Note: First posted on Blogcritics Magazine's web site 11-25-07
Pearl Jam may never again be that omnipresent, chart-topping band of rebellious rockers of the early 1990s. But they don't have to be mainstream rock superstars in order to produce some great music and embark on one memorable tour after another (every other year, on average). Pearl Jam have built a loyal fan base the world over, and whatever you think of their records post-Vitalogy, this band has always been an exciting and even legendary must-see live act.
Tours from earlier in this decade have been well chronicled on audio bootlegs and on a couple DVDs (see Amazon list below), so it was only a matter of time for Pearl Jam to pick out some highlights of their more recent 2005/2006 tours to sell their fans. First came the Live at the Gorge 05/06 audio box set, and now comes Immagine In Cornice, a concert film/documentary directed by the renowned filmmaker Danny Clinch (Dave Matthews, Bruce Springsteen's Devils & Dust).
Based on the band's five shows and weeklong stay in Italy in September of 2006, Clinch and his crew of cameramen give fans an intimate look at what the band does on-and-off stage, in the towns of Milan, Bologna, Pistoia, Torino and Verona.
As far as performances go, Pearl Jam was in peak form for most of these song selections; they had five shows worth to choose from for this film, after all. Fan favorite "State of Love and Trust" rocked at a faster and more furious pace than on the Singles soundtrack. "Evenflow" got the extended treatment; McCready's solos channeled Stevie Ray Vaughan, and Matt Cameron showed off his drum solo skills to the delight of the crowd in Torino.
Whether playing in an obscure town like Pistoia, the Forum in the beautiful city of Milan, or weathering the rain in Verona, Pearl Jam played for packed stadiums that had both home and international flavor; fans from as far away as Finland and Israel traveled to experience these shows. But it didn't matter where the audience came from or how new or old Pearl Jam's songs were; cameras caught fans passionately moving or jumping to and singing the words to everything from "Better Man" and "Comatose" to "State of Love and Trust" and "Alive."
Eddie Vedder literally took his stage antics to new heights at Duomo Square in Pistoia, as he climbed one of the poles on the side of the stage and sang from the platform during the popular show closer "Rockin' In The Free World." On the near mosh pit-worthy "Blood," one of the less popular, but killer tracks from the Vs. disc, Vedder began the song by spitting out some whiskey he just drank, while he and the band gave everything they had to finish out this less than perfectly executed live version.
Another smart move was the inclusion on this DVD of Eddie Vedder joining opening act My Morning Jacket - a top notch live rock band in their own right - in Torino for an excellent, exhilarating cover of The Who's "A Quick One (While He's Away)."
Perhaps just as valuable as the performance footage is some of the off-stage moments Clinch caught on film. Lead guitarist Mike McCready is full of stories, explaining the origins (and admitted obsession) with tattoos on his arms. After a brief shot of him talking to fans and signing autographs in the light of day outside his Verona hotel, McCready recalled how he used to be like these rock star chasers; he claimed that around 1982 he hid under The Scorpions limo until he spotted and received their singer's autograph. Mike McCready: a guitar virtuoso and man of the people.
Here's some other highlights:
* Eddie working on an 8-track recording of the Tom Waits song "Picture In A Frame" after a soundcheck. The song is also later performed near the end of the DVD by his likeness as background music.
* Pearl Jam organist Kenneth "Boom" Gaspar's emotion-filled performance of a song of his on a vintage church organ in Pistoia, a small Italian town known mainly for organs.
* A short clip of a couple Italian acoustic guitarists playing "Porch" on a sidewalk for the locals.
* The short appearance of Eddie Vedder's little girl Olivia, riding aboard the tour bus with her dad as they say goodbye to "Milano" and take in its beautiful scenery. Vedder's well-rehearsed attempts at addressing his audiences in Italian aren't bad either.
My only minor complaint is that although this film strikes a mostly satisfying balance between the old and the new, there is only one song from Vs. on it, and there could have been a few more full songs included from these five shows overall. For example, late in the film, Eddie and the boys are shown backstage at the Arena di Verona crossing out and ultimately deciding what to play for an encore: "Blood" and "Indifference" were among the chosen, but only "Blood" was shown.
In all, Pearl Jam's Immagine In Cornice DVD is a real treat, and though it was released two months ago, any serious PJ fan must add it to their collection this Christmas if he/she does not already have it. Though it doesn't have everything you would want, this film offers more than just another concert; it gives fans some valuable insight on the touring lives of this band, which is still one of the best live American rock bands around.
Note: Although the track list linked here looks complete, it only represents songs played in full or with live video footage. There are some other songs that Pearl Jam either toyed with offstage, during soundcheck or played as background music to more Clinch footage, including "Immortality," "Love Boat Captain," a short Vedder/McCready acoustic run through of "Lukin" and the aforementioned Tom Waits cover "Picture In A Frame."
