LMP
Blue Crack Supplier
"Wake Up Dead Man," "Last Night on Earth," "Velvet Dress...", and "Staring at the Sun."
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I heard MOS on the radio Thursday morning. The chorus drives me nuts. Lanois has sucked any life out of it with his stupid slow "harmonies" or whatever.
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Wow. I disagree on all of those - especially LNOE and SATS.
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I heard MOS on the radio Thursday morning. The chorus drives me nuts. Lanois has sucked any life out of it with his stupid slow "harmonies" or whatever.
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correct.
Fixed.
I think Lanois likes slow, boring music and he's inflicted it on more than one NNOTH song.
Cocks of the Disappeared
Midnight, and Lance's mother
In cut offs and old halter tops
Walks the dark streets
She walks the dark streets
In the dark she sees their headlights
In autos making her wage
Walks the dark streets
She walks the dark streets
Heels clang, an entrepreneur
Spread legs and cheap tattoos
Walks the dark streets
She walks the dark streets
In their cars her tricks sit naked
Works the balls till they're spent and dried
Hear her moans like a siren's call
Ooh...
Unpopular opinion of the day: I just listened to POP for the first time in a very long while and I was reminded that it is every bit as good as OK Computer.
Pop's good studio takes: Do You Feel Loved, Mofo*, Staring at the Sun, Last Night on Earth, Wake Up Dead Man. (5)
Interesting, but absolute messes on the album: Discotheque*, Gone*, Miami*, If You Wear That Velvet Dress, Please*. (5)
Ugh: If God Will Send His Angels, The Playboy Mansion.
IMO.
* - This version has its ass kicked by its live version so much that it took me a while to judge it properly.
I'm not a fan of IGWSHA typically, but it sounded amazing on the new system I put in my car. And playboy mansion is one of my favorite in the U2verse. True.
The single mix of If God... is fantastic stuff. The album version meanders and hits its peak about halfway through. I absolutely love the outro to the single mix.
Wake Up Dead Man isn't really involved in the consumer thing, although the "tape recorder" line gives it enough of a connection.
SATS definitely is. "Afraid of what you'd find if you take a look inside." I see it.
I agree, but I really don't like what he's done to the chorus of both MOS and COL. Both of those take away from the song for me.Slow is fine, boring is not.
Without a doubt. The only track that's an absolutely lyrical abortion for me is "Unknown Caller," and while there are spotty lines to be found in most of the songs, they aren't that distracting or terrible.
Also, I didn't think that "No Line..." Hybrid mix would work, but it's so fucking awesome that I can't see myself listening to either official version again.
Besides Please, which songs don't you feel fit the theme of critiquing a consumerist society?
You don't even like the verses in Unknown Partner?
And I'm digging the hybrid version, love the way the choruses from both versions are put together. And the last verse has that rumbling Claycourt bass that's missed on the album version. Having both intros play consecutively was kind of cool, too.
Whoever did it needs to go back and make a high quality version; I'm not putting some 15 meg track on my playlist or a CD-R.
I don't see that as the real theme, to me it's more general, about an overall loss of faith, no?
They're decent enough, but I end up switching tracks by the time the chanting kicks in.
Definitely. That little driving guitar in the Alternate Version is a welcome addition underneath the heavier stuff, too.
I disagree with a lot of this post. Staring at the Cock is definitely missing something (though I like the "middle-eight"), I think Discocock was PERFECT on the album, and only made worse through subsequent mixes. The live version was cool but I just don't like it as a simple rocker. It's reductive. The version from Squirtigo was cool, unfortunately that dipshit Hedge didn't like it.
Cock (Not Coming Down) should not be touched, EVER. The live versions never did it justice, and I think Hedge's "Cooooooooock" backing vocals are way too overdone. Plus Boner never hit those notes or the falsetto live.
My Racquet was kick ass live, but I think the studio version is this amazing balance of sunny menace, chill but like a coiled snake. It sounds like a drug dealer's theme or something.
I'll give you Cock, Please, but that's it.
That's too bad. I think this is my second fav on the album now. I love that dark little guitar part by Hedge during the second verse. Very ominous.
So did he slow down the alt. version and literally just overlap the two, dropping the levels on one or the other when needed?
I agree, but I really don't like what he's done to the chorus of both MOS and COL. Both of those take away from the song for me.
That's too bad. I think this is my second fav on the album now. I love that dark little guitar part by Hedge during the second verse. Very ominous.
college basketball
Yeah, maybe I'll warm up to it later. That and "White as Snow" are the only tracks I'm not crazy about right now.
He couldn't have, since the vocals would overlap, too. I think he took the guitar bits, then pasted them under, same with the chorus.
I dig that part, too. It's like the U2 version of the riff from Airbag. It's great.
I love everything about that song aside from the intro (too long) and the lyrics during the chanting. The chanting is cool, especially the "oh oh oh oh" parts, but the technology lyrics take away so much from the track. "Password, you enter here" is the worst lyric on the album, and one of his worst ever.
White as Snow is a lyrical accomplishment, but I have a hard getting past it as a track that they stole from O Come O Come Emmanuel, for some reason. It takes away from it, for me. Too many church hymns as a youth. Damn Catholicism.
That doesn't bug me. Dylan's borrowed traditional tunes for ages, is still doing it.
And there's certainly embellishment on Whit as Talcum that's all Shuttlecock, no? Like the little mandolin-sounding break?
Plus, French Horn. That's always cool.
To be fair, I think Boner, Hedge, Beano, and Patois all have writing credit on that one, so they're all to blame.
Good call on Airbag, too.
How can anyone think those lyrics are good?
And while I normally don't like rockers that are tempered with strings (see: half of R.E.M.'s abysmal Reveal), I really like what they did on Serve, especially the middle eastern sounding part right before the guitar solo.
Real fans think every lyric is good.
Someone, somewhere fucked up in thinking that it would be a good idea to put technology references in there.
"Shout for joy ... if you get the chance!" is fine by me, a little too Bono-esque, but the delivery's uniqueness would have overcome that for me. If all the chanting were messages like that, it'd be good.
I got so angry when I was told I "didn't get it" in Musical Journey for saying the lyrics were stupid. Probably angrier than anything else the stupidity of this forum has brought around. How can anyone think those lyrics are good?