You can find the rest here.ДЄccording to the band, they finished mastering their 21-plus-years-in-the-making album on Friday. IвЂ™ll give you the Top 10 with my comments. ItвЂ™ll be a dorm-room staple until long after weвЂ™re all dead.Д«ut what do you, the readers, think of the album now? WhatвЂ™s your favorite Ten track? (Mine: вЂњBlack.вЂќ) Your favorite moment on the album? (Mine: The drawn-out moan on the вЂњBlackвЂќ intro?) Your favorite random memory of the album? (Mine: Learning who the Butthole Surfers were because Vedder wore the exact same Buttholes T-shirt in every press pic at the time.) Also, check out a few period-specific videos below.Stereogum has gone through the new release schedule for next year and ranked the albums it believes we want to hear the most. So even if itвЂ™s not a game-changer necessarily, itвЂ™s part of a proud lineage, one that includes Born to Run and Rumours and Graceland. Maybe itвЂ™s that this band managed to make a deeply heartfelt rock album that resonated with a vast number of people. Maybe the legacy of Ten isnвЂ™t that itвЂ™s one of those albums that changed everything. That was the same show where Krist Novoselic threw his bass way up in the air and got hit in the head when it landed, and that was cool, but VedderвЂ™s performance was the one that pretty much blew my mind. When he sang вЂњJeremyвЂќ at the 1992 VMAs, sharing a stage with Bobby Brown and Def Leppard and En Vogue, he seemed like a man possessed, and his self-exorcising head-shaking performance is one I tried to replicate in my bedroom many, many times. (As a 12-year-old, I first read about Pearl Jam and Nirvana in the hair-metal magazine Hit Parader make of that what you will.) But in VedderвЂ™s roars and moans and mutters, thereвЂ™s also the sense of an absurdly gifted singer doing everything he can to communicate transcendent truths, even if heвЂ™s not entirely sure what those truths are. Its production, long a matter of debate among fans, dates it to the moment when glam-metal was hitting its commercial peak, and thereвЂ™s at least a whiff of cheese in its wheedling solos. In its expansive riffage, Ten carries echoes of Pink Floyd and Tom Petty and Black Sabbath. Or, more accurately, they sounded like what they were: A group of guys with punk-rock pedigrees trying their hand at making a canyon-spanning Great American Rock Album.

While Nirvana had a burning sense of purpose that you can hear in NevermindвЂ™s first notes, Pearl Jam sounded, more or less, like a mainstream rock band on a mainstream rock label. And listening to it today, one of the striking things about Ten is how normal it sounds. They were playing second on the main stage, with only Lush preceding them. Pearl Jam were on the Lollapalooza tour that summer, but they werenвЂ™t headlining. Nevermind got there first, topping the Billboard chart in January. In terms of cultural significance, both Nevermind and Ten were slow burners, with both of them really impacting the universe in 1992. After all, when Time published its goofy alternative-rock cover story in 1993, it was Eddie Vedder who the magazine threw onto the cover. Maybe a bigger one, and not just within my sixth-grade circle of friends.

And though Nevermind is getting the lionвЂ™s share of the attention these days, perhaps justly, I remember Ten being just as big a deal.

Both albums are getting plenty of press-noise for their respective anniversaries, with NirvanaвЂ™s album being celebrated by every music publication this side of Jazz Beat and Pearl Jam throwing themselves a few birthday parties with their Pearl Jam Twenty festival and documentary. HereвЂ™s a fun fact for you: Pearl JamвЂ™s first album Ten actually came out about a month before Nevermind, twenty years ago tomorrow (8/27).

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