Pearl Jam | ||
| Allmusic Biography : Pearl Jam rose from the ashes of Mother Love Bone to become the most popular American rock & roll band of the 90s. After Mother Love Bones vocalist, Andrew Wood, overdosed on heroin in 1990, guitarist Stone Gossard and bassist Jeff Ament assembled a new band, bringing in Mike McCready on lead guitar and recording a demo with Soundgardens Matt Cameron on drums. Thanks to future Pearl Jam drummer Jack Irons, the demo found its way to a 25-year-old San Diego surfer named Eddie Vedder, who overdubbed vocals and original lyrics and was subsequently invited to join the band (then christened Mookie Blaylock after the NBA player). Dave Krusen was hired as the full-time drummer shortly thereafter, completing the original lineup. Renaming themselves Pearl Jam, the band recorded their debut album, Ten, in the beginning of 1991, although it wasnt released until August; in the meantime, the majority of the band appeared on the Andrew Wood tribute project Temple of the Dog. Krusen left the band shortly after the release of Ten; he was replaced by Dave Abbruzzese. Ten didnt begin selling in significant numbers until early 1992, after Nirvana made mainstream rock radio receptive to alternative rock acts. Soon, Pearl Jam outsold Nirvana, which wasnt surprising. After all, Pearl Jam fused the riff-heavy stadium rock of the 70s with the grit and anger of 80s post-punk, without ever neglecting hooks and choruses; "Jeremy," "Evenflow," and "Alive" fit perfectly onto album rock radio stations looking for new blood. Pearl Jams audience continued to grow during 1992, thanks to a series of radio and MTV hits, as well as successful appearances on the second Lollapalooza tour and the Singles soundtrack. Meanwhile, Temple of the Dogs self-titled album became a platinum-selling hit, thanks to renewed interest in the project (which, in addition to Pearl Jam, featured grunge heavyweight Chris Cornell) and strong radio support for the single "Hunger Strike." Stone Gossard also embarked on a side project called Brad, which released the album Shame in early 1993. Despite their status as rock & roll superstars, Pearl Jam refused to succumb to the accepted conventions of the music industry. The group refused to release any videos or singles from their second album, 1993s Vs. Nevertheless, it was another multi-platinum success, debuting at number one and selling nearly a million copies in its first week of release. On their spring 1994 American tour, the band decided not to play the conventional stadiums, choosing to play smaller arenas, including several shows on college campuses. Pearl Jam canceled their 1994 summer tour, claiming they couldnt keep ticket prices below 20 dollars because Ticketmaster was pressuring promoters to charge a higher price. The band took Ticketmaster to the Justice Department for unfair business practices; while fighting Ticketmaster, they recorded a new album during the spring and summer of 1994. After the record was completed, the group fired Dave Abbruzzese, replacing him with former Red Hot Chili Peppers and Eleven drummer Jack Irons. Vitalogy, the bands third album, appeared at the end of 1994. For the first two weeks, the album was only available as a limited vinyl release, but the record charted in the Top 60. Once Vitalogy was available on CD and cassette, the album shot to the top of the charts and quickly went multi-platinum. Pearl Jam continued to battle Ticketmaster in 1995, but the Justice Department eventually ruled in favor of the ticket agency. In early 1995, the band recorded an album with Neil Young. Meanwhile, Vedder toured with his wife Beths experimental band Hovercraft in the spring of 1994 as Stone Gossard founded an independent record company. Mad Season, Mike McCreadys side project with Layne Staley of Alice in Chains, released its first album, Above, in the spring of 1995. Comprised entirely of Neil Young songs, Mirror Ball appeared in the summer under Youngs name; although the individual members of the band were credited, the name Pearl Jam did not appear on the cover due to legal complications. Pearl Jam released a single culled from the sessions, titled Merkinball and featuring the songs "I Got ID" and "Long Road," during the fall of 1995. In late summer of 1996, Pearl Jam released their fourth album, No Code. Although the album was greeted with fairly positive reviews and debuted at number one, its weird amalgam of rock, worldbeat, and experimentalism dissatisfied a large portion of their fan base, and it quickly fell down the charts. The records performance was also hurt by Pearl Jams inability to launch a full-scale tour, due both to their battle with Ticketmaster and a reluctance to spend months on the road. The band spent most of 1997 out of the spotlight, working on new material; Gossard also released a second album with his side project Brad, titled Interiors. By the end of the year, Pearl Jam had completed a new, harder-rocking record entitled Yield. The album was greeted with enthusiastic reviews upon its February 1998 release, but its commercial fortunes werent quite as clear cut. While their sizable cult embraced the album, sending it to number two its first week of release, Yield quickly slipped down the charts. Pearl Jam supported the record with a full-scale arena tour in the summer of 1998, issuing the concert LP Live on Two Legs at the end of the year; Jack Irons did not participate due to poor health, prompting