Pearl Jam

'Pearl Jam Twenty': The Reviews Are In

20 Sep 2011 18:06:10 EDT

Critics accuse director Cameron Crowe over fawning over the band, but fans probably won't mind.
By Eric Ditzian

Eddie Vedder in "Pearl Jam Twenty"
Photo: Vinyl Films

In a neat bit of pop-culture convergence, the 20th-anniversary commemoration of Nirvana's Nevermind (which MTV News has been feting all week long) is coinciding with another grunge-centric, two-decade celebration: Cameron Crowe's documentary about the founding and globe-spanning success of Pearl Jam. "When I saw the early ... edits of it, I thought it was very interesting and kind of exciting and, like I said, it runs the gamut of all those emotions," guitarist Mike McCready told us in May. "And it actually put in some sort of musical perspective the past 20 years, like, 'Oh yeah, we did do that, we did do this': the Ticketmaster thing, there was Roskilde, there were all these issues, and there were these great highs and interesting beginnings. The story it tells is: Why did it work, and why does it still? It made more sense when I saw the movie."

After debuting at the Toronto International Film Festival earlier this month, "Pearl Jam Twenty" is set for a one-night-only premiere at theaters across the country Tuesday (September 20). The early word from critics is that while the doc gives fans unique access to the band, especially in early footage hauled out from the achieves, it suffers from director Cameron Crowe's hagiographic treatment of his subject. But that might just be exactly what PJ devotees are looking for. The Comparison
"Cameron Crowe's feature doc ... is among his most effective and deeply felt work. ... Every rock act possesses a mysterious alchemy that becomes a kind of mythology; as a portrait of one of the biggest bands in the world, 'Pearl Jam Twenty' doesn't so much capture that alchemy as describe it. But it does so with passion, and even the unconverted will find a convincing case for the band's longevity, popularity and influence." — Sheri Linden, The Hollywood Reporter The Focus
"Crowe, who does a remarkable job of collecting archival footage from the band's earliest days (and even before that) focuses heavily on [the band's early days]. He narrates the beginning (before getting almost totally out of the way), setting the stage for the late '80s and early '90s, when Seattle was the rock music capital of the world. Soundgarden's Chris Cornell talks about how there was a wealth of bands, but unlike in New York or Los Angeles, the competition tended to be more friendly than cut throat. Even later, when the twin towers of the Seattle scene — Pearl Jam and Nirvana — seemed ready to face off after Kurt Cobain slagged Pearl Jam's music for being too mainstream, they resolved their differences before Cobain died." — Melinda Newman, HitFix The Fandom
"The cinematic equivalent of a concert T-shirt, XXL biodocu 'Pearl Jam Twenty' gives another awesome souvenir to die-hard fans of the chart-topping Seattle scenesters-turned-cult faves while leaving others to wish there was a thesis in former rock-journo Cameron Crowe's two-hour puff piece. Finding a pulse only in the band's late-reel performance of 'Alive,' a lusty passage that would've begun a pic intent on making a case for the group's greatness, 'Twenty' simply counts the years from 1991 via sludgy backstage and onstage footage whose rarity can't forgive its inclusion. Crowe's critic mentor, the late Lester Bangs, would cringe." — Rob Nelson, Variety The Frontman
"Before Vedder was vaguely mystical and a little inscrutable, he was boyish, smiley and uninhibited. Vedder doesn't come through any clearer after 'Pearl Jam Twenty,' but the band's journey remains a thoroughly entertaining one. Any enterprise like this is inherently self-congratulatory, but the film is best considered from Crowe's perspective: that of a fan." — Jake Coyle, The Associated Press The Final Word
"[It] suffers from being an all-out fawnapalooza. Crowe, a former Rolling Stone reporter, wastes unprecedented access to one of modern rock's most private, compelling and enigmatic acts to create little more than a promotional video for Pearl Jam's non-stop tours. There's plenty to elicit fist pumps from steadfast fans, largely because of rare archival footage. (A silly slow dance between security guard-turned-rocker Eddie Vedder and Nirvana's Kurt Cobain is lump-in-the-throat poignant). Yet Crowe glosses over too many of Pearl Jam's darkest days — a drummer's mysterious firing, addiction battles, nine fans dying at a show — to keep non-Jammers from getting bored." — Joseph Rose, The Oregonian For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com.

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Evanescence, Matt Pinfield Remember 1991: When Rock Rocked

02 Sep 2011 14:32:41 EDT

Pearl Jam's Ten, Soundgarden's Badmotorfinger celebrate 20th anniversary along with Nirvana's Nevermind.
By James Montgomery

Pearl Jam's Ten
Photo: Epic

As the music world gears up to celebrate the 20th anniversary of Nirvana's Nevermind, it's also bears mention that there were no shortage of other magical, massive and equally mythological albums that hit stores in 1991. To celebrate the year when rock truly rocked, MTV News has been asking some of today's biggest acts (everyone from Blink-182 to DJ Skrillex) to remember their favorite albums from that truly epic year.

