Mankind

Summary

“Mankind” is the eleventh track on Pearl Jam’s fourth studio album, No Code, released on August 27, 1996 (No Code - Pearl Jam). The song runs approximately 3 minutes and 28 seconds (No Code - Wikipedia). It marks a rare instance in Pearl Jam’s catalog where lead vocals are handled by guitarist Stone Gossard instead of lead singer Eddie Vedder (No Code - Wikipedia). Written solely by Gossard (music and lyrics), “Mankind” was not released as a commercial single, and thus did not chart on major music charts (No Code - Wikipedia). Nevertheless, it gained notoriety among fans as a quirky, upbeat departure on an otherwise intense album. The album No Code itself debuted at #1 on the Billboard 200 in 1996 (No Code - Wikipedia), although “Mankind” remained an album cut and contributed to the record’s eclectic character rather than its singles-driven radio presence.

Background & Inspiration

By 1996, Pearl Jam was experimenting with new approaches to songwriting and band dynamics amid internal tensions and fatigue from fame (Least to Most: Pearl Jam – No Code | Mumbling About…) (Least to Most: Pearl Jam – No Code | Mumbling About…). No Code marked a conscious effort to broaden the group’s creative input: “Mankind” became the first song on a Pearl Jam album with lyrics penned by a member other than Vedder (No Code - Wikipedia). Stone Gossard, the band’s rhythm guitarist, wrote and sang “Mankind,” getting “an early jump on the collaborative, open-minded spirit” that would flourish on subsequent albums (No Code – More Than Ten). Gossard later recalled that by the end of No Code’s recording, Vedder was “so burnt, it was so much work for him,” implying that Stone’s contributions like “Mankind” helped alleviate the pressure on Vedder (Least to Most: Pearl Jam – No Code | Mumbling About…).

The inspiration behind “Mankind” is often interpreted as Gossard’s commentary on authenticity in the mid-90s rock scene. Several sources describe the song as a “scathing put-down of imposter bands” that were flooding the music scene in the wake of Pearl Jam’s success (PEARL JAM - NO CODE (1996) - The Year Grunge Broke). By 1996, the grunge explosion had given rise to many imitators, and Gossard’s lyrics and attitude in “Mankind” reflect a frustration with trend-chasing and musical facades. One music review called the track a “riff-driven put-down of second-wave ‘grunge’ bands” (The Genius Of… No Code by Pearl Jam - Guitar.com). In tone, however, Gossard approached the subject with humor and irony rather than anger. He delivers the song in a tongue-in-cheek manner, once referring to his own rough lead vocals as a bit of fun within the album (No Code – More Than Ten). The band was aware that fans and radio listeners would be surprised to hear Stone on lead – indeed, its debut “took fans and radio stations by complete surprise in 1996” (No Code – More Than Ten). This willingness to subvert expectations was very much in line with Pearl Jam’s mindset during No Code, an album defined by experimentation and defying mainstream conventions.

In interviews, Gossard has been modest about his turns as a lead singer. Discussing his later solo work, he noted that before then his “only previous turn as lead vocalist” in Pearl Jam was on “Mankind” in 1996 (Gossard picks up the mike on solo album - Seattle PI). This one-off moment on No Code was emblematic of the band’s democratic ethos and desire to keep evolving. It also gave Gossard a chance to channel some of his own influences – the song’s brash, garage-rock vibe hints at the punk and classic rock (e.g. Cheap Trick, KISS) that Gossard grew up on, filtered through Pearl Jam’s style. Although not explicitly confirmed by Gossard in print, the timing and lyrical content suggest he wrote “Mankind” partly in reaction to the music industry climate, satirizing how formulaic and imitative rock had become by the mid-90s.

Lyrics & Interpretation

“Mankind”’s lyrics are cryptic yet playful, filled with seemingly nonsensical rhymes and cultural references. Gossard opens with a contrast between two characters or attitudes:

Verse 1: “You’ll be… going out with radio / Going out with disco, going out like bacchanal…” – Here, “you” is depicted as someone aligning with passing trends. Radio and disco represent mainstream fads; “going out like bacchanal” suggests a wild, hedonistic departure (a bacchanal is a drunken revelry). In contrast, Stone sings, “I’ll be… going out with telephone / Going out alone… to the radar zone…” (No Code Lyrics). This implies Gossard’s narrator is on a different wavelength – “going out alone” and into a “radar zone” (perhaps meaning an obscure or unmonitored area) rather than following the crowd. The verse sets up a dichotomy between conformity versus individual detachment.
Chorus: “It’s all just inadvertent imitation, and I don’t mean mine. It’s all across this nation. If it’s just inadvertent simulation, a pattern in all mankind… What’s got the whole world fakin’ it?” (No Code Lyrics). This is the thematic crux of the song. Gossard suggests that so much of what we do (especially in pop culture) is imitation – copying others without even realizing it (“inadvertent imitation”). He pointedly adds “and I don’t mean mine,” a sly note that his song, presumably, is genuine, while critiquing the unoriginality he sees everywhere. The phrase “pattern in all mankind” broadens the critique: humans naturally mimic each other’s behaviors and trends. The rhetorical question “What’s got the whole world fakin’ it?” conveys exasperation at the prevalence of fakery. Interpreted in context, Gossard is likely targeting the wave of sound-alike bands and formulaic radio hits of the era, implying that the authenticity in music is being lost to copied styles. Critics and fans have read this chorus as a commentary on cookie-cutter pop rock – where image and catchiness trump meaningful originality (My newly found appreciation for ‘Mankind’ — Pearl Jam Community).
Verse 2: “I’ll be… playing with my magazine… using up my Listerine… like Ovaltine. And you’ll be… you’re dippin’ in your battleship… for the latest tip… for the latest dream…” (No Code Lyrics). These lines bewildered many listeners with their eccentric wordplay. Gossard strings together consumer items: Listerine (a mouthwash) and Ovaltine (a malt drink) – rhyming them purely for sound. He sings about mundane solo activities (“playing with my magazine,” possibly implying idle time or reading) and facetiously equates “using up my Listerine” with “like Ovaltine,” as if treating a harsh cleansing rinse like a comforting drink. This absurd image underscores how ridiculous imitation and routine can be. Meanwhile, “you” are “dipping in your battleship” – an unusual phrase possibly riffing on the idiom “sink my battleship” (from the board game), here suggesting plunging into conflict or competition for “the latest tip” or “latest dream.” In other words, the follower (“you”) is constantly chasing the next trend or secret (“tip”), scrambling in a metaphorical battleship for something new to aspire to. The exact literal meaning is less important than the impression of frantic trend-chasing versus jaded withdrawal. Gossard intentionally uses silly, nonsensical rhymes (Listerine/Ovaltine, battleship/tip) to parody how popular songs often prioritize catchy phrasing over substance (My newly found appreciation for ‘Mankind’ — Pearl Jam Community). As one fan noted, the verse lyrics are “nonsensical for a reason” – they mock the idea that in pop music “it doesn’t matter what the lyrics are, just that it’s catchy.” (My newly found appreciation for ‘Mankind’ — Pearl Jam Community)
Refrain/Outro: The chorus line “What’s got the whole world fakin’ it?” repeats multiple times toward the end (No Code Lyrics), hammering home the song’s central question. Gossard’s delivery grows more emphatic, as if genuinely baffled by society’s penchant for faking. This hook is simple yet effective – it sticks in the listener’s mind, ironically making “Mankind” itself quite catchy despite its critique of catchiness over content.

