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Pearl Jam Deep Dives

All Or None

Summary

“All or None” closes Riot Act with a “gorgeously bittersweet” 4:37 ballad—acoustic guitar and Hammond B3 organ replacing the album’s harder moments. Stone Gossard wrote the music (using an alternate tuning: low E down to C♯, capo on the 4th fret), and Eddie Vedder contributed the lyrics. The song got a massive second life in 2023 when it was featured in HBO’s The Last of Us Episode 7—Spotify streams jumped over 5,000% in the first 24 hours after airing. It’s the somber farewell that fans cite as a standout deep cut, proof that Pearl Jam’s quietest moments often hit hardest.

Background & Inspiration

All or None was created during the Riot Act sessions in early 2002 at Seattle’s Studio X. The album – produced by Adam Kasper with a “live” studio approach – was written in the wake of the Roskilde tragedy and the post–9/11 atmosphere. Pearl Jam’s bassist Jeff Ament noted that love and personal/mortality themes dominated the album, setting a reflective tone that carries into All or None. Rhythm guitarist Stone Gossard brought the music to the band, and Eddie Vedder contributed the lyrics, making it the closing collaboration on the album.

During recording, the band worked quickly in a relaxed environment. Kasper intentionally eschewed digital editing in favor of capturing the band playing live, and Vedder often wrote lyrics on a typewriter as the others played. This organic process helped forge the track’s raw feel. According to a contemporary review, All or None is a “gorgeously bittersweet closer” that replaces Riot Act’s harder moments with spare acoustic guitar and Hammond B3 organ textures. In fact, All or None used an alternate guitar tuning (Stone Gossard down-tuned the low E string to C♯ and capoed on the 4th fret) to achieve its sound.

Lyrics & Interpretation

All or None opens with the line “It’s a hopeless situation / And I’m starting to believe that this hopeless situation is what I’m trying to achieve”. These lyrics immediately establish a tone of resigned frustration: the narrator recognizes a self-defeating pattern (“hopeless situation”) yet seems almost to embrace it. Critics have noted this theme of “forging ahead despite being in a hopeless situation” as a central message of the song.

The next lines “But I try to run on, it’s all or none” introduce the song’s title refrain. Here the narrator vows to keep moving forward (“try to run on”) but in an all-or-nothing way – giving everything to change or accepting nothing. The repeated title line serves as a mantra that contrasts total commitment with fatalism.

In the second verse, Vedder sings “Here’s the selfless confession leading me back to war / Can we help that our destinations are the ones we’ve been before”. The imagery of a “selfless confession” and “war” suggests an internal struggle or conflict (perhaps in a relationship) that the speaker cannot escape. The idea that “our destinations are the ones we’ve been before” implies a cyclical fate – returning to old troubles. The final verse line “To myself I surrender to the one I’ll never please / But I still try to run on” adds a poignant twist: the narrator has “surrendered” to someone (or something) he feels he can never satisfy. Despite this, he continues to “run on,” underscoring the perseverance and stubborn hope in the face of futility.

Literary devices abound: repetition of “it’s all or none” emphasizes the song’s all-or-nothing worldview, while war/conflict imagery heightens the emotional stakes. The repeated self-contradiction in the opening (“hopeless… trying to achieve”) adds depth to the existential confusion. Overall, the lyrics convey a mood of weary determination – caught between defeat and defiance – a balance that many fans and reviewers describe as both haunting and noble.

Composition & Arrangement

Musically, All or None is built on a minor-key acoustic guitar pattern, richly layered with organ and electric guitar. It begins with a delicate, “stairstep-like” acoustic intro that sets a somber mood. The main guitar riff uses an alternate tuning – Stone Gossard’s guitar is tuned down (E to C♯) with a capo on fret 4 – giving the chord voicings a distinctive ringing quality. Eddie Vedder’s vocal enters in a low, understated style; as one reviewer noted, Vedder’s “restrained” and dispassionate delivery perfectly suits the song’s mood.

Instrumentation is sparse but effective. In addition to acoustic guitar, the arrangement features Hammond B3 organ and Fender Rhodes electric piano played by Boom Gaspar. The organ adds a soulful, church-like layer under the verses. Around the 3:00 mark, the song builds into a powerful electric guitar solo by Mike McCready – a “burning solo” that provides a cathartic release. Despite this peak, the overall texture remains warm and organic. Drums (Matt Cameron) and bass (Jeff Ament) hold a steady, unadorned rhythm, barely intruding on the song’s reflective atmosphere.

Notable elements include the dynamic contrast: quiet, fingerpicked verses give way to a more urgent chorus (“All or none”) and a soaring lead guitar. The production leaves room around Vedder’s voice and the piano/organ, emphasizing the lyrics. As described by Pearl Jam Twenty, the band trades their typical power-chord attack for “acoustic strumming and Hammond B3 organ flourishes” on All or None. The final effect is a poignant, haunting ballad that stands out for its simple melody and emotional intensity.

