Pearl Jam - Ten Review

Pearl Jam's seminal 1991 debut Ten is considered by many to be the band's creative peak.  With the successful singles Alive, Even Flow, and Jeremy all present, it's not hard to see why.  And with deeper album cuts like Black and Release, the argument becomes seemingly invincible.

But while lead singer Eddie Vedder's vocals are in tip top shape, and the band behind him all prove to be very capable at their respective instruments, the way the record sounds holds it back from becoming anything other than a mid-range listen.

Songs like Once and Deep are soaked in reverb, giving the record a tinny, unpleasant listening quality.  The production doesn't help, easily the poorest of any major label rock release of the last 15 years.  Given the material present, with all 11 songs having massive potential, the fact that only a few truly stand out is this record's most damning indictment.  Alive's arena rock solo, Black's lament of unrequited love, and the tinkling notes of Release stand out more than anything else here.

One could certainly make the argument that Ten's material is amongst the most consistent and best of the band's career.  The problem is that as that material is presented on the record itself, it is nearly impossible to get that only from the record.  Yes, the songs hold up well, even today.  Yes, Vedder's emotions have rarely been more intense.  But no, Ten is not a great album; rather it's a dated sounding record whose production values could use a serious tuneup. 

There is a reason, after all, that the Even Flow you hear on the radio is different from the Even Flow you hear on the album.