* I apologize for this link not working today. I got it up as soon as I could.*
Throughout my Pearl Jam song countdown, readers frequently requested I post each song together in one post, so that is essentially what today will be. I have taken out the Youtube videos and have listed each each entry I posted about all 160 songs. Looking back over every song's entry, I already miss doing this. Thankfully, I get to compile your own lists (over 150 submissions!) and post your own fan-voted Top Pearl Jam song list next week. I will also be paying tribute to some of your own comments, then delving into a ranking of the albums very soon, as well. Stay tuned for all sorts of goodies as we approach the release of Backspacer.
Unfortunately, the Examiner publishing tool will only allow me to post so much at once, so I will have to split this up into five parts.
160. Sweet Lew (Lost Dogs, 2003 - Recorded 2000 during Binaural sessions) - Bassist Jeff Ament's poor attempt at a diss song toward Mr. Lew Alcindor, a.k.a. Kareem Abdul-Jabbar. How they managed to include this on Lost Dogs, their 2003 B-sides collection, but leave off "Angel," remains a typical PJ-esque mystery.
159. Olympic Platinum (Christmas Single, 1996) - Bizarre, off-key cover of Nick DiDia's strange song that appeared on the band's 1996 Christmas Fan Club single. Not much to say except that it belongs right here.
158. Hey Foxymophandlemama, That's Me (Vitalogy, 1994) - An avant-garde sound collage a la John Lennon's "Revolution 9," from the Beatles' White Album. The track cannot fairly be called a song, although the band does play instruments on it. "Stupid Mop," as it is alternately called, is mostly known for the creepy kid who repeats disturbing phrases throughout, such as "My spanking...that's the only thing I want so much." Vitalogy was a weird album, but "Immortality" should have been the closer. This was just unnecessary.
157. Red Dot (Yield, 1998) - Another song that's not really a song, this one minute, seven second Jack Irons' composition is silly but fun, and largely out of place on the otherwise perfect "Yield."
156. Evil Little Goat (Ten Redux, 2009 - Recorded 1991 during Ten sessions) - I contemplated not including this minute and a half jam, but included it due to its mass release on this year's "Ten Redux." It is obviously just a joke Vedder was muttering into the mic that turned into a jam, and nothing more. Many fans considered it a serious find, but only because it went unreleased until this year.
155. Gremmie Out of Control (Lost Dogs, 2003 - Recorded 1996 for Music for Our Mother Ocean, Vol. 1) - Once again, silly and fun, this cover of the Silly Surfers track is easily forgotten in the midst of so many brilliant tracks on Lost Dogs.
154. Jingle Bells (Christmas Single, 2007) - A decent instrumental version of the holiday classic, but nothing special for the mighty PJ.
153. Bugs (Vitalogy, 1994) - An interesting but difficult meditation on the annoyance of media attention. Vedder wrote this sardonic, accordion-based song about the intense scrutiny he was facing in the midst of being the leader of the biggest band in the world at the time of its release.
152. Whale Song (Lost Dogs, 2003, Recorded 1996, Orig. Released 1999 for Music for Our Mother Ocean, Vol. 3) - Just like the title indicates, this Jack Irons-penned song is about whales. Its heart is in the right place, but the trite lyrics and mediocre music just plain fall short.
151. Pry, To (Vitalogy, 1994) - Vedder repeats "P-R-I-V-A-C-Y is priceless to me" in a tired drawl before screaming "P-R-I-V-A-C-Y" over and over in a sort of distorted climax, all while the band jams dissonantly in the background for one minute and three seconds. The third Vitalogy non-song on this list.
150. 2,000 Mile Blues (Ten Redux, 2009 - Recorded 1991, during Ten sessions) - A blues standard with a rip-roaring Mike McCready solo. While I love Vedder's vintage early-era vocal, there's just not a lot going on with it here. It's a good song, but the band has shown us time and again how much more they can do than just copy the late, great Stevie Ray Vaughan.
149. Happy When I'm Crying (Holiday Single, 1997) - A quirky, intriguing song that draws in the listener, but never quite takes him or her anywhere. The Jack Irons composition is notable for its psychedelic guitar styles, far out background noises and of course, the xylophone!
148. Don't Believe in Christmas (Holiday Single, 2002) - An upbeat, fun take on The Sonics' old holiday 45. It is garage rock at its finest. Be sure to check out that great organ.
147. Don't Gimme No Lip (Lost Dogs, 2003 - Recorded 1996 during No Code sessions) - The Stone Gossard song not chosen for the No Code album. It probably ranks as the lowest quality lyric the band has ever released, but gains a few points for Vedder's background vocal and its inclusion on setlists during the '05 and '06 tours. The best part live? Stone pretending to be a lead man, "Whoooo!" yells and all. Good times!
146. I Just Want to Have Something to Do (Holiday Single, 2001) - Along with certain versions of "I Believe in Miracles" (a song I unfortunately cannot include on this countdown), this song provides an acoustic, stripped down take on the classic Ramones sound. Note bassist Jeff Ament's vocal.
145. Last Kiss (Holiday Single, 1998, Lost Dogs, 2003) - One of the most famous songs in Pearl Jam's catalogue, its low spot on this list will not surprise the hardcore Ten Clubbers (I'm sure many of them wanted it in the #160 spot), but might shock the casual fans. It's a decent pop-rock cover of the J. Frank Wilson & The Cavaliers song (originally composed by Wayne Cochran), but it has been played to death, by both the radio and the band itself. The fact that so many people are familiar with PJ because of this song irks me and a whole legion of fellow fans, especially when we know how many superior covers the band has performed.
