Pearl Jam's "TEN" (1991): Track by Track!

<v Speaker 1>Hello everybody, and welcome to the Surely Can't Be Serious podcast,
<v Speaker 1>discussing and debating the iconic and the forgotten of eighties
<v Speaker 1>and nineties pop culture with your co hosts James D.
<v Speaker 1>Graves and Jason Colbin.
<v Speaker 2>Welcome everybody. We are here for part two of the
<v Speaker 2>Nevermind and ten Comparison. I am here with my buddy Jason.
<v Speaker 3>What's up, Hey doo man.
<v Speaker 2>I'm doing awesome wearing my flannel shirt, my knee length shorts,
<v Speaker 2>and my combat boots.
<v Speaker 3>I'm about to do a stage dive right now, right
<v Speaker 3>into the middle of this podcast.
<v Speaker 2>You know you talked when we did def Leppard about
<v Speaker 2>been waiting thirty five years to do this. This is
<v Speaker 2>one of those ones that I'd love to talk to
<v Speaker 2>anybody about anytime. It's been neat to do the deep
<v Speaker 2>dive into this and learn all this stuff. This was
<v Speaker 2>one of those albums growing up. I might have listened
<v Speaker 2>to this album from beginning to end more than any
<v Speaker 2>other album that I've ever listened to.
<v Speaker 3>That's cool, I'm excited to get into. That was hysteria
<v Speaker 3>for me. If I had a clicker every time I
<v Speaker 3>listened to it, that would be the highest one for me,
<v Speaker 3>that and Thriller probably so.
<v Speaker 2>In our research, I read that this was ranked like
<v Speaker 2>number two hundred and seven out of best albums by
<v Speaker 2>Rolling Stone or something, which I just thought to myself,
<v Speaker 2>I could probably listen to two hundred and six albums
<v Speaker 2>and go nope, nope.
<v Speaker 3>Nope, Wow, this is number one for you. Huh.
<v Speaker 2>It's really really good. I mean, there, you know you've
<v Speaker 2>got You've got some Pink Floyd albums that are fantastic
<v Speaker 2>from beginning to end out there, and just a very
<v Speaker 2>few others, but this is one that I just I
<v Speaker 2>love every single second of every single song on this Alum.
<v Speaker 3>Okay, well that's cool, because this is gonna be interesting
<v Speaker 3>because for me, three weeks ago, I am a Pearl
<v Speaker 3>Jam Greatest Hits kind of guy. I was not familiar
<v Speaker 3>with most of these songs.
<v Speaker 2>For full disclosure, I was not one of those guys
<v Speaker 2>who became a Pearl Jam devotee after listening to this album.
<v Speaker 2>I love the album. I like a lot of the
<v Speaker 2>songs on a lot of the other albums, which I
<v Speaker 2>think a lot of people will say, now this is
<v Speaker 2>the true Pearl Jam, but it just wasn't as much
<v Speaker 2>my taste as ten was, Ten was their best by
<v Speaker 2>far album, and it's obviously their biggest selling album and
<v Speaker 2>the one that brought them into the public eye. But
<v Speaker 2>it may not be their favorite album, it may not
<v Speaker 2>be their fan base's favorite album, but it's definitely my
<v Speaker 2>favorite album.
<v Speaker 3>I got a quick story about my experience with ten. Okay,
<v Speaker 3>spreen break of ninety three. I go on a road
<v Speaker 3>trip with two of my roommates from college, Eric mctoyer
<v Speaker 3>Doug Huggin, both friends of the show. So we drove
<v Speaker 3>to Boston from Oklahoma City, Oklahoma Holy Cow, which is
<v Speaker 3>a freaking long way for my roommates. Crappy car right,
<v Speaker 3>So all the way up and all the way back
<v Speaker 3>we're listening to ten. Well, on the way back, we
<v Speaker 3>hit the Storm of the Century, crashed, the car, got
<v Speaker 3>snowed in for three days, we missed school, we were
<v Speaker 3>trapped in Knoxville, Tennessee. But the whole way we're listening
<v Speaker 3>to ten and I finally I remember one time, I'm like,
<v Speaker 3>can we please listened to bon Jovi? Now that's where
<v Speaker 3>I It was my first real experience with ten. So Doug, Eric,
<v Speaker 3>thank you for that.
<v Speaker 2>Well, I would like to give you a hard time,
<v Speaker 2>I would, But honestly, I was not an early adopter
<v Speaker 2>on these guys either. I wasn't just as in love
<v Speaker 2>with them as a lot of my friends were at
<v Speaker 2>the time. It took me a little while, But honestly,
<v Speaker 2>at that time, I had just become introduced to some
<v Speaker 2>of the classic rock, Like I had just started really
<v Speaker 2>listening to led Zeppelin, Leonard Skinner and some of those
<v Speaker 2>guys from the seventies, and I wasn't listening to anything new.
<v Speaker 2>I was just like, I don't care about new music.
<v Speaker 2>Nothing's good anymore, because I didn't realize, hey, these guys
<v Speaker 2>are putting out stuff that's not like you know, Motley
<v Speaker 2>Crue and bon Jovi. Not that I disliked bon Jovi,
<v Speaker 2>but it was a time that I was turning my
<v Speaker 2>nose up at new music, especially new music that was
<v Speaker 2>like a whole new genre of music. But then once
<v Speaker 2>I gave Ten a chance, and once I started really
<v Speaker 2>listening to it and learning it, I was like, this
<v Speaker 2>is more similar to seventies rock than anything since the seventies.
<v Speaker 2>I was just like, this isn't new these I mean,
<v Speaker 2>my McCready is playing blue scale lead on this, this
<v Speaker 2>isn't something weird and fanciful. This is like a throwback
<v Speaker 2>to what was going on in the seventies and it's good.
<v Speaker 3>Well, great, Well, let's get into it, man. I can't
<v Speaker 3>wait to talk about it with you. Pearl Jam is
<v Speaker 3>born out of the shattered pieces of other bands. It's
<v Speaker 3>like they went to a garage sale of bands and
<v Speaker 3>pieced them together, mostly from a band called Mother Lovebone,
<v Speaker 3>which I had heard of but wasn't really familiar with
<v Speaker 3>their music.
<v Speaker 2>There is such a storied history. There's so many things
<v Speaker 2>going on. You've got the bands Malfunction, Green River, Shadow,
<v Speaker 2>and Bad Radio that are really the precursors to this band.
<v Speaker 2>Malfunction was a band that was led by Andrew Wood
<v Speaker 2>Oh Jeff, and it broke up. Green River was a
<v Speaker 2>band that Jeff Amett and Stone Gossard were members of
<v Speaker 2>along with Mark Arm Steve Turner. Now, Jeff and Stone
<v Speaker 2>had disagreements with Steve about the sound that they should
<v Speaker 2>be going for. Steve thought that they were too much
<v Speaker 2>into the hard rock scene and so he split, and
<v Speaker 2>then Mark disagreed about whether they should be trying to
<v Speaker 2>get on a big label or whether they should stay independent.
<v Speaker 2>Mark Arms said he would rather do an independent label.
<v Speaker 2>Jeff and Stone they wanted to be big. They wanted
<v Speaker 2>to be big stars and go with a major record label.
<v Speaker 2>So that resulted in the end of Green River.
<v Speaker 4>Now.
<v Speaker 2>Mark arm and Steve Turner got together after that and
<v Speaker 2>form a group mud Honey, which is one of Subpop
<v Speaker 2>which we talked about last episode, one of their biggest bands.
<v Speaker 2>And then Jeff Aiment and Stone Gossard got together with
<v Speaker 2>Andrew Wood and they formed Mother Love Bone and they
<v Speaker 2>did really well. They had an EP come out called
<v Speaker 2>Shine and then it did pretty well, and then they
<v Speaker 2>signed with PolyGram and they put together an album called Apple.
<v Speaker 2>And if you've heard any of Mother Lovebone's songs, it
<v Speaker 2>was probably off of that album Apple.
<v Speaker 3>Yeah, I was telling you I listened to that today.
<v Speaker 3>I was not familiar with Mother Lovebone. A Mother Lovebone
<v Speaker 3>is a whole lot closer to the hair metal band
<v Speaker 3>stuff that was going on at the time. I was
<v Speaker 3>actually very surprised. It sounded a lot to me like
<v Speaker 3>a combination of La Guns, Slaughter and Faster pussy Cat.
<v Speaker 2>Yeah. Andy Wood, he was very much into the wanting
<v Speaker 2>to be a big rock star, big scene yea. Even
<v Speaker 2>when they were playing small clubs. He would he would
<v Speaker 2>treat it like it was an arena show.
<v Speaker 3>Yeah, hey, you in the back, this one's for you.
<v Speaker 3>And it looks back there there's a guy like one
<v Speaker 3>guy in the back holding a beer, like for me.
<v Speaker 4>They did say that.
<v Speaker 3>I mean, Andy Wood's personality was kind of out front
<v Speaker 3>of Mother Love Bone.
<v Speaker 2>So yeah. Andy Wood was also the roommate of Chris Cornell,
<v Speaker 2>who was the lead singer for Soundgard.
<v Speaker 3>It's a very interesting story how they're all intermingled and intermixed,
<v Speaker 3>but it's it's a very camaraderie type of thing going
<v Speaker 3>on in Seattle. It's not combative, it's more friendly.
<v Speaker 2>That was something that the guy from the Ramones noted
<v Speaker 2>when he was talking to Chris Cornell. He was like,
<v Speaker 2>you guys support each other here, and that's something incredible
<v Speaker 2>because where we come from, we would do anything to
<v Speaker 2>sabotage any other competing band. So Mother Lovebone does their
<v Speaker 2>full length LP and.
<v Speaker 3>Then Andy Wood passes away like four weeks before the
<v Speaker 3>release of Apple.
