it always comes back to me, his thoughts of others takes/opinions of his music

from #145:

"Lyrically Soon Forget is hit or miss. It’s a little bit too self-righteous and judgmental for my tastes (some people do this kind of direct critique very well but Eddie is not one of them) and while there are some decent lyrics here and there, nothing is truly great and there are also some cringe worthy moments too (horny/benjamins come to mind). The vocal melody is catchy, but the substance behind it isn’t enough to draw me in. Vocally Eddie conveys exactly what he wants to here, but I think that casual feeling he brings to his studio uke tracks (see also goodbye) while clearly very authentic, are a bit too laid back. He’s going for intimacy, but there is almost too much familiarity there—sort of like he doesn’t even have to try. It’s like singing to yourself in the car. Parting Ways is also meant to be intimate, but far more effective."

he'd think we're all batshit crazy and never come here again

from #112

"Deep in the end is not as good as its component parts. The riff is thunderous (and is one of those songs like insignficance and given to fly where the music really describes the sensation the song describes), the lyrics are far from his best, and probably the worst on Ten, but they aren't abysmal (some clunkers, but some nice lines too--I like repetation with the 'to the street below/to the sky above/to the man below/she just aint nothing, and the "she doesn't like the view line is chilling) and ten is a VERY well written record so the competition is pretty steep, Eddie gives a ferocious vocal performance, but in the end it doesn't all cohere together as well as I'd like. I wonder if O'Brien remxied this to make it tighter if that would help, but there is something that pushes me away from the song. there is a sense in which I think I can get inside all the songs on Ten, listen to them from within the music itself, if that makes sense. But I can't get there on Deep (or garden)"

from #120

"Unemployable is a pretty typical 3.5 star pearl jam song for me, with a lot of strong moments and potential that never fully hits it mark... Musically it’s got a solid central riff and a nice rich feel to it. The jangly feel to it, especially with the ohh, ohh, ohh parts remind me of a Bruce Springsteen song (or possibly R.E.M.) and it fits with the working class vibe Eddie is trying to channel here. I can’t help but think of Bruce when this one comes on. But at the same time the music feels oddly empty to me. The component parts are all there but it somehow feels like something is missing. I get a similar vibe from songs like faithful, light years, and in hiding which I know are adored by most, so maybe it’s just me. And I also must admit I’m not a fan of Eddie’s vocals in this one. He sings it fine and I like the energy but I don’t like the overall sound of this one."

from the Got Some review

"Eddie is a bit questionable here. It’s hard to say if it is him, since he sounds like he’s singing his heart out, or if it is the mix, but he sounds faint—so it is either poor mixing or he’s just out of breath. If it was the later they probably should have picked a slightly easier song. What was really striking about the performance was how removed Eddie was from it. It’s rare to hear PJ without having the songs being carried/dominated by Eddie, and this was not his song. I suspect this is indicative of the mixing only because he sounded so great on the terrible bootlegs of The Fixer circulating right now... Overall this struck me as an inconclusive debut. I was a little underwhelmed here but I was really excited about the terrible copies we’ve heard of The Fixer, and with a stronger vocal take this could be much stronger. Either way this certainly was no 2000 Letterman Grievance, and I can’t imagine this one going down in the canon as one of the legendary moments in the bands live history."

If one thing, he should be sent Frank's No Code write-up.

I think Pearl Jam would give stip backstage passes for life at every show if they read them and realized how much effort/appreciation goes into them.

...and to the other people that do/did them, like AS, and the others.

I think he might be more shocked with what he can find in N&D.

really? it's pretty standard news if you scan NYT, CNN, and Drudge Report

I wasn't talking about the news per se.

He'd probably think we're all over analyzing. Which we are.

i bet he'd rickroll the entire pj chat section and alessandria would squirt a kitten or two out of her birthing canal, and when ever anyone asked a question, hed answer with, fuck her sister?

this.

I'd fuck Jill's sister.

I think he'd be equally into the fact that we put a lot of thought into his lyrics but he'd be horrified too..I got to tell him in 00 that I thought he was referencing American Indians with the lyric in Grievance was 'the railway took the land up, a loss of independence' he was a bit surprised, looked thoughtful and said he never thought of that. Obviously I'd gotten the lyrics wrong from Letterman, but for anyone putting art forward, it's gonna be judged and loved and hated probabaly equally. It's a blessing and a curse i'd say.

Ed's been here for years!

interpretation is one thing, I bet he'd like that.

but having to read some of the shit that's written, he'd probably be like, "who the fuck are you- why don't you write me the song you want me to record. alright, it's not so easy. so shut the fuck up."

and the criticisms of something not being fully realized/developed. yeah, I'm sure he would always love to hear that review of his craft.... "some internet dude thinks I should have spent a few more days on these lyrics- god what was I thinking? I'm so lazy."

I know where you're coming from, but we're not writing these to Eddie, we're writing them for debate and conversation. We're overly critical, but that's why we're here...because we all think too much about this band. I also think the fact that we're here at all is sentiment to how we hold PJ and especially Ed up in high regard.