[karia123]

[JAMik]

Interview by Gregg LaGambina - wywiad z 15 marca 2009

Has it really been just an eyelash shy of 20 years ago that a surfer from San Diego laid down some vocals over three instrumentals that would forever hence be known as “Alive,” “Once,” and “Footsteps”? That surfer, of course, was Eddie Vedder, those songs were composed by guitarist Stone Gossard and bassist Jeff Ament — former members of Seattle staples Green River and Mother Love Bone — and two of those three songs wound up on Ten, the 1991 debut album by Pearl Jam.
Debut is a French word meant to describe “a formal entrance into society.” There was nothing formal about Ten, and the society into which it was thrown was even less refined. The album appeared precisely at the time when it was needed; cuts like “Alive,” “Jeremy” and “Evenflow” resonated deeply with a new generation of kids who were distinctly not all right. Rounded out by guitarist Mike McCready and drummer Dave Abbruzzese (who joined shortly after Ten was finished, replacing original drummer Dave Krusen), Pearl Jam crawled out of the insomniac hours of MTV rotation and into the spotlight. They toured the earth with a singer who dangled from rafters and tumbled into the arms of newly anointed devotees, created small riots in the early afternoons of the second Lollapalooza festival (back when it was still a tour), and earned their adulation one person at a time, face to face, eardrum to eardrum.
On the occasion of the reissue of Ten — which comes in four different deluxe editions, all of which include a stripped-down, remixed version by producer Brendan O’Brien — SHOCKHOUND visited with bassist Jeff Ament to discuss then, now, and all points in between.

SHOCKHOUND: You’ve been a photographer for a long time, assembling a large pictorial archive of your band over the years. Are you a particularly nostalgic person?

JEFF AMENT: I’m probably nostalgic more so now than I ever have been. But I think I’ve been kind of lazy-nostalgic because the photos that I’ve taken over the years, I only really organized them in the last year or so. Timing-wise, it worked out pretty well [for the reissue of Ten] because it was pretty easy to access a lot of the photos I took during the two years that we were putting the band together and touring. It was pretty cool. I think you always worry about getting too nostalgic about things because we’re still a working band and we still feel like we’re making music that means something. Sometimes it’s a little bit tricky to jump back and forth between those two worlds. But in some ways, it feels like we can kind of close the door on that era a little bit now.

SHOCKHOUND: After all this time, how do you feel Ten has held up?

AMENT: The reason the album got remixed is because about around Vitalogy [1994], I saw a cassette tape that said “rough mix” — I was organizing this old crate full of cassettes — and it had the rough mixes from Ten. And when I heard it, I went, “Wow. This sounds so much better than the record.” I started bugging Brendan [O’Brien] around that time and started putting it in the ears of the other guys in the band. I thought if there was an opportunity at some point to remix that record, it would actually be a version that we could listen to. Whether it got released or not didn’t really matter to me, but I felt like I wanted to have a properly mixed version of it. Stone’s comment was he thought the reverb was covering up our inability to play [laughs]. A part of me had doubts too, but in listening to the rough mixes, it kind of proved that wrong. Listening to that stuff and listening to how Brendan remixed it — it kept it kind of punchy and raw. It really made me have a lot more respect for Dave Krusen, who was our drummer on that record. He was a really great drummer. He had a lot to do with how that record sounded. I don’t know if I ever gave him props; hopefully this remix will give him those props.

SHOCKHOUND: What exactly were the circumstances of Krusen’s exit?

AMENT: He was going through a bunch of stuff at the time. He had a wife and a newborn kid at that point. When we started touring, he just had a really hard time with it. And we were like, “Well, we’re going to be touring for the next 20 years [laughs] so if that’s something you’re not into…” So, it just didn’t work out.