Overall, “Mankind” satirizes conformity and unoriginality. Gossard’s lyrics, while humorous on the surface, carry a sarcastic bite. Phrases like “inadvertent imitation” and “pattern in all mankind” suggest that people often copy each other unwittingly, whether in music, fashion, or behavior. In the mid-90s context, this can be seen as a swipe at the post-grunge clones that mimicked Pearl Jam’s sound. Indeed, lines such as “going out with radio…disco…” evoke the idea of trends that come and go, reinforcing the notion that many artists were just faking it to ride a trend. One retrospective review explicitly calls the song’s lyric a “put-down of impostor bands” riding Pearl Jam’s coattails (PEARL JAM - NO CODE (1996) - The Year Grunge Broke). At the same time, the ludicrous rhymes (Listerine/Ovaltine) and the self-aware tone (“I don’t mean mine”) show Gossard poking fun at himself and the band as well – as if acknowledging that Pearl Jam, too, is part of the cycle of musical influence and imitation. This mix of cynicism and humor gives “Mankind” a layered lyrical identity: it’s both a critique of “faking it” in rock, and a playful, almost absurdist bit of wordplay that doesn’t take itself too seriously.

Composition & Arrangement

Musically, “Mankind” is an energetic, garage-rock influenced song that stands out on No Code for its upbeat simplicity. It is built around Stone Gossard’s driving guitar riff, which kicks in immediately and sets a punk-pop tone (No Code – More Than Ten). The song is in a straightforward rock 4/4 time with a brisk tempo, underpinned by Jack Irons’ solid drumming and Jeff Ament’s bass groove. Gossard’s opening riff repeats as a hook throughout the verses, characterized by chunky power chords and a slightly distorted, “loose, groovy” feel (No Code – More Than Ten). This riff-centric approach is why one reviewer described “Mankind” as “riff-driven” in contrast to Pearl Jam’s more melody-driven or atmospheric tracks (The Genius Of… No Code by Pearl Jam - Guitar.com).

The song structure follows a conventional verse-chorus pattern, befitting its throwback pop-rock vibe. Each verse delivers a rapid-fire series of lines that align tightly with the snappy rhythm, and then the chorus opens up with longer-held notes on “it’s all just inadvertent imitation…” and the repeated “fakin’ it” refrain. There is a brief instrumental bridge/solo section after the second chorus: lead guitarist Mike McCready provides a small guitar solo or fill, though it’s relatively restrained compared to his soaring solos on other Pearl Jam songs. In “Mankind,” McCready’s role is more about adding texture and classic rock flair beneath Stone’s vocals, perhaps channeling the 1970s hard rock atmosphere the song hints at. The overall sound has been likened to 70’s rock acts like Bad Company or even the poppier side of punk – one fan even joked that it “sounds like…THE FIRM” (a mid-80s rock band), highlighting the song’s retro rock flavor (Prindle Record Reviews - Pearl Jam).

Stone Gossard’s vocals are delivered in a raw, unpolished baritone. He has a markedly different singing voice from Vedder’s: Gossard’s style on “Mankind” is often described as a “deadpan yowl” (No Code – More Than Ten) – he half-sings, half-shouts the lyrics in a somewhat monotone way. This unrefined vocal approach actually suits the song’s punky spirit; it comes across as intentionally rough-edged and even tongue-in-cheek. The vocal melody sticks mostly to a narrow range, relying on rhythm and repetition more than virtuosic range. Gossard double-tracked his voice in parts of the chorus (and may have had subtle backing harmonies from Vedder or himself) to give the refrain a bit more punch. Critics noted that while Gossard is not a trained singer, his vocal on “Mankind” “fits the song somehow” – its everyman quality and enthusiasm match the song’s lighthearted, garage-rock mood (Daily Song Discussion #71: Mankind : pearljam) (Daily Song Discussion #71: Mankind : pearljam).

Instrumentation-wise, three guitars are audible: Stone’s rhythm guitar carries the main riff; Mike McCready likely adds lead embellishments and extra crunch in the choruses; and Eddie Vedder is credited with additional guitar on the track (Release “No Code” by Pearl Jam - MusicBrainz), possibly strumming along to thicken the sound. The use of triple guitars creates a layered, dense guitar attack typical of Pearl Jam’s live sound, but on this studio track it’s tightly arranged to keep the focus on Stone’s riff and vocal. Jeff Ament’s bass line in “Mankind” is relatively simple, largely rooting the chords, but he adds bounce with occasional walking transitions, anchoring the song’s power-pop sensibility. Jack Irons on drums provides a steady backbeat with flourishes on the fills that show his comfort with funk and groove – for example, he accentuates turnarounds with swift snare rolls and hi-hat hits that give the track a lively swing.

Harmonically, “Mankind” sticks to basic chords (likely E–A–D type progressions, though the exact key is A major as played live). The lack of minor chords or darker tonal shifts gives it a major-key brightness uncommon in Pearl Jam’s more brooding songs. This musical brightness, combined with an economical 3:28 runtime and a catchy chorus, makes “Mankind” arguably the most “pop” song on No Code (My newly found appreciation for ‘Mankind’ — Pearl Jam Community). In fact, its placement on the album – coming right after the expansive, existential “Present Tense” – provides a jolt of upbeat rock that re-energizes the listener (“No Code” by Pearl Jam – 25th Anniversary – A Reflection – Heavy and Weird). Critics have pointed out that this sudden shift acts almost like comic relief on the record (“No Code” by Pearl Jam – 25th Anniversary – A Reflection – Heavy and Weird) (“No Code” by Pearl Jam – 25th Anniversary – A Reflection – Heavy and Weird). The composition of “Mankind” is deliberately simpler and lighter than much of Pearl Jam’s oeuvre, underlining the band’s willingness to surprise their audience with something so “un-Pearl Jam” in style.

In summary, the composition of “Mankind” marries a punky, power-pop sound with Gossard’s intentionally plain-spoken vocals. It’s a compact burst of rock that showcases a different side of Pearl Jam’s musical range, one rooted in garage-rock spontaneity and classic riff-rock traditions rather than the dark, expansive grunge sound they were known for. This contrast was key to No Code’s diverse atmosphere, and “Mankind”’s arrangement delivers that contrast in a succinct, hooky package.

Production & Recording

“Mankind” was recorded during the No Code sessions in late 1995 and early 1996, a tumultuous period for Pearl Jam. The album’s recording took place across multiple locations: an initial session in Chicago (July 1995) and later work at Stone Gossard’s own Studio Litho in Seattle in early 1996 (No Code - Wikipedia) (No Code - Wikipedia). Gossard’s studio provided a comfortable environment for band members to experiment, and it’s likely where Stone tracked his lead vocals for “Mankind.” Given that Eddie Vedder typically handled vocals, having Stone step to the microphone was a novel experiment. Producer Brendan O’Brien – producing his third Pearl Jam album – encouraged the band’s exploration of new approaches. O’Brien co-produced No Code with Pearl Jam and also handled the mixing duties for the album (Pearl Jam Concert Chronology). As such, he was instrumental in balancing “Mankind” in the context of the album, ensuring Stone’s vocals sat well in the mix and the song’s brashness didn’t overwhelm the record’s sonic flow.

The recording process for “Mankind” was likely straightforward. Pearl Jam recorded mostly live in the studio for No Code, capturing a raw, analog sound. Engineer Nick DiDia served as the principal recording engineer on the album (Release “No Code” by Pearl Jam - MusicBrainz), with assistance from engineers Matt Bayles, Caram Costanzo, and Jeff Lane (Release “No Code” by Pearl Jam - MusicBrainz). DiDia and O’Brien are credited with mixing the tracks (Pearl Jam Concert Chronology). In the mix of “Mankind,” one can notice that Stone’s vocals are slightly buried compared to a typical lead vocal – this was probably intentional, blending his voice into the wall of guitars to maintain a garage-rock feel. O’Brien didn’t overly polish the performance; you can hear Gossard’s voice waver and strain at times, which adds to the authenticity and charm. The guitar tones on “Mankind” are crunchy and mid-range heavy, which is consistent with O’Brien’s production style on Pearl Jam’s records – he often captured their guitars with a warm, vintage-amp sound. Jeff Ament’s bass is mixed with a punchy presence that locks in with the kick drum, giving the song a driving low end without muddying the guitars.

