Pearl Jam: Yield

After their last outing, No Code, relied so extensively on experimentation that it never attained any cohesiveness, I was doubtful of future efforts. However, this album is, without a doubt, the best thing they've done since Ten. Despite the fact that it is much less of a "concept" album than their debut, it flows effortlessly. It has the customary Pearl Jam slams including the awesome "Brain of J". It has Eddie flexing his lyrical muscles on engaging mid-tempo tunes like "Given to Fly" and "Wishlist", perhaps the best angst-free song he's ever written. And they finally have hit upon a packaging scheme that is acceptable although not as good as a jewel box.



Radiohead: OK Computer

Several years ago, Radiohead, had a pretty big alterna-hit with a little ditty called "Creep". So, when I first starting hearing of this album, I must admit that I was skeptical. But because I was getting good reviews from all my reliable sources, I felt I had to check it out. Usually in those situations, expectations are too high and I am ultimately disappointed. OK Computer proved to be the exception to the rule. A concept album that achieves grandeur without ever seeming pretentious. Although never hooky (i.e. repetetive), the songs are infectious. Evidently the entire album is supposed to be a contemplation about technology and the isolation that it causes, but I can't really understand most of what the guy is singing. Instead of enunciating the words clearly, he uses his voice as an instrument creating mood and feeling with the notes alone. The best example of this has to be "Song for a Film" in which he begins with a whisper and soars to incredible heights only to end with his voice cracking in misery.



The Bridge School Concerts, Volume One

Neil Young holds a charity concert every fall for The Bridge School, a school for physically handicapped children. Each year Young invites 8-10 acts to perform at this all-acoustic event and there have been some tremendous performances over the years. Evidently Young had the foresight to be recording all of them because he has released a compilation from the first ten years of the event. Although it starts out a little slow, it gets into a groove at the end that features one blockbuster performance after another. And because it's "unplugged" (long before MTV ever "invented" the idea), songs that you thought you knew are presented in a new context, some better than their original form. David Bowie, in particular, soars on the recently Microsofted "Heroes" while Elvis Costello teams with Young on a heartfelt version of his classic "Alison". As in most live performances, there are a number of cover tunes here, too. The usually hard-core industrial Ministry turns in a fine rendition of "Friend of the Devil" and the Lovemongers (Ann & Nancy Wilson) turn in a version of "The Battle of Evermore" that is indistinguishable from the original. The album closes with Patti Smith wailing "People Have the Power" and makes you believe they do.



Maggie Estep: No More Mr. Nice Girl

Probably not for everyone, Estep starts the album with the memorable phrase, "I'm not a normal girl. I'm an angry, sweaty girl. So bite me!" and it just gets better from there. Songs about vampire sex goddesses, paradise lost, pea ladies and car guys all contribute to this rollicking look inside Estep's twisted mind. I bought the album based only on hearing "The Stupid Jerk That I'm Obsessed With" twice, but I consider it one of my great "wild" finds.



The Who: Quadrophenia

Although many people declare Who's Next or Tommy to be the Who's best, I have long preferred the understated Quadrophenia for it's gritty realism and understanding of true teenage angst. In addition to the fine lyrical treatment of the subject that Townsend provides, the band itself is prime form. Daltrey never sounded better but Pete lays down some mean vocals for this one, too. The Ox plays some solid and sometimes funky basslines, but the real star on this album has got to be Moon, who just assaults the drum kit throughout. His drumming is always inventive and full, but it never strays outside the rhythm and never distracts from the song. The recently released remaster of this classic album includes a hefty booklet similar to the original that came out in the 70s. And the sound is flawless. One need only sit down to "I Am The Sea" until it segues into "The Real Me" to begin a love for this masterpiece.



Beck: Mellow Gold

After having heard a number of glowing reviews of his follow-up album, Odelay, (one of which included the intriguing description "folk hip-hop"), I bought Mellow Gold for about six dollars used. The cover is all scratched up by someone named "Ed", but the music inside is pure joy. "Loser", of course, is a highlight, but "Pay No Mind", the scathing indictment of the record industry, has more substantial lyric content. "Give the finger to the rock and roll singer, as he's dancing upon your paycheck." is one fine example. From the droning rock of "Pay No Mind" to the funkiness of "Beercan" to the taunting noise of "Mutherfucker", Beck touches them all for a home run. Evidently recorded in his apartment before he got famous, some songs start with interesting/amusing snippets of conversation from his neighbors. Although Odelay proved to be more commercially successful, I believe this album to be the best so far by an artist who's work defies categorization.



Marilyn Manson: Antichrist Superstar

I fail to understand the uproar over Marilyn Manson. OK, so he's a little weird, but what rock artist isn't. OK, so he's a lot weird. And he sings about really sick things. And he looks really weird. And when I mention him to anybody, they get this disgusted look on their faces. However, this guy is no flash in the pan and he's certainly not a mere gimmick. Antichrist Superstar has some major soul-searing songs on it. So much so, that it was all I listened to for a good week. Much to the chagrin of my nearest co-worker. If you like angst and noise, your life is incomplete without this album.