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This programme includes strong With Mother Love Bone you had some | :00:15. | :00:19. | |
success, a bit of a tragedy there. Right. And what made you decide not | :00:19. | :00:22. | |
to continue with Mother Love Bone and to form something totally | :00:22. | :00:26. | |
different? Cos it was old at that time and we wanna do something new, | :00:26. | :00:31. | |
so, this is what we're doing now. New and fresh. And then they saw me | :00:31. | :00:35. | |
in a bra and that was it. And then they said, "We've gotta have him." | :00:35. | :00:45. | |
| :00:45. | :00:47. | ||
That was before his front tooth got # Three nights and days, I sail the | :00:47. | :00:51. | |
sea. # We interrupt this program to give you a bulletin. Keep this | :00:51. | :00:53. | |
frequency clear. # I believe, I believe. | :00:53. | :00:57. | |
# I have a weather report for you, people. And, it's not a good one. | :00:57. | :01:00. | |
KCMU. Rocket Report. What is it that drives thousands of young | :01:00. | :01:03. | |
angelic faced boys in our calm, tree-lined suburbs to spend their | :01:03. | :01:06. | |
allowances on Marshall amplifiers? Why is this happening? Truth be | :01:06. | :01:10. | |
told there's always been a great scene in Seattle. If you want some | :01:10. | :01:13. | |
crisp, aggressive and emotional rock and roll then get on down to | :01:13. | :01:17. | |
the Off Ramp on Friday, July 5th. Ah, wee ha! You haven't seen | :01:17. | :01:20. | |
anything yet. Lock that. For lock's sake. Lock off. My name is Cameron | :01:21. | :01:30. | |
| :01:31. | :02:03. | ||
Crowe and I was a rock journalist My name is Cameron Crowe and no was | :02:03. | :02:07. | |
a rock journalist when I first moved to Seattle in the mid- 1980s. | :02:07. | :02:10. | |
I became aware of a scene of musicians that work together to | :02:10. | :02:14. | |
create their own world of influence and bans and community. I | :02:15. | :02:18. | |
immediately realised how much this was different from the places I | :02:18. | :02:22. | |
grew up in and the music I listen to in southern California. This was | :02:22. | :02:26. | |
music that came from guys who stayed indoors a lot, had a lot of | :02:26. | :02:29. | |
time to play and a lot of time to listen. And they listened to | :02:29. | :02:39. | |
| :02:39. | :02:40. | ||
everything. All of it brought together into this majestic mix of | :02:40. | :02:50. | |
| :02:50. | :02:59. | ||
We would go and see these guys. And these guys would come and see us. | :02:59. | :03:02. | |
Two guys I met early on were stoned Ossard and Jeff Eamonn, who had | :03:02. | :03:07. | |
been in a well-known local ban, Green River, and had an obvious | :03:07. | :03:10. | |
bond that drew a lot of people to them. On any given night it was not | :03:10. | :03:17. | |
hard to run into them going out to listen to live music. Stick with me, | :03:17. | :03:27. | |
| :03:27. | :03:29. | ||
my child. Those people over there, police officers. How are you doing? | :03:29. | :03:37. | |
This is not MTV, but it very well could be at any time. Sarcastic | :03:37. | :03:41. | |
police officers, excellent. We are supposed in tonight, but so far | :03:41. | :03:47. | |
nobody has showed up. We finally got into the show. We were outside | :03:47. | :03:51. | |
for a long time but we got these things, backstage passes. How come | :03:51. | :03:58. | |
you did not come and give me my pass? We were outside for a long | :03:58. | :04:04. | |
time. This is my witness. When I first met him, could not imagine | :04:04. | :04:08. | |
hanging out with him. I was introduced to him and within 30 | :04:09. | :04:14. | |
seconds I think he wanted to punch me. I had recently been introduced | :04:14. | :04:19. | |
to the exciting world of sarcasm, and for me it was the greatest joy | :04:19. | :04:29. | |
| :04:29. | :04:31. | ||
anyone could have. Out here, rock people of all sorts. We had a bit | :04:31. | :04:34. | |
of a chip on our shoulder. We always felt that if it came from | :04:34. | :04:39. | |
New York, and Chicago, Minneapolis or Athens, it was probably better. | :04:39. | :04:45. | |
But there was also this attitude of, somehow we will persevere. It was | :04:45. | :04:49. | |
very different from Los Angeles and New York. There were tens of groups | :04:49. | :04:54. | |
in Seattle, but they all knew each other and everybody was talking | :04:54. | :04:59. | |
about the new band, Mother Love Bone, and their amazing, | :04:59. | :05:09. | |
| :05:09. | :05:09. | ||
charismatic frontman. His name was Andy. -- and D Wood. Want the world | :05:09. | :05:12. | |
to know that Mother Love Bone is coming to take over the world, a | :05:12. | :05:22. | |
plethora of delights. A fruit salad Said I've been around the world, | :05:22. | :05:26. | |
wrote a million songs. # It's all a bore to me. # | :05:26. | :05:29. | |
He was a fantastic entertainer. People loved him. I mean, people | :05:29. | :05:33. | |
loved to see him do his thing. # And I've lied to the dogs. It | :05:33. | :05:36. | |
never... He was very funny. He would do | :05:36. | :05:39. | |
something like go to the Central Tavern when there was 25 people | :05:39. | :05:43. | |
there. He'd play it like it was a Coliseum. "To all you people in the | :05:43. | :05:46. | |
back". And there's like, two, there's the guy at the door. | :05:46. | :05:51. | |
# But with my crystal sheen guitar. He was a rock star. He knew it, and | :05:51. | :05:54. | |
something about that, I'll speak for everyone, made us believe that | :05:54. | :05:56. | |
we were too. # Yeah, yeah. | :05:56. | :06:00. | |
I wanna get on an arena tour with some band, who cares? Warrant for | :06:00. | :06:04. | |
that matter. What the hell, go on tour with Warrant, just so we could | :06:04. | :06:08. | |
play arenas. That's the kind of crowd I like. Those are easy crowds. | :06:08. | :06:11. | |
Oh, you can say anything, you can say, "Your mother smells bad, | :06:11. | :06:14. | |
people," and they'll just go "Yeah, Yeah". There's certain people you | :06:14. | :06:18. | |
just know that you love and you'll do anything for them. You just | :06:18. | :06:22. | |
wanted him to be a rock star. You just saw it and were like, "I'm on | :06:22. | :06:26. | |
your team. I want to be anywhere near you." We're going down to LA | :06:26. | :06:32. | |
on Monday to record an album. # I'm trippin' on it now. | :06:32. | :06:35. | |
# It brings me home again. #Oh, oh, oh, oh, yeah. # | :06:35. | :06:39. | |
Do you think you're the band of the nineties? Do you think you're going | :06:39. | :06:43. | |
to be one of the forerunners? think so. I hope so. I mean, I | :06:43. | :06:47. | |
thought I always would be involved in the band of the nineties, so if | :06:47. | :06:51. | |
we're not the band of the nineties I'm gonna fire my band and get a | :06:51. | :06:55. | |
new one. Then they'll be the band of the nineties. Cos you know what | :06:55. | :07:00. | |
was weird. I was listening to the bottom end of all the songs, cos I | :07:00. | :07:03. | |
was kind of worried about Stardog, you know, and the bottom end of it, | :07:03. | :07:08. | |
and to me... The first guy that I called to see if he wanted to be my | :07:08. | :07:12. | |
roommate was Stone Gossard. He was living at home, I think, and he | :07:12. | :07:16. | |
answered the phone and he's like, "Yeah, no, I'm good. Um, I don't | :07:16. | :07:19. | |
really wanna. I don't really wanna change my living situation right | :07:19. | :07:23. | |
now." And he was at home so I thought that was a little weird. | :07:23. | :07:26. | |
But I thought, "Whatever, that's great". Um, and he said, "But Andy | :07:26. | :07:30. | |
just got out of rehab, and he might need a place". And I thought, "Well, | :07:30. | :07:34. | |
that'd be cool". I didn't really know him but I thought, "Well, that | :07:34. | :07:37. | |
would be interesting. He seems like an interesting guy, it would be | :07:37. | :07:41. | |
cool". I called Andy up and he's like, "Sure, I'm coming over." | :07:41. | :07:44. | |
Chris and Andy had a very deep relationship. I know that both of | :07:44. | :07:48. | |
them had four-tracks set up in their bedrooms, and they would each | :07:48. | :07:52. | |
try to record a song a day, and play it for the other guy. He just | :07:52. | :07:55. | |
had a freedom. He didn't edit anything that he did, anything that | :07:56. | :07:59. | |
he wrote, he didn't care. He just charged through the creative | :07:59. | :08:02. | |
process without a care in the world, and I was the opposite, | :08:02. | :08:05. | |
overanalyzing. And it was just a really exciting, creative time. | :08:05. | :08:09. | |
Thank you so much. As long as I've known the guy there's always been | :08:09. | :08:12. | |
different times where he wasn't comfortable with himself, and his | :08:12. | :08:15. | |
using drugs was a product of that too. If you know any addicts you | :08:15. | :08:19. | |
know that, you know, just because they quit for three months, doesn't | :08:19. | :08:22. | |
mean shit. And he was someone who definitely had a certain tragic | :08:22. | :08:26. | |
flaw. That's where his greatness came from. We knew that he was | :08:26. | :08:30. | |
trying to be sober. We knew that he was really, that he couldn't just | :08:30. | :08:33. | |
sustain, you know. You can't, you can't really be a junkie and be | :08:33. | :08:37. | |
super productive and like, I mean, maybe somebody can but he wasn't | :08:37. | :08:40. | |
going to be able to do it. That morning like, March 19th, 1990, | :08:40. | :08:44. | |
there was like, five messages from Xana, Andy's girlfriend at the time, | :08:44. | :08:54. | |
| :08:54. | :09:10. | ||
saying, you know, just hysterical. # Summer nights and long, warm days. | :09:10. | :09:15. | |
We all got in a taxi and went up to Harborview and he was on life | :09:15. | :09:19. | |
support at that point and it was a locking trip, man. I mean, it was | :09:19. | :09:22. | |
like the worst, most horrible, ah... It was confusing you know, it was | :09:23. | :09:26. | |
like, Andy OD'd and he's not dead but he's not gonna live, but he's | :09:26. | :09:30. | |
not dead. And you gotta come now. Whenever people would start to get | :09:30. | :09:34. | |
into drugs after that I'd always... I always thought like, I wish I had | :09:34. | :09:38. | |
a picture of Andy when he was in the hospital cos it, it was, it was | :09:39. | :09:42. | |
