Vídeos del concierto de Mark Lanegan en Dublin

Videos of the show of Mark Lanegan in Dublin

Curiosidad de Dave Abbruzzese

Curiosity about Dave Abbruzzese

http://grungebook.tumblr.com/

En preparación para el lanzamiento de la próxima semana de la Edición de tapa blanda de Everybody Loves Our Town: An Oral History of Grunge (13 de marzo;  infoaquí), estoy compartiendo algunos descartes del libro para mis lectores del blog. Para evitar confusiones, extirpo el siguiente relato del ex baterista de Pearl Jam, Dave Abbruzzese, que implica a una mujer molesta por el super éxito de PJ “Jeremy”. Dave me dijo en el rodaje que la mujer dijo que ella había sido testigo de lo que se produjo – a mediados – de los 80s en Richardson, Texas

DAVE ABBRUZZESE (baterista de Pearl Jam) en 1999, salí y giré con Harry Apes BMX. Cuando tocamos en Dallas, esta chica se acercó a mí después del espectáculo y dijo, “Necesito hablar contigo”, ella parecía angustia. Nos sentamos en la mesa, y empezó a soltar mierda de mi — me dio un tortazo en toda la cara. Dijo, “¿Cómo te atreves?

Ella estaba llorando y me enteré de que ella era la novia de Jeremy, el niño real. Ella estaba en el aula cuando ocurrió. Me dijo que fue muy duro para su familia, sus  amigos y para ella,  intentaron lidiar con el dolor y entonces, de repente,  la canción es la nº 1 como canción y vídeo. Ella expresó básicamente todos esos años de sufrimiento ante mi. Representé a la banda

IN ENGLISH

In the lead-up to next week’s release of the trade paperback edition of Everybody Loves Our Town: An Oral History of Grunge (out March 13; order info here), I’ve been sharing some of the book’s better outtakes for my faithful blog readers. In order to avoid confusion, I excised the following story from ex-Pearl Jam drummer Dave Abbruzzese, which involves a woman upset by PJ’s classroom-shooting mega-hit “Jeremy.” Dave told me the shooting the woman said she’d witnessed occurred in the early- to mid-’80s in Richardson, Texas (he recalled hearing about the incident back when he was going to school in nearby Mesquite). That doesn’t sync up with what Eddie Vedder has said were the two incidents(the primary one in Richardson, but in 1991) that inspired “Jeremy.” In retrospect, I think I should have kept the story in the book, as it’s a good one:

DAVE ABBRUZZESE (Pearl Jam drummer) Around 1999, I went out and toured with the Harry Apes BMX. When we played in Dallas, this girl came up to me after the show and said, “I need to speak to you,” and she seemed distressed. We sat down at the table, and she just smacked the shit out of me—just whack, across the side of the face. She said, “How dare you?”

She was crying, and I come to find out that she was the girlfriend of Jeremy, the real kid. She was in the classroom when it happened. She told me that his family and friends and her, they tried so hard to deal with the grief and then, just as they’re moving on with their lives, it’s the No. 1 song and video. She basically expressed all those years of distress from having to replay this memory over and over. So I took one for the band.

Curiosidad Babes In Toyland

Curiosity of Babes In Toyland

Sacado de Everybody Loves Our Town: An Oral History of Grunge

Me encanta la siguiente historia de la bajista Maureen Herman de Babes In Toyland  (en medio de la foto), pero no hubo un lugar para ella en el libro. Para el registro, Maureen dijo que su hermano se recuperó lo suficiente como para volver a tocar:

MAUREEN HERMAN (bajista de Babes en Toyland ) mi hermano tocaba el bajo en bandas de garage cuando estaba en la secundaria y tuvo un barato Fender P Bass (Una copia) . Fue trabajando en un restaurante haciendo pasta por la mañana antes de que el restaurante abriese. Estaba en el sótano, y algo pasó con la máquina de pasta. Se le quedó la mano metida dentro de la máquina, se le quedó la mano rebentada. Tenía una parada de emergencia, pero no tenía retroceso y uno de los chicos de arriba estaba pasando la aspiradora por lo que no podía escuchar a mi hermano gritando. (Risas). Esta historia es terrible, pero divertida. Finalmente alguien acabó escuchando a mi hermano, y le ayudó a sacar la mano de ahí y a apagar esa maldita máquina

En ese momento, sabía que yo estaba tonteando con la música,  y a muy regañadientes me dio su bajo, como, “Aquí lo tienes”. Él estaba jodido, no podía tocar más y verme tocar con las Babes no creo que le sentase muy bien,  no creo que nunca fuese a vernos realmente. Él no estaba loco, pero creo que fue difícil para él verme “despegar” tan rápidamente en el bajo.

