Soon Forget

Summary

“Soon Forget” is a ukulele-driven track from Pearl Jam’s sixth studio album Binaural, released in 2000. Written and sung by Eddie Vedder, the song stands out for its minimal arrangement (just vocal and ukulele) and satirical tone. Though not released as a single, it garnered attention as a quirky acoustic departure on an otherwise rock-oriented album. Binaural was released on May 16, 2000 under Epic Records. The track runs a brief 1:46. While “Soon Forget” did not chart (it was not a commercial single), Binaural debuted at #2 on the Billboard 200 and was certified Gold in the US (the band’s first album not to reach platinum). The album also hit #1 in Australia and New Zealand, reflecting Pearl Jam’s continued international presence in 2000.

Album: Binaural (Pearl Jam, 2000)
Release Date: May 16, 2000
Duration: 1:46
Label: Epic Records
Chart Performance: Not released as a single (album peaked #2 US)
Certification: Binaural certified Gold (U.S.), Platinum (Australia, Canada)

Background & Inspiration By 1999, Pearl Jam was coming off a hiatus and struggling with writer’s block during the Binaural sessions. Eddie Vedder had decided to focus strictly on lyrics and even “banned” himself from playing guitar for a time. In this context, Vedder spotted a ukulele in the studio and thought “that’s not a guitar,” which sparked his creativity; he promptly wrote “Soon Forget” on the ukulele as a way to break his writing slump. This unconventional approach yielded a brief, stripped-down song that added a dose of wry humor to the album.

Vedder’s inspiration for the song’s style traces back to one of his musical heroes: The Who. As a teenager, Vedder had been enchanted by Pete Townshend’s acoustic ukulele tune “Blue, Red and Grey” (from The Who by Numbers, 1975). In fact, “Soon Forget” is heavily influenced by that Who song – Vedder admitted, “The open chords are unabashedly ‘Blue Red and Grey’,” joking that the result was “30 seconds of plagiarising” the Townshend tune. In the album’s lyric booklet he even gave “scribbled thanks” to Pete Townshend for the inspiration. Vedder later quipped that he thanked Townshend profusely and “should probably send him some dough, or a nice ukulele” as compensation. This tongue-in-cheek remark underscores the lighthearted origins of the song.

Despite Pearl Jam’s reputation for seriousness, “Soon Forget” emerged from a place of humor and spontaneity. Vedder has noted that his sense of humor is sometimes overlooked, and indeed the decision to feature a ukulele – “an instrument that’s only one step up from a kazoo in the sure-shot comedy stakes,” as one interviewer teased – shows Vedder’s playful side. At the same time, the song’s inspiration was rooted in genuine artistic experimentation. Producer Tchad Blake’s presence during Binaural encouraged the band to try new recording techniques (notably binaural audio), and Vedder’s ukulele experiment fit that spirit of risk-taking. In sum, “Soon Forget” was born out of Vedder’s creative block and his lifelong admiration for The Who, resulting in a song that is both a tribute and a whimsical departure for Pearl Jam.

Lyrics & Interpretation “Soon Forget” is a sharp lyrical parable that satirizes materialism and the emptiness of a life devoted to greed. Vedder adopts the voice of a narrator critiquing a wealthy, miserly character. The song opens with the cutting line, “Sorry is the fool who trades his soul for a Corvette,” immediately framing the protagonist as someone who sacrificed spiritual or personal values for flashy material goods. Vedder continues, “Thinks he’ll get the girl, he’ll only get the mechanic / What’s missing? He’s living a day he’ll soon forget,” snidely commenting that the man’s prized sports car won’t bring him love – only trips to the repair shop. The refrain “a day he’ll soon forget” suggests that these shallow pursuits are ultimately forgettable and meaningless.

As the song progresses, the lyrics paint a grim picture of the man’s lonely, money-obsessed life. “Counts his money every morning, the only thing that keeps him going,” Vedder sings (in the studio version, Vedder actually uses a more biting word, “horny,” to convey that money is the man’s sole passion). The man is “locked in his giant house, that’s alarming – the townsfolk, they all laugh,” implying that even those around him view him as a cautionary tale. In the final verse, the narrative arc completes itself: “He’s lying dead, clutching Benjamins / never put the money down… a man we’ll soon forget”. Vedder describes the man dying literally grasping his hundred-dollar bills (“Benjamins”), having never let go of his greed. In death, he is promptly forgotten by everyone. This darkly comic ending underscores the song’s moral: a life spent chasing wealth for its own sake leads to an uncelebrated demise.

Critics have noted the song’s fable-like quality. Rolling Stone described “Soon Forget” as a “bouncy parable about materialism, backed by nothing but a ukulele”. Indeed, the jaunty, almost nursery-rhyme musical style contrasts with the bitterness of the lyrics, heightening the satirical effect. The character in the song has drawn comparisons to Dickens’ miser Ebenezer Scrooge (minus the redemption) or even Scrooge McDuck. In one review, the track is characterized as a scathing denunciation of a “Scrooge McDuck-like character” who dies with his money in hand. The Washington Post noted the song’s depiction of “the love of money” as ultimately futile. Throughout the lyrics, Vedder employs irony and simple imagery to convey a timeless theme: money can’t buy happiness or love, and those who worship only wealth lead lonely, forgettable lives. The title phrase “soon forget” works on two levels – it suggests that the man himself will soon forget the fleeting pleasures of his material day, and more pointedly that everyone else will soon forget him when he’s gone. In sum, the song’s lyrics function as a concise morality tale. Vedder’s critique is delivered with wit (“Seems the more you make, equals the loneliness you get,” he observes pointedly) and an undercurrent of pity for the “fool” in question. By the end, “Soon Forget” comes across as a surprisingly affecting cautionary tale about the hollowness of a life fixated on status and possessions.

Composition & Arrangement Musically, “Soon Forget” is as distinctive as its lyrics. It’s performed entirely by Eddie Vedder solo, accompanying himself on a tenor ukulele. The composition is set in a major key with an upbeat tempo, giving it a breezy, almost whimsical sound despite the cynical subject matter. The chord progression and melody bear a notable resemblance to The Who’s “Blue, Red and Grey,” which was a conscious homage – Vedder has acknowledged that the song’s opening chords were directly lifted from that Pete Townshend tune. This gives “Soon Forget” a classic pop simplicity; it relies on just a few basic chords (as is common on ukulele) and a straightforward strummed rhythm. There are no percussion or bass instruments, and no backing vocals – a stark contrast to the dense, electric arrangements found elsewhere on Binaural. The stripped-down arrangement centers on Vedder’s baritone voice and the natural, jangling tone of the ukulele.

Despite (or because of) its simplicity, the song exudes a “charming little” quality that many listeners found refreshing. The melody is jaunty and catchy, almost child-like, which enhances the satirical vibe (much like a sing-song nursery rhyme delivering a moral lesson). Vedder sings in a relaxed, slightly playful manner, at times almost talking through certain lines for comedic effect. Notably, towards the end of the studio recording, Vedder can be heard whistling faintly as he delivers the final line – as the lyric itself says “we’re all whistling, a man we’ll soon forget” – reinforcing the idea of casually dismissing the unfortunate rich man. This subtle addition is one of the few embellishments in an otherwise unadorned track.

