Performed more often as a tag to its Vs.-mate “Daughter” (and occasionally “Porch”, once “Once”), “W.M.A.” put the jam in Pearl Jam via an insistent tribal drum pattern that no one since Dave Abbruzzese has been eager to replicate. The repetitive groove of the drums and Jeff Ament’s bass-line provide a platform for the rest of the band to experiment and improvise on top, including Vedder’s echoing vocals about white privilege and police brutality. I’m of the mindset that Pearl Jam had to slowly grow into its politics. The band’s early issue-based material, “W.M.A.” included, took a topic and established a stance on it–here, that racial profiling is wrong–but not in particularly thought-provoking ways. Until the last few lines, “Human devices set me free / All my pieces set me free,” which begin to explore the song’s thesis creatively, “W.M.A.” offers a pretty standard, easy argument, all the way down to white Jesus reference. As the band evolved, its political songs began (mostly) to weave their concerns with fully-fleshed characters (“Unemployable”) or political philosophy (“Down”). But while the grim, moody sounds of “W.M.A.” were unique for the time, and a welcome sonic curiosity in the middle of Vs., overall it was wisely broken down into parts to be pulled out during improvisations.