So far, we've looked back at Metallica's Black Album, the Red Hot Chili Peppers' Blood Sugar Sex Magik, Dinosaur Jr.'s Green Mind, My Bloody Valentine's Loveless and Slint's Spiderland. And now, a couple of professional music fans reminisce about two other game-changing 1991 releases: Pearl Jam's Ten and Soundgarden's Badmotorfinger: Pearl Jam, Ten
A little more than a year after they formed from the ashes of Seattle's Mother Love Bone — with an assist from a gas station attendant/surfer from San Diego — Pearl Jam roared to life with Ten, an album that not only ranks as a cornerstone of American rock, but one of the most successful debuts of all time. Few bands went from relative obscurity to international superstardom with the speed of Pearl Jam, a breakneck pace seemingly predicted on tracks like "Once" and "Why Go." Of course, Eddie Vedder's contemplative, everyman (yet otherworldly) ruminations on "Black" and "Jeremy" added depth and breadth to the sonic squall. A classic in every sense of the term, Ten remains Pearl Jam's most popular release to this day, and the fact that the band is still going strong proves that not all overnight success stories have to come with an unhappy ending. Also, rather indirectly, it remains the greatest thing Mookie Blaylock has ever been (loosely) associated with, even better than Oklahoma's run to the 1988 NCAA title game. As Remembered by Amy Lee, Evanescence: "We moved from Rockford, Illinois, to Little Rock, Arkansas, when I was 13. It was really hard, you know, right at the wrong age, didn't have any friends, didn't know anyone, moved to a new school. It was real preppy, didn't fit in ... all that classic stuff. And, at the same time, there was some music that I was addicted to, like, needed it, and Pearl Jam's Ten was one of those records. I had the tape ... and I would listen to it, turn it over, listen to the whole other side, start it over again. All night. Like, I could just lie in bed and cry or think ... that was the outlet. I love that record. I love 'Black,' that song's just so totally beautiful, I could listen to that one over and over. 'Alive,' 'Jeremy,' probably the biggest song on the record for me. That video, that kind of horrifying, childlike experience, it completely moved me and touched me. That had to be the song for me. I wore that tape out, completely. And, I remember, the [liner] had them with their hands raised, together, and I had that on my wall. ... They felt like I felt, and their music described things I couldn't say out loud. And that idea and revelation was so inspiring to me, like, I wanted to live inside the songs." Soundgarden, Badmotorfinger
They'd break through to the big time with the follow-up, 1994's Superunknown, but to the purists, Badmotorfinger remains Soundgarden's crowning achievement, a sludgy, leaden thing that channeled the bludgeon of Black Sabbath and the keening vocal pyrotechnics of a million hair-metal frontmen. And, in the process, the band created an album that was heavily indebted to the past, while still managing to forge new territory that left their grunge contemporaries (and contemporary critics) grasping at straws. Pounding, primal, precise ... all the adjectives apply here, and on songs like "Rusty Cage," "Outshined" and "Jesus Christ Pose," they often apply at the same time. As Remembered by Matt Pinfield, host of MTV2's "120 Minutes": "Badmotorfinger is such a great record, and it says a lot about the band and their songwriting, just the crazy time signatures on tracks like 'Rusty Cage' and 'Jesus Christ Pose' — it took balls to write a song and do a video like 'Jesus Christ Pose' back in the day — but also, if you look at how songs like 'Outshined' have lasted, how incredible they are as a band. Chris Cornell, one of the greatest rock vocalists of all time, Kim Thayil, one of the most incredible guitar players, just dirty, sludgy, tuned-down. Ben Shepherd, a powerful bass player who plays rhythm with his bass, and, of course, Matt Cameron, one of the greatest drummers ... still going strong, looks as young as he did then, playing with Pearl Jam and Soundgarden. So, I love Badmotorfinger. It's one of the greatest albums in a year that had so many really great albums." Share your favorite memories of 1991's seminal albums in the comments below!

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Eddie Vedder Watches As West Memphis 3 Freed

19 Aug 2011 15:50:55 EDT

Dixie Chicks' Natalie Maine also on hand to see three men plead guilty and walk free.
By Gil Kaufman