144. Evacuation (Binaural, 2000) - Possibly Pearl Jam's most challenging song and definitely one of its most controversial. Fans have been arguing about this Matt Cameron piece on the forums as long as I can remember, and for good reason. It contains some of the band's strangest chord progressions and key changes, but also some of Vedder's most fascinating lyrics, difficult harmonies and a catchy screaming chorus. An impressive piece of songwriting, but "Evacuation" just misses that special feeling that makes Pearl Jam Pearl Jam.
143. I've Got a Feeling (Ten Bonus Track, 1991) - My only wish is that I could have seen this one live back in '91 when the band jammed the hell out of it. However, as a massive Beatles fan, I have to comment that this version of the Lennon/McCartney classic is lacking the beauty and special feel that made the original so amazing. But like so many others on the low end of this list, it is damn fun. But check out the two videos for a 13-minute rendition that blows the roof off the studio track.
142. Get Right (Riot Act, 2002) - Perhaps even more hated than "Evacuation," another Matt Cameron composition earns more credit from me due to McCready's expert guitar work and that catchy coda. But it takes its low spot due to being a largely boring and uninteresting outing, especially with that one note riff throughout.
141. Hitchhiker (Lost Dogs, 2003 - Recorded 2000 during Binaural sessions) - A Bob Dylan-esque, bitter lyric carries this song, but the punky verses and chorus are musically stale for a band like Pearl Jam. However, the breakdown, build-up and subsequent instrumentation mid-way through the song deserve some credit. The thick guitar work and rising tension are classic PJ.
140. U (Lost Dogs, 2003 – Wishlist b-side, 1998) – A simplistic, poppy Eddie Vedder composition, reminiscent of (Vedder favorite) The Who’s early career up-tempo mod rockers. The lyrics are mildly entertaining but have little depth and no subtlety, but it is an enjoyable sing-along. Having only been played a dozen and a half times live, “U” serves as a little, head-bopping gem.
139. Leatherman (Given to Fly b-side, 1998) – Another song that recalls The Who, “Leatherman” is once again an up-tempo, largely major chord romp. Vedder obviously enjoys performing it live, sticking it in setlists more than one might expect. Another fun one that this author has just never been able to completely dig. Every time it ends it feels like something is missing.
138. Big Wave (Pearl Jam, 2006) – The “Avocado” record’s weakest track, this Jeff Ament tune follows a chunky, punky chord progression opposite some fantastic, intricate drumming by Matt Cameron and somewhat grandiose lyrics about surfing from Mr. Vedder. By far, the best parts of the song are the middle break (“Got me a riiide!”) and the coda, when the band really has a chance to shine instrumentally, Mike McCready’s searing guitar and Cameron’s drums interplaying beautifully.
137. Leaving Here (Lost Dogs, 2003 – Recorded for “Home Alive,” 1996) – An old Motown song written by the world famous, hit-churning trio of Holland-Dozier-Holland and covered by both The Who and Motorhead, this is a fun one. When performed live, it is a joy to watch Mike, Stone, Jeff and Eddie improvise tiny solo licks during the song’s breakdown. A song for the ladies, who, as Vedder stated in East Rutherford the last time they performed it, "keep the world on its axis."
136. Help Help (Riot Act, 2002) – “Help Help” has been labeled boring, monotonous and tired, but there is just something in there that sounds, well, good. Arty and full of trippy guitar effects, the song follows a stop-start pattern, culminating in a breakdown section (“Tell me lies, tell me lies”) that explodes with a Matt Cameron kick into the “Help me” chorus. Admittedly, Vedder’s vocals are lacking here, which I think is somewhat the point, but most PJ fans would probably rather hear the man wail. Oh, and the outro rocks.
135. Santa God (Holiday Single, 2007) – A Vedder-penned Christmas tune that provides that warm, fuzzy feeling we look forward to each December. Lyrically, Eddie explores Santa’s icon status during his youth, reaching that of a deity. Musically, the song has Byrds-esque chiming guitars, a twinkling piano and even jingling bells during the middle eight.
134. Aye Davanita (Vitalogy, 1994) – What a groove. Arriving with perfect timing between “Better Man” and “Immortality” on Vitalogy, “Aye Davanita” may be the most danceable Pearl Jam track. It never really goes anywhere, but it does keep on grooving throughout its three minutes of action. The vocals resemble chanting more than singing, but add to the funk of the process. It reigns as the finest and most enjoyable experimental track on Vitalogy, and one of the best of the band’s career.
133. Sonic Reducer (Holiday Single, 1992) – Classic punk. I was blessed with this raucous, intense Dead Boys cover at my very first Pearl Jam show and at the time had no idea what it was, but was desperate to find out. I consider this a quintessential live PJ cut. The “And I’ll be ten feet tall and you’ll be nothing at all!” breakdown serves as a prime example of how this band improves nearly everything it covers. (I had to pick an old, vintage video for this one.)
132. Mankind (No Code, 1996) – The Stone Gossard song that was chosen for the No Code record. The man was not blessed with great vocal chords and he has written a slew of superior riffs and melodies, but this is a fascinating listen. Ament’s bass and Gossard's guitar work during McCready's solo and the instrumental section stick out the most, reminding listeners that they have been a musical duo for about 25 years and play off of each other magically.
131. Ghost (Riot Act, 2002) – The two-chord wonder. My fellow PJ fanatic and old freshman year dorm R.A. Craig complained angrily about the fact that for the majority of the verses, Ament wrote two chords, utilizing less of the musical alphabet than even your average three-chord punk song. I responded by telling him that the chorus was awesome – and I still think it is. Vedder’s background vocals lift off as they sing “away, away,” and McCready’s lead is a fine one, demonstrating both power and restraint. But…yeah, the two-chord verses are pretty bland. One wonders what more the boys could have done with this tune.
