1
00:00:15,526 --> 00:00:20,756
Speaker 1: Pushkin. Pearl Jam used to have a drummer. Then Matt

2
00:00:20,776 --> 00:00:25,296
Speaker 1: Cameron quit the group in 2025 after 27 years. Over

3
00:00:25,316 --> 00:00:27,076
Speaker 1: a year later, we still don't know who will be

4
00:00:27,116 --> 00:00:30,036
Speaker 1: joining the group. As we wait, we'll revisit a conversation

5
00:00:30,076 --> 00:00:33,376
Speaker 1: Leah Rose had with guitarist Stone Gossard and bassist Jeff Ament,

6
00:00:33,716 --> 00:00:37,226
Speaker 1: two of grunge's most foundational musicians. Stone and Jeff started

7
00:00:37,246 --> 00:00:39,746
Speaker 1: playing together in 1984 as members of Green River, which

8
00:00:39,786 --> 00:00:44,126
Speaker 1: eventually dissolved, leading singer Mark Arm to form Mudhoney. Later,

9
00:00:44,306 --> 00:00:46,866
Speaker 1: Jeff played bass and Stone played guitar in Mother Love Bone,

10
00:00:47,086 --> 00:00:49,496
Speaker 1: until their lead singer Andrew Wood died of an overdose

11
00:00:49,536 --> 00:00:53,396
Speaker 1: just days before their major label debut in March of 1990.

12
00:00:53,396 --> 00:00:56,116
Speaker 1: Reeling from Andy's death, Jeff and Stone started recording with

13
00:00:56,156 --> 00:00:58,856
Speaker 1: Soundgarden's Chris Cornell on a side project called Temple of

14
00:00:58,896 --> 00:01:01,446
Speaker 1: the Dog that featured vocals from a then-unknown singer from

15
00:01:01,486 --> 00:01:04,566
Speaker 1: San Diego named Eddie Vedder. Later that year, Jeff and

16
00:01:04,586 --> 00:01:06,746
Speaker 1: Stone asked Eddie to join their new band with guitarist

17
00:01:06,826 --> 00:01:09,866
Speaker 1: Mike McCready. As Pearl Jam, they released their debut album

18
00:01:09,926 --> 00:01:13,586
Speaker 1: Ten in August of 1991, The album went 13 times

19
00:01:13,666 --> 00:01:17,066
Speaker 1: platinum and charted on Billboard for nearly five years. Since then,

20
00:01:17,126 --> 00:01:19,346
Speaker 1: Pearl Jam have released 11 more albums and built a

21
00:01:19,446 --> 00:01:22,896
Speaker 1: diehard fan base, thanks in part to their outstanding live shows.

22
00:01:23,366 --> 00:01:26,196
Speaker 1: Their last album, Dark Matter, was warmly received by fans

23
00:01:26,256 --> 00:01:29,116
Speaker 1: and critics alike. Here's Leah Rose talking to Stone and

24
00:01:29,136 --> 00:01:30,416
Speaker 1: Jeff about the project.

25
00:01:31,696 --> 00:01:34,076
Speaker 2: When you set out to record the new album, did

26
00:01:34,116 --> 00:01:38,216
Speaker 2: you have... a feel in mind that you wanted to,

27
00:01:38,896 --> 00:01:41,336
Speaker 2: you know, achieve for the new album, something that was

28
00:01:41,476 --> 00:01:44,786
Speaker 2: completely different from Gigaton, or did it all sort of

29
00:01:45,106 --> 00:01:46,486
Speaker 2: come together spontaneously?

30
00:01:46,506 --> 00:01:49,506
Speaker 3: Man, I mean, have we ever had a plan?

31
00:01:50,646 --> 00:01:52,646
Speaker 4: And has the plan ever been what we actually ended

32
00:01:52,686 --> 00:01:53,006
Speaker 4: up doing?

33
00:01:53,056 --> 00:01:55,916
Speaker 3: I think Stone and I have lots of side conversations

34
00:01:55,976 --> 00:01:58,376
Speaker 3: about what we hope the plan could be, but it's

35
00:01:58,456 --> 00:01:59,236
Speaker 3: usually never that.

36
00:01:59,256 --> 00:02:02,806
Speaker 4: Yeah. No, we didn't know what we were going to do.

37
00:02:02,906 --> 00:02:06,326
Speaker 4: All of us individually have aspirations for where we think

38
00:02:06,366 --> 00:02:08,586
Speaker 4: the band can go or how it could kind of

39
00:02:08,666 --> 00:02:10,896
Speaker 4: be different. You know, I think all of us are

40
00:02:10,976 --> 00:02:16,296
Speaker 4: always aiming for trying to expand on what we've done

41
00:02:16,336 --> 00:02:20,276
Speaker 4: in the past. And we have the experience of being

42
00:02:20,296 --> 00:02:23,136
Speaker 4: in the band and having flashes of like what's possible.

43
00:02:23,296 --> 00:02:27,596
Speaker 4: And those aren't always easy to recreate in different scenarios,

44
00:02:27,636 --> 00:02:30,996
Speaker 4: especially recording scenarios, you know. but this was a big

45
00:02:31,036 --> 00:02:33,696
Speaker 4: time flying blind. And I think, you know, with Eddie

46
00:02:34,236 --> 00:02:37,216
Speaker 4: having met Andrew and, and worked with him a little bit,

47
00:02:37,796 --> 00:02:39,716
Speaker 4: it was sort of like, Hey, we're just going to

48
00:02:39,756 --> 00:02:42,956
Speaker 4: show up in LA and we're, you know, this young kid,

49
00:02:42,996 --> 00:02:45,896
Speaker 4: he loves Pearl Jam. He's a, you know, he's a producer. He's,

50
00:02:46,096 --> 00:02:48,876
Speaker 4: you know, he's, and Eddie had a great experience working

51
00:02:48,916 --> 00:02:50,866
Speaker 4: with him on his solo record. And so we just

52
00:02:50,986 --> 00:02:54,846
Speaker 4: all said, well, you know, we'll show up. That sounds fun, easy. And,

53
00:02:55,266 --> 00:02:58,316
Speaker 4: you know, immediately we were, we were making music and, and,

54
00:02:58,886 --> 00:03:01,786
Speaker 4: Good stuff was happening. So we sort of, we got

55
00:03:01,846 --> 00:03:04,126
Speaker 4: hooked in pretty quick to the process.

56
00:03:04,966 --> 00:03:07,266
Speaker 2: Do you think the setting had anything to do with

57
00:03:07,306 --> 00:03:10,526
Speaker 2: like recording at Shangri-La and being near the ocean and

58
00:03:10,566 --> 00:03:13,076
Speaker 2: being in California? Do you think that influenced the music

59
00:03:13,116 --> 00:03:13,396
Speaker 2: at all?

60
00:03:14,256 --> 00:03:16,656
Speaker 3: You know, I mean, we started at Andrew's house the

61
00:03:16,696 --> 00:03:19,256
Speaker 3: first session. So the second session was sort of like

62
00:03:19,776 --> 00:03:22,916
Speaker 3: thrown together last minute. And Rick opened up some time

63
00:03:22,956 --> 00:03:27,176
Speaker 3: for us at Shangri-La, which was very generous. I love

64
00:03:27,216 --> 00:03:27,866
Speaker 3: that studio.

65
00:03:27,946 --> 00:03:28,346
Speaker 4: Me too.

66
00:03:28,406 --> 00:03:31,816
Speaker 3: Like, I love that there's no TVs and that it's

67
00:03:31,856 --> 00:03:34,916
Speaker 3: sort of minimal. Really, the only thing you can do

68
00:03:34,976 --> 00:03:37,636
Speaker 3: if you're not playing music is to shoot pool. I

69
00:03:37,696 --> 00:03:39,996
Speaker 3: love it when the five of us can get in

70
00:03:40,016 --> 00:03:43,196
Speaker 3: a room and just be focused. It just feels like

71
00:03:43,936 --> 00:03:45,866
Speaker 3: when we can do that, we always hit a vein.

72
00:03:46,566 --> 00:03:49,506
Speaker 3: In that session, there was three days where it's just

73
00:03:49,546 --> 00:03:51,846
Speaker 3: that spot that you want to be as a band where.

74
00:03:51,706 --> 00:03:52,186
Speaker 4: It's just going.

75
00:03:52,206 --> 00:03:58,056
Speaker 3: That studio had a lot to do with us making

76
00:03:58,096 --> 00:03:59,016
Speaker 3: a record really quickly.

77
00:03:59,876 --> 00:04:02,636
Speaker 4: I think we got maybe four from the very first session,

78
00:04:02,736 --> 00:04:06,256
Speaker 4: which was in Beverly Hills at Andrew's old spot. And

79
00:04:06,296 --> 00:04:09,696
Speaker 4: that was like a year previous. And we were there

80
00:04:09,736 --> 00:04:12,656
Speaker 4: for 10 days or something like that, maybe seven or eight.

81
00:04:12,796 --> 00:04:15,756
Speaker 4: I can't remember, but we hit something that was great,

82
00:04:15,816 --> 00:04:17,696
Speaker 4: but there was also some stuff that we kind of

83
00:04:17,856 --> 00:04:20,416
Speaker 4: started to maybe sort of kind of think too much

84
00:04:20,476 --> 00:04:23,096
Speaker 4: again or get too much in our, in our old process.

85
00:04:23,136 --> 00:04:25,226
Speaker 4: And I think then we had a year off and

86
00:04:25,516 --> 00:04:27,956
Speaker 4: it was amazing to go back and then sort of

87
00:04:28,016 --> 00:04:30,176
Speaker 4: have memories of what we did that first time and

88
00:04:30,216 --> 00:04:33,576
Speaker 4: then really kind of go in and everyone stayed, you know,

89
00:04:34,096 --> 00:04:38,576
Speaker 4: pretty focused of, and it's really the focus being whatever you're,

90
00:04:38,756 --> 00:04:41,586
Speaker 4: you know, bringing in today or however the song starts

91
00:04:41,626 --> 00:04:43,466
Speaker 4: to go, just be ready for it to kind of

92
00:04:43,486 --> 00:04:48,446
Speaker 4: get ripped open and rearranged and touched by everyone. And

93
00:04:48,466 --> 00:04:51,176
Speaker 4: you have to have some courage when it comes to

94
00:04:51,216 --> 00:04:53,556
Speaker 4: that kind of stuff, but also that it just makes

95
00:04:53,576 --> 00:04:56,156
Speaker 4: it so much more of a band thing. Everyone's invested.

96
00:04:56,336 --> 00:04:59,176
Speaker 4: Everybody is like writing and thinking about the song at

97
00:04:59,226 --> 00:05:02,146
Speaker 4: that moment. And I mean, we've done it before like that,

98
00:05:02,206 --> 00:05:05,326
Speaker 4: but I don't ever want to go back. Honestly, it

99
00:05:05,346 --> 00:05:07,466
Speaker 4: was like, you know, in terms of that process, I

100
00:05:07,606 --> 00:05:08,346
Speaker 4: loved it, you know.

101
00:05:08,866 --> 00:05:11,386
Speaker 2: How does the band handle when there's like little squabbles

102
00:05:11,486 --> 00:05:14,926
Speaker 2: over parts of songs? Like if somebody brings something and

103
00:05:14,946 --> 00:05:17,026
Speaker 2: you start playing and somebody wants to take it in

104
00:05:17,066 --> 00:05:20,866
Speaker 2: a different direction and not everybody's agreeing, what's the communication

105
00:05:20,926 --> 00:05:23,736
Speaker 2: like and who ultimately I.

106
00:05:24,496 --> 00:05:27,176
Speaker 4: Mean, I think we were trusting Andrew really on this

107
00:05:27,276 --> 00:05:29,736
Speaker 4: record because he's a producer and we're going to make

108
00:05:29,776 --> 00:05:31,216
Speaker 4: a record with you. You might as well trust his

109
00:05:31,276 --> 00:05:34,696
Speaker 4: instincts and go with it. So I think that having

110
00:05:34,756 --> 00:05:38,016
Speaker 4: him there was helpful in terms of just navigating that stuff.

111
00:05:38,456 --> 00:05:40,926
Speaker 4: I think if anything gets too squabbly, we just move

112
00:05:40,936 --> 00:05:43,386
Speaker 4: on to something else and that this gets left behind

113
00:05:43,506 --> 00:05:46,186
Speaker 4: probably more than anything. So I think all of us,

114
00:05:46,606 --> 00:05:51,456
Speaker 4: you know, got to see how... the group process ended

115
00:05:51,496 --> 00:05:54,376
Speaker 4: up being a better process for almost everything, you know,

116
00:05:54,796 --> 00:05:58,156
Speaker 4: at every juncture you'd kind of, you know, and it

117
00:05:58,196 --> 00:06:00,636
Speaker 4: was all very quick, which would made it better. It's

118
00:06:00,666 --> 00:06:02,566
Speaker 4: like sort of ripping the bandaid off quick. You know,

119
00:06:02,606 --> 00:06:04,806
Speaker 4: it's like, you got an idea, throw it down. It's

120
00:06:04,846 --> 00:06:07,486
Speaker 4: already changed. It's, you know, it's gone before you, you know,

121
00:06:08,086 --> 00:06:12,046
Speaker 4: and it was great. And Ed is inspired in those

122
00:06:12,086 --> 00:06:15,826
Speaker 4: situations too. He writes so quickly when he's in on

123
00:06:15,866 --> 00:06:18,346
Speaker 4: the process of the writing, as opposed to just getting

124
00:06:18,386 --> 00:06:20,986
Speaker 4: a demo and like, sitting with it in his room

125
00:06:21,286 --> 00:06:24,886
Speaker 4: for weeks, you know, it's like, it's, it's much more

126
00:06:25,286 --> 00:06:29,186
Speaker 4: fruitful for him to be there saying, let's double that.

127
00:06:29,346 --> 00:06:31,286
Speaker 4: Or I don't like that part. Let me get back

128
00:06:31,306 --> 00:06:33,646
Speaker 4: to that other thing quicker. You know, or I need

129
00:06:33,666 --> 00:06:35,696
Speaker 4: a chord here. I need a different chord getting me

130
00:06:35,756 --> 00:06:38,816
Speaker 4: to this, you know, to this next bit. And then

131
00:06:38,856 --> 00:06:42,556
Speaker 4: it just becomes kind of a group process. That's not

132
00:06:42,576 --> 00:06:45,296
Speaker 4: the same as an individual kind of writing a song,

133
00:06:45,336 --> 00:06:47,776
Speaker 4: but it's, and that's, I think that's what's special about

134
00:06:47,796 --> 00:06:49,456
Speaker 4: this record is that it really is a lot of,

135
00:06:50,316 --> 00:06:53,356
Speaker 4: reconstructed sort of quickly ideas you.

136
00:06:53,296 --> 00:06:56,036
Speaker 3: Know and i think we learned a long time ago

137
00:06:56,096 --> 00:06:59,256
Speaker 3: that if you're fighting too hard for something it usually

138
00:06:59,636 --> 00:07:01,416
Speaker 3: even if it ends up on the record it usually

139
00:07:01,436 --> 00:07:04,736
Speaker 3: i don't think it ends up being a joyful memory

140
00:07:04,816 --> 00:07:06,636
Speaker 3: for the rest of the band and even a joyful

141
00:07:06,676 --> 00:07:08,536
Speaker 3: memory for you as a writer i think so i

142
00:07:09,076 --> 00:07:11,756
Speaker 3: i feel like as i've gotten older i i welcome

143
00:07:11,836 --> 00:07:15,376
Speaker 3: like ripping my thing open and i think it's far

144
00:07:15,416 --> 00:07:18,016
Speaker 3: more interesting that way i think the collaborative process to

145
00:07:18,056 --> 00:07:21,646
Speaker 3: me is like one of the most interesting things. Like

146
00:07:21,686 --> 00:07:24,526
Speaker 3: if you can really trust the other people in the

147
00:07:24,566 --> 00:07:27,596
Speaker 3: band that you're collaborating with, it will usually come back

148
00:07:27,686 --> 00:07:30,936
Speaker 3: way more interesting and have a different perspective that you

149
00:07:30,976 --> 00:07:33,776
Speaker 3: can't have if you're just have tunnel vision, you know,

150
00:07:33,856 --> 00:07:36,476
Speaker 3: for your song. So, you know, it's, it's not, it's

151
00:07:36,496 --> 00:07:38,196
Speaker 3: not that different than how we made, you know, the

152
00:07:38,236 --> 00:07:41,406
Speaker 3: last couple of records with Brendan, really, I mean, moving

153
00:07:41,446 --> 00:07:44,726
Speaker 3: super fast and, you know, if Ed's not sort of

154
00:07:44,846 --> 00:07:47,666
Speaker 3: latching onto something, moving on to the next thing. And

155
00:07:47,726 --> 00:07:50,646
Speaker 3: so I think we're better in those environments.