Photo: Getty Images

Eighteen years after they were sent to prison for the murders of three 8-year-old Cub Scouts in 1993, the men known as the West Memphis 3 were unexpectedly freed from jail Friday (August 19) when their lawyers reached an unusual deal with prosecutors. With such celebrity supporters as Pearl Jam singer Eddie Vedder and the Dixie Chicks' Natalie Maines on hand to watch the proceedings, Damien Echols (36), Jason Baldwin (34) and Jessie Misskelley Jr. (36) were set free thanks to a legal maneuver called an "Alford Plea" in which the three men pleaded guilty while still maintaining their innocence as they acknowledged that prosecutors had enough evidence to convict them. "The gag order has been lifted, so now I can tell you, I'm sitting in a holding room at the courthouse about to see three men walk free!" Maines tweeted Friday afternoon. "Beautiful things went down in Arkansas today. Beautiful beautiful things ... The WM3 will now and forever be the WMFree!" The three, all teenagers at the time of their arrest, were convicted of the murders in what officials called a satanic ritual. But evidence later showed that their DNA did not match the DNA found at the crime scene. Their case became a cause célbre for a number of musicians and actors and spawned the 1996 documentary "Paradise Lost: The Child Murders at Robin Hood Hills" and the 2000 follow-up, "Paradise Lost 2: Revelations," with a third film, "Paradise Lost 3: Purgatory," due to premiere at the Toronto International film festival in September. It also inspired a 2000 benefit compilation called Free the West Memphis 3 that featured songs by Steve Earle, Tom Waits, X's John Doe, the Supersuckers featuring Vedder and late Clash singer Joe Strummer. The three were freed just months before a hearing to decide if recently discovered DNA evidence that did not place any of them at the scene of the crime should result in new trials. According to TMZ, after their release on Friday, Nichols and Misskelley told reporters that they served 18 years for a crime they "did not commit." While Baldwin initially declined to take the deal in favor of proving his innocence in court, he eventually changed his mind in order to save Nichols from death row. In addition to Vedder and Maines, other celebrities fought on behalf of the three men, including Winona Ryder, Tom Waits and Johnny Depp, who appeared in an interview on CBS' "48 Hours Mystery" last year in which he said he believed the men were innocent. "Paradise Lost" filmmakers Joe Berlinger and Bruce Sinofsky — who went on to make Metallica's "Some Kind of Monster" — were in court on Friday as well to witness the men's release. According to their spokesperson, the third chapter in the series will be air on HBO in January. "Eighteen years and three films ago, we started this journey to document the terrible murders of three innocent boys and the subsequent circus that followed the arrests and convictions of Baldwin, Echols and Misskelly," director/producer Berlinger said. "To see our work culminate in the righting of this tragic miscarriage of justice is more than a filmmaker could ask for."

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Pearl Jam Say 'Twenty' Documentary Shows 'Highs, Lows'

17 May 2011 15:17:18 EDT

Cameron Crowe-directed retrospective set to premiere in September.
By James Montgomery, with reporting by Sasha Hamrogue

Pearl Jam's Eddie Vedder performs in 1992
Photo: Michel Linssen/ Redferns

On October 22, 1990, Mookie Blaylock played their first official show at the Off Ramp Cafe in Seattle. Rock historians would come to imbue this event with understandable import: After all, Mookie Blaylock would go on to become Pearl Jam, one of the most important rock outfits of the past two decades. And now, with the 20th anniversary of that debut show on the horizon, the members of Pearl Jam are looking back for the first time in their careers — and they still can't believe they've made it this far.

Luckily, they've got Cameron Crowe to help them remember their journey from Seattle mid-carders to one of the biggest acts on the planet. He's directed a documentary called, appropriately enough, "Pearl Jam Twenty," that culls through more than 1,200 hours of rare footage — plus 24 hours of recently shot interviews — to provide a definitive look at the band's legendary career. The film is reportedly set to premiere in September — though, on Monday, PBS announced it would broadcast it in October as part of its "American Masters" series — meaning that, at long last, guitarist Mike McCready, one of Pearl Jam's founding members, is being forced to come to terms with his band's own mortality. "Yeah, it all went very quickly," he said, laughing. "There were many highs and lows throughout our career, and many arcs of creativity [and] tragedies ... that run the whole gamut of human emotions, being in this. From being in a band with guys for 20 years, and having fights and making up, and being brothers in a way, looking out for each other." And part of what appeals to McCready about Crowe's film is that it somehow manages to tie all of those things together into one cohesive and comprehensive work — one that had even the longtime guitarist getting a bit nostalgic. "When I saw the early ... edits of it, I thought it was very interesting and kind of exciting and, like I said, it runs the gamut of all those emotions," he explained. "And it actually put in some sort of musical perspective the past 20 years, like, 'Oh yeah, we did do that, we did do this': the Ticketmaster thing, there was Roskilde, there were all these issues, and there were these great highs and interesting beginnings. The story it tells is: Why did it work, and why does it still? It made more sense when I saw the movie." But "Twenty" isn't the only thing Pearl Jam have in store for fans to commemorate the occasion: They've also announced plans for a Labor Day weekend concert alongside the likes of the Strokes, Queens of the Stone Age and Mudhoney, and, as McCready hinted, there might even be some new music on the way. Or maybe not. After all, all this nostalgia takes up a lot of time. "Jeff [Ament] and Ed [Vedder] were really wanting to do more music in the terms of, 'It's our 20th anniversary. Let's celebrate that, but let's also do some new music,' and we're all into that," McCready said. "So, you may see some new music, you may not. I know we're going to record some new music this year; it may not be finished by the end of the year." Are you excited to see the Pearl Jam documentary? Tell us below!