the band to bring ex-Soundgarden drummer Matt Cameron back into the fold. In 1999, Pearl Jam scored an unlikely pop radio smash with their cover of the J. Frank Wilson oldie "Last Kiss," originally released as the seventh in a series of fan club-only singles that had also featured several incongruous covers in the past. Demand from fans and radio programmers resulted in the nationwide release of "Last Kiss," and it eventually became the bands highest-charting pop hit to date, peaking at number two and going gold. The group returned in 2000 with the Tchad Blake-produced Binaural. In order to circumvent bootleggers, their subsequent European and American tours were recorded in full and released in an unprecedented series of double-CD sets, with each of the 72 volumes featuring a complete concert. Riot Act, a muscular -- and critically lauded -- collection of new songs that found the group dabbling in experimental art rock, was released in 2002. Two anthologies arrived in 2003 and 2004, Lost Dogs: Rarities and B Sides and Rearviewmirror: Greatest Hits 1991-2003. They were followed in 2006 by the eponymous (and all-new) Pearl Jam, a number two hit on the album charts. As the bands 20th anniversary loomed on the horizon, Pearl Jam launched a series of album reissues, beginning with a deluxe version of Ten in 2009. That same year also saw the release of their ninth studio album, Backspacer, which doubled as the groups first independently released project, initially appearing exclusively in Target stores in the U.S. The band supported the album with an extensive 2010 tour. Live on Ten Legs, a collection of concert highlights from 2003-2010, appeared in January 2011. Later that year, Vedder released a solo album of standards accompanied only by ukulele, and the band celebrated their two-decade anniversary by launching a two-day festival in Wisconsin, commissioning Cameron Crowe to produce a music documentary named PJ20, and releasing a soundtrack of rare songs from the film. Shortly thereafter, the band went back into the studio with Brendan OBrien to start work on the follow-up to Backspacer. The resulting album, Lightning Bolt, was announced in July 2013 with the release of the raw single "Mind Your Manners." A darker album, with longer songs than its short, sharp predecessor, and bearing the influence of both Pink Floyd and punk, Lightning Bolt appeared in October 2013. Tours of Latin and North America followed over the next few years and in April 2017, Pearl Jam was inducted into the Rock & Roll Hall of Fame by comedian David Letterman. In September of that year, a live double album and DVD set called Lets Play Two was released, chronicling a pair shows recorded at Chicagos historic Wrigley Field. | ||
 | Album: 1 of 15 Title: Ten Released: 1991-08-27 Tracks: 60 Duration: 4:53:35 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Once (03:51) 2 Even Flow (04:53) 3 Alive (05:41) 4 Why Go (03:19) 5 Black (05:43) 6 Jeremy (05:19) 7 Oceans (02:41) 8 Porch (03:30) 9 Garden (04:58) 10 Deep (04:18) 11 Release / Master/Slave (09:06) 1 Once (03:51) 2 Even Flow (04:53) 3 Alive (05:41) 4 Why Go (03:19) 5 Black (05:38) 6 Jeremy (05:19) 7 Oceans (02:41) 8 Porch (03:30) 9 Garden (04:58) 10 Deep (04:18) 11 Release / Master/Slave (08:59) 12 Brother (03:59) 13 Just a Girl (05:02) 14 Breath and a Scream (05:58) 15 State of Love and Trust (04:48) 16 2,000 Mile Blues (03:58) 17 Evil Little Goat (01:29) 1 Even Flow (05:15) 2 Once (03:32) 3 State of Love and Trust (03:45) 4 Why Go (03:22) 5 Deep (04:22) 6 Jeremy (05:04) 7 Black (05:30) 1 Alive (05:51) 2 Garden (05:36) 3 Porch (12:47) 1 Once (03:51) 2 Even Flow (04:53) 3 Alive (05:41) 4 Why Go (03:19) 5 Black (05:43) 6 Jeremy (05:19) 7 Oceans (02:41) 8 Porch (03:30) 9 Garden (04:58) 10 Deep (04:18) 11 Release / Master/Slave (09:06) 1 Once (03:51) 2 Even Flow (04:53) 3 Alive (05:41) 4 Why Go (03:19) 5 Black (05:38) 6 Jeremy (05:19) 7 Oceans (02:41) 8 Porch (03:30) 9 Garden (04:58) 10 Deep (04:18) 11 Release / Master/Slave (08:59) |
| Ten : Allmusic album Review : Nirvanas Nevermind may have been the album that broke grunge and alternative rock into the mainstream, but theres no overestimating the role that Pearl Jams Ten played in keeping them there. Nirvanas appeal may have been huge, but it wasnt universal; rock radio still viewed them as too raw and punky, and some hard rock fans dismissed them as weird misfits. In retrospect, its easy to see why Pearl Jam clicked with a mass audience -- they werent as metallic as Alice in Chains or Soundgarden, and of Seattles Big Four, their sound owed the greatest debt to classic rock. With its intricately arranged guitar textures and expansive harmonic vocabulary, Ten especially recalled Jimi Hendrix and Led Zeppelin. But those touchstones might not have been immediately apparent, since -- aside from Mike McCreadys Clapton/Hendrix-style leads -- every trace of blues influence has been completely stripped from the bands sound. Though they rock hard, Pearl Jam is too anti-star to swagger, too self-aware to puncture the albums air of gravity. Pearl Jam tackles weighty topics -- abortion, homelessness, childhood traumas, gun violence, rigorous introspection -- with an earnest zeal unmatched since mid-80s U2, whose anthemic sound they frequently strive for. Similarly, Eddie Vedders impressionistic lyrics often make their greatest impact through the passionate commitment of his delivery rather than concrete meaning. His voice had a highly distinctive timbre that perfectly fit the albums warm, rich sound, and thats part of the key -- no matter how cathartic Tens tersely titled songs got, they were never abrasive enough to affect the albums accessibility. Ten also benefited from a long gestation period, during which the band honed the material into this tightly focused form; the result is a flawlessly crafted hard rock masterpiece. | ||
