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Speaker 1: Pushkin.

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Speaker 2: Pearl Jam, Stone Gossard and Jeff Amtt are two of

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Speaker 2: the Seattle scenes most foundational musicians from the eighties and nineties.

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Speaker 2: Stone and Jeff started playing together in nineteen eighty four

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Speaker 2: as members of Green River, which eventually dissolved, leading singer

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Speaker 2: Mark Arm to form Mud Honey. Later, Jeff played bass

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Speaker 2: and Stone played guitar in Mother Love Bone until their

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Speaker 2: lead singer Andrew Wood died of an overdose just days

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Speaker 2: before their major label debut in March of ninety Reeling

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Speaker 2: from Andy's death, Jeff and Stone started recording with soundgardens

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Speaker 2: Chris Cornell in a side project called Temple of the

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Speaker 2: Dog that featured vocals from a then unknown singer from

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Speaker 2: San Diego named Eddie Vedder. Later that year, Jeff and

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Speaker 2: Stone asked Eddie to join their new band with guitarist

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Speaker 2: Mike McCready as Pearl Jam. They released their debut album

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Speaker 2: ten in August of ninety one. The album went thirteen

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Speaker 2: times platinum and charted on Billboard for nearly five years.

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Speaker 2: Since then, Pearl Jam have released eleven more albums and

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Speaker 2: built a diehard fan base, thanks in part to their

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Speaker 2: outstanding live shows. Last week, they released their latest album,

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Speaker 2: Dark Matter, which was produced by Andrew Watt, who's recently

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Speaker 2: worked with Miley Cyrus, Iggy Pop, Post Malone, and one

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Speaker 2: of my favorite projects in a long time from Ozzy Osbourne.

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Speaker 2: On today's episode, Lea Rose talks to Stone, Gossard and

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Speaker 2: Jeff Ament about how Andrew watts encyclopedic knowledge of Pearl

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Speaker 2: Jam helped inspire some of their best performances to date.

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Speaker 2: Stone and Jeff also opened up about the inner workings

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Speaker 2: of the professional relationship, and Stone remembers the first time

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Speaker 2: he met Eddie Vedder, who marked the occasion by passing

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Speaker 2: him a handwritten poem. This is broken record liner notes

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Speaker 2: for the digital age.

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Speaker 1: I'm justin ritchman.

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Speaker 2: Here's Lea Rose's conversation with Pearl Jam, Stone Gossard and

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Speaker 2: Jeff Ament.

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Speaker 3: When you set out to record the new album, did

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Speaker 3: you have a feel in mind that you wanted to,

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Speaker 3: you know, achieve for the new album something that was

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Speaker 3: completely different from Gigaton or did it all sort of

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Speaker 3: come together spontaneously? Man?

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Speaker 4: I mean, have we ever had a plan and has

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Speaker 4: the plan ever been what we actually ended up doing?

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Speaker 1: I think Stone and I have lots of side conversations

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Speaker 1: about what we hope the plan could be, but it's

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Speaker 1: usually never that.

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Speaker 4: No, we didn't know what we were going to do.

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Speaker 4: All of us individually have aspirations for where we think

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Speaker 4: the band can go or how it could kind of

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Speaker 4: be different. You know. I think all of us are

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Speaker 4: always aiming for trying to expand on what we've done

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Speaker 4: in the past. And we have the experience of being

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Speaker 4: in the band and having flashes of like what's possible,

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Speaker 4: and those aren't always easy to recreate in different scenarios,

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Speaker 4: especially recording scenarios, you know. But this was a big

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Speaker 4: time flying blind and I think, you know, with Eddie

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Speaker 4: having met Andrew and worked with him a little bit,

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Speaker 4: it was sort of like, we're just going to show

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Speaker 4: up in LA and we're you know, this young kid,

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Speaker 4: he loves Pearl Jim, he's you know, he's a producer,

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Speaker 4: he's you know, he's and Eddie had a great experience

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Speaker 4: working with him on his solo record, and so we

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Speaker 4: just all said, well, you know, we'll show up. That

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Speaker 4: sounds fun, easy, and you know, immediately we were we

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Speaker 4: were making music and good stuff was happening. So we

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Speaker 4: sort of we got hooked in pretty quick to the process.

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Speaker 3: Do you think this setting had anything to do with

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Speaker 3: like recording at Shangri Law and being near the ocean

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Speaker 3: and being in California, Do you think that influenced the

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Speaker 3: music at all?

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Speaker 1: You know, I mean we started at Andrew's house the

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Speaker 1: first session, so the second session was sort of like

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Speaker 1: thrown together last minute. And Rick opened up some time

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Speaker 1: for us at Shangri La, which was very generous. I

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Speaker 1: love that studio me right, Like, I love that there's

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Speaker 1: like no TV and that had sort of minimal and

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Speaker 1: there's like, really the only thing you can do if

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Speaker 1: you're not playing music is to shoot pool. I love

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Speaker 1: it when like the five of us can get in

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Speaker 1: a room and just be focused, and it just feels

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Speaker 1: like when we can do that, we always hit a

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Speaker 1: vein in that session. There's three days where it's just

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Speaker 1: that spot that you want to be as a vand

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Speaker 1: where it's just like it's just going, you know, And

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Speaker 1: that studio had a lot to do with us making

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Speaker 1: a record really quickly.

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Speaker 4: I think I think we got maybe four from the

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Speaker 4: very first session, which was in Beverly Hills at Andrew's

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Speaker 4: old spot, and that was like a year previous and

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Speaker 4: we were there for ten days or something like that,

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Speaker 4: maybe seven or eight, I can't remember, but we hit

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Speaker 4: something that was great, but there was also some stuff

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Speaker 4: that we kind of started to maybe sort of kind

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Speaker 4: of think too much again or get too much on

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Speaker 4: our old process. And I think then we had a

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Speaker 4: year off and it was amazing to go back and

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Speaker 4: then sort of have memories of what we did that

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Speaker 4: first time and then really kind of go and everyone stayed,

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Speaker 4: you know, pretty focused of and it's really the focus

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Speaker 4: being whatever you're you know, bringing in today or however

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Speaker 4: the song starts to go, just be ready for it

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Speaker 4: to kind of get ripped open and rearranged and touched

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Speaker 4: by everyone. And you have to have some courage when

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Speaker 4: it comes to that kind of stuff. But also that

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Speaker 4: it just makes it so much more of a band thing.

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Speaker 4: Everyone's invested. Everybody is like writing and thinking about the

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Speaker 4: song at that moment, and I mean, we've done it

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Speaker 4: before like that, but I don't ever want to go back. Honestly.

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Speaker 4: It was like, you know, in terms of that process,

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Speaker 4: I loved it.

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Speaker 3: You know, how does the band handle when there's like

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Speaker 3: little squabbles over parts of songs, like if somebody brings

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Speaker 3: something and you start playing, and somebody wants to take

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Speaker 3: it in a different direction, and not everybody's agreeing. What's

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Speaker 3: the communication like and who ultimately wins?

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Speaker 4: I mean, I think we were trusting Andrew really on

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Speaker 4: this record. Because he's a producer and we're going to

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Speaker 4: make a record with you, you might as well trust his

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Speaker 4: instincts and and go with it. So I think that

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Speaker 4: having him there was was helpful in terms of just

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Speaker 4: navigating that stuff. I think if anything gets too squabbly,

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Speaker 4: we just move on to something else, and that this

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Speaker 4: gets left behind probably more than anything. So I think

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Speaker 4: all of us, you know, got to see how the

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Speaker 4: group process ended up being a better process for almost everything.

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Speaker 4: You know, at every juncture you'd kind of you know,

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Speaker 4: and it was all very quick, which would make it better.

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Speaker 4: It's like it's sort of ripping the band it off quick,

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Speaker 4: you know, it's like got an idea, throw it down,

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Speaker 4: it's already changed. It's you know, it's gone before you

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Speaker 4: you know, And it was great. And Ed is inspired

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Speaker 4: in those situations too. He writes so quickly when he's

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Speaker 4: in on the process of the writing, as opposed to

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Speaker 4: just getting a demo and like sitting with it in

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Speaker 4: his room for weeks. You know. It's like it's it's

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Speaker 4: much more fruitful for him to be there saying let's

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Speaker 4: double that, or I don't like that part, let me

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Speaker 4: get back to that other thing quicker, you know, Or

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Speaker 4: I need a chord here, I need a different chord

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Speaker 4: getting me to this, you know, to this next bit.

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Speaker 4: And then it just becomes kind of a group process

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Speaker 4: that's not the same as an individual kind of writing

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Speaker 4: a song, but it's and that's I think that's what's

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Speaker 4: special about this record is that it really is a

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Speaker 4: lot of reconstructed, sort of quickly ideas, you know.

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Speaker 1: And I think we learned a long time ago that

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Speaker 1: if you're fighting too hard for something, it usually even

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Speaker 1: if it ends up on the record, it usually I

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Speaker 1: don't think it ends up being a joyful memory for

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Speaker 1: the rest of the band, and even a joyful memory

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Speaker 1: for you as the writer. I think. So I feel

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Speaker 1: like as I've gotten older, I welcome like ripping my

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Speaker 1: thing open, and I think it's far more interesting that way.

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Speaker 1: I think the collaborative process to me is like one

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Speaker 1: of the most interesting things, Like if you can really

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Speaker 1: trust the other people in the band that you're collaborating with,

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Speaker 1: it will usually come back way more interesting and have

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Speaker 1: a different perspective that you can have if you're just

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Speaker 1: have tunnel vision, you know, for your songs. So you know,

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Speaker 1: it's not that different than how we made you know,

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Speaker 1: the last couple of records with Brendan really I mean

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Speaker 1: moving super fast and you know, FAD's not sort of

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Speaker 1: latching onto something, moving on to the next thing, and

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Speaker 1: so we're I think we're better in those.

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Speaker 4: Yeah. I think Andrew's enthusiasm, his unbridled enthusiasm, was an

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Speaker 4: element of it. He never he never let us get

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Speaker 4: down on ourselves at all individually. For me, like playing

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Speaker 4: in there and sometimes being in there and going, you know,

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Speaker 4: I don't know what I'm doing. It's like he would

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Speaker 4: no matter what, he would just be like, oh that's great,

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Speaker 4: no way, go back, you know, like he would just

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Speaker 4: have this like you're gonna get You're gonna figure this out.

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Speaker 4: You're my favorite guitar player.

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Speaker 2: You know.

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Speaker 4: It's like just you know what I mean, but not

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Speaker 4: necessarily that, but it's just like he just just infused

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Speaker 4: you with He wasn't gonna let it get you down

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Speaker 4: and he knew that that's not where you're going to

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Speaker 4: get a good performance. So yeah, it's manipulative on one hand,

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Speaker 4: but it also works, you know. And so I think,

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Speaker 4: you know, his knowing the songs and loving Pearl Jam

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Speaker 4: so much and just being a fan it was a

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Speaker 4: major factor in sort of keeping the thing moving along

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Speaker 4: and him really actually, I know how to play all

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Speaker 4: your songs. I can show you where you know, you

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Speaker 4: know that this should have been a minor chord, but

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Speaker 4: you didn't. It's just cool. I'm so glad that you

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Speaker 4: did that, like you know, so he was. He had

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Speaker 4: a lot of energy for that. So that was that

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Speaker 4: was a big factor I think.

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Speaker 1: In the record. Yeah, and and and talking about those

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Speaker 1: times when you're stuck. He could reference old songs. He

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Speaker 1: would be like, yeah, like that thing that you do

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Speaker 1: in Hail Hail, or he would reference things you'd be

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Speaker 1: like and sometimes that would unstick you because it would

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Speaker 1: like pull you out of a pattern that you were

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Speaker 1: stuck in and it would make you think about it

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Speaker 1: in a different pattern. And you know, I never felt

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Speaker 1: stuck for more than a minute. Wow, you know when

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Speaker 1: you were when you were working on stuff with him.

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Speaker 3: So I'm fascinated by Andrew Watt because he's now produced

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Speaker 3: albums for Ozzy Osbourne, Iggy Pop, He's working with you guys,

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Speaker 3: the Rolling Stones last record.

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Speaker 4: Yeah, he's just going through his collection of childhood bands

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Speaker 4: and going, I'm gonna work with this man, and I'm

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Speaker 4: gonna work with this man. It's all his reality. We're

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Speaker 4: just you know, we're just part of his dream right now,

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Speaker 4: which is great. We'll take a ride with him.

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Speaker 3: It's incredible. And is he like, was there anything since

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Speaker 3: he has such a deep knowledge of Pearl Jam, was

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Speaker 3: there anything from your catalog that he felt like he

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Speaker 3: wanted to hear more of from a.

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Speaker 4: Fan perspective completely, But he wouldn't necessarily tell us exactly

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Speaker 4: what that was. But I think he wanted us to

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Speaker 4: write more kind of collectively and quickly, kind of probably

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Speaker 4: more like our earlier process was where it's like we

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Speaker 4: didn't have any time or we never even realized you

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Speaker 4: could have more time, and so we just stuff was

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Speaker 4: just happening quick and nobody had time to think about

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Speaker 4: it too much. And then just he wanted to make

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Speaker 4: a heavy record. I think he really wanted it to

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Speaker 4: be an aggressive Pearl Jam record and from the get go,

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Speaker 4: so and he he had great sounds right away. You know,

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Speaker 4: we just went into the studio and he kind of

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Speaker 4: had stuff's kind of set up. You could go on

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Speaker 4: and try this amp or try that guitar, but it

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Speaker 4: was all kind of dialed in. So we were stuff

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Speaker 4: was sounding good like kind of immediately. So that was

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Speaker 4: that was good. He works fast, kept us interested for sure.

