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1991 studio album by Pearl Jam

1991 studio album by Pearl Jam

Ten
The band members have their hands raised up and holding another one's hand. In the background, a set of red-purple colored bricks with a cut-out of the name "Pearl Jam".

Artwork for the 1994 vinyl edition
Studio anthology past

Pearl Jam
Released August 27, 1991
Recorded March 27 – Apr 26, 1991
Studio London Bridge, Seattle
Genre
  • Grunge
  • culling rock
  • difficult stone
Length 53:xx
Label Epic
Producer
  • Rick Parashar
  • Pearl Jam
Pearl Jam chronology
Ten
(1991) 		Vs.
(1993)
Singles from 10
  1. "Alive"
    Released: July 7, 1991
  2. "Even Menses"
    Released: April 6, 1992
  3. "Jeremy"
    Released: September 27, 1992
  4. "Oceans"
    Released: December seven, 1992

Ten is the debut studio album by American rock band Pearl Jam, released on August 27, 1991, through Epic Records. Following the dissolution of their previous band Mother Dear Bone in 1990, bassist Jeff Ament and guitarist Stone Gossard began rehearsing with new guitarist Mike McCready. The group recorded a five-song instrumental demo tape with Matt Cameron on drums. Copies of the demo were eventually given to drummer Dave Krusen and vocalizer Eddie Vedder, both of whom were invited to audition for the band in Seattle. Many of the songs on Ten were instrumental jams or reworked Mother Love Os songs for which Vedder composed new melodies and lyrics.[one]

Despite its reputation as a quintessential grunge album, 10 is often noted for displaying a stronger archetype rock influence than other contemporary grunge releases. In a review for AllMusic, Steve Huey asserts that the ring's "intricately bundled guitar textures and expansive harmonic vocabulary... peculiarly recalled Jimi Hendrix and Led Zeppelin" and characterizes the anthology as having an "anthemic" and "warm, rich sound". Huey too praises Vedder for the "highly distinctive timbre" of his vocals and for the "passionate commitment of his commitment".[ii]

X was non an firsthand success, but by late 1992 it had reached number two on the Billboard 200. The album produced three hit singles: "Alive", "Fifty-fifty Flow", and "Jeremy". "Jeremy" became one of Pearl Jam'due south best-known songs, and received nominations for Best Rock Song and Best Hard Stone Functioning at the 35th Grammy Awards.[three] The video for "Jeremy" was heavily rotated by MTV, and received iv awards at the 1993 MTV Video Music Awards, including Video of the Year and All-time Group Video.[iv]

Across its function in consolidating the mainstream success of grunge rock in the early 1990s, 10 is generally considered to have been instrumental in the rise and authorization of alternative rock throughout the decade.[v] The anthology has since been ranked by several publications as 1 of the greatest albums of all fourth dimension. By February 2013, it had sold 13 million copies in the US, condign the 22nd record to do so in the Nielsen SoundScan era[six] and has been certified 13× Platinum by the Recording Industry Clan of America (RIAA). Ten remains Pearl Jam's about commercially successful album.[7]

Background [edit]

Guitarist Rock Gossard and bassist Jeff Ament had played together in the pioneering grunge ring Light-green River. Post-obit Green River's dissolution in 1987, Ament and Gossard played together in Mother Honey Bone during the tardily 1980s. Female parent Dearest Os's career was cut short when vocalizer Andrew Wood died of a drug overdose in 1990, before long earlier the release of the grouping's debut album, Apple tree. Devastated, it took months earlier Gossard and Ament agreed to play together again. Gossard spent his time afterwards writing material that was harder-edged than what he had been doing previously.[viii] After a few months, Gossard started practicing with beau Seattle guitarist Mike McCready, whose ring Shadow had broken up; McCready in turn encouraged Gossard to reconnect with Ament.[ix] The three then went into the studio for separate sessions with Soundgarden drummer Matt Cameron and former Shadow drummer Chris Friel to record some instrumental demos.[10] Five of the songs recorded—"Dollar Short", "Agytian Require", "Footsteps", "Richard's E", and "Eastward Ballad"—were compiled onto a tape called Rock Gossard Demos '91 that was circulated in the hopes of finding a singer and drummer for the trio.[v]

