Monthly Archives: September 2011



Having already announced dates in Australia, New Zealand and South America, Chris Cornell has added more US shows to his solo acoustic Songbook tour, giving even more fans the chance to see him perform unplugged and up close.

These special performances of songs from his extensive catalogue let Chris interact with the crowd and share personal insights about his music. Familiar songs emerge in a new context, showing that great songwriting translates to any idiom.

As before, fans registered on Chris’s mailing list have access to tickets BEFORE they go on sale and the password will be mailed out tonight.Presale for certain dates starts tomorrow (September 22)  at 10am local time with tickets onsale to the general public from September 23: see  tour section for ticket links & presale/onsale dates.

Songbook Tour Dates Fall/Winter 2011

11/1/11     Memphis, TN                Minglewood Hall
11/2/11     Nashville, TN                War Memorial Auditorium
11/4/11     Orlando, FL                   Hard Rock Live
11/5/11     Tampa, FL                    Tampa Theatre
11/6/11     Miami Beach, FL            Fillmore Miami Beach at Jackie Gleason Theater
11/9/11     Buenos Aires                Grand Rex Theatre
11/10/11   Buenos Aires                Grand Rex Theatre
11/12/11   Santiago, Chile              Maquinaria Festival
11/13/11   Sao Paulo, Brazil           SWU Festival
11/17/11   Albany, NY                    The Hart Theatre at the Egg
11/18/11   Ridgefield, CT                The RidgefieldPlayhouse
11/21/11   New York, NY                 Carnegie Hall
11/22/11   Red Bank, NJ                 Count Basie Theatre
11/23/11   Allentown, PA                 Symphony Hall
11/26/11   Atlantic City, NJ              Borgata Hotel Casino & Spa- Music Box
11/29/11   Burlington, VT                Flynn Center For The Performing Arts
11/30/11   Poughkeepsie, NY           Bardavon**
12/3/11     Lakewood, OH                Lakewood Civic Center
12/4/11     Ann Arbor, MI                Michigan Theater
12/6/11     Kalamazoo, MI               Kalamazoo State Theatre
12/10/11   Salina, KS                      Steifel Theatre For The Performing Arts
12/13/11   Mesa, AZ                       Mesa Arts Center- Ikeda Theatre
12/15/11   San Francisco, CA          Palace of Fine Arts Theatre
12/16/11   Los Angeles, CA             Orpheum Theatre
12/17/11   San Diego, CA                Balboa Theatre




PJ 20 is a rock documentary that seeks out to retrieve an inside glimpse at the core of Pearl Jam and how the group has changed over its 20-year-old career.

As I walk up to the Cinerama in downtown Seattle, the line to get in to the 10:30 showing completely wraps around the building itself.  With most of the line consisting of hardcore PJ fans, I almost felt like I was at a Star Wars premiere (and I mean that in a good way).  I find my seat and then take a moment to view the diversity of the crowd: people from all ages and ethnicities were in attendance.  It made me realize how big of an impact this band really had on people worldwide.  So then, the movie begins.

The movie starts with the group’s somewhat humble beginnings, Mother Love Bone.  It takes you a little through the band’s conception and workings of their first album.  Chris Cornell is present in these first 10 minutes talking a little bit about finding a roommate with Andrew Wood, Mother Love Bone’s lead singer, taking the call.  The audience slightly begins to get a feel of what Wood was really like.  The mood shifts rather dramatically when the film brings up his overdose; at one point you see Cornell in tears as he is talking about the tragic event.  After Wood’s death, you find out that guitarist Stone Gossard is inspired to write brand new songs (which would evidently be the infamous demo tape sent to Vedder).  Gossard explains that the demos were recorded with the current PJ/Soundgarden drummer Matt Cameron on drums.  Longtime friend and lead guitarist Mike McCready is now a part of the lineup, as well as bassist Jeff Ament.  Then enters Eddie Vedder.Vedder explains he wrote the lyrics to the demoed songs in an afternoon shortly after returning from surfing.  Gossard and Ament receive the tape, like what they hear, and thus Pearl Jam is born.

