Day 0698 - Ten

Pearl Jam "Ten" (1991) - got it

Pearl Jam rose (I'm not going to say "like a phoenix" because... trite) from the ashes of another band.  When the vocalist for Mother Love Bone died of an overdose, guitarist Stone Gossard started jamming with his friend Mike McCready who urged him to reconnect with his MLB bandmate bassist Jeff Ament.  They found young precocious vocalist Eddie Vedder through their friend (and ex-Red Hot Chili Peppers drummer) Jack Irons.

This album is considered one of the cornerstones of the grunge movement, a genre label that seemed to cover a range of sounds.  Nirvana were raging punk with a sense of melody, Soundgarden were sludgey Zeppelin-meets-Sabbath metal, slowly giving way to a more melodic mode, Pearl Jam started off with 'classic rock' riffs over funky mid-tempo rhythms and Vedder's growling voice.  I guess that they had in common a darker, grittier more cynical sound than some of the other artists that had been filling the rock charts at the time.

In some ways, it's odd that "Ten" is the album that a lot of people associate with the band.  It certainly is a good album, and it was commercially successful, but it doesn't feature feature either of their longest serving drummers Jack Irons or Matt Cameron, and the bulk of the songwriting is undertaken by Ament and Gossard, rather than the more even spread of input and large input from Vedder that would characterise later albums.  The album has much less variety than later releases, to the extent that "Even Flow" and "Why Go" have almost identical riffs, and Ament admitted that "Jeremy" was largely written around an E chord!

There are some great tracks though, with the heartfelt "Black", the raging "Porch", the meditative drone of "Release" and the anthemic "Alive". That last track was originally pitched by Vedder as the burden of being left behind when others die but over time has been taken by fans to be a life-affirming track.  The band have come around to that interpretation too.

Mention should be made of lead guitarist McCready, whose songwriting contributions are minimal on this album, but who is allowed pretty free-reign and sprays blistering blues lead all over the songs, including "Alive" which ends with an extended guitar solo.

I was quite late coming to Pearl Jam.  I have friends who were into them in the 90s.  I actually got into them (being serious for a moment, fam) when I was going through a  bout of depression.  I've often found something that can help push me out of that kind of funk is to listen to music that I'm unfamiliar with, or don't know that I really like it.  There were one or two PJ songs I liked and I was peripherally aware of one or two other things of theirs.  I dove in headfirst to their oeuvre and I've not regretted it at all.

Day 0697 - Low End Theory

A Tribe Called Quest "The Low End Theory" (1991)

This album would be interesting solely for the facts that it launched the solo career of Busta Rhymes, and that it featured bass from the legendary jazz bassist Ron Carter (the list of who he DIDN'T play with is probably shorter than the list of those he did), but beyond all of that, the album is also good.

Carter's presence reflects the album's heavy jazz influence.  In the first track they drop the couplet:
"You could find the Abstract listening to hip hop
My pops used to say, it reminded him of be-bop".

The  band were plagued by health issues, legal issues, one member leaving and some minor infighting between the remaining members, but still managed to produce a strong hip hop album.

The album's title was phrased to refer to both bass frequencies, and the way that many African Americans were treated in the US. 

Day 0696 - Apocalypse 91... the Enemy Strikes Black

Public Enemy "Apocalypse 91... the Enemy Strikes Black" (1991)

Increasing concerns from record companies around copyright laws were not conducive to Public Enemy's 'wall of noise' approach, building tracks from large quantities of samples.  To add to their woes, the data discs containing all the samples and bits and pieces for their fourth album were stolen, forcing them to go back to the drawing board.  The PE production group the Bomb Squad took a back-seat as 'Executive Producers' leaving the Imperial Grandmasters of Funk to handle the bulk of the production duties.

The arrangements are less dense, more conventional hip-hop production, but still a bit more interesting than just 'beat-n-bass'.

As usual, the mixture of MCs' styles adds a nice bit of variety to things.  Not really up to the standard of "It takes a nation of millions" or "Fear of a black planet" but it holds its own.

Day 0695 - Every Good Boy Deserves Fudge

Mudhoney "Every Good Boy Deserves Fudge" (1991)

I'll be frank - Mudhoney don't really do it for me.  They have a lot of the hallmarks of other bands that I like from this era/movement; the loud guitars, the loud vocals.  It's just that, although there are moments on this album that I enjoyed well enough, none of it really stands out or sticks in my memory after 3 runs through.  There are moments where I think "oh that sounded kind of interesting" but no "oh wow!".

The album title comes from a memory device for teaching students the line notes on the treble clef (EGBDF... the gaps 'FACE' are easier to remember), though usually it's "Every Good Boy Deserves Fruit/Favour.

