mezzanineview (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
mezzanineview) wrote2008-03-18 07:45 pm
mezzanineview) wrote2008-03-18 07:45 pm
Entry tags:
We must reinvent love
Review of Pretty. Odd. under the cut, in case anyone wanted to avoid my opinions ;-) Spoilers ahoy. Warnings include music geekery, excessive use of the words "chorus" and "love", and lots of Beatles comparisons.
I've been hearing things about this album left and right, despite my hopes that I'd be able to avoid reviews before I got my dirty mitts on it.
It's unoriginal.
They ripped off the Beatles and did it badly. Related, we can confirm that Lennon and Harrison are indeed spinning in their graves.
Just another leap in pretentiousness for a band with already stratospheric levels of regard for itself.
and the like.
Whatever.
This is the most fun I've had listening to an album in...pretty much ever. I feel so ridiculously proud of them, because, yes, they do The Beatles, but the expansion is all their own.
We're So Starving
Somewhat pretentious, but it's adorable, guys. Take it at face value. Join the Beatlemania-esque crowds in the overlayed screams and just have a good time.
[side squee: at the very start, turn the volume all the way up. Someone who I greatly suspect is Ryan Ross calls, "Here we come!" SD;OFIGHVWERN;V HOW SO CUTE?]
Nine in the Afternoon
I never formally gave my opinion on this other than ZOMG AMAZING (but frankly, that's all you need to know), so I figured it was due.
The most Beatles-like song on the album IMO ("OMG STOP MENTIONING THE BEATLES!1!1" Well, tough, because it's obvious that was the largest influence on them and I was raised on The Beatles, so that's where I'm drawing comparisons. Can it.), Panic channels their own version of Penny Lane, complete with trumpets and strings sliding up and down. Guided by a straightforward, on-the-beat tapping on piano and drums, Panic finds their stride early and stick to it. They keep it simple for the most part, with the layering of (probably) scores of tracks not cluttering up and tripping over one another, and the claps at the end are great for audience participation (I know I'll be clapping my ass off).
Yeah, we're feeling so good just the way that we do/when it's nine in the afternoon, and you should too. Happy, bubbly drug references abound; they'd make you-know-who proud.
She's a Handsome Woman
You know, I saw the videos of the live performances of this and I was so sure I'd hate this song because it sounded like a(hot tranny) mess.
Wait, what's the theme of this album again? Proving people wrong? Right then.
Yeah, this song is one of my favorites, because it shows IMO the most growth from Fever. One of the biggest leaps is that they don't feel the need to fill every second of the track with sound. Not noise, not music, not singing, sound. Sharps jabs of guitar and flowing basslines underneath spaced-out (as in it has separation and definition, not SPACED OUT) lyrics, sung to perfection, rounded out by and infectious chorus that's perfect for sing-alongs ("Go on!" might be Panic's "FIVE GOLD RINGS!" :-P)
Nice, leisurely pace, the intro/sections before the flowerchild verses is an overarching call of Gooooo ooooon! while Ryan hacks away at the guitar, giving it a vaguely psychedelic feel, followed by a moment of levity punctuated by guitar once again, then Spencer picks up on drums and Jon fills in on bass, creating a nice groove for Brendon's voice and tasteful piano flourishes.
It may very well be about the paparazzi.
Go on/Grab you hat and fetch a camera/Go on/Film the world before it happens
Sheepish wolf/Looking lived in eating buttons/Wink/Just don't put your teeth on me
but that's as close as I've got for this song, because by and large, the song is more about the tone and the reaction the music evokes from you.
[side squee: huzzah for basslines that aren't drowned out by a whirlwind of postproduction]
Do You Know What I'm Seeing?
One of the songs I was most anxious to hear after they so graciously bestowed the alternate version upon us. I actually like this version better, because where the alt. version was beautiful in its loneliness, this one has more to focus on and balance weight of the song out on.
The added string lines fit in very well with the slide guitar (in the second verse), anchored by the light picks of mandolin (carried over from the other version). New is the tracks of birds sprinkled in various spots, a nod to the line And if the words are just hollow birds...
More power has been put into the strings, namely cellos and basses, in the lines descending into the second part of the chorus (I know it's mad...), driven by light, intuitive application of drums. The mixing going into the that part is fantastically executed. I know it's mad... is set inside a contained echo, like he's already on his way, and the second time around, there's Ryan singing that same lyric, augmented over entire length of Brendon's lines. &Panic;
My favorite reworking of the song is actually the first part of the chorus, with Ryan on backing vocals and the introduction of harmonica--and god, guys. I'm just in love, here. Harmonica.