The arrangement is also significant for what it omits: the rest of Pearl Jam. On this track there are no drums, no guitar leads, no bass line – none of the hallmarks of the band’s grunge roots. Guitarists Stone Gossard and Mike McCready, bassist Jeff Ament, and drummer Matt Cameron do not perform on “Soon Forget” at all, leaving it as essentially a Vedder solo piece within a Pearl Jam album. Such minimalism was a bold sequencing choice, nestling the ukulele song amid Binaural’s heavier compositions. The song’s brevity (under two minutes) and sparse arrangement give it a “blink-and-you-miss-it” quality – underscoring the theme that its protagonist’s days are insignificant. In terms of structure, “Soon Forget” is fairly straightforward: it cycles through verses and refrains without a traditional bridge, keeping things short and sweet.

Critics and fans have likened the tune’s style to mid-century pop or vaudeville-esque ditties because of its jaunty chord changes and ukulele strum. The throwback feel is intentional; Vedder’s inspiration, The Who’s “Blue, Red and Grey,” was itself a gentle acoustic throwback amid a rock album. By echoing that approach, “Soon Forget” achieves a kind of retro acoustic charm. One could also compare it to Pearl Jam’s earlier oddball acoustic track “Bugs” (from 1994’s Vitalogy, which featured Vedder on accordion) – both songs use an unconventional instrument and satirical lyrics to break the fourth wall of their respective albums. In summary, the composition and arrangement of “Soon Forget” are deliberately simplistic and intimate, allowing Vedder’s message to come through with clarity. Its ukulele-centered arrangement was unprecedented on a Pearl Jam record, effectively foreshadowing Vedder’s later solo forays into ukulele music.

Production & Recording “Soon Forget” was recorded during the Binaural sessions in late 1999 and early 2000 at Studio Litho in Seattle. The album’s production was helmed by Tchad Blake (with Pearl Jam co-producing), an engineer known for experimental techniques – most notably the use of binaural recording that gives the album its title. “Soon Forget” benefits from this production approach. In fact, although it’s a lo-fi ukulele tune, it is one of several tracks on Binaural that were captured with binaural audio technology (marked by an asterisk in the liner notes). Blake positioned a dummy head outfitted with two microphones in the studio to record Vedder’s performance in true stereo 3D, as if you, the listener, were in the room. As a result, “Soon Forget” has a little something special in its recording: when listened to on headphones, Vedder’s voice and ukulele have a vivid, room-like presence, almost as if he’s playing right in front of you. The binaural effect is subtle given the minimal instrumentation, but it can be heard in the natural ambiance of the track – for example, the way Vedder’s voice and the ukulele strums occupy a realistic space. One reviewer noted that “Soon Forget” is the song on Binaural that “really shows off” the 3-D recording technique, making it feel “as if Vedder has stepped up in front of you and begun playing”.

Despite the high-tech recording method, the production intentionally leaves “Soon Forget” sounding raw and unvarnished. The ukulele is slightly muted and lo-fi in timbre, and Vedder’s vocals were likely captured in one take, complete with minor imperfections (which add to the authenticity and informality of the song). There is very little in the way of overdubbing or studio trickery – no reverb effects beyond the natural room sound. Producer Tchad Blake, an “aficionado of binaural recordings,” was keen to capture the live immediacy of the performance. According to interviews, the band essentially recorded Vedder playing “Soon Forget” live in the studio, with microphones set to capture the spatial realism. This approach aligns with the song’s theme and style; a polished production or multi-track arrangement might have undermined its simplicity and message.

The track was mixed by Tchad Blake as well, rather than by Pearl Jam’s longtime collaborator Brendan O’Brien (who was brought in to remix some of the album’s heavier songs). Blake’s mix keeps Vedder’s vocal slightly above the ukulele in prominence, ensuring the lyrics are intelligible. Notably, background noise and breathing can be heard if one listens closely – a sign that the production aimed for an organic, live feel. In an era when Pearl Jam was experimenting with new sounds and technology, “Soon Forget” ironically stands out as the most stripped-down number, yet it utilized the sophisticated binaural setup. The juxtaposition of a humble ukulele with cutting-edge recording technique is a little anecdote in itself: the band was willing to apply every tool at their disposal, even for a tiny song, to give it a unique sonic character.

Overall, the production of “Soon Forget” serves the song’s content. The stark arrangement is mirrored by a dry, intimate recording that draws the listener’s ear to Vedder’s voice and the ukulele’s rhythm. Fans who listen on headphones often remark on how it seems like being in the room with Eddie – precisely the effect the band and Blake were going for. The mastering (by longtime Pearl Jam engineer Bob Ludwig, as with the rest of Binaural) kept the volume levels modest, avoiding compression, which preserves the dynamic, live quality of the performance. In sum, “Soon Forget” might be modest in length and instrumentation, but its recording process was thoughtfully executed to spotlight the song’s charm and message.

Themes & Motifs The central theme of “Soon Forget” is the hollowness of wealth and the loneliness it breeds. Throughout the song, Vedder critiques the notion that material success equates to a meaningful life. The character portrayed has money and possessions in abundance, but nothing of true substance – no love, no friends, no joy. This theme is a recurring one in rock music (echoing classic songs like The Beatles’ “Can’t Buy Me Love”), but Pearl Jam approaches it here with a blend of sarcasm and empathy. The motif of materialism is conveyed through specific imagery: a Corvette sports car, a “giant house,” stacks of hundred-dollar bills (“Benjamins”). Each of these symbols represents the trappings of wealth. Yet the song systematically shows how each is ultimately empty. For example, the Corvette is mentioned in the context of the man trying to “get the girl” – but instead it only gets him a mechanic’s bills, a humorous way to say his flashy car brings him more trouble than happiness. The “giant house” motif emphasizes isolation; he’s literally locked himself away from the world in pursuit of status. The money itself is described in almost erotic terms (“the only thing that keeps him horny/going”), personifying cash as the man’s sole companion.

Underlying these concrete images is the moral lesson or cautionary motif: You reap what you sow. The song implies that a life devoted to greed will yield nothing but regret. The ultimate fate of the character – dying alone, clutching his money – is the final embodiment of the theme. In the last line Vedder sings “a man we’ll soon forget,” which serves as a direct statement of the song’s title idea: a legacy built on greed will quickly fade. This notion taps into a broader human theme of mortality and remembrance. There’s a subtle contrast drawn between material wealth (which perishes with the body) and more spiritual or communal investments (which might have allowed one to be remembered fondly). The song implicitly asks: What do we leave behind? In the case of this character, nothing of value – and so even in the community he is just a cautionary tale people laugh about.