Production & Recording

Pearl Jam recorded All or None at Studio X in Seattle in February and April 2002, with Adam Kasper co-producing alongside the band. Kasper, who had worked with each member on other projects, fostered a relaxed, live-oriented recording environment. According to interviews, the band often played together in the studio rather than building the track piece by piece. Vedder even kept a typewriter in the booth and wrote lyric lines while the others played. This approach yielded a cohesive, organic sound with minimal digital editing.

The song was mixed by Brendan O’Brien, who had produced earlier Pearl Jam records. Technical credits confirm Kasper as producer/engineer and O’Brien as mixer. Additional personnel on the track include Boom Gaspar (Hammond B3 and Rhodes) and engineer Sam Hofstedt. The stereo mix is relatively raw: little reverb on Vedder’s voice, natural drum sound, and a warm analog organ tone. Mastering (not specified here) gives the track a soft, intimate feeling, consistent with the rest of Riot Act. No unusual studio tricks are noted beyond the alternate tuning, reflecting Pearl Jam’s preference for authenticity in this period.

Themes & Motifs

Thematically, All or None touches on alienation, commitment, and existential struggle. Its core motif is the idea of an all-or-nothing stance amid despair. The lyrics portray both surrender and defiance: the singer feels trapped in hopelessness yet refuses to give up entirely. This reflects a tension between defeatist resignation and the refusal to quit – a tone mirrored in other Pearl Jam songs about perseverance.

Symbolism includes the metaphor of war (personal conflicts and “destinations…we’ve been before”) and the repeated self-declaration of going “all or none.” Some fans interpret the line “to the one I’ll never please” as a possible religious subtext (e.g. surrendering to God or fate), though Vedder has not confirmed any specific reference. More broadly, the song invokes the motif of a cyclical journey – running through familiar patterns (“destinations…before”) and confronting inner battles.

Overall, All or None continues Pearl Jam’s late-1990s/2000s introspective trend. It shares existential themes with songs like “Nothingman” or “Parting Ways”, and echoes the broader album focus on mortality and perseverance. The combination of personal lyricism and the word “all” (a word Vedder used in earlier songs like “Betterman” as a decisive plea) underscores a motif of total commitment that pervades the closing verses.

Critical Reception & Legacy

At release, All or None was largely viewed as an album deep cut rather than a hit. Contemporary critics focused more on singles, but the track’s emotional weight was noted. In a retrospective review, one critic described it as a “pretty glum piece” and the album’s downbeat closer. The Guardian likewise felt its potential was somewhat underused, calling it a “reflective piece” that “doesn’t exploit its own possibilities”. In other words, some reviewers found it bleak and restrained. However, many fans value it for its honesty and consider it one of Riot Act’s highlights.

Within Pearl Jam’s catalog, All or None has gained recognition as a fan favorite deep cut. Community polls rank it highly among the album’s songs, often citing its haunting melody and Vedder’s poignant vocals. In a fan discussion, one commenter called All or None a “clear standout… up there with the best songs of their career”. Its legacy was modest until the Last of Us exposure, after which it became known to a new audience.

The song’s profile spiked dramatically in 2023. Following its use during a climactic scene in The Last of Us Season 1, HBO, Spotify, and news outlets reported that All or None saw a 5,000% increase in Spotify streams. It also appeared on various streaming charts (e.g. #96 on iTunes Alternative). This surge introduced All or None to millions of viewers, cementing its place as a significant Pearl Jam track in popular culture. The band and fans noted the affinity of the song’s themes with the show’s story of love and survival, giving the song a second life as an anthem of resilience.

Live Performances

In concert, Pearl Jam has played All or None very rarely. According to setlist records, the song has appeared only 17 times in the band’s live history (first played Dec 5, 2002). It was performed sporadically in 2003 and then essentially shelved, with brief revivals in 2013–2017. It was never a regular encore. When it did surface live, it was typically in slower slots of the set, and often featured Mike McCready’s guitar solo extended for effect. Fans who caught these shows often describe the live versions as tense and emotional, though no official live release of All or None has been issued.

Covers & Reinterpretations

All or None has not been widely covered by major artists. It remains mostly a Pearl Jam exclusive. However, several independent musicians and fans have posted their own versions on YouTube and SoundCloud – for example, acoustic covers and a “gothic folk” rendition by obscure artists. None have gained notable attention. The song’s re-discovery by The Last of Us has led a few cover artists online to attempt renditions, but as of 2025 no professional cover release or tribute album version is known. In live tribute shows, a few up-and-coming Pearl Jam cover bands have occasionally included All or None in setlists due to its fan popularity.

