I'm not quite sure what a "progressive" song sounds like. Are we talking about it in a non verse-chorus-verse way? Or a "builds up like every Tool song ever" way?
I'm not sure if these fit the description, but what the hell?
- "Faithful" - I love its unorthodox structure: mellow --> bridge --> chorus --> jam --> bridge --> chorus --> mellow
- "Present Tense" - amazing climactic buildup and release
- "Push Me Pull Me" - a prog "sound"?
- "Cropduster" - I'm still not sure if this fits "progressive." I just love Matt's riffs here.
00: Va Beach, 03: Bristow, 04: Reading, 05: Atlantic City 2x
06: Camden, Washington DC, 08: Va Beach, Washington DC
09: Philly 2+3, 10: Bristow, 11: East Troy PJ20 1+2, 13: Baltimore, Charlottesville
I always thought In Hiding had a pretty weird structure. there are only 2 chorus' and the first one is very short and the gap between both of them is pretty long..
Basically just listen to No Code and theres your answer. Oh and You Are, and a quite a few off Lost Dogs.
Much though I love PJ, they're not really that "progressive" in a musical sense. Where they break new ground is in playing the most bog-standard American rock cliches but breathing new life into them through Ed's unusual lyrics, chosen themes, and voice. What Kurt Cobain was too crude to appreciate was the way in which PJ wasn't fusing "grunge" with "cock-rock" but subverting a tradition rooted in the blues that had become bastardised by corporate record company prerogatives. They were getting back to basics and finding the soul of blues-rock once again. They were unabashedly conventional as musicians but they were (perhaps naively) passionate enough to make an album such as "Ten", which was, all in all, loved by midwestern rockers and (the cooler, more genuine) uptown hipsters alike.
PJ's experiments tend to be pretty conventional also. "Stupid Mop" is in a long 30+ year tradition of Musique Concrete. Mercury Rev's 30-minute untitled track on their 1992 Car Wash Hair EP is a good example of a sub-genre of music in which "Stupid Mop" arguably belongs. Everyone from Gavin Briars to The Beatles to Nirvana had had a crack at this sort of thing, prior to PJ.
PJ's supposedly "experimental" albums all wear their influences on their sleeves too: "No Code" feels like a slightly acid-drenched hybrid of Neil Young, Zep and early eighties hardcore. "Binaural" for me isn't that experimental at all, recording techniques notwithstanding: Ed's spiky, punky lyrics are matched with suitably spiky, punky music and bluesy tunes such as "Of The Girl" have, in my view, rather pedestrian lyrics. Where PJ sounds most conventional, and least exciting for me, is where the punkiness of Ed's lyrical content is matched with punky chord sequences. It's the striking marriage of Ed's words with the bog-standard but infectious groove of Stone's riffmeistery where the magic happens.
Matt is pretty unconventional with his time signatures, and doesn't sound too much as if he's paying homage to older prog rockers. He might not plunge his sticks through the skins like Dave A does, but he's visceral as well as cerebral. Matt is the wellspring of PJ's musical potential to develop further their sound. They just need Ed to sing over Stone or Jeff''s tunes more often, and they have that edge.
So, in sum: their most progressive song? For its time, it might be "Why Go?" You start off hearing a riff you've heard a million times before, but then you hear Ed tell a story about a girl in a mental hospital because she refuses to relinquish her individuality and control of over her selfhood/body. That was a bit jarring in 1991: only obscure artists such as Kevin Coyne were doing that.
Rock Werchter 4 july - 2010, Arras 3 july - 2010, Berlin Wuhlheide - June 30, 2010, Odyssey arena Belfast - 23 june 2010, O2 arena Dublin - june 22 2010, O2 arena London - Aug 18, 2009, Manchester Evening News Arena - Aug 17, 2009, Berlin Wuhlheide - Aug 15, 2009, Copenhagen 2007-06-26 Forum, London 2007-06-18 Wembley Arena, Prague 2006-09-22 Sazka Arena, Denmark 2000-06-30 Roskilde Festival, Stockholm on August 12th Mirrorball tour with Neil Young, Oslo 1993-06-27 Isle of Calf Festival(Kalvoya), Oslo Secret Club Concert 1993-06-26 Sentrum Scene
yeah, "you are" is progressive in that the effect on the guitar was beat -synced to the click track of the music.. you might have to be a guitar player to really get what this is about, but it's a pretty cool sound regardless of if you know what the fuck it is....
to me, progressive just means taking 2 or more seemingly unrelated genres or ideas and mashing them together.... also incorporating random instruments in to rock music.... i dunno... "progressive" is hard to really put your finger on..... overall, pearl jam definitely sticks closer to rock tradition and simply puts their own stamp on it with the lyrics...
to me, progressive just means taking 2 or more seemingly unrelated genres or ideas and mashing them together.... also incorporating random instruments in to rock music.... i dunno... "progressive" is hard to really put your finger on...
