How About a Pearl Jam Obscure Fact Repository

1…89111314…20

Comments

  • pleatherman
    pleatherman Posts: 472
    edited December 2013
    majleap3 wrote:
    Pleatherman are you 100% sure? I ask because I also noticed some of the Ballhog or Tug Boat album was recorded at Robert Lang Studios in Seattle. And since Dave and Krist played on Against the 70's as well it makes it convenient to have been recorded there. Plus I went to the Robert Lang Studios website and it lists Eddie Vedder as having recorded there. I can't recall him ever recording there. Not being argumentative just trying to flesh out all of the facts.

    You seem to have a ton of knowledge and I've learned a lot from this thread and look forward to learning more.
    Yeah, I was also thinking it makes sense for it to be recorded in Seattle since Grohl and Novoselic also play on that track. Along with an original source I read from a magazine that gave the date and location of the recording, there is an article written upon "Ballhog or Tugboat?"s release that states the following:
    "Pearl Jam singer Eddie Vedder, trying to pass the time while a band was setting up to record a track for Mike Watt’s solo album, decided to do some Dumpster-diving in an alley behind a California studio. Vedder found a discarded wet suit and, in a weird attempt at inspiration, put it on while recording the antinostalgia rant, “Against the ‘70s.”

    Usually, when something seems off, I'll use multiple sources to either support or refute it. But who knows?
    Post edited by pleatherman on
  • majleap3
    majleap3 Posts: 208
    pleatherman wrote:
    majleap3 wrote:
    Pleatherman are you 100% sure? I ask because I also noticed some of the Ballhog or Tug Boat album was recorded at Robert Lang Studios in Seattle. And since Dave and Krist played on Against the 70's as well it makes it convenient to have been recorded there. Plus I went to the Robert Lang Studios website and it lists Eddie Vedder as having recorded there. I can't recall him ever recording there. Not being argumentative just trying to flesh out all of the facts.

    You seem to have a ton of knowledge and I've learned a lot from this thread and look forward to learning more.
    Yeah, I was also thinking it makes sense for it to be recorded in Seattle since Grohl and Novoselic also play on that track. Along with an original source I read from a magazine that gave the time and date of the recording, there is an article written upon "Ballhog or Tugboat?"s release that states the following:
    "Pearl Jam singer Eddie Vedder, trying to pass the time while a band was setting up to record a track for Mike Watt’s solo album, decided to do some Dumpster-diving in an alley behind a California studio. Vedder found a discarded wet suit and, in a weird attempt at inspiration, put it on while recording the antinostalgia rant, “Against the ‘70s.”

    Usually, when something seems off, I'll use multiple sources to either support or refute it. But who knows?


    Man that is interesting. Do you know the exact date?
  • pleatherman
    pleatherman Posts: 472
    majleap3 wrote:
    pleatherman wrote:
    majleap3 wrote:
    Pleatherman are you 100% sure? I ask because I also noticed some of the Ballhog or Tug Boat album was recorded at Robert Lang Studios in Seattle. And since Dave and Krist played on Against the 70's as well it makes it convenient to have been recorded there. Plus I went to the Robert Lang Studios website and it lists Eddie Vedder as having recorded there. I can't recall him ever recording there. Not being argumentative just trying to flesh out all of the facts.

    You seem to have a ton of knowledge and I've learned a lot from this thread and look forward to learning more.
    Yeah, I was also thinking it makes sense for it to be recorded in Seattle since Grohl and Novoselic also play on that track. Along with an original source I read from a magazine that gave the time and date of the recording, there is an article written upon "Ballhog or Tugboat?"s release that states the following:
    "Pearl Jam singer Eddie Vedder, trying to pass the time while a band was setting up to record a track for Mike Watt’s solo album, decided to do some Dumpster-diving in an alley behind a California studio. Vedder found a discarded wet suit and, in a weird attempt at inspiration, put it on while recording the antinostalgia rant, “Against the ‘70s.”