Music Video & Visual Elements

Pearl Jam did not produce an official music video for All or None. There is no band-made video for the song. Instead, the track exists in audio form only (with official lyric credits on the band’s website). The most prominent visual association came from HBO’s The Last of Us. In that episode, All or None plays over quiet, narrative-driven scenes; the show presents no interpretive video for the song but uses it as a soundtrack, effectively becoming its most high-profile “visualization.” For fans, the only available videos are fan-shot footage of live performances (e.g. 2018 Home Shows) or simple static-image lyric videos on YouTube. These fan videos underscore the song’s intimate, no-frills feel. Without an official clip, the song’s symbolism lives mainly in its lyrics and in the context of its use in film/TV.

Personnel & Credits

According to the Riot Act liner notes and album credits, the players and production staff for All or None include:

  • Pearl Jam: Eddie Vedder (lead vocals, rhythm guitar); Stone Gossard (guitar); Mike McCready (guitar); Jeff Ament (bass); Matt Cameron (drums).
  • Additional musicians: Boom Gaspar – Hammond B3 organ, Fender Rhodes piano.
  • Songwriting: Music by Stone Gossard; lyrics by Eddie Vedder.
  • Producer/Engineer: Adam Kasper (took the producer role, also played piano); Pearl Jam (co-production).
  • Mixing Engineer: Brendan O’Brien.
  • Engineering: John Burton (additional engineering); Sam Hofstedt (engineering).
  • Other Credits: Greg Keplinger (drum tech); Danny Clinch (photography); etc.

The band members are credited under nicknames (Vedder as “ev,” Ament as “Al Nostreet”) in the liner notes. All music and lyrics are published by the band’s publishers (Epic catalog).

Fan Theories & Trivia

Among Pearl Jam fans, All or None has inspired various interpretations. Some view it as a sequel to Pearl Jam’s earlier intimate ballads – lyrically akin to “Betterman” or “Nothingman” – addressing the fallout of a relationship or internal guilt. The line “the one I’ll never please” has sparked speculation; some fans wonder if it alludes to a deceased loved one, a spiritual belief, or simply the self’s impossible standards. The song’s all-or-nothing stance has led fans to nickname it the “last word” of Riot Act, reflecting its final, decisive mood. Trivia buffs note that All or None was one of the first Riot Act tracks to involve Boom Gaspar (his official first credit on the album). It is also one of the few Pearl Jam songs with Stone Gossard sharing a lyric credit. In fan forums and Reddit discussions, All or None is often praised for its cathartic guitar solo and Vedder’s earnest delivery, sometimes being called an underrated gem of the early 2000s Pearl Jam era.

Comparative Analysis

Compared to other Pearl Jam songs, All or None stands out as a brooding acoustic ballad – reminiscent of tracks like “Parting Ways” (from No Code) or “Nothingman” (from Yield), which also explore themes of regret and resolve. It fits the band’s pattern of ending albums with reflective tracks; for example, Ten closed with the slow “Release,” and Riot Act had the minimalist “Arc” as an uncredited outro. One analysis notes that “as it does on almost every album, the band nails the album closer,” highlighting Pearl Jam’s knack for strong final tracks.

In the broader rock context, the song’s emotional intensity and chant-like refrain draw comparisons to grunge-era anthems of sincerity (think Nirvana’s “All Apologies” or Soundgarden’s “Fell on Black Days”). However, All or None is more subdued and hopeful in tone. Its folk-rock elements (acoustic guitar, organ) align it more with roots-influenced songs than the hard rock of their hits. Thematically, it shares a worldview with Eddie Vedder’s solo work (e.g. “Society,” “Rise” from the Into the Wild soundtrack) in its focus on personal responsibility and existential concern. Overall, All or None is considered thematically and sonically consistent with Pearl Jam’s softer, more introspective side, solidifying its place alongside the band’s other later-era deep cuts and fan favorites.

References

  • Riot Act – Wikipedia (release date, track listing, credits).
  • Simmons, Brett. “Genuine ‘Pearls’ Still Solid Act.” The Loyola Maroon, Nov. 14, 2002 (Stone Gossard/Vedder co-write, lyrical analysis).
  • Spotify Newsroom, “Songs Featured in ‘The Last of Us’ Have Enjoyed a Huge Upswing in Streams” (Mar 15, 2023).
  • Vettese, John. “Riot Act.” Fraudsters’ Almanac, June 9, 2016 (retrospective song review of All or None).
  • Minten, Zach. “Ranking Pearl Jam’s Top 151 Songs: From ‘Ten’ to ‘Dark Matter’.” Nevada Sports Net (2022).
  • Setlist.fm, “All or None – Pearl Jam Song Statistics” (live performance data).