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Eddie Vedder and Stone Gossard discuss some of their favorite songs from the new album

 

"Gone" : A mid-tempo Vedder rocker chronicling a man desperate for a fresh start.

 

Vedder: "[We were in Atlantic City and] I wanted to play a song the next night. I went to learn it and it didn't come right away, so I started playing something else, and it was ["Gone"]. What's nice about it was that it was done in an hour or so, with backgrounds. I played it the next night at the show. The idea was that this guy was leaving Atlantic City and needing to find a new life without his past, without his possessions, and not really looking for more possessions. Because it takes place in a car, it's probably very similar to "Rearviewmirror" in a way. But I think this car is a hybrid, because I think he's only got one tank of gas, so I want him to go far."

 

"Come Back" : A simple love song, whose subject aches for the presence of an absent partner.

 

Gossard: "Ed had a really strong lyric. It's a powerful emotional state for him to be singing about. He really felt like it had to be perfect. We didn't spend a lot of time cutting it. But in terms of getting the guitars right, the thing that kept happening was that we kept pulling everything off. As soon as we'd put something down, it was like, 'No, just let it be the drums, bass, vocals and these simple chords.'" We've been playing it in rehearsal and we're still learning it and exploring it."

 

Severed Hand : A surprisingly funky tune about a man hell-bent on doing whatever he pleases.

 

 

Vedder: "I started writing that one in a hotel room in Virginia the same night I wrote [the "Riot Act" track] "I Am Mine." It was before we played our first American show after Roskilde. I was just kind of holed up in a room and it was lightning outside. I had it around for years and didn't know where it was supposed to go next. I think we even tried doing a bit of it for "Riot Act" but probably didn't spend more than an hour or two on it. It had been sitting in port for awhile. I just wanted to get thing out on the water. We finally got it going and then it turned into a fucking speedboat."

 

Gossard: "That song is pretty intense in terms of the perspective of someone who says, 'F*** it. I'm going to go lose my mind. That's how I want to live right now.' It's a little bit anthemic. It's not necessarily embracing it, but everyone can relate to that feeling of, 'F*** it. I'm going to go get drunk.' That's an intense perspective to have. It's cool that it's balanced out on the rest of the record with some real characters."

 

"Inside Job" : The album's epic closer, featuring the first McCready lyrics to appear on a Pearl Jam album.

 

Vedder: "When you get overwhelmed by the current state of affairs and the time we're living in, it seems like one way out is to kind of look within. If nothing else, affect some change in yourself. If you're in a position of feeling pretty together, at that point, then you feel like you can make a contribution to society, as opposed to being a f***ing wreck and just adding to the pile of destructive forces you can find yourself surrounded by. And that's exactly, verbatim, what's in the song really, like "shining a human light." That's all from Mike."

 

 

 

"We're going to make better and better records as we get older, especially considering this one kind of rocks harder," Gossard says with a tinge of bemusement. "Why should we be rocking harder now? Isn't this when we're supposed to ease into the whole Pink Floyd groove?"

 

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Moj favorit trenutno: Severed Hand

Said "it's ok, do you want some more?"

I said, "yeah!"

"You'll see dragons after 3 or 4"

I said, "yeah!"

 

Edijev intervju u RollingStone-u

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Pearl Jam's leader on the difference between surfing and crowd surfing, and the best advice Bob Dylan gave him There's so much information in the songs and the lyrics that it felt like one more title was almost pretentious," says Pearl Jam's Eddie Vedder. That's just one explanation for why the band's eighth studio album is simply called Pearl Jam. Another would be that it is the group's most democratic effort since its massive 1991 debut, Ten. On songs like the laid-back acoustic beauty "Parachutes" (music written by Stone Gossard), the eight-minute trip "Inside Job" (lyrics by Mike McCready) and the first single, "World Wide Suicide" (which is killing at radio), PJ brought a live feel to the studio, laying down tracks that showcase tasty guitar interplay and a heavy backbeat. "When you collaborate, you still have this urge to stay in the studio after everybody's left and do things the way you want to," says a chilled-out Vedder on a cold, dark day in Seattle. "But you can't do that."

What instruments did you have around the house growing up?

 

My brother got a guitar, we got a stand-up piano, and then I got a Les Paul-copy guitar. It looked like the guitar Ace [Frehley] played. My brother excelled immediately -- he was playing blindfolded and I couldn't push down a chord. I was very disturbed by that. Then after a year, all of a sudden it felt like a friend. I'll never forget it.

 

Was there a moment?

 

Yeah. It was "Cat Scratch Fever." All of a sudden, the guitar felt right. This guy, Bud Whitcomb, I'd do weeding in his back yard to get free lessons, but he wouldn't teach me anything but bar chords. I hated him for it -- that was a lot to ask of twelve-year-old hands. I remember Bud went on vacation, and I went to church, and they had this booklet of songs -- like "Black and White" -- with charts with open chords in it. And I stole it! Suddenly the open chords made me feel like writing.

 

What do you remember about your first gig with the Pearl Jam guys in 1990, as Mookie Blaylock?

 

On the sixth day of my first trip to Seattle we played a gig, and on the seventh we were supposed to rest, but we recorded. The show was at a place called the Off Ramp, and we were opening up for two other bands. I remember during our sound check, they opened the doors. I was singing with my eyes closed to an empty room, and I opened my eyes for the last chorus, and the place was full. It's a good analogy for how quick things happened for us.

 

What was it like meeting Dylan at his thirtieth-anniversary concert?

