Considering the length of many of the songs are decent, there's some chance of that. Perhaps some extended solos/bridges too?

i hope so.

there is such an incredible frission to his voice on this album. never matched

Just as long as we get one extended hurr-durr. I'll be the happiest pony in the stable!

Hope so too.

the heavily filtered guitar intro (I'm not sure what to call the effect) leading to those two bending bass notes and the *ba bah!* snare fill into the first verse is nostalgia city for me, I love it

the piano mirroring the "do-do do, do, do-do-do" in the outro is probably their single most effective use of those poppy melodic elements in a song imo

teenage angsty emo break up song or not, "Black" is a classic to me and I wouldn't change a thing

and! in a way, if I was to be pretentious about it, that kind of angsty break up song has a rock 'n roll precedent going back to the 50's that I think PJ are obsessed with and have tried to cover or replicate more than once, good examples being "Last Kiss" and "Come Back"

Here

Should I copy and paste or keep it in the other thread. Crap. Why are all of you so good at searching stuff!?

do it here, lest you make a mockery of thread integrity

Popping this in here so we are in the right spot.

Sorry I missed that.

Ten (BO’B mix): this is quite possibly, to my ears, the last good deed Brendan O’Brien did for the band - remixing Ten by cutting much of the reverb and refocusing on the playing. The original mix to me sounded almost dated by the time Vs. came out. It conveys all energy and almost lacks focus. The new mix brings in the focus, and I never thought it compromised the energy. In fact, listening now, the band is playing the sh!t out of these songs. I have to listen through all the albums again (I mean that’s the point, right), but I also want to listen for these moments where the band’s energy matches Vedder. On this album, they just push each other up and up and up.

In the years, I’ve gone through so many phases with this album. In the 90s, I largely focused my energy on the first half of the album: Once, Even Flow (the first Pearl Jam song I can remember really knowing), Alive, Black, and Jeremy were the heart of this album to me, and still are in some ways. As the years went on, I saw more in Release, Oceans, and Why Go. Porch was always essential, especially coming out of the jam and into the most urgent delivery on the album. These days I get pulled into Garden and Deep in ways they weren’t as accessible to me in years past. It’s an album with no weak spots, and really well sequenced - Oceans comes in just at the right moment to palette cleanse, Release’s build and sentiment serves as a culmination of all these characters’ (and Eddie’s) multitudes begging for the chains of these personal barriers to be broken and be set free, and the hopefulness that by riding these waves we’ll be released on the other side, whatever that other side is. The Master/Slave tie ins are really quite special. That the song actually begins at the end of the record, fades out, it can fade back in once again only to be cut off by that opening riff to Once. A great way loop it all back around.

The b-sides: like any extended edition, there’s leftover sthat don’t make the album, but here the quality and quantity is pretty off the charts. Sure, some things here find the band tooling around or working through ideas that never got finished, but for us fans, a lot of the stuff we had access to early provided further insight into a band too quickly pegged as too serious and overly earnest. Dirty Frank is a key example of them having a lighter side, and newer rarities like Evil Little Goat, and It Ain’t Like That are just the band tooling around and having some fun. Acoustic #1 has ideas and vibes in it they took to Vs., as in not being so plugged in, and the sketch here really is something I wish they finished off. And then there’s the finished products of SOLAT, Breath, Yellow Ledbetter, Wash, and Hold On - all album worthy tracks. Breath in particular fades out at the end, and today I imagined them just playing that out on me head for countless time - maybe the song was an hour long and they just nabbed the first 6 minutes…that jam is so good at the end that it almost wouldn’t surprise me. Footsteps, specifically from the Jeremy single, is the version. The Lost Dogs harmonica add is nearly criminal in that it takes away the gloomy and mysterious vibe surrounding this character on death row.

…Unplugged and Ten Live to come soon.

So other than the weird editing out of references to Beth, and the fact that they stupidly failed to release the whole show, the Unplugged is great. I mean, what they do include is one incredible performance after the next. SOLAT, Alive, Black, Jeremy, and Porch are all essential listening. That Porch is pretty legendary. By 1992, though really by summer, they were already getting known for epic shows nearing on the unhinged, with the band feeding off Vedder’s manic stage presence. He couldn’t climb the stage so instead takes flight on a barstool, but what must be done must be done. That PRO-CHOICE scroll might have awakened my political mind, which is what it was meant to do for us young impressionable teenagers.