    Usually, when something seems off, I'll use multiple sources to either support or refute it. But who knows?


    Man that is interesting. Do you know the exact date?
    If only. But more importantly, here is a transcription between Eddie, Krist, and Mike Watt from self-pollution radio.
    Eddie: Um. That uh ... I guess Dave. Uh. Most of that was recorded up here. Wasn't it? Seattle. (Watt:Yeah it was) I mean I was there.
    Watt: Yep. I guess, yeah. In three different towns. Frankenstein.
    Eddie: Oh, because...
    Watt: The Cookwood brothers did it here, and Mascis did ...
    Eddie: and Jay Mascis did it in New York, and Dave Grohl did it here and I played some guitar up here.
    Watt: Right, In Bob Lang's hole.
    Krist: Bob's bunker.

    So it was made in Seattle! There's still a chance Eddie's vocals might have been done in L.A. because he only talks about recording guitar in Seattle. Thanks for bringing this up. Now I've lost all credibility. :cry:
  • majleap3
    majleap3 Posts: 208
    If only. But more importantly, here is a transcription between Eddie, Krist, and Mike Watt from self-pollution radio.
    Eddie: Um. That uh ... I guess Dave. Uh. Most of that was recorded up here. Wasn't it? Seattle. (Watt:Yeah it was) I mean I was there.
    Watt: Yep. I guess, yeah. In three different towns. Frankenstein.
    Eddie: Oh, because...
    Watt: The Cookwood brothers did it here, and Mascis did ...
    Eddie: and Jay Mascis did it in New York, and Dave Grohl did it here and I played some guitar up here.
    Watt: Right, In Bob Lang's hole.
    Krist: Bob's bunker.

    So it was made in Seattle! There's still a chance Eddie's vocals might have been done in L.A. because he only talks about recording guitar in Seattle. Thanks for bringing this up. Now I've lost all credibility. :cry:[/quote]

    Not at all! You were right on the most important part which is Ed was stripping himself of the wetsuit while singing! Which was at Cherokee in LA. Now we have the full story. Thanks!

    You mentioned you knew the exact date?
  • majleap3
    majleap3 Posts: 208
    Nice find on the transcripts BTW!
  • pleatherman
    pleatherman Posts: 472
    edited December 2013
    pleatherman wrote:
    If only. But more importantly, here is a transcription between Eddie, Krist, and Mike Watt from self-pollution radio.
    Eddie: Um. That uh ... I guess Dave. Uh. Most of that was recorded up here. Wasn't it? Seattle. (Watt:Yeah it was) I mean I was there.
    Watt: Yep. I guess, yeah. In three different towns. Frankenstein.
    Eddie: Oh, because...
    Watt: The Cookwood brothers did it here, and Mascis did ...
    Eddie: and Jay Mascis did it in New York, and Dave Grohl did it here and I played some guitar up here.
    Watt: Right, In Bob Lang's hole.
    Krist: Bob's bunker.

    So it was made in Seattle! There's still a chance Eddie's vocals might have been done in L.A. because he only talks about recording guitar in Seattle. Thanks for bringing this up. Now I've lost all credibility. :cry:
    majleap3 wrote:
    Not at all! You were right on the most important part which is Ed was stripping himself of the wetsuit while singing! Which was at Cherokee in LA. Now we have the full story. Thanks!

    You mentioned you knew the exact date?
    No, I just knew the month. But I commend you for going after this info because sometimes the more I look into this studio stuff, the more precarious the time frame becomes. A few examples spring to mind.

    -I had always read it only took four days to record Mirrorball with Neil Young. What often got left out in the articles is those four days were not consecutive (Jan. 26-27 and Feb 7, 10).

    -Billboard reported the only two sessions for Lightning Bolt took place in early 2012 and the first quarter of this year. Yet, Pearl Jam was definitely at Henson Studios in L.A. during the spring of 2011 recording for their 10th album.