It may rely on the chorus a little too heavily, as Panic is known to do, but honestly, who cares? Awesome song.
That Green Gentleman
Hi. Hi new favorite Panic song, hihihi. I'm kind of really in love with the lyrics and the way they're sung, but it also has one of the truest lines.
Things are shaping up to be pretty odd/Little deaths in musical beds/So it seems I'm someone I've never met.
This song is so damn catchy. I love the way the pre-chorus sits:
Everybody gets there and everybody gets their way/I never said I missed her when everybody kissed her/Now I'm the only one to blame
It just bounces, you know? The song isn't really great chopped up in little bits stuck under a microscope, but rather as a whole. Also, I was to live inside these lyrics:
I want to go where everyone goes/I want to know what everyone knows/I want to go where everyone feels the same
Oh. Oh. And how much do I love the little uh uh at 1:36? A LOT. Aaaand, I'm quoting the whole damn song, aren't I?
I Have Friends in Holy Spaces
Okay, this is just adorable. The trombone and clarinet tickles me pink because my brother and I play those respective instruments, so I can pretend we're accompanying Brendon XD
Northern Downpour
A nice change in pace, introducing acoustic guitar, vocals, and piano first. I'm actually not a huge fan of the chorus in this one, but overall it's a beautiful song--again, needing to be analyzed as a whole. Bonus points for unexpected!Ryan. Not much to say--it's gorgeous Brendon has really grown as a singer.
When the Day Met the Night
The Penny Lane trumpets and strings make their triumphant return in the soaring chorus. You'd expect this song to get out of control with sappiness quickly, but Panic keeps a handle on it, never letting the song drag in any particular area. The beginning, end, and a section in the middle sound as though they used effects very similar to ones used at the start of The Beatles' Within You, Without You. Best believe this is going to be dominating the airwaves come summertime.
When it comes to Well, he was just hanging around/Then he fell in love/And he didn't know how/But he couldn't get out the tone changes, like he was panicking (forgive the pun) about being in love, but it quickly resolved itself.
Definitely the prettiest song on Pretty. Odd. Guys. Guys I'm running out of good things to say. The rest of this album is pretty much doomed.
Pas de Cheval
Drums a la Get Back carry the country-ish guitars along without complaint. Brendon reaches the familiar range he was perpetually in on Fever, but that's not necessarily a bad thing. This is a light, fun piece that doesn't cut your attention span span short. Not their best, but still good.
EDIT I CAN'T BELIEVE I FORGOT THIS! RYAN ROSS, RESURRECTING THE LOST ART OF THE GUITAR SOLO. MY LOVE, LET ME GIVE YOU IT.
The Piano Knows Something I Don't
The instrumental at the beginning initially had me going WTF?, but I soon got it, tapping my brother on the shoulder and saying, "Oh look, it's the harmonium from Strawberry Fields Forever."
This song is a study in contrast. The beginning and end both make use of the almost falsetto vocals to create a haunting melody, if nonsensical. Then, somehow, the jaunty baritone saxes from Good Morning (Sgt. Peppers) were invited to the party and the song is diagnosed with musical schizophrenia. That in no way means this a bad song (oh hell no), just make sure your sweet and savory taste buds are set next to each other to make the abrupt transition easier ;-)
Behind the Sea
HI RYAN ROSS I LOVE YOU.
Anyways. I'm not very partial to songs where the producers like to distort the singer's voice. Despite that disappointment, I like most of the new additions to it. In the tradition of Sad PATD Songs That Are Inappropriately Happy Sounding, this may be at the top of the list, sporting backing vocals and clapping that suited it to a drunken sing along (IDEK, that's what I thought of first). I don't like how overproduced this track is, but it's still fun to listen to and gorgeous, if you don't have ADD. Also a nice touch was the marching cadence in the second chorus.
To top it all off, another pair of Beatles throwbacks, the hey-la hey-hey-lo-a from Hello, Goodbye and the sound explosion from A Day In The Life.
Now, looking back on this, one might be inclined to think I didn't like it. No, I just like the alternate version better :D But this has them talking to each other in the last section. THEY'RE HAVING FUN, YOU GUYS. AT THE END YOU CAN HEAR RYAN SAY "SO CLOSE". TO WHAT, RYRO? THE WORLD MAY NEVER KNOW.
