Over and Out

It’s not the easiest thing to go out on a high note, just ask George Constanza. Seinfeld managed it. So did the Sopranos, come to think of it. Some just drag it out too long. The lifestyle and money too good to turn down after syndication kicks in perhaps. Joseph Heller was once told by a reported that he hadn’t written anything since that was as good as Catch-22, to which he responded “who has?”

It’s even trickier for musicians to do so – very few go into sessions with a definitive “this will be the last time” approach, some call it a day following poor reception to a bad album and others leave this mortal coil with their last recorded output barley touching their former dizzying heights.

Were Dylan to meet Elvis tomorrow, for example, I doubt it could be said that he’d left a great final record in Triplicate. At The Drive In and Refused almost managed it – but then they got back together and managed to slap their legacy in the face with a bloody great fish.

I go these lengths to point out that a good final album isn’t all that common as a build up, of course, to sharing my list of Ten Great Final Albums. Displayed below in no particular order but with two qualifying criteria: ‘only’ albums (Jeff Buckley’s Grace for example) don’t count and nothing posthumously released is eligible.

Nirvana – In Utero

Originally it was going to be called I Hate Myself and I Want To Die as a joke. Cobain’s piss take of how he was so often portrayed as “this pissy, complaining, freaked-out schizophrenic who wants to kill himself all the time.” In an attempt to distance themselves from the overwhelming popularity of Nevermind and sheer off the sound of Vig’s production that – despite loving it at the time – Cobain would slate publicly as too commercial, Nirvana recorded In Utero with Steve Albini.

As raw and uncompromising an album as a major like Geffen would allow. There’s a lot of talk and mumbling about how the label insisted on having it remixed and polished by Scott Litt (known at the time for work with REM and The Replacements) but the band had already approached Albini to remix it but the producer refused – claiming he’d recorded exactly the ‘fuck you’ ablum Kurt had asked for and wouldn’t released the master tapes to be remixed by someone else. After much back and forth he relented and Scott Litt and Andy Wallace were allowed to work on some of the songs.

In Utero ranks as my favourite Nirvana album and would certainly feature high on my all-time list. ‘Serve the Servants’, ‘Scentless Apprentice’, ‘Heart Shaped Box’, ‘Dumb’…. it’s not only stuffed full of killer tunes but the whole album feels so intense and powerful. The only thing that bugs me about it is that it still showed so much more potential for what was to never come. As a final album, though, it takes some beating.

Chances of a follow-up: None. Well, the surviving members of Nirvana could cut some new material with a different vocalist but then they’d probably chose someone crap like a former Beatle and call it something else entirely.

Sonic Youth – The Eternal

Boy does it pain me to talk about Sonic Youth having a final album. However, The Eternal, released in 2009 and their 15th studio album – is Sonic Youth’s final studio album. To quote from a previous post about them, Sonic Youth were one of the greatest things to blow my ears apart, literally; I’m convinced that the hearing in my right ear has never been the same since I was close to front row and very close to intimate with Thurston Moore’s amps as they performed Daydream Nation in its entirety at Camden’s Round House.

Listening to SY for the first time was like getting a key to a room full of ‘next-level music’. It was music that didn’t give a fuck – pure punk in that respect yet somehow effortlessly cool. No regard for standard tuning. No regard for form and traditional structure. No regard for anything but the feel. And it all made sense. Explosive and experimental guitars that powered through songs that always managed to feel both on the brink of collapse yet tight and in control. A three-decades long career stuffed with ground-breaking work based on the guitar work of Lee Ranaldo and Thurston Moore with vocals from both along those of bass player Kim Gordon. And then, suddenly, it was over as the divorce of Gordon and Moore collapsed amidst rumours of mid-life crisis infidelity on the part of Moore. Their latest album The Eternal very quickly became their final album.

In many ways, even down to the title, it’s a fitting final album. It contains some of their finest songs and showed that, more than 25 years on from their debut EP, they were still evolving and making great music. Songs like ‘Sacred Tricksters’, ‘What We Know’ and ‘Anti-Orgasm’ sit among their best and the album, for all it’s sonic experimentation and guitar freak-outs, is one of their most consistent and accessible as though, no-longer on a major label, they were interested in as many people as possible getting into their songs.

Chances of a follow-up: Very very slim. While drummer Steve Shelley has worked on projects with both Thurston Moore and Lee Ranaldo, the acrimonious dissolution of Moore and Kim Gordon’s marriage points to Sonic Youth as wrapped up.

Jimi Hendrix – Electric Ladyland

Given the sheer amount of posthumous compilations of ‘previously unreleased’ recordings or ‘intended next albums’ you’d think that Jimi Hendrix spent more time in the studio than he did anything else. However, there were only three studio albums released in his lifetime (all recorded with The Jimi Hendrix experience and released within an 18 month period).

Jimi’s final studio album Elecrtic Ladyland is a stone-cold classic. A double album that contains pure gold. Take Hendrix’ reinvention of ‘All Along The Watchtower’ which was so good it overwhelmed Dylan himself, take ‘Crosstown Traffic’, take ‘House Burning Down’ or take the 15 minute long jam of ‘Voodoo Chile’ with Steve Winwood’s organ whirling away – which itself led into what is easily one of the greatest songs ever put to tape: Voodoo Child (Slight Return). Apparently – the Experience returned to the studio the next day to find cameras rolling for a documentary, rather than try and repeat the magic of the previous night’s jam session, they improvised it on the spot and a monster was born:

Chances of a follow-up: got a shovel?

Band of Susans – Here Comes Success

Band of Susans I got into far too late – some 20 years after they called it a day. Born out of the same New York noise rock scene that gave us Sonic Youth but with a more layered, complex sound that saw them draw comparisons to shoegaze bands like My Bloody Valentine woven into an experimental mix. The original lineup had three women named Susan and always had just as many guitarists. In their ten year life as a band, with fairly fluid lineups around the three Susans (which eventually became just the one, Susan Stenger) they put out five stonking albums of guitar-centric music that was markedly different to the field in which they were often lumped but never really found as wide an audience as they deserved.