so horrible. He was kept alive for a couple of days and, I think, | :09:42. | :09:46. | |
mostly just so just family and friends could say goodbye or | :09:46. | :09:49. | |
whatever but it was... It was horrible. It's... It's difficult to | :09:49. | :09:52. | |
articulate it but, um, it's... You know, up to that point, I think, | :09:52. | :09:57. | |
life was really good for us as a... As a, just a group of musicians and | :09:57. | :10:01. | |
a scene making music. Um, it just... You know, the world was sort of our | :10:01. | :10:05. | |
oyster and we had support and we supported each other, and he was | :10:05. | :10:09. | |
kind of like this beam of light sort of above it all. And to see | :10:09. | :10:13. | |
him hooked up to machines, um... It... That was the, I think the | :10:13. | :10:16. | |
death of the innocence of the scene. It wasn't later when people | :10:16. | :10:20. | |
surmised that Kurt blowing his head off was the end of the innocence. | :10:20. | :10:30. | |
| :10:30. | :10:45. | ||
It was that. It was walking into that room. | :10:45. | :10:47. | |
# And I'm lost behind the words I'll never find. | :10:47. | :10:53. | |
And I'm left... So at this point I think everyone | :10:53. | :10:57. | |
really wants to take a break, for one, and just kind of let things | :10:57. | :11:01. | |
happen naturally to a certain extent to see where we wanna go | :11:01. | :11:05. | |
with it. You know, we're not in any huge rush to be rock stars at this | :11:05. | :11:08. | |
point. Andy's attitudes and personality were such an integral | :11:08. | :11:12. | |
part of Mother Love Bone that, ah, you know, you wouldn't be able to | :11:12. | :11:15. | |
replace him. It's just not in our minds. At least, it just... | :11:15. | :11:18. | |
Fiddle with the... You just lost all sound? Check. Hello, hello, | :11:18. | :11:22. | |
hello. In some ways, I was just thinking about this in the last | :11:22. | :11:25. | |
couple of days, that I can relate to the Clippers and the Nets. | :11:25. | :11:29. | |
Because I've kind of, I feel like my musical career has kind of been | :11:29. | :11:33. | |
that way, in that every time that it seems like it's starting to take | :11:33. | :11:36. | |
off, somebody goes down with an injury, coach gets fired, or | :11:36. | :11:39. | |
something happens. I remember Jeff saying, "Maybe I'm not supposed to | :11:39. | :11:44. | |
be doing this, you know. That was my shot and it's gone". I think if | :11:44. | :11:47. | |
my dad and I hadn't had such a contentious relationship at that | :11:47. | :11:50. | |
point, I probably would have left Seattle. I never felt like giving | :11:50. | :11:54. | |
up. No, I think I was writing songs days later, probably. You know, | :11:54. | :11:57. | |
playing my guitar and still just going, "I love playing my guitar". | :11:57. | :12:01. | |
I ended up playing with a really good friend of mine in town named | :12:01. | :12:05. | |
Mike McCready. We got together and we started playing in his parent's | :12:05. | :12:08. | |
attic. That's when I had the conversation. "We've got to get | :12:08. | :12:12. | |
Jeff Ament in the band". Jeff was playing with some other folks and I | :12:12. | :12:16. | |
think having a good time doing that. And my first instinct was like, "I | :12:16. | :12:19. | |
don't know". I remember him just saying, "Lock Jeff Ament". Or | :12:19. | :12:22. | |
something like that and I was kind of shocked. I was like, "Dude, | :12:22. | :12:32. | |
| :12:32. | :12:35. | ||
that's your guy. You've been with I was shocked. I was like, you have | :12:35. | :12:42. | |
been with him forever. He was like, no, you have to. And I was like, OK. | :12:42. | :12:47. | |
And then I was like, yes. We did a demo quickly after that with | :12:47. | :12:53. | |
Cameron. I was like, what are you doing with it? They said, we are | :12:53. | :12:58. | |
trying to get a singer. I was working at a job and making music | :12:58. | :13:02. | |
in my spare time. His instrumental tape migrated to me and started | :13:02. | :13:06. | |
bringing out emotions I had not touched on in a time. This natural | :13:06. | :13:10. | |
thing came out and all I did was record. I surfed one morning after | :13:10. | :13:16. | |
work and went unrecorded literally with the sand in my feet. I sent it | :13:16. | :13:25. | |
off that day. # Reach out to me | :13:25. | :13:34. | |
# I won't be home. # this is where his apartment was. | :13:34. | :13:39. | |
This is the place where I came over after he called me and said, I have | :13:39. | :13:46. | |
got this demo. I got this demo back from Eddie, and you should come | :13:46. | :13:52. | |
over and check it out. It is good. It was a voice on a tape that blew | :13:52. | :13:57. | |
my mind. It was kind of, who is this? Is this real? I remember | :13:57. | :14:07. | |
| :14:07. | :14:14. | ||
thinking, is this a real guy? Who I remember thinking about his voice. | :14:14. | :14:19. | |
I heard a real person in there. It was not a person trying to sound | :14:19. | :14:27. | |
like another person. I heard a guy. And there is my phone number on it. | :14:27. | :14:33. | |
I will call the number later in see if I can find a younger you. Tell | :14:33. | :14:43. | |
| :14:43. | :14:44. | ||
him to be careful. Hold on. Hi, I am Eddie Vedder. In Seattle, | :14:44. | :14:51. | |
I feel like I am kind of the new kid. I will be for a while. We flew | :14:51. | :14:55. | |
head up and hang out for a week and work on these songs in the basement | :14:55. | :15:01. | |
of Galleria Potatohead. It is nice to walk in that room and smell or | :15:01. | :15:06. | |
materials. There is a feeling of creativity. You hear your footsteps | :15:06. | :15:11. | |
as you go down into this basement. You just going and light it up. | :15:11. | :15:17. | |
remember her before he got on the plane, he said, when I get there, I | :15:17. | :15:23. | |
want you to go straight to the practice studio. The music sprouted | :15:24. | :15:28. | |
write off the bat. It was heartfelt and deep. We spent five days | :15:28. | :15:34. | |
rehearsing and on the sixth day, we played a show. It was in saying | :15:34. | :15:39. | |
that we were playing a show after being together for five or six days. | :15:39. | :15:49. | |
| :15:49. | :15:59. | ||
# Son, she said, have I got a little story for you. | :15:59. | :16:07. | |
# What you thought was your daddy was nothing but a... While you were | :16:07. | :16:16. | |
sitting home alone at age 13. # Your real daddy was dying. | :16:16. | :16:24. | |
# Sorry you didn't see him, but I'm glad we talked. Let's talk about | :16:24. | :16:32. | |
the hidden Eddie Vedder. Where was he? At he was terrified. | :16:32. | :16:41. | |
# I'm still a live there. It was hard for me at the beginning, | :16:41. | :16:46. | |
coming up and being part of a different place. It was not just a | :16:46. | :16:55. | |
neutral zone, it was there a lot -- He was coming from a different | :16:55. | :17:00. | |
place that I did not fully understand. I felt like, he is good. | :17:00. | :17:06. | |
And once I met him and saw how personable he was an excited and, | :17:06. | :17:12. | |
you know, we sent him music and two weeks later, we had music back. And | :17:12. | :17:18. | |
it was not Mother Love Bone. We got a few tapes, and they had all been | :17:18. | :17:28. | |
| :17:28. | :17:29. | ||
like tribute things. It took me years to understand Eddie. My dad, | :17:29. | :17:35. | |
he passed away before I knew he was my dad. So I grew up with this dad | :17:35. | :17:39. | |
and then I found out that he was not my dad, and the guy that was my | :17:39. | :17:48. | |
dad had already passed a few years earlier. | :17:48. | :17:53. | |
There are only two chords to this song. It will probably be really | :17:53. | :17:58. | |
boring on acoustic. Looking back, I realised that we all got together | :17:58. | :18:03. | |
in that room in that time, and I was still thinking about stuff with | :18:03. | :18:08. | |
my dad and loss and all that. And they were thinking about having | :18:08. | :18:12. | |
been through with the situation with Andy, so in ways, we were | :18:12. | :18:16. | |
strangers, but we were coming from a similar place. And all of that | :18:16. | :18:26. | |
| :18:26. | :18:32. | ||
kind of came out in the first batch Release was kind of a droned jam | :18:32. | :18:35. | |
that we were messing around with in the basement the first week that Ed | :18:35. | :18:40. | |
came up. It was one of those songs that he just started singing and | :18:40. | :18:47. | |
these words came out of him. # Oh, dear Dad. | :18:47. | :18:56. | |
# Can you see me now? # I am myself. | :18:56. | :19:06. | |
| :19:06. | :19:08. | ||
# Liked you, somehow. # I will ride the wave it. | :19:08. | :19:18. | |
# Where it takes me. # I will hold the pain. | :19:18. | :19:27. | |
# Release me. I remember the first time we played that song, right at | :19:27. | :19:32. | |
the end of it, he sort of ran away around the corner. I was thinking | :19:32. | :19:38. | |
about my dad at, and afterwards it got me all tore up. I went into the | :19:38. | :19:46. | |
little hallway, and then Jeff came out and said, are you OK? | :19:46. | :19:56. | |
| :19:56. | :20:01. | ||
# Oh, dear John. So this one here is my dad or. I | :20:01. | :20:10. | |
met him a few times. But he was just like a friend of the family. | :20:10. | :20:15. | |
Edward Louis Severson. When I was born, that was my name. So he is | :20:15. | :20:25. | |
| :20:25. | :20:25. | ||
kind of up there for me somewhere. # Release me. | :20:25. | :20:35. | |
| :20:35. | :20:35. | ||
Apology for the loss of subtitles for 49 seconds | :20:35. | :21:25. | |
# I am, Reach Down. # And pick the crowd up. | :21:25. | :21:35. | |
# And carried back in my hand. # To the promised land. | :21:35. | :21:44. | |
And the camaraderie and the healthy competition part, I found later, | :21:44. | :21:51. | |
was unusual. Johnny Ramones pointed that out to me later, talking about | :21:51. | :21:55. | |
the friendship he saw between Pearl Jam and some garden, and saying, I | :21:55. | :22:00. | |
have never seen that before. New York was not like that. We would | :22:00. | :22:05. | |
school each other up. The best thing about it is, I think that you | :22:05. | :22:10. | |
learn from each other and you are inspired by each other. For me, | :22:10. | :22:17. | |