 

Everyone congregated in a corner of an Irish bar in New York after the show. Some real history took place that night. The oldest Clancy brother was reciting eight-minute Irish poems; Ronnie Wood and George Harrison were there. We were about to do our second record, and Bob passed on a few lessons to me there in the corner, one of which was "Don't read anything in the paper, don't watch TV. Get away." I felt the same way. Back then I felt like we were part of the pollution.

 

You bootlegged concerts growing up. Still have the tapes?

 

I've still got them. I listened to them a lot. Music, for me, was fucking heroin. It was something I needed. Live shows gave me strength. A day or two after a show, the high would wear off, but listening to the bootlegs with your eyes closed was like getting high again. Like an X show, or the Tubes, or the Who. I was a user.

 

Can you compare surfing with crowd-surfing?

 

The crowds are much more dangerous, because of the germs and bacteria in a sweaty mosh-pit circa 1992. Surfing is like no other thing I've felt, except for music and holding your newborn.

 

What's the most amazing thing you've seen from the stage?

 

I remember a gig in Florida at a big baseball stadium, toward the end of our Vs. tour. There were three pits -- it looked like a Norelco razor. I remember a wheelchair being carried to the front. We got him onstage during "Rockin' in the Free World." Last year I heard that he was one of the guys in Murderball.

 

No way! Last year you hopped onstage with Kings of Leon. Are they your favorite young band?

 

They hit a reflex in me. They opened for U2 and we hung out, and the next night we played "Slow Night, So Long." I bashed some tambourines -- it was exciting. The new Strokes record is also a great piece of work. Caleb [Followill] and Julian's [Casablancas] vocal deliveries are great, and unconscious -- it's like what they said about Sinatra or Joey Ramone or Lennon and McCartney.

 

Was there something unique to writing "Elderly Woman..."? Did that spring from a dream?

 

It's funny you say that. You're exactly right. We were recording Vs., and we were staying in this house in San Francisco, but I was outside in a little outhouse, in my own world. I slept in there too. It was the size of a bathroom, and I was able to fit a little amp and a four-track. I was dreaming that I was going back to where I lived in San Diego, and when I woke up, the dream was still alive. It came out right quick -- I don't even think I scribbled down the lyrics. It was bizarre.

 

Do you feel better listening to Pearl Jam than you felt about previous albums?

 

Looking back, you can say, "This record is a little midtempo" or "Why was that the single?" but I can't necessarily answer objectively. Melodically speaking, the new songs are pretty strong. I think the drumming is impeccable. And we've figured out a way to create space for the guys in the band, for them to get to that level of energy that they have when we play live. I'm not sure how that happened, but I think it's a step in the right direction.

 

What kind of wine do you like to guzzle onstage?

 

As long as it's red and there's a spare in the back...

 

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Vec jako dugo PJ ne prave albume po mom ukusu, tako mi ni ovaj nije nista posebno. Dinamican je, neopterecujuci i to je OK. Moze komotno da se slusa, ali nema po meni nikakve dubine, kakvu su imala prva 2 albuma. Mislim da ovaj album nje losiji od nekoliko prethodnih. Muzika je u okvirima standarda, tako da ce ljubitelji ovog zvuka sigurno moci da uzivaju ... ja cu ipak radije pustiti Ten i posle 15 godina slusanja ...

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Aug 23 Dublin, Ireland The Point

Aug 25** Leeds, UK Leeds Festival

Aug 27** Reading, UK Reading Festival

Aug 29 Arnhem, Netherlands Geldredome

Aug 30 Antwerp, Belgium Sportpaleis

Sept 2** Vitoria, Spain Azkena Rock Festival

Sept 4 Lisbon, Portugal Atlantico Pavillion

Sept 5 Lisbon, Portugal Atlantico Pavillion

Sept 7 Madrid, Spain Arena

Sept 9 Marseille, France Le Dome

Sept 11 Paris, France Bercy

Sept 13* Bern, Switzerland Arena

Sept 14 Bologna, Italy PalaMalaguti

Sept 16* Verona, Italy Arena

Sept 17 Milan, Italy Forum

Sept 19 Torino, Italy Palaisozaki

Sept 20 Pistoia, Italy Duomo Square

Sept 22 Prague, Czech Rep Sazka Arena

Sept 23 Berlin, Germany Wuhlheide

Sept 25 Vienna, Austria Stadhalle

Sept 26 Zagreb, Croatia Dom Sportova

Sept 30 Athens, Greece Oaka Basketball Arena

 

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Guest Pirate
ma dolaze i kod nas...moraju...

Mislim da sam negde procitao ili cuo, da je u opticaju datum 27.9. za gostovanje u BG i to cini mi se pre neke tri nedelje.Izgleda gde ima dima ima i vatre icon_rolleyes.gif

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Vec jako dugo PJ ne prave albume po mom ukusu, tako mi ni ovaj nije nista posebno. Dinamican je, neopterecujuci i to je OK. Moze komotno da se slusa, ali nema po meni nikakve dubine, kakvu su imala prva 2 albuma. Mislim da ovaj album nje losiji od nekoliko prethodnih. Muzika je u okvirima standarda, tako da ce ljubitelji ovog zvuka sigurno moci da uzivaju ... ja cu ipak radije pustiti Ten i posle 15 godina slusanja ...

Sasvim si u pravu. Valjda je i za njih nastupio onaj period lutanja i traganja nove inspiracije i zvuka, ili su pak na zalasku karijere, a nadam se da nije tako...

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