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Pearl Jam Deep Dives

All Those Yesterdays

Summary

“All Those Yesterdays” is a song by the American rock band Pearl Jam, serving as the closing track on their fifth studio album, Yield (released February 3, 1998) (Yield (album) - Wikipedia). Written by guitarist Stone Gossard, the song was not released as a commercial single; however, Yield itself debuted at #2 on the Billboard 200 albums chart and was certified Platinum in the United States (Yield (album) - Wikipedia) (Yield (album) - Wikipedia). The track runs 7:47 in length on the album due to a hidden instrumental piece appended after a silence (Yield (album) - Wikipedia). While “All Those Yesterdays” did not chart on mainstream singles charts, it has become known as an album deep-cut and a favorite among dedicated fans and collectors (antiMusic.com: Pearl Jam Month: Yield Review). Critics have noted it as a standout album closer, with one review calling it “one of the great tunes” on Yield, especially for its unexpected hidden coda (SoundStage! Pearl Jam - Yield). The song marked one of the few times Gossard penned full lyrics for Pearl Jam, adding to its significance in the band’s catalog (Yield (album) - Wikipedia).

Background & Inspiration

(File:PearlJam01Padova2018.jpg - Wikimedia Commons) Stone Gossard (pictured in 2018) wrote both the music and lyrics to “All Those Yesterdays,” one of only two tracks on Yield with his sole writing credit (Yield (album) - Wikipedia).
Following the experimental No Code (1996), Pearl Jam took a more collaborative approach on Yield, with frontman Eddie Vedder encouraging other members to bring in finished songs (Yield (album) - Wikipedia). In this spirit, guitarist Stone Gossard contributed “All Those Yesterdays,” writing its music and lyrics – a rare instance of Gossard writing lyrics for the band (Yield (album) - Wikipedia). Gossard later explained that Yield “feels like a real band record” with a variety of song styles, reflecting each member’s input (Five Horizons: Articles, Massive! Magazine, Feb/March 1998). The song’s title and message echo the album’s central theme of “yielding” or letting go; bassist Jeff Ament noted the album overall was more positive and solution-oriented compared to past work (Yield (album) - Wikipedia). Indeed, Yield took its title from the idea of yielding to nature and life, a concept inspired by Daniel Quinn’s novel Ishmael that the band had been reading (Yield (album) - Wikipedia). “All Those Yesterdays” embodies this theme by encouraging one to surrender the burdens of the past. While no specific historical incident is cited as inspiration, the song’s gentle, reflective tone suggests it may have been conceived as a reassuring message to someone (possibly a bandmate or friend) under stress. Pearl Jam’s official description characterizes the protagonist as advising an exhausted person “to yield and rest,” letting the troubles of yesterday wash away (All Those Yesterdays | Pearl Jam Wiki | Fandom). Gossard’s compositional style on this track drew on classic rock influences; the press at the time remarked on its “almost late sixties feel,” even calling Pearl Jam “the late era Beatles for the nineties” in reference to songs like “All Those Yesterdays” (Five Horizons: Articles, Massive! Magazine, Feb/March 1998). This 1960s inspiration, combined with Gossard’s introspective writing, gave the song a unique place in Yield’s creation as a consciously mellow and optimistic finale to an otherwise hard-rocking album.

Lyrics & Interpretation

“All Those Yesterdays” reads as a gentle admonition to someone who is overworked, anxious, or burdened by past mistakes. The opening lines set a comforting tone: “Don’t you think you oughta rest? / Don’t you think you oughta lay your head down… tonight?” Vedder sings in a soothing voice, as if lulling a friend to sleep (All Those Yesterdays | Pearl Jam Wiki | Fandom). These verses implore the listener to “lay your head down” and recognize they have “done enough”, suggesting that it’s okay to take a break after struggling. The chorus delivers the central exhortation: “Let it wash away, all those yesterdays” (All Those Yesterdays | Pearl Jam Wiki | Fandom). Here, “yesterdays” symbolizes the accumulated regrets, mistakes, and pressures of the past – the song encourages letting them be cleansed like dirt washed off in water. The imagery of washing implies renewal and forgiveness, aligning with the song’s overall reassuring mood. In the second verse, the lyrics pointedly ask, “What are you running from? Taking pills to get along, creating walls to call your own…” (All Those Yesterdays | Pearl Jam Wiki | Fandom). This reveals that the person being addressed may be numbing themselves (“pills to get along”) and isolating behind psychological defenses (“walls”) to cope with their past. The song empathetically notes that the “things that we all do” shouldn’t cause such shame (All Those Yesterdays | Pearl Jam Wiki | Fandom) – implying that the mistakes this person is hiding from are actually common human experiences. The line “all those paper plates” in the chorus stands out as a poetic image (All Those Yesterdays | Pearl Jam Wiki | Fandom). Fans interpret “paper plates” as a metaphor for disposable or trivial matters piling up – perhaps the mundane daily problems or minor failures that one should simply throw away (All Those Yesterdays – More Than Ten). By lumping “paper plates” with “yesterdays,” the song suggests even the seemingly insignificant clutter of life’s past can and should be discarded without guilt. In the bridge/climax, Vedder repeats with increasing intensity: “You’ve got time, you’ve got time to escape. There’s still time, it’s no crime to escape…” (All Those Yesterdays | Pearl Jam Wiki | Fandom). This stirring refrain delivers the song’s ultimate message: it is never too late to step away from one’s past burdens or unhealthy patterns. The phrase “it’s no crime to escape” absolves the listener of any shame in choosing to walk away and start anew. Critics have described these lyrics as Vedder at his most earnest and meditative, noting how he embodies a “tortured soul” finding resolution (Why is Allmusic’s review of Yield so bad? — Pearl Jam Community). The emotional tone transitions from lullaby-like in the beginning to cathartic and liberating by the end, mirroring the journey from exhaustion to hope. Culturally, the song’s theme of releasing the past resonates with a timeless motif found in works like The Beatles’ “Let It Be” or even Pearl Jam’s own earlier track “Present Tense” (which urged not to “linger on past mistakes”). While “All Those Yesterdays” contains no overt historical or literary references in its lyrics, its plainspoken, universally applicable advice has invited listeners to apply it to their own lives. Many fans view it as an encouraging personal mantra (“let them wash away, all those yesterdays”) when dealing with regret or depression (“All Those Yesterdays”…I forgot how much I love this song… — Pearl Jam Community). Overall, the song’s lyrics gently confront the human tendency to dwell on the past and instead offer compassion, rest, and release as the path forward.

