Get Right

Summary

“Get Right” is Matt Cameron’s sole lyrical contribution on Riot Act—a 2:38 brisk, uptempo rock song about the pressure to conform or make amends. It’s one of the rare Pearl Jam tracks with lyrics not written by Eddie Vedder, showing the band’s openness to all members’ ideas during this collaborative era. Fans have noted the line “nine in a row” and wondered if it alludes to the nine fans lost at Roskilde, though the band has never confirmed this connection. It reached #36 on Billboard’s Heritage Rock chart through promo airplay.

Background & Inspiration

Written during the sessions for Riot Act, “Get Right” emerged in a period when Pearl Jam was responding to tumultuous events and exploring new creative processes. The Riot Act sessions in early/mid-2002 were marked by a collaborative atmosphere—Vedder would often write lyrics on a typewriter in the corner as the band jammed out ideas live in the studio. Matt Cameron, who had joined Pearl Jam in 1998, brought in “Get Right” as his composition, providing both music and lyrics. This made “Get Right” Cameron’s sole lyrical contribution on Riot Act, alongside Jeff Ament’s lyric contribution on “Help Help”. It was somewhat unusual for a Pearl Jam song to have lyrics written by someone other than Vedder, indicating the band’s openness to all members’ ideas during this era.

Cameron has not spoken at length in interviews specifically about the inspiration behind “Get Right,” but fans and reviewers have characterized the song’s message as a straightforward plea for authenticity. The lyrics suggest a desire to “get right” with someone or something, which may reflect conforming to others’ expectations or making amends. One Amazon review noted that “Get Right” is “another lyrically straightforward song from Matt about conforming for other peoples’ benefit”. This implies Cameron’s inspiration could stem from observing the pressure to fit in or please others.

The song’s genesis also reflects Pearl Jam’s state of mind post-9/11 and post-Roskilde (the tragic 2000 concert accident). Riot Act as an album carried a somber and politically aware tone, but “Get Right” stands out as more personal and internal in focus. Its lyrics don’t overtly reference external events or politics, suggesting Cameron drew more from individual experience or feelings of trying to “get right” internally. Some fans have speculated on possible meanings – for instance, the line “nine in a row” in the lyrics has led a few to wonder if it alludes to the nine fans lost at Roskilde in 2000, though there is no direct evidence for this and the band has never confirmed such a link. Overall, the inspiration for “Get Right” seems rooted in the universal struggle to align oneself with others or with one’s own ideals.

Lyrics & Interpretation

“Get Right”’s lyrics are succinct and somewhat abstract, but they revolve around the theme of trying to set things straight. Below is a breakdown of key lines and their potential interpretation:

“I want for to lay down, I’m waiting ’till sundown” – The song opens with an unusual phrasing (“want for to lay down”) that gives it a colloquial or old-timey feel. The narrator expresses a desire for rest or peace, waiting until day’s end (sundown) to perhaps escape daily pressures. This could symbolize exhaustion with the status quo and yearning for a moment of respite.
“I’m searching the haystacks, water is sunshine” – This line invokes the idiom “needle in a haystack,” suggesting the speaker is searching for something nearly impossible to find. “Water is sunshine” mixes metaphors, implying a futile quest (trying to find sunshine in water). Together, these lines convey a sense of frustration and elusiveness – the narrator is seeking a solution or truth that’s as hard to pin down as a needle in hay.
“Wait for the moment, the moment between us, the fire is made now, hot to the touch” – Here the song hints at a pivotal moment of connection or confrontation between the narrator and someone else (“between us”). The “fire is made now” implies that tensions or passions have ignited – it’s a heated moment that is “hot to the touch.” This could be a confrontation where emotions run high, or a spark in a relationship that the narrator has been anticipating. The intensity suggests that whatever they were waiting for has arrived, and it’s powerful and potentially dangerous (fire imagery).
“I wanted to get right, I wanted to get right, I wanted to get right with you” – This is the chorus refrain. “Get right” in this context means to make things right or to align properly. The repetition emphasizes the narrator’s strong desire to correct things or gain approval. “With you” indicates it’s directed at a specific person (or possibly a group or even an ideal). This could mean the narrator wants to earn someone’s acceptance or reconcile differences. It echoes the theme of conformity or reconciliation – doing what is needed to be on good terms with “you”. Some listeners interpret “you” as a loved one or friend, while others think it could be society at large or one’s own conscience.
“Baker’s dozen parades, stand and debate, out single file, nine in a row, swear if you must” – The second verse begins with striking imagery. A “baker’s dozen” is 13, so “baker’s dozen parades” suggests an excess of parades or displays – possibly meaning plenty of empty show or ceremony. “Stand and debate” implies public argument or having to justify oneself. “Out single file, nine in a row” conjures an image of people lined up uniformly (perhaps like soldiers or schoolchildren). There is an undertone of regimentation and conformity here – people falling in line. The number nine might not have a literal reference, but combined with “baker’s dozen” it continues the numeric motif (13, then 9). “Swear if you must” could mean take an oath (as in swear allegiance) or curse if you have to. This line suggests the narrator feels put on display or forced into line with others, debating and conforming under pressure. It reinforces the theme of social expectation – having to march along with everyone else’s parade.
“Keeping your boots on, float with the now, hot to the touch” – “Keeping your boots on” implies staying ready for battle or effort, not letting one’s guard down. “Float with the now” is a bit cryptic; it might mean go with the flow (of now) – i.e. live in the moment or follow the current trend. Yet doing so is “hot to the touch,” indicating it’s still uncomfortable or intense to conform even for the moment. The narrator is essentially enduring the present state (keeping boots on) and trying to fit in with the present (“now”), but it’s a heated effort.
“Concrete underground, cast out every day, the dregs of society” – These phrases paint a bleak picture. “Concrete underground” evokes an image of an urban underbelly or being beneath the surface (literally underground). To be “cast out every day” suggests being routinely ostracized or marginalized. “The dregs of society” explicitly refers to those considered the lowest or most undesirable by societal standards. This could reflect the narrator’s feeling that in trying to “get right” or conform, he has lost himself and ended up among the metaphorical “dregs,” or it might describe the people who don’t fit in – those he sees himself among. It’s a stark acknowledgment of alienation: the narrator may feel like an outsider, even as he’s been trying to fit in.
“Underbelly, inside of me, rejoice and follow thee” – The term “underbelly” continues the idea of the hidden or dark side. Here he says it’s “inside of me,” indicating the narrator harbors a shadowy, rebellious side internally. Despite being cast out, that inner “underbelly” self rejoices and is willing to “follow thee.” This suggests a turning point: the narrator’s suppressed true self is actually happy to follow “thee” (perhaps a leader of the outcasts, or the truth, or even the person he’s addressing). In other words, after feeling cast out, the narrator’s inner voice finds freedom in not conforming. There’s almost a religious tone in “follow thee,” hinting that this could be about finding a more genuine guiding principle to follow than societal approval.
“I wanted to get right… with it, with you” – In the final refrain, Vedder sings “I wanted to get right with it, with you.” Adding “with it” broadens the scope: “it” could mean the situation or the truth. The narrator tried to get right with “it” (perhaps meaning *get his mind right with reality or a certain cause) and with “you” (the particular person or entity). The repetition (“Yeah I wanted to get right, get right, get right…”) in the coda drives home how desperately he wanted this reconciliation or approval. But notably, by song’s end, it’s all expressed in past tense – “wanted to.” This may imply a sense of defeat or realization: he tried and perhaps failed to get right, or he has given up that attempt. The use of past tense can signify that this desire belongs to the past now, possibly indicating the narrator has decided to stop striving for that approval.

