfuls to everyone walking by. We stopped for a minute and caught some discs.
When I got home, I listened to one labeled Ferret Music Sampler. Some of the tracks were pretty cool and had the chaotic Dillinger Escape Plan kinda vibe I was into. There was one track though that I instantly fell in love with--"The Logic of Crocodiles" by Every Time I Die. It was listed as an "unmastered" version, but it was exactly what I wanted to hear.
I went to their website and bought the album, and soon saw them live. They're still one of my favorite bands and it all happened because I was in the right spot at the right time and randomly caught a CD flying through the air. Thanks Ozzy!
In August 2001, I went to Ozzfest at the Arts Center in NJ. Black Sabbath headlined and was playing a pretty awesome set. Knowing the end was coming when they went into "Paranoid" though, me and buddy Jim decided to take off before everyone else dashed for the parking lot.
It was the last show of the US Tour, so on the way out, all the vendors were unloading everything they could. Dudes were standing on top of trailers throwing out CDs and posters and other promo materials by the handfuls to everyone walking by. We stopped for a minute and caught some discs.
When I got home, I listened to one labeled Ferret Music Sampler. Some of the tracks were pretty cool and had the chaotic Dillinger Escape Plan kinda vibe I was into. There was one track though that I instantly fell in love with--"The Logic of Crocodiles" by Every Time I Die. It was listed as an "unmastered" version, but it was exactly what I wanted to hear.
I went to their website and bought the album, and soon saw them live. They're still one of my favorite bands and it all happened because I was in the right spot at the right time and randomly caught a CD flying through the air. Thanks Ozzy!
April 6, 2012
30 Day Music Challenge: Day 6 - A Song That Reminds You of Somewhere
Jonah Matranga - "Not About a Girl or a Place"
Technically, this shouldn't remind me of somewhere. And technically, it doesn't. It reminds me of a reminder of a place, while I'm listening to it, also while telling me that it's not a reminder of a girl or a place (though the lyrics suggest that it is actually about a girl or a place, or possibly both). I don't know anything else specific that "Carolina" could refer to, unless it's about a basketball team, or a puppy, or a restaurant, or maybe a guitar or a car. I don't know. Or care.
What was I talking about?
Technically, this shouldn't remind me of somewhere. And technically, it doesn't. It reminds me of a reminder of a place, while I'm listening to it, also while telling me that it's not a reminder of a girl or a place (though the lyrics suggest that it is actually about a girl or a place, or possibly both). I don't know anything else specific that "Carolina" could refer to, unless it's about a basketball team, or a puppy, or a restaurant, or maybe a guitar or a car. I don't know. Or care.
What was I talking about?
April 5, 2012
April 4, 2012
30 Day Song Challenge: Day 4 - A Song That Makes You Sad
"Making a Cross" from the Desert Sessions 8
Everything about this song is a total bummer--the chords, the lyrics, the delivery. It sounds like a bunch of depressed, hungover dudes got together on a Sunday morning to write a song to make themselves feel better, but ended up commiserating and feeling worse. The instrumentation they chose is pretty sparse for most of the track, and they don't bother tuning up all the way, adding to the pessimism. There's a change towards the end which could have been an opportunity to to brighten up the mood, but instead the percussion and distortion turns into fists that pound the vocalists into submission. They cry tortured melodies until all that's left is a slowly de-tuning guitar, and then it's over.
It's a beautiful song, but I never feel any better after listening to it. I have to mentally and emotionally prepare myself to listen, otherwise it's just masochistic. Particularly tough to watch is the live version performed at the Celebration concert after Natasha Shneider passed away. I don't know how Alain Johannes gets through the song. "It's never been easy."
Honorable mentions: John Frusciante "I Will Always Be Beat Down," Dave Grohl "Friend of a Friend," Eels "It's a Motherfucker"
April 3, 2012
30 Day Music Challenge: Day 3 - A Song That Makes You Happy
Hella - "1-800 GHOST DANCE"
Whenever I hear the opening section of this song, I feel like I've just jumped off a diving board into space and stars are corkscrewing around my head. The other sections of the song are more jagged and complex, and they make me smile and think about how nice the world is with quirky, complicated music like Hella, Don Caballero, and Dillinger Escape Plan in it. I'd blissfully shit my own pants if I could play like these guys.
