Wow! Working on new material already
have a look at this, it looks like that new ep is being worked on as we speak
http://grungereport.net/2010/01/14/pear ... -material/
http://grungereport.net/2010/01/14/pear ... -material/
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www.cluthelee.com
www.cluthe.com
I think 2010 is going to be an awesome year for the boys...be patient.
But I remember in an interview, when Backspacer was released, Mike said they had songs from BS that they were planning on doing something with in "six" months. March isn't very far away.
Missoula 6/20/98
Alpine Valley 6/26/98 & 6/27/98
Alpine Valley 10/8/00
Champaign 4/23/03
Alpine Valley 6/21/03
Missoula 8/29/05
Chicago 5/16 & 17/06
Grand Rapids 5/19/06
Summerfest 6/29/06 & 6/30/06
Tampa 6/12/08
Chicago 8/23/09
Indy 5/7/10
Alpine Valley x2 2011
Wrigley 2013
Milwaukee 14
Telluride 16
Missoula 6/20/98
Alpine Valley 6/26/98 & 6/27/98
Alpine Valley 10/8/00
Champaign 4/23/03
Alpine Valley 6/21/03
Missoula 8/29/05
Chicago 5/16 & 17/06
Grand Rapids 5/19/06
Summerfest 6/29/06 & 6/30/06
Tampa 6/12/08
Chicago 8/23/09
Indy 5/7/10
Alpine Valley x2 2011
Wrigley 2013
Milwaukee 14
Telluride 16
Pearl Jam interview Part 2: We are a nuisance to work with By Henrik Tuxen Wednesday 13-01-2010 kl. 13:262 comments Part two of an interview with Pearl Jam guitarist Stone Gossard, the relationship between greatness and change, interaction with fans, working with producer Brendan O'Brien, constantly changing in Sætliste and fight for a better climate, among other things are on the menu
This year, Pearl Jam, celebrating its 20th anniversary. In this context, GAFFA Pearl Jam expert Henrik Tuxen - author of "The Pearl Jam Footsteps" - made a marathon interview with guitarist Stone Gossard. Here comes the second part. The first part you can read here, and the third and final part follows shortly.
There was great speculation in Denmark, since I announced your tour schedule for summer 2010. There was a hole in the calendar on 1 July, Roskilde Festival starts, but it is so filled now with a concert in Poland. So I come not to Roskilde?
- No, we do not. We looked at various options, we had to tour. We do not want to tour more than three weeks, we will no longer be away from our families and normal lives. We looked at places we had not been long. We need to Ireland where we have not played in many years, and we must play in Belfast for the first time. We're going to Scotland for the first time in a long time. These were the dates that gave the most money, and it was what could best be done. We should also pay bills at home. But we come back to Denmark again, and it will be a special show again, I am sure where you want to think about what happened in his time.
Nothing stays the same
It seems as though there have been two eras in Pearl Jam's life. It was the first four-five, the huge commercial success, years, and so since "No Code" from 1996 has sold well and stable, but smaller. Is Pearl Jam or mainstream, who have made a move?
- Nothing is to remain the same forever. If you must continue to be great, you really, really work at it to keep the greatness, and we've certainly never worked particularly hard to keep up the greatness. We have worked hard to be a band to be true to ourselves and each other. But I do not think necessarily that it be translated into huge, continuous mainstream success. I do not think people were so curious about us, after their initial understanding and interaction with the band. I would say that it has been a healthy process for us to be great, enjoy it and then see what it is to not be so much in the mainstream focus. During the same period have we developed the relationship with our fans in the live arena and via the Internet to our supporters. We have developed new ways to get music out to people, have developed artwork,'ve communicated what we are going to do and how our approach to it will be.
- It has been two-fold, you are right in that it divides the "No Code". People had gotten hold of our sound but we are not exaggerating our sound more and more each time trying to get all the same people the whole way. I think that a band like U2 has been incredible in comparison to the point where, once again, find a track with a brand new single that is so focused and defined, with the combination of rock and pop, they have mastered. They go after the biggest thing every once in their process. They are not interested in trying to play with the little ball, or creating things in a raw, quick style. They have taken an early election and has stood by the post. They will develop, and every single idea they have, so it reaches as many people as possible, and make it as big as it possibly can be.