SHOCKHOUND: When Pearl Jam started out, you famously sent a cassette of three instrumental songs you had recorded with Stone Gossard to “some surfer in San Diego” and it came back with vocals — the rest, as they say, is history. Almost 20 years later, you’re now in the studio recording your ninth album. Can you compare what it was like to hear Eddie Vedder sing over your music then to now? Is there a similar thrill now when you hear his new ideas for the first time?

AMENT: I have a huge appreciation for people who can put words together and be poetic. He’s always been a really strong writer in my eyes, but I think there’s been different phases when he’s really bumped it up. That’s just what he thinks about all the time. He’s always messing with wordplay and always thinking about words and how to put words together. Just the first few things that he did on this [forthcoming] record, it was obvious that he had again stepped it up a notch. It’s been really exciting these last few weeks just to hear what he comes up with and how he keeps making the words better. And sometimes he’ll come up with something great and then he’ll totally replace it with something even better. That’s a huge talent. I write some complete songs myself and it’s such an intense process for me just to get it to where it’s average. Slightly below average is really a lot of work [laughs]. He puts a lot of work into it too, but he also has an incredible gift.

SHOCKHOUND: Does he still cart around composition notebooks and jot things down?

AMENT: Yeah. He has a suitcase full of them.

SHOCKHOUND: Looking at the cover photo of Ten, you get a sense of how different things were back then, how being young and in a new band created a unique kind of solidarity. You’re all huddled there, announcing yourself to the world. For better or worse, how has that camaraderie changed over the years?

AMENT: I think partly with the relationships we’ve had with our better halves and over the years with our good friends and our families and the growing process of that — wives, girlfriends, that whole thing — we’re just having more grown-up conversations and communicating better. I think about Stone and I, and us being together for 25 years or whatever, and how we communicated early on — or really, how we didn’t communicate [laughs] — and how good of friends we are now and how we can have a pretty elevated, emotional discussion and not have it turn into something ugly like it could, or did. Even around the time we were making that record, there were strong feelings flying around and probably, to some degree, little power struggles, and really no ability to communicate in a calm, loving way what we were feeling. When we did take that picture, the idea was like, “If I’m going to be in a band still…” — because I had been in bands for 10 years at that point — “everybody has to be on the same page. If we are going to go step out into this world and really go for it, we really can’t have a weak link because a weak link is going to make us less of a band.” That was the idea — to really be a band. The cover, looking back at it, there’s a little bit of a cheesiness to it, but I think that was just the idealistic view we had at that point. We’re in this together and we’re gonna build a life out of this somehow — even if it’s only four or five years long [laughs] — we’re gonna go for it.

SHOCKHOUND: When Ten was originally released, it took a bit of time to find an audience; but when it did, you became huge almost without warning. When you were scheduled for the Lollapalooza festival that year, you had a 2 pm time slot usually reserved for smaller acts, and the crowds literally tore down barricades to get closer. Was that when you knew something was happening?

AMENT: Lollapalooza was a year after the record came out. We went to Europe three times that album cycle and every time we came back to Europe, the reception was exponential. We were playing like 200 or 300 capacity clubs and then all of sudden 2000-seaters, then we’re doing Lollapalooza at two in the afternoon. The record was doing well at that point, but we’re playing with the Chili Peppers and Soundgarden and Ministry — bands that we really looked up to. It was pretty intense. I don’t think we really knew how to handle all that energy. When you listen to tapes of some of those shows, we’re playing so fast, it’s so fucking crazy. I think we just took that energy in. I remember times on that tour when I just couldn’t go to sleep at night. I would just go back to the hotel and just lay there and it’s like five in the morning. It was great. At any given show it felt like something could go wrong too. It felt like we were playing on the edge of something. The barricades were coming down. All the people from the grass are coming down up front. Who played after us? The Jesus and Mary Chain. I think it was a bummer for them, because we had this thing going on and they played their pop music [after us] and it just didn’t translate.

SHOCKHOUND: But that band thrives on complaining.

AMENT: [Laughs] Right. Absolutely. They probably got a couple of good songs out of it.

