Australia and NZ tour rumours going around Part 2 (No Bullshit)

worldsrival wrote:

getting married on the 18th..... we're doing a pj tour honeymoon

lol...amazing
pretty cool how u can find someone to love who also loves PJ

there have been some performers (ie. pavarotti) who have played at members equity stadium recently and they were seated.

do.the.evolution wrote:

there have been some performers (ie. pavarotti) who have played at members equity stadium recently and they were seated.

oh really?
cool, i didnt know that. I just presumed it would be standing

thanks!!!!!!!

wow, they let some people in earlier??
i thought that would be very hard, it would piss off a lot of people.
I quite like the idea though, assuming you can hold your position which isn't always the easiest

evenin everyone...

thought i'd share this. please don't flame haha. had to turn it around very quickly over the weekend for today's issue of Inpress. wish i could've spent more time on it, but i think it's ok. if you're a fan of big wave, well, sorry!

ps. can i get a hands up of who's in melbourne??

PEARL JAM PEARL JAM
J Records / Sony BMG

15 years ago, Pearl Jam had one album to their name, but what an album it was. Home to impassioned, reverb-soaked, giant epics, Ten remains to this day one of the best debuts ever. And if Ten launched Pearl Jam into the stratosphere, the often ferocious follow-up Vs kicked them right into orbit. But at the top of their game, Pearl Jam backed away, refusing to play the music video game whilst mounting a hard-fought battle against a ticketing giant, amongst other notable causes. Yet as their commendable, anti-commercial stance was met with both respect and impatience, the music never waned. Well, not till the millennium anyway. From the slightly darker, more twisted and more experimental Vitalogy through to the looser, transcendental No Code and the richly-inspired Yield, Pearl Jam continued to thrive, even if the sales figures weren’t a smidge of what they once were. But then, as even hardcore fans have come to admit, something was sorely missing from 2000’s Binaural and 2002’s Riot Act, whether it be in the production, the performance, or even the songwriting.

So please welcome back the mojo. Fittingly self-titled, album #8 is Pearl Jam’s first non-Epic studio release. As for the avocado on the front, who really knows why, but one thing’s for sure: with a renewed sense of vigour, the Seattle Five are once again firing on all rawk cylinders. But now the fight isn’t against just one or two big corporations: it’s pretty much all of them, plus, of course, a Government failing its citizens. However, don’t just expect to be bombarded by anti-war sentiment. As Pearl Jam get down in the trenches, Eddie Vedder calculatedly speaks his mind with articulated prose, berating Bush on the deceivingly radio-friendly groove of World Wide Suicide for “writing cheques that others pay” and then scuffing along with the blue-collar man on the street to the rolling, dry rock rumble of Unemployable.

Elsewhere, intensity abounds on barnstorming opener Life Wasted and the devilish fury of Severed Hand. While the former kicks things off on a nice ‘n’ crunchy garage rock note (with Mike McCready shredding to high heaven), it’s the latter that finds the band in top notch. Though the verse riff is mighty similar to Ten’s Porch, the guitar barrage is superb as Vedder goes three sheets to the wind as a careless character primed to get his kicks. But for a quick fix, try punk highlight Comatose. With shades of Spin the Black Circle and Habit, this is Pearl Jam sounding as alive as ever; Vedder in full, teeth-gnashing flight over 2:19 of pure McCready/Gossard magic. “Feel it rising!” he strains. “Yeh, next stop falling.”

Pearl Jam is not solely a hard rock affair; that crooning baritone returns for Stone Gossard’s Beatles-esque, sunset dance Parachutes and the affecting, old-school R&B ballad that is Come Back. In fact, despite its simplicity, Come Back gets better and more poignant as the seconds tick over, with smoky guitar lines and a teary-eyed Vedder pleading “come back…I’ll be here.” Unlike Black, a despondent tale of heartbreak written by a 25-year-old, this is from the heart of a much wiser lover at 41. But if it’s hair-raising chills you’re after, look no further than Marker in the Sand, the best tasting part of this avocado. Expressive drumming from Matt Cameron (harking back to his Soundgarden days) and a stop-start McCready riff give way to a stunning chorus which elevates this to classic status. “What went wrong? / Walking tightrope high / Over moral ground,” sings a wary but open-hearted Vedder, posing questions to religious faithful the world over. And as the song skips along to a faster outro that ends all too soon, you just know it’ll go down a treat live, as will so many on this new record.

Seven-minute closer Inside Job, the first Pearl Jam track with music and words by McCready, initially bears a little too much similarity to Vedder’s part sombre, part uplifting escape tale Gone. But as the song builds, it earns its bookend position with several Stairway to Heaven-esque moments. As for Big Wave, it’s fairly forgettable filler, save for the final 30 seconds (which recall Yield’s Push Me, Pull Me, also by Jeff Ament). A minor glitch.

As so many of Pearl Jam’s peers lose the plot, this cohesive instalment must lay to rest any doubts of relevancy. Ain’t bad going for a bunch of guys mostly in their 40’s.

yea that might look good actually, i might type it up

heyjose wrote:

As for Big Wave, it’s fairly forgettable filler

Sacrilege! Big Wave is one of the best songs on the album.

UpHereInMyTree500 wrote:

HeyJose...cool article!

QFT
A good read.

Good writting jose


Just pondering on the GA or seating situation. Is the Europe tour GA?

for a guy like me GA would be awsome, but i can understand how some people would rather seating which is fine. Either way its Pearl Jam and we are all going to have the time of our lives!!!