PJ20 then takes us on an interesting trip through the band’s 20-year career. Being honest, however, I was left somewhat unsatisfied by the end of the film.  The movie is pulled together from various old footage from live performances, TV shows, studio rehearsals, and more.  You’ll see some unreleased footage from the band’s 1998 video releaseSingle Video Theory, as well as some other unique footage from the beginnings of the band.  Members of the band have been recently interviewed, though majority of the interviews you’ll see are with Gossard and Ament.  Clips of live performances throughout their career are shown with great visual and sound quality, however not in full.  The movie started out linear, and then went ahead, then far back, then kind of fizzled out the last 10 years.  The infamous switching of drummers was briefly mentioned in a 1-minute spastic video short of McCready explaining basically just who had been in the band, not why they had come or why they had left; I feel like this was the biggest let down.  Not only was Jack Irons excluded from the beginning of giving the demo tape to Eddie and how they really met (though Vedder showcases a picture from the club they met at), the first 3 drummers were barely mentioned at all.  The movie really makes no mention of the last 5 years of the group (aside from some clips of live performances) or talks at all about the two latest albums, 2006’s self-titled and 2009’s Backspacer.

I’m not sure what I was expecting, but I know I didn’t get it.  Was the movie bad?  No, not at all.  But being a Pearl Jam fan (and believe me when I say there are some serious hardcore ones out there), I can’t help but feel I wasn’t really welcome in their home.  Random serious scenes about a stalker who rammed her car into Vedder’s home wall, a mild mention about a possible breakuparound 1998-ish, and then the tragic Roskilde Festival in 2000 seemed almost out of place with the general tone of the movie.  I felt like they were telling us things that happened to them but not psychologically what was going on when it happened.  Perhaps I’m too interested in that aspect of it, but most of these events I could’ve just read about; isn’t that what a documentary is supposed to be about?  And given the nature of the group being as cerebral as they appear to be, you would think maybe a good look into the genius that is Pearl Jam would surface a little more throughout the film.  Maybe it did, and perhaps it was just the direction of Cameron Crowe that put a slight damper on it.  Perhaps the band didn’t want us to really know what it was like being a band for 20 years.  I want to like it because it’s Pearl Jam, but I left the movie theatre still asking myself, “So, what is Pearl Jam?”Their ideals and thoughts of music and life surrounding Pearl Jam were merely hinted at.  For a movie that appeared to primarily focus on the core of the group (Gossard/Ament, then Vedder, McCready, and Cameron respectively), I still felt like I didn’t really know these guys that well.  Despite some murky feelings about the film I would still suggest PJ fans to go see it, but I have a feeling that majority of their fan base will feel the same way.  Olé!

– Nick Gray (Seattle, WA)


Soundgarden frontman Chris Cornell was interviewed yesterday from The Scully Show on 97.1 The Eagle Rocks. He said the following regarding Soundgarden:

“We’re just lazy.” Chris joked asked about taking so long to come back to Dallas.

“We’re almost done with a whole new album.”

Chris said Kim has a couple of album title ideas. He’s kind of waiting for the right one to come out of Kim’s mouth.

Chris again stated that the release for the new album is still Spring 2012. Soundgarden are not on a label right now, Chris called it a thing of the past.

“He drinks a lot of red bull.” Chris Cornell on Matt Cameron juggling both Pearl Jam and Soundgarden.



Fucho sent me a Spanish language review of the film.  The closest screening to me was in Long Beach (a 45 minute drive on a week day/week night) and that wasn’t doable for me on a week day.  Obviously if Pearl Jam themselves were playing live I would have been there, haha.  I read that there is some sort of way to watch it by paying on DirecTV this weekend so I’m hoping to go to a friend’s house who has DirecTV to watch it and write a review.  Anyways here’s some reviews so far from the Ten Club board:

Kodiak posted this on the forums:

Just got back from Seeing the PJ20 documentary. Phenominal!!! The Tampa Theater was packed and it kind of had the atmosphere of a concert (if that’s possible on a much smaller scale with no actual live act…lol).