Folkin Around
HI BRENDON URIE I LOVE YOU TOO.
I despise country. But this is another one of those niche so-cute-your-teeth-may-rot songs, and Brendon wrote it all by his dorky little self, and honestly, if I hadn't seen the video where Ryan was all, "Yeah, I didn't get it, than I realized it was supposed to be this collection of bad cliches" I wouldn't have got it either or liked it as much.
She Had the World
Well, hello there, harpsichord from Fixing A Hole.
This isn't a bad song, per se, but mediocre at best. I just don't know where they were trying to go with this one. There's no way they can recreate this for live performances without losing something, but, eh. Not very into this one. Ryan's section is the best part, just gorgeous, but the rest of it is so blah.
From a Mountain in the Middle of the Cabins
Okay, so did they buy any of their weed from Disney, by any chance? This is almost Alan Menkin fare, with it's liberal oompah tuba and fancy-free piano licks, and oh my god, is that Brendon Boyd Urie whistling? And are those muted trumpets? Euphoniums?!
brb dying really hard.
I. I love this song.
Unreasonably so. The chorus is interestingly darker in tone than the rest of the song, but I don't even know, guys. This is right up my alley. I blame marching band.
Mad as Rabbits
This could totally work for another single, too, just so you know. Another fun, jaunty song, and apparently in addition to hiring Got To Get You Into My Life's baritone saxes (again), they managed to jack Ray Charles' hot keyboard action, too. I love the random shouting in the background, like there's a party going on during recording. I don't know guys, my brain's fried form overexposure to awesome. Again, hi Ryan Ross, thank you for singing.
One complaint I can launch is that where Fever had a direction and propulsion with the tempo of each song, maintaining momentum from tune to tune, Pretty. Odd. lacks such decisiveness. It doesn't seem to have a particular theme other than We Smoked A Lot Of Weed And Listened To Classic Rock. It's nonsensical at best (Don't you remember when I was a bird and you were a map?--what the hell does that mean?!), although I so love the lyrics a whole lot--beautiful imagery, but as a whole product it doesn't connect. Or perhaps I haven't listened to it enough times to really tell. But, you know, an Album Full of Good Songs isn't bad, either.
And the answer is yes, fans will be lost, but the good news is they aren't anyone who'll be missed. People who actually appreciate the music will fill the ranks. The bottom line is Pretty. Odd., unlike Fever, is not dying of cynicism, which makes it a joy to listen to. Shiny. Happy. Boys.
Ladies and gentlemen, Panic at the motherfucking Disco.
Highlights
Besides the whole album? Well. If you want specifics:
Nine in the Afternoon
She's A Handsome Woman
Do You Know What I'm Seeing?
That Green Gentleman
When the Day Met the Night
Behind the Sea
Mad as Rabbits
EDIT the second This has nothing to do with Pretty. Odd., but more to do with how `stupidly awesome and geeky Brendon is. I LOVE THIS KID SO HARD.
I've been hearing things about this album left and right, despite my hopes that I'd be able to avoid reviews before I got my dirty mitts on it.
It's unoriginal.
They ripped off the Beatles and did it badly. Related, we can confirm that Lennon and Harrison are indeed spinning in their graves.
Just another leap in pretentiousness for a band with already stratospheric levels of regard for itself.
and the like.
Whatever.
This is the most fun I've had listening to an album in...pretty much ever. I feel so ridiculously proud of them, because, yes, they do The Beatles, but the expansion is all their own.
We're So Starving
Somewhat pretentious, but it's adorable, guys. Take it at face value. Join the Beatlemania-esque crowds in the overlayed screams and just have a good time.
[side squee: at the very start, turn the volume all the way up. Someone who I greatly suspect is Ryan Ross calls, "Here we come!" SD;OFIGHVWERN;V HOW SO CUTE?]
Nine in the Afternoon
I never formally gave my opinion on this other than ZOMG AMAZING (but frankly, that's all you need to know), so I figured it was due.
The most Beatles-like song on the album IMO ("OMG STOP MENTIONING THE BEATLES!1!1" Well, tough, because it's obvious that was the largest influence on them and I was raised on The Beatles, so that's where I'm drawing comparisons. Can it.), Panic channels their own version of Penny Lane, complete with trumpets and strings sliding up and down. Guided by a straightforward, on-the-beat tapping on piano and drums, Panic finds their stride early and stick to it. They keep it simple for the most part, with the layering of (probably) scores of tracks not cluttering up and tripping over one another, and the claps at the end are great for audience participation (I know I'll be clapping my ass off).