Tuesday, November 27, 2007
Music Review: Via Audio - Say Something
Note: First published on Blogcritics Magazine's web site 11-16-07
This New York-based indie pop quartet met at Berklee College of Music in 2003, recorded a self-titled EP in 2004, and three long years later got signed to SideCho Records. Add to this the fact that Chris Walla of Death Cab For Cutie is a big fan of the band and that Jim Eno of Spoon produced their highly anticipated debut full-length Say Something (SideCho) and you've got a promising album the indie rock world will surely take notice of.
First song "Developing Active People" has slight delay tactics on guitar that could easily pass for Chris Walla's work with Death Cab (hence the unsurprising fact he's a VA fan). The bass guitar lines and inclusion of trumpets/horns on "Harder On Me" have the aura of recent Broken Social Scene. However, unlike that Canadian supergroup, this group of four doesn't need double digits worth of band members to put many layers of sound into their craft.
"Presents" is perhaps the catchiest one of them all, with its cutesy and infectious male/female vocals, short, electric guitar and keyboard spurts, a constant acoustic guitar melody, all performed over a constant, fast beat that rests only for a mere five seconds.
The slow, heavy, and crunchy chords of "Hazmat" recall Weezer, and the quieter understated melodies that end it are reminiscent of Pavement. The oscillating and tension-filled "Enunciation" shows off both the band and guitarist/singer Jessica Martins' versatility, going from quiet-loud-quiet vocals with relative ease over passive and kinetic minor (and uglier-sounding) melodies.
On my personal favorite "We Can Be Good," Martins sings, "If we try/I know that we can be good." Well, on just 11 tracks spanning 40 minutes, Via Audio, despite their apparent humbleness, proved they are very good at what they do. They went to a top music school after all, so they'd better be "good" at the very least!
What they've done with Say Something is make a very - for the most part - pumped up and listenable indie pop record for those with short attention spans. It's got some versatility, catchy tunes and impressive musicianship.
What more could you want? A perfect album, you say. There may be a couple of down moments on the record, but the fast pace and consistency of Say Something as a whole obscure any faults. It's an excellent debut, and fans of Death Cab For Cutie, Stars, or Magic Numbers will dig this without a doubt.
For more info on Via Audio and to buy their music or watch live performances, go to their Myspace page.
This New York-based indie pop quartet met at Berklee College of Music in 2003, recorded a self-titled EP in 2004, and three long years later got signed to SideCho Records. Add to this the fact that Chris Walla of Death Cab For Cutie is a big fan of the band and that Jim Eno of Spoon produced their highly anticipated debut full-length Say Something (SideCho) and you've got a promising album the indie rock world will surely take notice of.
First song "Developing Active People" has slight delay tactics on guitar that could easily pass for Chris Walla's work with Death Cab (hence the unsurprising fact he's a VA fan). The bass guitar lines and inclusion of trumpets/horns on "Harder On Me" have the aura of recent Broken Social Scene. However, unlike that Canadian supergroup, this group of four doesn't need double digits worth of band members to put many layers of sound into their craft.
"Presents" is perhaps the catchiest one of them all, with its cutesy and infectious male/female vocals, short, electric guitar and keyboard spurts, a constant acoustic guitar melody, all performed over a constant, fast beat that rests only for a mere five seconds.
The slow, heavy, and crunchy chords of "Hazmat" recall Weezer, and the quieter understated melodies that end it are reminiscent of Pavement. The oscillating and tension-filled "Enunciation" shows off both the band and guitarist/singer Jessica Martins' versatility, going from quiet-loud-quiet vocals with relative ease over passive and kinetic minor (and uglier-sounding) melodies.
On my personal favorite "We Can Be Good," Martins sings, "If we try/I know that we can be good." Well, on just 11 tracks spanning 40 minutes, Via Audio, despite their apparent humbleness, proved they are very good at what they do. They went to a top music school after all, so they'd better be "good" at the very least!
What they've done with Say Something is make a very - for the most part - pumped up and listenable indie pop record for those with short attention spans. It's got some versatility, catchy tunes and impressive musicianship.
What more could you want? A perfect album, you say. There may be a couple of down moments on the record, but the fast pace and consistency of Say Something as a whole obscure any faults. It's an excellent debut, and fans of Death Cab For Cutie, Stars, or Magic Numbers will dig this without a doubt.
For more info on Via Audio and to buy their music or watch live performances, go to their Myspace page.
Music Review: Thursday - Kill The House Lights DVD and CD
NOTE: Yeah, I've been getting lazy about cross-posting my Blogcritics articles here; this one was published on 10/30/07.
Often labeled as one of the progenitors of the current "emo" movement, Thursday has survived "nu metal," the garage rock revival, and whatever other trends that ruled the day in their ten years of existence.
