Saves The Day Band • Page 57

I had in my head that this went on sale at 11CT and noticed it was 9:59 so I figured I'd open the page an hour early to have a reminder. By the time I got to the page it had turned to 10, it was on sale, and I checked out immediately through PayPal without issue. I just use the PayPal One Touch feature so I'm never logged out and don't have to have my wallet handy.

 

Those of us who got lucky and snagged one are extra lucky that Saves The Day didn’t promote it on social media until it was time to purchase. Wooh.

 

I was fortunate enough to get one, so glad to finally have a copy of this! I don't quite understand why this had to be so limited for something so sought after. This makes missing out on the glassjaw coloring book way more tolerable.

 

Part of it is a desire to be limited. But never underestimate that with any merch launch, that smaller record labels may not have great lines of credit and therefore not able to get good payment terms from their vendors.

They may be getting 100% up-front terms, so there's only so much liquidity the label may have to outlay on the orders. They might not have several thousand dollars per release to allow them to offer more.

 

I figured it would be understood that my question was more rhetorical...In Reverie’s limited availability in its first press and no subsequent pressings since, seemed like this would be very low risk for any label to put out. The amount of releases Take This To Heart are dropping lately also doesn’t seem like they are limited on the funding. Just seems like they are taking advantage of the fans by shorting the quantity to strengthen the secondary market.

 

Good on the label for only charging 20ish bucks for these when they could have easily put em at $30-$40 and still sold through em real fast.

 

Lucked out and got the /200 right at 11. Honestly kind of shocked this sold out so quickly.

 

Son of a!!!! I’m just now seeing they pressed In Reverie on vinyl and they’re sold out. I’m Heartbroken. Dammit!

 

Been jamming In Reverie a lot obviously and took a stab at ranking the record...

Tomorrow Too Late
—
Driving In The Dark
Anywhere With You
In Reverie
In My Waking Life
—
Wednesday The Third
Morning In The Moonlight
Rise
What Went Wrong
Where Are You
—
She
Monkey

 

I guess I'll trying doing a tier list for the album too

S Tier:
Anywhere With You
What Went Wrong
Driving In The Dark
Rise
In Reverie
Morning in the Moonlight
Monkey
In My Waking Life
She
Where Are You
Wednesday The Third
Tomorrow Too Late

A Tier:

B Tier:

C Tier:

D Tier:

F Tier:

 

Define S

 

Believe it’s a Resident Evil rankings reference, where S is the best.

 

S is always top tier, like A+

 

Ok good, I didn't like the comment initially because I thought it meant shit tier. I'll go like it now.

 

somebody's never played Devil May Cry

 

I assume that's a song

 

it’s a video game !

 

They're all S tier except She, which is A tier

 

The original PS2 release of Devil May Cry 3 that had no saving during levels was one of the most simultaneously frustrating and exhilarating games ever. That and Ninja Gaiden on XBOX are hardest games I’ve ever played.

 

I am big into the Smash Bros community, and I was so confused with S tier at first too. I was like "I thought Bayonetta was the best character in the game, why is she in shit tier?"

 

So, so, so very on point. It is one of my greatest disappointments as a fan of music that Chris Conley lacked the guts to follow his muse after In Reverie. I saw Saves the Day on their tour with Grandaddy in March or April 2004 and I'll tell you what, Chris didn't seem broken up and agitated at all. He instead seemed super mellow, played two unreleased songs ("Bye Bye Baby" and "Zebra") and generally leaned hard into the In Reverie material, playing maybe only "Nightingale", "Freakish", "This Is Not an Exit" and "All-Star Me" as far as material from before that record. I also remember reading an article from around then with Chris saying something like he saw the band going forward playing something like "mellow pop music" in the foreseeable regardless of the trends.

Then later in 2004 or maybe 2005 I read an interview with Dave Soloway. In it he mentions that the band has had a lot of discussions about what they do as far as "artistry" and "entertainment" and that they would be more cerebral when putting together the next album. Then I remember reading an interview with Chris where he all but comes out and says that next album will be more aggressive or something like that. All this to me, sounds like a group of guys who are resigning themselves to the fact that the goofball kids in swoop haircuts listening to bands with names like As My Love Lies in the Dusk of My Everloving Chiodos in Her Arms were not gonna get on board with the kinda music they wanted to play so they had to revert to what they thought would appeal to more people. Then you have Eben quit, and that to me in retrospect is major. It's pretty obvious now that he quit because of the move towards mall-punk. It was well known around that time that he refused to play nearly anything from Can't Slow Down and probably would've moved that up to a lot of material from Through Being Cool if he stayed in the band.*

Now honestly, I 've always had mixed feelings on Sound the Alarm. I think Chris was still so talented at this point that even by trying to fuck it up by going to a more conventional punk sound (complete with faux-British snarl and a "sh-yeah, that's right" [gag me]) that really was a never even theirs in the first place. I thought Under the Boards was a step in the right direction and was super excited for Daybreak as he said it would be more upbeat and that he was influenced by The Beach Boys' SMiLE and whatnot and the album was definitely an attempt but just managed to miss the mark. The singing had now fully lost the faux-Britishisms and turned to something as clean as that of In Reverie but even higher and with a certain strain while trying to "sound emotional." Stuff like "Let It All Go" and "Living Without Love" still stand up for me, but overall the album didn't have the balls to be something truly out of their wheelhouse like In Reverie was.

The last two, I don't know. I liked the idea for the self titled one, but Chris just seems to have lost his ability to write those melodies that stick with you, along with a concerning drop-off in lyrical prowess. Somewhere during probably Daybreak he lost the poetry that the albums before had, in all their particularly styles. Everything from here on was very on the nose, obvious, and not metaphorical at all. There was nothing to chew on lyrically. The last album, I couldn't believe what a regression. This was nearly like pre Can't Slow Down embarrassing. The lyrics are once again so plainly descriptive gave the songs no room to really visualize to the listener but on a literal level. I suppose that maybe "29" was partially redeemable at places, but there's likely no way I ever even consider even starting that song again.

Now have at me people! I'm sure this is coming off as an asshole-ish, pretentious rambles of a crazy former fan. Though I hope deflector agrees.

Also, anybody ever able to find recordings of "Zebra" or "Sister Sophia"?

 

That's a lot to take in

 

Saves the Day is my all time favorite band and this is why Saves the Day fans are the worst.