Whenever I hear the opening section of this song, I feel like I've just jumped off a diving board into space and stars are corkscrewing around my head. The other sections of the song are more jagged and complex, and they make me smile and think about how nice the world is with quirky, complicated music like Hella, Don Caballero, and Dillinger Escape Plan in it. I'd blissfully shit my own pants if I could play like these guys.
April 2, 2012
30 Day Music Challenge: Day 2 - Least Favorite Song
Here are some long songs that I love:
The Wipers - "Youth of America"
Tool - "Third Eye"
Jimmy Eat World - "Goodbye Sky Harbor"
Turing Machine - "Bleach It Black"
Don Caballero - "The Peter Criss Jazz"
The Doors - "The End"
Here's one that I hate:
Don McLean - "American Pie"
I obviously don't hate because it's long--I hate it because it's long and boring. Six verses. One chorus repeated at least that many times. And that's it. No bridge, no key change, no major variations. There are some dynamics--slow beginning, fast middle, slow--but not nearly enough for a 9-minute opus. Even Weird Al couldn't bare to parody the full length of the song.
The lyrics are coyly cryptic in order to distract from their simplicity, and McLean refuses to spill the beans on who his characters correspond to in real life. And that's fine--I liked "Hey Man, Nice Shot" when it was still a mystery (and afterwards as well)--but "American Pie" is clearly not about anything too obscure in the first place. It pretty much just reviews 15 years of rock-related tragedy, like "We Didn't Start the Fire" but with the names changed.
At least Billy Joel got angry enough to throw over a table and say "I can't take this anymore." McLean just strums simple chords, sings easy rhymes, and repeats the chorus ad nauseum. Sometimes McLean nearly sounds sad, but most of the time it feels like he's on autopilot. Maybe the point is supposed to be that he's desensitized, but who wants to hear that for 9 minutes? The events that he's covering are certainly worth deep reflection, but lumping them all together lessens the impact, to me at least.
I get annoyed at the shorthand that is often used to explain the 50s changing to the 60s/70s. Over the media portrays it as one day it was Leave it to Beaver, and the next it was assassinations, hippies, the moon, and war. It seems so oversimplified. Likewise, with rock history, one day it was Elvis and Buddy Holly, then suddenly it was Bob Dylan, the Beatles, and Janis Joplin. Is it all because of the plane crash? I don't think so.
Anyway, and I can't believe I'm even saying this, "Abraham, Martin, and John" is a more digestible and interesting song. I'm not saying it's enjoyable, but at least the melodrama seems appropriate and focused, and most importantly, it doesn't overstay its welcome. Writing this has forced me to read and analyze the lyrics to "American Pie" more than I had ever done before, and I will at least credit McLean's ambition and wordplay (something I wasn't prepared to do at the start of this entry), but I still just can't past the length and lack of dynamics. Maybe if Black Sabbath had written it, I'd give "American Pie" a chance.
The Wipers - "Youth of America"
Tool - "Third Eye"
Jimmy Eat World - "Goodbye Sky Harbor"
Turing Machine - "Bleach It Black"
Don Caballero - "The Peter Criss Jazz"
The Doors - "The End"
Here's one that I hate:
Don McLean - "American Pie"
I obviously don't hate because it's long--I hate it because it's long and boring. Six verses. One chorus repeated at least that many times. And that's it. No bridge, no key change, no major variations. There are some dynamics--slow beginning, fast middle, slow--but not nearly enough for a 9-minute opus. Even Weird Al couldn't bare to parody the full length of the song.
The lyrics are coyly cryptic in order to distract from their simplicity, and McLean refuses to spill the beans on who his characters correspond to in real life. And that's fine--I liked "Hey Man, Nice Shot" when it was still a mystery (and afterwards as well)--but "American Pie" is clearly not about anything too obscure in the first place. It pretty much just reviews 15 years of rock-related tragedy, like "We Didn't Start the Fire" but with the names changed.
At least Billy Joel got angry enough to throw over a table and say "I can't take this anymore." McLean just strums simple chords, sings easy rhymes, and repeats the chorus ad nauseum. Sometimes McLean nearly sounds sad, but most of the time it feels like he's on autopilot. Maybe the point is supposed to be that he's desensitized, but who wants to hear that for 9 minutes? The events that he's covering are certainly worth deep reflection, but lumping them all together lessens the impact, to me at least.
