Pearl Jam Twenty: a Band's Musical Progression

With twenty years under their belt, it is no surprise that Pearl Jam has garnered enough stories and experiences to create a documentary about their journey, titled "Pearl Jam Twenty," which was directed by Cameron Crowe and released this past September. But what would a rock doc be without an accompanying soundtrack? The two-disc compilation features 19 of Pearl Jam's songs, most of which are live versions. Not only does the soundtrack include many of their well-known songs, but it also features some lesser-known tunes that are a real treat for longtime Pearl Jam fans as well as a nice surprise for new listeners.

"Just Breathe," a live recording from the March 3, 2010 episode of Saturday Night Live, reveals a gentle side of Eddie Vedder's compelling voice. Its sweet melody lulls the listener into a relaxing state, while a powerful chorus brings them right out of it. The song flows very cleanly, an example of Pearl Jam's excellent songwriting abilities and harmony as a group. Give it a listen here:



"Black" is a spine-tingling good live recording from MTV Unplugged of March 16, 1992 with a very grunge vibe. Vedder's voice trembles with emotion while the instruments layered underneath his voice mesh together to create the perfect, dark backdrop for the story being told. As artists, this is a great song for Pearl Jam to include on the album because it reveals the grunge roots that they have evolved over the past two decades to create their distinguished sound. Check out their performance of it here:



"Faithfull," a live recording from a Sept. 20, 2006 soundcheck in Pistoia, Italy, is driven by a catchy guitar rhythm and Vedder's raspy voice. The song has different levels of emotion, which are strongly depicted by the instrumental parts and enhanced by the way Vedder sings the lyrics. The music ebbs and flows, taking on an energetic jam session feel. Listen to it here:



"Pearl Jam Twenty" is the quintessential album for a dedicated fan and a great sampling of the band's progression for someone just beginning to listen to this staple of grunge rock. Order the album, documentary or both here.

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"The Lost Notebooks of Hank Williams:" An Artist Reimagined

When country artist Hank Williams died in 1953 at the age of 29, he not only left a definite impact on the country music industry, but he also left behind several notebooks with lyrics scribbled all over the pages, lyrics that were never recorded or performed during Williams' life. "The Lost Notebooks of Hank Williams" is a compilation of those songs interpreted by popular artists of today who were inspired by Williams, including Alan Jackson, Bob Dylan, Sheryl Crow and Norah Jones. The twelve tracks not only reveal more of WIlliams' songwriting talents but also convey the timelessness of his music. The themes weaved into his lyrics are easy to relate to for anyone who has loved and lost. The various artists featured on the album achieve an emotional tone that Williams most likely would have breathed into the songs as well.

"Angel Mine," performed by Sheryl Crow, is a slow, delicate love ballad seasoned with sweet lines, such as "I could never tell the world, dear, of your love, so true and kind." The tune is accented with the gentle sounds of a mandolin and a muted trumpet. Its melody is trance-like, making this song a beautiful success of the compilation. Listen to it here:



Another winner on the album is Jakob Dylan's "Oh, Mama, Come Home," which bares the more tormented side of Williams' lyrical content. The sternness of Dylan's voice reveals his determination to get his woman back, which, in turn, gives the song attitude. Those who lack an interest in country music yet love a sad song every once in a while should listen to this track.

Jack White's rendition "You Know That I Know" quivers with the pains of love, White's vibrato shaking misery into the lyrics. While it is more upbeat in comparison to some of the other tracks, it still delivers the same haunting solemnity. The emotion that White expresses while singing,"You may fool the rest of this world, but you know that I know" causes the listener to feel cornered by the lyrical content. Williams was not about to be made a fool by the female in question, and White is able to get that message across to the listener.

"The Lost Notebooks of Hank Williams" boasts a talented array of voices and also shares more of Williams' poetry in an updated way that stays true to Williams' heartbroken style.

Buy "The Lost Notebooks of Hank Williams" here.

Photo credit: http://shakinglikeamountain.com/shaking/wp-content/uploads/2010/08/HankWilliams01.jpg

Gavin DeGraw: Soulful Rock and Roll

After a short hiatus, crooner Gavin DeGraw is back with some fresh material. The recently released "Sweeter" features a mix of slow, piano rock ballads and energetic jams that highlight DeGraw's goosebump-inducing range and awe-inspiring belting abilities. The album is a heavy, sexy departure from his lighter, popular piano rock hits like "Chariot" and "I Have You to Thank." Each track solidifies DeGraw as a vocal powerhouse, whose skills result in soulful rock and roll throughout the album.

"Not Over You," the first single off of the album, is DeGraw sharing his vulnerable side with his listeners, juxtaposing an energetic piano riff with heartfelt lyrics that almost any human can relate to. The song is clearly quite personal, and the fact that DeGraw is willing to state his insecurity in such a blunt way garners respect. The line "I would lie and say that you're not on my mind" oozes with DeGraw's misery, but he makes that misery sound so delightful with his entrancing voice. Check it out here:



"Candy" is an excellently written extended metaphor concerning the consequences of obsessing over materialistic, vain aspects of life. The percussion in this track engraves the rhythm into the listener's mind. The layered vocals towards the end of it make for a great lead into the instrumental conclusion - a blissful 30 seconds of guitar, percussion and piano quite reminiscent of an Eric Clapton or Allman Brothers Band tune.

