October 2 Wellington, NZ: Michael Fowler Centre
October 4 Auckland, NZ: ASB Theatre
October 7 Canberra, Australia: Canberra Theatre
October 10 Perth, Australia: Concert Hall
October 13 Adelaide, Australia: Festival Theatre
October 15 Brisbane, Australia: QPAC Concert Hall
October 19 Melbourne, Australia: Palais Theatre
October 22 Sydney, Australia: Opera House Concert Hall
Tickets will be available as follows – sign up HERE for the Chris Cornell mailing list by Saturday, June 4 7am EST to be sure you get the fan presale password! E-subscribers will receive password on Sunday, June 5 from 7am EST.
See tour page for more details and onsale ticket links.
- Fan Presale: Mon 6th Jun 10am (Perth: Tue 7th Jun) to Wed 8th Jun 9am
- Ticket Agent Presale: Wed 8th Jun Noon to Thu 9th Jun 5pm
- General Onsale: Fri 10th Jun, 9am
PEARL JAM RETRACES THEIR FOOTSTEPS WITH CAMERON CROWE RETROSPECTIVE FILM
Theatrical Release of “Pearl Jam Twenty” September 2011 Celebrates the Band’s 20-Year History
LOS ANGELES, CA (MAY 25, 2011) – In celebration of their 20 year anniversary, Pearl Jam is set to release the feature film Pearl Jam Twenty, a definitive portrait of the band as told by Academy Award®-winning filmmaker and music journalist, Cameron Crowe. The captivating documentary gives fans and audiences an intimate first glimpse into Pearl Jam’s journey culled from more than 1,200 hours of rarely and never-before-seen footage, over 24 hours of recent interviews with the band, as well as live footage of their spellbinding concert performances.
Pearl Jam Twenty will enjoy a unique, simultaneous worldwide theatrical release in select cities and venues in September and thereafter will roll out in an accelerated fashion. Abramorama, headed by Richard Abramowitz, who steered the theatrical campaigns for Anvil! The Story of Anvil and the Oscar®-nominated Exit Through The Gift Shop, is releasing the independent film in the U.S. with Arts Alliance Media, best known for their deft handling of Iron Maiden’s award-winning documentary Flight 666 and, more recently, Foo Fighters Back and Forth, handling the theatrical release overseas. The film’s U.S. television premiere will be Friday, October 21st at 9 p.m. (ET/PT), as part of the prestigious PBS “American Masters” series, airing during the first-ever PBS Arts Fall Festival. The soundtrack and DVD of the film will be released worldwide by Columbia Records/Sony Music Entertainment, with the soundtrack released simultaneous to the film in September and the DVD following with a release in October.
Told in big themes and bold colors with blistering sound, Pearl Jam Twenty chronicles the years leading up to the band’s formation, the chaos that ensued soon-after being catapulted into superstardom, their step back from the spotlight with the instinct of self-preservation, and the creation of a trusted circle that would surround them—giving way to a work culture that would sustain them. The film celebrates the freedom that allows the band to make music without losing themselves, their fans, or the music lovers they’d always been.
“When I set out to make this film, my mission was to assemble the best-of-the best from Pearl Jam’s past and present and give audiences a visceral feeling of what it is to love music and to feel it deeply—to be inside the journey of a band that has carved their own path,” said Cameron Crowe. “There is only one band of their generation for which a film like this could even be made, and I’m honored to be the one given the opportunity to make it.”
Crowe was among the band’s inner circle when they formed and has maintained a close friendship with the band since his days as a reporter for Rolling Stone in Seattle. Almost 20 years after the band’s inception, Eddie, Jeff, Stone and Mike gave their longtime friend the okay to raid the vault and assemble from it the story no one but those closest to them ever knew.