I get annoyed at the shorthand that is often used to explain the 50s changing to the 60s/70s. Over the media portrays it as one day it was Leave it to Beaver, and the next it was assassinations, hippies, the moon, and war. It seems so oversimplified. Likewise, with rock history, one day it was Elvis and Buddy Holly, then suddenly it was Bob Dylan, the Beatles, and Janis Joplin. Is it all because of the plane crash? I don't think so.
Anyway, and I can't believe I'm even saying this, "Abraham, Martin, and John" is a more digestible and interesting song. I'm not saying it's enjoyable, but at least the melodrama seems appropriate and focused, and most importantly, it doesn't overstay its welcome. Writing this has forced me to read and analyze the lyrics to "American Pie" more than I had ever done before, and I will at least credit McLean's ambition and wordplay (something I wasn't prepared to do at the start of this entry), but I still just can't past the length and lack of dynamics. Maybe if Black Sabbath had written it, I'd give "American Pie" a chance.
March 27, 2012
March 23, 2012
Shameless Blog Theft
I feel douchey basing a blog entry of my own off of someone else's but since I don't post enough these days, here we are. I clicked a link on my Facebook feed this morning that lead me to Pophangover's "10 Things That Scared The Crap Out Of Us As Children." There are some good entries on there, but I wanted to respond and expand a bit.
1. Unsolved Mysteries did not scare me...
...Maury Povich did. The channel changed after Final Jeopardy and that smokey A Current Affair triangle logo and sound effect would blast at the screen. It signaled to me that sensational stories of real-life brutality were about to follow and if I didn't want to have nightmares of Robert Chambers strangling a doll in grainy slow-motion footage, I'd better leave the room.
2. The Nothing from The Neverending Story did not scare me...
...Wolfen did. And not even the wolves themselves--it was the "wolf-vision" that got me, similar to the heat-vision effect that Predator later used. The low-to-the-ground camera POV is really disorienting and you can't help but feel party to the impending slaughter.
3. The Library Ghost from Ghostbusters did not scare me...
...OK, yeah she did. Ghostbusters is my favorite movie of all time and when I first saw it in the theaters in 1984, my eyes were covered by the time they tried to "get her."
4. Tales From the Crypt did not scare me...
...Tales from the Darkside did. By the time Tales From the Crypt aired on HBO, I was ready to accept the art of horror--its suspense, plot twists, and dark humor. More importantly, I was finally over the trauma of catching the "Inside the Closet" episode of Tales from the Darkside years earlier. It seems so corny in retrospect, but as a child, I had a trapdoor in my closet and I was convinced that thing lived in there.
5. The Skeksis from The Dark Crystal did not scare me...
...Fizzgig did. When it was first introduced jumping out of its little cave displaying its multiple rows of a teeth, I freaked out. It's was like a Muppet Jaws. I've never been able to convince anyone else that Fizzgig is scary, and the clips of it being harmless and cute doesn't really help my case. I swear, terror lies behind its foam teeth and fake fur.
6. "Thriller" did not scare me...
"In the Air Tonight" did. This barebones video with its simple special effects and dramatically lit stares of Phil Collins is extremely creepy, and the vague and mysterious lyrics leave so much to the imagination. The vocoder-laden "Well I remember..." that starts the second verse still makes the hair on my neck stand up.
7. IT didn't scare me...
...Hair did. Specifically, the song "Age of Aquarius." When I was fairly young, I caught a documentary about the 60s. When they got to talking about the Manson Family murders, that song was playing. They held a shot of a sinister summer moon, then broke for commercial. I'm pretty sure I didn't wait for the show to come back. To me, "Age of Aquarius" is forever linked to dirty long-haired psychopaths and the death of innocence in the United States.
8. Large Marge dying didn't scare me...
... E.T. and Elliot dying did. They were both so pale and sickly at this point, it was shocking. I don't think I had ever seen a child dying depicted onscreen before this moment. And Elliot had long underwear--I had long underwear. Does that mean I could die? Speaking of Spielberg...
9. Poltergeist didn't scare me...*
...Poltergeist 2 did. The character Reverend Kane was horrifying, and I was convinced he lurked in every shadow looking for me. It didn't help that Poltergeist 2 was rated PG-13 and was on HBO during the day ALL THE TIME. Just hearing a few notes of "God is in his Holy Temple" or catching a glimpse of his black hat scared the shit out of me. At the time I was not aware the actor playing Kane, Julian Beck, died during production of the film. Had I known that, I may not have constantly feared running into him.