San Diego musician Eddie Vedder acquired a re-create of the demo in September 1990, when it was given to him by former Red Hot Chili Peppers drummer Jack Irons. Vedder listened to the demo, went surfing, and wrote lyrics the next day for "Dollar Short", "Agytian Crave", and "Footsteps". "Dollar Short" and "Agytian Crave" were after retitled "Alive" and "In one case", respectively. Gossard and Ament heard the demo with Vedder's vocals and lyrics, and were impressed enough to fly Vedder out to Seattle for an audition. Meanwhile, Vedder had written lyrics for "E Ballad", retitled "Black". Vedder arrived on October 13, 1990 and rehearsed with the band (at present joined by drummer Dave Krusen) for a week, writing eleven songs in the procedure. Vedder was soon hired as the ring'southward singer, and the group signed to Epic Records soon thereafter.[5]

Recording [edit]

The ring, and then named Mookie Blaylock, entered London Span Studios in Seattle, Washington in March 1991 with producer Rick Parashar to tape its debut album. After working with Parashar on Temple of the Canis familiaris, Stone and Ament asked him to co-produce and engineer X. Parashar also contributed piano, Fender Rhodes, percussion, co-wrote vocal harmonies and co-wrote the intro/outro of the album. A few tracks were previously recorded at London Bridge in January, only merely "Alive" was carried over from that session. The album sessions were quick and lasted simply a month, mainly due to the band having already written near of the material for the record. "Porch", "Deep", "Why Become", and "Garden" were outset recorded during the anthology sessions; everything else had been previously recorded during demo sessions at some point. McCready said that "Ten was by and large Rock and Jeff; me and Eddie were along for the ride at that time."[eleven] Ament stated, "Nosotros knew we were still a long way from being a real ring at that signal."[12]

The recording sessions for Ten were completed in May 1991. Krusen left the ring once the sessions were completed, checking himself into rehab.[ten] Co-ordinate to Krusen, he was suffering from personal bug at the time.[ten] Krusen said, "It was a great feel. I felt from the beginning of that band that it was something special," and added, "They had to permit me go. I couldn't stop drinking, and information technology was causing bug. They gave me many chances, only I couldn't get it together."[13] In June, the ring joined Tim Palmer in England for mixing. Palmer decided to mix the album at Ridge Farm Studios in Dorking, a converted subcontract that co-ordinate to Palmer was "virtually as far away from an 50.A. or New York studio as you can get."[five] Palmer made a few additions to the already-recorded songs, including having McCready finish up the guitar solo on "Live" and tweaking the intro to "Black". Palmer overdubbed a pepper shaker and a fire extinguisher as percussion on "Oceans".[5]

In subsequent years, band members have expressed dissatisfaction with the way the album'southward mixing turned out. In 2001, Ament said, "I'd love to remix Ten. Ed, for sure, would agree with me. It wouldn't be like changing performances; just pull some of the reverb off it."[eleven] In 2002, Gossard said, "It was 'over-rocked', nosotros were novices in the studio and spent likewise long recording, doing different takes, and killing the vibe and overdubbing tons of guitar. There's a lot of reverb on the tape."[14] In 2006, Vedder said, "I tin listen to the early records [except] the first tape...it'due south just the audio of the tape. It was kind of mixed in a way that was...it was kind of produced."[xv]

Music and lyrics [edit]

Ten has been described equally a grunge,[2] [16] culling rock,[two] [16] and hard rock album.[2] Several of the songs on the album started every bit instrumental compositions that Vedder added lyrics to after he joined the band. Regarding the lyrics, Vedder said, "All I really believe in is this fucking moment, like right now. And that, actually, is what the whole album talks almost."[17] Vedder'south lyrics for X deal with subjects like depression, suicide, loneliness, and murder. The album also tackles social concerns such as homelessness ("Even Flow")[eighteen] and the employ of psychiatric hospitals ("Why Get").[nineteen] The vocal "Jeremy" and its accompanying video were inspired by a true story in which a high school pupil shot himself in front of his classmates.[twenty] [21]

