Released:  August 27th, 1991

Recorded:  March 27th – April 26th, 1991

Genre:  Grunge

Record Label:  Epic

Duration:  53:20

Producers:  Rick Parashar, Pearl Jam

[expand title=”Personnel” trigpos=”above” tag=”h22″](Regular band members in bold.)

• Mike McCready – lead guitar
• Stone Gossard – rhythm guitar
• Jeff Ament – bass guitar, art
• Eddie Vedder – vocals, additional art
• Dave Krusen – drums
• Dave Hillis – engineer
• Don Gilmore – additional engineering
• Adrian Moore – additional engineering
• Walter Gray – cello
• Bob Ludwig – mastering
• Lance Merer – photos
• Tim Palmer – fire extinguisher, pepper shaker, mixing
• Rick Parashar – production, piano, organ, percussion
• Pearl Jam – percussion
• Steve Pitsick – additional art
• Lisa Sparagano – design
• Risa Zaitschek- design
• Kelly Curtis – management [/expand]

[expand title=”Track Listing” trigpos=”above” tag=”h22″](Original 1991 Release)

1. Once
2. Even Flow
3. Alive
4. Why Go
5. Black
6. Jeremy
7. Oceans
8. Porch
9. Garden
10. Deep
11. Release (hidden track Master/Slave begins at 5:20) [/expand]

[expand title=”Singles” trigpos=”above” tag=”h22″]

1. Alive – August 1st, 1991
2. Even Flow – April 6th, 1992
3. Jeremy – September 27th, 1992
4. Oceans – December 7th, 1992 [/expand]

Why Ten is One of My Favorites

Nirvana’s Nevermind is sometimes put at the front of the line when it comes to grunge, when in fact Pearl Jam’s Ten came out first.  Though it’s true that Ten ended up riding the coattails of Nevermind’s success to an extent, it’s funny to look back on a disparaging remark that Cobain once made about Pearl Jam having too many lead guitar parts to be “real” grunge.

Truth is, Ten and Nevermind are extremely similar musically.  Nevermind might be a little more angsty while Ten stays a bit more subdued and apathetic, but the tempos, distortion, 3-chord structure, and mumbled vocals are all there in both.  So it would stand to reason that anyone who likes Nevermind (which I covered in Issue #4) would probably like Ten as well.

Pearl Jam would get a little more interesting on their later albums, though I’ve always appreciated the youthful energy of their debut.  For me, Ten perfectly captures the mood of the early 90’s and the cultural shift that was beginning to definite the differences between the 80’s and 90’s.  The 90’s weren’t a darker decade, they were just embracing realism, arguably the continued efforts of generations pushing back against the idealized society put forth in the post-WWII years.  Somehow, Vedder’s bellowing, sometimes indistinct voice and woeful crooning spoke to a generation’s rebellion against stereotypes and certain social norms.

Musically, Ten’s songs are typically built around 3-chords.  The guitars have the distorted sound associated with grunge, though I would argue that the guitars aren’t quite as fuzzy as some bands and the chord progressions aren’t necessarily as dark.  It’s got a dissatisfied, jaded feel to it, maybe with a touch of anger, but it isn’t exactly sad or depressing.  Most of the album is medium to medium-fast in tempo, maintaining a lively feel.  Vedder’s voice is fairly consistent between singing, shouting, and his transitional crooning, though he does soften up occasionally.

“Guitar crunch” abounds on Ten without getting too heavy.  There is some solo guitar work such as at the end of “Once,” but it works well with the music and doesn’t detract from its grunginess.  “Even Flow” contains what may be one of the genre’s most memorable riffs and features Vedder at his best, alternating between fast and slow delivery to suit the music.  Several songs feature melodic licks that carry that carry the verses, which was a little bit different from what most grunge musicians were doing at the time; “Alive” is a great example with its simple tune.

“Why Go” marks Ten’s foray into heavier territory, notably the hard and fast chorus, drawing on punk influences.  “Porch” follows suit with a marginally scattered sound and another frenzied chorus to match Vedder’s racing vocals.  “Deep,” a little further on, is similar with its continuous wall of riffing and another solo, but it also incorporates softer sections to create the “soft-loud-soft-loud” dynamic often heard in grunge.

The album also has a softer side with songs like “Release,” “Oceans,” and “Garden,” but “Black” is the true star.  One of the reasons why Ten works so well is because it embraces many of grunge’s conventions yet doesn’t feel compelled to rely on them exclusively.  “Black” starts off with some of the most beautiful clean guitar accompaniment to come from the grunge scene, and even though the drums and distorted guitars kick in, it still retains its solemn vibe as the melody continues to pop in.  Vedder demonstrates real singing ability here as well, deftly combining it with his not-quite-groaning and self-imposed twang.  Losing a girl is a common theme in popular music, but to me, this is one of the most poignant songs ever on the subject.

The band covers a range of topics, though admittedly some of their lyrics remain a mystery to me.  “Jeremy” is an excellent song about a bullied kid, eerily foreshadowing several events that would come to define the decade.  “Release Me” is another song that undoubtedly connected with several listeners by exploring suicidal thoughts and the pain that would even lead someone to such a desperate consideration.  Apparently, “Alive” and “Once” comprise the first 2 parts of a trilogy; the former finds a son learning that his father is really is stepfather (relatively straightforward), in turning leading his mother to a pursue an incestuous relationship with the son out of grief (a little tougher to infer).  “Once” picks up when he son is older and chronicles his beginnings as a serial killer.  A little weird to be sure, but I like that the band branches out with their lyrics and are doing more than just talking about a girl or event.

I think what makes Ten such a great album is that it hadn’t yet fallen into the trappings of grunge, especially the genre’s indulgence in low self-esteem.  The album retains many of the individual punk and metal components that would continue bleeding together into something arguably less musically intense over the years.  And after giving it a listen in preparation for this issue, I’d even say it leans to what would become the alt metal scene with its bassier guitars, faster playing, and surviving lead guitar parts.

Of course Ten still sounds more like grunge than it sounds like anything else, and it most definitely is grunge (particularly in its overall mood), but it’s a looser, less monotonous grunge with a moderate degree of accessibility.  There’s a surprising amount to discover in Ten, and I love how it can be both fun and easy to listen to as well as show off a darker side of humanity.

Written by The Cubist

Other albums from Pearl Jam in this series:

• 1993 – Vs. – Issue #71

Back to The Cubist’s 90’s Albums