What kinda hooker is Maynard familiar with, 5 dollar crack-ho's begging for crack?

Maybe he is kind sir Maybe he is. No, but seriously that line amuses me, how about you??

Me too.

Vicarious - "Why can't we just admit it?"
10,000 Days (Wings Part 2) - "I never lived a lie, never took a life, but surely saved one."
The Pot - "Who are you to wave your finger?
You must have been out your head
Eyehole deep in muddy waters
You practically raised the dead"

All those parts are really great. But I love absolutely everything on the album.

Definitly agree with "wix3l"

jambi mainly 4 minutes to the end

I'd include from like 3:00 - 5:30 in Jambi as being totally sweet, like your avi

" Wings Part 2"
Wurring weird sounds
"Daylight dims leaving cold floresent", so on and so on tell the end

Vicarious - Pretty much the last 1:30 of the song, especially the way Submachine described the last vocals. Just to add, I like how the entire song is him more or less venting frustration leading to the build-up, then there's the short pause where he says "We all feed..." and you can hear his voice quiver just a little bit, like he's just about to explode... and then he does.

10,000 Days - "Judith Marie, unconditional one" to the rest of the song.

The Pot - From 3:40 on through the rest of the song.

LK / Rosetta Stoned - The entire thing.

Intension - All the volume swells, and basically from 3:50 on.

Right in Two - The entire song, minus the tabla solo. It fits the song, but I know what comes after it and I want to hear that more... sorry.

Vicarious - From the final build-up (starting with "Credulous at best...") through to the end.

Jambi - The breakdown in the middle, right after "Then I might as well be gone"

Wings/10,000 Days - "You're the only one who can hold your head up high" to "Judith Marie, Unconditional one"

The Pot - From around 3:15 to the drop out after "You must have been out your mind" ... and then further, through the bridge.

Lost Keys/Rosetta Stoned - "Overwhelmed as one would be" to "Typical"

Intension - Tough to pick a moment in this one... I can't think of one that stands out.

Right in Two - From around 5:15 to 7:10, but the part around "conscious of his fleeting time here" is pretty awesome too.


Ever since seeing Jambi live, that breakdown has been my favourite moment on the album. Before that, it was definitely the part in The Pot.

Yeah I always find jokes about the less-fortunate amusing, especially when told by the ultra-fortunate.

WTF?

That solo took an already great song and like... dumped golden chocolate chips on it and smeared it all in double D size titties...covered in BEER

Seriously though, not only is Danny integrating a great tabla solo, he's also setting a percussional (sorry I'm no musician) foundation for the peak of the song. Listen later in the song and you'll hear the same beat from the solo being played hard and fast and just totally spinning the song out of control.. fucking rocks..

I gotta say either 10,000 days, shake your fist... part or GOD DAM SHIT THE BED from rosetta stoned i just blast that whole part from strapped down-god dam shit the bed its just the way he says it is amazing

I'm so glad others feel this way. I said it in another thread that this song has a flawless build. That's one of the things I like about this album. I love that the songs expand in layers.

Tool didn't always do this. They started to do this in Lateralus, but not really that much. The songs The Grudge and Schism did this a little, and so did D/R/T. But other than that, Tool's style has always been about repeated rhythms that push/pull. Prison Sex. Stinkfist. Undertow. Jimmy. Aenima. All of the Opiate album. It was all very riff-based. They took a riff and repeated it, then moved on to the next one. Then the chorus. Then back. Then they drew it out. Put in a bridge.

But now they build in layers. The pot doesn't do this, but that's why it sounds like an Undertow song. They are so much more melodic now. And I'm not talking about Maynard, specifically. I'm talking about the entire band.

On most of the songs on this new album they kinda start with one idea and then put other little tweaks to the same idea until they have taken that idea to it's peak with all four contributing fully. Maybe that's why some people don't like it as much now. It's largely a different type of songwriting. It's so much more thinking as an ensemble. And I love it!

The Pot - 1:55-1:56 (the hiiiiiiiiiigh bit). Also, the way he sings "so full of it" on The Pot at 2:25.

And everything else that's been mentioned in here.

Tool didn't always do this. They started to do this in Lateralus, but not really that much. The songs The Grudge and Schism did this a little, and so did D/R/T. But other than that, Tool's style has always been about repeated rhythms that push/pull. Prison Sex. Stinkfist. Undertow. Jimmy. Aenima. All of the Opiate album. It was all very riff-based. They took a riff and repeated it, then moved on to the next one. Then the chorus. Then back. Then they drew it out. Put in a bridge.

But now they build in layers. The pot doesn't do this, but that's why it sounds like an Undertow song. They are so much more melodic now. And I'm not talking about Maynard, specifically. I'm talking about the entire band.

On most of the songs on this new album they kinda start with one idea and then put other little tweaks to the same idea until they have taken that idea to it's peak with all four contributing fully. Maybe that's why some people don't like it as much now. It's largely a different type of songwriting. It's so much more thinking as an ensemble. And I love it![/QUOTE]
I like what your saying. Its the way I feel about the album. Its more art than music. They have shaped an image basically into a song. A story into a song. A big idea that most people have and hate and shaped it into a melody that is amazing. Its the reason why I love this album. Its art, not popular demand.

There's way too many moments to choose from, I don't think I could choose.

the last stanza in of Wings Part 2.

referring to his mother coming face to face with GOD,

"Look Him in the eye, look Him in the eye, and tell Him:
I never lived a lie, never took a life, but surely saved one.
Hallelujah, it's time for you to bring me home."

i know i hear a laugh (muffled but there) during that...

anyone else catch that?

The Pot. Oh my lord, I was laughing my ass off when i heard that for the first time.

"Foot in mouth and head up ass
So what ya talkin' 'bout?
Difficult to dance 'round this one
'til you pull it out, boy"

ROSETTA STONED....at first I really disliked this song because of the similarities that it shares with past tool songs. But now I realize why they wrote it, and why maynard chose the lyrics the way he did.

"You'd better...
You'd better...
You'd better...
You'd better listen."

there are a TON of amazing lyrics in this recording...

RIGHT IN TWO

"Repugnant is a creature who would squander the ability,
To lift an eye to heaven, conscious of his fleeting time here."

amazing.

but i forgot my pen

absolutely right, very, very, very well put too. funny.

At around 7:00 of Rosetta...Justin and Danny ripping. Orgasm deluxe.

You deserve some kind of award for that.

I'm surprised that no one has talked about the part at the end of Wings pt2:

I don't know the time....but it's after "Judith Marie.....unconditional one...." and then there 's about 30 seconds of jamming with a wah pedal I think and THEN...there's the most whop-ass fucking heavy key change I"ve ever heard....holy crap I love that part....

They do it near to the start of Wings pt1 as well.....seriously my fav on the album.

Also loooove when right in two gets heavy again and the "overwhelmed" part in Rosetta.

It's true, like Ive been saying the first 7 minutes are blah, the last 4 minutes are great.

No where are all those who bitched about 'percentages'

lol

http://toolnavy.com/showthread.php?p=1127914

the opening lines to jambi, if i hear that anywhere ile stop and listen, cant focus on anything else