As part of their year-long celebration, Pearl Jam is also releasing a Pearl Jam Twenty soundtrack and book of the same name, to accompany the film. The soundtrack is comprised of a selected track listing by Cameron Crowe—making the album a true companion piece to the film. Published by Simon & Schuster in the U.S. and
Atlantic Books in the UK, Australia, New Zealand, and South Africa, the Pearl Jam Twenty book is an aesthetically stunning chronicle of the band’s past two decades. Compiled and written by veteran music writer
Jonathan Cohen with Mark Wilkerson, the book includes a foreword by Cameron Crowe (and material from all his own band interviews) as well as original interviews with Bruce Springsteen, Neil Young, and Dave Grohl. In addition, the band recently announced tour dates in Canada in September as well as two shows in the U.S over Labor Day weekend at Alpine Valley outside of Chicago.
After two-decades, Pearl Jam remains a giant musical force and one of the biggest and most magnetic touring acts in the world. With over 60 million albums sold worldwide, they continue to create and perform great music—all on their own terms. Pearl Jam is currently in the studio recording their 10th studio album, marking the bands’ second record released through their label, Monkeywrench Records.
2011 is a yearlong celebration of Pearl Jam’s twenty-year history. The band started off the year with the release of a new live compilation album, Live on Ten Legs, followed by the expanded reissues of Vs. and Vitalogy in March. Things kick into high gear in September with the Alpine Valley Labor Day anniversary weekend concert, a ten-date Canadian tour, followed by the theatrical release of Cameron Crowe’s film, Pearl Jam Twenty in September with accompanying book and soundtrack album and subsequent PBS airdate of October, ending the year with the DVD of the film available in October. For the latest Pearl Jam happenings, visit http://www.pearljam.com
Vedder said he hopes that Ukulele Songs would encourage listeners to step away from their computers and televisions and make some music of their own, preferably with friends. Some of the material collected on the record was written back in the mid-’90s after Vedder first picked up the instrument. For him, the modest chordophone itself has been a companion in times of loneliness.
“If it weren’t for the ukulele I would have been by myself,” he says of the period. “The songs were just written for my own benefit.”
On yesterday’s episode of Pearl Jam Radio’s All Encompassing Trip, Pearl Jam bassist Jeff Ament texted Tim Bierman saying that the entire band is sorry about the ticketing problems on the Ten Club for Pearl Jam’s September shows. There has been chaos this week in the Pearl Jam fandom over problems buying tickets for upcoming shows in the Ten Club store.
VegasCrackerman posted this on the BelowEmpty.com forums:
We posted up at Book Soup around 2pm, the crowd stayed relatively small until about 6pm. I’d say there were about 3 or 4 hundred people when Scott began signing at 7:45pm.
There was no reading or interview about the book – just the signing.
After that, the doors for Viper Room had already opened. I put our stuff away and got into the biggest broom closet posing as a music venue.
There were two very forgettable opening bands – don’t remember their names.
SW Band came on around 11:30pm – and did their OPENING JAM. Shortly thereafter, SW thanked everyone for coming out and that this gig was NOT an STP show, rather a collection of tunes that he selected while writing his book.
The band and SW sounded great, it was unreal seeing him in such a small place. I think capacity is 200.
Setlist (from memory, may be missing a song) was:
Waiting for a Superman
Into Your Arms
But Not Tonight
I Am the Resurrection
Rolling Stones cover
ENCORE – Unglued
The SW Band did share that they may be playing BOSTON in August – rumour only at this point.
You can see the DeLeo brothers in the background for a whopping few seconds.
I know that we don’t cover Silverchair here, but I thought this would be worth posting, from Silverchair’s site. For the record, I don’t really listen to them:
We formed Silverchair nearly 20 years ago when we were just 12 years old. Today we stand by the same rules now as we did back then … if the band stops being fun and if it’s no longer fulfilling creatively, then we need to stop.
Therefore after much soul searching we wanted to let you know that we’re putting Silverchair into “indefinite hibernation” and we’ve decided to each do our own thing for the foreseeable future.
We assure you that this decision has not been taken lightly. In fact we’ve been struggling with it for quite a while now.
Back in 2009 we went into the studio to start work on a record. Initially things were going well and as a result we did some shows in 2010 to maintain creative momentum. However, over the months that followed in the studio it became clear to us that we were moving in different directions. Despite our best efforts over the last year or so, it’s become increasingly clear that the spark simply isn’t there between the three of us at the moment.