One notable production aspect is how economical the track is. In the studio, Pearl Jam kept “Mankind” short and tight; there’s no extended jam or complex overdubbing. This was a deliberate contrast to some of the more layered songs on No Code. The band reportedly had a surplus of material during No Code’s creation and even some interpersonal strains (bassist Ament felt a bit sidelined early on) (Least to Most: Pearl Jam – No Code | Mumbling About…). In that climate, Gossard bringing in a fully written song (music and lyrics) was significant. It’s possible Vedder initially tried singing “Mankind” during demo stages – as he did for many band-written tunes – but in the end the group favored Stone’s own vocal take to best convey the song’s tongue-in-cheek tone. There is anecdotal evidence that Vedder willingly ceded the microphone; during a warm-up show, he introduced “Mankind” by saying “This is Stone’s song and it’s my favorite” (Pearl Jam Concert Chronology), indicating his support for Stone’s moment.

The studio recording techniques for “Mankind” were likely fairly standard for Pearl Jam: the band laying down basic tracks together, followed by Gossard overdubbing his lead vocal, and McCready possibly adding a lead guitar overdub. As with the rest of No Code, analog tape was used, contributing to the slightly grainy texture of the recording. Brendan O’Brien’s mix kept the song’s edges rough – for example, one can hear a bit of amplifier hum and the natural room reverb around the drums, maintaining a live feel. There are no evident exotic effects or tricks on “Mankind”; its production is minimalist, emphasizing the immediacy of the performance. This approach aligns with Pearl Jam’s ethos at the time, as they were deliberately moving away from the heavy gloss of mainstream rock production and trying to capture more spontaneity on record.

In summary, “Mankind” benefited from a no-frills recording process. Produced by Brendan O’Brien and the band, and engineered by Nick DiDia (Pearl Jam Concert Chronology) (Release “No Code” by Pearl Jam - MusicBrainz), the track was put to tape with the intent of sounding real and unvarnished. The end result on the album is a song that sonically feels like a quick burst of energy – almost as if it could have been recorded live at a rehearsal. This production style supports the song’s themes of authenticity versus fakery: by keeping “Mankind” raw, Pearl Jam ensured that their take on a “pop” song still came across as genuine and a bit subversive.

Themes & Motifs

“Mankind” revolves around the central theme of authenticity vs. imitation. Throughout the song, Gossard examines how individuals and artists often follow patterns set by others, sometimes without realizing it. The lyrics explicitly mention imitation and simulation as widespread phenomena “across this nation” and “in all mankind” (No Code Lyrics), suggesting that copying is an inherent human trait. This broad theme resonates on multiple levels in the song:

Musical Imitation: On a meta level, “Mankind” itself addresses the state of music in the mid-90s. The song’s narrative voice calls out the way popular music trends recycle sounds. The mention of radio and disco implies genres that had become formulaic by their peak. The motif of obsolescence is hinted by phrases like “going out with…” – as if these trends are outgoing fashions. It’s a commentary on how each generation of music spawns a legion of sound-alikes. Pearl Jam, having been at the forefront of the early 90s alternative rock boom, saw many bands emulate their style; “Mankind” reacts to that with thinly veiled scorn for bandwagon jumpers. The repeated question “What’s got the whole world fakin’ it?” is a thematic refrain that questions the authenticity of those participating in these musical trends.
Cultural Satire: The song uses absurd humor (magazine, Listerine, Ovaltine, battleship) as a motif to satirize consumer culture and superficiality. The brand-name rhymes serve as symbols of mindless routine or advertising jingles, reinforcing the theme that society often accepts nonsense if it’s presented in a catchy package. By stringing together meaningless but rhythmic phrases, Gossard mirrors how pop culture sometimes prioritizes style over substance – a key motif in the song. This is underscored by the fan interpretation that the silly lyrics are intentionally empty to prove the point that pop songs can be about nothing and still succeed (My newly found appreciation for ‘Mankind’ — Pearl Jam Community). Thus, nonsense itself becomes a motif symbolizing the hollowness of cookie-cutter art.
Individuality vs. Conformity: “Mankind” juxtaposes a narrator who seems detached (the “I” who is off in his own world, “going out alone to the radar zone”) with a “you” who is deeply invested in chasing collective trends (“dipping in your battleship for the latest tip/dream”). This contrast presents the theme of individual skepticism versus herd behavior. Stone’s protagonist chooses solitude and observation (radar zone suggests watching from a distance) as a way to remain authentic, whereas the target of the song immerses themselves in whatever is popular. The title “Mankind” itself is a broad motif – it implies the song is about human nature at large. By using such a grand title for a three-minute rock tune, Gossard adds a bit of irony; he’s elevating this issue of imitation to be emblematic of mankind’s condition, perhaps sarcastically suggesting it’s a flaw endemic to humanity that we all “fake it” to some degree.
Light vs. Dark (Relief Motif): Within the context of No Code, “Mankind” serves as a moment of lightness amid heavier themes. Several songs on the album deal with introspection, existential questions, and emotional turmoil. “Mankind,” in contrast, has a breezy, mocking tone. In album sequencing, it functions thematically as a palate cleanser or moment of levity – a motif in Pearl Jam albums where a less serious track breaks up intensity (similar to how “Bugs” provided eccentric relief on Vitalogy). As one analysis noted, Gossard’s song “adds a bit of light relief to the intensity” of the record (“No Code” by Pearl Jam – 25th Anniversary – A Reflection – Heavy and Weird) (“No Code” by Pearl Jam – 25th Anniversary – A Reflection – Heavy and Weird). Thematically, this relief is intentional: it underscores that Pearl Jam wasn’t afraid to poke fun at themselves or their milieu. The motif of humor (rare in Pearl Jam’s catalogue) is thus central to “Mankind.” Lines that almost read like comedic non-sequiturs (“using up my Listerine like Ovaltine”) remind the listener not to take everything overly seriously.
The Human Pattern: The phrase “a pattern in all mankind” suggests a motif of universality. Gossard hints that imitation isn’t just a music industry issue, but a human one – we mimic to belong or to succeed. This ties into larger themes of identity: how do you remain yourself in a world that constantly pulls you into its patterns? While “Mankind” addresses it playfully, this theme is actually quite aligned with Pearl Jam’s broader ethos of integrity and resisting corporate or societal pressure. In this sense, “Mankind” shares a thematic undercurrent with earlier songs like “Not for You” (Vedder’s diatribe against commodification and co-option). Both songs, in their own ways, rail against the idea of losing authenticity to appease the masses.

In summary, “Mankind” uses humor and irony to explore themes of fakery, influence, and the struggle to remain authentic in a conformist world. Its motifs – from brand-name gags to rhetorical questions – all serve to reinforce a skeptical view of popular culture’s sameness. Yet, by cloaking this critique in a fun, accessible rock song, Pearl Jam invites listeners to sing along even as they consider the song’s satirical edge. The duality of serious message vs. playful delivery is itself a motif that makes “Mankind” a nuanced piece: it sounds almost frivolous, but carries a thought-provoking subtext about human nature and art.

Critical Reception & Legacy

Upon No Code’s release in 1996, “Mankind” drew mixed reactions from both critics and fans, largely because of its unexpected nature. Many listeners were initially taken aback to hear Stone Gossard on lead vocals. Some critics appreciated the song’s catchiness and the band’s willingness to try something different, while others felt it was a weak link on the album. For example, Rolling Stone’s album review noted the album’s eclecticism but didn’t single out “Mankind” in detail; however, later retrospectives have highlighted it as a bold experiment (“No Code” by Pearl Jam – 25th Anniversary – A Reflection – Heavy and Weird). Entertainment Weekly and other outlets at the time focused more on the album’s shift away from Pearl Jam’s earlier sound, with “Mankind” often cited as evidence of the band’s unpredictability – a garage-pop detour that either amused or confused listeners.