I agree. Defining "progressive" is a really hard thing to do.
It confuses me that the term "progressive" could even be applied to PJ because I define progressive as being in the vein of King Crimson, early Genesis, Yes, Procol Harum, and even some Rush. You know... Prog Rock? I think this is really the more common definition and this is why I'm confused. PJ sounds nothing like any of these in terms of production, song structure, lyrics, mood/atmosphere, performance, or anything else. Music collages like "Hey Foxymophandlemamathatsme" or "Ramblings III" aren't prog rock either. They're just collages.
I guess it's all in how you define the word.
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
Much though I love PJ, they're not really that "progressive" in a musical sense. Where they break new ground is in playing the most bog-standard American rock cliches but breathing new life into them through Ed's unusual lyrics, chosen themes, and voice. What Kurt Cobain was too crude to appreciate was the way in which PJ wasn't fusing "grunge" with "cock-rock" but subverting a tradition rooted in the blues that had become bastardised by corporate record company prerogatives. They were getting back to basics and finding the soul of blues-rock once again. They were unabashedly conventional as musicians but they were (perhaps naively) passionate enough to make an album such as "Ten", which was, all in all, loved by midwestern rockers and (the cooler, more genuine) uptown hipsters alike.
PJ's experiments tend to be pretty conventional also. "Stupid Mop" is in a long 30+ year tradition of Musique Concrete. Mercury Rev's 30-minute untitled track on their 1992 Car Wash Hair EP is a good example of a sub-genre of music in which "Stupid Mop" arguably belongs. Everyone from Gavin Briars to The Beatles to Nirvana had had a crack at this sort of thing, prior to PJ.
PJ's supposedly "experimental" albums all wear their influences on their sleeves too: "No Code" feels like a slightly acid-drenched hybrid of Neil Young, Zep and early eighties hardcore. "Binaural" for me isn't that experimental at all, recording techniques notwithstanding: Ed's spiky, punky lyrics are matched with suitably spiky, punky music and bluesy tunes such as "Of The Girl" have, in my view, rather pedestrian lyrics. Where PJ sounds most conventional, and least exciting for me, is where the punkiness of Ed's lyrical content is matched with punky chord sequences. It's the striking marriage of Ed's words with the bog-standard but infectious groove of Stone's riffmeistery where the magic happens.
Matt is pretty unconventional with his time signatures, and doesn't sound too much as if he's paying homage to older prog rockers. He might not plunge his sticks through the skins like Dave A does, but he's visceral as well as cerebral. Matt is the wellspring of PJ's musical potential to develop further their sound. They just need Ed to sing over Stone or Jeff''s tunes more often, and they have that edge.
So, in sum: their most progressive song? For its time, it might be "Why Go?" You start off hearing a riff you've heard a million times before, but then you hear Ed tell a story about a girl in a mental hospital because she refuses to relinquish her individuality and control of over her selfhood/body. That was a bit jarring in 1991: only obscure artists such as Kevin Coyne were doing that.
Pearl Jam Shows: 1998 - 9/11 New York, NY (MSG night 2); 9/13 Hartford, CT || 2000 - 8/24 Wantagh, NY (Jones Beach 2); 8/27 Saratoga Springs; 8/29 Mansfield, MA (night 1); 8/30 Mansfield, MA (night 2) || 2003 - 4/29 Albany, NY; 5/3 State College, PA; 7/2 Mansfield (night 1); 7/6 Camden, NJ (night 2); 7/8 New York, NY (MSG night 1) || 2004 - 9/28 Boston, MA (night 1); 9/29 Boston, MA (night 2) || 2005 - 10/3 Philadelphia, PA || 2006 - 5/12 Albany, NY; 5/13 Hartford, CT; 5/24 Boston, MA (night 1); 5/25 Boston, MA (night 2); 5/27 Camden, NJ (night 1); 5/28 Camden, NJ (night 2)|| 2008 - 6/19 Camden, NJ (night 1); 6/24 New York, NY (MSG night 1); 6/25 New York, NY (MSG night 2); 6/27 Hartford, CT; 6/28 Mansfield, MA (night 1); 6/30 Mansfield, MA (night 2); 7/1 New York, NY (Beacon Theater)|| 2009 - 9/21 Seattle, WA (night 1); 9/22 Seattle, WA (night 2); 10/27 Philadelphia, PA (Spectrum night 1); 10/28 Philadelphia, PA (Spectrum night 2); 10/30 Philadelphia, PA (Spectrum night 3); 10/31 Philadelphia, PA (Spectrum night 4)|| 2010 - 5/15 Hartford, CT; 5/17 Boston, MA; 5/20 New York, NY (MSG night 1); 5/21 New York, NY (MSG night 2)|| 2011 - 9/3 East Troy, WI (PJ20); 9/4 East Troy, WI (PJ20) || 2012 - 9/2 Philadelphia, PA, 9/30 Missoula, MT || 2013 - 7/19 Chicago, IL (Wrigley Field), 10/12 Buffalo, NY, 10/15 Worcester, MA (night 1), 10/16 Worcester, MA (night 2), 10/18 Brooklyn, NY (night 1), 10/19 Brooklyn, NY (night 2), 10/25 Hartford, CT || 2014 - 10/22 Denver, CO || 2015 - 9/26 New York, NY (Global Citizen Festival) || 2016 - 5/1 New York, NY (night 1), 5/2 New York, NY (night 2), 8/5 Boston, MA (Fenway Park night 1), 8/7 Boston, MA (Fenway Park night 2) || 2018 - 9/2 Boston, MA (Fenway Park night 1) || 2020 - 3/30 New York, NY Eddie Vedder solo: 2008 - Boston night 1 & 2 || 2009 - Albany, NY night 1 & 2 || 2011 - Hartford, CT, Boston, MA
Comments
I'm not sure if these fit the description, but what the hell?