<v Speaker 2>Apple was supposed to come out, I believe in April
<v Speaker 2>of nineteen ninety and in March of nineteen ninety he
<v Speaker 2>overdosed on Heroin, and it was obviously not only devastating
<v Speaker 2>to the band because they are no longer a band,
<v Speaker 2>but devastating because they lost a dear friend who was
<v Speaker 2>someone who was exciting and full of life, just had
<v Speaker 2>a demon.
<v Speaker 3>Can you imagine you're right on the precipice of all
<v Speaker 3>your dreams coming true and then one of your best
<v Speaker 3>friends he dies and your dream dies.
<v Speaker 2>Yeah. I mean they talk about coming into the hospital,
<v Speaker 2>you know, just seeing him there on live support, and
<v Speaker 2>it just be a memory that they can never escape.
<v Speaker 2>It just was overwhelming. I can't imagine. I mean, there's
<v Speaker 2>a bunch of young guys, you know, in their twenties.
<v Speaker 2>To see somebody that young lose somebody that young just
<v Speaker 2>too much. So what happens is that Stone Gossard he
<v Speaker 2>deals with the pain by going off and writing more music,
<v Speaker 2>deeper and kind of heavier music that he's writing Jeff Amott,
<v Speaker 2>Quitch playing all Together. He deals with it in a
<v Speaker 2>different way than that. And then Chris Cornell starts writing
<v Speaker 2>songs about the loss of his roommate and dear friend,
<v Speaker 2>and so Gossard is this guitarist who's writing these songs
<v Speaker 2>and he remembers his buddy named Mike McCready. They had
<v Speaker 2>known each other when they were young. Mike McCready had
<v Speaker 2>played guitar long before Stone Gossard had even played guitar,
<v Speaker 2>but they had kind of, you know, enjoyed sending each
<v Speaker 2>other rock pictures. And then he remembers, hey, Mike had
<v Speaker 2>a band. But what happened with Mike's band is they
<v Speaker 2>became pretty big. They got pretty proud of themselves. They
<v Speaker 2>thought we're going to go down to LA and become big.
<v Speaker 2>And they went down to LA and basically got told
<v Speaker 2>you're not good enough to be down here, and that
<v Speaker 2>kind of devastated them. So like eighteen months after getting
<v Speaker 2>to LA, they go back to Seattle. In about six
<v Speaker 2>months after that, they're done. They're no longer a band,
<v Speaker 2>and he also quits playing guitar, cuts his hair, goes
<v Speaker 2>back to college. I mean, he's given up the dream.
<v Speaker 2>And then he has a buddy who's like, hey, man,
<v Speaker 2>why don't you come to a concert with me. I
<v Speaker 2>think you're giving up on something that you're really good at,
<v Speaker 2>but let's go to a Stevie Rayvon concert. So he
<v Speaker 2>goes to the Stevie Rayvon concert and Stevie Ravan starts
<v Speaker 2>the song Couldn't Stand the Weather, and as he starts
<v Speaker 2>the song, these clouds roll in and it starts to
<v Speaker 2>storm on top of the audience. And then as soon
<v Speaker 2>as the song is over, the storm stops in the
<v Speaker 2>clouds part and michaemccreedy said, it was like a religious experience.
<v Speaker 2>I knew I needed to pick the guitar back up,
<v Speaker 2>great man, And so he goes. He starts playing with
<v Speaker 2>another band called Love Chili. Gossard sees him there, calls
<v Speaker 2>him up, says, hey, let's play some songs together, and
<v Speaker 2>it's actually McCready that's like, hey man, you've got some
<v Speaker 2>good stuff. We need to have a bass player. You
<v Speaker 2>need to call Jeff. And I believe his response.
<v Speaker 3>Was f Jeff, Yeah, that's right.
<v Speaker 2>It was because you know, they just they didn't get along,
<v Speaker 2>to say, exceptionally well back then, even when they were
<v Speaker 2>another love Bone together. But he swallowed his pride and
<v Speaker 2>he called them up and they got Matt Cameron, who
<v Speaker 2>was the drummer for Sound Garden, and they put together
<v Speaker 2>a demo tape and it was five songs and basically
<v Speaker 2>the point of the demo tape was to find a
<v Speaker 2>drummer and to find a lead singer.
<v Speaker 3>This is a really cool story. So they send this
<v Speaker 3>tape to their buddy Jack Irons, who had formerly been
<v Speaker 3>in Red Hot Chili Peppers. Right, and they said, Hey,
<v Speaker 3>we need a drummer, we need a vocalist. Are you
<v Speaker 3>interested in maybe drumming for us? And if so, great,
<v Speaker 3>If not, do you know any vocalists for us?
<v Speaker 2>Right?
<v Speaker 3>And he had a basketball buddy down in San Diego
<v Speaker 3>that he went around with who had been in a
<v Speaker 3>couple of bands or whatever, this guy named Eddie Bedder.
<v Speaker 3>Maybe've heard of.
<v Speaker 2>Him, No, you hadn't back then.
<v Speaker 3>What are the odds that guys in Seattle make a
<v Speaker 3>demo tape send it to a guy who not only
<v Speaker 3>listens to it, but hands it over to one of
<v Speaker 3>the great rock vocalists.
<v Speaker 2>Of all time. It's amazing. I mean, he's he's working
<v Speaker 2>like security in a petroleum factory. I mean, it's just
<v Speaker 2>it's crazy. It is crazy. Eddie Vedder goes out surfing
<v Speaker 2>one night. He's got these tunes in his head and
<v Speaker 2>he kind of comes up with the lyrics as he's surfing.
<v Speaker 2>He basically comes back in sits down on the beach,
<v Speaker 2>and with sand still on his feet, writes the lyrics
<v Speaker 2>to what will become Once, what will become alive, and
<v Speaker 2>what will become Footsteps, which he calls the Mama Son
<v Speaker 2>Trilogy because it's kind of got this mini opera type
<v Speaker 2>of feel where you have the mom and a son
<v Speaker 2>who have this weird, incestuous relationship which then leads the
<v Speaker 2>son to become crazy and become a serial killer, and
<v Speaker 2>then like Footsteps, is the final act of the trilogy
<v Speaker 2>that you know, he's in prison and awaiting.
<v Speaker 3>Execution, so he records his lyrics on top of the demo,
<v Speaker 3>sends it back to these guys. They listen to it.
<v Speaker 2>So I'm going to throw this in there because I
<v Speaker 2>don't think you're going to all of our listeners listen up.
<v Speaker 2>I don't think anybody else is going to give you
<v Speaker 2>this piece of information that I'm about to lay down
<v Speaker 2>to you. So if you look at the tape that
<v Speaker 2>he sent back, I used to do this when I
<v Speaker 2>was recording things, and you know, living by myself, I
<v Speaker 2>had no money either, and buying tapes to record on
<v Speaker 2>can be expensive. So what you can do is you
<v Speaker 2>can take a tape that's a commercially made tape and
<v Speaker 2>if you just stick little pieces of paper in the
<v Speaker 2>top holes, you can record on it again. And so
<v Speaker 2>that's what you would do. And so I looked at
<v Speaker 2>this tape and I was like, holy crap, this is
<v Speaker 2>an actual tape of somebodies that he has taken and
<v Speaker 2>recorded on. Eddie Vedder recorded on this tape and then
<v Speaker 2>he used white out to wipe out everything except for
<v Speaker 2>one song title. One song title was a friend in California.
<v Speaker 2>You have no idea who that the recognized. I'm wondering
<v Speaker 2>if anybody who's listening right now has any idea what
<v Speaker 2>who sang a friend from California? Handwritten above that it
<v Speaker 2>says to Jeff and Stone. Then down at the bottom
<v Speaker 2>he also uses white out to wipe out all of
<v Speaker 2>the letters of the bottom part, and it's just the
<v Speaker 2>letters that spell out Eddie. So I looked at this
<v Speaker 2>and I was like, I've got to figure out what
<v Speaker 2>his tape is. It was Merle Haggard Greatest Hits of
<v Speaker 2>the eighties. That was the tape that he decided to record.
<v Speaker 3>Over my gosh, Yeah, that is incredible. That's kind of
<v Speaker 3>go on your Triviune card this week.
<v Speaker 2>Cards for sure.
<v Speaker 3>That's amazing. That's amazing. Yeah, that's awesome. And he wrote
<v Speaker 3>his telephone number on there as well. I saw that
<v Speaker 3>when they showed it to him. I actually watched a
<v Speaker 3>video where the guy, the interviewer, he handed that tape
<v Speaker 3>to Eddie Vedder and he's like, oh, check it out,
<v Speaker 3>it's my telephone number. So when he sends it back
<v Speaker 3>to Stone, they listen to it and they're like, not
<v Speaker 3>only can he sing, but he can write lyrics. Yeah,
<v Speaker 3>I mean he's like a poet, right, Yeah. So he
<v Speaker 3>impressed him enough for them to fly him up to
<v Speaker 3>Seattle to audition YEP.
<v Speaker 2>And as he's going up, he writes the lyrics to
<v Speaker 2>two more songs. It was a five song deal. Writes
<v Speaker 2>the lyrics to two more songs. So he's got all
<v Speaker 2>of them written. And he arrives up there and they're
<v Speaker 2>in the middle of starting to do this Temple of
<v Speaker 2>the Dog thing with Chris Cornell. Mike McCready comes in
<v Speaker 2>and I'm just going to say this right now. Mike
<v Speaker 2>McCready is maybe one of the most underappreciated guitarists that
<v Speaker 2>I can think of. He is a rock god who
<v Speaker 2>deserves more credit than he gets. He deserves to be
<v Speaker 2>up there with Hendrix and Stevie ray Vaughn and Eddie
<v Speaker 2>Van Halen. I mean, he is phenomenal. And so Chris Cornell,
<v Speaker 2>you know, the grunge scene in the alternative scene was
<v Speaker 2>all against you know, doing these big, long guitar solos.
