Least to Most: Pearl Jam – Binaural

“We’d rather challenge our fans and make them listen to our songs than give them something that’s easy to digest. There is a lot of music out there that is very easy to digest but we never wanted to be part of it.”

I have a real soft spot for Binaural: I got into the band a year after Yield so this was both the first Pearl Jam album I bought on day of release – as well as the singles for ‘Nothing As It Seems’ and ‘Light Years’ – and the album they were touring behind when I caught them live.

Not only that but I do genuinely believe that there are some real gems on Binaural that, due to its relative low commercial performance, don’t get the recognition they deserve. So much so that I’ve already blogged about this album in a lot more detail here.

But, for all that, in terms of where it sits in preference levels to the rest of the band’s discography – not all that high. Of the highs – this album has an unimpeachable mid-section of ‘Light Years’, ‘Nothing as it Seems,’ ‘Thin Air’ and ‘Insignificance’ but that section is buffered by some pretty dense sounds.

Some of this was on purpose, with the band’s decision to change things up with Tchad Black (as the band moved away from producer Brendan O’Brien for the first time since Vs) recording many of the album’s songs employ two microphones to create a 3-D stereophonic sound.

On some songs – notably ‘Of The Girl’ this layered, textured sound works wonders. Elsewhere, the sound quality and mixes just don’t feel right. Looking back, even band members have come to regard Binaural as an album marked by distractions and missed opportunities, a lack of focus that meant the album lacked the power it could have had.

Gossard, for his part, feels that they should’ve gotten more out of new drummer Matt Cameron – “It should have devastated in a way that Temple of the Dog devastated”. They just weren’t writing with him in mind. Jeff Ament goes further, believing that in cutting songs like ‘Sad’ and ‘Education’ “we look back and think we didn’t put some of the best songs on it.”

But, it was the band’s first venture into the studio with Matt Cameron and, while he made an immediate contribution to songwriting with ‘Evacuation’ (not one of the album’s strongest) and a few tracks left on the cutting floor, the in-studio chemistry wasn’t quite there. They were working with a new producer for the first time, Mike McCready was battling an addiction to painkillers that saw him absent from many a session and Vedder – also in the middle of a marriage breakdown – was plagued by a case of writer’s block that got so bad he had to be stopped from picking up an instrument and writing more music until he had completed lyrics to those songs already piling up and waiting for them. As the man himself told Spin magazine following the album’s release:

“It’s bad when you have writer’s block in the studio and you’ve got three songs without words and four days left. It pretty much happened on the last record. And the worst part was they were songs that I had written. I had written the music to “Insignificance” and “Grievance”. I just wasn’t happy with what I had so I kept working on it and scrapping it and staying up at night, playing piano melodies to make it be the best thing. And it worked, finally. That causes hell in a relationship, that’s all I’ll tell you”

Unfortunately, none of these are ingredients for a great album.

On the plus side – this meant more opportunity for contributions from other band members than on previous albums with three songs and lyrics written entirely by Gossard  ‘Thin Air’, ‘Of the Girl’ and ‘Rival’ alongside Ament’s ‘God’s Dice’ and ‘Nothing As It Seems’.

Binaural is, in many ways, a missed opportunity. Pearl Jam, for all their ‘year or no’ decisions that lead to a cessation of music videos, a reluctance to give interviews or -for a large chunk of time – playing at Ticket Master rep’d venues,  were still in the album-tour-album-tour-album cycle. It would be a while before they’d learn to take a break and I can’t help but wonder if, had they taken just a little longer between Yield and their next album to attend to their own personal lives and breath a little, if Binaural wouldn’t have been their greatest. The ideas are all here, the parts are all right there with em but the final execution just misses the mark.

But – it’s still very very much worth a listen and is one of the few albums for which I’ve broken my ‘if I already have it on CD I won’t by it on vinyl too’ rule for. Oh, and it also introduced Ukulele Ed with ‘Soon Forget’ – a song that, when he was still a baby, I would sing quietly (minus the uke) as a lullaby to my son at nights and, so, ranks as a real personal favourite.

Highlights: ‘Light Years, Nothing As It Seems, Thin Air, Of the Girl, Grievance, Sleight of Hand, Soon Forget

Not-so highlights: ‘God’s Dice’, ‘Evacuation’.