Here Comes Sucess – complete with sarcastic title – is arguably their finest work and one of the best records I’ve discovered in the last year or so. Nine songs that all kick around the seven minute mark. All slow burning, hypnotic worlds that revolve around Stenger’s bass lines with intricate and explosive guitar workouts.

Chances of a follow-up: All members are still active in music in one way or another but given how little attention was paid to the band, their split or – if the low level of monthly listens the band receive on Spotify is any indication – their back catalogue, I’d say none.

Elliott Smith – Figure 8

If I can bring myself to do so there will be a wider-scoping post on Elliott Smith. However…. there was supposed to be a double album. Something to do with record contract obligations with DreamWorks. Smith had graduated to the major label after the success of Either/Or and his exposure via the Goodwill Hunting soundtrack. But he also fell into depression. Following on from Figure 8, Smith went through a troubled period of addiction, paranoia and all kinds of trouble before cleaning up. He had a clearer state of mind, sessions were underway with a good number of tracks recorded and mixed. However, Smith died on October 21, 2003 at the age of 34 from two stab wounds to the chest (which was reported as suicide but officially left open with the question of homicide). As such Figure 8 remains his final recorded statement and it’s a beauty.

Full of lush production,  pop-like song structures that wear their Beatles influence on their sleeve and pretty much every instrument played by Smith, Figure 8 contains some of Elliott’s finest songs from ‘Son of Sam’ to ‘Everything Means Nothing to Me’, ‘Easy Way Out’, ‘Pretty Mary K’… A real loss.

 

Chances of a follow-up: soon to be released on St. Peter’s Gates Records.

REM – Collapse Into Now

How do you bow out in style? REM’s the closest any act has gotten to following the Seinfeld route of stopping at the top before things go south. Well, if we ignore Around The Sun that is.  Guitarist Peter Buck has said that, as the band entered the studio to record “We got together, and Michael said, ‘I think you guys will understand. I need to be away from this for a long time.’ And I said, ‘How about forever?’ Michael looked at Mike, and Mike said, ‘Sounds right to me.’ That’s how it was decided.”

Collapse Into Now is a great final album, it’s nothing but strength. Following the all-out single-focus return to form of Accelerate, REM’s final album paints with every brush at their disposal – it has the odd effect of listening to a new album as a greatest hits. All of these songs are new yet there are echoes of their finest work across each. I’ve written a full post on this one before so won’t repeat myself but will point out that I still consistently pull Collapse Into Now off the shelves and don’t skip a single track. ‘Discoverer’, ‘All The Best’, ‘Mine Smell Like Honey’, ‘Oh  My Heart’… all gold. Perhaps, most likely probably, because they knew it was their last, the band put their all into this and created a final body of songs they could be proud of. I’m just glad they didn’t decide to call it a day after Around The Sun.

Chances of a follow-up: I mean…. you can never say never, right. Not while all members are still alive and well and engaged musically in some form… there’s group projects and meetings for the ongoing ‘business’ side of REM’s catalogue but I, sadly, don’t see it happening. I don’t think they have anything to prove and if their hearts aren’t in it…

The Replacements – All Shook Down

The Replacements were already kind of over before All Shook Down. It was supposed to be a Paul Westerberg solo album but before recording could get underway his management talked him into making one last Replacements album from the material.

As such All Shook Down features a few session musicians but not to the point of it not being a Replacements record – there are no additional guitarists or bass players listed so it’s a safe bet to assume that Paul Westerberg and Slim Dunlap handled guitar parts with bass either missing from some songs or handled by Westerberg when Tommy Stinson wasn’t about (Westerberg’s solo albums often did away with bass altogether). Perhaps as a side effect of the material’s original intention, it’s one of the most consistent Replacements albums recorded without a single foray into ‘Lay It Down Clown’ territory.

The album is full of strong songs and I’m sure that if such a solidly great album come sooner in their career they would’ve finally secured the attention / success they deserved. As it is, this collection of tunes such as ‘Merry Go Round’, ‘Sadly Beautiful’, ‘When it Began’ and ‘Someone Take The Wheel’ makes for a fantastic swansong.

Chances of a follow-up: unlikely. Original guitarist Bob Stinson died in 1995, replacement Slim Dunlap suffered a severe stroke in 2012 and could not take part in the reunion shows while drummer Chris Mars has given up on music to focus on his art. The well-deserved lap of honour tours that followed the reunion in 2012 of Westerberg and Stinson yielded an aborted attempt at recording new material with the old ‘just didn’t feel right’ results.

The White Stripes – Icky Thump

Ah the White Stripes… while I’ve got no real time in Jack White these days, there’s no denying that The White Stripes generated a great deal of catchy and solid tunes in their 14 year career together. The tour behind their last album, Icky Thump, was called short in 2007 after Meg began suffering acute anxiety. Quits were called by the duo as a band in 2011 after a period of inactivity.

Oddly, Icky Thump is not only the last White Stripes album but also my favourite. I love the title track, the hook of ‘300 M.P.H Torrential Outpour Blues’, the daftness of ‘Rag and Bone’ and stomp of ‘You Don’t Know What Love Is (You Just Do as You’re Told)’. ‘Conquest’ aside, there’s not a song on Icky Thump I don’t enjoy. For my money it’s the strongest entry in their catalogue, a leap on from the already great Get Behind Me Satan and Elephant and I was really hoping they’d continue that trajectory. Ho hum.

Chances of a follow-up: Meh. Jack seems too busy being all kinds of a muppet and Meg… where is Meg?

