Ten

Pearl Jam rose from the ashes of Mother Love Bone to become the most popular American rock & roll band of the '90s. After vocalist Andrew Wood overdosed on heroin in 1990, guitarist Stone Gossard and bassist Jeff Ament assembled a new band, bringing in Mike McCready on lead guitar and recording a demo with Soundgarden's Matt Cameron on drums. Thanks to future Pearl Jam drummer Jack Irons, the demo found its way to a 25-year-old San Diego surfer named Eddie Vedder, who overdubbed vocals and original lyrics and was subsequently invited to join the band (then christened Mookie Blaylock after the NBA player). Dave Krusen was hired as the full-time drummer shortly thereafter, completing the original lineup. Renaming themselves Pearl Jam, the band recorded their debut album, Ten, in the beginning of 1991, although it wasn't released until August; in the meantime, the majority of the band appeared on the Andrew Wood tribute project Temple of the Dog. Ten didn't begin selling in significant numbers until early 1992, after Nirvana made mainstream rock radio receptive to alternative rock acts. Soon, Pearl Jam outsold Nirvana, which wasn't surprising -- Pearl Jam fused the riff-heavy stadium rock of the '70s with the grit and anger of '80s post-punk, without ever neglecting hooks and choruses; "Jeremy," "Evenflow," and "Alive" fit perfectly onto album rock radio stations looking for new blood.

Krusen left the band shortly after the release of Ten; he was replaced by Dave Abbruzzese. Pearl Jam's audience continued to grow during 1992, thanks to a series of radio and MTV hits, as well as successful appearances on the second Lollapalooza tour and the Singles soundtrack (Stone Gossard also embarked on a side project called Brad, which released the album Shame in early 1993). Despite their status as rock & roll superstars, the band refused to succumb to the accepted conventions of the music industry. The group refused to release any videos or singles from their second album, 1993's Vs. Nevertheless, it was another multi-platinum success, debuting at number one and selling nearly a million copies in its first week of release. On their spring 1994 American tour, the band decided not to play the conventional stadiums, choosing to play smaller arenas, including several shows on college campuses. Pearl Jam cancelled their 1994 summer tour, claiming they could not keep ticket prices below 20 dollars because Ticketmaster was pressuring promoters to charge a higher price. The band took Ticketmaster to the Justice Department for unfair business practices; while fighting Ticketmaster, they recorded a new album during the spring and summer of 1994. After the record was completed, the group fired Dave Abbruzzese, replacing him with former Red Hot Chili Peppers and Eleven drummer Jack Irons.

Vitalogy, the band's third album, appeared at the end of 1994. For the first two weeks, the album was only available as a limited vinyl release, but the record charted in the Top 60. Once Vitalogy was available on CD and cassette, the album shot to the top of the charts and quickly went multi-platinum. Pearl Jam continued to battle Ticketmaster in 1995, but the Justice Department eventually ruled in favor of the ticket agency. In early 1995, the band recorded an album with Neil Young. Meanwhile, Vedder toured with his wife Beth's experimental band Hovercraft in the spring of 1994 as Stone Gossard founded an independent record company; Mad Season, Mike McCready's side project with Layne Staley of Alice in Chains, released their first album, Above, in the spring of 1995. Comprised entirely of Neil Young songs, Mirror Ball appeared in the summer under Young's name; although the individual members of the band were credited, the name Pearl Jam did not appear on the cover due to legal complications. Pearl Jam released a single culled from the sessions, titled Merkinball and featuring the songs "I Got Id" and "Long Road," in the fall of 1995.

In late summer of 1996, Pearl Jam released their fourth album, No Code. Although the album was greeted with fairly positive reviews and debuted at number one, its weird amalgam of rock, worldbeat, and experimentalism dissatisfied a large portion of their fan base, and it quickly fell down the charts. The record's performance was also hurt by Pearl Jam's inability to launch a full-scale tour, due both to their battle with Ticketmaster and a reluctance to spend months on the road. The band spent most of 1997 out of the spotlight, working on new material; Gossard also released a second album with his side project Brad, titled Interiors. By the end of the year, Pearl Jam had completed a new, harder-rocking record entitled Yield. The album was greeted with enthusiastic reviews upon its February 1998 release, but its commercial fortunes weren't quite as clear cut. While their sizable cult embraced the album, sending it to number two its first week of release, Yield quickly slipped down the charts. Pearl Jam supported the record with a full-scale arena tour in the summer of 1998, issuing the concert LP Live on Two Legs at the end of the year; Jack Irons did not participate due to poor health, and was replaced by ex-Soundgarden drummer Matt Cameron. In 1999, Pearl Jam scored an unlikely pop radio smash with their cover of the J. Frank Wilson oldie "Last Kiss," originally released as the seventh in a series of fan club-only singles that had also featured several incongruous covers in the past. Demand from fans and radio programmers resulted in the nationwide release of "Last Kiss," and it eventually became the band's highest-charting pop hit to date, peaking at number two and going gold. The group returned in 2000 with the Tchad Blake-produced Binaural. In order to circumvent bootleggers, their subsequent European and American tours were recorded in full and released in an unprecedented series of double-CD sets, each of the 72 volumes featuring a complete concert.