Their sound has always been hard to pinpoint, however. Some critics may call them emo or "screamo," others (like All Music Guide) describe their music as "soul-baring post hardcore." Like one-time peers At The Drive-In, they created an exciting and genre-defying type of punk-inspired rock the kids still love to this day. They have taken elements of punk, metal, and post-punk and blended them into four albums worth of rock, starting with 2000's Waiting and most recently with 2006's A City By The Light Divided.
The Kill The House Lights DVD has a career-spanning documentary that takes them through their early days in the late 1990s to the present. The crown jewel of the disc is a forty-five minute live concert from their hometown of New Brunswick, NJ in 2006.
It features fan favorites and other songs from most of their albums, including "Understanding In A Car Crash" and "Paris In Flames," both from 2001's groundbreaking Full Collapse CD, as well as newer songs like the intensely personal and religious-themed "Sugar In The Sacrament." Just watch singer Geoff Rickly work the crowd and join them as they sing out, "This is all we've ever known of God/Fight with me let me touch you now."
Watching this show, you will see why Thursday has gotten headlining slots on multiple Warped Tours over the years; their live show rallies fans to give out almost as much energy to the band as they give to them.
The audio portion of this release features twelve tracks, including about five new songs, the first of which should please older fans: "Ladies and Gentlemen: My Brother The Failure" is intense, hardcore, and sounds like it would have been a natural fit on one of the early albums.
Other tracks include a live version of "Signals Over The Air" - from the same 2006 Holiday show featured on the DVD - and a few demos, the oldest of which is "Wind Up," a song culled from Thursday's first four-song demo in 1998.
Overall, Kill The Houselights, which comes out in stores this week (Victory Records), is very highly recommended for anyone and everyone who got into Thursday's music over the years. There aren't many punk rock bands like them around, and though others have taken elements of their sound and diluted the post-hardcore genre, they give it respectability and a bit of originality too.
It may be Tuesday, but Thursday sounds good any day of the week.
For more info on the band, visit their myspace page or the band's All Music Guide entry.
Often labeled as one of the progenitors of the current "emo" movement, Thursday has survived "nu metal," the garage rock revival, and whatever other trends that ruled the day in their ten years of existence.
Their sound has always been hard to pinpoint, however. Some critics may call them emo or "screamo," others (like All Music Guide) describe their music as "soul-baring post hardcore." Like one-time peers At The Drive-In, they created an exciting and genre-defying type of punk-inspired rock the kids still love to this day. They have taken elements of punk, metal, and post-punk and blended them into four albums worth of rock, starting with 2000's Waiting and most recently with 2006's A City By The Light Divided.
The Kill The House Lights DVD has a career-spanning documentary that takes them through their early days in the late 1990s to the present. The crown jewel of the disc is a forty-five minute live concert from their hometown of New Brunswick, NJ in 2006.
It features fan favorites and other songs from most of their albums, including "Understanding In A Car Crash" and "Paris In Flames," both from 2001's groundbreaking Full Collapse CD, as well as newer songs like the intensely personal and religious-themed "Sugar In The Sacrament." Just watch singer Geoff Rickly work the crowd and join them as they sing out, "This is all we've ever known of God/Fight with me let me touch you now."
Watching this show, you will see why Thursday has gotten headlining slots on multiple Warped Tours over the years; their live show rallies fans to give out almost as much energy to the band as they give to them.
The audio portion of this release features twelve tracks, including about five new songs, the first of which should please older fans: "Ladies and Gentlemen: My Brother The Failure" is intense, hardcore, and sounds like it would have been a natural fit on one of the early albums.
Other tracks include a live version of "Signals Over The Air" - from the same 2006 Holiday show featured on the DVD - and a few demos, the oldest of which is "Wind Up," a song culled from Thursday's first four-song demo in 1998.
Overall, Kill The Houselights, which comes out in stores this week (Victory Records), is very highly recommended for anyone and everyone who got into Thursday's music over the years. There aren't many punk rock bands like them around, and though others have taken elements of their sound and diluted the post-hardcore genre, they give it respectability and a bit of originality too.
It may be Tuesday, but Thursday sounds good any day of the week.
For more info on the band, visit their myspace page or the band's All Music Guide entry.
Music Review: Prong - Power Of The Damager
Note: Originally published on Blogcritics 11/7/07
In the early and mid-'90s, Prong's unique blend of super-heavy industrial and thrash metal was ahead of its time and clearly influenced what was then the looming "nu metal" movement. At the time, I was a teenager who looked forward to every killer episode of MTV's Headbanger's Ball every Saturday night, which along with WAAF radio in my hometown of Boston is how I discovered Prong.