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Pearl Jam, Radiohead And Nine Other Surefire Rock And Roll Hall Of Famers

29 Sep 2010 06:52:03 EDT

Green Day, Kid Rock and Coldplay also seem like locks for the Hall, in Bigger Than the Sound.
By James Montgomery

Photo: Scott Gries/ Getty Images

On Tuesday, the Rock and Roll Hall of Fame unveiled the nominees for induction in 2011, a list that's as inspiring (Beastie Boys! Tom Waits! Dr. John!) as it is mystifying (LL Cool J?). Not surprisingly, this year's noms sparked a whole lot of debate — because kvetching about the Rock Hall is an exercise as old as the Hall itself — and for most of the day, I was ready to lend my voice to the argument. After all, any Hall of Fame that does not include among its ranks the likes of Kiss, Rush, Cheap Trick or Def Leppard (or even Joy Division, the Replacements, Hüsker Dü, the Minutemen or Black Flag, for that matter) but does include Madonna is no Hall of mine. But then, I decided to do something completely different. Rather than complain about all the bands the Rock Hall — and its nebulous voting committee — have snubbed, I decided to focus instead on all the bands it will someday embrace. Ignoring surefire inductees like Guns N' Roses (eligible next year!) and Nirvana, I compiled a list of 11 active bands I truly believe will one day take their rightful place alongside greats like the Beatles, the Rolling Stones and, uh, Traffic. This was a lot tougher to do than you could possibly imagine, since, you know, the state of rock is rather dire these days (let's just say I don't see Nickelback striding to the podium in 2021), but here are my picks, ranked in order of probability. And while I feel pretty strongly about my list, if the Rock Hall has proven anything over the years, it's that this whole thing is a total crapshoot. So, if I missed anyone, let me know in the comments below. Now, if you'll excuse me, I've got to put on my dragon boots and join my fellow Kiss Army soldiers in our yearly protest outside the Rock Hall. It's not as bad as you might think. Cleveland is lovely this time of year ... 1. Pearl Jam
A mortal lock for first-ballot induction. Thanks to their longevity, ingenuity and morality, PJ became not only the greatest band to emerge from the Seattle scene of the early '90s, but probably the greatest American band of the past two decades. They've fought the good fights (taking on Ticketmaster, George W. Bush, the pro-life movement and world hunger, to name just a few), moved the required units and even threw the tapers a bone too. And through it all, Eddie Vedder has pretty much never cut his hair, except for that one time he inducted the Ramones into the Rock Hall. And even then, he had a Mohawk. That's pretty awesome.
First Year of Eligibility: 2016 2. Radiohead
Take everything I just said about Pearl Jam (except for the "Seattle" and "American" bits) and apply it here too. Since they first emerged on the scene with their unlikely alt-rock hit "Creep," Radiohead have pushed the boundaries further — and with greater fervor — than any of their major-label contemporaries, exploring space prog (OK Computer), avant electro (Kid A) and even, well, straight-ahead rock (In Rainbows). In the process, they've carved out a niche that is uniquely theirs, and when they're inducted, they'll instantly become, like, the fourth weirdest band in the Hall, behind Zappa, the Velvets and the Talking Heads. At least until Sun Ra is voted in.
First Year of Eligibility: 2017 3. Green Day
Up until American Idiot, there wasn't a chance they'd make it. But thanks to that album's globe-uniting success (and social import), Green Day are an unquestionable first-ballot selection. They've got the catalog, the critical love and the kind of career that doesn't come around all that often — one that actually had a fruitful second act. And through it all, they've never been afraid to take a stance or reach unabashedly for the stars. Or launch a Broadway play, for that matter. What will the punx at 924 Gillman have to say when Green Day are inducted? Who cares, really.
First Year of Eligibility: 2014 4. Kid Rock
For real. Bob Ritchie has had the kind of career that defies explanation, stomping through hip-hop, rock and even country, and in the process, he's sold roughly a bajillion records and become a rather unlikely American classic. It doesn't hurt matters that Rock Hall co-founder Jann Wenner is a fan, or that, by working with the likes of Bob Seger and Rick Rubin, Rock has developed the kind of pedigree the Hall is looking for. And with his upcoming Born Free album, he seems to be entering the "serious artist" phase of his career, which only bodes well for his enshrinement.
First Year of Eligibility: 2015 5. Coldplay
Dude, if Genesis can make it in, these guys can too.
First Year of Eligibility: 2023 6. Phish
The Grateful Dead made it in 1994. Phish will make it in 2013 (and the Dave Matthews Band will probably follow them in 2018). For the better part of two decades, they've not only been America's premier live act (don't call them a "jam band"), but they've released a stream of albums that — quiet as it's kept — are actually pretty great. Along the way, they've fashioned the kind of career that's practically beyond summation, though in a pinch, you can probably call them the musical bridge between bands like the Dead and current long-players like My Morning Jacket. And when they do make it in, the jam session will be mighty, indeed.
First Year of Eligibility: 2013 7. Beck
Here's where the list starts to get a bit shaky. Ten years ago, thanks to efforts like Odelay and Sea Change, Beck was a first-ballot selection, the much-fetishized heir to Bob Dylan's throne (only with better mic skillz). In the years since, however, he's seemingly lost a bit of his HOF luster, yet he's still active, and I'm not willing to knock him off the list just yet. He has the back catalog part sewn up, and he's about as close as a figurehead for the WTF DIY FTW 1990s as anyone I can think of, and with another solid album, he's a lock.
First Year of Eligibility: 2017 8. The White Stripes
They're not exactly active, but ever since 2007's Icky Thump, Jack White has single-handedly carried the mantle for the Stripes, and, in the process, he may very well have sewn up their enshrinement. Equal parts bluesman and shaman, he's about as close to a genuine guitar god as this generation has, and the fact that he's none too shy about praising all those dusty guitar-slingers who came before him has certainly earned him more favor in the eyes of HOF voters. Whoever they are.
First Year of Eligibility: 2024 9. Kings of Leon
They've gone about things the way great rock bands are supposed to: releasing a string of critically acclaimed (but commercially vapid) albums, building a fervent fanbase overseas, touring tirelessly and, finally, breaking through to the mainstream. As scions of the great Southern rockers of the past, they carry with them an air of mysticism too, which goes a long way with voters hungry for the rock of yesteryear. Toss in the Wenner factor (he loves them), and, so long as they keep churning out the hits, they're in.
First Year of Eligibility: 2028 10a. Sonic Youth
They're basically the Bert Blylevens of rock: a career that justly deserves enshrinement, yet lacking the groundswell support to make it into the Hall. That's bound to change one of these years, probably when voters realize that Sonic Youth are arguably the most important American rock band of the past three decades, anti-commercial artistes who, somewhat inexplicably, have managed to survive and thrive despite that fact. Their uncompromising ethos has made them figureheads of the indie movement, and their unyielding, effortless cool have made them the band that everyone aspires to be. Surely, all of that is enough to get them into the Hall.
First Year of Eligibility: 2007 10b. The Flaming Lips
Kind of like Sonic Youth, only with an actual hit or three to their names. Perhaps the fact that they've never really been embraced by the critical elite is what's holding them back, though that's generally what happens when you play shows encased inside an inflatable sphere. Ever since forming in Oklahoma City in 1983, they've undergone so many career transformations that they basically defy definition, though it's not exactly a stretch to call them the most proletarian rock band of our time. They do it all, on their own terms, and by whatever means necessary. And, if last year's Embryonic is any indication, they're just hitting their stride. At this rate, they may never stop swerving, which probably means you can look for them to be inducted sometime around 2055.
First Year Of Eligibility: 2009 Who did we miss? Share your surefire Rock Hall inductees in the comments!