<v Speaker 2>You know, we talked about Nirvana. You don't the guitar
<v Speaker 2>solo is just a melody of the words, you know.
<v Speaker 2>But Chris Cornell was just kind of like, f all
<v Speaker 2>of you guys, I'm going to put a five minute
<v Speaker 2>guitar solo on the first song on this album. What
<v Speaker 2>do you think about that? And so he said he
<v Speaker 2>almost had to yell at Mike McCready because he was like,
<v Speaker 2>you play guitar so freaking good. You're the one guy
<v Speaker 2>who I want to play a five minute guitar solo
<v Speaker 2>on my first eleven minute long song. It's solid. I mean,
<v Speaker 2>it's not. You can see his progression as time goes on.
<v Speaker 2>You know, it's not his best work, but man, it's
<v Speaker 2>still really good.
<v Speaker 1>You know.
<v Speaker 3>Chris Cornell was in a position to really help out
<v Speaker 3>the band too, when he was doing this Temple of
<v Speaker 3>the Dog thing and they're doing Hunger Strike. They were like,
<v Speaker 3>you know, hey, we've got a new singer, and he's like, well,
<v Speaker 3>we'll bring him on board, man, let's get him going
<v Speaker 3>and he can sing with me and we can go.
<v Speaker 3>And so that was actually the first time that Eddie
<v Speaker 3>Vedder ever heard himself on an actual wreck.
<v Speaker 2>Chris Cornell was basically like, I kind of have this
<v Speaker 2>idea for how I want the other vocal part to
<v Speaker 2>go in this, and he said and then suddenly Eddie
<v Speaker 2>just started singing it, and it was as if he
<v Speaker 2>already knew what I had had planned, like he had
<v Speaker 2>just knew it. And Hunger Strike is, you know, the
<v Speaker 2>one the major duet that they do on that one now,
<v Speaker 2>but I love that song so good. So, you know,
<v Speaker 2>Eddie Vetterer arrives, they're they're introducing people, but when they
<v Speaker 2>first when he first arrives, he's like, I don't want
<v Speaker 2>to do anything. I want to go straight to the rehearsal.
<v Speaker 2>I don't want to see the town, I want to
<v Speaker 2>do any touristy stuff. I want to go and I
<v Speaker 2>want to start playing right away. And for the next
<v Speaker 2>five days they rehearse, and on day number six they
<v Speaker 2>do their first show.
<v Speaker 3>I think it's awesome. I believe his term was I'm
<v Speaker 3>not here to frunt.
<v Speaker 2>If you listen to the songs, especially alive from that
<v Speaker 2>demo tape that he had sent back, I mean, there's
<v Speaker 2>not a whole lot different honestly, from the way that
<v Speaker 2>he originally did the lyrics and the way they originally
<v Speaker 2>played it to what the song is on the final
<v Speaker 2>ten album.
<v Speaker 3>We talked about their name, I'm ready tribute to the name.
<v Speaker 2>Well, okay, so we know that they started playing sessions,
<v Speaker 2>they started playing shows right off the bat. They started
<v Speaker 2>opening for Alison Chains. But the name under Allison Chains
<v Speaker 2>was not.
<v Speaker 3>Pearl Jam That's right. It wasn't. It was Mookie Blaylock.
<v Speaker 3>So if you're a basketball fan, especially a nineties basketball fan,
<v Speaker 3>then you know who this guy is. Yeah, if you
<v Speaker 3>were born and raised in Oklahoma, like I was, right,
<v Speaker 3>you recognize this guy from college because he played at
<v Speaker 3>Miama Mater, the University of Oklahoma. He truly is one
<v Speaker 3>of the great defensive players of all time led Leagan
<v Speaker 3>Steel's that type of thing, and in college, man, he'd
<v Speaker 3>press it all the way up the court. And these
<v Speaker 3>guys were big basketball fans. And they were big fans
<v Speaker 3>of Mookie Blaylock, who at the time I know he
<v Speaker 3>played for the Atlanta Hawks.
<v Speaker 2>New Jersey Nets was who he was playing for at
<v Speaker 2>the time if they adopted his name.
<v Speaker 3>So anyway, the original name for the band Mookie Blaylock.
<v Speaker 2>They got together. They started rehearsing in the fall of
<v Speaker 2>nineteen ninety. Eddie moves up in like November, they start
<v Speaker 2>doing all of the shows and by March they start
<v Speaker 2>doing their demo recordings at the London Bridge Studio there
<v Speaker 2>in Seattle. They signed with a major record label. And
<v Speaker 2>guess what, you can't be Mookie Blaylock.
<v Speaker 3>Any First of all, Mookie Blaylock doesn't know who five
<v Speaker 3>scrubs from Seattle are at right.
<v Speaker 2>Yeah, is a security guard. The other guy's working at
<v Speaker 2>a coffee shop, and another guy used to work at
<v Speaker 2>a pizza place. Oh, here's an interesting bit of trivia
<v Speaker 2>as well. The guy that worked with the pizza place
<v Speaker 2>was Mike McCready. He worked at pizza place with the
<v Speaker 2>guy named Pete Druge, who has a song that you
<v Speaker 2>may or may not recognize. If you don't love me,
<v Speaker 2>I'll kill myself And it's from the movie.
<v Speaker 3>That's from Dubbin Dumber.
<v Speaker 2>Yes, yes, yeah, Mike McCready and the guy who sang
<v Speaker 2>that song used to work in the same pizza shop together.
<v Speaker 3>Oh man, that is incredible. What a great nugget that is.
<v Speaker 3>I am a huge Dubbin Dumber fan, which we're going
<v Speaker 3>to cover one of these days. So anyway, the record
<v Speaker 3>company says, Okay, you guys can't be Mookie Blay like,
<v Speaker 3>you got to pick something else, right, So they do
<v Speaker 3>eventually form the name Pearl Jam right, right. And so
<v Speaker 3>the way they came up with this, I thought this
<v Speaker 3>was at least interesting, although a little anti climactic. They
<v Speaker 3>kind of liked the name Pearl. It was Eddie Vedder's
<v Speaker 3>great grandmother's name, and Jeff just kind of thought, Okay,
<v Speaker 3>that's kind of a cool word. Yeah, And then they
<v Speaker 3>went to a Neil Young concert where he would just
<v Speaker 3>play these extra long, extended versions of these songs.
<v Speaker 2>Pearl Jam right, j Yeah, It's it's not as exciting
<v Speaker 2>as what you would hope it would be. And so
<v Speaker 2>what Eddie Vedder did right after they became famous was
<v Speaker 2>to lie about where it came from.
<v Speaker 3>I heard this story too, Yeah, is.
<v Speaker 2>He's like, no, I had a great grandmother named Pearl
<v Speaker 2>and she was married to a Native American and she
<v Speaker 2>used to make this payote Lace jam and they would
<v Speaker 2>get you high and stuff. But yeah, later on he's like, no,
<v Speaker 2>that was BS.
<v Speaker 4>That was a lie.
<v Speaker 3>Yeah, all right, So then they become Pearl Jam. Their
<v Speaker 3>first album is going to be called ten.
<v Speaker 2>Which is eleven songs.
<v Speaker 3>Why it's called ten because that's Mookie Blaylec's number.
<v Speaker 2>Oh, how was a set up?
<v Speaker 3>By the way, I totally said you, thank you, thank
<v Speaker 3>you for me right there. Appreciate that.
<v Speaker 2>We've talked before with Van Halen and with def Leppard
<v Speaker 2>about MTV being in, you know, the right place at
<v Speaker 2>the right time for these bands. What interestingly happens for
<v Speaker 2>this one is that independent record label that I talked
<v Speaker 2>about last episode called sub Pop. There's a neat little
<v Speaker 2>thing that Subpop does. The first interesting thing they figure
<v Speaker 2>out is if if they don't make as many records,
<v Speaker 2>they created a demand because people were like, oh, you
<v Speaker 2>can't get these because they only made you know whatever,
<v Speaker 2>five hundred of them or whatever. So they do that
<v Speaker 2>little trick to increase the value of their records. And
<v Speaker 2>then the other trick that they learned is they realized
<v Speaker 2>that all music movements started with a regional base. You know,
<v Speaker 2>you look at Motown and its base was Detroit. So
<v Speaker 2>they thought, okay, well we're going to make Seattle. We're
<v Speaker 2>going to make that region our regional base for this
<v Speaker 2>big music movement. And they're a large part of why
<v Speaker 2>grunge and why alternative music from Seattle became as big
<v Speaker 2>as it did because they had this crazy idea that
<v Speaker 2>they engaged in in March of nineteen eighty nine. And
<v Speaker 2>these are like a small time don't know what they're doing,
<v Speaker 2>just trying to get their feed under them guys. But
<v Speaker 2>they said, let's get the most important reporter from Melody
<v Speaker 2>Maker over in Europe to come over here. Will fly
<v Speaker 2>them over, will act like we're big time. We'll show
<v Speaker 2>them the Seattle scene and the Seattle sound and hopefully
<v Speaker 2>he'll write a good article about it. Well that's exactly
<v Speaker 2>what happens, and that is exactly what he does, and
<v Speaker 2>all of a sudden, everyone becomes obsessed with the Seattle sound.
<v Speaker 2>And that was the impetus behind people latching on it.
<v Speaker 2>You know, as with all things, it takes a little
<v Speaker 2>wall for these things to happen. But the fascination with
<v Speaker 2>Seattle and kind of the grunge sound and the grunge
<v Speaker 2>look became a thing largely because of subpop and then
<v Speaker 2>I mean, quite frankly, Pearl Jam enjoyed the success on
<v Speaker 2>ten that it did part because of the Seattle sound
<v Speaker 2>trick and then also because of Nirvana.