Nick Drake – Pink Moon

Another career and life cut far too short and another on this list with only three albums left behind. Nick Drake died at just 26 – an overdose of antidepressants that was ruled suicide. He disliked both performing live and giving interviews which helped keep him so under the radar that his albums barely registered during his lifetime; not one of them sold more than 5,000 copies while he still drew breath. His three albums are beautiful, minimal yet deeply affecting records of tender melody and soul that I never tire of and ‘River Man’, ‘Time Has Told Me’ and ‘Place To Be’ would certainly be in the long and short lists of my favourite songs.

There’s no video footage of Nick Drake as an adult – only still photographs. It wasn’t until his albums were released in a box set – Fruit Tree – some five years after his death that the music world began to pay attention. To the point that Drake’s final album – Pink Moon – would be included in Rolling Stones’ list of 500 Greatest Albums of All Time: “Drake recorded his last album in a couple of nights, delivered the tapes to Island Records and checked himself into a psychiatric ward. If the music were as dark as the lyrics, it might be unlistenable. But Drake’s soothing vocals and unadorned acoustic picking make Moon unfold with supernatural tenderness.”

Chances of a follow-up: I’m running out of pithy comments about resurrection..

Pink Floyd – The Division Bell

Two quotes:

“Pink Floyd is a spent force creatively.” Roger Waters
“Yeah, well, that’s just, like, your opinion, man.” The Dude, or His Dudeness … Duder … or El Duderino, if, you know, you’re not into the whole brevity thing.

Man it’s a good thing nobody cares what Roger Waters says as much as he thinks they do. Don’t get me wrong, A Momentary Lapse of Concentration isn’t a great album by any measure but it paved the way forward for a Pink Floyd without that knobhead ordering people around and dictating dreary songs about soldiers and Thatcher. 1994’s Division Bell, though, is a fucking awesome album and ranks in my Top 3 Pink Floyd albums on any day of the week.

Without the legal problems that surrounded the recording of its predecessor, The Division Bell sessions were relaxed and songs were born out of lengthy jams and improvisations with music predominantly coming from Gilmour and Richard Wright – the album would feature his first lead vocal since DSOTM. Which is fitting as The Division Bell, for all its then contemporary touches, is the closest the band had come to sounding like ‘classic’ Floyd since before The Wall. Every time I slip this one into the CD player I find something else to love. The opening trio of songs is unimpeachable, ‘Marooned’ is a great tune, ‘Coming Back to Life’, ‘A Great Day for Freedom’, ‘Lost for Words’ are spot on and underpinned by Gilmour at his finest in terms of both voice and the fluidity and beauty of his playing. Oh, and in ‘High Hopes’ they had the perfect final Pink Floyd song.

Chances of a follow-up: Nah…  While Nick Mason doesn’t consider the band broken up David (never Dave) Gilmour seems content with the odd solo album and colossal tour playing the usual Floyd-heavy quota of tunes to keep him in comfortable retirement. Richard Wright left us in 2008 and Roger Waters has yet to raise sufficient moneys to fund the removal of his head from his own rectum where it’s been stuck since the early 80’s.

 

The poets round here don’t write nothing at all… Springsteen’s Lyrics (Part One)

Throughout my career I’ve been required to wrestle with the written word. Some days “thoughts arrive like butterflies” while on others it’s akin to wading through waist-deep mud with no solid ground in sight.

Perhaps that’s why I appreciate  a great lyric in a song, the knowledge that it doesn’t always come easy and what sounds so beautifully simply more likely than not took a lot of work and refinement. Meanwhile, my love for the written word has also meant that I always seek out those lyrics and love a good ‘story’ song.

Bruce Springsteen has written more songs than it’s possible to count. For every song that has been released on each album there’s a good five or six that didn’t make the cut and, even when they’re released on archival products such as Tracks, The Promise or The Ties That Bind, there are still countless others that remain locked in vaults.

From a songwriting point of view I’d rank Springsteen as one the greatest in terms of both qaulity and consistency – certainly equal to Dylan and, while he has just wrapped up his equivalent to a Vegas residency, Bruce has yet to resort to churning out nothing but albums of cover songs. His lyrics have tackled everything from the circus to war, New York to front line in Iraq , love, birth, death, cunnilingus and lobbing it up the wrong’ un.

So, I thought it was time to put together a list of my favourite Springsteen songs from a lyrical perspective. This is Part One with Two (and the Spotify playlist) to follow as time allows. While not necessarily my favourite Springsteen songs full stop, from a lyrical point of view, these take some beating. In no particular order….

The Wall

“I read Robert McNamara says he’s sorry”

Asking if Springsteen’s got any good ‘Nam songs is like wondering whether a bear defecates in wooded areas. From ‘Lost in the Flood’ to the tubthumping ‘Born In The USA’, you could easily make a great compilation album of his songs that use Vietnam as a touch stone, but for me the most poignant lyric is to be found on an album that’s otherwise stuffed with re-heated leftovers, melodies with stapled-on effects and Tom Morello wankfests. Yup; I’m talking about High Hopes. ‘The Wall’ is one of the most personal and affecting of Springsteen’s many Vietnam songs as Bruce – against minimal musical backdrop, sings a ‘short prayer’ inspired by the memory of his friend Walter Chichon, who taught guitar to Springsteen but would die in the Vietnam War at around the age of 19.

The deeper I get into Ken Burns and Lynn Novick’s The Vietnam War series the more I understand just how horrifying and wide-reaching it was and just why Springsteen – and others – found it such a source for lyrics and stories.

As such, the more I listen the more the line “I read Robert McNamara says he’s sorry” just kicks me each time. When parents like Carol Crocker say how they chose to have their sons buried at Arlington because she ‘feared that if he had been buried closer to home, she would claw her way into his grave to once again “feel his warmth.”‘ it’s hard to fathom that much pain and loss but, hey, McNamara says he’s sorry… “apology and forgiveness have no place here at all.”

