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Showing posts with label pearl jam. Show all posts
Showing posts with label pearl jam. Show all posts

Wednesday, April 16, 2014

Teenage Angst Has Paid Off Well: Grunge and Social Revolution

Note: This is my US history term paper, and is thus significantly lengthier than my other posts, just as a heads up.



Teenage Angst Has Paid Off Well:
Grunge and Social Revolution

Michael O’Neill
4/14/2014






            People sometimes define periods of American history by the music that was popular at the time. The 1920’s are to this day referred to as the “Jazz Age;” the 1970’s are remembered for disco. Perhaps most notably, the early 1990’s are recognized by many as the glory days of grunge, as a new and exciting brand of alternative music that shook the mainstream. During this time, youth were growing more and more agitated with the older generations as the government floundered under President George H.W. Bush, falling deeper and deeper into a recession between 1990 and 1992. [1] Americans showed their desire for change as Democratic candidate Bill Clinton defeated Bush in the 1992 election, with third-party candidate Ross Perot managing to grab nineteen percent of the popular vote. [2] Clearly, the American public wanted something different. Simultaneously, the plastic music of the 1980’s had grown stale, making the time ripe for a new genre of music to come along. These factors combined to set the stage for the rise of grunge music, which used apathetic lyrics and an organic sound to connect with disillusioned young people across the nation.
            Starting in late 1991, grunge music began to explode in popularity, growing out of a Seattle-based scene and eventually sustaining a presence in pop culture for a few brief yet substantial years.[3] Not only did it change music, however, it also created a youth-based social movement, the effects of which helped reshape various aspects of American society. Most tangibly, grunge re-shaped rock music, movies, and fashion. Besides this, the grunge era generated a new youth counter-culture, provided an outlet for new political ideals to be broadcast to a large audience, and increased the gap between Generation X and the Baby Boomers.
            Before analyzing grunge as a musical proclamation, it is necessary to briefly examine the rock music popular in the years preceding its peak, to which it was largely a response of. For the most part, rock music in the 1980’s was dominated by a more accessible form of heavy metal known as ‘pop metal.’[4] The genre was characterized by melodic hooks, quick tempos, flashy guitar playing, and clean production values. Notable artists who fell under this genre included Bon Jovi, Def Leppard, and perhaps most prominently, Van Halen.[5] The other sub-genre of rock to see mainstream success during this time was arena rock, pushed forward by the likes of Bruce Springsteen and U2.[6] By the beginning of the decade, punk music had experienced a decline in popularity, with the leaders of the movement branching out into different varieties of rock.[7] Soon, alternative-leaning ‘post-punk’ groups such as The Smiths and The Cure began to receive both critical and commercial acclaim in the UK, while only seeing minor success stateside.[8]
            Even before the eighties wrapped up, many music listeners were craving a new sound, one drastically different from the over-the-top glam metal and arena rock scenes that were still extremely popular. Into this role stepped grunge, a combination of several different genres that would take hold of a generation of exasperated youth. Britannica identifies grunge music as a distinguishable sub-genre of rock “combining guitar distortion, anguished vocals, and heartfelt, angst-ridden lyrics.”[9] Though debate over usage of the term exists, grunge is somewhat of a catch-all term for most of the alternative rock bands to gain popularity during the early 1990’s, though most shared at least a few musical characteristics. Due to this broad definition, a considerable amount of variation exists among the various grunge artists, each drawing different degrees of influence from the assorted sub-genres of rock that came before them. Typically, grunge bands employed a combination of punk rock and heavy metal, utilizing punk’s rebellious spirit and heavy metal’s tendency for catchy hooks and powerful guitar riffs.[10] Some groups, most notably Soundgarden, also drew inspiration from the hard rock of the seventies.[11] Nirvana front man and grunge kingpin Kurt Cobain was influenced by everybody from rock trailblazers The Beatles, to college rock giants like The Pixies and R.E.M., to more conventional classic rockers such as Aerosmith and Cheap Trick.[12] Based on this extensive variety, grunge was a wide-ranging genre that took ideas from numerous types of rock music and pooled them into a refreshing sound that would soon spark a social revolution.

Sunday, October 20, 2013

Album of the Week: Pearl Jam - "Vs."

Rating: 8.7/10

Let's get this out of the way first; Vs. is by a decent gap my favorite Pearl Jam album, and one of my favorites from the grunge era as well. So, as the album celebrates it's 20th birthday this week, I thought I would take a deeper look at the Seattle group's sophomore effort. Serving as a smooth transition between Ten's arena-rock anthems and Vitalogy's darker and experimental themes, Vs. was Pearl Jam's first record made after the band were launched into superstardom by their 1991 debut. Hyped heavily after Ten's stunning commercial and critical success, the record did not disappoint those who wanted a more raw, natural Pearl Jam record. Lead singer Eddie Vedder was wild onstage, but internally was uncomfortable with this new-found fame. He turned off by the music business and how it abused musicians' art for personal gain, trying to dictate a movement they had no part in creating or following. He felt the divide between bands and their fans was widened significantly by music labels, who corporatized music that spoke out against those very actions.