Temple of the Dog Grout of that. After Andy past, Chris judge wrote | :22:17. | :22:23. | |
these songs. We were going to recorded with the surviving members | :22:23. | :22:31. | |
of Mother Love Bone. # I don't mind stealing bread from | :22:31. | :22:40. | |
the mouths of decadence. # But I can't feed on the powerless | :22:40. | :22:49. | |
when my cup's already overfilled. # Yeah. | :22:49. | :22:54. | |
It was a fun record that nobody had any expectations for, and that made | :22:54. | :22:59. | |
it feel very fresh. For him, to write songs and have the idea of | :22:59. | :23:03. | |
sharing those songs with Jeff and I was like another generous gesture | :23:03. | :23:08. | |
that said, I will not only help you guys with this record, but I will | :23:08. | :23:13. | |
even ask your new singer, who is just the age shy Di and I have not | :23:13. | :23:19. | |
heard his voice yet, but I saw you guys and maybe he can sing. | :23:19. | :23:25. | |
# I don't mind stealing bread from the mouths of decadence. And then | :23:26. | :23:35. | |
| :23:36. | :23:36. | ||
you hear it and go, well away. Our guy sings really good, too. | :23:36. | :23:42. | |
# I can't feed off the powerless when my cup's already overfilled. | :23:42. | :23:47. | |
Eddie was very shy at the beginning. He was self-conscious. He was not | :23:48. | :23:57. | |
| :23:58. | :23:59. | ||
fully comfortable, until we went out one night. | :23:59. | :24:05. | |
# And it is all on the table. # Their mouths are choking. | :24:05. | :24:15. | |
| :24:15. | :24:16. | ||
# But I'm going hungry. He really embraced Eddie when he first moved | :24:16. | :24:21. | |
up here. Sometimes I wonder if that was a void that he felt from Andy's | :24:21. | :24:26. | |
passing. Having another equally talented singer that he could | :24:26. | :24:31. | |
bounce ideas off or relate to. I know Eddie felt a real mentor | :24:31. | :24:37. | |
should, and I think that gave him confidence. | :24:37. | :24:47. | |
| :24:47. | :24:51. | ||
# I'm going hungry. It was the first time I heard | :24:51. | :24:55. | |
myself on a real record, so it could be one of my favourite songs | :24:55. | :25:02. | |
that I have ever been on, or the most meaningful. | :25:02. | :25:12. | |
| :25:12. | :25:34. | ||
# I don't mind stealing bread. Where is Stone Gossard when we need | :25:34. | :25:44. | |
| :25:44. | :25:50. | ||
him? Where is he? Oh, my God. went to Vancouver to open for Alice | :25:50. | :26:00. | |
in Chains. Played at this place called The Town Pump. During the | :26:00. | :26:08. | |
song Breath, security was taking out some drunk guy. Watchet, you | :26:08. | :26:15. | |
guys. They just took him out. were being overly aggressive. And | :26:15. | :26:25. | |
| :26:25. | :26:31. | ||
Ed noticed that. And you could just see this change come over him. | :26:31. | :26:35. | |
This guy that had been shy, that people did not really know, all of | :26:35. | :26:39. | |
a sudden his voice changes, his attitude changes, he just got | :26:39. | :26:49. | |
| :26:49. | :27:11. | ||
They are known as Mookie Blaylock, but not any more. We had some legal | :27:11. | :27:15. | |
problems. The name was taken by this guy named Mookie Blaylock! | :27:15. | :27:21. | |
Mookie Blaylock and Michael Jordan. They played yesterday. The Bulls | :27:21. | :27:29. | |
won. He knows we are changing the name. So the new name is Pearl Jam. | :27:29. | :27:34. | |
We will not cultivate anything today. | :27:34. | :27:41. | |
# Why go home? Why go home? # She seems to be stronger, but | :27:41. | :27:46. | |
what they want is for her to be weak. | :27:46. | :27:51. | |
# She could just pretend. # She could join in the game. | :27:51. | :28:01. | |
| :28:01. | :28:01. | ||
# She could be another clone. you guys have a lot of other stuff | :28:01. | :28:07. | |
going on almost as we speak? Yeah, we are going to the city tomorrow | :28:07. | :28:17. | |
| :28:17. | :28:30. | ||
to make our first album. I was selling merchandise at the | :28:30. | :28:35. | |
time, and you can only just take so much stuff into Canada. Everything | :28:35. | :28:39. | |
we brought, a broad based on what we have been selling until then. | :28:39. | :28:43. | |
That night, before the opening band had even finished, I had sold out | :28:43. | :28:47. | |
of everything we brought across. I had nothing to do for the rest of | :28:47. | :28:51. | |
the night, so I grabbed my camera and film to the show. Things were | :28:51. | :29:01. | |
| :29:01. | :29:03. | ||
taking off. # Why go home? Why go home? | :29:03. | :29:09. | |
This is our CD. You can barely see this. I hate holding a CD. I want | :29:09. | :29:19. | |
| :29:19. | :29:25. | ||
to hold up an album. # Why go home? Why go home? Why go | :29:25. | :29:35. | |
| :29:35. | :29:48. | ||
The band was doing 10 times as well as I never thought we would, get | :29:48. | :29:58. | |
| :29:58. | :30:02. | ||
him to play shows almost every day. The band's chemistry seems really | :30:02. | :30:10. | |
good right now. Yeah, very much a family. Being on the road, touring, | :30:10. | :30:16. | |
what is the strangest thing that has happened to you? I would like | :30:16. | :30:22. | |
to thank the Smashing Pumpkins for letting me borrow the wardrobe. | :30:22. | :30:30. | |
looks better than you do! We showed up in Zurich, Switzerland, and the | :30:30. | :30:35. | |
venue was almost like an art house. The stage was as big as our drum | :30:35. | :30:40. | |
riser. We were, what are we going to do? We were ready to change | :30:40. | :30:43. | |
something up and we asked the locals to give us the acoustic | :30:43. | :30:46. | |
instruments and we could do an acoustic set. We had never done | :30:46. | :30:56. | |
| :30:56. | :31:20. | ||
And then it was the next day, and somebody asked if we could do MTV | :31:20. | :31:30. | |
| :31:30. | :31:38. | ||
Unplugged. We said, yeah, we could # I know some day you'll have a | :31:39. | :31:42. | |
beautiful life # I know some day you'll be a star | :31:42. | :31:47. | |
in somebody else's Sky. # It's the true story, something I | :31:47. | :31:57. | |
| :31:57. | :32:05. | ||
really felt, and I still feel every A lot of your songs are on the dark | :32:05. | :32:10. | |
side. Is there any reason for that, is it mostly what you see? | :32:10. | :32:15. | |
emotions. I should be really happy right now. I get to play shows and | :32:15. | :32:19. | |
it has been amazing. But my emotions are like a quarter flicked | :32:19. | :32:23. | |
in the air, black-and-white, good and bad, constantly. Maybe by | :32:23. | :32:27. | |
talking about things that may be darker, more on the negative side | :32:27. | :32:32. | |
of our existence, by dealing with them, maybe that is where I find my | :32:32. | :32:38. | |
happiness. # We belong together | :32:38. | :32:44. | |
# Together # We belong | :32:44. | :32:54. | |
| :32:54. | :33:00. | ||
Unperturbed NTV said they thought that was one of the best. Is it | :33:00. | :33:04. | |
nice to get that kind of response, especially when it is stripped | :33:04. | :33:08. | |
down? I don't trust nobody, especially when they say something | :33:08. | :33:18. | |
| :33:18. | :33:18. | ||
Apology for the loss of subtitles for 49 seconds | :33:18. | :34:08. | |
good. If I even see you having fun, They played at three in the | :34:08. | :34:12. | |
afternoon, the second group. But the frenzy during their set got | :34:12. | :34:20. | |
more and more extreme as the tour went on. | :34:21. | :34:25. | |
It was a whirlwind. We went from little clubs to bigger clubs, and | :34:25. | :34:32. | |
then everything blew up. I remember not being able to sleep for entire | :34:32. | :34:35. | |
nights after the show because you were so buzzed. I found out years | :34:35. | :34:41. | |
later that if I today Bath, that would put me to sleep. -- if I took | :34:41. | :34:51. | |
| :34:51. | :35:06. | ||
Is it like, you were just walking down the street one day and all of | :35:06. | :35:09. | |
a sudden you feel you are getting a lot more exposure by a lot more | :35:09. | :35:13. | |
people coming up to you? When would you start noticing that all of a | :35:13. | :35:19. | |
sudden, you know, millions of people are like, yeah, exactly? | :35:19. | :35:23. | |
try not to think about that as much as we can. We try not to think | :35:23. | :35:29. | |
about that as much as we can. Think about that sentence, America. Think | :35:29. | :35:37. | |
about it. Back with Eddie and Mike of the band Pearl Jam. The album is | :35:37. | :35:42. | |
called 10. Why is that? It is back to Mookie Blaylock, total | :35:42. | :35:48. | |
dedication to him. We are about to blow your video for Alive. Did you | :35:49. | :35:53. | |
like making the video? We did not make a video. There is no way with | :35:53. | :35:56. | |
a song like that, which talks about living for the moment, that we | :35:56. | :36:00. | |
would lips sink something we had recorded months ago. I wonder what | :36:00. | :36:05. | |
we will do for another video, because we only want to do live. | :36:05. | :36:08. | |
You cannot see ourselves making some sort of conceptual video, or | :36:08. | :36:18. | |
| :36:18. | :36:34. | ||
# At home, pictures of mountain tops | :36:34. | :36:39. | |
# With him on top # Lemon yellows San. # | :36:39. | :36:44. | |
I have no problem with the idea of a concert video at all. It is like | :36:44. | :36:52. | |
giving up some control this time and seeing how it works. That song | :36:52. | :36:56. | |
was part of the second wave of songs that we wrote with Ed. I | :36:56. | :36:59. | |
still did not understand songwriting at that point. That | :36:59. | :37:03. | |
whole song is pretty much in the cord of a. There are no chord | :37:03. | :37:07. | |
changes in the song. It goes against the rules of how to write a | :37:07. | :37:10. | |
pop song. He had been reading a newspaper when we were starting to | :37:10. | :37:14. | |
jam on the song and he wrote the entire lyrics of the newspaper | :37:14. | :37:19. | |
article. Making that video, he did such a great job at making you see | :37:19. | :37:25. | |
how heavy the lyric was. He seemed embarrassed about it. It seems a | :37:25. | :37:31. | |
valid artistic thing to be doing. It is a different kind of focus. | :37:31. | :37:37. | |
That is the key to it, just focusing. But like with a camera, | :37:37. | :37:47. | |
| :37:47. | :37:47. | ||
Apology for the loss of subtitles for 49 seconds | :37:47. | :38:39. | |