156
00:07:50,666 --> 00:07:55,986
Speaker 4: I think Andrew's enthusiasm, his unbridled enthusiasm was an element

157
00:07:56,026 --> 00:07:59,906
Speaker 4: of it. He never let us get down on ourselves

158
00:08:00,066 --> 00:08:02,126
Speaker 4: at all individually for me, like playing in there and

159
00:08:02,146 --> 00:08:04,946
Speaker 4: sometimes being in there and going, you know, I don't

160
00:08:04,966 --> 00:08:07,766
Speaker 4: know what I'm doing. It's like, no matter what, he

161
00:08:07,806 --> 00:08:09,786
Speaker 4: would just be like, oh, that's great. No, wait, go back.

162
00:08:09,866 --> 00:08:12,436
Speaker 4: You know, like he would just have this like, you're

163
00:08:12,456 --> 00:08:14,076
Speaker 4: going to get, you're going to figure this out. You're

164
00:08:14,116 --> 00:08:16,676
Speaker 4: my favorite guitar player. You know, it's like just, you

165
00:08:16,696 --> 00:08:19,036
Speaker 4: know what I mean? But not necessarily that, but it's

166
00:08:19,056 --> 00:08:22,576
Speaker 4: just like, he just, just infused you with, he wasn't

167
00:08:22,596 --> 00:08:24,636
Speaker 4: going to let it get you down. And he knew

168
00:08:24,676 --> 00:08:26,596
Speaker 4: that that's not where you're going to get a good performance.

169
00:08:26,636 --> 00:08:30,596
Speaker 4: So it's manipulative on one hand, but it also works,

170
00:08:30,696 --> 00:08:34,666
Speaker 4: you know? And so I think, you know, his knowing

171
00:08:34,946 --> 00:08:37,666
Speaker 4: the songs and loving Pearl Jam so much and just

172
00:08:37,726 --> 00:08:40,346
Speaker 4: being a fan, it was a major factor in sort

173
00:08:40,386 --> 00:08:43,876
Speaker 4: of keeping the thing moving along and him really actually,

174
00:08:43,896 --> 00:08:46,056
Speaker 4: I know how to play all your songs. I can

175
00:08:46,096 --> 00:08:48,876
Speaker 4: show you where, you know, you know, this should have

176
00:08:48,896 --> 00:08:51,016
Speaker 4: been a minor chord, but you didn't, which is cool.

177
00:08:51,096 --> 00:08:52,996
Speaker 4: I'm so glad that you did that. Like, you know,

178
00:08:53,606 --> 00:08:56,586
Speaker 4: so he, he, he had a lot of energy for that.

179
00:08:56,666 --> 00:08:58,166
Speaker 4: So that was, that was a big factor, I think

180
00:08:58,206 --> 00:08:58,626
Speaker 4: in the record.

181
00:08:58,686 --> 00:08:58,946
Speaker 2: Yeah.

182
00:08:59,046 --> 00:09:01,346
Speaker 3: And, and, and, and talking about those times when you're stuck,

183
00:09:01,406 --> 00:09:04,426
Speaker 3: he could reference old songs. He would be like, yeah,

184
00:09:04,446 --> 00:09:06,006
Speaker 3: like that thing that you do in hail, hail, or

185
00:09:06,026 --> 00:09:07,946
Speaker 3: he would, he would reference things. You'd be like, and

186
00:09:08,086 --> 00:09:11,086
Speaker 3: sometimes that would unstick you because it would like, pull

187
00:09:11,106 --> 00:09:12,966
Speaker 3: you out of a pattern that you're stuck in and

188
00:09:13,006 --> 00:09:16,536
Speaker 3: it would make you think about it in a different pattern.

189
00:09:16,936 --> 00:09:20,416
Speaker 3: I never felt stuck for more than a minute when

190
00:09:20,436 --> 00:09:21,456
Speaker 3: you were working on stuff with him.

191
00:09:21,736 --> 00:09:25,646
Speaker 2: I'm fascinated by Andrew Watt because he's now produced albums

192
00:09:25,686 --> 00:09:29,466
Speaker 2: for Ozzy Osbourne, Iggy Pop. He's working with you guys,

193
00:09:29,546 --> 00:09:31,346
Speaker 2: the Rolling Stones last record.

194
00:09:32,366 --> 00:09:35,026
Speaker 4: Yeah. He's just going through his collection of childhood bands

195
00:09:35,116 --> 00:09:36,756
Speaker 4: and going, I'm going to work with this band and

196
00:09:36,776 --> 00:09:39,036
Speaker 4: I'm going to work with this band. It's all his reality.

197
00:09:39,056 --> 00:09:41,076
Speaker 4: We're just, you know, we're just part of his dream

198
00:09:41,136 --> 00:09:43,756
Speaker 4: right now, which is great. We'll take a ride with him.

199
00:09:43,916 --> 00:09:46,976
Speaker 2: It's incredible. And is he like, was there anything, since

200
00:09:47,016 --> 00:09:49,136
Speaker 2: he has such a deep knowledge of Pearl Jam, was

201
00:09:49,176 --> 00:09:52,296
Speaker 2: there anything from your catalog that he felt like he

202
00:09:52,336 --> 00:09:56,036
Speaker 2: wanted to hear more of from a fan perspective?

203
00:09:56,936 --> 00:10:00,496
Speaker 4: Completely. But he wouldn't necessarily tell us exactly what that was,

204
00:10:00,616 --> 00:10:04,136
Speaker 4: but I think he wanted us to write more kind

205
00:10:04,156 --> 00:10:07,446
Speaker 4: of collectively and quickly, kind of probably more like our

206
00:10:07,506 --> 00:10:09,716
Speaker 4: earlier process was where it's like, we didn't have any

207
00:10:09,756 --> 00:10:11,736
Speaker 4: time or we never even realized you could have more

208
00:10:11,776 --> 00:10:14,276
Speaker 4: time and so we just stuff was just happening quick

209
00:10:14,336 --> 00:10:16,216
Speaker 4: and nobody had time to think about it too much

210
00:10:16,756 --> 00:10:18,656
Speaker 4: and they just he wanted to make a heavy record

211
00:10:18,796 --> 00:10:20,906
Speaker 4: I think he really wanted it to be an aggressive

212
00:10:21,086 --> 00:10:25,006
Speaker 4: Pearl Jam record and from the get-go so and he

213
00:10:25,576 --> 00:10:27,456
Speaker 4: He had great sounds right away. You know, we just

214
00:10:27,476 --> 00:10:30,516
Speaker 4: went into the studio and he kind of had stuff

215
00:10:30,576 --> 00:10:32,116
Speaker 4: kind of set up. You could go on and try

216
00:10:32,156 --> 00:10:34,496
Speaker 4: this amp or try that guitar, but it was all

217
00:10:34,536 --> 00:10:37,726
Speaker 4: kind of dialed in. So we were, stuff was sounding good,

218
00:10:37,786 --> 00:10:40,266
Speaker 4: like kind of immediately. So that was, that was good.

219
00:10:40,306 --> 00:10:43,066
Speaker 4: He works fast, kept us interested for sure.

220
00:10:43,766 --> 00:10:47,306
Speaker 3: And I had a lot of conversations after that first session,

221
00:10:47,326 --> 00:10:49,406
Speaker 3: you know, like phone conversations with him where he would

222
00:10:49,506 --> 00:10:51,876
Speaker 3: ask about how did this song get written? How did

223
00:10:51,916 --> 00:10:54,636
Speaker 3: that song get written? And so he was, I think

224
00:10:54,676 --> 00:10:57,966
Speaker 3: he was like, trying to mine like, okay, that the

225
00:10:58,016 --> 00:11:01,306
Speaker 3: pro whatever the process was on that particular song, that's,

226
00:11:01,826 --> 00:11:05,446
Speaker 3: we need to revisit that process. Not necessarily like a

227
00:11:05,506 --> 00:11:08,686
Speaker 3: similar riff or a similar sound even, but like the

228
00:11:08,746 --> 00:11:11,436
Speaker 3: creative process, I think he was really trying to tap into,

229
00:11:12,716 --> 00:11:14,336
Speaker 3: you know, ultimately I think the best way we work

230
00:11:14,356 --> 00:11:16,216
Speaker 3: with each other. I mean, I think it's, we, we,

231
00:11:16,336 --> 00:11:18,956
Speaker 3: we talk about it all the time about, I think

232
00:11:18,996 --> 00:11:21,826
Speaker 3: we all have strengths that sometimes like if we lean

233
00:11:21,866 --> 00:11:24,586
Speaker 3: into those strengths that it turns out better.

234
00:11:25,076 --> 00:11:28,056
Speaker 2: Can you quickly run down what you feel everyone in

235
00:11:28,096 --> 00:11:31,256
Speaker 2: the band's strengths are? Like who does what the best?

236
00:11:32,196 --> 00:11:35,456
Speaker 3: Man, well, I mean, we have Ed who can like,

237
00:11:35,996 --> 00:11:39,846
Speaker 3: if you have two chords or an interesting repetitive pattern,

238
00:11:40,326 --> 00:11:44,386
Speaker 3: he can write a melody over that that's like memorable

239
00:11:44,546 --> 00:11:46,566
Speaker 3: and he can attach words to it that make you

240
00:11:46,626 --> 00:11:49,326
Speaker 3: feel something deeply, which to me is one of the

241
00:11:49,366 --> 00:11:52,106
Speaker 3: most incredible things things to witness to be in the

242
00:11:52,146 --> 00:11:54,286
Speaker 3: room when that's happening and something's coming out of the ether.

243
00:11:54,306 --> 00:11:55,746
Speaker 3: And then all of a sudden the line comes out.

244
00:11:55,786 --> 00:11:59,666
Speaker 3: That's like this, you know, just this beautiful two line

245
00:11:59,846 --> 00:12:03,076
Speaker 3: piece of poetry. Yeah. We have that. We have Matt

246
00:12:03,096 --> 00:12:06,736
Speaker 3: Cameron in the band who can like, you know, play

247
00:12:06,776 --> 00:12:09,976
Speaker 3: drums around anything and make it interesting and has such

248
00:12:10,016 --> 00:12:12,576
Speaker 3: a unique style and such a unique way to like

249
00:12:13,456 --> 00:12:17,506
Speaker 3: accent things and places that you wouldn't expect, which sometimes,

250
00:12:18,236 --> 00:12:20,366
Speaker 3: turns the groove around in a really cool way. We

251
00:12:20,406 --> 00:12:25,466
Speaker 3: have Mike McCready who fucking rips. And if you're working

252
00:12:25,546 --> 00:12:28,106
Speaker 3: fast and he's just playing, it's like you tap into

253
00:12:28,146 --> 00:12:30,206
Speaker 3: that thing that, you know, you have a guy that

254
00:12:30,226 --> 00:12:33,086
Speaker 3: can really take a song over the top. I think

255
00:12:33,146 --> 00:12:34,766
Speaker 3: Stone and I are sort of the lunch pail guys.

256
00:12:34,786 --> 00:12:36,796
Speaker 3: I think Stone will come in with a riff and

257
00:12:36,816 --> 00:12:40,736
Speaker 3: I might say, hey, what if we simplify that little

258
00:12:40,776 --> 00:12:42,676
Speaker 3: part of the riff or he has a really busy

259
00:12:42,736 --> 00:12:44,856
Speaker 3: riff and I'll just find the three big chords that

260
00:12:44,896 --> 00:12:48,076
Speaker 3: sort of work over that riff. And I think sometimes

261
00:12:48,236 --> 00:12:50,756
Speaker 3: some of the best stuff that we've done have been

262
00:12:50,976 --> 00:12:52,216
Speaker 3: in that spirit.

263
00:12:52,836 --> 00:12:55,576
Speaker 4: And then you have Jeff, whose ear and his listening

264
00:12:55,676 --> 00:12:59,096
Speaker 4: to kind of the whole picture and understanding how, where

265
00:12:59,116 --> 00:13:02,556
Speaker 4: the glue needs to be, understanding, really listening to the vocal,

266
00:13:02,636 --> 00:13:05,736
Speaker 4: really understanding how the vocal sits in the track and

267
00:13:05,816 --> 00:13:09,566
Speaker 4: supporting that and sort of being this ear that has that,

268
00:13:09,776 --> 00:13:14,346
Speaker 4: you know, that big picture perspective on sonics and music

269
00:13:14,386 --> 00:13:18,216
Speaker 4: history and, you know, an incredible, you know, audiophile.

270
00:13:18,696 --> 00:13:20,296
Speaker 3: Well, let me say one more good thing about Stone,

271
00:13:20,736 --> 00:13:24,136
Speaker 3: because he's just said such nice things. Stone also plays

272
00:13:24,176 --> 00:13:26,696
Speaker 3: guitar like a drummer, like his right hand is almost

273
00:13:26,736 --> 00:13:29,296
Speaker 3: like having another drummer in the band, which I think

274
00:13:29,416 --> 00:13:31,236
Speaker 3: some of the best stuff that we've done are when

275
00:13:31,256 --> 00:13:35,496
Speaker 3: there's sort of almost those two kind of frenetic rhythmic

276
00:13:35,596 --> 00:13:38,376
Speaker 3: elements happening when the drummer and Stone's right hand are

277
00:13:38,416 --> 00:13:41,956
Speaker 3: sort of battling or, you know, joining up. And I

278
00:13:42,226 --> 00:13:44,106
Speaker 3: think there's, I think there's moments on this record that

279
00:13:44,146 --> 00:13:47,916
Speaker 3: have Kind of classic Stone riffage.

280
00:13:48,196 --> 00:13:49,496
Speaker 4: I was just going to say, I think Dark Matter

281
00:13:49,516 --> 00:13:52,256
Speaker 4: is a really great example of, and I think that

282
00:13:52,276 --> 00:13:55,436
Speaker 4: was one of the last songs we wrote, but that's

283
00:13:55,496 --> 00:13:57,976
Speaker 4: a great example of the sort of mishmash of what

284
00:13:58,116 --> 00:14:01,016
Speaker 4: is possible. And it started out with Matt Cameron stepping

285
00:14:01,116 --> 00:14:04,196
Speaker 4: in the day before and just warming up on his drums,

286
00:14:04,236 --> 00:14:07,036
Speaker 4: getting ready to record that day and just starts playing

287
00:14:07,056 --> 00:14:09,156
Speaker 4: this beat, which is the beat that's in Dark Matter.

288
00:14:09,196 --> 00:14:11,156
Speaker 4: But he was kind of playing it on a snare

289
00:14:11,176 --> 00:14:13,196
Speaker 4: and it wasn't like as aggressive as that, but it

290
00:14:13,236 --> 00:14:15,396
Speaker 4: was like, that beat was there and we all just

291
00:14:15,756 --> 00:14:17,416
Speaker 4: looked at each other and went, that's what he does

292
00:14:17,476 --> 00:14:19,336
Speaker 4: every day. It's amazing. He comes in, he plays that thing.