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Lollapalooza Lookback 1992: Meet Pearl Jam

02 Aug 2010 08:23:12 EDT

In the fest's early years, Perry Farrell and co-founder Ted Gardner talked about the 'great little band from Seattle.'
By James Montgomery

Eddie Vedder of the band Pearl Jam performs at Lollapalooza at Harriet Island in Saint Paul, Minnesota on August 28, 1992.
Photo: Jim Steinfeldt/ Michael Ochs Archives/ Getty Image

For nearly 20 years now, Lollapalooza has been an annual rite of passage for the tattooed-and-pierced masses (whom we used to call "Alternative Nation"), a summertime extravaganza that showcased the best and brightest bands, and -- more importantly -- brought them to your hometown. Back when Lolla first started, this was a positively revolutionary idea.

And though things changed over the years — the names (and the crowds) got bigger, the festival went dark from 1998-2002, then found new life (and a permanent home) in Chicago's Grant Park in 2005 — the idea behind Lollapalooza has remained the same throughout: find the coolest acts regardless of genre, throw 'em on a stage and get out of the way. It hasn't always been pretty, but along the way, it's led to some pretty magical moments over the past two decades, to be sure. As luck would have it, MTV News has been there to capture most of them. So, with the 2010 edition of Lollapalooza set to kick off Friday (August 6), we decided to dive deep into our archives and dig up the greatest/weirdest/scariest/downright rocking-est moments in its rather epic history. We're calling it "Lollapalooza Lookback," and we think it's a pretty fitting tribute to the granddaddy of American music festivals. 1992: Perry Farrell Reveals Lollapalooza's Lineup Back in 1992, Perry Farrell had just parted ways with Jane's Addiction (who had headlined the first Lollapalooza the previous summer), and was still a year away from unveiling his new Porno for Pyros project. That meant he had plenty of time to focus on the second edition of Lolla, which he intended to be not just an annual celebration of music, but of youth culture too. So, when MTV News sat down with him and Lollapalooza co-founder Ted Gardner in Los Angeles that May, Farrell was full of big ideas for that summer's festival. He planned to have everything from "cyber-punk tents" and Timothy Leary-sponsored computer raves aimed at, as he put it, "taking computers and making people high" to debates between Democratic presidential hopefuls Bill Clinton and Jerry Brown. The idea was to make Lollapalooza "a coffeehouse for the youth to discuss what's going on in their lifetimes," and while it may seem far-fetched today, back in the heady days of the early '90s, all of this seemed not only possible, but downright imminent. But aside from expanding America's social consciousness, Farrell had also been working overtime to assemble a positively epic bill for Lolla '92, with a main stage that included legends like Lush and the Jesus and Mary Chain, industrial heavyweights Ministry, West Coast figurehead Ice Cube (who was still some six months away from unleashing his massive album The Predator), the iconic Red Hot Chili Peppers — still riding high on the breakout success of Blood Sugar Sex Magik — and ... in afternoon/early evening slots, a pair of bands named Pearl Jam and Soundgarden. Both acts would go on to do much bigger things, but that spring they were just two of Farrell's and Gardner's favorite bands (Gardner even jokingly refers to Eddie Vedder and company as "a great little band from Seattle, Washington"). And though — much like cyber-punk tents and computerized freak-outs — the idea of either band pulling mid-card duty seems pretty laughable today, you've got to remember, this was '92. This was Lollapalooza. Things were different then. Make sure to come back to MTVNews.com on Tuesday for the second installment of Lollapalooza Lookback, which features a very young (very angry) band of industrial pioneers just discovering their stage-trashing powers. Nine Inch Nails, anyone? Are you going to Lollapalooza this year? Who are you most excited to see? Talk about it in the comments!