Least to Most: Pearl Jam – Backspacer

“But I am up riding high amongst the waves
Where I can feel like I
Have a soul that has been saved
Where I can feel like I’ve
Put away my early grave”

Let’s kick this off with a reminder of this series’ caveat – this is not a critical ‘worst’ situation and I can well imagine any of these albums being cited as a favourite by others.

In many ways it pains me to start this series off with Backspacer but it has to start somewhere and the band’s 2009 album is probably the least-played of their discography in casa Hill.

Why does it pain me? Like many I was very much hyped to grab this one when it dropped. The build up to it painted a strong picture of a revitalised band about to release an album that could sit amongst their strongest. 2006’s Pearl Jam (or ‘Avocado’) seemed to find Messrs Ament, Cameron, Gossard, McCready and Vedder back on focus and  firing on all cylinders and even the fickle media was back in their corner.

In fact, press leading into the recording dropped even more fuel for anticipation – for the first time since Yield Brendan O’Brien was at the helm. O’Brien had produced Pearl Jam’s cover of ‘Love, Reign o’er Me‘ for the (pretty pants) Adam Sandler film of similar title. They had a blast together and when it came time for a new studio album, the choice was a no-brainer. According to O’Brien, Pearl Jam “were ready to be, for lack of a better word, “produced” again” while Vedder told Rolling Stone “In the past, Brendan would say, ‘It’s a great song, but I think you should do it in a different key,’ and we’d say no. But now that we’ve heard Bruce has listened to his suggestions, I think we will too.”

It all pointed to ‘great’. And there is a lot of great stuff on Backspacer. Take first single ‘The Fixer’ as an example – it’s  pure hook, it’s almost pop-like in its sensibility. It’s fast, immediate and one of their best songs.

It’s also a great example of Pearl Jam’s collective song-writing chops. It takes its basics from a Matt Cameron demo (hence the odd timing signatures) which was worked up by Stone and Mike before Ed then worked on the arrangement ‘to get the parts he needed in the right place’ and tackled the lyrics. As such it’s one of only two tracks on the album with music composed by more than two members – Vedder wrote the lion’s share of Backspacer; all the lyrics and music for five of its eleven tracks.

According to Ament “Whatever wave Ed caught with [his soundtack for] Into the Wild has taken him to different places.” Those sole-Vedder creations areare among Backspacer‘s strongest – ‘Just Breath’ (which takes the opening chord from Into The Wild instrumental ‘Tuolumne’ and builds from there), ‘Unthought Known’, ‘The End’ and ‘Speed of Sound.’

Vedder’s lyrics on Backspacer are markedly more optimistic and politic-free after at least two previous records filled with barbs at the administration*. “I’ve tried, over the years, to be hopeful in the lyrics, and I think that’s going to be easier now,” Ed would tell press – whether that was down to a sense of calm in his personal life or a reflection on the end of the Bush era and the beginning of the Obama administration or both… it’s no bad thing. There’s a real joy and lightness that soars through some of Backspacer‘s finest moments that make it one of Pearl Jam’s easiest and most accessible albums to date.

So with all this good stuff to be said…. the reason Backspacer sits at the Least end of this list?

Essentially  – while this is true of a lot of albums in general – my version of it is a lot shorter than the actual album. There’s a good number of tracks that just don’t linger in the memory and as this is Pearl Jam’s shortest album, that doesn’t leave a whole lot left to spin. On average I’d say there’s five songs on here that are guaranteed a listen every time, possibly six which – on an 11 track album – splits it right down the middle.

There’s nothing ‘wrong’ with those songs but ‘Got Some’, ‘Supersonic’ etc are of the type that Pearl Jam have done better elsewhere in their catalogue and don’t offer sufficient hook to stick and, I’m sure, are cues to head to the bogs during concerts.

As for ‘Johnny Guitar’ – it’s the worst song Pearl Jam have committed to tape if you ask me (and it’s my blog so… ).  Ed was ‘inspired’ by seeing a Johnny Guitar Watson album cover… on the wall of a bathroom. If you ask me there should be a rule for songs about things you see in the crapper and that rule should be: don’t. Just don’t.