As a result we’ve decided to put the band into ‘a deep sleep’ while we all do other things that we find more inspiring right now. This means that Silverchair won’t be making music together or playing shows any time soon. It also means that the three of us won’t be working together unless and until it feels right again.
We understand some of you may be disappointed by this news but we really see it as a liberating and positive step for us at this point in our lives.
We also want to make it really clear that this decision has been made with the best possible intentions. We’ve always tried our hearts out to make the best music we could possibly make at the time – regardless of commercial consequences.
The three of us still truly care about each other. At the moment Ben’s busy in the studio recording his own music, Chris is working on various business, musical and charitable ventures while Daniel is creating a film soundtrack and working on other musical projects. We hope you’ll continue to take an interest in our individual work over the years ahead.
In closing we’d like to acknowledge all the people ‘behind the scenes’ who’ve helped us keep this train on the tracks since we first started playing in a garage. There are too many to name but they know who they are and we truly appreciate all their love and hard work.
Above all though we want to thank you for all your support in good times and bad. You’ve put up with our long breaks between albums, our constantly changing musical styles and lots more. The unbelievable loyalty we’ve been shown by you our audience, and our friends, has never gone unnoticed or unappreciated. That’s why we wanted to tell you first.
With Sincere Thanks For Your Understanding.
Daniel, Ben and Chris
From Stone Temple Pilots’ Facebook:
TONIGHT is America’s biggest TV night – the very last episode of the AMERICAN IDOL season! Tune in to THE SEASON FINALE OF AMERICAN IDOL TONIGHT on FOX 8/7c as ROBERT AND DEAN DELEO JOIN STEVEN TYLER ON STAGE for an epic finale performance! You’re not gonna want to miss this!!
My favorite Chris Cornell picture, would love to know what he was reacting to.
More news on the tour front this morning with singer Chris Cornell from grunge legends Soundgarden set to announce a solo Australian tour.
Music reporter Nui Te Koha told Triple M’s Hot Breakfast this morning: “Chris Cornell is coming to play some acoustic gigs. Soundgarden tracks are in the set. Expect an announcement this week or next.”
He added that promoters have been chasing Soundgarden for a full Soundgarden show since last year which set off the rumour that the band were coming to Australia earlier this year. Obviously that didn’t happen, but the promoters haven’t given up hope. Anyway consider Chris Cornell as a dead cert for Oz.
How did you get the job to direct the video for ‘Man in the Box’ ? Considering that Alice in Chains were a fairly new band at that point.
Paul Rachman: On Halloween of 1990, two months after ‘Facelift’ had come out I saw the band play at the Cat Club in New York City and they blew me away- I loved them. The next day I called the video commisioner of Columbia records his name was Kris P, saying that I wanted to work with the band.
They had just done a video called ‘We Die Young’ but that single didn’t fly. In late November, a month later they asked me to write for the ‘Man in the Box’ video. I got it and we shot in mid December of 1990.
‘Man in the Box’ was Layne Staley’s song, how close did you work on ideas with him?
Paul: The band was touring at the time (with Iggy Pop) I received a few phone calls and fax exchanges with Layne. He had written the song so I collaborated with him conceptually but at a distance since they were touring. Layne’s idea for the video and song were based on the images of a rainy drippy barn and a baby wuth his eyes sewn shut. I took those ideas on board and came up with an animal farm, but used an adult for the eyes sewn shut idea. I remember for the animals there were a couple of horses but production brought in the pigs, the cow, the chickens….. There had never been a rock music video with animals in them before.
The ‘Man in the Box’ video is quite striking, dark and almost eerie.
Paul: A lot of my work in the early 90’s was pretty dark. Layne was very very magnetic and inspiring. It was easy to visualize his ideas because there really was truth in them. I really feel that when you watch the video that it matches the song, it added to it, and transcended what it needed to do to reach their audience and beyond.
You said that Alice in Chains’ first video ‘We Die Young’, did not fly- ‘Man in the Box’ not only took off, it went for a better word into orbit.
