Some digits you may or may not have added up after witnessing—or regrettably only hearing about—one or both of this week’s legend-building Pearl Jam shows:
0 Beers allowed in KeyArena’s bowl. Signs at all lower-level entrances proclaimed the venue’s dryness. The irony of this wasn’t lost on Eddie Vedder. Between encores on night two, he pointed out that when the Key was actually used as a sports arena, alcohol could be consumed anywhere. He recalled being in the audience for a Paul McCartney show, frustrated that the authorities apparently worried that alcohol and “All You Need is Love” was a dangerous combo.
1 Cigarettes lit and quickly puffed by Vedder during an extended PJ jam each night. Also the number of songs played from the band’s early ’00s Binaural (“Insignificance”) and Riot Act (“Save You”) records.
2 Eyes exposed on both nights by the normally bespectacled Stone Gossard. The guitarist’s usual tight haircut was also eschewed for a late-’80s Steve Turner-style shaggy ‘do. Check the cover of Mudhoney’s Superfuzz Bigmuff. Yeah, just like that.
4 Guest players joining the band for the gorgeous, anti-rock Backspacer songs “Just Breathe” (see video!) and “The End” (the Octava String Quartet, featuring drummer Matt Cameron’s wife April on viola) and on its cover of the Who’s “The Real Me” (the Syncopated Taint Horn Quartet). Both nights. Also the number of songs played from Vitalogy (“Spin the Black,” “Not For You,” “Corduroy,” “Better Man”) and Yield (“Faithfull,” “No Way,” “Given to Fly,” “Do the Evolution”), combining both night’s sets.
5 Songs, counting both shows, played from No Code (“Hail, Hail,” “Off He Goes,” “Sometimes,” “In My Tree,” “Present Tense”), Ten (“Even Flow,” “Why Go,” “Black,” “Porch,” “Alive”), and the self-titled “Avocado” record (“Life Wasted,” “World Wide Suicide,” “Comatose,” “Unemployable,” “Inside Job”).
6 Ditto for the band’s second record, Vs.: “Go,” “Elderly Woman,” “Indifference,” “Rearviewmirror,” “Dissident,” and “Daughter.”
8 The King County Council district that County Executive hopeful Dow Constantine represents. During an encore break, Vedder related a phone call he’d recently received from former Nirvana bassist and current politico/coastal DJ Krist Novoselic; the towering activist urged PJ’s frontman to support Constantine instead of opponent Susan Hutchison. Vedder’s endorsement was wholehearted. His inevitable political chatter—limited to night one—was amusing.
8:55 Time the band kicked things off both nights, to the freaking second.
9 Dollars for a beer at the Key. Which you can’t take beyond the concourse, of course. Also the number of Backspacer tracks (of 11) played between both nights. (“Gonna See My Friend,” “Got Some,” “The Fixer,” “Johnny Guitar,” “Just Breathe,” “Amongst the Waves,” “Unthought Known,” “Supersonic,” “The End.”) All but “Supersonic,” played “OTO” (one time only) as “Supersonics” (the late basketball team), with special nostalgic lyrics, come on night one.
10 Dollars for a chintzy pack of PJ stickers at the merch table. Easy Street stickers are still free, right?
18 Years since Pearl Jam’s inception, with no end in sight. “You know we’ll see you again,” Vedder said after the band bowed goodbye on night two.
27 Songs performed each night. Wow.
33 1/3 RPMs of 10″ and 12″ vinyl LPs, exalted on night two in “Spin the Black Circle,” which Vedder dedicated to Matt Vaughan, owner of Seattle’s Easy Street Records.
35 Dollars for a PJ t-shirt. I must be old, or the economy is worse than I thought. Tour shirts used to be $20, right?
50 Shows the band has now played in Seattle. Vedder quipped the number was nowhere near Mudhoney’s total, but commendable nevertheless.
95 Dollars for a limited edition PJ zip-up hoodie. Okay, this is probably what a lot of kids make flipping burgers or selling cheap imported big-box crap during a two week pay period.