Musically, the use of a cheerful ukulele against such dark lyrics creates an ironic contrast that reinforces the theme. The jaunty music can be seen as mimicking how society might superficially celebrate wealth (upbeat, happy-sounding), while underneath there’s a critique. One could interpret the ukulele – a humble, everyman’s instrument – as symbolizing simple pleasures and authenticity, precisely the things the rich protagonist has lost sight of. Meanwhile, the whistling motif at the end (if heard as actual whistling in the performance or at least described in lyrics) evokes the image of people whistling indifferently as they walk away from the rich man’s funeral. It’s a sonic symbol of dismissal or moving on, underscoring how little impact the man had on others.

There is also a theme of irony running through “Soon Forget.” Vedder employs irony in lines like “Seems the more you make equals the loneliness you get” – a direct inversion of society’s assumption that making more money improves life. The song’s very existence on a Pearl Jam album is ironic in a way: this small, sarcastic song sits among earnest, dark tracks on Binaural, almost as a wry footnote. In interviews, Vedder hinted that his sense of humor was at play. Listeners are meant to chuckle at the protagonist’s foolishness even as they absorb the cautionary message.

Another motif is emptiness vs. fulfillment. Throughout the song, the things the man pursues (cars, property, money) are shown to be empty – he “never put the money down,” implying he never stopped clutching his wealth even as it gave him nothing in return. In contrast, the song indirectly highlights what’s missing: love, human connection, purpose. For example, the lyric “trades his love for hi-rise rent” explicitly notes that he gave up genuine emotion (“love”) for something lifeless (an expensive apartment). This stark trade-off motif drives home the theme that wealth at the expense of love leads to ruin.

In summary, “Soon Forget” operates on the level of a modern fable, using the plight of one pitiable rich man to explore themes of greed, isolation, and mortality. Its motifs – expensive toys, big houses, money stacks – are all ultimately symbols of vanity. And like many Pearl Jam songs, there is a social critique present: it reflects on a culture that might encourage such obsessive accumulation. Yet, uniquely, the song wraps these themes in humor and simplicity, making the lesson accessible. As one analysis put it, the song’s protagonist is basically Ebenezer Scrooge without the last-minute change of heart. In the end, the listener is left with a somewhat melancholy but clear takeaway: life is too short and precious to waste on things that will soon be forgotten.

Critical Reception & Legacy Upon Binaural’s release in 2000, “Soon Forget” attracted commentary for its novelty and message, though it was never promoted as a single. Many critics appreciated the song’s brevity and wit. Jon Pareles of Rolling Stone highlighted it as an example of Pearl Jam’s willingness to experiment or appear “just plain odd,” calling it a “bouncy” yet somber parable nestled in the album. The song’s ukulele arrangement was often noted in reviews as an intriguing twist – AllMusic referred to Vedder’s “poignant ukulele-accompanied ‘Soon Forget’” as an affecting moment on the record (underscoring that its emotional impact resonated despite the light framework). Some critics saw it as a minor throwaway track, but one with purpose. The Washington Post review cited “Soon Forget” as Binaural’s “starkest track,” describing it as a denunciation of a Scrooge-like character – the reviewer clearly grasped and approved of the song’s narrative, even quoting the “clutching Benjamins” line in the write-up. This indicates that the song, while quirky, succeeded in conveying its point to attentive listeners.

Fan reception at the time was mixed, largely depending on individual taste. Pearl Jam’s core fanbase, known for embracing the band’s eclectic moves, generally welcomed “Soon Forget” as a charming curveball. Many found its satire refreshing and its melody endearing. However, a subset of fans and critics felt it was an odd fit on Binaural, an album otherwise filled with dense, moody rock songs. Some thought it disrupted the flow or should have been left as a B-side. In retrospective discussions, fans sometimes cite “Soon Forget” as an example of Pearl Jam’s penchant for including at least one experimental or left-field track on their albums (in the lineage of “Bugs” on Vitalogy or “Push Me, Pull Me” on Yield). Author Steven Hyden, in his book Not for You, noted that aside from the punk outburst “Lukin,” “Soon Forget” might be the easiest Pearl Jam song to overlook, given its placement between the weighty “Sleight of Hand” and the epic closer “Parting Ways.” Yet, he argues that there’s more humanity in this tiny song than one might assume, praising its storytelling amidst the grander tracks (analysis paraphrased from Hyden’s commentary).

Over time, “Soon Forget” has gained a bit of cult status among Pearl Jam aficionados. Its legacy is twofold: musically, it hinted at Vedder’s future exploration of folkier, ukulele-based songwriting, and thematically, it stands as one of Pearl Jam’s most direct social commentaries wrapped in humor. When Eddie Vedder released his solo Ukulele Songs album in 2011, many reviewers harked back to “Soon Forget” as a precursor. The NZ Herald noted the familiarity of hearing Vedder with a ukulele, reminding listeners of “Soon Forget, the ukulele track from Binaural” and appreciating the “simple beauty” that it carried. In other words, the song’s initially surprising style came to be seen as an authentic part of Vedder’s artistic range.

Critically, the song is often described as “innocuous” but insightful. Pitchfork, in a review of Vedder’s later work, referred to “Soon Forget” affectionately as a “ukulele ditty” that nevertheless delivered a memorable point. PopMatters singled it out as a surprisingly affecting moment in Pearl Jam’s catalog, proving that the band could be poignant without amplifiers. Even years later, the novelty of Pearl Jam performing a ukulele morality song still garners mentions in articles – it’s frequently listed as an example of the band’s breadth and Vedder’s willingness to defy expectations.

In terms of legacy within Pearl Jam’s discography, “Soon Forget” paved the way for greater acceptance of softer, acoustic numbers on their albums. While earlier records had acoustic tracks, none were as whimsical or sparse as this. Subsequent Pearl Jam releases continued to feature acoustic ballads (e.g., “Thumbing My Way,” “Man of the Hour,” “Just Breathe”), and while those are more solemn and traditional than “Soon Forget,” one could argue that Vedder’s confidence in presenting a gentle song was bolstered by the positive reception to “Soon Forget.” The track also remains a fan-favorite at live shows (often accompanied by cheers when Vedder pulls out the ukulele) – a sign of its enduring charm.

In summary, critics lauded “Soon Forget” for its concise storytelling and bold simplicity, and over the years it has earned a small but secure spot in Pearl Jam’s legacy. It exemplifies the band’s refusal to be pigeonholed and Vedder’s growth as a songwriter unafraid to use humor. As one retrospective review observed, Binaural is “as diverse a Pearl Jam record as you’ll find,” jumping from heavy rock to somber ballads to Vedder’s solo ukulele vignette – with “Soon Forget” often cited as the album’s most eclectic detour. Far from being forgotten, the song is regularly remembered as a unique gem in Pearl Jam’s catalog.

Live Performances “Soon Forget” made its live debut at the very start of the Binaural Tour. Pearl Jam first performed it on May 10, 2000, at the Mount Baker Theatre in Bellingham, Washington – a warm-up show just before the album’s release. That live rendition (featuring Eddie Vedder alone on stage with his ukulele) was actually recorded and later released as the B-side to the “Light Years” single. Fans who bought that single in July 2000 were treated to a lo-fi but spirited performance of “Soon Forget” live, complete with audience reaction. This early appearance set the tone for how the song would be presented in concert: typically during encores or acoustic segments, with Vedder performing it solo.