In summary, the lyrics of “Get Right” depict a narrator’s struggle to align himself with another person or with societal expectations. Early lines convey frustration and anticipation, while later lines evoke militaristic conformity (parades, single file) and the feeling of being an outcast (“dregs of society”). The chorus anchors the song in the yearning to make things right. By the end, there’s an undercurrent that the narrator’s inner self finds relief in not conforming (“rejoice and follow thee”), suggesting the song might ultimately be about the tension between being true to oneself vs. trying to please others. This interpretation aligns with commentary that the song is about “conforming for other people’s benefit” – essentially a cautionary tale of losing oneself in the effort to “get right” with someone else.

Composition & Arrangement

Musically, “Get Right” is an energetic, guitar-driven track that showcases Pearl Jam’s hard-rock side albeit with some unique twists. The composition and arrangement have several notable features:

Tempo & Feel: At 2:38 in length, “Get Right” is one of the shorter songs in Pearl Jam’s catalog and maintains a fast, driving tempo throughout. It has an almost punk-like brevity and urgency. Critics noted it “gestures towards hard rock” on the album – meaning it’s a straight-ahead rocker on a record that often detoured into experimental sounds.
Time Signature: In true Matt Cameron fashion, the song isn’t a simple 4/4 all the way through. Cameron, coming from Soundgarden, is known for inserting odd time signatures, and “Get Right” is a subtle example. The verses can be analyzed as having an unusual 14/4 meter (effectively adding two extra beats to a standard 4/4 count), and the chorus pattern is even more complex – one music analyst breaks it down as 6/4 + 6/4 + 4/4 + 4/4 in sequence. In simpler terms, the rhythm has some extra beats that give the song a slightly off-kilter, syncopated feel, even though it still rocks hard. Despite these irregular counts, the band plays it so fluidly that many casual listeners might not even notice the time oddities – a testament to Pearl Jam’s tightness.
Guitar Work: The song is built on crunchy guitar riffs that drive the momentum. Stone Gossard and Mike McCready likely handle the twin guitars – one holding down the rhythm riff, and the other adding fills and a brief solo. Reviewers praised the “great McCready riffs” in “Get Right”. Indeed, Mike McCready delivers a shredding guitar solo during the bridge that injects a dose of classic rock flair. It’s a short solo, befitting the song’s brevity, but McCready uses it to add melodic interest and intensity. The chord progression centers around a strong riff in (presumably) B major/B minor territory – fan-transcribed tabs show power-chord movements (such as B to D to C#, etc.) that create a descending feel in parts of the song. The guitars lock in with the drums to accent the song’s unconventional stops and starts (likely accentuating those extra two beats here and there).
Bass and Rhythm: Jeff Ament’s bass provides a funky undercurrent to the song. One retrospective ranking mentioned “Jeff’s funky bassline” as a highlight of “Get Right”. In the mix, the bass is audible and adds groove, walking a fine line between supporting the guitars and giving a bounce of its own. The verses have moments where the bass stands out, possibly in those transitional measures (Ament often likes to add melodic bass touches). Matt Cameron’s drumming is central – he keeps the song propulsive with powerful snare hits and cymbal crashes typical of Pearl Jam’s rockers, but also navigates the time signature shifts with ease. His fills often signal the end of those extended measures, bringing the band back “on the one” seamlessly. Notably, the chorus features handclaps overdubbed as a percussion element – an unusual choice for Pearl Jam. The handclaps reinforce the backbeat and give the chorus a slight party vibe, underscoring the “poppy” feel that some have attributed to the track.
Vocals & Melody: Eddie Vedder’s vocal melody in “Get Right” is relatively simple and repetitive, which suits the song’s directness. He mostly sticks to a narrow range, delivering the verses in a clipped, rhythmic manner to ride along with the riff. In the chorus, Vedder belts the phrase “I wanted to get right” repeatedly in a straightforward, no-frills tone. Interestingly, Vedder eschews his trademark deep growls or dramatic flourishes here – one reviewer noted the “straightforward delivery without any of his trademark graveled speech”. In fact, Vedder’s approach is almost restrained for a rock song: he sounds intent and somewhat urgent, but the timbre is clean. Some have even described his tone on “Get Right” as having a loungey or light quality, almost as if he’s consciously not over-singing it. The melody and cadence align with the lyrical theme – repetitive, a bit anxious, hammering the point home.
Structure: Structurally, “Get Right” follows a conventional verse-chorus-verse-chorus pattern with a bridge (guitar solo) and a final double chorus. It wastes no time – an intro riff for a few bars, then Vedder comes in with the first verse. The bridge after the second chorus is where McCready’s solo happens, likely over the verse chords. After that, the final chorus repeats the “I wanted to get right” mantra multiple times, building intensity before a sudden stop. The song ends without a long fade or outro – consistent with its punchy composition.

In essence, “Get Right” is compositionally a tight, riff-oriented rock song that packs a lot into its short runtime. It stands out on Riot Act for its classic rock energy blended with offbeat rhythm. The unusual time signature adds a layer of sophistication (and is a nod to Cameron’s prog/alt-rock background), even as the power chords, handclaps, and sing-along chorus give it a simplistic, almost garage-rock vibe. This combination of accessibility and quirkiness makes “Get Right” a distinctive deep cut in Pearl Jam’s catalog – a song where the band “puts on their rock for the masses” but still can’t resist throwing in some rhythmic curveballs.

Production & Recording

“Get Right” was recorded during the Riot Act album sessions in 2002, a time when Pearl Jam took a relatively old-school approach to recording. The album was produced by Adam Kasper (in collaboration with Pearl Jam themselves) at Studio X in Seattle, and Kasper created a “relaxed” environment that encouraged live takes and spontaneity. According to drummer Matt Cameron, Riot Act was tracked mostly live in the studio as the band’s “anti-Pro Tools record” – a conscious decision to capture a more organic sound without over-editing. This philosophy is evident in “Get Right”: the recording has a raw, immediate feel, as if the band played it together in one go.

Production elements of note in “Get Right” include its mix and sonic texture. Longtime Pearl Jam collaborator Brendan O’Brien mixed the album, which likely helped balance the song’s forceful instrumentation with Eddie Vedder’s vocals. In the mix, Vedder’s voice is slightly back, almost blended into the wall of guitars, emphasizing the band performance over any one element. The guitars have a crunchy mid-range tone, and the bass is rounded and present. Cameron’s drums are punchy – the snare particularly cracks through, driving the song’s momentum.

There aren’t a lot of overdubs or studio tricks audible on “Get Right.” The production approach is stripped-down: two guitars, bass, drums, one vocal track, and perhaps some doubled handclaps and backing vocals (if any – the song might not have noticeable backing vocals). This straightforward production fits the track’s character. It’s worth noting that Adam Kasper also played a bit of piano on the album and did some engineering, but “Get Right” does not feature any piano or extra instruments beyond the core rock setup. The focus is on capturing Pearl Jam’s live energy and the tightness of the band playing together.