that is just... You know, I am just Yeah! We have never played for this | :38:39. | :38:43. | |
many people before. Never thought we would ever play for this many | :38:43. | :38:53. | |
people. Are you ready for one more? 1, two, three. | :38:53. | :38:57. | |
# You dare not leave a message # At least I could have heard a | :38:57. | :39:02. | |
voice one last time # Would you hear me? | :39:02. | :39:12. | |
| :39:12. | :39:15. | ||
# Would you hear me # This could be the day | :39:15. | :39:17. | |
# Hold my hand # Walk beside me | :39:17. | :39:27. | |
| :39:27. | :39:27. | ||
Apology for the loss of subtitles for 49 seconds | :39:27. | :40:08. | |
Yeah, lots of times. Especially when our singer starts climbing on | :40:08. | :40:18. | |
| :40:18. | :40:18. | ||
the ceiling, 50 ft above the stage. Don't do that! Are you worried he | :40:18. | :40:23. | |
will fall down? All of the time. I thought, he is going to have fallen | :40:23. | :40:33. | |
| :40:33. | :40:59. | ||
kill himself. I was worried every Over the years, he would get higher | :40:59. | :41:03. | |
and higher. He would not shift it up, because he is survived the last | :41:03. | :41:07. | |
one. We are going to take this to some level that people will not | :41:07. | :41:17. | |
| :41:17. | :41:21. | ||
forget. If that means risking your We would get to the hotel after the | :41:21. | :41:25. | |
show then feel pretty good, physically. Then I would take a | :41:25. | :41:32. | |
shower and realise I had 1000 deep scratches on my back. I did not | :41:32. | :41:36. | |
want him to hurt himself, but at the same time, there was no talking | :41:36. | :41:40. | |
to him. He was going to do what he was going to do. He could have | :41:40. | :41:44. | |
killed himself a couple of times, probably, for sure. Which would | :41:44. | :41:51. | |
have been more than I could have taken. | :41:51. | :41:56. | |
You look quite mixed up. I will show you these pictures and you | :41:56. | :42:00. | |
will see why I look the way I do. It is a little bit overwhelming to | :42:00. | :42:04. | |
see this many people. I am sure you have been looking at this all day. | :42:04. | :42:09. | |
It is a lot of people. We are used to playing small clubs, and we want | :42:09. | :42:16. | |
to go back to playing small clubs. He wanted Pearl Jam to be a band | :42:16. | :42:19. | |
that goes out and tours in a van and pays its dues and plays in | :42:19. | :42:24. | |
clubs and makes albums and as a slow, natural life. He did not want | :42:24. | :42:29. | |
to come out and have overnight success. He was critical about the | :42:29. | :42:33. | |
mix has, he thought maybe they were too commercial. He was really | :42:33. | :42:40. | |
reluctant. You are also not going to be doing videos right away at | :42:40. | :42:46. | |
least. We just do not know. Our mind is on music, which is probably | :42:46. | :42:56. | |
| :42:56. | :42:56. | ||
a good thing for everybody. cumin 1 earlier than I normally do. | :42:56. | :43:01. | |
I still did four, so it almost felt like I did one too many. Let's do | :43:01. | :43:11. | |
| :43:11. | :43:11. | ||
Apology for the loss of subtitles for 49 seconds | :43:11. | :44:02. | |
A lot of my job is taking what they bring and turning it into something. | :44:02. | :44:08. | |
This is a chord change, this is a melody. But what does that mean? If | :44:08. | :44:18. | |
| :44:18. | :44:26. | ||
I close my eyes, where am I? What I was in a small coffee shop and | :44:27. | :44:33. | |
someone came up and stopped me, and the waitress witnessed it and said | :44:33. | :44:39. | |
oh, you are... And I said, you know. She said, you don't like it? I said, | :44:39. | :44:43. | |
it is no big deal. And she said, if you don't like it, you picked the | :44:43. | :44:48. | |
wrong business to be in. And she had a good point. When you are | :44:48. | :44:51. | |
sitting in your room, playing guitar, you don't have to worry | :44:51. | :45:01. | |
| :45:01. | :45:07. | ||
I had done the movie Say Anything... And was anxious to do the next | :45:07. | :45:13. | |
movie in Seattle, and it would have the mix of music that I love. The | :45:13. | :45:16. | |
studio of that the movie and said, we do it now have to sell this | :45:16. | :45:22. | |
movie. We don't want to put it out. But as Nirvana and Pearl Jam got | :45:22. | :45:28. | |
bigger, they came to me and said, there is one way. When we looked at | :45:28. | :45:32. | |
the schedule, there was one day off that week, and that was the day you | :45:32. | :45:39. | |
wanted us to play. Any memories of the singles party in Los Angeles? | :45:39. | :45:47. | |
We have vivid footage. You have footage of that? We do. I will not | :45:47. | :45:56. | |
watch that. It was pretty bad. are all just warming up. It is one | :45:57. | :46:03. | |
of these things. In it was a total disaster. Everybody loves us. | :46:03. | :46:11. | |
Everybody loves our town. There were some long soundtracks -- sound | :46:11. | :46:17. | |
checks that day, and so I drank one bottle of wine. And then there was | :46:17. | :46:24. | |
another that I opened to give to friends who were not drinking. | :46:24. | :46:27. | |
went downstairs and there was a bottle of tequila. We hardly ever | :46:27. | :46:37. | |
| :46:37. | :46:40. | ||
drank before the show, but by that point, we were already wasted. | :46:40. | :46:46. | |
monitors were not working that well. And my ears were not working. I | :46:46. | :46:49. | |
kept asking them to turn the monitors up, and it would not turn | :46:49. | :46:57. | |
up. After a while, I just got upset and pulled this drape down. And I | :46:57. | :47:00. | |
looked over and there was the lighting person. I kept wandering, | :47:01. | :47:10. | |
| :47:11. | :47:11. | ||
why is it getting brighter in here? I will do this one myself. I began | :47:11. | :47:15. | |
to see studio executives and their families started to stream for the | :47:15. | :47:25. | |
| :47:25. | :47:28. | ||
exits. Fights were breaking out. Don't be violent! | :47:28. | :47:35. | |
# Hai, that's something. Because we had waited so long for anyone to | :47:36. | :47:40. | |
ask us to do something, we were saying yes. But that was a moment | :47:40. | :47:44. | |
where it was evident that there would always be one more thing they | :47:44. | :47:54. | |
| :47:54. | :47:54. | ||
would want you to do. At some point, you have to say no. That was the | :47:54. | :48:04. | |
| :48:04. | :48:07. | ||
Oh, hey, oh...ee-oo, zama dama dingy do. Billboard numero uno, oh | :48:07. | :48:09. | |
yeah. Oh, ee-oo, zama mama dingy dong. Covero Time Magazine-o, oh, | :48:09. | :48:19. | |
| :48:19. | :48:36. | ||
Let's keep things rolling here. Grunge rockers, Pearl Jam. | :48:37. | :48:46. | |
| :48:47. | :48:47. | ||
# Everybody loves us. Everybody loves our town. Things got crazy. | :48:47. | :48:57. | |
| :48:57. | :49:01. | ||
It was all summer. We are just about to launch MTV in Latin | :49:02. | :49:06. | |
America. I don't know if you feel comfortable do a couple of IDs for | :49:06. | :49:15. | |
us in Spanish? Spanish is interesting? Somos Pearl Jam. E | :49:15. | :49:20. | |
esto es MTV. What do you think grunge means? I would not even news | :49:20. | :49:26. | |
that word. Everyone is talking about Pearl Jam. I have always | :49:26. | :49:30. | |
hated their band. The first programme record came out two | :49:30. | :49:35. | |
months before the Never mind record, so it came -- became a pearl Jam | :49:35. | :49:42. | |
versus Nirvana thing. He said at nirvana's music was too commercial. | :49:42. | :49:47. | |
I was so naive and fresh where we first came out. And then everyone | :49:47. | :49:53. | |
looked at it from a cynical point of view or started copying it. | :49:53. | :50:03. | |
| :50:03. | :50:09. | ||
Eddie Vedder joins Creed front man. Eddie you various attempted to rip | :50:09. | :50:19. | |
| :50:19. | :50:20. | ||
him out. Pearl Jam. Pearl Jam. Pearl Jam. Pearl Jam. Pearl Jam. | :50:20. | :50:24. | |
Pearl Jam will become the second Seattle band in a month to enter | :50:24. | :50:28. | |
the billboard pop album chart at number one next week. Since his | :50:28. | :50:35. | |
Release a week ago, Versus has sold 950,000 copies. A million. I am | :50:35. | :50:40. | |
having a hard enough time with one right now. We played such a thing I | :50:40. | :50:44. | |
live for the second time and I talked to Stone the next day, and | :50:44. | :50:50. | |
he said, what did you think of Daughter? And I thought, we played | :50:50. | :50:55. | |
Daughter? I essentially black out on TV. That was how I dealt with | :50:55. | :51:01. | |
how big we got. I bought into the myth, and it was killing me. | :51:01. | :51:06. | |
last time I talked to curb, we agreed that we would not | :51:06. | :51:10. | |
participate in the Time magazine interview. And then they put me on | :51:10. | :51:17. | |
the cover anyway. Sure, I read it on the plains, but I don't take it | :51:17. | :51:21. | |
seriously. If you want to find out anything, I am not going to read | :51:21. | :51:25. | |
Time magazine. Time magazine is your parents' magazine or the one | :51:25. | :51:30. | |
in the doctor's office. And I thought wow, we have been swallowed | :51:30. | :51:35. | |
up by the mainstream. No one will want to listen to us. I am not | :51:35. | :51:39. | |
going to read Newsweek. These magazines have too much to lose by | :51:39. | :51:49. | |
| :51:49. | :52:24. | ||
printing the truth. You know that. The # Trains and spills, soaks the | :52:24. | :52:34. | |
| :52:34. | :53:13. | ||
# Stab it down. # Fill the pages. | :53:13. | :53:23. | |
| :53:23. | :53:56. | ||
How were you going to survive and not do something wrong? Now you | :53:56. | :54:00. | |
have sold too many records, but these people are so happy to hear | :54:00. | :54:04. | |
your music. But these people hate you now. And these people love you | :54:04. | :54:10. | |
so much that they want to kill you. So how do you relate any of these | :54:10. | :54:18. | |
people from where you are? The One That I Want to get in personal with | :54:18. | :54:22. | |
was No Code, because its dock are problems. I built a wall in front | :54:22. | :54:30. | |
of the House. Why? Because I have been open and honest and intimate | :54:30. | :54:38. | |
in lyrics. Now I have to build a wall in front of my house. That | :54:38. | :54:44. | |
wall saved my life. Not because of privacy or anything, but literally | :54:44. | :54:53. | |