120 Approximate minutes of each show. That’s a lot of excellent music. One wonders how hard it’ll be to write setlists in another 18 years.
98116 Zip code of West Seattle’s Easy Street location, which Vedder hailed as his “favorite record store in Seattle” between songs on night one.
? Days until Pearl Jam plays a Seattle venue again. With evidence mounting that we’ll see a Backspacer-outtakes EP within six months, here’s hoping it’s in the double- or low triple-digits.
Jack London and indie folk fans can rejoice because Sea Wolf has released a new album, White Water, White Bloom, and their tour kicks off at Ballard’s Sunset Tavern (9 p.m., $12). The band lives in the space between folk ballads and sea shanties–preview what you’re in for at their MySpace page. Really, Sea Wolf is a singer/songwriter project of Los Angeleno Alex Church, and while Pitchfork wanted more wolf, I like Church’s laid-back, Shins-y musings just fine. My only regret is that it’ll probably be too warm this evening to wear a fisherman’s wool sweater and corduroy.
If today actually felt like the first day of fall, it would be the perfect occasion for tonight’s lineup at the Tractor. The atmospherics of Trespassers William would definitely go well with a crispness in the air.
And then there’s Toronto songwriter Taylor Kirk, aka Timber Timbre. Tonight’s his first time in Seattle (on his way to the Rifflandia Fest this weekend), touring off his self-titled U.S. debut, out last month on much-beloved and bebuzzed Canadian label Arts & Crafts (see: Broken Social Scene and everyone affiliated with them). It’s a startling goth-folk and blues album that exists as some sort of Venn diagram between Grizzly Bear, M. Ward, and Screamin’ Jay Hawkins. Check out haunting first track “Demon Host” (above) for a taste. Just add jack-o-lantern.
Timber Timbre, Trespassers William, and Charles Leo Gebhardt IV play the Tractor tonight at 8pm. Tickets are $10, 21+.
A few weeks ago, I had the pleasure hearing Pearl Jam‘s new record, Backspacer, in its entirety. I hastily took notes along with each song, trying to keep up with the album’s punk-influenced pace. Around that time, The Globe and Mail‘s Brad Wheeler spoke with Eddie Vedder about every track on the band’s lean album. Here’s what I wrote about Pearl Jam’s 11 new tracks spliced with Eddie’s input. (Check out Wheeler’s full story, too.)
“Gonna See My Friend”CB:
Starts with loud riff. Fast, peppy, hook-y vocals. Hard drum, not unlike Ten songs. Lot of cymbal. “I’m gonna see my friend/Make it go away” chorus. “I’m sick of everything/I’m gonna see my friend/make it go away.” Vedder’s vocal range runs gamut here—lower to high. No solos. Tight. Carries over energy from last album.
EV:
All I remember is writing it in a little room on a small table with a little four-track tape machine. I got it sounding loud real quick, without disturbing the neighbours. I work using headphones a lot. I’m not going to have any hearing left. We all make sacrifices at our jobs, and my hearing is obviously going to be the first thing to go.
“Got Some”CB:
Another quick start, catchy riff right at beginning. Solid guitars, hard drums. The Conan song. “I’ve got some if you need it.” Chorus is a little fuzzy, can’t hear all the words. “Are you dropping bombs? Have you heard of diplomatic resolve?” Very tight, with a couple of echo-y bridge riffs. A real head-bobber. A McCready soaring high note into the end. Some background “ahhhh” going on. Kick ass.
EV:
I’m talking about music to put on when you don’t know how you’re going to get to work, when you’re just not feeling it. It rains in Seattle 220 days a year on average—there’s a lot of mornings it’s hard to get going. This song will do it.
“The Fixer”CB:
Again, right into guitar. But after a catchy hum-along Vedder intro. “I want to fight to get it back again” is the meat of the chorus. Single-line pairs of problem/resolve lyrics. “If there’s no love/I want to try to love again.” A break at 1:55, repeating the intro. Then “yeah, yeah, yeah/fight to get it back again.”