SHOCKHOUND: The point of Lollapalooza then was to create this little traveling band of misfits who would play huge venues together that they wouldn’t be able to fill on their own. Now, there are “destination” festivals all over the place that basically have the same lineup in a different order. It might be good for the fans, but do you think the bands have that same kind of kinship of travelling around the country together like you did back in ’92?

AMENT: I think the good thing for us is that we haven’t played a lot of festivals in the past 15 years, really. We play a couple every year, and I think when we went to Europe two or three years ago, we played four or five but they were all in different countries. I think in the States, we’ve chosen every year to play a different one and not to play three or four. That makes it a little more exciting for us because only a couple times of year are we in the same vicinity as a lot of our peers. That makes it more fun as opposed to going out and doing the festival circuit every year. I think for a lot of bands that’s a way to make money and it’s a bit easier because you don’t have to carry your own sound and own lights and all that stuff. So, I think a lot of it is probably financially driven, but we’ve always wanted to change it up. There have been points over the years where we’ve toured too much in the same sort of setting, whether playing sheds or arenas and I’ve been like, “God, if I play another shed, I’m going to kill myself.” We’ve gotten pretty good at this point at knowing how to mix it up, keep it fresh, throw a festival or two in. It was fun a couple of years ago, we got to see Queens of the Stone Age for a couple of shows. For the last six or seven years, every time they’ve played Seattle we were out of town. So, it’s kind of a way to catch up. We got to see the Stooges at Lollapalooza a couple of years ago and that was great. I don’t know if that answers your question [laughs].

SHOCKHOUND: You just finished two weeks of recording in Los Angeles for your next album. What’s your favorite song, what’s its name, and why do you like it so much?

AMENT: [Laughs] Oh, man. There’s some really good stuff happening right now and it’s just starting to happen. The basic tracks are all kind of done. There are rough vocals. That stuff is getting tidied up. There are some keyboards and percussion things going on right now. It’s kind of just starting, but there’s a song called “The Fixer” that I think is really incredible.

SHOCKHOUND: Is that still your favorite part of being in Pearl Jam — seeing these little ideas hatch into brand new songs?

AMENT: Absolutely. Especially after all this time. This has been a real collaborative process. All five of us, with Brendan, have been in the same room for the last couple of months working these things out. So, from the inception of any one of us sitting on our couch or in our studio with a guitar in our hands — from that point to this point is pretty cool.

SHOCKHOUND: As a fan of basketball, do you feel a certain karmic satisfaction that the Oklahoma City Thunder are currently in last place? [The Seattle Supersonics were sold last year and moved to Oklahoma.]

AMENT: Nah. I think, for me, I have a little bit of an attachment to those guys because I saw them play some games last year, but I’m mostly just down on pro sports. In particular, I’m down on the NBA. I just think pro sports in general, everything’s caught up to it, whether it’s steroids or the price of tickets or leagues holding cities hostage over building new stadiums and all the under-the-table deals that go along with that crap. I’m a sports fan, but everybody shouldn’t be taxed to build a stadium. Not everybody is using it and not everybody is getting benefits out of it. It’s just crazy that billionaires are holding cities hostage. In some ways it’s probably good that Seattle doesn’t have to deal with that now because those teams are just money pits right now. And it’s probably not the best time now to have a whole bunch of those.

SHOCKHOUND: Remember when stadiums were named after great people who did great things and not the corporations that paid to build them?

AMENT: Yeah. And now all of those names are changing because all the banks are going out of business and all the insurance companies are going out of business. Everything has kind of caught up to the crookedness of business and the way that things have been handled.

SHOCKHOUND: Which brings us to the whole potential Ticketmaster and LiveNation deal. [The two companies are currently in negotiations to merge.] If bands can’t even sell records anymore because music is flying around the internet for free, where can an artist make a living if one corporation controls how money is made on the road too?