130. Bushleaguer (Riot Act, 2002) - Perhaps the most controversial song in the Pearl Jam catalogue, “Bushleaguer” has been praised, demonized, picked apart, ignored and hated – a lot. More than any other song on the album, Vedder’s sardonic spoken word tirade against our previous president demonstrates why “Riot Act” was often so downtrodden, upsetting and troubled, as if a gray sky loomed over the band, along with each listener. The composition itself, a Vedder and Gossard collaboration, is at times funky, but more than anything else haunting and foreboding. Regardless of one’s political association, Vedder’s vocals during the pre-chorus – “blackout weaves its way through the city” – remind us how aware and fitting a singer he is, balancing just the right amount of bitterness with a dose of gloomy discontent.
129. Breakerfall (Binaural, 2000) - Jeff Ament’s bass stands out as the defining feature of the leadoff track from 2000’s “Binaural,” bouncing its way below thick guitars, punchy drums and raw, distorted vocals. Just like much of the rest of the album, this song seemed to take eons to grow on me, but after being spoiled with so many classic album openers, Vedder’s punk-influenced tune still seems to come up short in comparison.
128. Push Me, Pull Me (Yield, 1998) - Another polarizing PJ track, “Push Me, Pull Me” is the band in experimental mode, Vedder speaking the bulk of the vocal, rather than singing, and in the process delivering one of his finest lyrical pieces to date. Full of sound effects, including a sample of #149-ranked “Happy When I’m Crying,” the Ament composition is up-tempo and demanding, pulling out stop-and-go techniques, Sgt. Pepper-esque transitions and a plethora of echoes. But the words are the focus here, as Vedder attempts to make some sense out of life and human existence. A fascinating and remarkable listen.
127. Bee Girl (Lost Dogs, 2003 - Recorded 1993 during appearance on radio program Rockline) - Quirky, endearing and funny, this little Ament/Vedder ditty is utterly different than any other Pearl Jam song. It is completely acoustic, featuring solely Ament's bass and Vedder's vocal, but it is not quite a ballad - it is too odd to qualify. Ed's delivery, along with the lyrics, is likely responsible for that oddness. Something about this one seems sweet, and something about it leaves me a little uneasy...maybe it's just the thought of that girl from the Blind Melon video, who knows?
126. In The Moonlight (Lost Dogs, 2003 - Recorded 2000, during Binaural sessions) - Matt Cameron's choppy, unique songwriting makes an appearance here, including a beautifully layered pre-chorus and chorus. When Vedder sings, "A night bird is following..." the harmonies are so full that it can often induce goosebumps (like so many songs on this list). McCready's playing is at the forefront and whatever effect pedal he used on the song matches both the rock and the eeriness of the melody and harmonies.
125. Just a Girl (Ten Redux, 2009 - Recorded 1991, during Ten sessions) - A song long worshipped and sought after by many PJ fans finally saw the light of day in its official release on the Ten re-issue in March. A classic Stone Gossard riff and Vedder's passionate Ten-era vocals stick out, while the guitar solo and instrumental breakdown provide the tension that was one of the band's many trademarks in those early days. It rocks, but lacks some of the true spirit that rests within the hearts of most of its counterparts that wound up on Ten or even b-sides in '91 and '92. (The audio is not so hot, but it's from the first show at the Off Ramp! How could I say no?)
124. Pilate (Yield, 1998) - Brilliant verses. Ingenious middle eight. Perhaps Jeff Ament's finest lyrics. I hate to say it but: annoying chorus. Maybe it is the gorgeous instrumentation and vocal delivery that drenches the rest of the song, juxtaposed with that yelling, bland chorus, but something about "Like Pilate, I have a dog!" has consistently rubbed me the wrong way since February of 1998. Regardless, heaps of credit to Mr. Ament for the following:
"Stunned by my own reflection/ It's looking back, sees me too clearly/ And I swore I'd never go there again/ Not unlike a friend that politely drags you down and down and down and down..."
123. Gods' Dice (Binaural, 2000) - Apparently it is Jeff Ament day. Another composition from the bassist makes an appearance. A lively, energetic number, "Gods' Dice" is fueled by Ament and Cameron's rumbling rhythm section, pounding their way through the song's two and half minutes. They let up for a brief break featuring the song's title and then jump back for a final minute. Perhaps it is the lack of an instrumental intro or outro and thus Vedder's vocals bookending the song, but it pops up like a don’t-blink-or-you'll-miss-it moment and then it is over.
122. All Night (Lost Dogs, 2003 - Recorded 1996, during No Code sessions) - Making its first appearance in the band's live repertoire last year, "All Night" is a rousing, up-tempo track with great harmonies from Vedder. Jack Irons' drums are incessant, as are the guitars, pushing the song forward like a locomotive. Other than the overdubbed vocal coda, the finest feature of the song is the stop and start right before it. As usual, Pearl Jam created a song here that resembles nothing else.
121. Someday at Christmas (Holiday Single, 2004) - Pardon me for my soft spot, but this song just makes me feel good. If it were not a cover, and if I were not plagued with a bit of self-consciousness, I probably would have ranked this even higher. From the tambourine to Vedder's earnest singing to the funky wah-wah guitar, "Someday at Christmas" ranks as one of the best rock-based holiday songs of all time. Leave it to this band to take a Stevie Wonder/Jackson 5 track and not only make it their own, but make one believe that we really can change the world. I challenge you to listen without smiling.
120. I’m Still Here (Supposedly Japanese Lost Dogs Promo, 2003, but likely never released, only leaked - Recorded reportedly circa Riot Act sessions) - Ok, I am probably cheating here. This song was never officially released, and since I am not including other unreleased songs ("Anything in Between," anyone?), maybe this one should not be on this list. Ah, but it is just too good not to have here. One of Vedder's most personal and melancholy lyrics, the technically untitled piece known by fans as "I'm Still Here" takes the listener down a long list of bitter, isolated, self-defeating thoughts regarding lost love, but somehow remains cautiously optimistic in the end. Similar in style to No Code's "I'm Open," Ed's delivery is spoken rather than sung and the guitar drifts in and out like a quiet storm, mocking the roller coaster ride that is love. A perfect or horrifying song for the recently single, depending on how one looks at it.