- For us, it's just not always been our goal. It has further been letting our own fingerprints switch from one color and expression to another. And sometimes the colors smeared, they are unfinished and may be more unprofessional. But in the long run, something like that sounds pretty good. It's a bit like to hear "Black & Blue" or "Exile on Main Street" with the Rolling Stones. You know they did not play the songs 30 times, maybe they have played them a couple times, maybe it's been a jam. There is a special freshness of some of the Stones discs, sometimes it's as if there bad been pressed "record" button (which laughs, ed.). I think that both approaches make sense in its own way, and I think we're changing our little again. Maybe we are in a phase where we are a little curious as to develop our ideas more, which might appeal to more people in a way. Brendan O'Brien (producer of four-PJ plates from the 90s and the current "Backspacer", ed.) Has been very important in relation to the way to go.
Anything goes
Do you find that the radio stations between rock and mainstream is more differentiated in the U.S. today than before?
- I'm probably not the best person to answer the question. When I hear the radio, the most black r & b radio, pop, or national radio. But I think that everything is "Topsy Turvy" (turned upside down, Ed.) Currently, compared with the radios and record companies do. There are all sorts of actions, such stations are doing greatest hits mixed with something new, others are doing combinations of old and new alternative rock. And now with digital radio, which all have their own playlist, it's all "out the window." But I'm not the best to respond. Should I say something, we are in an age where "anything goes". You're just a good idea of finding a way to combine a new genre, a new style, a new band, a radio station or a new format that people can hear music. It seems that it is a really exciting time in terms of what is possible. It is possible for a single individual to get manifisteret a new idea at a fairly high level and have a major impact, since all are so connected today, at least technologically.
Backspacer and O'Brien
The songs on "Backspacer" has a very direct approach and seems to have appealed to a wider audience. Do you think I will repeat the success, and collaboration with Brendan O'Brien?
- Yes, I could well imagine. We are a good combination. His instinct is to make things more accessible and direct, and he typically works to promote clarity and consistency of the Arrangement and ideas. The core of the music comes from us, and texts from Ed, and there are many ways to work with it and develop it. To make clear or more "wise" and hidden, and Brendan is the most direct and most accessible way, and I think it fits well with us. It can open up to a larger audience. Brendan philosophy is a little "let's make it accessible to all - why keep someone out?" I think it is good because we are five songwriters in the band and all try to be as creative as possible. Here it is good to have someone who says, "hey - let's be straight and stay focused", here is the beat, here is the melody, here is the text. There are different ways to put them together, and he really understands the work. It is really exciting and interesting to work with him on that level.
The texts are generally fairly clear on "Backspacer".
- Yes, I agree, and probably more than usual. Ed has written right straightforwardly. Also, the approach he uses, he can swerve in between, sometimes he likes that word unfolds slowly. He likes the puzzle and make things a little difficult to get in. This time, it has been more like "let all be with" and here's Brendan also played a role.
Ten - Again
In cooperation took up again with Brendan when he recently remixed 10, what do you think about the outcome?
- I was skeptical about what we would get out of it, what could it help with? But I'm really pleased with the outcome. Perhaps it also gave Brendan an opportunity to learn to know us better as a band when he was not originally involved in the plate. It was interesting to hear the music from the original recordings and now that Brendan has worked on the tracks. There is so much more output, so much more structure in the bass. He has had a clarity and a forward voltage of the trail, in contrast to what we originally gave up when we miksede plate with Tim Palmer. They were cool and made clear impression on people, we got a huge response. It was an exciting journey, and I do not regret that we published it in its time, but I feel that the sound and power of the band seems much more evident in the new mix. But I'm in the band, I can not judge it. What do you think?
I've always liked the plate, but felt that "Vs", "Vitalogy" and "No Code" had more power and homogeneity
- How do I feel also.