Its time in the spotlight of heavy metal was all to brief however, as albums after 1994's Cleansing never took off or delivered singles as strong and popular as "Beg to Differ" or "Snap Your Fingers, Snap Your Neck," the latter of which is without a doubt Prong's most well-known song.
This is not to say that other albums like Rude Awakening or Prove You Wrong were duds; they just never made a splash beyond the underground metal community the way 1990's Beg To Differ and Cleansing did. And that's a shame because like Machine Head, Biohazard, Helmet and a few others, Prong added a new and exciting chapter to heavy metal that has gone largely unappreciated over time.
With the release of its newest album Power Of The Damager (13th Planet Records) last month however, this should change. It is clearly Prong's loudest, brutally heavy and consistent record since Cleansing; traces of earlier records like Beg To Differ are present as well.
The only significant difference between Cleansing and Power is the industrial noises are no longer a part of Prong's sound. This new record is all super heavy power, speed and thrash metal. And if you have none of these CDs in your metal collection, I suggest buying them all together. They're that good.
With drummer Aaron Rossi's aggressive - he frequently employs double kick drum pedals - and at times groovy rhythms setting the pace and band leader/guitarist Tommy Victor and bassist Monte Pittman's respective instruments tuned down to C and occasionally D, Power picks up where Cleansing left off. The staccato riffs, start-stop rhythms and Victor's snarl and growl are all still present, from album opener "Looking For Them" to "Worst of It" and on down the track list. "No Justice" is especially angry and reflects the times we live in; it also features machine-gun fast riffs and wild screams from Victor.
Elsewhere, "Spirit Guide" starts out semi-spacey and throws a couple of dramatic change-ups in tempo, but doesn't let up for long. It, like several other songs features a squealing, frantic guitar solo. Make no mistake about it, this album is ferocious to the very end. Last track "Changing Ending Troubling Times" sees Rossi and Pittman having no trouble at all keeping up with Victor's speed metal riffs.
In all, Power Of The Damager produced what their 2003 comeback record Scorpio Rising did not: truly inspired metal. Even Ministry's Al Jourgensen thinks this is their best CD "ever." Prong fans can debate that but in the meantime, be sure to add this one to your top metal albums of 2007.
To listen to a few more songs from this album, visit Prong's myspace page and for additional info on the band, click here.
In the early and mid-'90s, Prong's unique blend of super-heavy industrial and thrash metal was ahead of its time and clearly influenced what was then the looming "nu metal" movement. At the time, I was a teenager who looked forward to every killer episode of MTV's Headbanger's Ball every Saturday night, which along with WAAF radio in my hometown of Boston is how I discovered Prong.
Its time in the spotlight of heavy metal was all to brief however, as albums after 1994's Cleansing never took off or delivered singles as strong and popular as "Beg to Differ" or "Snap Your Fingers, Snap Your Neck," the latter of which is without a doubt Prong's most well-known song.
This is not to say that other albums like Rude Awakening or Prove You Wrong were duds; they just never made a splash beyond the underground metal community the way 1990's Beg To Differ and Cleansing did. And that's a shame because like Machine Head, Biohazard, Helmet and a few others, Prong added a new and exciting chapter to heavy metal that has gone largely unappreciated over time.
With the release of its newest album Power Of The Damager (13th Planet Records) last month however, this should change. It is clearly Prong's loudest, brutally heavy and consistent record since Cleansing; traces of earlier records like Beg To Differ are present as well.
The only significant difference between Cleansing and Power is the industrial noises are no longer a part of Prong's sound. This new record is all super heavy power, speed and thrash metal. And if you have none of these CDs in your metal collection, I suggest buying them all together. They're that good.
With drummer Aaron Rossi's aggressive - he frequently employs double kick drum pedals - and at times groovy rhythms setting the pace and band leader/guitarist Tommy Victor and bassist Monte Pittman's respective instruments tuned down to C and occasionally D, Power picks up where Cleansing left off. The staccato riffs, start-stop rhythms and Victor's snarl and growl are all still present, from album opener "Looking For Them" to "Worst of It" and on down the track list. "No Justice" is especially angry and reflects the times we live in; it also features machine-gun fast riffs and wild screams from Victor.
Elsewhere, "Spirit Guide" starts out semi-spacey and throws a couple of dramatic change-ups in tempo, but doesn't let up for long. It, like several other songs features a squealing, frantic guitar solo. Make no mistake about it, this album is ferocious to the very end. Last track "Changing Ending Troubling Times" sees Rossi and Pittman having no trouble at all keeping up with Victor's speed metal riffs.
In all, Power Of The Damager produced what their 2003 comeback record Scorpio Rising did not: truly inspired metal. Even Ministry's Al Jourgensen thinks this is their best CD "ever." Prong fans can debate that but in the meantime, be sure to add this one to your top metal albums of 2007.
To listen to a few more songs from this album, visit Prong's myspace page and for additional info on the band, click here.
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