Many listeners interpreted "Alive" as an inspirational anthem due to its decidedly uplifting instrumentals and chorus. Vedder has since revealed that the song tells the semi-autobiographical tale of a son discovering that his father is actually his stepfather (his real father having died long ago), while his mother'due south grief turns her to sexually encompass her son, who strongly resembles the biological begetter.[8] "Alive" and "One time" formed part of a song cycle in what Vedder later described every bit a "mini-opera" entitled Momma-Son [22] (the 3rd song, "Footsteps", appeared as a B-side on the "Jeremy" single). Vedder explained that the lyrics told the story of a young man whose father dies ("Alive"), causing him to go along a killing spree ("Once") which leads to his capture and execution ("Footsteps"). It was subsequently revealed that Vedder's lyrics were inspired by his long-held injure in discovering at age 17 that the homo he thought was his father was not, and that his existent father had already died.[five]

While 10 deals with dark discipline matter, information technology has mostly been seen equally a loftier-water marker of the early 1990s alternative rock audio, with Vedder'south unusually deep and strong (and later much-imitated) vocalization alternating between solidity and vibrato against the unrestrained, guitar-heavy, difficult rock sound that drew influence from Led Zeppelin and other stone bands of the 1970s. Ten's musical style, influenced by classic rock, combined an "expansive harmonic vocabulary" with an anthemic sound.[ii] Stephen Thomas Erlewine of AllMusic stated that the songs on the album fused "the riff-heavy stadium rock of the 1970s with the dust and anger of '80s postal service-punk, without ever neglecting hooks and choruses."[23]

Ten features a two-role track entitled "Chief/Slave" that both opens and closes the anthology. The showtime function begins the album, before "Once" starts, and the second part closes the anthology, afterward "Release". Information technology begins most 10 seconds after the album's closer "Release" equally a hidden track, simply both count equally 1 rail on the CD. The song is entirely instrumental (except for random unintelligible words Vedder utters throughout) with a ascendant fretless bass line making up the core of the song (which Ament referred to in a 1994 Bass Role player mag interview as "my tribute to (fretless bass instrumentalist) Mick Karn"),[24] along with some guitar and sounds that seem to come up from the drums. Producer Rick Parashar stated in 2002, "Equally I recall, I call up Jeff had, like, a bass line...I heard the bass line and so we kind of were collaborating on that in the control room, and then I just started programming on the keyboard all this stuff; he was jamming with it and it just kind of came most similar that."[5]

Outtakes [edit]

The album's singles featured two B-sides from the X recording sessions which were not included on the album, "Wash" and "Yellow Ledbetter". The former was a B-side on the "Alive" single while the latter was featured on the "Jeremy" single and eventually became a radio hit in 1994. Both songs were included on the 2003 Lost Dogs collection of rarities, although the included version of "Wash" is an alternate have. The song "Alone" was also originally recorded for 10; a 1992 re-recorded version of the song is on the "Go" unmarried. Another version of "Alone", with re-recorded vocals, appears on Lost Dogs.[25] Co-ordinate to McCready, "Lonely" was cutting from 10 because the band already had enough mid-tempo songs for the album.[25] The song "Dirty Frank", which was released as a B-side on the "Even Catamenia" unmarried and often thought to exist a 10 outtake, was recorded after X was released. Thus, "Dingy Frank" is not from the Ten recording sessions.[26]

The song "Footsteps" began as an instrumental demo and was compiled onto the Stone Gossard Demos '91 tape. Vedder added vocals to this version after he received the demo record. The music for "Footsteps" was as well used for Temple of the Dog's "Times of Trouble".[25] "Footsteps" was featured as a B-side on the "Jeremy" single, however this version is taken from a 1992 advent on the radio show Rockline.[27] This version of "Footsteps" is also featured on Lost Dogs, however a harmonica intro has been overdubbed on to the recording.