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Paul McCartney, Pearl Jam, Stevie Wonder Shine At Hard Rock Festival In London

28 Jun 2010 10:18:57 EDT

Corinne Bailey Rae, Elvis Costello, Ben Harper also appear at three-day event.
By Matt Elias

Paul McCartney performs at Hard Rock Calling 2010
Photo: Andy Paradise

This past weekend was one of the warmest on record in London, and the hottest ticket in town was the Hard Rock Calling festival in Hyde Park. The three-day festival boasted headliners Pearl Jam, Stevie Wonder and Paul McCartney, with a mix of rock and pop acts rounding out the bill, including Ben Harper and Relentless7, the Gaslight Anthem, Jamiroquai, Corinne Bailey Rae and Elvis Costello.

It was the headliners who stole the show each night, and on Friday Pearl Jam had the honor of closing out the first night's festivities. Eddie Vedder hit the stage prior to PJ's set, joining Harper and his band for a rousing rendition of Queen and David Bowie's "Under Pressure." By 8 p.m. the estimated 55,000 in attendance packed the grounds when Pearl Jam kicked off their two-hour set with "Given to Fly." The energy was massive from the get-go, with fists pumping and women sitting atop shoulders throughout the crowd (a few hedonistic ones popped their tops off for the JumboTron). After tearing through the first few songs, Vedder addressed his audience, which stretched all the way back to the entrance. Swigging from a bottle of wine, he said, "It feels incredibly good to be here. Somehow over the years we've been given the license to make as much f---in' noise as possible." But concerned for the crushing crowd, he asked all 55,000 to take three steps backwards. The energy continued with "Once" and "World Wide Suicide" until Pearl Jam slowed things down with a crowd sing-along, "Elderly Woman Behind the Counter in a Small Town." But they picked up the pace just a few songs later with "Even Flow" as fans sang the chorus even louder than the stage's massive speakers. Guitarist Mike McCready wowed fans by playing his guitar solo behind his head. PJ then upped the ante, treating fans to a new song called "Of the Earth." Vedder noted that it had never been recorded and that if things went well it would end up on the next album. He then joked that it was like auditioning for "American Idol." Judging by the crowd's approval, the upbeat song was a success. The band capped off the night with "Better Man," an emotional rendition of "Just Breathe" and an encore of "Go" and "Alive," the last of which was the loudest sing-along of the night. Saturday, though just as crowded as Friday, was a much mellower day, with Corinne Bailey Rae's sultry sounds and Jamiroquai's funky tunes leading into Stevie Wonder's headlining set. Jam's frontman Jay Kay (wearing what could be described as an offensive Native American headdress) called Stevie "the Master." He urged fans to give Wonder a proper English welcome, and they did when the legend finally hit the stage. Not known for being punctual, Wonder kept fans waiting only 15 minutes for his scheduled set. Hyde Park enforces a 10:15 p.m. curfew, so Stevie was just barely able to squeeze in his two-hour set. But he squeezed in a lot, playing songs that spanned his massive 50-year catalog. Wonder hit the stage with a gleaming white keytar and got the crowd involved instantly with the first of many call and responses. The enthusiasm was mutual, as Stevie got down on the ground and jammed on his keytar while he was on his back. By the second song, "Master Blaster," he had the crowd dancing. Amy Winehouse was spotted on the side of the stage during Wonder's set, sparking rumors that she would join him onstage. That never happened, but his two hours, a mix of comedic and poignant moments, were full enough without any guest appearances. At one point Stevie freestyled, "We love you, Michael Jackson. We'll see you when you get to heaven," and later he covered MJ's "Human Nature," a touching moment one year after the King of Pop's death. The set closed out with rousing renditions of "Sir Duke," a Temptations cover of "My Girl" that lead right into "Isn't She Lovely," "My Cherie Amour" and "Superstition." From one legend to the next, Sunday saw the headlining set of Sir Paul McCartney. Backstage was abuzz in celebrity activity, as the Jonas Brothers, Kings of Leon, Kate Beckinsale and Gwyneth Paltrow were all on hand for Macca's set. Sir Paul hit the stage promptly at 7:30 p.m., dressed in black from head to toe. It was a brave wardrobe choice as temperatures hit 90 degrees that day. After the first couple of tunes, McCartney addressed the crowd. He declared, "Good evening, Hyde Park. Gotta feelin' we're gonna have a rockin' good time tonight!" Then he took a moment to soak it all in before launching into the Beatles classic "All My Loving," an instant sing-along. McCartney was a delight, sharing jovial banter with the crowd between songs. For most of the tunes, which, you guessed it, spanned his entire catalogue, Paul took time to explain their origins. It was almost like an episode of VH1 "Storytellers" and felt like an intimate club show, despite the 50,000 in attendance. McCartney recalled seeing Jimi Hendrix cover "Sgt. Pepper's Lonely Hearts Club Band" just days after its release. He discussed songs he'd written for his late wife, Linda, and fellow Beatle John Lennon. After every song, he gave a heartfelt "Thank you" and a bow, as if each was his last. Of all those songs, it's hard to single out moments, but highlights came toward the end of the set with a slew of classics: "Let It Be," "Live and Let Die" (with a huge fireworks display) and "Hey Jude," delivered with boisterous "na na na nas" from the crowd. McCartney returned with two encores that pushed the show well into three amazing hours, far exceeding the 10:15 curfew (but that's something you can get away with when you've been knighted). Songs included "Get Back," "Helter Skelter" and "Sgt. Pepper's Lonely Hearts Club Band," capping off a great weekend of headlining performances as well as the end of Sir Paul's worldwide tour. Moments after McCartney exited the stage, an ecstatic Joe and Nick Jonas shared their highlights of the show. Nick told MTV News, "My favorite song? Obviously 'Hey Jude' comes first always." The brothers agreed that "Blackbird" was a second favorite, and Nick admitted to recording it on his phone. Joe added, " 'Got to Get You Into My Life' is pretty incredible."