Backspacer arrived at an interesting time for Pearl Jam. Reinvigorated by the response to their 2006 album the band were on the cusp of their 20th Anniversary ‘lap of honour’ which had already begun with the re-release of Ten earlier in 2009 and would soon see further re-issues (expanded versions of Vs and Vitalogy) a new live album, a Cameron Crowe helmed documentary and soundtrack and a series of ‘summer’ tours that would focus on the band’s legacy rather than new material. Not that it wasn’t deserved, more that for a time, new music felt more of an afterthought. It would be four years before their next album.

Highlights: ‘The Fixer’, ‘Just Breath,’ ‘Amongst The Waves,’ ‘Unthought Known,’ ‘Speed of Sound,’ ‘Force of Nature.’

Not-so highlights: ‘Johnny Guitar’.

 

*I was very excited about the possibility of a righteously angry Pearl Jam album being the sole positive of a Trump presidency and still am even after ‘Can’t Deny Me‘.

 

Least to Most: Pearl Jam (Intro)

Am I really about to kick off a potentially lengthy series after what has been a year of sporadic posts at best? You bet your bollocks I am.

I’ve been toying with a way to pick up where my earlier posts on Pearl Jam’s ‘lost’ years left off and cover the band’s rise and ‘glory’ years in a way that didn’t simply regurgitate what had been written so many times before – and lining up another candidate for a Least to Most series* so, as the meme asks, why not both?

As per previous and future Least to Most this is not my attempt at a critical “worst to best”,  as this isn’t a site of critique. It’s mumblings of personal thoughts and opinions relating to music. As such I’m going to be running through, in order (though certainly not uninterrupted), my Least to Most Favourite Pearl Jam studio albums.

Of key importance to note with this series is that as a massive Pearl Jam fan, even if they’re among the ‘least’ end of this rundown, it’s a fair bet that there’s usually at least two of these albums in my car or on rotation at a given time.

Let’s spin those black circles…

 

 

 

*Pink Floyd will be up to bat soon… depending on how soon I can a) listen to Saucerful of Secrets and b) decide whether Piper At The Gates of Dawn really counts as a Pink Floyd album.

Currently Listening

Here we are again. Another ‘series’ down and a couple brewing in the pot and time for a look at what (alongside continual listens to Lost In Kiev’s Nuit Noire) my auditory ossicles have been pinging on down the line of late.

The Mono Jacks – 1,000 De Da

This one was sent to my wife last week via our friend in Romania who gave me some ammo for my Out of Europe on that country and I’ve been listening to it and their new album pretty solidly since. My Romanian isn’t strong enough to offer a translation but I’m told it deals with a certain kind of… parental method that a lot of Romanians today can identify with and “represents our inner children yelling for freedom as we each carve our own paths in life”. The Mono Jacks describe themselves as sounding “between alternative rock and post-punk touches”. As the review on the band’s site says: “I’ve seen most of the British bands ploughing this particular furrow, and The Mono Jacks have better songs than pretty much all of them.”

Destroyer – Chinatown

Another example of strange ways to discover music…. I was looking at an album on Amazon a week or two back and down in the “recommended” type carousel I saw Destroyer’s Kapputt at £5 for a double lp. Out of nothing more than curiosity and intrigue after scanning the glowing reviews (numerous album of the year accolades and reviews like “an astonishing world in just nine songs” and “an open love letter to a vanished pop era: it’s unique and warm and beautiful” ) I checked it out on Spotify and was hooked and hit ‘buy’. Why it was so cheap I have no idea, but, to quote another review “a brilliant and accessible album that draws from the lush sounds of the early 1980s but never forgets the importance of songwriting”.

Band of Susans – Elizabeth Stride 1843-1888

Again – different ways of discovering music. I saw a book (I think on Instagram) that I thought might be interesting called ‘Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981–1996.’ I downloaded a sample chapter and while it’s more a case of “author’s favourite 500..” the description of Band of Susan’s Here Comes Success got me intrigued and I’ve had this opening track on a lot since. There’s a really obvious late-80’s Sonic Youth element to it along with *that* guitar sound. This one actually sent me down one of those Wikipedia rabbit holes that lead to the Saucy Jacky postcard (“you’re a saucy one, Jack”). Apparently Leo Fender was a rabid fan – of Band of Susans not Jack the Ripper.