One small production detail is the inclusion of the handclap sound in the chorus (as mentioned in Composition). This kind of percussion might have been added in overdubs for texture. It’s mixed subtly, but it gives a vintage rock ‘n’ roll feel for a moment – possibly an idea Kasper or the band tried to enhance the rhythm. Otherwise, the production refrains from experimental effects. This contrasts with other tracks on Riot Act (for example, “You Are” features a loop and special guitar effect), but “Get Right” remains sonically straightforward.

During mixing, O’Brien ensured that despite the song’s fast pace and layered guitars, Vedder’s lyrics could still be discerned. The clarity of Ed’s vocal on this track – with minimal reverb – is a production choice; it puts his urgent message front and center without much haze. The overall sound of “Get Right” on the record is a bit hot and compressed, which was common for early 2000s rock mixes, but it suits the intensity.

In terms of recording anecdotes, there is no specific lore about “Get Right” taking dozens of takes or any unusual studio drama (unlike some Pearl Jam songs – e.g., “Even Flow” infamously took over 50 takes to nail). Given the band’s live-recording approach on Riot Act, it’s likely “Get Right” was recorded relatively quickly once the arrangement was set, perhaps in just a few takes. Matt Cameron’s familiarity with the song (since he wrote it) presumably helped streamline its recording.

The mixing and mastering preserved a slightly edgy sound quality. Guitars have a bit of grain, and the overall track isn’t overly polished, aligning with Pearl Jam’s ethos of sounding real and a bit rugged. This production approach garnered mixed reviews; some critics felt Riot Act as a whole sounded deliberately underplayed. For instance, The Guardian review mentioned tracks like “Get Right” “gesture towards hard rock without really putting the hammer down” – this could be interpreted as a critique of the production/musical choices making the song almost explode, but holding back a touch. Indeed, compared to Pearl Jam’s earlier, more anthemic productions, “Get Right” is somewhat contained – possibly an artistic choice in line with the album’s reflective mood.

In summary, the production of “Get Right” emphasizes an authentic band performance. It was recorded live to tape (or minimal digital intervention) at Studio X, produced by Adam Kasper in a comfortable setting, and mixed by Brendan O’Brien for clarity and punch. There are no extravagant studio experiments on this track – it’s Pearl Jam captured in a raw, unadorned form, which lets the song’s natural energy and Matt Cameron’s distinct songwriting shine through.

Themes & Motifs

“Get Right” may be a short and direct song, but it carries several interlocking themes and motifs throughout its lyrics and tone:

Conformity vs. Individuality: The central theme of “Get Right” is the tension between fitting in and staying true to oneself. The narrator desperately wants to “get right” with someone or something, implying a willingness to change himself or march in line (“single file, nine in a row”) to gain approval. This speaks to the human experience of conformity – doing what others expect (“stand and debate… swear if you must”) – and the sacrifices that come with it. Yet, the song also hints at the narrator’s suppressed identity (the “underbelly inside of me”) that rejoices in being cast out, which points to individuality reasserting itself. The motif of an inner voice that actually celebrates not fitting in (“rejoice and follow thee”) suggests that ultimately, being true to oneself might be more fulfilling than conforming. This dichotomy is the song’s emotional crux.
Yearning for Reconciliation: Another theme is the deep yearning to reconcile or fix a relationship. The repeated motif “I wanted to get right with you” conveys a strong desire for resolution and forgiveness. It’s the language of someone who perhaps made mistakes or feels out of sync and is longing to make things right. This gives the song a subtle emotional undercurrent: behind the rock exterior lies a theme of redemption – trying to make amends. Even if the lyrics are abstract, that core plea (“get right with you”) is universal in tone, echoing motifs found in gospel or soul music about setting things right. (Notably, the phrase “get right” also appears in religious contexts, e.g. “get right with God,” meaning to repent and be in good standing spiritually. Pearl Jam doesn’t explicitly make it religious here, but the idea of seeking absolution is present in a secular way.)
Social Critique: Woven into the imagery are hints of social commentary. Lines like “the dregs of society” and the rigid parade imagery suggest the song is also commenting on how society labels and orders people. The motif of a parade or line-up evokes authoritarian or conformist societies where everyone is expected to fall in step. By mentioning “the dregs” and “cast out,” the song shines a light on those who don’t fit that mold – the outsiders. Thus, a theme of empathy for outcasts emerges. This aligns with Pearl Jam’s broader ethos; they often give voice to the marginalized (songs like “Jeremy” or “Do the Evolution” critique societal norms as well). In “Get Right,” while personal, there’s a motif that questioning authority and norms is underlying – the narrator’s journey from trying to conform to perhaps embracing non-conformity can be seen as a microcosm of breaking free from societal pressures.
Internal Struggle: Motifs of heat and fire (“the fire is made now, hot to the touch”) serve as metaphors for internal conflict. Fire represents passion or anger that has ignited between the narrator and the “you”. The heat motif recurs with “hot to the touch” in both verse contexts, symbolizing the intensity of the situation and the narrator’s stress. The song is essentially an internal monologue set to music – we travel through the narrator’s psyche as he wrestles with what he wants (to get right) versus what he experiences (feeling cast out). The structure of the lyrics, shifting from orderly images to images of being thrown away, mirrors an internal back-and-forth: Should I comply or rebel? This psychological theme is central – it’s about the mental and emotional turmoil in trying to satisfy others at the expense of oneself.
Motif of Numbers and Order: There is a recurring use of numbers and ordering (baker’s dozen = 13, nine in a row, single file). These motifs reinforce the theme of order vs. disorder. Thirteen and nine are not “round” numbers, they stick out. The choice of those numbers could symbolize excess (13 instead of 12) and incompletion (9 instead of 10) – implying things are a little off from the perfect order. The way they’re used (parades of 13, rows of 9) suggests an attempt at order that is inherently a bit irregular or forced. This subtle motif cleverly mirrors the song’s time signature quirks (musically adding extra beats, just as the lyric adds an extra person to a dozen, or falls one short of ten). It’s as if the very fabric of the song embodies the discomfort with strict order and symmetry.
Imagery of Up and Down: The lyrics contrast surface vs. underground. “Parades” happen on the surface (public displays), whereas “concrete underground” is beneath where no one sees. This up/down motif highlights public self vs. private self. Publicly, one might march in the parade; privately, one might feel like they’re in the gutter. Pearl Jam uses this duality to underscore the theme of authenticity – what is shown outwardly versus what is felt inwardly.

The central motif that ties these themes together is the phrase “get right.” It’s a simple phrase loaded with meaning – socially (get right with others), morally (get right as in do the correct thing), and personally (get one’s head right). This song’s various motifs – fire/heat, numbers/order, up/down, inner/outer – all orbit around that central idea of rightness. Ultimately, “Get Right” grapples with themes of belonging and integrity, questioning whether losing oneself is too high a price for acceptance. The unresolved nature of the lyrics (since it’s all expressed as a desire rather than an achievement) leaves the thematic question open-ended: Did the narrator manage to “get right,” or did he abandon that pursuit? Pearl Jam lets the listeners chew on that motif themselves, which is part of the song’s intrigue.

Critical Reception & Legacy

Upon Riot Act’s release in 2002, “Get Right” was not spotlighted as a single, and as such it flew under the radar of most mainstream critics. However, those who reviewed the album did comment on the song in passing, and over time fans and writers have formed opinions on this deep cut.