Yeah, we're feeling so good just the way that we do/when it's nine in the afternoon, and you should too. Happy, bubbly drug references abound; they'd make you-know-who proud.
She's a Handsome Woman
You know, I saw the videos of the live performances of this and I was so sure I'd hate this song because it sounded like a
Wait, what's the theme of this album again? Proving people wrong? Right then.
Yeah, this song is one of my favorites, because it shows IMO the most growth from Fever. One of the biggest leaps is that they don't feel the need to fill every second of the track with sound. Not noise, not music, not singing, sound. Sharps jabs of guitar and flowing basslines underneath spaced-out (as in it has separation and definition, not SPACED OUT) lyrics, sung to perfection, rounded out by and infectious chorus that's perfect for sing-alongs ("Go on!" might be Panic's "FIVE GOLD RINGS!" :-P)
Nice, leisurely pace, the intro/sections before the flowerchild verses is an overarching call of Gooooo ooooon! while Ryan hacks away at the guitar, giving it a vaguely psychedelic feel, followed by a moment of levity punctuated by guitar once again, then Spencer picks up on drums and Jon fills in on bass, creating a nice groove for Brendon's voice and tasteful piano flourishes.
It may very well be about the paparazzi.
Go on/Grab you hat and fetch a camera/Go on/Film the world before it happens
Sheepish wolf/Looking lived in eating buttons/Wink/Just don't put your teeth on me
but that's as close as I've got for this song, because by and large, the song is more about the tone and the reaction the music evokes from you.
[side squee: huzzah for basslines that aren't drowned out by a whirlwind of postproduction]
Do You Know What I'm Seeing?
One of the songs I was most anxious to hear after they so graciously bestowed the alternate version upon us. I actually like this version better, because where the alt. version was beautiful in its loneliness, this one has more to focus on and balance weight of the song out on.
The added string lines fit in very well with the slide guitar (in the second verse), anchored by the light picks of mandolin (carried over from the other version). New is the tracks of birds sprinkled in various spots, a nod to the line And if the words are just hollow birds...
More power has been put into the strings, namely cellos and basses, in the lines descending into the second part of the chorus (I know it's mad...), driven by light, intuitive application of drums. The mixing going into the that part is fantastically executed. I know it's mad... is set inside a contained echo, like he's already on his way, and the second time around, there's Ryan singing that same lyric, augmented over entire length of Brendon's lines. &Panic;
My favorite reworking of the song is actually the first part of the chorus, with Ryan on backing vocals and the introduction of harmonica--and god, guys. I'm just in love, here. Harmonica.
It may rely on the chorus a little too heavily, as Panic is known to do, but honestly, who cares? Awesome song.
That Green Gentleman
Hi. Hi new favorite Panic song, hihihi. I'm kind of really in love with the lyrics and the way they're sung, but it also has one of the truest lines.
Things are shaping up to be pretty odd/Little deaths in musical beds/So it seems I'm someone I've never met.
This song is so damn catchy. I love the way the pre-chorus sits:
Everybody gets there and everybody gets their way/I never said I missed her when everybody kissed her/Now I'm the only one to blame
It just bounces, you know? The song isn't really great chopped up in little bits stuck under a microscope, but rather as a whole. Also, I was to live inside these lyrics:
I want to go where everyone goes/I want to know what everyone knows/I want to go where everyone feels the same
Oh. Oh. And how much do I love the little uh uh at 1:36? A LOT. Aaaand, I'm quoting the whole damn song, aren't I?
I Have Friends in Holy Spaces
Okay, this is just adorable. The trombone and clarinet tickles me pink because my brother and I play those respective instruments, so I can pretend we're accompanying Brendon XD
Northern Downpour
A nice change in pace, introducing acoustic guitar, vocals, and piano first. I'm actually not a huge fan of the chorus in this one, but overall it's a beautiful song--again, needing to be analyzed as a whole. Bonus points for unexpected!Ryan. Not much to say--it's gorgeous Brendon has really grown as a singer.
When the Day Met the Night
The Penny Lane trumpets and strings make their triumphant return in the soaring chorus. You'd expect this song to get out of control with sappiness quickly, but Panic keeps a handle on it, never letting the song drag in any particular area. The beginning, end, and a section in the middle sound as though they used effects very similar to ones used at the start of The Beatles' Within You, Without You. Best believe this is going to be dominating the airwaves come summertime.