 | Album: 2 of 15 Title: Vs. Released: 1993-10-08 Tracks: 12 Duration: 46:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Go (03:12) 2 Animal (02:48) 3 Daughter (03:55) 4 Glorified G (03:26) 5 Dissident (03:35) 6 W.M.A. (05:59) 7 Blood (02:50) 8 Rearviewmirror (04:44) 9 Rats (04:15) 10 Elderly Woman Behind the Counter in a Small Town (03:15) 11 Leash (03:09) 12 Indifference (05:02) |
| Vs. : Allmusic album Review : Pearl Jam took to superstardom like deer in headlights. Unsure of how to maintain their rigorous standards of integrity in the face of massive commercial success, the band took refuge in willful obscurity -- the title of their second album, Vs., did not appear anywhere in the packaging, and they refused to release any singles or videos. (Ironically, many fans then paid steep prices for import CD singles, a situation the band eventually rectified.) The eccentricities underline Pearl Jams almost paranoid aversion to charges of hypocrisy or egotism -- but it also made sense to use the spotlight for progress. You could see that reasoning in their ensuing battle with Ticketmaster, and you could hear it in the record itself. Vs. is often Eddie Vedder at his most strident, both lyrically and vocally. Its less oblique than Ten in its topicality, and sometimes downright dogmatic; having the worlds ear renders Vedder unable to resist a few simplistic potshots at favorite white-liberal targets. Yet a little self-righteousness is an acceptable price to pay for the passionate immediacy that permeates Vs. Its a much rawer, looser record than Ten, feeling like a live performance; Vedder practically screams himself hoarse on a few songs. The band consciously strives for spontaneity, admirably pushing itself into new territory -- some numbers are decidedly punky, and there are also a couple of acoustic-driven ballads, which are well suited to Vedders sonorous low register. Sometimes, that spontaneity comes at the expense of Tens marvelous craft -- a few songs here are just plain underdeveloped, with supporting frameworks that dont feel very sturdy. But, of everything that does work, the rockers are often frightening in their intensity, and the more reflective songs are mesmerizing. Vs. may not reach the majestic heights of Ten, but at least half the record stands with Pearl Jams best work. | ||
 | Album: 3 of 15 Title: Vitalogy Released: 1994-11-22 Tracks: 17 Duration: 1:08:26 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Last Exit (02:54) 2 Spin the Black Circle (02:48) 3 Not for You (05:52) 4 Tremor Christ (04:12) 5 Nothingman (04:35) 6 Whipping (02:34) 7 Pry, To (01:03) 8 Corduroy (04:37) 9 Bugs (02:44) 10 Satan’s Bed (03:30) 11 Better Man (04:28) 12 Aye Davanita (02:57) 13 Immortality (05:25) 14 Hey Foxymophandlemama, Thats Me (07:28) 15 Better Man (guitar/organ only) (03:55) 16 Corduroy (alternate take) (04:44) 17 Nothingman (demo) (04:36) |
| Vitalogy : Allmusic album Review : Thanks to its stripped-down, lean production, Vitalogy stands as Pearl Jams most original and uncompromising album. While it isnt a concept album, Vitalogy sounds like one. Death and despair shroud the album, rendering even the explosive celebration of vinyl "Spin the Black Circle" somewhat muted. But that black cloud works to Pearl Jams advantage, injecting a nervous tension to brittle rockers like "Last Exit" and "Not for You," and especially introspective ballads like "Corduroy" and "Better Man." In between the straight rock numbers and the searching slow songs, Pearl Jam contribute their strangest music -- the mantrafunk of "Aye Davanita," the sub-Tom Waits accordion romp of "Bugs," and the chilling sonic collage "Hey Foxymophandlemama, Thats Me." Pearl Jam are at their best when theyre fighting, whether its Ticketmaster, fame, or their own personal demons. | ||
 | Album: 4 of 15 Title: No Code Released: 1996-08-14 Tracks: 13 Duration: 49:32 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Sometimes (02:40) 2 Hail, Hail (03:42) 3 Who You Are (03:50) 4 In My Tree (03:59) 5 Smile (03:52) 6 Off He Goes (06:00) 7 Habit (03:36) 8 Red Mosquito (04:03) 9 Lukin (01:02) 10 Present Tense (05:46) 11 Mankind (03:28) 12 I’m Open (02:57) 13 Around the Bend (04:35) |
| No Code : Allmusic album Review : A strange phenomenon with anthemic hard rock bands is that when they begin to mature and branch out into new musical genres, they nearly always choose to embrace both the music and spirituality of the East and India, and Pearl Jam is no exception. Throughout No Code, Eddie Vedder expounds on his moral and spiritual dilemmas; where on previous albums his rage was virtually all-consuming, it is clear on No Code that he has embraced an unspecified religion as a way to ease his troubles. Fortunately, that has coincided with an expansion of the groups musical palette. From the subtle, winding opener, "Sometimes," and the near-prayer of the single, "Who You Are," the band reaches into new territory, working with droning, mantra-like riffs and vocals, layered exotic percussion, and a newfound subtlety. Of course, they havent left behind hard rock, but like any Pearl Jam record, the heart of No Code doesnt lie in the harder songs, it lies in the slower numbers and the ballads, which give Vedder the best platform for his soul-searching: "Present Tense," "Off He Goes," "In My Tree," and "Around the Bend" equal the groups earlier masterpieces. While a bit too incoherent, No Code is Pearl Jams richest and most rewarding album to date, as well as their most human. They might be maturing in a fairly conventional method, but they still find new ways to state old truths. | ||