Composition & Arrangement

Musically, “All Those Yesterdays” is a mid-tempo, melodic rock song with a warm, nostalgic character. It is written in a major key (the song has been identified as likely F major (All Those Yesterdays by Pearl Jam @ Song Key Finder)) and set in common time (4/4), giving it a steady, approachable rhythm. The structure follows a conventional verse-chorus pattern, but builds to an extended outro where the central refrain (“you’ve got time to escape…”) is repeated and intensified. Gossard and fellow guitarist Mike McCready weave a rich arrangement: Gossard handles the primary rhythm guitar, strumming soothing chord progressions that underpin the verses, while McCready adds subtle lead flourishes and textures rather than flashy solos. The chord progression, especially in the chorus, reinforces a resolving, optimistic mood – moving through chords in the home key to create a sense of release when the line “all those yesterdays” lands. Vedder’s vocals are prominently double-tracked and harmonized in places (All Those Yesterdays – More Than Ten), a technique that not only strengthens the melody but also contributes to the song’s Beatles-esque aura by echoing the vocal production style of late-’60s pop-rock. Indeed, one of the most distinctive arrangement choices is Jeff Ament’s bass guitar approach. Ament plays a melodic bassline that nearly steals the spotlight in the song’s latter half: he uses a tone and technique that make his bass “squawk and honk like a tuba or trumpet”, essentially simulating a small brass section (All Those Yesterdays – More Than Ten). This horn-like bass motif emerges especially during the outro, where it punctuates the vocal lines with ascending runs, reinforcing the feeling of uplift. (Fans initially wondered if actual horns were used, but it’s purely Ament’s bass through effects, giving “joyous Beatles horns for the win,” as one listener remarked (Daily Song Discussion #94: All Those Yesterdays : r/pearljam) (Daily Song Discussion #94: All Those Yesterdays : r/pearljam).) Drummer Jack Irons provides a restrained but confident backbeat, using steady snare and cymbal patterns to keep the song gentle yet moving forward. In some sections, Irons adds small percussion accents – one can hear soft ride cymbal work and fills that glide rather than thunder, fitting the song’s mellow vibe. The dynamic arc of “All Those Yesterdays” is carefully contoured: it begins hushed and “oozes in and gently rocks you” as one fan described (“All Those Yesterdays”…I forgot how much I love this song… — Pearl Jam Community), gradually swelling in volume and instrumentation towards the end. By the final choruses, Vedder’s voice rises in intensity and the band plays at full tilt – but still with a sense of warmth rather than aggression. Layered backing vocals (likely by Vedder himself and Gossard) echo the main lines, creating a comforting chorus of voices. Music journalists have noted the track’s classic pop-rock feel; its combination of major-key melodies, rich harmonies, and that faux-brass bass line strongly recall The Beatles’ later work (for example, the brass arrangement in “Penny Lane” or the harmonious resolution of “Hey Jude”) (All Those Yesterdays – More Than Ten) (All Those Yesterdays – More Than Ten). Yet Pearl Jam infuse it with their own style – particularly in the bridge where Vedder’s earnest, raw vocal delivery adds a touch of Seattle grunge soul to what is otherwise a graceful, almost retro song. The album version of “All Those Yesterdays” famously extends past the 4-minute mark of the song into a minute of silence (after 3:58), and then introduces an entirely separate instrumental jam (at 5:04) often referred to as the hidden track “Hummus” (Yield (album) - Wikipedia). This coda is an upbeat, loosely structured piece featuring hand-claps, tribal-style drumming and an Eastern-sounding guitar riff or drone (SoundStage! Pearl Jam - Yield). In terms of arrangement, “Hummus” is essentially a spontaneous studio jam in a different key and tempo – unrelated to the main song – which the band tacked on as a lighthearted epilogue. The inclusion of this hidden track means that as Yield’s final track, “All Those Yesterdays” actually encapsulates two contrasting arrangements: the carefully crafted, melodic song proper, and the improvised world-music-flavored jam that follows. This adventurous arrangement choice underscores Pearl Jam’s willingness to experiment even on an otherwise accessible tune.

Production & Recording

“All Those Yesterdays” was recorded during the Yield sessions of 1997, which took place in Seattle at two studios: Studio Litho (owned by Stone Gossard) and Studio X (Yield (album) - Wikipedia). The band worked with producer Brendan O’Brien, marking their fifth consecutive collaboration with him (Yield (album) - Wikipedia). O’Brien, known for his polished yet powerful rock production, helped Pearl Jam achieve a clean, layered sound on this track. According to the band, Yield’s recording process involved extensive rehearsal and honing of each song – drummer Jack Irons recalled that “we took our time to come up with ideal sounds and feel for every song, so that each had its own identity” (Yield (album) - Wikipedia). “All Those Yesterdays” benefited from this approach: the team experimented with microphone placements and effects to capture the song’s unique atmosphere. One notable production decision was crafting Jeff Ament’s bass tone to resemble a horn section. Whether through a pedal effect or amp EQ, the production accentuated midrange frequencies and a slightly distorted timbre on the bass, yielding the “horn” illusion noted by listeners (All Those Yesterdays – More Than Ten). The vocal production also stands out – Vedder’s lead vocal is double-tracked in parts, which O’Brien likely oversaw to ensure the two takes blended seamlessly. Hints of reverb and delay on Vedder’s voice give it a slight echo, emphasizing the song’s reflective mood. The guitars on the track have a warm, tube-amp sound; Stone Gossard’s rhythm part is recorded with a rounded tone that doesn’t overcrowd the mix, sitting just beneath the vocal, while Mike McCready’s guitar accents are mixed tastefully to one side, adding color without dominating. Recording engineer Matt Bayles handled engineering duties at Studio Litho (Yield (album) - Wikipedia), capturing the initial tracks, and Sam Hofstedt engineered at Studio X for additional takes. Nick DiDia, a longtime engineer for Pearl Jam, assisted and handled some recording as well (Yield (album) - Wikipedia). O’Brien later mixed the album at his Southern Tracks studio in Atlanta, Georgia (Yield (album) - Wikipedia). During mixing, O’Brien balanced the layers of vocals and the prominent bass so that the song retained clarity; for example, in the final mix, if one listens carefully (or isolates the stereo channels), Vedder’s voice can be heard almost solo in one channel during certain segments (Daily Song Discussion #94: All Those Yesterdays : r/pearljam), indicating a creative stereo mix that gives each element space. The production has a measured loud/soft dynamic. In the quiet opening verse, the instruments are somewhat muted (likely achieved by gentle compression and fader automation) to let Vedder’s hushed vocals lead. As the song progresses, O’Brien incrementally brought up the levels of guitars and drums, delivering a smooth crescendo by the bridge and final chorus. The final mastering (by Rodney Mills at Masterhouse (Yield (album) - Wikipedia)) ensured that the transitions – including the long silence and sudden start of the hidden track – were handled cleanly on the CD. The hidden track “Hummus” was essentially a live in-studio jam captured spontaneously. Its production is raw in contrast to the main song: one can hear a roomier, unpolished sound with handclaps and what sounds like droning guitar feedback or an EBow effect yielding the Middle Eastern vibe (SoundStage! Pearl Jam - Yield). This jam was likely recorded in one take with minimal overdubs, and O’Brien elected to attach it to “All Those Yesterdays” in post-production as a fun secret for listeners (the band often enjoys such Easter eggs). Overall, the recording process for “All Those Yesterdays” combined Pearl Jam’s organic ensemble performance with O’Brien’s knack for vintage-leaning production. The result is a track that sounds both classic and clean – rich with analog warmth, yet crisply defined. It captures the band in a confident phase, trying new ideas (like the bass-as-horn and hidden jam) within the framework of a concise, radio-friendly tune. Notably, Yield would be the last Pearl Jam album with Jack Irons on drums (he left during the subsequent tour) (Yield (album) - Wikipedia), so “All Those Yesterdays” represents some of Irons’ final recorded contributions; his easygoing drum style on this track was preserved faithfully in the mix, a testament to the comfortable studio environment the band had during production.