Blood Brothers

“The world came chargin’ up the hill and we were women and men”

Springsteen wrote ‘Blood Brothers’ on the eve of working with the E Street Band again for the Greatest Hits album and it’s just full of great lines. He’s stated that it’s filled with ‘the ambivalence and deep affection of revisiting a relationship spanning twenty-five years’.  For me the lyrics feel like an acceptance of life’s inevitable changes, the trade off that’s required between fantasy and reality, of  how ‘the hardness of this world, slowly grinds your dreams away’, and ‘we lose ourselves in work to do and bills to pay’.

Yet it’s an optimistic song too, one of togetherness that was fitting for the band’s reunion and as a final song – some five years later – on their reunion tour, it’s almost like it became the story of the band’s friendship: “I’ll keep movin’ though the dark with you in my heart, my blood brother.”

The River

“Is a dream a lie if it don’t come true, or is it something worse”

The River, while an extension of the themes explored on Darkness on the Edge of Town,  marked a big change in Springsteen’s song writing: “my first attempt to write about the commitments of home and marriage.” While given a hard kick up the arse by the rockers, the album’s story songs are huge: ‘Point Blank’, ‘Stolen Car’, ‘Wreck on the Highway’… but ‘The River’ is just an out and out classic and one who’s lyrics are just so ridiculously well written it stands as his benchmark ‘story’ song for me.

Springsteen took his inspiration from reality – the crash of the construction industry in the late 1970’s and the impact it had on his sister and her family: “I watched my brother-in-law lose his good-paying job and work hard to survive without complaint”. This was the song that sold Springsteen to me when I first heard it on Greatest Hits, at the time I would’ve been reading Steinbeck for school and it felt like an extension of that classic American literature style story telling.  Springsteen had hit a rich vein for songwriting inspiration and would continue to tap into it with great results for the rest of his career.

Long Time Coming

“Well if I had one wish in this god forsaken world kids, it’d be that your mistakes would be your own”

Dating back to the Ghost of Tom Joad era, ‘Long Time Comin’ is one of the standout tracks on 2005’s Devils and Dust album. The song marks the first use of the word ‘fuck’ on any of his records (let’s not talk about ‘Reno’ here) in what is a great song about redemption that bounds along and is shot through with great, joy-infused lines – including a sly nod to his own past with “it’s me and you Rosie” – but it’s the “if I had one wish in this god forsaken world…” line about not passing your own baggage on that stands out for me.

Bruce felt so strongly about it that it was selected for the ‘soundtrack’ album to his autobiography Chapter and Verse and would – during his his Broadway show – explain that it was inspired by a visit from his father just before the birth of Bruce’s first child “to warn me of the mistakes that he had made and to warn me not to make them with my own children, to release them from the chains…  that they may be free to make their own choices and live their own lives.”

Racing in the Street

“Some guys they just give up living and start dying little by little, piece by piece”

What I really enjoy with Springsteen’s ‘archival’ releases like Tracks and The Promise is listening to earlier takes of songs and tracks that didn’t make the cut at the time and hearing him try out different lyrics, evolving them, seeing if they fit in this song, then that and then, finally, they appear fully polished on the album version.

‘Racing In The Street’ is one of the greatest songs on the best Springsteen albums, Darkness on the Edge of Town. I love the “give up living” but if you listen to the ’78 version of the song on The Promise, it’s not there. That great line doesn’t appear anywhere in ‘draft’ form, I get the impression it arrived like a bolt of lightning and really moves the song into a different place.

American Skin (41 Shots)

“If an officer stops you promise me you’ll always be polite, that you’ll never ever run away, promise Mama you’ll keep your hands in sight”

“I had the title and a few stray lines, an idea for a song about American identity, sitting in my workbook for six months…” It would, as with The Rising, take a tragedy to spur Bruce into writing a powerful song that would reaffirm his place as a songwriter able to tap into the public consciousness again. While the reunion tour had seen new songs like ‘Land of Hope and Dreams’ and even ‘Further On Up The Road’ show that Springsteen still had new songs up his sleeve, ‘American Skin’ was the one that showed he could still take a step back and then come up with something unexpectedly hard-hitting in its lyrical content and relevance. The lyrics are hard-hitting without being exploitative and remain evocative with repeated listens, best heard delivered live and never really captured effectively in the studio as the genie had already been let out of the bottle.

Born To Run

“Beyond the Palace hemipowered drones scream down the boulevard”

A first-person love letter to a girl called Wendy. A song about busting out and making a break “on a last chance power drive”. It’s a refined, more direct blast of power than Springsteen’s previous work. It’s got the same passion but there’s a sense of dread and more urgency in the need to escape than on, say, ‘Rosalita’,  but, for me, the album and song still contains as many evocative lines as those on its predecessor and there’s just something about that line… I mean, how many other rock songs or radio hits have used a phrase like ‘hemipowered drones’?

Rosalita (Come Out Tonight)

“Windows are for cheaters/ Chimneys for the poor/ Closets are for hangers/ Winners use the door”

Before there was ‘Born To Run’ there was ‘Rosalita’ and The Wild, The Innocent & The E Street Shuffle is just full of Bruce’s poetry in full swing. Shorn from the inhibitions of his debut and flowing wonderfully throughout, it’s tough to pick out anything specific but I love the humour of this, Springsteen’s autobiographical ‘getting out of town’ preview for his next album, and the poetry in…

Wild Billy’s Circus Story

“The runway lies ahead like a great false dawn”

‘Circus Story’ is stuffed to the rims with great lines. It’s a “black comedy” of a song in which Springsteen uses his memories of the circuses that would visit Freehold during his childhood to paint a romantic picture of “the seduction and loneliness of a life outside the margins of everyday life” like that of a musician on the road, say.

Atlantic City:

“Now our luck may have died and our love may be cold but with you forever I’ll stay”

For all the power and fun of The River‘s rockers, Springsteen’s next move would be to veer toward the more serious side of his song-writing, to tap further into those characters and ideas established in its story songs.

