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• To outwit bootleggers, Pearl Jam recorded all of their concerts held to back this studio effort in the format of double CD. The follow-up album prepared by Pearl Jam was the experimental Riot Act (2002) to bear a vivid influence of art-rock. Both listeners and critics declared it one of the best works in the band’s collection.
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1. Alive

Among the first groups from Seattle’s underground rock scene to sign to a major label, glam-rockers Mother Love Bone were poised for success until their flamboyant frontman, Andy Wood, fatally overdosed on heroin days before their debut album, Apple, was due for release. In the aftermath, Chris Cornell – singer with grunge originators Soundgarden and Wood’s former flatmate – went into the studio with Mother Love Bone’s Jeff Ament and Stone Gossard to record an album as Temple of the Dog, in tribute to their late friend. One track, Hunger Strike, featured guest vocalist Eddie Vedder, who had also been working with Gossard and Ament.

A serious-minded, humble surfer dude – in many ways Wood’s antithesis – Vedder’s first contribution to this new project was to write lyrics for a demo tape of Gossard riffs. A lifelong fan of Pete Townshend, he concocted a song-cycle, Mamasan, telling the story of a troubled young man whose traumatic discovery that his supposed birth father was actually his stepfather (a Tommy-esque drama drawn from Vedder’s own life) sends him on a killing spree, for which he is ultimately executed. Alive is the first chapter in this trilogy (Once, off Pearl Jam’s debut album Ten, and the early B-side Footsteps tell the rest of the story).

Its lyric suggests an incestuous affair between the hero and his mother, while its hookline, “I’m still alive”, was intended as a rueful statement of fact from the homicidal/suicidal teen. However, delivered in Vedder’s heroic baritone over Gossard’s incandescent riff, and gifted one of the most unabashedly classic-rock guitar solos in recent memory (courtesy of Mike McCready), Alive was interpreted as an inspirational message by the thousands of fans who sent Pearl Jam’s debut single into the US top 20. And while the dark backstory of Vedder’s lyrics lends the track a frisson of complexity, Alive’s true charm lies in its uplifting power, Vedder’s impassioned delivery (within a year countless rock frontmen would be mimicking his hearty burr) and that solo, which could move a corpse to play along on air guitar.

2. Black

Ten sold slowly until the breakthrough of Nirvana, whose Nevermind, released only a couple of weeks after, went on to become a surprise smash hit. Pearl Jam never called themselves “grunge”, but soon had that tag thrust upon them. It was never quite right, though. Gossard and Ament might have served time with Green River, the Seattle punk band whose 1985 debut EP, Come On Down, is often touted as grunge’s patient zero, but the duo were always ambitious to move beyond the scuzzy milieu of Seattle’s abundant punk clubs.

Ten bore out that ambition. More subtle and complex than Mother Love Bone, it was nevertheless deeply influenced by rock’s classic era, and certainly showed little evidence of interest in the noisy punk brinkmanship served up by grunge’s flagship label, Sub Pop.

Ten even had a power ballad of sorts: the yearning Black, which told the sorry tale of a man’s agony on losing the love of his life. “All five horizons revolved around her soul,” croons Vedder, but now she’s gone, and even the sound of children playing only causes him agony. It’s a familiar tale, but beautifully told, McCready playing with the lightness of Little Wing-era Hendrix, picking out the descending melody as Vedder marvels bleakly at “how quick the sun can drop away”.

As they broke into the mainstream, Pearl Jam inspired blind worship from one half of Generation X, while the other half (including Nirvana’s Kurt Cobain, a famous, and possibly jealous, PJ hater) decried them as corporate-rock sellouts. Their later endeavours – putting the ethics of Vedder’s beloved Fugazi into practice within the stadium-rock paradigm – would prove the doubters wrong, but as grunge gave voice to a cynical, sardonic strand of 90s youth, Pearl Jam’s earnestness, their inability to ever not “mean it, maaaaan”, set them at odds with their contemporaries. But Black – a nakedly honest moment, peaking on Vedder’s wracked final brave-but-doomed cry, “I know you’ll be the sun in somebody else’s sky / But why, why, why can’t it be mine” – proved that the group’s heart-baring soulfulness possessed enormous emotional power.

