#492 - Pearl Jam - Vitalogy

From the initial drum crashes of "Last Exit" Vitalogy is a much welcomed blow to your musical cerebellum and that's even before you get Eddie Vedder's delectable (and at times delightfully unintelligible) warble as the greatest consolation prize of all. Just as simply as this song ends with Vedder's calmly painful admission, the quick and heavy guitar bursts of "Spin the Black Circle" kick us in the teeth. If you don't know what hyperactivity feels like, this song comes close. Supposedly, we can thank good ol' Eddie for this. According to a 2003 interview in Rolling Stone, Vedder admits that initially the guitar riff was a lot slower until he asked for it to be sped up. That being said, I think this might quite possibly be the coolest song ever written about spinning a record.

Thus begins the anti-music industry opus that is to follow starting with "Not For You." Vedder has stated that this album, specifically this song, was written as a response to the business side of music. Coming off a lawsuit against Ticketmaster in regards to high ticket prices, Pearl Jam decided to make an album establishing the stance on making music for themselves and those fans listening to it rather than ad executives, ticket sellers, and business moguls. Not to mention, its infectious riff is certified badassery. "Tremor Christ" follows and although some have said the song is reminiscent of the marching beat on The Beatles' "I Am the Walrus," I was reminded of the riff in another Beatles' track, "I Want You (She's So Heavy)." Check the Pearl Jam track at 1:16 and then give The Beatles' track a listen.

Next, one of my two favorite tracks of the album. "Nothingman," while being a wonderfully written ode, hits home for anyone who has lost someone due solely to their own fuck-ups. Vedder reached another level in poeticism when he sings, "Caught a bolt of lightning / Cursed the day he let it go." Powerful stuff here, folks. Another favorite track of mine is "Immortality." Once again, Vedder at his poetic best. This song, in my humbly offered opinion, is pure genius in all its vast simplicity.

The other tracks, such as "Corduroy," "Better Man," "Pry, To," and "Whipping are also great songs. The former two making their way onto rearviewmirrow; Pearl Jam's two-disc greatest hits collection. Amidst these tracks, falls the weird but lovable "Bugs" (Vedder and an accordion?) and the even weirder, "Hey Foxymophandlemama, That's Me." The last song on the album, it consists of creepy musical arrangements played over actual recordings from psychiatric meetings. Some may think this to be a toss-away track on the album and would even argue that the album would be much better suited had that band chosen "Immortality" as the final track, but I disagree. The track seems a fitting choice for an album created by a band that had decided to make music as they chose; conventional approaches be damned.

Fantastic album. I would even venture to offer that I think this album equals the higher ranked album Ten, but perhaps just for arguments sake. This is, by far, my favorite album thus far.

d.

I know it won’t be a popular opinion, but Vitalogy just isn’t my favorite Pearl Jam album. It’s not that I think it’s a poor album. More that it’s inconsistent. Some songs are refreshing and haven’t aged at all. Others sound like a strange attempt to impersonate bands that Pearl Jam themselves influenced. "Tremor Christ" would have been a perfect fit on Neon Ballroom, but Silverchair would’ve done a lot more with it. Meanwhile, "Nothingman" is debatably their best ballad, mostly in competition with "Better Man" (if anyone mentions that horrible cover of Last Kiss you get a cockpunch).

Some of the songs I find fault in are still solid and enjoyable. "Whipping" is pretty damn rocking, but makes me long for "Tad." "Last Exit" is, ironically, a great opener. Of course there’s "Better Man," one of their best ever. But everytime I get into a groove Pearl Jam does something to kill it for me. "Spin the Black Circle" is a nice attempt at a Dead Kennedy’s sound, but lacks the weight of DK’s anger and politics. I’m pretty sure Eddie Vedder stole most of his facial expressions from Jello Biafra as well. "Pry, To" is just a waste of my time. After a decent altpop trip from "Corduroy," you get thrown into "Bugs." Three minutes of someone thinking they’re being creative and trippy like Syd Barrett and instead just yelling and banging on instruments they can’t play.

The majority of the back half of the album just continues downhill. Outside of any songs mentioned above the only standout is the title to "Heyfoxymophandlemama, That’s Nice." I feel ripped off. I paid for a cd, not four great songs and a bunch of self absorbed experimenting. That’s a bullshit move by any band and way too many have made it. So, I have a suggestion for Pearl Jam. Remember all that time you spent telling Ticketmaster not to charge extra for the service of buying through them? How about I only pay for how many songs are listenable, and just ignore the added service of you recording what amounts to musical masturbation.

