Eddie Vedder of Pearl Jam discusses Epidermolysis Bullosa, a devastating skin condition, along with Dr. Jakub Tolar, a leading researcher, and brave kids and grownups who battle EB every day.
Jill & Eddie Vedder also discussed the disease on EBResearch.org, “We are thrilled to be able to support the brilliant work of leading doctors and researchers committed to identifying better treatments and ultimately a cure for this cruel disease. Our close family friends have a son with EB and we want to do everything we can to ensure a better quality of life for him and all children living with those types of genetic disorders.”
In partnership with Microsoft, Jill and Eddie Vedder were instrumental in creating the “Heal EB: Cause the Wave” campaign to raise $5 million for EB research. To learn more, visit causethewave.org.
Also according to EBResearch.org, “An individual with EB lacks a critical protein that binds the layers of skin together. Without this protein, the skin tears apart, blisters and sheers off, leading to severe pain, disfigurement, and wounds that never heal. EB affects the body inside and out. Blisters occur all over the body, as well as in the eyes, mouth, esophagus, and other internal organs. EB causes severe pain, disfigurement, and in too many cases, an early death from an aggressive form of skin cancer. It is estimated that EB affects at least one in every 20,000 births. EB is not specific to any ethnicity or gender. Given that EB affects only 30,000 people in the US, advancing this research relies on the generosity of individuals and corporations.”
Though the show seemed to divide fans and critics alike during its run, Star Wars: The Clone Wars was ultimately one of the most critically acclaimed animated programs of all time by the time of its abrupt cancellation in 2013. The cartoon managed to repair many of the perceived problems of the prequel trilogy, giving us a more complete look at Anakin Skywalker and Obi-Wan Kenobi’s strong friendship that was implied by the latter in Star Wars Episode IV: A New Hope. The show also gave us some memorable new characters, like Anakin’s apprentice Ahsoka Tano and the deranged bounty hunter Cad Bane.
Before we dig our teeth into Star Wars Rebels, premiering Friday night, here are ten of the best episodes out of The Clone Wars’ six year run…
Honorable Mention – Rookies (1.5)
I keep the first season episode “Rookies” as an honorable mention due to its resounding influence on the series, being the first episode that really caught the attention of fans for its tremendous quality. “Rookies” is a tale of sacrifice in war, and the episode managed to give each of its clone trooper characters a distinct personality. Being this episode is normally considered the best episode of the series, despite being so early in the show’s life, you might as well rename the rest of the list “Top Ten Clone Wars Episodes (That Aren’t Rookies)”.
10. Hostage Crisis (1.22)
Think Die Hard set in the Star Wars universe. Substitute John McClane with a lightsaber-less Anakin Skywalker and Hans Gruber with the memorable first appearance of the cold Lee Van Cleef-esque gunslinger Cad Bane, and you’ve got a memorable season 1 finale.
9. The Citadel (3.18)
Season 3 kicks off with a grindingly slow start due to multiple episodes about politics and poisoned tea (seriously), but the second half contains some of the best episodes of the entire series. The first episode of the Citadel attack arc possesses everything that made the original Star Wars trilogy great: swashbuckling action, humorous character banter, gray corridors, and a hunchback main villain who talks like Christopher Walken. Okay, on second thought, maybe the original trilogy didn’t have that last one.
8. The Mandalore Plot (2.12)
Though The Clone Wars was knocked for being too childish early on, The Mandalore Plot really veered the show into dark and disturbing themes like radical terrorism, suicide, and the pressures of building a new government. The episode pits Obi-Wan Kenobi against a sect of the Mandalorian Super Commandos called the Death Watch who seek to return their newly pacifistic home planet of Mandalore to its violent glory.
7. Bounty (4.20)
A personal favorite of mine, Bounty is a fun throwback to the original trilogy, featuring the bounty hunters Boba Fett, Bossk, and Dengar (voiced by Simon Pegg!) from The Empire Strikes Back fighting alongside estranged Sith assassin Asajj Ventress and a couple of bounty hunter newcomers. The entire episode is essentially one big action sequence on a train. You can never go wrong with train action sequences. Oh, and ninjas. You can never go wrong with ninjas.
