Way back in 1994, when I was a young man with more hair and
less belly, I had three loves that consumed me: a girl, tennis, and Pearl Jam
in oft-changing order. Like all 17
year-olds, my opinions on these passions were both myriad and definitive. I soon discovered early in my 20’s that two
of these loves were nothing more than childhood fantasies, but one has held on
through multiple decades, cities, and children.
During that senior year of high school, Pearl Jam issued
their third and greatest album, Vitalogy.
The first album that didn’t rely solely on the raw emotion of Eddie
Vedder’s vocals, Vitalogy had a mature, more progressive sound that vaulted
them beyond an already aging “grunge” scene. By this time many bands had copied their sound
from Ten era Pearl Jam—did you not think that Stone Temple Pilot’s Plush was a
new PJ song?—and the lower-fi sound of Vitalogy combined with its zaniness
permanently altered the band’s direction.
Fast forward to Pearl Jam’s ninth album, Backspacer, and you
have a band in dire need of another sea change.
If Vitalogy launched them on their post “grunge” path, then two albums
later, Yield—with the emotion of In Hiding and the whimsy of Wishlist—brought them
to that path’s summit. The four albums
since have been a steady decline into prosaic rock with less and less of the
brilliance that marked much of the 90’s.
Each successive album has seen the balance shift just a bit more to the
former.
Pearl Jam albums usually begin with a bang. Go, Last Exit, Brain of J, Breakerfall, and Life
Wasted all ignited their albums with their own version of musical
combustion. When Pearl Jam albums don’t
start with a bang, they seduce you with textured subtlety before kicking
your ass with track two à
la Sometimes into Hail, Hail. On Backspacer
we are given Gonna See My Friend, a mailed in rock song with archaic Axl Rose
style doubling vocals and endless guitar riffs.
Track four, Johnny Guitar, is completely lost on me. I notice the double entendre in the opening
stanza and I’ve read that it’s Thin Lizzy-esque (that’s good?), but it may be
the only Pearl Jam song that makes me angry.
Now Johnny He Be Havin Lots of Women/The Reason He Be Smiling Known
To Him. Ouch. Later in the album we get four tracks to
close it out that all evoke, well, nothing.
Past albums had one or two throw-away tracks like these (Sleight Of
Hand, Help Help, Army Reserve) but like I said, the balance is shifting.
Backspacer has occupied my headphones for over a week now
and I haven’t even touched on why. If you
take away Gonna See My Friend, the unexplainable Johnny G, and the four bland closing tracks, you are
left with five songs that are all very good.
That’s five of eleven songs that I plan on listening to a lot. In my head I pretend that they are an EP of a
wholly different issue.
Got Some sounded strong on Conan’s first Tonight Show. The album version is worthy of its esteemed number
two position, with Eddie breathlessly hammering out quick verses about shitting
or getting off the pot. I touched on the
album’s first single, The Fixer, in an earlier post. I still can’t get enough of it. So simple and
uplifting, this is the only “pop” song on the album and Pearl Jam would do well
to take a turn in this direction.
If The Fixer represents one possible solution to what ails Pearl
Jam, then Just Breathe represents another.
It could easily nestle in alongside the songs from Eddie Vedder’s
brilliant solo work for Into The Wild. A
folkier, softer sound has been a Pearl Jam dream of mine since hearing the perfect
combination of I Am Mine and Down from the Riot Act Sessions. That was seven years ago and Just Breathe is
the band’s first return here.
My Backspacer EP closes with Unthought Known, Unfinished Dad’s
song of the week and the strongest song on the album. It takes nearly 20 minutes and seven tracks
for us to get to a genuine “Eddie” moment.
When he you hear the vocals Feel the sky blanket you…with gems & rhinestones scraping off of his vocal chords, you get your first and
only chills of the album. Somehow it is
worth it.
You may say that an album on which half of the material is
memorable is a good one. For most bands
I would agree. For the band that gave us
Ten, Vs., Vitalogy, No Code, and Yield I just can’t. So I find myself at the same crossroads the
band occupies. On my left is the road towards
“indie” rock and new loves like Andrew Bird and Sufjan Stevens. On my right is Pearl Jam’s road and they are
the last “rock” band on it. Sadly, in my
heart I know I’m going left.
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