Pearl Jam – Release, 1994 Orpheum Theater, Boston, MA

Because Jim at Music Enthusiast has got me seriously considering delving deeper into a Pearl Jam series and because I need no excuse to listen to Pearl Jam I’ve been spinning the live disc that came with the Vs/Vitalogy box. In terms of Pearl Jam live albums it’s probably the finest ‘official’ release out there.

Bruce Springsteen – I’ll Stand By You Always

Again in preparation for a possible series / longer post… (my notebook is starting to fill up with these and I haven’t even touched on the 100 Essential Albums thing..) back when Springsteen was doing the promo rounds for his book he confirmed the existence of this one as having been written for, and turned down by the producers of that film about kids and magic. At the time he said that it was “very uncharacteristic of something I’d sing myself.” “It was something that I thought would have fit lovely.” Well, despite being locked down for over a decade it emerged this year on a bootleg set called Odds and Sods. Perhaps not suited for a kids movie as such it’s certainly a different take for Bruce and would probably rank quite highly on his ‘movie songs’ list. It comes from the start of a very prolific song-writing period for Bruce and while he currently squats on Broadway in another activity that keeps him from releasing any new material it’s worth a listen for fans.

In terms of where this sits with sessions and musicians…. It’s listed as “copyright June 13, 2001” so my guess is that it could be from the E Street sessions at Thrill Hill East of that spring – between the end of the Reunion Tour and the start of The Rising sessions later that year in Atlanta – that Springsteen considered fruitless but there’s so little on it in terms of ‘band’ sound that it could just as easily be a solo recording.

Current Spins

Oops, been a while, again.

There’s been a few slabs of wax that have slipped into the racks of late and have been in fairly regular rotation so, along with those, here’s a little gander at what’s going in the old earbuds of late…

Pearl Jam – Let’s Play Two

This one I’d forgotten pre-ordering so was quite surprised when it arrived.Let’s Play Two is the ‘soundtrack’ to the upcoming concert film / basebell love-in of the same name. I’m not one for sports in general and baseball is a uniquely American currency I think so I’m not too excited about the film. While neither the best soundtrack to a PJ film (that’d be Pearl Jam Twenty) or a great Pearl Jam live album, Let’s Play Two is still a worthy listen given that Pearl Jam are one of the best live acts still giving it their all and while the song selection is slight – the band played over thirty songs each night – and not in true concert order, you can’t argue with a great rendering of ‘Given To Fly’, ‘Release’ and one of my own favourites, ‘Inside Job’.

Various – Twin Peaks (Music from the Limited Event Series)

While I still don’t really know what to make of either the majority of the series or the finale to the revival of Twin Peaks – aside from it being Lynch’s take on not wanting things to get old / pass – the soundtrack is a great thing. This one – as opposed to the score – is made up from songs played at the Big Bang Bar at the end of the episode along with a couple of those that featured elsewhere including the stellar Live From Monterey Pop recording I’ve Been Loving You Too Long by Otis Redding. Of course, there’s a couple – particularly the ridiculous inclusion of ‘Just You’ – that aren’t what I’d call top drawer but with tracks like Eddie Vedder’s exclusive ‘Out of Sand’, Rebekah Del Rio’s outstanding ‘No Stars’ there’s a lot of strong songs on here that have ensured this has received a few rotations.

The Replacements – For Sale: Live At Maxwell’s 1986

“THE REPLACEMENTS TO RELEASE FIRST OFFICIAL LIVE ALBUM (RECORDED IN FRONT OF MORE THAN 30 PEOPLE)” said the sticker on the front of this one. This live recording – forgotten about / lost until earlier this year captured the band at a turning point; their first major label album just out, just ahead of the firing of original guitarist Bob Stinson. A 29 song setlist that captures, as one review puts is succinctly, the “moment when the tug-of-war between the Replacements’ split personalities—the perma-blotto garage band vs. the refined rock craftsmen—had escalated into a bloody battle.”