    -Plus, after recording sessions for any album is finished, there is still the mixing stage which can mean anything from overdubs or, in the case of LBC, lead vocals.
    Post edited by pleatherman on
  • pleatherman
    pleatherman Posts: 472
    When Pearl Jam fulfilled their 7 album deal with Epic in 2002 (barring the Greatest Hits package that arrived two years later), the independent route seemed almost like a sure bet. They had long ago turned into a self-sustaining entity for the most part, and put together all their ancillary efforts in-house. There was no reason to sink with the major label ship.
    The band already had a semblance of independence and could continue that transition, with the help of distribution, easier than any other musicians of their stature. But there was a part of PJ that would never be free from Sony- their entire back catalogue, 1991-2002. With that carrot dangling over their head, Pearl Jam did make a concerted effort to renew a contract with Sony and continue their long term relationship. The main bargaining chip on the table being acquisition of those 'masters'. But that was too much of a prized possession for Sony and the Pearl Jam of the early aughts offered a lessened commercial appeal in its stead. So even though both parties would have liked to renew a contract, the necessary concessions couldn't be made and negotiations fell through. That was when Pearl Jam aggressively pursued new methods to release music for future endeavors.
  • Jamminonthe1
    Jamminonthe1 Posts: 1,243
    I am posting here just so it appears in my "view your posts" section so when I have time I can read the ever-living fuck out of it...
  • KV4053
    KV4053 Mike's side, crushed up against the stage Posts: 1,514
    pleatherman wrote:
    When Pearl Jam fulfilled their 7 album deal with Epic in 2002 (barring the Greatest Hits package that arrived two years later), the independent route seemed almost like a sure bet. They had long ago turned into a self-sustaining entity for the most part, and put together all their ancillary efforts in-house. There was no reason to sink with the major label ship.
    The band already had a semblance of independence and could continue that transition, with the help of distribution, easier than any other musicians of their stature. But there was a part of PJ that would never be free from Sony- their entire back catalogue, 1991-2002. With that carrot dangling over their head, Pearl Jam did make a concerted effort to renew a contract with Sony and continue their long term relationship. The main bargaining chip on the table being acquisition of those 'masters'. But that was too much of a prized possession for Sony and the Pearl Jam of the early aughts offered a lessened commercial appeal in its stead. So even though both parties would have liked to renew a contract, the necessary concessions couldn't be made and negotiations fell through. That was when Pearl Jam aggressively pursued new methods to release music for future endeavors.

    This goes back to my post from a few days ago regarding "The Business of Pearl Jam." 20 years from now, there will be a couple of books on how they became "self sustaining."
    I know I was born and I know that I'll die. The in between is mine.
  • pleatherman
    pleatherman Posts: 472
    edited December 2013
    KV4053 wrote:
    pleatherman wrote:
    When Pearl Jam fulfilled their 7 album deal with Epic in 2002 (barring the Greatest Hits package that arrived two years later), the independent route seemed almost like a sure bet. They had long ago turned into a self-sustaining entity for the most part, and put together all their ancillary efforts in-house. There was no reason to sink with the major label ship.
    The band already had a semblance of independence and could continue that transition, with the help of distribution, easier than any other musicians of their stature. But there was a part of PJ that would never be free from Sony- their entire back catalogue, 1991-2002. With that carrot dangling over their head, Pearl Jam did make a concerted effort to renew a contract with Sony and continue their long term relationship. The main bargaining chip on the table being acquisition of those 'masters'. But that was too much of a prized possession for Sony and the Pearl Jam of the early aughts offered a lessened commercial appeal in its stead. So even though both parties would have liked to renew a contract, the necessary concessions couldn't be made and negotiations fell through. That was when Pearl Jam aggressively pursued new methods to release music for future endeavors.

    This goes back to my post from a few days ago regarding "The Business of Pearl Jam." 20 years from now, there will be a couple of books on how they became "self sustaining."

