Eddie Vedder, “Earthling.”

It could easily be said that Eddie Vedder is one lucky man, even if he likely makes his own luck.

He’s one of the last living frontmen of the great Pacific Northwest rock bands of the early ’90s, in a band whose core has remarkably stayed intact for more than three decades. Pearl Jam has evolved into elder statesmen, not just one of the best bands from that creative outbreak that changed music 30 years ago, but one of the great American rock bands of all time. After declaring early on their relative independence from corporate mind control, they’re still a huge concert draw and have made enough money to tour, and make records, when they want.

So why would Eddie Vedder release a solo record in 2022?

Because he has a lot to say musically and he’s immune to the idea so many great musicians, sadly, take to heart: that growing older means losing your power, and that the music can just ever be as good as when you early took over the world. Not that Vedder ever wanted to, which helps keep the creativity fresh and legitimate.

That’s exactly why Vedder’s new solo LP, Earthling, is likely already one of the best rock records of 2022. With young super producer Andrew Watt and guest shots by Elton John, Stevie Wonder and Ringo Starr – as well as current and former Red Hot Chili Peppers Chad Smith and Josh Klinghoffer featured throughout – Earthling shows a rock star free of constraint and able to make a streamlined rock record. It’s big and personal and occasionally celebratory. Certainly, it’s not as cautionary as Pearl Jam’s last effort, 2020’s Gigaton (which by the way, still gets better with every listen)

From Peter-Gabriel-ish opening track “Invincible,” Eddie Vedder makes clear he didn’t merely record a bunch of Pearl Jam outtakes. “Invincible” is clean and optimistic and big without trying to be grandiose.

“Power of Right” is a well-constructed rocker soaked in optimism and built on a great riff. “Long Way” is what would’ve happened if Tom Petty brought the Heartbreakers over with the intent of writing a Petty hit, only with Vedder’s voice at the helm.

“Brother the Cloud” is an alternately sweet-yet-angry tribute to someone Vedder likely lost that picks up musical steam the deeper his narration gets into his subject. It’s one of the most powerful songs on the record, with Vedder allowing just enough space for listeners to find their own interpretation.

The sequencing on this record is exceptional. There are three or four mini records inside, each perfectly setting up the next. Then come songs like “Fallout Today” and “The Dark,” both harkening back to some of the best parts of early 1980s pop-rock – semi-uplifting songs that aren’t too complicated yet have enough changes to get somewhere. “The Dark,” with its snappy arrangement, could have been straight off one of the decade’s better film soundtracks.

“The Haves” re-grounds the record with some lush piano and acoustic guitar that strikes an emotional chord. It’s a lesson in great songwriting without having to attach itself to a genre.

It should be said, at this point, that Vedder’s voice is as full and emotive as it’s ever been. We tend to assume great singers remain that way through the decades and take that for granted as they age. But the fact is there’s no getting away from the wear and tear of time. Vedder’s voice endures as strong as ever, possibly because what he sings still seems to really matter to him.

That brings us to “Good and Evil,” which does sound like a Pearl Jam outtake – a good, driving rocker in which Eddie Vedder pushes it into next song “Rose of Jericho,” another punk-driver with a cool hook and simple, effective changes.

The punk beat goes into overdrive with the record’s best rocker, “Try,” featuring Stevie Wonder piloting a harmonica into hyperspace. It’s fantastic, fun and leaves you wanting more.

Vedder knows how to use his famous friends. On “Picture,” he brings in Elton John to duet on an uplifting, (“Captain”) fantastically written song playing to the legend’s 1970s honky-tonk, piano playing strength.

So, since Vedder was on a roll, why not bring in a Beatle to play on the most Beatle-esque song he’s ever written? “Mrs. Mills” is an epically whimsical tale, with orchestration and Ringo Starr playing those very-familiar Ringo rolls on drums (and laughing near the end). That surely had to be as fun to record as asking Stevie Wonder to play blazing punk rock harmonica.

Vedder brings in one more special guest on the record’s last song “On My Way,” his deceased musician father whom he never met (named Edward Severson, who was the subject of PJ’s “Alive”). Vedder got ahold of some old recordings of his father and included his voice in Earthling’s last song, which functions as a proper, personal fade-out for a surprisingly inspired solo record.

Follow music critic Tony Hicks at Twitter.com/TonyBaloney1967.