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Joined: Tue January 08, 2013 4:22 pm Posts: 1454 Location: Montreal
Anyone mentioned the idea of taking all the "best moments" and turning them into a March Madness thingy where we can determine RM's ultimate PJ moment?
i.e. Black "somebody else's sky" vs. Corduroy bridge vs. GTF "still gives his love" etc.
okay, I remember that. Yeah, it's a cool arrangement, but come on...
There's a much better sounding recording of it on the Bridge School box.
As a standalone, its introspective weariness easily beats the "oh look another shouty Pearl Jam song" approach of the original. But that one at least made for a good studio cut (thanks mostly to the overdubbed acoustic and the decision not to have both electric guitars play through the entire song), and it fit the record better than the bridge school version would have.
okay, I remember that. Yeah, it's a cool arrangement, but come on...
There's a much better sounding recording of it on the Bridge School box.
As a standalone, its introspective weariness easily beats the "oh look another shouty Pearl Jam song" approach of the original. But that one at least made for a good studio cut (thanks mostly to the overdubbed acoustic and the decision not to have both electric guitars play through the entire song), and it fit the record better than the bridge school version would have.
The production on corduroy really is fascinating and fantastic. For a long time it bothered me that as soon as the full band kicks in, that one of the guitars drops out of ear sight. Acoustic gets amped up in the chorus (or whatever we want to call that section). It really adds a completely different dynamic to the recording and amps up the punchy aspects of the song in a much more exciting way than if all the guitars were cranking through the speakers the entire time. The live versions are often muddied because of it.
The 95 live versions are nice due to the extended non mccready solo. I like when they'd slow it down and jam it out.
okay, I remember that. Yeah, it's a cool arrangement, but come on...
There's a much better sounding recording of it on the Bridge School box.
As a standalone, its introspective weariness easily beats the "oh look another shouty Pearl Jam song" approach of the original. But that one at least made for a good studio cut (thanks mostly to the overdubbed acoustic and the decision not to have both electric guitars play through the entire song), and it fit the record better than the bridge school version would have.
The production on corduroy really is fascinating and fantastic. For a long time it bothered me that as soon as the full band kicks in, that one of the guitars drops out of ear sight. Acoustic gets amped up in the chorus (or whatever we want to call that section). It really adds a completely different dynamic to the recording and amps up the punchy aspects of the song in a much more exciting way than if all the guitars were cranking through the speakers the entire time. The live versions are often muddied because of it.
The 95 live versions are nice due to the extended non mccready solo. I like when they'd slow it down and jam it out.
Yeah the slow intro and jam are great. Those 1995 and 1996 versions...
Joined: Wed February 26, 2014 12:08 am Posts: 3085 Location: the afterlife...
The baidu bot and 2 guests are browsing this one WAY back on p. 33...
I don't get it. I created a perfectly good and new Vitalogy anniversary thread, and these three fuckers (who prefer to remain incognito) skip over it and come here.
The baidu bot and 2 guests are browsing this one WAY back on p. 33...
I don't get it. I created a perfectly good and new Vitalogy anniversary thread, and these three fuckers (who prefer to remain incognito) skip over it and come here.
Your thread will probably be merged into this one sometime soon anyway.
_________________
Rangi Guy wrote:
So skating back to the train station after work today things went wrong.....now my skateboard is at the bottom of the harbour
I feel compelled to chime in several months after the fact here to add that I think the Bridge School rearrangement of "Corduroy" is dreadful -- one scrap of evidence among many that Pearl Jam have absolutely no gift whatsoever for rearranging their own songs, consistently settling on melodically awkward, different-for-their-own-sake ecto-morphs that drain the compositions of their structural cohesion and tap into nothing new or compelling on their own terms. Pearl Jam's songs are not like Dylan's or Young's, skeletal frames of chord structures and melodies that can be molded as needed to suit mood or ensemble of musicians; they're meticulously crafted, precise-to-the-note compositions in which arrangement functions as an active part of the songcraft, as dependent on the interlocking mechanisms of their riffs, flourishes, and fills as on their lyrics and chord sequences. PJ's rearrangements -- from the fast "Wash" to the slow "Corduroy" to the '03 "In My Tree" to Ed's solo versions of "Better Man" -- often give off an impression similar to a complicated piece of mechanical engineering whose screws have been loosened to the point that it no longer can function, only create an indistinct whir which merely hints at what it was supposed to do in the first place. In the right hands this could be the template for some sort of deconstructionist art, but Pearl Jam just isn't that kind of band.
Last edited by Kevin Davis on Sun November 23, 2014 3:23 pm, edited 1 time in total.
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