Backspacer by Pearl Jam

Pearl Jam has always been a band that firmly looks forward, while walking backward.  This is a good thing, really.  Let me explain.  See, they are forward thinking with their current business model, and the way they want to make albums that are distinct from their previous output, while remaining true to their established ethic.  But they walk backward in the sense that they aren't afraid to acknowledge the music from the past that has made the biggest impact on the individual members.

Jeff Ament and Stone Gossard have some punk roots from playing in Green River, Matt Cameron cut his teeth in Soundgarden.  Mike McCready has a metal and blues background, and Eddie Vedder brings loads of classic rock and pop sensibilities to the table.  Together, they openly pluck bits from their influences, and make a sound that is distinctly Pearl Jam.  You can easily point out the influence on any part of a song without that song sounding like a pastiche.  Again, this is a good thing.

With eight albums under their collective belts, several concert recordings, a greatest hits comp, and a B-Sides anthology, They could very well start their version of the classic rock retread.  However, they hit us with their ninth revolution - a lean, mean, rock and roll snapshot called Backspacer.

For me, listening to a Pearl Jam record (or any record, for that matter) is like unpacking a large box.  My ears pass over each song multiple times, combing for the little details, hoping to catch a glint of something shiny.  When I find those details and shiny bits, I go over the song again and again.  The best part of this approach is that, years later, I'll still find some little lick, snare drum hit, or bass note, or guitar effect that I hadn't noticed before, and it sparks an emotional reaction.  Maybe that's just me.  I'd like to take this space and opportunity to share what I've picked up from unpacking Backspacer, so far.

1. Gonna See My Friend
Opening with much the same kind of energy as "Breakerfall" from Pearl Jam's Binaural, this song is the first of the three gut-punches that open this record.  The rhythm of the song is reminiscent of Iggy and the Stooges' "Search and Destroy" in spots, and it plows straight ahead with a punk rock fury.  Cool little ear moment: the spots where it sounds like the bass line is being doubled by a six-string bass (or a baritone guitar).

2. Got Some
The second gut-punch.  Jeff Ament plays some bass licks that would make Sting salivate while Mike McCready channels Andy Summers.  Do I need to state obvious regarding who is bringing in a bit of Mr. Copeland?  This track is more Outlandos d'Amour than Synchronicity.  Ear moment(s): The small rack tom taking the place of the high-hat during the intro.  The fact there is only one verse, and the rest of the song is a cycle of the "B" and "C" sections of the song.  The little "Ahh's" that come in just after the 1 minute mark.

3. The Fixer
The third gut-punch, and another song with a detectable Police edge to it.  This could very well be Pearl Jam's first decidedly pop offering.  Vedder dishes out his lyrics with an accessible melody, while the rest of the band chigs it out behind him.  Ear moments: The intro is in 5/4 time, the verses are in 6/4.  You can't tell until you try to dance to it.  The guitar in the right channel is treated with a distorted effect that makes it sound synth-like.  Jeff ament's bass line during the bridge. 

4. Johnny Guitar
The song opens with a subdued version of The Who's bombastic style.  Eddie fires off lines clogged with more words than most would try to sing, a la Elvis Costello.  This is Pearl Jam having fun with a song about sexuality in the form of a young man falling in love with a girl on an album cover.  Gone is the gravitas of songs like Betterman, leaving the once dour Vedder no choice but to sing with a smile.  Ear moments: I swear Matt Cameron is singing some back up vocals during the end.  The odd-time break in the middle of the song.

5. Just Breathe
A finger picked beauty that would have been at home on The Who By Numbers or Who Are You.  Pearl Jam damn near goes country here, and still makes it sound good.  Ear moments: The string section throughout.  Jeff Ament's bass playing, and the little country double-stops after the bridge.

6. Amongst The Waves
This song could be the hidden gem of this record.  Contemplative verses and anthemic choruses give way to a soaring solo.  I almost feel the stamp of Neil Finn on this track with Vedder's vocal melodies.  Ear moments: The half time feel of the drums during the choruses.  The aforementioned solo. 

7. Unthought Known
Dynamically, this song is a spiritual successor to Riot Act's "Love Boat Captain", but it smacks of U2 as well.  The intro, and the build up, the climbing vocals.  All that's missing is some delay, and Brian Eno and Daniel Lanois.  Ear moments: Every time Eddie hits those notes at the top of his range.  The guitar melody that weaves in and out near the end.

8. Supersonic
To sum this song up the simplest way possible - The Ramones with a piano.  The song bounces along with a "Cretin Hop" kind of vibe.  It's another fun track.  Ear moments: The funky breakdown, and the slide guitar during the intro.

9. Speed of Sound
A 12/8 shuffle groove propels this song forward while Eddie sings a melody that would be right at home in the mid-80's.  The music itself has the feeling of a Pete Townshend-ish ballad, while the lyrics have a storyteller quality to them.  From an instrumental standpoint, this is possibly one of the most layered tunes they've ever put out, which brings me to the ear moments: the here-and-there synthesizers, the vocal harmonies, and Marxophone.

10. Force of Nature
Another rocker with a steady rhythm, and another anthemic chorus.  Yet again, I feel a touch of Neil Finn in the vocal performance.  As always, Vedder is not afraid to wear his influences on his sleeves.  The choruses lift, contrasting the downward cast of the verses.  The middle-eight sustain the lift, only to drop back into the verse groove.  Ear moments: Cowbell.  Mike's solo at the end of the track. 


11. The End
Could this be Pearl Jam's "Good Night"?  After the high energy riffage of most of this record, Vedder tucks you in at the end with a lullaby in the form of "The End".  This is another song that makes tasteful use of orchestration, and fingerpicked guitar lines.  Ear moment: The way Vedder's voice cracks in spots.  Full of emotion.

So after 18 years together and 9 albums, we finally have, on a studio album, the sound of Pearl Jam having fun.  And with that, I'm packing the album back up, and setting it aside to listen to it again tomorrow.  Who knows - I may even detect more ear moments.

Farewell citizens.