Other songs rejected from the album but later included on Lost Dogs are "Hold On" and "Brother", the latter of which was turned into an instrumental for Lost Dogs.[25] "Blood brother" was cut because Gossard was no longer interested in playing the song, a determination which Ament objected to and near caused him to quit the band.[28] The version of "Blood brother" with vocals appears on the 2009 10 reissue and became a radio hitting that aforementioned twelvemonth.[29] Both "Breath" and "Country of Love and Trust" were recorded with the intention of the ii songs perhaps appearing in the film Singles.[thirty] The versions heard in the motion picture and on its soundtrack were recorded a twelvemonth subsequently in 1992.[31] The versions from the Ten sessions appear on the 2009 X reissue. Other songs rejected from the album just included on the 2009 10 reissue are "Simply a Girl", "ii,000 Mile Blues", and "Evil Lilliputian Caprine animal".

Release and promotion [edit]

Packaging [edit]

The album's embrace art features the members of the band at the time of recording in a grouping pose and standing in forepart of a wood cut-out of the name "Pearl Jam", with their easily risen high and holding i another'due south. The wood cut-out was constructed by Ament.[32] Ament said, "The original concept was well-nigh really being together as a grouping and entering into the world of music every bit a true ring...a sort of all-for-1 deal."[33] Ament is credited for the album'south artwork and art direction,[34] Lance Mercer receives credit for photography, and both Lisa Sparagano and Risa Zaitschek are credited for design.[34] Ament stated, "At that place was a scrap of headbutting going on with the Sony art department at that fourth dimension. The version that everybody got to know equally the Ten album cover was pink and it was originally intended to be more of a burgundy color and the picture of the ring was supposed to be black and white."[35] Pearl Jam's original name was taken from the professional basketball thespian Mookie Blaylock.[23] It was changed later on the band signed to Epic Records, equally record executives were concerned about intellectual property and naming rights following Blaylock's inking of an endorsement bargain with Nike. In celebration of the band's original proper noun, the band titled its starting time album Ten after Blaylock's jersey number.[36]

In some versions, the cover is in gatefold course, folded in such a manner that only the bandmembers' hands are visible.

Tour [edit]

Ament stated that "essentially Ten was just an excuse to tour", adding, "We told the record visitor, 'We know nosotros can exist a not bad band, so allow'south merely get the opportunity to get out and play.'"[12] Pearl Jam faced a relentless touring schedule for X.[31] Drummer Dave Abbruzzese joined the ring for Pearl Jam'due south live shows supporting the album. Halfway through its own planned North American bout, Pearl Jam cancelled the remaining dates in order to accept a slot opening for the Red Hot Chili Peppers on the band's Blood Carbohydrate Sex Magik tour in the autumn of 1991 in North America. The spot was arranged by Jack Irons, who had chosen his former band asking for them to get an opportunity to his friend Vedder.[37] The Nifty Pumpkins and Nirvana were too supporting acts. Nirvana was initially brought in because the tour promoters decided that Pearl Jam should be replaced with a more than successful act,[37] but the deviation of The Not bad Pumpkins still kept the group in the concert beak.[37] Epic executive Michael Goldstone observed that "the band did such an amazing job opening the Chili Peppers tour that information technology opened doors at radio."[11]

In 1992, the ring embarked on its get-go e'er European tour. On March 13, 1992, at the Munich, Germany show at Nachtwerk, Pearl Jam played X in its entirety in guild midway through its fix.[38] The band would only exercise this once more in 2016 at Philadelphia's Wells Fargo Eye, every bit the arena management homaged the ring's tenth straight sellout concert in the urban center.[39] Following the European leg, Pearl Jam did another tour of North America. Goldstone noted that the band's audience expanded, saying that dissimilar before, "everyone came."[xi] The band's manager, Kelly Curtis, stated, "Once people came and saw them live, this lightbulb would go on. During their offset tour, y'all kind of knew it was happening and there was no stopping it. To play in the Midwest and exist selling out these 500 seat clubs. Eddie could say he wanted to talk to Brett, the sound guy, and they'd behave him out at that place on their hands. You hadn't actually seen that reaction from a crowd earlier..."[11] When Pearl Jam came back for a second go-around in Europe the band appeared at the Pinkpop Festival and the Roskilde Festival in June 1992. The band cancelled its remaining European dates in the summer of 1992 afterward the Roskilde Festival due to a confrontation with security at that consequence likewise as exhaustion from touring.[twoscore] Ament said, "We'd been on the road over x months. I remember there just came a point almost half way through that tour it was but starting to become pretty intense. I mean just existence away from home, beingness on the route all the time and existence lonely or existence depressed or whatever."[41] The ring would become on to play the 1992 Lollapalooza tour with the Red Hot Chili Peppers, Soundgarden, Ministry and Ice Cube, amongst others.

