Answer: It's Pearl Jam by a landslide.
It's obvious that a slew of bands owe the two acts, which were ignorantly classified as "grunge-rock" bands by critics too lazy to dig any deeper into the music, for opening up MTV and the airwaves to groups that at one time would have been classified as "not mainstream enough." However, that doesn't mean that reviewers and music fans alike shouldn't take a more critical look at them - examining the musical merits and not believing the hype.
NIRVANA; "In Utero;" (DGC/Sub Pop); * * 1/2.
Horribly misproduced by Chicago noisemaster Steve Albini, the band's third studio album would have been better if officials from the band's impatient record label (DGC), as well as the music industry itself, had allowed it more time to develop the material.
As it is, "In Utero" is OK when it could have been great. For instance, "Scentless Apprentice" and "Frances Farmer Will Have Her Revenge on Seattle" both meander horribly, as bass guitarist Krist Novoselic and drummer Dave Grohl flail away helplessly on the grooveless numbers and songwriter/guitarist Kurt Cobain shrieks without regard to mu-sic-ality.
In some circles, such lack of musicianship would be called punk-rock, but the Sex Pistols' "God Save the Queen" and the Clash's "I'm So Bored With the USA" both had hooks to spare.
Fortunately, there's still some gems showing through, in particular, "Serve the Servants," "All Apologies" and the harrowing "Rape Me," dedicated to Novoselic's Eastern European relatives.
PEARL JAM; "Five Against One;" (Epic); * 1/2.
In comparison to the Nirvana album, Pearl Jam's sophomore effort (also known as "vs.") is certainly better developed, produced and organized. But it's also more musically deficient.
Basically a rehash of their initial effort, "Ten," "Five Against One" shows the Washington quintet breaking little ground - even reverting to a more primitive hard-rock approach that wouldn't have been too out of place during the proto-headbanging era of the early '70s.
For example, "Animal," "Go" and "Leash" all show that lyr-i-cist/vocalist Eddie Vedder still has a lot to learn, especially in light of his toneless, near-bass howls.
More folk-oriented efforts ("Daughter" and "Elderly Woman Behind the Counter in a Small Town") also fail miserably because Vedder inexplicably oversings - surprising since his subtle vocals on "Crazy Mary" from the "Sweet Relief" compilation are so accomplished. Or maybe it's because "Crazy Mary" had a better songwriter (Victoria Williams).
All of this isn't to say the band doesn't have talent or any hopes for the future. The gentle "Indifference" ends things on an appropriately downbeat note and features the best instrumental on the album.
RATINGS: four stars (* * * * ), excellent; three stars (* * * ), good; two stars (* * ), fair; one star (* ), poor, with 1/2 representing a higher, intermediate grade.