 | Album: 5 of 15 Title: Yield Released: 1998-01-28 Tracks: 13 Duration: 48:32 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Brain of J. (02:59) 2 Faithfull (04:18) 3 No Way (04:19) 4 Given to Fly (04:01) 5 Wishlist (03:26) 6 Pilate (03:00) 7 Do the Evolution (03:53) 8 🔴 (01:06) 9 MFC (02:27) 10 Low Light (03:46) 11 In Hiding (05:00) 12 Push Me, Pull Me (02:28) 13 All Those Yesterdays / Hummus (07:45) |
| Yield : Allmusic album Review : Perhaps shaken up by the chilly reception to the adventurous No Code, Pearl Jam returned to straight-ahead hard rock on their fifth album, Yield. There remain a few weird flourishes scattered throughout the album, from the spoken word "Push Me, Pull Me" to the untitled Eastern instrumental bonus track, but overall, Yield is the most direct record the group has made since Ten. That doesnt mean its the best. Pearl Jam have trouble coming up with truly undeniable hard rock hooks, and Eddie Vedder remains at his most compelling on folk-tinged, meditative numbers like "Low Light," "In Hiding," and "All Those Yesterdays." They also fall prey to their habit of dividing the record into rock and ballad sides, which makes Yield a little exhausting, even at its concise length. It also emphasizes the relative lack of exceptional material. Yield is more consistent than Vitalogy and No Code, but it doesnt have songs that reach the highs of "Better Man," "Corduroy," or "Who You Are." Ironically, the album doesnt rock hard enough -- "Do the Evolution" and "Brain of J." have garage potential, but theres more bite and distortion on Vedders voice than there is on the guitars. Its hard to view Yield as a disaster, since Pearl Jams conviction still rings true, but its frustrating that journeyman tendencies have replaced the desperate, searching confusion that was the most appealing element of the bands music. | ||
 | Album: 6 of 15 Title: Binaural Released: 2000-05-16 Tracks: 13 Duration: 52:03 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Breakerfall (02:19) 2 Gods’ Dice (02:26) 3 Evacuation (02:56) 4 Light Years (05:06) 5 Nothing as It Seems (05:21) 6 Thin Air (03:32) 7 Insignificance (04:28) 8 Of the Girl (05:07) 9 Grievance (03:14) 10 Rival (03:38) 11 Sleight of Hand (04:47) 12 Soon Forget (01:46) 13 Parting Ways / Writers Block (07:17) |
| Binaural : Allmusic album Review : If anything, Pearl Jam was even more in the wilderness -- at least as far as the mainstream was concerned -- at the beginning of 2000 than they were in the second half of the 90s. Even with "Last Kiss," their first big hit single since Ten, under their belts, they were an anomaly on the pop and rock scenes. They were the only one of their old grunge colleagues still standing intact, and they were genuinely alone. No peers, and too sincere to even consider fitting into a pop scene dominated by N Sync on one side and Limp Bizkit on the other. Not surprisingly, they chose to persevere, ignoring trends, completely in favor of being a classicist rock band. This should come as no surprise, since thats what theyve done since No Code and, perhaps, Vitalogy, but the real surprise about their sixth studio album Binaural is that it finds the group roaring back to life without dramatically changing the direction they followed on No Code and Yield. Maybe the addition of a new drummer, former Soundgarden member Matt Cameron, has kicked the band to life, but that unfairly dismisses Jack Irons worthy contributions. Instead, the difference is focus -- though Pearl Jam is trying a lot of different styles, certainly more so than on Yield, they pull it all off better. The songs are sharper, the production is layered, and the performances are as compassionate as ever, resulting in their finest album since Vitalogy. | ||
 | Album: 7 of 15 Title: Riot Act Released: 2002-11-11 Tracks: 15 Duration: 54:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Can’t Keep (03:39) 2 Save You (03:50) 3 Love Boat Captain (04:36) 4 Cropduster (03:51) 5 Ghost (03:15) 6 I Am Mine (03:35) 7 Thumbing My Way (04:10) 8 You Are (04:30) 9 Get Right (02:38) 10 Green Disease (02:41) 11 Help Help (03:35) 12 Bu$hleaguer (03:57) 13 ½ Full (04:10) 14 Arc (01:05) 15 All or None (04:37) |