2009 re-release [edit]

On March 24, 2009, X was reissued in iv editions (Legacy, Deluxe, Vinyl, and Super Deluxe). It was the first reissue in a planned re-release of Pearl Jam's entire catalogue that led upward to the band's 20th anniversary in 2011.[33] The extras on the iv editions include a remastering and remix of the unabridged album past producer Brendan O'Brien, re-designed packaging, six bonus tracks ("Brother", "Just a Girl", "Breath and a Scream", "Country of Love and Trust", "ii,000 Mile Blues", and "Evil Little Goat"), a DVD of the band'south 1992 appearance on MTV Unplugged (including a bonus performance of "Oceans", which along with "Rockin' in the Costless Globe" was originally excluded from the broadcast version), vinyl versions of the anthology, an LP of the band's September 20, 1992 concert at Magnuson Park in Seattle (also known equally Drop in the Park), a replica of the original Momma-Son demo cassette, and a replica of Vedder's composition notebook containing personal notes and mementos.

Regarding his remix of the album, O'Brien stated, "The band loved the original mix of Ten, simply were also interested in what information technology would sound like if I were to deconstruct and remix it...The original 10 audio is what millions of people bought, dug and loved, so I was initially hesitant to mess effectually with that. After years of persistent nudging from the band, I was able to wrap my head effectually the idea of offer it equally a companion slice to the original—giving a fresh have on it, a more than straight sound."[33]

The Ten reissue sold lx,000 copies in its get-go week, the second biggest selling week for the album since Christmas 1993.[42] Since Billboard considers the Ten reissue a catalog detail, Ten did not appear on the Billboard 200, Superlative Modern Rock/Alternative, or Top Rock Albums, since those charts do not include catalog items.[42] Had information technology been included on the Billboard 200, the 60,000 copies sold of the Ten reissue would have placed it at number five.[43] The reissue as well re-entered the Australian Albums Nautical chart at number xi, giving it a new peak chart position in Commonwealth of australia and its highest nautical chart placing since June 14, 1992.[44]

Tying in with the re-release of the album, in March 2009, the entire album was made available every bit downloadable content for the Rock Band serial of video games.[45] In addition, 3 Ten-era bonus tracks were fabricated available for the Rock Band video game for those who purchased the X re-release through Best Buy: "Brother", "Alive", and "Country of Love and Trust", the latter two as live versions taken from the ring'south September xx, 1992 concert.[46]

Critical reception [edit]

Professional person ratings
Review scores
Source Rating
AllMusic [2]
Blender [47]
Chicago Tribune [48]
Entertainment Weekly B−[49]
Mojo [50]
Q [51]
Rolling Stone [52]
The Rolling Stone Anthology Guide [53]
Uncut [54]
The Village Voice B−[55]