<v Speaker 3>For people who enjoy pop culture like you and I do. Yeah,
<v Speaker 3>it's fascinating to see when the lit match and the
<v Speaker 3>gasoline meet.
<v Speaker 2>And what's interesting with this one is how quickly the
<v Speaker 2>word grunge became a dirty word to all of these guys.
<v Speaker 2>Like every rebellion against the establishment begins with someone saying, hey,
<v Speaker 2>you know, we don't want to we don't want to
<v Speaker 2>do what the man is wanting us to do. We're
<v Speaker 2>going to do our own thing. Then it starts to
<v Speaker 2>gain traction, people join in, it becomes like a movement,
<v Speaker 2>and then the establishment sees it and it's like, oh, hey,
<v Speaker 2>we can market this and we can pay its band
<v Speaker 2>leaders and we'll we'll make it our own, and then
<v Speaker 2>the movement becomes the new establishment. And that's what happened
<v Speaker 2>with rock and roll in the early eighties. What happened
<v Speaker 2>with heavy metal in the mid to late eighties, and
<v Speaker 2>that's what happens now with the grunge music and the
<v Speaker 2>Seattle scene is it's the rebellion against heavy metal, and
<v Speaker 2>then it turns into the new heavy metal, where you know,
<v Speaker 2>then Versace is selling grunge style in magazines and stuff,
<v Speaker 2>and so it quickly became the establishment. Okay, right, So
<v Speaker 2>just a few musical influences. Eddie likes The Who and
<v Speaker 2>Michael Jackson and The Jackson Five, Mike McCready likes funk
<v Speaker 2>Adelic and def Leppard, and Van Halen right Stone likes Rap.
<v Speaker 2>All of them were into Ice Cube at the time
<v Speaker 2>that they that he was becoming the Kirk Cobain said
<v Speaker 2>some kind of negative things about them when they first
<v Speaker 2>came out, like He's like, they're just hard rock, They're
<v Speaker 2>just another hard rock band wearing our clothes, that they're
<v Speaker 2>not really a true alternative, a true grunge band, and
<v Speaker 2>it kind of was upsetting to Eddie, and Eddie gave
<v Speaker 2>him a call and Kirk Cobain kind of changed his
<v Speaker 2>tune a little bit and said, I'm not going to
<v Speaker 2>say anything bad about him. I don't like their music
<v Speaker 2>and I never have, But I like Eddie Vetter. He's
<v Speaker 2>a nice guy, and so I'm not going to say
<v Speaker 2>ugly stuff about them anymore.
<v Speaker 3>I do think that's interesting. I don't think Kurt Cobain
<v Speaker 3>is wrong. I mean, I think that Pearl Jam is
<v Speaker 3>a hard rock band with grunge elements, and I think
<v Speaker 3>that Nirvana is kind of a punk band with pop
<v Speaker 3>and grunge elements. And they're from the same area, so
<v Speaker 3>they're are similarities, but they're from there. They formed different trees, you.
<v Speaker 2>Know, sure. And I mean if you if you listen
<v Speaker 2>to any of the bands out of Seattle, they all
<v Speaker 2>have kind of a different sound. It is not as
<v Speaker 2>though they're all playing the same type of music.
<v Speaker 3>Well, I did hear Cameron Crow say that one of
<v Speaker 3>the reasons why they had formed this kind of Seattle
<v Speaker 3>sound was that because of the weather, they had a
<v Speaker 3>lot of time to play. Because they're indoors, they had
<v Speaker 3>a lot of time to play, and they had a
<v Speaker 3>lot of time to listen to music. And so because
<v Speaker 3>of the just the weather situation, that's just kind of
<v Speaker 3>what it lends itself to.
<v Speaker 2>Well, certainly the sound of the music is is different.
<v Speaker 2>I mean, the sound of the music of Nirvana and
<v Speaker 2>the sound of the music of Pearl Jam is very distinct.
<v Speaker 2>You would not confuse them. But just like Metallica brought
<v Speaker 2>brains to heavy metal, Pearl Jam brought relevance and depth
<v Speaker 2>and you know, meaning to hard rock which had been
<v Speaker 2>missing for a while. You know, they were doing hard rock,
<v Speaker 2>but the lyrics were about the loneliness and the confusion
<v Speaker 2>of youth, and I think that's why they are appropriately
<v Speaker 2>in with this group of new sound, the revolution that
<v Speaker 2>was occurring. We didn't talk about the drummers, honestly, it's
<v Speaker 2>kind of confusing.
<v Speaker 3>It is confusing.
<v Speaker 2>They went through like three different drummers, but basically Dave
<v Speaker 2>Krusen was the one who was on the album ten
<v Speaker 2>and he's the one that played for them. He eventually
<v Speaker 2>went into rehab almost right after the album was finished,
<v Speaker 2>and so he was replaced by Matt Chamberlain, who had
<v Speaker 2>been the drummer for Edie Burkel and the New Bohemians,
<v Speaker 2>and then he got an opportunity to be on Saturday
<v Speaker 2>Night Live with Saturday Night Live Band, so like, sorry, guys,
<v Speaker 2>I'm not going to keep drumming for you, and that
<v Speaker 2>he recommended David Brusies to be the drummer, and he
<v Speaker 2>was this guy out of Texas and it's really interesting.
<v Speaker 2>And I'll jump ahead a little bit, but in one
<v Speaker 2>of the videos, Mike Chamberlain is the one playing the drums,
<v Speaker 2>and Davi of Bruzies is one of the guys out
<v Speaker 2>in the crowd because he's just arrive from Austin, tex
<v Speaker 2>The album actually starts off with the sounds of a
<v Speaker 2>hidden track. The hidden track is called Master Slave, and
<v Speaker 2>so if you listen to the beginning of the album
<v Speaker 2>and the end of the album, it's the same tune,
<v Speaker 2>but it's just a real brief, you know, kind of
<v Speaker 2>taste of Master and Slave, and then we open with Once.
<v Speaker 3>The hidden track on ten Yeah is not nearly as
<v Speaker 3>offensive as the hidden track on the Nirvana album.
<v Speaker 2>The hidden track on Tin is good, and.
<v Speaker 3>It's just kind of like it's like a cracker. It's
<v Speaker 3>like there's not really much substances. It's just kind of
<v Speaker 3>little drums and that's it. It's not a nail being
<v Speaker 3>d into your brain.
<v Speaker 2>It's a cool sound. It's kind of gets you in
<v Speaker 2>a mood and it's definitely not something that when the
<v Speaker 2>guy comes in to mix the CD and nobody else
<v Speaker 2>is there. He thinks this is a mistake, This shouldn't
<v Speaker 2>be in here.
<v Speaker 3>This is cur crap, this is garbage. We need to
<v Speaker 3>throw it away right.
<v Speaker 2>Once. The first song on the album was originally called
<v Speaker 2>a Jitian Crave, and that was just what Stone Gossard
<v Speaker 2>had called it whenever he sent the demo tape. But
<v Speaker 2>it is part of that Mama Son mini opera that
<v Speaker 2>that Eddie Vedder had written.
<v Speaker 3>This song was on the demo tape, the Stone Gossard
<v Speaker 3>demos ninety one, right right, and that Eddie Vedder got
<v Speaker 3>ahold of okay yes.
<v Speaker 2>And so when they did the single release for Live,
<v Speaker 2>this song was on the B side for that one,
<v Speaker 2>you know, and Alive, as I said before, was also
<v Speaker 2>part of that Mama Son mini opera. But this one
<v Speaker 2>is the one that is the story of the descent
<v Speaker 2>into madness where he ultimately becomes a serial killer, you know,
<v Speaker 2>backseat lever on the side of the road, got a
<v Speaker 2>bomb in my temple and it's going to explode. They
<v Speaker 2>did this one, as with many of them, on their
<v Speaker 2>performance in October twenty second of ninety that very I
<v Speaker 2>don't remember. It's their first or second performance, but.
<v Speaker 3>Right right off the bat they're performing this. This is
<v Speaker 3>kind of a hard rocker song. This is I mean,
<v Speaker 3>it's a pound your fist. The crowd is kind of
<v Speaker 3>dropping their head and let's go right.
<v Speaker 2>Yeah, it's angry, It's angry.
<v Speaker 3>This song received some radio play that I was familiar
<v Speaker 3>with this song when let me start this.
<v Speaker 2>The next one we have is even Flow.
<v Speaker 3>The Man.
<v Speaker 2>What a freaking great song. This is.
<v Speaker 3>The core.
<v Speaker 2>I'm afraid that I'm just gonna gush over every single
<v Speaker 2>one of these. Pull it back just a.
<v Speaker 3>Little bit, a right, That's the way I felt when
<v Speaker 3>he did Hysteria.
<v Speaker 2>So yeah, right, So this one is the picture of
<v Speaker 2>a homeless man, and I mean that's evident from the lyrics.
<v Speaker 2>You know that even Flow is this guy with problems,
<v Speaker 2>mental problems probably, and thoughts that he has to drive
<v Speaker 2>away and chase away, and an insane look whenever he smiles.
<v Speaker 2>And it turns out he's based on an actual guy,
<v Speaker 2>a Vietnam vet that Eddie Vedder met, whose name was
<v Speaker 2>also Eddie, who ended up passing away.
<v Speaker 3>The cool thing to me. In two thousand and eight,
<v Speaker 3>Eddie Vedder said this song was written underneath the Space Needle.
<v Speaker 2>Yeah.