AMENT: Well, I have to say, I’m glad to see it in the newspapers and I’m glad to see that people are paying attention, and I hope a lot of bands get behind this thing. And then the other part of me goes, “Where were you at, like, 15 years ago?” [Laughs] Because we couldn’t get anybody. [Ament and Gossard testified in front of Congress in 1994, arguing that Ticketmaster was a monopoly in violation of antitrust laws.] It’s a joke. It works fine for the huge bands, but for anybody in between, or even worse yet, a young band who is maybe not selling records and is just kind of approaching venues that they have control over: you’re screwed. I actually really hope that Congress does something about it this time besides turn a blind eye, because that’s what happened 15 years ago.

SHOCKHOUND: Luckily for your band, you get to put out your next album on your own label and will probably have more control over your music than ever before.

AMENT: Absolutely. It’s a good time to be a free agent.

[JAMik]

Ciekawy wywiad z Edem o reedycji z punktu widzienia tych parunastu lat działania grupy.Warto przeczytać

If Kurt were around today he'd say to me 'well you turned out OK'

Legends ... Eddie reveals how people still stop him to say Ten changed their lives

PEARL JAM - TEN (Reissue)
*****

A FEW miles from Seattle-Tacoma International Airport in the district of Georgetown is a huge converted warehouse in an anonymous industrial neighbourhood.

It looks an unlikely location for a world-famous band, but for any Pearl Jam fan walking inside, it’s like entering Aladdin’s cave.

It’s the band’s HQ, rehearsal space and merchandise hub and impressively has all the stage sets, band memorabilia and instruments used throughout their 19-year history.

And the full guided tour offers more treats. The late Johnny Ramone’s baseball card and photo collection — he and singer Eddie Vedder were close friends — is on show near a skateboard ramp and an enormous baseball cage plus pitching machine.

Polaroid photos on display show Kings Of Leon in full baseball gear, ready to take a hit as a ball is spat out at 50mph.

Upstairs in the warehouse apartment — a place to crash if rehearsals extend into the night — Eddie is celebrating.

We meet on the day of Barack Obama’s inauguration and for Eddie, who was so central to the Vote For Change campaign, which urged people to choose John Kerry over George Bush in the 2004 presidential election campaign, it’s an extra special day.

“Let’s not even have his face anywhere on show,” he says with a beaming smile, as he turns over a copy of Rolling Stone magazine which features Bush glaring out from the cover.

“I’ve just watched him fly off to Texas on television. Finally we have got rid of him. I don’t ever want to see him again.”

Exploded

As passionate in his beliefs as he is engaging in his manner, it’s no surprise Eddie remains one of rock’s iconic and most compelling frontmen.

Pearl Jam’s Ten stands alongside Nirvana’s Nevermind as one of grunge’s seminal albums and remains one of the all-time greats.

It sold 12million copies and introduced Pearl Jam — guitarist Stone Gossard, bassist Jeff Ament, guitarist Mike McCready and their then recent recruit from San Diego, Eddie — to the world’s rock arena.

Ten’s fired-up riffs and the guitar interplay between Gossard and McCready together with Eddie’s lyrics meant Pearl Jam exploded out of Seattle in the Nineties.

Lyrically Ten was dark. Songs such as Alive (Eddie’s semi-autobiographical tale of a young boy discovering his father is actually his stepfather), Even Flow (a song about homelessness), Why Go (about mental hospitals) and Jeremy (influenced by the story of 15-year-old Texan schoolboy Jeremy Wade Delle who shot himself in front of his English class) gave a voice to tortured adolescent souls.

Now, in the run-up to the band’s 20th anniversary, Ten is being reissued in four exclusive editions.

They include the remastered version of the album, a remixed version by long-time producer Brendan O’Brien, a DVD of previously unreleased footage of the band’s MTV Unplugged show, Eddie’s original three-song “Mamasan” tape demo of Once, Alive and Footsteps and a copy of his composition notebook.

Eddie says: “We are so humbled by the amount of people who have stuck with us over the years that if we can provide them some new insight or something that’s really cool, then we will.