There was plenty of good songs on "Ten", but the plate tended to be over-produced with massive reverb on the guitars throughout. Now that I've heard the remixed version seems much more clear impression, powerful and direct. For example, I much prefer the former "Even Flow" live than on record, but here it sounds fat.
- Good to hear. The plate is first and foremost, not just remixes remastereret. It will say that Brendan has gone into every track, has removed all effects and so on, and everything worked and again from the bare basic tracks, set new levels and so on. I would think that he has worked with the plate a couple of weeks
Participated in?
- No, no, it was just Brendan. If we had all been there and looked him over his shoulder, we were never finished, ha, ha. Brendan knows what he wants to hear, he has almost no use of inputs.
From sales magnet for stadium rock
Since "No Code" I have not sold as many records as early in his career, but on the other hand, it seems as if I play more and more concerts. Last of stadium concerts in Australia and New Zealand.
- Yes, I think that we do. In three weeks we have probably played the same number of people in Australia and New Zealand, as if we had played a longer trip in smaller places and been away in maybe six weeks. It's really nice that it is feasible, otherwise it is a long time to be away from family. Last time we played four arena concerts in Melbourne, three in Sydney, two in Brisbane, two in Perth and so on. This time we played a stadium concert in five different cities in Australia, it saves a lot of time and energy. And finally, I think we have the confidence to play the concerts and the belief that we can do it. And so we carried through, there's so much sing-along the way, there's so much energy that the audience contributes to each song. It is the audience that made that we are able to play as big concerts and get it to be what it is. Once the audience begins to sing, it ceases to be about the band, it's community and a total experience, which sets in. Then you're just there and play with. I think we will play more concerts and trust that we are okay with it, and spend a little less time playing smaller places, but several outdoor concerts.
You mentioned U2 as a band that has never gone after the little things. Their stadium concerts are choreographed and planned in detail. But the fact that I constantly shifting songs makes it probably impossible to make classic stadium-laden productions?
- The best choice we've ever taken has been to opt out of the big chrome stage production. We tour with a 5-7 semis (read truck) with equipment, where artists like the Rolling Stones, U2 and Britney Spears might travel around with 60-70 semi. It is all built substance that fills and costing a fortune, there really is some money to be earned. We have over an enormous freedom. The best is when people are coming to the concerts, as first thought, "It will probably be boring, just to see the young guys on stage and nothing else" but that as soon as the music plays and people sing, so they think: "I am indifferent to everything outside." We are in a small way begun to show some screens when we play, show people some close ups and so on, and it has worked just fine.
- But basically we are very pleased with the way the concerts are conducted and the response we get. And people appreciate that we are always changing songs in the set, it is the audience who persuaded us to it! First, we made it to ourselves to try it, but now it's what people expect, and it gives us a unique freedom. There is none of us who click track (metronomlyd, ed.) In monitors, we have only each other, and it is relatively rare today. Most of them are on "The Grid" (wiring harness, ed.) Today. You can get it to sound great when everyone is kept in an electronic beat, when the background vocals and keyboard pieces are sampled. But there is a charm about not having all those things. As with us, we run around, misses tones and korstemmer, but we try anyway. There is nothing funny about it I think.
In Philadelphia on the last night played in 41 different numbers, and the concert lasted a total of 3 hours and 35 minutes.
- Is this the longest we have ever played?
So far as I know. In five hours of crossing the border within the next few years?
- I think I really do not. At the four concerts in Philadelphia, we tried to play everything we could, but four nights was not enough, we need at least five or six nights or seven, if we have to repeat a couple of standards ... But let me say this: we can right many songs at the moment, ha, ha.
A nuisance
I have released "Backspacer" even in the U.S. and has had a partial exclusivity agreement with Target (giant department store chain, half as big as Wall Mart, ed.). How did it go?