because someone tried to drive into the house at 50 miles an hour. So | :54:53. | :55:01. | |
you wonder what happened. How did it mutate into this situation? You | :55:01. | :55:07. | |
will have to edit this part. young musician who made grunge | :55:08. | :55:11. | |
music popular became an overnight spokesman for many disaffected | :55:11. | :55:16. | |
young Americans as his fans tried to sort out what caused him to take | :55:16. | :55:23. | |
his life. I was trying to tell them, don't hurt me. And what is this | :55:23. | :55:27. | |
nonsense about how terrible life is? A young girl who stood outside | :55:27. | :55:32. | |
his home in Seattle, with tears streaming down her face, said, it | :55:32. | :55:35. | |
is hard to be a young person nowadays. He helped open young | :55:35. | :55:39. | |
people's eyes to our struggles. Please wipe the tears from your | :55:39. | :55:43. | |
eyes, dear, you are breaking my heart. I would love to relieve the | :55:43. | :55:50. | |
pain you are going through by switching my age for yours. I was | :55:50. | :55:54. | |
trying to call him because I had read something he said that he | :55:54. | :55:58. | |
could not keep it real. I just wanted to tell him, you don't have | :55:58. | :56:03. | |
to do anything anybody tells you to do. Just stop playing and don't do | :56:03. | :56:07. | |
anything. I had a whole thing I was going to tell him, but I never got | :56:07. | :56:12. | |
the chance. Sometimes people and have you whether you like it or not. | :56:12. | :56:19. | |
It is easy to fall. I don't think any of us would be in this room | :56:19. | :56:29. | |
tonight if it were not for Kurt Cobain. People think that we are | :56:29. | :56:33. | |
whining or crying about success if we are just trying to tell you that | :56:33. | :56:37. | |
there are some intense pressures and some things that could be | :56:37. | :56:46. | |
helped. # How much difference does it make? | :56:46. | :56:56. | |
| :56:56. | :56:59. | ||
A # How much difference does it He resonates in my life. It always | :56:59. | :57:04. | |
comes up around a camp fire or play music with a few guys in a garage | :57:04. | :57:14. | |
| :57:14. | :57:15. | ||
for no particular reason. I always think, he would have liked this. | :57:15. | :57:25. | |
| :57:25. | :57:27. | ||
Tha # I will halt the Campbell to live burns up my arm. | :57:27. | :57:33. | |
He is a nice person. I did not like him a lot when I was talking | :57:33. | :57:38. | |
rubbish about him all the time, but now I can appreciate him. I have | :57:38. | :57:42. | |
realised that the same people that like our band like their band, so | :57:42. | :57:51. | |
why create a feud over something? # I will not change direction. | :57:51. | :57:56. | |
made us think about everything we did. His critique of us early on | :57:56. | :58:00. | |
kept us on good behaviour in terms of everything we did. We would | :58:00. | :58:08. | |
are good now, it is partly because of him. | :58:08. | :58:13. | |
# How much difference does it may ache? | :58:13. | :58:18. | |
It is not like you of friends or anything. Well, I consider him a | :58:18. | :58:22. | |
person that I like. We have had conversations on the phone and he | :58:22. | :58:27. | |
is a nice person. I remember the sound of his voice, Omar but I | :58:27. | :58:37. | |
| :58:37. | :58:56. | ||
don't remember what we talked about. I have not let myself change, but | :58:56. | :59:02. | |
the way people see you changes, and that is not in my hands. Maybe what | :59:02. | :59:07. | |
is in my control is not doing interviews or not being on MTV and | :59:07. | :59:14. | |
not anything to glorify your face or position. I was talking about | :59:14. | :59:20. | |
this band being a bit more viceless. It can be done. Pink Floyd. It can | :59:20. | :59:30. | |
| :59:30. | :59:33. | ||
Eddie could not be anonymous and it was affecting him. So, | :59:33. | :59:38. | |
psychologically, he needed to take control of something. So then he | :59:38. | :59:48. | |
| :59:48. | :59:50. | ||
was like, OK, I can have control I felt that anything we put out was | :59:50. | :59:54. | |
highly representative of me because I was kind of becoming the most | :59:54. | :00:02. | |
recognisable guy. # Vacate is the word | :00:02. | :00:08. | |
# Vengeance has no place on the or # Cannot find the comfort in this | :00:08. | :00:16. | |
Vitology was the first record where it was making a record in a | :00:16. | :00:22. | |
different way. All of a sudden I was like, wait a minute, I'm the | :00:22. | :00:26. | |
guy, ready to get in there and do this thing. At the time I thought | :00:26. | :00:31. | |
it was our best record. dynamics of the band, how they have | :00:31. | :00:41. | |
| :00:41. | :00:58. | ||
changed as to who was in power. # Lives opened and trashed | :00:58. | :01:02. | |
# Watch me crash # No time to question | :01:02. | :01:06. | |
# Why did nothing last # Grasp and hold on | :01:06. | :01:10. | |
# We are dying fast # Is soon be over | :01:10. | :01:19. | |
# I will relent. # As much as I am excited to play, it | :01:19. | :01:24. | |
is a surfing tour. I plan on adding a surf board at all times. It was a | :01:24. | :01:29. | |
big tour, the first time we went to Australia. White it was challenging, | :01:29. | :01:35. | |
to go, I don't know if we have the same band. We might be a different | :01:35. | :01:45. | |
| :01:45. | :01:54. | ||
band right now and maybe they will WAG we have always had his | :01:55. | :01:57. | |
adversarial relationship. It has been muted because all we thought | :01:57. | :02:02. | |
of as our new band was immediately taken over by Ed. We learnt that as | :02:02. | :02:05. | |
you are fighting over the scraps of control you meet somebody with so | :02:05. | :02:15. | |
| :02:15. | :02:17. | ||
much artistic energy that your # Let my spirit pass | :02:17. | :02:27. | |
| :02:27. | :02:38. | ||
# MRS, this is, We were always going towards | :02:38. | :02:41. | |
something else. We wanted to be like Zeppelin, a chameleon of a | :02:42. | :02:46. | |
band, not locked into a specific style. But the business of the | :02:46. | :02:50. | |
record company is all about locking make the money now and locking wine | :02:50. | :02:53. | |
this thing up. They could care less if it is gone tomorrow because they | :02:53. | :02:57. | |
had something coming off the backside that will replace it. We | :02:57. | :03:00. | |
were trying to figure out how to be a bands down the road. There was | :03:00. | :03:06. | |
not anybody to go to at that point until we met Neil. The first time | :03:06. | :03:10. | |
we got asked to play the bridge school in San Francisco, we made a | :03:10. | :03:14. | |
connection and said, thank you. A few months later, he asked us to go | :03:14. | :03:20. | |
to Europe with him. It seemed like a dream to me. | :03:20. | :03:30. | |
| :03:30. | :03:33. | ||
# There's colours on the street And it was so educational listening | :03:33. | :03:38. | |
to him talking about his career, playing in stadiums, then in clubs, | :03:38. | :03:41. | |
then in medium-sized places, but all along doing what he wants to do. | :03:41. | :03:51. | |
| :03:51. | :03:53. | ||
His point is to roll with the # Keeper on rocking in the free | :03:53. | :04:00. | |
world. # Meeting Neil Young and his impact | :04:00. | :04:03. | |
on the band, making this record with the band, he remade a record | :04:03. | :04:08. | |
with the band and not Eddie. In my mind, he was almost saying, come on, | :04:08. | :04:18. | |
| :04:18. | :04:20. | ||
you guys are great. At the time, we I am happy to finally have an adult | :04:20. | :04:24. | |
in my lies that leads by example. I have had some crazy adults in my | :04:24. | :04:34. | |
| :04:34. | :04:43. | ||
life so it is about time I got one I hope Neil is feeling feisty | :04:43. | :04:52. | |
tonight. And speaking of a feisty, some smart arse, who arranged the | :04:52. | :05:00. | |
tables, put our table right next to a Ticketmaster at's table over here. | :05:00. | :05:05. | |
-- right next to Ticketmaster's table. I predict a food fight by | :05:05. | :05:10. | |
the end of the evening. And I would recommend the classy people over | :05:10. | :05:14. | |
there to scoot away, or to join in. Maybe we should all join in while | :05:14. | :05:21. | |
we have got them right here. In the United States, the hit rock | :05:21. | :05:25. | |
band Pearl Jam has taken battle against what it claims is the greed | :05:25. | :05:28. | |
of the entertainment industry. It is tackling the high cost of buying | :05:28. | :05:32. | |
from the biggest ticket agency, Ticketmaster. All that the band | :05:32. | :05:39. | |
once, it says, is a fair deal for the fans. We do not want to be | :05:39. | :05:44. | |
doing a press conference. We want to be playing. The nation's top | :05:44. | :05:48. | |
rock band is accusing the biggest ticket distributor of unfair | :05:48. | :05:52. | |
practices. If they do not agree to Ticketmaster's terms, they cannot | :05:52. | :05:57. | |
perform. A spokesman insisted Ticketmaster never told any | :05:57. | :06:01. | |
promoter not to book Pearl Jam. He dismissed them as petulant young | :06:01. | :06:04. | |
children who ascribed to Business anarchy. | :06:04. | :06:08. | |
The band took the extraordinary step of filing a complaint at the | :06:08. | :06:13. | |
Justice Department. When you're on that big a stage, it is not in your | :06:13. | :06:17. | |
control. You are part of a larger drama. We had a specific problem | :06:17. | :06:21. | |
with Ticketmaster, and they asked us to testify about our problem in | :06:21. | :06:26. | |
regards to a larger lawsuit. But it has been perceived as us trying to | :06:26. | :06:31. | |
break up Ticketmaster. We are honoured to have representatives of | :06:31. | :06:36. | |
Pearl Jam and Ticketmaster here today. The question is whether | :06:36. | :06:39. | |
recent contractual agreements between Ticketmaster and most major | :06:39. | :06:43. | |
stadiums and concert promoters have violated federal anti-trust laws. | :06:43. | :06:50. | |
Who would like to go first? Stone? All of them looked up the members | :06:50. | :06:53. | |
of Pearl Jam remember what it is like to be young and not have a lot | :06:53. | :06:57. | |
of money. Many fans are teenagers who did -- do not have the money to | :06:57. | :07:01. | |