Themes & Motifs

The song’s primary theme is one of release and self-forgiveness. “All Those Yesterdays” urges the listener to yield – to let go of the weight of their past. This thematic core aligns closely with the broader motifs of the Yield album. Pearl Jam deliberately explored the concept of yielding as a positive action: yielding to nature, to inevitability, and to personal growth (Yield (album) - Wikipedia). In this song, the act of yielding is personal – it’s about yielding to the need for rest and yielding up one’s past troubles so they can dissipate. A central motif in the lyrics is water as cleansing. The chorus line “Let it wash away, all those yesterdays” evokes the image of water washing over and carrying away dirt. This motif symbolizes purging one’s past mistakes or pains, much like washing away sins or regrets. The idea that yesterday’s problems can be washed away conveys hope and renewal, a theme echoed in other Pearl Jam songs (for instance, “Wash” from their early catalog uses similar imagery). Another motif is escape versus entrapment. Throughout the song, there are references to running, walls, and escape: the person is “running” from something and has built “walls to call your own”, implying self-imposed isolation. By the end, the song emphatically repeats that “it’s no crime to escape”. This frames escape not as cowardice but as liberation – breaking free of mental prisons. This motif resonates with a recurring Pearl Jam theme of finding freedom from darkness (akin to songs like “Rearviewmirror”, where the protagonist speeds away from an abusive past). Symbolically, “yesterdays” themselves are portrayed almost as physical objects or stains one carries. The added phrase “all those paper plates” suggests a pile of disposable remnants – perhaps representing the accumulation of daily trivial anxieties or the aftermath of past events (like used paper plates after a gathering) that one has failed to throw out. It’s an unusual symbol, but it reinforces the notion that the past is clutter that can and should be discarded (All Those Yesterdays – More Than Ten). The tone of the song’s theme is markedly empathetic and reassuring. Unlike some earlier Pearl Jam tracks that confronted dark subjects with raw angst, “All Those Yesterdays” addresses its subject matter with kindness and gentle encouragement. This shift in tone is part of a larger thematic trend on Yield noted by the band: moving from cynicism to finding solutions (Yield (album) - Wikipedia). On Yield, songs like “Given to Fly” and “In Hiding” also carry uplifting undercurrents; “All Those Yesterdays” serves as the thematic culmination by explicitly offering solace and closure. Within Pearl Jam’s broader catalogue, “All Those Yesterdays” stands as a kin to songs about redemption and living in the present. It can be thematically compared to “Present Tense” from No Code, which famously asks if we “see the path behind” as a way to realize the importance of now – both songs encourage not being shackled by the past. Additionally, there’s a subtle metatheme at play: as the final track on Yield, it’s as if the band is not only consoling the listener but also themselves – washing away their own struggles of the preceding years (the mid-90s were turbulent for Pearl Jam with fame pressures and a Ticketmaster boycott). The placement at the album’s end feels intentional to conclude on a note of peace. The hidden track “Hummus,” though mostly an instrumental jam, might also carry a thematic purpose: its carefree, wordless exuberance could symbolize the freedom achieved after letting go. With its world-music vibe and laughter in the background (if one listens closely), “Hummus” acts as an aural representation of playfulness unburdened by yesterday. It’s as if after dealing with serious themes, the band rewards the listener with a moment of lighthearted escape – reinforcing the lyric “there’s still time, so escape.” Thematically, Yield was described by guitarist Mike McCready as an album about being “more comfortable” with oneself and “letting something else happen” instead of fighting anxieties (Yield (album) - Wikipedia). “All Those Yesterdays” embodies this philosophy directly: it advocates comfort, rest, and surrender to the natural flow of life. In summary, the song’s themes center on reflection, rest, and release. Its motifs of washing away, escaping, and yielding create a cohesive message that letting go of the past is an act of healing. This message, wrapped in gentle music, has given “All Those Yesterdays” a special place as one of Pearl Jam’s most uplifting and thematically consistent songs – a gentle epilogue that ties together the album’s exploration of choice and acceptance.

