Era of the moment: 1991-1992

[stip]

it is

[nightmareblack0206]

God damn.....10 remastered is so fuckn good.......

[nightmareblack0206]

10 WAS SO FUCKN GOOD

[Birds in Hell]

10 WAS SO FUCKN GOOD

Eh, it's okay.

[nightmareblack0206]

10 WAS SO FUCKN GOOD

Eh, it's okay.

You nuts? You know how amazing this album was? And for such along time

[Birds in Hell]

10 WAS SO FUCKN GOOD

Eh, it's okay.

You nuts? You know how amazing this album was? And for such along time

I think somebody needs to relax.

[nightmareblack0206]

Lol

[nightmareblack0206]

You guys are riling me up. ....

[nightmareblack0206]

My god they were good. I'm listening to the original version of JUST A GIRL

[nightmareblack0206]

Watching Unplugged. ..SOLAT. ...can't get over how good they were when I was a kid. Iefeel like i grew with this band

[nightmareblack0206]

They were so good back then. ....

[warehouse]

Watching Unplugged. ..SOLAT. ...can't get over how good they were when I was a kid. Iefeel like i grew with this band

ive listened to this version every morning for about a week...great way to wake up

[nightmareblack0206]

My man. ....new friend here

[nightmareblack0206]

One of their most powerful tracks

[red calzolaio]

It is pretty remarkable to think of their growth within such a short period of time.

This period is pretty incredible but looking back knowing what better came - its not my favorite. Certainly being a fan during the time was pretty incredible but 95-2000 pearl jam was phenomenal.

2000 was pretty amazing. Binaural was awesome, huge ass world tour, Ed sounds unbelievably pristine, and the band was playing Sleight of Hand like it deserves to be played...nice and slow.

[Kevin Davis]

I know this is no longer Era of the moment but I found this which makes some of my earlier points a bit better.

Bursting with intensely personal songs that sound universal by virtue of their oversized, near-operatic emotionalism, Ten was neither subtle nor particularly cool, which helped it communicate better and more profoundly with more people than any other rock record of its time. Along with Metallica’s Black Album and Radiohead’s OK Computer, Pearl Jam’s Ten is easily one of the most influential mainstream rock records of the last 20 years. The power of Ten was so great that it eventually stood apart from Pearl Jam; as Vedder and his increasingly marginalized supporting cast distanced themselves from the record’s gauche chest-thumping by churning out progressively restrained, more “mature,” and less expressive music, Ten was dusted off by other bands and recycled again and again. Today, Pearl Jam is a popular touring band and intermittently successful on the charts; Ten, meanwhile, is still all over modern-rock radio, though only a handful of the songs are actually by Pearl Jam.

...I remember hearing the first single from Ten, the vaguely Skynyrd-esque lighter-waving anthem “Alive,” between Bad Company and Styx songs on my town’s top AOR station, “The Rockin’ Apple” WAPL.

...In the video, which the band insisted be culled from a not-especially-polished live performance, Pearl Jam looks like a glam band in dress-down mode; in other words, just like Tesla. (Except McCready, who’s decked out in full cowboy-and-blouse Stevie Ray gear.)

...“Alive” is one of Pearl Jam’s most famous songs, but it didn’t come close to making the kind of atomic impression that “Smells Like Teen Spirit” did. Ten was more of a slow burn; if memory serves, the next single, “Even Flow,” was played on MTV 57 times an hour during the first half of ’92, an impressive feat considering “Even Flow” was a pretty lousy song that made no fucking sense whatsoever.

...Still, the video for “Even Flow” succeeded in doing for Pearl Jam what the “Pour Some Sugar On Me” video had done for Def Leppard four summers earlier: It made you wish really hard that Pearl Jam would come somewhere near your town very soon.

...Vedder lets out the same epic “whoa!” that Bruce Springsteen should’ve trademarked in 1978 after he released Darkness On The Edge Of Town. The single version of “Jeremy” was remixed to extend Vedder’s climactic “whoa!” for several extra beats, a slight but important change that amped up the song’s dramatic impact. (Vedder’s greatest vocal performances tend to be practically wordless; see Ten’s mush-mouthed closer, “Release,” and the essential “Jeremy” B-side “Yellow Ledbetter,” which fans have been trying to decipher for 18 years.)

http://www.avclub.com/articles/part-3-1 ... e-t,47099/

I especially enjoyed the post-Cobain section of this series--the stuff on the grunge scene felt overly familiar, but some of his insights on where the music went after Cobain died were enlightening. This writer consistently does pretty solid work; he did a piece on Neil Young after "Psychedelic Pill" came out that I really enjoyed.

As for 1991-92, you can keep it. In my personal parallel universe, all those wonderful soundboard tapes we have of the '92 tour are actually from the '98 tour, and the hideous outfits worn by the band during this time are replaced by three-piece suits.

[Fuzzcharger]

I love this era, but the music is probably the thing that I enjoy the least out of it. It seems like such an exciting period from watching the PJ20 dvd.

[nightmareblack0206]

Wanna know what makes me laugh? How they claim to have first played all acoustics in Zurich before MTV Unplugged. Did they forget about all those tower record gigs in 91? Lol....THEY WERE IN MY MALL IN MENLO PARK NJ

[WtOB?]

Wanna know what makes me laugh? How they claim to have first played all acoustics in Zurich before MTV Unplugged. Did they forget about all those tower record gigs in 91? Lol....THEY WERE IN MY MALL IN MENLO PARK NJ

Hey, yeah. Good point.

[nightmareblack0206]

Time to watch MTV Unplugged to a nice fat one.....