pay $30 or more that is often charged for tickets. We have made a | :07:01. | :07:05. | |
decision that we do not want to put prices out of the reach of fans. | :07:05. | :07:09. | |
Fans can go from one music store to another to find the best deal on a | :07:09. | :07:13. | |
CD but can go nowhere but Ticketmaster for concert tickets. | :07:13. | :07:18. | |
Do you think Ticketmaster is entitled to a profit? I do not | :07:18. | :07:22. | |
think that matters. You have a contract with your racket company | :07:22. | :07:27. | |
and that is exclusive, is that correct? I think this line of | :07:27. | :07:29. | |
questioning is very strange because what does that have to do with | :07:29. | :07:34. | |
anything? The issue is whether Ticketmaster is a monopoly. It has | :07:34. | :07:40. | |
nothing to do with our business or our relationship with our manager. | :07:40. | :07:46. | |
Mr Worner, do you want these guys to play at Long Beach? What I want, | :07:46. | :07:56. | |
| :07:56. | :08:00. | ||
is a record here. Let's just get it First of all, I want you to know | :08:00. | :08:05. | |
that I think you are a darling. This is great. When we got involved | :08:05. | :08:09. | |
in this issue, I did not know very much and I still do not about | :08:09. | :08:14. | |
alternative music. I tried to learn some pearl Jam songs. But I think | :08:14. | :08:21. | |
it's a little beyond me. Having been a fan for many years, I don't | :08:21. | :08:25. | |
want to become something that I despised as a kid. When my staff | :08:26. | :08:29. | |
told me we were going to have this hearing, I knew nothing about | :08:29. | :08:32. | |
grunge. But I know a lot about the importance of fairness and equity | :08:32. | :08:38. | |
and I think you have raised some important questions. Who are the | :08:38. | :08:41. | |
powers that be that wanted to be perceived as putting pressure on | :08:41. | :08:46. | |
Ticketmaster? Those are backroom David Lynchian guys in hotel rooms | :08:46. | :08:53. | |
with oxygen tanks, darkened LA. That is what I think of. It is like, | :08:53. | :08:59. | |
he understands. Almost a year after picking its fight with Ticketmaster, | :08:59. | :09:03. | |
Pearl Jam remains alone among major rock bands who could have joined | :09:03. | :09:08. | |
the group in its boycott but never did. It is a few lonely voices | :09:08. | :09:13. | |
because not many groups joined up. There is no deal with us and | :09:13. | :09:19. | |
Ticketmaster. We are not playing Ticketmaster shows this summer. | :09:19. | :09:29. | |
| :09:29. | :09:30. | ||
# Restless soul, enjoy your youth # Like Mohammed, hits the truth. # | :09:30. | :09:33. | |
The shows where we were going outside of cities and building from | :09:33. | :09:43. | |
| :09:43. | :09:43. | ||
Apology for the loss of subtitles for 49 seconds | :09:43. | :10:38. | |
the ground up, that was a tough The question is whether artists | :10:38. | :10:42. | |
have an inherent right to control the limits of their business and | :10:42. | :10:45. | |
how it relates to the growth of their act. The answer, I'm | :10:45. | :10:53. | |
convinced, is that artists do have a right to that control. I think we | :10:53. | :10:56. | |
have always just fallen into ways of doing things the way we felt | :10:56. | :10:58. | |
they should be done, whether they were right or whether they were | :10:58. | :11:04. | |
wrong, they were just our ways of doing it. I have never heard of | :11:04. | :11:12. | |
Pearl Jam, I must admit. That makes two of us. | :11:12. | :11:15. | |
Here we are in your fine place. And what are the things you have kept | :11:15. | :11:20. | |
that remind you of the experience of the last 20 years with the band? | :11:20. | :11:24. | |
I am sure I have kept the least amount of things of anyone in the | :11:24. | :11:30. | |
band. I have justified that as, one, I lose everything all the time so | :11:30. | :11:34. | |
it comes naturally. And also, Jeff ament keeps so much, and if all I | :11:34. | :11:38. | |
have to do is maintain my good relationship with him, I can always | :11:38. | :11:41. | |
go to his house and look through the stuff that he has an celebrate | :11:41. | :11:51. | |
his keeping of the things. Pearl Jam in Mexico City memorial. These | :11:51. | :11:58. | |
are some of the Mexico City coffee cups. So that is a little faded now. | :11:58. | :12:05. | |
Because you use it! This one clearly needs to go back in the | :12:05. | :12:10. | |
dishwasher. Here is something. Mike McCready sent me this. It is the | :12:10. | :12:20. | |
| :12:20. | :12:24. | ||
I got a few, this is a box of Pearl Jam touring bands DVDs. That is | :12:24. | :12:30. | |
2000. I don't know why they are still there. And I have a few CDs | :12:31. | :12:35. | |
here. Probably I had someone bring and buy a because I was trying to | :12:35. | :12:39. | |
remember how to play some songs. I don't know if there is anything | :12:39. | :12:47. | |
else in here. Let's see. That might be it. There might be something in | :12:47. | :12:56. | |
the basement. Look, there's a Grammy. I knew this was going to | :12:56. | :13:06. | |
| :13:06. | :13:09. | ||
# I'm ahead # I Merman | :13:09. | :13:11. | |
# I'm the first mammal to wear pants | :13:11. | :13:18. | |
# I'm at peace with my last # I can kill because in Gardai | :13:18. | :13:21. | |
Trust # Its evolution, baby. # | :13:21. | :13:26. | |
You can tell how I feel about the Grammys. | :13:26. | :13:35. | |
# IMac peas, I'm the man. # I was having a bad day at the | :13:35. | :13:38. | |
Grammys. You could not go out because of the photographers, so | :13:38. | :13:47. | |
that was part of it. Pearl Jam. like to start off with a bang so I | :13:47. | :13:50. | |
will say something on behalf of all of us. I do not know what this | :13:50. | :14:00. | |
| :14:00. | :14:06. | ||
means. I don't think it means I remember arguing with my friends | :14:06. | :14:10. | |
because they were like, man, what was your boy doing? If he does not | :14:10. | :14:16. | |
want to be there, he should not be there. And all of this stuff. And I | :14:16. | :14:24. | |
was like, are you kidding me? If I had the balls, I would have said | :14:24. | :14:34. | |
| :14:34. | :14:35. | ||
the same thing. I should have started a fight right | :14:35. | :14:43. | |
there. It would have been much more exciting. What would all these | :14:43. | :14:47. | |
young people be doing if they had real problems like a Depression or | :14:47. | :14:51. | |
Vietnam? Do their work? Are they contributing anything to the world | :14:51. | :15:01. | |
| :15:01. | :15:12. | ||
they are taking so much from? # It's evolution, baby. | :15:12. | :15:15. | |
That was around the Ticketmaster tour. The four of us were | :15:15. | :15:22. | |
travelling in a jet. Jack, Stone, Jeff and I. Eddie was travelling in | :15:22. | :15:26. | |
a van to a radio show and then driving all night to the next show. | :15:26. | :15:29. | |
So there was a huge physical disconnect, but also an emotional | :15:29. | :15:35. | |
one. And nobody was really talking. He was trying to maintain a | :15:35. | :15:41. | |
something that was more of a Do It Yourself type of mentality. But we | :15:41. | :15:46. | |
were not that band, Fugazi. We needed to sit down with him and go | :15:46. | :15:50. | |
and look, are you embarrassed by us? Do you want to be in the band | :15:50. | :15:54. | |
any more? We thought we were going to break up. I thought that was | :15:54. | :16:02. | |
going to happen. We all agreed we needed to take some time off and | :16:02. | :16:12. | |
| :16:12. | :16:13. | ||
figure it out. That is Highway 200. We just past Ovando. We are heading | :16:13. | :16:18. | |
towards Lincoln, and then we keep going to the north-east. That is | :16:18. | :16:28. | |
| :16:28. | :16:36. | ||
the spot. That is your home town? My parents made me live in this | :16:36. | :16:40. | |
desolate - I mean, I was hundreds of miles away from anybody I could | :16:40. | :16:49. | |
relate to. I was ready to leave at about 14. A couple of trips to | :16:49. | :16:57. | |
California really messed me up. My mom's brother had long hair, my | :16:57. | :17:04. | |
Uncle Pat. He had tapestries in his room, and he would put the | :17:04. | :17:08. | |
headphones on May and play Abraxas By Santana, and it would blow my | :17:08. | :17:17. | |
mind. I remember getting a huge buzz off it and getting emotional. | :17:17. | :17:21. | |
And I would try to look for records. There was no record store in our | :17:21. | :17:26. | |
town, so I started subscribing to Circus and Cream magazine, and my | :17:26. | :17:31. | |
uncle got rolling Stone magazine. You would study that stuff. And a | :17:31. | :17:35. | |
lot of those punk rock records, you could really hear base. You could | :17:35. | :17:40. | |
hear Dee Dee on those Ramones records. If you were trying to | :17:40. | :17:44. | |
learn the songs, you could turn the dial to the right side and learn | :17:44. | :17:50. | |
all of Dee Dee's parts. I moved to Seattle in 1983. All I wanted to do | :17:50. | :17:54. | |
was living a bigger city where there were more like minded people | :17:54. | :17:59. | |
and more culture around punk rock shows. If I wanted to see a cool | :17:59. | :18:03. | |
movie. There was a razor haircut. I was hearing about all these movies | :18:03. | :18:13. | |
| :18:13. | :18:14. | ||
that I never got a chance to see. It must have been the first contact | :18:14. | :18:20. | |
from Jeff. I remember there being a real connection made on the phone, | :18:20. | :18:26. | |
talking about art work. He was into art work. And the responsibilities | :18:26. | :18:31. | |
as a band member or working with people that get that it is not a | :18:31. | :18:36. | |
slacker job or a rock star thing. It is about music and art. We had | :18:36. | :18:40. | |
these things in common, which was probably why we ended up room-mates | :18:40. | :18:50. | |
| :18:50. | :18:51. | ||
when we first started touring. Reconnected and became really close. | :18:51. | :18:57. | |
-- we connected and became real close. It is amazing now, when I | :18:57. | :19:07. | |
| :19:07. | :19:11. | ||
look back. I remember when Ed first came to town, it seemed like it was | :19:11. | :19:15. | |
something he had been waiting for his whole life. It was obvious in | :19:15. | :19:18. | |
the first few minutes that it was something I had been waiting for | :19:18. | :19:28. | |
| :19:28. | :19:35. | ||