119. Dirty Frank (Lost Dogs, 2003 - Recorded 1991 during Ten sessions) - State College, PA, May 3rd, 2003. Crowd chant: "Dirty Frank! Dirty Frank! Dirty Frank!" Eddie Vedder response: "That's disgusting." Pearl Jam's nastiest, most infamous recording, fans have requested "Dirty Frank" at innumerable concerts, but the band has played it merely twice in the past 15 years. A funky, Red Hot Chili Peppers-styled five and half minute jam that tells the fictional story of the band's bus driver, a serial killer cannibal named Dirty Frank who has "a recipe for anus ankle soup," but is "not crazy, per se, just a little strange when he gets hungry." Eventually, as the song reaches its climax and breaks into the final chorus before a long jam, Frank commits his ultimate crime when Vedder stops and in search of his lead guitarist asks, "Where's Mike McCready?" before realizing the awful truth that, "My God, he's been ate!" A hilarious, infectious song that remains hugely popular within the fan base, regardless (and perhaps because) of its subject matter.
118. Black, Red, Yellow (Lost Dogs, 2003 - Hail, Hail b-side, 1996) - This wonderfully oddball Vedder composition contains the lyric "hormones firing like a 50-foot Roman, yeah!" along with a classic breakdown and build-up. Near the end of the rising tension, right before it explodes for the song's coda, huge PJ fan Dennis Rodman makes a cameo appearance on an answering machine message, not saying much of anything but forever cementing himself in the band's legacy. Funny, catchy and most of all unique, "Black, Red, Yellow" contains some of Eddie's most distinctive vocals and a punk aesthetic not often reached even in some of the band's more hardcore songs.
117. The Golden State (Holiday Single, 2008) - Another song that barely qualifies for this countdown, "Golden State" is here because it was released on last year's holiday single under the artist title "Pearl Jam." The song is actually a collaboration between Vedder and Sleater-Kinney's Corin Tucker (who previously backed Vedder on "Hard Sun" from his Into the Wild soundtrack). The duo are covering John Doe, their vocals and Vedder's acoustic guitar the only instrumentation. I was unfamiliar with the song until hearing this rendition, but it is uplifting, pretty and Corin Tucker once again manages not to annoy the listener to death by abstaining from her usual yelping. Instead, she joins with Vedder to create gorgeous harmonies that provide most of the highlights of the song.
116. World Wide Suicide (Pearl Jam, 2006) - The lead single from the Avocado record is an angry, pumped up political rocker written by Vedder. When the single become a huge online hit in March of 2006, after a long, long wait since 2002's Riot Act and 2003's Lost Dogs, I recall immediately being more interested in the new sounds of the b-side, "Unemployable," but still singing along enjoyably to "WWS." After drowning myself in the self-titled record all summer after its release, it became clear to me that the song was the most boring and least inventive on the album and did little to take Pearl Jam to new heights. It did not help when the band beat it to death during that year's tour. The protest lyrics are the highlight for this listener, glued together by Vedder's heartbreaking imagery.
115. Cropduster (Riot Act, 2002) - Matt Cameron's composition is sprinkled with beautiful instrumental touches that demonstrate his and the band's masterful ability to arrange music. McCready's lead guitar is doubled with a barely noticeable acoustic guitar following the first chorus, a miniature solo that speaks volumes for Pearl Jam's knack for subtlety. The coda is the song's main highlight, Vedder's high background harmonies shining as he sings, "The moon is rolling round the world," while the band throws various elements over the song's main riff repeating underneath.
114. Satan's Bed (Vitalogy, 1994) - Occurring some time around 13 years of age, Vitalogy was the first Pearl Jam album I bought. When I heard "Satan's Bed" for the first time, it somehow managed to scare me, rock my face off, and make me laugh in a way that only a line about "suck(ing) Satan's d**k" can, especially when one is 13 years old. Each listen deepens the dark lyrics, Brendan O'Brien's fine production and Stone Gossard's wailing guitar work. The song is much more grown up than my young mind believed it to be when hearing it so many years ago, and Vedder delivers one of his fine lyrical motifs in the second verse:
"Model, role model, roll some models in blood. Get some flesh to stick so they look like us. I s**t and I stink, I'm real, join the club. I'd stop to talk but I'm already in love."
113. Rival (Binaural, 2000) - Had I written this countdown two years back, I probably would have ranked "Rival" about 25 places lower than #113, not coming to terms with Gossard's chunky rock stomp until I listened to Binaural for about the 500th time. Throw in commentary about the 1999 Columbine massacre, brilliantly double tracked vocals (including some fine, distant screaming from Ed), and a haunting piano, and the song is yet another slow builder, a piece that grows and develops in the listener's consciousness over time.
112. Habit (No Code, 1996) - Eddie Vedder's "Habit" rocks. Out of the driven, punchy, up-tempo numbers he was writing during the No Code era, "Habit" is the most focused and rollicking of the bunch. A piece regarding the hordes of friends and acquaintances Vedder was witnessing wallow into the throes of drug addiction, the refrain of "Never thought you'd habit" is a reminder of how anyone is susceptible to the terrifying disease. When the song breaks and Vedder mutters, "Speaking as a child of the 90's," he reminds us how many wonderful minds and hearts we were losing in the era and how truly ugly the scene was - and is today. The outro jam is a great one, McCready, Gossard and Vedder's guitars ripping and roaring over Jack Irons' powerful drumming.