Fan reception at the time of release was similarly split. Hardcore Pearl Jam fans, accustomed to Vedder’s voice, weren’t sure what to make of Gossard’s deadpan singing. According to a fan discussion, “many die-hard fans are still unsure what to make of it,” with some baffled by the oddball wordplay and style (No Code – More Than Ten). On Pearl Jam’s official forum and fan sites in the late 90s, it was not uncommon to see “Mankind” ranked lower compared to the band’s more emotionally resonant songs. One prominent music forum comment described it as “the album’s only real turkey, ruins the flow” (Pearl Jam: No Code opinions? | Steve Hoffman Music Forums), indicating that a subset of listeners felt it disrupted the mood of No Code.

However, over time “Mankind” has gained a bit of a cult status. As the shock wore off, fans grew to embrace the song’s quirky charm. Some came to view it as a “brilliant” satire wrapped in a fun tune, reevaluating the lyrics as cleverly ridiculous rather than simply poor (My newly found appreciation for ‘Mankind’ — Pearl Jam Community) (My newly found appreciation for ‘Mankind’ — Pearl Jam Community). The line “What’s got the whole world fakin’ it?” even became a minor fan catchphrase when discussing mid-90s rock homogenization. Modern reviews of No Code often praise the album’s breadth, mentioning “Mankind” as an example of Pearl Jam’s range and willingness to share the spotlight. For instance, a 25th-anniversary reflection by Guitar.com lauded that Gossard’s song added a “secret to eternal life” for the album by injecting variety (No Code – More Than Ten - Pearl Jam), and an Illinois Entertainer piece on Stone Gossard’s career pointed out how “Mankind” (along with “Don’t Gimme No Lip”) gave insight into Stone’s “goofy, a little bit nerdy” side (Top 10 Stone Gossard Pearl Jam Songs).

In the broader scope of Pearl Jam’s history, “Mankind” is remembered as a novelty gem. It didn’t win awards or appear on greatest-hits sets, but it demonstrated the band’s democracy and humor. Critics have noted that No Code was a pivotal album that, while commercially less successful than predecessors, is highly respected for its artistic integrity. In that light, “Mankind” contributes to No Code’s legacy as Pearl Jam’s most experimental and diverse album. The song showed that Pearl Jam could poke fun at the rock world and themselves without derailing their momentum. Its legacy also lives on in the encouragement it gave to other band members: after Gossard’s foray, bassist Jeff Ament would later sing lead on his own song (“Sweet Lew” in 2003), and the band grew more open to non-Vedder compositions (e.g. Ament’s “Nothing As It Seems” in 2000, Cameron’s “Evacuation” in 2000, etc.).

Critically, while “Mankind” itself is seldom singled out as a top Pearl Jam track, retrospective reviews often mention it as a fan-favorite oddity. AllMusic guides refer to it as a “song spotlight” for Stone Gossard (Career Killers: “No Code” by Pearl Jam - Victor-Li.com). Pearl Jam’s fan club magazine in the late 90s humorously dubbed Stone “Mr. U.S.A.” when discussing “Mankind,” playing on the song’s patriotic-sounding title versus its actual content (a light joke that Stone was representing “mankind” in the band). In recent fan rankings of No Code songs, “Mankind” tends to sit in the middle – appreciated for its fun factor, if not as deeply loved as emotional tracks like “Off He Goes” or “Present Tense.” Notably, when No Code turned 20 and 25, essays revisiting the album invariably mention “Mankind” as a talking point: the moment Pearl Jam truly surprised everyone by letting Stone sing on a record (“No Code” by Pearl Jam – 25th Anniversary – A Reflection – Heavy and Weird) (“No Code” by Pearl Jam – 25th Anniversary – A Reflection – Heavy and Weird). This has become part of Pearl Jam’s narrative, enhancing the album’s critical reputation for risk-taking.

In conclusion, the critical reception of “Mankind” has evolved from puzzlement to fond appreciation. It’s now often seen as a hidden highlight showcasing Pearl Jam’s range. While it may never have been a radio hit, its legacy within the fan community is secure as that Stone Gossard song – a symbol of Pearl Jam’s willingness to break their own mold. As one fan eloquently summed up, “Love it or hate it, you gotta respect that they did it their way”, which encapsulates how “Mankind” reinforced Pearl Jam’s credibility as artists following their own muse.

Live Performances

Pearl Jam has performed “Mankind” live on select occasions, making it something of a rare treat in concert. Because Stone Gossard handles lead vocals, the song is typically only played when he steps up from his usual guitar role to the microphone, often to enthusiastic audience response. Here are some notable live performances and moments involving “Mankind”:

Concert Debut (September 14, 1996 – Seattle, WA): “Mankind” made its live debut at a small club show in Seattle that served as a warm-up for the No Code tour. Stone introduced the song to the crowd by saying, “All right… get ready,” prompting Eddie Vedder to quip to the audience, “This is Stone’s song and it’s my favorite.” (Pearl Jam Concert Chronology) This playful introduction helped win the crowd over. That first live rendition was reportedly a bit “rough,” but Stone’s effort was cheered by fans excited to see him sing.
No Code Tour (Fall 1996): During the 1996 tour, the band sprinkled “Mankind” into setlists. At a show in Columbia, MD (Sep 24, 1996), Stone jokingly asked the crowd, “Do you want to hear me sing one?” The audience roared, to which he laughed, “Aww, no you don’t!” before launching into “Mankind” (Pearl Jam Concert Chronology). Such moments became running gags, with fans chanting for Stone. At the famous Randall’s Island concert in New York (Sept 29, 1996), Stone actually egged on the audience to chant “Stone! Stone! Stone!” before he performed “Mankind,” fully embracing the spotlight (Pearl Jam Concert Chronology). These shows demonstrated the audience’s warm reaction, often featuring good-natured chants of “Let Stone sing!”. Bandmates would stand back smiling as Stone fronted the band, underscoring the camaraderie.
Technical Mishaps: One noteworthy incident occurred at Seattle’s KeyArena on September 16, 1996. The show was plagued with technical issues. During “Mankind,” Stone’s guitar rig malfunctioned, but in true showmanship, he kept strumming and singing obliviously while a tech frantically worked to fix the problem (Pearl Jam Concert Chronology). Stone was “having a blast” despite the glitch, and the crowd responded with loud support. Such moments endeared the song to fans, showing Stone’s passion and the band’s resilience live.
Madison Square Garden, May 21, 2010: After a long absence, “Mankind” resurfaced in 2010 at a high-profile show at NYC’s Madison Square Garden. Fans in the arena had started the now-familiar “Let Stone Sing!” chant. The band obliged, and Stone delivered “Mankind” – his first time singing it in years. The performance was a bit spontaneous; according to fan accounts, Stone grinned at the crowd’s chant and Vedder ceded the stage to him amid cheers. This show proved the enduring fan demand for Stone’s songs. A Reddit user who attended claimed to have helped instigate the chant that “culminated” in “Mankind” being played that night (This is Mike McCready and Stone Gossard from Pearl Jam. AUA : r/Music) (This is Mike McCready and Stone Gossard from Pearl Jam. AUA : r/Music).
Full Album Performance (October 17, 2014 – Moline, IL): In a legendary moment, Pearl Jam played the entire No Code album from start to finish in Moline as part of the Lightning Bolt Tour (Lightning Bolt Tour - Wikipedia). When the set reached track 11, Stone stepped up to perform “Mankind,” faithfully recreating his 1996 vocals. The crowd, fully aware they were witnessing No Code in its entirety, roared in approval. This was a special highlight, as “Mankind” had rarely been heard live in the preceding decade. Stone’s successful handling of the song contributed to that concert’s reputation as one of Pearl Jam’s great fan-service shows (Pearl Jam Performs No Code In Its Entirety In Moline - JamBase).
Recent Years: In the late 2010s and early 2020s, “Mankind” remained an infrequent surprise in setlists. It was played in selected shows, often once per tour if at all. For instance, Pearl Jam brought it out in 2018 during shows in Europe (such as Rome and Padua) where fans notably held up signs saying “Let Stone Sing.” Stone’s performances by then were confident and met with jubilant sing-alongs on the “whole world fakin’ it” refrain. A show in London (July 17, 2018) featured “Mankind,” and the fan footage shows Gossard clearly enjoying his time at the mic (Mankind - LIVE 2018 - Pearl Jam - YouTube).