Critical Reception & Legacy

Upon Yield’s release, “All Those Yesterdays” did not receive the spotlight that the album’s singles did, but it quietly garnered praise from critics and over time became regarded as a hidden gem. Contemporary reviews of Yield often mentioned the track positively. For instance, AllMusic critic Stephen Thomas Erlewine highlighted it as one of the “folk-tinged, meditative numbers” on the album where Eddie Vedder was “at his most compelling” (Why is Allmusic’s review of Yield so bad? — Pearl Jam Community). Many reviewers noted the Beatles-like qualities; Massive! magazine in early 1998 drew attention to its “late sixties feel” and found irony (in a good-natured way) in hearing Vedder sing “Don’t you think you ought to rest?” just as the band geared up for a major tour (Five Horizons: Articles, Massive! Magazine, Feb/March 1998). Some critics appreciated the song as an album closer that provided closure and calm. The Orlando Weekly remarked that it’s on the exotic hidden track at the end of “All Those Yesterdays” that “the band’s unmined potential is hinted at,” suggesting that the experimental tag of “Hummus” pointed to Pearl Jam’s range beyond straightforward rock (Review - Yield - Orlando Weekly). In a retrospective review, SoundStage lauded “All Those Yesterdays” as “one of the great tunes on [Yield]”, praising how it deceptively “appears to be over at 3:58” then surprises with the return of the hidden jam (SoundStage! Pearl Jam - Yield). The reviewer implied that the song’s creativity (with its bonus section) stood out on an album they otherwise found less innovative than Pearl Jam’s earlier work. Over the years, fan reception of “All Those Yesterdays” has grown warmer. Initially, casual listeners might have overlooked it, but die-hard fans often cite it as an underrated favorite. In a community poll on the PearlJam.com forums and subreddit, fans rated it highly for its emotional impact and uniqueness – one r/pearljam song discussion yielded an average score of about 8.18/10, indicating strong appreciation (Daily Song Discussion #94: All Those Yesterdays : r/pearljam). Fans frequently describe it as a “perfect closer” for Yield, with some calling it “quite possibly one of the best album closers by any band ever” (Daily Song Discussion #94: All Those Yesterdays : r/pearljam) (Daily Song Discussion #94: All Those Yesterdays : r/pearljam). Its lullaby-like qualities have been personally meaningful; multiple listeners have shared anecdotes of using the chorus to sing their children to sleep (Daily Song Discussion #94: All Those Yesterdays : r/pearljam), attesting to the gentle comfort the song provides. Critics have also acknowledged the song’s legacy as part of Stone Gossard’s songwriting canon. In 2016, Relix magazine celebrated Gossard’s 50th birthday by listing the ten best Pearl Jam songs he wrote – and “All Those Yesterdays” made the list, described as one of the band’s “haunting” and unique tunes (Here’s the Ten Best Pearl Jam Songs Written by Stone Gossard). The article pointed out how Gossard’s dynamic songwriting ranges from heavy hitters to beautiful slow-burners, placing “All Those Yesterdays” alongside other beloved deep cuts like “Thin Air” and “Fatal” (Here’s the Ten Best Pearl Jam Songs Written by Stone Gossard). This kind of recognition solidified the song’s status as a fan-favorite deep cut and a showcase of Pearl Jam’s versatility. In terms of broader influence, “All Those Yesterdays” didn’t spawn cover versions by big-name artists or become a radio staple, but its spirit of introspection and hope has been noted by music writers. When discussing album closers, some have compared it favorably to “Indifference” (from Vs.) or “Release” (from Ten), noting that “All Those Yesterdays” offers a more reassuring finale than those somber endings. Pearl Jam themselves seemed fond of the song’s vibe; as years passed, they integrated small nods to it in live settings (such as pairing it with a Beatles snippet, discussed below). The song’s legacy also lives on in the hearts of the fan community. It’s commonly mentioned in discussions of Pearl Jam’s most underperformed songs that deserve more setlist love (Daily Song Discussion #94: All Those Yesterdays : r/pearljam). The gentle advice “It’s no crime to escape” has resonated such that fans have quoted it in graduations or farewell messages, viewing it as a life lesson delivered via rock music. In summary, while “All Those Yesterdays” may not have been a radio hit, its critical and fan reception steadily climbed over time. It is now cherished as an essential part of Yield’s identity – the song that encapsulates the album’s message – and as a testament to Stone Gossard’s songwriting range. Its legacy is that of a comforting anthem for letting go, one that many Pearl Jam aficionados rank among the band’s most emotionally rewarding tracks.

Live Performances

Live renditions of “All Those Yesterdays” have been relatively rare, making the song something of a special treat in Pearl Jam’s concerts. It was first performed on June 21, 1998, in Park City, Utah, during the band’s Yield tour (All Those Yesterdays - Pearl Jam), and that summer it appeared occasionally in setlists. In these early performances, Pearl Jam typically played “All Those Yesterdays” true to the album arrangement, often in the middle of the set. Eddie Vedder would handle the delicate vocals with care, sometimes introducing the song with a note about taking a breather. Despite being the album closer, it was not used to close shows (the band favored higher-energy or iconic songs to close concerts). After the initial 1998 tour, the song virtually disappeared from setlists for several years, enhancing its reputation as a live rarity. When it did resurface, it was usually for special occasions or under unique circumstances. One of the most notable live renditions came on July 11, 2003, at the Tweeter Center in Mansfield, MA. On that night – the first of a legendary three-show stand – Pearl Jam opened with a short acoustic set, and “All Those Yesterdays” was performed in an acoustic arrangement (Live at the Garden - Wikipedia). This stripped-down version featured Vedder’s vocals front and center, with acoustic guitars and a relaxed tempo. The performance was so well-received that the audio from it (running about 4:53) was included during the end credits montage of the band’s Live at the Garden DVD, accompanied by behind-the-scenes footage of the road crew (Live at the Garden - Wikipedia). In that context, the song’s gentle, closing-time vibe made a perfect soundtrack to salute their crew – an apt use, given the song’s theme of winding down and reflecting. Fans consider the 2003 Mansfield acoustic version one of the definitive live takes, and it highlighted how gracefully “All Those Yesterdays” could translate to an unplugged format. After 2003, the song went unplayed for long stretches, making each reappearance noteworthy. Pearl Jam brought it back sporadically in the 2010s. For example, on August 5, 2016, at Fenway Park in Boston, they surprised the audience by playing “All Those Yesterdays” in the first set (Pearl Jam Concert Setlist at Fenway Park, Boston on August 5, 2016 | setlist.fm). Vedder joked about digging deep into the catalog, and the band delivered a faithful rendition, with the Fenway crowd cheering loudly at the lyric “Let it wash away…” as many had never heard it live before. Its placement at that show (mid-set between “Low Light” and “Given to Fly” (Pearl Jam Concert Setlist at Fenway Park, Boston on August 5, 2016 | setlist.fm)) worked well, serving as a mellow breather amid more uptempo numbers. Reviews of the Fenway concert singled out the performance as a highlight for longtime fans, some calling it “a dream come true” to finally hear the song live. In later years, Pearl Jam has shown a bit more willingness to trot out “All Those Yesterdays.” The song was played in Amsterdam in 2014 and even as recently as May 2022 and May 2024 in the band’s tour dates (All Those Yesterdays - Pearl Jam), proving it has not been forgotten. The 2022 performance in Toronto was particularly special: Pearl Jam actually prefaced “All Those Yesterdays” with a 25-second cover of The Beatles’ “Her Majesty” (a witty intro, since “Her Majesty” is a famous unlisted final track on Abbey Road, paralleling the hidden track idea on Yield) (Pearl Jam - Her Majesty / All Those Yesterdays - YouTube). This clever live mashup delighted fans and nodded to the song’s Beatles-esque reputation. When “All Those Yesterdays” is performed live now, it often features Boom Gaspar (Pearl Jam’s touring keyboardist) adding subtle organ fills, enriching the texture behind the guitars. Vedder sometimes sings the final “It’s no crime to escape” lines with added emotional inflection or improvised repeats, emphasizing the catharsis. Audience responses are generally affectionate – casual attendees might not recognize the deep cut immediately, but by the chorus many join in on the soothing “Ohhh, let it wash away…”. Because of its rarity, hardcore fans cheer the opening chords passionately, and the song’s live appearances often trend in fan communities after the show. Statistically, “All Those Yesterdays” has been performed only a few dozen times in total since 1998 (setlist archivists put the count at around 28 performances by Pearl Jam through 2023) (All Those Yesterdays by Pearl Jam song statistics - Setlist.fm). This scarcity means it hasn’t had many alternate arrangements or drastic live rearrangements – the band sticks to what works. The one semi-regular variation is doing it acoustically (as in 2003). At a 2018 show in Padova, Italy (the same show where Stone Gossard’s 50th birthday was celebrated), they played it electric but in a very laid-back style, almost semi-acoustic in vibe, perhaps as a nod to that Mansfield version. Fan response to these performances often includes comments like “chills during that chorus” or “worth the ticket just to hear that live”. Indeed, for some Ten Club fan club members, hearing “All Those Yesterdays” live has been a bucket-list item. In one instance, a fan campaigned on the forums before a 2010 show in Columbus begging the band to play it for his wife (Please play All Those Yesterdays in Columbus — Pearl Jam …), illustrating the personal connections people have with the song. While not a setlist staple, “All Those Yesterdays” occupies a cherished spot in Pearl Jam’s live repertoire – a rarity that, when it appears, creates a memorable, reflective moment in the concert. It often signals a band in a generous mood, willing to reach deep for the fans, and when the last notes fade, it leaves a hush and a feeling of gentle optimism hanging in the air of the venue.

