Why Go Down In A Hole, Zero?

There are moments in life where one can clearly remember where they were and what they were doing. The birth of a child (so I’ve been told), the death of an icon, a national tragedy, etc. to name a few. Being as fanatical about music as I am, I can vividly recall the moments when my life changed musically.

I was lucky enough to be an overly-impressionable teenager when the world of music took a sharp turn and new sonic landscapes (I apologize in advance for overusing this term…my brain was a bit stuck) and trends were unleashed upon the world.

One can make the case (as I will) that 1990-1995 saw a period of musical exploration not seen since the late 1960s. As grunge thankfully buried “hair metal” (and Paula Abdul), rap, electronica, and industrial music seemingly overwhelmed the airwaves. “Top 40” radio stations were forced to become beautifully eclectic.

Nearly 2 decades later, I have decided to revisit three records that continue to have a profound impact on my life. I am not trying to say that these are the three most significant albums of that time frame (as one can make the case that Dr. Dre, Nirvana, and Trent Reznor hold those titles), however, they were monstrous then, and are still just as relevant and brilliant today.


Pearl Jam, Ten (1991, Epic Records)
Released barely one month before Nirvana’s Nevermind (Aug 27 vs Sept 24), Pearl Jam’s debut album was somewhat overshadowed. Due to the proximity of their release, as well as their combined impact on the musical landscape, it is quite difficult to discuss one of these two records without the other…I will do my best…

If I were to sum up Ten, in one word, it may very well be with the word “perfection.” As far as I am concerned, and some may argue (I can think of 3 people off the top of my head), Pearl Jam has never made a better record. That is not to say their other records are not good, but Ten stands tall above the rest.

Clocking in at just under an hour, Ten has a strange sense of urgency that was overall missing from music of the time. Screaming guitars playing massively catchy melodies combined with dark, yet determined lyrics, Ten gave the world a glimpse at just what was going on in the Seattle music scene.

…and of course, one cannot overlook the now iconic vocal work of Eddie Vedder. Vedder, who unknowingly replaced Jordan Knight and Bret Michaels posters across the country, has a voice that levels every listener the first time they hear him. His voice has the ability to stop you in your tracks with his opera-esque vocal delivery.

The opening quartet of songs on Ten (Once, Even Flow, Alive, Why Go) assault the listener like a heavyweight boxer who just won’t let up. Each song drops in at full speed and force and almost stares back at you to catch up. Walking the line between singing and screaming, Vedder’s vocals are nearly gibberish at some points. Truth be told, nearly all fans of this album have had to find the lyrics to understand just WHAT Eddie was singing.

The albums’ second single (Even Flow was the first), “Alive” still resonates with as much impact as the day it was released. The chorus is a defiant fist in the air, pronouncing, “Yeah, I shouldn’t be for so many reasons, but I’m still alive!”

If one were to DEMAND finding a flaw in the album, it could only be in the order of the middle section of songs. After more than 15 years of dedicated listening, I have found that if one swaps the placement of “Black” with that of “Jeremy,” the feel and flow of the record are greatly improved. Thanks to the modern technology of the iPod, this can be done quite easily.

The albums’ denouement (oh! A college word!), consisting of “Garden,” “Deep,
and “Release” gives us a peek at the other side of this now legendary band. Moving to far more complex musical arrangements (while keeping the same dark subject matter), the band creates sonic landscapes that are almost out of place with the sheer “rock” of the albums’ first side.

Though Nevermind, gained far more critical acclaim, after nearly 2 decades of debate, there is very little argument that Ten is NOT the superior album.


Alice In Chains, Dirt (1992, Columbia Records)
Though he is often overlooked due to his appearance and the overall sound of the band, one cannot deny Layne Staley’s place as one of the finest vocalists in history. Try as they might, NOBODY can even come close to the raw honesty, combined with sheer power that Layne was able to achieve. There are countless times across the AIC catalog where it truly seems that Layne is singing from the “other side.”

The opening seconds of Dirt leave no time for the listener to prepare. A trio of “Them Bones,” “Dam That River,” and “Rain When I Die” beats you into grunge-metal submission. Driving rhythm guitars overlain by Jerry Cantrell’s signature solos provide the perfect wall for Layne to stand against. The bassline on “Rain When I Die” personifies the “scary, yet somehow friendly” vibe that AIC achieved throughout their career.

Obviously, the album is best known for its SECOND single, “Rooster” (“Would?” was, in fact, the first single off the album). The tale of a Vietnam solider would have fit perfectly into the score of Apocalypse Now. Since most people are quite familiar with the song, I will only say that a different (better) version can be found on the Music Bank box set.

The tail end of the album closes with the tandem of “Angry Chair” and the aforementioned “Would?” Again, simple yet brilliant basslines drive the songs and Layne tears through song after song, bring the listener along through the failings of an addict.

I’ll be honest, there are no “bright points” on Dirt. It is a dark and depressing journey through the mind of a man knowing he was badly losing a battle with drugs. However, the music is a perfect fusion of heavy metal and grunge; a recipe that countless bands have since attempted to copy (see Korn, Papa Roach, or any of that sort of garbage).

Sadly, on April 5, 2002, Layne lost his long battle with heroin. One must listen and understand how lucky we all are to have these remnants of a truly amazing musical talent.


Smashing Pumpkins, Mellon Collie & The Infinite Sadness (1995, Virgin)
While Siamese Dream catapulted the Smashing Pumpkins to stardom, it was their follow-up album, the 2-disc (6 sides of vinyl) set, Mellon Collie & The Infinite Sadness that truly made the band shine. Making a single album of great music is a daunting enough task; yet the Pumpkins were able to offer nearly 30 songs spread over 2 hours of superb musical mastery.

The album, split into halves called Dawn To Dusk and Twilight to Starlight (though the vinyl version has a different order as well as 2 additional songs), follow a steady, yet meandering storyline. From the abrasive “Zero” to the industrial “Love” to the rolling melodies of “To Forgive,” the first half of the album truly spotlight both the musical and lyrical prowess of Billy Corgan.

The second half of MCIS is far darker and more unassuming in nature. The vast majority of people are not as familiar with this half of the album as the band only released one of its songs as a single (“1979”). As far as I am concerned, it is the second half of MCIS where the Pumpkins take the album from “great” to “genius.”

Highlighted by the borderline pop of “Thirty-Three,” the heartbreaking “Stumbline” and the Syd Barrett-esque sound of “We Only Come Out At Night,” one realizes that this half alone could have been a monumental release.

The absolute gem of Mellon Collie & The Infinite Sadness is the final song, “Farewell & Goodnight.” Written by the band as a whole, each band member takes a crack at this gothically textured lullaby, Simple instrumentation and unaltered, quiet vocals of some of Corgan’s most wonderful lyrics make this song nearly overshadow the entire other 120 minutes previous.

The album closes, appropriately enough, with a short reprise of the opening piano piece.