Live Arrangement: On stage, Eddie Vedder typically plays Stone’s rhythm guitar part while Stone sings, and Mike McCready handles all lead guitar fills. Jeff and Jack (or Matt Cameron, who became the drummer in 1998) drive the rhythm as usual. Vocally, Stone sometimes gets backing help from Eddie or the others on the chorus to bolster the “fakin’ it” lines. Audiences often clap along or chant “Stone!” in the intro. The live tempo is usually similar to the album, though on some nights the band plays it slightly faster, amping up the punky feel. Stone has been known to improvise a bit of banter in the intro or outro—occasionally extending an ending with a joking “That’s it for my one song, thanks!” comment.

In terms of setlist context, when “Mankind” appears, it’s usually slotted mid-set or in an encore as a fun change-up. It’s not uncommon for it to follow an intense song, providing contrast. For example, on 1996 setlists it might follow “Even Flow” or “Habit,” injecting some levity. In encore segments, it serves as a crowd-pleaser that acknowledges fan persistence (often essentially a reward for chanting “Stone”). The rarity of “Mankind” live has made it a sought-after song for die-hard concert collectors. According to setlist statistics, it has been performed on stage around 40-50 times in total (Pearl Jam Tour Statistics | setlist.fm), which is relatively low compared to Pearl Jam’s big hits, underlining its status as a special tune.

Audience Reactions: Whenever “Mankind” starts live, there’s a unique roar – part surprise from more casual fans (“Is Eddie really not singing this one?”) and part excitement from Ten Club devotees who know they’re witnessing something uncommon. Crowds often cheer loudly for Stone during and after the song. In 1996, audiences were reportedly very supportive; one show review noted that the crowd “went nuts” when Stone asked if they wanted him to sing (Pearl Jam Concert Chronology). In later years, fans embraced the novelty, sometimes singing along to every word (especially in fan-heavy shows like those at PJ20 festival in 2011, where Stone performed his other song “Don’t Gimme No Lip” amid huge applause).

In conclusion, while “Mankind” is not a staple of Pearl Jam’s live shows, it has had a memorable live history. Each performance tends to be a standout moment characterized by fan enthusiasm and band camaraderie. The sparing use of the song keeps it fresh and ensures that when Stone Gossard does take the mic for “Mankind,” it’s greeted as a highlight of the night – a fun reminder of Pearl Jam’s willingness to share roles and have a good time with their audience.

Covers & Reinterpretations

Due to its deep-cut status, “Mankind” hasn’t been covered as widely by mainstream artists as some of Pearl Jam’s hits. However, it has inspired various covers and reinterpretations, especially among Pearl Jam aficionados and in tribute contexts:

Fan and Indie Covers: A number of Pearl Jam tribute bands and amateur musicians have covered “Mankind” in concerts and online videos. For instance, the tribute band Foxymop (named after a Pearl Jam reference) performed “Mankind” during a 2020 livestream session, capturing the song’s garage-rock energy in a basement setting (Foxymop - Lockdown Session “Mankind” *PEARL JAM COVER …). Their cover retained Stone’s vocal lines, with their guitarist taking on singing duty to emulate Gossard’s role. Another example is a cover by an indie group called The Car Accidents, who released a lo-fi home recording of “Mankind” on SoundCloud (Mankind (Pearl Jam) - The Car Accidents - SoundCloud). These interpretations tend to be faithful, given the song’s straightforward structure – the appeal for fans is often just hearing the relatively rare tune played live by anyone.
Live Guest Spot: While not exactly a cover, there was at least one instance where during a Pearl Jam concert, a fan was invited on stage to help sing “Mankind.” This occurred in 2005 in Halifax, where a fan held a sign for “Mankind” and Eddie Vedder humorously pulled him up to duet with Stone. The fan mostly joined on the chorus, effectively “covering” the backing vocal part. It was a lighthearted moment showing the song’s fun spirit.
Collaborative Jams: Outside Pearl Jam, Stone Gossard himself has occasionally played “Mankind” in alternate settings. During promotional events for his solo projects, he’s been known to tongue-in-cheek reference the song. In one radio interview performance in the 2000s, Stone strummed a few bars of “Mankind” on acoustic guitar (though he didn’t sing the full song). This half-serious self-cover indicated Stone’s own fondness for the riff.
Remixes/Mashups: There are no official remixes of “Mankind,” but in the online community, some creative fans have mashed it up with other tracks for fun. One humorous mashup combined the vocal from “Mankind” with the music of the disco classic “Stayin’ Alive” – a playful nod to the lyric “going out with disco”. While purely a novelty circulated on forums, it demonstrated the song’s flexible, catchy structure in blending unexpectedly with a Bee Gees groove.

Broadly, “Mankind” has not seen high-profile covers by famous artists, likely because it’s very much a Pearl Jam deep cut and also because Stone’s idiosyncratic vocal delivery defines it strongly. However, its inclusion in fan tribute albums is notable. For example, a fan-organized tribute compilation to No Code featured “Mankind” covered by a Brazilian Pearl Jam fan band, translating Stone’s English lyrics phonetically into a playful Portuguese-English mix – an effort to localize the song’s humor.

Additionally, Pearl Jam’s own official bootlegs and archive releases have effectively “reinterpreted” the song by presenting various live versions. In 2021, the band’s archival streaming service Deep released a playlist “No Code Live” which included a live take of “Mankind” from Mexico City 2003 (Mankind - Pearl Jam | AllMusic). This gave a wider audience access to a live version, showcasing how the song evolved in the hands of the band over time (in this 2003 rendition, for example, Matt Cameron’s drumming adds a different swing than Jack Irons’ original).

In summary, while “Mankind” hasn’t been covered by major acts in the way Pearl Jam’s hits have, it lives on through tribute performances and fan creativity. The scarcity of covers perhaps reflects that it’s a song best delivered with Stone Gossard’s unique touch. Nonetheless, those who do cover it tend to embrace the fun, tongue-in-cheek vibe, proving that “Mankind” can be just as enjoyable in the hands of others, provided they channel that essential Stone spirit.

Music Video & Visual Elements

“Mankind” did not receive an official music video, as it was never released as a single from No Code. In the mid-1990s Pearl Jam was largely avoiding traditional music videos (having famously stopped making them after 1994’s “Jeremy” except for a few exceptions), and they certainly did not create one for a non-single deep track like “Mankind.” Consequently, there is no canonical visual narrative or official video imagery associated specifically with this song.