<v Speaker 3>I mean there's three things I know about Seattle. I
<v Speaker 3>know the Seahawks, I know the Mariners, and I know
<v Speaker 3>you know Fraser and the Space Needle. That's it, right,
<v Speaker 3>I guess that's four things. But this song took forever
<v Speaker 3>to get it right.
<v Speaker 2>Yeah.
<v Speaker 3>They played it like fifty sixty seventy times and some
<v Speaker 3>members of the band are still dissatisfied to this day.
<v Speaker 2>He did a couple of different versions of it ultimately,
<v Speaker 2>and one of them they recorded with the drummer David Bruisy,
<v Speaker 2>and that's the one that appears on the Singles soundtrack.
<v Speaker 2>So a couple of nights ago I watched Singles. It's
<v Speaker 2>fascinating because Cameron Crowe had heard about the death of
<v Speaker 2>Andy Wood. He had this kind of storyline idea and
<v Speaker 2>decided to go up to Seattle and hang with these bands,
<v Speaker 2>and he ends up casting. I mean, you've got Alison
<v Speaker 2>Chains performing on stage. You've got Chris Cornell standing next
<v Speaker 2>to Matt Dillon as he's cranking up the volume on
<v Speaker 2>his girlfriend's speakers that he's just installed, and then all
<v Speaker 2>the windows blow out and Chris Cornell is just watching
<v Speaker 2>it just kind of nod in his head, like yeah.
<v Speaker 2>And then Matt Dillon is the lead singer for this
<v Speaker 2>band called Citizen Dick whose major song has touched me
<v Speaker 2>on Dick, but his band is Eddie Vedder. Stone Gossard,
<v Speaker 2>you have am. I mean it's the Yes, there's a
<v Speaker 2>couple of different scenes that they're in. But it's fascinating
<v Speaker 2>because they are making this movie at the same time
<v Speaker 2>that these guys are putting this album together. Like none
<v Speaker 2>of them are famous. Chris Cornell is Seattle famous and
<v Speaker 2>Alison Chains is Seattle famous. But the guys that they
<v Speaker 2>got to play, the members of Matt Dylan's band, they
<v Speaker 2>were no ones at the time.
<v Speaker 1>Other than that he was able backed by Stone and
<v Speaker 1>Jeff Drummerady Better.
<v Speaker 3>I mean, that's good.
<v Speaker 2>That's a good meat.
<v Speaker 4>A compliment for us, is a compliment for you.
<v Speaker 3>Even Flow is the second single released. It was released
<v Speaker 3>April sixth, nineteen ninety two. Yeah, so this is released
<v Speaker 3>in ninety two and it's the fifth most played song
<v Speaker 3>on the radio. You're in the twenty tens. Yeah, in
<v Speaker 3>twenty tens.
<v Speaker 2>Because every single one of these songs have staying power.
<v Speaker 2>This one just to talk musically, Stone Gossard us an
<v Speaker 2>open D tuning, and then Mike McCready says, yeah, I
<v Speaker 2>just kind of ripped off Stevie ray Vaughan.
<v Speaker 3>This sounds very different than anything rock that I had
<v Speaker 3>been hearing at the time. But the vocalizations kind of
<v Speaker 3>staccato is it's different. It's very different. Yeah, but I
<v Speaker 3>mean super great. I mean this is a song that
<v Speaker 3>I was a late adopter to but ultimately came to love.
<v Speaker 2>Did you have a little bit of trouble learning to
<v Speaker 2>speak any better?
<v Speaker 3>Oh? I still don't know what the heck he's saying.
<v Speaker 2>I mean, the worst, the worst and most famous of
<v Speaker 2>the unintelligible l Better lyrics. It comes from Yellow Leadbetter.
<v Speaker 2>To this day, I don't I don't know that I
<v Speaker 2>know what one single line of that song is as
<v Speaker 2>good as it is. But Kim Thale, the guy who's
<v Speaker 2>the guitar player for Sound Garden, I mean, you get
<v Speaker 2>to think about what the song is about, right, It's
<v Speaker 2>about It's about homelessness. And you know this guy with
<v Speaker 2>a concrete pillow, and he when he went and heard
<v Speaker 2>them live, he thought it was called Evening Flow. It
<v Speaker 2>was like, you know, like how everyone's like in the
<v Speaker 2>evening it's just kind of a flow.
<v Speaker 3>And like a good time. That's awesome.
<v Speaker 2>So the video on this one, they had recorded this
<v Speaker 2>video where the guy came in and he recorded all
<v Speaker 2>these zoo scenes of animals and the band was kind
<v Speaker 2>of air playing their instruments on the edge of this cliff.
<v Speaker 2>But once they got the footage, they're like, well, this
<v Speaker 2>was a colossal waste of time and money. And so
<v Speaker 2>what happened was they still had the video, but it
<v Speaker 2>was done by this guy named Josh Taft who was
<v Speaker 2>just filming as a friend. He's a friend of Stone Gossarts.
<v Speaker 2>He had directed Alive and later on directed Oceans, but
<v Speaker 2>he was there just filming this footage. But on the
<v Speaker 2>full length video of this, which you didn't typically see
<v Speaker 2>on MTV, Eddie Vetterer starts the video by going, this
<v Speaker 2>is not a TV studio, Josh urn these lights out.
<v Speaker 2>It's an effing rock concert.
<v Speaker 3>I watched this video today and I'm like, this can't
<v Speaker 3>be the official video. He's yelling at people.
<v Speaker 2>Yeah, your head aversion to videos at all. Really, it's
<v Speaker 2>interesting on the album you don't hear the end piece
<v Speaker 2>on this. They released this in the UK first, but
<v Speaker 2>it says, I died. I died and you just stood there.
<v Speaker 2>I died and you watched I died and you walked
<v Speaker 2>by and said, no, I'm dead. I was like, wow,
<v Speaker 2>how did I never hear that before?
<v Speaker 5>Once?
<v Speaker 2>Because it's not on the album, but it is in
<v Speaker 2>the video.
<v Speaker 3>So third track on the album is called Alive.
<v Speaker 2>I'm glad you're head banging right now? Is it really appropriate?
<v Speaker 3>Oh?
<v Speaker 1>Man?
<v Speaker 3>This song is so good man. This was their first single,
<v Speaker 3>released July seventh, ninety one.
<v Speaker 4>It is so good.
<v Speaker 2>Yeah, And I knew that you would love this song
<v Speaker 2>because this song has the most mass appeal. This is
<v Speaker 2>the most radio friendly one of the bunch for sure.
<v Speaker 2>All Right, So this song starts off with son. She says,
<v Speaker 2>have I got a little story for you. What you
<v Speaker 2>thought was your daddy was nothing, But while you were
<v Speaker 2>sitting home alone at age thirteen, your real daddy was dying.
<v Speaker 2>So this is an actual event that occurred in Eddie
<v Speaker 2>Vedder's life. He okay, he had a conversation with his
<v Speaker 2>mom where he finds out that the man that he
<v Speaker 2>thought was his dad his entire life, is not his dad.
<v Speaker 2>And you know this. Of course, they didn't get along
<v Speaker 2>particularly well, so this is a big realization for him.
<v Speaker 2>And then he finds out that his real dad. Not
<v Speaker 2>only did he not know that it was his real dad,
<v Speaker 2>but he knew the guy like he was just like
<v Speaker 2>somebody he thought was a family friend. And then he
<v Speaker 2>finds out not only hey, this guy was my dad,
<v Speaker 2>but he died a few years ago, so he has
<v Speaker 2>never had that opportunity to bond with him, and his
<v Speaker 2>mom kind of treats it like it's no big deal,
<v Speaker 2>which is, you know, the underlying emotion behind this whole
<v Speaker 2>song is pretty intense.
<v Speaker 5>Man.
<v Speaker 3>That's a sad story. So this song was originally recorded
<v Speaker 3>January in nineteen ninety one as a part of a
<v Speaker 3>demo session, yeah, which during the recording of ten, they
<v Speaker 3>couldn't recreate the intensity of that original demo, so they
<v Speaker 3>went back and took that demo and kind of corrected
<v Speaker 3>it and improved it, and that's what you got.
<v Speaker 2>This one was one that Stone Gossard had actually written
<v Speaker 2>while he was still with Mother Lovebone and apparently Andy
<v Speaker 2>Wood saying some sort of lyrics to it. It was
<v Speaker 2>when they sent out the demo tape. This was the
<v Speaker 2>one that he called Dollar Short and Mike McCready. When
<v Speaker 2>they play this one live, we'll go into the Black
<v Speaker 2>Sabbath Warpigs solo at the end of this one.
<v Speaker 3>Speaking of that solo, yeah, Mike McCready said that he
<v Speaker 3>based this on Ace Freely's solo in the Kiss.
<v Speaker 2>Song She Yes, which he said was based on the
<v Speaker 2>Doors song five to one. I stole it from Kiss,
<v Speaker 2>but they stole it from the Doors. This is the video,
<v Speaker 2>by the way, that you have the live footage on
<v Speaker 2>where you see Chamberlain drumming and David Bruzi's in the audience.
<v Speaker 3>It's a neat little nugget right there. Okay, So song
<v Speaker 3>number four on the album, the song is called why Go.
<v Speaker 2>Again? I love it. It kicks butt. Now. This is
<v Speaker 2>one that it didn't get as much radio play as
<v Speaker 2>some of the other songs on it. So what did
<v Speaker 2>you think about it when you heard it first?
<v Speaker 3>Well, I'd like it. It's kind of a head bobber. It's
<v Speaker 3>a definitely probably one of those songs that you hear
<v Speaker 3>in concert and everybody's like, yeah, freaking awesome. But when
<v Speaker 3>I listened to the album, I would say this is
<v Speaker 3>definitely the lower third of the album.