Paul: Colombia Records loved it, MTV loved it, the band loved it. It hit the ‘Buzz Bin’ rotation almost immeadiately. It just clicked. I remember Metallica saying that ‘Man in the Box’ was their favorite video. In September of 1991 it got an MTV award nomination. It ended up losing to a shitty Aerosmith video, one of the ones with Alicia Silverstone in it. I remember sitting at the awards and when they read who had won it started with ‘A…..’ my heart skipped and then I heard ‘Aerosmith’.
But you know I think the video is more important today than Aerosmiths.
How long did ‘Man in the Box’ take to shoot and how were the band during the day?
Paul: Well it was a long day, a 14 hour shoot. The band were great to work with. They were young, fresh and eager. There was only one or two full band set-ups so most of the time when the video was being shot we worked on individuals. When you watch the video you can see their youth and vitality. Layne was beautiful in his close-ups he is almost babyfaced and his eyes are piercing.
They were a young band with hope, they were touring but did not know their destiny yet. They were the type of band working hard because they wanted to make it, nothing was guaranteed for them in the winter of 1990. No one knew what would happen, at the time of the shoot they were a band that could have fallen flat out after 50 or 60 thousand records sold or something. They were a fun rock band to hang out with, easy to be around. I could definitely notice the change when I would see them later in their careers. They had become rock stars by then.
‘Man in the Box’ is shot in sepia color- was this risque in terms of promoting a new band and for the video itself?
Paul: It fit the mood and the look. I actually shot on black and white film for ‘Man in the Box’. Before shooting I visualized a black and white video with a little bit of color in the hand held 16mm shots in the cages outside. After when I was in color correction the sepia tinted really gave the video a warmer but more intense feel. The band’s droning, grungy sound was dark in itself. The song and video have definite moods.
What are your memories of Layne Staley?
Paul: I remember a few months after the video was completed I was in Seattle directing the video for Temple of the Dog which was a collabaration between Pearl Jam and Soundgarden singer Chris Cornell ( this video was the first time that Eddie Vedder had been filmed). I was hanging out with Layne one night and I could tell that the rock star life style was going to affect him. He was a bit tired and rawn out but still very friendly. He was a very sweet, talented, sensitive and inwardly emotional. He was very comfortable and confident with his ideas and his art and music. He never really second guessed himself, he was always forward moving with his thoughts. I don’t remember him as ever hesitant or asking too many questions. He just did it. On that set they were very cooperative and friendly. I mean look at the video. I asked the front man to sit in a corner of a real dirty barn tied up and sing. To most frontmen that would seem demeaning and negative, Layne just did it and you can see he is in that moment. There is almost a vulnerable sadness in his eyes and face in that hat scene.
When the video broke, the band were obviously estactic- how about you?
Paul: I was psyched and very satisfied. I was able to really bring the element of mood into the music video which was always what I was trying to do. I felt I had really achieved that with ‘Man in the Box’. First and foremost it was a great song and a great band that inspired me. I mean I saw the band live first and then I went after that video as a director because I felt something about the music. In the end it’s success was the ultimate reward but the making and working on it was very very satisfying. ‘Man in the Box’, put me in a different league vis a vis the record companies and the music biz too. It still stands up well today.
I have always thought it was an introduction to Alice in Chains. In England when the video first aired and Layne screams ‘Jesus Christ’, everyone just looked at each other. It was a big thing at the time.
Paul: It was an introduction. I wanted the video to create that curiosity. You have three and a half minutes, there is only so deep you can go and shoe the band.
The final scene of the video with the man with his eyes sewn shut. For first time viewers it’s mindblowing. The answer is right there in the lyrics but it’s still a shocking moment.
Paul: Yes you got it- and that’s what it was supposed to do- no more -no less. A blind caretaker on a farm. One who cares but cannot see. A reaper of some sort who cannot choose based on what he sees. Jesus was one who did not judge too. The character is dark and gloomy, but I did not have anything obvious on or specific on him. Just an uncomfortable feeling.