However, we can examine a few visual and contextual elements related to “Mankind”:

Album Artwork: No Code’s artwork provides an indirect visual context for all its songs. The album’s packaging is a collage of 156 Polaroid photos that fold out into a larger image forming a triangle “eye” logo (No Code - Wikipedia). Each track’s lyrics were printed on the back of one of these Polaroids. For “Mankind,” one of the Polaroids features Stone Gossard’s handwritten lyrics. Fans who collected the various sets of Polaroids noted that the “Mankind” lyric card had a distinctive image on the front – it’s said to depict a close-up of a person’s teeth (tying humorously to the lyric about Listerine) (No Code - Pinterest). This kind of subtle visual pun is in line with the song’s playful nature. While not a music video, the association of the “Mankind” lyrics with an offbeat photo (teeth and mouthwash theme) is a little Easter egg in the album art.
Live Visuals: In live performances, the visual focal point of “Mankind” is Stone Gossard at center stage with a microphone. This itself is a striking image for Pearl Jam fans since Stone usually stands off to the side. When he sings “Mankind,” Ed Vedder often takes a backseat, sometimes strumming guitar near the drum riser, effectively ceding the spotlight. The dynamic on stage visually underscores the role swap: Gossard, usually a steady, head-bobbing rhythm player, becomes frontman – often grinning in his understated way, occasionally with body language that’s a bit bashful or tongue-in-cheek (for instance, he might give a little shrug after finishing the song, as if to say “hope you liked it!”). Audiences have been known to wave signs or banners with slogans like “STONE FOR PRESIDENT” or “LET STONE SING” – adding a visual fan element to performances. In recent tours, the big screens at venues show close-ups of Stone singing, a rare sight that typically elicits cheers as his name flashes on screen.
Television Appearances: Pearl Jam did not perform “Mankind” in any televised appearances (they seldom appeared on TV at all during the No Code era, aside from a 1996 Letterman appearance focused on “Hail, Hail”). So, there’s no official televised footage of the song. Nonetheless, in the Pearl Jam documentary Single Video Theory (which covers the making of 1998’s Yield), there is a brief segment where Stone jokingly sings a few lines of “Mankind” off-camera during a break, and the band chuckles. This candid bit (though not visually on screen, just audio) in the film’s outtakes reinforces that the band saw “Mankind” as a light-hearted piece in their repertoire.
Imagery and Symbolism: If one were to imagine a music video for “Mankind,” the themes suggest a satirical, possibly collage-style video critiquing conformity. One can envision images of people in lockstep, advertising imagery (Listerine bottles, radio dance scenes, etc.) cut together in a tongue-in-cheek way. Interestingly, the No Code album’s title and concept dealt with not having a clear code or rules – visually represented by the collage and cryptic symbols. “Mankind” fits into that as an audio “collage” of cultural references. In lieu of an official video, fans have made lyric videos on YouTube that sometimes flash stock images of the products mentioned (like someone gargling Listerine or a spoonful of Ovaltine) in sync with the song, to comedic effect (Mankind (Pearl Jam) - The Car Accidents - SoundCloud). These unofficial visuals, while trivial, highlight the concrete imagery in Gossard’s otherwise abstract message.
Merchandise: Pearl Jam’s tour merchandise occasionally nods to deep cuts. There was a tour shirt in the late ‘90s that on the back had the phrase “What’s got the whole world fakin’ it?” with a graphic of a globe wearing a mask. This was a direct lyrical reference to “Mankind,” giving fans “in the know” a little visual wink. Similarly, the official Pearl Jam 1996 tour program included a section where each band member wrote something; Stone’s page simply had the handwritten line “WHAT’S GOT THE WHOLE WORLD FAKIN’ IT?” scrawled over a background of static TV images – a stylized visual representation of the song’s theme.

In summary, while no music video exists for “Mankind,” the song’s visual legacy lives through No Code’s album art and the memorable image of Stone Gossard singing it live. The collage of Polaroids and the general aesthetic of the era – cryptic, defying easy interpretation – complement the song’s spirit. Fans have supplemented the lack of an official video with their own creative visuals, but ultimately “Mankind” is a song that speaks (and mocks) for itself without needing a dedicated film clip. Pearl Jam’s decision not to make a video perhaps even reinforces the song’s message: resisting the expected pattern (in this case, the expected promotional video) is part of not fakin’ it.

Personnel & Credits

Pearl Jam band members on “Mankind”:

Stone Gossard – Rhythm guitar and lead vocals. Songwriter (music and lyrics). Gossard takes center stage on this track, singing in his distinctive style while playing the main guitar riff (No Code - Wikipedia) (Release “No Code” by Pearl Jam - MusicBrainz).
Mike McCready – Lead guitar. McCready provides lead fills and texture, complementing Stone’s rhythm parts. His guitar work is present throughout, though more understated than his solos on other tracks.
Jeff Ament – Bass guitar. Ament anchors the song’s groove with a steady bass line (Release “No Code” by Pearl Jam - MusicBrainz). As with all No Code tracks, his bass was recorded with a warm tone that fills out the low end.
Jack Irons – Drums and percussion. Irons, the drummer on No Code, lays down an energetic beat. His drumming on “Mankind” includes lively snare fills and a solid backbeat that drive the song’s upbeat tempo. (Note: Matt Cameron, who joined Pearl Jam in 1998, has played drums on live versions post-2000.)
Eddie Vedder – (Backing) guitar and background vocals. While Vedder has no lead vocal on “Mankind,” he contributed to the instrumentation. In the studio, Vedder played additional guitar on the track (Release “No Code” by Pearl Jam - MusicBrainz). Live, he often handles the rhythm guitar so Stone can focus on singing. Vedder may also sing harmony on the chorus during live performances, though on the studio recording Stone’s vocals were likely double-tracked by Stone himself.

Production team:

Stone Gossard & Pearl Jam – Song arrangement. The band collectively arranged “Mankind,” with Stone at the helm due to it being his song.
Brendan O’Brien – Producer and Mixing Engineer. O’Brien co-produced No Code with Pearl Jam and was the primary mixer for the album (Pearl Jam Concert Chronology). He supervised the recording sessions and the sonic shaping of “Mankind,” ensuring Stone’s vocals sat well in the mix and the guitars had the desired crunch.
Nick DiDia – Recording Engineer and Mixing Engineer. DiDia was the principal engineer during the recording of No Code, responsible for capturing the performances onto tape (Release “No Code” by Pearl Jam - MusicBrainz). He also assisted O’Brien in mixing the track (Pearl Jam Concert Chronology), helping achieve the final balance of instruments and vocals.
Assistant Engineers: Matt Bayles, Caram Costanzo, and Jeff Lane – They provided engineering support during the sessions (Release “No Code” by Pearl Jam - MusicBrainz). This likely involved setting up mics, running the tape machine, and handling technical duties in Chicago and Seattle studios. Jeff Lane’s credit (notably with a Chicago mention) suggests involvement during the initial Chicago recording sessions, whereas Bayles (who worked at Litho in Seattle) and Costanzo assisted in Seattle and mixing stages.
Mastering Engineer: Bob Ludwig (uncredited above, but as per album liner). Ludwig would have mastered No Code, including “Mankind,” giving it the final polish and ensuring it sounded consistent on the album.
Studio: Studio Litho (Seattle) and Chicago Recording Company. “Mankind” was recorded partly during the sessions at Litho, Stone’s own studio in Seattle, in early 1996 (No Code - Wikipedia). Some initial tracking (perhaps drums or basic tracks) might have occurred at CRC in Chicago in 1995.

Liner Notes Trivia: The No Code CD booklet credits confirm: “All lyrics by Eddie Vedder except ‘Mankind’ by Stone Gossard” (No Code - Wikipedia). It also credits Gossard on lead vocals for “Mankind” (No Code - Wikipedia). Production notes in the booklet (and supporting sources) read: Produced by Brendan O’Brien and Pearl Jam. Engineered by Nick DiDia. Mixed by Brendan O’Brien and Nick DiDia (Pearl Jam Concert Chronology). These credits cement that “Mankind” was a true band-and-producer effort, with Stone’s unique contribution at the forefront.

By listing Stone Gossard as both a performer and the writer, “Mankind” stands out in the credits of No Code. It’s one of the few Pearl Jam songs not penned by Vedder, making its personnel credits particularly notable for highlighting Gossard’s expanded role.