The unplugged probably carved into stone what Pearl Jam would always be to me. I carry it from era to era, but that’s the core

Ill listen to ten later, hopefully on vinyl if my turntable is back this week. Its a fitting time to open that Ten box set.

same; Unplugged contains several definitive Ten versions for me, and *the* definitive version of SOLAT

The Deep: Ten Live playlist - they could have done better than this for sure, who ever is curating this. Would have made the most sense for them to upload the Philly ‘16 Ten show since that performance was not just great, but captured the arc of the album really well. This feel sort of disjointed, and the performances themselves aren’t particular standouts. Porch is always great, and so is Release. Garden overall was enjoyable, as was Deep, but these are definitive versions so that’s a little disappointing. That said, ending with a live version of Release is the right way to end the Ten focus for this. Love that song.

I guess the capstone on this is pretty predictable: Ten really is an A album for sure. After listening through again, it’s almost as if I have no notes for them, other than knowing the genius they exhibited by pretty well turning away from trying to make another of this album. The sound is incredible, but it is contained to its time and place. Making another of these would have made them flame out in a caricature of this album. That said, we’re in flawless or near flawless territory, and most of what came out of this era really otherwise teases that there’s so much more to this band’s capacity than their first album.

I agree a straight repeat would have been a risky move. A challenging thing with Ten as your first record is that it is really an apex album in terms of big guitar god sounds, a vocal performance that is huge and intimate, muscular and sensitive, in a way that many have tried and few can imitate, and lyrics that are deep and introspective and feel substantive. This is the bar EVERYTHING else ever since has been measured up against, even though those albums are not trying for a reproduction. It's always made it difficult to figure out how to think about Pearl Jam outside the context of Ten if you haven't been along for the deeper dive.

It would have been interesting to see how Nirvana would have been perceived 20 years out. Would everything be measured against Nevermind still if they had evolved as artists? It's possible - REM and Radiohead, for example, both pulled it off. So did U2. But Pearl Jam never fully did

I got through two of the four discs of WCT/Ridleybradout's "Ten Super Deluxe Edtion" yesterday and today — the first of which comprises WCT's tweak of the Brendan O'Brien mix and a half-dozen outtakes, the second of which comprises the Gossman demos and the original Mamasan tape. I've heard the original Ten CD so many times that any differences in the O’Brien mix just stick out like sore thumbs to me, even though I think it's largely pretty well-done, faithful to the general balance of the original mix, only with a different aesthetic mission statement. There are some cool things that I'd never heard before in the O’Brien mix, which TBH I have only listened to a handful of times -- Stone's rhythm during the "Even Flow" solo is more present, and there is a weird guitar-shredder lick in "Porch" during the outro (over the part where Eddie is shouting "YEAH-heh-heh," on the fourth bar of each measure) that feels like it was pulled from a post-Kabuki Kiss record -- definitely never noticed that in the Parashar mix. On the flipside, the more atmospheric songs ("Oceans," "Garden," "Release") are too dry on the remix -- they lose some emotion without that ambient haze. The demos on the second disc are really enjoyable to just play and have on during the background — you can hear Stone noodling around during the verses to “Breath,” filling space presumably in anticipation of vocals being present at some point. As a collection they play through like little instrumental jams on familiar themes — just a really enjoyable listen.

Like liebzz, I have had cycles of relationship with Ten — there were moments in my life when I thought it was the best album ever; there were moments when I thought that it was embryonic compared to later PJ records, compositionally deficient in ways, overwrought in others; there were moments when I was just plain sick of it. These days what I like most about it is just the overwhelming sense of newness in it, something that is amplified by listening to it alongside other stuff from the era — there is a contagious sense of discovery captured on the tapes that compensates for what little there seems left to discover as a listener. It is remarkable how many of the foundational tapes from this period survive in such pristine quality; it really gives a listener the opportunity to just immerse totally in the moment, to have a front-row seat to the band essentially being born and then immediately setting about turning these backbones of ideas into these great songs that we’ve been listening to for 30+ years (most of which have remained important songs in the band’s sets, in one way or another).

I can’t recommend WCT/Ridleybradout’s set enough for those so inclined — I think it is one of their best projects.

alright lets do this

no vinyl though my turntable is still at the hospital

im listening to the original version

Once is awweeeesomeeeee yeah, the darkness and the energy of the album are right here since the beginning.

Janes Addiction x The Who x Husker Du