Tom Petty – You Wreck Me

For reasons sadly obvious

The Shuffle the Music Thing

So I’ve seen this one floating about on a couple of blogs in my feed and thought it would prove an easy way to get back into posting after a couple of weeks out. Thought…

THE RULES
• Mention the creator of the tag and link to their blog (created by https://stuffonablogblog.wordpress.com/about/)
• Thank the person that nominated you for this tag and link to their blog as well – I saw this over on Aphoristic Album Reviews and he left it open to all so I’ll do the same
• Shuffle your entire music library (no matter how old songs the songs are) and talk about the FIRST FIFTEEN songs that come up (anything like why they are there, if they signify something, any story, why you like them etc.)
• Mention the songs as well as the artists.
• You’re supposed to tag people – but if you’re following this blog, and want to make your own list, go for it!

It’s worth pointing out that it’s impossible to “shuffle your entire music library”. This is the result of hitting shuffle on my iPod instead, an iPod which – following a recent purge – doesn’t contain anything I’ll have on cd so is fairly far from ‘entire’. However…

Man of War  – Radiohead: Kind of obvious why this one is on here – it’s from the OKNOTOK OK Computer re-release. It’s one of the three ‘new’ tracks and it’s really fucking good.

There She Goes – The La’s: Oddly I hadn’t listened to this in age. It’s one of those things you learn to play when you first pick up a guitar, was in risk of being over-played on radio but is an undeniable classic.

 

Alive (Salt Lake City, 1995) – Pearl Jam: Pearl Jam is easily the most featured artist in my iTunes if only for all the concert (official and otherwise) bootlegs on there. This one is distinctly non-official so no chance of a vid or a spotify link. Pretty good quality and features a good setlist and the début of one of my favourite PJ songs, ‘Red Mosquito’.

The Captain – Biffy Clyro: I’m quite partial to a bit of Biff, good straight-ahead rock with plenty of twists and the occasional change-up thrown in. I’m fairly sure I saw them live early into their career but that may be a false memory…. this one is from their fifth album. Need to listen to their newer stuff more I think.

Hung My Head – Johnny Cash:  What can I possibly say about Johnny Cash that hasn’t been said? Fuck all. This one is from American IV, which is where I stopped with the series – the whole posthumous scaps thing not really doing it for me. I couldn’t believe this is actually a Sting song, Johnny and his dark gravelly voice pisses all over Mr Sumner’s muzak version.

Where Do You Think You’re Going  – Dire Straits: It’s on here because Dire Straits are one of those bands that I slip on for a bit of comfort listening and always evoke memories. I also love the build up to Knopfler’s solo on this cut from their second album.

Not You Again – Dinosaur Jr: A quick little blast of a tune from 1991’s EP Whatever’s Cool With Me

Peer Gynt Suite #1, Op. 46 – Morning Mood – Edvard Grieg: There’s a fair bit of classical music on my iPod and I’m surprised that this is the only one that came up (I’m also surprised I didn’t get an ‘encore break’ or a marketing podcast). Thanks to the nature of classical music and different recordings of the same peice it’s an impossible mission searching for the same album – swiped from my Dad’s collection  – as the one on my iTunes but this is easily Grieg’s most well known piece.

Oats In The Water – Ben Howard: This is the song that got me listening to Ben Howard. I’d heard and not paid attention to the stuff from this first album but this dark, broody one with it’s rumbling finger picking and moodiness got my attention and served as a good bridge to the stuff on his, superior, second album which gets many a listen.

Gagarin – Public Service Broadcasting: Public Service Broadcasting seem to have a Marmite effect on listeners and reviewers. I heard ‘The Other Side’ on the radio and was hooked. I’ve got a thing for the space race and so enjoy the album. That being said, this one is probably one of my least favourite tracks but that’s the nature of shuffle.

Mineral – Buffalo Tom: I’ve expressed my love for Buffalo Tom plenty of times on this blog. This great tune is from their brilliant third album Let Me Come Over which has just received a 25th Anniversary style re-release which I’ve been enjoying of late.

Teenage Angst – Placebo: I was, just the other day, voicing aloud the question of ‘what happened to Placebo?’. They went from producing awesome songs like this to fetid dumps with lyrics like ‘my computer thinks I’m gay’. A real shame because with their first two albums they made a shitload of good music.