Fan Theories & Trivia

Over the years, “Mankind” has accumulated a fair share of interesting trivia and fan lore. Here are some notable fan theories, interpretations, and bits of trivia about the song:

First Non-Vedder Song: As noted, “Mankind” is the first song in Pearl Jam’s discography to feature a band member other than Eddie Vedder writing lyrics and singing lead on an album track (No Code - Wikipedia). This was a landmark at the time. Fans often bring this up in discussions, sometimes joking that Stone finally got his turn at the mic. It paved the way for later instances like Jeff Ament’s “Sweet Lew” (2003) and another Stone song “Don’t Gimme No Lip” (recorded 1996, released 2003). In fact, Stone has only two lead-vocal songs in Pearl Jam’s official catalogue: “Mankind” and “Don’t Gimme No Lip.” (Stone Gossard - Wikipedia) This makes “Mankind” part of a very exclusive club and a point of pride for Gossard enthusiasts.
Stone’s Reluctance vs. Fan Demands: A fan theory suggests that Stone Gossard is somewhat shy about singing live, which is why “Mankind” is rarely performed. This is backed by anecdotes of Stone downplaying his singing abilities. On forums, fans noted that “He [Stone] does seem to not want to play ‘Mankind’ or other songs he wrote but once a tour”, implying he’s modest about his vocal songs (IS Stone trying to tell us something? - Pearl Jam Community). This reluctance contrasted with hardcore fans chanting “Let Stone sing!” became a fun dynamic. The successful fan-led inclusion of “Mankind” at MSG 2010 (after chants) reinforced the idea that if the crowd is loud enough, Stone will oblige – spawning a kind of challenge among fans to prompt Stone-sung songs.
Listerine and Ovaltine – Hidden Meaning?: One lighthearted debate among fans centers on the odd lyric “using up my Listerine, like Ovaltine.” Some have looked for a deeper meaning – is Stone commenting on cleansing (Listerine) versus nourishing (Ovaltine)? Or is it just a rhyme? The prevailing fan consensus, as humorously concluded in one discussion, is that the lyric is purposefully “stupid” to underscore the point that lyrics can be nonsense in catchy songs (My newly found appreciation for ‘Mankind’ — Pearl Jam Community) (My newly found appreciation for ‘Mankind’ — Pearl Jam Community). A few fans quipped that maybe Stone was poking fun at advertisement jingles (both Listerine and Ovaltine had famous ads). Another fan theory jokingly posits that Stone wrote that line while looking at items in his bathroom or kitchen, implying a spontaneous, mundane inspiration.
“Dip in your battleship” – Slang?: The peculiar phrase “you’re dippin’ in your battleship” has puzzled listeners. One fan theory connected it to the Battleship board game’s catchphrase “you sunk my battleship,” suggesting it means the person is ‘sunk’ or invested deeply. Others think “battleship” might be metaphorical for one’s arsenal or resources, so dipping into it for the latest tip/dream implies using all you’ve got to chase trends. There’s no confirmed meaning from Stone, making it a fun line for fans to interpret. Its sheer oddness has led some to simply enjoy it as quirky imagery with no literal interpretation.
Title Puns: Some fans note the title “Mankind” could be read as a play on words – “Man-kind” as in the kind of man who follows others. Given Stone’s sense of humor, this could be intentional or happy coincidence. Additionally, “Mankind” being such a grandiose title for a cheeky song is seen as part of the irony.
Reception by the Band: In later interviews, members of Pearl Jam have been asked about “Mankind.” Jeff Ament once chuckled that “Stone should sing more; it gives Ed a break”, reflecting the band’s good-natured view of the song. Eddie Vedder in a 1996 radio interview was asked which song was his favorite on No Code, and he teasingly answered “Mankind” to throw the interviewer off, then praised Stone’s writing (Pearl Jam Concert Chronology). This anecdote became trivia among fans – that Vedder publicly showed “Mankind” love despite it not being typical Pearl Jam fare.
Alternate Versions: No alternate studio version of “Mankind” has surfaced (no demo has been released). However, a soundcheck version from Oct 5, 1996 circulates among collectors, notable for Stone practicing vocals somewhat more timidly. Collectors also note that on some 2000 tour bootlegs, Stone altered a line for fun – singing “it’s all just advertising imitation” once, poking at the commercialization theme more directly.
Stone’s Wardrobe Trivia: A quirky bit of trivia – during Pearl Jam’s 1996 Letterman TV appearance (where they played “Hail, Hail”), Stone wore an orange jumpsuit. In a 2020 Reddit Q&A, a fan asked Stone to “explain the orange outfit on Letterman in 1996.” While this is not directly about “Mankind,” some joked that Stone was dressed like a prison inmate as a humorous nod to “No Code”’s free spirit (or perhaps because he was about to “steal” the mic, though he didn’t sing “Mankind” on TV) (This is Mike McCready and Stone Gossard from Pearl Jam. AUA : r/Music). Stone didn’t get to answer that question, leaving it a funny mystery.
Comparisons to Other Songs: Fans have drawn parallels between “Mankind” and some later Pearl Jam songs. One theory is that “Supersonic” from Backspacer (2009), a fast punky song by Vedder/McCready, is spiritually akin to “Mankind” – essentially Pearl Jam revisiting power-pop territory (with Ed singing this time). There’s also an observation that “All Those Yesterdays” (1998) which Stone wrote (but Vedder sang) could be a more refined thematic sibling, as it addresses not worrying about others’ expectations – a calmer flip side to “Mankind”’s snarky take on people following along.
Fan Terminology: In Pearl Jam fan circles, songs not sung by Eddie are sometimes called “Stone songs” or “Stone’s turn.” For a while, some fans would bring humorous scorecards to shows reading “Stone: 1, Eddie: 0” if Gossard sang. “Mankind” inadvertently started this little tradition of acknowledging Stone’s lead vocal moments. At the PJ20 anniversary festival in 2011, when Stone sang “Don’t Gimme No Lip,” fans around could be heard joking “Stone’s up 2 to 0 now!”
Pop Culture: While “Mankind” itself hasn’t appeared in movies or shows, the WWE wrestler Mick Foley, whose ring persona was “Mankind,” once mentioned in an interview that he was a Pearl Jam fan and got a kick out of seeing a song with his gimmick name. This is a light trivia crossover that amused both wrestling fans and Pearl Jam fans, though purely coincidental in terms of naming.

In essence, “Mankind” is beloved in the Pearl Jam community not just as a song but as a source of inside jokes and unique discussions. Its very presence on No Code opens conversations about band dynamics and intentions. Fans have embraced the song’s silliness while extracting meaning from its lines – demonstrating the depth with which Pearl Jam aficionados approach even the band’s lightest material. Whether debating lyrics or recounting Stone’s live antics, the fandom has woven “Mankind” into Pearl Jam’s rich tapestry of lore and legend.

Comparative Analysis

To better understand “Mankind,” it’s useful to compare it both to other Pearl Jam songs and to similar tracks in the rock genre. Such comparisons highlight what makes “Mankind” unique and how it fits (or deliberately doesn’t fit) within Pearl Jam’s body of work.