Photo credits: www.volcoment.com and Before Cars
Friend of GrungeReport.net and the author of Grunge is Dead, Greg Prato, has up two new articles on Grunge producer Jack Endino and former Nirvana drummer Chad Channing on UGO.com. Here is an excerpt from the Chad Channing article where Channing talking about what Nirvana listened to in their early days:
“There was the one David Bowie record, The Man Who Sold the World, which I bought this copy of the record, because it had a little poster in it. I think in a music store in Boston. And I bought some blank tapes – we were at somebody’s house, and I put the record on tape, and put that in the player and started playing that.”
“Those guys were like, “Whoa! That’s a trip, what’s this? Well, I think Krist [Novoselic] heard it before…I know Kurt [Cobain] hadn’t though, because he asked me who it was, and I said, ‘This is David Bowie'” [Nirvana would also later cover the album’s title track on Unplugged in New York].
Thanks to Jacques. Like I told him, one of the bummers about running a site that is reliant on fans sending stuff in, is once in awhile you will get some untrue stories/fan accounts. Apologies to Billy, who apparently was in reality very nice to everybody at the AAW show:
My name is jacques Baron, I am the co-owner of AAW Pro in Chicago, and I am
writing you in regards to something that was brought to my attention regarding
Billy Corgan. My response to “Johnny Thunder” is BULLSHIT!!! Billy came to our
event for FREE and was kind enough to walk around before the show and take
pictures with the fans and sign autographs for NO CHARGE! He is one of the
easiest, laid back and kindest person I have EVER had the priviledge of working
with. He was backstage and talked to ALL the boys that were working the show and
took an entire day out of his busy schedule to help us out. He didn’t have to do
this, he wanted to do this. I can’t tell you how much of a help and inspiration
he has been, not only to me, but our entire roster. Whoever decided to fabricate
these lies must lead a miserable life! And may I ask, Whom do you know in MY
locker room? ….NOBODY…that’s who! Billy Corgan takes time out of his life on
a consistent basis to help charities, friends, and companies he loves in order
to help EVERYONE achieve their dreams. I encourage “Johnny Thunder” to come to
our next show and ask for me by name….IF you’re man enough!! Don’t try to ruin
a mans good name by being some attention grabbing jabroni…If you feel the need
to tell some more lies and talk shit about a friend of mine…don’t sing
From the Ten Club:
ALPINE ONSALE UPDATE
Our IT brains are still working diligently to rectify the Alpine ticketing situation.
There are currently some people who already had items in their carts and who are able to continue the checkout process, very slowly.
Here’s what we’re going to do:
– Those who were already in the check-out process, stick with us and we’re going to try to process your order.
– Those who aren’t already, give it a rest tonight so we can get those who are officially in the middle of the check-out process checked out and work on the site.
– We are going to close the store tonight to ANY NEW TICKET ORDERS in order to work on the system for tomorrow.
– At 8am PT tomorrow morning, we will post on the Ten Club “news” section information regarding when the Alpine ticket sale will resume.
– If it’s still not working at 8am PT, we will say that.
– If it’s working at 8am PT, we’ll provide a time for when the onsale will resume, which be AT LEAST TWO HOURS later, so that everyone has time to prepare.
–The good news is, there are PLENTY of tickets still available.
CANADA ON-SALE POSTPONED TO WEDNESDAY
Due to the problems surrounding today’s Alpine pre-sale, the Ten Club is going to postpone the Canada Pre-sale to Wednesday May 25th (during the same hours as previously scheduled) to help ensure all systems are up and running smoothly.
Once again, we’re really sorry this happened and will do everything we can to fix it as soon as possible.
Billy Corgan has posted a few tweets that might indicate that he plans to release the material he recorded before The Smashing Pumpkins were formed in Chicago, Illinois in 1988. Here’s what Billy Corgan tweeted out earlier today: “with all the archives finally being transferred over, i’m trying to think of what to do with my pre-gish music? lots of options”. Asked by Side-Line (and probably others as well) what he had in mind, Corgan said: “perhaps a private press vinyl series? say 100 copies of each volume that could be auctioned for charity but never sold. marked/pre SP music!”