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Speaker 1: And I had a lot of conversations after that first session,

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Speaker 1: you know, like phone conversations with him where he would

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Speaker 1: ask about how did this song get written? How did

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Speaker 1: that song get written? And so he was I think

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Speaker 1: he was like trying to mine like, okay that whatever

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Speaker 1: the process was on that particular song, that's we need

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Speaker 1: to revisit that process. Not necessarily like a similar riff

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Speaker 1: or a similar sound even, but like the creative process.

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Speaker 1: I think he was really trying to tap into, you know, ultimately,

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Speaker 1: I think the best way we work with each other.

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Speaker 1: I mean, I think it's we talk about it all

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Speaker 1: the time about I think we all have strengths that

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Speaker 1: sometimes like if we lean into those strengths that it

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Speaker 1: turns out better.

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Speaker 3: Can you quickly like run down what you feel everyone

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Speaker 3: in the band's strengths are like who does what the

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Speaker 3: best man?

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Speaker 1: Well, I mean, we have ed who can like if

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Speaker 1: you have a if you have two chords or an

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Speaker 1: interesting repetitive pattern, he can write a melody over that

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Speaker 1: that's like memorable, and he can attach words to it

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Speaker 1: that make you feel something deeply, which to me is

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Speaker 1: one of the most incredible things to witness, to be

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Speaker 1: in the room when that's happening and something's coming out

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Speaker 1: of the ether and then all of a sudden the

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Speaker 1: line comes out that's like this, you know, just this

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Speaker 1: beautiful two line piece of poetry. Yeah, we have that.

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Speaker 1: We have Matt Cameron in the band, who can, like

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Speaker 1: you know, play drums around anything and make it interesting

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Speaker 1: and has such a unique style and such a unique

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Speaker 1: way to like accent things and places that you wouldn't expect,

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Speaker 1: which sometimes turns the groove around in a really cool way.

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Speaker 1: We have Mike McCready, who fucking rips and if you're

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Speaker 1: working fast and he's just playing, it's like you tap

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Speaker 1: into that thing that you know, you have a guy

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Speaker 1: that can really take a song over the top. I

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Speaker 1: think Stone and I are sort of the lunch pale guys.

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Speaker 1: I think Stone would come in with a riff and

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Speaker 1: I might say, hey, what if we simplify that little

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Speaker 1: part of the riff, or he has a really busy

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Speaker 1: riff and I'll just find the three big chords that

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Speaker 1: sort of work over that riff. And I think sometimes

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Speaker 1: some of the best stuff that we've done have been

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Speaker 1: in that, in that spirit.

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Speaker 4: And then you have Jeff who's ear and his listening

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Speaker 4: to kind of the whole picture and understanding how where

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Speaker 4: the glue needs to be, understanding really listening to the vocal,

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Speaker 4: really understanding where how the vocal sits in the track

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Speaker 4: and supporting that and sort of being this ear that

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Speaker 4: has that you know, that big picture perspective on sonics

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Speaker 4: and music history and you know an incredible you know

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Speaker 4: audio file.

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Speaker 1: Well, let me say one more good thing about Stone,

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Speaker 1: because he's just said such nice things. But Stone also

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Speaker 1: plays guitar like a drummer, Like his right hand is

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Speaker 1: almost like having another drummer in the band, which I

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Speaker 1: think some of the best stuff that we've done are

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Speaker 1: when there's sort of almost those two kind of frenetic

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Speaker 1: rhythmic elements happening when the drummer and Stone's right hand

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Speaker 1: are sort of battling or you know, joining up. And

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Speaker 1: I think there's I think there's moments on this record

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Speaker 1: that have kind of classic Stone riffage.

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Speaker 4: I was just gonna say, I think Dark Matter is

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Speaker 4: a really great example of and I think that was

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Speaker 4: one of the last, one of the last songs we wrote,

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Speaker 4: but that that's a great example of the sort of

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Speaker 4: mishmash of what is possible. And it started out with

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Speaker 4: Matt Cameron stepping in the day before and just warming

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Speaker 4: up on his drums, getting ready to record that day,

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Speaker 4: and just starts playing this beat, which is the beat

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Speaker 4: that's in Dark Matter, but it was he was kind

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Speaker 4: of playing it on his snare and it wasn't like

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Speaker 4: as aggressive as that, but it was like that beat

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Speaker 4: was there, and we all just looked at each other

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Speaker 4: and went, that's what he does every day. It's amazing.

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Speaker 4: It comes in he plays that thing. It's like, how

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Speaker 4: is that not a song? And we just rolled tape

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Speaker 4: and we grabbed that beat and we looped it, and

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Speaker 4: Jeff and I took that same loop poem that night

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Speaker 4: and both of us wrote different parts that ended up

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Speaker 4: being the verse and kind of the chorus melody parts

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Speaker 4: and The next day, we had a song that was

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Speaker 4: this weird combination of everybody's sort of you know, being there,

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Speaker 4: but not anybody being in charge of what happened. And

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Speaker 4: I just I live for that stuff. Now. It's like,

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Speaker 4: I want to make a whole record where it's just like,

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Speaker 4: don't bring anything in, or bring in only bits and pieces.

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Speaker 4: You know, if we need a bit or a piece,

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Speaker 4: be ready for it. But that that group arrangement is

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Speaker 4: just a it's brilliant, and it's I think it's less

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Speaker 4: common now. There's just more individual songwriting efforts and brilliant

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Speaker 4: songwriting efforts. And I love that our place in rock

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Speaker 4: right now might be more of like, hey, we do

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Speaker 4: it as a we do it in a way that

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Speaker 4: you can't replicate because you can't, you know, five different

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Speaker 4: states of mind are attacking it from a different point

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Speaker 4: of view. So I think that's a great example of

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Speaker 4: what's possible when you write as a group.

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Speaker 3: Yeah, and that Stone, how would you describe how you

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Speaker 3: and Mike McCready play off each other and how you

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Speaker 3: come up with your parts together? How does that process work?

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Speaker 4: You know, we just we just kind of feel it out.

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Speaker 4: I think the less we talk about it, the better

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Speaker 4: it is in general. But you know, I think, you know,

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Speaker 4: as you play in a band, you kind of look

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Speaker 4: for the spot where nobody's playing, or maybe there's a

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Speaker 4: point in the musical phrase whereas it needs some support

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Speaker 4: or it's something sagging or you need to So I

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Speaker 4: kind of usually head for that spot and that accent,

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Speaker 4: and I'll start just figuring out maybe it's a one

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Speaker 4: note thing, or maybe it's like just a two note

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Speaker 4: climb into that note, or you know, you just start

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Speaker 4: kind of going through your little process of taking little

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Speaker 4: building blocks and stacking them up and kind of seeing

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Speaker 4: if it feels like it supports the architecture of the

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Speaker 4: song or whatever. And I think Mike comes from a

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Speaker 4: place of very much just needs to feel it and

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Speaker 4: then just needs to play and winds his way through,

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Speaker 4: you know, a track, and just finds his malady or

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Speaker 4: his feel that makes him feel good.

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Speaker 3: You know, Jeff, you mentioned that there wasn't anything to

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Speaker 3: do at Shangri La other than to play pool. You know,

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Speaker 3: in between recording Hanging Out, I noticed on the intro

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Speaker 3: of the first song, Scared of Fear, it sounds like

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Speaker 3: it builds to a pool break. Yeah, was that inspired

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Speaker 3: by Shangri Law. And I'm just curious how you guys

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Speaker 3: have thought traditionally about the album openers, like those little

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Speaker 3: intros to the albums.

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Speaker 1: Oh well, that was a piece that I sort of

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Speaker 1: came up with. It sort of felt like the pool

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Speaker 1: break right at the start of the record didn't feel

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Speaker 1: like it, I felt maybe too abrupt, and so yeah,

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Speaker 1: I recorded most of that in Montana, like just kind

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Speaker 1: of going back and forth with Andrew, like you know,

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Speaker 1: him saying like, yeah, it should be twenty five thirty seconds,

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Speaker 1: and so I gave him like a minute with a

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Speaker 1: bunch of ambient loops and yeah, a bunch of music.

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Speaker 1: And I love making that sort of stuff, and which

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Speaker 1: we you know, our very first record, the Master Slave Pieces,

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Speaker 1: was sort of a very early sort of version of

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Speaker 1: that kind of piece of music. And some of it

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Speaker 1: was me taking the actually the little melody at the

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Speaker 1: end of the record and sort of changing I actually

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Speaker 1: took that little three chord melody that Ed's playing on

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Speaker 1: guitar at the end of the record, and I sort

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Speaker 1: of transposed it to fit a key lower than the

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Speaker 1: beginning of the key that that scared of fear starts

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Speaker 1: so just to just to make it feel like there

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Speaker 1: was a little boost when when Stone comes in with

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Speaker 1: that riff.

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Speaker 3: Very cool.

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Speaker 4: That is the That is the pool Table from Yeah, yeah,

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Speaker 4: that's recorded there. And was it Sean Penn?

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Speaker 1: A couple of annoyments.

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Speaker 4: I think it was maybe Sean Penn that.

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Speaker 3: Broke the seems like a solid break.

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Speaker 4: Yeah, it looks like the I bet the balls spread

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Speaker 4: around the table. It wasn't the.

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Speaker 1: Fanciest MIC's ever on pool Table.

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Speaker 4: How many takes did they get though? It's like two

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Speaker 4: hours of like, let's do it again, but I'm.

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Speaker 2: At most after quick break, will be back with more

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Speaker 2: from Leah Rose, Stone Gossard and Jeff Ament. We're back

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Speaker 2: with Stone, Gossard and Jeff Ament.

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Speaker 3: I'm curious about the song Wreckage, which I love so much.

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Speaker 3: It's so pretty. How did that song come about? What

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Speaker 3: do you remember from that session?

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Speaker 1: The main thing I remember is Ed sitting down the

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Speaker 1: guitar and sort of playing the basically the chords to

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Speaker 1: the verse, and then we just kind of moved through that.

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Speaker 1: Ed kind of kept adding parts. I mean that song,

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Speaker 1: I mean, from my standpoint, it felt like it was

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Speaker 1: getting written on the move, you know, like as he

401
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Speaker 1: was adding chords, then another vocal melody happens and we

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Speaker 1: got the bulk of that song down I think in

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Speaker 1: a few hours.

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Speaker 4: Yeah, man, I think that there's an open G tuning

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Speaker 4: which is Andrew kind of coming along with that sort

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Speaker 4: of a distinctive It sort of breaks it out of

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Speaker 4: what might be a little bit more of a straightforward

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Speaker 4: song and it sort of adds some harmonic and rhythmic

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Speaker 4: variety to it. So I think that's a pretty distinctive

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Speaker 4: part of that track, as well as that sort of

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Speaker 4: openg strum that he's got going.

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Speaker 3: On there, and also upper Hand. That's one of these

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Speaker 3: songs that it sounds like it's going to be so

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Speaker 3: incredible live. Do you think about how the songs are

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Speaker 3: going to translate to the stage when you're recording them

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Speaker 3: or before you go in or is that a consideration?

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Speaker 1: I don't think I do. I think there was something

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Speaker 1: about when they created that piece. I mean that was Ed,

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Speaker 1: and Andrew and Josh that sort of created that pre

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Speaker 1: instrumental piece. I can imagine like when you're creating that

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Speaker 1: that you're setting a mood and a tone for the

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Speaker 1: song that's about to come, and we sort of got

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Speaker 1: into that yesterday and rehearsal, just trying to recreate this

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Speaker 1: sounds of that of that piece. It's gonna be it's

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Speaker 1: gonna be a fun one just because it's gonna it's

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Speaker 1: gonna create such a mood live. I think, you know

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Speaker 1: how the outro is. It's it's sort of a wide

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Speaker 1: open outro, you know, it's sort of a place where

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Speaker 1: again where Mike and Matt can really shine.

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Speaker 4: Yeah, it's a nice it's nice that we that that

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Speaker 4: opening piece really gives it more room to get to

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Speaker 4: that sort of crescendo. You know, Without it, I think

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Speaker 4: it would be it's almost too short, like you wouldn't

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Speaker 4: be in the song long enough before you're at the crescendo.

435
00:21:40,476 --> 00:21:43,676
Speaker 4: So this is sort of gives that nice runway to

436
00:21:43,756 --> 00:21:46,956
Speaker 4: kind of ease you into it. And it's a beautiful

437
00:21:47,276 --> 00:21:48,116
Speaker 4: it's a beautiful piece.

438
00:21:48,236 --> 00:21:48,956
Speaker 3: It is beautiful.

439
00:21:49,076 --> 00:21:51,356
Speaker 4: Josh Klinghoffer really sort of wrote the chords. I think

440
00:21:51,396 --> 00:21:51,596
Speaker 4: to that.

441
00:21:52,116 --> 00:21:56,476
Speaker 3: When it comes to writing songs that end up being anthemic,

442
00:21:57,316 --> 00:22:01,636
Speaker 3: are there any like tricks or anything that you can

443
00:22:01,676 --> 00:22:04,996
Speaker 3: always rely on or is that not even a consideration

444
00:22:05,156 --> 00:22:06,836
Speaker 3: when you're making music?

445
00:22:07,956 --> 00:22:11,316
Speaker 4: What do you mean by them just like something that.