293
00:14:19,356 --> 00:14:21,276
Speaker 4: It's like, how is that not a song? And we

294
00:14:21,326 --> 00:14:24,206
Speaker 4: just rolled tape and we grabbed that beat and we

295
00:14:24,236 --> 00:14:27,406
Speaker 4: looped it. And Jeff and I took that same loop

296
00:14:27,446 --> 00:14:30,046
Speaker 4: home that night. And both of us wrote different parts

297
00:14:30,126 --> 00:14:31,766
Speaker 4: that ended up being the verse and kind of the

298
00:14:31,826 --> 00:14:36,526
Speaker 4: chorus melody parts. And the next day we had a

299
00:14:36,586 --> 00:14:42,186
Speaker 4: song that was this weird combination of everybody's sort of,

300
00:14:42,406 --> 00:14:46,016
Speaker 4: you know, being there, but not anybody being in charge

301
00:14:46,216 --> 00:14:48,996
Speaker 4: of what happened. And I, I just, I live for

302
00:14:49,036 --> 00:14:50,916
Speaker 4: that stuff now. It's like, I want to make a

303
00:14:50,916 --> 00:14:54,036
Speaker 4: whole record where it's just like, don't bring anything in

304
00:14:54,496 --> 00:14:57,536
Speaker 4: or bring in only bits and pieces. You know, if

305
00:14:57,576 --> 00:14:59,916
Speaker 4: we need a bit or a piece, be ready for it.

306
00:14:59,966 --> 00:15:03,706
Speaker 4: But that, that group arrangement is just a, it's brilliant.

307
00:15:03,746 --> 00:15:06,446
Speaker 4: And it's, I think it's less common now. There's just

308
00:15:06,626 --> 00:15:11,156
Speaker 4: more individual songwriting efforts and brilliant songwriting efforts, And I

309
00:15:11,236 --> 00:15:13,736
Speaker 4: love that our place in rock right now might be

310
00:15:13,796 --> 00:15:16,996
Speaker 4: more of like, hey, we do it in a way

311
00:15:17,036 --> 00:15:20,316
Speaker 4: that you can't replicate because you can't, you know, five

312
00:15:20,816 --> 00:15:23,706
Speaker 4: different states of mind are attacking it from a different

313
00:15:23,726 --> 00:15:26,706
Speaker 4: point of view. So I think that's a great example

314
00:15:26,746 --> 00:15:28,926
Speaker 4: of what's possible when you write as a group.

315
00:15:29,326 --> 00:15:29,626
Speaker 5: Yeah.

316
00:15:30,246 --> 00:15:32,246
Speaker 2: And then Stone, how would you describe how you and

317
00:15:32,306 --> 00:15:35,426
Speaker 2: Mike McCready play off each other and how you come

318
00:15:35,486 --> 00:15:37,886
Speaker 2: up with your parts together? How does that process work?

319
00:15:39,696 --> 00:15:41,536
Speaker 4: You know, we just kind of feel it out. I

320
00:15:41,556 --> 00:15:43,416
Speaker 4: think the less we talk about it, the better it

321
00:15:43,556 --> 00:15:46,996
Speaker 4: is in general. But, you know, I think, you know,

322
00:15:47,056 --> 00:15:48,936
Speaker 4: as you play in a band, you kind of look

323
00:15:48,976 --> 00:15:51,676
Speaker 4: for the spot where nobody's playing or maybe there's a

324
00:15:51,756 --> 00:15:55,346
Speaker 4: point in the musical phrase where it needs some support

325
00:15:55,406 --> 00:15:59,466
Speaker 4: or it's something sagging or you need to. So I

326
00:15:59,506 --> 00:16:02,106
Speaker 4: kind of usually head for that spot and that accent

327
00:16:02,166 --> 00:16:05,506
Speaker 4: and I'll start just figuring out maybe it's a one

328
00:16:05,566 --> 00:16:07,786
Speaker 4: note thing or maybe it's just a two note climb

329
00:16:07,846 --> 00:16:10,116
Speaker 4: into that note or, you know, You just start kind

330
00:16:10,186 --> 00:16:14,026
Speaker 4: of going through your little process of taking little building

331
00:16:14,046 --> 00:16:16,306
Speaker 4: blocks and stacking them up and kind of seeing if

332
00:16:16,366 --> 00:16:20,426
Speaker 4: it feels like it supports the architecture of the song

333
00:16:20,546 --> 00:16:23,306
Speaker 4: or whatever. And I think Mike comes from a place

334
00:16:23,446 --> 00:16:27,006
Speaker 4: of very much just needs to feel it and then

335
00:16:27,196 --> 00:16:31,216
Speaker 4: just needs to play and winds his way through, you know,

336
00:16:31,656 --> 00:16:36,796
Speaker 4: a track and just finds his melody or his feel

337
00:16:36,996 --> 00:16:38,196
Speaker 4: that makes him feel good, you know?

338
00:16:39,706 --> 00:16:42,146
Speaker 2: Jeff, you mentioned that there wasn't anything to do at

339
00:16:42,186 --> 00:16:46,706
Speaker 2: Shangri-La other than to play pool in between recording, hanging out.

340
00:16:47,386 --> 00:16:50,666
Speaker 2: I noticed on the intro of the first song, Scared

341
00:16:50,706 --> 00:16:54,186
Speaker 2: of Fear, it sounds like it builds to a pool break.

342
00:16:55,206 --> 00:16:55,426
Speaker 4: Yeah.

343
00:16:55,866 --> 00:16:59,786
Speaker 2: Was that inspired by Shangri-La? And I'm just curious how

344
00:16:59,806 --> 00:17:04,346
Speaker 2: you guys have thought traditionally about the album openers, like

345
00:17:04,386 --> 00:17:06,026
Speaker 2: those little intros to the albums.

346
00:17:06,686 --> 00:17:08,366
Speaker 3: Oh, well, that was a piece that I sort of

347
00:17:08,386 --> 00:17:10,616
Speaker 3: came up with. it sort of felt like the pool

348
00:17:10,686 --> 00:17:12,726
Speaker 3: break right at the start of the record didn't feel

349
00:17:12,826 --> 00:17:18,486
Speaker 3: like it, I felt maybe too abrupt. And so, yeah,

350
00:17:18,506 --> 00:17:22,226
Speaker 3: I recorded most of that in Montana, like just kind

351
00:17:22,246 --> 00:17:24,386
Speaker 3: of going back and forth with Andrew, like, you know,

352
00:17:24,446 --> 00:17:26,946
Speaker 3: him saying like, yeah, it should be 25, 30 seconds.

353
00:17:27,666 --> 00:17:30,186
Speaker 3: And so I gave him like a minute with a

354
00:17:30,586 --> 00:17:33,726
Speaker 3: bunch of ambient loops and yeah, a bunch of music.

355
00:17:34,626 --> 00:17:37,046
Speaker 3: And I love making that sort of stuff in which we,

356
00:17:37,186 --> 00:17:40,516
Speaker 3: you know, the, our very first record, the master slave

357
00:17:40,576 --> 00:17:44,836
Speaker 3: pieces was sort of a very early sort of version

358
00:17:44,856 --> 00:17:47,136
Speaker 3: of that kind of piece of music. And some of

359
00:17:47,216 --> 00:17:50,496
Speaker 3: it was me taking the, actually the little melody at

360
00:17:50,536 --> 00:17:53,496
Speaker 3: the end of the record and sort of changing. I

361
00:17:53,756 --> 00:17:57,876
Speaker 3: actually took that little three chord melody that Ed's playing

362
00:17:57,936 --> 00:18:00,016
Speaker 3: on guitar at the end of the record. And I

363
00:18:00,216 --> 00:18:02,916
Speaker 3: sort of transposed it to fit a key lower than

364
00:18:02,936 --> 00:18:06,856
Speaker 3: the beginning of the key. That's that scared of fear starts.

365
00:18:06,956 --> 00:18:08,636
Speaker 3: So just to, just to make it feel like there

366
00:18:08,676 --> 00:18:11,276
Speaker 3: was a little, boost when when stone comes in with

367
00:18:11,316 --> 00:18:11,926
Speaker 3: that riff.

368
00:18:12,446 --> 00:18:14,366
Speaker 4: Very cool that is the that is the pool table

369
00:18:14,386 --> 00:18:19,006
Speaker 4: from yeah that's yeah that's recorded there and was it

370
00:18:19,046 --> 00:18:21,566
Speaker 4: sean penn couple annoyments i think it was maybe sean

371
00:18:21,586 --> 00:18:22,426
Speaker 4: penn that broke.

372
00:18:22,266 --> 00:18:25,836
Speaker 2: The seems like a solid break yeah it's it looks.

373
00:18:25,716 --> 00:18:28,396
Speaker 4: Like i bet the balls spread around the table it wasn't.

374
00:18:28,596 --> 00:18:31,576
Speaker 3: I can see the fanciest mics ever on a pool.

375
00:18:31,376 --> 00:18:33,536
Speaker 4: Table how many takes did they get though it's like

376
00:18:33,576 --> 00:18:35,896
Speaker 4: was like two hours of like let's do it again

377
00:18:35,956 --> 00:18:36,516
Speaker 4: but i'm at.

378
00:18:36,426 --> 00:18:40,556
Speaker 5: Most After a quick break, we'll be back with more

379
00:18:40,596 --> 00:18:48,026
Speaker 5: from Leah Rose, Stone Gossard, and Jeff Amint. We're back

380
00:18:48,046 --> 00:18:49,906
Speaker 5: with Stone Gossard and Jeff Amint.

381
00:18:51,066 --> 00:18:55,206
Speaker 2: I'm curious about the song Wreckage, which I love so much.

382
00:18:55,246 --> 00:18:57,906
Speaker 2: It's so pretty. How did that song come about? What

383
00:18:57,926 --> 00:18:59,466
Speaker 2: do you remember from that session?

384
00:19:00,346 --> 00:19:02,466
Speaker 3: The main thing I remember is Ed sitting down with

385
00:19:02,486 --> 00:19:05,706
Speaker 3: the guitar and sort of playing basically the chords to

386
00:19:05,726 --> 00:19:08,886
Speaker 3: the verse. And then we just kind of moved through that.

387
00:19:09,416 --> 00:19:12,726
Speaker 3: Ed kind of kept adding parts. I mean, that song,

388
00:19:12,736 --> 00:19:15,186
Speaker 3: I mean, from my standpoint, it felt like it was

389
00:19:15,246 --> 00:19:18,306
Speaker 3: getting written on the move, you know, like as he

390
00:19:18,326 --> 00:19:23,426
Speaker 3: was adding chords, then another vocal melody happens. And we

391
00:19:23,466 --> 00:19:25,886
Speaker 3: got the bulk of that song down, I think, in

392
00:19:25,906 --> 00:19:26,486
Speaker 3: a few hours.

393
00:19:27,006 --> 00:19:27,216
Speaker 2: Yeah.

394
00:19:27,846 --> 00:19:29,736
Speaker 4: And then I think that there's an open G tuning,

395
00:19:29,776 --> 00:19:32,896
Speaker 4: which is Andrew kind of coming along with that sort

396
00:19:32,936 --> 00:19:36,926
Speaker 4: of a distinctive It sort of breaks it out of

397
00:19:37,306 --> 00:19:39,346
Speaker 4: what might be a little bit more of a straightforward

398
00:19:39,466 --> 00:19:43,546
Speaker 4: song and sort of adds some harmonic and rhythmic variety

399
00:19:43,606 --> 00:19:46,386
Speaker 4: to it. So I think that's a pretty distinctive part

400
00:19:46,406 --> 00:19:49,506
Speaker 4: of that track as well as that sort of open

401
00:19:49,546 --> 00:19:51,706
Speaker 4: G strum that he's got going on there.

402
00:19:52,446 --> 00:19:55,226
Speaker 2: And also Upper Hand. That's one of these songs that

403
00:19:55,466 --> 00:19:59,046
Speaker 2: it sounds like it's going to be so incredible live.

404
00:19:59,996 --> 00:20:03,026
Speaker 2: Do you think about how the songs are going to

405
00:20:03,086 --> 00:20:06,446
Speaker 2: translate to the stage when you're recording them or before

406
00:20:06,526 --> 00:20:09,126
Speaker 2: you go in? Or is that a consideration?

407
00:20:09,146 --> 00:20:12,606
Speaker 3: I don't think I do. I think I think there

408
00:20:12,646 --> 00:20:15,026
Speaker 3: was something about when they created that piece. I mean,

409
00:20:15,046 --> 00:20:17,146
Speaker 3: that was Ed and Andrew and Josh that sort of

410
00:20:17,196 --> 00:20:21,156
Speaker 3: created that pre-instrumental piece. I could imagine like when you're

411
00:20:21,176 --> 00:20:24,516
Speaker 3: creating that, that you're, you're setting a mood and a

412
00:20:24,576 --> 00:20:26,936
Speaker 3: tone for the song that's about to come. And we,

413
00:20:27,776 --> 00:20:29,996
Speaker 3: we sort of got into that yesterday in rehearsal, just

414
00:20:30,036 --> 00:20:32,296
Speaker 3: trying to recreate the sounds of that, of that piece.

415
00:20:32,356 --> 00:20:33,416
Speaker 3: It's going to be, it's going to be a fun

416
00:20:33,516 --> 00:20:35,676
Speaker 3: one just because it's going to, it's going to create

417
00:20:35,716 --> 00:20:39,896
Speaker 3: such a mood live. I think, you know, the, how

418
00:20:39,936 --> 00:20:42,616
Speaker 3: the outro is, it's, it's sort of a, a wide

419
00:20:42,716 --> 00:20:45,856
Speaker 3: open outro, you know, it's sort of a place for, again,

420
00:20:45,956 --> 00:20:47,556
Speaker 3: where Mike and Matt can really shine.

421
00:20:48,156 --> 00:20:50,336
Speaker 4: Yeah. It's a nice, it's nice that we, that, that

422
00:20:50,456 --> 00:20:53,756
Speaker 4: opening piece really gives it more room to get to

423
00:20:53,796 --> 00:20:57,576
Speaker 4: that sort of crescendo, you know, without it, I think

424
00:20:57,616 --> 00:21:00,016
Speaker 4: it would be, it's almost too short. Like you wouldn't

425
00:21:00,096 --> 00:21:02,336
Speaker 4: be in the song long enough before you're at the crescendo.

426
00:21:02,396 --> 00:21:05,516
Speaker 4: So this is sort of gives it that nice runway

427
00:21:05,536 --> 00:21:08,806
Speaker 4: to kind of ease you into it. And it's a beautiful,

428
00:21:09,306 --> 00:21:10,066
Speaker 4: it's a beautiful piece.

429
00:21:10,166 --> 00:21:10,766
Speaker 2: It is beautiful.

430
00:21:11,016 --> 00:21:13,256
Speaker 4: Josh Klinghoffer really sort of wrote the chords, I think,

431
00:21:13,276 --> 00:21:13,536
Speaker 4: to that.

432
00:21:14,076 --> 00:21:18,436
Speaker 2: When it comes to writing songs that end up being anthemic,

433
00:21:19,316 --> 00:21:23,536
Speaker 2: are there any like tricks or anything that you can

434
00:21:23,636 --> 00:21:27,016
Speaker 2: always rely on? Or is that not even a consideration

435
00:21:27,076 --> 00:21:28,776
Speaker 2: when you're making music?

436
00:21:29,936 --> 00:21:31,196
Speaker 4: What do you mean by anthemic?

437
00:21:32,196 --> 00:21:37,096
Speaker 2: Just like something that'll soar on stage in a live setting.

438
00:21:38,156 --> 00:21:41,356
Speaker 4: I think, I mean, usually the kinds of things that

439
00:21:41,416 --> 00:21:44,476
Speaker 4: translate and that are allowed to soar are pretty simple

440
00:21:44,716 --> 00:21:48,526
Speaker 4: in terms of their presentation. I think the more detail

441
00:21:48,586 --> 00:21:51,146
Speaker 4: you get, you know, if you're writing a song in

442
00:21:51,166 --> 00:21:52,926
Speaker 4: your house and you're sort of starting to add on

443
00:21:52,946 --> 00:21:56,446
Speaker 4: more parts and your acoustic part is getting more complex,

444
00:21:56,666 --> 00:21:59,636
Speaker 4: all of that stuff tends to not translate when it

445
00:21:59,696 --> 00:22:03,406
Speaker 4: comes to a room where two big chords and some

446
00:22:03,446 --> 00:22:07,196
Speaker 4: space and one riff where everybody's kind of playing together

447
00:22:07,236 --> 00:22:09,196
Speaker 4: at one point and then maybe it opens up and

448
00:22:09,236 --> 00:22:12,196
Speaker 4: does something else. But I just think, you know, it

449
00:22:12,276 --> 00:22:15,156
Speaker 4: really is primary colors to start out with, you know,

450
00:22:15,336 --> 00:22:18,196
Speaker 4: and a change that, that, that feels good or that,

451
00:22:18,276 --> 00:22:22,066
Speaker 4: that has impactful, you know, chord change or a rhythmic

452
00:22:22,246 --> 00:22:26,196
Speaker 4: pulse change or a, Tempo change or whatever it is. So, yeah,

453
00:22:26,236 --> 00:22:28,876
Speaker 4: but I think simplicity is probably the key, you know,

454
00:22:28,916 --> 00:22:30,756
Speaker 4: and I think that's a good place for us to

455
00:22:30,796 --> 00:22:35,956
Speaker 4: be is not getting too into the detail of all

456
00:22:35,996 --> 00:22:38,256
Speaker 4: the different ways you can play the same chord.