EV:
Men, we all think we can fix anything. It’s not necessarily a good thing. In a relationship, a woman will say ‘This is wrong,’ and we’re like, ‘I’ll fix that, don’t worry about it, we can fix it.’ These wonderful people, the woman you’re in a relationship with, they don’t want you to fix it. They just want you to listen to what’s happening: ‘Don’t fix it, I want you to own this with me—feel it.’ This is a reminder song to me, to stop fixing.
“Johnny Guitar”CB:
Deeper guitar and drum lead-in. Different rhythm for lyrics. Some talk-sung lines, then funk-paced, stop-start licks and drums. “I need to know/why she’s with him.” A story song. One “hoo” from Vedder two minutes in, then fades out almost immediately. Needs a second listen to catch the words. Disappointment in not getting a girl for years—a girl who wants to be with Johnny instead. A good song, but harder to find the rhythm.
EV:
An angular Elvis Costello-like number motivated by an album-cover photo from a record by pimp-blues guitarist Johnny (Guitar) Watson that was pasted over a men’s room urinal. It’s actually not the first time we’ve got our inspiration from something on a bathroom wall. It’s a made-up story about a kid falling in love with a girl on a record cover. I imagine that must have happened a few times.
“Just Breathe”CB:
Immediately sounds like an Into the Wild track, with an acoustic spine and simple Vedder lines. VERY different than previous tracks. “Uh huh” ends alternating lines. “Stay with me/let’s just breathe.” Beautiful. Strumming Ament acoustic bassline. At 1:50, blossoms into a violin-sounding chorus. “Nothing you would take/everything you gave.” “I’m a lucky man/to count on both hands/the ones I love.” Bass goes into a Johnny Cash trot at 3:00. “Meet you on the other side” ends the song—kind of a sudden end. Sounds like regret for leading someone on? Grateful for ones he loves, for life, for being in the company of someone. “I come clean.” Humming near the end. Gorgeous. Like the ITW songs, but fully realized where they were brief.
EV:
There’s never a dull moment on the road—every day it’s something. Maybe that’s why my goal is the dull moment. That’s what this song is: It’s saying, ‘Just stop, and be together. Don’t talk now, just breathe and feel each other’s presence—now that the kids are in bed.’
“Amongst the Waves”CB:
Toe-tapping percussion brief intro. Finally: Vedder’s unleashing soaring vocals, a taste of McCready high-end licks. “Riding high amongst the waves/I can feel like I have a soul that has been saved.” There’s a tinny, echo-y little guitar wail, reminiscent of Pink Floyd or Zep. NOW, at 2:30, this sounds like the classic slow-build PJ song. Heavy rhythm with a McCready riff dancing over the top. Awesome. Leisurely guitars, a classic Vedder “weehoo” near the end. Nice.
EV:
About ebbs and flows—of a couple’s relationships or even those of a long-running rock band. On the strength of this album, we feel good about where the band is at. Our relationship is long-standing, but it’s turned into a forthcoming relationship. We’re open and honest. Things go pretty easy—we feel like a gang. We feel like a galvanized group of individuals. As far as waves, I think we’re up there.
“Unthought Known”CB:
Guitar-string plucking intro reminiscent of “Love Boat Captain,” though not actually alike. A keyboard addition, then prominent accompaniment. Another classic-sounding song. “Fill the air up with love.” Kind of like their version of “Love Reign.” Wow. Gallops around 1:45, with keys going strong. This is another BIG, grand song, with all the pieces loud and vital. Hear some Who in it. A brief, dancing McCready riff. “You will be no one’s rival.” Vedder lets loose and song deepens with Gossard riff. “Distant time, distant place.” Again, ends pretty quickly. No long, fading solo tail.
EV:
It’s about a conversation with Catherine Keener, and a book—I think it might have even been called Unthought Known. I got back late to my hotel in New York, and I pushed it that extra hour. I pushed the limits of how much you can drink and smoke, and this song came out of it. I think the thought of the song is that there are things that you know, and they’re in us, but we just haven’t thought of them. But they’re there, and we base decisions on them.