In a gimmicky review for Rolling Stone, music critic David Fricke gave the album a favorable review, saying that Pearl Jam "hurtles into the mystic at warp speed." He as well added that Pearl Jam "wring a lot of drama out of a few declarative power chords swimming in echo."[52] Allan Jones of Tune Maker suggested in his review of Ten that it is Vedder that "provides Pearl Jam with such a uniquely compelling focus."[56] AllMusic staff writer Steve Huey called information technology a "flawlessly crafted hard stone masterpiece" and felt that Vedder's "impressionistic lyrics" are more effective through his passionate vocal delivery rather than their "concrete meaning."[ii] Q chosen information technology "raucous modern rock, spiked with infectious guitar motifs and powered with driving bass and drums," and said information technology "may well be the face up of the 90's metal."[51] Stereo Review said that "the ring sounds larger than life, producing a towering inferno of roaring guitars, monumental bass and drums, and from-the-gut vocals."[57] Don Kaye of Kerrang! defined the anthology "introspective and charged with a quiet emotional force".[58] Greg Kot wrote in the Chicago Tribune, "Occasionally overwrought and unrelentingly humorless, the music even so exerts a hypnotic power at its all-time."[48]

In a less enthusiastic review for Entertainment Weekly, David Browne found Pearl Jam to be derivative of "young man Northwestern rockers like Soundgarden, Alice in Chains, and the defunct Mother Beloved Bone", and felt that information technology "goes to show that just nigh annihilation can be harnessed and packaged."[49] NME accused Pearl Jam of "trying to steal coin from young alternative kids' pockets."[59] Nirvana'southward Kurt Cobain angrily attacked Pearl Jam, claiming the band were commercial sellouts,[sixty] and argued Ten was not a true alternative album because information technology had so many prominent guitar leads.[v] Robert Christgau, writing in The Village Vocalism, gave the album a "B-" and viewed information technology as some other in a "slew of Seattle albums" that "modulate the aforementioned misguided ethos", which he said was "hippie" rather than "punk". Christgau described it every bit "San Francisco ballroom music" whose "distinguishing characteristics" could only be discerned by listeners if they "take the right drugs".[55] He later gave Ten a ii-star honorable mention, citing "Once" and "Even Flow" every bit highlights, and quipped, "in life, abuse justifies melodrama; in music, riffs work better".[61] Charles R. Cross wrote in The Rolling Stone Album Guide (2004) that Ten sounded less original and more self-of import than Nirvana's Nevermind, but it also showcases the band's intricate guitar way and Vedder's distinctive singing.[53]

Accolades [edit]

Defined by Kerrang!'southward George Garner as "arguably the greatest stone debut record of all time",[62] 10, in 2003, was ranked number 207 on Rolling Stone 'south list of the 500 greatest albums of all time,[63] and 209 in a 2012 revised list. In 2020 information technology was raised to the 160th position on the list.[64] Readers of Q voted Ten as the 42nd greatest album ever;[65] however, iii years later the album was listed lower at 59th.[66] In 2003, VH1 placed information technology at number 83 on their list of the 100 greatest albums of rock and curl.[67] In 2006, British Striking Singles & Albums and NME organised a poll of which, twoscore,000 people worldwide voted for the 100 best albums ever and 10 was placed at number 66 on the listing.[68] It was also ranked number xv in the October 2006 issue of Guitar World on the magazine'southward list of the 100 greatest guitar albums of all fourth dimension.[69] In 2007, the album was included at number 11 on the list of the "Definitive 200" albums of all time developed by the National Association of Recording Merchandisers.[70] The anthology was as well included in the book 1001 Albums You Must Hear Earlier Y'all Die.[71] In Dec 2020, the album was announced as one of many inducted into the Grammy Hall of Fame equally function of the 2021 grade.[72]

Publication Country Accolade Year Rank
Guitar World United States "100 Greatest Guitar Albums of All Time"[69] 2006 15
Rolling Stone United States "10 Greatest Debut Albums (Readers' Poll)"[73] 2013 1
National Association of
Recording Merchandisers 		U.s. "Definitive 200"[70] 2007 eleven
Intermission & Play The states "The 90s Top 100 Essential Albums"[74] 1999 eleven
Q Great britain "100 Greatest Albums Ever"[65] 2003 42
Q U.k. "100 Greatest Albums Always"[66] 2006 59
Rolling Stone United States "The 500 Greatest Albums of All Time"[64] [75] 2012 209
Spin U.s.a. "Top 90 Albums of the 90s"[76] 1999 33
Spin The states "100 Greatest Albums, 1985–2005"[77] 2005 93
VH1 United States "100 Greatest Albums of Stone & Roll"[67] 2003 83
Kerrang! Great britain "100 Albums You lot Must Hear Before You Die"[78] 1998 xv
Nieuwe Revu Netherlands "Top 100 Albums of All Time"[79] 1994 25
Musik Limited/Sounds Frg "The 100 Masterpieces"[80] 1993 68
Rolling Stone Deutschland "The 500 All-time Albums of All Fourth dimension"[81] 2004 20
Juice Australia "The 100 (+34) Greatest Albums of the 90s"[82] 1999 101
Viceversa Italian republic "100 Rock Albums"[83] 1996 99

