Showing posts with label remember. Show all posts
Showing posts with label remember. Show all posts

10/22/00 - Las Vegas, Nevada Review

10/22/00 - Las Vegas, Nevada
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Pearl Jam released over 70 official bootlegs, documenting their entire official tour in support of Binaural.
Out of these 70 shows, there is a dozen or so that really stand out, like Milan, Verona, Katowice II, Pittsburgh, Jones Beach III and St. Louis.
And then, there are the best of the best. The shows that every Pearl Jam fan MUST have in their collection. They are Seattle II, the final show of the tour, and Las Vegas, the band's 10th anniversary show.
When Pearl Jam took the stage in Las Vegas on October 22nd, 2000, it seemed that the very elements were against them. Eddie Vedder apparently had a severe cold, and the entire band was extraordinarily nervous. The first few songs show this off really well. The band sort of stumbles through the short instrumental Interstellar Overdrive, Corduroy, Breakerfall, Grievance and Last Exit. Things start to pick up with Animal, at the end of which Eddie tells the crowd how nervous the band is. From there on, Pearl Jam seems to find new confidence, and the rest of the set is simply smoking. The band nails literally every song they play, driving the crowd into a frenzy. Eddie gives a huge speech before Even Flow mainly about the demo tapes that got him the gig as the band's lead singer. The references to the pre-Pearl Jam days continue during the encore, when the band plays an incredible rendition of Mother Love Bone's Crown Of Thorns (for those of you not in the know, Mother Love Bone was the band that several members of Pearl Jam used to be in. The death of Mother Love Bone's singer, Andy Wood, spawned the Pearl Jam-Soundgarden side project called Temple Of The Dog). Brendan O'Brien, Pearl Jam's long-time collaborator, plays keyboards on this one, as well as Black and I Can't Help Falling In Love, an Elvis cover. Finally, the show ends with the Who's Baba O'Rilley and Pearl Jam's very own Yellow Ledbetter. An amazing show throughout and a definite must-have!

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Riot Act Review

Riot Act
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Sigh.
Every post grunge-era Pearl Jam album resurfaces these kind of talks. Why isn't X better than Y? Why couldn't they have done X like Y? Why isn't Ed/Mike/Stone/Jeff/Current Drummer better than they were on Y?
Honestly, I'm surprised people want to talk in circles about something like this.
I can remember when Vitalogy came out, listening the hell out of it, while many of my friends/contemporaries/whatever said that it stuck. "What's with all the punk stuff? Why did they put crap on there like "Bugs" and "Foxymop"? It ruined the album." At the time I can remember thinking that these once flannel-clad individuals, who just a few years prior had gobbled up any shred of music made available by the band, were now turning a deaf ear because there is a two minute musical/vocal track where Eddie repeats P-R-I-V-A-C-Y, and a couple great little experimental tracks (one of which, was placed conveniently at the end of the album for easy skip-over). This astounded me, because nearly all my friends hated Vitalogy, and I thought it was their strongest work to date. If you went in and cut out all of the experimental stuff, you still have one of the best 45 minutes or so of rock produced in the '90s. But no matter. This was the beginning.
No Code followed up a few years later. Barely a blip on the pop culture radar. "Who You Are" came and went as a first single, and nobody was left around for the following two radio releases "Hail Hail" and "Off He Goes," which rank (to me) as two of their best. No matter, thought I, their my band now. "Not For You" indeed.
Yield came and went, no biggie. No videos, no promotion. Maybe the best rock album to come out in the late '90s, totally ignored, except for some hardcore PJ fans & some great reviews.
Then came the tour, which I had the opportunity to see a couple of shows. People said things to me like "They're still together?" and "I sure wish Eddie would write something more like Yellow Ledbetter." Meanwhile, I was more than satisfied w/ performances of "Evolution" and "Given To Fly".
Between "Yield" and the next album was the "good intention paving the path to hell" single that was "Last Kiss". Sure the proceeds went to the Kosovo refuges, and it was kept from the #1 spot on Billboard only by "Livin' La Vida Loca", but the die was cast, and the band was reluctantly thrown back into the spotlight. Still, no video, no promotion.
Binaural came out in 2000. Good songs. Overproduced? Under-produced? Maybe. Still, "Grievance" and "Insignificance" alone made the album better than good. "Eddie's voice doesn't sound as strong," and "Why doesn't he belt something out like he did on Vs," and "Where's my Limp Bizkit album" were heard at the record stores. The 2000 tour that followed was one of the best to date, maybe the best. Unfortunately the tragedy in Europe occurred, and briefly brought the band back into the spotlight. "Pearl Jam was playing a festival in Europe? Must be the only place they can sell tickets anymore," I heard.
Now comes "Riot Act". Once again, same old story, same old song and dance. 15 songs, some funky, some experimental, some traditional, and still the same comments. "Well, 10 years ago, they'd have never done an album like this," and "Why can't Ed sing like he did on X, Y, or Z?" Well, there's your answer. 1991, by my last check, was nearly 12 years ago. In 1991 you had some great bands, like Nirvana and Faith No More, and Soundgarden, and PJ. You also had a ton of crap and pop on the radio (hair metal, NKOTB, etc). The more things change the more they stay the same. 2002 we get a new Nirvana single (not their best-effort, but I'll sure as hell take it), a new album w/ vocals by Chris Cornell (backed by RAGE...what a concept!), as well as a brilliant single by Pearl Jam, and a new album that (what a frickin' surprise) doesn't bow down or bend over for anyone. What brilliance! Pearl Jam doing something their own way? Whodathunkit? And still we hear..."Eddie, why can't you sing like you did on X? I miss those days."
Well, I wish the Beatles would put out another "White Album", but it's not going to happen.
Pearl Jam is here. They're still putting out damn good music. They didn't kill themselves, they didn't succumb to drugs, they didn't marry super models and fancy cars and run them both off cliffs. They haven't done commercials for soda, or for car companies, and they've yet to release a over-hyped, over-marketed greatest hits collection in order to pacify all those who should have been buying their albums all along.
To Quote a track from Riot Act: "I've seen it all before... bring it on, cause i'm no victim ...."