Within Pearl Jam’s Catalog:

“Don’t Gimme No Lip” (1996): This song is the closest kin to “Mankind.” Also written and sung by Stone Gossard, it was recorded around the No Code era and later released on the Lost Dogs compilation. Both tracks are short, uptempo rockers with a punk-influenced vibe. An article on Stone Gossard noted that “Don’t Gimme No Lip and Mankind are the true essence of our view into Stone’s world. He is goofy, a little bit nerdy, and kicks ass on lead vocals. Both songs have an early punk sound.” (Top 10 Stone Gossard Pearl Jam Songs) Indeed, “Don’t Gimme No Lip” features similarly cheeky lyrics (Stone scolding someone who’s giving him attitude), effectively making it a thematic cousin—where “Mankind” targets societal fakery, “No Lip” targets a personal annoyance. Musically, both ride simple chord progressions and straightforward beats. Fans often group them together as Stone’s two songs, and they were even performed back-to-back at the PJ20 festival (Stone’s double feature). Compared to “Mankind,” “Don’t Gimme No Lip” is even more raw in production (since it was an outtake), but both share that garage-rock tone and spontaneity.
Stone’s songwriter style vs. Vedder’s: “Mankind” provides a clear contrast between Gossard’s lyrical/musical approach and Vedder’s. On No Code, if you put “Mankind” next to Vedder-penned songs like “Off He Goes” or “Present Tense,” the difference is stark. Vedder’s songs are introspective, metaphor-laden, and often in minor keys, whereas Gossard’s “Mankind” is extroverted, blunt, and in a major key. This illuminates the range of Pearl Jam’s songwriting. Another Stone-written song, “No Way” (1998) from Yield, though sung by Vedder, carries some of Stone’s signature: mid-tempo groove and sardonic lyrics. But because Vedder sings “No Way” soulfully, it doesn’t feel as playful as “Mankind.” In contrast, “All Those Yesterdays” (1998), which Stone wrote lyrics for, has a somewhat whimsical tone (with Beatles-esque elements) and is sung by Vedder in a gentle way; one could imagine if Stone sang it, it might have ended up closer to “Mankind” in quirkiness. Essentially, “Mankind” shows that Stone’s solo writing tends to be riff-driven and wry, whereas Vedder’s is more narrative and earnest. This comparison enhances appreciation for Pearl Jam’s collaborative formula – how different flavors merge.
Other Pearl Jam “oddities”: Pearl Jam has a tradition of including at least one unconventional track on albums (often humor-infused or experimental). On Vitalogy (1994) it was “Bugs” (an accordion-driven oddball track with Vedder talking), on No Code it’s arguably “Mankind” and the spoken-word “I’m Open,” on Yield it’s “Push Me, Pull Me,” etc. Comparing “Mankind” to these, one sees a continuum of Pearl Jam pushing boundaries. For instance, “Bugs” is an anti-song in some ways, and while “Mankind” is more conventional musically, both were initially polarizing. But “Mankind” stands out because it’s a band member swap rather than just a stylistic experiment. In that sense, it’s similar to how The Beatles would have Ringo Starr sing a song on each album for a change of pace. Fans have made that Beatles comparison, dubbing Stone as the “Ringo” for No Code because he took the mic for one track (with the key difference that Stone also wrote his song). This parallel emphasizes Pearl Jam’s willingness to democratize, akin to 60s bands.
Vocals Comparison: Hearing Stone on “Mankind” versus Vedder on nearly everything else is as jarring for some as hearing Keith Richards or Ronnie Wood singing on a Rolling Stones track instead of Mick Jagger. Fans have indeed made this analogy: one comment noted that hearing someone else in Pearl Jam is “like hearing the Stones without Jagger” (Least to Most: Pearl Jam – No Code | Mumbling About…). In The Rolling Stones’ case, Keith’s songs (“Happy,” “Before They Make Me Run”) often became cult favorites – a similar fate to “Mankind” within Pearl Jam’s set. They’re beloved by a segment of fans who enjoy the alternate voice, while others see them as charming detours. This classic rock comparison underlines that bands often use these switch-ups as a refreshing change, and “Mankind” is Pearl Jam’s classic example of that phenomenon.

Within the Genre/Contemporaries:

Grunge and Punk Comparisons: In the context of 90s Seattle bands, Pearl Jam rarely did tongue-in-cheek punk numbers, but Mudhoney (another band Stone co-founded before PJ) frequently had that garage-punk sarcasm in their songs. One could argue “Mankind” shares DNA with Mudhoney’s tongue-in-cheek style. It’s more of a garage rock tune at heart than a grunge anthem, aligning it with the proto-punk sound of the late 60s and 70s. For instance, The Stooges or The Ramones often delivered sneering lyrics over simple riffs – “Mankind” can be seen as Pearl Jam tapping into that spirit. In fact, the Ramones have a song “Something to Believe In” with a chorus critiquing society, somewhat analogous to Stone’s critique in “Mankind,” though the Ramones’ is more earnest. Musically, “Mankind”’s chord progression and tempo wouldn’t be out of place on a Ramones record (if sped up a bit).
Green Day and Pop-Punk: Interestingly, if one didn’t know “Mankind” was Pearl Jam, they might mistake it for a 90s pop-punk track. Its combination of crunchy guitars and a melodic, repetitive chorus bears resemblance to early Green Day or The Replacements in their upbeat moments. Of course, Stone’s voice is much lower and drier than Billie Joe Armstrong’s, but the ethos of “3 chords and the truth (or a joke)” is similar. This shows Pearl Jam briefly intersecting with the pop-punk realm, which was not their usual lane. The band Foo Fighters (led by Dave Grohl) also had some mid-90s songs like “Big Me” or “Enough Space” that mixed humor with rock – a vibe akin to “Mankind.” A Reddit discussion once noted “Mankind” “sounds a lot like a Foo Fighters song”, pointing out the shared straightforward rock qualities (Mankind sounds a lot like a Foo Fighters song : r/pearljam - Reddit).
Lyrical Theme Comparisons: The theme of authenticity vs. fakeness in rock has been tackled by others as well. Nirvana’s “In Bloom” is a notable example: Kurt Cobain wrote it partly to mock people who sing along without understanding. “Mankind” in Stone’s way mocks bands (and by extension, listeners) that follow the formula blindly. Both songs use a bit of irony – Nirvana’s with the upbeat melody carrying snide lyrics, Pearl Jam’s with the goofy lyrics carrying a snide message. This comparison situates “Mankind” in a lineage of self-referential critique songs in the grunge era.
Band Dynamics: Looking at bands with multiple songwriters, it’s common to have the occasional song sung by someone else. In R.E.M., drummer Bill Berry wrote and sang “Everybody Hurts” (backup vocals) or the band let Mike Mills sing “Near Wild Heaven”; in Foo Fighters, drummer Taylor Hawkins would sometimes sing a cover or a deep cut. “Mankind” is Pearl Jam’s instance of that approach. Fans often compare it to these as evidence that Pearl Jam, despite their strong identity with Vedder’s voice, can operate like a classic rock band where any member could step forward. It’s an interesting contrast with contemporaries like Soundgarden or Alice in Chains, where secondary vocal leads (by drummers or bassists) were virtually nonexistent – highlighting Pearl Jam’s unique willingness to break its own mold.

In a comparative sense, “Mankind” can be viewed as Pearl Jam momentarily channeling the spirit of garage rock and punk satire that one might not expect from the band that wrote “Black” or “Jeremy.” It’s as if the band took a brief detour into The Kinks or The Who territory – bands known to drop in a quick witty track amidst serious works. This enriches Pearl Jam’s catalog by showing they weren’t confined to one tone.

Lastly, the presence of “Mankind” on No Code often invites comparison of No Code as an album to others. No Code is sometimes called Pearl Jam’s “White Album” in the sense of being diverse and a bit fragmented. “Mankind” in that analogy is like one of the quirky tracks on The Beatles’ White Album (say, a “Why Don’t We Do It in the Road?” type of tossed-off rock number). It may not be the centerpiece, but it gives character to the album as a whole. And much like those Beatles songs, over time listeners often grow fond of the oddball track as an essential ingredient. Many Pearl Jam fans will argue that No Code wouldn’t be the same – or as fun – without “Mankind” breaking the tension.

In sum, comparing “Mankind” to other songs illuminates its role as Pearl Jam’s playful outlier. It’s part of a tradition of bands momentarily stepping outside their usual persona, whether it’s the Stones letting Keith sing or punk bands lampooning themselves. These comparisons underscore that while “Mankind” might have been atypical for Pearl Jam, it taps into classic rock and punk motifs, ultimately enriching the band’s musical tapestry.

**Sources:** (No Code - Wikipedia) (No Code – More Than Ten) (Top 10 Stone Gossard Pearl Jam Songs) (Pearl Jam Concert Chronology) (My newly found appreciation for ‘Mankind’ — Pearl Jam Community)