446
00:22:11,196 --> 00:22:15,196
Speaker 3: Will soar on stage in a live setting.

447
00:22:16,196 --> 00:22:19,316
Speaker 4: I think, I mean if usually the kinds of things

448
00:22:19,316 --> 00:22:22,556
Speaker 4: that translate and that are allowed to sort pretty simple

449
00:22:22,756 --> 00:22:26,516
Speaker 4: in terms of their presentation. I think the more detail

450
00:22:26,636 --> 00:22:28,916
Speaker 4: you get, you know, as you if you're writing a

451
00:22:28,916 --> 00:22:30,636
Speaker 4: song in your house and you're sort of starting to

452
00:22:30,676 --> 00:22:32,996
Speaker 4: add on more parts and you're kind of your acoustic

453
00:22:33,036 --> 00:22:35,996
Speaker 4: part is getting more complex, all of that stuff tends

454
00:22:36,036 --> 00:22:39,116
Speaker 4: to not translate when it comes to a room where

455
00:22:39,756 --> 00:22:43,516
Speaker 4: two big chords and some space, yeah, and one riff

456
00:22:43,556 --> 00:22:46,036
Speaker 4: where everybody's kind of playing together at one point, and

457
00:22:46,076 --> 00:22:48,036
Speaker 4: then maybe it opens up and does something else. But

458
00:22:48,596 --> 00:22:51,796
Speaker 4: I just think, you know, it really is primary colors

459
00:22:51,956 --> 00:22:54,236
Speaker 4: to start out with, you know, and a change that

460
00:22:55,196 --> 00:22:59,516
Speaker 4: feels good or that has impactful you know, chord change

461
00:22:59,556 --> 00:23:02,876
Speaker 4: or a rhythmic pulse change or a tempo change or

462
00:23:02,916 --> 00:23:05,716
Speaker 4: whatever it is. So yeah, but I think simplicity is

463
00:23:05,716 --> 00:23:07,916
Speaker 4: probably the key, you know, and I think that's that's

464
00:23:07,916 --> 00:23:10,756
Speaker 4: a good place for us to be, is not getting

465
00:23:10,796 --> 00:23:14,796
Speaker 4: too into the detail of all the different ways you

466
00:23:14,796 --> 00:23:16,356
Speaker 4: can play the same chord.

467
00:23:16,916 --> 00:23:19,956
Speaker 3: Before we move on from the new album, are there

468
00:23:19,956 --> 00:23:23,356
Speaker 3: any songs, any stories about recording the songs that you

469
00:23:23,396 --> 00:23:26,356
Speaker 3: want to talk about, anything that really stands out.

470
00:23:27,076 --> 00:23:30,076
Speaker 4: I love the story of How We Got Won't Tell,

471
00:23:30,636 --> 00:23:33,996
Speaker 4: which started out with Jeff Amett having a dream. And

472
00:23:34,036 --> 00:23:35,596
Speaker 4: I've been telling this and I'm not sure i've been

473
00:23:36,116 --> 00:23:37,916
Speaker 4: I'm not sure I'm telling the story right.

474
00:23:38,836 --> 00:23:41,156
Speaker 1: Yeah, I mean without going I mean it's kind of

475
00:23:41,156 --> 00:23:44,076
Speaker 1: a long story. But I had a fairly realized dream

476
00:23:44,116 --> 00:23:46,676
Speaker 1: of a song that I woke up, which I occasionally

477
00:23:46,676 --> 00:23:49,876
Speaker 1: do and you sort of lay down and usually when

478
00:23:49,916 --> 00:23:52,396
Speaker 1: you listen to it again, it's like nonsensical and bad

479
00:23:52,436 --> 00:23:55,396
Speaker 1: and whatever. But this thing actually was like when I

480
00:23:55,436 --> 00:23:57,556
Speaker 1: listened to it, I was like, Wow, there's something in there,

481
00:23:57,596 --> 00:24:00,676
Speaker 1: and even the lyric. I think we were like, you know,

482
00:24:00,796 --> 00:24:04,596
Speaker 1: probably three quarters of the way through the last session,

483
00:24:05,596 --> 00:24:08,476
Speaker 1: and I was there early, and Andrew had said, hey, hey,

484
00:24:08,476 --> 00:24:10,676
Speaker 1: you got something, and so I played him and he goes, man,

485
00:24:10,716 --> 00:24:13,996
Speaker 1: that's awesome, and it was a complete song, and he said,

486
00:24:13,996 --> 00:24:17,516
Speaker 1: what if we just give Ed the lyrics and the

487
00:24:17,556 --> 00:24:20,836
Speaker 1: band can learn the music and let Ed sort of

488
00:24:20,876 --> 00:24:25,876
Speaker 1: interpret the lyrics. And it took a couple of a

489
00:24:25,956 --> 00:24:28,436
Speaker 1: couple of rounds for Ed to sort of, like I think,

490
00:24:28,516 --> 00:24:30,836
Speaker 1: come up with something that he was super happy about.

491
00:24:30,876 --> 00:24:33,636
Speaker 1: But he ended up coming up with like almost as

492
00:24:33,756 --> 00:24:37,876
Speaker 1: like a dream of a dream. You know. It's like

493
00:24:37,956 --> 00:24:40,316
Speaker 1: me telling him and then him sort of interpreting it

494
00:24:40,396 --> 00:24:43,556
Speaker 1: in this almost like kind of a psychedelic way, which

495
00:24:43,556 --> 00:24:46,516
Speaker 1: the dream was pretty psychedelic. So it was just a

496
00:24:46,556 --> 00:24:49,756
Speaker 1: brand new way to write a song. Yeah, and it was.

497
00:24:50,436 --> 00:24:54,356
Speaker 1: The song was written on a baritone guitar. Josh Klinghoffer

498
00:24:54,356 --> 00:24:56,796
Speaker 1: had bought us all these baritone guitars, and I had

499
00:24:56,796 --> 00:25:01,276
Speaker 1: it in this open tuning and had kind of written

500
00:25:01,276 --> 00:25:04,876
Speaker 1: the piece in that because the dream involved an electric

501
00:25:04,996 --> 00:25:08,916
Speaker 1: dulcimer that sounded kind of like Neil Young, but it

502
00:25:08,956 --> 00:25:12,876
Speaker 1: was a woman playing this electric dulcimer. So you're not.

503
00:25:12,836 --> 00:25:15,756
Speaker 4: Talking about Joni Mitchell. I don't know. But is it

504
00:25:15,916 --> 00:25:20,396
Speaker 4: Joni Mitchell's in the dream, isn't she? That's the thoughts like, yeah, yeah,

505
00:25:20,516 --> 00:25:23,156
Speaker 4: Joni Mitchell came to him in this sleep.

506
00:25:23,196 --> 00:25:25,276
Speaker 1: We had a we had a we had a Yeah,

507
00:25:25,316 --> 00:25:26,716
Speaker 1: we had a conversation in the dream.

508
00:25:26,916 --> 00:25:28,156
Speaker 3: Wow, what did you guys talk about?

509
00:25:28,916 --> 00:25:31,156
Speaker 1: It was about a song that she and Neil wrote together,

510
00:25:31,196 --> 00:25:33,916
Speaker 1: and this is that song. Wow, this is the song.

511
00:25:34,996 --> 00:25:37,436
Speaker 4: But we're not going to share publishing or something about it.

512
00:25:37,556 --> 00:25:40,556
Speaker 3: So have you guys ever played with Joni?

513
00:25:41,276 --> 00:25:45,276
Speaker 1: We haven't. We did share an airplane ride with her,

514
00:25:45,356 --> 00:25:48,436
Speaker 1: like in about ninety three in Canada, and and then

515
00:25:48,476 --> 00:25:50,036
Speaker 1: when we got on the plane, she was I was

516
00:25:50,036 --> 00:25:51,836
Speaker 1: sitting in the aisle seat and she was sitting in

517
00:25:51,836 --> 00:25:54,556
Speaker 1: the aisle seat right across from me, and I, I mean,

518
00:25:54,556 --> 00:25:57,316
Speaker 1: this is this might come off as stocker ish, but

519
00:25:57,716 --> 00:25:59,676
Speaker 1: I was listening to a lot of Joni Mitchell the time.

520
00:25:59,716 --> 00:26:01,716
Speaker 1: So I reached into my CD wallet, which it was

521
00:26:01,836 --> 00:26:05,036
Speaker 1: nineteen ninety three, so and I put in Blue, and

522
00:26:05,076 --> 00:26:06,996
Speaker 1: I put in my headphones, and during the flight, I

523
00:26:07,036 --> 00:26:08,916
Speaker 1: would just look overever every once in a while and

524
00:26:08,956 --> 00:26:10,036
Speaker 1: go wow, like.

525
00:26:10,076 --> 00:26:11,676
Speaker 3: You just like stare at her in mouth.

526
00:26:12,276 --> 00:26:14,676
Speaker 1: I didn't stare at her. I didn't stare at her,

527
00:26:14,716 --> 00:26:16,316
Speaker 1: but I was I sort of felt like I'm in

528
00:26:16,356 --> 00:26:19,796
Speaker 1: Canada and I'm listening to Blue and I'm sitting across

529
00:26:19,796 --> 00:26:23,476
Speaker 1: from Johny Mitchell. So there it is crazy reverence. I mean,

530
00:26:23,476 --> 00:26:26,636
Speaker 1: she's like one of my favorite just artists because she's

531
00:26:27,396 --> 00:26:30,316
Speaker 1: I think as much because she's a great painter as

532
00:26:30,436 --> 00:26:34,556
Speaker 1: a great musician. I love that in her feel her

533
00:26:34,636 --> 00:26:38,076
Speaker 1: right hand and just her how she tells stories, like,

534
00:26:38,116 --> 00:26:40,596
Speaker 1: you know, I think it leans on jazz, but it's

535
00:26:40,636 --> 00:26:44,276
Speaker 1: so her because she small town Canadian girl. You know,

536
00:26:44,316 --> 00:26:46,356
Speaker 1: I think I think I relate to that part of

537
00:26:46,356 --> 00:26:48,716
Speaker 1: it too, because she she sort of grew up not

538
00:26:48,956 --> 00:26:51,156
Speaker 1: too far from where I grew up, just across the border.

539
00:26:51,276 --> 00:26:55,956
Speaker 3: So oh, that's so cool. After ten took off in

540
00:26:55,996 --> 00:26:58,596
Speaker 3: the beginning and all of a sudden, you guys started

541
00:26:58,636 --> 00:27:03,036
Speaker 3: playing with other like really huge artists. Was there anybody

542
00:27:03,036 --> 00:27:05,236
Speaker 3: who you found yourself on stage with where you were

543
00:27:05,316 --> 00:27:06,876
Speaker 3: just like, what is going on?

544
00:27:08,236 --> 00:27:09,436
Speaker 1: Everybody?

545
00:27:09,956 --> 00:27:12,076
Speaker 4: I mean, I mean we felt I felt that a

546
00:27:12,076 --> 00:27:13,756
Speaker 4: way about the Chili Peppers right off the bat, when

547
00:27:13,756 --> 00:27:16,716
Speaker 4: the Chili Peppers took us out just watching John Feschanti

548
00:27:16,756 --> 00:27:18,756
Speaker 4: every night in Chad, and I mean there was the

549
00:27:18,796 --> 00:27:22,716
Speaker 4: way those guys played. It was so much bigger than

550
00:27:22,796 --> 00:27:25,236
Speaker 4: anything we'd ever heard in terms of like, oh that's

551
00:27:25,236 --> 00:27:27,596
Speaker 4: how you like, that's how your stage can sound, that's

552
00:27:27,636 --> 00:27:31,156
Speaker 4: how they play the whole sound. And I think we

553
00:27:31,156 --> 00:27:34,596
Speaker 4: were still in our you know, all the vibrations were

554
00:27:34,676 --> 00:27:38,116
Speaker 4: very fast, we were we weren't tuning into each other

555
00:27:38,156 --> 00:27:40,876
Speaker 4: in the same way that we've learned more now to

556
00:27:40,916 --> 00:27:43,756
Speaker 4: be able to do. But that was an amazing experience,

557
00:27:43,836 --> 00:27:47,076
Speaker 4: you know, seeing you know, seeing Neil Young play with

558
00:27:47,356 --> 00:27:51,116
Speaker 4: Booker T and the MGS and Jim Keltner. That was

559
00:27:51,196 --> 00:27:54,236
Speaker 4: like never done. Yeah, I mean, never heard of pocket

560
00:27:54,436 --> 00:27:58,356
Speaker 4: like that deep before. It's like everyone was out pocketing

561
00:27:58,396 --> 00:28:00,836
Speaker 4: each other. It's like you know what I mean, like

562
00:28:00,996 --> 00:28:05,196
Speaker 4: the one was somewhere, you know, incredible. So I mean,

563
00:28:05,236 --> 00:28:06,956
Speaker 4: but we've had that over and over again, you know,

564
00:28:07,156 --> 00:28:12,356
Speaker 4: seeing you two play and all all the early opportunities

565
00:28:12,396 --> 00:28:13,676
Speaker 4: to see bands go on.

566
00:28:13,636 --> 00:28:16,276
Speaker 1: That the show we played with Keith Richards and Steve

567
00:28:16,356 --> 00:28:20,716
Speaker 1: Jordan and Charlie Drayton, that show was also just witnessing

568
00:28:20,756 --> 00:28:23,996
Speaker 1: bands play with so much space. I think that's I

569
00:28:24,036 --> 00:28:26,916
Speaker 1: do remember on those Neil Booker T. I remember just

570
00:28:26,996 --> 00:28:29,516
Speaker 1: sort of listening to a conversation that Keltner and Duck

571
00:28:29,556 --> 00:28:33,036
Speaker 1: Dunn were having about like, yeah, we keep Duck would

572
00:28:33,036 --> 00:28:35,636
Speaker 1: say like, yeah, well keep asking Neil, we're playing the groove.