# I'm thumbing my way back to heaven. | :19:35. | :19:40. | |
It would be a very easy banned for us in some ways not to be a band. | :19:40. | :19:44. | |
Nobody can really put a finger on what it is that keeps us coming | :19:44. | :19:54. | |
| :19:54. | :20:00. | ||
back together. It is a strange marriage. I met Mike McCready when | :20:00. | :20:10. | |
| :20:10. | :20:10. | ||
I was in seventh grade. He was good. He played solo as. I had lived in | :20:10. | :20:16. | |
Los Angeles, tried to make it in my band at Shadow in 1986 for a year. | :20:16. | :20:23. | |
I paid to play at the Roxy, $700 on a Sunday night in December. And | :20:23. | :20:26. | |
there were five people there. So I struggled and I gave up playing | :20:26. | :20:32. | |
music for a little. I moved back to Seattle and said I can't. I am done. | :20:32. | :20:37. | |
And then lo and behold, I get a call out of the blue from Stone. | :20:38. | :20:45. | |
saw him play at a party one night. He was playing lead guitar and was | :20:45. | :20:55. | |
| :20:55. | :21:09. | ||
just unconsciously DVU these jolts. He is channelling stuff that sounds | :21:09. | :21:12. | |
like it is coming from the heavens, but I think it is coming from | :21:12. | :21:20. | |
inside. There is something spiritual about the way he plays. | :21:20. | :21:30. | |
| :21:30. | :21:37. | ||
And that is when he is in tune with the good stuff, you know. As you | :21:37. | :21:42. | |
know, the song reached down, the second song I wrote for the Temple | :21:43. | :21:47. | |
of the Dog record, I wanted it to be a sort of Neil Young screw you | :21:47. | :21:50. | |
to the world of people who don't want to hear a guitar solo. I am | :21:50. | :21:55. | |
going to make an 11 or 12 minutes of that is mostly a guitar solo. | :21:56. | :22:01. | |
When I heard him play guitar, I was like, we are going to pull this off | :22:01. | :22:07. | |
for real. He can actually play. This guy is a rock star. We just | :22:08. | :22:13. | |
thought he was a nice little kid. He has got something in there like | :22:13. | :22:17. | |
he is infected, and that will come out again somewhere. Good luck, | :22:17. | :22:27. | |
| :22:27. | :22:41. | ||
guys. He knows me. I would say that is 100% accurate. Eddie said, ask | :22:41. | :22:49. | |
mic about the drummers. Ask me about the drummers? Yeah, he said | :22:49. | :22:54. | |
Mike will give you the drummer's rap. Well, we started off with Dave | :22:54. | :22:59. | |
Krusen. It did not work out. Matt Chamberlain did not want to go on | :22:59. | :23:04. | |
the road. It is very Spinal Tap of us to have this many drummers. Jack | :23:04. | :23:10. | |
gave the tape he got from Stoned to Ed. Ed wanted to repay that favour. | :23:10. | :23:15. | |
We toured with him. He played on the Yield record. Then it got too | :23:15. | :23:20. | |
much for Jack. He said he could not talk. We already had a tour booked. | :23:20. | :23:25. | |
Who could recall that could do that? Matt Cameron. Soundgarden had | :23:25. | :23:31. | |
broken up, so Ed call him. He was like, we need to leave in three | :23:31. | :23:38. | |
weeks. In ten days, he learned 80 songs. Something crazy like that. | :23:38. | :23:43. | |
just closed my eyes and I would be like, do I know that song? No. Matt | :23:43. | :23:52. | |
Cameron made us a better band than we have ever been. When we had to | :23:52. | :23:55. | |
switch a drama or something, you would do it out of survival mode. | :23:55. | :24:00. | |
It is like removing an organ. When you remove the drummer, you are | :24:00. | :24:10. | |
| :24:10. | :24:22. | ||
removing the heart. It is like a Binaural is a dark time for me, | :24:22. | :24:27. | |
because I have Crohn's disease. I was struggling with that, | :24:27. | :24:30. | |
struggling with addiction. I was taking pills to take care of that, | :24:30. | :24:40. | |
| :24:40. | :24:41. | ||
and it got out of hand. It was a struggle. In the early years, we | :24:41. | :24:45. | |
had those transcendent shows where everybody was drunk. Everybody lost | :24:45. | :24:50. | |
their mind at once. It was harder to lose your mind at that point, | :24:50. | :24:56. | |
because everyone was like, I am 32. I have got this relationship. We | :24:56. | :24:59. | |
became more self-conscious and more aware as you are an adult that it | :24:59. | :25:07. | |
is more difficult to go we have just got to go crazy. Around this | :25:07. | :25:12. | |
time, I think we were less popular. I don't think we were doing any | :25:12. | :25:16. | |
press. We had meetings about those things and it was like, how much | :25:16. | :25:23. | |
press will we do on this tour? When you don't do any of it, and the | :25:23. | :25:27. | |
changing times fluctuate, people get over you. That was around that | :25:27. | :25:37. | |
| :25:37. | :25:40. | ||
time, Binaural. People were like, I But some people stayed with us | :25:40. | :25:50. | |
| :25:50. | :25:51. | ||
because we stayed true to our vision. How important is commercial | :25:51. | :26:01. | |
| :26:01. | :26:15. | ||
success to you? Does grunge still exist today? How did the second ten | :26:15. | :26:25. | |
| :26:25. | :26:28. | ||
years happen? You did survive. What are the turning points to you? | :26:28. | :26:32. | |
your positions. It is one of Europe's worst concert tragedies. | :26:32. | :26:36. | |
The band stopped playing just before the incident. Deadly trouble | :26:36. | :26:42. | |
in the shape of a crowd of 50,000 strong. There has been a lot of | :26:42. | :26:47. | |
pushing up pay and 10 to 15 people have been badly hurt. Tragedy | :26:47. | :26:51. | |
occurred in the rain and mud or late Friday night at the Annual | :26:51. | :26:56. | |
Roskilde Rock Festival outside the Danish capital of Copenhagen, when | :26:56. | :26:59. | |
rock fans surged forward during a performance by the American group | :26:59. | :27:08. | |
Pearl Jam. The porter macro fans of the outdoor rock concert packed | :27:08. | :27:13. | |
closer and closer to the stage, ending in a crash that killed nine | :27:13. | :27:20. | |
people and injured three more. just wanted to get out of there. I | :27:20. | :27:25. | |
just did not want it to be true. It was happening right in front of us, | :27:25. | :27:35. | |
| :27:35. | :27:39. | ||
but I did not want it to be true. Something as horrific and shocking | :27:39. | :27:43. | |
as people being pulled over the barricade that are not Alive any | :27:43. | :27:51. | |
more, what that impact was on us... It will never go away. From that | :27:51. | :28:01. | |
| :28:01. | :28:02. | ||
point on, we rethought everything. Thought I did not know what I was | :28:02. | :28:08. | |
feeling. It is such an onslaught of confusion. The last time I felt | :28:08. | :28:13. | |
like that was when Andy Wood died. I did not know if I wanted to play | :28:13. | :28:23. | |
| :28:23. | :28:46. | ||
I think we quantified everything that has happened to us as three | :28:46. | :28:55. | |
Roskilde Rock Festival and afterwards. If early on there was | :28:55. | :28:59. | |
the beginning of no. For us, the Roskilde Rock Festival was the | :28:59. | :29:04. | |
beginning of what? What are we doing? What do we do to assist the | :29:04. | :29:12. | |
families? What have we become, and what do we do to survive? Even | :29:12. | :29:17. | |
since the Roskilde Rock Festival in 2000, that made everybody get into | :29:17. | :29:21. | |
a really unique perspective on where we are and how fragile life | :29:21. | :29:26. | |
peers. Since then, once and a while, we will say to one another, can you | :29:26. | :29:36. | |
| :29:36. | :29:42. | ||
believe it? Can you believe we are When I interviewed the band in 1993 | :29:42. | :29:46. | |
for Rolling Stone magazine, I asked Eddie Vedder if there was an Andy | :29:46. | :29:49. | |
Wood song he would ever be interested in singing. He said | :29:49. | :29:55. | |
there was one, and one day he would sing it. On the band's 10th | :29:55. | :29:58. | |
anniversary show in Las Vegas, he announced to the group that he | :29:58. | :30:02. | |
wanted to sing Crown of Thorns, up one of Mother Love Bone's greatest | :30:02. | :30:12. | |
songs. In that moment, the two bans United. We wouldn't mind attempting | :30:12. | :30:21. | |
something that is even older than 10 years. | :30:21. | :30:26. | |
# You ever hear the story of Mr Faded Glory? | :30:26. | :30:30. | |
# Say he who rides a pony must someday for | :30:31. | :30:39. | |
# I was talking to my old Sir # Says life is what you make it | :30:39. | :30:49. | |
| :30:49. | :30:55. | ||
# And if you make it, death will For him to acknowledge the past and | :30:55. | :30:59. | |
say, this is where we came from and be generous to Jeff and I can say, | :30:59. | :31:06. | |
yeah, of course, that was another huge gift. | :31:06. | :31:12. | |
# I wanted to do that I love you. # I used to think of and the all the | :31:12. | :31:15. | |
time, especially when the band got bigger because I used to think, he | :31:15. | :31:20. | |
would have loved to play this place, he would have loved to play the | :31:20. | :31:28. | |
Garden. He would have torn this shit up. | :31:28. | :31:33. | |
# I'm singing # This is my kind of love | :31:33. | :31:37. | |
# It's the kind that moves on # It's the kind that leaves me | :31:37. | :31:39. | |
alone or # Yeah | :31:39. | :31:49. | |
| :31:49. | :31:56. | ||
# Like a Crown of Thorns # It's all who you know | :31:56. | :32:06. | |
| :32:06. | :32:18. | ||
I wrote down on this paper, and DIS and Ed, because I think about him | :32:18. | :32:23. | |
all the time. I think how lucky I am to go in my basement, write a | :32:23. | :32:28. | |
song and manifested, figure out how to live recorded, whatever. That is | :32:28. | :32:32. | |
all that you ever hoped for, as somebody that would just record. | :32:32. | :32:38. | |
Some group of guys that would play the songs for him. And I wish that | :32:38. | :32:48. | |
| :32:48. | :32:51. | ||
we could go back in time and be the band for him. | :32:51. | :33:00. | |
# This Is My Kind of Love, the kind that moves on | :33:00. | :33:09. | |
# This is my kind of love. # He was playing to those places in | :33:09. | :33:19. | |
| :33:19. | :33:46. | ||
his head for a long time. The thing # How does he do it | :33:46. | :33:49. | |
# How do they do it # Uncanny and immutable | :33:49. | :33:53. | |
# This is such a happening tailpipe of a party | :33:53. | :33:58. | |
# Like Sugar, the guests are so refined. # | :33:58. | :34:02. | |
When we played in Nassau, three- quarters of the crowd booed us. It | :34:02. | :34:07. | |