“I know how I react when something special is released by The Who so we wanted this to be something thrilling. We have pride in our material and going back through old material was really special. I don’t think I’d even heard the three-song demo since I sent it in.”

Over the years the band have expressed they were not 100 per cent happy with the sound of Ten, which was produced by Rick Parashar and mixed by Tim Palmer.

They felt it had too much reverb and too many guitar overdubs, but now the remixes by Brendan O’Brien have given them what they wanted.

Eddie says: “A few of the other guys were passionate about that being done. At the time Jeff and Stone had much more political power in the band (regarding) who we got in to mix the record than me and Mike. We were just the new guys.

“Tim had worked with Bowie on Tin Machine and was a great guy but over the years we’ve become used to how those records sound played live and so with the remixes we wanted to get to the core of what it sounded like live. The remixes strip away some of the atmospheric additives of the record’s sound.”

As one of two defining albums of grunge, Ten has always been and remains Pearl Jam’s benchmark album.

Lighting up a cigarette, Eddie explains: “Ten was our first kid, so it’s the oldest. So it’s the one that kind of brought up the others and gets all the attention. But I don’t know if we were ready for what came with it.

“We were ready to play music, be a good band and be good playing live but it was so intense and some of the intensity makes that period even hard to remember.

“What it did do was keep our world floating. Now I think ‘Wow’, because I didn’t really try that hard. I remember distinctly that demo, being an exercise in song writing.

“I didn’t know that was going to be something that would change my life, change other people’s lives.

“There’s been times when I’ve been standing in a line at a movie and someone’s hit me with something really heavy about someone really close and how our music has helped them get through it. Even in our darkest moments we try and find something beautiful.

“With the Roskilde families (in 2000, nine Pearl Jam fans were crushed to death at Denmark’s Roskilde Festival), we still have a close connection with them. It’s inspiring to see how they’ve got through it.”

With Ten reaching No2 on the Billboard 200 chart in 1992, Pearl Jam upgraded from Seattle to stadium rock band and with it arrived the backlash.

They were accused of being careerists, of betraying grunge, with their most vocal critic, Kurt Cobain, slating them for “pioneering a corporate, alternative and cock-rock fusion.”

In terms of follow-up albums, in the next year, 1993, it seemed grunge fans disagreed with Kurt and Pearl Jam’s Vs sold five times as many copies (nearly a million) as Nirvana’s third album, In Utero (200,000 copies) in their first week of release.

“I don’t think Kurt understood us at the time, but we became friends and I’m glad we had some of the great conversations we had, that I’m always going to keep up here,” says Eddie, pointing to his head.

“I don’t talk too much about him in respect to Krist (Novoselic) and Dave (Grohl) and I know he said that early stuff about not liking us.

Insanity

“But there’s a couple of complimentary things that he said in public about me as a human being, which I’m proud exist. But if Kurt were around today, I know he’d say to me, ‘Well, you turned out OK.’”

In fact, few bands in recent history can match Pearl Jam’s integrity and authenticity when it comes to music.

“Any conversations we hear about ‘So who are Pearl Jam marketing to?’ are despicable,” says Eddie.

“People offered us money to sell out but do I look like a whore?

“It’s always about being honest and the positive side of the huge success for whatever negatives there were, was that it gave us the power to say no and be able to commit to making decisions on our own and stick by them.”

In 1994 Pearl Jam cancelled their summer tour, and tried to sue Ticketmaster, alleging they were a monopoly which allowed them to push up ticket prices.

However, when fans complained they weren’t getting to see their shows, it became a bigger issue to them.

“The Ticketmaster problem was stopping us focusing on the music. We were putting on our own shows and talking more about portable toilets in venues than set lists.

“We were annoyed that other bands didn’t follow our lead and boycott Ticketmaster too.

“There were people in so-called ‘bands of the people’ who bought in with the other side. But we learned a lot about politics then.”

And so looking back, what does he think of the whole grunge scene?