111. 1/2 Full (Riot Act, 2002) - Mike McCready shines on this Jeff Ament tune, taking his blues heroes' styles and turning them into his own, new animal. The studio outing is loud, bombastic and righteous, but it is on the stage where this song comes to life and the band jams it out into something greater than it ever was on the record. A meditation on the madness of humankind ("Won't someone save the world?") and the superiority of nature and the wilderness ("Far from the lights of the city, the elements they speak to me"), "1/2 Full" is pessimistic and resentful at politics and men of power, but its final two minutes live offer a reminder that what we are capable of as people is not all bad.
110. Green Disease (Riot Act, 2002) - A rousing, punk-tinged Vedder composition opens today's list, marked by Eddie's great opening riff and a marvelous bassline from Jeff Ament. Cameron's drumming is also key here, as it provides much of the fuel for the fire of the song. While Vedder's vocals (as on much of the rest of Riot Act) are somewhat lacking, it is his lyric that is the star of the show here. E.V. has had a knack for dark imagery throughout his career in Pearl Jam, and with "Tell the captain 'this boats not safe and we're drowning,' turns out he's the one making waves," he delivers one of my personal favorite themes, obviously commenting on U.S. leaders at the time, but in a way anyone can relate to and understand.
109. Thin Air (Binaural, 2000) - Stone Gossard's "Thin Air" is a sweet, simple little love song, and thus far in the comments I have perused during this countdown has appeared to be even less popular within the fan base than I previously thought it to be. But to me, it is a dazzling display of the band's versatility. Sticking "Thin Air" between "Nothing as it Seems" and "Insignificance" guaranteed it to stand out and be a unique entry on the album, even in the midst of several other soft tracks. Gossard plays a warm acoustic guitar, providing the backbone of his song, while Vedder sings Gossard's lyrics earnestly, bringing his voice down to just the right volume and tone when the song reaches its breakdown and the key changes first to a lower level, then rises back up for the grand finale. The song probably receives most of its criticism due to its one-dimensional "my baby's in my arms" lyrics, but it remains a nice little treat from a band known more for its edge.
108. Whipping (Vitalogy, 1994) - The stomping punk rock of Eddie Vedder just will not stop. There has already been, and will continue to be, a large group of songs representing Vedder's love for the short, fast and angry raucous rock 'n roll romp. "Whipping" is Eddie Vedder, the vocalist, lyricist and performer at his indignant best, spitting his way through the song with nasty bitterness and sarcasm. Speeding the song up and adding the stop and start near the end during live performances infuses it with even more of a frenzy than it contained in its original incarnation on the Vitalogy LP. The thickness of the band's three-guitar attack provides much of the aggression, Vedder's voice barely able to make its way through the mix - which is just the way it should be in punk rock.
107. Around the Bend (No Code, 1996) - Demonstrating the various styles Pearl Jam has tried on, we move from the craziness of "Whipping" into the lullaby of "Around the Bend." Another Vedder song, "Bend" is rich with grace and sweetness, the acoustic guitars and piano supplying the bulk of the melody, until McCready steps in and plucks a perfect little sleepy, jazzy, barely-there solo. The lyrics are gentle and loving, with the sole exception of "how I want your soul to keep," a somewhat creepy idea when watching your significant other drift off into slumber.
106. Dead Man (Lost Dogs, 2003 - Off He Goes single, 1996) - Intended for the soundtrack of the Tim Robbins film "Dead Man Walking," this haunting Vedder tune is a dark, unsettling piece written from the shoes of a man facing the death penalty. "The hammer that I once brought down now hovers over me," the man laments, Ed's delivery flawlessly reflecting the speaker's fear, self-loathing and acceptance. The song does not seem to be too sure of itself, however, as it has been titled both "Dead Man" and "Dead Man Walking" in different listings. Under either title, Vedder rises to the challenge of writing an incredible song about a nearly impossible subject, reaching inside the listeners' minds and helping us find parts of our souls we may not have known existed.
105. Severed Hand (Pearl Jam, 2006) - Pearl Jam has never been known as a drug band, but here Vedder explores the world of hallucinogens and psychedelics, responding to the question "'Got some kicks, wanna take a ride?'" with a celebratory "Yeeaeaahhh!" Musically, the song is a powerhouse, the trio of guitarists once again juicing up the track with distortion and syncopated shredding. McCready particularly shines here, his lead lacing the second verse and chorus, sounding a sort of alarm during the key change and breakdown, all before exploding for over a minute of soloing, jamming madness, giving the song an exciting, commanding climax. My one complaint here that cost the song some points is that the lyrical, druggie journey just comes across as shallow and somewhat dull. If Vedder had written the entire piece from the angle of the middle eight, i.e., "Like a tear in all we know, once dissolved we are free to grow," the lyric would have been far superior. It can be funny at times, depending on one's mood, but is just missing that special Vedder verbal magic.
104. Hold On (Lost Dogs, 2003 - Recorded 1991 during Ten sessions) - An obvious Ten-era composition, this Stone Gossard song is anthemic, mournful and yet somehow triumphant in a reluctant way. Vedder seems to be giving himself credit, saying that "I know I could be something if I held on," but in his voice and in other lines he seems resigned to the concept that he probably does not know how to hold on and therefore has little promise for "life (to) be different." The band re-recorded and altered many parts of their songs for the Lost Dogs release, but it is never more apparent than here, as Vedder's vocals are distinctly 21 century Eddie, as opposed to his raw, fantastically uninjured Ten-era sound.
103. Santa Cruz (Holiday Single, 2008) - Featuring a 12-string guitar, prominent harmonica and an outstanding piano melody, last year's A-side of the annual holiday single (which arrived in Spring of this year, of course) comes across as an ode to the classic mid-1960's folk rock of The Byrds, Bob Dylan and The Beatles. Not only due to the music, but also because of the somewhat grainy production, if one was unfamiliar with Eddie Vedder's voice, he or she might be inclined to think this song was actually recorded back in the classic rock era. The lyrics reference Neil Young, but seem more Springsteen-inspired than anyone else: "I got an old friend, he remembers me from way back when we were seventeen. We got kids and we're older now, but when I see him, we're still seventeen." Hey, throw Bruce Springsteen, Neil Young, The Byrds, Bob Dylan and The Beatles together in a melting pot and I'll listen any day, any time.