With Nebraska, Springsteen would create songs written quickly and recorded (as demos) with minimal musical backing. There’s a direct line between the sense of misfortune stories on The River and Nebraska – the young couple  who escape to Atlantic City only to continue to struggle and, in the line “with you forever I’ll stay” a continuation of Springsteen’s exploration of marriage and commitment that would thread through into Tunnel of Love‘s documentation of his own, an album which I think this lyric would be equally at home on,

Faith will be rewarded: Bruce Springsteen – Madison Square Garden, New York 2000

“The floor was a mass of smiles and swaying bodies, and as I watched, I thought ‘I can do this. I can bring this, this happiness, these smiles.’ I went home and called the E Street Band.”

Back when the music press was writing it up and even when I bought the live album that documented it – Live in New York City – I didn’t really understand just how big a deal Bruce Springsteen and the E Street Band’s Reunion Tour was.  I’d only really been listening Bruce for a few years at that point and was by no means a decades-long fan.

I was actually one of the generation of fans that made Bruce realise it was time to get the band back together again after a “two young kids” introduced themselves to him outside a pizza joint and expressed their dismay at having never seen the E Street Band live “I started realizing there was a sea of young people out there who never saw the greatest thing I did: PLAY LIVE… with the E Street Band”.

Here we are in 2018 – with a number of studio albums completed with E Street Band tours and shows further on and it’s clear how important that Reunion Tour was. For the decade leading up to it had been filled with two tours from Bruce. One with ‘The Other Band’ in support of Human Touch/Lucky Town and what became known as the ‘Shut The Fuck Up’ Tour for Ghost of Tom Joad. So when Bruce took to the stage with a full E Street Band in 1999 many, including the band themselves, weren’t sure how long it would last.

It had been 11 long years since the end of the Tunnel of Love tour and Steven Van Zandt hadn’t toured with the band since 1981. Questions abounded: was it a one-off? Was it just a nostalgia tour? Was there anything left in the tank? Would this be the start of a new chapter?

By the time the Reunion Tour reached New York in June 2000 for it’s grand finale – a ten-night, sold-out stand at Madison Square Garden – all of those questions had been answered. The E Street Band was firing on all cylinders, tighter than a duck’s arse and clearly a force to be reckoned with now and into the future. The set contained a healthy mix of classic ‘Jersey greaseball’ and ‘Mega’ Bruce along with a selection of Tracks‘ most euphoric moments and new songs to boot.

Songs from June 29th and July 1st would be chopped up and spliced into the ‘live’ album Live in New York City. Back in my Least to Most on Bruce I mentioned how this album suffered from “strange sequencing and fading out”. I stand by that. Until recently a real document of that tour and its closing stand has not been available. But, as Bruce and others, continue to use that weird old ‘Nugs’ service and release more individual shows to the public, I’ve added (thanks to Black Friday the best $4 I’ve spent) Madison Square Garden, New York City, July 1, 2000 to my collection and, let me tell you now: it’s fucking awesome.

Hearing the show from start to end, in full and uninterrupted is a new experience that highlights just how vital and powerful a performance it was. It would be a few tours before Bruce started abandoning setlists and taking requests so those core songs that it revolved around – ‘My Love Will Not Let You Down’, ‘Two Hearts’, ‘The Promised Land’, the fiery recasting of ‘Youngstown’ leading into ‘Murder Incorporated’ are all here as per Live in NYC but still fantastic and exuberant in their performance.

In fact I’d go so far as to say that now, with the benefit of understanding the band’s history, hearing the Van Zandt spotlighting ‘Two Hearts’ is even more rewarding.

There’s a stunning take on ‘Lost in the Flood’ which – it turns out – was the first time this one had been tackled since the Darkness on the Edge of Town tour. Tracks favourite ‘The Promise’ is met with a near-orgasmic reaction from the crowd after every verse and chorus and the guaranteed crowd pleasers ‘Badlands’, ‘Backstreets’ both ‘Born’s – though the USA in a heavily stripped-back slide-blues version closer to the take on Tracks delight as they always do. Given that Bruce almost cut all the classics from the set, wanted to stick more closely to Tracks material, makes you more grateful for Landau’s sage wisdom in guiding him toward doing what he does best. There’s also the introduction of Bruce as ‘rock and roll televangelist’ as he promises salvation though the power of rock and roll. Yes, it’s rehearsed and probably didn’t change night to night, but the band and the performances are so tight you can’t help but get caught up in it.

The sound of the band had changed too as this tour marked the point at which the guitars became more dominant. With both Van Zandt and Nils Lofgren in the mix now alongside Springsteen’s own teak-like tone and Patti Scialfa adding an extra rhythm the band shifted to a four-guitar attack which, when coupled with the power of Max Weinberg, makes this era sound so much heavier and more powerful than takes on previous live recordings. It fucking kicks.

But it’s the stuff that, for some bizarre reason, was left off that record that really shines a new light on these concerts. Springsteen chose to open this show with a new song – the Joe Grushecky co-penned ‘Code of Silence’  and dropped a pre-The Rising version of ‘Further On Up The Road’ later into the set. Of course, two other new songs were featured on Live in New York City and also feature here but there placing in the setlist is more natural. Tour anthem and ‘theme’ song ‘Land of Hope and Dreams’ is the penultimate song while ‘American Skin (41 Shots)’ came earlier on in the night than that album would lead you to believe. It’s one of Bruce’s finest and made for performing live -which is probably why it’s never been done justice in the studio – because it’s the reaction, the silence as attention is given then the cheers that greet this song and it’s meaning are always worth listening to:

‘Land of Hope and Dreams’ , with it’s message of inclusion and moving forward as one, had been played every night of the tour, usually the set closer. As he introduces the song here, Bruce says that he was “hoping that our tour would be the rebirth and the renewal of our band and of our commitment to serve you. I hope we’ve done that well this year and we´ll continue to try and do so…”

This show does’t end with ‘Land of Hope and Dreams’ though. Bruce saved the best for last. For the first time, the band would play ‘Blood Brothers.’ It’s a powerful and moving rendition and Bruce adds a new verse for the occasion and you can hear his voice break with tears. Unrehearsed and impromptu, he calls the band to stand with him and join hands as he sings these new words, in the video that was taken you can see Clarence wasn’t paying attention – he’s caught up in the emotion – and needs to be beckoned, It’s the perfect closer to the tour.

