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That is, until 1998’s American Water and 2001’s Bright Flight surfaced. The Natural Bridge was a muffled continuation of his 1994 debut, Starlite Walker, minus the pedal work and Pavement-esque jams on tracks such as “The Moon Is Number 18.” The Natural Bridge found Berman’s biblical prose at its most heart wrenching. The absence of any Pavement affiliates on The Natural Bridge is, in part, why it’s a singular record, something much more vulnerable than anything in Berman’s six-album-long discography-though his longtime label Drag City released a compilation titled Early Times in 2012, consisting of early, lo-fi Jews tunes. The Natural Bridge is the only release of Berman’s 90s’ period that doesn’t feature any member of Pavement. The Pavement boys-Malkmus, Nastanovich, West-recorded an entire session of the Jews’ 1996 studio album The Natural Bridge, but Berman scrapped that after supposedly storming out of the studio for reasons unknown. Malkmus, Nastanovich, and West still appeared on a handful of the Jews’ albums throughout the 90s’, most notably their official 1994 debut Starlite Walker and 1998’s American Water, which is considered by most critics and fans to be the Jews’ finest and purest moment.
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The “indie” world, for lack of a better term, would never be the same, and the Silver Jews, though still very much alive and well at that time, would be caught in the rearview mirror, left to die on a dirt road some 20 miles south of Nashville. By the time that Berman had recorded some of his earliest material as the Silver Jews, Malkmus had already gone home to Stockton, California for the summer, recording what soon became 1992’s Slanted and Enchanted. Unfortunately, this misconception tainted Berman’s reputation for years, and, though gaining endless amounts of critical praise and hype, the Jews never “made” it in the same way that Pavement had. The solos are so remarkably Malkmus: melodic, outlandish, capturing life in its purest and most eccentric form. It’s easy to hear the influence, too, particularly any time there’s a guitar solo on a Silver Jews song. Laughably mistaken as a Pavement side project for the better part of a decade, Berman’s dear college buddies Stephen Malkmus and Bob Nastanovich contributed to much of the Jews’ studio albums, as well as fellow Pavement vet Steve West. And maybe that’s what makes Berman’s music recorded under the moniker Silver Jews so idiosyncratic, so full of life and mystery. Perhaps Berman’s spiritual essence derives from John Kennedy Toole’s epic 1980 picaresque novel A Confederacy of Dunces: the drunken genius, the brilliant slob, the wise man tortured by his own philosophical intuitions and an aversion to mankind. The poet/cartoonist/singer-songwriter has long been a mythologized entity, a pseudo-cryptic artistic figure, echoing within tavern walls.
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