6. In Search Of The Crystal (StarWars.com Special Feature)
This episode was actually not part of the show’s main 125 episode run; after the episode’s four part arc made it to the storyboard phase, the series was abruptly cancelled. Though Lucasfilm declined to fund the episodes alongside the others released as part of the Netflix exclusive final season, the crudely animated storyboards were fully voiced over, scored, and released for free on the official Star Wars website.
Even in its crude form, “In Search of the Crystal” was a very strong installment in the series, offering awesome moments like Anakin and Obi-Wan having an emotional conversation over a campfire, and Anakin fighting a small army of cyborg spider aliens with two revolvers after losing his lightsaber. No, seriously.
5. Massacre (4.19)
The second episode of the ‘Darth Maul Returns’ arc, Massacre is one of the more macabre of the series, pitting the terrifying Nightsister clan of witches on Dathomir against the droid armies of the Separatists, complete with voodoo and 28 Days Later-style zombie warriors.
The Nightsisters originated in Dave Wolverton’s 1994 novel, The Courtship Of Princess Leia. George apparently liked the concept of “Sith Witches” so much that he decided to induct them into his own film canon. In The Clone Wars, they serve as the origin of Darth Maul and the Sith assassin Asajj Ventress.
4. The Lawless (5.16)
The “Darth Maul Returns” arc culminated with “The Lawless”, perhaps giving us the most memorable lightsaber battle of the series: a recently resurrected Darth Maul (!) and his brother Savage Opress vs. Darth Sidious, Emperor Palpatine, on the planet Mandalore. By combining the Mandalorian and Darth Maul story arcs, complete with Mandalorians wearing armor in the design of Darth Maul’s tattoos, “The Lawless” just drips fan service.
3. Carnage of Krell (4.10)
“Carnage of Krell” is the finale of an arc chiefly inspired by Joseph Conrad’s novella “Heart of Darkness”, or more specifically the movie it inspired: Apocalypse Now. The “Umbaran Arc” gives us a unique and visually appealing locale and villain, substituting the neon planet of Umbara for the Vietnamese frontlines and the deranged Colonel Kurtz with rogue Jedi general Pong Krell, all the while fleshing out the clone trooper characters (an amazing feat, considering all the clones look and sound virtually identical) and giving us intense action.
2. The Wrong Jedi (5.20)
Finally explaining Ahsoka Tano’s strange absence from Star Wars Episode III: Revenge of the Sith, The Wrong Jedi was, at the time, the series finale, before Netflix picked up the show for a sixth and final season. “The Wrong Jedi” is quite possibly the most heart wrenching episode of the series, even moreso with its somber, depressing tune in the closing credits instead of the usual triumphant Clone Wars theme.
1. Sacrifice (6.13)
Serving as the series finale, Sacrifice is the culmination of a story arc focused on Yoda and his journey in learning the secret of immortality, encountering the spirits of Qui-Gon Jinn (voiced by Liam Neeson) and the legendary Sith Lord, Darth Bane (voiced by Mark Frikkin’ Hamill) along the way. The story arc finally gave us a glimpse at the Order of the Whills first mentioned in the novelization of Star Wars Episode IV: A New Hope, depicted here as beings of pure energy who teach Yoda how to retain his physical form even after death. Filled with trippy imagery and some bold new revelations of Yoda’s role in the saga as a whole, Sacrifice at once foreshadows all the dark events to come in the saga while remaining optimistic.
Today is the 8 year anniversary of The Killers’ second album Sam’s Town, which was released on October 2, 2006. Frontman Brandon Flowers initially boasted that the album would be “one of the best albums in the past 20 years,” and while many prominent critics maligned him for the statement: he was right.
Sam’s Town was a complete departure for the Las Vegas rockers, with the band abandoning their British new wave Hot Fuss sound, and embracing their Bruce Springsteen and U2 influences for an album filled with a bombastic Americana and hometown pride. Flowers told London’s Metro Newspaper, “Well, I feel the need sometimes to defend where I’m from. When we first came out as a band, Bush was president and there was a strong anti-American sentiment.”
He continued: “I felt it as we were traveling the world, so it made me want to push back a little bit, because we have good people with big hearts. We’ve seen it shift and change since Obama became president but I was young and trying to understand it all.”