IN ENGLISH

In the lead-up to next week’s release of the trade paperback edition of Everybody Loves Our Town: An Oral History of Grunge (out March 13; order info here), I’ll be sharing some of the book’s better outtakes for my faithful blog readers. I love the following story from Babes in Toyland bassist Maureen Herman (she’s the middle one in the photo), but there wasn’t a place for it in the book. For the record, Maureen said her brother recovered enough to play again:
MAUREEN HERMAN (Babes in Toyland bassist) My brother played bass in garage bands when he was in high school and he had this cheap Fender P Bass copy. He was working at a restaurant and making pasta in the morning before the restaurant opened. He was in the basement, and something happened with the pasta machine. He got his hand stuck in it, and it just keeps moving your hand forward and flattening it like fettuccine. It has an emergency stop, but it doesn’t have a rewind, and one of the guys upstairs was vacuuming so he couldn’t hear my brother screaming. (Laughs.) It’s kind of this horrible, funny story. So by the time the guy heard my brother, his hand was all mangled and someone had to come and dismantle the fucking machine.

At that time, he knew I was screwing around with music and he very begrudgingly gave me his bass, like, “Here.” He was all bummed he couldn’t play anymore, and for him to see me go from fucking around on the guitar to joining Babes—I don’t think he ever came and saw us, actually. He wasn’t mad, but I think it was hard for him to watch me take off on the bass so quickly.

Previously: Everybody Loves Our Outtakes, drunken horseplay edition: Tripping Kurt Cobain at Reading ‘92

Curiosidad sobre "Rooster"

Curiosity about “Rooster”

Mark Pellington, director de “Rooster” de Alice in Chains’ sacado de Everybody Loves Our Town: An Oral History of Grunge

“Cuando grabamos la parte de la actuación, Layne estaba en todo su apogeo . Recuerdo que Layne quería ponerse ese  sombrero de cowboy. Yo me quedé como  ’No sé qué decir sobre el sombrero’. Lo consideré inadecuado para la canción, les estábamos disparando delante de ellos  las proyecciones de este material del Vietnam. Sus ojos estaban realmente jodidos, estaba totalmente jodido. Fue como, ‘ Wow, chicos, está realmente jodido pensando en sus cosas. Qué quieres que haga con esto?’ Ah, tío, sabía que no habría sido muy halagador para él. Así que simplemente le puse con gafas de sol: ‘en lugar del sombrero, por qué no te pones estas?’ Dije, ‘ Dios, parece un macarra con en estas gafas de sol. Vamos a ir con esto. ” Y fue como, ‘ bien, vamos a ello, Vamos a sacar un par de tomas.» Por lo tanto no lo hicimos sin quejas

IN ENGLISH

—Mark Pellington, director of Alice in Chains’ “Rooster” video, fromEverybody Loves Our Town: An Oral History of Grunge

“When we shot the performance part, Layne was pretty high. I remember Layne wanted to wear this cowboy hat. I was like, ‘I don’t know about the hat.’ It felt inappropriate for the song—we were shooting them in front of projections of this Vietnam stuff. His eyes were really fucked up, he was totally pinned. It was like, ‘Wow, guys, he’s really fucked-up looking. What do you want to do about this?’ Oh, this sweet guy, I knew it wouldn’t have been very flattering for him. So I just put him in sunglasses: ‘Instead of the hat, how about you wear these?’ I said, ‘God, you look like a badass in these sunglasses. Let’s go with this.’ And it was like, ‘All right, let’s go. Let’s get a couple of takes.’ So it was not without its challenges.”

Más de la entrevista con Stone Gossard

More of the interview with Stone Gossard

Traducción sacada de Portalternativo

La gente de Rolling Stone ha tenido la oportunidad de hablar con Stone Gossard, guitarrista de Pearl Jam, sobre el nuevo disco de Brad, el proyecto paralelo que comparte con el vocalista Shawn Smith, Regan Hagar y Keith Lowe. El 24 de abril se publicará “United We Stand”.