There were times where everyone cheered, laughed, and even some touching moments. Knowing where I was at in my life and getting into high school and the things I went through and seeing how this band came to be during that time and all the things that make them who they are…it’s just amaing. I mean the scene where Eddie starts to get comfortable as a lead vocalist is just freaking awesome. Also, the stage climbing/diving video clips are just unreal. I still can’t believe Ed did that crazy stuff…lol.

At one point near the end, they show a clip from PJ playing Betterman from one of their more recent tours. The entire theater was singing along…freaking awesome. I have never been to a movie where the crowed reacted quite like that.

The movie does focus more on the forming of the band and their first couple albums and some of the stuff PJ stood up for and had to go through but the middle/later years are only briefly covered. Overall, I am fine with that. The most important parts are covered and the movie had to be a certain length for theaters/PBS. I just placed my order for the Blu Ray which has over 4 hours of extras. I can’t wait to see it again…especially all the extras!!!

Hugh Freaking Dillon posted this on the forums:

I really enjoyed it, but I mirror the same comments as many others. I mean, Jack Irons is shown in one performance. Dave Krusen was shown in a couple, but barely mentioned. Dave A was with the band for the first 3 albums, and he’s in barely anything. I just don’t get why this band tries so hard to rewrite history. Dave A was in the band during its meteoric rise.

If you go to so much trouble to show the history of the band to the world, why ignore one fifth of it? it would have been ultra classy to have him interviewed, or even mention his skills as a drummer and what it brought to VS and Vitalogy, or even make a waffle joke. Something.

I can’t stand half my old band, and haven’t spoken to them in 2 years, but I still plan on mounting our cd promo poster on my wall with their pictures on it.

I think the movie should have been called Pearl Jam 1-7, and 18-20.

PJ73 posted this on the forums:

First I really enjoyed the movie – loved the early footage and all the MLB videos. The band members all come off as really great guys too, which we probably all knew, but it’s nice to see in the movie ;) Lots of funny moments (Singles party esp!) that had the theater laughing. I also enjoyed some of the band member vignettes at the 3/4 mark too.

My issue with it is Cameron Crowe – I could tell he was the director. I find him a good director who chooses his works well but his pacing, especially with his later movies, always feels a little off. At points in this movie, I thought I was getting bombarded with info and then it would kind of lilt off and the movie would skip several years and then bam – we’re at Roskilde. And then a lot of early 2000s, then bam – we’re at 2008. I also thought the movie glossed over the drummer situation and the No Code years too quickly. No Code’s omission was pretty glaring to me since I consider that album to be their turning point, when they became the band they are today.

That said, the subject matter more than makes up for any pacing issues and I am more than looking forward to seeing this on PBS (and seeing how they handle the frequent use of the f word) and then the extended DVD.

Honestly not a bad way to spend a couple of hours



LOS ANGELES (AP) — It’s been 20 years since the release of Nirvana’s “Nevermind.” The album, which included cultural anthems like “Smells Like Teen Spirit” and “Come As You Are,” marked the beginning of the alt-rock movement of the 1990s and transformed drummer Dave Grohl, bassist Krist Novoselic and singer-guitarist Kurt Cobain into the poster boys of Generation X, until Cobain’s tragic suicide in 1994.

On a recent afternoon inside 606 Studio, the sprawling headquarters for Grohl’s band Foo Fighters, Grohl and Novoselic, while slumped on a couch near the same soundboard that they used to record “Nevermind,” reminisced with producer Butch Vig about how they made the album that forever changed their lives and what impact it had on the world.