457
00:22:38,816 --> 00:22:41,866
Speaker 2: Before we move on from the new album, are there

458
00:22:41,886 --> 00:22:45,306
Speaker 2: any songs, any stories about recording the songs that you

459
00:22:45,346 --> 00:22:48,286
Speaker 2: want to talk about? Anything that really stands out?

460
00:22:48,306 --> 00:22:52,906
Speaker 4: I love the story of how we got Won't Tell, which...

461
00:22:53,386 --> 00:22:56,106
Speaker 4: started out with Jeff Amon having a dream and I've

462
00:22:56,136 --> 00:22:58,236
Speaker 4: been telling this and I'm not sure I've been, I'm

463
00:22:58,276 --> 00:23:01,016
Speaker 4: not sure I'm telling the story right. Yeah.

464
00:23:01,036 --> 00:23:02,976
Speaker 3: I mean, without going, I mean, it's a, it's kind

465
00:23:03,016 --> 00:23:04,596
Speaker 3: of a long story, but I, but I had a

466
00:23:04,896 --> 00:23:07,256
Speaker 3: fairly realized dream of a song that I woke up,

467
00:23:07,596 --> 00:23:10,516
Speaker 3: which I occasionally do. And you sort of lay down

468
00:23:10,536 --> 00:23:13,016
Speaker 3: and usually when you listen to it again, it's like

469
00:23:13,076 --> 00:23:16,346
Speaker 3: nonsensical and bad and whatever. But this thing actually was like,

470
00:23:17,166 --> 00:23:18,526
Speaker 3: when I listened to it, I was like, wow, there's

471
00:23:18,886 --> 00:23:21,526
Speaker 3: something in there. And even the lyric, I think we

472
00:23:21,546 --> 00:23:24,396
Speaker 3: were like, you know, probably, three quarters of the way

473
00:23:24,456 --> 00:23:28,896
Speaker 3: through the last session. And I was there early and

474
00:23:29,416 --> 00:23:31,636
Speaker 3: Andrew had said, Hey, Hey, you got something. And so

475
00:23:31,656 --> 00:23:33,436
Speaker 3: I played him and he goes, man, that's awesome. And

476
00:23:33,476 --> 00:23:36,176
Speaker 3: it was a complete song. And he said, what if

477
00:23:36,236 --> 00:23:39,856
Speaker 3: we just give Ed the lyrics and the band can

478
00:23:39,906 --> 00:23:44,406
Speaker 3: learn the music and let Ed sort of interpret the lyrics.

479
00:23:45,506 --> 00:23:48,866
Speaker 3: And it took a couple of, couple of rounds for

480
00:23:49,006 --> 00:23:50,846
Speaker 3: Ed to sort of like, I think come up with

481
00:23:50,886 --> 00:23:53,206
Speaker 3: something that he was super happy about, but he ended

482
00:23:53,266 --> 00:23:56,516
Speaker 3: up coming up with like, almost as like a dream

483
00:23:57,576 --> 00:24:00,576
Speaker 3: of a dream, you know, it's like me telling him

484
00:24:00,596 --> 00:24:03,156
Speaker 3: and then him sort of interpreting it in this almost

485
00:24:03,196 --> 00:24:05,816
Speaker 3: like kind of a psychedelic, uh, way, which the dream

486
00:24:05,856 --> 00:24:08,856
Speaker 3: was pretty psychedelic. So it was just a brand new

487
00:24:08,896 --> 00:24:10,496
Speaker 3: way to write a song.

488
00:24:10,776 --> 00:24:10,996
Speaker 5: Yeah.

489
00:24:11,256 --> 00:24:14,036
Speaker 3: And it was, the song was written on a, a

490
00:24:14,096 --> 00:24:17,416
Speaker 3: baritone guitar. Josh Klinghoffer had bought us all these baritone

491
00:24:17,436 --> 00:24:21,816
Speaker 3: guitars and I, I had it in this open tuning and, uh,

492
00:24:22,446 --> 00:24:24,226
Speaker 3: had kind of written the piece in that because the

493
00:24:24,266 --> 00:24:29,906
Speaker 3: dream involved an electric dulcimer that sounded kind of like

494
00:24:29,946 --> 00:24:33,726
Speaker 3: Neil Young, but it was a woman playing this electric dulcimer.

495
00:24:33,806 --> 00:24:36,046
Speaker 4: So you're not talking about Joni Mitchell.

496
00:24:36,316 --> 00:24:37,076
Speaker 3: I don't.

497
00:24:37,336 --> 00:24:42,516
Speaker 4: But Joni Mitchell's in the dream, isn't she? Is she Joni? Yeah,

498
00:24:42,536 --> 00:24:44,636
Speaker 4: Joni Mitchell came to him in his sleep.

499
00:24:44,676 --> 00:24:46,776
Speaker 3: We had a conversation in the dream. Wow, what did

500
00:24:46,796 --> 00:24:51,876
Speaker 3: you guys talk about? It was about a song that

501
00:24:51,936 --> 00:24:54,076
Speaker 3: she and Neil wrote together, and this is that song.

502
00:24:54,576 --> 00:24:55,016
Speaker 4: Wow.

503
00:24:55,096 --> 00:24:55,796
Speaker 3: This is the song.

504
00:24:56,986 --> 00:24:59,206
Speaker 4: But we're not going to share publishing with them about it.

505
00:25:01,086 --> 00:25:02,446
Speaker 2: Have you guys ever played with Joni?

506
00:25:03,226 --> 00:25:07,166
Speaker 3: We haven't. We did share an airplane ride with her

507
00:25:07,286 --> 00:25:10,836
Speaker 3: in about 1993 in Canada. And then when we got

508
00:25:10,856 --> 00:25:12,976
Speaker 3: on the plane, I was sitting in the aisle seat,

509
00:25:13,176 --> 00:25:14,696
Speaker 3: and she was sitting in the aisle seat right across

510
00:25:14,716 --> 00:25:18,536
Speaker 3: from me. I mean, this might come off as stalker-ish,

511
00:25:19,196 --> 00:25:21,226
Speaker 3: but I was listening to a lot of Joni Mitchell

512
00:25:21,246 --> 00:25:23,246
Speaker 3: at the time. So I reached into my CD wallet,

513
00:25:23,266 --> 00:25:26,326
Speaker 3: which it was 1993. So, and I put in blue

514
00:25:26,946 --> 00:25:28,886
Speaker 3: and I put on my headphones and during the flight,

515
00:25:28,906 --> 00:25:30,786
Speaker 3: I would just look over every once in a while

516
00:25:30,826 --> 00:25:31,846
Speaker 3: and go like, wow, like.

517
00:25:32,026 --> 00:25:33,606
Speaker 2: You just like stare at her and mouth.

518
00:25:34,126 --> 00:25:36,566
Speaker 3: No, I didn't stare at her. I didn't stare at her,

519
00:25:36,586 --> 00:25:38,196
Speaker 3: but I was, I sort of felt like I'm in

520
00:25:38,236 --> 00:25:41,756
Speaker 3: Canada and I'm listening to blue and I'm sitting across

521
00:25:41,776 --> 00:25:42,476
Speaker 3: from Joni Mitchell.

522
00:25:42,536 --> 00:25:44,036
Speaker 4: So. There it is.

523
00:25:44,116 --> 00:25:46,796
Speaker 3: Crazy reverence. I mean, she's like one of my favorite

524
00:25:47,216 --> 00:25:50,966
Speaker 3: just artists because she's, I think as much because she's

525
00:25:51,006 --> 00:25:53,686
Speaker 3: a great painter as a great musician.

526
00:25:54,386 --> 00:25:54,846
Speaker 5: I love that.

527
00:25:55,346 --> 00:25:58,656
Speaker 3: And her feel, her right hand, and just how she

528
00:25:59,036 --> 00:26:02,476
Speaker 3: tells stories. I think it leans on jazz, but it's

529
00:26:02,536 --> 00:26:06,536
Speaker 3: so her because she's a small-town Canadian girl. I think

530
00:26:06,836 --> 00:26:09,596
Speaker 3: I relate to that part of it, too, because she

531
00:26:09,636 --> 00:26:11,726
Speaker 3: sort of grew up not too far from where I

532
00:26:11,766 --> 00:26:13,066
Speaker 3: grew up, just across the border.

533
00:26:13,246 --> 00:26:17,996
Speaker 2: Oh, that's so cool. after 10 took off in the

534
00:26:18,016 --> 00:26:20,976
Speaker 2: beginning and all of a sudden you guys started playing

535
00:26:21,096 --> 00:26:25,116
Speaker 2: with other like really huge artists. Was there anybody who

536
00:26:25,156 --> 00:26:27,496
Speaker 2: you found yourself on stage with where you were just like,

537
00:26:27,696 --> 00:26:28,936
Speaker 2: what is going on?

538
00:26:30,216 --> 00:26:34,356
Speaker 4: Everybody. I mean, I mean, I felt that way about

539
00:26:34,376 --> 00:26:36,016
Speaker 4: the Chili Peppers right off the bat when the Chili

540
00:26:36,036 --> 00:26:39,036
Speaker 4: Peppers took us out, just watching John Frusciante every night

541
00:26:39,056 --> 00:26:41,796
Speaker 4: and Chad. I mean, there's the way those guys played.

542
00:26:41,816 --> 00:26:45,946
Speaker 4: It was so, much bigger than anything we'd ever heard

543
00:26:45,966 --> 00:26:48,106
Speaker 4: in terms of like oh that's how you like that's

544
00:26:48,126 --> 00:26:50,366
Speaker 4: how your stage can sound that's how they play the

545
00:26:50,426 --> 00:26:54,066
Speaker 4: whole sound and i think we were still in our

546
00:26:54,086 --> 00:26:57,656
Speaker 4: you know all the vibrations were very fast we were

547
00:26:58,176 --> 00:27:00,736
Speaker 4: we weren't tuning into each other in the same way

548
00:27:00,776 --> 00:27:03,556
Speaker 4: that we've learned more now to be able to do

549
00:27:03,656 --> 00:27:07,256
Speaker 4: but that was an amazing experience you know seeing you

550
00:27:07,276 --> 00:27:10,446
Speaker 4: know seeing neil young play with booker t and the

551
00:27:10,486 --> 00:27:13,226
Speaker 4: mgs and that tour was jim keltner that was like

552
00:27:13,866 --> 00:27:16,526
Speaker 4: never done yeah i mean never heard a pocket like

553
00:27:16,706 --> 00:27:20,486
Speaker 4: that deep before it's like everyone was out pocketing each

554
00:27:20,566 --> 00:27:23,026
Speaker 4: other it's like you know what i mean like the

555
00:27:23,226 --> 00:27:27,266
Speaker 4: one was somewhere you know incredible so i mean but

556
00:27:27,286 --> 00:27:29,286
Speaker 4: we've had that over and over again you know seeing

557
00:27:29,326 --> 00:27:34,396
Speaker 4: you two play and all all those early opportunities to

558
00:27:34,436 --> 00:27:35,456
Speaker 4: see bands.

559
00:27:35,246 --> 00:27:37,556
Speaker 3: Go that's the show we played with keith richards and

560
00:27:38,016 --> 00:27:42,096
Speaker 3: Steve Jordan and Charlie Drayton. That show was... Also, just

561
00:27:42,176 --> 00:27:44,676
Speaker 3: witnessing bands play with so much space. I think that's...

562
00:27:45,896 --> 00:27:48,466
Speaker 3: I do remember on those Neil Booker T, I remember

563
00:27:48,706 --> 00:27:51,266
Speaker 3: just sort of listening to a conversation that Keltner and

564
00:27:51,286 --> 00:27:53,366
Speaker 3: Duck Dunn were having about like, yeah.

565
00:27:53,386 --> 00:27:53,686
Speaker 4: We keep.

566
00:27:54,086 --> 00:27:56,586
Speaker 3: Duck would say like, yeah, we keep asking Neil, like,

567
00:27:56,626 --> 00:27:58,206
Speaker 3: are we playing the groove? It doesn't feel like we're

568
00:27:58,226 --> 00:28:00,706
Speaker 3: playing the groove in the right place. And because it

569
00:28:01,006 --> 00:28:06,346
Speaker 3: sort of helped make Neil's songs feel... it's just sounded different.

570
00:28:06,366 --> 00:28:08,586
Speaker 3: Those crazy horse songs sounded different with Booker T and

571
00:28:08,606 --> 00:28:13,346
Speaker 3: those guys, they just swung differently. And, um, but the space,

572
00:28:13,426 --> 00:28:16,426
Speaker 3: the space, like watching duck and Keltner play together was like,

573
00:28:17,436 --> 00:28:18,736
Speaker 3: I mean, there was four or five shows where I

574
00:28:18,736 --> 00:28:21,496
Speaker 3: remember I was just sort of sitting between them, like

575
00:28:21,496 --> 00:28:26,176
Speaker 3: 15 feet from them, taking basically a masterclass and rhythm section,

576
00:28:26,376 --> 00:28:28,476
Speaker 3: you know, and going like, that's how you play on

577
00:28:28,716 --> 00:28:31,296
Speaker 3: a mid tempo song, like right there. I mean, my,

578
00:28:31,616 --> 00:28:35,516
Speaker 3: I think my playing changed, uh, overnight from playing in

579
00:28:35,556 --> 00:28:36,176
Speaker 3: those 10 shows.

580
00:28:36,956 --> 00:28:39,586
Speaker 2: Neil seems like he's so energized when he's playing with

581
00:28:39,626 --> 00:28:43,666
Speaker 2: you guys. Has he ever articulated to you like what

582
00:28:43,706 --> 00:28:46,766
Speaker 2: it is about Pearl Jam that gets him like so pumped?

583
00:28:47,406 --> 00:28:51,086
Speaker 3: You know, he called me last summer. They were mixing

584
00:28:51,396 --> 00:28:54,576
Speaker 3: Mirrorball and Atmos and he was just so he was

585
00:28:54,616 --> 00:28:56,976
Speaker 3: so generous and so kind, like in terms of he

586
00:28:57,016 --> 00:28:59,316
Speaker 3: just goes, man, like, you know, you guys is playing

587
00:28:59,376 --> 00:29:01,916
Speaker 3: on this is so great. And I think I move

588
00:29:01,956 --> 00:29:04,876
Speaker 3: so fast from record to record. I don't really I

589
00:29:04,896 --> 00:29:06,776
Speaker 3: don't really get a chance to listen back, but I'm

590
00:29:07,056 --> 00:29:10,056
Speaker 3: really listening to how you guys chose to play. And

591
00:29:10,096 --> 00:29:11,896
Speaker 3: I appreciate it so much. And I hope we get

592
00:29:11,916 --> 00:29:14,316
Speaker 3: to do it again. And of course you're like, oh,

593
00:29:14,516 --> 00:29:16,656
Speaker 3: can we please do that again? Cause we'll be even, we'll,

594
00:29:16,676 --> 00:29:18,456
Speaker 3: we'll give you more space and we'll be so much

595
00:29:18,536 --> 00:29:20,836
Speaker 3: better than we were in 1995.

596
00:29:20,836 --> 00:29:23,076
Speaker 4: After him playing, he plays the song once for us,

597
00:29:23,116 --> 00:29:24,916
Speaker 4: we learned the chords and he's like, okay, we're going

598
00:29:24,936 --> 00:29:26,756
Speaker 4: to record it. And then you record it. And it's like, done.