El músico recuerda como fue el nacimiento del grupo: “Brad se retrotrae a mi relación con Regan Hagar, al que conozco desde 1984, 1985 y es una persona importantísima en mi vida en cuanto a exponerme a música y estilos. Me expuso a muchas cosas. Fue a través de Regan que conocí a Andy Wood (frontman de Mother Love Boney Malfunkshun). Ha sido una gran parte de mi vida y creo que nuestra conexión se manifestó en Brad en un momento en el que Pearl Jam estaba teniendo algo de éxito. Tuve la sensación de haber aprendido mucho acerca de como meterse en el estudio y hacer las cosas rápidamente, sin pensar demasiado en ello. A finales del 91 ó 92 decidimos que íbamos a pasar una semana componiendo y que íbamos a meternos (en el estudio) y grabar. Y lo hicimos. Terminó siendo un disco que tenía auténtico carácter y un rollo muy diferente a Pearl Jam. Ha sido un extraño camino de ahora si, ahora no. Hemos hecho discos periódicamente, casi cada cinco años o así. Pero cada vez que empezamos, es como, ¿de verdad somos una banda? Ha sido un viaje de miles de kilómetros porque, en todo ese tiempo, todo el mundo está donde está en ese punto de su vida, y lo que esperaban de Brad y lo que podría ser. A veces no estábamos en la misma onda pero aún así lográbamos juntarnos y hacer discos y giras. Pero entonces empiezas a mirar atrás – mola tanto tener esos extraños discos y que sean todos diferentes. Recuerdo haberme peleado por ellos y pasar por problemas por las canciones. Da la sensación de que Brad es más valioso que nunca porque ha sobrevivido casi en la sombra. Pearl Jam tiene un brillante foco encima todo el rato y ha sido maravilloso pero también crea música única sin el mismo foco.”

Curiosamente, entre este y el anterior disco, han pasado solo 2 años. “Bueno, ‘Best Friends’, el que hicimos antes, fue un disco que terminamos como tres o cuatro años antes de sacarlo. Tratamos de terminarlo pero no pudimos. Y entonces lo pusimos en paréntesis y todo el mundo fue a hacer sus cosas y lo miramos de nuevo. Así que ese disco llevó mucho tiempo hacerse. Cuando terminamos con eso, decidimos sacarlo y volvimos y cambiamos algunas cosillas, logrando que todos nos emocionáramos de nuevo. Sabíamos que esa parte del proceso no iba a abandonarnos rápidamente. Tras cinco discos, nos mirábamos diciendo, ‘Hey, no hay ninguna razón por la que no ser una banda’. Si hemos sido una banda y sobrevivido tanto tiempo, ¿por qué no seguir haciéndolo el resto de nuestras vidas? O al menos seguir mientras nos sintamos bien.”

Le preguntan por como avanza la creación del nuevo disco de Pearl Jam: “No lo sé, es difícil de decir. Hemos grabado algunas canciones y vamos a grabar y componer más. Nunca se sabe, quizá estemos a una o dos canciones o quizá grabemos seis o siete canciones más. Creo que lo principal es que no tenemos prisa ni urgencia. Lo más importante es que saquemos algo que continúe expandiendo nuestras fronteras más que tratar de seguir lo que hemos hecho en el pasado. Creo que es un buen momento para continuar experimentando y continuar mezclando las cosas para que la gente pueda decir, ‘Guau, eso es bastante raro para Pearl Jam’ y luego 10 años después la gente pueda decir, ‘Oh, ese es mi periodo favorito’. Que eso es lo que suele pasar. Pruebas algo y al principio quizá no todo el mundo lo entienda y luego miras atrás y dices, ‘Gracias a Dios que probamos algo nuevo porque abrió puertas para poder hacer esto y esto y aquello’.”

“No Code” puede considerarse como prueba de álbum distinto. “Cuando salió todo el mundo se quedó como, uhhh… Ese fue el primer disco en el que la discográfica y quizá alguna prensa dijeron, ‘No tiene ningún sentido’. Pero este disco es refrescantemente guay porque solo estamos nosotros en el estudio haciendo el idiota, no tomándoslo demasiado en serio. Creo que uno de los mayores problemas en el rock es que la gente piense demasiado, le pone demasiado énfasis en lograr que las cosas suenen perfectas o arregladas. A veces, ese sonido de no tenerlo todo arreglado mola.”

IN ENGLISH

You’ve been in Brad for nearly as long as you’ve been in Pearl Jam. How has that band evolved over time?
Brad goes back to my relationship with Regan Hagar, who I’ve known since 1984, 1985, and is just such an influential person in my life in terms of exposing me to music and style. He really exposed me to a lot of stuff. It was through Regan that we met [Malfunkshun and Mother Love Bone frontman] Andy Wood. He’s been a huge part of my life, and I think that our connection sort of manifested itself in Brad at a time when Pearl Jam was having some success. It was really nice to go back and spend some time making music that we didn’t have any expectations for. It felt like I learned a lot of lessons about how to go in and quickly get things done and move ahead without thinking about it too much. At the time it was the end of ’91 or ’92, and we just made a decision that we were going to spend a week writing music and we were going to go in and record a record, and we did. It ended up being a record that had some real character to it, and it had a vibe to it that was very different than Pearl Jam.

