Niceman: “90% of what I see posted on this board these days is "I wish they hadn't put SUC, GOYB, and IGCIIDGCT on NLOTH because they ruined the flow of the album." It's repeated over and over and passes for a new thought each time.
I respectfully disagree. An album is not meant to have only one sound. An album is meant to be made up of more than one act. Consider, for just a moment, that these three songs actually do belong on the album, that they are a part of the journey. Their sound is not homogenous with UC and MOS, but do they have to be to belong on the same album? Yes, the middle act is jarring. It is different than acts one and three which seem to have much more in common with one another, but does that mean that it doesn't belong? I'm not sure that the apparently consensus opinion on this is as sound as you all seem to think.
"Album" has never meant: "The songs all sound alike" or even "Are cut from the same cloth."
Now, those of you who happen to be unfortunate enough to simply not LIKE SUC. That's up to you. But it does not follow that that means the song didn't belong there. The lyrics constantly reference the themes of the album. (Maybe more than any other song on the album!) It isn't tacked on. It's all about lines (on the horizon?)
"I've got to stand up"
"The wire is stretched inbetween our two towers"
"Stop helping God across the road..."
"Out from under your beds"
"Like a small child crossing an eight lane highway on a voyage of discovery."
"Napolean is in high heals."
"Small men with big ideas."
"Stand up for your love."
"Stand up and sit down for your love."
It's all up and down and back and forth. Sorry, but Stand Up Comedy is at the heart of this album and belonged on it!
Yes, in the middle of a more mellow and silver album, they make what feels like a left turn into a more "pop" and red place. But I don't think this is as haphazard or sloppy as most of you apparently do"
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Okay, Niceman, you got me thinking about the infamous “middle three” songs. I’ve always been in the camp which has not cared for them and that they disrupt the mood and the style of the album. Yet, instead of skipping past these middle three songs (or eliminating them altogether our own version of No Line track list), maybe they can have a purpose and place. However, I’d like to propose that they not be positioned as the “jarring” middle act but rather I think that they may work as part of the final and third act.
The beginning part of the first act could be about establishing the central character’s personal downward spiral and marital breakdown. An introduction to the background which has led to this person’s descent into darkness (drugs, alcohol, infidelity, etc.) Songs = No Line, Fast Cars, and Disappearing Act. The second half of this first act could detail this character suffering from PTSD (post traumatic stress disorder). The flashbacks of when he was soldier himself. The depression which is overwhelming him as he now travels a war correspondent. Songs = Winter, White As Snow, and Cedars Of Lebanon
The middle act could present his experience of an epiphany, a life changing transformation, a new birth. Songs = Moment Of Surrender, Unknown Caller, and Fez / Being Born.
The third act could describe his homecoming. He returns to his family as someone committed to being “clean and sober.” He reconciles with his wife. He enters therapy for healing from PTSD. He leaves his job as a war correspondent and starts a new career. His life is filled with love and joy. He sees his life as beautiful and worth living to its fullest and truest. The third act is one of celebration. Songs = Magnificent, Crazy Tonight, Get On Your Boots, Stand Up, Breathe, and Window In The Skies
1. No Line
2. Fast Cars (Jacknife Lee Version)
3. Disappearing Act
4. Winter
5. White As Snow
6. Cedars Of Lebanon
7. Moment Of Surrender
8. Unknown Caller
9. Fez / Being Born
10. Magnificent
11. Crazy Tonight
12. Get On Your Boots
13. Stand Up
14. Breathe
15. Window In The Skies