- I think it's gone well. Target was very interested in making an agreement with us, and we were looking for a partner in the U.S.. Finally, it was J Records, and it was not as good as we had hoped, and Target offered us much more money than any record company. We started to negotiate what we wanted. They have won the exclusive rights and we made a partial exclusivity agreement. We agreed that we would not sell records in large chains like Wall Mart, but we would still sell through indie stores and so on. They said it was fine as long as it did not exceed our ordinary shares from the sale. In practice this meant that we paid a little extra for Target percentage increased sales in indie stores. But we agreed that we could sell from our website and through iTunes, so they were reasonable with us in relation to where we could sell. But beyond the economic, I believe that image and name of the association have been important incentives for them in cooperation with us. It must have been at least half of motivation on their part.
- It's okay, because it was a new type of agreement for them, maybe we moved them slightly compared to that agreement need not necessarily be 100 percent exclusive. They paid us well, it worked. I do not know if they will make a deal with us again, that we will see. We are "kind of a pain in ass to work with" (big laugh). It is our nature, we do things as we want them. And you look at Target, they're so used to that people will stoop in the dust of them and do everything they say to get an agreement. So when we say "we have done enough interviews now that we have finished promoting" and then says "yes, but ...". We say, "now we have done what we needed." Another reason why we chose to partner with Target is that they have a long history of philanthropic work, they are one of the largest companies in this regard.
Sell relatively more through the website and iTunes than in the past?
- I think it goes up. We have just sent "Just Breathe" out as singles, so it is generating enough extra sales. Generally, we sell approximately the same number as last time and in relation to sales in general have fallen sharply, so it is rather satisfactory (the time of writing is "Backspacer" still in Top 70 on Billboard after 15 weeks of trading, ed.). The key is to write new material, touring and finding new ways to generate income and activities. It is a fun and interesting process to find ways for the audience to keep your band on - artistically and financially. It must be both.
MTV means nothing
After "Ten" I stopped in a number of years to give interviews, and through the years I have been very sparse to produce videos.
- We made one for "The Fixer" by Cameron Crowe has directed! But the thing is that there is no one who checks the videos look the same today. We've made a little of each plate, but people are indifferent. Before we said, "that we did not," and now that we have started again, people are indifferent, as if it's too late now (who laughs, ed.). We may well find to produce more of the ball street. Compared to promote it makes sense to have a visual medium, and I do not think we are so skeptical today. Previously it was "low one video for MTV 'dogma that reigned, and it was problematic for us. They had an iron grip on what bands to be promoted and pushed forward. Today, MTV does not matter. When you send a video today, it is primarily the Internet, it is for everyone and it's fun.
In the eye of the storm
So when "Jeremy" video in his time-ravaged on MTV, it was too much for you?
- It was a time when Ed realized that his life had gone forever because of a decision he had taken six months earlier. It was a very difficult time for him. "I have taken this decision, but what has become of me? I monitored around the clock, people park outside my house all the time, I have to hire security people, wherever I go, people ask me about a or else. " It was a time when it was very difficult for him to navigate, and because it was difficult for him, it was hard for us all. All the time we campaigned individually with what we wanted out of the situation at that time. As we expected, and so on. It was not a very fun time.
Was I all agree to say "no more interviews, no more videos?"
- No, this was not. We figured that there would be something, but it was Eddie who was in the "hot seat". We had our struggles, but could not mark it as him. It was easy for us to have a different attitude. We of course went through major changes, but if we delude ourselves into thinking that it was the same degree as Ed, so we made fools of ourselves. It was and is different for him. He has an artistic ability to communicate with the audience, as none of us have. It's just be honest and admit it. We are not just five guys in exactly the same level. In some ways it is such, for example in relation to our business decisions and in relation to how we treat each other. But relative to sit with an acoustic guitar in front of 50,000 people, he can something which none of us can. It is a different experience.
Life Wasted
Last we talked, I asked you about five favorite Pearl Jam songs, and why. You answered three ( "Nothing Man", "Black" and "The End"). Are you a fresh two-to?