-The Fat Man

#493 - Earth, Wind, and Fire - That's the Way of the World

I’ve always had a deep affection for Earth, Wind and Fire. "Serpentine Fire" is on my short list of greatest songs ever, not to mention having arguably the hottest horn chart in recorded music history. But that song isn’t here. In this case, it’s not a bad thing. Right off the bat, you have "Shining Star," which I’m afraid a lot of you may know from the Austin Powers' series. The way the guitars interplay with the bass is impressive, at first intricate then laying back into their respective grooves. I love how the brass really hits you in the chest. Great arrangement and production.

"That’s the Way of the World" is a total mindfuck of a slowjam. The keyboard flitters about from side to side like a butterfly swooping around you. Then, holy crap…. Is that flugelhorn? I’m won over already. Pile on some nice harmonies with impossible falsetto and you get a template for where r&b was heading. We keep the laid back feel going with "Happy Feelings." These guys don’t mind experimenting as the song opens with a bass so saddled with deep chorus effect it’s almost uncomfortable. Things quickly kick into gear and you have a great summer day stoner jam. Seriously, try to listen to this without wanting to lie outside or cruise in a droptop. Probably with a bit of God’s own burning (not that any musician would condone such behavior….ahem).

Right about now I really wanted one of those tight horn blasts. I expected to hear some lips bleeding. Instead I got "All About Love." Admittedly, this is a beautiful song, at times sounding like Burt Bacharach was hanging around the studio. The orchestration is so nice, but around the three minute mark things delve into an uncomfortable dissertation on philosophy, psychology, religion and their effects on love. What? What just happened? Why do I feel like someone’s trying to jive talk my pants off? Why do I feel very dirty? Oh and now we get an acid synth solo. Joy.

E,W & F drop us off with another spacy mid-tempo number, "See the Light." It’s a very musically interesting song, but by now I’m getting pretty bored. I just don’t get why a band known for their amazing horns would be recognized here for an album that’s made up of romantic ballads and keyboard expeditions. I’d much rather be reviewing the eponymous first album or the Grammy winning All N’ All. Not bad, just a bland offering from such an eclectic group. Not my choice for their best album in the least.

-The Fat Man

I've never been overly crazy about funk. Appreciative, but not crazy. Granted, I haven't been exposed to a ton of funk either. Perhaps, hearing "Atomic Dog" one too many times has something to do with it. I can say my outlook changed after listening to this album, despite the ridicule Mike will give me for crediting this album rather than any other Earth, Wind, & Fire album. Now, I've heard "Shining Star" numerous times and I've never had a bad thought about it. Honestly, I haven't had many thoughts about it at all. Upon listening to this album, I heard it, but never really listened if that makes any sense. "That's the Way of the World" is a different story. I have a vague remembrance of hearing "That's the Way of the World" while riding around in my mother's minivan as a young and naive studmuffin. After another listen, wow...just wow. Maurice Morris and Philip Bailey are phenomenal together. Don't believe me, check this out at the 6:10 mark. Holy shit.

I won't go into intricate detail of each song. I think Mike did a sufficient job of that. Instead, as I've already demonstrated, I'll briefly discuss why I've been giving this album numerous listens. I love the track "All About Love," especially for its passionate soapboxing. While listening to this song, I thought about Andre 3000's venture into The Love Below. The spoken word part of "All About Love" had to have an significant impression for Andre throughout his songwriting, but one can also recognize the musical elements ala E,W, & F. Don't believe me? Listen to The Love Below; the entire album,not just "Hey Ya!" and "Roses." Hell, listen to all of Outkast's albums and you'll hear the influences.

Some more favorites? "Reasons" is worth a mention. I even like "Africano" a surprisingly fair amount. Unlike The Fat Man, my initial thoughts went straight to the continent of mention, not Asia. Actually, from beginning to end I enjoyed this album...really enjoyed it. Worthy of an inclusion on Rolling Stone's list, in my opinion. It makes me jealous to think I have not been to enough weddings where Maurice White provides the soundtrack for my drunken dance sequences. Although, I hope that dance doesn't resemble this one above. Then again, the one below might be welcome in certain circles.

- D.