Ten may be classic rock today, but it's easy to underestimate how radical Pearl Jam sounded back in 1991, even with Nirvana ascendant. After several long years of hair metal dominance, here was a band that could jam stadium-large, texture their sound darkly and densely, and explode the blues-rock template. Here was a frontman with an entirely new stage presence, whose voice strained hard for sincerity and whose songwriting expressed grave self-reckoning without resorting to easy sentiments or self-glorifying choruses. Against the odds—as well as against the band's wishes, apparently—their debut became a phenomenon, an alt-rock figurehead as crucial as Nevermind in ushering in and defining the parameters for mainstream rock. Vedder's self-doubts ran as deep as Cobain's, but he expressed them bluntly and directly rather than poetically and obscurely. Oh and also, he's still alive.

Deeply invested in the cathartic possibilities of punk and classic rock, Pearl Jam seemingly made music as a form of self-therapy, an idea that took hold with nearly a decade of alt-rock acts to come. The band is routinely blamed for the self-gratifying Stone Temple Pilots, Creeds, and Nicklebacks that followed Ten, but the band naturally never set out to remake rock music in its own image. Suspicious of the hedonism of the arena rock that preceded them, Pearl Jam were a solemn band, and Ten sounds nothing if not entirely serious about animating Vedder's self-doubts. At times, it's a bit overwrought ("I don't question our existence/ I just question our modern needs"), but the earnestness with which Vedder sang and the band played these songs belies the decade's reputation as a period of pervasive irony. Ultimately, the 1990s wouldn't have been so bad if Pearl Jam's followers hadn't aped their self-seriousness so relentlessly.

Nevertheless, Ten remains impressive and occasionally moving 18 years later, even gentrified with a shiny reissue. The public perception of the album is watered down thanks mainly to the excision of "Alive", "Jeremy", and "Even Flow" as singles. The latter two may be the album's least remarkable tracks: "Jeremy" is the most pat Freudian psychodrama on an album full of them, and "Evenflow" romanticizes homelessness as spiritually transcendent. But "Alive" remains potent not only because Vedder touches on some seriously transgressive shit here (dead fathers, hints at incest, survivor guilt), but mostly because the band rock the hell out of that coda.

Today, Ten lives and dies by its album tracks, and while there are a few clunkers, most are pretty ballsy in their disdain for expectations. Granted, as a new band with few realistic prospects for the kind of success they quickly achieved, Pearl Jam were working with a very different set of expectations than the ones retroactively assigned to them. On songs like "Once", with its insistent breakdowns, and "Black", with strangely dramatic vocalizations, there's a hardscrabble dynamic that the band would be unable to capture on subsequent releases. "Why Go" is ferocious in its outrage, with Vedder delivering his most pained vocals, and Stone Gossard and Mike McCready match him on every song, translating Vedder's howls into messy, edge-of-the-precipice solos and paint-peeling riffs like the one that anchors "Deep".

In addition to the original album as produced by Rick Parashar and mixed by Tim Palmer, the new reissue includes a second disc, titled Ten Redux, that includes a new mix by Brendan O'Brien. A few of these new versions appeared on 2004's best-of Rearviewmirror, and O'Brien, who has worked with Pearl Jam on most of their subsequent albums, brings Vedder's ad libs to the forefront, sharpens some of the guitar riffs, and generally cleans up the murkiness. Sounding like 2005 rather than 1991, Ten Redux misses the point: The album's murkiness was one of its chief attractions, its flawed spontaneity feeding the songs' of-the-moment intensity. Ultimately, these new versions have less to do with Pearl Jam's music than with O'Brien's superfandom.

Ten Redux closes with a paltry six bonus tracks. "2,000 Mile Blues" is atrocious Jimi worship, "Evil Little Goat" is Vedder's best Jim Morrison impersonation, and neither "Breath" (here retitled "Breath and a Scream") nor "State of Love and Trust" sound as vital here as they did on the Singles soundtrack. These tracks are obviously intended not to overlap with 2003's Lost Dogs: Rarities and B-Sides, but flipsides like "Dirty Frank" and "Yellow Ledbetter" were surprisingly popular satellites orbiting Ten, played often on radio stations that didn't typically delve that deep into any artist's catalog and shouted at concerts by fans who weren't that fanatic. Their absence limits the reissue, creating an incomplete portrait of the band in its earliest days.

Ten deserved better than Ten Redux and the paltry bonus tracks. Fortunately, the reissue also includes a DVD of Pearl Jam's 1992 performance on "MTV Unplugged". The fashions are of course dated (nice fuzzy hat, Jeff Ament) and Vedder's stool-bound intensity can be fairly ridiculous, but the DVD is a useful and entertaining document of their intense live sets. Thanks to the tight rhythms of drummer Dave Abbruzzese and bass player Ament, the songs lose little of their momentum in this setting, which handily showcases the guitar interplay between Gossard and McCready. But this is Vedder's show—a live, public debut for his idiosyncrasies. Taking the stage in a tight jacket and backwards baseball cap, he gradually unleashes himself during the show, first letting his hair down and then eventually losing the jacket. By show's end, he's balancing precariously on his stool and scrawling PRO CHOICE!!! on his arms with a Sharpie. Pearl Jam may have shunned the spotlight, but they were born showmen.

— Stephen M. Deusner, Pitchfork