Introducing people to a band is often a matter of sharing what you enjoy about their music. In Pearl Jam’s case it’s definitely their deep cuts. This is the second part of a 5-part series. You won’t find Alive, Even Flow, Jeremy, Daughter or even Better Man on this list. It’s not that list. On this latest instalment though, we will take a look at five more Pearl Jam’s songs from a period where they really began to experiment with their sound. Interestingly, by 1996 grunge was dead or at least waning, but not Pearl Jam who were about to throw the cat amongst the pigeons with something fresh and exciting, even if it meant alienating mainstream listeners. Enjoy!
Immortality (from Vitalogy, 1994.)
Did Eddie Vedder write Immortality about Kurt Cobain? The answer is: “No, (it) was written when we were on tour in Atlanta. It’s not about Kurt,” Vedder told the New York Times back in November 1994. “Nothing on the album was written directly about Kurt, and I don’t feel like talking about him, because it [might be seen] as exploitation.”
But it is easy to see the connections between the lyrics and Cobain’s suicide in April 1994. Yet despite Vedder’s coded lyrics, Immortality is a fan favourite, so much so that it is often singled out as one of the best songs on Vitalogy (1994). But if I were to introduce this song to new listeners to Pearl Jam, they would be totally surprised by its dark bluesy nature. The song is also notable for Dave Abbruzzese’s cymbals which sound like big ocean wave smashing into the shore and Mike Mc Cready’s stirring guitar solo (beginning at the 2.18 mark) which augments the melancholic mood of the song.
I Got ID (from Merkin Ball EP featuring Neil Young, 1995).
This song in my opinion is one of a handful of monumental songs from Pearl Jam’s long career. It was the beginning of a new era (highlighted by experimentalism and a strip-down approach) that would later be defined by No Code (and Yield and Binaural in the near future.) It came to fruition in the studio in the last days of Neil Young’s Mirror Ball recording sessions, when Young asked Vedder to contribute a new song for his album. So Vedder isolated himself and twenty minutes later he had apparently written I Got Shit (later retitled as I GOT ID), a song about yearning, love, understanding and maybe even the acceptance of those things beyond our control. It was recorded with Vedder on guitar and vocals, Neil Young on lead guitar, Jack Irons on drums and Mirror Ball and Pearl Jam’s record producer Brendan O’Brien stepping in for a sick Jeff Ament on bass.
While some might argue this is far from a Pearl Jam record because of a lack of contribution from McCready, Gossard and Ament, it’s worth noting that the members of Pearl Jam often brought music to the table individually.
In short, I Got ID and Long Road, another new song written during the Mirror Ball sessions by Vedder, were omitted from Neil Young’s album. The two tracks would later be released on Pearl Jam’s humorously title EP Merkin Ball with Neil Young’s blessing.
On a personal note I absolutely love this song. It would easily slot into my top ten Pearl Jam songs of all time. For my mind what makes it brilliant is Neil Young’s spirited lead guitar.
Hail, Hail (from No Code, 1996.)
This song kicks ass! Period. Nothing is more joyous than an a rock song about love. Right? But we are in new territory here. Vedder is seemingly all over the place. He’s romantic. “Hail hail to the lucky ones / I refer to those in love”. He’s solemn. “Is there room for both of us? / Both of us apart? / Are we bound out of obligation / Is that all we’ve got?” He’s cynical. “I sometimes realize / That I can only be as good as you’ll let me / Are you woman enough to be my man?” He’s repentant. “I can be new / You underestimate me.”
Hail, Hail may not be the love song you want it to be. But it’s the love song you need to hear. Ask yourself why so many relationships fail? Then asks yourself how can I be a better partner? Is that not the point of this song? I think it is. Take a listen to its raw energy. This is a frantic song where punk and classic rock collide around a Stone Gossard riff.
In My Tree (from No Code, 1996.)
The brilliance of No Code’s In My Tree endures in its lyrics about achieving a sense of calm and peace in the chaos of everyday life. Eddie Vedder during this period was relentlessly being stalked. He couldn’t leave his home without fearing for his safety. While other motivating forces may have also come into play, In My Tree is for better or worse Vedder’s response to the world to please just leave me alone.
“Up here in my tree, yeah/ Newspapers matter not to me, yeah/ No more crowbars to my head, yeah/ I’m trading stories with the leaves instead, yeah.”
Musically In My Tree is instantly recognisable by Jack Irons’s tribal drum roll, hi hats and crash cymbals. Iron’s is quite frankly on fire here! It’s also worth noting he is a completely different drummer to the hard-hitting Dave Abbruzzese (VS. and Vitalogy). On No Code he incorporates a world music feel to his drumming making his influence felt throughout the album. (The casual Pearl Jam fan should also listen to Iron’s drumming on Who You Are.) And while Iron’s planted the seeds for this track with his experimental beat, the rest of the band shines too, as the song builds and heightens with melodic fury, especially Jeff Ament with his sublime bass.
Smile (from No Code, 1996.)
It’s true Eddie Vedder often steals the show with his songwriting. But on Smile, Jeff Ament’s solitary songwriting contribution on No Code, he reminds his bandmates of his place and importance in Pearl Jam. Alongside his bandmates Ament digs deep into his bag of tricks and what emerges is an inspired Neil Young song. Smile is also notable in the Pearl Jam back catalogue for the fact that Ament switches roles with Gossard by playing guitar here. But what makes this a truly wild rocker is the introduction of the harmonica mouthed by Vedder. That said, Smile’s lyrics are minimal, repetitive at best, but end up being cathartic, especially as Vedder unwinds and wails “I miss you already/ I miss you always.” One cannot help but smile (no pun intended) to this toe tapper. Its feel good nature invites repeat listening.
Rearview Mirror 
As a super casual listener of Pearl Jam, perhaps not surprisingly, none of these deeper cuts rang a bell. That said, they all sound pretty good to me. Whenever I think of Pearl Jam, it doesn’t take long that I see the hilarious Adam Sandler impression, or is it annoying? I guess it depends!
I always say to my friends, those that have a sophisticated ear can hear every word muttered by Eddie 😉 I still affectionately casually refer to him as “mumbles”. But it’s true some songs are hard to decipher lyrically. That said, I have always believed he has one of the most beautiful and distinct rock voices ever! Listen to any of Pearl Jam’s ballads. Here’s the vocals for ‘Black’. My favourite moment from 3.20 through to 3.46.
That’s a cool clip. Eddie Vedder definitely is an intriguing vocalist.
A super-insightful piece, Robert, that gives us a greater appreciation for Pearl Jam’s music. While I wasn’t familiar with these five songs, I like them all a lot. You’re going to turn me into a big PJ fan yet!
Thanks Jeff for your encouraging words. I’m really enjoying bringing this series to you.
This is one of my favourite eras of PJ – depending on the day it’s a toss up between Vitalogy and No Code as to which is my favourite album, given the little attention No Code got a the time it almost feels like the whole album is a deep cut.
I have to wonder if the rumours that Immortality was about Kurt was down to the original lyrics when they started playing it in April ’94 – I die just to live, Immortality…– and inclusion of a ‘Hey Hey My My’ coda given how close that was to his suicide
I’ve heard that too. It is now so long along that we will never really know. Only Eddie can clarify that truthfully, but I guess we will have to take him at his word that it isn’t about Kurt.