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3. Rearviewmirror

Success was a mixed blessing for Pearl Jam, and for Vedder, who found himself the unprepared focus of his fans’ overpowering ardour. His privacy was dealt a mortal blow when a knapsack containing his journal was stolen from the group’s dressing room as they performed at a European festival. The incident caused something to snap inside Pearl Jam, who began asking themselves how big they really wanted to be, and how much control they still possessed over their band and over their own lives. They wouldn’t release another promo video until 1998’s Do the Evolution, and their next three albums would, in their own ways, push against the pressures of their success and the critical brickbats that had been hurled at the group. Their second album, Vs, was originally titled Five Against One, an indication of how embattled they felt. Vs was an altogether more visceral, heavier set that opened with an impassioned anti-suicide screed (Go) that Vedder would later dedicate to a then-missing Kurt Cobain a night or so before his body was discovered, and closed with Leash, a primal stomper that saw Vedder demand “Drop the leash / get out of my fucking face”. Rearviewmirror, meanwhile, lent the muscular ripple of its circular riff to a story of bruised empowerment; Vedder the former victim gaining escape from their abuser and howling “Saw things so much clearer / Once you were in my rearview mirror” as his group thrashed away like a hurricane around him. Epic and heroic, Rearviewmirror was an anthem of survival from a group undergoing an unexpected tumult, and realising it was time to take repossession of their lives.

4. Daughter

The story of a girl struggling with learning difficulties hardly seems like the meat for great rock’n’roll, but Vedder makes it sing on this rusticated country-rock glide from Vs. Stories of outsiders and underdogs came easily to Vedder, who would dig deep into his own turbulent childhood to deliver songs as empathic and resonant as Daughter, which tap into the experience being young and troubled and struggling against a world that doesn’t understand you and doesn’t seem to care. Daughter sounds a hopeful note – “She holds the hand that holds you down / She will rise above” – but closes on the haunting suggestion of parental abuse (“The shades go down”) and familial disaffection. During Vedder’s own dark days, it was only the Who’s Quadrophenia, and the words of Pete Townsend, that served as his anchor. He may not have been comfortable with it, but thanks to songs like Daughter, Vedder would serve a similar role for many of Pearl Jam’s own fans.

5. Corduroy

The highlight of the group’s 1994 third album, Vitalogy – conceived in part in the shadow of Kurt Cobain’s suicide – Corduroy’s title was a reference to a battered thrift-store jacket Vedder purchased for $12, which he was photographed wearing so often that an enterprising fashion house designed their own $650 version, hoping to cash-in on grunge’s fashionability. The episode illustrated for Vedder the ludicrousness of his life as an unwilling celebrity, which took a darker turn when one troubled stalker, who claimed Vedder was Jesus and had impregnated her, ploughed her car into the wall of the singer’s front garden, almost killing herself. Corduroy is about Vedder, who was struggling with the loss of control over his life. It’s as fiery and anguished a response to fame as anything off Nirvana’s In Utero. But Corduroy never feels like some spoilt rock star’s moaning, in part because the song is less “a new complaint” than a statement of defiance, spinning Pearl Jam’s own rejection of the malign elements of their success into a larger theme of resistance, of refusing to corrupt their ideals. That very idealism, however, would be put to the test when the band took Vitalogy on tour. They rejected the services of Ticketmaster – whose high commissions and monopoly of the industry would lead Pearl Jam to later testify against the company’s practices at a congressional hearing – and booked their own tour of independent venues across America, an onerous undertaking that almost torpoedoed the group’s career. “I would rather starve than eat your bread,” a defiant Vedder sings on Corduroy, echoing Temple of the Dog’s earlier hit Hunger Strike. But while “everything has chains”, he continues, “absolutely nothing’s changed”, as his group led into a pummelling closing rock-out that echoed the similarly animalistic churn of Neil Young and his Crazy Horse.

6. I Got Id

Enjoying a career revival partly due to his coronation as the “godfather of grunge”, Neil Young admired much about Pearl Jam’s music and their integrity. At a 1995 pro-choice benefit gig, he invited the group to back him on a new song he had just written. The chemistry of that performance moved Young to enter the studio with the group and cut Mirror Ball, a brawny and often inspiring full-length collaboration, though Vedder only appeared on the soaring Peace and Love. As the Mirror Ball sessions drew to a close, Young cut two more tracks with the group, Pearl Jam songs this time, ceding the microphone to Vedder. The B-side, Long Road, was a beautiful slow-burner, with Young playing the pump organ; Vedder would later rerecord the song with Qawwali Nusrat Fateh Ali Khan for the soundtrack to Tim Robbins’ Dead Man Walking. The A-Side, I Got Id, was prime Vedder; the story of a homeless man wandering the streets, haunted by the memory of the love that got away, the path he should have taken. A grunge-eared take on Just My Imagination (Running Away With Me), I Got Id laced its aching chorus – “I walked the line / When you held my hand that night” – with the spectral siren call of Neil Young’s amp-burning guitar solos. Indeed, the emotive, feedback-soaked cries he fires off in the closing moments – after Vedder delivers the song’s final bittersweet lines, “I paid the price / Never held you in real life” – are among the most electrifying guitar Young has ever played. The bond between the godfather and the group was furthered by a tour that saw Young backed by Pearl Jam, and further live collaborations over the years. “Neil changed our band,” Vedder later told me. “He taught us about dignity. Like Nirvana had Sonic Youth, we had Neil.”