<v Speaker 2>Honestly, I put all of these songs almost at a
<v Speaker 2>tie for perfect, but this one is I just like
<v Speaker 2>the imagery that he does with this one. I mean,
<v Speaker 2>the song begins with she scratches a letter into a
<v Speaker 2>wall made of stone. Maybe someday another child won't feel
<v Speaker 2>as alone. And it's about this girl who's you know,
<v Speaker 2>struggling in this mental facility of some kind you can
<v Speaker 2>tell from the lyrics of the song. And then, as
<v Speaker 2>it turns out, this was actually some real girl that
<v Speaker 2>Eddie Vedder had read about, like thirteen years old. Her
<v Speaker 2>parents catch her smoking pot and send her to a
<v Speaker 2>hospital over smoking pot, and she refuses to say that
<v Speaker 2>she's got anything wrong with her, so ends up staying
<v Speaker 2>two years in the hospital because the doctors you know,
<v Speaker 2>want to argue that she's crazy. And in the liner note,
<v Speaker 2>he dedicates the song to a girl named Heather. So
<v Speaker 2>if anybody's got more information on who Heather is out there,
<v Speaker 2>sorry about your situation. Thank you for inspiring an awesome song.
<v Speaker 3>Now, then this is a song that I'm very familiar
<v Speaker 3>with that I want to get into. This song is
<v Speaker 3>called Black.
<v Speaker 2>Let's just soak an this for a minute.
<v Speaker 3>Let's just pause and appreciate the beauty.
<v Speaker 4>Of this song. Jeez an please word bird.
<v Speaker 2>Boo, Pass her.
<v Speaker 3>Body even Black was voted the ninth best ballad of
<v Speaker 3>all time by the readers of burling Stone. You know
<v Speaker 3>this song, even though I'm familiar with it from the radio.
<v Speaker 3>It wasn't released as a single.
<v Speaker 2>Yeah, the record label urged the band to release this
<v Speaker 2>song as a single, but they refused it. They said, no,
<v Speaker 2>we will not release this as a single. And Eddie
<v Speaker 2>Vedder went so far as to call radio stations to go, hey,
<v Speaker 2>did the record label send you a single of this?
<v Speaker 2>Because I told them not to. They better not be
<v Speaker 2>doing that. But the record label didn't. The radio stations
<v Speaker 2>just chose to play it anyway because they appreciated how
<v Speaker 2>awesome it was. But Eddie Vedder said, some songs just
<v Speaker 2>aren't meant to be between hit number two and hit
<v Speaker 2>number three. It was too emotional, It was too meaningful
<v Speaker 2>to him to put it in that category.
<v Speaker 3>You know, we can talk all day about what Pearl
<v Speaker 3>Jam has done in regards to their fame and their popularity,
<v Speaker 3>but refusing to send their best songs to be played
<v Speaker 3>on the radio, It's so interesting to me that they
<v Speaker 3>shun that type of I mean, bon Jovi whores out
<v Speaker 3>their albums like I mean, you know.
<v Speaker 2>They had the same type of experience that Nirvana had,
<v Speaker 2>which was they have almost a literal overnight success, and
<v Speaker 2>theirs was a little bit longer than Nirvana's was. But
<v Speaker 2>Nirvana had been together for quite a while, had released
<v Speaker 2>another album before never Mind became the big overnight success
<v Speaker 2>that it was. These guys had literally gotten to I mean,
<v Speaker 2>they had gotten together in the fall of nineteen ninety
<v Speaker 2>and by nineteen ninety two, this thing is exploding and
<v Speaker 2>they're playing Lollapalooza with these giant arenas and Eddie Vedder
<v Speaker 2>like Kurt Cobain was just like, I don't want to
<v Speaker 2>be here instantaneously. I wanted to go through years of
<v Speaker 2>roughing it and playing small clubs and doing these things.
<v Speaker 2>I didn't want the overnight success. This is one that
<v Speaker 2>This is about as close to a love song as
<v Speaker 2>they get on this album, and it really hits home
<v Speaker 2>for me, and I think it does for so many people.
<v Speaker 2>It's about the heartbreak of losing a love. Lyrics, like
<v Speaker 2>many of his lyrics are kind of vague and paint
<v Speaker 2>a picture, but don't give you vivid details, but he said,
<v Speaker 2>you can't really have a true love unless it was
<v Speaker 2>a love unrequited, And I was like, wow, too beautiful.
<v Speaker 3>You know when we talked about radio stations not receiving
<v Speaker 3>this as a single, but they were playing it anyway.
<v Speaker 3>It reached all the way to number three on the
<v Speaker 3>Hot Rocks chart.
<v Speaker 2>Yeah, it's amazing.
<v Speaker 3>It's really good. I like at the very end that
<v Speaker 3>little to me, that's where the song really comes together.
<v Speaker 3>After Black, we now go into what I think is
<v Speaker 3>the best song on the entire album.
<v Speaker 2>Jeremy, So you sent me a video today by this
<v Speaker 2>guy named Rick Beto, which I hadn't seen before, that
<v Speaker 2>is called what makes this Song Great? Episode five Pearl
<v Speaker 2>Jam And they look at he looks at Jeremy, And
<v Speaker 2>my response to you was, this is so musically over
<v Speaker 2>my head that I can't possibly begin to even relay
<v Speaker 2>what's going but I can just tell you, as someone
<v Speaker 2>who does have some musical experience, Holy crap. I didn't
<v Speaker 2>realize all of the intricacies that they had going on
<v Speaker 2>on this and to be such a world famous hit
<v Speaker 2>and to do all of the strange things that they're
<v Speaker 2>doing on this one, I'm just like, holy smokes it's awesome.
<v Speaker 3>Again, I'm not a musician. I understood even less of
<v Speaker 3>this than you did. But he does talk about the
<v Speaker 3>unusual octave jumps that they make throughout this song. Yeah,
<v Speaker 3>so I wrote down a couple of example. So he's
<v Speaker 3>talking about the pools of maroon below, and then he
<v Speaker 3>jumps up to daddy, you know that huge jump, and
<v Speaker 3>he does it several times throughout the song. So it's
<v Speaker 3>just an incredibly complex he said, it's similar to something
<v Speaker 3>like a jazz musician would do.
<v Speaker 2>It's fantastic musically. And then of course the subject matter
<v Speaker 2>of the song is so strong. I mean, this is
<v Speaker 2>about the actual suicide of a boy in Texas named
<v Speaker 2>Jeremy Dell, who, at sixteen years old, was sent to
<v Speaker 2>go get an admission slip and came back with a
<v Speaker 2>gun and said, I didn't get the admission slip, but
<v Speaker 2>I got what I meant to, and then killed himself
<v Speaker 2>in front of his English class.
<v Speaker 3>Shot himself on January eighth, nineteen ninety one, which would
<v Speaker 3>make him probably very close to yours or my age.
<v Speaker 2>So yeah, who that hurts my heart. Eddie Vedder had
<v Speaker 2>read about this Jeremy Dell in the Dallas Morning News.
<v Speaker 2>And it actually reminded Hymn of someone that he knew
<v Speaker 2>in school who one year brought a gun to school
<v Speaker 2>and didn't you himself, but shot a fish tank. Yeah,
<v Speaker 2>and so Edie Eddie said, And I had been in
<v Speaker 2>a fight with his kid the year before. You know,
<v Speaker 2>can you just imagine like seeing the guy that you
<v Speaker 2>were like, yeah, kick his butt, and then in the
<v Speaker 2>next year you're like, oh, holy crap, he brought a
<v Speaker 2>gun to school. He shot the fish tank.
<v Speaker 3>On a lighter note. My good friend and friend of
<v Speaker 3>the show, Tristan Martin told me when I told him
<v Speaker 3>we were doing Pearl Jam he said, one of the
<v Speaker 3>things I know about Pearl Jam ten is that they're
<v Speaker 3>a twenty nine oohs. Jeremy, he said, nim My brother
<v Speaker 3>would sit and listen to this song and count the ooze.
<v Speaker 3>So justin thank you for that little bit of nugget
<v Speaker 3>right there.
<v Speaker 2>I mean nine oohs. So this one, this is the
<v Speaker 2>one one of the professional, professionally done videos. It was
<v Speaker 2>done by Mark Pellington, who also did the rooster video
<v Speaker 2>for Alison Chains and who directed the movie Arlington Road.
<v Speaker 2>He said he did three of Eddie singing, and then
<v Speaker 2>almost the rest of the video was just him, his
<v Speaker 2>own creation. The band said, we don't really want to
<v Speaker 2>be in the video, so you get like little brief
<v Speaker 2>flashes of the band, You get Eddie sitting on a
<v Speaker 2>stool singing, and then mostly it is the creation of
<v Speaker 2>Mark Pellington.
<v Speaker 3>This song is the best song on the album in
<v Speaker 3>my opinion, and one of the best songs of the nineties.
<v Speaker 2>So on Jeremy. The B side of Jeremy was a
<v Speaker 2>song called Footsteps, which most people don't know but it is.
<v Speaker 2>It's a very different sounding it doesn't sound like the
<v Speaker 2>other songs on this album think about but it was
<v Speaker 2>the third part of that Mama Son trilogy and you've
<v Speaker 2>got the incestuous relationship, which then leads to the serial killer.
<v Speaker 2>Well Footsteps is he's in prison awaiting execution? Oh no,
<v Speaker 2>all right.
<v Speaker 3>Next song after Jeremy is a song called Oceans the.
<v Speaker 4>Kers.
<v Speaker 3>We'll say this is the fourth single, released December seventh,
<v Speaker 3>nineteen ninety two.
<v Speaker 5>And we're yes, this is about a surfboard. No, I'm
<v Speaker 5>just kidding that.
<v Speaker 2>He joked in MTV Unplugged about it being about a surfboard,
<v Speaker 2>but it was. And then he said, no, I'm just kidding.