- "Life Wasted" was one I made for "avocado" plate (Read: "Pearl Jam", ed.) And I was convinced that it was the largest piece of rock music I had ever written, in relation to the individual parts. I made it, we played it, but it was a little tricky, there was a little too much math in it. I remember that I was incredibly disappointed and thought, "Oh God, how could I ha 'been such a failure of this song", it was not so direct, as I thought. At the end of the work on the songs to the plate "said Ed," Let us take it up again and work on it and see what happens. "I was pretty surprised because I thought already, it was dropped. But we started playing, and Jeff suggested a few things that I would play anything in 4 / 4, and suddenly it all just worked, it drove derudad. It had this cool event, a super-heavy feel, which I thought was good for the plate.
- It showed me once again how important the band is, someone says to you: "Hey, you have something really fat here, relax against it, let it live, experiment, do not make it unnecessarily difficult. " I think I may have a tendency to play an event, because I do not have to sing it. It may mean that the paper, you come with is too rigid and more complex than necessary. But I love that song and feel that it sums up my songwriting instinct. I am very happy melody, and lyrically it could have been on "Backspacer"; it is positive and represents a more optimistic time for Ed. It is one of my favorites.
Yellow Ledbetter
- A final: I will say "Yellow Ledbetter". It was a number that Mike McCready wrote around the time when we recorded "Ten". In the beginning I could not hear so much in it, I thought it was a bit of 1-4-5 (classical chord progression, ed.). I did not think it was the sheet of material. We recorded a version, and you can hear that Ed mutters a little, his text does not specifically thought through. He spends much time getting his texts that he would ha 'them, but here was an example of that he was not as focused. We started to play the song again a few years later, when people had heard it on the radio and had begun to talk about it. I was quite surprised and thought: "Why?" It was the beginning of Mike's start as a songwriter in this band. But we started playing it live, and slowly but surely changing the text itself a little bit from day to day. It dawned on me that Ed would never write a definitive text, which I thought was incredibly interesting for a guy who spends so much time to get things, the text is quite right.
- Okay, Ed can sometimes write a text in 20 minutes, but he is always very precise to get the words exactly as he wants them, and here's this song where he just plays with it and do not care the solid form, but the words keep coming. I never asked him, but can imagine that even today he does not know quite what the song is about, but it is a part of the charm. It is a workflow. I know there is a specific meaning in the text, which is about a coming home from war, a soldier. The song is an example that you may miss something important because of your perspective when there comes something from a member that is not core songwriter in your band. And you know sometimes to do the opposite of what you would normally do, can create something quite special. I think Ed has done by letting the text be reasonably open, and to some extent consciously devoid of meaning, which for him is a very different way to work than usual. I am proud, on behalf of Mike. He has developed this song based on some relatively simple ideas, which has become one of our biggest ever, we play it and the audience goes berserk every time. And the song is somewhat of a mystery to me, I was not expecting it. It only came to the plate with "Lost Dogs" (Rarities plate from '03, ed.) But was much played on American radio in its time.
Mutual love
What are you most proud of by Pearl Jam at all?
- Enough that we still have a band and we still love each other and take care of each other, as we have seen one band after another disintegrating. The bearing of our band is that we love each other. We're not always together when we are not on tour, but we are always in each other's heads. It is great that it has held for so long and still hold. I think there is a tendency that the artist want to throw it all overboard when things look difficult out. When vision is not shaping up exactly as you intend, but it is something you learn. When you work in a group, you'll have to find compromises, you do not get your will at all times and that's okay. It is not the same as saying that you should not rely on your instincts and your art. It's also about being open to others' input and on the whole to master a balance to rely on your own ideas while you are open to what others can contribute, and so what I can achieve together .
Finn and Frisell
I've always worked with many artists. We have previously talked about Neil Young and Chris Cornell, there are others you would emphasize?
- Recently, we have played with Neil Finn of Crowded House and Split Enz, through concerts in Auckland and Christchurch in New Zealand. We played both Crowded House and Split Enz song, and it went completely sovereign. Neils Sun Liam was also featured. We met him 15 years ago when he was 11 or something. He was already a "killer" on the drums then and a better guitarist than me, and he was 11! (laughs). He is a champion. But generally, I am always glad to have the ability to perform or record with other artists. Another thing I remember very clearly, is a show we played for about eight years ago in support of the Northwest School, where we had the opportunity to jam with Bill Frisell. We played "Crazy Mary" and the way he played, was so shocking blues, and totally outside the way we normally played number. He spread our sound out just about 10 miles; an amazing guitarist, amazing.