To commemorate the 20th anniversary of “Nevermind,” which has sold more than 30 million copies worldwide, Universal is re-issuing the remastered album Sept. 27 with various special editions. Bonus material includes obscure B-sides, alternate mixes, live recordings and video of the band’s 1991 Halloween concert at Seattle’s Paramount Theatre.

A limited super deluxe edition features rehearsal recordings captured on a boombox (“It was in the bottom of a box of stuff that was gonna get thrown out,” Novoselic recalls) and the original unused “Nevermind” mixes that Vig hoarded until the group began planning for the album’s anniversary last year.


AP: What was your a-ha moment when you realized that “Nevermind” had become bigger than you?

Grohl: I’d say “Saturday Night Live.” Being asked to be on “SNL” was without a doubt that moment for me. That’s when I thought, “Oh my God. We’re one of THOSE bands now.” Then, in the dressing room, that’s when (expletive) “Weird Al” Yankovic calls and asks if he can do a parody of “Smells Like Teen Spirit.” That was a weird weekend. That was it for me.

Novoselic: It was shocking to be famous. I bought a house to deal with it. Then, of course, there was Kurt, who was thrust into being the spokesman of a generation. That was hard for him. He had some personal things going on that were happening just as fast. He was in a whirlwind. Kurt didn’t necessarily identify with Generation X or mainstream values.

AP: What was it like going back and listening to “Nevermind” after all these years?

Vig: It’s still out there. It’s omnipresent, but this is the first time I’ve listened to it from a critical perspective. The remastering sounds great. The album holds up really well. It’s timeless. I think part of that is because the songs are really good. The production isn’t gimmicky. It’s just bass, drums and guitar. There’s not any sort of trendy sound.

Grohl: “Nevermind” represents more than just an album with music on it to me. It was a specific, exciting time in my life. Personally, my life is split by the release of that album. My entire life is pre-“Nevermind” and post-“Nevermind.” When it came out, my whole (expletive) world was changed forever. There’s something about the innocence of it all.

AP: How do you think music has changed since “Nevermind” was released?

Grohl: Honestly, if you look at what was going on back then, outside of technology, all of that stupid (expletive) that was going on is still going on today. You’ve got stupid shows on TV to make people famous so they can sell records. The top 10 is full of crap. It’s the same (expletive). You’ve got all these rock bands trying to make it in a van somewhere.

Vig: With information moving so fast, the whole world has A.D.D. You only grab onto something for a second before you discard it. When “Nevermind” happened, it was still a slower time. That record really took off from a grass roots level. The label printed something like 40,000 copies. Word of mouth was faster than the Geffen publicity machine could handle.

AP: How do you feel about the impact “Nevermind” had not just on music but on culture?

Grohl: I have this shut-off valve. When I start getting to that place where I consider the impact of the album, I just turn off because it’s hard to imagine something so innocent and simple turning into something that’s out of your hands. I think that album came out at a time when a lot of kids didn’t have anything to believe in and Nivrana was entirely real.

Novoselic: I remember at the time when Nirvana was just breaking and we were still very idealistic about it. We thought, “Yeah, we’re gonna change the world!” It’s like when I first heard punk rock music and even hard rock music, it spoke to me, but then again, revolutions get co-opted, and it never really turns out the way you think it would turn out.

AP: If there was some rip in the space-time continuum, do you think you could have made “Nevermind” today?

Vig: I don’t think it would sound the same. There’s a feel on the record that you can’t really manipulate. These days, I love computers and moving stuff around and (expletive) with the sound. I feel technology would somehow get in the way of the kind of record we made back then. I know it wouldn’t make it better. It’s impossible to imagine that happening now.

Grohl: With technology these days, we could have been one of those bands who recorded it by ourselves in a garage and uploaded it to YouTube and bypassed any of the conventional industry routes. Who knows? I know that if Krist and I went in that booth right now and recorded on that board, we could sound exactly the same. That’s how simple the whole thing was.



