They will say something about Ed´s age and also about ticketmaster and Nirvana.

Yep. The reference to his age will mention him being the "last man standing" from the "grunge" scene.

People love their Pringles, yo. Why change what isn't broken?

but they are broken.

haha, .. yeah.. in that other, alternate timeline..

Yep. The reference to his age will mention him being the "last man standing" from the "grunge" scene.

the godfather of grunge, the father of grunge, ticketmaster, nirvana, seattle, dad rock, baritone voice, midtempo ballad, rocker, power,

Know one... hmm... Jorge?

From the ashes of major rock band comes the solo debut by lead singer Eddie Vedder. The 1994 grunge classic Ten made fans wait 10 years for their next album. Unconcerned with record sales, this music falls between Pearl Jam's more radio friendly sound and Vedder's more experimental and personal solo material.

It's hard not to wonder why Eddie Vedder, once the beloved voice and driving force behind Pearl Jam, chose to release his first solo album as a compilation of cover songs and electronic dance music. While marketed as an "experiment" that allows him the freedom to work with artists he loves in genres outside of those in which he achieved recognition, Earthling feels more like a cash-grab collection of hollow flattery and posturing.

Still, Eddie Vedder has always been known as the thoughtful storyteller in alternative rock, and Earthling is no exception. He has some strong songs that deserve your attention—especially "The Begin" and "Blitzkrieg Bop," which are both powerful songs about his wife's cancer fight. But the faux-folk of the title track and "On the Wing" are grating and embarrassing, Steve Lillywhite stomps all over his electronic experiments with The Chemical Brothers on "Love Boat Captain." Vedder's voice is a whiney one-trick pony. This is not the Eddie Vedder you remember.

Ultimately, it's Eddie Vedder's call if this eccentric aural assault on his audience is worth it. This is not a professional-quality record by any stretch; production is haphazard at best, and the often clumsy execution of colorful ideas dooms some tracks from the outset. However, fans of Vedder's work in the 1990s may be intrigued by this new artistic direction.

Let’s be honest. If you were to sit down tomorrow and make an Eddie Vedder mixtape, you could probably come up with something a lot better than this album. It’s a waste of Vedder’s talents as a vocalist. And that is especially sad because the instrumentation is so tolerable in places - but still not enough to save this from falling apart. The lyrics, at first listen, are fine enough. But after repeated listens, they become kind of banal, at worst insipid. At best, mostly harmless.

Rating: EDDIE VEDDER'S ONLY ALBUM OF THE YEAR