<v Speaker 2>It's about a girl named Beth who I hopefully will
<v Speaker 2>see you tomorrow, And you know got to think that
<v Speaker 2>that's probably the lady he ended up marrying later on,
<v Speaker 2>named Beth Leibling This.
<v Speaker 3>You think of these guys as being so serious about
<v Speaker 3>their music, they're always very serious seeming, But the story
<v Speaker 3>behind this song actually made me laugh out loud. So
<v Speaker 3>they're recording and you go play pay the parking meter
<v Speaker 3>for me. Yeah, so somebody says they were recording, doing
<v Speaker 3>some work in the recording studio. Hey, Eddie, here's some change.
<v Speaker 3>We run out to the meter and plug this in
<v Speaker 3>my car. I'm about to I'm about to flip over
<v Speaker 3>and get a ticket. So Eddie goes outside to plug
<v Speaker 3>some coin into the meter and locks himself out of
<v Speaker 3>the studio while it's raining and cold.
<v Speaker 2>Yeah, and he's for it, and he's not.
<v Speaker 3>He doesn't have anything to so he's freezing his butt
<v Speaker 3>off in the wet rain, and so he just sits
<v Speaker 3>down and writes the lyrics to the song.
<v Speaker 2>Yeah, it just happen to have a pen and a
<v Speaker 2>piece of paper, and they're still playing like they're still
<v Speaker 2>playing on the inside. You know, they can't hear him,
<v Speaker 2>but he can hear it now, so he's like, Okay,
<v Speaker 2>I can hear the bass here. I guess Fitt might
<v Speaker 2>as well write a song to this, And so you've
<v Speaker 2>got this really kind of sweet, short song. This is
<v Speaker 2>the shortest lyrics that you're going to see on any
<v Speaker 2>of the song. But he sits there and listens to
<v Speaker 2>the bass and writing lyrics, and then when the bass
<v Speaker 2>stops playing, he's like oh and starts pounding on the
<v Speaker 2>door and then they here's the bass playing again.
<v Speaker 3>That's funny. So this song, it is interesting to me
<v Speaker 3>because this song is I would I would describe it
<v Speaker 3>as epic, emotional and grand. Yeah, but it's very short.
<v Speaker 3>This is a song that could go on for eight
<v Speaker 3>or nine or ten minutes, and I would listen to it.
<v Speaker 3>It's like, was it not even three minutes? I mean
<v Speaker 3>it's real short. Yeah, kind of interesting. The video was
<v Speaker 3>shot in Hawaii and inspired by his love of surfing.
<v Speaker 2>Yeah, this is the This is one. If you look
<v Speaker 2>at the liner notes, you'll see that the guy who
<v Speaker 2>ended up mixing the album for him. By the way
<v Speaker 2>they spent they didn't spend as much money on this one,
<v Speaker 2>as they did when they did Apple for Mother Lovebone,
<v Speaker 2>but they spent way more money on the mixing side
<v Speaker 2>of things than on the recording side of things. So
<v Speaker 2>they mixed the album at a place called Ridge Farm
<v Speaker 2>Studios in Dorking, and they're recording and they're about as
<v Speaker 2>far away from any kind of musical equipment supply places
<v Speaker 2>you're going to be. And so Tim Palmer, the guy
<v Speaker 2>who's doing the mixing for them, they couldn't get to
<v Speaker 2>like percussion that the mixer thought they needed, and so
<v Speaker 2>he ended up using a pepper grinder, kind of like
<v Speaker 2>a Morocca or something, and then he used he takes
<v Speaker 2>some drum sticks and beats on a fire extinguisher, and
<v Speaker 2>so that's what you get on the little the little
<v Speaker 2>pings and the clicks that happen in this particular song
<v Speaker 2>is some random percussion whatever it is. And more credit
<v Speaker 2>and liner notes for pepper mill and fire extinguisher. This
<v Speaker 2>one also is one in the open D tuning and
<v Speaker 2>this one is Stone Gossard's favorite track off of ten
<v Speaker 2>and also Jeff Ament's favorite track off of ten.
<v Speaker 3>It's an amazing song. I love it, Okay, moving on
<v Speaker 3>song after Oceans This song is called Porch. This is
<v Speaker 3>a song that for me and my family, you got
<v Speaker 3>to be quick on the skip because that F word
<v Speaker 3>is like one and a half seconds into it. And
<v Speaker 3>for my family, this will get my cape confiscated, So
<v Speaker 3>you'll be super fast on the skipper on this one.
<v Speaker 2>Yeah, this is one. I just love it. It's just
<v Speaker 2>so angry, and you know one that you're going to
<v Speaker 2>go into the mosh pit on it is Yeah, this
<v Speaker 2>is the other one. This is number five that he
<v Speaker 2>wrote on the way to Seattle to meet them for
<v Speaker 2>the first time. And the lyrics on this one, you
<v Speaker 2>know the other ones are they they have a beautiful
<v Speaker 2>poetry to them and that you can tell what they're about,
<v Speaker 2>but it's not like it's in your face. You get
<v Speaker 2>an impressionist painting kind of thing on these other songs.
<v Speaker 2>With Porch, it's way open to interpretation as to what
<v Speaker 2>he's talking about. But it's got this fantastic instrumental break,
<v Speaker 2>like it's completely different hits the E minor. Here it goes.
<v Speaker 2>So while this solo going, it's a nice long solo,
<v Speaker 2>and of course for their live shows that extend it
<v Speaker 2>even further. And if you've ever seen any Pearl Jam live.
<v Speaker 2>You know that Eddie Vedder is going to get bored
<v Speaker 2>and go start climbing stuff, and so this is the song.
<v Speaker 2>He's like, all right, nice long guitar solo in this song,
<v Speaker 2>Let's go climb up on the rafters. Swing, And you know,
<v Speaker 2>the guys talk about how they're watching him do this,
<v Speaker 2>and they're like, I was frightened to death every single time.
<v Speaker 2>We're just watching and just waiting for him to Yeah, okay, there,
<v Speaker 2>our lead singer just died. He just fell to his
<v Speaker 2>death in front of us. It was crazy, scary to
<v Speaker 2>see him do this stuff. But man, he was living.
<v Speaker 4>Line all right.
<v Speaker 3>After Porch, we get a song called Garden.
<v Speaker 2>Yeah, this one again. I love it. I didn't know
<v Speaker 2>until recently what it was about. I just enjoyed the song,
<v Speaker 2>had my own interpretation on it. But apparently they came
<v Speaker 2>up with this one when they heard about the invasion
<v Speaker 2>of Kuwait. There's no mystery about how they feel about Bush,
<v Speaker 2>both senior and junior, and so they when they heard
<v Speaker 2>about this, they were so frustrated. And the Garden of
<v Speaker 2>Stone is a cemetery and I will walk with my
<v Speaker 2>hands bound. It's kind of this idea of being forced
<v Speaker 2>into war. But it's still just again, a beautiful song.
<v Speaker 2>What did you think? This is not again, not one
<v Speaker 2>of the ones that's mainstream awareness. So what did you
<v Speaker 2>think when you heard this one?
<v Speaker 3>I would call this song dark and beautiful. I mean
<v Speaker 3>the whole album to me has a hint of sadness
<v Speaker 3>to it. I would say, you know, Nirvana's Nevermind is
<v Speaker 3>more about being angry and rebellious. This record is more
<v Speaker 3>emotional and sad.
<v Speaker 2>Yeah, brooding. Brooding is the word that I used you
<v Speaker 2>There obviously lyrics about deeper things from both bands, But
<v Speaker 2>whereas Kurt Cobain is more a scream at authority, this
<v Speaker 2>is more of a brooding anger that you get from
<v Speaker 2>Eddie Vedder.
<v Speaker 3>I do like how there's two guitars. When you listen
<v Speaker 3>to it on headphones, you get one guitar on the left,
<v Speaker 3>one guitar on the right, and they make that beautiful
<v Speaker 3>fullness that's really satisfying. Definitely, love it, beautiful song, Love it.
<v Speaker 4>All right.
<v Speaker 3>So after Garden we have a song called deep Again.
<v Speaker 2>I can't do anything but gush about all of these songs,
<v Speaker 2>but this one is another one that's very much open
<v Speaker 2>to interpretation. There's not a you know, I've seen a
<v Speaker 2>whole bunch of different ideas about what this song is about,
<v Speaker 2>and I don't agree with any of them, and I
<v Speaker 2>don't know that the band has said anything about it.
<v Speaker 2>But I mean you get hints of you know, you
<v Speaker 2>get a man on a window ledge about to jump
<v Speaker 2>out maybe or maybe it's drug use, or maybe it's murder,
<v Speaker 2>or maybe it's rape, and it's all this kind of
<v Speaker 2>multi meaning.
<v Speaker 3>Well, No, this was probably my least favorite song on
<v Speaker 3>the entire album.
<v Speaker 2>What bothers you about it?
<v Speaker 3>It doesn't bother me. It just doesn't grab me like
<v Speaker 3>the others do to me. It didn't have the beauty
<v Speaker 3>of Oceans or Garden, and it didn't have that same
<v Speaker 3>hook that even Flow and Alive have And Jeremy's on
<v Speaker 3>its own level for me, but it's in the lower third.
<v Speaker 3>It's still good, but it just didn't grab me.
<v Speaker 2>Yeah, this one. I think I've said something about the
<v Speaker 2>end of Jaws before, like, if if you've made it
<v Speaker 2>this far in the movie, you're totally going to buy
<v Speaker 2>in on an exploding oxygen tank, right for Deep, I've
<v Speaker 2>bought in so hard on all nine songs leading up
<v Speaker 2>to this one that I was just like, it just
<v Speaker 2>fell right into the groove and I just love it
<v Speaker 2>each and every time I hear it.