- "Faithful" - I love its unorthodox structure: mellow --> bridge --> chorus --> jam --> bridge --> chorus --> mellow
- "Present Tense" - amazing climactic buildup and release
- "Push Me Pull Me" - a prog "sound"?
- "Cropduster" - I'm still not sure if this fits "progressive." I just love Matt's riffs here.
06: Camden, Washington DC, 08: Va Beach, Washington DC
09: Philly 2+3, 10: Bristow, 11: East Troy PJ20 1+2, 13: Baltimore, Charlottesville
Basically just listen to No Code and theres your answer. Oh and You Are, and a quite a few off Lost Dogs.
8/7/08, 6/9/09
28/09/04 - Boston, 20/04/06 - London [\\mm//Astoria\\mm//] - 18/06/07 - Wembley Arena, 11/08/09 - London [\\mm//Shepherds Bush Empire\\mm//],18/08/09 - 02 Arena, 25/06/10 - Hyde Park, 26/06/12 - Amsterdam, 27/06/12 - Amsterdam, 08/07/14 - Leeds,11/07/14 - Milton Keynes, 13/06/18 - Amsterdam, 18/06/18 - London 02 Arena, 17/07/18 - London 02 Arena, 08/08/22 - Hyde Park, 9/08/22 - Hyde Park - 25/08/22 - Amsterdam, 29/07/24 - London {*Tottenham Stadium TBC*}
+1
PJ's experiments tend to be pretty conventional also. "Stupid Mop" is in a long 30+ year tradition of Musique Concrete. Mercury Rev's 30-minute untitled track on their 1992 Car Wash Hair EP is a good example of a sub-genre of music in which "Stupid Mop" arguably belongs. Everyone from Gavin Briars to The Beatles to Nirvana had had a crack at this sort of thing, prior to PJ.
PJ's supposedly "experimental" albums all wear their influences on their sleeves too: "No Code" feels like a slightly acid-drenched hybrid of Neil Young, Zep and early eighties hardcore. "Binaural" for me isn't that experimental at all, recording techniques notwithstanding: Ed's spiky, punky lyrics are matched with suitably spiky, punky music and bluesy tunes such as "Of The Girl" have, in my view, rather pedestrian lyrics. Where PJ sounds most conventional, and least exciting for me, is where the punkiness of Ed's lyrical content is matched with punky chord sequences. It's the striking marriage of Ed's words with the bog-standard but infectious groove of Stone's riffmeistery where the magic happens.
Matt is pretty unconventional with his time signatures, and doesn't sound too much as if he's paying homage to older prog rockers. He might not plunge his sticks through the skins like Dave A does, but he's visceral as well as cerebral. Matt is the wellspring of PJ's musical potential to develop further their sound. They just need Ed to sing over Stone or Jeff''s tunes more often, and they have that edge.
So, in sum: their most progressive song? For its time, it might be "Why Go?" You start off hearing a riff you've heard a million times before, but then you hear Ed tell a story about a girl in a mental hospital because she refuses to relinquish her individuality and control of over her selfhood/body. That was a bit jarring in 1991: only obscure artists such as Kevin Coyne were doing that.
to me, progressive just means taking 2 or more seemingly unrelated genres or ideas and mashing them together.... also incorporating random instruments in to rock music.... i dunno... "progressive" is hard to really put your finger on..... overall, pearl jam definitely sticks closer to rock tradition and simply puts their own stamp on it with the lyrics...
I agree. Defining "progressive" is a really hard thing to do.
It confuses me that the term "progressive" could even be applied to PJ because I define progressive as being in the vein of King Crimson, early Genesis, Yes, Procol Harum, and even some Rush. You know... Prog Rock? I think this is really the more common definition and this is why I'm confused. PJ sounds nothing like any of these in terms of production, song structure, lyrics, mood/atmosphere, performance, or anything else. Music collages like "Hey Foxymophandlemamathatsme" or "Ramblings III" aren't prog rock either. They're just collages.
I guess it's all in how you define the word.
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