599
00:29:26,796 --> 00:29:27,096
Speaker 5: Great.

600
00:29:27,196 --> 00:29:30,666
Speaker 4: You know, it's like, I was just, you know, mostly

601
00:29:30,706 --> 00:29:32,866
Speaker 4: we were just trying to remember the chords, you know, which.

602
00:29:33,266 --> 00:29:36,366
Speaker 4: Of course, he loves because that's how he is. He's like, oh,

603
00:29:36,386 --> 00:29:39,236
Speaker 4: that's great. You know, it's like, which is fun. But

604
00:29:39,716 --> 00:29:43,016
Speaker 4: playing with Neil is, you know, that's such an honor.

605
00:29:43,056 --> 00:29:44,646
Speaker 4: It's just like incredible, you know.

606
00:29:45,466 --> 00:29:49,086
Speaker 2: Yeah, he seems so just like open and connected to whatever.

607
00:29:49,306 --> 00:29:52,606
Speaker 2: it is that sends him information and inspiration.

608
00:29:52,626 --> 00:29:55,806
Speaker 4: Yeah. And then he just loses his mind and then

609
00:29:55,876 --> 00:29:57,616
Speaker 4: you get to lose your mind too. You know, it's

610
00:29:57,636 --> 00:30:01,696
Speaker 4: just like playing, you know, three chords, which is, there's

611
00:30:01,736 --> 00:30:05,476
Speaker 4: nothing more satisfying than being, having transcendence in three chords

612
00:30:05,516 --> 00:30:08,266
Speaker 4: where it's like, it's not, you know, It's not all

613
00:30:08,306 --> 00:30:11,426
Speaker 4: the years of your studying music and it's not, you know,

614
00:30:11,506 --> 00:30:13,786
Speaker 4: any sort of science or any kind of, you know,

615
00:30:14,346 --> 00:30:19,516
Speaker 4: anything that is rigor. You know, it's just literally joyful

616
00:30:19,936 --> 00:30:22,536
Speaker 4: play with three notes.

617
00:30:23,156 --> 00:30:24,996
Speaker 2: How long does it take you guys to get comfortable

618
00:30:25,036 --> 00:30:27,976
Speaker 2: with somebody like that in the studio? Like, do you

619
00:30:27,996 --> 00:30:32,326
Speaker 2: go in there super nervous or like, is there a

620
00:30:32,606 --> 00:30:34,636
Speaker 2: period of time where you have to sort of settle in?

621
00:30:36,066 --> 00:30:40,246
Speaker 3: I remember that session. I remember sweating a lot. And then,

622
00:30:40,586 --> 00:30:43,136
Speaker 3: and then I got crazy sick, like the fourth or

623
00:30:43,196 --> 00:30:46,636
Speaker 3: fifth day. Like, I think that was the day they recorded.

624
00:30:47,516 --> 00:30:48,516
Speaker 4: Was it even that many days?

625
00:30:48,576 --> 00:30:50,976
Speaker 3: How many days was it? It was, it was five

626
00:30:50,996 --> 00:30:52,916
Speaker 3: days total, but it was four days of recording the

627
00:30:52,956 --> 00:30:56,856
Speaker 3: Neil songs. And then the fifth day they went in

628
00:30:56,876 --> 00:30:58,656
Speaker 3: and they recorded that version of I Got Id.

629
00:30:58,816 --> 00:30:59,056
Speaker 4: Okay.

630
00:30:59,386 --> 00:31:01,966
Speaker 3: Which I, but I, but I had the flu like

631
00:31:02,166 --> 00:31:06,046
Speaker 3: for two days. So it might've just been like, pushing

632
00:31:06,086 --> 00:31:08,786
Speaker 3: down the pressure and the anxiety and just trying to,

633
00:31:08,866 --> 00:31:11,486
Speaker 3: you know, and the focus and you're in the studio

634
00:31:11,506 --> 00:31:14,586
Speaker 3: with like one of your favorite, if not your favorite

635
00:31:14,666 --> 00:31:17,676
Speaker 3: artist ever, and not wanting to let him down and

636
00:31:17,996 --> 00:31:19,596
Speaker 3: let the whole session down.

637
00:31:19,816 --> 00:31:22,036
Speaker 4: None of us are studio musicians. I mean, there's people

638
00:31:22,076 --> 00:31:24,216
Speaker 4: that can come in and like chart things out in

639
00:31:24,256 --> 00:31:26,916
Speaker 4: two seconds, like play by ear in such a way that,

640
00:31:26,936 --> 00:31:28,996
Speaker 4: you know, lots and lots of people can do that.

641
00:31:29,036 --> 00:31:32,666
Speaker 4: That's never been, certainly not ever been my, you know, so,

642
00:31:32,966 --> 00:31:35,226
Speaker 4: you know, you're kind of, trying to find the basic

643
00:31:35,286 --> 00:31:38,786
Speaker 4: chords and then quickly find something that helps those chords.

644
00:31:38,846 --> 00:31:41,846
Speaker 4: And it was nerve wracking for me, for sure.

645
00:31:42,506 --> 00:31:45,506
Speaker 3: I mean, half the record, I, because I listened to

646
00:31:45,546 --> 00:31:48,326
Speaker 3: the Atmos mix after he said that they mixed it and,

647
00:31:48,346 --> 00:31:50,156
Speaker 3: and half the record, I'm like, I don't remember playing

648
00:31:50,176 --> 00:31:50,656
Speaker 3: that at all.

649
00:31:50,796 --> 00:31:51,056
Speaker 4: Wow.

650
00:31:51,116 --> 00:31:53,396
Speaker 3: Like, you know, there's places where I'm moving a lot

651
00:31:53,416 --> 00:31:55,176
Speaker 3: and I'm like, man, I don't remember playing that at all.

652
00:31:55,536 --> 00:31:58,176
Speaker 2: Do you like it when you hear it back? Oh yeah.

653
00:31:58,316 --> 00:32:00,916
Speaker 3: It's probably one of my favorite things that we've ever done.

654
00:32:00,956 --> 00:32:04,516
Speaker 3: And I think it's partly like, that it was largely

655
00:32:04,556 --> 00:32:08,016
Speaker 3: like a dream. It felt like a dream because he

656
00:32:08,056 --> 00:32:10,976
Speaker 3: would come in. Well, he had two songs at the start.

657
00:32:11,016 --> 00:32:14,166
Speaker 3: He had act of love and downtown. And then he

658
00:32:14,206 --> 00:32:17,086
Speaker 3: would go stay on his boat at night and come in.

659
00:32:17,206 --> 00:32:18,846
Speaker 3: And I remember like the second or third day he

660
00:32:18,866 --> 00:32:21,346
Speaker 3: came in with the ocean and it was like, it

661
00:32:21,366 --> 00:32:24,006
Speaker 3: was like six pieces of paper taped together. And it

662
00:32:24,046 --> 00:32:27,206
Speaker 3: was like, just, you know, like Bob Dylan verse, you know,

663
00:32:27,226 --> 00:32:32,086
Speaker 3: just like 20 verses and kind of going like, oh shit,

664
00:32:32,166 --> 00:32:34,906
Speaker 3: like this is going to be a lot, but it

665
00:32:34,966 --> 00:32:38,156
Speaker 3: was essentially three chords for eight minutes.

666
00:32:38,236 --> 00:32:40,036
Speaker 4: Yeah. He was just going back to wherever he was.

667
00:32:40,116 --> 00:32:41,296
Speaker 4: He was staying on his boat. Is that what he

668
00:32:41,316 --> 00:32:42,596
Speaker 4: was saying? Yeah. He was just going back to his

669
00:32:42,636 --> 00:32:45,996
Speaker 4: boat and like, you know, smoking weed and fucking writing

670
00:32:46,076 --> 00:32:47,916
Speaker 4: new songs. And then he'd come in and go, okay,

671
00:32:47,936 --> 00:32:49,936
Speaker 4: here's the next song, you know? So it was, we

672
00:32:49,956 --> 00:32:53,076
Speaker 4: were just experiencing it with him in the, in that moment.

673
00:32:53,156 --> 00:32:55,336
Speaker 4: So he was, he was just happy to have him

674
00:32:55,516 --> 00:32:58,036
Speaker 4: turn into something. And we were just kind of on

675
00:32:58,186 --> 00:32:58,686
Speaker 4: for the ride.

676
00:32:59,566 --> 00:33:01,186
Speaker 2: Since I have both you guys together, is it okay

677
00:33:01,206 --> 00:33:03,486
Speaker 2: if I ask you a little bit about Green River?

678
00:33:04,446 --> 00:33:04,766
Speaker 4: Sure.

679
00:33:05,186 --> 00:33:07,006
Speaker 2: How do you feel about like talking about the old

680
00:33:07,106 --> 00:33:09,386
Speaker 2: stuff in general? Is it a drag?

681
00:33:09,586 --> 00:33:11,146
Speaker 4: No, no, love it.

682
00:33:11,386 --> 00:33:11,546
Speaker 3: No?

683
00:33:11,766 --> 00:33:14,966
Speaker 2: Oh, okay, cool. How did you guys even meet? How

684
00:33:14,986 --> 00:33:16,006
Speaker 2: did you start playing together?

685
00:33:17,066 --> 00:33:19,826
Speaker 3: Well, I think it's like almost 40 years to the day.

686
00:33:19,966 --> 00:33:25,486
Speaker 3: Like somewhere March, April, 40 years ago, we met at

687
00:33:25,686 --> 00:33:28,826
Speaker 3: the Metropolis, which was a sort of communal punk rock

688
00:33:28,876 --> 00:33:33,336
Speaker 3: club that sky hugo opened up and i'm not even

689
00:33:33,396 --> 00:33:34,996
Speaker 3: sure if there was a band playing that night but

690
00:33:35,016 --> 00:33:37,856
Speaker 3: i but i was hanging out with mark and stone

691
00:33:38,196 --> 00:33:40,996
Speaker 3: and stone uh was with his friend chris peppered and

692
00:33:41,996 --> 00:33:47,216
Speaker 3: stone and chris represented a very youthful sarcastic pacific northwestern

693
00:33:47,776 --> 00:33:50,996
Speaker 3: energy and i had sort of a farm kid montana

694
00:33:52,316 --> 00:33:57,386
Speaker 3: not like serious um energy and I think it was

695
00:33:57,426 --> 00:33:59,246
Speaker 3: like it was like an odd you know it was

696
00:33:59,286 --> 00:34:02,826
Speaker 3: a little bit of a weird first meeting and then

697
00:34:02,886 --> 00:34:06,106
Speaker 3: like within a month or two uh Mark and Steve

698
00:34:06,126 --> 00:34:08,866
Speaker 3: were like hey we want our friends Stone to play

699
00:34:08,906 --> 00:34:10,266
Speaker 3: and I was like Stone the guy that I met

700
00:34:10,306 --> 00:34:13,636
Speaker 3: like I was like ah I'm not sure you know

701
00:34:13,656 --> 00:34:17,296
Speaker 3: about that guy and then I remember Steve which is

702
00:34:17,356 --> 00:34:19,256
Speaker 3: which is this is crazy because when you think about

703
00:34:19,316 --> 00:34:22,496
Speaker 3: the how that band sort of worked and even part

704
00:34:22,516 --> 00:34:24,376
Speaker 3: of the reason that maybe steve didn't want to be

705
00:34:24,396 --> 00:34:26,966
Speaker 3: in the band anymore because we got too heavy steve

706
00:34:26,986 --> 00:34:29,106
Speaker 3: was selling me on stone saying like he's got a

707
00:34:29,186 --> 00:34:32,106
Speaker 3: marshall and a less paul and in my mind i

708
00:34:32,106 --> 00:34:35,586
Speaker 3: was like fantastic like like two good you know two

709
00:34:35,626 --> 00:34:38,946
Speaker 3: guitars it'll be you know because steve was playing really

710
00:34:39,026 --> 00:34:43,276
Speaker 3: super clean milk guitar yeah yeah he had a super

711
00:34:43,356 --> 00:34:46,816
Speaker 3: twin that was like really loud, but just so piercingly clean.

712
00:34:47,526 --> 00:34:49,786
Speaker 3: And so I was like distorting my bass more and more,

713
00:34:49,846 --> 00:34:52,986
Speaker 3: just trying to like make it into whatever I thought

714
00:34:53,266 --> 00:34:55,646
Speaker 3: that the band should be. And so the idea that

715
00:34:55,686 --> 00:34:57,786
Speaker 3: there was going to be a Les Paul and a Marshall.

716
00:34:57,806 --> 00:34:59,286
Speaker 2: That convinced you?

717
00:35:00,066 --> 00:35:00,806
Speaker 3: That won me over.

718
00:35:02,066 --> 00:35:04,386
Speaker 2: What do you remember, Stone, about your first meeting?

719
00:35:05,286 --> 00:35:09,146
Speaker 4: Just like a flash of like kind of outside talking,

720
00:35:09,186 --> 00:35:12,186
Speaker 4: you know, outside the metropolis, you know, having a conversation and,

721
00:35:12,336 --> 00:35:15,086
Speaker 4: you know, But this is at a time where I

722
00:35:15,126 --> 00:35:18,266
Speaker 4: probably have been playing guitar for maybe a year and

723
00:35:18,306 --> 00:35:22,586
Speaker 4: just dinking around on it. I wasn't a guitar player.

724
00:35:22,986 --> 00:35:26,186
Speaker 4: I could play a bar chord maybe at that point.

725
00:35:26,746 --> 00:35:31,716
Speaker 4: But the idea that that was cool and that we

726
00:35:31,816 --> 00:35:34,996
Speaker 4: all just decided to be in a band together and

727
00:35:35,036 --> 00:35:38,216
Speaker 4: that it's gone on. in this way that it has,

728
00:35:38,356 --> 00:35:42,476
Speaker 4: it's one of the great mysteries and, you know, phenomenons

729
00:35:43,476 --> 00:35:46,296
Speaker 4: obviously of our lives, but just like, it just goes

730
00:35:46,356 --> 00:35:50,866
Speaker 4: to show that you just, you don't know where something's

731
00:35:50,886 --> 00:35:52,956
Speaker 4: going to go and you have to kind of follow it.

732
00:35:53,146 --> 00:35:56,006
Speaker 4: And Jeff's and I's journey with each other, I think

733
00:35:56,126 --> 00:36:00,006
Speaker 4: symbolized by that first encounter that we didn't, we haven't

734
00:36:00,046 --> 00:36:03,206
Speaker 4: always understood each other and we haven't always, I think

735
00:36:03,226 --> 00:36:05,466
Speaker 4: that we see the world in different ways. And I

736
00:36:05,526 --> 00:36:08,906
Speaker 4: think we're in our like, you know, late honeymoon right

737
00:36:08,946 --> 00:36:10,956
Speaker 4: now where we're just like, we, you know, we get

738
00:36:10,996 --> 00:36:12,396
Speaker 4: to see each other and we're kind of like, wow,

739
00:36:12,416 --> 00:36:14,256
Speaker 4: this is still going. This is pretty good. How did

740
00:36:14,276 --> 00:36:18,576
Speaker 4: this work out? You know, because it's, it's really phenomenal,

741
00:36:18,616 --> 00:36:21,516
Speaker 4: but it, you know, I think us sticking it out

742
00:36:21,586 --> 00:36:24,346
Speaker 4: with each other in certain ways has been one of the,

743
00:36:24,566 --> 00:36:27,246
Speaker 4: it's the biggest thing that's happened in my life for sure.

744
00:36:27,446 --> 00:36:29,746
Speaker 4: In terms of all the things that I've learned from

745
00:36:29,826 --> 00:36:35,516
Speaker 4: Jeff and, And that we've learned together just by having

746
00:36:35,596 --> 00:36:39,096
Speaker 4: our relationship work, all the other, the community that's connected

747
00:36:39,176 --> 00:36:43,586
Speaker 4: to Jeff and I through the years, it's crazy. It's incredible. Yeah,

748
00:36:43,626 --> 00:36:44,146
Speaker 4: it's weird.

749
00:36:44,386 --> 00:36:47,206
Speaker 2: I saw an interview that you guys did in 1990,

750
00:36:47,206 --> 00:36:49,606
Speaker 2: right after, it seemed like maybe a month or so

751
00:36:49,806 --> 00:36:51,426
Speaker 2: after Andy Wood had died.

