Music review
Pearl Jam makes its move with “Riot Act.” One of the top-selling acts of the 1990s, the Seattle band has been biding its time the past several years, releasing quality albums to dwindling sales, partly because guitar groups have been so out of fashion. But coinciding with rock’s recent resurgence is a renewed sense of purpose for Pearl Jam, demonstrated on a raw “Riot Act” that could re-establish the anti-establishment band.
As the group’s members move through their mid-30s, Pearl Jam’s success naturally hinges on the maturation of lead singer Eddie Vedder, whose baritone quaver and emotional lyrics have been widely imitated (and mocked) for more than a decade. And with only minor self-indulgences, he responds.
“Riot Act” is not simply The Eddie Vedder Show, however. Opening track “Can’t Keep” is a lively debut for new drummer Matt Cameron (formerly of Soundgarden), whose restless beats set the tone for the entire album – as does Jeff Ament’s prominent bass on the raucous second cut, “Save You.”
Cameron and Ament also show up periodically in the lyrical and music co-writing credits (plus each pens a song solo), and of course Pearl Jam wouldn’t have life without the dexterous guitars of Stone Gossard and Mike McCready.
Still, Vedder is the figurehead. He’s passionate about politics (blasting the president on “Bushleaguer”) and circumspect about his place in the world (declaring his life his own on the lilting first single “I Am Mine”).
Following through on Vedder’s commanding presence is his band’s often-gripping sound, which gets momentum from such sources as the full-bodied anxiety attack of “Ghost” and the fuzzy, electric percolation of “You Are.” If Pearl Jam is truly in the position of needing a comeback, “Riot Act” is a fine attempt.
Rating (five possible): 4
“Testify,” Phil Collins
It’s one thing when a teen pop star carries on about nothing. Teenagers can be forgiven for being vacuous.
It’s quite another thing when the myopic singer is an “adult pop” star such as Phil Collins – a wealthy, married-with-child man in his 50s who has nothing to say.
Yet when has Collins ever had something to say? “Sussudio”? His new “Testify” is more subdued than his past solo efforts (as if marketing his first release in 6 years weren’t hard enough), but cliches are cliches, even if these are quieter ones.
Collins embraces the rote sentiments of eternal love on “This Love This Heart,” “You Touch My Heart,” “Can’t Stop Loving You” and the title track.
He’s a bit more roused with his plucky encouragement on “Wake Up Call,” and comparatively manic on a “Driving Me Crazy” that uses a nervous “heartbeat” rhythm to echo a racing pulse. In general, though, Collins is content to glide along on lushly artificial, heavily programmed arrangements. Not outright awful, “Testify” is instead dull and pointless. Perhaps its greatest merit is the sense of liberation it might give some music fans who will be relieved to know that there’s no age limit to superficiality.
Rating: 2
(Contact Chuck Campbell of The Knoxville News-Sentinel in Tennessee at http://www.knoxnews.com.)
(Contact Chuck Campbell of The Knoxville News-Sentinel in Tennessee at http://www.knoxnews.com.)