Commercial performance [edit]

Ten initially sold slowly upon its release, but by the 2d half of 1992 it became a breakthrough success, attaining an RIAA gold certification.[5] Almost a yr later its release, the anthology finally bankrupt into the height ten of the Billboard 200 album chart on May 30, 1992, reaching number eight. 10 would eventually peak at number two for four weeks. It was held off the summit spot by the Baton Ray Cyrus album, Some Gave All.[84] The album spent a total of 264 weeks on the Billboard charts,[85] making information technology ane of the summit xv charting albums always. Past February 1993, American sales of Ten surpassed those of Nevermind, the quantum album past swain grunge band Nirvana.[86] X continued to sell well two years later its release; in 1993 information technology was the eighth acknowledged album in the United States, outselling Pearl Jam'due south second album, Vs. [87] Every bit of Feb 2013, Ten has sold 13 one thousand thousand copies in the United states according to Nielsen SoundScan,[6] and has been certified 13× platinum past the RIAA.[88]

X produced 3 hit singles, "Alive", "Even Period", and "Jeremy", all of which had accompanying music videos (The "Oceans" video was released but exterior of the U.Southward.). The singles all placed on the Mainstream Rock and Mod Rock charts. The song "Blackness" reached number three on the Mainstream Rock chart, despite never being released as a single. The video for "Alive" was nominated for the MTV Video Music Accolade for Best Alternative Video in 1992.[89] "Jeremy" became one of Pearl Jam's all-time-known songs, and received nominations for All-time Rock Song and Best Hard Rock Performance at the 1993 Grammy awards.[iii] The video for "Jeremy", directed past Mark Pellington, was put into heavy rotation by MTV and became a huge hit, receiving v nominations at the 1993 MTV Video Music Awards, of which it won 4, including Video of the Year and Best Group Video.[4]

Track listing [edit]

Original release [edit]

All lyrics are written by Eddie Vedder; except for the bonus track "I've Got a Feeling", by John Lennon and Paul McCartney.

No. Title Music Length
1. "One time" Stone Gossard 3:51
2. "Even Flow" Gossard iv:53
3. "Alive" Gossard 5:41
iv. "Why Become" Jeff Ament three:20
5. "Black" Gossard 5:43
6. "Jeremy" Ament 5:xviii
seven. "Oceans"
  • Gossard
  • Ament
  • Vedder
 2:42
8. "Porch" Vedder 3:xxx
9. "Garden"
  • Gossard
  • Ament
 four:59
10. "Deep"
  • Gossard
  • Ament
 4:eighteen
xi. "Release[I]"
  • Gossard
  • Ament
  • Dave Krusen
  • Mike McCready
  • Vedder
 9:05
Total length: 53:20

Annotation

  • ^ "Release" contains the hidden track "Chief/Slave" at 5:eighteen.
European edition bonus tracks
No. Title Music Length
12. "Alive" (live[I]) Gossard 4:54
13. "Wash"
  • Gossard
  • Ament
  • Krusen
  • McCready
  • Vedder
 iii:33
14. "Dirty Frank"
  • Dave Abbruzzese
  • Ament
  • Gossard
  • McCready
 v:38
Full length: 67:25