Philanthropist
Many musicians go with years of in other disciplines, for example, many actors. Can you imagine taking such a step?
- One should never say never, because it is not to say what opportunities may arise. If I did, I hope it is because it's really for me it is a new way to be creative on that matches the person I am and what I stand for. It should not have to twist someone's arm around and say: "Get me in a movie." You never know what was going to happen, but I think so not to become an actor.
You have instead used your voice as environmentalist.
- Yes, sometimes. We are going to do something in Seattle soon, related to the amount of CO2 we have released on our trip, but hopefully we can talk about it later.
Yes, we just had here COP 15 in Copenhagen, without much success.
- I think there are many powerful people out there who feel they have no choice but to be involved, they feel they have to make an effort. One thing is that nations may try to agree on the agreements at government level, but there are individual mega-billionaires who really could make a difference by having a vision of how new technology, clean energy and sustainability can make a difference and encourage it to be new international success criteria, which we will work towards to meet and develop. I think the best thing that happens to us now is that there are people out there who are doing some work that we do not know at the moment which will be great. So we must hope that governments will stimulate the development and help to provide facilities for people who want to invest in this sort of thing on a national and international level.
- There are many companies out there who look at their CO2 footprints and thinking of ways on how they can reduce emissions. It can lead to profound changes which are potentially very radically and quickly, could spread beyond the planet. I believe that governments, rules and regulations will be a parameter where I think the second must come from the construction site. There are many out there who know that this will happen and that the future will be integrated technologies that are not obstructing the balance of nature. We live in the wild, and we want the planet to work, clean health, and if we will continue to enjoy luxuries such as eating salmon and build houses, various forms of "playgrounds" and all that we also want to do, create and make us, so we have to do it in a better manner than hitherto. We must see what happens, maybe break it all together
Stone Gossard philanthropic sentiment is not just talk. He has at Christmas 2009 donated $ 150,000 to an organization that supports homeless and socially penetrated in Seattle.
Uplifted by the response at concerts and "Backspacer" Pearl Jam have already been inspired to work on new material. The progress in these days in Seattle.
Missoula 6/20/98
Alpine Valley 6/26/98 & 6/27/98
Alpine Valley 10/8/00
Champaign 4/23/03
Alpine Valley 6/21/03
Missoula 8/29/05
Chicago 5/16 & 17/06
Grand Rapids 5/19/06
Summerfest 6/29/06 & 6/30/06
Tampa 6/12/08
Chicago 8/23/09
Indy 5/7/10
Alpine Valley x2 2011
Wrigley 2013
Milwaukee 14
Telluride 16
YAY!!!!
Where I'm not ugly and you're lookin' at me
must be a fraud, jeags
nah, not stone.
And are any of these "plates" availible on E-Bay?
I'm thinking 10C knows...but doesn't tell.
WF Center 4/28/16; WF Center 4/29/16; Fenway Park 8/7/16; Fenway Park 9/2/18; Asbury Park 9/18/21; Camden 9/14/22;
Las Vegas 5/16/24; Las Vegas 5/18/24; WF Center 9/7/24; WF Center 9/9/24; Baltimore Arena 9/12/24
Tres Mtns - TLA 3/23/11; EV - Tower Theatre 6/25/11; Temple of the Dog - Tower Theatre 11/5/16
...but what the hell, I'm ready for new stuff
This news made my day, doesen't matter if it's just bull$&it
...is it so wrong to think that love can keep us safe?
that would partially explain the lack of tour dates in the early part of 2010
ya know he's dyin to put some of those hot beats out there
lol I can't believe there is only 1 thread about this on the porch. I think we owe ourselves a pat on the back for the self control
-my dad after hearing Not for You for the first time on SNL .