    Back in 2002, Kelly Curtis had this to say:
    "I wish I had a crystal ball," Curtis said of the band's future with Epic. "We aren't any further along than we were six months ago. There have been some negotiations, but they stop and then they start up again, and then they stop."

    Since that time, it's fair to say PJ's music has gotten more accessible and they no longer shy away from marketing themselves either. The band has been proven willing to play the "game." Because of that, I can't help but speculate if either Sony or Pearl Jam has ever tried to reach out for a counter-offer. Or maybe it is too late.
    Post edited by pleatherman on
  • pleatherman
    pleatherman Posts: 472
    aurynsdad wrote:
    pleatherman wrote:
    For anyone that has never been completely won over by the song 'Bushleaguer', know this- that is not the original version! Before the spoken-word verses were recorded, there existed a different "singing" version with a strong vocal melody. Unfortunately, Eddie found it too catchy and it was unceremoniously dismissed in favor of what became the album track.

    OH GOD THIS PISSES ME OFF! I would probably love that other version!

    Here is how Ed rationalized his decision:
    "It's a fun song. And it's interesting, because that song has such a melodic verse, but anything I was initially singing over it sounded too pretty." So he opted for spoken-word instead.
  • pleatherman
    pleatherman Posts: 472
    Before the release of 'Vs.' and 'In Utero,' Eddie Vedder and Krist Novoselic reached an agreement based on one The Rolling Stones and The Beatles supposedly made to never release their albums simultaneously.
    Because of this, Vs. was postponed so as not to coincide with In Utero's Sept. 21st release. The informal agreement was imposed nine years later when Riot Act and Nirvana's eponymous greatest hits both set Nov. 12th as the release date. This time, the date for Nirvana moved up to Oct. 29th.
    Strangely enough, another nine years after that, the PJ 20 soundtrack and Nevermind reissue were intended for a Sept. 20th release. About two months before that date, Nevermind got pushed back a week to the 27th.
  • majleap3
    majleap3 Posts: 208
    Pleatherman I love this stuff you are posting. Going back to our Against the 70's recording date discussion, I long for them to release exact dates of every recording. I was even today trying to find when Ed recorded the horrible Croon Spoon with Susan Surandon in 99. I think they know we want this because they have many official publications where they show portions of the master tapes with dates and songs. I say this with all do respect to them band....Fuckers!!!!

    Again, thanks for this post and let's keep it going!
  • CharlieP
    CharlieP Copenhagen, Denmark Posts: 1,035
    PJ intended to do an acoustic pre-show in Copenhagen 2012. The heat was almost unbearable and in an effort to cool off the crowd from the beginning they asked for permission to open the side doors while doing the sit-down set but unfortunately weren't allowed to because the venue staff would probably receive complaints from the neighbours living close to the venue. Had they accepted, this easily would have become an instant classic show and the show would have had an entirely different vibe. The latter part is just being speculation on my part, but I have the rest straight from the horses' mouth. Eddie told me this after the show!

    Roskilde 2000, Berlin 2006, Athens 2006, Dusseldorf 2007, Copenhagen 2007, New York NY 1 + 2 2008, Berlin 2009, London 2009, London 2010, Berlin 2010, Manchester 2 2012, Berlin 1 2012, Stockholm 2012, Oslo 2012, Copenhagen 2012, Amsterdam 1 + 2 (EV solo) 2012, Amsterdam 1 + 2 2014, Stockholm 2014, Oslo 2014, Leeds 2014, Milton Keynes 2014, Heartland Festival DK (EV solo) 2017, Berlin 2018, Barcelona 2018, Copenhagen 2022, Prague 2022 (Cancelled)



  • pleatherman
    pleatherman Posts: 472
    majleap3 wrote:
    Pleatherman I love this stuff you are posting. Going back to our Against the 70's recording date discussion, I long for them to release exact dates of every recording. I was even today trying to find when Ed recorded the horrible Croon Spoon with Susan Surandon in 99. I think they know we want this because they have many official publications where they show portions of the master tapes with dates and songs. I say this with all do respect to them band....Fuckers!!!!