After a twenty-eight song set, packed with much crowd banter and preaching the band leave with a simple “we’ll be seeing ya”. They would be, even if that wasn’t 100% at that point, and would drop many a classic show propelled by great, stadium-ready new songs, but the sheer rediscovery of their power as a band, the promise of that which could lay ahead and the celebration of what they had accomplished make Madison Square Garden, New York City, July 1, 2000 an essential live album for fans and one that I know will be in frequent rotation for a while to come.

 

Current spins

With the Pearl Jam series complete, it feels like as good a time as any to take a look at what else has been going into the old ears of late because, having spent so long on a Pearl Jam bent, I’ve been listening to a shit load of different stuff these last weeks…

Crowded House – Private Universe

It took a while before I got round to it but I’ve been spending a lot of time with the first four Crowded House albums lately and enjoying every track thus far. Their album Together Alone is the standout for me and this song has had a fair few repeats.

Chastity Belt – Different Now

A recent purchase, Chastity Belt’s I Used To Spend So Much Time Alone is a great album that manages to feel like some lost 90’s gem while still sounding fresh and new.

Kurt Vile – Bassackwards

Because it’s one of the two long tracks that new album Bottle It In revolves around and those powder-blue discs have been getting a lot of spins since arriving on my shelves. This – and most of KV’s work – has got such a laid back vibe that you just kinda close your eyes and drift along to. Perfect music to get small to.

Bill Mallonee & The Vigilantes of Love – Resplendent 

This took me a while to get hold of. I heard this on one of those CDs that came free with a magazine some… 18 years ago. I don’t know much about Mr Mallonee but he’s not much about on the likes of Spotify etc so I had to track down a second hand copy of Audible Sigh the album this is from. I’m not usually one for this alt-country but I love a good ‘story’ song and the lyric “’til what you were meets what you’ve now become, grins and says “hey, haven’t we met”

Kate Bush- And Dream of Sheep

Back before she went completely off her rocker and long before she started spouting off about how wonderful that deranged fucktard Theresa May is… Kate Bush made some perfect music. One such example – Hounds of Love: one half the perfect pop album, the other, from which this is, a gorgeous concept suite about a person drifting alone in the sea at night.

And, finally…..

Bruce Springsteen – Racing in the Street ’78 

OK, so I’ve got a BIG BRUCE SPRINGSTEEN POST or 2, or maybe 3 in the making at the moment and so the Boss has been back on heavy spin and this song… this version… fuck but it’s good.

Least to Most: Pearl Jam – Let the Records Play

Here we are at the end of another (my third to date) Least to Most series.

What’s been learned:

That when I tackle this series on an album by album basis this is a pretty consuming mission when combined with that other thing called ‘life’. And yet I already find myself looking at my shelves and wondering who’s next (it’s not Bob Dylan, that’s for sure).

Pearl Jam are fucking awesome. But then that shouldn’t be a lesson to anyone.

For my money, these blokes were at their finest between 1993-1998.

I still think they have at least one great album in them despite recent evidence.

For those playing along at home, the Least to Most favourite list broke down like this:

10. Backspacer
9. Binaural
8. Lightning Bolt
7. Riot Act
6. Pearl Jam
5. Ten
4. Yield
3. No Code
2. Vs.
1. Vitalogy

That’s today. Well, that’s how I eventually settled the list (after five drafts). Ask me again in a few months that might change. Ask me again when the next studio album eventually drops and it may be all change again.

For my money, if you want a good single, cover-all bases Pearl Jam album you’ll struggle with just one disc but if you get your hands on the Vs. & Vitalogy re-release box you’ll get two of their best and Live at the Orhpeum Theatre which is a fierce, powerful live disc that captured the band live between the two albums and is packed with cuts from Ten and a few rarities too.

Still, for more of what I’d recommend, and as a tip of the hat to Jim over at Music Enthusiast whose playlists are the stuff of curator envy, here’s my Pearl Jam ‘essentials’ playlist wherein I try and cherry pick the best of the band’s ten studio (and one rarities) albums and still end up with sixty tunes. Play in order or play in random but, hopefully, enjoy:

Least to Most: Pearl Jam – Vitalogy

“This song is about… uh… people who don’t have taste but they like us anyway. It’s called ‘Not For You'”

If Vs. was the sound of Pearl Jam taking control, Vitalogy, released just a year later, is the sound of the band giving a big middle finger to anyone who hand’t got the message yet. Rougher, rawer and more eclectic than anything they’d either released to date or since with songs born out of jam sessions as the communication between band members started to falter, with “eighty percent of the songs were written 20 minutes before they were recorded” according to Stone Gossard. It’s stripped down, it’s lean and uncompromising and marks the first time Pearl Jam would really start to experiment. It’s rife with hostility and tension aimed both outward and inward as, three albums in, cracks began to show within relationships to the point that, while Gossard thought of quitting, drummer Dave Abbruzzese would actually be let go as sessions wound down.

Again – it shouldn’t be good. It shouldn’t be cohesive but it’s not only good: it’s their finest album yet – in my opinion and this is my Least to Most after all. As 1993 tumbled into 1994, Pearl Jam were hitting their songwriting peak and the songs on Vitalogy bristle with an energy that wouldn’t be matched again for a while and certainly not with the level of consistency found here.

The songs here form the template for all Pearl Jam songs to come – there’s the balls-out angry and heavy, there’s the flexing of creative / experimental muscle, the achingly poignant and the perfect mid-tempo. All summised in one rough-hewn gem of an album.