102. Nothing as it Seems (Binaural, 2000) - Mike McCready's lead guitar is prominent once more in this Jeff Ament song, bluesing its way through the introduction, then taking a wild journey through the solos, wah-wahing, screeching and wailing. It is some of the guitarist's finest work, an adornment without which the lead single from Binaural would be quite empty. Ament's downtrodden lyrics, which Mr. Vedder delivers in appropriate downtrodden fashion, are abstract and colorful - which the music echoes - but lack direction and focus and are difficult to decipher, but remain fascinating nonetheless. I know I have said it a few times already, but once again a Binaural track makes an appearance and I must admit that it took a very, very long time for this one to sink its way into my skin, but since it grew on me I look forward to it every time.
101. Save You (Riot Act, 2002) - It is credited to all five members of the band, is lyrically sort of a flip side to "Habit" (# 112) and it is a hell of a way to get a crowd moving near the opening of a concert. "Save You" is the kind of song one puts on if he or she is on a mission. Its music is a big sound, moves like a jungle animal and has no regard for victims left in its wake. The lyrics reflect the sort of intervention mercenary mentality one can catch on an episode of "The Cleaner." Vedder lets his struggling friend have it, viciously telling him "I'm gonna save you, f***er." If not for the repeated profanity, the song probably would have been a more apt lead single from the Riot Act album, but the band is known to make odd choices. Although the song is not even a mere seven years old, the bass break in the middle is the stuff of legend at live concerts, Ament's bass and Vedder's double time clap joining together to energize and prepare the audience for the best show on the planet.
100. Wishlist (Yield, 1998) - A direct, simple and warm song solidifies its spot at #100. Eddie Vedder's "Wishlist" is delightful. Regardless of all the hatred it receives for being corny, easy or poppy, it is about as uplifting as Pearl Jam gets. Vedder sifts his way through a long list of circumstances, fantasies, etc. he desires, backed by ringing major chords and three different lead guitar opportunities for Gossard, McCready and Vedder, respectively. Another song obviously infused with and influenced by 60's pop rock, "Wishlist" helps the listener cope with the concept that everyone suffers with always wanting more, and although Vedder never comes out and says it, the music lets us know that even without getting what we want or always being satisfied, we will all be okay.
99. I Am Mine (Riot Act, 2002) - Riot Act's lead single is one part foreboding darkness, one part hopeful overcoming and one part classic rock anthem. It takes a while for the song to really reach its greatest heights, first traveling through composer Vedder's troubled thoughts - "The ocean is full 'cuz everyone's crying" - then reaching an instrumental break that explodes into the final chorus that somehow sounds better than the first two, especially as it transitions into Mike McCready's "Daughter"-esque guitar solo finale. Check out Vedder's solo bootlegs for the finest versions of "I Am Mine" that this listener has heard.
98. Glorified G (Vs., 1993) - So the story goes that former drummer Dave Abbruzzese bought a gun and it so intensely angered Ed that Mr. Vedder immediately wrote the lyrics to "Glorified G," a satirical send-up of the NRA and causeless defenders of the Second Amendment. The song is based around a McCready-penned country rock riff, exploding into screaming verses and culminating in a rocking solo coda that mimics the machismo Vedder seems to associate with gun ownership. The song contains one of Stone Gossard's most well known background vocals, his voice doubling with Eddie's for the chorus: "Glorified version of a..." as well as his "life comes" refrain during the bridge prior to the outro solo. This was one of my favorites during my initial Pearl Jam discovery period, but has since dropped and now enters the countdown as the first track from 1993's classic LP, Vs.
97. I’m Open (No Code, 1996) - World music, spoken word and Tibetan monk-influence all make a mesmerizing impact upon the soft and hypnotic meditation of "I'm Open," composed by Jack Irons and Eddie Vedder. I find it unfortunate but unsurprising that Vedder omits the spoken word bookends of the song when performing it live. Out of all non-singing deliveries he has given on record, this is probably his finest, due somewhat to the tone of his voice during the No Code era, but largely as a result of a blinding piece of poetry. Between the swirling guitar work and the tribal drumming, the song grows on the listener not just over time, but also over one play, digging its way into the subconscious.
"When he was six he believed that the moon overhead followed him/ By nine he had deciphered the illusion, trading magic for fact...No trade-backs...So this is what it's like to be an adult / If he only knew now what he knew then"
96. Crazy Mary (Sweet Relief: A Benefit for Victoria Williams, 1993) - "Crazy Mary" is a cover that has become legendary live, a song most people think of as Pearl Jam, rather than a song the band consistently covers. The studio version pales in comparison to most of the group's live renditions, particularly since the 2003 tour. Stone's addition of the acoustic guitar, Boom Gaspar's organ and his instrumental battles with Mike McCready's electric lead, and especially Vedder's vocals have given the song new life. "Crazy Mary" has evolved into an entirely new breed, Vedder using its "take a bottle, drink it down, pass it around" refrain and extended live jam as cause for celebration, offering his signature wine bottle to the front of the audience while the band lifts the song out of the so-called "grunge" era and into its own unique version of a modern rock jam band. It would probably be higher on this list if not for the so-so (in comparison) studio outing.
95. Parting Ways (Binaural, 2000) - Binaural's closing track, "Parting Ways" is a Vedder composition loaded with strings, its cello a chilling tribute to the subject at hand - loss. The first verse narrates a split from the woman's point of view: "She knows their future's burning, but she can smile just the same/ and though her mood is fine today, there's a fear they'll soon be parting ways." The second verse switches to the male perspective, who is "standing, like a statue, a chin of stone, a heart of clay/ and though he's too big a man to say, there's a fear they'll soon be parting ways." Once the song hits the coda, the strings mourn achingly and Vedder wails the song's final refrain of "drifting away" into listeners' hearts, leaving us all wounded but a bit wiser.