    Again, thanks for this post and let's keep it going!

    I hear 'ya. And Croon Spoon can be a bit tricky. The Kim Gordon duet was initially publicized for inclusion on "Cradle Will Rock" soundtrack until it was subsequently replaced in favor of the Susan Sarandon version. Although I don't have the best ear for this stuff, besides the female singer switch, it seems everything about the two versions are identical, including Ed's vocal take. Plus, who knows when/where the instrumentation was recorded. But like Against the 70's, the most important part to document would be Ed's contribution. Phew! Good luck!
  • pleatherman
    pleatherman Posts: 472
    edited December 2013
    2 million dollars is the lump sum Pearl Jam sacrificed just to have Vitalogy released in its unique packaging with the nifty gold ink. And that amount was even after they split the cost with Epic.
    Post edited by pleatherman on
  • majleap3
    majleap3 Posts: 208
    Dec 11, 1991 PJ plays two shows! They opened up for The Smashing Pumpkins and the Red Hot Chili Peppers at the now demolished Bronco Bowl in Dallas, then packed up their gear and played the club Trees that night. That drive was about 20 minutes tops so if they finished their opening act 8 ish they could have played Trees by 10 no problem!
  • pleatherman
    pleatherman Posts: 472
    hqdefault.jpg

    A triad of locations in Seattle are inextricably linked to Pearl Jam's inception. There is the Galleria Potatohead- the rehearsal space Eddie, Stone, Jeff, Mike, and Dave first wrote and recorded together. And Mookie Blaylock's public debut happened at The Off Ramp, of course. But another important setting during that formative time is B&O Espresso. This is the place the band met in early 1991 to decide on the group's official name, putting an end to the 'Mookie Blaylock' moniker for good. The only prerequisite being it had to consist of 2 words because, according to Jeff, many of the great rock bands had a two-word name (e.g. Led Zeppelin, Pink Floyd, Sex Pistols). Here is Mike McCready's recollection about their game of mix-and-match:

    "I remember this list of names and we were sitting around the B&O coffee shop on Broadway. Pearl was up here and Jam was there amongst all these other words and we were putting them together. Jeff put those two together and we were like that’s it."

    During the course of that meeting at B&O, the band became hence forth known as... Pearl Jam :clap:
    And I'm sure if the coffee shop still existed, it would make a nice addition to a PJ historical tour.

    0311BO_esporesso.jpg
  • majleap3
    majleap3 Posts: 208
    Did not know about the coffee shop. Nice one!
  • pleatherman
    pleatherman Posts: 472
    edited April 2016
    Eddie Vedder planned to create a musical play adaptation of Quadrophenia.

    In one sense, the burgeoning friendship between Pete Townshend and Eddie Vedder began with the elder's advice against Vedder forgoing a music career in favor of living out his days as a beach bum. But not everything was doom-and-gloom on that fateful night in 1993. Amidst such harrowing thoughts, Vedder had a more ambitious motive during those early conversations with his musical hero. As you well know, The Who's rock opera, Quadrophenia, holds lasting resonance for Eddie, stemming all the way back to his adolescence. As much as he coveted that album, in 1993 the world at large perhaps had not given it the same attention as other seminal works by The Who. Despite that lapse in the public's attention, Vedder sought to conceive a theatrical adaptation of Quadrophenia and proceeded to lay out his plans to Townshend. Although it never came to fruition, Eddie's pitch to develop it into a stage vehicle proved quite prescient. Only a few years later, Quadrophenia rose to prominence when The Who embarked on their first major tour in several years for the sole reason of performing the entire rock opera in full. Townshend and Daltrey ventured into Quadrophenia territory yet again in 2010, this time with special guest Eddie Vedder. As for Eddie's interest in a musical play version, it finally occurred without his involvement in 2005.
    Post edited by pleatherman on

Categories