Covers & Reinterpretations

Because “All Those Yesterdays” was never a mainstream hit, it hasn’t been covered widely by famous artists, but it has inspired various tributes and unique reinterpretations, often within the Pearl Jam community. Perhaps the most notable “cover” occurred from Pearl Jam themselves on stage. In an inventive twist during their 2022 tour, Pearl Jam introduced “All Those Yesterdays” by briefly covering The Beatles’ “Her Majesty” as an intro (Pearl Jam - Her Majesty / All Those Yesterdays - YouTube). “Her Majesty” is a short, cheeky hidden track from The Beatles’ Abbey Road, and by playing it, Pearl Jam paid homage to the idea of hidden tracks and the Beatles-esque style that influenced “All Those Yesterdays.” This 2022 live mashup can be seen as a reinterpretation – connecting the dots between two album-closing songs separated by decades, and in doing so, Pearl Jam effectively covered a Beatles song to enrich their own. It was a playful acknowledgement of the comparisons their song has drawn and showed the band’s own regard for its 60s flavor. Outside of Pearl Jam’s performances, the song has occasionally been tackled by fans and smaller acts. On YouTube and social media, one can find a handful of acoustic covers by amateur musicians who resonate with the song’s message. These covers usually strip the song down to voice and guitar, emphasizing the lullaby quality of the melody. For example, singer-songwriter Kasey Keenan uploaded a faithful acoustic cover in 2020 (ALL THOSE YESTERDAYS - Pearl Jam cover - YouTube), highlighting how well the song works in a minimal arrangement. Another reinterpretation came from a Pearl Jam tribute band known as Wildebeest, who recorded “All Those Yesterdays” and shared it on SoundCloud (Listen to music albums featuring All Those Yesterdays (Pearl Jam …). Their version adds a slight country-rock tinge – with slide guitar – demonstrating the song’s versatility. While these renditions haven’t achieved mainstream attention, they circulate among fans, often on the Pearl Jam subreddit or fan forums when people discuss favorite covers. One notable fan project was assembling a live “Yield” album from bootlegs, which proved challenging because “All Those Yesterdays” had so few live recordings. In a Reddit thread titled “‘All Those Yesterdays’ Live?”, fans collaborated to find the best available live take to complete the fan-made live compilation (“All Those Yesterdays” Live? : r/pearljam - Reddit). This speaks to the song’s role as a deep cut that fans actively seek out alternate versions of. In terms of professional covers by known artists, there isn’t an officially released studio cover by any major label artist to date – likely due to the song’s relative obscurity outside Pearl Jam fandom. However, Pearl Jam’s own members have occasionally referenced the song in other contexts. Eddie Vedder, in solo appearances, has not performed it (given it’s Stone’s song), but Stone Gossard himself has played snippets during a webcast Q&A, strumming the chords when discussing Yield, effectively covering his own song in a casual format. Finally, the hidden track “Hummus,” while not exactly a cover, had a life of its own. In some 1998 shows, the band would play a bit of the “Hummus” jam as part of a live intro or segue, essentially covering their impromptu jam. For example, at a 1998 show in Los Angeles, they tagged a jam at the end of “Rearviewmirror” that closely resembled the percussive groove of “Hummus” (Pearl Jam “All Those Yesterdays” 05/22/24 The Forum … - YouTube). This blurs the line between cover and original, but it shows how the musical ideas around “All Those Yesterdays” extended into Pearl Jam’s live improvisations. In summary, while “All Those Yesterdays” hasn’t seen prominent cover versions by other big artists, it has been lovingly reinterpreted in smaller circles. Pearl Jam themselves gave it a Beatles-themed twist on stage (Pearl Jam - Her Majesty / All Those Yesterdays - YouTube), and fans have kept its spirit alive through acoustic covers and tributes. Its relative rarity perhaps makes musicians approach it reverently – it’s the kind of deep cut one covers out of personal love rather than for broad recognition. And for Pearl Jam, the song remains uniquely their own gentle anthem, occasionally spiced up with a nod to their heroes (The Beatles) when they play it live.