94. Rats (Vs., 1993) - "Rats" is a political social commentary song driven by a funky yet melodic Jeff Ament bassline, some raunchy, nearly southern yet still 70's funk-inspired guitar work, some mean and nasty Vedder vocals and a repeated Michael Jackson shout-out ("Ben, the two of us need look no more...") throughout the slow, long fade-out. That sounds to me like it would not work, but somehow, it does when played through the lens of Pearl Jam. Vedder's lyrical theme of comparing rats to politicians is a stroke of genius, powered by their positioning in paralleled verses and built upon the foundation of the singer's gritty delivery. Abbruzzese's drumming deserves some credit here, too, as his fills maximize the funk of the rhythm section and create that nasty feeling for the listener to match the image of thousands of underground urban creatures that run our universe.
93. Can’t Keep (Riot Act, 2002) - When Eddie Vedder performed a monumental version of "Can't Keep" at their 2003 Benaroya Hall show in Seattle, Washington, the singer introduced the song by simply stating, "This is for Elliott." Singer-songwriter Elliott Smith had passed away the day before the performance, and Vedder sent him off with his ukulele and the lines, "I've lived all this life like an ocean in disguise/ I don't live forever - you can't keep me here." This live recording trumps the studio version magnificently, outweighing its passion, emotional mood and listener response. The opening cut from 2002's Riot Act is still a marvelous one, however, and rests its head between two classic Pearl Jam cuts on this countdown.
92. Lukin (No Code, 1996) - The quintessential Pearl Jam punk song. When No Code was first released in 1996, MTV went out on the streets and tested the band's new sound on random listeners. After hearing the glorious one minute, two second "Lukin," one snotty girl remarked that "He (Vedder) sounds like a dog - I can't understand anything he's saying." Something tells me that girl had never listened to hardcore music. But Vedder's lyrics in "Lukin" represent his hatred for fame maybe better than any other song, telling the story of a crazed fan who harassed him and informed him he did, in fact, "father by rape her own son." "Lukin" fits on No Code because the album is purposely scattershot and all over the board, i.e. it has "No Code." In live shows the band tears through it, usually taking ten seconds even fewer than its short appearance on the record, whipping the audience into a furious frenzy in the process.
91. Life Wasted (Pearl Jam, 2006) - For those wondering where in the world "Wasted Reprise" is (it's been commented on at least three times thus far), the answer is just that I have not listed it yet and that, yes, I believe the reprise to be superior to "Life Wasted" itself. But don't get me wrong - I love this song. Stone Gossard's composition served as a great opening track to 2006's self-titled album, a ferocious dual guitar attack and one of Vedder's fine lyrical tributes to the late, great Johnny Ramone. The bridge is particularly brilliant, with Vedder posing important questions while Cameron's drums rumble beneath the chiming guitars of Gossard and McCready:
"Darkness comes in waves/ Tell me, why invite it to stay? You're warm with negativity/ Yes, comfort is an energy, but why let the sad song play?"
A final chorus sounds, the band builds and McCready lays down a great solo to round off the track, Pearl Jam back in the forefront of rock in spring of 2006.
90. Soon Forget (Binaural, 2000) - Inspired by (and basically ripped off from) The Who's "Blue, Red and Grey," "Soon Forget" is reportedly the song that broke Eddie Vedder's writer's block during the Binaural sessions. Ed's ukulele chords are a teensy bit different from Pete Townshend's (whom Vedder thanks in the album's liner notes), but follow a similar pattern. Within the pretty melody, Vedder tackles a story about a man who indulges himself in his money and shuns the rest of humanity and the world at large, cleverly paralleling the life of the richest man in town to the normal story of the town drunkard. After all, it seems, each man often ends up sharing the same destiny.
89. You Are (Riot Act, 2002) - Binaural and Riot Act both saw the band delving deeply and earnestly into the realm of experimental art rock. The opening guitar riff to "You Are," filtered through a drum machine, demonstrates the band's fascination with progressive rock and venturing into new territories, as the Matt Cameron-penned composition travels leaps and bounds past anything the band had attempted previously. Vedder and Cameron co-wrote the lyrics about love and near worship. Vedder sings beautifully, encapsulating the power of lines such as "Love is a tower of strength to me/ I am the shoreline, but you're the sea" in a soaring vocal. One of the finest songs from Riot Act, "You Are" is a prime example of what Pearl Jam can do when it lifts its stubborn head out of its ways and stretches itself beyond its normal patterns, fears and insecurities.
88. Of The Girl (Binaural, 2000) - It was listening to "Live at Benaroya Hall" that really sold this song to me. "Of The Girl" was the show's opener and never before had it been so obvious to me how rich and colorful this Stone Gossard tune really is. When I traveled back to the studio version on "Binaural," I felt as though I had been wearing blinders when first encountering the song and had somehow missed all that it has to offer. Gossard's layered acoustic guitars and McCready's bluesy lead, underscored by inventive percussion by Cameron, along with distant and foggy sound effects reaching forward and backward in the mix, all make for a listen marked with intensity, passion and bare-bones honesty. In hindsight, the song is hypnotic, the soundscape so broad and spatial that it never at all feels close to its five-minute length.