It’s been a strange road, because it’s been kind of on again, off again. We’ve made records periodically, almost every five years or so. But every time we restart, it’s almost like we’re going, are we really a band? It’s been a journey of a thousand miles, because through all that time, everyone is where they are at that point in their life, and what they were expecting from Brad, and what it could be. Sometimes we were all on different pages, but we still managed to get back together and make records and do some touring. But then you start sort of looking back – it’s so cool that we have these weird records, and they’re all different. I remember having fights about them, and different struggles with songs. It feels like Brad is more precious than ever before, because it has sort of survived almost in the shade. Pearl Jam has a big bright light shining on it all the time, and it’s been amazing, but it also sort of creates unique music when you’re next to that, but you don’t get the same light.

This new Brad album comes two years after the last one, which is the shortest gap between records in the band’s discography. How did this one come together more quickly?
Well, it’s funny, the one we made last, Best Friends?, was a record that was finished for maybe three or four years before we ever put it out. We kind of tried to finish it and then couldn’t. And then put it on hiatus, and everybody was kind of doing their own thing and kind of looked at it again. So that record was really a long time in the making. When we got done with that one, we finally decided to put it out and went back and tweaked a few things, and got everyone excited again. We knew that part of the process was not letting go of each other for so long. After five records, we’re looking at each other now going, Hey, there’s no reason why we’re not just going to be a band. If we’ve been a band and survived this long, why wouldn’t we just keep doing it for the rest of our lives? Or at least as long as it felt good.

How does your approach to playing guitar differ in Brad from what you do in Pearl Jam?
I think both things filter back and forth all the time. I learn stuff from making music every time I go in the studio. I’m continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song. I got to play a little bit more of a lead role on United We Stand, which is kind of cool. It’s a single guitar player band, so there’s this space for me to kind of get out and find these melodies that go along with the vocals, but also have their own identity. I was playing outside of the groove a little more than in the groove, playing a vocal line instead of a traditional guitar line or something. You can hear that, I think, in “A Reason to Be in My Skin” and “Bound in Time,” both of which have these guitar lines that aren’t typical of what I normally play.

I know you’re working on new music with Pearl Jam right now. Do you have a desire to play more leads in that band?
I think there are opportunities to do that, even beyond playing leads during a lead break. I love to write melodies that refresh the ear – if Ed [Vedder] is going a certain way, that at some point try to find the opposite of that, so when it comes back to whatever melody he’s singing that it’s even more impactful, because you’ve kind of explored the other side.

How far along are you with the new Pearl Jam record?
I don’t know, it’s hard to say. We’ve recorded some songs, and we’re going to record and write some more. You never know, it might be that we’re a song away or two, or it might be that we’re going to record six or seven more songs. I think the main thing is that were not in a rush and there’s no urgency to it. The most important thing is that we put something out that continues to expand our boundaries rather than trying to follow what we’ve done in the past. I think it’s a good time to hopefully continue to experiment, and continue to shake it up. So that people can go “Wow, that’s kind of weird for Pearl Jam,” and then 10 years later they can go, “Oh, that’s my favorite period.” Which is always kind of what happens. You try something and at first everybody doesn’t necessarily understand it, and then you look back and you go, thank God we tried something new, because it really opened a door up for us to be able to do this and this and this beyond that.

There are definitely a lot of No Code fans out there.
Yeah, and No Code kind of came out and everyone was like, uhhh . . .  That was the first record where the record company and maybe even some of the press were going, “It doesn’t make any sense.” But this record is refreshingly cool, because it’s just us in the studio screwing around, not taking it too seriously. I think that’s one of the biggest problems in rock is people thinking too much, putting too much emphasis on getting things perfect or completely sorted out. Sometimes that sound of not having everything sorted out is kind of cool.

Do you ever feel inspired to sing more, either with Brad or Pearl Jam?
I love singing and writing songs with vocal lines, but there’s only so much time in the day, and I think Brad is more of a priority to me than my own singing. If there are opportunities for me to sing in different situations, I’ll take them. For the most part, I really love being in a collaborative thing. And in a collaborative thing if you have a singer as good as Sean Smith or Eddie Vedder, you kind of think, well, why don’t you just go ahead and let them sing? People seem to really like it.

Read more: http://www.rollingstone.com/videos/new-and-hot/brad-diamond-blues-20120306#ixzz1oYeQjrEd

En un día como hoy pero de...

In a day like today but in…

En un día como hoy pero de 1994, Soundgarden lanzaron Superunknown. Debuta en el número 1 en las listas del Billboard y vende 300.000 copias en su primera semana

De un día como hoy pero de 1991 son las famosas fotos de Nirvana tomadas en el Commodore Ballroom, Vancouver, BC, Canada (Puestas abajo del todo)

IN ENGLISH

In a day like today but in 1994, Soundgarden’s Superunknown is released. It debuts on the Billboard charts at #1, selling over 300,000 copies in it’s first week.

March 8, 1991: Iconic photos of Nirvana are taken at the Commodore Ballroom, Vancouver, BC, Canada