752
00:36:51,446 --> 00:36:52,746
Speaker 4: Yeah.

753
00:36:52,766 --> 00:36:55,686
Speaker 2: And you were sort of like stuck with the album,

754
00:36:56,046 --> 00:36:58,356
Speaker 2: with the Mother Love Bone, with the Apple album. And

755
00:36:58,376 --> 00:37:01,656
Speaker 2: I guess it was time to promote it. And- There's

756
00:37:01,796 --> 00:37:04,876
Speaker 2: one point, Jeff, where you're like, yeah, who knows what

757
00:37:04,916 --> 00:37:06,516
Speaker 2: we're even going to do next. And it was, I

758
00:37:07,176 --> 00:37:11,646
Speaker 2: don't know how soon before that Pearl Jam came together,

759
00:37:11,686 --> 00:37:13,786
Speaker 2: but it was just such a crazy moment to see

760
00:37:13,846 --> 00:37:16,166
Speaker 2: captured on video. Do you remember that time?

761
00:37:16,586 --> 00:37:19,446
Speaker 3: Well, yeah. And I think about that time a lot

762
00:37:19,506 --> 00:37:27,206
Speaker 3: because I think how we both reacted to Andy passing

763
00:37:27,776 --> 00:37:30,636
Speaker 3: we both handled it really different ways. You know, our

764
00:37:30,676 --> 00:37:34,056
Speaker 3: relationship has been this slow reveal of each other and

765
00:37:34,556 --> 00:37:36,916
Speaker 3: understanding each other. And I think there's a, there's a

766
00:37:37,016 --> 00:37:40,696
Speaker 3: point when like you come from such different backgrounds and

767
00:37:40,736 --> 00:37:44,566
Speaker 3: have such different sort of chemistry. I, you know, I felt,

768
00:37:44,626 --> 00:37:46,726
Speaker 3: feel like it probably took 10, 15 years into our

769
00:37:46,766 --> 00:37:51,306
Speaker 3: relationship where I was like, where I really like trusted

770
00:37:51,626 --> 00:37:56,466
Speaker 3: and really respected stone, you know? And I think he

771
00:37:56,546 --> 00:37:59,596
Speaker 3: would say the same thing, but, I think that's been the,

772
00:38:00,236 --> 00:38:02,676
Speaker 3: why the journey has lasted this long. I think I,

773
00:38:02,836 --> 00:38:05,136
Speaker 3: I think like a part of me feels like, why

774
00:38:05,156 --> 00:38:07,796
Speaker 3: did it take me that long? And I think some

775
00:38:07,816 --> 00:38:10,076
Speaker 3: of it's like you're in your twenties and, and I

776
00:38:10,116 --> 00:38:14,476
Speaker 3: think even moving through Andy passing, like, to be honest,

777
00:38:14,526 --> 00:38:16,816
Speaker 3: like I didn't have much of a safety net at

778
00:38:16,856 --> 00:38:19,166
Speaker 3: that point. So I was like, I felt a teeny

779
00:38:19,206 --> 00:38:21,726
Speaker 3: bit of desperation. Like, how am I going to pay

780
00:38:21,766 --> 00:38:24,766
Speaker 3: my rent? I'm 27 years old. Do I need to

781
00:38:24,806 --> 00:38:28,376
Speaker 3: go back to school? you know, does lightning only strike once?

782
00:38:28,396 --> 00:38:31,556
Speaker 3: Is that over? And so it was probably the first

783
00:38:31,576 --> 00:38:34,416
Speaker 3: time in my life where I felt pressure. I felt real,

784
00:38:34,976 --> 00:38:37,686
Speaker 3: real pressure on like, I sort of felt like I

785
00:38:37,746 --> 00:38:41,606
Speaker 3: lost my, my will or my, you know, the strand

786
00:38:41,626 --> 00:38:44,426
Speaker 3: that I was sort of on that, you know, it

787
00:38:44,466 --> 00:38:46,776
Speaker 3: was a little bit haphazard and you're sort of living

788
00:38:46,796 --> 00:38:49,536
Speaker 3: paycheck to paycheck and you're just playing music and having

789
00:38:49,576 --> 00:38:52,176
Speaker 3: fun with your friends and whatever. But then there's a

790
00:38:52,216 --> 00:38:54,476
Speaker 3: point you're 27, 28 years old and this thing that

791
00:38:54,496 --> 00:38:56,926
Speaker 3: you've sort of been working on for, you know, three

792
00:38:56,946 --> 00:38:57,986
Speaker 3: years with Mother Love Bone.

793
00:38:58,006 --> 00:38:59,976
Speaker 2: Yeah, and you guys had gotten a deal that probably was, like,

794
00:39:00,006 --> 00:39:02,296
Speaker 2: super exciting and, like, felt like you were making some

795
00:39:02,316 --> 00:39:03,076
Speaker 2: real traction.

796
00:39:03,496 --> 00:39:05,076
Speaker 3: Yeah, I just quit my job. It was the first

797
00:39:05,096 --> 00:39:06,976
Speaker 3: time in my life I didn't have a job, you know, so.

798
00:39:06,996 --> 00:39:07,856
Speaker 4: Yeah.

799
00:39:08,176 --> 00:39:10,936
Speaker 3: And, you know, and Stone, like, hit the ground running

800
00:39:10,996 --> 00:39:13,496
Speaker 3: and wrote a bunch of beautiful tracks that ended up,

801
00:39:13,716 --> 00:39:16,326
Speaker 3: you know, I mean, Black, you know, I mean, arguably

802
00:39:16,366 --> 00:39:19,826
Speaker 3: the best song that we've written as a band. And

803
00:39:19,886 --> 00:39:22,286
Speaker 3: Stone came up with that music that, right off the bat,

804
00:39:22,326 --> 00:39:26,996
Speaker 3: you knew that there was, like, this beautiful... energy behind

805
00:39:27,096 --> 00:39:30,416
Speaker 3: it and that the melody and the outro that he

806
00:39:30,456 --> 00:39:32,776
Speaker 3: wrote like it you know it that was how he

807
00:39:32,776 --> 00:39:35,746
Speaker 3: responded to Andy passing and whereas I was like I

808
00:39:35,746 --> 00:39:38,356
Speaker 3: was scrambling I didn't know I didn't know if I

809
00:39:38,356 --> 00:39:40,606
Speaker 3: was going to play music anymore. I thought maybe I'll

810
00:39:40,626 --> 00:39:42,256
Speaker 3: go back to school and be a teacher, you know,

811
00:39:42,276 --> 00:39:45,376
Speaker 3: move back home, work on the farm. I didn't know.

812
00:39:45,476 --> 00:39:49,856
Speaker 3: So thank God that Stone wrote those songs. And I

813
00:39:49,876 --> 00:39:51,696
Speaker 3: was hanging out with Mike a bunch. He worked right

814
00:39:51,716 --> 00:39:53,636
Speaker 3: across the street from me and they were playing together.

815
00:39:53,696 --> 00:39:56,136
Speaker 3: And so Mike was working me and Mike was working Stone.

816
00:39:56,196 --> 00:39:58,966
Speaker 3: And it's sort of like we ended up playing together.

817
00:39:58,746 --> 00:40:00,506
Speaker 4: Luckily i live with my parents so i didn't feel

818
00:40:00,546 --> 00:40:02,716
Speaker 4: the same kind of pressure that jeff felt as far

819
00:40:02,756 --> 00:40:06,416
Speaker 4: as like i was 24 years old living with my

820
00:40:06,476 --> 00:40:08,776
Speaker 4: parents so that just shows you where i'm i was

821
00:40:08,916 --> 00:40:09,436
Speaker 4: at but.

822
00:40:10,056 --> 00:40:13,506
Speaker 3: I look back at that summer as being like you

823
00:40:13,546 --> 00:40:15,866
Speaker 3: know just one of those moments in your life where

824
00:40:15,906 --> 00:40:20,066
Speaker 3: it's like it's just raw and real and yeah you

825
00:40:20,106 --> 00:40:23,136
Speaker 3: know they The way that things fell into place after that,

826
00:40:23,196 --> 00:40:25,876
Speaker 3: we started playing together. We recorded with Matt Cameron, which

827
00:40:25,916 --> 00:40:28,686
Speaker 3: was like also just like dreamlike. Like we'd all loved

828
00:40:28,746 --> 00:40:31,106
Speaker 3: Matt so much, but we're like did a couple of rehearsals,

829
00:40:31,146 --> 00:40:33,486
Speaker 3: went in the studio with him, sort of knocked out

830
00:40:33,526 --> 00:40:37,206
Speaker 3: these six, seven instrumental tracks. And then, you know, the

831
00:40:37,226 --> 00:40:39,276
Speaker 3: process of like, you know, Stone had the idea like, hey,

832
00:40:39,426 --> 00:40:40,926
Speaker 3: let's ask Jack Irons to play with us. We're like,

833
00:40:41,086 --> 00:40:43,136
Speaker 3: we don't even have a band. Like that was so bold,

834
00:40:43,316 --> 00:40:47,156
Speaker 3: you know? And then him suggesting like, he goes, well,

835
00:40:47,196 --> 00:40:49,566
Speaker 3: I know this guy, Crazy Eddie, like, you know, He's

836
00:40:49,586 --> 00:40:52,316
Speaker 3: not a drummer, but, you know, and so, and, and the,

837
00:40:53,026 --> 00:40:56,126
Speaker 3: how fast that all happened and like playing with Dave

838
00:40:56,166 --> 00:40:58,746
Speaker 3: Cruzan and Dave Cruzan, like you listened to what he

839
00:40:58,786 --> 00:41:02,526
Speaker 3: played on, on 10 and those early songs. Like it's,

840
00:41:03,266 --> 00:41:07,366
Speaker 3: it informs our sound more than I think we thought

841
00:41:07,406 --> 00:41:10,576
Speaker 3: at the time. Like Dave really brought a really interesting

842
00:41:10,636 --> 00:41:13,296
Speaker 3: element to the band and the groove. And, but it

843
00:41:13,316 --> 00:41:15,996
Speaker 3: happened so fast. It's like, it's, it's nuts, you know,

844
00:41:16,776 --> 00:41:20,376
Speaker 3: less than a year of us meeting Ed and, we

845
00:41:20,416 --> 00:41:22,906
Speaker 3: were touring with your Red Hot Chili Peppers. I mean,

846
00:41:22,926 --> 00:41:24,246
Speaker 3: that's like, you had a record out.

847
00:41:24,306 --> 00:41:27,786
Speaker 4: It's nuts. It's nuts. I was dreaming. That's like saying

848
00:41:28,006 --> 00:41:30,426
Speaker 4: dreams can still happen. You got to just like see

849
00:41:30,506 --> 00:41:33,106
Speaker 4: it and like, you know, take a chance, jump off

850
00:41:33,166 --> 00:41:37,076
Speaker 4: a cliff. Like, you know, imagine that there is things

851
00:41:37,136 --> 00:41:40,516
Speaker 4: conspiring to make things work out, you know, like believing

852
00:41:40,556 --> 00:41:43,816
Speaker 4: in that process, you know, and it's, that's a, that's

853
00:41:43,856 --> 00:41:45,796
Speaker 4: something that you get, you know, you land on your

854
00:41:45,836 --> 00:41:50,116
Speaker 4: face 80% of the time, but then, you get those 20% where,

855
00:41:50,196 --> 00:41:53,236
Speaker 4: oh shit, well that worked out, you know, like, and it's,

856
00:41:53,456 --> 00:41:56,596
Speaker 4: it becomes, you know, it becomes ingrained. And, and I

857
00:41:56,636 --> 00:41:59,356
Speaker 4: think we've been like that ever since it's anything could happen.

858
00:41:59,396 --> 00:42:02,136
Speaker 4: I mean, we're, we've, we've been living a dream for,

859
00:42:02,416 --> 00:42:04,616
Speaker 4: you know, for a long time. And I think now

860
00:42:05,256 --> 00:42:08,796
Speaker 4: we really are recognizing how lucky and how fortunate we

861
00:42:08,996 --> 00:42:12,526
Speaker 4: are to kind of every day, like be like, we

862
00:42:12,546 --> 00:42:15,986
Speaker 4: could think of weird art projects or side projects or

863
00:42:16,086 --> 00:42:18,176
Speaker 4: anything we want, you know, like, I want to go,

864
00:42:18,216 --> 00:42:20,336
Speaker 4: you know, paint for a year or whatever. All of

865
00:42:20,376 --> 00:42:24,476
Speaker 4: that's possible. You know what I mean? So it's good.

866
00:42:24,526 --> 00:42:26,246
Speaker 4: We're still in the dream.

867
00:42:27,506 --> 00:42:30,066
Speaker 5: After our last break, we'll be back with Stone Gossard

868
00:42:30,326 --> 00:42:36,466
Speaker 5: and Jeff Amons. We're back with the rest of Leah

869
00:42:36,506 --> 00:42:39,466
Speaker 5: Rose's conversation with Jeff Amont and Stone Gossard.

870
00:42:40,466 --> 00:42:43,586
Speaker 2: You talked about when, Jeff, when you and Stone met

871
00:42:43,646 --> 00:42:45,856
Speaker 2: and you sort of felt like you were coming from

872
00:42:45,896 --> 00:42:48,856
Speaker 2: two different worlds. When you guys met Eddie and he

873
00:42:48,896 --> 00:42:53,076
Speaker 2: was from San Diego, did he feel like culturally super

874
00:42:53,136 --> 00:42:57,166
Speaker 2: different from you guys? And were you guys sort of like, oh,

875
00:42:57,226 --> 00:43:00,566
Speaker 2: we're music vets in Seattle? And was there like kind

876
00:43:00,586 --> 00:43:03,026
Speaker 2: of like a hazing period at all when he came

877
00:43:03,066 --> 00:43:03,886
Speaker 2: into the fold?

878
00:43:04,706 --> 00:43:09,326
Speaker 3: No, I mean, I remember having four or five phone

879
00:43:09,366 --> 00:43:12,306
Speaker 3: conversations with him before he came up. And all we

880
00:43:12,346 --> 00:43:16,336
Speaker 3: were talking about was like, not wanting to be in

881
00:43:16,376 --> 00:43:20,726
Speaker 3: a band with people who were slackers. Like he, I

882
00:43:20,866 --> 00:43:22,866
Speaker 3: remember him talking about like, I want to hit the

883
00:43:22,886 --> 00:43:25,646
Speaker 3: ground running and like, I, you know, I make t-shirts

884
00:43:25,686 --> 00:43:26,966
Speaker 3: and I do this and I was like, I make

885
00:43:26,986 --> 00:43:30,856
Speaker 3: t-shirts and like, just sort of like before I even

886
00:43:31,016 --> 00:43:32,876
Speaker 3: really hung out with him, I sort of felt like, wow,

887
00:43:32,956 --> 00:43:34,536
Speaker 3: there's going to be another guy in the band that's

888
00:43:34,556 --> 00:43:38,156
Speaker 3: going to like be as excited about this peripheral stuff

889
00:43:38,396 --> 00:43:41,176
Speaker 3: as I am. So I think before he, you know,

890
00:43:41,196 --> 00:43:43,776
Speaker 3: I mean, he, we had those three songs that he

891
00:43:43,836 --> 00:43:46,156
Speaker 3: had sang over at that point, but I was as

892
00:43:46,256 --> 00:43:50,316
Speaker 3: excited about just him talking about how serious he was

893
00:43:50,376 --> 00:43:52,416
Speaker 3: about it, you know, like that, that he, that he,

894
00:43:52,696 --> 00:43:54,736
Speaker 3: you know, and that was what he said when he

895
00:43:54,776 --> 00:43:56,256
Speaker 3: flew up. He said, I don't want to fuck around.