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Ronnie James Dio Remembered At Pearl Jam, Kiss Concerts

18 May 2010 21:09:09 EDT

Singer is also mourned by onetime Dio guitarist Doug Aldrich and Saxon frontman Bill Byford.
By Kelley L. Carter

Ronnie James Dio in 1981
Photo: Marty Temme/WireImage

Kiss' Paul Stanley cupped the microphone in his hand and stood in the middle of the stage, pointing toward the sky. "Let's make sure he can hear us up there," the guitarist said, leading thousands of fans in a chant during a Kiss concert in Geneva, Switzerland, on Monday night. "Ronnie! Ronnie! Ronnie! Ronnie! We love you and we miss you!" It was one of many tributes paid to legendary heavy-metal singer Ronnie James Dio, who died on Sunday of stomach cancer. He was 67. A number of metal artists and their fans sent condolences to the former Black Sabbath singer. Widely regarded as one of the most recognizable voices in metal, Dio also performed with Rainbow, Elf and his own solo band. "We mourn the tragic passing of the great Ronnie James Dio," Kiss bandmembers said in a statement. "In addition to his powerhouse vocal ability, Ronnie was a true gentleman who always emanated great warmth and friendship to us and everyone around him. We will miss him." Other groups, like Pearl Jam, let Dio's music do the talking. About 45 minutes before their concert was to begin in Boston, house speakers blasted music spanning Dio's career, and during a performance of Pearl Jam's "Alive," the band closed the song with riffs from Black Sabbath's "Heaven and Hell" single. Guitarist Doug Aldrich, who once played with Dio, described the singer as a giant. "I was blessed to share some music with him, but mostly, I am thankful for his friendship," Aldrich said in a statement. "Ronnie was a good-hearted, caring man. He brought so much happiness through his music. Thank you, Ronnie, for the gifts you shared with us. Ronnie made magic, and Ronnie was and will always be golden." Saxon frontman Biff Byford also released a statement on Sunday, saying, "Today I heard my friend Ronnie Dio has lost his battle. It is a great loss to us all. I first met Ronnie in the early eighties when we played with Black Sabbath and Blue Öyster Cult, the infamous 'Black and Blue' tour. I first heard him sing on 'The Butterfly Ball' and from that moment, I understood what great singing was all about; he was at the top of his game from then on. His voice was always powerful and soaring; his phrasing was uniquely his, copied by many but never bettered. I will miss him as we all will." What are your memories of Ronnie James Dio and his music? Share with us in the comments below.