Critical Reception in 2002: Riot Act as an album received a mixed reception, and “Get Right” exemplified some critics’ lukewarm feelings. Writing for The Guardian, critic Adam Sweeting cited “Get Right” (along with “Ghost”) as a track that “gesture[s] towards hard rock without really putting the hammer down”, suggesting that it didn’t fully capitalize on its own energy. In that review, the song was seen as neither a full-throttle rocker nor something entirely different – implying a sort of middling quality. Pearl Jam’s shift in the early 2000s to more experimental and restrained songs possibly made straightforward rockers like “Get Right” feel less impactful in context. Other outlets like Pitchfork dismissed much of the album (they said Riot Act “meanders… with an overwhelming insipidness”), but they did not single out “Get Right” by name. In general, professional critics at the time tended to focus on the album’s political songs (“Bushleaguer”) or its lead single (“I Am Mine”), leaving “Get Right” relatively uncommented on, or described only in group with similar tracks.

Fan Reception: Among the fan community, “Get Right” has been something of a sleeper track that garners appreciation from dedicated listeners if not the general public. Some fans initially viewed it as minor or “filler” on the album. On Pearl Jam forums, it’s not uncommon to find threads debating the merits of “Get Right.” For example, years later, fans on the Pearl Jam official forum expressed surprise that it had disappeared from setlists and some professed their love for the song, calling it “Amazing” and wishing it would return live. In a Reddit “daily song discussion” thread, comments ranged from indifference to praise. One fan admitted it “took me a while to warm to this song” while another appreciated its concise rock vibe and Matt Cameron’s writing. Over time, the song’s reputation has warmed among hardcore Pearl Jam fans, often seen as an underrated gem that hearkens back to the band’s early rock sound albeit with a twist.

Retrospectives: As years passed, some retrospective pieces and rankings have shed light on “Get Right.” Notably, a 2021 ranking of Pearl Jam’s top 151 songs placed “Get Right” at the very bottom (rank #151). The author commented that Riot Act was underrepresented in great songs and that “Get Right” “just [made] the cut thanks to Jeff’s funky bassline and Mike’s shredding solo”, also noting the presence of handclaps as a distinctive feature. Being ranked last out of 151 might sound harsh, but it’s as much a statement on Pearl Jam’s strong catalog as it is on the song itself. The write-up recognized that “Get Right” has some redeeming qualities (bass and solo) but overall implied it’s a lesser Pearl Jam track. Similarly, fan-curated rankings often put “Get Right” in the lower tier of Pearl Jam songs, citing that it lacks the emotional depth or innovation of the band’s more celebrated work.

However, legacy-wise, “Get Right” holds a place as a curiosity in Pearl Jam’s discography: it’s one of the rare Matt Cameron-penned songs and part of the band’s narrative of democratising songwriting in the early 2000s. This itself is noteworthy in band history. Pearl Jam’s official channels haven’t spotlighted “Get Right” on compilations or major live releases (it was not included on the 2004 rearviewmirror greatest hits, for instance, whereas other Riot Act songs like “I Am Mine” and “Save You” were). As a result, the song remains obscure to casual fans.

Critically, when Riot Act is re-examined (as it was on its 20th anniversary in 2022), “Get Right” is sometimes mentioned as an example of the album’s straightforward rock moments. Some modern reviewers appreciate the break it provides on an otherwise heavy record. For instance, Tiny Mix Tapes noted that “‘Ghost’ and ‘Get Right’ are… examples of the band putting on their ‘Rock’ for the masses”, highlighting that these tracks kept the album from being all mid-tempo or experimental. This implies a modest praise: “Get Right” adds balance to Riot Act, injecting energy.

In conclusion, the legacy of “Get Right” is that of a deep album cut beloved by pockets of fans and often overlooked in Pearl Jam’s pantheon of songs. It hasn’t left a broad cultural footprint, but within the fan community, it’s remembered as a fun, unfussy rocker – one that some rally behind as underrated. Critically, it’s seen as a competent if unexceptional track, sometimes faulted for not maximizing its potential. Nonetheless, “Get Right” contributes to the rich tapestry of Pearl Jam’s 2000s era, representing the band’s willingness to share songwriting and to still simply rock out even amid more introspective material.

Live Performances

Live performances of “Get Right” have been few and far between, making it one of Pearl Jam’s rarer songs in concert. The song made its debut shortly after the release of Riot Act: Pearl Jam first performed “Get Right” on December 5, 2002 in Seattle, WA, at a hometown show likely meant to road-test the new material. Fans in attendance got to see the only Matt Cameron-written track from the album come alive on stage, with Eddie Vedder handling the vocals of course and Matt pounding out the song’s rapid-fire drum part.

Throughout the ensuing 2003 Riot Act Tour, “Get Right” popped up in setlists, but not as a staple. The band seemed willing to play it during that album cycle, often placing it mid-set among other new songs. For example, at Pearl Jam’s show in Mexico City on July 18, 2003, “Get Right” was played early in the set (after “Save You”), giving the audience a jolt of energy. It also featured in some high-profile gigs: the band’s famous April 2003 Madison Square Garden shows included “Get Right” in the rotation, one of which was documented on the Live at the Garden DVD (the song is indeed performed in that concert video, showcasing its live arrangement). In these live renditions, the song remained true to the studio version – fast, tight, and clocking in under three minutes, making it a quick burst of rock amid longer jams. Vedder’s delivery live was a bit more forceful than on the record (as is often the case), and McCready’s guitar solo sometimes got a few extra flourishes, but overall it was a straight recreation.

An interesting footnote is that on April 1, 2003 in Denver, CO, “Get Right” was reportedly on the printed setlist but got cut or replaced during the show. According to setlist archives, it was slotted but then the band decided to play “You Are” instead that night. This suggests that even during the tour, “Get Right” wasn’t a guaranteed inclusion – perhaps depending on Eddie Vedder’s voice or the flow of the show, they might drop it. Some speculated Vedder wasn’t as comfortable with the song or simply that other new songs took priority.

After the 2003 tour, “Get Right” virtually disappeared from Pearl Jam’s live repertoire. It was not performed at all in the 2004, 2005, or 2006 tours, nor in any subsequent tour up through the 2010s. In fact, the last known live performance (as of 2025) dates back to July 2003. Fans have noted that it has now been over 20 years since “Get Right” was last played live. This makes it one of the band’s most shelved songs. On forum discussions, die-hard fans often express surprise that it hasn’t been resurrected, considering it’s a straightforward rocker that presumably wouldn’t be too challenging to slot into a set. The band has never given an official explanation for its omission. One lighthearted theory a fan quipped is that maybe Pearl Jam avoid it because of its title – not wanting anyone to “get Right” (a tongue-in-cheek political joke, given the band’s left-leaning activism). In reality, it’s more likely just happenstance: Pearl Jam has a vast catalogue, and some songs simply fall by the wayside if they weren’t big hits or if the band members don’t feel a strong urge to revisit them.

For those who want to hear “Get Right” live, the best sources are the official bootlegs from 2003. Pearl Jam released soundboard recordings of nearly every show on that tour, so recordings exist of the song being played in venues like Chicago, Boston (Mansfield), and State College. Fans report that live, “Get Right” carries a lot of punch – Cameron’s drumming is a highlight, and the odd time signature bits are executed tightly. The audience reaction during those performances was polite but not frenzied; since it wasn’t a single, many casual concertgoers in 2003 were likely hearing it for the first time. It typically received a warm reception as a solid rocker, though it didn’t stand out like the big anthems or the politically charged songs.