“It was more unconscious to us. There are a lot of different styles on all our records. I don’t think there’s any colours on the palette that we think we can’t use.

“And when it comes to grunge or even just Seattle, I think there was one band that made the definitive music of the time. It wasn’t us or Nirvana but Mudhoney.

“Nirvana delivered it to the world but Mudhoney were the band of that time and sound.”

Today, 18 years on from the release of Ten and Pearl Jam are halfway through making their ninth studio album. “It’s taken two weeks to get halfway there and that’s writing it from the bottom up, so we’ll see how long it takes to finish it.

“I’m not sure what the recording process is going to be, but we will be playing shows,” says Eddie.

“One of us is having a baby next year so there’ll be no touring then so we have to get it done this year.

“I think the hardest thing about making music now is being a great dad at the same time,” adds Eddie, who has two young daughters with model Jill McCormick.

“There’s an insanity that goes with writing — a mad scientist thing that you have to go through and sacrificing a kid’s upbringing to do that is not an option.

“But at the same time, I don’t want to go the way where music becomes a hobby. I don’t trust art that’s made without some pain and insanity, so it’s just about trying to balance that out.

“We all want to make music together as much as we did when we were making Ten.

“We get along and work really well together and as yet, we still don’t have a band therapist. And that’s something I’m particularly proud of.”

[MaaD]

Pearl Jam: Album, Film, Tour In The Works


Pearl Jam will play live dates in the U.S. later this year, including the Outside Lands Festival in San Francisco Aug. 28-30, Billboard has confirmed. The band has also completed 14 songs for a new album and is working on a film with director Cameron Crowe, guitarist Mike McCready said in a radio interview late last month.


McCready told Seattle's "Ron & Don Show" that the band is about halfway finished with its next album, which is being recorded in California with producer Brendan O'Brien. McCready said the band is expecting to have the album out before the end of this year. As previously reported, the band will self-release the album, its ninth.

As for touring, the band is doing a "little thing in the States," and is looking to play South America in 2010, McCready said.

Pearl Jam is widely expected to be one of the headliners of this year's Austin City Limits Music Festival in Austin, Texas. The promoters, C3 Presents, declined to comment to Billboard about the lineup, but the Austin Chronicle is calling it "the worst-kept secret since Metallica’s SXSW showcase." Dave Matthews Band, Beastie Boys and Kings of Leon are also expected to be announced as headliners on April 28. Early bird passes for Austin City Limits are on sale at aclfestival.com.

Pearl Jam is also planning to tape an appearance on the Austin City Limits television show, producer Terry Lickona told a pbs.org questioner in March.

Pearl Jam have long been courted by C3 Presents for the Austin festival, especially after the promoters convinced the band to play Lollapalooza in 2007, its first large festival show in the U.S. since the mid-1990s. Pearl Jam played Bonnaroo in 2008.

"We're building up to our big 20th anniversary," McCready said. "We're trying to have a little campaign of building rereleases with new mixes and new outtakes up until that time. We're trying to do a movie with Cameron Crowe with all of our existing footage."


źródło:
http://www.ultimate-guita..._the_works.html
za:
http://www.billboard.com/...003961625.story

[JAMik]

polskie info z filmłeba:

Twórca "U progu sławy" zrealizuje film z koncertu Pearl Jam

Rolling Stones, Metallica, U2, CSNY i Jonas Brothers to tylko niektóre z zespołów, których występy zostały zarejestrowane kamerami, a potem sprzedane w kinach jako pełnowartościowe filmy. Pearl Jam postanowiło nie być gorsze i wynajęło Camerona Crowe'a ("Jerry Maguire", "U progu sławy") do zrealizowania koncertowego obrazu.

Zespół chce, żeby reżyser zmontował materiały wideo ze studia, koncertu i backstage'u. Crowe współpracował już z Pearl Jam przy okazji "Samotników", gdzie muzycy wcielili się w fikcyjną grupę Citizen Dick. Ponadto wyprodukował kiedyś krótkometrażowy dokument "Pearl Jam: Single Video Theory", który promował premierę płyty "Yield" z 1998 roku.