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Shovel Headed Kill Machine Review

Shovel Headed Kill Machine
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(4.5 stars)
The sticker on the cover of Exodus' latest disc, "Shovel Headed Kill Machine," brags that this is the "heaviest and meanest album of their career." This statement is furthered by some rather graphic cover artwork (which is a depiction of a futuristic, bloodied tank shooting while driving over skulls). And from the moment the opening track's punching riffs and pounding drums kick in, the listener knows that the sticker is probably true.
Newcomer Rob Dukes' vocals (which wouldn't be out of place on a Kreator album) are only so-so, but there's enough stellar musicianship to make up for that small flaw. Exodus' tenth album is full of dual guitar shredding (fiery riffs, smoking leads, and extended, wailing, Judas Priest-y solos), and fast, skillful drumming (by former Slayer skinsman Paul Bostaph).
"Deathamphetamine" features fast drumming which is complimented well by blowtorch, rapid-fire guitars, and a breakneck tempo change. Tracks three through six are fueled by catchy chug and churn riffs and thumping drums (plus track three has a long, four part guitar solo), and "Going Going Gone" has a pounding double bass as well as a great, memorable, shout-along chorus (which makes this song probably the catchiest on the album). Next, "Now Thy Death Day Come" includes more pulverizing guitar and drum work, and "44 Magnum Opus" is capped off by a searing solo. Finally, the album ending title cut is another scorcher, with a rocketing beat and still more propulsive, bullying riffs.
So, it's good to hear that Exodus have overcome losing three band members to release a new album. But it's even more exciting that this twenty year old band is, clearly, still at the top of its game. Plus, with all of the thrash imitators flooding the market today, it's downright refreshing to hear a slab of sharp, genuine, blistering speed metal. And, as another reviewer said, if you have nostalgia for old-school metal from the 1980's, "Shovel Headed Kill Machine" was made for you.

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San Francisco's legendary EXODUS return with another slab of thrash metal, following up their "comeback record of the decade," "Tempo of the Damned".

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Live on Two Legs Review

Live on Two Legs
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The songs on this live CD were performed amazingly well. New bass lines, endings and guitar solos turned old songs into new power. I did have a couple problems with this CD however, the main one being I thought the selection of songs was not that great. There were a lot of songs that were too soft to really rock the house off on the album. The only other thing that bugged me was poor sound quality. Any true Pearl Jam fan that does not get this is making a mistake but for newcomers I would reccomend holding off until you are more aquintated to the band.

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