Taste of Pearl Jam, Perry, Sir Paul

Pearl Jam,

“Lightning Bolt” (Monkeywrench/Republic)

Pearl Jam’s “Lightning Bolt” is a rock jukebox set to shuffle.

The Seattle survivors’ 10th studio album is erratically paced and skips from punk rock attacks to power ballads to AOR offerings in a schizophrenic playlist. Recorded over two years with longtime collaborator Brendan O’Brien and with four songwriters writing independently, it’s no surprise the LP often feels like a compilation album rather than a fully realized collection.

Like its 2009 predecessor “Backspacer,” “Lightning Bolt” kicks off with three stadium-leveling belters. The solid “Getaway” is piggybacked by furiously kinetic first single “Mind Your Manners” – a close cousin to the band’s 1994 track “Spin the Black Circle” – and accusatory scream-a-long “My Father’s Son.”

Then comes “Sirens,” a slow-burning torch song built around the importance of love in the face of mortality. This is the most unashamedly sentimental song the band has ever released and stands to become a first dance fixture at weddings. Equally surprising is state-of-the-nation address “Infallible.”

Elsewhere, there’s the Eddie Vedder-penned title track and “Swallowed Whole” – two enjoyable, mid-tempo rockers about the majesty of nature – and the ethereal “Pendulum,” which marries echo-laden, snaking guitar work and a whispered, conspiratorial vocal to stunning effect.

Sadly, “Lightning Bolt” loses its spark during its closing quartet, including hackneyed stomper “Let The Records Play” (lyrics include, “With the volume up, he goes and fills his cup and lets the drummer’s drum take away the pain”) and ballads “Sleeping By Myself,” “Yellow Moon” and “Future Days” – tracks that will provide plenty of opportunities for fans to trek to the bar at their upcoming gigs.

Katy Perry, “Prism” (Capitol Records)

Katy Perry’s “Teenage Dream” was perfect pop pleasantry, full of back-to-back hits that were oh-so-fun and addictive, fused with humor, emotion and a hint of edge. How could you resist?

Perry has some of that energy on “Prism,” her third album. But she lacks some of the fiery fierceness and excitement that dominated “Teenage Dream.” The singer’s new electro-pop songs are likable – and surely there are some Top 10 hits here – but she’s playing it safe. “Prism” is Perry as plain Jane.

The California girl, who turns 29 on Friday, is now singing self-help anthems and about recovering from her 2011 divorce from comedian-actor Russell Brand. The songs, though, don’t drip with emotion and she rarely gets deep: The Sia-penned “Double Rainbow” and “By the Grace of God,” slow grooves that close the album, don’t really scratch the surface. They are good, but could be great if Perry didn’t hold back and explored more lyrically and sonically.

“Prism” was primarily written and produced with her frequent collaborators and hitmakers Max Martin, Dr. Luke and Bonnie McKee. But they don’t always bring out the best Perry: “International Smile” is cheesy and “Legendary Lovers” is forgettable. Even “Roar,” the eighth No. 1 hit for Perry, lacks oomph and swag. It can’t compete with Sara Bareilles’ similar “Brave.”

Her team fares better on the sultry and upbeat “Birthday” and “Dark Horse,” featuring rapper Juicy J, which works thanks to its mesh of Southern hip-hop and electronic flavors.

When Perry borders on changing up her sound and taking some risks, she is best. The irresistible deep house track “Walking on Air,” a collaboration with Swedish producer Klas Ahlund, is a shining effort, while the bonus track “Spiritual,” co-written with beau John Mayer, is a groovy highlight.

Part of the problem with “Prism” is it doesn’t showcase much of Perry’s personality.

“Prism” is enough to keep Perry on the charts, but it’s time to think outside of the Billboard.

Paul McCartney, “New” (Hear Music)

For his 16th solo record, and first of original material in six years, Paul McCartney turned to a team of four hot producers to come up with something “New.”

The result is both fresh and comfortably familiar. McCartney, a master of the catchy 3-minute pop song, isn’t reinventing himself here as the title may suggest. Rather, he’s once again compiling an enjoyable 45 minutes or so of toe-tapping pop songs that are sure to please his longtime fans while doing little to break much truly “new” ground.

Just try listening to “On My Way to Work” or “Queenie Eye” without bobbing your head along to the beat. Really, love him or hate him, few can pump out these types of ditties quite like McCartney.

There are flirtations with material with some gravitas here, but it’s just that – a flirtation. McCartney may toy with addressing in song whatever demons he may have, but he certainly doesn’t linger.

That said, the mere fact that McCartney is able to come up with something that isn’t a simple retread of his past successes must be considered a success – especially when that would be the easy way out, and one that he’s taken many times over his storied career.