Notable live highlights:

The State College, PA show on April 2003 (a marathon 3+ hour concert) included a performance of “Get Right,” and that particular show is famous among fans for its rare setlist additions – “Get Right” being one of them.
At the Nassau Coliseum show (Uniondale, NY) on April 30, 2003, the band played nearly the entire Riot Act album; “Get Right” was part of that near-complete album run, a treat for fans of the new material.
The Sydney, Australia show in February 2003 also featured “Get Right” – interesting because it was one of the first times Australian audiences heard it live, and it appeared early in the set, showing the band’s confidence in the song to kick off the momentum of the night.

Since its 2003 hiatus, fans have occasionally campaigned or at least hoped for “Get Right”’s return. Pearl Jam’s 2010s setlists did see the resurrection of other Riot Act songs like “Cropduster” or “Ghost” on rare occasions, but “Get Right” remained elusive. As of the latest tours in 2022-2023, it still has not been played, solidifying its status as a deep cut that the band has largely set aside.

In summary, live performances of “Get Right” are a rarity. The song lived primarily in the 2002-2003 timeframe on stage, and recordings from that era capture its raw live energy. Its long absence from setlists has made it almost a legend among Pearl Jam collectors – one of those songs you chase in live recordings because chances are you won’t hear it at a modern show. When played, it’s a fast, no-nonsense burst that often leaves fans shouting the catchy “wanted to get right!” refrain in unison. If Pearl Jam were ever to do a full Riot Act album show or a deep-cuts themed set, “Get Right” would no doubt be a welcomed addition, but until then, it rests in the vault of songs that fans talk about more than they experience.

Covers & Reinterpretations

“Get Right” has not inspired many covers or reinterpretations by notable artists – likely due to its relative obscurity and specificity. Unlike Pearl Jam’s classics (“Alive,” “Better Man,” etc.) which have been covered widely, this song’s cover versions are virtually non-existent in the mainstream. A few observations on this front:

Official Covers: There are no known official cover recordings of “Get Right” by major artists. It did not become a standard that other bands picked up. The song’s niche status on a later Pearl Jam album means it wasn’t on the radar for, say, tribute albums or all-star cover shows.
Tribute Bands: Pearl Jam tribute bands (of which there are many, given the band’s dedicated following) have occasionally included “Get Right” in their setlists, especially if they aim to cover deep cuts. These renditions typically mirror Pearl Jam’s own live arrangement closely. For hardcore fans attending tribute shows, hearing “Get Right” can be a treat since Pearl Jam themselves don’t play it anymore. However, recordings of such covers are usually informal (YouTube clips, etc.) and not widely circulated.
Fan Covers: On platforms like YouTube, one can find the odd fan cover of “Get Right” – usually a guitarist or drummer demonstrating the song. For example, a few guitarists have uploaded tutorials or play-throughs of the song’s riffs and solo, highlighting Matt Cameron’s songwriting and McCready’s lead lines. Drummers too have tackled it, drawn by the challenge of its timing; a drum cover video often points out the 6/4 feel in the chorus or the extra beats. These fan interpretations show that the song is appreciated enough to be studied in musician circles, even if it’s not popularly covered by other bands.
Remixes/Mashups: There are no notable remixes or genre-crossed versions of “Get Right.” Its straight-ahead rock nature doesn’t lend itself obviously to remix treatment. And given Pearl Jam’s general stance (they are not a band frequently remixed or sampled), it’s unsurprising that “Get Right” remains in its original rock form.
Pearl Jam’s Own Reinterpretation: Pearl Jam themselves have not significantly rearranged “Get Right” in the few times they played it live. There’s no acoustic version or alternative arrangement known. It’s one of those songs that stayed true to album form. This means we don’t have the kind of band-led reinterpretation that some other tracks have (for instance, “Corduroy” often has extended jams live – “Get Right” did not get that treatment in its brief live life).

Essentially, “Get Right” hasn’t seen cover version fame. Its legacy lives almost entirely within Pearl Jam’s rendition. That said, its existence on Riot Act and in bootlegs ensures that any Pearl Jam tribute or cover project that aims to be comprehensive will eventually tackle it. In 2021, SiriusXM’s Pearl Jam Radio did a listener poll of deep cuts people love, and while “Get Right” wasn’t at the very top, its inclusion in discussions of songs “you didn’t know you loved” indicates that fans cherish the original enough – possibly discouraging any radical reinterpretation.

In summary, “Get Right” remains a Pearl Jam-only affair in performance. If you want to hear it, you go to the source (or a tribute faithfully imitating the source). Its absence in the repertoire of other artists underlines its status as a deep cut beloved primarily within the Pearl Jam community rather than a song that permeated rock culture at large.

Music Video & Visual Elements

No official music video was produced for “Get Right.” Given that it was not released as a single, Pearl Jam did not create a video, and it didn’t receive MTV or VH1 rotation in the way their singles did. At the time of Riot Act, the band’s focus for music videos was on songs like “I Am Mine” (which got a studio performance video). “Get Right” thus has no canonical visual narrative or professionally directed video associated with it.

However, there are a few visual and multimedia elements worth noting in relation to “Get Right”:

Album Artwork Context: Riot Act’s cover and packaging featured distinctive imagery – notably two skeletal figures with crowns (photographed by Jeff Ament) and a general collage of visual art reflecting themes of mortality and society. While “Get Right” isn’t explicitly illustrated in the album art, the overall aesthetic of Riot Act (somber, artful, and a bit abstract) forms the visual backdrop for the song. Inside the CD booklet, each song’s lyrics are printed, sometimes with accompanying graphics or textures. The lyrics of “Get Right” in the booklet might have had some background image or stylized text consistent with the album’s design, but nothing widely discussed. The Pearl Jam Fandom Wiki notes that Ament was responsible for cover/booklet pictures and that there was unique artwork per song (like drawings or photos). Fans flipping through the booklet while listening in 2002 would have consumed “Get Right” alongside those visual cues.
Promo CD Artwork: As mentioned, “Get Right” was sent to radio as a promo CD-R single in 2003. The promo CD likely had a simple design – possibly just text on a disc or a generic Pearl Jam graphic, given it wasn’t a commercial single with cover art. Collectors who have this item note that it’s a plain custom-printed disc. This means there wasn’t unique cover art for the song aside from the Riot Act imagery.
Live Visuals: During the 2003 tour performances of “Get Right,” Pearl Jam’s stage lighting and visuals were standard for their rock songs: typically energetic lighting with flashes of white and red during drum and guitar accents. The band did not have elaborate video screen content tailored to “Get Right” (in contrast, for a song like “Do the Evolution” they use animated visuals from its music video on screens). So, live visual elements were minimal – mainly the spectacle of the band playing. On the Live at the Garden DVD (Madison Square Garden 2003 show), viewers can see Pearl Jam performing “Get Right”: Ed Vedder at the mic with his guitar slung aside (he primarily just sings on this track), Matt Cameron visibly concentrated as he drives the tricky beat, and Jeff Ament bobbing with that funky bassline. The stage is bathed in rock-show lighting but no special props or imagery for this tune. It’s a straight performance visually.
Merchandise Graphics: Interestingly, Pearl Jam’s tour merchandise from the 2003 tour included a “Get Right” T-shirt, which has become a bit of a collectible. Fans have described it as featuring a graphic of a man smoking a hookah on the back. This design presumably riffs on the phrase “get right” in a humorous way – perhaps implying chilling out or “getting right” via relaxation (the hookah image). The front of the shirt likely had the Pearl Jam logo and the song title or some Riot Act-related imagery. This indicates that the band (or their merch designers) gave “Get Right” a sort of visual identity in the context of tour merch. The hookah-smoking character isn’t directly from the song’s lyrics, but it does evoke a laid-back vibe (maybe the idea of mellowing out to get one’s head right). Fans who bought this shirt in 2003 were effectively wearing the only “Get Right” artwork out there. Today, that shirt appears on resale sites as a vintage item, valued by fans who remember the Riot Act era.
Fan-made Videos: On platforms like YouTube, you might find fan-made lyric videos or slideshows for “Get Right.” These are unofficial, usually just displaying the lyrics against either Riot Act album art or abstract backgrounds. They serve to provide a visual element for listeners streaming the song, but they don’t carry any authoritative imagery.