At A Glance – Message to Bears: I can’t recall how I got into Message To Bears. It’s the work of one chap from Sheffield, Jerome Alexander, who describes his music as “interweaving acoustic guitar, piano, electronics, ethereal samples, strings and hushed vocals.” It’s perfect, blissful stuff for slipping on and chilling out to.

Head First – Junip: So… Junip is the band of José González that he got back together after achieving solo success on the back of that Sony Brava TV ad (you know the one with all the bouncing balls). Junip I found via the Walter Mitty film and I think I prefer the band stuff to his solo work.

That’s All Right – Arthur Crudup: While my wife was still living in Paris she went to see an exhibition called “Rock’n’Roll 39-59” which was ‘an exhibition on the genesis and launch of rock’n’roll in the United States’. I wish I’d seen it but I do have the CD she got from it on our iTunes library which includes this, Arthur Crudup’s original song that some kid from Tupelo, Mississippi would record a few years later and make a few quid from.

 

Love is a tower: Pearl Jam’s “Lost Years” 2000-2005 (Part Two)

A little over month on from the tragedy at the 2000 Roskilde Festival, Pearl Jam returned to the stage as the North American leg of their Binaural tour got under way. In a hotel room ahead of the first post-Roskilde show in Virginia, Vedder wrote a song  called ‘I Am Mine’ to “reassure myself that this is going to be all right”.

It’s a Pearl Jam playing to its strengths song – strong hook and melody with affirming lyrics. As Mike McCready says: “It’s kind of a positive affirmation of what to do with one’s life. I’m born and I die, but in between that, I can do whatever I want or have a strong opinion about someting.”

The tour – which would include a Tenth Anniversary show in Las Vegas featuring the debut of Vedder’s take on Mother Love Bone’s ‘Crown of Thorns’ – would wind down back in Seattle in November. The Binauarl tour also saw the commencement of Pearl Jam’s on-going Bootleg series – every show (with the exception of Roskilde) would be recorded and released as “official bootlegs” in a move designed to prevent fans being fleeced for inferior recordings of their shows. It’s move that’s since been taken up my many an artist. Instead of going back to work on a new album, Pearl Jam took a year off.

2001 saw Vedder join a list of musicians in playing five shows with Neil Finn (later captured on the worth-checking-out Seven Worlds Collide), Matt Cameron’s Wellwater Conspiracy release its third album and  Stone Gossard break cover as the first member of Pearl Jam to put out a solo album under their own name. Bayleaf was released on September 11th, Gossard was in New York doing press for it when to hikacked airliners were crashed into the World Trade Center.

When Pearl Jam returned to action in 2002 the world had changed both internally and externally. The band wanted to address these themes in their music even if “Universal themes aren’t easy to come up with when you’re just a guy and a typewriter and a guitar.”  In the aptly named Riot Act they would do their damndest and created a record full of great tunes that received barely any attention even amongst Pearl Jam fans. I know many a fan who can cite every lyric on Vitalogy but wouldn’t know a word of ‘Green Disease’ and it’s a real shame as there’s a direct line between the two.

Riot Act is an album that clearly benefits from having five songwriters with strong contributions from all. Vedder had returned from his place in Hawaii with both a mohawk (which worked perfectly for his induciton of the Ramones into the Rock ‘n’ Roll Hall of Fame*) and a new band member – Boom Gasper – with whom, on their first night of playing together he had written ‘Love Boat Captain’.

For my money the Adam Kasper produced Riot Act is a stronger album than Binaural. It’s tougher, it’s heavier with hook and Vedder is clearly pissed off. Take ‘Green Disease’ – a propulsive, guitar driven rocker that would’nt have been out of place on Vitalogy that tackles the culture of greed. Or ‘Can’t Keep’ – a tune that Vedder bought in as a ukelele demo that became a multi-layered slow burner with buzzing guitars that brings back memories of No Code while the punk-edged ‘Save You’ is thrashed along on a Mike McCready riff while  Eddie Vedder sings of the anger felt watching a loved one losing themselves to addiction.