573
00:28:35,636 --> 00:28:37,476
Speaker 1: Doesn't feel like we're playing the groove in the right place.

574
00:28:38,156 --> 00:28:43,556
Speaker 1: And because it sort of helped make Neil's songs, they

575
00:28:43,756 --> 00:28:46,116
Speaker 1: just sounded different. Those Crazy Horse songs sounded different with

576
00:28:46,116 --> 00:28:50,556
Speaker 1: Booker T and those guys, it just swung differently, but

577
00:28:50,596 --> 00:28:53,836
Speaker 1: the space, the space like watching Duck and Keltner play

578
00:28:53,876 --> 00:28:56,316
Speaker 1: together was like, I mean, there was four or five

579
00:28:56,356 --> 00:28:58,036
Speaker 1: shows where I remember I was just sort of sitting

580
00:28:58,076 --> 00:29:02,676
Speaker 1: between them, like fifteen feet from them, taking basically a

581
00:29:02,716 --> 00:29:05,556
Speaker 1: masterclass and rhythm section, you know, and going like that's

582
00:29:05,596 --> 00:29:08,556
Speaker 1: how you play on a mid tempo song, like right there.

583
00:29:08,836 --> 00:29:12,716
Speaker 1: I mean, my chi. I think my playing changed overnight

584
00:29:12,836 --> 00:29:14,516
Speaker 1: from playing in those ten shows.

585
00:29:14,996 --> 00:29:17,676
Speaker 3: Neil seems like he's so energized when he's playing with

586
00:29:17,716 --> 00:29:21,676
Speaker 3: you guys. Has he ever articulated to you like what

587
00:29:21,756 --> 00:29:24,876
Speaker 3: it is about Pearl Jam that gets him like so pumped?

588
00:29:25,476 --> 00:29:29,196
Speaker 1: You know? He called me last summer they were mixing

589
00:29:29,436 --> 00:29:31,476
Speaker 1: Mirror Ball and at Most, and he was just so

590
00:29:32,396 --> 00:29:34,876
Speaker 1: he was so generous and so kind, like in terms

591
00:29:34,876 --> 00:29:36,876
Speaker 1: of he just goes man like, you know, your guys

592
00:29:36,956 --> 00:29:39,476
Speaker 1: is playing on this is so great. And I think

593
00:29:39,596 --> 00:29:41,516
Speaker 1: I moved so fast from record to record. I don't

594
00:29:41,556 --> 00:29:44,596
Speaker 1: really I don't really get a chance to listen back,

595
00:29:44,596 --> 00:29:47,956
Speaker 1: but I'm really listening to how you guys chose to play,

596
00:29:47,996 --> 00:29:49,836
Speaker 1: and I appreciate it so much and I hope we

597
00:29:49,876 --> 00:29:52,316
Speaker 1: get to do it again and of course you're like, oh,

598
00:29:52,556 --> 00:29:54,636
Speaker 1: can we please do it again because we'll be even well,

599
00:29:54,756 --> 00:29:56,596
Speaker 1: we'll give you more space and we'll be so much

600
00:29:56,636 --> 00:29:58,356
Speaker 1: better than we were in nineteen ninety five.

601
00:29:58,836 --> 00:30:01,156
Speaker 4: After him playing, he plays the song once for us.

602
00:30:01,196 --> 00:30:02,956
Speaker 4: We learned the chords and he's like, okay, we're going

603
00:30:03,036 --> 00:30:04,476
Speaker 4: to record it, and then you record it and it's

604
00:30:04,476 --> 00:30:06,756
Speaker 4: like done, great. You know, it's like I was just

605
00:30:07,196 --> 00:30:09,556
Speaker 4: you know, warming up. Mostly we were just trying to

606
00:30:09,556 --> 00:30:12,276
Speaker 4: remember the chords, you know, which, of course he loves

607
00:30:12,556 --> 00:30:15,076
Speaker 4: because that's how he is. He's like, oh, that's great.

608
00:30:15,236 --> 00:30:18,196
Speaker 4: You know, it's like, which is fun. But playing with

609
00:30:18,316 --> 00:30:21,476
Speaker 4: Neil is you know, that's such an honor. It's just

610
00:30:21,516 --> 00:30:22,676
Speaker 4: like incredible, you know.

611
00:30:23,516 --> 00:30:23,756
Speaker 1: Yeah.

612
00:30:23,796 --> 00:30:27,316
Speaker 3: He seems so just like open and connected to whatever

613
00:30:27,356 --> 00:30:30,596
Speaker 3: it is that sends him information and inspiration.

614
00:30:31,316 --> 00:30:33,916
Speaker 4: Yeah, and then he just loses his mind and then

615
00:30:33,916 --> 00:30:35,716
Speaker 4: you get to lose your mind too. You know. It's

616
00:30:35,756 --> 00:30:39,756
Speaker 4: just like playing you know, three chords, which is there's

617
00:30:39,796 --> 00:30:43,516
Speaker 4: nothing more satisfying than being having transcendence in three chords

618
00:30:43,596 --> 00:30:46,316
Speaker 4: where it's like it's not you know, it's not all

619
00:30:46,356 --> 00:30:49,436
Speaker 4: the years of your studying music and it's not you know,

620
00:30:49,516 --> 00:30:51,836
Speaker 4: any sort of science or any kind of you know,

621
00:30:52,356 --> 00:30:57,676
Speaker 4: anything that is rigor you know, it's just literally joyful

622
00:30:57,996 --> 00:31:00,676
Speaker 4: play with three notes.

623
00:31:01,196 --> 00:31:03,116
Speaker 3: How long does it take you, guys to get comfortable

624
00:31:03,116 --> 00:31:05,996
Speaker 3: with somebody like that in the studio? Like do you

625
00:31:06,076 --> 00:31:10,156
Speaker 3: go in there super nervous or or like is there

626
00:31:10,476 --> 00:31:12,156
Speaker 3: a period of time where you have to sort of

627
00:31:12,196 --> 00:31:12,756
Speaker 3: settle in?

628
00:31:14,076 --> 00:31:18,116
Speaker 1: I remember that session. I remember sweating a lot, and

629
00:31:18,156 --> 00:31:21,036
Speaker 1: then and then I got crazy sick, like the fourth

630
00:31:21,156 --> 00:31:23,916
Speaker 1: or fifth day, like I think that was the day

631
00:31:23,956 --> 00:31:27,996
Speaker 1: they recorded that many days I did it, It was

632
00:31:28,396 --> 00:31:30,476
Speaker 1: it was five days total, but it was four days

633
00:31:30,476 --> 00:31:33,596
Speaker 1: of recording the Neil songs, and then the fifth day

634
00:31:34,356 --> 00:31:36,316
Speaker 1: they went in and they recorded that version of I

635
00:31:36,316 --> 00:31:38,956
Speaker 1: Got id Okay, which I but I had I had

636
00:31:38,956 --> 00:31:42,516
Speaker 1: the flu like for two days, so it might have

637
00:31:42,676 --> 00:31:45,996
Speaker 1: just been like pushing down the pressure and the anxiety

638
00:31:46,076 --> 00:31:48,396
Speaker 1: and just trying to you know, in the focus, and

639
00:31:48,676 --> 00:31:51,796
Speaker 1: you're in the studio with like one of your favorite

640
00:31:51,836 --> 00:31:54,316
Speaker 1: if not your favorite artist ever and not wanting to

641
00:31:54,396 --> 00:31:57,676
Speaker 1: let him down and let the whole session down.

642
00:31:57,756 --> 00:31:59,876
Speaker 4: So none of us are studio musicians. I mean there's

643
00:31:59,916 --> 00:32:02,196
Speaker 4: people that can come in and like chart things out

644
00:32:02,196 --> 00:32:04,596
Speaker 4: in two seconds, like play by ear in such a

645
00:32:04,636 --> 00:32:06,836
Speaker 4: way that you know, lots and lots of people can

646
00:32:06,876 --> 00:32:09,396
Speaker 4: do that that's never been certainly not ever in my

647
00:32:09,916 --> 00:32:12,556
Speaker 4: you know. So you know, you're kind of trying to

648
00:32:12,596 --> 00:32:15,716
Speaker 4: find the basic chords and then quickly find something that

649
00:32:15,836 --> 00:32:18,996
Speaker 4: helps those chords. And it was nerve wracking for me

650
00:32:19,276 --> 00:32:19,956
Speaker 4: for sure too.

651
00:32:20,636 --> 00:32:23,636
Speaker 1: I mean half the record, I because I listened to

652
00:32:23,636 --> 00:32:26,116
Speaker 1: that most mixed after he said that they mixed it,

653
00:32:25,876 --> 00:32:28,276
Speaker 1: and half the record, I'm like, I don't remember playing

654
00:32:28,316 --> 00:32:30,836
Speaker 1: that at all. Wow, Like you know, there's places where

655
00:32:30,836 --> 00:32:32,596
Speaker 1: I'm moving a lot, and I'm like, man, I don't remember

656
00:32:32,596 --> 00:32:33,356
Speaker 1: playing that at all.

657
00:32:33,556 --> 00:32:35,036
Speaker 3: Do you like it when you hear it back?

658
00:32:35,676 --> 00:32:38,396
Speaker 1: Oh? Yeah, It's probably one of my favorite things that

659
00:32:38,396 --> 00:32:41,436
Speaker 1: we've ever done. And I think it's partly like that.

660
00:32:41,516 --> 00:32:44,916
Speaker 1: It was largely like a dream. It felt like a

661
00:32:44,996 --> 00:32:48,196
Speaker 1: dream because he would come in, well, he had two

662
00:32:48,236 --> 00:32:51,556
Speaker 1: songs at the start, he had Active Love and Downtown,

663
00:32:51,796 --> 00:32:54,356
Speaker 1: and then he would go stay on his boat at

664
00:32:54,436 --> 00:32:56,396
Speaker 1: night and come in and I remember like the second

665
00:32:56,476 --> 00:32:58,316
Speaker 1: or third day came in with the ocean and it

666
00:32:58,356 --> 00:33:01,516
Speaker 1: was like it was like six pieces of paper taped

667
00:33:01,556 --> 00:33:04,196
Speaker 1: together and it was like just you know, like Bob

668
00:33:04,276 --> 00:33:08,556
Speaker 1: Dylan verse, you know, just like twenty verses and kind

669
00:33:08,556 --> 00:33:11,236
Speaker 1: of going like, oh shit, like this is going to

670
00:33:11,276 --> 00:33:15,516
Speaker 1: be a lot. But it was essentially three chords for

671
00:33:15,716 --> 00:33:16,196
Speaker 1: eight minutes.

672
00:33:16,276 --> 00:33:18,316
Speaker 4: Yeah, he was just going back to wherever he was

673
00:33:18,316 --> 00:33:19,876
Speaker 4: staying on his boat. Is that what he was saying. Yeah,

674
00:33:19,876 --> 00:33:21,276
Speaker 4: he was just going back to his boat and like,

675
00:33:21,356 --> 00:33:25,036
Speaker 4: you know, smoking weed and fucking writing new songs. And

676
00:33:25,076 --> 00:33:26,916
Speaker 4: then he'd come in and go, Okay, here's his next song,

677
00:33:26,956 --> 00:33:30,356
Speaker 4: you know. So we were just experiencing it with him

678
00:33:30,036 --> 00:33:32,956
Speaker 4: in that moment. So he was he was just happy

679
00:33:32,996 --> 00:33:35,596
Speaker 4: to have to turn into something, and we were just

680
00:33:35,676 --> 00:33:36,836
Speaker 4: kind of on for the ride.

681
00:33:37,556 --> 00:33:39,276
Speaker 3: Since I have both you guys together, is it okay

682
00:33:39,276 --> 00:33:41,556
Speaker 3: if I ask you a little bit about Green River?

683
00:33:42,476 --> 00:33:42,756
Speaker 4: Sure?

684
00:33:43,196 --> 00:33:45,116
Speaker 3: How do you feel about like talking about the old

685
00:33:45,156 --> 00:33:47,276
Speaker 3: stuff in general? Is it a drag?

686
00:33:47,516 --> 00:33:48,796
Speaker 4: Fine? No? No?

687
00:33:48,956 --> 00:33:49,276
Speaker 1: Love it?

688
00:33:49,476 --> 00:33:49,556
Speaker 4: No?

689
00:33:49,716 --> 00:33:53,196
Speaker 3: Okay? Cool? How did you guys even meet? How did

690
00:33:53,196 --> 00:33:54,116
Speaker 3: you start playing together?

691
00:33:55,116 --> 00:33:57,396
Speaker 1: Well, it's it's I think it's like almost forty years

692
00:33:57,436 --> 00:34:02,156
Speaker 1: to the day, like somewhere March April, four years ago.