Music Video & Visual Elements

No official music video was produced for “All Those Yesterdays,” in part because it was not a single from Yield. At the time, Pearl Jam had also largely moved away from traditional music videos, with “Do the Evolution” being the only animated video released from the album. However, “All Those Yesterdays” did receive visual representation through other media. In Pearl Jam’s 1998 documentary Single Video Theory – a film that captured the band rehearsing and recording songs from Yield – “All Those Yesterdays” is prominently featured. In fact, the documentary opens with the band performing this song in their Seattle rehearsal space (Single Video Theory - Wikipedia). The footage shows the band in a relaxed studio setting: Eddie Vedder is at the microphone with headphones on, Stone and Mike are seated with guitars, Jeff plays bass with focused intensity, and Jack Irons taps out the beat. The visual tone of this studio performance is warm and intimate, shot in grainy 16mm film, matching the song’s laid-back feel. Viewers get to see close-ups of Stone Gossard playing the chord progression and Jeff Ament using a fretless bass (with what looks like a flanger pedal on the floor – presumably how he achieves the horn-like sound). The editing in Single Video Theory highlights the collaborative nature of the song: one memorable shot pans across as Vedder smiles at Gossard when nailing a harmony, underlining the camaraderie built into the track’s creation. This behind-the-scenes “video” is perhaps the closest thing to an official music video for “All Those Yesterdays.” It offers fans a visual narrative of the song coming to life, rather than a scripted concept video. In terms of live visual elements, Pearl Jam has occasionally added touches to enhance the song’s atmosphere on stage. During the 2003 acoustic performance in Mansfield, the stage lighting was subdued and golden, bathing the band in a soft glow as they played – a deliberate choice to create a cozy, twilight ambiance matching the song’s reflective mood. On later tours, when “All Those Yesterdays” was performed electrically, the lighting directors often used blue and purple hues during the verses, shifting to brighter white lights in the chorus as the music swells (symbolizing that “wash away” moment in a visual sense). At the Fenway Park 2016 show, fans noted that the backdrop screens displayed a slow pan of a serene sky and road imagery (possibly as a nod to Yield’s cover art which features a road and a yield sign) while the band played the song. Although there isn’t a dedicated video graphic or short film for “All Those Yesterdays” like there is for some Pearl Jam tracks, the band’s live production team seems to lean into the Yield-themed visuals when the song is played. The yield sign motif itself – iconic from the album artwork – has been used on tour visuals and merchandise. For instance, on the 1998 Yield Tour, a large backdrop of a highway scene with a yield sign was hung during some shows, and one could imagine that serving as a fitting background if “All Those Yesterdays” closed the set (though typically it did not close). Instead, that backdrop helped set the general mood during the tour, indirectly giving “All Those Yesterdays” a constant visual companion. Another notable use of the song in a visual context was in the Live at the Garden DVD (2003). As mentioned, the audio of the Mansfield performance played over the end credits. The visual element here was a montage of the band’s crew – candid shots of the road crew packing up gear, doing their jobs on tour, interspersed with humorous cameos (like a crew member in a banana suit dancing). This choice of pairing “All Those Yesterdays” with footage of winding down and farewells was very intentional. It created a poignant, behind-the-scenes “music video” of sorts: the soothing song played while viewers watched the otherwise unseen heroes of touring life, underscoring that feeling of day’s end and things coming to a close (Live at the Garden - Wikipedia). The gentle lyrics “You’ve got time to escape…” gain a new meaning when watching the crew finally relax after a long show. Even though this is a documentary/film usage, it stands as a visual interpretation aligning with the song’s themes. In summary, while “All Those Yesterdays” has no standalone official music video, it has been brought to life visually through documentary footage and live presentation. Single Video Theory provides an intimate studio performance video (Single Video Theory - Wikipedia), and Pearl Jam’s concert visuals (lighting, backdrops) subtly reflect the song’s essence. The yield sign and open road imagery associated with Yield serve as the de facto iconography for the song. Thus, the visual legacy of “All Those Yesterdays” is one of simplicity and authenticity – much like the song itself, it’s unflashy but resonant, seen in the genuine interactions of the band playing it and the reflective atmosphere created around it on stage.

Personnel & Credits

Pearl Jam – (All Those Yesterdays):

  • Eddie Vedder – Lead vocals (and rhythm guitar in studio) (Yield (album) - Wikipedia). Vedder delivers the song’s gentle vocal and harmony layers.
  • Stone Gossard – Rhythm guitar, backing vocals (Yield (album) - Wikipedia). Gossard is the songwriter (music and lyrics) of “All Those Yesterdays” (Yield (album) - Wikipedia), and his guitar work forms the song’s backbone.
  • Mike McCready – Lead guitar (Yield (album) - Wikipedia). McCready adds melodic lead lines and textures throughout the track.
  • Jeff Ament – Bass guitar, backing vocals (Yield (album) - Wikipedia). Ament’s bass is notably processed to sound horn-like in the mix (All Those Yesterdays – More Than Ten). He also contributed to the album artwork concept (photographing the yield sign).
  • Jack Irons – Drums, percussion (Yield (album) - Wikipedia). Irons provides the steady drum groove and subtle percussion; Yield was his final studio album with Pearl Jam.

Songwriters: Stone Gossard (music & lyrics) (Yield (album) - Wikipedia). (Note: Gossard wrote “All Those Yesterdays” in its entirety, one of only two songs on Yield where Vedder did not contribute lyrics).

Production Team:

  • Brendan O’Brien – Producer and mixer (Yield (album) - Wikipedia). O’Brien co-produced the track with Pearl Jam and handled mixing duties, shaping its warm sound.
  • Pearl Jam – Co-producers (Yield (album) - Wikipedia). The band is officially credited as co-producer of Yield, having taken a proactive role in arrangements and recording decisions.
  • Matt Bayles – Recording engineer (Studio Litho) (Yield (album) - Wikipedia). Engineered the initial tracking sessions for the song.
  • Sam Hofstedt – Recording engineer (Studio X) (Yield (album) - Wikipedia). Handled engineering during sessions at Studio X in Seattle.
  • Nick DiDia – Recording engineer / mixing engineer (Yield (album) - Wikipedia). Assisted in recording and credited with mixing on a different Yield track; part of O’Brien’s team, likely contributed to the sound engineering of this song.
  • Ryan Williams – Assistant engineer (Southern Tracks) (Yield (album) - Wikipedia). Assisted O’Brien during mixing in Atlanta.
  • Rodney Mills – Mastering engineer (Yield (album) - Wikipedia). Mastered the album (at Masterhouse), ensuring the final polish and that the hidden track indexing was correct.

Studios: Recorded February–September 1997 at Studio Litho and Studio X in Seattle, WA (Yield (album) - Wikipedia). Mixed at Southern Tracks in Atlanta, GA (Yield (album) - Wikipedia).

Label: Epic Records (1998).

The above personnel ensured “All Those Yesterdays” was captured with clarity and nuance. Notably, Stone Gossard’s dual role as writer and guitarist made him central to this track, and Brendan O’Brien’s production helped realize the song’s distinctive sonic character.

Fan Theories & Trivia

  • Meaning of “Paper Plates” – One line that has intrigued listeners is “All those paper plates” in the chorus. While never explicitly explained by the band, fans have theorized that “paper plates” symbolize disposable experiences or trivial tasks of the past that clutter one’s mind (All Those Yesterdays – More Than Ten). Just as used paper plates are meant to be thrown away after a meal, the song suggests tossing away those minor, residual troubles from yesterday. This creative lyric is a favorite discussion point; some fans jokingly ask if it’s a reference to picnics or birthday parties gone wrong, but the prevailing interpretation is metaphorical – encouraging us to discard the mess from past days.

  • Hidden Track “Hummus” – At 5:03 into the album version of “All Those Yesterdays,” a hidden instrumental begins, known informally as “Hummus” (All Those Yesterdays | Pearl Jam Wiki | Fandom). It’s an up-tempo jam with Middle Eastern flair (hence the tongue-in-cheek title referencing the Middle Eastern dish). “Hummus” features hand claps, improvised guitars, and no lyrics. Trivia: On the Yield track listing, “Hummus” isn’t named; a footnote in the album packaging simply notes that “All Those Yesterdays” contains a hidden track at 5:04 (Yield (album) - Wikipedia). This was Pearl Jam’s first use of a hidden track on an album, a trend they’d repeat on subsequent albums (Binaural also hid a track after its closer). The band has never played “Hummus” as a standalone live piece, though fragments of its groove have appeared in concert jams.