* Technically, I was so scared by the idea of the original Poltergeist that I never even attempted to watch it until I was big enough not to fit inside a TV. Also, the way my dad described scenes ("The wall turns into a giant vagina") was traumatizing on multiple levels.
10. Nickelodeon's Are You Afraid of the Dark? didn't scare me...
...Chocky did. This British television show aired occasionally on Nickelodeon in the late-80s. I didn't know what to make of the program, but I knew I should fear it. The intro alone combines so many elements of previous listed scare tactics--foreboding music, floating faces, weird camera filter effects, even a creepy pyramid! And apparently, Steven Spielberg owns the rights to it now. Psychological drama for children is a rarely-tapped genre, and I think Nick brave to air the show to an American audience. If only I were as brave...
BONUS:
From the final segment of Twilight Zone: The Movie, "Terror at 20,000 Feet." This is the reason why I require a view of the wing when I fly:
1. Unsolved Mysteries did not scare me...
...Maury Povich did. The channel changed after Final Jeopardy and that smokey A Current Affair triangle logo and sound effect would blast at the screen. It signaled to me that sensational stories of real-life brutality were about to follow and if I didn't want to have nightmares of Robert Chambers strangling a doll in grainy slow-motion footage, I'd better leave the room.
2. The Nothing from The Neverending Story did not scare me...
...Wolfen did. And not even the wolves themselves--it was the "wolf-vision" that got me, similar to the heat-vision effect that Predator later used. The low-to-the-ground camera POV is really disorienting and you can't help but feel party to the impending slaughter.
3. The Library Ghost from Ghostbusters did not scare me...
...OK, yeah she did. Ghostbusters is my favorite movie of all time and when I first saw it in the theaters in 1984, my eyes were covered by the time they tried to "get her."
4. Tales From the Crypt did not scare me...
...Tales from the Darkside did. By the time Tales From the Crypt aired on HBO, I was ready to accept the art of horror--its suspense, plot twists, and dark humor. More importantly, I was finally over the trauma of catching the "Inside the Closet" episode of Tales from the Darkside years earlier. It seems so corny in retrospect, but as a child, I had a trapdoor in my closet and I was convinced that thing lived in there.
5. The Skeksis from The Dark Crystal did not scare me...
...Fizzgig did. When it was first introduced jumping out of its little cave displaying its multiple rows of a teeth, I freaked out. It's was like a Muppet Jaws. I've never been able to convince anyone else that Fizzgig is scary, and the clips of it being harmless and cute doesn't really help my case. I swear, terror lies behind its foam teeth and fake fur.
6. "Thriller" did not scare me...
"In the Air Tonight" did. This barebones video with its simple special effects and dramatically lit stares of Phil Collins is extremely creepy, and the vague and mysterious lyrics leave so much to the imagination. The vocoder-laden "Well I remember..." that starts the second verse still makes the hair on my neck stand up.
7. IT didn't scare me...
...Hair did. Specifically, the song "Age of Aquarius." When I was fairly young, I caught a documentary about the 60s. When they got to talking about the Manson Family murders, that song was playing. They held a shot of a sinister summer moon, then broke for commercial. I'm pretty sure I didn't wait for the show to come back. To me, "Age of Aquarius" is forever linked to dirty long-haired psychopaths and the death of innocence in the United States.
8. Large Marge dying didn't scare me...
... E.T. and Elliot dying did. They were both so pale and sickly at this point, it was shocking. I don't think I had ever seen a child dying depicted onscreen before this moment. And Elliot had long underwear--I had long underwear. Does that mean I could die? Speaking of Spielberg...
9. Poltergeist didn't scare me...*
...Poltergeist 2 did. The character Reverend Kane was horrifying, and I was convinced he lurked in every shadow looking for me. It didn't help that Poltergeist 2 was rated PG-13 and was on HBO during the day ALL THE TIME. Just hearing a few notes of "God is in his Holy Temple" or catching a glimpse of his black hat scared the shit out of me. At the time I was not aware the actor playing Kane, Julian Beck, died during production of the film. Had I known that, I may not have constantly feared running into him.
* Technically, I was so scared by the idea of the original Poltergeist that I never even attempted to watch it until I was big enough not to fit inside a TV. Also, the way my dad described scenes ("The wall turns into a giant vagina") was traumatizing on multiple levels.