Since “Get Right” lacks an official video, it hasn’t had visual interpretations in the way some Pearl Jam songs have (for example, “Do the Evolution” has a famous animated video). There’s no director’s concept or band cameo to analyze. Instead, the visual legacy of “Get Right” is tied to Riot Act’s artwork and the early 2000s tour aesthetics. If one were to imagine a music video for it, given the song’s themes of conformity vs. individuality, one could picture something like a line of people marching in lockstep, with one person breaking away – imagery that matches the lyrics’ story. But that’s purely speculative; the band did not provide such a visualization.

In summary, visually “Get Right” remains low-profile. It lives through album art impressions and a few pieces of tour iconography (like the T-shirt graphic). For a Pearl Jam fan, simply seeing the Riot Act cover or the tracklist evokes the song’s mood. And on stage, the visual element was the band’s raw performance energy. Without an official music video, “Get Right” is a reminder that not every song – even by a major band – gets a visual narrative; some remain solely an audio experience enhanced only by whatever imagery the listener’s mind creates.

Personnel & Credits

Pearl Jam members who performed on “Get Right” are the five band members active during the Riot Act era, with songwriting credit to Matt Cameron:

Eddie Vedder – Vocals. Vedder is the lead singer, and on “Get Right” he delivers the vocal with a clear, steady tone. (He’s also credited as a guitarist on the album, but on this particular track his role is mainly singing.) Eddie is additionally credited under the pseudonym “ev” as a typist in the album notes (for typing up lyrics).
Mike McCready – Lead Guitar. McCready plays the electric guitar leads on “Get Right,” including the song’s guitar solo and riffs alongside Stone. His “shredding solo” is a standout. Mike’s bluesy-rock style adds flair to the track.
Stone Gossard – Rhythm Guitar. Gossard provides the foundational guitar riff and chord structure that drive the song. Stone’s tight rhythm playing anchors “Get Right,” giving McCready room to embellish. (On Riot Act, Stone wrote other songs but not this one; here he’s an integral performer, playing the riffs Matt Cameron wrote.)
Jeff Ament – Bass Guitar. Ament’s bass is crucial in “Get Right,” noted for being “funky” in the mix. He lays down the low-end groove that underpins the song and adds subtle melodic movement. Jeff also contributed to the album artwork (cover and booklet photography) and is credited under the alias “Al Nostreet” for the album concept, though that’s separate from his musical role.
Matt Cameron – Drums, percussion, and songwriter. Matt is the drummer on “Get Right,” propelling the song with energetic drumming and handling its off-kilter time signature with ease. Importantly, Matt Cameron wrote both the music and lyrics for “Get Right”, making him the principal creative force behind the song. This is reflected in the album’s track credits, which list “Cameron” for both lyrics and music on this track. On Riot Act, Cameron also plays some guitar (for instance, he played rhythm guitar on his other composition “You Are”), but for “Get Right” his role is drums and author.

Additional personnel and production credits for the studio recording of “Get Right” (and Riot Act broadly):

Adam Kasper – Producer and recording engineer. Kasper co-produced Riot Act with Pearl Jam. He was in charge of the recording sessions at Studio X Seattle and is credited with creating the relaxed atmosphere conducive to live takes. Kasper also contributed piano on some tracks of the album (though not on “Get Right”) and is credited for recording/engineering the album.
Pearl Jam (the band) – Co-producer. The band as a whole is credited as producers alongside Kasper, meaning they had creative control and input in the sound and arrangements. This is typical for Pearl Jam, as they often co-produce their records.
Brendan O’Brien – Mixing. O’Brien, who had produced and mixed many earlier Pearl Jam albums, returned to mix Riot Act. He balanced the elements of “Get Right” in the final mix, ensuring the punchy, live feel came through.
Sam Hofstedt – Engineering. Hofstedt was an engineer on the album sessions, likely assisting Kasper in capturing the recordings (mic setup, levels, etc.).
John Burton – Additional engineering. Burton is credited with additional engineering. He was Pearl Jam’s long-time monitor engineer and studio assistant, likely helping in the technical aspects of recording.
Gregg Keplinger – Drum technician. Keplinger, a Seattle drum maker and tech, is credited as drum tech. He would have helped Matt Cameron with drum tuning, setup, and instrument maintenance during recording – ensuring the drums on “Get Right” sounded their best.
George Webb – Guitar technician. Webb is listed as a guitar tech, implying he maintained Stone’s and Mike’s guitars, keeping them in tune and ready to go for recording the tracks.
Mastering Engineer – (Not explicitly listed in the excerpt above, but likely Ed Brooks or Bob Ludwig). Riot Act was mastered to polish the final sound – the original CD credits show mastering by Ed Thacker and George Marino at Sterling Sound for some tracks, but given the timeframe, it might have been done by a professional mastering engineer. (This detail can vary; some sources list Howie Weinberg for mastering Riot Act).
Design and Artwork – While not musical personnel, for completeness: Brad Klausen handled the layout and design of Riot Act’s packaging (including any illustrations like the “LBC” artwork). Danny Clinch provided additional photography. These aren’t directly tied to “Get Right,” but they shape the album’s visual presentation that the song is part of.

In summary, “Get Right” was crafted by the full Pearl Jam team with Matt Cameron at the songwriting helm. The performance features the classic five-member lineup, each contributing their part to bring Cameron’s idea to life. The production team led by Adam Kasper and Brendan O’Brien ensured that what we hear on the track is a tight, live-sounding recording. All these individuals – band and crew – combined their expertise, resulting in the final version of “Get Right” that appears on Riot Act.

(Sources: Album liner notes and Pearl Jam Wiki for credits; track listing for songwriting attributions.)