896
00:43:56,276 --> 00:43:58,376
Speaker 3: I want to go straight to the rehearsal and I

897
00:43:58,396 --> 00:43:59,816
Speaker 3: want to start playing. I don't want to go get

898
00:43:59,856 --> 00:44:02,826
Speaker 3: coffee or I don't want to. And so there wasn't

899
00:44:02,846 --> 00:44:04,706
Speaker 3: a lot of time. Like we didn't really sit around

900
00:44:04,726 --> 00:44:06,446
Speaker 3: and talk about what it was going to be or,

901
00:44:07,306 --> 00:44:11,006
Speaker 3: I mean, that was, That first week, we rehearsed and

902
00:44:11,086 --> 00:44:13,026
Speaker 3: wrote for four or five days. We went in the

903
00:44:13,066 --> 00:44:15,546
Speaker 3: studio on the fifth day. Sixth day, we played a

904
00:44:15,586 --> 00:44:17,906
Speaker 3: show at the off-ramp. And the seventh day, we went

905
00:44:17,926 --> 00:44:20,216
Speaker 3: inside the Bulls and the Sonics at the Kingdom. We

906
00:44:20,276 --> 00:44:24,696
Speaker 3: really didn't talk about what it was. And he even says,

907
00:44:25,196 --> 00:44:27,036
Speaker 3: when he flew home, he's like, I wonder if I'm

908
00:44:27,096 --> 00:44:32,026
Speaker 3: in the band. At that point, we just weren't communicating

909
00:44:32,066 --> 00:44:33,826
Speaker 3: about it. So pretty awesome.

910
00:44:34,546 --> 00:44:36,626
Speaker 4: I think maybe I picked him up at the airport.

911
00:44:36,686 --> 00:44:38,586
Speaker 4: Is that right? So I picked him up at the

912
00:44:38,646 --> 00:44:41,366
Speaker 4: airport and I think the, we, we said hi or whatever.

913
00:44:41,386 --> 00:44:42,726
Speaker 4: And I think I had talked to him maybe once

914
00:44:42,766 --> 00:44:44,806
Speaker 4: or twice on the phone. Not, not as much as Jeff,

915
00:44:44,826 --> 00:44:47,146
Speaker 4: but just a little bit or whatever. And I think he,

916
00:44:48,156 --> 00:44:49,976
Speaker 4: he handed me something and I opened it up and

917
00:44:50,036 --> 00:44:51,896
Speaker 4: it's like, he had drawn me a picture and I

918
00:44:51,956 --> 00:44:53,896
Speaker 4: may be a little poem or something, but I was

919
00:44:53,916 --> 00:44:56,436
Speaker 4: just like, I was totally touched. And that was one

920
00:44:56,496 --> 00:44:59,226
Speaker 4: thing that also was evident about him is he was a,

921
00:44:59,696 --> 00:45:02,796
Speaker 4: he had a very sweet demeanor that was very, you know,

922
00:45:03,296 --> 00:45:05,836
Speaker 4: I mean, you know, we're so used to like the

923
00:45:06,026 --> 00:45:09,026
Speaker 4: back of the van and just, you know, fuck you, whatever, like,

924
00:45:09,066 --> 00:45:13,166
Speaker 4: you know, that sort of low grade, you know, competition meets,

925
00:45:13,246 --> 00:45:16,686
Speaker 4: you know, jokes or whatever. And he was a serious

926
00:45:16,776 --> 00:45:20,856
Speaker 4: person who was really thoughtful and very like sensitive. And

927
00:45:20,876 --> 00:45:23,596
Speaker 4: so he was a huge breath of fresh air to

928
00:45:23,916 --> 00:45:28,356
Speaker 4: kind of just be around somebody who is just He

929
00:45:28,396 --> 00:45:31,236
Speaker 4: just seemed very thoughtful about his process and about people

930
00:45:31,276 --> 00:45:34,716
Speaker 4: around him and what he was doing and conscientious, you know.

931
00:45:35,216 --> 00:45:36,276
Speaker 2: That is so sweet.

932
00:45:36,596 --> 00:45:36,816
Speaker 3: Yeah.

933
00:45:37,716 --> 00:45:40,236
Speaker 2: Do you think that because you both went through sort

934
00:45:40,276 --> 00:45:43,046
Speaker 2: of a tumultuous start with Green River and with Mother

935
00:45:43,086 --> 00:45:48,146
Speaker 2: Love Bone, that once Pearl Jam was established, did it

936
00:45:48,286 --> 00:45:51,366
Speaker 2: feel more solid and stable?

937
00:45:51,386 --> 00:45:54,406
Speaker 4: No, I mean.

938
00:45:55,166 --> 00:45:57,776
Speaker 3: I mean, I felt like the first three, four years

939
00:45:57,816 --> 00:46:00,796
Speaker 3: or five, six years, it felt, I don't think it

940
00:46:00,836 --> 00:46:01,696
Speaker 3: ever felt stable.

941
00:46:02,216 --> 00:46:03,936
Speaker 4: It feels stable now. Yeah.

942
00:46:04,516 --> 00:46:04,656
Speaker 2: Yeah.

943
00:46:04,676 --> 00:46:09,216
Speaker 4: Pretty stable right now. Yeah. But like literally like so much,

944
00:46:09,576 --> 00:46:15,536
Speaker 4: you know, years of moments of greatness, moments of like thinking, oh,

945
00:46:15,576 --> 00:46:18,376
Speaker 4: this was awesome. And had, you know, always good shows,

946
00:46:18,516 --> 00:46:22,106
Speaker 4: always like transcendent moments and, you know, but also just.

947
00:46:23,396 --> 00:46:25,816
Speaker 4: it's just a lot of stuff and a lot of

948
00:46:26,316 --> 00:46:28,316
Speaker 4: things coming together that always, that have to kind of,

949
00:46:28,756 --> 00:46:32,676
Speaker 4: everyone's got to be humming together or it's sort of,

950
00:46:32,926 --> 00:46:34,666
Speaker 4: there's always something to worry about.

951
00:46:35,346 --> 00:46:35,566
Speaker 1: Yeah.

952
00:46:35,686 --> 00:46:38,486
Speaker 3: I think too, I think the moment that I stopped

953
00:46:39,046 --> 00:46:43,796
Speaker 3: caring about, like, you know, the importance of me in

954
00:46:43,816 --> 00:46:46,256
Speaker 3: the context of the band or that as soon as

955
00:46:46,336 --> 00:46:48,186
Speaker 3: I gave up that, like I need to get songs

956
00:46:48,256 --> 00:46:50,666
Speaker 3: on the record or I need to, my vision or whatever.

957
00:46:50,746 --> 00:46:52,346
Speaker 3: As soon as I gave that up, which was probably

958
00:46:52,346 --> 00:46:55,426
Speaker 3: 15 years ago or something, that's when it felt stable

959
00:46:55,446 --> 00:46:58,546
Speaker 3: to me. That's when it felt like this is all

960
00:46:58,706 --> 00:47:01,306
Speaker 3: icing and like, I'm just going to keep working hard

961
00:47:01,426 --> 00:47:04,546
Speaker 3: and hopefully I can like have some weird little idea

962
00:47:04,586 --> 00:47:07,206
Speaker 3: that I can pull the band over into my little weirdness.

963
00:47:07,846 --> 00:47:10,186
Speaker 3: And I have had those moments like where you're like,

964
00:47:10,586 --> 00:47:12,946
Speaker 3: oh my God, I can't believe like the band recorded

965
00:47:12,986 --> 00:47:15,386
Speaker 3: this idea that I knew was on the edge of

966
00:47:15,506 --> 00:47:18,766
Speaker 3: what we would want to do. But it's also going

967
00:47:18,806 --> 00:47:23,126
Speaker 3: into the, those situations without any expectation, just going like,

968
00:47:23,726 --> 00:47:25,436
Speaker 3: it's like, Hey, I got a couple of things here.

969
00:47:25,476 --> 00:47:28,016
Speaker 3: If there's anything here that works, or I got this

970
00:47:28,056 --> 00:47:31,196
Speaker 3: weird idea to do a couple of shows or this

971
00:47:31,296 --> 00:47:33,556
Speaker 3: artwork or this, whatever this project is, as soon as

972
00:47:33,576 --> 00:47:37,616
Speaker 3: you don't put any gravity on it, it's like, And

973
00:47:37,656 --> 00:47:41,536
Speaker 3: when it happens, it's just so joyful. And the stability

974
00:47:41,576 --> 00:47:43,516
Speaker 3: comes with a joy, I think, really.

975
00:47:43,796 --> 00:47:46,096
Speaker 4: But it's true. This is a band where you just

976
00:47:46,136 --> 00:47:49,876
Speaker 4: have to let go of expectations about it. And Ed

977
00:47:49,916 --> 00:47:52,736
Speaker 4: is our band leader, and he's been an amazing band leader.

978
00:47:52,836 --> 00:47:56,826
Speaker 4: I mean, given the variety of ways that band leaders

979
00:47:56,946 --> 00:48:01,026
Speaker 4: can organize a band. I mean, Ed's written... We've written lyrics.

980
00:48:01,706 --> 00:48:05,046
Speaker 4: All of us individually have written whole songs, lyrics, everything.

981
00:48:05,086 --> 00:48:08,486
Speaker 4: He's always been... this person is like, I'm open to it.

982
00:48:08,516 --> 00:48:10,996
Speaker 4: You know, you don't get to do it by right.

983
00:48:11,236 --> 00:48:13,156
Speaker 4: You know, you don't, you don't get to say when

984
00:48:13,176 --> 00:48:15,906
Speaker 4: you get to do it, but it's all happened, you know,

985
00:48:16,066 --> 00:48:18,866
Speaker 4: and it's all of us have sort of asserted ourselves

986
00:48:18,906 --> 00:48:22,026
Speaker 4: at different times and know what that's like and know

987
00:48:22,086 --> 00:48:24,686
Speaker 4: that that's a, it can be satisfying and then kind

988
00:48:24,706 --> 00:48:27,116
Speaker 4: of a dead end at the same time, you know, like, because,

989
00:48:27,316 --> 00:48:31,476
Speaker 4: you know, there's always a reaction to every action, you know?

990
00:48:31,936 --> 00:48:34,366
Speaker 4: I think like Jeff said, the more you let go

991
00:48:34,586 --> 00:48:37,666
Speaker 4: of expectations, the more stuff kind of just shows up

992
00:48:38,006 --> 00:48:39,886
Speaker 4: on your plate or somebody says, Hey, I know you

993
00:48:39,926 --> 00:48:42,886
Speaker 4: got something, you know, like let's do it. Or like

994
00:48:42,946 --> 00:48:46,386
Speaker 4: this record, like all of us, you know, even though

995
00:48:46,406 --> 00:48:48,906
Speaker 4: a lot of these songs have been kind of bastardized

996
00:48:48,966 --> 00:48:51,426
Speaker 4: and kind of re-imagined and you had to let go

997
00:48:51,486 --> 00:48:53,936
Speaker 4: of a lot of stuff. I think all of us

998
00:48:53,996 --> 00:48:57,196
Speaker 4: individually feel like we're represented on this record better than

999
00:48:57,516 --> 00:49:00,516
Speaker 4: we have been maybe ever in terms of, at least

1000
00:49:00,556 --> 00:49:02,776
Speaker 4: for me, when I listen back, it's like, I can

1001
00:49:02,796 --> 00:49:04,996
Speaker 4: hear parts. I didn't write the song, but my part

1002
00:49:05,036 --> 00:49:07,106
Speaker 4: that I loved and it figured out I'm hearing it.

1003
00:49:07,196 --> 00:49:09,396
Speaker 4: I can hear it in the, you know, it's making

1004
00:49:09,436 --> 00:49:14,076
Speaker 4: an impact in the song. So it's a marathon and we're, we're,

1005
00:49:14,136 --> 00:49:16,396
Speaker 4: we're sort of, we're in that spot now where we

1006
00:49:16,416 --> 00:49:19,926
Speaker 4: can really enjoy it more because you, once you get

1007
00:49:20,066 --> 00:49:23,946
Speaker 4: used to letting go and seeing why that is satisfactory

1008
00:49:24,206 --> 00:49:27,216
Speaker 4: or why that works, you, do it more often, you know,

1009
00:49:27,236 --> 00:49:29,316
Speaker 4: because we could take two years off.

1010
00:49:29,796 --> 00:49:30,116
Speaker 2: Fine.

1011
00:49:30,196 --> 00:49:32,696
Speaker 4: You know what I mean? Like, you know, whatever. Yeah.

1012
00:49:33,126 --> 00:49:35,026
Speaker 2: But it's almost like feels like you need that just

1013
00:49:35,066 --> 00:49:37,546
Speaker 2: to kind of reset and live life and come back.

1014
00:49:37,586 --> 00:49:39,446
Speaker 2: And you have this like special thing that you can

1015
00:49:39,506 --> 00:49:40,346
Speaker 2: come back to.

1016
00:49:40,366 --> 00:49:41,426
Speaker 4: Oh, my God.

1017
00:49:41,446 --> 00:49:42,766
Speaker 2: Fills like the creative.

1018
00:49:43,256 --> 00:49:45,736
Speaker 4: Itch well and just like seeing your old friends and

1019
00:49:45,756 --> 00:49:48,196
Speaker 4: going wow we still have this song which is like

1020
00:49:48,256 --> 00:49:50,736
Speaker 4: literally three chords and we go into a room and

1021
00:49:51,276 --> 00:49:55,126
Speaker 4: everyone sings it back to us and we just experience

1022
00:49:55,186 --> 00:49:57,426
Speaker 4: that moment of like oh yeah we wrote this song

1023
00:49:57,466 --> 00:49:59,906
Speaker 4: and i like it more now than ever and i

1024
00:49:59,946 --> 00:50:02,486
Speaker 4: never actually knew what it was about but now i

1025
00:50:02,526 --> 00:50:06,186
Speaker 4: do you know 20 years later you know whatever.

1026
00:50:05,806 --> 00:50:09,466
Speaker 2: The yeah that's interesting how songs can change over time

1027
00:50:09,486 --> 00:50:12,866
Speaker 2: oh my god totally now the new tour, I think

1028
00:50:13,266 --> 00:50:15,436
Speaker 2: you've said that you're going to be playing a lot

1029
00:50:15,476 --> 00:50:18,876
Speaker 2: more of the new material. Is that sort of feel

1030
00:50:18,896 --> 00:50:22,096
Speaker 2: like a challenge where you have to win people over again?

1031
00:50:22,116 --> 00:50:26,996
Speaker 4: You know, we've done such variety and such a collective

1032
00:50:27,036 --> 00:50:30,566
Speaker 4: set list for so long that I think our audience

1033
00:50:30,606 --> 00:50:33,646
Speaker 4: is ready to follow us and be part of the

1034
00:50:33,686 --> 00:50:35,706
Speaker 4: journey of whatever we're going to try to do. And

1035
00:50:36,236 --> 00:50:39,156
Speaker 4: I think the material that we just wrote is really strong.

1036
00:50:39,176 --> 00:50:40,876
Speaker 4: I don't, I don't, I think that there's not going

1037
00:50:40,896 --> 00:50:44,956
Speaker 4: to be any, you know, let down between the material

1038
00:50:45,316 --> 00:50:47,486
Speaker 4: and you know, that on any given night or any

1039
00:50:47,526 --> 00:50:50,426
Speaker 4: given tour, it's like, there's always another one. So we've

1040
00:50:50,446 --> 00:50:53,086
Speaker 4: had plenty of not great shows. We've had plenty of

1041
00:50:53,146 --> 00:50:56,246
Speaker 4: nights where we were flat and you just pick yourself

1042
00:50:56,346 --> 00:50:58,566
Speaker 4: up and do a better job the next day and

1043
00:50:58,906 --> 00:51:01,756
Speaker 4: something good happens. So, you know, at, at this point,

1044
00:51:02,116 --> 00:51:04,256
Speaker 4: I think we're all confident that we can go out

1045
00:51:04,316 --> 00:51:06,876
Speaker 4: and kind of, have fun and we're not out that much.

1046
00:51:06,956 --> 00:51:09,256
Speaker 4: We don't play that many shows. So it's, it stays

1047
00:51:09,336 --> 00:51:11,256
Speaker 4: fresh and it's going to be fun.

1048
00:51:12,126 --> 00:51:14,466
Speaker 2: Do you have any pre-show rituals? Do you listen to

1049
00:51:14,566 --> 00:51:19,286
Speaker 2: anything before you go on stage? Do you eat something specific?