10. Nickelodeon's Are You Afraid of the Dark? didn't scare me...
...Chocky did. This British television show aired occasionally on Nickelodeon in the late-80s. I didn't know what to make of the program, but I knew I should fear it. The intro alone combines so many elements of previous listed scare tactics--foreboding music, floating faces, weird camera filter effects, even a creepy pyramid! And apparently, Steven Spielberg owns the rights to it now. Psychological drama for children is a rarely-tapped genre, and I think Nick brave to air the show to an American audience. If only I were as brave...
BONUS:
From the final segment of Twilight Zone: The Movie, "Terror at 20,000 Feet." This is the reason why I require a view of the wing when I fly:
March 4, 2012
KFC 3!d tOd
Just caught the new KFC Chicken Pot Pie commercial...
Is it me or does "STUD" look like "PMS" when it's upside-down?
Is it me or does "STUD" look like "PMS" when it's upside-down?
March 2, 2012
RPM 2012
Wow... February 2012 was the first month I didn't post a single blog. Fortunately, Teh_Beauty came out of hibernation and saved the planet! I was pretty busy all month with this year's entry in the Record Production Month Challenge, my third time participating. I put up some YouTube videos in the early stages of songwriting, but never got around to discussing the process here. Sorry! The record's all done now, so it's too late to turn back time.
To make up for my neglect, I have decided to post all of the lyrics for the album right here, right now. I don't know if that's really a fair trade, but it kills two birds with one rock and roll. If you're interested in the album, it's a free download called After All The Worrying. Donate if you want. Here are the lyrics:
1. ANOTHER BLOWOUT ENDING
Jupiter, the King of Beers
Nuclear Pepsi Clear
The moon has 4G’s and is made of processed cheese
Jupiter, the King of Beers
Nuclear Pepsi Clear
The moon has 4G’s and is made of processed cheese
All the ink dripped on the page spelled liquid rage
And the writing on the wall fueled the flame
The advancing age of space taking aim
Another blowout-ending game
And the writing on the wall fueled the flame
The advancing age of space taking aim
Another blowout-ending game
Fig Newtons' anti-matter
Enterprising deals from Shatner
At the bottom of the black hole, Spaghettios
Enterprising deals from Shatner
At the bottom of the black hole, Spaghettios
Sold. Virgo Coke. Cold Pluto Cheerios.
Gold gogo in Vitro. Go.
Gold gogo in Vitro. Go.
All the crumbs dropped on the page--edible rage
And the writing on the wall fed the flame
The advancing age of space taking aim
Another blowout-ending game today
And the writing on the wall fed the flame
The advancing age of space taking aim
Another blowout-ending game today
Hooray! Obey? OK!
2. FUCKING BIRDS
The early bird got up at six, just before sunrise, shut off the alarm clock and
2. FUCKING BIRDS
The early bird got up at six, just before sunrise, shut off the alarm clock and
Went out to catch a big worm and cooked it with the Foreman Grill, watching
her cholesterol
The other bird chilled out and snoozed for a while despite the
College kids yammering, construction crews hammering
He’ll get a can of worms later from the vending machine at work
The other bird chilled out and snoozed for a while despite the
College kids yammering, construction crews hammering
He’ll get a can of worms later from the vending machine at work
or the gym
or the bar
at the lanes
Not the gas station
No, probably not, uh-uh
Well, they’re five cents cheaper so maybe it’s worth it
No, almost forgot...
Not the gas station
No, probably not, uh-uh
Well, they’re five cents cheaper so maybe it’s worth it
No, almost forgot...
The last time the damn can
had expired and they wouldn’t
pay him back
Unless he filled out a long form
After all the worrying, the day went off without a hitch, nothing unusual
Most worms got eaten up, the rest went in Tupperware, and put into the fridge
3 days 'til vacation so they’ll have to eat it soon
the dishes are done, and the local team won
the lights are going out, now the birds are gonna fuck
3. SPIDERNANNY
This baby doesn’t like your face too much
Most worms got eaten up, the rest went in Tupperware, and put into the fridge
3 days 'til vacation so they’ll have to eat it soon
the dishes are done, and the local team won
the lights are going out, now the birds are gonna fuck
3. SPIDERNANNY
This baby doesn’t like your face too much
umbilical cord gonna tie you up
swinging from the end of your French braid
then choking you ‘til you can’t relate
swinging from the end of your French braid
then choking you ‘til you can’t relate
No sitting in the corner just to wait around
there's pictures of eyeballs in need of scratching out
practicing for the pee pee dance
and spiking the punch with my underpants
there's pictures of eyeballs in need of scratching out
practicing for the pee pee dance
and spiking the punch with my underpants
Go, Spidernanny, go!