Fan Theories & Trivia

Over the years, “Get Right” has sparked various fan theories, trivia tidbits, and interesting observations within the Pearl Jam community:

Roskilde “Nine” Theory: One fan theory (albeit not widely substantiated) posits that the lyric “nine in a row” might allude to the nine fans who died at Roskilde 2000. Pearl Jam’s Riot Act was the first studio album after that tragedy, and other songs (“Love Boat Captain”) reference it explicitly. In “Get Right,” the context is different, and there’s no confirmation from the band that Matt Cameron had Roskilde in mind. However, some fans can’t help but notice “nine” appearing in the lyrics and wonder if it’s a subtle, possibly subconscious nod to that event. This remains speculative—Cameron has never commented on it, and the song’s overall theme doesn’t obviously align with Roskilde—but it’s an example of how Pearl Jam fans often scrutinize numbers and references in lyrics.
Title Phrase Usage: The phrase “get right” is a common colloquialism meaning to straighten out one’s affairs or mindset. Trivia-minded fans have pointed out that it appears in other songs by different artists (for example, Jennifer Lopez had a hit song titled “Get Right” in 2005, completely unrelated in theme). On the Pearl Jam forums, there was even a jokey discussion conflating the meaning of J.Lo’s “Get Right” with Pearl Jam’s “Get Right”. Of course, the two songs are unrelated beyond the title. It’s simply interesting that Pearl Jam’s only song with that title has such a straightforward, idiomatic name—something relatively rare in their catalog which often uses more poetic or unique titles.
Matt Cameron’s Lyric Debut: Trivia wise, “Get Right” is notable for being the first Pearl Jam album song with full lyrics by Matt Cameron. Prior to this, Cameron had co-written music (e.g., “Evacuation” on Binaural was his music with Vedder’s lyrics). So fans often mention “Get Right” in the context of band members’ songwriting milestones. (Jeff Ament’s first lyric on a PJ album was “Pilate” in 1998, Stone Gossard’s was “No Way” in 1998, etc.) Cameron would later write more lyrics (“The Fixer” co-lyric in 2009, for instance), but “Get Right” and “You Are” in 2002 were his stepping out as a lyricist. Fans sometimes discuss how his writing style (more literal, rhythmic) differs from Vedder’s, which is evident in “Get Right”’s direct approach.
Odd Time Signature Confirmation: Musicians among the fanbase have analyzed the song and confirmed its odd time signature structure (14/4 and 6/4 combinations). This isn’t exactly a “theory” since it’s a musical fact, but within fan trivia it’s proudly pointed out that “Get Right” is one of Pearl Jam’s songs in uncommon time. In fact, on a Wikipedia page listing unusual time signature songs, “Get Right” is cited with its metric breakdown. Fans who delve into theory note how this trait connects to Matt Cameron’s Soundgarden roots (Soundgarden was famous for 7/4 or 9/8 riffs). It’s a badge of complexity in an otherwise simply structured tune.
Handclaps in the Mix: A fun trivia bit: “Get Right” is one of the only Pearl Jam songs to feature handclaps as a percussion element. Once you notice it, it’s quite audible in the chorus. This is noteworthy because Pearl Jam rarely uses handclaps in studio recordings (another example might be “Glorified G” from 1993, which had a clapping effect). It’s a small production choice that fans mention to illustrate how Riot Act had some unique textures. The presence of handclaps might have been an homage to classic rock production, or just a spontaneous addition in the studio. Either way, it stands out to attentive listeners as a quirky detail.
Live Rarity Stats: Fans who love Pearl Jam stats will note that “Get Right” has been played live only 17 times (all in 2002-2003). As of 2025, it is among the least played Pearl Jam songs. Enthusiasts often compile lists of songs by how many days since last played – one Reddit post calculated that it’s been thousands of days since “Get Right” was last performed. This makes it a point of discussion: will it come back? Some joked that they might hear it at a show before other ultra-rarities like “Just a Girl” (an early unreleased song) simply because anything’s possible in Pearl Jam’s ever-changing setlists. It remains to be seen if “Get Right” breaks its two-decade live drought.
Merch and Memorabilia: As mentioned earlier, the 2003 tour “Get Right” T-shirt is a collectible item. The graphic of a hookah-smoking guy earned the shirt the nickname “Hookah Man tee” among collectors. That a deep cut like “Get Right” got its own shirt is a bit of band trivia – usually shirts feature album art or more popular song titles. This suggests someone in the band/crew had a soft spot for it or thought the phrase “Get Right” lent itself to a fun design. That shirt occasionally appears on auction sites, often at a hefty price, making it a small legend in Pearl Jam merch circles.
Song Meaning Discussions: In fan interpretations, one interesting angle that comes up is whether “Get Right” could be about substance use (i.e. “get right” as in get high or get one’s head straight). The hookah imagery on the shirt possibly nudges that idea humorously. Some lyrics like “water is sunshine” have almost a psychedelic tinge. A few fans have floated that the song might metaphorically deal with someone using substances or escapism to cope (searching the haystacks for something, water into sunshine as in trying to turn reality into something else). This is not a dominant theory, but it’s an example of how Pearl Jam’s lyrics invite multiple readings. Without authorial confirmation, fans enjoy exploring these possibilities.
Placement on Lost Dogs? Here’s a minor trivia hypothetical: Lost Dogs (2003, Pearl Jam’s B-sides collection) included songs from the Riot Act sessions that were B-sides like “Down” and “Undone,” but “Get Right” being on the album meant it wasn’t a B-side. However, some fans discussing Lost Dogs mused that perhaps if “Get Right” hadn’t made the album cut, it might have sat alongside those songs on Lost Dogs. This is an oblique bit of trivia, but it underscores that “Get Right” is sometimes seen as borderline album material (the sort of song that could have been a B-side). Nevertheless, it did make the album, indicating the band valued it enough for the main tracklist.
Matt’s Vocals (Demo speculation): We know Eddie Vedder sings “Get Right” on the album. But fans wonder if a Matt Cameron demo exists with Matt on vocals. Jeff Ament’s original demos of his songs (like “Nothing as It Seems”) exist, and some have been released. If a Cameron-sung demo of “Get Right” survives, it hasn’t been leaked. Pearl Jam occasionally shares demos in special editions (for example, the 2011 PJ20 soundtrack had demos). It’s trivia-fuel if someday a Matt-sung “Get Right” surfaces, as it would be fascinating to compare. As of now, this is just a fan hope/curiosity – nothing public yet.

In essence, fan engagement with “Get Right” is characterized by deep curiosity and a bit of playfulness. They parse lyrics for hidden meaning, track its scarce live history meticulously, and cherish any unique aspects (be it handclaps or merch) since the song doesn’t have the obvious legacy of a hit. “Get Right” might not be world-famous, but within the Pearl Jam fan community it has its own little corner of lore and conversation, proving that even the band’s lesser-known tracks can spark interesting discourse.

Comparative Analysis

“Get Right” invites an interesting comparison with other Pearl Jam songs, especially those not written by Eddie Vedder. In particular, comparing “Get Right” to Jeff Ament’s compositions—for example “Nothing as It Seems” (from 2000’s Binaural)—highlights how different band members’ songwriting voices can be within Pearl Jam’s sound.

Songwriting Source: “Get Right” was written by Matt Cameron, a drummer with roots in progressive and grunge music (Soundgarden), whereas “Nothing as It Seems” (NAIS) was written by Jeff Ament, the bassist, known for his love of atmospheric and alternative sounds. This fundamental difference in songwriter yields contrasting styles:

Matt Cameron’s “Get Right” is rhythm-centric, driven by groove and a somewhat unconventional beat. It’s succinct and rock-oriented.
Jeff Ament’s “Nothing as It Seems” is moody, expansive, and melody-centric. Jeff tends to write in minor keys with rich chords. NAIS is a slow, dark, psychedelic rock track (often noted for its Pink Floyd vibe), clocking in at over 5 minutes. Jeff even used an upright bass and unique recording techniques on it to craft a thick atmosphere.