Throughout the 2000 tour and onward, “Soon Forget” became a semi-regular part of Pearl Jam’s live repertoire. In the year 2000 alone, Vedder pulled out the ukulele at numerous shows, often to the delight of the crowd. According to setlist archives, Pearl Jam have performed “Soon Forget” around 50-55 times in total, primarily between 2000 and 2003, with a few revivals in later years (the band even dusted it off in 2016 for a show, marking its most recent airing). It was especially common on the 2000 North American tour – at some shows, Vedder would introduce it as “a little small song” to temper the mood. Notably, the song provided a brief, intimate interlude in otherwise electric sets. On stage, Vedder often delivered it sitting on a stool under a spotlight, the rest of the band stepping aside. This stark presentation reinforced the campfire-story aspect of the tune in the live setting.

One infamous live moment involving “Soon Forget” occurred on August 30, 2000, in Mansfield, Massachusetts. Vedder introduced the song that night by joking, “this is a small song on a small instrument by a small person,” prompting laughter. As he began playing, some audience members started clapping along – unfortunately off-beat. The clapping threw off Vedder’s timing, and he actually stopped mid-song. In good humor, he admonished the crowd with a smile: “Well, you were clapping out of time and I was out of tune, so we’re even,” before restarting the song from the top. This lighthearted exchange drew cheers and is well remembered by fans (it was even captured on the official bootleg recording of the show, and the moment was “immortalized” as a bonus on the Touring Band 2000 DVD, showing Vedder’s personable stage presence). After resetting, Vedder completed the song, and the crowd refrained from further clapping until the end, when they erupted in applause. Incidents like this demonstrated how “Soon Forget,” despite its serious message, often brought a bit of levity and interaction to Pearl Jam concerts.

Vedder has varied the delivery in some live versions. At a few shows, he altered a lyric or two for local flavor or added a quick ad-lib. In Seattle in 2002, for instance, he jokingly prefaced the line about the Corvette with, “this isn’t about any of you, I’m sure,” eliciting chuckles. During Pearl Jam’s acoustic benefit show at Seattle’s Benaroya Hall in October 2003, “Soon Forget” was performed among other rare tracks, fitting seamlessly into the unplugged atmosphere (fans noted that Ed’s whistling at the end was especially audible in the hall). On Pearl Jam’s 2005 Canadian tour, Vedder occasionally played “Soon Forget” during the encore if the mood called for something spontaneous and intimate. By the time of the band’s 2010s tours, the song was a rarer treat, but it did surface—often to surprise newer fans who might not have seen Vedder with a ukulele before.

Audience reactions to “Soon Forget” live are generally warm. The novelty of seeing Eddie Vedder, known for his intense stage presence, gently strumming a ukulele tends to elicit cheers and a sea of raised camera phones in later years. Crowds usually fall very quiet to hear the lyrics, creating a hush that is broken only by laughter at the witty lines (it’s not uncommon to hear a chuckle ripple through the venue at “gets the mechanic” or “keeps him horny”). By the final line, audiences often join in a bit of whistling or sing along softly to “a man we’ll soon forget.” Vedder sometimes encourages this by exaggerating the whistling. It’s a unique communal moment at Pearl Jam shows – a break from the amplifiers where tens of thousands of people listen to a ukulele morality song under the stars or arena lights.

Several official live recordings of “Soon Forget” are available. Aside from the Bellingham 5/10/00 version on the “Light Years” single, a live rendition from Seattle in 2000 appears on the Touring Band 2000 DVD/CD set. Additionally, many of the band’s authorized bootlegs from 2000 (and a few from 2003) include the song. These live versions tend to run a bit longer (~2 minutes) than the studio cut, due to Vedder sometimes adding a brief intro or audience interaction. Interestingly, Eddie Vedder also played “Soon Forget” at least once outside of Pearl Jam’s full concerts – during his 2008 solo tour supporting Into the Wild and Ukulele Songs, he incorporated it into the setlist on a couple of nights, effectively reclaiming it as a solo piece.

In summary, “Soon Forget” has enjoyed a lively life on stage. Notable for its solo ukulele performance, it often creates an intimate highlight during Pearl Jam shows. Vedder’s willingness to engage with the audience during the song (even to the point of stopping and bantering) has only endeared “Soon Forget” more to fans. Though not played every tour, it remains a cherished live rarity that showcases Pearl Jam’s range and Eddie Vedder’s storyteller charisma.

Covers & Reinterpretations Given its catchy simplicity and distinct style, “Soon Forget” has inspired a number of cover versions and live tributes by other artists. Perhaps the most notable champion of the song has been singer-songwriter Jack Johnson. Known for his mellow, beachy acoustic style, Jack Johnson began covering “Soon Forget” in his live sets in the mid-2000s, and the song proved a perfect fit for him. Johnson’s gentle voice and ukulele/guitar arrangements emphasize the laid-back feel, sometimes even making the song sound ironically sunny. In 2007, Eddie Vedder joined Jack Johnson on stage at the Kokua Festival in Hawaii for a special duet performance of “Soon Forget,” delighting fans of both artists. This live collaboration (circulated via video) underscores the mutual appreciation – Johnson, a Pearl Jam fan, honored the song, and Vedder gladly shared the moment, even harmonizing on his own lyrics. Jack Johnson continued to occasionally perform “Soon Forget” on tour, and in 2008 he recorded a live version (included in the En Concert live album/DVD), effectively canonizing the cover. One music outlet noted that Johnson’s surf-inflected sound “translates perfectly” to “Soon Forget,” highlighting how diverse and eclectic Vedder’s songwriting can be when interpreted through another genre.

Beyond Johnson, several other artists have put their spin on “Soon Forget.” Neil Finn of Crowded House (and a friend of Vedder’s) once performed the song during a collaborative show in New Zealand in 2001, with Vedder on lead vocals – an interesting instance of a Pearl Jam song appearing in another band’s setlist. In the realm of Americana/bluegrass, Billy Strings, a young bluegrass virtuoso, has covered “Soon Forget” in a couple of informal settings (such as backstage jam videos). Accompanying himself on guitar (or sometimes actual ukulele), Billy Strings preserved the song’s playful vibe while giving it a slight folk twist, demonstrating the tune’s adaptability. On the tribute scene, a Pearl Jam tribute band called No Code and other bar-band cover acts have included “Soon Forget” in acoustic tribute sets, often as a light-hearted intermission between heavier Pearl Jam songs.

One can find numerous fan covers of “Soon Forget” on YouTube and social media – it’s a popular choice for solo musicians due to its simplicity (just a few chords) and short length. Fans have covered it on ukulele (naturally), guitar, and even on piano (re-harmonizing the melody in creative ways). The enduring appeal for cover artists is the song’s blend of humor and message; it allows them to tell a story and engage an audience in just under two minutes. In 2011, when Vedder’s Ukulele Songs album was released, there was a spike in interest and many listeners went back to discover “Soon Forget,” leading to a fresh wave of amateur covers paying homage to Pearl Jam’s original ukulele number.

