
Pearl Jam’s “Ten” is the undersung juggernaut of grunge rock. Filled with future radio staples, “Ten” courted attention more openly than their Seattle rivals, Nirvana, a group that would never become comfortable with success.
“Ten” sold millions of copies. Its success meant that Pearl Jam was a commodity and beloved in far wider circles than just in the world of alternative and indie-rock fans. It was hard to live down this kind of fame.
That’s why I am reviewing and revisiting one of the most important and beloved rock albums of the 1990s, Pearl Jam’s “Ten.”
Assembling Pearl Jam
More than anything, “Ten” is an album that sounds great and delivers the band’s best collection of songs. In Alt77’s guide to Pearl Jam’s discography, I rated “Ten” as their very best work.
There are those who did not like the album or the band behind it. Famously, Kurt Cobain was one of those people. He called Pearl Jam “corporate grunge.”
Part humour, part unneeded acerbity, Cobain’s comments echoed the feelings of many in the alternative rock community – Pearl Jam had not paid its dues.
But that wasn’t entirely true. While the group was relatively new, and their sound was more palatable for widespread audiences, the musicians had been around.
Pearl Jam had been formed after the dissolution of Mother Love Bone, a glam/indie-rock hybrid that had been the star of the Seattle rock scene. It had featured guitarist Stone Gossard and bassist Jeff Ament, as well as mercurial singer Andrew Wood, who tragically passed away from a drug overdose.
Wood was the friend of Soundgarden’s singer Chris Cornell, who also greatly admired Mother Love Bone. Grief-stricken, Cornell wrote a collection of songs inspired by Wood. These would make up the now legendary “Temple of the Dog” band and album.
The rest of the band included in the Temple of the Dog was the future lineup of Pearl Jam. This was rounded up by drummer extraordinaire Matt Cameron, who played in Soundgarden and later played for Pearl Jam. It also included one guitar virtuoso, who had been in a number of 80s pop-metal bands, Mike McCready.
Finally, an auction tape from a surfer from San Diego revealed to the band the talents of singer Eddie Vedder. The shy frontman with the powerful baritone made his recording debut here, managing to hold his own against the experienced Chris Cornell.

Making “Ten”
The alternative-rock sound of Seattle was typically a mix of aggressive punk rock and sludgy Black Sabbath-like heavy metal. Bands enjoyed playing at high volume and adding dissonance to their songs.
However, the albums that became massively successful, “Ten” and “Nevermind,” had a far more commercially-acceptable sound. Nirvana incorporated pop hooks and dynamics. Pearl Jam’s sound brought to mind 70s hard-rock groups like Bad Company and Led Zeppelin.
Still, there was an authentic rage, a combative quality to these albums that the audience and press picked up on. Eddie Vedder, shy yet filled with righteous passion, represented that. Few, even Cobain, doubted its authenticity.
Those factors aside, “Ten” is an album of great songs. The majority of them were written by guitarist Stone Gossard. Bassist Jeff Ament contributed to many of them. It’s rather a shame that Pearl Jam wouldn’t maintain this songwriting dynamic going forward.
The album opener, “Once,” finds Vedder discovering his angry baritone, a sound that would be copied mercilessly by post-grunge grunge like Creed.
The dynamic, towering song of “Evenflow” features Vedder singing tongue-tying lyrics, his visions making him appear part like a rockstar and part like a madman.
“Alive” also appears to be designed for the big stages of the world. But Vedder’s emotive delivery and lyrics that seem to echo teenage trauma keep it from seeming merely a cynical exercise. The same can be said about the ballad of love and loss, “Black”, in which Vedder, again the star, delivers his best vocal performance.
“Jeremy” is the most famous song of “Ten.” While vague and interpretable, this is likely an anti-gun song. It allowed Pearl Jam and, especially, its singer, to position themselves as protest musicians. The song also features a really great band performance.
The lesser-known songs on the album are of similar stock and quality. “Porch,” “Deep”, and “Why Go” work within the loud-soft dynamic most associated with grunge in a masterful way. And the sparse “Release,” Vedder’s sole composition, works primarily because of the quality of the singing.

Aftermath and Influence of “Ten”
“Ten” is the most successful grunge album, even more so than “Nevermind.” It is, however, not as respected. It does not make “Greatest Albums of All-Time” lists like Nirvana’s most famous release. Why?
There are two possible explanations. First, while Vedder seemed similarly tortured as Cobain, his story turned out well. Secondly, Pearl Jam’s sound was much more palatable and familiar.
Within months, Pearl Jam clones were flooding the airwaves and the club circuit. Vedder’s barrelling baritone was heavily copied for at least a decade after the 1991 release of “Ten.”
Pearl Jam was the only famous grunge band that survived its initial success. Nirvana, Soundgarden, Alice in Chains, and Screaming Trees were all effectively gone by the end of the 1990s. But they barely made it.
By the 2010s, the storm clouds had lifted, and Pearl Jam’s musicians, Eddie Vedder leading the lines, were ready to celebrate their music. “Alive” and “Evenflow” became songs of celebration. “Jeremy” became a song of defiance. Audiences of thousands were still there to chant the songs.
Grunge-hype aside, “Ten” remains one of the most satisfying releases of that era.