Here is an excerpt from USA Today‘s new Pearl Jam article:

After watching the film, Vedder says, he was sucker-punched emotionally by the band’s progression from scrappy upstarts to global superstars. “I was a little misty-eyed,” he says, admitting that being sucked into the past “felt scary” but ultimately worthwhile.

“In my mind, I can live and say I don’t have any regrets. If you do have regrets, you learn from what those mistakes might be. It’s hard being graceful with some of that stuff and going through that at the time. A lot of people didn’t know. You didn’t want to be talking about stalkers. You didn’t want to tell the story of some woman trying to kill herself by driving a car into a wall in the front of your house — while you had security there because it had been an issue for seven months.”

Interjects McCready: “Scary time.”



From the Ten Club board:

Pearl Jam
Credit Union Centre
Saskatoon, SK. CA
Sept. 19, 2011

01. Interstellar Overdrive-(Barrett, Mason, Waters, Wright)
02. Corduroy
03. All Night
04. God’s Dice
05. Got Some
{Ed sings “to the land of the free and the home of the Blades” a tribute to the local hockey team although the crowd initially thInks he is just singing the national anthem of the United States of America}
06. In My Tree
07. Dissident
08. Untitled
09. MFC
10. Red Mosquito
11. Nothing As It Seems
12. Given To Fly
13. Do The Evolution
14. Black
15. Spin The Black Circle
16. Setting Forth {Ed spots a young boy towards the front. He asks him his name and age.
(Dave, 10) He then dedicates “Setting Forth” to him}
17. Not For You/Modern Girl-(Sleater Kinney) {During the “my friends call me” part of the song Ed says “Hey Dave, You can call me” referring to the young boy to whom he dedicated “Setting Forth”}
18. Alive

19. Elderly Woman Behind The Counter In A Small Town
20. Just Breathe
21. Unthought Known
22. Evenflow
23. Betterman/I Wanna Be Your Boyfriend-(Ramones)/Save It For Later-(Charley, Cox, Morton, Steele, Wakeling)

{Ed introduces everyone in the band except for Jeff. The crowd chants “Jeff, Jeff, Jeff” while Matt plays a beat. Ed realizes what the crowd is saying and introduces Jeff Ament}
24. Runnin’ Back To Saskatoon-(Cummings, Winter) {The Guess Who}
{Mike knows the lyrics better than Ed and ends up singing some lead vocals}
25. Why Go
26. The Fixer
27. Runnin’ Back To Saskatoon-(Cummings, Winter) {Ed feels bad about not knowing the song and asks if anybody in the crowd knows it. A man named Brian comes up on stage and sings the first part of the song with Ed. Ed sings the last verse alone and improvises the lyrics to be about Mudhoney}
28. Porch
29. Baba O’Riley-(Townshend)
30. Yellow Ledbetter



Click here to read Mark Yarm’s new Wall Street Journal (online version) article about the 20th Anniversary of Nevermind, including a quote from me. I’d like to thank Mark for asking me to take part in this, and I encourage everyone to check out his book Everybody Loves Our Town: An Oral History of Grunge. The only mistake is that he said I live in Irvine Valley, California when it’s really Irvine. That’s probably because I told him the name of my community college, but no biggie! Great article, here’s’s part in it:

To gain some insight into why so many Gen-Yers are drawn to grunge, I called up Brett Buchanan, a 19-year-old community college student from Irvine Valley, California, who launched the popular news site in 2009. Buchanan told me he first became aware of the music of Pearl Jam and Soundgarden through his dad, now 49, who would play those albums around the house. “Grunge has that feeling of teenage angst that no music has been able to capture in the last 20 years,” says Buchanan, who estimates at least 40% of his readership is under the age of 20. “A lot of the music out there that reflects feelings of anger and disenchantment just sucks, like emo music. And then what should be the grunge music, the underground rock music of today is hipster music”—he cites Coldplay and Foster the People as examples—“which has no balls.”