  • One of Two Gossard-Lyric Songs on Yield – “All Those Yesterdays” is notable for being one of only two songs on Yield (the other is “No Way”) where Stone Gossard wrote the lyrics instead of Eddie Vedder (All Those Yesterdays | Pearl Jam Wiki | Fandom). Up to that point, Vedder was the primary lyricist for Pearl Jam. Gossard contributing full lyrics was rare and is a trivia highlight in Pearl Jam’s songwriting history. It’s often pointed out in fan circles that Stone’s lyricism tends to be more direct and mantra-like (e.g., the repeated phrasing in this song) compared to Vedder’s style. Fans love to quiz each other on which Yield songs have non-Eddie lyrics – “All Those Yesterdays” is always an answer.

  • Stone’s Vocals (or lack thereof) – Amusingly, while Stone wrote the song, he does not sing lead on it (Vedder does). Stone has sung lead on a handful of his compositions (“Mankind” on No Code, “Don’t Gimme No Lip” on Lost Dogs), but for “All Those Yesterdays,” he entrusted Ed to deliver his words. Some fans have wondered what a Stone-sung version might sound like; to date, no such demo has surfaced. However, in the Single Video Theory film, you can hear Stone singing a low harmony during the chorus when they run through it – a subtle Easter egg for sharp ears.

  • Title Phrase – The title “All Those Yesterdays” is never sung verbatim in the song; the plural “yesterdays” appears, but not preceded by “all those” as a complete lyric phrase. This is a bit of title trivia (the song’s title is drawn from the chorus lyric, but extended slightly). Incidentally, “All Those Yesterdays” as a phrase echoes the famous opening of Shakespeare’s Macbeth soliloquy: “Tomorrow and tomorrow and tomorrow, creeps in this petty pace from day to day… all our yesterdays have lighted fools the way to dusty death.” While likely coincidental, some literary-minded fans have pointed out the “all … yesterdays” connection. In contrast to Macbeth’s bleak take on “yesterdays,” Pearl Jam’s song offers a hopeful twist – a fun bit of irony for English majors in the fanbase.

  • Fan Use as Lullaby – A heartwarming piece of trivia is that a number of fans have used “All Those Yesterdays” as a lullaby for their children. In discussions, multiple Ten Club members shared that they would sing the “Don’t you think you oughta rest?” verse to soothe babies to sleep (Daily Song Discussion #94: All Those Yesterdays : r/pearljam). The gentle melody and reassuring lyrics made it a perfect bedtime song in many households. Eddie Vedder himself might not have imagined the song lulling infants, but this fan-driven use speaks to its calming power.

  • Long Periods Unplayed Live – For trivia buffs, it’s worth noting just how long “All Those Yesterdays” went unplayed in concert. After 1998, it wasn’t performed again until 2003 (a five-year gap), and after the single 2003 appearance, it vanished for another 11 years until 2014. The longest drought was between 2003 and 2014. This made it one of Pearl Jam’s least performed originals for a time. As of 2023, it has still only been played around 25-30 times ever (All Those Yesterdays by Pearl Jam song statistics - Setlist.fm), making it more rare live than even some B-sides. This scarcity turned the song into something of a holy grail for setlist spotters – when it was finally busted out at a show you attended, you knew you’d witnessed a rarity.

  • Her Majesty Connection – As mentioned earlier, Pearl Jam’s decision to intro the song with The Beatles’ “Her Majesty” in 2022 is a delightful bit of trivia. Fans at that Toronto show got a chuckle that the shortest Beatles song led into one of Pearl Jam’s most Beatles-esque songs. This mini-cover is now noted in setlist archives, so someone scanning the setlist might see “Her Majesty (The Beatles) (tease) -> All Those Yesterdays” which is an unusual pairing to see for a 90s grunge band! It shows Pearl Jam’s deep knowledge of rock history and their willingness to wink at it.

  • Hidden Message in Track Ordering – Some fans like to find patterns in track listings. On Yield, the track before “All Those Yesterdays” is “Push Me, Pull Me,” a weird spoken-word piece. A few have jokingly suggested the album’s final sequence implies “Push me, pull me… [into] all those yesterdays”, as if the chaotic push-pull of life leads one to confront their past. While probably unintentional, it’s a quirky observation for those who enjoy album sequencing lore.

  • Cover Art Easter Egg – While not specific to the song, the album’s liner notes hide a yield sign symbol on every page (Yield (album) - Wikipedia). On the lyrics page for “All Those Yesterdays,” a tiny yield sign is tucked subtly in the background design. It’s a scavenger hunt item that many fans enjoy, and it ties into the song as the embodiment of Yield’s theme. The idea is that the yield sign (the concept of yielding) is present even when looking at the song’s lyrics, reinforcing the message.

These tidbits enhance the lore around “All Those Yesterdays.” From literary coincidences to fan lullabies, they show how a deep album cut can develop its own mini-mythology. For Pearl Jam enthusiasts, such trivia is part of the fun that keeps discussion of the song alive decades after its release.

Comparative Analysis

Within Pearl Jam’s body of work, “All Those Yesterdays” occupies a unique space, yet it invites comparison to several other songs by the band as well as to influences from classic rock. Musically, its gentle, melodic approach sets it apart from most of Pearl Jam’s earlier album closers. On the first four Pearl Jam albums, the closing tracks were often stark or dark: “Release” (Ten) was cathartic and somber, “Indifference” (Vs.) was defiant yet resigned, “Immortality” (Vitalogy) moody and poetic, and “Around the Bend” (No Code) a quiet lullaby but with an eerie undertone. In contrast, “All Those Yesterdays” (closing Yield) is arguably the most optimistic and comforting of their album finales. It can be likened to “Around the Bend” in that both are softer, lullaby-esque closers, but “All Those Yesterdays” has a bigger, band-oriented sound and a more universal uplift in its chorus. While “Around the Bend” felt like a personal whisper (Vedder reportedly wrote it as a lullaby for Jack Irons’ son), “All Those Yesterdays” feels like the band collectively addressing the audience with encouragement.

Lyrically and thematically, “All Those Yesterdays” shares kinship with Pearl Jam’s “Present Tense.” “Present Tense” (from 1996’s No Code) urges living in the present and not reliving past mistakes – “you can’t relive what is gone” as Vedder sings in that song. “All Those Yesterdays” effectively picks up that philosophical thread two years later, reinforcing “let yesterday go.” Both songs convey the message of releasing the past to find peace in the now. However, the emotional tone differs: “Present Tense” has a spiritual, almost sermon-like quality culminating in a dramatic crescendo, whereas “All Those Yesterdays” maintains a soothing steadiness and almost motherly tone. One might say “Present Tense” is the stirring call to self-realization, and “All Those Yesterdays” is the gentle reassuring pat on the back after you’ve realized it.