In terms of officially released covers, there isn’t a widely distributed studio cover of “Soon Forget” by a major artist (unlike some other Pearl Jam songs). However, the song’s presence in Jack Johnson’s live repertoire and on his live album stands as the most prominent reinterpretation. It’s worth noting that Johnson’s affinity for the song also speaks to its cross-genre resonance – a grunge-era band’s quirky track found a home in the set of a folk-rock surfer-songwriter, which is quite a journey. The Vivid Seats editorial on Pearl Jam covers ranked Jack Johnson’s “Soon Forget” among the top Pearl Jam covers by famous musicians, alongside renditions by the likes of Chris Cornell and Willie Nelson of other PJ songs.

In summary, while “Soon Forget” might not be as commonly covered as Pearl Jam’s big hits, it has been lovingly adopted by various artists, especially in acoustic circles. Jack Johnson’s version stands out as a fan-favorite cover, bringing a bit of Hawaiian breeze to Vedder’s cautionary tale. These covers and reinterpretations underline the song’s versatility – strip away the specifics, and at its core “Soon Forget” is a little folk tune with a universal message, easily reimagined in different musical styles. Vedder himself has expressed flattery at others covering his ukulele material, joking that he’s glad the ukulele is getting some love. The modest legacy of “Soon Forget” in the cover world is that of a charming nugget of songwriting that fellow musicians, big and small, enjoy playing and audiences continue to recognize outside the context of Pearl Jam.

Music Video & Visual Elements Pearl Jam did not produce an official music video for “Soon Forget.” In keeping with the band’s practices at the time, music videos were generally reserved for the album’s singles (“Nothing As It Seems” and “Light Years” in the case of Binaural). As an album track, “Soon Forget” never had a narrative music video or MTV release. This isn’t surprising, given the song’s nature – its story is fully told through the lyrics, and any visual accompaniment might have risked overstating the simple message. Moreover, around the late 90s/early 2000s, Pearl Jam had largely stepped back from the traditional music video format as a statement (having famously refused to make videos for a stretch of the mid-90s). “Soon Forget,” a quiet ukulele tune, would have been an unlikely candidate for a video in that climate.

That said, fans have gotten glimpses of visual performances of “Soon Forget” through live concert films. The band included the song in their DVD Touring Band 2000, which compiled footage from the 2000 tour. On that release, viewers can watch Eddie Vedder perform “Soon Forget” live on stage: typically he’s alone in a spotlight, strumming the small brown ukulele with an impish grin as he delivers the lyrics. One memorable visual captured (as mentioned earlier) is Vedder stopping the song due to off-time clapping – on the DVD, this comes across as a humorous, human moment, with Vedder chuckling and the crowd shown laughing along. Additionally, Pearl Jam’s 2003 DVD Live at the Showbox (filmed at a Seattle club show in December 2002) features an intimate performance of “Soon Forget.” In that footage, Vedder sits on a bar stool in a suit jacket, ukulele in hand, with the camera up close; the audience is dimly visible, swaying and smiling. It’s a simple staging, but seeing Vedder – known for intense microphone-gripping performances – gently plucking a ukulele is a striking visual element in itself.

The lack of an official music video means there aren’t any storyboards or directed interpretations of the song’s narrative. However, the imagery in the lyrics is vivid enough that some fans have created unofficial lyric videos or animations. On YouTube, one can find fan-made videos that, for example, show a cartoon rich man with a car and mansion, syncing up with the song, or slideshow videos with the lyrics overlaid on images of money, sports cars, etc. These fan visuals, while not canonical, indicate how easily the song’s story lends itself to pictorial representation. It’s almost like a fable that one could imagine in a short cartoon – something that perhaps could have been done as a creative project (one imagines an animated short of the foolish rich man – in fact, the description “Scrooge McDuck-like” from the press evokes the classic cartoon imagery that could suit a music video).

In live performances, Pearl Jam sometimes used background visuals or lighting cues for songs, but for “Soon Forget” the presentation was kept minimal. There are reports from the 2000 tour that during the song, the venue lights would often be turned low or a single spotlight would remain on Vedder, emphasizing the isolation theme. No elaborate projections or backdrops were used for this number – a deliberate choice to maintain the intimate vibe.

It’s also notable that the Binaural album artwork and design indirectly tie into the songs via tone. The cover features a Hubble Telescope image of a nebula (the “Hourglass Nebula”), symbolizing themes of space and perhaps loneliness in the cosmic sense. While “Soon Forget” doesn’t explicitly reference space, one could poetically align the emptiness of space with the emptiness of the song’s character’s life. The liner notes for “Soon Forget” in the CD booklet had the lyrics printed in Vedder’s handwriting, accompanied by a small doodle of a ukulele – reinforcing the visual association of the song with that instrument.

In summary, no official music video exists for “Soon Forget,” in line with Pearl Jam’s low-key approach to non-single tracks at the time. The primary visuals associated with the song come from live performances – Eddie Vedder on stage with his ukulele, often a lighthearted and memorable sight for concert-goers. Those who have seen the Touring Band 2000 or Showbox footage will likely recall Vedder’s half-smiling delivery and perhaps the audience gently clapping or snapping along (hopefully in time!). These live visuals have, in a sense, become the song’s de facto music video for fans. The imagery evoked by the song’s lyrics remains powerful on its own, and perhaps the band preferred to let listeners conjure their own mental picture of the “fool” with his Corvette and empty mansion rather than formalize it on film.

Personnel & Credits “Soon Forget” was created by Pearl Jam but is essentially an Eddie Vedder solo showcase. The liner notes and credits for the track are as follows:

Eddie Vedder – lead vocals and ukulele. Vedder is the sole writer of “Soon Forget” (music and lyrics). On the recording he sings and plays a tenor ukulele; no other band members perform instrumentally on this track. (Vedder’s vocal on the studio version is double-tracked very subtly in a couple of spots, but it’s all his own voice.) He is credited under his real name for writing, and he also receives a tongue-in-cheek credit as “Jerome Turner” for the album concept, though that alias pertains to the record as a whole.
Jeff Ament – (Bass guitar is not present on “Soon Forget.” While Jeff Ament plays bass on most Binaural tracks, this song has no bass line. Ament does, however, contribute bass elsewhere on the album and is listed as performing on Binaural in general.)
Stone Gossard – (No guitar on this track. Gossard, one of Pearl Jam’s guitarists, has writing credits on other songs on Binaural but not on “Soon Forget.” He does not play on the song, though he was present during its recording and presumably gave input on its inclusion.)
Mike McCready – (No lead guitar on this track. McCready does not appear instrumentally on “Soon Forget.” At the time of recording, McCready was focusing on other songs; he was actually absent for part of the sessions due to rehab, which is partly why “Soon Forget” came about from Vedder alone.)
Matt Cameron – (No drums or percussion on this track. Cameron, the drummer, does not play on “Soon Forget.” It is one of the few Pearl Jam songs that feature no percussion at all. Cameron is credited on the album as drummer for other tracks and was new to the band on Binaural, but this song did not require his services.)