Flowers also traded his guyliner and snazzy suits for a mustache and classy cowboy look for the release of Sam’s Town, with his bandmates following suit. While Flowers’ stache has become one of his most memorable looks, he told GQ in 2011 that he regretted it, “The mustache—I was never happy with the fullness of it. I was a bit too young. Maybe I’ll bring it back in my mid-thirties.”
Drummer Ronnie Vanucci Jr. told Racket Mag in 2007 that band’s change in style and sound was not contrived, “I think there’s a much more natural evolution to the band than most people see,” he says. “All they see is Hot Fuss. They see pink leather jackets, then with Sam’s Town, they see handlebar moustaches. We weren’t trying to make any statement. It wasn’t any type of contrived idea, it’s just who we grew into in the past four years of being a band.”
While Sam’s Town did receive its share of praise in the press at the time and ended up selling 5 million copies worldwide, many prominent outlets ripped the album. Rolling Stone gave the album 2 stars, and said, “On Sam’s Town they seem like they’re trying to make a big statement, except they have nothing to say.” Alternative Press called the album “a cluttered, derivative mess.”
Despite these critics, Sam’s Town is one of the most ambitious albums of the 2000’s. Especially in an age where hipster ideology is increasingly discouraging bands with ‘integrity’ to write huge sounding songs, and where the writers of huge pop hooks have no passion, albums like Sam’s Town are a dying breed. Flowers sings massive arena sized hooks inspired by his patriotism, dealing with the rock and roll lifestyle testing his faith, his social awkwardness, love, and his fear of flying. Quite a few of these issues were, and are, ‘unhip’ topics to write songs about, but Flowers believes every word he sings, and that’s why Sam’s Town works.
The album opens with the title track Sam’s Town. Flowers told NME in 2006, “We wanted to come back unashamedly and this was the perfect way of sounding confident and strong. Everybody puts their tails between their legs when they make their second album, but we wanted to come out all guns blazing and that’s what ‘Sam’s Town’ sounds like.”
The short “Enterlude” follows, giving the album somewhat of a concept feel.
The classic “When You Were Young” is next. The song is arguably the quintessential Killers song, with the single being so red hot during the Sam’s Town tour that the band would often reprise the song to close shows. Flowers told London’s Metro Newspaper that the track was inspired by two conflicting sides, “I have these two sides that are constantly fighting. There’s that desire to represent where I’m from, that dusty American road pushing against the fantasy world and European music that I grew up with. Sometimes when they meet in one of our songs, like ‘When You Were Young’, it’s great.” The track features one of Dave Keuning’s most memorable Killers riffs that led to Guitar Hero 2 making “When You Were Young” one of its featured tracks.
“Bling (Confessions Of A King)” hits some of the most ambitious melodic highs of the song, which is fitting as Flowers sings ‘higher and higher’ ad nauseum during the track. “For Reasons Unknown” is one of The Killers’ more underrated singles, it is a straight ahead midtempo rocker about losing the excitement of youth. Flowers sings, ‘But my heart/it don’t beat the way it used to/And my eyes/They don’t see you no more/And my lips/they don’t kiss/they don’t kiss the way they used to.’
“Read My Mind” is an instant Killers classic about broken love. Brandon Flowers discussed the track with NME in 2006, “It’s the best song we’ve ever written! It has a hymn like spirituality and there’s a story – it’s what you strive for in a song. It used to be called Little Angela and it was totally different. It had a rock beat and my lyrics told a small love story. Flood and Alan [Moulder] came in and made a stab at my lyrics and had Ronnie play a disco beat. I started singing this different story and within a few hours it was a different song.”
“Uncle Jonny” is one of the harder rocking songs on the album, with Dave Keuning’s grungy riff and Mark Stoermer’s bass driving the track. “Bones” is one of the more light hearted songs on the album, with a horn section heard throughout the song. “My List” is the only real ballad on the album, and it is placed perfectly amid some of the album’s more bombastic tracks. “This River Is Wild” is one of the ‘biggest’ sounding songs on the album. Brandon Flowers told NME in 2006, “It’s a strange one. Some people already hate it; some people like it, but the ones who love it are diehard. I love it! If ever there’s been a musical journey this is it. When I listen to it I don’t want it to end. Each chorus is different, that’s untypical of us, so it’s our shot at doing something different.”