Vedder vocalizes his concerns throughout Vs., which on the surface seems like a record about a relationship between two people, but actually represents the bond (or lack thereof) between bands and record labels. The person Vedder appears to be singing to on the album isn't a singular person at all, but the music industry as a whole. The themes clearly resonated with people, and Vedder's lyrics on Vs. received wide distribution: the album sold nearly one million copies in its first week of release alone. Of the songs on the record, the two that most directly examine these ideas are "Animal" and "Blood." The former, eventually released as a single, contains the refrain "I'd rather be with an animal." The lyric represents the intense desire and desperation for Vedder to leave whatever relationship he's dealing with, in this case the one between him and the media. The singer howls through the track as Dave Abbruzzese flys off the handle with his drum kit. "Blood" follows a similar vein as "Animal," incorporating funky guitar playing from the duo of Stone Gossard and Mike McCready and a malleable song structure. Vedder's primal scream at the end of the second chorus lasts an astonishing 10+ seconds, as he shouts "It's my blood," metaphorically chastising the music business for trying to control what is his personal property.

Vs. also contains Pearl Jam's first politically-charged songs. "Glorified G" is a scathing critique of American gun culture, employing lyrics such as "feels so manly when armed," "kindred to being an American," and "I can steal your heart from your neck" to the cause. "W.M.A." tackles racial profiling as tribal drums pound along for six minutes. The song tells the story of a time Vedder was with a black friend of his and his friend, but not him, was harassed by police for doing exactly what Vedder had been doing: nothing. Sonically speaking, the song grooves and swirls throughout as Gossard interjects with the occasional guitar flourish.

The album's two most well-known tracks, perhaps, are also its lightest. The fully-acoustic "Elderly Woman Behind the Counter in a Small Town" tells the story of, well, an elderly woman behind the counter in a small town, who recognizes a long-lost friend's face after decades of not seeing them. It's an amazingly realistic take on this perspective, considering Vedder was at the time not even thirty years old. The other light song is only partially acoustic, the song of course being "Daughter." Albeit overplayed, "Daughter" still charms with every listen. Vedder's lyrics here recall those of Ten track "Alive."

Vs. on the whole is a very lyrical album, as Vedder simultaneously opens himself up to and shoves away from the world. My personal favorite song on the album, "Rearviewmirror," discusses the feeling of leaving everything behind, probably something the singer was pretty much ready to do at this point. The jumpy riff propels the track forward as the chorus sets Vedder free. "I couldn't breath/holding me down," "time to emancipate," and "saw thing clearer once you were in my rearview mirror" all reveal the vocalist's displeasure with the way fame has treated him and his band. The desperation turns up a notch for the last two minutes of the song, as the guitars play higher and Vedder screams more. Often considered one of their best, "Rearviewmirror" is a fan favorite, and remains a staple in the group's ever-changing live setlist.

"Go" is another roarous tune from the CD, as a jam opening morphs into a more developed verse. Jeff Ament's bass line dominates the majority of the song, and the rest of the band races ahead, trying to keep up. "Dissident," though a radio hit, is one of the album's weaker tracks. A decent guitar riff is repeated too many times, though in totality the song still has some strength behind it.

At the backend of the record, "Rats" and "Leash" offer more firepower before the slow ballad "Indifference" concludes everything. "Drop the leash, get out of my f---in' face" orders Vedder on "Leash," a continuation of Ten's "Why Go." For a group so clearly trying to escape superstardom, it's odd Pearl Jam would harken back to what made them so popular in the first place on Vs. "Rats" is another funk-inspired track, as a loose band jams along to Eddie Vedder's signature growl. "Indifference" closes on a somber note, with instrumentals only backing Vedder's vocals in a minimal fashion.

Vs. is one of those albums that, though twenty years old, just as easily sounds twenty days old. Besides "Dissident," which still holds its ground, every song is great if not stellar. Tracks like "Rearviewmirror" and "Go" are undeniably Pearl Jam, and thankfully will never go away. Not dated and often imitated, Vs.'s raw sound is one of the highlights of the early '90's, and certainly a high point in Pearl Jam's illustrious career.

Key Tracks: "Rearviewmirror," "Go," "Glorified G," "Daughter"







Saturday, September 14, 2013

Fall Music Preview

2013 has been a year full of excellent album releases, and that pattern looks set to continue with a bevy or promising records set to drop in the upcoming months. Just some of the artists putting out new releases this fall include:

Grouplove (Sept. 17th)
The Naked and Famous (Sept. 17th)
Chvrches (Sept. 24th)
Deer Tick (Sept. 24th)
Kings of Leon (Sept. 24th)
Mazzy Star (Sept. 24th)
HAIM (Sept. 30th)
Lorde (Oct. 1st)
Moby (Oct. 1st)
Yuck (Oct. 1st)
Cage the Elephant (Oct. 8th)
Cults (Oct. 15th)
Pearl Jam (Oct. 15th)
TLC (Oct. 15th)
Best Coast (Oct. 22nd)
Arcade Fire (Oct. 29th)
Cut Copy (Nov. 5th)
MIA (Nov. 5th)

Cloud Nothings also may or may not be releasing something at the tail end of the year, but we'll have to wait and see whether they or anybody else surprises us and drops a new album before 2013 is up.

To get you geared up for this slew of upcoming new music, preview some of the albums mentioned by listening to a few of the lead singles below. You can also find a complete list of anticipated releases here, courtesy of Metacritic.