For me other highlights are ‘Bu$hleaguer’,  ‘You Are’ and Vedder’s ‘Thumbing My Way’. It’s a clear signpost to where Ed was heading as a songwriter and mark the acoustic-driven direction that would come to fruition on the Into The Wild soundtrack and songs on Backspacer and Lightning Bolt that would allow the songwriter the confidence to be direct and open in his lyrics. Stone Gossard feels the song is his bandmate “getting into an acoustic singer-songwriter thing in a way that you always knew that he could. ”

You Are‘ is one of the strangest sounding songs Pearl Jam have put to tape. A really different vibe that was born out of expirmenting with a new drum machine that Matt Cameron had gotten hold of, it’s another great example of the band taking one member’s ideas and creating something memorable.**

The reception to Riot Act wasn’t that positive when it dropped in November 2002. Press was less than luke-warm and sales weren’t strong. Without a radio-friendly ‘hit’ airplay for those songs released as singles was blink-and-you’ll-miss-it. Nonetheless, in 2003 the band headed out onto the road for the first time in close to three years.  With setlists that changed nightly and made use of their extensive back catalogue and covers repetoire, the tour was a success by any measure but, for the first time, saw the band court contreversy and receive more than a few boos thanks to the inclusion of ‘Bu$hleageur’. I’ve covered this before but it’s a noteable – this dark, weaving satirical swipe at George W Bush drew negative reponses and walkouts through the tour (seriousy – did you think Pearl Jam were fucking Republicans who like blind marching to war?) but it reached a head at the Nassau Coliseaum in Uniondale:

Jeff Ament: “I was totally fine with it. I was ready to go out and open up with that fucking song every night I wasn’t going to be a part of something and then take it back. We recorded the song and put it on a record, and that’s how we felt.”

Riot Act was Pearl Jam’s last studio album for Epic Records. They rounded out 2003 with the release of Lost Dogs – a compilation of b-sides that featured many fan favourites and strong songs from the era covered in these posts such as ‘Down‘ and ‘Otherside’ – as part of their contractual obligations.

In 2004 Pearl Jam joined the VoteFor Change Tour in support of John Kerry. Live At Benoraya Hall, a mainly acoustic (thankfully McCready doesn’t seem to have gotten that memo and bought his full arsenal) set recorded the previous year was released in July and features songs from Binaural and Riot Act sitting alongside deeper cuts and ‘hits’. In this setting these songs shine and their place in Pearl Jam’s back catalogue feel established rather than those of albums that are outliers in the discorapthy as they’re so often regarded.

The final release of this period for Pearl Jam was, fittingly, a summary; the obligatory (again likely contractual) Greatest Hits. A neat little package that rounded up the rockers and the ballads in an Up disc and a Down disc with some tasty remastering of Ten tracks by Brendan O’Brien. It’s a solid compilation and I’ll still drop it in the car fairly regularly – but started a trend that continues to this day much to the chagrin of many a fan; the cropping of images to remove Dave Abbruzzesse from the picture.

2005 saw the band break the album-tour-album-tour cycle and head out for a tour without new music to promote. Just getting out and playing to audiences for the fun of it. It was a master stroke. While work was underway on the album that would become 2006’s Pearl Jam (then the longest period between albums), Pearl Jam are one of the greatest live bands still actively playing and while radio interest and sales may never recover from the 2000-2005 lull and changing mainstream, as long as they continue to put out albums of strong songs that delight live they’ll be relevent to a very sizeable audience.

I’ll finish here with the ‘new’ song on Benoroya and Greatest Hits. Written for Tim Burton’s ‘Big Fish’ it was a pretty moving song in its orginal context but after personal events last year I can’t listen to it without getting a little moist in the eye.  That’s got to be the sign of a good song if it’s that affecting and from 2000 – 2005 Pearl Jam wrote a shit load of good songs.

 

*Vedder, clearly drunk, doesn’t give a fuck. In a speech that’s just brilliant he rags on Disney and tells the crowd to fuck themselves. I can’t recall where but someone said when Jann Wenner dies his afterlife will consist of being stuck in the audience for eternity https://www.youtube.com/watch?v=8Oi-SKOqVHA 

** ‘The Fixer’, Pearl Jam’s most instantly accessible and lyrically direct song from Backspacer is another example of a Matt Cameron riff becomming something else in the band’s hands.