“Why Do I Keep Counting?” builds gradually before its thunderous finale. The Queenese song is about Brandon Flowers’ fear of flying, and contemplating his own death and praying to survive. Flowers sings: ‘Am I strong enough to be the one/will I live to have some children?/Help me get down/I can make it help me get down/if I only knew the answer I wouldn’t be bothering you father.’
“Exitlude” brings Sam’s Town to a conclusion, a fitting finale to one of the 2000’s best albums. Brandon Flowers told NME in 2006 that it was designed to make you want to head right back to Sam’s Town, “I didn’t want to be melancholic, and everybody seems to be reminiscing about last month these days as opposed to good times, so I think the beauty of the ‘Exitlude’ is there’s sadness to it but it’s not over. You want to go back to Sam’s Town, and I do too.”
Everyone at some point has gotten fed-up of the same repeating tracks on your favourite video game, generic blasts of dubstep bass (we’re looking at you Battlefield 3) or just huge orchestral pieces that start to put you to sleep after a while (aka Skyrim).
That’s why many of us stick on some extra tunes to listen to as we play our favourite games. There’s a ton of tracks to listen to and everyone has their own personal tastes and preferences.
We’ve selected our favourites and ones worth listening to during your next big gaming session.
1: Linkin Park – One Step Closer
‘One Step Closer’ is fantastic for those moments in a shooter where your frustration takes over and you go into an almost berserk state as you fire off round after round at anything that moves. It’s great for getting you pumped up to go and earn kill streaks as you become one step closer to winning a match.
2: Jack Lawrence – La Mer
Jack Lawrence’s ‘La Mer’ is probably more widely known as Frank Sinatra’s cover version ‘Beyond the Sea’. You can probably see where we’re going with this, this song is ideal for playing anything from the Bioshock franchise. It scratches that swing music itch, adds to your immersion and relaxes you before that inevitable nerve-wracking fright you’ll get from the next unseen Splicer to lunge out at you.
3: Drowning Pool – Bodies
Although it’s over done in a lot of FPS gameplay videos, this songs got a nice rhythm to it and there’s a great kick to each section of the chorus that makes it perfect for running and gunning.
4: Michael Jackson – Thriller
Although this choice may seem a little left-field, Thriller is a fantastic track for adding a little humour to games like Dead Rising or to ease the tension after a bad round in Call of Duty’s popular Zombie mode.
5: Johann Strauss – The Blue Danube
This one is more for comic effect really, classical music that’s ideal for those sections of a game where you’re floating weightless through a spaceship like in Dead Space of the Space Station sections in Call of Duty: Ghosts.
6: Skillet – Monster
Skillets Monster is a fantastic choice of track for those FPS sessions where you feel absolutely unstoppable; it’s a perfect match for those sections of Modern Warfare 3 when you play as an unstoppable Juggernaut with a huge chain gun.
7: Queen – Don’t Stop Me Now
Whether slamming into first place on Mario Kart or executing a flawless drift around a corner in Forza, what better way to announce to everyone watching that you can’t be stopped than by playing this classic Queen song. Take it from us, there is nothing more satisfying than crossing the finishing line with a Brian May solo playing as you celebrate your victory.
8: The Proclaimers- 500 Miles
This song is good for those long grinding sessions in MMO’s where you’re constantly traipsing around zones or doing the obligatory run back to the town merchants to dump your inventory.
In games like WoW where the areas are huge and the villages are few and far between, it really helps as you run mile after l mile to grind up those few extra experience points.
9: Cage the Elephant – Ain’t No Rest for the Wicked
Often referred to as the song from the Borderlands intro, this track is brilliant for those late night games of Borderlands or Left4Dead as you and your crew of friends stay up into the small hours of the morning blasting various zombies and creatures into tiny gooey bits on your screen.
10: Survivor – Eye of the Tiger
This one’s a tad stereotypical, but with the announcement of a new Smash Brothers coming to both Wii U and 3DS it’s a great pick, whether to celebrate your survival at the end of a match or just as an anthem to blare out as you knock foe after foe out of the stage with your chosen characters smash attacks.