Day 0694 - OG: Original Gangster

Ice-T "OG: Original Gangster" (1991)

The production is slightly dated, but otherwise this is a powerhouse rap album.  Ice-T has some serious charisma going on, best exemplified by the brief acapella track "Prepared to die" where T's biting, spitting voice feels like a fully produced track in and of itself.

T addresses a number of rap's go-to's, trying to offset the claims of misogyny with "Bitches 2" where he reasons that a 'bitch' can be a man or a woman.  He also attacks the glamourisation of ghetto life, pointing out that this is less a choice, and more due to wealth inequality.

The album features an early appearance of T's hard-rock band Body Count, whose album would be released the next year.  This interest in heavy guitar music also shows through in the Black Sabbath sample that track "Midnight" is largely built from.   Track "the Tower" is based around John Carpenter's theme from the "Halloween" film, so the range of influences wanders well outside the usual funk samples.

Day 0693 - Blood Sugar Sex Magik

This is a lengthy one because... as I say below, this is a favourite. 


Red Hot Chili Peppers "Blood Sugar Sex Magik" (1991) - got it

I’m a big Chili Pepper’s fan, so here’s some band history.   The Chili Peppers formed, and recorded 3 albums of punky, speedy rap-funk characterised by busy slap-pop bass, minimalist guitar and sex-inspired rhymes, but also exploring elements such as RnB, psychedelic rock and metal.

Original guitarist Hillel Slovak died of a heroin overdose and drummer Jack Irons decided to leave music (though he’d later join Pearl Jam for – arguably – their best albums).

Mainstays Anthony Kiedis and Flea recruited drumming behemoth Chad Smith and teen guitar prodigy John Frusciante and together they released the much heavier “Mother’s Milk” album with wall-to-wall distorted guitar on some tracks, and with each of the players showing off their musical chops.   The band parted company with EMI, and signed to a new label.  They joined forces with young producer Rick Rubin, who had co-founded Def Jam records and was making a name producing rap and metal albums (LL Cool J, Run DMC, Slayer etc.).  He suggested that they rent a house to live and record in, and in that laid-back setting, this collection of tracks was created.

For a time this was my favourite album (in general, not just for the Chili Peppers), until I realised that ‘favourites’ with music are somewhat transitory.  There's over an hour of music across 17 tracks, yet to my tastes, it does not sag at any point.  One of those albums where every other song has been my 'favourite' at some point.

The studio polish that defines the Chili Peppers now was barely starting to show then, which is a good thing.   Where their records now feature tight, compressed polished production; the drums on "give it away" sound like they were recorded in someone's bathroom, and it's fantastic.

Whereas they are now serial offenders for COS (Chorus Overuse Syndrome), on BSSM they would play around a lot more with structures and parts, with lengthy jam sections being injected into songs.   There's something like "Power of Equality" which just keeps going with multiple verses before breaking into a slappy bass outro that eventually winds down to scattered applause.  Even a 'hit' song like "Under the Bridge" has that beautiful opening guitar part... that never pops up again in the rest of the song!

Frusciante would later become somewhat overbearing creatively, but here he is balanced by still finding his place, so provides brilliant playing and ideas but more as a facilitator than as a leader.

The album is diverse, yet has a certain internal logic, helped by the band's MO at that point of having the tracks segue into each other, creating the feeling of an "album" as opposed to just a collection of songs.  The sound is mostly slow, minimalist funk with interplaying parts that don't necessarily ape each other.  There is rock in tracks like "Suck my kiss" and "My lovely man".   There's melodic balladry with songs like "Breaking the girl" and "I could have lied", there's the leisurely psychedelic outro of "Sir Psycho Sexy" and the fun coda of Robert Johnson cover "They're Red Hot", recorded outside at night (you can hear cars driving past in places).

This was lightning in a bottle, and even the Peppers themselves while promoting other albums have often acknowledged that it was special album for them.

Day 0692 - Rising Above Bedlam

Jah Wobble's Invaders of the Heart "Rising Above Bedlam" (1991)

Jah seems to be a bit of an interesting guy, having played in Public Image Ltd with his friend John Lydon and then with members of Can.   There are stories that he set fire to his room-mates' possessions and maybe even the drummer from the Fall, the aptly named "Karl Burns".

Jah had a number of musical collaborations throughout the 80s before releasing his first album with the Invaders of the Heart.  "Rising Above Bedlam" is the group's second release and takes the mixing of cultures/genres popular in London at the time to new levels.  There are middle-eastern chants, synthy noodlings, African rhythms, Spanish guitar, dub, street poetry... bedlam indeed.  Yet, Jah does manage to rise above the musical carnage of the mishmash of genres to present an interesting, cohesive album.