Comparing “All Those Yesterdays” to its sibling track “No Way” on Yield (the other Stone Gossard-penned lyric on the album) is also illuminating. “No Way” is groovy and mid-tempo but carries a more cynical edge: it’s about not playing along with others’ expectations (lyrics: “Let’s call me… let’s call me the hypocrite” etc.). Stone himself said “No Way” was about just living your life and “quit trying to prove something” (Yield (album) - Wikipedia). In a sense, “All Those Yesterdays” complements that idea – it also says you don’t have to prove anything anymore, you’ve done enough. Yet “No Way” expresses it with a bit of frustration and funk, whereas “All Those Yesterdays” expresses it with kindness and tenderness. It’s as if Stone had two messages on Yield: one to the external world (No Way’s defiance) and one to the internal self (Yesterdays’ solace). Musically, “No Way” rides a syncopated riff and is more in line with Pearl Jam’s rock sound, whereas “All Those Yesterdays” ventures into pop-rock and baroque pop territory with its harmonies and melodic bass. The contrast shows Stone Gossard’s range as a songwriter – from funk-rock to quasi-Beatles ballad – within one album.

Speaking of The Beatles, a comparative analysis wouldn’t be complete without noting how “All Those Yesterdays” echoes Beatles vibes, and comparing it to actual Beatles songs or other 60s acts. The song’s uplifting message and use of rich vocal harmonies evoke The Beatles’ ethos circa Sgt. Pepper/Magical Mystery Tour. One could compare it to “Hey Jude” by The Beatles in the sense that both songs function as comforting anthems that repeat a cathartic refrain (both even have extended outros that revolve around that refrain). “Hey Jude” says “Take a sad song and make it better”, while “All Those Yesterdays” says in effect “Acknowledge yesterday but then let it go for a better tomorrow.” Both share a positive outlook. Musically, “All Those Yesterdays” is much shorter and doesn’t have the massive sing-along coda of “Hey Jude,” but the spirit of encouragement links them. Additionally, the simulated horn sound on bass might draw a line to Beatles songs like “Penny Lane” or “All You Need Is Love,” which featured real trumpets and trombones – Pearl Jam cleverly achieved a similar texture via Jeff’s bass. So in some ways, “All Those Yesterdays” is Pearl Jam tipping their hat to that baroque pop tradition within a modern rock format.

Another point of comparison is with Pearl Jam’s other “deep cuts” and fan-loved softer songs. For instance, “Smile” from No Code (1996) – that song, written by Jeff Ament, has a warm, nostalgic feel with harmonica and a sing-along refrain “I miss you already, I miss you always”. “All Those Yesterdays” and “Smile” both exude a kind of contented melancholy and retro flavor (indeed “Smile” has often been likened to Neil Young’s style). However, “Smile” is more of a wistful reflection on missing someone, whereas “All Those Yesterdays” is an advisory piece on not missing one’s own life by dwelling on the past. Still, fans who appreciate one often appreciate the other, as both step aside from Pearl Jam’s heavier side to showcase a rootsy melodicism.

Comparatively, one could also examine “Parachutes,” a track from Pearl Jam’s self-titled 2006 album, which interestingly was written by Stone Gossard and has a clear Beatles/Brian Wilson vibe. “Parachutes” is built on gentle acoustic strums, layered vocals, and even includes vibraphone; it’s a love song with a breezy 60s feel. It serves almost as a spiritual successor to “All Those Yesterdays” in terms of style. Critics drawing the comparison have noted that both songs demonstrate Stone’s penchant for “beautiful, Beatlesy business” in Pearl Jam’s catalog (All Those Yesterdays – More Than Ten) (All Those Yesterdays – More Than Ten). “Parachutes” is more romantic in lyric (talking about sunlight in eyes, etc.), while “All Those Yesterdays” is more about personal growth, but musically they could sit on a playlist together very comfortably. They show Pearl Jam’s range beyond grunge – edging into folk-pop territory.

Looking at genre peers, one might compare “All Those Yesterdays” to songs by other ’90s alternative rock bands when they explored softer dynamics. For example, R.E.M. often balanced rockers with gentle closers; Pearl Jam’s song could be analogized to an R.E.M. track like “Nightswimming” (though that is piano-based) in the sense of providing a reflective cooling-down moment on an album. Another comparison: Soundgarden’s Down on the Upside (1996) closes with “Boot Camp,” a subdued, meditative track. While Soundgarden’s tone is darker, both “Boot Camp” and “All Those Yesterdays” leave the listener in a contemplative state at album’s end, a departure from their bands’ heavier signatures. This was part of a broader trend in the ’90s Seattle scene – the willingness to end albums on quieter notes (Alice in Chains did similarly with “Over Now” on their s/t album). Pearl Jam’s take is just more overtly positive.

In terms of emotional tone, a direct Pearl Jam comparison is “Indifference.” Where “Indifference” (1993) asks “How much difference does it make?” in a weary voice, “All Those Yesterdays” implicitly answers years later: it suggests that those things that caused indifference can be washed away, and in doing so one might rediscover hope. It’s almost as if the band evolved from the stoic resignation in “Indifference” to compassionate encouragement in “All Those Yesterdays.” This evolution mirrors the band members’ personal growth and shifting outlook by the late ’90s.

Finally, comparing how “All Those Yesterdays” relates to Pearl Jam’s broader thematic catalogue: Pearl Jam has always had songs about confronting the past or personal demons (e.g., “Release” confronting a dead father, “Nothingman” reflecting on lost love, “Come Back” later on dealing with grief). “All Those Yesterdays” fits into this continuum as the song that most directly prescribes healing. If “Release” was about expressing pain and “Nothingman” about regret, “All Those Yesterdays” is about letting go of pain and regret. In that sense, it stands out as one of Pearl Jam’s most unabashedly comforting songs, comparable perhaps only to “Wishlist” (also on Yield), which has a similarly gentle tone albeit in a more list-like lyrical format. Where “Wishlist” expresses hopes and contentment in simple terms (“I wish I was a messenger and all the news was good…”) (antiMusic.com: Pearl Jam Month: Yield Review), “All Those Yesterdays” expresses reassurance and closure. Both contribute to the more optimistic, humanistic side of Pearl Jam’s output.

In conclusion, “All Those Yesterdays” can be seen as Pearl Jam’s version of a classic rock balm – much like how The Beatles or The Who would sometimes end records with an introspective track (The Who’s “Tea & Theatre” in later years comes to mind as an elder’s gentle closer). Within Pearl Jam’s discography, it compares most closely with other Stone Gossard compositions and the band’s softer album moments, and it is distinguished by its positive, almost parental tone. It’s a song that shows the band’s diversity: the ability to sit comfortably next to their harder anthems while delivering a completely different emotional payoff. Fans often cite this versatility when praising Yield – the fact that it can go from the roaring “Do the Evolution” to the consoling “All Those Yesterdays” and feel like a coherent journey is a testament to Pearl Jam’s depth.

Bibliography