Some of these tracks are quite energetic so you could perhaps calm yourself down afterwards by playing something a bit more slow paced like a casino game on a few bingo sites.
These tend to be a lot simpler and rather relaxing, if you’re unsure where to start, you could try out Pg Bingo to learn which ones are worth checking out.
A few days work has passed. And what can be said of it other than one starts to feel an eerie sense of having been somewhere before. With that comes the inevitable questions: ‘How did I get here?’; ‘Do I want to stay?’; ‘What matters anymore?’; questions made harder to answer because Album #1 is on the runway.
Sure, we feel confident about it. And I can tell you that the state of the record business is such that any success is both fantastic and just as capable of eliciting a yawn. An effect smart pundits have long described without themselves having to go through the process of making records for a general public who generally no longer wants them. Case in point: we, Jeff and I, *are musicians because we *enjoy making music. Strange, a’int it?
“Just do what you want,” fans tell me. But honestly, what the fuck does that mean? Because what I really want to do is play whatever I want when I want, and record whatever I want when I want. And if you can think back that far, that is the career (there’s that word again) that I set up.
I do, now, more than ever, applaud those artists getting it done; even if I should disagree with their body politic. For I miss hearing a record that makes me step back and go, ‘holy shit, where did that come from?’ There is a lot to blame: the rise of the audience vote, the rise of computers, the rise of nothingness; or Satan even. But mostly I blame myself for not being grateful.
I’ll skip though saying thank you, as in y-o-u. So instead: all thanks then to God, as in G-o-d.
I’m the one who refuses to see what I don’t like. I’m the one who refuses to call a snake a snake. ‘Cause I’m the one who wonders, like the song, ‘who am I, and how did I get here?’
My name is William. I play, have played, and will play in a band called The Smashing Pumpkins till the day I die; even if it’s only in my mind. The ideas, the personas, as evident by now, are synonymous. And despite my acting duff about it, I am plagued by that which I cannot control. What is antidote to that? To stop, to quit, to give up.
DAY FOR NIGHT, the album, is best I can tell thus far going to be about that refusal to stop. It is about the acceptance of autumn, and the small kernel of hope we place with Diana, and spring. Or Persephone, and her magical seeds.
For life, you s-e-e, gods and goddesses, goes on without y-o-u if you let it. And I (there is but one way to claim I) am testament.
Live are set to release their ninth studio album, Turn, later this month on October 28th via Think Loud Recordings. You can watch the recently released music video for their newest single, “We Open The Door” below:
Montgomery’s Green Diamond Gallery released photos of Eddie Vedder hanging out with some Cincinnati Reds baseball legends:
“A BIG thank you to Sean Casey, Pete Rose, Chris Welsh, Bronson Arroyo and Eddie Vedder for such a memorable evening. The night began with The Hit King holding court, sharing story after story; and ended with Eddie Vedder and Bronson Arroyo sharing time on the guitar, playing and singing song after song!!”
With former Audioslave members Tom Morello and Tim Commerford recently attending Chris Cornell’s 50th birthday party, and Cornell/Morello reuniting for a Seattle performance, many are speculating that Audioslave will soon reunite, 7 years after their 2007 breakup. AlternativeNation.net reporters Brett Buchanan, Riley Rowe, Mike Mazzarone, and Doug McCausland recently sat down for a roundtable looking back at Audioslave’s 2000’s run, and analyzing the prospects of a reunion.
Mike Mazzarone: I SAY HEEEEEEEEEEEEEEY WHY YOU SCREAMIN AT THE TOP OF YOUR HEAD!
Brett Buchanan: You there Riley?
Riley Rowe: Hey sorry, you gotta scream louder next time.
Brett: Anyways, down to business. Recently, Tom Morello and Tim Commerford attended Chris Cornell’s 50th birthday party, and Morello and Cornell performed together in Seattle last week, fueling speculation that a full fledged Audioslave reunion is coming. My question today is: what do you think about Audioslave possibly reuniting? Does this excite you or not? Were you a fan?