“Supersonic”CB:
Sounds like a Pearl Jam cut, solid guitar riff and quick rhythm right from the start. Punky. Vedder: “Hey, hey” to start off lyrics. “Supersonic going into my soul/I caught the rhythm but the clock was slow.” Busts down into a slower, funky, heavy riff bed. But brief. Then jumps right back to quick rhythm. A real bounce-arounder. “I want to live my life with the volume full. Yeah yeah yeah.” Layered vocals on the “yeah.” Awesome. One of the best.
EV:
There’s something about this infusion of energy. It’s a tangible thing that gives you as much energy as a drug. It can change the shape of your mood. I think [rock music] is the greatest art form there is, because there’s so many elements to it, volume being one of them. But momentum, and rhythm, and the literary side of a good lyric, it can really transport you.
“Speed of Sound”CB:
Weird, slow pace, heavy percussion. Flexible timing. Sounds a bit adult contemporary, soft rock. Keys add to the effect. A lounge beat, even. Vedder goes into what sounds like a chorus quickly. Reminiscent of “Love Reign” again, and “Black.” But not as good. Some layered vocals. “A whisper in the dark/Is it you or just my thoughts.” “Moving faster than the speed of sound” closes it out. Another rather abrupt ending.
EV:
I was working with Ronnie Wood on a record he’s putting together. He asked me if I could contribute some words, which really excited me because I love his voice. This particular song was a little difficult to transcribe though, so it ended up in [Pearl Jam’s] court. I played it to Brendan at four in the afternoon, and by the next afternoon it was complete.
“Force of Nature”CB:
A solid, heavy funk bassline, dirty narrow riff, and hard percussion. Wow. The noun of the title is a “she.” Prominent drums here. Again, a chance for solo that’s very brief at 1:00. Tight. “One man stands alone/waiting for her to come home.” Guitar kicks in thicker. NiceTen-like denouement, with a classic sauntering McCready riff. A tambourine shake. A tinkling key accompaniment throughout.
EV:
It’s about the strength of one person in the relationship, when they can withstand some of the faults in another—maybe drug addiction, or straying off the path. The person in the song is the lighthouse for the other person caught in the storm.
“The End”CB:
Another acoustic beauty. It’s all Vedder’s voice, reaching higher registers. Acoustic guitar strum, some wispy strings, orchestral backing now and then. Hard to imagine him growling through “Alive” in 1991. Fit for Into the Wild. Wow. “People change as does everything/I want to grow old.” “I’m better than this/Don’t leave/me so cold/I’m buried beneath the stones.” A lover’s apology of sorts? Some wispy violin/strings again. “I’m here/but not much longer.” Ends.
EV:
I got a phone call from a friend, from Spain. I couldn’t pick up the phone because I was recording the guitar part. I had written half the song’s lyrics. When I checked his message, he had said something that enabled me to write the second verse, and in 20 minutes, it was done. That’s how it happened on this record. It was writing the quick ones—there was no room for the other stuff. We’ll see how long approaching it like this goes. But it’s the right way for us to do it right now.
If your interest is piqued, here’s more on the making of Backspacer, courtesy of the entire band and photographer-director Danny Clinch. The album hits Target stores and indie record stores on Sunday. The band hits Key Arena for a two-night homestand a day later.
I’ll say this about records: Pesky MFers! Sad about the death of Mary Travers–the “Mary” of Peter, Paul and Mary–I dug out my PPM records last night for a tribute evening. I say “my” PPM records, but they were first my mom’s; her maiden name is scrawled on each album jacket in a tentative cursive.
Odds that any music I bought in high school will someday be listened to by a 32-year-old son of mine: 75,000 to 1. Or way more likely than the chances of Seth Jr. someday possessing any of the e-music I’ve purchased since–which certainly won’t have my name scribbled on it. Kind of a bummer, really.
Mary Travers was the voice of mom’s teenager-hood, and later my childhood, emanating from the same records I’m listening to as I write this. Her gentle voice and gorgeous face lent a femininity that helped make Peter, Paul and Mary, for a time, the most popular musical group in America.
