During a recent interview with WMMR, Soundgarden frontman Chris Cornell was asked about Andy Wood having passed away just as Mother Love Bone was on the verge of breaking out commercially, and if had that not happened Pearl Jam never would have existed. Cornell gave his thoughts on if Eddie Vedder would still had cultural influence with his music had Pearl Jam never formed, as transcribed by Alternative Nation.
“Yeah, the thought crossed my mind I think before. For sure, I think Eddie’s creative output would have obviously come to be in a way that affects popular culture no matter what. I can’t imagine that that wouldn’t have happened, it just wouldn’t have happened in that way. I think that’s probably a difficult thing to kind of sit and think about, when you’re close to the person that’s died, that somehow their passing has made way for another forum that becomes really important (laughs), it’s sort of tough. But it’s definitely something that I’ve thought about, I’m not going to pretend that didn’t occur to me at some point.”
He also discussed living with Andy Wood.
“The funny thing is he ended up being my roommate because I called Stone Gossard and said, ‘My brother just left, and I need a roommate. Do you want to be my roommate?’ He’s like, ‘No, that’s alright, I’m pretty happy still living at home.’ I don’t know how old we were, we were still pretty young. Then he said, ‘You should call my buddy Andy.’ I kind of knew him, a little bit. I think he was looking for a place to stay in town because there’s an island thing going on in Seattle. There’s a big difference between being on an island and being in town. So I called him, and he moved in.
It was fun, because we were sort of having a friendly competition as singer-songwriters the whole time. I had a 4-track and I would record him, we were both writing songs all of the time. He was almost the opposite of me, in terms of how he dealt with his own sort of creative output. He seemed to have no editing voice in his head at all, he was just free, and he’d kind of write and record anything, and not really analyze it too much. I was sort of the opposite, I had an editorial staff in my head, arguing about what I’m doing.
I took that definitely from him as a lesson to just chill out and be creative and let someone else judge it, or judge it later, but don’t have that sort of circumvent the process in the moment. Like starting to work on a song and being like, ‘Oh no, this probably sucks. It sucks.’ The other dangerous one: ‘This is the fucking best song anyone has ever written.’ That’s where the argument comes in, then the other voice: ‘Uh uh, no it isn’t.’ ‘Yes it is!’ ‘No it isn’t!’ Then the third voice: ‘It doesn’t have to be either of those things!'”