Doug McCausland: I got into Audioslave around the same time they broke up, so I never had the chance to see them live. It’s hard to believe that was already 7 years ago. I think it would be neat if they got back together for at least a few shows, considering Rage Against The Machine isn’t doing jack.
Riley: Of course an Audioslave reunion is exciting. They were an awesome supergroup and put out some great songs. I think at the time, they had just run their course. Revelations wasn’t a very memorable album.
Mike: I enjoy Chris Cornell. Soundgarden and his solo stuff. But Audioslave never did it for me. “Be Yourself” was alright, brings me back to the days of when I was a pubescent teenager watching the WWE Diva Search. That’s it.
Brett: I love Audioslave’s first album. I think it’s among the better rock albums of the 2000’s, but I’m not a fan of the other two records. I like some of the hits like “Doesn’t Remind Me” and the “Revelations” title track, but those two records just weren’t my bag. I’d be interested in seeing them do the first record front to back, but otherwise an Audioslave reunion isn’t the most exciting thing in the world to me. The band ran its course, as did the whole supergroup thing. They split about a year before Velvet Revolver. Tom Morello seems free artistically with his own projects.
Riley: I agree that the second and third albums were less heavy, but they were still very emotional and showed a different side of Cornell that we normally wouldn’t see.
Doug: Audioslave’s records aren’t something I’d dig into front to back like I would for Soundgarden, Rage Against the Machine, or Chris’ earlier solo material, but each record had a handful of solid songs on them. Maybe Chester Bennington can join Velvet Revolver to open on the reunion tour.
Brett: I just thought the songs were kind of flat. I don’t really care about heavy, I love Euphoria Morning. Like I said, Out of Exile and Revelations just weren’t for me. Seeing the first album performed front to back would be appealing to me, but do these guys really want to do that? At least my feeling on Cornell is these days he seems most inspired with the Songbook tours and the select acoustic material he’s recorded over the last few years, and Morello seems very content with his projects. Maybe some high paying festival gigs could be in the works or something? Who knows.
Riley: I’d assume they’d mostly play the first album. I don’t think they’d need to play more than 2 songs off Revelations. It would definitely be the cherry on top if they incorporated material from all their projects.
Brett: Also how would Cornell balance Soundgarden and his solo stuff with Audioslave? As we’ve seen with Maynard James Keenan, something’s got to give usually. Would Soundgarden just be an on and off touring act if Audioslave made a new record? Or a tour together maybe?
Riley: Oh, I definitely think a reunion would be difficult with the members’ busy schedules. I’m just saying it would be a cool event. It would be very awesome to hear new material from them again.
Brett: I think it’d be a very profitable thing especially with major festivals, even if they just focused on that with performances largely based around the first album and major hits. Personally though it’s just not something I’m that excited about, I think Audioslave ran its course. Great first record, a couple more hits I enjoyed, but in 2014 I’m just not that pumped. I’m more excited for the next Dead Sara record.
Mike: I would have to agree. There is just more on my mind right now when it comes to rock than an Audioslave reunion. A few tracks I like, I’m sure the Cornell diehard will line up and plop money down for a reunion tour. It’s gonna be profitable, but it’s not for me.
Riley: Would you go if they played Soundgarden and RATM songs too? Or if they played new material?
Brett: Soundgarden will tour again in the future so there’s no point in compromising their business. Obviously the number one priority in anything for me is to hear good new music, but I’m only interested in hearing new material live if I like it. So I’d have to like it to be interested in seeing it live. But these guys are like 50, they’re all legends, but I don’t think they’re going to write another “Cochise,” it’s just a different time in their lives. That’s why I enjoy Cornell’s Songbook stuff and Morello’s projects he’s done, it seems very fitting for 2014. Hell even the type of performance Chris and Tom did in Seattle seemed fitting.
Riley: This is awesome, you can’t deny it. Even the songs I don’t remember at all sound good.
Riley: Proof is in the pudding, baby.
Brett: Oh yeah, that Cuba show was awesome. But it already happened.
Riley: So hell, if they reunited and played a show like that I’d be so down to see a performance like that.