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R.E.M., Pearl Jam, Nine Inch Nails Join Campaign To Close Guantanamo Bay

22 Oct 2009 12:31:00 EDT

'It's anti-American, period,' said R.E.M. about the practice of using their music and others' at high volumes to intimidate detainees.
By Gil Kaufman

R.E.M.
Photo: Carlos Alvarez/ Getty Images

A diverse group of musicians joined a coalition on Tuesday asking that the Obama administration close down the terror suspect camp at Guantanamo Bay, Cuba. Taking issue with their music reportedly being blasted at ear-bleeding levels in an attempt to break uncooperative terror suspects, artists including R.E.M., Pearl Jam, Nine Inch Nails, Rage Against the Machine, Rosanne Cash, Steve Earle and Billy Bragg announced their support for the National Campaign to Close Guantanamo, according to The Associated Press. As part of their effort, the National Security Archive in Washington is filing a Freedom of Information Act request in an effort to uncover classified records that detail the use of loud music as an interrogation device. A November 2008 report by the Senate Armed Services Committee makes several references to the use of loud music as an interrogation tool, including the case of a Mauritanian prisoner who was allegedly blasted with music, such as Drowning Pool's "Bodies," to "stress" him because he believed listening music was forbidden. Drowning Pool has not objected to the use of its music at Guantanamo Bay and other U.S. detention sites. Among the songs reportedly played at high volumes near prisoners in the detention camp are death-metal band Deicide's "F--- Your God," Metallica's "Enter Sandman," the Meow Mix cat food jingle, music from "Sesame Street," Don McLean's "American Pie," Bruce Springsteen's "Born in the U.S.A.," Nine Inch Nails' "March of the Pigs," Queen's "We Will Rock You," the "I Love You" song from the children's show "Barney," as well as tunes by R.E.M., Pearl Jam, AC/DC, Britney Spears, the Bee Gees, Marilyn Manson, and others. A spokesperson for the Joint Task Force Guantanamo told the AP that loud music has not been used with detainees since the fall of 2003; the first batch of prisoners were sent to the facility in January 2002. President Obama signed an executive order on January 22, 2009, pledging to close the facility within a year, but the move has drawn criticism from some Republican members of Congress, and it is unclear if the timetable will be achieved. A CIA spokesperson said the music was used for security purposes, to block detainees from communicating with each other, for instance, not for "punitive purposes — and at levels far below a live rock band." According to BBC News, in a statement announcing their participation in the coalition, R.E.M. said, "We have spent the past 30 years supporting causes related to peace and justice. To now learn that some of our friends' music may have been used as part of the torture tactics without their consent or knowledge is horrific. It's anti-American, period."

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Pearl Jam Return To #1 With Backspacer

30 Sep 2009 12:19:00 EDT

Band tops Billboard for the first time in 13 years, knocking Jay-Z to #2.
By Gil Kaufman

If Pearl Jam have proved anything over their nearly 20-year career, it's that you can go your own way and still have it your way. Case in point: Their first non-major label album, Backspacer, will bring the grunge godheads back to the top of the Billboard 200 charts for the first time in 13 years next week. The disc, which was sold in an exclusive with Target stores, as well as at independent retailers, iTunes and through the band's Web site, moved 189,000 copies last week, easily ending Jay-Z's two-week reign at #1, according to figures provided by Nielsen SoundScan. Jay isn't too far behind at #2 with The Blueprint 3, which lost 55 percent of its business from the previous week, while still managing to sell 134,000 copies, for a three-week total of 908,000. There are also a few new faces in the top 10, including Canadian rockers Three Days Grace, whose Life Starts Now bows at #3 (79,000); Brand New, who hit #6 with Daisy (46,000); metal act Five Finger Death Punch's War Is the Answer (#7, 44,000) and crooner Harry Connick Jr. with Your Songs (#8, 37,000). The rest of the top 10 are Whitney Houston's I Look to You (#4, 66,000), Miley Cyrus' Time of Our Lives EP (#5, 61,000), Drake's So Far Gone (#9, 36,000) and Muse's The Resistance (#10, 36,000, down 72 percent from the previous week). Just outside the top 10, the indie supergroup Monsters of Folk leap up 128 spots to #15 in the first week of wide release for their self-titled debut (31,000). Kid Cudi, meanwhile, had a rough second week, as his Man on the Moon: The End of the Day shed 73 percent of its debut-week business and slides 13 spots to #17. Perez Hilton's musical crush, flamboyant pop singer Mika, debuts at #19 with The Boy Who Knew Too Much (27,000), while another of his obsessions, Lady Gaga, sees her Fame drop eight spots (#20, 25,000) following the post-VMA climb. She's now within spitting distance of 1.5 million albums sold. After a smash debut, "Fire Burning" singer Sean Kingston opens at a low flame with his second effort, Tomorrow, which comes in at #37 (13,000). Formerly noisy English trio the Noisettes hit #98 with their soulful musical re-imagination Wild Young Hearts (5,000), and fellow Brits the Big Pink manage a #138 bow with A Brief History of Love (3,300). Look for chart debuts next week from Mariah Carey, Paramore, Barbra Streisand, Alice in Chains, AFI and Selena Gomez.