They aren’t remembered as such now, having been consigned to the largely-ignored “folk” category, but in November of 1963, three PPM albums were in the Billboard top ten. They played at the 1963 Civil Rights March on Washington, for Christ’s sake.
Then The Beatles came and owned popular music the rest of the decade, and now even oldies stations don’t play Peter, Paul and Mary.
My mom played them all the time; easing me in with PPM’s 1969 children’s album “Peter, Paul and Mommy,” then the group’s more adult work.
My childhood friend Dave was also PPM-raised. In high school Dave and I formed a folk-ish duo called “Spackled Yams,” playing songs we composed late at night in his basement. Silly songs, but always, always containing harmony. When The Rocket required us to create a 10-word band description for our spot in their annual music listings, I came up with this: “Peter, Paul and Mary with more hair and less Mary.”
The upshot of all this PPM influence has been a lifelong appreciation for harmony. If I was therefore the only straight man in my college class who knew all the words to an Indigo Girls song, it was the price I happily paid.
Current local harmony fix: The Dutchess and the Duke–childhood friends like Dave and I–make some pretty sweet sounds together.
Mary Travers, Peter Yarrow and Noel “Paul” Stookey were not childhood friends. Albert Grossman, who you can imagine as a sort-of P. Diddy of folk, put the three together. The trio’s first three albums went to #1, #2, and #1, respectively, on the Billboard charts. Their next eight albums all cracked the top 25, at which point they disbanded to pursue solo careers. Didn’t work out so well, so they got back together in 1978, sporadically recording and touring since.
Travers was 72; she died of complications from cancer treatment, according to The New York Times.
If (like me) you were harboring delusions of getting last-minute tickets to the Arctic Monkeys show at the Showbox on Saturday, kiss that foolhardy notion goodbye: The show sold out awhile back. Too bad, because I’d love to hear what Humbug, their beautiful mess of a third record sounds like live. For their latest, these hyper-caffeinated Limey brats grew out their hair, flew to California, and enlisted Queens of the Stone Age mastermind Josh Homme to produce. It sounds like they scored some high-quality weed in the bargain.
The rapid-fire punk-pop that dominated the Monkeys’ first two discs hasn’t evaporated completely—the tempos still hit jackhammer speed on “Pretty Visitors,” for one—but most of the time, they surf a heavier, trippier side of the street on Humbug. Homme puts his hammer-of-Thor production fingerprints all over, stretching Nick O’Malley’s bass like fuzzed-out taffy and encouraging Matt Helders to work the drums to a pulverizing military march when the tunes demand it. The guitars twist and squeal Queens-style instead of punching and jabbing, and the music throbs, swirls and spatters like some cannabis-hazed tryst between T. Rex and The Buzzcocks. The weird mix works, in large part because the band still knows its way around pop hooks and harmonies–they just favor stoned, insinuated sensuality over adrenalized pushiness this time out.
Lead singer/lyricist Alex Turner remains this very terrific band’s not-so-secret weapon. His affecting voice sounds like a less-drony version of Morrissey’s, and he’s penning some of the best pop lyrics this side of Elvis Costello. On the gorgeous “Cornerstone,” he nails obsessive love with Cupid’s-arrow accuracy, deliberately letting the driver take the long way ‘round during his cab ride home, drinking in the afterglow of desire (“I smelt your scent on the seatbelt and kept my shortcuts to myself”). And for much of Humbug he’s added enough surreal sexual imagery to his words to make Ziggy-era David Bowie or Marc Bolan proud.
Rumor has it that the Arctic Monkeys skew pretty close to the grand British post-punk tradition of just standing and playing live, but they’re instrumentally tight, sound great, and occasionally pull out some nifty covers to boot (their work-over of the Strokes’ “Take it or Leave It” does the original proud).
Going? Let us know how it shakes down. Just don’t rub it in, already.
Mary Travers was the voice of mom’s teenager-hood, and later my childhood, emanating from the same records I’m listening to as I write this. Her gentle voice and gorgeous face lent a femininity that helped make Peter, Paul and Mary, for a time, the most popular musical group in America.