693
00:34:02,316 --> 00:34:06,076
Speaker 1: We met at the Metropolis, which was a sort of

694
00:34:06,076 --> 00:34:09,356
Speaker 1: communal punk rock club that sky Hugo opened up up

695
00:34:10,116 --> 00:34:12,276
Speaker 1: and I'm not even sure if there was a band

696
00:34:12,276 --> 00:34:14,356
Speaker 1: playing that night, but I was hanging out with Mark

697
00:34:15,116 --> 00:34:18,876
Speaker 1: and Stone, and Stone was with his friend Chris Pepperd

698
00:34:18,876 --> 00:34:24,476
Speaker 1: and Stone and Chris represented a very youthful, sarcastic Pacific

699
00:34:24,556 --> 00:34:29,036
Speaker 1: Northwestern energy and I had sort of a farm kid Montana,

700
00:34:30,396 --> 00:34:35,596
Speaker 1: not like serious energy, and I think it was like

701
00:34:35,676 --> 00:34:37,356
Speaker 1: it was like an odd you know, it was a

702
00:34:37,396 --> 00:34:41,116
Speaker 1: little bit of a weird first meeting. And then like

703
00:34:41,196 --> 00:34:44,756
Speaker 1: within a month or two, Mark and Steve were like, hey,

704
00:34:45,236 --> 00:34:47,236
Speaker 1: we want our friends Stone to play and I was

705
00:34:47,236 --> 00:34:49,876
Speaker 1: like Stone the guy that I met, Like, I was like, ah,

706
00:34:50,516 --> 00:34:51,156
Speaker 1: not sure.

707
00:34:51,356 --> 00:34:52,436
Speaker 4: You know about that guy?

708
00:34:53,756 --> 00:34:55,916
Speaker 1: And then I remember Steve, which is which is this

709
00:34:55,996 --> 00:34:58,596
Speaker 1: is crazy because when you think about the how that

710
00:34:58,716 --> 00:35:01,036
Speaker 1: band sort of worked, and even part of the reason

711
00:35:01,076 --> 00:35:02,756
Speaker 1: that maybe Steve didn't want to be in the band

712
00:35:02,756 --> 00:35:05,676
Speaker 1: anymore because we got too heavy. Steve was selling me

713
00:35:05,716 --> 00:35:07,836
Speaker 1: on Stone, saying like he's got a Marshall and a

714
00:35:07,916 --> 00:35:11,316
Speaker 1: Les Paul, And in my mind, I was like fantastic,

715
00:35:11,596 --> 00:35:14,636
Speaker 1: like like two guitar, you know, two guitars, it'll be

716
00:35:14,916 --> 00:35:19,956
Speaker 1: you know, because Steve was playing really super clean guitar. Yeah, yeah,

717
00:35:20,116 --> 00:35:22,916
Speaker 1: he had a super twin that was like really loud

718
00:35:22,956 --> 00:35:26,276
Speaker 1: but just so piercingly clean, and so I was like

719
00:35:26,316 --> 00:35:28,636
Speaker 1: distorting my bass more and more just trying to like

720
00:35:28,796 --> 00:35:32,196
Speaker 1: make it into whatever I thought that the band should be.

721
00:35:32,756 --> 00:35:34,316
Speaker 1: And so the idea that there was going to be

722
00:35:34,716 --> 00:35:38,276
Speaker 1: a less pollent of Marshall that convinced you that that

723
00:35:38,316 --> 00:35:38,876
Speaker 1: won me over.

724
00:35:40,076 --> 00:35:42,836
Speaker 3: What do you remember Stone about your first meeting.

725
00:35:43,476 --> 00:35:47,196
Speaker 4: Just like a flash of like kind of outside talking,

726
00:35:47,276 --> 00:35:49,956
Speaker 4: you know, outside the metropolis, you know, having a conversation,

727
00:35:50,156 --> 00:35:52,476
Speaker 4: and you know, but this is this is at a

728
00:35:52,516 --> 00:35:55,556
Speaker 4: time where I probably have been playing guitar for maybe

729
00:35:55,596 --> 00:35:58,076
Speaker 4: a year and just like kind of you know, dinking

730
00:35:58,116 --> 00:36:00,876
Speaker 4: around on it, like I wasn't a guitar player. I

731
00:36:00,876 --> 00:36:03,956
Speaker 4: mean I could play a barcord maybe at that point.

732
00:36:04,076 --> 00:36:07,676
Speaker 4: So but the idea that you know, that that was

733
00:36:07,756 --> 00:36:11,036
Speaker 4: cool and that and that we all kind of just

734
00:36:11,076 --> 00:36:13,436
Speaker 4: decided to be in a band together, and that it's

735
00:36:13,476 --> 00:36:16,756
Speaker 4: gone on in this way that it has. It's one

736
00:36:16,796 --> 00:36:22,036
Speaker 4: of the great mysteries and you know, phenomenons obviously of

737
00:36:22,036 --> 00:36:24,916
Speaker 4: our lives, but just like it just goes to show

738
00:36:24,956 --> 00:36:29,436
Speaker 4: that you just you don't know where something's gonna go,

739
00:36:29,476 --> 00:36:31,836
Speaker 4: and you have to kind of follow it and Jeff's

740
00:36:31,876 --> 00:36:35,396
Speaker 4: and I's journey with each other I think symbolized by

741
00:36:35,436 --> 00:36:38,876
Speaker 4: that first encounter that we didn't we haven't always understood

742
00:36:38,876 --> 00:36:41,516
Speaker 4: each other, and we haven't always I think that we

743
00:36:41,716 --> 00:36:44,236
Speaker 4: see the world in different ways, and I think we're

744
00:36:44,276 --> 00:36:47,436
Speaker 4: in our like you know, late honeymoon right now where

745
00:36:47,436 --> 00:36:49,276
Speaker 4: we're just like, well, you know, we get to see

746
00:36:49,316 --> 00:36:50,716
Speaker 4: each other and we're kind of like, wow, this is

747
00:36:50,756 --> 00:36:53,036
Speaker 4: still going, this is pretty good. How did this work out?

748
00:36:53,116 --> 00:36:57,236
Speaker 4: You know, because it's it's really phenomenal. But you know,

749
00:36:57,316 --> 00:37:00,676
Speaker 4: I think us sticking it out with each other in

750
00:37:00,756 --> 00:37:03,236
Speaker 4: certain ways has been one of the It's the biggest

751
00:37:03,236 --> 00:37:05,916
Speaker 4: thing that's happened in my life for sure, in terms

752
00:37:05,956 --> 00:37:09,796
Speaker 4: of all the things that I've learned from Jeff and

753
00:37:09,796 --> 00:37:13,596
Speaker 4: and that we've learned together in our just by having

754
00:37:13,596 --> 00:37:17,196
Speaker 4: our relationship work, all the other the community that's connected

755
00:37:17,236 --> 00:37:20,316
Speaker 4: to Jeff and I through the years, it's it's crazy,

756
00:37:20,396 --> 00:37:22,196
Speaker 4: it's incredible. Yeah, it's weird.

757
00:37:22,356 --> 00:37:24,516
Speaker 3: I saw an interview that you guys did in nineteen

758
00:37:24,636 --> 00:37:27,356
Speaker 3: ninety right after it seemed like maybe a month or

759
00:37:27,436 --> 00:37:32,076
Speaker 3: so after Andy Wood had died, and you were sort

760
00:37:32,116 --> 00:37:34,756
Speaker 3: of like stuck with the album with the Mother Love

761
00:37:34,836 --> 00:37:36,916
Speaker 3: Bone with the Apple album, and I guess it was

762
00:37:36,916 --> 00:37:40,796
Speaker 3: time to promote it. And there's one point, Jeff where

763
00:37:40,796 --> 00:37:43,316
Speaker 3: you're like, yeah, like who knows, like what we're even

764
00:37:43,356 --> 00:37:45,516
Speaker 3: going to do next, And it was I don't know,

765
00:37:45,636 --> 00:37:49,676
Speaker 3: like how soon before that was that Pearl Jam came together,

766
00:37:49,756 --> 00:37:51,916
Speaker 3: but it was just such a crazy moment to see

767
00:37:51,916 --> 00:37:54,276
Speaker 3: captured on video. Do you remember that time?

768
00:37:54,676 --> 00:37:57,276
Speaker 1: Well, yeah, I and I think about that time a

769
00:37:57,276 --> 00:38:05,316
Speaker 1: lot because I think how we both reacted to Andy passing.

770
00:38:05,836 --> 00:38:08,676
Speaker 1: We both handled it really different ways. You know. Our

771
00:38:08,716 --> 00:38:12,116
Speaker 1: relationship has been this slow reveal of each other and

772
00:38:12,596 --> 00:38:15,036
Speaker 1: understanding each other. And I think there's a there's a

773
00:38:15,076 --> 00:38:18,716
Speaker 1: point when like you come from such different backgrounds and

774
00:38:18,796 --> 00:38:22,916
Speaker 1: have such different sort of chemistry, you know. I feel

775
00:38:22,916 --> 00:38:25,316
Speaker 1: like it probably took ten fifteen years into our relationship

776
00:38:25,316 --> 00:38:29,836
Speaker 1: where I was like where I really like trusted and

777
00:38:30,756 --> 00:38:34,956
Speaker 1: really respected Stone, you know. And I think you say

778
00:38:34,956 --> 00:38:38,476
Speaker 1: the same thing. But I think that's been the why

779
00:38:38,516 --> 00:38:41,316
Speaker 1: the journey has lasted this long. I think I think

780
00:38:41,396 --> 00:38:43,556
Speaker 1: like a part of me feels like why did it

781
00:38:43,596 --> 00:38:46,156
Speaker 1: take me that long? And I think some of it's

782
00:38:46,196 --> 00:38:49,196
Speaker 1: like you're in your twenties and I think even moving

783
00:38:49,276 --> 00:38:53,716
Speaker 1: through Andy passing, like to be honest, like I didn't

784
00:38:53,716 --> 00:38:55,556
Speaker 1: have much of a safety net at that point. So

785
00:38:55,596 --> 00:38:58,556
Speaker 1: I was like I felt a teeny bit of desperation, like,

786
00:38:59,156 --> 00:39:01,276
Speaker 1: how am I going to pay my rent? I'm twenty

787
00:39:01,276 --> 00:39:03,796
Speaker 1: seven years old? Do I need to go back to school?

788
00:39:04,596 --> 00:39:07,356
Speaker 1: You know? Does lightning only strike once? Is that over?

789
00:39:08,076 --> 00:39:10,036
Speaker 1: And so it was probably the first time in my

790
00:39:10,076 --> 00:39:13,956
Speaker 1: life where I felt pressure. I felt real, real pressure on.

791
00:39:14,156 --> 00:39:17,516
Speaker 1: Like I sort of felt like I lost my my

792
00:39:17,636 --> 00:39:20,116
Speaker 1: will or my you know, the strand that I was

793
00:39:20,156 --> 00:39:23,156
Speaker 1: sort of on that you know, it was a little

794
00:39:23,156 --> 00:39:25,876
Speaker 1: bit haphazard, and you're sort of living paycheck to paycheck

795
00:39:25,916 --> 00:39:28,076
Speaker 1: and you're just playing music and having fun with your

796
00:39:28,116 --> 00:39:31,116
Speaker 1: friends and whatever. But then there's a point you're twenty seven,

797
00:39:31,156 --> 00:39:32,916
Speaker 1: twenty eight years old, and this thing that you've sort

798
00:39:32,956 --> 00:39:35,836
Speaker 1: of been working on for you know, three years with Yeah,

799
00:39:36,076 --> 00:39:36,316
Speaker 1: and you.

800
00:39:36,316 --> 00:39:38,036
Speaker 3: Guys had gotten a deal that would probably was like

801
00:39:38,076 --> 00:39:40,356
Speaker 3: super exciting and like felt like you were in some

802
00:39:40,396 --> 00:39:40,996
Speaker 3: real traction.

803
00:39:41,556 --> 00:39:43,276
Speaker 1: Yeah, I just quit my job. Was the first time

804
00:39:43,316 --> 00:39:44,676
Speaker 1: in my life I didn't have a job, you know.

805
00:39:44,796 --> 00:39:48,436
Speaker 1: So yeah, and you know, and Stone like hit the

806
00:39:48,436 --> 00:39:51,036
Speaker 1: ground running and wrote a bunch of beautiful tracks that

807
00:39:51,196 --> 00:39:53,676
Speaker 1: ended up you know, I mean black, you know, I

808
00:39:53,716 --> 00:39:57,676
Speaker 1: mean arguably the best song that we've written as a band.

809
00:39:57,756 --> 00:39:59,996
Speaker 1: And Stone came up with that music that right off

810
00:39:59,996 --> 00:40:02,436
Speaker 1: the bat, you knew that there was like this beautiful

811
00:40:04,356 --> 00:40:07,476
Speaker 1: energy behind it, and that the melody and the outro

812
00:40:07,716 --> 00:40:10,836
Speaker 1: that he wrote, like you know, that was how he

813
00:40:10,916 --> 00:40:14,916
Speaker 1: responded to Andy passing. And whereas I was like, I

814
00:40:14,956 --> 00:40:16,556
Speaker 1: was scrambling. I didn't know. I didn't know if I

815
00:40:16,596 --> 00:40:18,796
Speaker 1: was gonna play music anymore. I thought maybe I'll go

816
00:40:18,836 --> 00:40:22,076
Speaker 1: back to school and be a teacher, you know, back home,

817
00:40:22,116 --> 00:40:24,996
Speaker 1: work on the farm. I didn't know. So thank god

818
00:40:25,116 --> 00:40:28,476
Speaker 1: that Stone wrote those songs. And I was hanging out

819
00:40:28,516 --> 00:40:30,436
Speaker 1: with Mike a bunch. He worked right across the street

820
00:40:30,436 --> 00:40:32,276
Speaker 1: from me, and they were playing together. And so Mike

821
00:40:32,396 --> 00:40:34,596
Speaker 1: was working me and Mike was working Stone, and it's

822
00:40:34,636 --> 00:40:36,796
Speaker 1: sort of like we ended up playing together.