<v Speaker 3>So all right, So the last song on the album
<v Speaker 3>is a fantastic song. Amazing that to me, it's similar
<v Speaker 3>to something in the way at the end of never Mind.
<v Speaker 3>I don't know why they kind of hold this gem
<v Speaker 3>to the very last track, but Release is awesome. It's beautiful,
<v Speaker 3>it's sing along you're at the concert that the light's
<v Speaker 3>going up.
<v Speaker 2>This is a song that they kind of came up
<v Speaker 2>with in the studio. It was you know, they would
<v Speaker 2>be jamming on the song and it had this deep
<v Speaker 2>and beautiful feel. And then Eddie just goes up to
<v Speaker 2>the microphone and just starts singing like it hasn't he
<v Speaker 2>hasn't written anything down. He just starts singing what's on
<v Speaker 2>his heart and and it's about his dad. I mean,
<v Speaker 2>it's about oh, dear dad, do you see me now?
<v Speaker 2>And his idea that he's got to release the pain
<v Speaker 2>that he's dealing with. And you know, he talks about
<v Speaker 2>how he's he's singing this and it's it's deeply meaningful
<v Speaker 2>to him. And then he's looking around and he realizes,
<v Speaker 2>my gosh, the other band members are totally feeling this
<v Speaker 2>because of what they went through with Andy Wood, that
<v Speaker 2>they've got they've still got this deep emotional scar that
<v Speaker 2>they have to overcome, that they have to let go
<v Speaker 2>and ultimately move on with life. So for anybody, for
<v Speaker 2>anybody who's lost something, who's lost somebody really close to them,
<v Speaker 2>this song can be a very emotional song to listen to.
<v Speaker 3>Nice, thank you for that. D So that wraps it up.
<v Speaker 3>I mean, that's ten.
<v Speaker 2>So they released ten and it wasn't like the overnight
<v Speaker 2>success that never mind was. It took a little while
<v Speaker 2>to gain its traction. But by August of ninety two,
<v Speaker 2>they had reached number two on the Billboard two hundred.
<v Speaker 2>But you know who they could not unseat.
<v Speaker 3>Billy Rayciris World.
<v Speaker 2>What were you thinking, Oh my god.
<v Speaker 3>Billy ray Cyrus's album Some Gave All was number one
<v Speaker 3>for seventeen weeks in the nineties.
<v Speaker 2>Everyone who's listening right now should just punch themselves right
<v Speaker 2>in the face one time for allowing that to happen.
<v Speaker 3>All right, were ready to put these on the scales? Yeah,
<v Speaker 3>why don't you lead off? I know you have kind
<v Speaker 3>of a stronger relationship with this album in particular.
<v Speaker 2>Okay, so putting these two on the scales it is
<v Speaker 2>difficult for me to do. I thought when we started
<v Speaker 2>this process it was going to be super easy for
<v Speaker 2>me to do, because, as I've said before, ten is
<v Speaker 2>one of my favorite albums of all time, maybe my
<v Speaker 2>favorite album of all time. There is nothing wrong with
<v Speaker 2>it from beginning to end, including that fantastic hidden track
<v Speaker 2>that begins and ends the album. But then when I
<v Speaker 2>listened to never Mind, I was impressed. I was just like, Wow,
<v Speaker 2>this is a lot better than I I just never
<v Speaker 2>gave it that chance, you know, I had kind of
<v Speaker 2>I told you I had written off these guys, and
<v Speaker 2>to me, Nirvana was still kind of written off. I
<v Speaker 2>had this fantastic, you know, romance experience with smells like
<v Speaker 2>teen Spirit oddly enough, but it was it wasn't a
<v Speaker 2>band that I was fully invested in, and they were
<v Speaker 2>just the kind of were weird and loud and not
<v Speaker 2>particularly strong musicians from my way of thinking back then,
<v Speaker 2>but now listening to him now twenty five years later,
<v Speaker 2>dang it good. That was really really good, and there's
<v Speaker 2>a rawness to their sound that's enticing to me. I mean,
<v Speaker 2>you know from our past musical talks that I prefer
<v Speaker 2>the less produced sound, and if you look at these
<v Speaker 2>two albums, there's no question Nirvana sounds less produced. I mean,
<v Speaker 2>we talked about the fact that Butch Vig did a
<v Speaker 2>whole lot of producing, but he did it in such
<v Speaker 2>a way like that it was still very natural sounding.
<v Speaker 1>You know.
<v Speaker 2>It's like the best makeup is the one that looks natural, right, Well,
<v Speaker 2>that's what he did with that album. But I can't
<v Speaker 2>I mean, as good as never Mind is and as
<v Speaker 2>much as I was impressed with it, I cannot escape
<v Speaker 2>the fact that ten is flawless from beginning to end.
<v Speaker 2>It still has staying power. It is more produced, and
<v Speaker 2>the band has said as much. You know, they're like,
<v Speaker 2>I really wish we didn't have as much reverb on
<v Speaker 2>that album, and we would have done things differently as
<v Speaker 2>bands in that age tend to do. But the fact
<v Speaker 2>is it is freaking amazing music by amazing musicians. Nirvana.
<v Speaker 2>Their music was rough and almost deliberately so, which was
<v Speaker 2>kind of the punk style, and with them you got
<v Speaker 2>to jump. They jumped away from what was mainstream music
<v Speaker 2>at the time. With Pearl Jam. It was more of
<v Speaker 2>a stepping stone. It was like, we're fine with the
<v Speaker 2>idea of hard rock, We're fine with screaming guitar solos,
<v Speaker 2>but we're going to put in lyrics that are still
<v Speaker 2>deep and about the loneliness and despondence of youth, and
<v Speaker 2>we're going to write about things like suicide and incest
<v Speaker 2>and mental health facilities and still make it a melodic,
<v Speaker 2>engaging song. And so as much as I do like
<v Speaker 2>Nevermind more now than I did, then, it still doesn't
<v Speaker 2>match up to ten for me. Ten is still the
<v Speaker 2>best in my opinion.
<v Speaker 3>What you thought, nice, Nice, Okay, So I'm coming in
<v Speaker 3>very similar to what you're describing. I had never listened
<v Speaker 3>to Nevermind from beginning to end, and I liked it
<v Speaker 3>a whole lot more than I thought I would. The
<v Speaker 3>peaks are super high peaks, Okay, come as you are.
<v Speaker 3>Unbelievable song, teen Spirit, unbelievable song right in Bloom, maybe
<v Speaker 3>my favorite song on that entire album. And those are
<v Speaker 3>so good. But then you have, in my opinion, you
<v Speaker 3>have junk songs like stay Away and Territorial Pissings. To me,
<v Speaker 3>there's there's some junk songs but there are some absolute
<v Speaker 3>grand slams on that on that album and as I
<v Speaker 3>whole you know, Drain You and Polly on a Plane.
<v Speaker 3>I mean, those songs I appreciate and love more. I
<v Speaker 3>do think my personality it's better with the guys from
<v Speaker 3>Pearl Jam. If I wanted to hang out with somebody,
<v Speaker 3>I'm definitely with them. If I want to go to
<v Speaker 3>a concert, I'm with them. Who has more staining power?
<v Speaker 3>I mean, these guys are in their fifties now and
<v Speaker 3>they can sing these songs and they don't age at all,
<v Speaker 3>you know, I mean it's fantastic. So when I put
<v Speaker 3>them on the scales, it's similar to our bad Thriller argument.
<v Speaker 3>You know, we have these great, great songs and you
<v Speaker 3>have some throwaway tracks. This is solid all the way through.
<v Speaker 3>So for me, I'm going to go my voter is
<v Speaker 3>for ten.
<v Speaker 2>Also, all right, it sounds like ten is the winner here.
<v Speaker 2>But to all of those Nirvana fans out there who
<v Speaker 2>thought that Pearl Jam might have been sellouts, especially at
<v Speaker 2>the ten album, we still like Nirvana.
<v Speaker 3>We really do way more than I thought I would.
<v Speaker 2>Yeah, again, this has been a wonderful experience to go
<v Speaker 2>back and revisit this, much like with def Leppard, and
<v Speaker 2>much like with Van Halen, was like, dang, I did
<v Speaker 2>not realize how good some of this stuff was. And
<v Speaker 2>so please know that we truly love Nirvana, we just
<v Speaker 2>love Don a little bit more.
<v Speaker 3>Yeah, thanks for doing this with me, man. I'm having
<v Speaker 3>a such a great time. Let's hear from you, guys.
<v Speaker 3>If you think we're crazy, hit us up on Twitter,
<v Speaker 3>Facebook at Shirley Podcast on Facebook at Shirley Podcast on Twitter,
<v Speaker 3>or send us an email.
<v Speaker 2>Yeah, send us an email to Shirleypodcast at gmail dot com.
<v Speaker 3>All right, what do we have coming up? Do we
<v Speaker 3>know what we're doing next?
<v Speaker 2>I believe next up is Bull Durham versus Major League,
<v Speaker 2>So for that one it will be. I can assure
<v Speaker 2>you another close call. We're gonna both be gushing over
<v Speaker 2>both of these movies. They're both fantastically awesome and at
<v Speaker 2>this still, at this moment in time, I cannot tell
<v Speaker 2>you which one I can pick.
<v Speaker 3>Us the best sounds great. D Thank you. We will
<v Speaker 3>see you next time on the Shirley You Can't Be
<v Speaker 3>Serious Podcast. This isn't a TV show, Josh, It's a
<v Speaker 3>rock show.
<v Speaker 2>Turn the lights off. All music images and movie clips
<v Speaker 2>are used for the purposes of commentary and education in
<v Speaker 2>conjunction with the fair Use agreement under the U S
<v Speaker 2>Copyright Law.