No, Spidernanny, no!
Suckle nipple belt buckles then beat the milk out of my ass
Come and climb diaper mountain with me
I swear it’s easy as on TV
When we get to the top I’ll give you a kiss,
With some shit in my grin and snot on my lips
I swear it’s easy as on TV
When we get to the top I’ll give you a kiss,
With some shit in my grin and snot on my lips
Cockeyed liver dick shriveled mistress. Son of a bitch.
4. A.S.S. PARADE
Johnny thanked God that Friday was over
4. A.S.S. PARADE
Johnny thanked God that Friday was over
2AM and still somehow sober
Cabs and cans discarded in the street
Darkened sky but glitter on concrete
A.S.S. Parade... start it up every other day
A.S.S. Parade... you’ve got to wait to walk away
You moved it then. Move it again.
Cabs and cans discarded in the street
Darkened sky but glitter on concrete
A.S.S. Parade... start it up every other day
A.S.S. Parade... you’ve got to wait to walk away
You moved it then. Move it again.
Cut your teeth on the city’s curbjob
Save your change and argue with space hogs
Man in the mirror shuffling the sheep
Leg of lamb that Johnny just can’t sweep
Save your change and argue with space hogs
Man in the mirror shuffling the sheep
Leg of lamb that Johnny just can’t sweep
Y.O.U. gotta move it for the
A.S.S. Parade, now move it, baby
A is for Alternate, S is for some other shit
Sometimes it’s the Side that’s best, sometimes you slide in what’s left
I guess the other letter makes the lyrics better but
instead of one in governmental records
I choose something less akin to Chinese checkers
bouncing back and forth like the balls of Boris Becker
A racket indeed, yeah, even free parking feeds greed
Sometimes it’s the Side that’s best, sometimes you slide in what’s left
I guess the other letter makes the lyrics better but
instead of one in governmental records
I choose something less akin to Chinese checkers
bouncing back and forth like the balls of Boris Becker
A racket indeed, yeah, even free parking feeds greed
No sleep ‘til sweeping...
5. RICK + DEBORAH
He should be King Asshole
5. RICK + DEBORAH
He should be King Asshole
She’s so flexible
Older than they look carrying school books home
Clear plastic phones, promise ring, touch tone, hot pink hormones
Dialing…
Rick plus Deborah
Older than they look carrying school books home
Clear plastic phones, promise ring, touch tone, hot pink hormones
Dialing…
Rick plus Deborah
Love forever
Stayed together through high school
April Fools
[URGENT MESSAGE FOR TONI]
Stayed together through high school
April Fools
[URGENT MESSAGE FOR TONI]
They would be Class Couple
Indestructible kisses on the cheek
Tearful horror weekends and cameramen
Over-privileged friends inside instead
Bridges they fall and transcend
6. YUMMY MOMMY
Meat deceased won’t season their Caesar
Tearful horror weekends and cameramen
Over-privileged friends inside instead
Bridges they fall and transcend
6. YUMMY MOMMY
Meat deceased won’t season their Caesar
The plant in the audience
is a real crowd pleaser
Instant fun, an infamous fable
The message for son: "There’s a mess left on the table."
Yummy Mommy good
Mmm... my tummy’s full
Fold rice paper food
Origami Umami
Instant fun, an infamous fable
The message for son: "There’s a mess left on the table."
Yummy Mommy good
Mmm... my tummy’s full
Fold rice paper food
Origami Umami
Goblins give chase to the human racers
Opposable thumbs hold disposable razors
The roughest shit, roughage-richened
Fast for son, feast in the kitchen
Opposable thumbs hold disposable razors
The roughest shit, roughage-richened
Fast for son, feast in the kitchen
Yummy Mommy good
Mmm... my belly’s full
Mold rice paper moon
Origami Umami
A phantom hawk sees fancy tomahawks
A fantasy for fans of the quick brown fox
Fox fucks folks--no film at eleven.
Stuffed fruit tart, handcuffed esposa
Die hard hearts lie on soft sofas
Tough on grease, tougher on Greasers
The next song you hear will be called "Heaters"
7. THEME SONG FROM "HEATERS"
Your fiancée called up and asked to keep an eye on you,
So we rented a van and a non-union camera crew to find out what you do.