Pearl Jam to legenda grunge'u. Zespół sprzedał łącznie ponad 60 milionów płyt.

[JAMik]

W związku ze zbliżającą się premierą nowego albumu Pearl Jam, "Backspacer", magazyn "Rolling Stone" postanowił sprawdzić, jakie są najlepsze piosenki kapeli z Seattle.

Czytelnicy pisma wzięli udział w sondażu. Po podliczeniu głosów, okazało się, że na podium znalazły się nagrania z debiutanckiej płyty "Ten".

Oto lista 15 ulubionych numerów wg. czytelników "Rolling Stone":
1. "Alive"
2. "Black"
3. "Jeremy"
4. "Rearviewmirror"
5. "Yellow Ledbetter"
6. "State of Love and Trust"
7. "Do The Evolution"
8. "Release"
9. "I Got Id"
10. "Porch"
11. "Life Wasted"
12. "Off He Goes"
13. "Given to Fly"
14. "Better Man"
15. "Not For You"

[garnek]

to mamy już listę piosenek na album z serii the best of

[Meredith]

Sporo z "Ten'a". To już chyba pozostanie ich najbardziej rozpoznawalna płyta.

Po mojemu, ciekawe, że nie ma np. Even Flow, Corduroy, Wishlist czy I am mine. Last Kiss nie ma, bo to nie ich. Ale obstawiałabym też Go, Last Exit, Blood, Tremor Christ, Immortality, Sometimes, a nawet stosunkowo "nowe" World Wide Suicide.

No ale to ja, a tamto czytelnicy "Rolling Stone'a".

[MaaD]

Rankingi w Rolling Stone sa jak odcinki Mody na sukces. Nie dosc ze byla ich cala masa i wiekszosc byla pozbawiona sensu, to bedzie ich jeszcze duzo, duzo wiecej! ;)

[karia123]

[Meredith]

Noo. I tylu hiciorów zabrakło... O dupę te rankingi rozbić.

[MaaD]

Zeby nie bylo offtopu, nawiaze do innego rankingu zwiazanego z Pearl Jam przygotowywanego przez Rolling Stone, The 100 Greatest Guitarists of All Time z 2003 roku, w ktorym to nie uwzgiedniono ani Gossarda, ani McCready'ego.

Dopiero po trzech latach, w 2006 roku, redaktor David Fricke przyznaje, ze schrzanil sprawe zapominajac o wspomnianych gitarzystach. W rezultacie, RSM w 2007 przygotowalo kolejne rankingi: The Top 20 New Guitar Gods, gdzie obaj panowie trafiaja razem jako 'czteroreczny potwor' oraz The Twenty-Five Most Underrated Guitarists, gdzie Mike plasuje sie na 6 miejscu. Co wiecej, solowki do Alive i Yellow Ledbetter znalazly sie rowniez w zestawieniu 100 Greatest Guitar Solos.

Smiech na sali. Czekamy na The Top 58 Rock Urinals

[karia123]

mógłbyś wrzucić link do tego zestawienia niedocenionych gitarzystów?

BTW. Ponieważ czasem wstępuje a gremmie.net, wczoraj odwiedziłam zakładkę demos. w Mookie Balylock na ostatnim miejscu jest demo Yellow Ledbetter. Jak dla mnie baaardzo ciekawe. Owszem, słychać, ze to tylko zarys utworu, który się potem wyłonil, ale ja lubię takie rzeczy. Słuchając tego, mam wrażenie, ze siedzę w kacie sali, gdzie PJe dżemują...:
http://www.gremmie.net/bsides/demos/


Osobiście żałuje, że nie wydali demo zamiast remixu

[MaaD]

[karia123]

dzięki wielkie...
Cobain na drugim miejscu????