“23 St. Chorus”. “1:50”. “100 Pacer”. “Lukin”. That’s a lot of titles for a song that barely breaks the minute mark. “1:50” exists on a written setlist from Tokyo in 1995. “100 Pacer” made its debut a few weeks later in Adelaide. But by the time the band kicked off its U.S. shows in Casper, Wyoming, the son shows up as “Lukin”. So that leaves “23 St. Chorus”, which allegedly exists on a promotional poster for No Code, though I’ve never seen it. A French website that attempts to document Pearl Jam session information lists the song as separate from “Lukin” and “All Night”, which is the other track I’d imagine it could belong to.
But apart from these mysteries, “Lukin” is pretty much a wide-open book, a fearsome minute of spit and rage about getting stared at in the supermarket, and stalked by a woman who claims you raped her and fathered her baby. Yikes. If any know-it-all media pundit needed a concrete reason why Vedder was having such a difficult time adjusting to fame, all they needed to do was transcribe “Lukin”, though of course, not an easy feat. The song is used live primarily as a segue into “Not For You”, a much more moderately paced (50 Pacer?) track with similar concerns of privacy and personal security, though in its history it’s also been tagged before and after a number of other tunes. On No Code “Lukin” fits well right before “Present Tense”, jolting the audience and sweeping away the rest of the album to let that song start anew, literally and figuratively.