| Riot Act : Allmusic album Review : In some ways, Riot Act is the album that Pearl Jam has been wanting to make since Vitalogy -- a muscular art rock record, one that still hits hard but that is filled with ragged edges and odd detours. Vitalogy found the band sketching out their ideas for their brand of artsy rock, separating bracing hard rock and experimentalism throughout that fascinating album, and since then they bounced between those two extremes: indulging themselves on No Code, over-compensating with the streamlined Yield. Here, they manage to seamlessly blend the two impulses together in a restless, passionate record that delivers musically and emotionally. If it doesnt announce itself as a comeback or a great step forward, its because the changes are subtle -- its a process of their post-Vitalogy sound finally gelling, not making an artistic breakthrough. Given the appealing but haphazard nature of their late-90s work, its quite satisfying to have a Pearl Jam album play as strongly as Riot Act, and again some credit must be given to drummer Matt Cameron. He enlivened 2000s Binaural, but his forceful drumming gives the weirder songs and ambitions support and urgency. Also, the production is the best in nearly a decade -- a warm, burnished sound filled with details that enhance the basic song instead of overwhelming them (in other words, its not No Code, nor is it the Spartan Yield). Again, these are subtle shifts in sound, but they are notable and, given several plays, this does indeed seem like the richest record Pearl Jam has made in a long time. | ||
 | Album: 8 of 15 Title: Lost Dogs Released: 2003-11-10 Tracks: 30 Duration: 1:51:52 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 All Night (03:22) 2 Sad (03:39) 3 Down (03:17) 4 Hitchhiker (03:17) 5 Dont Gimme No Lip (02:35) 6 Alone (03:11) 7 In the Moonlight (03:07) 8 Education (02:46) 9 Black, Red, Yellow (03:26) 10 U (02:51) 11 Leavin Here (02:51) 12 Gremmie Out of Control (02:24) 13 Whale Song (03:33) 14 Undone (03:10) 15 Hold On (04:22) 16 Yellow Ledbetter (05:03) 1 Fatal (03:39) 2 Other Side (04:04) 3 Hard to Imagine (04:35) 4 Footsteps (03:55) 5 Wash (03:49) 6 Dead Man (04:15) 7 Strangest Tribe (03:49) 8 Drifting (02:53) 9 Let Me Sleep (02:59) 10 Last Kiss (03:16) 11 Sweet Lew (02:11) 12 Dirty Frank (05:42) 13 Brother (03:47) 14 Bee Girl / 4.20.02 (09:55) |
| Lost Dogs : Allmusic album Review : At the peak of alt-rock in the 90s, Pearl Jam were the biggest band in the world. Nirvana may have kick-started the alt-rock explosion, but not long after Nevermind knocked Michael Jacksons Dangerous off the top of the charts, Pearl Jam overtook their fellow Seattleites, selling many more copies of Ten than Nevermind, as the album achieved saturation play on radio and MTV, thereby setting off a wave of imitators, ranging from Stone Temple Pilots to Seven Mary Three and scores of bands that have been lost to time. They defined the sound of the decade, at least in terms of mainstream alt-rock. But, like all their fellow grunge rockers (though not like Smashing Pumpkins), they bristled at the notion of stardom, and ducked the spotlight. After following Ten with the effectively scattershot Vs. in 1993, each subsequent record played to a smaller audience, partially because the group decided to follow an idiosyncratic muse while shutting out the outside world by doing few videos and interviews and then sinking into a long rather futile battle with Ticketmaster that sapped their strength, as well as their popularity. By the end of the decade, they were selling far fewer records and they had the occasional hit -- such as the fluke Top Ten "Last Kiss" (included on Lost Dogs) -- but they were a far cry from being the biggest band in the world, even if they retained a passionate following. The shift from worlds biggest band to worlds biggest cult band was a deliberate move, of course, one that came about through their precisely crafted, often humorless, deliberately idiosyncratic records that came after Vs.. If a song didnt fit the specific mood of an album, it was shelved. This meant that there was a lot of material that was never heard (apart from the occasional concert or bootleg, naturally), or some of it drifted out on singles released through their fan club. Then, it being the 90s, the golden age of the multipart international single and benefit compilation albums, there were a number of officially released songs that never made it to a proper Pearl Jam album. These two things meant that a Pearl Jam rarities collection was necessary, and when they reached the end of their contract with Epic ten years after Ten, the group assembled the double-disc, 30-track set Lost Dogs. Completists, who likely have much of this material anyway, should note that this is not a complete collection of B-sides and non-LP tracks -- theres nothing from the Singles soundtrack, the Merkinball EP is absent, scores of live B-sides are thankfully left behind. Instead, this is a selection of the best B-sides, stray singles, and compilation tracks, enhanced by no less than 11 previously unreleased cuts and presented in a non-chronological sequence. This approach has a considerable benefit for the band, since, for one, it doesnt play like a dumping ground for rarities; like all Pearl Jam albums, it follows its own internal logic and has its own flow. Better still, the album benefits from what it chronicles: the loosest, hardest-rocking, most relaxed, and most intimate music the band cut. Since their proper albums are so somber and tightly controlled, it seemed as if the band didnt have a sense of humor, or even gave themselves a chance to breathe. These songs not only prove that assertion false; they capture what the band sounded like at its peak -- they capture their passion, their open-heartedness, their stance as true believers. This spirit was damped on the albums since they deliberately shied away from it and obscured it with ventures into experimentalism, but here, they not only sound committed but also eclectic and alive. This is where the nonchronological sequencing is a plus -- everything here sounds like it could date from their heyday of the first of the 90s, even though much of it dates from later. This is further proof that Pearl Jam consciously turned away from the big, anthemic sound and spirit that won them a mass audience with Ten -- they still had the songs and sound, they just chose to bury it. Lost Dogs crackles with that passion and it has another advantage: unlike most of Pearl Jams album, its a fun, compulsive listen. More than any other album in its catalog, Lost Dogs captures what Pearl Jam stood for and what it felt like at their peak. It may not have any of their defining songs -- apart from concert favorite "Yellow Ledbetter," that is -- but it does define their spirit, which is why, against all odds, its the best album Pearl Jam has yet released. | ||