So – you want the balls-out angry and fast? Take that opening volley of songs:’Last Exit’, ‘Spin the Black Circle’ and ‘Not For You’:

As middle fingers to the label go, Pearl Jam chose ‘Spin the Black Circle’, much to Epic’s dismay, as the first single from Vitalogy. “See this needle, Oh see my hand, Drop, drop, dropping it down, oh so gently, here it comes, touch the flame, turn me up, won’t turn you away” is an homage to vinyl and was supposed to sound completely different – it’s a Stone Gossard riff that Vedder first heard at the wrong pitch: “I had come up with something in my truck with the tape player in my hand, but then I realized it was playing at a superhigh pitch. I turned it down, and it was really slow. I was like ‘Oh, fuck.”

‘Not for You’, meanwhile is as openly blunt and angry about the co-opting of the alternative scene as the band would be – save for the time Jeff Ament spotted Marc Jacobs and Anna Sui (who had released a ‘grunge’ line of clothes) and “I went down and did a fake fashion twirl and went ‘Hey Marc, what do you think of this for the next line?’ ” It’s hard to comprehend now in a way but I guess when Ricky Martin is cast on General Hospital as a clone of you – you’re gonna get pissed off. It also burns through ‘Corduroy’ (perfect mid-tempo) with it’s line “they can buy but can’t put on my clothes”:

Both ‘Not for You’ and ‘Corduroy’ are sole Vedder compositions. Vitalogy – dipping back to those inner band tensions mentioned – marked the first Pearl Jam album where Vedder’s songs would by far outweigh those of the other members. Half of the songs here (you can’t really count ‘Aye Davanita’ or ‘Hey Foxymophandlemama, That’s Me’ as songs) are marked as Vedder / Vedder on the lyrics / music front.

Vedder’s “it wasn’t a hostile takeover” caused issues in the group. Stone Gossard was said to have considered leaving as he was no longer the guy who made the final decisions on tunes and vacated his role as mediator within the group (something which Dave Abbruzzese has credited to his departure). With hindsight Jeff Ament has stated that it was simply a case that Vedder was working harder at writing songs than the rest of the band – McCready would enter rehab to receive treatment for alcohol and cocaine abuse during sessions too. “I still don’t know if he was consciously exerting wanting to take over the band or take the reins or the the power. I think it was more like, ‘Hey, man, I’ve got seven complete songs here. What do you guys have?’ and we only had little riffs or two-parter things.”

Of those Vedder / Vedder songs are the achingly poignant Immortality and, of course, one of the band’s most well known:

I’ve probably heard this song live on the numerous shows I have in my iTunes. These days when it’s played live it’s not really the same song but the original is still an out and out classic especially considering its troubled and lengthy gestation as a Pearl Jam studio song. Vedder, fearing it was too raw and direct in terms of emotion, was never happy with how it had been recorded (the band had first tried getting it on tape for Vs.) and, at one point, came close to giving it to Chrissie Hynde to record instead. As it is he changed the final mix for ‘Betterman’ right at the last.

The creative: perhaps too wary of releasing quite so many obviously strong and high-pedigree songs on one album, Pearl Jam used Vitalogy to drop some of their, frankly, weirdest shit to date too. So, following up the beautiful Ament / Vedder collab, ‘Nothingman’…

… is ‘Pry To’

While what could have been a one-two-punch knockout of ‘Betterman’ and ‘Immortality’ is softened by the slotting of ‘Aye Davanita’ between them – it’s “just screwing around” with chanted non-lyrics that O’Brien looped. Then again, there’s something charming about ‘Bugs’ which Vedder, suffering from poison at the time, plays an off-tune accordion.

Then again, perhaps I’m overthinking it. Maybe they really just did like those interludes. But let’s look at it this way: if Vitalogy had been stripped of those and released as a ten track album comprising of songs like ‘Corduroy’, ‘Betterman’, ‘Nothingman’, ‘Last Exit’, ‘Spin the Black Circle’ etc… even with the lean produciton behind them, there’d have been no real way for them to get away from it or say no so easily.

As it is, glorious rough-hewn warts and all, Vitalogy is my favourite Pearl Jam album.

Least to Most: Pearl Jam – VS

It wasn’t intended or planned but  – Pearl Jam’s Vs. was actually released 25 years ago today on October 19th, 1993. Crikey.

Back in 1993 in those wonderful days when a certain orange idiot was merely an occasional media presence and music news came periodically rather than by-the-second with inside access and selfies and… yep, I’m coming up on a birthday too so am feeling a sense of reminisce for those days of my youth when this was what new music sounded like.

To say I love Vs. would be a solid bet. It’s at number 2 on this list, today. Tomorrow it could be number 1. So here are lot of reasons why I think Vs is just the mutt’s nuts.

It was huge but in the lexicon of Pearl Jam’s discography and longevity is now something of a forgotten album, falling between the cracks between Ten and the shift in gears and stepping back from the spotlight that Vitalogy (yes, spoiler alert, more on which to follow) and wars with Ticketmaster would herald. At the time of release it set a new record for most copies of an album sold in its first week (950,378) and would hold that for five years*.

Dave Abbruzzesse is all over this album. Dave Abbruzzesse was an odd fit in terms of personality but an unimpeachable drummer for Pearl Jam. At a time when Eddie was struggling with the onslaught of fame and trying to step back and the band seemed at their most painfully angsty/earnest, Dave Abbruzzesse just wanted to enjoy the success. A Rolling Stone profile written that year, the drummer would point out that “when I was younger and I heard about a band selling a million records, I thought the band would get together and jump up and down for at least a minute,” he says with a wide-open East Texas laugh, “and just go, ‘Wow, I can’t believe it.’ But it doesn’t happen that way [in this band]. Me, I flip out. I jump up and down by myself.”