Perhaps the darkest track of "Sweeter" is the sinful, up-tempo "Radiation," a declaration of poor decisions based solely on the irresistible sexual relationship with an irresistible female. "If you get an invitation, I'm probably drunk" perfectly describes DeGraw's downward spiral into an empty entangling with the female in question. By the end of the track, it seems that DeGraw has resolved to finally get off the roller coaster and get on with his life, which, from the sounds of it, is probably the best idea for both parties. Regardless of the mildly selfish attitude DeGraw portrays in the song, it is nice to know he is human and even nicer to hear his sultry voice utter "You're just as hot as radiation."

"Sweeter" contains an incredible amount of versatility lyrically and musically. DeGraw has achieved a high level of maturity as a songwriter with this album, making it an absolutely imperative addition to any alternative playlist.

Photo credit: http://www.wzip88.com/wp-content/uploads/2011/08/GavinDeGraw1.jpg

2CELLOS: Cover Song Kings

The cello is a string instrument commonly heard in classical music as well as the occasional rock or pop song from the 1970s, its rich sound bringing a distinctive drama to any musical context in which it is featured, but few contemporary artists within this decade have captured the cello's versatility quite like virtuosos Luka Sulic and Stjepan Hauser, who make up the powerhouse 2CELLOS. On their self-titled debut album, 2CELLOS takes hits from a variety of genres and make them all their own by applying their dueling cello style to well-known melodies. While 2CELLOS does not sing the lyrics for any of their covers, they still deliver stirring entertainment.

The album begins with an evocative cover of U2's "Where the Streets Have No Name," a rendition that provokes goosebumps with every crescendo. The harmony's velocity rising from beneath the powerful melody exemplifies how well 2CELLOS manages to embody the voices of several instruments with just a few strings. The execution of every note is so precise and reflective of the original version that one can almost hear Bono singing each verse.

Another stand-out cover on the album is Michael Jackson's "Human Nature," which takes an already beautiful song and amplifies it to perfection. The intro is especially stunning, showcasing more of 2CELLOS' expert articulation. The ability to transpose that song for a different instrument without losing any of its original beauty is very impressive. According to 2CELLOS' website, their performance of Jackson's "Smooth Criminal" jump-started the band's viral popularity. Check out their performance of it on Ellen right here:



"Use Somebody" by Kings of Leon is another fantastic cover featured on the album, and 2CELLOS definitely emulates the same yearning the original version expresses. The gentle pulsing of the intro leads into a quiet, staccato verse that lays groundwork for a loud, evocative finish. Not only does 2CELLOS demonstrate the product of years of disciplined practice, they also reveal a passion that allows them to accomplish the feelings of every song they cover.

2CELLOS' self-titled debut album balances the high energy of contemporary music with the rich, calming vibe of a classical instrument. Buy it here to get a listen of this group's awe-inspiring artistry.

Photo credit: http://i.huffpost.com/gen/288458/thumbs/s-2CELLOS-large300.jpg

Foster the People's EP: Fresh Fun for the Ears

Recipe for a fresh semester...Ingredients: fresh attitude, fresh look and fresh tunes. Instructions: The attitude is yours to improve and create, as well as the look. For the tunes,  listen no further than Foster the People, an LA-based indie pop trio with the abilities to get your head bobbing on your way to class.

Foster the People

 On their three-song EP, members Mark Foster, Mark Pontius, and Cubbie Fink collaborate superbly, creating psychedelic jams as if The Beach Boys and MGMT produced a lovechild. Each member multitasks with precision and obvious skill. Foster covers vocals, keyboards, piano, synthesizers, guitar, programming and percussion. Pontius provides the rhythm with drums and other percussive instruments, while Cubbie plays bass and does backing vocals. Holding so many musical roles could make for a sloppy result but not with these guys. They execute every sound to near perfection.

"Houdini" consists of a beat that tattoos itself on the listener's mind and a sweet chorus. The synthesizer and keys are the shining stars in this tune, creating an exciting pulse on top of the percussion. This track is delightfully catchy and begs for someone, anyone to dance to it. Check out their performance of it in this video.



"Helena Beat" has a mysterious feel to it in the beginning with its crescendos and decrescendos, but eventually speeds up and transforms into a guitar-driven power-pop jam. Foster's upper range is very well showcased throughout the song, with the back-up vocals just adding another layer of fun during the choruses.

"Pumped Up Kicks" plays like a Beach Boys-esque summer anthem. Foster the People's knack for creating catchy rhythms is extremely apparent in this song. The rhyming in the lyrics makes it very easy to catch on and sing along after a few plays. This track is lively and epitomizes Foster the People's greatest talent: making fun, fresh music.

Pick up Foster the People's EP or album, "Torches," if you are ready to vamp up your indie pop playlist.

Photo credit: http://cdn.idolator.com/wp-content/uploads/2011/04/foster-the-people.jpg