 | Album: 9 of 15 Title: Rearviewmirror (Greatest Hits 1991–2003) Released: 2004-11-16 Tracks: 33 Duration: 2:23:21 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Once (03:16) 2 Alive (05:42) 3 Even Flow (new version) (05:03) 4 Jeremy (05:19) 5 State of Love and Trust (03:46) 6 Animal (02:48) 7 Go (03:12) 8 Dissident (03:35) 9 Rearviewmirror (04:44) 10 Spin the Black Circle (02:48) 11 Corduroy (04:37) 12 Not for You (05:52) 13 I Got Id (04:51) 14 Hail, Hail (03:42) 15 Do the Evolution (03:53) 16 Save You (03:55) 1 Black (05:39) 2 Breath (05:24) 3 Daughter (03:55) 4 Elderly Woman Behind the Counter in a Small Town (03:15) 5 Immortality (05:25) 6 Better Man (04:28) 7 Nothingman (04:35) 8 Who You Are (03:50) 9 Off He Goes (06:00) 10 Given to Fly (04:01) 11 Wishlist (03:26) 12 Last Kiss (03:16) 13 Nothing as It Seems (05:21) 14 Light Years (05:10) 15 I Am Mine (03:35) 16 Man of the Hour (03:45) 17 Yellow Ledbetter (05:03) |
| Rearviewmirror (Greatest Hits 1991–2003) : Allmusic album Review : Joe Strummer once claimed that the Clash had stardom in their hands, then they dropped it on the floor and broke it. Pearl Jam took the opposite tact: they purposely left stardom behind. Nirvana may have ushered in the age of grunge and alternative rock, but Pearl Jam were the biggest band in the land during the first half of the 90s, dominating radio airwaves, MTV, and college dorms alike. Most bands would have embraced such widespread acclaim, but the quintet bristled at this vein, and started to restlessly explore new musical territory, a move that eventually whittled their fan base down to just the hardcore by the beginning of the next decade. That hardcore following was still large, and the band could still have the occasional surprising crossover hit, like the 1999 cover of J. Frank Wilsons teen tragedy classic "Last Kiss" that went to number two on the Billboard charts, but they were no longer the biggest band in the land. Spanning two discs, Rearviewmirror (Greatest Hits 1991-2003) chronicles that journey and it does an expert job not only of capturing the moment when Pearl Jam were monstrously popular, but proving that they still turned out good music even when they were fading from the spotlight. Unlike most career-spanning, multi-disc retrospectives, Rearviewmirror does not emphasize latter-day albums in order to achieve a sense of balance thats inherently phony. Of the 33 tracks, only 12 date from the post-Vitalogy era, which means that the bulk of the collection concentrates on their early-90s heyday, and nearly every radio hit and concert staple is here, outside of the Victoria Williams cover "Crazy Mary" and "Tremor Christ." While their presence would have been nice, theyre not terribly missed, partially because such non-LP cuts like "State of Love and Trust," "I Got ID," "Last Kiss," and "Man of the Hour" are collected here, but mainly because the compilation plays so well. The songs are divided into the "Up Side" and "Down Side," meaning the first disc has all the rockers and the second disc has all the ballads. At first, this seems like a questionable strategy, since its usually preferable to have all the hits follow in chronological order, but what makes this work is that the songs on each disc are presented in chronological order, and they sustain their mood quite well (this is partially helped by Brendan OBriens new mixes of "Once," "Alive," and "Black," which retain the feeling of the original songs but remove much of the dated glossy sheen in the production). Distilled to their hits and anthems, all of Pearl Jams best qualities shine through and they sound bigger, better, and frankly more coherent than they do on their full-length albums. And thats why Rearviewmirror is a cut above most 90s hits collections: it not only gives casual fans all the hits, but it captures why the band mattered, while providing a better listen than their proper LPs in the process. | ||
 | Album: 10 of 15 Title: Pearl Jam Released: 2006-04-28 Tracks: 13 Duration: 49:39 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Life Wasted (03:54) 2 World Wide Suicide (03:29) 3 Comatose (02:19) 4 Severed Hand (04:30) 5 Marker in the Sand (04:23) 6 Parachutes (03:36) 7 Unemployable (03:04) 8 Big Wave (02:58) 9 Gone (04:09) 10 Wasted Reprise (00:53) 11 Army Reserve (03:45) 12 Come Back (05:29) 13 Inside Job (07:08) |