Musical Style: “Get Right” is a garage-y hard rock song with a straightforward presentation (despite the tricky rhythm). It’s designed to punch through quickly, using power chords and a repetitive chorus. In contrast, “Nothing as It Seems” is slow-burning and textured – it unfolds deliberately, with nuanced instrumentation (e.g., eBow guitar by McCready, which creates a haunting wail, and deeply resonant bass lines). NAIS highlights dynamics, rising to powerful guitar solos and receding to quiet verses. “Get Right” largely stays at one dynamic level: consistently energetic.

Lyrical Tone: Matt Cameron’s lyrics in “Get Right” are literal and terse, reflecting perhaps a more straightforward narrative (someone trying to get right with another). There is some abstraction, but the phrasing is simple and repetitive. Jeff Ament’s lyrics in “Nothing as It Seems” are poetic and oblique. Lines like “somewhere in between / there and here” or the overall theme of confronting uncomfortable truths give NAIS a cryptic, introspective feel. Jeff mentioned he spent quite a bit of time on NAIS’s lyrics, and it shows – they invite interpretation about personal history and disillusionment. “Get Right,” by comparison, communicates its core message more directly. The complexity in “Get Right” lies more in the music than the words, whereas in NAIS, both music and words are layered.

Emotional Impact: “Nothing as It Seems” has a brooding, melancholic emotion. It was actually released as the first single from Binaural and peaked at #3 on Billboard’s Mainstream Rock chart, indicating it resonated with listeners through its dark atmosphere and Mike McCready’s soaring guitar solo. Its emotional weight and commercial performance earned it a spot on Pearl Jam’s greatest hits album as well. In contrast, “Get Right” has a more angsty yet indifferent emotional tone. It’s anxious in theme, but the delivery (especially Vedder’s somewhat detached vocal style on it) gives it a kind of nonchalance – almost as if the narrator is numbed. As a non-single, “Get Right” didn’t have an impact on the charts or casual fans and is not described as cathartic or haunting in the way NAIS is. It’s more of a venting burst.

Band Arrangement and Role of Vocals: On NAIS, Vedder had to interpret Ament’s lyrics and music. He sings it in a low, affected voice, almost channeling a bit of Pink Floyd’s Roger Waters in tone – subdued and eerie, then rising in intensity. On “Get Right,” Vedder’s interpretation of Cameron’s song is more straightforward rock singing. One could argue Vedder sounds more engaged emotionally in NAIS and more matter-of-fact in “Get Right.” This might be due to the material: NAIS deals with heavy introspection which Ed could sink into, whereas “Get Right” is brisk and external. Interestingly, both songs sit in a comfortable range for Vedder but use different timbres (NAIS – chesty and dark; Get Right – brighter and cleaner).

Position in Album and Legacy: “Nothing as It Seems” was a centerpiece of Binaural (Track 3, and a lead single), often lauded for its bold departure into psychedelic territory. It remains one of Jeff Ament’s most famous contributions and is regularly played live (it became a concert staple, adored for McCready’s climactic solos). “Get Right,” track 9 on Riot Act, is more of a supporting track – it adds energy to the album but wasn’t a focus. Post-release, NAIS has a strong legacy (included in major setlists, live album recordings, and cited by the band as a highlight of that era), whereas “Get Right” slipped into obscurity.

Despite these contrasts, there are also similarities worth noting in comparing the two:

Both songs reflect Pearl Jam’s willingness circa 2000-2002 to experiment with different songwriting voices. They showcased that not only Vedder writes songs. This diversification gave albums a broader palette.
Each song carries a piece of its writer’s personality: Jeff’s introspective and experimental nature in NAIS, Matt’s rhythmic and pragmatic nature in “Get Right.” In that sense, both enrich the Pearl Jam catalog by adding unique flavors that Ed Vedder likely wouldn’t have written himself.
Both songs also have in common that Mike McCready shines on lead guitar. McCready has praised “Nothing as It Seems”’ riff and solo opportunities (he likened the huge riff to a Zeppelin feel and indeed delivered an epic solo). With “Get Right,” though the solo is shorter, McCready still adds a signature touch that lifts the song. It underlines how the band collectively arranges around a non-Vedder song to make it distinctly Pearl Jam.

Comparing “Get Right” to another Jeff Ament tune like “God’s Dice” (also on Binaural) might be even more apt in some ways: “God’s Dice” is a fast, frenetic rock song Jeff wrote – it’s closer in spirit to “Get Right” (short, uptempo, somewhat punky). There one can see that Jeff’s fast song has quirky lyrics about chance and chaos, a bouncy bass line, and frenetic drumming (that was Jack Irons’ last writing on Yield, correction: actually “God’s Dice” is by Jeff on Binaural, with Matt on drums). “God’s Dice” and “Get Right” both show the band embracing punkier energies brought by members other than Ed. Yet Jeff’s punk (in “God’s Dice”) still has unusual chords and a jittery excitement, whereas Matt’s punk (in “Get Right”) is more straight-ahead 4-chord rock with a time twist.

In conclusion, a comparative analysis reveals that “Get Right” and Jeff Ament’s compositions like “Nothing as It Seems” illustrate two very different sides of Pearl Jam:

Jeff’s songwriting tends toward the melancholic and experimental, yielding songs that are atmospheric, deep, and often fan-favorites in the long run (NAIS being a prime example, cherished for its emotional weight and placed in greatest-hits).
Matt’s “Get Right” is from the concise and rhythmic school, giving the band a jolt of raw rock, though perhaps at the expense of the depth that marks songs like NAIS. It remains more of a cult favorite.

Both contribute to Pearl Jam’s diversity. The band can play a set that includes the sweeping darkness of “Nothing as It Seems” and also kick into the punchy riff of “Get Right,” and it’s still identifiably Pearl Jam – thanks to Vedder’s voice and the band’s cohesion. It’s a testament to Pearl Jam’s flexibility that these songs can coexist in their discography, each highlighting a different songwriter’s voice within the band’s collective voice.

In essence, Jeff Ament’s and Matt Cameron’s songwriting each left unique imprints: Jeff gave Pearl Jam haunting introspection (“Nothing as It Seems”), while Matt gave them a tight, rhythmic rocker (“Get Right”). Both contrast with Eddie Vedder’s own writing style, enriching the band’s musical narrative across the albums.

References:

Pearl Jam – Riot Act track listing and credits.
Pearl Jam – Riot Act release info (Epic Records, 2002).
Pearl Jam – Riot Act era interviews and reviews (The Guardian review).
Amazon (fan review) – Commentary on “Get Right” lyrics and vocals.
Pearl Jam Fan Forums – Discussion of live performances (official forum, 2023).
Nevada Sports Net – Pearl Jam Top 151 Songs ranking (2021).
Pearl Jam – Binaural “Nothing as It Seems” info (song details & chart).
Pearl Jam – Binaural booklet and Jeff Ament quote on NAIS creation.
TV Tropes – Uncommon Time (Pearl Jam song time signatures).
Pearl Jam – Riot Act personnel credits (Pearl Jam Wiki).