Brett: I think Audioslave could put on some good shows, but that Cuba show was like 10 years ago. The energy they had at that show was lightning in a bottle, you can’t repeat or relive history. We’ve learned that with other reunions we’ve seen. If they were actually to do something else to elicit that same response from you, it’d need to be something fresh. I don’t know, I just want something new in rock. I want the next Chris Cornell, and the next Tom Morello. And I also want those guys to keep pushing forward artistically.
Riley: I’m sure they could write something better than King Animal.
Brett: I thought Soundgarden themselves would write something better than King Animal, but you just never know. It’s not 1994 any more, or even 2004. Things are different with reunions, and our preferences might be different than somebody who is 40 now and grew up on Soundgarden in the 90’s and then went through their late 20’s and early 30’s with Audioslave. But if Audioslave do reunite, hopefully there’s some awesome shows at the very least and some songs I like off a reunion album. I love “A Thousand Days Before” off of King Animal. But an Audioslave reunion is just another thing to me, not something that’s going to consume my mind like when Soundgarden first reunited. I have bigger fish to fry now, like imagining what the Scott Weiland/James Iha collaboration will sound like, and wondering if Billy Corgan’s cats Mr. Thom and Sammi will join the Smashing Pumpkins. That’s what dreams are made of.
Brett: I think the one thing we can conclude is that Audioslave have been away too long.
Doug:First Audioslave reunion single: “I’ve Come Back After Awhile”
KISS’ Gene Simmons defended his rock is dead statement in a new interview with Kansas City Live TV.
“Rock and roll is dead. I’m gonna ask you a question, and you decide, okay? From 1958 until 1988, it’s 30 years, name hundreds and hundreds of classic rock acts. Okay, I’ve got Elvis Presley, The Beatles, The Rolling Stones, Jimi Hendrix, Led Zeppelin… on and on and on. Even Motown… Madonna, Prince, Michael Jackson. From 1988 until today, just give me five. You can’t name [them]. Iconic [newer artists]? No. Nobody. How about that?”
The reporter later said in his wrap up that Nirvana are an iconic band that came out after 1988. See a photo of Simmons with Eddie Vedder from the non iconic band Pearl Jam below, along with video of the full interview, and artist responses to Simmons. Simmons made some great points in his initial statement about the state of rock, but rock was definitely still alive in the 90’s.
Jane’s Addiction frontman Perry Farrell covered “Here Comes The Sun” at GeorgeFest in Los Angeles at the Fonda Theatre over the weekend. Watch video of the performance below.
George Fest performers included Brandon Flowers and Mark Stoermer of The Killers, singer-songwriter Norah Jones, Brian Wilson of The Beach Boys, Ben Harper, and Wayne Coyne and Steven Drozd of The Flaming Lips.
This night of music coincided with the release of George Harrison: The Apple Years 1968-75. It is a reissue of his first six solo albums. View the setlist below from Consequence of Sound.
Awaiting on You All – The Cabin Down Below Band
Old Brown Shoe – Conan O’Brien
If I Need Someone – Jamestown Revival
For You Blue – Chase Cohl (w/Brian Bell)
Isn’t It a Pity – The Black Ryder
If Not for You – Heartless Bastards
Any Road – Butch Walker
Taxman – Cold War Kids
Be Here Now – Ian Astbury
Art of Dying – Black Rebel Motorcycle Club
I Me Mine – Britt Daniel
I’d Have You Anytime – Karen Elson (w/Norah Jones)
Give Me Love (Give Me Peace on Earth) – Ben Harper
What Is Life – Weird Al Yankovic
Let It Down – Dhani Harrison
Ballad of Sir Frankie Crisp – Big Black Delta (w/Dhani Harrison)
Savoy Truffle – Dhani Harrison
It’s All Too Much – The Flaming Lips
Here Comes the Sun – Perry Farrell
Wah Wah – Nick Valensi
Behind That Locked Door – Norah Jones
Something – Norah Jones
Beware of Darkness – Ann Wilson
Got My Mind Set on You – Brandon Flowers
My Sweet Lord – Brian Wilson (with Al Jardine)
Handle with Care – Britt Daniel, Weird Al Yankovic, Wayne Coyne, Brandon Flowers et al.
All Things Must Pass – Dhani Harrison, Ann Wilson, Karen Elson, Norah Jones et al.