At the time this wasn’t where messrs Vedder, Ament, Gossard and McCready were. Well, definitely no Ed Vedd who was painfully serious at the time. It’s hard to judge, of course, because I’ve never written an album that sells millions of copies within a year, but I think the judgement of peers for doing so (Fugazi, Cobain** etc) perhaps made the band afraid of lightening up and desperate to appear more serious. For my money, Abbruzzesse’s inability to not smile and appear an amiable chap in band photos stopped the band disappearing up it’s own bum at the time.

As a drummer he was an immense tour de force and his drumming is what pushes Vs. along and is missing from these songs when performed live. Oh, and he also wrote the music for ‘Go’:

Go is about Eddie’s truck – well, apparently. While it sounds like it’s probably about something more serious, the lyrics were apparently written about Vedder’s truck – the band were making serious money but not spending or living like ‘rock stars’ – which he would often sleep in an effort to stay feeling ‘hungry’ and would often stall and threaten to quit.

Vs. is one of their most on target / consistent albums to date. The aforementioned Rolling Stone article, written before the album’s name was decided, stated that “Pearl Jam is the band’s turf statement, a personal declaration of the importance of music over idolatry.” Vs feels like a mission statement. It’s the most straight-ahead and consistent of tone album in their catalogue, rivaled, oddly enough, only by Pearl Jam. From the opener ‘Go’ via ‘Animal’, ‘Blood’ and ‘Leash’ to the closing ‘Inidfference’, there’s little deviance in style and minimal experimentation, a lot of fierce rockers and aggression thrown in. And every song is strong.

There’s barely a break in pace between the opening salvo of ‘Go’ and ‘Animal’ – save for the acoustic driven ‘Daughter’ which is hardly a slow song, and ‘Elderly Woman Behind the Counter In A Small Town’ (the very title of which is an outright joke at the band’s own habit of one-word song titles) – which makes ‘Indifference’ so much more of a powerful closer.

It was the beginning of saying “no” for part of Pearl Jam’s mission statement and way of coping with the assault of getting so big so fast was to push back. They began to saying no and taking control in an effort to prolong the band’s lifespan. The video for ‘Jeremy’ had become so ubiquitous at the time that the band, particularly Ament, were fighting hard against their songs being remembered only as a video. Having drawn the line at allowing a video for ‘Black’, they  started realising they could say no to requests. Requests like ‘can you raise Eddie’s vocals?’, ‘can you choose a director for a video?’ ‘can we schedule an interview with…?’ would be met with ‘no’s and ‘not really’s from here on in and Vs. feels like an aggressive stab at forging a new path.

Collaboration rules, or at least it did at the time of Vs. Only two of the twelve cuts on Vs. are sole Vedder compositions. Much like Ten before it, most of Vs was written as a collaborative effort with Vedder providing the lyrics. Perhaps this is why so many of the songs are as strong as they are: tighter than a duck’s arse after touring behind Ten and brimming with ideas, most of the songs on the album were born out of jam sessions with as much recorded live as possible. As Stone Gossard pointed out:  “I think we allowed things to develop in a more natural, band-oriented sort of way, rather than me bringing in a bunch of stuff that was already arranged.” It feels organic and it feels like a real band album and benefits from a lot more involvement in songwriting from Mike McCready too, take ‘Glorified G’:

‘Glorified G’ is a direct mocking of Dave Abbruzzesse but he dominates it nonetheless. ‘Glorified G’ – based on a McCready riff – was another song born out of a collaborative jam session but it’s anti-gun stance was born out of Vedder’s reaction to Dave’s ownership: “I was at a band rehearsal and just started writing down these things the guys were talking about. The band were having this conversation and I just took down the dialogue. One of the band members had just bought a gun. It was the drummer, actually. Ask him about it.”

So, if you asked Dave he’d have said: “I told our manager that I just bought a coupla guns and he told Jeff, and at rehearsal Jeff kinda blurted it out. And Eddie went, ‘Whaaaat, you bought a GUN?’ And I said, ‘In fact, I bought two,’ which ended up as the opening line of the song. I think it’s fair to say Eddie was pretty outraged.”

The odd thing is that this song rocks because of Abbruzzesse’s power. Even live – check out the performance on the Live at the Orpheum that accompanied the rerelease of this album and Vitalogy – he’s ON. Whether Vedder’s angered swipe at him either motivated him to play harder out of ‘fuck you too’ or he was just too easy going to really give a fuck we’ll never really know.

It is rammed with some of their best and most well-loved songs. Seriously, take a look at that track list and see how well received songs like ‘Go’, ‘Animal,’ ‘Blood,’ ‘Immortality’ are when they’re played live and you’ll see that the songs on Vs. are many a fan’s favourite. I just wish they’d bust out ‘Leash’ more.

‘Rearviewmirror’ – every single second of it. Live, now, it’s become something else and verses are often missed but ‘Rearviewmirror’ is one of Pearl Jam’s finest songs. Ridiculously catchy for a song supposedly about suicide it’s driven along by a hugely proppulsive riff from Vedder and, again Abbruzzesse’s drumming. Plus, as an added bonus you can hear Dave throwing his sticks against the wall at the end of the song as he grew increasingly frustrated by producer Brendan O’Brien’s (this was his first time producing a Pearl Jam record) constant pressure on him. There’s also a story that he ended up punching a hole in his snare drum and throwing it off a cliff. It’s worth it, though:

There’s a lot to love about Vs. and I can’t find anything to fault it on. If you’re nitpicking you might, in the same way as you would with Pearl Jam,  bemoan the lack of experimentation or single-focus on this one but the songs here are just so tight, confident and strong that you could only really do so for as long as it takes for ‘Go’ to give way to ‘Animal’.

*Technically it still holds that record as from 1998 (when it was broken by Garth Brooks) SoundScan started counting first week sales as opposed to first five days but that’s a technicality.

**Yes, Nirvana sold a tonne of records too but he famously decried Pearl Jam’s music as commercial / jock music