When it comes to Well, he was just hanging around/Then he fell in love/And he didn't know how/But he couldn't get out the tone changes, like he was panicking (forgive the pun) about being in love, but it quickly resolved itself.
Definitely the prettiest song on Pretty. Odd. Guys. Guys I'm running out of good things to say. The rest of this album is pretty much doomed.
Pas de Cheval
Drums a la Get Back carry the country-ish guitars along without complaint. Brendon reaches the familiar range he was perpetually in on Fever, but that's not necessarily a bad thing. This is a light, fun piece that doesn't cut your attention span span short. Not their best, but still good.
EDIT I CAN'T BELIEVE I FORGOT THIS! RYAN ROSS, RESURRECTING THE LOST ART OF THE GUITAR SOLO. MY LOVE, LET ME GIVE YOU IT.
The Piano Knows Something I Don't
The instrumental at the beginning initially had me going WTF?, but I soon got it, tapping my brother on the shoulder and saying, "Oh look, it's the harmonium from Strawberry Fields Forever."
This song is a study in contrast. The beginning and end both make use of the almost falsetto vocals to create a haunting melody, if nonsensical. Then, somehow, the jaunty baritone saxes from Good Morning (Sgt. Peppers) were invited to the party and the song is diagnosed with musical schizophrenia. That in no way means this a bad song (oh hell no), just make sure your sweet and savory taste buds are set next to each other to make the abrupt transition easier ;-)
Behind the Sea
HI RYAN ROSS I LOVE YOU.
Anyways. I'm not very partial to songs where the producers like to distort the singer's voice. Despite that disappointment, I like most of the new additions to it. In the tradition of Sad PATD Songs That Are Inappropriately Happy Sounding, this may be at the top of the list, sporting backing vocals and clapping that suited it to a drunken sing along (IDEK, that's what I thought of first). I don't like how overproduced this track is, but it's still fun to listen to and gorgeous, if you don't have ADD. Also a nice touch was the marching cadence in the second chorus.
To top it all off, another pair of Beatles throwbacks, the hey-la hey-hey-lo-a from Hello, Goodbye and the sound explosion from A Day In The Life.
Now, looking back on this, one might be inclined to think I didn't like it. No, I just like the alternate version better :D But this has them talking to each other in the last section. THEY'RE HAVING FUN, YOU GUYS. AT THE END YOU CAN HEAR RYAN SAY "SO CLOSE". TO WHAT, RYRO? THE WORLD MAY NEVER KNOW.
Folkin Around
HI BRENDON URIE I LOVE YOU TOO.
I despise country. But this is another one of those niche so-cute-your-teeth-may-rot songs, and Brendon wrote it all by his dorky little self, and honestly, if I hadn't seen the video where Ryan was all, "Yeah, I didn't get it, than I realized it was supposed to be this collection of bad cliches" I wouldn't have got it either or liked it as much.
She Had the World
Well, hello there, harpsichord from Fixing A Hole.
This isn't a bad song, per se, but mediocre at best. I just don't know where they were trying to go with this one. There's no way they can recreate this for live performances without losing something, but, eh. Not very into this one. Ryan's section is the best part, just gorgeous, but the rest of it is so blah.
From a Mountain in the Middle of the Cabins
Okay, so did they buy any of their weed from Disney, by any chance? This is almost Alan Menkin fare, with it's liberal oompah tuba and fancy-free piano licks, and oh my god, is that Brendon Boyd Urie whistling? And are those muted trumpets? Euphoniums?!
brb dying really hard.
I. I love this song.
Unreasonably so. The chorus is interestingly darker in tone than the rest of the song, but I don't even know, guys. This is right up my alley. I blame marching band.
Mad as Rabbits
This could totally work for another single, too, just so you know. Another fun, jaunty song, and apparently in addition to hiring Got To Get You Into My Life's baritone saxes (again), they managed to jack Ray Charles' hot keyboard action, too. I love the random shouting in the background, like there's a party going on during recording. I don't know guys, my brain's fried form overexposure to awesome. Again, hi Ryan Ross, thank you for singing.
One complaint I can launch is that where Fever had a direction and propulsion with the tempo of each song, maintaining momentum from tune to tune, Pretty. Odd. lacks such decisiveness. It doesn't seem to have a particular theme other than We Smoked A Lot Of Weed And Listened To Classic Rock. It's nonsensical at best (Don't you remember when I was a bird and you were a map?--what the hell does that mean?!), although I so love the lyrics a whole lot--beautiful imagery, but as a whole product it doesn't connect. Or perhaps I haven't listened to it enough times to really tell. But, you know, an Album Full of Good Songs isn't bad, either.