Credit: Reuters

TORONTO: Pearl Jam Twenty, a film by Academy Award winning director Cameron Crowe, traces the first two decades of the band (Pearl Jam’s) journey. The film debuted at the Toronto International Film Festival this year where documentaries about musicians took centre stage. Other films featuring U2, Paul McCartney, and Neil Young were also screened at the festival.

Crowe and the band sat down after a screening of their film and talked about some of the music documentaries that really affected them.

Film-maker — Cameron Crowe

Can I do two? Okay, Gimme Shelter and Don’t Look Back. Gimme Shelter, because it’s just amazing, on-the-fly film-making and Don’t Look Back because it just captures the white-hot heat of somebody like Bob Dylan, who’s exploding and there are cameras and microphones everywhere.

Musician — Eddie Vedder

The Kids are Alright and Last Waltz. It reminded of the time I got caught smoking pot and got grounded for a week in the summer. And it wasn’t that bad, because all I did was listen to Last Waltz for 18 hours a day.

Musician — Matt Cameron

I saw Jimi plays Berkley and Jimi Hendrix (film). Those two films kind of blew my mind as a teen. And I also remember watching Freddie and his friends, about Freddie Mercury’s home life. It had nothing to do with the band Queen, just how Mercury was as a person. It was mind-blowingly cool.

Musician — Jeff Ament

There was a documentary that came out three or four years ago called American Hardcore. That was sort of the music that I learned to play and to see the footage of some of the Detroit bands and the Boston bands was pretty amazing.

Musician — Stone Gossard

Spinal Tap has got to be in there too. It really is something that affected me hugely.

Musician — Mike McCready

I would say one life changing film was Woodstock. My first concept of a rock singer ever was probably Roger Daltrey at Woodstock doing his thing. And Hendrix, of course his version of The Star Spangled Banner was the one that went into my soul and I grabbed it, grabbed it and I ran with it.

Published in The Express Tribune, September 19th,  2011.



From the Ten Club board:

Pearl Jam
MTS Centre
Winnipeg, MB. CA
Sept. 17, 2011
Set List

01. Why Go
02. Animal
03. All Night
04. Corduroy
05. Arms Aloft-(Bullen, Shields, Slatterly, Stafford, Strummer)
06. Amongst The Waves
07. Elderly Woman Behind The Counter In A Small Town {Ed says “I would like to send this one out to our friends Chris and Mira}
08. Wishlist
09. Daughter/WMA/It’s OK-(Cole)
10. Green Disease
11. The Fixer
12. Evenflow
{Ed forgets how to start “I Got Shit”. Stone shows him the first chords. Ed then talks about recording the “Mirror Ball” album with Neil Young. Ed says that he only recently came to the realization that part of “I Got Shit” is very similar to Neil’s “Cinnamon Girl”}
13. I Got Shit/Cinnamon Girl-(Young) {very brief only repeats a line twice}
14. Down
15. Olé
16. Unthought Known
17. Once

18. Inside Job
{Ed talks about hockey player Randy Jones and his wife driving for 36 hours to come to Winnipeg and them listening to Pearl Jam radio for all but one of those 36 hours. This prompts the crowd to chant “go Jets go”. Ed joins in playing guitar and singing “go Jets go” with the crowd}
19. Just Breathe (For Randy and Stephanie)
20. Present Tense
21. Comatose {The band starts song playing wrong chords. They stop playing and Mike starts into “Ain’t Talking ’bout Love”. Matt and Jeff join in while Ed dances. It doesn’t last long before they start playing “Comatose”}
22. Porch (during the outro Ed sings while standing on the barricade)

23. Search And Destroy w/ Mark Arm & Steve Turner of Mudhoney-(Pop, Williamson) {At Ed’s request Mark Arm dedicates the song to Ed’s brother Mike and his wife Sandy and congratulations them on the birth of their son}
24. Crazy Mary-(Williams)
25. Alive
26. Rockin’ In The Free World-(Young) {Ed says “this is for the Jets. Go Jets}
27. Indifference