In early September of 1970, singer Janis Joplin had begun work on her second studio album. Joplin had previously gained notoriety for her singing back when she was a member of Big Brother and the Holding Company before she unceremoniously split with the group at the end of 1968. Soon after, Janis grabbed herself a new backing band in the Kozmic Blues band, and her subsequent solo debut I Got Dem Ol' Kozmic Blues Again Mama! followed in 1969, a similarly rough album in line with her Big Brother work. The album she began recording in 1970, however, began to sound much more polished, in part due to Janis Joplin's new Full Tilt Boogie Band that backed her on the recordings. From September 5 to October 3, sessions went off without a hitch - October 3 saw Joplin listening to an instrumental that was finished, with plans to record vocals the next day.
Janis Joplin was found dead in her hotel room the next morning, October 4 1970, at the age of 27.
Rock fans were shaken by Joplin's sudden passing, especially since it was hardly two weeks after the equally sudden passing of guitar legend Jimi Hendrix, also at 27. Further sessions for the album were, obviously, canceled following her death, leaving the planned song an instrumental. A little over three months after Joplin's sudden death, Pearl was released posthumously. Perhaps the most tragic thing about this album is that it truly shows Joplin coming into her own - it's clean and professional, and shows Joplin trying her hand at a whole bunch of stuff - blues, soul, even some a capella. This album stands as what is easily Joplin's most realized work - it stands above her other albums by a long-shot.
In comparison to her Big Brother material and her debut, Pearl is very clean sounding for the most part. This is due to a few things, one of which is the expertise of producer Paul Rothchild - Rothchild was the man who produced the Doors, and his talent behind a console is evident on this album. The other part of the equation is Janis' new backing group: The Full Tilt Boogie Band. The Full Tilt group are certainly sharper sounding than I found either the Kozmic Blues Band or Big Brother to be, and I find them to be perfectly suited for the music of Joplin - they can be soulful, folk-y, and rock the world on a moment's notice from the sound of this album, which is certifiably perfect for as versatile as Joplin proves to be on this album. Put the masterful production together with such a tight band and the answer is seemingly obvious - from start to finish Pearl sounds fucking great. I have, of course, neglected the biggest part of the sound, and that's Joplin's voice. From what I've heard across three albums with Joplin on them, she only gets better and better - Cheap Thrills was plagued with lackluster vocals at times, and while Dem Ol' Kozmic Blues was certainly an improvement, it still faltered at points. Every performance from Joplin on Pearl is energetic, passionate, and carries a variety of emotions from the anger of the opening track "Move Over" to the lighthearted "Mercedes Benz." Every element of the album's music is Janis' apex.
It helps that it's also the most consistent album in her catalog. If there be any low moments, it's the instrumental "Buried Alive in the Blues," which is probably only lacking because Janis never got the chance to sing over it before her untimely passing. Most of the songs, save for two, are covers, but the song choice demonstrates her versatility. The two original songs are also a show of Joplin's talent as a songwriter, most prominent with the personal and powerful "Move Over" that showcases her relationship troubles. Joplin also proves herself a talented composer - every song on the album was arranged and approved by her. Outside of iconic songs like "Cry Baby" and the number one hit that is "Me and My Bobby McGee," both songs that showcase her vocal talents on full display, many of the songs have a large dose of soul in their sound. The penultimate track "Trust Me" is a powerful, building number that showcases Janis' talent in rich and bold blue-eyed soul. One of my personal favorite moments from the album is the cut "Half Moon," which even has a dash of funk in its instrumentation. It's excellently arranged, and it contains what I think is one of Joplin's strongest singing moments of her entire career, as she goes from a powerful, punching verse to a gentle chorus. The versatility and variety displayed on Pearl makes for a listening experience that doesn't really get stale, which is another issue I had with some of her albums - Pearl manages to stay interesting throughout its 33-minute runtime.
Janis Joplin's sudden passing on October 4 1970, as previously mentioned, shook the rock community, and for good reason - she was a singular voice, and frankly everything on Pearl proves it. In my mind, Pearl is two things: One of these things is a damn-good album. It sounds excellent, is musically varied and interesting, and contains some of Joplin's strongest vocal performances of her entire career. The other thing this album is, and I think a good amount of people could agree, is a fitting tribute and memorial to Ms. Joplin. There was, in my mind, no better way to memorialize the woman who sang the blues than with this clean, bold, confident release that shows her at the apex of her ability. Everything that's great about Janis Joplin is on prominent display on Pearl. May it continue to shine on.
RATING: ✯✯✯✯✯✯✯✯✯✯
Listen to Pearl.
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