87. Drifting (Lost Dogs, 2003 - Holiday Single, 1999) - Another I-dare-you-not-to-smile-while-listening recording. Eddie Vedder's "Drifting" is his take on John Lennon's "I'm Only Sleeping" (from the Beatles' classic album Revolver), only much more uplifting and less bogged down by marijuana, leaving no sign of the bitterness for which Lennon was so infamous. Playing a simple chord progression on his acoustic guitar and adding a bluesy harmonica, Vedder essentially performs solo, singing about defying the “suitcoats” of the status quo by simply “drifting away,” and not worrying about the “money to be made.” One of Ed’s finest lines appears at the end of the first verse, as he declares, “it’s not the world that’s heavy, just the things that you save.” A profound thought indeed, but the ultimate superstar of this show is Eddie’s own harmony vocal, wailing hoarsely in the background through half of the song and containing all of the freedom, loneliness and peace found within the song itself.
86. 4/20/02 (Lost Dogs, 2003 - Recorded 2002, during Riot Act sessions) – A song I believe has never gotten its due, “4/20/02” is a desperate, stinging and heart-wrenching eulogy for the late lead singer of Alice in Chains, Layne Staley. Consisting of only Vedder’s electric guitar and almost crying vocal, the song is hidden at the end of “Bee Girl” on Disc Two of Lost Dogs, beginning just after the six-minute mark of the track. Vedder wrestles with two difficult themes lyrically in the song, one being artists who steal and will continue stealing from Mr. Staley’s vocal style, the other being the idea of drug addiction in loved ones and how “the using takes toll.” Ed recorded the song the day he found out the news of his old friend’s death, hence its title, and his voice is so pained that it is impossible not to feel much of the same. For anyone who appreciates the anguish and loss of this subject, and/or has his or her own personal experience with it, this song is purely essential.
85. Wasted Reprise (Pearl Jam, 2006) – This song’s placement has a handful of people thinking I am just a nut job, but I believe it to be one of the most beautiful things the band has ever recorded. Once again only a single instrument accompanies a Vedder vocal, this time in the form of Boom Gaspar’s breathtaking organ. Ed delivers the “Life Wasted” chorus in a lower register, the hope of the original song more apparent and believable than in that original form. Since the song’s release in 2006, the band has placed the reprise in effective spots in concert setlists, using it to open shows and encores, as well as the introduction to perfect pairs, such as its song of origin, “Life Wasted,” “Better Man,” “Man of the Hour,” and my personal favorite (as witnessed at Night One of last year’s two nights at Madison Square Garden), “Porch.” “Wasted Reprise” is everything that this band is about, all in a mere four lines and 50 seconds.
84. Army Reserve (Pearl Jam, 2006) – On the Avocado record, “Wasted Reprise” arrives mid-way through side two, giving away perfectly to the anti-war glory of “Army Reserve.” A Jeff Ament composition with lyrics by Vedder and Damien Echols, a member of the controversial West Memphis Three, the song is funky without the funk and rocking without a really driven rock presence. The true soul of the song is in the lyrics, which address the loved ones of soldiers away in Iraq in a war with which the speaker obviously disagrees. Vedder’s vocal delivery of the lyrics is phenomenal, sending chills up my spine every time I hear him sing, “And mom, she reassures to contain him, but it's becoming a lie/ She tells herself and everyone else father is risking his life for our freedoms.” The yearning feel of the song culminates in the end with a minute-long instrumental jam full of intricacies the band saves for only its most emotional outings…and this is one.
83. Spin The Black Circle (Vitalogy, 1994) – Vedder’s devoted dedication to his favorite way to experience music – vinyl. “Spin the Black Circle” won a Grammy Award for “Best Hard Rock Performance,” although the song is pure post-punk spitfire. Based around a mean, amped-up riff by Stone Gossard, “Spin the Black Circle” is another one of those Pearl Jam songs that beats the crap out of the audience at live shows. Vedder lays out the lyrics giftedly, painting a dichotomy between a music fanatic’s love for vinyl records and a drug addict's obsession with his or her substance(s). His yelling vocals are hoarse as he screams, often breaking mid-note to great effect. A special shout-out to the barely audible “Wow!” at the tail end of the song.
82. Undone (Lost Dogs, 2003 – “I Am Mine” b-side, 2002) – Played live a mere three times, “Undone” is a pretty little gem of a song regarding the power of the individual in a voting booth. Vedder’s songwriting is on full display here as he layers the track with creative chord progressions and dazzling background and harmonies vocals. His lyrics are humble and hopeful: “Everybody, they know me there/ Don't get any second glances/ Chances are that they don't care,” and “Can't wait for election day/ Witness the occupation/ Corporations rule the day/ Well you know the pendulum throws/ farther out to the one side, swinging/ has to sweep back the other way.” After all the hope and prettiness of the first 95% of the song, Vedder lays down a surprising, awesome little mini-jam at the end, drums crashing and guitars rockin’.
81. Gone (Pearl Jam, 2006) – Vedder’s getaway ballad tops off the bottom half of the countdown appropriately, sending us off in glorious fashion. Another song demonstrating the direct lineage of The Who to Pearl Jam, “Gone” once again points right to Mr. Pete Townshend. As with “Soon Forget,” Vedder thanks “P.T.” in the liner notes. Opening with a soft acoustic guitar and light electric accompaniment, the song begins like a folk rock requiem, soon roaring into life as a classic rock anthem as it enters its chorus, Vedder wailing and singing “I’m gone, long gone, this time I’m letting go of it all…so long, this time I’m gone.” McCready’s riffing sounds like it could have been on any Zeppelin album and melds nicely with Gaspar’s background organ. Although Vedder admitted at an ’06 show in East Rutherford that it was originally Bruce Springsteen’s “Atlantic City” that got “Gone” going, the “P.T.” reference becomes clear in the song’s coda, when Vedder quotes The Who’s “Let’s See Action,” with the line “nothing is everything.” Vedder expands it and raises the bar, exclaiming, “If nothing is everything, I will have it all.”
Comments
Who knew you could write? Hey from Pensacola!
Got something to say?
Examiner.com is looking for writers, photographers, and videographers to join the fastest growing group of local insiders. If you are interested in growing your online rep apply to be an Examiner today!