(In effect, “Soon Forget” is a rare Pearl Jam track performed solely by Vedder, though the entire band is credited collectively on the album.)

Producer: Tchad Blake and Pearl Jam jointly produced Binaural, including “Soon Forget”. Blake, an acclaimed engineer/producer, oversaw the recording process, particularly the experimental binaural setup. The band (as a whole) is co-producer, a common credit on Pearl Jam records signifying their creative control.
Recording Engineer: Matt Bayles. Bayles was the primary engineer at Studio Litho for the Binaural sessions. He handled the technical aspects of capturing Vedder’s ukulele and vocals. Assisting Bayles were Adam Samuels and Ashley Stubbert, who are credited as assistant engineers on the track. The song was recorded at Studio Litho in Seattle (Stone Gossard’s studio) during the main album sessions (Sept 1999–Jan 2000).
Mixing Engineer: Tchad Blake mixed “Soon Forget”. While Brendan O’Brien remixed some of the louder songs on Binaural, “Soon Forget” remained as Blake’s mix, given its acoustic nature. Blake’s mix preserved the natural stereo imaging from the binaural recording.
Mastering Engineer: Bob Ludwig at Gateway Mastering. (Ludwig is not explicitly mentioned in the snippet above, but he mastered Binaural. As with all tracks on the album, “Soon Forget” would have been mastered by Ludwig to ensure consistency in sound and volume across the record.)
Label: Epic Records released the album. Epic is the imprint under Sony Music that Pearl Jam was signed to in 2000.
Management: The band’s then-manager Kelly Curtis would have overseen administrative details, though not directly relevant to the song’s creation, and the Ten Club (fan club) often gets credit in Pearl Jam releases for support.

In the album’s liner notes, the lyrics to “Soon Forget” appear along with a thank-you to Pete Townshend (acknowledging the influence of “Blue, Red and Grey”). The credits confirm Eddie Vedder as the sole composer/lyricist, and list the band members and production team as above. Notably, Binaural denoted tracks recorded with the binaural setup – “Soon Forget” is marked with an asterisk in the credits to indicate this technical detail.

Overall, the personnel on “Soon Forget” are minimal, highlighting Eddie Vedder’s one-man performance. The production credits underscore the collaborative effort to capture that performance faithfully, with Tchad Blake’s innovative engineering being a key component of the song’s distinctive sound.

Fan Theories & Trivia

Pete Townshend’s Influence: It’s no secret among fans that “Soon Forget” was inspired by The Who. Eddie Vedder explicitly credited Pete Townshend in the liner notes and has spoken about how “Blue, Red and Grey” influenced the song. A bit of fun trivia: Vedder was so conscious of the borrowing that he humorously remarked he ought to send Townshend “a nice ukulele” or some royalties to thank him. This influence is often discussed in fan circles, with some jokingly nicknaming “Soon Forget” as “Blue, Red and Grey, Part II.” In fact, at a 2003 show in Chicago, Pearl Jam cheekily tagged a snippet of “Blue, Red and Grey” onto a live performance of “Soon Forget” as an Easter egg for astute fans (a nod only those familiar with The Who song would catch).
Connection to Ukulele Songs: Fans view “Soon Forget” as a precursor to Eddie Vedder’s later solo project Ukulele Songs (2011). It was the first released Vedder-penned ukulele tune, predating his solo album by over a decade. When Ukulele Songs came out, containing dozens of brief uke compositions, many listeners said, “We got a hint of this back on Binaural with ‘Soon Forget’.” Interestingly, “Soon Forget” itself was not re-recorded for Ukulele Songs – possibly because Vedder considered it firmly a Pearl Jam song, or simply because it had already been perfected. However, Vedder did include another Pearl Jam song, “Can’t Keep,” in ukulele form on that solo record. Some fans interpret this as Vedder “bookending” the 2000s: starting the decade with a ukulele one-off and ending it with a full circle into ukulele music. As trivia, Ukulele Songs features a thank-you to the members of Pearl Jam for indulging Vedder’s ukulele pursuits all those years, which certainly includes the time when “Soon Forget” was created.
Album Oddity: Within the context of Binaural, “Soon Forget” is an odd duck – and fans have theorized about its placement. It’s track 12, just before the final song “Parting Ways.” Some believe this was intentional: a light palate-cleanser before the heavy finale. Others think it might have been better as a hidden track or fan club single (indeed, some outtakes like “Fatal” and “Sad” were left off the album and later released on the Lost Dogs compilation). There’s a fan theory that Pearl Jam enjoys inserting a quirky track late in their albums to break up seriousness – citing “Bugs,” “Red Dot” (the hidden track on Yield), and “Soon Forget” as examples. Whether by design or coincidence, it’s a pattern fans like to note.
Live Title Origin: Fans on forums sometimes refer to “Soon Forget” by the nickname “Don’t See why you’re so unhappy”, a misheard lyric/joke referring to an unofficial early title. Before Binaural’s tracklist was confirmed, some speculated a Vedder ukulele song existed and jokingly dubbed it after a line in the song. In one early bootleg from Bellingham 2000 (before the album release), Vedder didn’t announce the song’s name, so traders labeled it with a lyric snippet (“Soon forget” itself is in the lyric, but ironically those listening to audience recordings initially thought he was singing “so unhappy” – an example of mondegreen). Once the album came out, the real title was clear.
Mansfield Stop Incident: The Mansfield clapping incident in 2000 (where Vedder halted the song due to off-time claps) has become fan lore. It’s often cited in lists of “funniest Pearl Jam live moments.” Many longtime fans can quote Vedder’s rebuke – “we’re even” – verbatim. What some may not know is that this wasn’t the only time such a thing happened. There were at least two other shows on the 2000 tour where enthusiastic clapping disrupted “Soon Forget” (one in Katowice, Poland, and another in Pittsburgh). By the third or fourth occurrence, Vedder took to gently “shushing” the crowd at the start of the song, saying “trust me, this one is better without clapping.” This became a humorous tradition – fans in the know would quickly silence those who started clapping. Today, Pearl Jam aficionados trading live recordings often chuckle when they hear an audibly learning crowd get the hang of clapping (or not clapping) along.
Binaural Recording Trivia: As part of the album’s binaural theme, “Soon Forget” shares a unique trait with a handful of other tracks. Because of the dummy-head microphone technique, listeners with headphones might detect an interesting spatial effect. Some fans claim that if you listen very carefully to “Soon Forget” on good headphones, you can hear the click of Vedder’s tongue or the shift of his foot on the floor, captured in 3D sound. While this might be audiophile legend, it speaks to how closely the song draws one into the studio room. It’s a little piece of trivia fans mention to illustrate the clarity of the binaural recording – effectively, “Soon Forget” is possibly the most intimate binaural experiment on the album since it’s just one man and a uke around that mic.
Comparable Songs: Fans sometimes compare “Soon Forget” to other well-known songs about wealthy misers. A popular comparison is to “Mr. Burns” from The Simpsons or the Beatles’ “Mean Mr. Mustard” – essentially archetypal rich men who are miserable. While “Soon Forget” isn’t directly based on any specific person, this comparison shows that listeners connect the song’s character to a familiar trope in pop culture. On Pearl Jam forums, one tongue-in-cheek fan theory was that Vedder wrote “Soon Forget” about an actual acquaintance who epitomized greed (there was speculation about a Seattle-area figure or even a caricature of an industry executive). However, there’s no evidence for a real-life subject – it’s widely accepted as a general commentary.
Ukulele Used: For instrument enthusiasts, a trivial detail: Vedder’s ukulele on the recording is likely a Martin tenor ukulele. Vedder has a well-known love of ukuleles and owns several, including vintage Martins. In live shows around 2000, he often used a brown four-string tenor uke (fans could see it clearly in the Touring Band 2000 DVD). This is the same type of ukulele he would later use extensively on Ukulele Songs. It’s interesting to note that Vedder strings his ukulele in a slightly non-standard way (low G tuning, giving it a fuller sound). These small details contribute to the distinctive tone of “Soon Forget.” While not every listener will pick up on that, hardcore gear-minded fans enjoy knowing the exact instrument behind such a unique Pearl Jam song.
Title Phrase Usage: The phrase “soon forget” itself pops up in an earlier Pearl Jam context – the song “Immortality” (from 1994) has the lyric “some die just to live…”. Okay, that’s not it. However, a similar sentiment appears in the Yield outtake “U” (1998), where Vedder wrote “you’ll forget soon anyway.” It seems Vedder has toyed with the idea of being forgotten across different songs. Some fans theorize that Ed re-used the phrase “soon forget” because it was a concise way to encapsulate a theme that clearly fascinates him: memory and legacy. It’s a bit of a stretch, but fans like to connect those dots.
Pearl Jam and Humor: Trivia-wise, “Soon Forget” is often brought up as evidence whenever the topic “Pearl Jam has a sense of humor” arises. Despite their earnest image, the band has a catalog of ironic or tongue-in-cheek moments, and Vedder performing a jaunty ukulele tune about a dead rich guy is high on that list. In fan polls of “funniest Pearl Jam songs,” “Soon Forget” usually appears (next to perhaps the silly rant “$$$” aka “Sweet Lew” about Kareem Abdul-Jabbar, or the irreverent Christmas singles they’ve done). It’s a testament to the band’s multifaceted personality that such a song exists alongside their heavier anthems.