823
00:40:36,876 --> 00:40:38,636
Speaker 4: Luckily, I live with my parents, so I didn't feel

824
00:40:38,676 --> 00:40:40,756
Speaker 4: the same kind of pressure that Jeff felt as far

825
00:40:40,796 --> 00:40:44,996
Speaker 4: as I was twenty four years old living with my parents,

826
00:40:44,996 --> 00:40:47,116
Speaker 4: So that just shows you where I was at.

827
00:40:47,156 --> 00:40:50,716
Speaker 1: But I look back at that summer as being like,

828
00:40:51,476 --> 00:40:53,716
Speaker 1: you know, just one of those moments in your life

829
00:40:53,716 --> 00:40:57,836
Speaker 1: where it's like it's just raw and real and yeah,

830
00:40:58,036 --> 00:41:00,636
Speaker 1: you know they the way that things fell into place.

831
00:41:00,676 --> 00:41:03,756
Speaker 1: After that we started playing together. We recorded Matt Cameron,

832
00:41:03,836 --> 00:41:06,316
Speaker 1: which is like also just like dream like like we'd

833
00:41:06,316 --> 00:41:08,436
Speaker 1: all love Matt so much, but we're like, did a

834
00:41:08,436 --> 00:41:10,996
Speaker 1: couple of rehearsals, went in the studio with him, sort

835
00:41:11,036 --> 00:41:14,116
Speaker 1: of knocked out these six seven instrumental tracks, and then

836
00:41:14,916 --> 00:41:16,756
Speaker 1: you know the process of like you know, Stone had

837
00:41:16,756 --> 00:41:18,596
Speaker 1: the idea like, hey, let's ask Jack Irons to play

838
00:41:18,596 --> 00:41:20,076
Speaker 1: with us. We're like, we don't even have a band,

839
00:41:20,116 --> 00:41:23,996
Speaker 1: Like it was so bold, you know, and then him suggesting,

840
00:41:24,116 --> 00:41:26,356
Speaker 1: like he goes, well, I know this guy crazy Eddie,

841
00:41:26,476 --> 00:41:28,716
Speaker 1: Like you know he's not a drummer, but you know,

842
00:41:28,876 --> 00:41:33,076
Speaker 1: and so and how fast that all happened, and like

843
00:41:33,476 --> 00:41:36,396
Speaker 1: playing with Dave Cruising and Dave Cruising like you listen

844
00:41:36,436 --> 00:41:40,316
Speaker 1: to what he played on ten and those early songs,

845
00:41:40,356 --> 00:41:44,916
Speaker 1: like it's it informs our sound more than I think

846
00:41:44,996 --> 00:41:47,956
Speaker 1: we thought at the time, Like Dave really brought a

847
00:41:47,996 --> 00:41:50,396
Speaker 1: really interesting element to the band and the groove, and

848
00:41:51,076 --> 00:41:53,716
Speaker 1: but it happened so fast, it's like it's it's nuts,

849
00:41:53,796 --> 00:41:57,116
Speaker 1: you know, less than a year of us meeting ed

850
00:41:58,316 --> 00:42:00,996
Speaker 1: we were touring with your readout Chili Peppers. I mean

851
00:42:01,036 --> 00:42:03,556
Speaker 1: that's like had a record out of It's nuts. It's nuts.

852
00:42:03,956 --> 00:42:07,196
Speaker 4: That's dreaming. That's like saying dreams can still happen. You

853
00:42:07,196 --> 00:42:09,596
Speaker 4: got to just like see it and like, you know,

854
00:42:09,876 --> 00:42:12,396
Speaker 4: take a chance, jump off a cliff, like you know,

855
00:42:13,036 --> 00:42:17,356
Speaker 4: imagine that there is things conspiring to make things work out,

856
00:42:17,476 --> 00:42:20,116
Speaker 4: you know, like believing in that process, you know, and

857
00:42:20,156 --> 00:42:23,196
Speaker 4: it's that's a that's something that you get. You know,

858
00:42:23,196 --> 00:42:25,916
Speaker 4: you land on your face eighty percent of the time,

859
00:42:25,956 --> 00:42:28,836
Speaker 4: but then you get those twenty percent where oh shit,

860
00:42:28,916 --> 00:42:31,556
Speaker 4: well that worked out, you know, like and it's it

861
00:42:31,676 --> 00:42:35,076
Speaker 4: becomes you know, it becomes ingrained. And I think we've

862
00:42:35,116 --> 00:42:37,516
Speaker 4: been like that ever since. It's anything could happen. I

863
00:42:37,556 --> 00:42:40,716
Speaker 4: mean we're we've we've been living a dream for you know,

864
00:42:41,236 --> 00:42:43,916
Speaker 4: for a long time. And I think now we really

865
00:42:43,996 --> 00:42:47,476
Speaker 4: are recognizing how lucky and how fortunate we are to

866
00:42:47,556 --> 00:42:50,956
Speaker 4: kind of every day like be like we could think

867
00:42:50,996 --> 00:42:54,756
Speaker 4: of weird art projects or side projects or anything we want,

868
00:42:54,796 --> 00:42:57,156
Speaker 4: you know, like I'm going to go, you know, paint

869
00:42:57,196 --> 00:42:59,876
Speaker 4: for a year or whatever. All of that's possible, you know,

870
00:42:59,916 --> 00:43:03,596
Speaker 4: what I mean. So it's it's it's good. We're still

871
00:43:03,756 --> 00:43:05,156
Speaker 4: in the dream.

872
00:43:05,516 --> 00:43:08,436
Speaker 2: After last break, we'll be back with Stone Gossard and

873
00:43:08,516 --> 00:43:14,956
Speaker 2: Jeff Amen, We're back with the rest of Leo Rose's

874
00:43:14,956 --> 00:43:17,556
Speaker 2: conversation with Jeff Ament and Stone Gossard.

875
00:43:18,516 --> 00:43:21,636
Speaker 3: You talked about when Jeff, when you and Stone met,

876
00:43:21,676 --> 00:43:23,876
Speaker 3: and you sort of felt like you were coming from

877
00:43:23,956 --> 00:43:26,916
Speaker 3: two different worlds when you guys met Eddie and he

878
00:43:27,036 --> 00:43:31,196
Speaker 3: was from San Diego. Did he feel like culturally super

879
00:43:31,236 --> 00:43:35,196
Speaker 3: different from you guys, And were you guys sort of like, oh,

880
00:43:35,316 --> 00:43:38,636
Speaker 3: were music vets in Seattle And was there like kind

881
00:43:38,676 --> 00:43:41,116
Speaker 3: of like a hazing period at all when he came

882
00:43:41,116 --> 00:43:41,996
Speaker 3: into the fold.

883
00:43:42,796 --> 00:43:45,916
Speaker 1: No, I mean I remember, I remember having four or

884
00:43:45,916 --> 00:43:49,316
Speaker 1: five phone conversations with him before he came up, and

885
00:43:50,036 --> 00:43:53,956
Speaker 1: all we were talking about was like not wanting to

886
00:43:53,996 --> 00:43:58,756
Speaker 1: be in a band with people who were slackers like he.

887
00:43:58,836 --> 00:44:00,876
Speaker 1: I remember him talking about, like I want to hit

888
00:44:00,876 --> 00:44:03,116
Speaker 1: the ground running, and like I'm you know, I make

889
00:44:03,156 --> 00:44:04,716
Speaker 1: T shirts and I do this, and I was like,

890
00:44:04,756 --> 00:44:07,036
Speaker 1: I make T shirts and like just sort of like

891
00:44:08,116 --> 00:44:10,196
Speaker 1: before I even really hung out with him, I sort

892
00:44:10,236 --> 00:44:12,076
Speaker 1: of felt like, Wow, there's going to be another guy

893
00:44:12,076 --> 00:44:14,076
Speaker 1: in the band that's going to like be as excited

894
00:44:14,076 --> 00:44:18,156
Speaker 1: about this peripheral stuff as I am. So I think

895
00:44:18,196 --> 00:44:20,716
Speaker 1: before he you know, I mean we had those three

896
00:44:20,716 --> 00:44:23,356
Speaker 1: songs that he had sang over at that point, but

897
00:44:23,596 --> 00:44:27,636
Speaker 1: I was as excited about just him talking about how

898
00:44:27,716 --> 00:44:29,956
Speaker 1: serious he was about it, you know, like that he

899
00:44:30,196 --> 00:44:32,076
Speaker 1: that he you know, and that was what he said

900
00:44:32,076 --> 00:44:34,316
Speaker 1: when he flew up, He said, I want to fuck around,

901
00:44:34,316 --> 00:44:36,276
Speaker 1: I want to go straight to the rehearsal and I

902
00:44:36,396 --> 00:44:37,956
Speaker 1: want to start playing. I don't want to go get

903
00:44:37,956 --> 00:44:40,876
Speaker 1: coffee or I don't want to And so there wasn't

904
00:44:40,916 --> 00:44:42,836
Speaker 1: a lot of time, like we didn't really sit around

905
00:44:42,876 --> 00:44:45,396
Speaker 1: talk about what it was going to be or I

906
00:44:45,436 --> 00:44:49,876
Speaker 1: mean that first week we rehearsed and wrote for four

907
00:44:49,956 --> 00:44:51,956
Speaker 1: or five days. We went in the studio on the

908
00:44:51,996 --> 00:44:54,116
Speaker 1: fifth day, sixth day we played a show at the

909
00:44:54,116 --> 00:44:56,356
Speaker 1: off Ramp, and the seventh day we went inside the

910
00:44:56,356 --> 00:44:58,836
Speaker 1: Bulls and the Sonics at the Kingdom. We really didn't

911
00:44:58,876 --> 00:45:02,596
Speaker 1: talk about what it was or and he even says

912
00:45:02,636 --> 00:45:04,876
Speaker 1: like he when he flew home, he's like, I wonder

913
00:45:04,876 --> 00:45:07,636
Speaker 1: if I'm in the band, you know, Like at that point,

914
00:45:07,676 --> 00:45:10,676
Speaker 1: there was no we just weren't communicating about it so

915
00:45:11,356 --> 00:45:11,996
Speaker 1: pretty awesome.

916
00:45:12,596 --> 00:45:14,756
Speaker 4: I think maybe I picked him up at the airport,

917
00:45:14,836 --> 00:45:16,596
Speaker 4: was that right? Yeah, So I picked him up at

918
00:45:16,636 --> 00:45:19,076
Speaker 4: the airport, and I think the we we said high

919
00:45:19,156 --> 00:45:20,636
Speaker 4: or whatever. And I think I'd talked to him maybe

920
00:45:20,676 --> 00:45:22,516
Speaker 4: once or twice on the phone, not not as much

921
00:45:22,516 --> 00:45:24,436
Speaker 4: as Jeff, but just a little bit or whatever. And

922
00:45:24,476 --> 00:45:27,716
Speaker 4: I think he he handed me something and I opened

923
00:45:27,716 --> 00:45:29,236
Speaker 4: it up and it's like he had drawn me a

924
00:45:29,276 --> 00:45:31,676
Speaker 4: picture and I maybe a little poem or something, but

925
00:45:31,756 --> 00:45:34,116
Speaker 4: I was just like I was totally touched. And that

926
00:45:34,236 --> 00:45:37,196
Speaker 4: was one thing that also was evident about him. He

927
00:45:37,236 --> 00:45:39,836
Speaker 4: was a He had a very sweet demeanor that was

928
00:45:40,036 --> 00:45:42,836
Speaker 4: very you know, I mean, you know, we're so used

929
00:45:42,836 --> 00:45:45,516
Speaker 4: to like the back of the van and just you know,

930
00:45:45,716 --> 00:45:48,356
Speaker 4: fuck you whatever, like you know, that sort of low

931
00:45:48,436 --> 00:45:53,116
Speaker 4: grade you know, competition meets you know, jokes or whatever.

932
00:45:53,356 --> 00:45:56,716
Speaker 4: And he was a serious person who was really thoughtful

933
00:45:56,796 --> 00:46:00,236
Speaker 4: and very like sensitive, and so he was a huge

934
00:46:00,636 --> 00:46:03,956
Speaker 4: breadth of fresh air to kind of just be around

935
00:46:04,116 --> 00:46:07,676
Speaker 4: somebody who was just very He just seemed very thoughtful

936
00:46:07,716 --> 00:46:10,276
Speaker 4: about his process and about people around him and what

937
00:46:10,396 --> 00:46:12,276
Speaker 4: he was doing and conscientious.

938
00:46:12,556 --> 00:46:16,356
Speaker 3: You know, that is so sweet. Yeah, do you think

939
00:46:16,356 --> 00:46:19,356
Speaker 3: that because you both went through sort of a tumultuous

940
00:46:19,396 --> 00:46:22,316
Speaker 3: start with Green River and with Mother Love Bone that

941
00:46:22,676 --> 00:46:28,636
Speaker 3: once Pearl Jam was established, did it feel more solid

942
00:46:28,676 --> 00:46:29,396
Speaker 3: and stable.

943
00:46:31,476 --> 00:46:34,356
Speaker 1: No, I mean, I mean it felt I felt like

944
00:46:34,516 --> 00:46:37,236
Speaker 1: the first three or four years or five six years

945
00:46:37,276 --> 00:46:39,796
Speaker 1: it felt I don't think it ever felt stable.