7. Who You Are

Vitalogy’s many jarring detours – wheezing vaudeville skits (Bugs), gnomic funk segues (Pry, To) and baffling tape collages (Hey Foxymophandlemama, That’s Me) – were the sound of a group awkwardly struggling to escape the pigeonhole fashioned by their fans and the media; if the album was great and experimental, the parts that were great were not the parts that were experimental. Their fourth album, No Code, was a more creatively satisfying step in Pearl Jam’s musical evolution, as they left behind the big rock anthems for wilder climes. The album’s first single made no bones that this was a different band, and they probably wouldn’t write a song like Even Flow ever again. An acoustic tangle with gently psychedelic edges, written around the tribal rumble of drummer Jack Irons’ gently powerful tom-toms, Who You Are was part fireside sing-song and part meditative mantra; its ragged lilt and lysergic charm undeniable. Many fans remained unseduced, however, and Who You Are didn’t break the US top 30. No Code’s brave excursions into lo-fi (Sometimes); cacophonic punk-rock (Hail, Hail) and twilit lullabies (Around the Bend), meanwhile, were parts of a ragged but charismatic whole that nevertheless shook away fairweather fans. The album became Pearl Jam’s first not to go multi-platinum.

8. Off He Goes

The bruised, tentative folk-rock of this choice No Code nugget finds its narrator concerned about a troubled friend, who seems “like he’s riding on a motorbike in the strongest winds … like his thoughts are too big for his size”. Over the first couple verses, the friend passes through the narrator’s life like a ghost; the weight of the world on his shoulders making the experience of being friends with him – as Vedder later admitted – akin to “being friends with an asshole”. The wayward friend is, of course, Vedder himself, and Off He Goes is, in part, a jab at his own angst and the seriousness that saw him declare, at the height of the group’s fame, that he was “not your fucking messiah”. But while Vedder knows it’s a heavy burden for his friends to bear, that angst is real, and what makes Off He Goes such a gem within the Pearl Jam songbook is the haunting final verse, where, after having returned to the fold and seeming more together than he has been in ages, the narrator observes the prodigal friend seeming “distracted, and I know just what is going to happen then”. As the song’s thoughtful acoustic riff surfaces for a final run-through, Vedder’s narrator watches the friend leave again for the wilderness, murmuring “before his first step / he is off again”.

9. Do the Evolution

Pearl Jam eventually lost their struggle against Ticketmaster, but the fight meant they found the principles that would guide their career from then on. Operating from a warehouse in the forests of Seattle, Pearl Jam – aided by manager Kelly Curtis and their team – made a point never to rip off their fans, ploughed profits into charitable concerns and were openly liberal in their political activities. Protest songs and political fusillades would pepper Pearl Jam albums from 1998’s Yield onwards; highlights included the controversial anti-Dubya talking blues Bu$hleaguer off 2002’s Riot Act, Vedder’s arch ukulele strum Soon Forget from 2000’s Binaural and World Wide Suicide from 2006’s Pearl Jam. Most electrifying of the bunch was Do the Evolution, from 1998’s Yield, the album that arrested Pearl Jam’s brief commercial downturn. It was an unhinged, hilarious and acidic skewering of modern America’s self-destructive impulse in its own voice, boasting of being “the first mammal to wear pants”, ranting “this land is mine, this land is free / I’ll do what I want, but irresponsibly” and breaking from its Stoogian riff to lead a raw-voiced choir in a hypocritical blast of “Hallelujah!” only moments after declaring: “I can kill because in God I trust.” Critics chided Pearl Jam for humourlessness, but their most explicitly political track was an act of darkly brilliant wit, which continues to be a highlight in their live set.

10. Light Years

Pearl Jam balanced the firebrand political rants with bruised ballads and moments of powerful vulnerability, often risking mawkishness in Vedder’s unabashed emotiveness, but instead kissing the rock sublime – see Sirens off their recent album Lightning Bolt. Light Years – from 2000’s Binaural, the album that ended years of Spinal Tap-esque drummer exits by installing the steady and inspired Matt Cameron – remains perhaps their finest; a eulogy for a departed friend that finds Vedder struggling to make sense of his grief: “I’ve understood feelings and I’ve understood words / But how could you be taken away?” But it’s in the vastness of this sense of loss that Vedder is able to bring a note of positivity, in the many lives that can be touched by one person, and the difference that can make: “Your light’s reflected now / reflected from afar / We were but stones / Your light made us stars.”

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See also: Temple Of The Dog, Soundgarden & Eddie Vedder

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