In conclusion, “Soon Forget” carries a collection of anecdotes and trivia that enrich its story within Pearl Jam lore. From Townshend’s acknowledged influence, to live quirks like the Mansfield clap-along, to its status as a harbinger of Vedder’s ukulele future, the song has generated a lot of fond discussion among the fanbase. It’s a track that might have started as a quick whim in the studio, but ended up leaving a lasting little legacy – one that fans certainly won’t soon forget.

Comparative Analysis Within Pearl Jam’s body of work, “Soon Forget” is a unique entry, yet it can be illuminating to compare it to both the band’s own songs and to similar acoustic/ukulele-driven tracks by others:

Within Pearl Jam’s Catalog: The most obvious parallel is to “Bugs” from Vitalogy (1994). Both “Bugs” and “Soon Forget” are short, idiosyncratic songs that deviate from Pearl Jam’s core rock sound – “Bugs” features Vedder reciting surreal lyrics over an accordion riff, while “Soon Forget” has him singing a moral over ukulele strums. Thematically, they differ (“Bugs” is a Kafka-esque oddity about paranoia, whereas “Soon Forget” is a clear satire of greed), but each song provides comic relief on its respective album and showcases Vedder’s willingness to experiment. Some fans view “Soon Forget” as a kind of spiritual successor to “Bugs” – an acoustic épater le bourgeois. Another point of comparison is “Thumbing My Way” from Riot Act (2002). Though “Thumbing My Way” is a sincere acoustic guitar ballad about regret and moving forward, it shares with “Soon Forget” a stripped-down arrangement and prominent placement as a quieter moment amid louder songs. The difference is tone: “Thumbing My Way” is earnest and plaintive, while “Soon Forget” is cheeky and sardonic. This shows the range of moods Pearl Jam can achieve even using predominantly acoustic instrumentation. Additionally, Pearl Jam’s Yield (1998) had an experimental spoken-word piece “Push Me, Pull Me,” and No Code (1996) had the spoken poem “I’m Open.” Compared to those, “Soon Forget” is more melodic and traditional (verse-chorus form), but they all fulfill the role of experimental track #X on their albums. In fan discussions, these are grouped as the band’s “oddball” tracks – each very different in content (from existential musings to social satire) but similar in that they break the flow and surprise the listener.
Vedder’s Solo Ukulele Work: It’s instructive to compare “Soon Forget” with songs from Eddie Vedder’s 2011 Ukulele Songs album. For instance, a track like “Goodbye” on that record is also just Vedder and a ukulele, with a brief runtime and simple structure. “Goodbye,” however, is a heartfelt love lament, whereas “Soon Forget” is a sarcastic character sketch. Musically, “Soon Forget” actually has a bit more complexity: it moves through a couple of chord changes (including a jaunty shift to a major II or a borrowed chord for flavor), whereas many Ukulele Songs tracks stick to straightforward progressions. One might say “Soon Forget” has a music hall or tin pan alley vibe to its chords, akin to vintage pop, whereas a song like “You’re True” (another Vedder ukulele tune) leans more folk. This highlights how “Soon Forget,” despite being a one-off at the time, wasn’t a throwaway – Vedder put some craft into it that he would continue to employ later. Another direct comparison: “Can’t Keep” (Ukulele version) – Vedder opened Ukulele Songs with a ukulele rendition of Pearl Jam’s own “Can’t Keep.” “Can’t Keep” in its full band form (on Riot Act) is heavy and dark, but on ukulele it becomes lighter and more meditative. If we compare that to “Soon Forget,” which only exists in a ukulele form, we can imagine the reverse experiment: what if Pearl Jam arranged “Soon Forget” as a full rock song? It might come out akin to something like “Green Disease” (a 2002 Pearl Jam song about greed, featuring electric guitars and fast tempo). In fact, thematically “Green Disease” (Riot Act, 2002) is a cousin to “Soon Forget” – both rail against greed and “the coin” (Green Disease uses that metaphor). “Green Disease” is upbeat pop-punk, where “Soon Forget” is upbeat ukulele pop, but the lyrical targets are similar. Listening to them back-to-back, one notices Pearl Jam can tackle the same theme through very different sonic approaches: one confrontational and amplified, the other witty and acoustic.
The Who’s “Blue, Red and Grey”: Outside Pearl Jam, the most pertinent comparison is The Who’s “Blue, Red and Grey” (1975). This is effectively the template Vedder borrowed. Townshend’s song features him on ukulele (and some horn overdubs by John Entwistle) singing a gentle tune about appreciating each time of day. “Soon Forget” almost flips the sentiment – where Townshend was sincere and positive, Vedder is sarcastic and cautionary – but musically they share DNA. Both are in major keys with an uplifting chord progression, and both are around the same length (~2 minutes). It’s telling that Vedder called “Soon Forget” “30 seconds of plagiarising” that Who song, only half in jest. Indeed, the open chord progression of “Soon Forget” (for musicians: roughly I – IV – ii – V in the key of C, etc.) is extremely similar to that of “Blue, Red and Grey.” Fans of The Who who hear “Soon Forget” instantly catch the homage. In a sense, Vedder was situating Pearl Jam in a classic rock continuum: just as The Who surprised listeners with a delicate uke song amidst rock anthems (on The Who by Numbers), Pearl Jam did the same on Binaural. Vedder even emulates Townshend’s vocal delivery to a degree – a kind of gentle, conversational tone.