946
00:46:40,236 --> 00:46:44,396
Speaker 4: It feels stable now, Yeah, pretty stable right now. But

947
00:46:44,516 --> 00:46:50,956
Speaker 4: like literally, like so much, you know, years of moments

948
00:46:50,996 --> 00:46:54,316
Speaker 4: of greatness, moments of like thinking, oh this was awesome

949
00:46:54,316 --> 00:46:58,516
Speaker 4: and had you know, always good shows, always like transcendent moments,

950
00:46:58,516 --> 00:47:02,556
Speaker 4: and you know, but also just it's just a lot

951
00:47:02,596 --> 00:47:05,356
Speaker 4: of stuff and a lot of things coming together that

952
00:47:05,396 --> 00:47:07,716
Speaker 4: always that have to kind of everyone's got to be

953
00:47:08,756 --> 00:47:12,076
Speaker 4: humming together or it's sort of there's always something to

954
00:47:12,076 --> 00:47:12,716
Speaker 4: worry about.

955
00:47:13,356 --> 00:47:15,956
Speaker 1: Yeah, I think too. I think the moment that I

956
00:47:16,116 --> 00:47:21,356
Speaker 1: stopped caring about like, you know, the importance of me

957
00:47:21,716 --> 00:47:24,196
Speaker 1: in the context of the band, or that as soon

958
00:47:24,236 --> 00:47:25,956
Speaker 1: as I gave up that like I need to get

959
00:47:25,956 --> 00:47:28,276
Speaker 1: songs on the record or I need to my vision

960
00:47:28,436 --> 00:47:29,996
Speaker 1: or whatever. As soon as I gave that up, which

961
00:47:30,036 --> 00:47:32,836
Speaker 1: was probably fifteen years ago or something, that's when it

962
00:47:32,876 --> 00:47:36,156
Speaker 1: felt stable to me. That's when it felt like this

963
00:47:36,316 --> 00:47:38,516
Speaker 1: is all icing, and like, I'm just going to keep

964
00:47:38,556 --> 00:47:41,996
Speaker 1: working hard and hopefully I can like have some weird

965
00:47:42,036 --> 00:47:44,196
Speaker 1: little idea that I can pull the band over into

966
00:47:44,236 --> 00:47:47,676
Speaker 1: my little weirdness. And I have had those moments like

967
00:47:47,716 --> 00:47:49,876
Speaker 1: where you're like, oh my god, I can't believe, like

968
00:47:50,156 --> 00:47:52,836
Speaker 1: the band recorded this idea that I knew was on

969
00:47:52,916 --> 00:47:55,796
Speaker 1: the edge of what we would want to do. But

970
00:47:55,916 --> 00:48:00,756
Speaker 1: it's also going into those situations without any expectation, just

971
00:48:00,796 --> 00:48:03,036
Speaker 1: going like it's like, hey, I got a couple of

972
00:48:03,076 --> 00:48:05,756
Speaker 1: things here, if there's anything here that works, or I

973
00:48:05,796 --> 00:48:08,596
Speaker 1: got this weird idea to a couple of shows, or

974
00:48:09,196 --> 00:48:11,516
Speaker 1: this artwork or this whatever this project is. As soon

975
00:48:11,556 --> 00:48:14,476
Speaker 1: as you don't put any gravity on it, it's like

976
00:48:15,556 --> 00:48:18,356
Speaker 1: and when it happens, it's just like so joyful and

977
00:48:18,956 --> 00:48:21,876
Speaker 1: the stability comes with a joy I think, really.

978
00:48:21,836 --> 00:48:24,076
Speaker 4: But it's true. You this is a band where you

979
00:48:24,116 --> 00:48:27,596
Speaker 4: just have to let go of expectations about it, you know.

980
00:48:27,636 --> 00:48:29,716
Speaker 4: And Ed is our band leader, and he's been an

981
00:48:29,756 --> 00:48:33,676
Speaker 4: amazing band leader. I mean, given the variety of ways

982
00:48:33,756 --> 00:48:37,676
Speaker 4: that band leaders can organize the band. I mean, Ed's written,

983
00:48:37,796 --> 00:48:41,796
Speaker 4: We've written lyrics. All of us individually have written whole

984
00:48:41,836 --> 00:48:45,556
Speaker 4: songs lyrics everything. He's always been this person who's like,

985
00:48:45,716 --> 00:48:47,916
Speaker 4: I'm open to it. You know, you don't get to

986
00:48:47,956 --> 00:48:50,636
Speaker 4: do it by right, you know, you don't get to

987
00:48:50,676 --> 00:48:53,596
Speaker 4: say when you get to do it. But it's all happened,

988
00:48:53,716 --> 00:48:56,076
Speaker 4: you know, and it's all of us have sort of

989
00:48:56,116 --> 00:48:59,516
Speaker 4: asserted ourselves at different times and know what that's like

990
00:48:59,716 --> 00:49:02,436
Speaker 4: and know that that's a It can be satisfying and

991
00:49:02,436 --> 00:49:04,036
Speaker 4: then kind of a dead end at the same time,

992
00:49:04,156 --> 00:49:07,436
Speaker 4: you know, like because you know, there's always a reaction

993
00:49:07,636 --> 00:49:11,236
Speaker 4: to every action, you know. I think, like Jeff said,

994
00:49:11,276 --> 00:49:14,716
Speaker 4: the more you let go of expectations, the more stuff

995
00:49:14,796 --> 00:49:17,436
Speaker 4: kind of just shows up on your plate or somebody says, hey,

996
00:49:17,596 --> 00:49:19,956
Speaker 4: I know you got something. You know, like let's do it.

997
00:49:20,076 --> 00:49:23,196
Speaker 4: Or like this record, like all of us, you know,

998
00:49:24,036 --> 00:49:26,236
Speaker 4: even though a lot of these songs have been kind

999
00:49:26,276 --> 00:49:28,876
Speaker 4: of bastardized and kind of reimagined and you had to

1000
00:49:28,996 --> 00:49:31,716
Speaker 4: let go of a lot of stuff, I think all

1001
00:49:31,756 --> 00:49:34,756
Speaker 4: of us individually feel like we're represented on this record

1002
00:49:34,796 --> 00:49:38,236
Speaker 4: better than we have been maybe ever in terms of

1003
00:49:38,276 --> 00:49:39,916
Speaker 4: at least for me, when I listen back, it's like

1004
00:49:40,556 --> 00:49:42,516
Speaker 4: I can hear parts I didn't write the song, but

1005
00:49:42,556 --> 00:49:44,676
Speaker 4: my part that I loved and it figured out. I'm

1006
00:49:44,716 --> 00:49:46,556
Speaker 4: hearing it. I can hear it in the you know,

1007
00:49:46,916 --> 00:49:50,076
Speaker 4: it's making an impact in the song. So it's a

1008
00:49:50,116 --> 00:49:54,036
Speaker 4: marathon and we're sort of we're in that spot now

1009
00:49:54,116 --> 00:49:57,716
Speaker 4: where we can really enjoy it more because you once

1010
00:49:57,756 --> 00:50:00,356
Speaker 4: you get used to letting go and seeing why that

1011
00:50:00,956 --> 00:50:04,876
Speaker 4: is satisfactory or why that works, you do it more often,

1012
00:50:05,076 --> 00:50:08,196
Speaker 4: you know, because we could take two years off fine,

1013
00:50:08,236 --> 00:50:11,276
Speaker 4: you know what I mean, like, you know whatever. Nice, Yeah, but.

1014
00:50:11,236 --> 00:50:13,196
Speaker 3: It's almost like feels like you need that just to

1015
00:50:13,316 --> 00:50:15,716
Speaker 3: kind of reset and live life and come back and

1016
00:50:15,756 --> 00:50:17,796
Speaker 3: you have this like special thing that you can come

1017
00:50:17,836 --> 00:50:20,796
Speaker 3: back to. Oh my god, it feels like the creative

1018
00:50:21,196 --> 00:50:21,996
Speaker 3: itch well.

1019
00:50:21,876 --> 00:50:24,316
Speaker 4: And just like seeing your old friends and going, wow,

1020
00:50:24,356 --> 00:50:27,436
Speaker 4: we still have this song which is like literally three chords,

1021
00:50:27,516 --> 00:50:30,356
Speaker 4: and we go into a room and everyone sings it

1022
00:50:30,396 --> 00:50:34,676
Speaker 4: back to us and we just experience that moment of like, oh, yeah,

1023
00:50:34,676 --> 00:50:37,436
Speaker 4: we wrote this song and I like it more now

1024
00:50:37,436 --> 00:50:40,036
Speaker 4: than ever. And I never actually knew what it was about,

1025
00:50:40,036 --> 00:50:43,196
Speaker 4: but now I do, you know, twenty years later, you

1026
00:50:43,196 --> 00:50:43,876
Speaker 4: know or whatever.

1027
00:50:44,956 --> 00:50:47,476
Speaker 3: Yeah, that's interesting how songs can change over time.

1028
00:50:47,916 --> 00:50:48,916
Speaker 4: Oh my god, totally.

1029
00:50:49,356 --> 00:50:52,156
Speaker 3: Now the new tour, I think you've said that you're

1030
00:50:52,156 --> 00:50:55,156
Speaker 3: going to be playing a lot more of the new material.

1031
00:50:56,036 --> 00:50:57,996
Speaker 3: Is that sort of feel like a challenge where you

1032
00:50:58,076 --> 00:51:00,156
Speaker 3: have to win people over again?

1033
00:51:00,876 --> 00:51:04,596
Speaker 4: You know, we've done such variety and such a collectic

1034
00:51:05,076 --> 00:51:08,756
Speaker 4: set list for so long that I think our audiences

1035
00:51:08,876 --> 00:51:12,076
Speaker 4: read to follow us and be part of the journey

1036
00:51:12,116 --> 00:51:14,356
Speaker 4: of whatever we're going to try to do. And I

1037
00:51:14,356 --> 00:51:17,876
Speaker 4: think the material that we just wrote is really strong, don't.

1038
00:51:17,916 --> 00:51:20,676
Speaker 4: I think that there's not going to be any you know,

1039
00:51:21,236 --> 00:51:24,316
Speaker 4: let down between the material, and you know that on

1040
00:51:24,396 --> 00:51:26,716
Speaker 4: any given night or any given tour, it's like there's

1041
00:51:26,756 --> 00:51:30,436
Speaker 4: always another one. So we've had plenty of not great shows.

1042
00:51:30,476 --> 00:51:32,556
Speaker 4: We've had plenty of nights where we were flat and

1043
00:51:33,476 --> 00:51:35,876
Speaker 4: you just pick yourself up and do a better job

1044
00:51:35,916 --> 00:51:38,716
Speaker 4: the next day and something good happened. So you know,

1045
00:51:39,156 --> 00:51:41,876
Speaker 4: at this point, I think we're all confident that we

1046
00:51:41,916 --> 00:51:44,116
Speaker 4: can go out and kind of have fun. And we're

1047
00:51:44,156 --> 00:51:46,236
Speaker 4: not out that much. We don't play that many shows,

1048
00:51:46,236 --> 00:51:49,396
Speaker 4: so it's it stays fresh and it's going to be fun.

1049
00:51:50,156 --> 00:51:52,396
Speaker 3: Do you have any pre show rituals? Do you listen

1050
00:51:52,436 --> 00:51:55,116
Speaker 3: to anything before you go on stage? Do you eat

1051
00:51:55,236 --> 00:51:59,836
Speaker 3: something specific? Do you have to like do a certain

1052
00:51:59,916 --> 00:52:02,516
Speaker 3: warm up, Like what are you doing to get yourself

1053
00:52:02,556 --> 00:52:03,596
Speaker 3: psyched up for the night.

1054
00:52:04,556 --> 00:52:06,796
Speaker 1: I mean, I think I think everybody has a different

1055
00:52:07,156 --> 00:52:10,916
Speaker 1: routine and a different diet, and I certainly do. I

1056
00:52:10,956 --> 00:52:13,796
Speaker 1: certainly feel like I if I kind of you know,

1057
00:52:13,916 --> 00:52:16,716
Speaker 1: if I eat before soundcheck and then I soundcheck, and

1058
00:52:16,756 --> 00:52:19,596
Speaker 1: then if there's some there's usually two or three songs

1059
00:52:19,636 --> 00:52:22,156
Speaker 1: on this on the set list that we haven't played

1060
00:52:22,236 --> 00:52:24,196
Speaker 1: or we maybe we haven't sound check, so then there's

1061
00:52:24,316 --> 00:52:28,196
Speaker 1: like some woodshedding going on, and then there's you know,

1062
00:52:28,436 --> 00:52:30,916
Speaker 1: a little you work out, a little bit, a little stretching,

1063
00:52:30,996 --> 00:52:33,836
Speaker 1: But we all have different sort of patterns as far

1064
00:52:33,836 --> 00:52:36,676
Speaker 1: as that goes, So sometimes that part can be tricky

1065
00:52:36,676 --> 00:52:38,156
Speaker 1: because the space is tight.

1066
00:52:38,196 --> 00:52:41,596
Speaker 3: But so you're all together in like one room.