really bummed some of the band out. They were like, I never want to | :34:07. | :34:16. | |
play the song again. I actually locking dougie it. It was all right. | :34:16. | :34:26. | |
| :34:26. | :34:26. | ||
There was a fireman in the front row and he was showing me his badge. | :34:26. | :34:31. | |
It was such a bad time in American history and we were trying to say | :34:31. | :34:37. | |
what we thought. When you know the crowd has turned and there are that | :34:37. | :34:41. | |
many people, it feels like you might not make it out of there | :34:41. | :34:50. | |
alive. That was about really trusting his instincts about a very | :34:50. | :34:58. | |
specific thing and he wanted to do it in a way that was antagonistic. | :34:58. | :35:02. | |
I think if you have the opportunity, you have to take on that | :35:02. | :35:12. | |
| :35:12. | :35:38. | ||
You didn't like that one? It's great to be in a band where you are | :35:38. | :35:41. | |
not afraid to do that, not afraid to speak our minds and get booed | :35:41. | :35:50. | |
once in a while. It's all right. It was an uncertain time for Pearl | :35:50. | :35:54. | |
Jam, a period when many bans quite a break-up and move on, but from | :35:54. | :35:58. | |
the beginning Stone and Jeff had always wanted a ban that would last, | :35:58. | :36:02. | |
keep writing and record music. And that is what Pearl Jam did. Show by | :36:03. | :36:07. | |
a show, they became one of the most dependably unpredictable bans in | :36:07. | :36:16. | |
Ed has a feeling pretty much everywhere that we play and it is a | :36:16. | :36:19. | |
great gauge of how the crowd is feeling and a lot of times that is | :36:19. | :36:24. | |
why the set list does not get done until 10 minutes before we play. | :36:24. | :36:28. | |
difficult as it was, at different times when you are like, we can go | :36:28. | :36:33. | |
and kill his crowd. Let's start with these five songs. And you know, | :36:33. | :36:42. | |
yeah, we going to play this first. We have not played this one | :36:42. | :36:45. | |
together but we will work it out backstage and it will be OK. | :36:45. | :36:49. | |
Inevitably you are so nervous that you go out and fumble it. You are | :36:49. | :36:56. | |
like, God, let's play a hit, you know. He would be a lot easier to | :36:56. | :37:00. | |
play a similar set every night. It would be so much easier and yet we | :37:01. | :37:07. | |
can't find it in ourselves to do that. | :37:07. | :37:17. | |
| :37:17. | :37:20. | ||
# I'm through with screaming That is why you see Pearl Jam. It | :37:20. | :37:26. | |
is locking different every night. Every night it is different. It is | :37:26. | :37:30. | |
funny but lots of those decisions we made, it took 10 years to see | :37:30. | :37:34. | |
why they were good. Mixing our set list every night, it is the | :37:34. | :37:38. | |
greatest blessing we could have ever done. The door is open for us | :37:38. | :37:43. | |
to be who we are every night and we just trust it. | :37:43. | :37:53. | |
| :37:53. | :37:57. | ||
# And I will be, to I think all of us have been totally | :37:57. | :38:03. | |
embarrassed by the 70s. We are all products of it but not stuck in it. | :38:03. | :38:08. | |
Our guitar heroes, Hendriks for Mike, Jimmy Page for me, for Eddie, | :38:08. | :38:18. | |
| :38:18. | :38:37. | ||
The Who. In a sense, it is a total Roger Daltrey wrote me a letter | :38:37. | :38:41. | |
saying would I like to come and play? I told him, no way you. | :38:41. | :38:45. | |
Because that is the ultimate, that is the pinnacle for me, that band, | :38:45. | :38:52. | |
that era. We have to decide whether or not we are going to remain a | :38:52. | :38:55. | |
circus act, in other words doing what everybody knows we can do and | :38:55. | :39:00. | |
what we know we can do, until the band eventually turns into a | :39:00. | :39:07. | |
cabaret act, which is inevitable. That is ridiculous. There is me and | :39:07. | :39:10. | |
Johnny Ramone. This is me and Joe Strummer and that is the night I | :39:10. | :39:15. | |
met Jack Irons. This was hanging in the dressing room the first night I | :39:15. | :39:19. | |
met Peter. I was terrified. The first thing he said was, I have | :39:19. | :39:28. | |
waited so long to meet you. # I won't get what I'm after until | :39:28. | :39:38. | |
| :39:38. | :39:38. | ||
Now, we are just grateful for our band, who we are, what we have | :39:38. | :39:44. | |
become. And grateful that we finally figured out how to do it. | :39:44. | :39:48. | |
think there was a huge element of our fans that just carried us | :39:48. | :39:52. | |
through a period of time where we were not there all the way. You see | :39:52. | :39:55. | |
their belief and even when you don't have it you go, OK, I have to | :39:55. | :40:04. | |
figure this out. Joining the band, I was so impressed with how in | :40:04. | :40:08. | |
house everything is, like, there is no outside influence going on. It | :40:08. | :40:17. | |
all comes from the band. They saved me, in a certain way. | :40:17. | :40:21. | |
# When I was a kid, oh how happy it seemed | :40:21. | :40:27. | |
# Please let me dream its Christmas time. # | :40:27. | :40:31. | |
We have been doing it for 10 Records, 20 years and I cannot | :40:31. | :40:36. | |
think when I ever felt I was just phoning it in. It is always pure | :40:36. | :40:46. | |
| :40:46. | :40:47. | ||
I think there really is a collective understanding of how | :40:47. | :40:50. | |
lucky and how fortunate we are to still be playing music with the | :40:50. | :40:55. | |
same group of people. Everybody, you can feel it, and it makes being | :40:55. | :41:03. | |
in a band a joy. # Yeah, yeah | :41:03. | :41:13. | |
| :41:13. | :41:21. | ||
There is a communal exchange. There's obviously a line drawn | :41:21. | :41:31. | |
| :41:31. | :41:40. | ||
between who is on stage and who is # Let me hear you | :41:40. | :41:49. | |
# Waiting, watching the clock # It's 4 o'clock, it's got to stop | :41:49. | :41:55. | |
# Tell him, take no more # She practises her speech | :41:55. | :41:58. | |
# As he opens the door, she rolls over | :41:58. | :42:01. | |
# Pretends to sleep as he looks her over | :42:01. | :42:11. | |
| :42:11. | :42:13. | ||
# She lives and says she's in love with him | :42:13. | :42:20. | |
# Can't find a better man # She dreams in Carla | :42:20. | :42:27. | |
# She dreams in red # Can't find a better man | :42:27. | :42:37. | |
| :42:37. | :42:37. | ||
Apology for the loss of subtitles for 49 seconds | :42:37. | :43:23. | |
# Son, she said, have I got a little story for you? | :43:23. | :43:30. | |
# What you thought was your father was nothing but a fault | :43:30. | :43:34. | |
# While you were sitting at home alone at age 13 | :43:34. | :43:42. | |
# Your real father was dying # Sorry you didn't see him | :43:42. | :43:50. | |
# But I'm glad we talked # I'm still alive | :43:50. | :44:00. | |
| :44:00. | :44:13. | ||
I loved it. We were two rose from the front. This is my fifth show. | :44:13. | :44:21. | |
24th. 61. 54. Pearl Jam is a band for the fans. We stuck with them | :44:21. | :44:25. | |
all the way, because what we get out of them is overwhelming. | :44:25. | :44:30. | |
this guy flew from Bucharest. came from Denver. London. I took | :44:30. | :44:34. | |
two weeks off from my job and travelled nine shows in a row last | :44:34. | :44:42. | |
year. # Yeah, I am still Alive. There is | :44:42. | :44:46. | |
not another band like them. Everybody wrote the whole crest of | :44:46. | :44:54. | |
a wave, but after that, they came out a lot stronger. They took on | :44:54. | :44:58. | |
Ticketmaster. They took on a man, and they could have lost, but they | :44:58. | :45:08. | |
| :45:08. | :45:23. | ||
didn't. I think this band is only # Is something wrong, she said. | :45:23. | :45:28. | |
# Of course there is. # You're still Alive, she said. | :45:28. | :45:36. | |
# Do I deserve to be? # Is that the question. | :45:36. | :45:42. | |
# And if so, who answers, who answers? | :45:42. | :45:52. | |
| :45:52. | :45:52. | ||
Apology for the loss of subtitles for 49 seconds | :45:52. | :49:01. | |
# Oh, I'm still Alive. # I feel your love, I feel your | :49:01. | :49:09. | |
strong love. # I feel the patience of | :49:09. | :49:13. | |
unconditional love. There was a rumour that it was going to be like | :49:13. | :49:18. | |
the kids are all right. That is a misconception. The Kids Are All | :49:18. | :49:28. | |
| :49:28. | :49:32. | ||
Right is really super genius. What # I will never let you down. | :49:32. | :49:39. | |
# If you just walk with me. # I am on a journey. They stay true | :49:39. | :49:44. | |
to fans as well by releasing the bootlegs of their albums are so | :49:44. | :49:54. | |
| :49:54. | :50:00. | ||
that other people can't make a # Walk With Me. Walk with me. Walk | :50:00. | :50:10. | |
| :50:10. | :50:32. | ||
with me. We are not filming this He hates this. Why do you keep | :50:32. | :50:42. | |
| :50:42. | :50:53. | ||
# Walked with me. I don't know if they realise how much they have | :50:53. | :50:59. | |
given to us, the fans, and how much we appreciate it. | :50:59. | :51:09. | |
| :51:09. | :51:09. | ||
Apology for the loss of subtitles for 49 seconds | :51:09. | :52:01. | |
# Walk With Me. # Yes, I understand that every life | :52:01. | :52:09. | |
must end. # So as we sit alone, I know | :52:09. | :52:18. | |
someday we must go. # Yeah, I'm a lucky man to count on | :52:18. | :52:27. | |
both hands the ones I love. # Some folks, they have won, and | :52:27. | :52:37. | |
| :52:37. | :52:53. | ||
# Stay with me. # Let's just breathe. | :52:53. | :53:00. | |
# Practice Dharm my sins, never gonna let me win. | :53:00. | :53:08. | |
# Under everything, just another human being. | :53:08. | :53:14. | |
# Yeah, I don't want to hurt. # There is so much in this world to | :53:14. | :53:24. | |
| :53:24. | :53:26. | ||
# Stay with me. # You are all I see. | :53:26. | :53:36. | |
# Did I say that I need you? # Al, did I say that I want you? | :53:36. | :53:39. | |
# A will, if I didn't, I'm a fool, you see. | :53:39. | :53:48. | |
# No 1 knows this more than me. # Or Karzai come clean. | :53:48. | :53:54. | |
# I wonder every day as I look upon your face. | :53:54. | :54:04. | |
| :54:04. | :54:04. |