| Pearl Jam : Allmusic album Review : Nearly 15 years after Ten, Pearl Jam finally returned to the strengths of their debut with 2006s Pearl Jam, a sharply focused set of impassioned hard rock. Gone are the arty detours (some call them affectations) that alternately cluttered and enhanced their albums from 1993s sophomore effort, Vs., all the way to 2002s Riot Act, and whats left behind is nothing but the basics: muscular, mildly meandering rock & roll, enlivened by Eddie Vedders bracing sincerity. Pearl Jam has never sounded as hard or direct as they do here -- even on Ten there was an elasticity to the music, due in large part to Jeff Aments winding fretless bass, that kept the record from sounding like a direct hit to the gut, which Pearl Jam certainly does. Nowhere does it sound more forceful than it does in its first half, when the tightly controlled rockers "Life Wasted," "World Wide Suicide," "Comatose," "Severed Hand," and "Marker in the Sand" pile up on top of each other, giving the record a genuine feeling of urgency. That insistent quality and sense of purpose doesnt let up even as they slide into the quite beautiful, lightly psychedelic acoustic pop of "Parachutes," which is when the album begins to open up slightly. If the second half of the record does have a greater variety of tempos than the first, its still heavy on rockers, ranging from the ironic easy swagger of "Unemployable" to the furious "Big Wave," which helps set the stage for the twin closers of "Come Back" and "Inside Job." The former is a slow-burning cousin to "Black" that finds Pearl Jam seamlessly incorporating soul into their sound, while the latter is a deliberately escalating epic that gracefully closes the album on a hopeful note -- and coming after an album filled with righteous anger and frustration, it is indeed welcome. But Pearl Jams anger on this eponymous album is not only largely invigorating, it is the opposite of the tortured introspection of their first records. Here, Vedder turns his attention to the world at large, and while he certainly rages against the state of Ws union in 2006, hes hardly myopic or strident; hes alternately evocative and specific, giving this album a resonance that has been lacking in most protest rock of the 2000s. But what makes Pearl Jam such an effective record is that it can be easily enjoyed as sheer music without ever digging into Vedders lyrics. Song for song, this is their best set since Vitalogy, and the band has never sounded so purposeful on record as they do here, nor have they ever delivered a record as consistent as this. And the thing that makes the record work exceptionally well is that Pearl Jam has embraced everything they do well, whether its their classicist hard rock or heart-on-sleeve humanitarianism. In doing so, they seem kind of old fashioned, reaffirming that they are now thoroughly outside of the mainstream -- spending well over a decade galloping away from any trace of popularity will inevitably make you an outsider -- but on their own terms, Pearl Jam hasnt sounded as alive or engaging as they do here since at least Vitalogy, if not longer. | ||
 | Album: 11 of 15 Title: Ten / Vs Released: 2007-09-17 Tracks: 23 Duration: 1:39:37 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Once (03:51) 2 Even Flow (04:53) 3 Alive (05:41) 4 Why Go (03:19) 5 Black (05:43) 6 Jeremy (05:19) 7 Oceans (02:41) 8 Porch (03:30) 9 Garden (04:58) 10 Deep (04:18) 11 Release (09:03) 1 Go (03:12) 2 Animal (02:48) 3 Daughter (03:55) 4 Glorified G (03:26) 5 Dissident (03:35) 6 W.M.A. (05:59) 7 Blood (02:50) 8 Rearviewmirror (04:44) 9 Rats (04:15) 10 Elderly Woman Behind the Counter in a Small Town (03:15) 11 Leash (03:09) 12 Indifference (05:02) |
 | Album: 12 of 15 Title: Backspacer Released: 2009-09-18 Tracks: 11 Duration: 36:37 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Gonna See My Friend (02:48) 2 Got Some (03:02) 3 The Fixer (02:57) 4 Johnny Guitar (02:50) 5 Just Breathe (03:35) 6 Amongst the Waves (03:58) 7 Unthought Known (04:08) 8 Supersonic (02:40) 9 Speed of Sound (03:34) 10 Force of Nature (04:04) 11 The End (02:57) |
| Backspacer : Allmusic album Review : Pearl Jam made peace with their hard rock past on their eponymous eighth album, but its 2009 sequel, Backspacer, is where the group really gets back to basics, bringing in old cohort Brendan OBrien to produce for the first time since 1998s Yield. To a certain extent, the band has reached the point in its career where every move, every cranked amp, every short tough song is heralded as a return to form -- call it the Stones syndrome -- and so it is with Backspacer, whose meaty riffs have no less vigor than those of Pearl Jam; theyre just channeled into a brighter, cheerier package. Despite this lighter spirit, Pearl Jam remain the antithesis of lighthearted good-time rock & roll -- theyre convinced rock & roll is a calling, not a diversion -- but theres a tonal shift from the clenched anger thats marked their music of the new millennium, a transition from the global toward the personal. Ironically, by looking within the music opens up, as the group isnt fighting against the dying light but embracing how this most classicist of alt-rock bands is an anachronism in 2009. Of course, Pearl Jam were an anachronism even back in 1992, worshiping the Who instead of the Stooges, but this odd out-of-phase devotion to the ideals of post-hippie, pre-punk rock is better suited to bandmembers in their forties than in their twenties; fashion has passed them by several times over, leaving Pearl Jam just to be who they are, comfortable in their weathering skin. Pearl Jam battled their success for so long, intent on whittling their audience down to the devout, that it often felt like a chore to keep pace with the band because no matter the merit of the records, they always felt like heavy lifting, but thats no longer the case: here, as on the self-titled 2006 album, it sounds as if they enjoy being in a band, intoxicated by the noise they make. This means, all things considered, Backspacer is a party record for Pearl Jam -- a party that might consist of nothing but philosophical debates till the wee hours, but a party nonetheless -- and if 18 years is a long, long wait for a band to finally throw a party, its also true that, prior to Backspacer, Pearl Jam wouldnt or couldnt have made music this unfettered, unapologetically assured, casual, and, yes, fun. | ||