1050
00:51:19,666 --> 00:51:22,586
Speaker 2: Do you have to like do a certain warmup? Like

1051
00:51:22,806 --> 00:51:25,146
Speaker 2: what are you doing to get yourself psyched up for

1052
00:51:25,186 --> 00:51:25,506
Speaker 2: the night?

1053
00:51:26,526 --> 00:51:28,706
Speaker 3: I mean, I think, I think everybody has a different

1054
00:51:29,086 --> 00:51:32,846
Speaker 3: routine and a different diet. And I certainly do. I

1055
00:51:32,886 --> 00:51:35,836
Speaker 3: certainly feel like I, if I kind of You know,

1056
00:51:35,876 --> 00:51:38,656
Speaker 3: if I eat before soundcheck and then I soundcheck. And

1057
00:51:38,696 --> 00:51:41,476
Speaker 3: then if there's some there's usually two or three songs

1058
00:51:41,556 --> 00:51:44,096
Speaker 3: on this on the set list that we haven't played

1059
00:51:44,156 --> 00:51:46,416
Speaker 3: or we maybe we haven't soundcheck. So then there's like

1060
00:51:47,396 --> 00:51:50,256
Speaker 3: some wood shedding going on. And then there's, you know,

1061
00:51:50,276 --> 00:51:52,836
Speaker 3: a little you work out a little bit, a little stretching.

1062
00:51:52,916 --> 00:51:55,756
Speaker 3: But we all have different sort of patterns as far

1063
00:51:55,796 --> 00:51:58,546
Speaker 3: as that goes. So sometimes that part can be tricky

1064
00:51:58,566 --> 00:52:00,066
Speaker 3: because the space is tight.

1065
00:52:00,126 --> 00:52:03,306
Speaker 2: But so you're all together in like one room.

1066
00:52:03,606 --> 00:52:06,276
Speaker 3: Pretty, pretty much. Yeah. pretty much. I mean, Ed has

1067
00:52:06,336 --> 00:52:08,716
Speaker 3: a room that he can sort of, that he can

1068
00:52:08,796 --> 00:52:12,376
Speaker 3: go get away from us and, and sort of craft the,

1069
00:52:12,516 --> 00:52:15,016
Speaker 3: you know, fine tune the set list. But, and, and

1070
00:52:15,036 --> 00:52:18,506
Speaker 3: there's a, you know, there's like a little workout meditation

1071
00:52:18,546 --> 00:52:21,796
Speaker 3: room that we sort of can go in and out of. Yeah. I,

1072
00:52:21,866 --> 00:52:24,266
Speaker 3: you know, I, I, I can't, I can't really go

1073
00:52:24,286 --> 00:52:26,686
Speaker 3: on stage with a full stomach and, you know, it's like,

1074
00:52:26,726 --> 00:52:28,706
Speaker 3: I don't want to be like burping up onions, like

1075
00:52:29,446 --> 00:52:32,386
Speaker 3: in the middle of a song or whatever. So, and

1076
00:52:32,406 --> 00:52:34,046
Speaker 3: I think the, I think the older you get to

1077
00:52:34,086 --> 00:52:37,436
Speaker 3: like the, I don't know the more ritualistic that you

1078
00:52:37,576 --> 00:52:40,996
Speaker 3: are about it. It's like, you, you know, it works

1079
00:52:41,036 --> 00:52:43,566
Speaker 3: and you know, it doesn't work. And I, you know,

1080
00:52:43,586 --> 00:52:45,346
Speaker 3: I think I heard, did you interview Duff?

1081
00:52:45,706 --> 00:52:46,946
Speaker 2: Yeah, I did. Yeah.

1082
00:52:46,966 --> 00:52:47,326
Speaker 4: Yeah.

1083
00:52:47,406 --> 00:52:50,886
Speaker 3: Yeah. I heard you talk about, he was talking about,

1084
00:52:51,086 --> 00:52:53,386
Speaker 3: you know, it's like, it's like being an athlete or whatever.

1085
00:52:53,406 --> 00:52:56,756
Speaker 2: Totally. He ices his legs with ice buckets after.

1086
00:52:56,776 --> 00:52:56,856
Speaker 3: Yeah.

1087
00:52:57,006 --> 00:52:57,226
Speaker 4: Yeah.

1088
00:52:57,256 --> 00:52:59,036
Speaker 3: Yeah. I do. I mean, I've done all that stuff

1089
00:52:59,056 --> 00:53:02,536
Speaker 3: like ice baths for 20 years or something afterwards or whatever, but,

1090
00:53:03,516 --> 00:53:06,066
Speaker 3: But also waking up early the next morning, getting to

1091
00:53:06,086 --> 00:53:08,586
Speaker 3: the gym and just moving. And, you know, it's like

1092
00:53:08,626 --> 00:53:10,946
Speaker 3: in the days that you don't do that, you kind

1093
00:53:10,966 --> 00:53:13,186
Speaker 3: of pay for it. You end up getting on stage

1094
00:53:13,206 --> 00:53:15,306
Speaker 3: and you can't move the way you want to because

1095
00:53:15,326 --> 00:53:19,346
Speaker 3: you're 50 something years old. In my case, 61. Yeah.

1096
00:53:19,366 --> 00:53:21,266
Speaker 3: You know, I mean, I think Duff just got off

1097
00:53:21,306 --> 00:53:23,466
Speaker 3: doing like, you know, probably a couple hundred shows in

1098
00:53:23,486 --> 00:53:25,406
Speaker 3: the last three years with Guns N' Roses.

1099
00:53:25,426 --> 00:53:27,246
Speaker 4: Had to be more than that, right? Oh, my God.

1100
00:53:27,286 --> 00:53:32,436
Speaker 3: They worked. Played Missoula, Montana. I mean, that's how the tertiary.

1101
00:53:33,336 --> 00:53:37,366
Speaker 2: They got what about you stone what's your what's your pre-show.

1102
00:53:36,906 --> 00:53:39,586
Speaker 4: You know i don't i don't really have any uh

1103
00:53:39,666 --> 00:53:42,646
Speaker 4: pre-show i think uh it's i i need one i

1104
00:53:42,686 --> 00:53:45,806
Speaker 4: need some more pre-show stuff i think yeah that's right

1105
00:53:45,866 --> 00:53:49,586
Speaker 4: jack black's year one um i'll watch on repeat uh

1106
00:53:49,606 --> 00:53:51,926
Speaker 4: me and mike sort of can't stop watching it i'm

1107
00:53:51,966 --> 00:53:54,906
Speaker 4: not it's there's something about that movie i just can't

1108
00:53:54,946 --> 00:53:57,726
Speaker 4: stop watching it but um i just try to stay

1109
00:53:57,786 --> 00:54:00,666
Speaker 4: light and try to not get too in my head

1110
00:54:00,726 --> 00:54:04,576
Speaker 4: about worrying about it or you know And I think

1111
00:54:04,596 --> 00:54:07,376
Speaker 4: that's for me the biggest, you know, if I start

1112
00:54:07,416 --> 00:54:10,296
Speaker 4: to kind of think too much or get too inside

1113
00:54:10,336 --> 00:54:12,686
Speaker 4: my own head about it, that's when usually things aren't

1114
00:54:12,956 --> 00:54:15,986
Speaker 4: going wrong. So just having some lightness and just sort

1115
00:54:16,046 --> 00:54:20,026
Speaker 4: of easygoingness about it and feeling like it's just playing

1116
00:54:20,046 --> 00:54:22,806
Speaker 4: our songs and, you know, and just go out there

1117
00:54:22,866 --> 00:54:25,506
Speaker 4: and be ready. And I'm looking forward to this tour.

1118
00:54:25,526 --> 00:54:28,146
Speaker 4: I want to even be lighter about it all, you know,

1119
00:54:28,166 --> 00:54:30,166
Speaker 4: because I think I've spent a lot of time worrying

1120
00:54:30,226 --> 00:54:32,556
Speaker 4: about it and not feeling kind of worthy of a lot,

1121
00:54:32,576 --> 00:54:35,556
Speaker 4: you know, like some There's nothing worse than having a,

1122
00:54:35,616 --> 00:54:38,556
Speaker 4: you know, a place go ballistic when you and your

1123
00:54:38,596 --> 00:54:40,976
Speaker 4: mind feel like you're sucking or the band is just

1124
00:54:41,096 --> 00:54:43,676
Speaker 4: totally laying there and not really doing anything. But the

1125
00:54:43,716 --> 00:54:47,576
Speaker 4: crowd is, you know, to have like all these people

1126
00:54:47,616 --> 00:54:49,876
Speaker 4: pay money and be excited, you know, it's like if

1127
00:54:50,036 --> 00:54:52,916
Speaker 4: you're feeling like you're not really giving them that. So

1128
00:54:52,936 --> 00:54:55,256
Speaker 4: I feel good about this new material for sure.

1129
00:54:56,036 --> 00:54:58,576
Speaker 2: Is there a spot in the tour that is ideal

1130
00:54:58,596 --> 00:55:00,716
Speaker 2: to see Pearl Jam? Like, should you go see the

1131
00:55:00,756 --> 00:55:03,296
Speaker 2: band in the beginning of the run middle or near

1132
00:55:03,316 --> 00:55:03,816
Speaker 2: the end.

1133
00:55:05,036 --> 00:55:06,916
Speaker 3: Uh little rock arkansas oh no we're not playing little

1134
00:55:06,976 --> 00:55:07,826
Speaker 3: rock this year.

1135
00:55:07,726 --> 00:55:10,586
Speaker 4: Um i i was second second markets are always you

1136
00:55:10,606 --> 00:55:12,266
Speaker 4: know that to me it's like that's where kind of

1137
00:55:12,286 --> 00:55:15,186
Speaker 4: where we aren't the pressure's off so yeah good things

1138
00:55:15,226 --> 00:55:16,186
Speaker 4: can happen you know.

1139
00:55:16,826 --> 00:55:18,936
Speaker 3: You don't have any like family or friends at the.

1140
00:55:18,896 --> 00:55:21,476
Speaker 4: Show yeah it's not like you know the best yeah

1141
00:55:21,936 --> 00:55:23,996
Speaker 4: and you never know it's it goes you know it's

1142
00:55:24,036 --> 00:55:26,196
Speaker 4: a natural cycle we'll have some good nights and some

1143
00:55:26,236 --> 00:55:28,396
Speaker 4: nights that are a little bit whatever not as good

1144
00:55:28,776 --> 00:55:30,716
Speaker 4: and uh You can't predict them.

1145
00:55:31,416 --> 00:55:31,676
Speaker 2: Yeah.

1146
00:55:32,136 --> 00:55:34,596
Speaker 4: You know, the old adage is great soundcheck, terrible show.

1147
00:55:34,656 --> 00:55:37,396
Speaker 4: You ever heard that before? Oh, no. You got to

1148
00:55:37,416 --> 00:55:39,026
Speaker 4: be careful when you go out there and just like

1149
00:55:39,256 --> 00:55:42,246
Speaker 4: smoke a soundcheck and you're just like, oh, man, tonight

1150
00:55:42,286 --> 00:55:46,376
Speaker 4: is going to be just so good. It's like, watch it.

1151
00:55:46,746 --> 00:55:48,946
Speaker 4: Just when that happens, it's going to watch out.

1152
00:55:49,666 --> 00:55:51,596
Speaker 2: Is there anything else? I know you guys only have

1153
00:55:51,616 --> 00:55:54,776
Speaker 2: an hour. Is there anything else you want to talk about,

1154
00:55:54,836 --> 00:55:57,916
Speaker 2: about the new album? I know I skipped like 30

1155
00:55:57,916 --> 00:55:58,696
Speaker 2: years of your.

1156
00:55:58,606 --> 00:56:01,406
Speaker 4: Career no this was great it was such a nice

1157
00:56:01,866 --> 00:56:03,786
Speaker 4: it was nice to visit with you and to visit

1158
00:56:03,806 --> 00:56:06,046
Speaker 4: with you too jeff yeah yeah this is our first

1159
00:56:06,106 --> 00:56:08,246
Speaker 4: interview that we've done together on this uh album cycle

1160
00:56:08,286 --> 00:56:10,446
Speaker 4: so it's like oh we've done a lot of these

1161
00:56:10,486 --> 00:56:11,896
Speaker 4: together over the years though.

1162
00:56:12,036 --> 00:56:14,616
Speaker 3: But it's it this is my favorite part like when

1163
00:56:14,656 --> 00:56:17,536
Speaker 3: you do the first couple with at least one other

1164
00:56:17,556 --> 00:56:19,936
Speaker 3: person in the band it's it's when you start to

1165
00:56:21,116 --> 00:56:23,976
Speaker 3: understand the record because it's At this point, it's just

1166
00:56:24,376 --> 00:56:26,936
Speaker 3: you listening to your parts and listening to the songs

1167
00:56:26,996 --> 00:56:29,196
Speaker 3: and you interpreting. And so when you do it with

1168
00:56:29,216 --> 00:56:34,556
Speaker 3: somebody else, you just get this other perspective. And sometimes

1169
00:56:34,596 --> 00:56:38,956
Speaker 3: your unique perspective is completely wrong. So it's nice.

1170
00:56:39,336 --> 00:56:40,916
Speaker 2: Well, I hope you have a ton of fun on

1171
00:56:40,936 --> 00:56:43,496
Speaker 2: the tour. It sounds like you're super into the album

1172
00:56:43,716 --> 00:56:45,586
Speaker 2: and everyone's re-energized.

1173
00:56:45,876 --> 00:56:46,126
Speaker 4: Yeah.

1174
00:56:46,626 --> 00:56:48,466
Speaker 2: Thanks so much for doing this. I appreciate you.

1175
00:56:48,686 --> 00:56:50,226
Speaker 4: Thank you very, very much.

1176
00:56:50,846 --> 00:56:51,376
Speaker 3: Nice talking to you.

1177
00:56:54,076 --> 00:56:56,456
Speaker 5: Thanks to Stone Gossard and Jeff Ament for going deep

1178
00:56:56,616 --> 00:56:59,296
Speaker 5: on their legacy in Pearl Jam's new album, Dark Matter.

1179
00:57:00,096 --> 00:57:01,906
Speaker 5: You can hear it along with our favorite Pearl Jam

1180
00:57:01,946 --> 00:57:06,026
Speaker 5: songs on the playlist at brokenrecordpodcast.com. We'll also include some

1181
00:57:06,046 --> 00:57:09,086
Speaker 5: other songs from Stone and Jeff's career. Subscribe to our

1182
00:57:09,106 --> 00:57:13,326
Speaker 5: YouTube channel at youtube.com slash brokenrecordpodcast where you can find

1183
00:57:13,406 --> 00:57:16,296
Speaker 5: all of our new episodes. You can follow us on

1184
00:57:16,316 --> 00:57:20,196
Speaker 5: Twitter at Broken Record. Broken Record is produced and edited

1185
00:57:20,256 --> 00:57:23,096
Speaker 5: by Leah Rose with marketing help from Eric Sandler and

1186
00:57:23,116 --> 00:57:27,346
Speaker 5: Jordan McMillan Our engineer is Ben Talladay. Broken Record is

1187
00:57:27,406 --> 00:57:30,726
Speaker 5: a production of Pushkin Industries. If you love this show

1188
00:57:30,886 --> 00:57:35,366
Speaker 5: and others from Pushkin, consider subscribing to Pushkin Plus. Pushkin

1189
00:57:35,406 --> 00:57:38,506
Speaker 5: Plus is a podcast subscription that offers bonus content and

1190
00:57:38,606 --> 00:57:40,706
Speaker 5: ad-free listening for $ 4.

1191
00:57:40,606 --> 00:57:41,066
Speaker 4: 99 a month.

1192
00:57:41,856 --> 00:57:45,636
Speaker 5: Look for Pushkin Plus on Apple Podcast Subscriptions. And if

1193
00:57:45,656 --> 00:57:48,176
Speaker 5: you like this show, please remember to share, rate, and

1194
00:57:48,216 --> 00:57:49,896
Speaker 5: review us on your podcast app.

1195
00:57:50,276 --> 00:57:51,516
Speaker 1: Our theme music's by Kenny Beats.

1196
00:57:51,976 --> 00:57:52,836
Speaker 5: I'm Justin Richmond.