After a week of watching, we got you where we want you today
So don’t pretend to be shocked when we confront you to say:
"Don’t leave the heater on ‘cause heaters get hot."
8. BRUCE LEE VING
I threw my guitar into the trunk
Pissed off ‘cause tonight’s show stunk
Just your average holiday disaster
No longer one inch punch drunk
on power chords for fickle punks
I stopped at a bar and there appeared the Master
Bruce Lee, Lee Ving -- Fists of beer and fury
We’ll beat The Big Boss’s beef baloney
Bruce Lee, Lee Ving -- Fists of beer and fury
We love living and death in the city
Qi for cheating, Jeet Kune G-String
Green Tea bagging, Fear my Little Dragon
I threw my ass back on the stage
Burned the rule book page by page
Took my shots and damn, they went down faster
Stared into the lights and gave a quick wave
For Martial farts from that mystical sage
Fuck Christmas to all and thank you Bruce, you bastard
9. CLIENT 9 FROM OUTER SPACE
Revolution less than nine
Politicians scramble to cosign your throne
Default loans. You fought Gods on the ledge...
Hello Client 9 from up there in outer space.
We'll see you out sometime but I bet it'll be another bad, no good fucking place
One dumb look, another dead and gone.
Et cetera...
The debutantes wear his white dress while the wife drowns.
10. STEPHEN HAWKING'S "THE STAND"
Could you sit still when the cloud went by?
Would you sit back and watch them all die?
Mama, there’s no heaven so I’ll do everything that I can.
Time’s not standing still, so I’m standing up
Time’s not standing still, so I’m standing tall
Didn’t you run when they looked to you for help?
Why not search the universe inside yourself?
Mama, there’s no prophecy so I’ll do it the way I want to.
What is good? What is evil?
Not praise. Not sin.
The war, the people
Science will win.
Bring out your dead.
All your ideas are dead.
Hands of God hide façade.
Mmm... my belly’s full
Mold rice paper moon
Origami Umami
A phantom hawk sees fancy tomahawks
A fantasy for fans of the quick brown fox
Fox fucks folks--no film at eleven.
Stuffed fruit tart, handcuffed esposa
Die hard hearts lie on soft sofas
Tough on grease, tougher on Greasers
The next song you hear will be called "Heaters"
7. THEME SONG FROM "HEATERS"
Your fiancée called up and asked to keep an eye on you,
So we rented a van and a non-union camera crew to find out what you do.
After a week of watching, we got you where we want you today
So don’t pretend to be shocked when we confront you to say:
"Don’t leave the heater on ‘cause heaters get hot."
8. BRUCE LEE VING
I threw my guitar into the trunk
Pissed off ‘cause tonight’s show stunk
Just your average holiday disaster
No longer one inch punch drunk
on power chords for fickle punks
I stopped at a bar and there appeared the Master
Bruce Lee, Lee Ving -- Fists of beer and fury
We’ll beat The Big Boss’s beef baloney
Bruce Lee, Lee Ving -- Fists of beer and fury
We love living and death in the city
Qi for cheating, Jeet Kune G-String
Green Tea bagging, Fear my Little Dragon
I threw my ass back on the stage
Burned the rule book page by page
Took my shots and damn, they went down faster
Stared into the lights and gave a quick wave
For Martial farts from that mystical sage
Fuck Christmas to all and thank you Bruce, you bastard
9. CLIENT 9 FROM OUTER SPACE
Revolution less than nine
Politicians scramble to cosign your throne
Default loans. You fought Gods on the ledge...
Hello Client 9 from up there in outer space.
We'll see you out sometime but I bet it'll be another bad, no good fucking place
One dumb look, another dead and gone.
Et cetera...
The debutantes wear his white dress while the wife drowns.
10. STEPHEN HAWKING'S "THE STAND"
Could you sit still when the cloud went by?
Would you sit back and watch them all die?
Mama, there’s no heaven so I’ll do everything that I can.
Time’s not standing still, so I’m standing up
Time’s not standing still, so I’m standing tall
Didn’t you run when they looked to you for help?
Why not search the universe inside yourself?
Mama, there’s no prophecy so I’ll do it the way I want to.
What is good? What is evil?
Not praise. Not sin.
The war, the people
Science will win.
Bring out your dead.
All your ideas are dead.
Hands of God hide façade.
(all lyrics reprinted with permission of myself ©2012)
Subscribe to:
Posts (Atom)