 | Album: 13 of 15 Title: Definitive Collection Released: 2010 Tracks: 39 Duration: 2:45:50 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Once (03:51) 2 Even Flow (04:53) 3 Alive (05:41) 4 Why Go (03:19) 5 Black (05:43) 6 Jeremy (05:19) 7 Oceans (02:41) 8 Porch (03:30) 9 Garden (04:58) 10 Deep (04:18) 11 Release / Master/Slave (09:06) 12 Alive (live) (04:55) 13 Wash (03:33) 14 Dirty Frank (05:39) 1 Go (03:12) 2 Animal (02:48) 3 Daughter (03:55) 4 Glorified G (03:26) 5 Dissident (03:35) 6 W.M.A. (05:59) 7 Blood (02:50) 8 Rearviewmirror (04:44) 9 Rats (04:15) 10 Elderly Woman Behind the Counter in a Small Town (03:15) 11 Leash (03:09) 12 Indifference (05:02) 1 Breakerfall (02:19) 2 Gods’ Dice (02:26) 3 Evacuation (02:56) 4 Light Years (05:06) 5 Nothing as It Seems (05:21) 6 Thin Air (03:32) 7 Insignificance (04:28) 8 Of the Girl (05:07) 9 Grievance (03:14) 10 Rival (03:38) 11 Sleight of Hand (04:47) 12 Soon Forget (01:46) 13 Parting Ways / Writers Block (07:17) |
 | Album: 14 of 15 Title: Vs. and Vitalogy Released: 2011-03-28 Tracks: 48 Duration: 3:23:33 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Go (03:12) 2 Animal (02:48) 3 Daughter (03:55) 4 Glorified G (03:26) 5 Dissident (03:35) 6 W.M.A. (05:59) 7 Blood (02:50) 8 Rearviewmirror (04:44) 9 Rats (04:15) 10 Elderly Woman Behind the Counter in a Small Town (03:15) 11 Leash (03:09) 12 Indifference (05:02) 13 Hold On (demo) (04:40) 14 Cready Stomp (studio outtake) (03:22) 15 Crazy Mary (05:39) 1 Last Exit (02:54) 2 Spin the Black Circle (02:48) 3 Not for You (05:52) 4 Tremor Christ (04:12) 5 Nothingman (04:35) 6 Whipping (02:34) 7 Pry, To (01:03) 8 Corduroy (04:37) 9 Bugs (02:44) 10 Satan’s Bed (03:30) 11 Better Man (04:28) 12 Aye Davanita (02:57) 13 Immortality (05:25) 14 Hey Foxymophandlemama, Thats Me (07:28) 15 Better Man (guitar/organ only) (03:55) 16 Corduroy (alternate take) (04:44) 17 Nothingman (demo) (04:36) 1 Oceans (03:07) 2 Even Flow (05:27) 3 Sonic Reducer (04:42) 4 Immortality (07:03) 5 Glorified G (03:10) 6 Daughter (06:38) 7 Not for You (05:43) 8 Rats (04:44) 9 Blood (04:33) 10 Release (04:46) 11 Tremor Christ (04:12) 12 Once (03:24) 13 Fuckin Up (04:11) 14 Dirty Frank (04:03) 15 Rearviewmirror (05:15) 16 Small Town (04:08) |
 | Album: 15 of 15 Title: Lightning Bolt Released: 2013-10-11 Tracks: 12 Duration: 47:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Getaway (03:26) 2 Mind Your Manners (02:38) 3 My Father’s Son (03:07) 4 Sirens (05:41) 5 Lightning Bolt (04:13) 6 Infallible (05:22) 7 Pendulum (03:44) 8 Swallowed Whole (03:51) 9 Let the Records Play (03:46) 10 Sleeping by Myself (03:04) 11 Yellow Moon (03:52) 12 Future Days (04:22) |
| Lightning Bolt : Allmusic album Review : Perhaps its destined that a band who considered the Who and Neil Young idols would have no quarrel with middle age; nevertheless, the settled nature of Pearl Jams Lightning Bolt comes as a bit of a jolt. Long ago, Pearl Jam opted out of the rat race, choosing to abandon MTV and album rock radio, ready to take any fans who came their way, and in a way, Lightning Bolt -- their tenth studio album, arriving 22 years after the first -- is a logical extension of that attitude, flirting with insouciance even at its loudest moments. Often, this record seems to ignore the very idea of immediacy; even when the tempos are rushed and the amplifiers are revved up, Pearl Jam never quite seem to be rocking with abandon, choosing to settle into comforting cacophony instead. Then again, nothing on Lightning Bolt -- not the wannabe breakneck rocker "Mind Your Manners," not the tightly coiled title track, not the glam stomp of "Let the Records Play" -- proceeds with any manner of urgency, with even the loudest rockers unveiled at a measured pace that allows plenty of space for solos by Mike McCready. The guitarist has room to roam and the band has a supple, natural interplay that only comes from almost 30 years of collaboration, but here more than ever, all the emotional notes seem to derive from Eddie Vedder, who is not only the chief songwriter/lyricist but a spiritual touchstone. Eying the milestone of 50, Vedder is very comfortable in his skin: hes no longer raging against the dying light or tilting at windmills, hes choosing his battles, knowing when to lie back so he can enjoy the rush of rock pushed out from his familiar, but never lazy, colleagues. This unhurriedness may seem to run counter to the rebellious spirit of rock & roll, but for all their insurrectionist acts, Pearl Jam werent upstarts: they eagerly accepted the torch of arena rock when it was handed to them. On Lightning Bolt, theyve grown into that classic rock mantle, accentuating the big riffs and bigger emotions, crafting songs without a worry as to whether theyre hip or not and, most importantly, enjoying the deep-rooted, nervy arena rock that is uniquely their own. | ||