“It all just fell together. No one really compromised toward each other at all. It was kind of a phenomenon, in a way. We’d all played music for six, seven, eight years and been in different bands, and we were feeling something that we’d never really felt before, with all the honesty and the way it was all coming out.”
Here we go then – the one where it all started. It would be somewhat redundant to try and offer one of my semi-reviews of such a well known and covered album so this one’s more about my relationship with Ten.
First, though; a quick, potted history on how Pearl Jam and Ten came to be…. On March 16th 1989 Andrew Wood was found in a comatose state by his girlfriend after od’ing on heroin. A prominent figure on the nascent Seattle music scene, Wood was the lead singer of Mother Love Bone a band which he’d formed with a drummer called Regan Hagar and two other blokes called Jeff Amend and Stone Gossard – both already established figures on the ‘scene’ thanks to their former band Green River, a band that could quite credibly claim to be the first ‘grunge’ band. Mother Love Bone had earlier signed to PolyGram and were awaiting the release of their album Apple. Three days after Wood’s overdose he was removed from life support and was shortly pronounced dead.
Wood’s death was a blow to the scene. In a way it was the first turning point and the wake up call to the reality of drug abuse that it hadn’t yet experienced -but that’s a different post. Gossard and Ament were devastated. Stone ducked out of sight and began writing harder edged music and began jamming with local guitarist Mike McCready who, in turn, realised they were on to something and encouraged Stone to reconnect with Jeff Ament. The three put together an eight song instrumental demo tape – with McCready’s former bandmate Chris Friel drumming on a couple and Matt Cameron, in a strange twist of fate, on the rest – to send out to find a permanent drummer and singer.
In the late summer of 1990, Ament and Gossard travelled to LA and gave a copy of their demo to Jack Irons hoping the former Red Hot Chili Peppers drummer would join their band. Irons couldn’t – he’d just signed up to a tour with another band in the name of guaranteed income for his just-about-to-start family but agreed to pass it on to any singers he knew. Turns out he knew a guy called Eddie Vedder who could hold a note…
Ten and Nevermind (released a month after Pearl Jam’s debut) became cultural phenomenons and ushered in a wave of commercial success and radio airplay that had been hitherto unknown to alternative rock and represented the breaking of the damn for the ‘grunge’ scene. It’s sold more than 13 million copies and remains the band’s calling card – their most commercially successful album and, in many case, the only album by the band that some people own.
And… I can’t blame those people for whom Ten represents the sole Pearl Jam marker in their collection. I mean – take a look at that mid-section: ‘Even Flow’, ‘Alive’, ‘Why Go’, Black’, ‘Jeremy’, ‘Oceans’ in one six-song burst. As debuts go, Ten is up there with the finest.
It’s one of hell of an addictive entry drug. I vividly remember my first taste in what was either late ’98 or early ’99. I’d tried to buy Yield not long after it came out based on a shite load of good reviews I’d read but the shop didn’t have the actual CD in – this was one of those places that displayed the cases which you’d take to the till and pay for before they pulled the disc from a little cardboard sleeve behind the counter in an effort to reduce theft – and bought OK Computer instead and had that avenue of sound opened up instead. But, sometime later, during my first year at Uni I dropped into a now long gone local independent called Ricard’s Records and picked up Ten and Live on Two Legs (again based on reviews). Both would serve as great entry drugs but it was Ten I first slipped into my car’s CD player that day and sat there hooked as the brief interlude of ‘Master/Slave’ gave way to the force of ‘Once’. That power, the dynamics and then Vedder’s voice! By the time I got to Pearl Jam I’d already had the misfortune to hear all the imitators before hearing the dude that stated that way of singing. And what was he singing? ‘I admit it’? ‘I am livid’? The inlay offered no real help.
I listened to it three times before letting it move on to the next tune and already knew I had a new favourite song. I’d later discover that ‘Once’ formed part of the Momma-Son trilogy with ‘Footsteps’ and ‘Alive’ – the three songs that Vedder put lyrics and vocals to from Jeff and Stone’s demo and that it, the middle of the trilogy, was about a man’s descent into madness and becoming a serial killer. All I knew then was that it fucking rocked my speakers out and I had it cranked up enough to pick up the “You think I got my eyes closed but I’m lookin’ at you the whole fuckin’ time…” mumble in the break down. Then there’s ‘Even Flow’… I mean yeah sure now I’ve heard it more times than I care to but hearing that for the first time.. and ‘Jeremy’, I mean, shit; this is the good stuff:
Not to mention ‘Black’ – the ballad that every ballad they’d later put out would be benchmarked against. I remember hearing that and just… you know it all connects. Yes there’s a degree of angst/cliche to all that early Pearl Jam and Seattle stuff that doesn’t necessarily age well but then, just seven years or so removed from its release, it still sounded fresh and genuine. It’s one of those things that warmed Kurt Cobain to them, eventually; Vedder really fucking means it. He’s not going through the motions.
But beyond those clutch of songs that everyone knows and still receive regular radio play closing on three decades on – the deep cuts on Ten are the best – ‘Oceans’, ‘Garden’ and ‘Release’ are what sealed the deal for me. The whole father-son thing was a big thing for Vedder in those early Pearl Jam records and it was all over this one: “Oh dear Dad, can you see me now? I am myself, like you somehow. I’ll wait up in the dark, for you to speak to me. I’ll open up.. Release Meeee… Release meeeeeee” I mean yeah you could eat the angst with a spoon but – again – the force in that performance.
I fell headlong into consuming as much of this new-to-me band as I could and it all starts with Ten. So…. why is it not at number one for me or higher up this list? Essentially: I don’t think Ten is representative of the band. The diversity and experimentation that would be the highlights of their studio albums hadn’t yet really began and while they’d played a fair few shows by the point they recorded the dynamic and tightness of the band wasn’t 100% there.
Not only that but I think the production and mix of Ten robs the songs of a lot of their punch. It’s all sort of lost in a kind of wash. In my digital ‘shelves’ I’ve got a boot labelled “First Week Rehearsal Demos” and, accuracy of the label aside, the versions of the same songs on that are a lot rawer and more powerful. Even Eddie’s vocals sound a little odd on the finished Ten compared to both demos and early live shows… even compared to his tracks on Temple of the Dog‘s ‘Hunger Strike’.
The band themselves obviously weren’t that keen on the final sound – they wouldn’t work with Rick Parashar on their next album and their next, long term producer Brendan O’Brien would be pestered by Jeff Ament to remix Ten for years before finally doing so in 2009, as Jeff stated: “somewhere in the late nineties, I found a rough mix tape of Ten. I played it on cassette and that’s when I started saying, ‘we have to remix Ten.’ It would usually happen after we’d been in a club or something, and we’d hear a song from it. It was like “Ugh! This is killing me!” At one point, I told Brendan I’d pay him to just do a version for me so if I had to listen to a song to relearn it or whatever, I’d hear the proper version.”
Essentially, very soon after recording, the songs from Ten took on a new harder, faster sound than what was captured and it very soon ceased to be a reflection of the band Pearl Jam were on their way to becoming. So, as much as I love Ten as the entry point into a long-lasting love of the band and the songs on it are faultless – it’s the live versions of those songs and O’Brien’s remix that I reach for more than my battered cd of the original studio album.