And the answer is yes, fans will be lost, but the good news is they aren't anyone who'll be missed. People who actually appreciate the music will fill the ranks. The bottom line is Pretty. Odd., unlike Fever, is not dying of cynicism, which makes it a joy to listen to. Shiny. Happy. Boys.
Ladies and gentlemen, Panic at the motherfucking Disco.
Highlights
Besides the whole album? Well. If you want specifics:
Nine in the Afternoon
She's A Handsome Woman
Do You Know What I'm Seeing?
That Green Gentleman
When the Day Met the Night
Behind the Sea
Mad as Rabbits
EDIT the second This has nothing to do with Pretty. Odd., but more to do with how `stupidly awesome and geeky Brendon is. I LOVE THIS KID SO HARD.
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And that thing about Disney? Okay. I might be completely wrong, but if you listen to very end of Behind The Sea [the whole WHOO! HAPPY TIME!! part after Ryro is done singing], IT SOUNDS SO MUCH LIKE 'BE OUR GUEST' FROM BEAUTY AND THE BEAST!
and lol. I was actually sitting here waiting for your review because I was extremely interested in what you had to say.
I'm like your fan, bb.
It's so embarrassing, but it's so true XD
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And I relistened to the section you told me to, and I can definitely see the similarity! I just think The Beatles always come first, but you're right :D Maybe influence from both?
Aw hey, I feel semi-important again <3 I just kind of feel like I jabber on about music because I used to be in IB English classes and all we would do was analyze text, so I adapted it to analyzing music. That review had me sitting down, track-by-track, on repeat, frantically writing any thoughts that came to me on a notebook. It took me a couple hours overall, including editing and typing it all in, but I think it was worth it :-)
I'm happy that my "professional" opinion means so much to you, bb *hugs* It's mutual, btw.
no subject
I was in the musical when I was in middle school and I couldn't help myself from lol'ing at it.
:P
I still have so much to learn about music so I don't feel like I'm fully capable of breaking it down and talking about it the way most people do. I can totally be all "Oh my god. The tambourine in **** was amazing. The harmonies? I seriously love them so much for 'discovering' those and doing such a good job at them...blah blah."
Simple stuff :P
Maybe one day you'll see me doing it as a career [hopefully not. I would suck at being a critic because I hate being not liked by others xD I would probably give everything that was given to me 5 stars. hahaha.]
& now I am off to bed.
I have an appointment tomorrow and I'm pretty sure it will consist of 'OH HEY. YOU'RE ON THE COMPUTER TOO MUCH, YOU READ IN THE CAR...YOU NEED GLASSES!'
D:
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And I never know if I'm being interesting and insightful or just being pedantic. I can only talk about what I hear and how it makes me feel and hope that it resonates with someone else, but even if you'll disagree, I definitely want to hear everything you want to say about it. I'm looking forward to your thoughts, bb.
Musical geekery is pretty much my life, I kind of pity anyone who doesn't have [any] music [period] in their life, and ohohoh. What you said about them finally discovering song structure made me go \o/ and is something I totally forgot to say in my review. I love Fever and everything, but does anyone else realize that in I Write Sins the (short ass) chorus is sung six times, with only two real-ish verses? I love Fever and everything and I can still listen to it on repeat and dance my ass off, but it's pretty obvious that they were not very experienced with writing song and had an overbearing producer there to glam it up. The fact that they had a traveling circus, while interesting and endearing and a great bit of showmanship, was evidence that they needed something to add to the spectacle and detract a littel from the music (contradicted by Ryanross bitching about not being appreciated as musicians, har har).
All in all, drawing heavily from The Beatles? Not the worst thing they could do.
I think Ryro is pretty done with the hey day of his big dress ups, but Wentz still talked about new makeup and info has been released on Panic's tour "themes", as it were, and I'm thinking lots more hippie/flowerchild thingamabobbers. The third album is what I think will make or break Panic, because they've got done with the super angst/beginner's luck, they've done their classic rock/maturity/homage album, but it's something different for them to find something new now. And maybe we're putting way too much pressure on them, but it's something they've kind of set themselves up for.
no subject
BTW, my absolute fave is totes From a Mountain in the Middle of the Cabins :DDD