1067
00:52:41,636 --> 00:52:44,396
Speaker 1: Pretty pretty much, Yeah, pretty much. I mean Ed has

1068
00:52:44,396 --> 00:52:46,836
Speaker 1: a room that he can sort of that he can

1069
00:52:46,916 --> 00:52:50,236
Speaker 1: go get away from us and and sort of craft

1070
00:52:50,276 --> 00:52:53,116
Speaker 1: the you know, fine tune the set list. But then

1071
00:52:53,116 --> 00:52:56,476
Speaker 1: there's a you know, there's like a little workout meditation

1072
00:52:56,636 --> 00:52:59,716
Speaker 1: room that we sort of can go in and out of. Yeah,

1073
00:52:59,916 --> 00:53:02,716
Speaker 1: you know, I can't. I can't really go on stage

1074
00:53:02,716 --> 00:53:04,796
Speaker 1: with a full stomach, and you know, it's like, I

1075
00:53:04,796 --> 00:53:07,516
Speaker 1: don't want to be like burping up onions like in

1076
00:53:07,556 --> 00:53:10,676
Speaker 1: the middle of a song or so. And I think

1077
00:53:10,716 --> 00:53:12,436
Speaker 1: the I think the older you get to, like the

1078
00:53:12,996 --> 00:53:16,756
Speaker 1: I don't know, the more ritualistic that you are about it.

1079
00:53:16,756 --> 00:53:19,396
Speaker 1: It's like you you know it works, and you know

1080
00:53:19,476 --> 00:53:22,316
Speaker 1: it doesn't work. And you know, I think I heard

1081
00:53:22,436 --> 00:53:23,516
Speaker 1: did you interview Duff?

1082
00:53:23,796 --> 00:53:25,716
Speaker 3: Yeah I did, Yeah, yeah, yeah.

1083
00:53:25,476 --> 00:53:28,996
Speaker 1: Yeah, I heard you talk about he was talking about

1084
00:53:29,156 --> 00:53:31,676
Speaker 1: you know, it's like like being an athlete or whatever.

1085
00:53:31,556 --> 00:53:35,076
Speaker 3: Totally ice is his legs with ice buckets after.

1086
00:53:34,996 --> 00:53:36,556
Speaker 1: Yeah, yeah, yeah, I do all. I mean, I've done

1087
00:53:36,596 --> 00:53:39,276
Speaker 1: all that stuff like ice baths for twenty years or

1088
00:53:39,316 --> 00:53:42,716
Speaker 1: something afterwards or whatever. But but but also waking up

1089
00:53:42,716 --> 00:53:44,876
Speaker 1: early the next morning, getting to the gym and just

1090
00:53:44,956 --> 00:53:47,556
Speaker 1: moving and you know, it's like in the days that

1091
00:53:47,596 --> 00:53:49,596
Speaker 1: you don't do that, you kind of pay for it.

1092
00:53:49,636 --> 00:53:52,356
Speaker 1: You get end up getting on stage and you can't

1093
00:53:52,356 --> 00:53:54,316
Speaker 1: move the way you want to because you're fifty something

1094
00:53:54,356 --> 00:53:58,116
Speaker 1: years old my case sixty one. Yeah, you know, I mean,

1095
00:53:58,196 --> 00:54:00,236
Speaker 1: I think Duff just got off doing like you know,

1096
00:54:00,276 --> 00:54:02,316
Speaker 1: probably a couple hundred shows in the last three years

1097
00:54:02,316 --> 00:54:04,716
Speaker 1: with guns and roses, so he's three more than that. Right,

1098
00:54:04,796 --> 00:54:08,916
Speaker 1: Oh my god, they worked played Missoula, Montana. I mean

1099
00:54:08,956 --> 00:54:11,716
Speaker 1: that's so the dutiary they got.

1100
00:54:12,436 --> 00:54:15,036
Speaker 3: What about you Stone? What's your pre show? Right?

1101
00:54:15,076 --> 00:54:18,236
Speaker 4: You know? I don't. I don't really have any pre show.

1102
00:54:18,316 --> 00:54:21,196
Speaker 4: I think, uh, it's I need one. I need some

1103
00:54:21,236 --> 00:54:24,476
Speaker 4: more pre show stuff. I think that's right. Jack Blocks

1104
00:54:24,556 --> 00:54:28,676
Speaker 4: Year one I'll watch on repeat. Me and Mike sort

1105
00:54:28,676 --> 00:54:31,316
Speaker 4: of can't stop watching it. I'm not sure it's the

1106
00:54:31,396 --> 00:54:33,716
Speaker 4: something about that movie. I just can't stop watching it.

1107
00:54:33,756 --> 00:54:36,996
Speaker 4: But I just try to stay light and try to

1108
00:54:37,276 --> 00:54:40,316
Speaker 4: not get to in my head about worrying about it

1109
00:54:40,476 --> 00:54:43,316
Speaker 4: or you know. And I think that's for me the

1110
00:54:43,356 --> 00:54:45,876
Speaker 4: biggest you know, Uh, if I start to kind of

1111
00:54:45,916 --> 00:54:48,916
Speaker 4: think too much or get to inside my own head

1112
00:54:48,956 --> 00:54:51,636
Speaker 4: about it, that's when usually things aren't going wrong. So

1113
00:54:51,756 --> 00:54:55,396
Speaker 4: just having some lightness and just sort of easygoingness about

1114
00:54:55,436 --> 00:54:58,876
Speaker 4: it and feeling like it's just playing our songs and

1115
00:54:58,996 --> 00:55:01,556
Speaker 4: you know, and just go out there and be ready.

1116
00:55:01,596 --> 00:55:03,916
Speaker 4: And I'm I'm looking forward to this tour. I want

1117
00:55:03,916 --> 00:55:06,636
Speaker 4: to even be lighter about it all, you know, because

1118
00:55:06,636 --> 00:55:08,516
Speaker 4: I think I've spent a lot of time worrying about

1119
00:55:08,516 --> 00:55:10,596
Speaker 4: it and not feeling kind of worthy of a lot.

1120
00:55:10,796 --> 00:55:13,956
Speaker 4: You know, like there's nothing worse than having a you know,

1121
00:55:14,236 --> 00:55:17,276
Speaker 4: a place go ballistic when you and your mind feel

1122
00:55:17,276 --> 00:55:19,836
Speaker 4: like you're sucking or the band is just totally laying

1123
00:55:19,876 --> 00:55:22,356
Speaker 4: there and not really doing anything, but the crowd is

1124
00:55:23,996 --> 00:55:26,236
Speaker 4: you know, to have like all these people pay money

1125
00:55:26,276 --> 00:55:28,076
Speaker 4: and be excited. You know, it's like if you're if

1126
00:55:28,116 --> 00:55:30,876
Speaker 4: you're feeling like you're not really giving them that. So

1127
00:55:31,356 --> 00:55:33,396
Speaker 4: I feel good about this new material for sure.

1128
00:55:34,116 --> 00:55:36,636
Speaker 3: Is there a spot in the tour that is ideal

1129
00:55:36,676 --> 00:55:38,836
Speaker 3: to see Pearl Jam? Like should you go see the

1130
00:55:38,876 --> 00:55:41,356
Speaker 3: band in the beginning of the run, middle or near

1131
00:55:41,396 --> 00:55:41,796
Speaker 3: the end?

1132
00:55:43,116 --> 00:55:45,076
Speaker 1: A little Rock Arkansas? Oh no, we're not playing Little

1133
00:55:45,116 --> 00:55:45,636
Speaker 1: Rock this year.

1134
00:55:46,196 --> 00:55:48,876
Speaker 4: I was second. Second markets are always you know that

1135
00:55:48,956 --> 00:55:50,676
Speaker 4: to me, it's like that's where kind of where we

1136
00:55:50,836 --> 00:55:53,796
Speaker 4: aren't the pressure is off, so good things can happen.

1137
00:55:53,876 --> 00:55:56,796
Speaker 1: You know, you don't have any like family or friends

1138
00:55:56,796 --> 00:55:57,156
Speaker 1: at the show.

1139
00:55:57,356 --> 00:56:00,156
Speaker 4: It's not like you know the best Yeah, and you

1140
00:56:00,196 --> 00:56:02,996
Speaker 4: never know it goes you know, it's a natural cycle.

1141
00:56:03,036 --> 00:56:04,716
Speaker 4: We'll have some good nights and some nights that are

1142
00:56:04,716 --> 00:56:08,396
Speaker 4: a little bit whatever, not as good, and you can't

1143
00:56:08,396 --> 00:56:11,476
Speaker 4: predict them. Yeah, you know, the old adage is great

1144
00:56:11,516 --> 00:56:15,076
Speaker 4: soundcheck terrible show. You ever heard that before? That's oh yeah.

1145
00:56:15,156 --> 00:56:16,596
Speaker 4: You got to be careful when you go out there

1146
00:56:16,636 --> 00:56:19,156
Speaker 4: and just like smoke a sound check and you're just like,

1147
00:56:19,276 --> 00:56:22,316
Speaker 4: oh shit, this tonight is going to be just so good.

1148
00:56:22,716 --> 00:56:26,476
Speaker 4: It's like watch it. Just when that happens, it's good

1149
00:56:26,476 --> 00:56:27,116
Speaker 4: to watch out.

1150
00:56:27,716 --> 00:56:29,636
Speaker 3: Is there anything else? I know, you guys only have

1151
00:56:29,636 --> 00:56:32,476
Speaker 3: an hour. Is there anything else you want to talk

1152
00:56:32,476 --> 00:56:34,796
Speaker 3: about about the new album? I know I skipped like

1153
00:56:35,556 --> 00:56:37,036
Speaker 3: thirty years of your career.

1154
00:56:37,356 --> 00:56:40,076
Speaker 4: No, this was great. It was such a nice It

1155
00:56:40,156 --> 00:56:41,996
Speaker 4: was nice to visit with you and to visit with

1156
00:56:42,036 --> 00:56:44,436
Speaker 4: you too, Jeff, Yeah, yeah, this is our first interview

1157
00:56:44,476 --> 00:56:47,316
Speaker 4: that we've done together on this album cycle. So oh

1158
00:56:47,356 --> 00:56:49,956
Speaker 4: you've done a lot of these together over the years, though.

1159
00:56:50,076 --> 00:56:52,716
Speaker 1: But it's it. This is my favorite part. Like when

1160
00:56:52,716 --> 00:56:55,556
Speaker 1: you do the first couple with at least one other

1161
00:56:55,636 --> 00:56:57,876
Speaker 1: person in the band, it's it's when you start to

1162
00:56:59,156 --> 00:57:02,636
Speaker 1: understand the record because at this point, it's just you

1163
00:57:02,716 --> 00:57:05,156
Speaker 1: listening to your parts and listening to the songs and

1164
00:57:05,236 --> 00:57:07,276
Speaker 1: you you interpreting, and so when you do it with

1165
00:57:07,316 --> 00:57:12,716
Speaker 1: somebody else, you just get this other perspective and sometimes

1166
00:57:12,716 --> 00:57:17,196
Speaker 1: your unique perspective is completely wrong. So it's nice.

1167
00:57:17,356 --> 00:57:18,996
Speaker 3: Well, I hope you have a ton of fun on

1168
00:57:19,036 --> 00:57:21,516
Speaker 3: the tour. It sounds like you're super into the album

1169
00:57:21,716 --> 00:57:25,716
Speaker 3: and everyone's re energized. Yeah, thanks so much for doing this.

1170
00:57:25,756 --> 00:57:26,476
Speaker 3: I appreciate you.

1171
00:57:26,756 --> 00:57:28,116
Speaker 4: Thank you very much.

1172
00:57:28,156 --> 00:57:29,516
Speaker 1: Yeah, nice talking to you.

1173
00:57:32,076 --> 00:57:34,596
Speaker 2: Thanks to Stone, Gossard and Jeff Ament for going deep

1174
00:57:34,636 --> 00:57:37,396
Speaker 2: on their legacy in Pearl Jam's new album, Dark Matter.

1175
00:57:38,156 --> 00:57:39,916
Speaker 2: You can hear it along with our favorite Pearl Jam

1176
00:57:40,076 --> 00:57:43,036
Speaker 2: songs on the playlist at broken Record podcast dot com.

1177
00:57:43,236 --> 00:57:45,796
Speaker 2: Will also include some other songs from Stone and Jeff's career.

1178
00:57:46,436 --> 00:57:49,396
Speaker 2: Subscribe to our YouTube channel at YouTube dot com slash

1179
00:57:49,436 --> 00:57:51,836
Speaker 2: Broken Record Podcast, where you can find all of our

1180
00:57:51,876 --> 00:57:55,956
Speaker 2: new episodes. You can follow us on Twitter at broken Record.

1181
00:57:56,436 --> 00:57:59,356
Speaker 2: Broken Record is produced and edited by Leah Rose, with

1182
00:57:59,476 --> 00:58:02,956
Speaker 2: marketing help from Eric Sandler and Jordan McMillan. Our engineer

1183
00:58:03,116 --> 00:58:07,476
Speaker 2: is Ben Tolliday. Broken Record is a production of Pushkin Industries.

1184
00:58:07,876 --> 00:58:10,636
Speaker 2: If you love this show and others from Pushkin, consider

1185
00:58:10,716 --> 00:58:15,076
Speaker 2: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription

1186
00:58:15,156 --> 00:58:17,956
Speaker 2: that offers bonus content and ad free listening for four

1187
00:58:18,076 --> 00:58:21,356
Speaker 2: ninety nine a month. Look for Pushkin Plus on Apple

1188
00:58:21,396 --> 00:58:25,356
Speaker 2: podcast subscriptions, and if you like this show, please remember

1189
00:58:25,396 --> 00:58:27,956
Speaker 2: to share, rate, and review us on your podcast app.

1190
00:58:28,236 --> 00:58:31,036
Speaker 2: Our theme music's back Anny Beats. I'm justin Richmond,