Notation

  • ^ *Recorded live on August three, 1991 at RKCNDY in Seattle, Washington.
Japanese bonus tracks
No. Title Music Length
12. "I've Got a Feeling" Lennon–McCartney 3:42
13. "Master/Slave" Ament 3:48
Total length: 60:fifty
Reissue bonus tracks
No. Title Music Length
12. "Blood brother" (with vocals) Gossard 3:59
13. "Just a Girl" (Mookie Blaylock demo 1990) Gossard 5:01
14. "Jiff and a Scream" (Mookie Blaylock demo 1990) Gossard 5:58
15. "State of Love and Trust" (Demo 1991)
  • McCready
  • Ament
 four:47
16. "2,000 Mile Blues"
  • Ament
  • McCready
  • Krusen
 3:57
17. "Evil Little Goat"
  • Gossard
  • Ament
  • Krusen
  • McCready
  • Vedder
 1:27
Total length: 78:29
iTunes reissue bonus tracks
No. Title Music Length
18. "Why Become" (alive at The Academy Theater) Ament 4:01
19. "Even Flow" (live at The University Theater) Gossard 5:10
20. "Lone" (live at The Academy Theater)
  • Abbruzzese
  • Ament
  • Gossard
  • McCready
  • Vedder
 3:26
21. "Garden" (alive at The Academy Theater)
  • Gossard
  • Ament
 5:42
Total length: 96:48

Notation

  • Live tracks recorded on December 31, 1992 at The Academy Theater in New York, New York.

Reissue bonus material [edit]

MTV Unplugged DVD [edit]

  1. "Oceans"
  2. "Land of Love and Trust"
  3. "Alive"
  4. "Black"
  5. "Jeremy"
  6. "Even Period"
  7. "Porch"

Momma-Son cassette [edit]

All lyrics are written by Vedder; all music is composed by Gossard.

No. Title Length
1. "Alive" 4:35
2. "One time" 3:44
three. "Footsteps" 4:20

Drop in the Park LP [edit]

All lyrics are written by Vedder.

Side i
No. Title Music Length
i. "Even Flow" Gossard five:14
two. "In one case" Gossard three:32
three. "Land of Love and Trust"
  • McCready
  • Ament
 iii:44
iv. "Why Go" Ament 3:20
Side two
No. Title Music Length
ane. "Deep"
  • Gossard
  • Ament
 4:22
2. "Jeremy" Ament 5:03
3. "Black" Gossard 5:28
Side three
No. Title Music Length
one. "Alive" Gossard 5:50
2. "Garden"
  • Gossard
  • Ament
 5:35
Side four
No. Title Music Length
1. "Porch" Vedder 12:42

Personnel [edit]

Pearl Jam

  • Jeff Ament – bass guitar, fine art direction/concept, background vocals on "Why Go"
  • Rock Gossard – rhythm guitar, groundwork vocals on "Why Get"
  • Dave Krusen – drums, timpani
  • Mike McCready – lead guitar
  • Eddie Vedder – vocals, additional art

Additional musicians and production

  • Dave Hillis – engineer
  • Don Gilmore, Adrian Moore – additional engineering science
  • Walter Greyness – cello
  • Bob Ludwig – mastering
  • Lance Mercer – photos
  • Tim Palmer – burn extinguisher and pepper shaker on "Oceans", mixing
  • Rick Parashar – production, pianoforte, organ, percussion
  • Pearl Jam – production
  • Steve Pitstick – additional fine art
  • Lisa Sparagano, Risa Zaitschek – design
  • Kelly Curtis – direction

Charts [edit]

Singles [edit]

  1. ^ "Alive" did not enter the Billboard Hot 100, simply spent 61 weeks on the Bubbles Under Hot 100 Singles chart, peaking at number 7.
  2. ^ "Fifty-fifty Flow" did not enter the Billboard Hot 100, but spent 52 weeks on the Bubbling Under Hot 100 Singles chart peaking at number viii.

Certifications [edit]

Run into also [edit]

  • List of best-selling albums in the U.s.

References [edit]

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External links [edit]

  • Ten information and lyrics at pearljam.com

bishopsenifee.blogspot.com

Source: https://en.wikipedia.org/wiki/Ten_(Pearl_Jam_album)

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