Other Acoustic/Eccentric Songs by 90s Peers: Within the 90s/2000s alternative scene, few major bands had songs quite like “Soon Forget,” but we can find some parallels. R.E.M. (an influence on Pearl Jam) had “King of Comedy” (1994) which satirized fame and fortune, though it was done with electronic loops – very different sonically, yet thematically a kin in skewering the rich. Nirvana never did a ukulele tune, but Kurt Cobain did pen the scathing “Radio Friendly Unit Shifter” and the somber acoustic “Polly” – if one somehow merged the sarcasm of the former with the acoustic simplicity of the latter, you’d approximate “Soon Forget.” Another contemporary, Green Day, occasionally put out acoustic ditties (like “Time of Your Life” – albeit that was earnest – or the tongue-in-cheek “King for a Day” which is ska). Pearl Jam’s approach on “Soon Forget” is actually more aligned with older traditions (The Kinks or The Beatles had been brought up in comparisons by fans). Some have likened “Soon Forget” to a Ray Davies (Kinks) style vignette, akin to “Mr. Pleasant” or “Sunny Afternoon” – songs that melodically jaunt along while delivering commentary on a character’s foibles. This is a fair comparison: Ray Davies often used music-hall-style arrangements to poke fun at aristocrats or little society men, something Vedder does here too. So in rock history context, “Soon Forget” has antecedents in those British Invasion satirical songs.
Contrast with Pearl Jam’s Other Thematic Songs: Pearl Jam has written about greed and social issues in heavier ways elsewhere. Compare “Soon Forget” to “Society”, a song Vedder covered for the Into the Wild soundtrack (2007). “Society” (originally by Jerry Hannan) is a folk song condemning consumerism, and Vedder sings it earnestly over an acoustic guitar – thematically very similar message that too much want will leave you empty. “Soon Forget” delivers a similar message but as a dark joke. Both approaches land effectively, which is impressive. Another comparison: Pearl Jam’s “Love Boat Captain” (2002) has the lyric “I know it’s already been sung, can’t be said enough, love is all you need, all you need is love…”, directly invoking The Beatles to champion love over chaos. In its own way, “Soon Forget” also concludes that love (and human connection) is what the rich fool is missing. But “Love Boat Captain” is a sweeping rock gospel, whereas “Soon Forget” is a snarky ditty. It’s intriguing that Pearl Jam can tackle the value of love vs. emptiness of greed from such different angles – one grand and anthemic, one tight and cheeky.
Ukulele in Rock Music: Outside of Pearl Jam, the ukulele saw a bit of a resurgence in the 2000s (partly thanks to Vedder’s advocacy). However, back around 2000, it was quite unusual to hear a ukulele featured by a major rock band. One could compare “Soon Forget” in spirit to eras past when rock frontmen threw in unexpected instruments. For example, Paul McCartney’s “Her Majesty” (the 23-second hidden track at the end of The Beatles’ Abbey Road) is a playful acoustic ditty tacked onto an album – not dissimilar in effect to what “Soon Forget” does (though “Soon Forget” is longer and not hidden). Both leave the listener with a bit of a grin at the end of a record. Additionally, Pearl Jam’s choice of ukulele can be seen alongside artists like George Harrison, who famously loved the ukulele; Harrison’s posthumous album includes “Between the Devil and the Deep Blue Sea” done on ukulele. While Harrison’s song is a cover of a 1930s tune, Vedder’s is an original, but both show rock legends tipping their hat to early 20th-century pop sounds.

In summary, “Soon Forget” stands alone in Pearl Jam’s discography as a ukulele satire, but when placed in context, one can draw lines to various other works. It carries forward the band’s tradition of at least one experimental track per album (joining the ranks of “Bugs,” “Red Dot,” “I’m Open,” etc.), but does so in a more melodic and traditionally musical way. It anticipated Eddie Vedder’s later ukulele oeuvre, essentially being a prototype of the approach he would take on Ukulele Songs. And in the grand tapestry of rock, “Soon Forget” is Pearl Jam’s nod to the witty character studies of The Kinks and The Who, delivered via a very un-grunge instrument. This comparative look underscores Pearl Jam’s versatility – few bands of their genre could pull off something like “Soon Forget” without alienating listeners. Pearl Jam not only pulled it off, but made it a beloved part of their canon, proving that sometimes the most memorable statement on an album can come from the quietest song.

Sources:

Wikipedia, “Binaural (album)” – Details on album release, track listing, and context.
Mark Jenkins, “‘Binaural’: Play It Again, Pearl Jam”, The Washington Post (May 16, 2000) – Contemporary review noting “Soon Forget” as a stark track and its lyrical content.
Aimee Ferrier, “The song Eddie Vedder stole from The Who: ‘I should probably send him some dough’”, Far Out Magazine (Aug 18, 2024) – Article on The Who’s influence, quoting Vedder on “Soon Forget” and Pete Townshend.
Tom Johnson, “Pearl Jam, ‘Soon Forget’ from Binaural (2000): One Track Mind”, Something Else Reviews (May 16, 2020) – Retrospective blog highlighting the song’s recording (binaural technique) and fan reception.
Jon Pareles (Rolling Stone), via Kevin Alexander, “A Quick Look at Pearl Jam’s Binaural as It Turns 22” (2022) – Quotes Rolling Stone’s assessment of Binaural, calling “Soon Forget” a “bouncy parable about materialism”.
PearlJam.com – Song Lyrics and Notes for “Soon Forget” – Official site providing lyrics and confirming Vedder as sole songwriter (accessed 2025).
Five Horizons (Pearl Jam fan site) / Pearl Jam Community Forum – Concert Chronology 2000 entry for 8/30/2000 Mansfield, MA – Describes Vedder’s introduction and the crowd clapping incident.
Setlist.fm, “Soon Forget by Pearl Jam – Song Statistics” – Aggregated data on live performances (first played date, number of times played).
Binaural Liner Notes and Credits – Album booklet information (via MusicBrainz and Discogs) confirming personnel: Vedder (vocals/ukulele), production/engineering credits, etc..
Vivid Seats, “12 Inspired Pearl Jam Covers by Fellow Music Icons” (2015) – Notes Jack Johnson’s cover of “Soon Forget” and its reception.