Published on Feb 4, 1998
Well…Pearl Jam finally got what it wanted, sort of.
After
Ten dominated the charts for about two years, the band was
determined to bring things down to a smaller level. Few interviews
were granted, no videos, practically impossible to get a ticket to
a concert, even if it wasn’t sponsored by Ticketmaster. They also
got looser and more obscure, especially in
Vitalogy.
Their efforts resulted in
No Code. A failure when it comes to sales, but musically, I
guess I’m one of the twelve people in the world that actually
really liked
No Code. Now, instead of grunge, ska rules the charts. Pearl
Jam seem to be more fit for classic rock stations than alternative.
In
Yield, the band probably had the least pressure they’ve ever
had to endure when it comes to recording a follow-up.
Unfortunately,
Yield doesn’t answer a lot of questions raised about the
band. Rumours were circulating about how the band recorded the
music without Vedder and gave him the master tapes, where he
quickly did the vocals and lyrics. They’ve never sounded as relaxed
as they are on
Yield, but their second most-relaxed album was
No Code, which showed all was not good in the Pearl Jam
camp.
For a piece of music though,
Yield has some fantastic moments. Drummer Jack Irons finally
feels like a fully-integrated member of the band, outshining even
guitarists Mike McCready and Stone Gossard in the opening song,
“Brain of J.”. The crescendos on “In Hiding” and “Given To Fly” are
among the strongest Pearl Jam has accomplished. No small feat
considering that crescendos are one of the band’s best fortes.
Psychedelic elements are all over “Wishlist”, which is one of
the most earnestly written songs the band has recorded. It is also
one of the most complicated pieces musically. Still in the school
of guitar, taught by Neil Young, the sound of squalls are
intensified by a sample of an ocean, a nice touch.
“I wish I was a sacrifice/that somehow still lived on…….I
wish I was as fortunate…/as fortunate as me,” Vedder yearns on
“Wishlist”. It is one of the songs that you know that the band
recorded together. Other songs, such as “Pilate”, makes you wonder
if each member of the band were recording the song in seperate
studios.
Pearl Jam may no longer have the title of “best rock band of the
90s” by the masses, but at least on
Yield, it sounds like the band wants to get the title back.
“Do the Evolution” is a great harkening back to their stadium
anthem days. Throw in a couple of unlisted tracks and it gives you
the feeling that they wanted to create a “classic” album, in the
vein of
Led Zeppelin IV or
Blonde On Blonde.
The countryish sway of “In Hiding” show Vedder at his calmest
and most at ease. Even Vedder mutters “I am content”. And in a rare
display, a piano is even used. The last two songs end the album on
an off-beat note. “All Those Yesterdays” again show a growing
maturity in Pearl Jam’s lyrical abilities, but musically, it has a
passive effect. Maybe it may take a couple of listens for it to set
in. And the last “hidden” track doesn’t take hold of you
immediately.
Yield shows Pearl Jam as a strong, cohesive unit. With the
breakup of Soundgarden, Pearl Jam is the last of the
Nirvana-Soundgarden-Pearl Jam titans to rule the charts. With each
of the members approaching or are above the age of 30, maybe
dominating the charts is no longer possible for the band. They have
the ability to now strengthen their already strong collection. 1998
will be as pivotal of a year for the band as 1993, when
Vs. came out. A tour and a hit album will guarantee another
album. If
Yield flops, then it all comes down to five guys who still
like the energy they create in a studio. Record executive pressure
or not, I’d certainly like to see another few albums come out.
Yield is a great album, but their true “classic” album may
be one release away.