Tag Archive | "Mike McCready"

Temple Of The Dog Premieres Previously Unreleased Track “Black Cat”

Temple Of The Dog Premieres Previously Unreleased Track “Black Cat”

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Temple of the Dog – the Seattle supergroup featuring Soundgarden’s Chris Cornell, Pearl Jam’s Jeff AmentStone Gossard, and Mike McCready, and drummer Matt Cameron (who plays drums with both Soundgarden and Pearl Jam) – has reunited and will tour for the first time ever since forming in 1990. Read Cornell’s interview with Rolling Stone and listen to the band’s previously unreleased track “Black Cat” HERE.

On September 30th UMe will release a special Temple of the Dog 25th anniversary reissue collection of their landmark album, newly mixed by Brendan O’Brien. The collection will be available in four configurations, including a four disc Super Deluxe, a double LP, a two CD Deluxe, and a single CD. Physical pre-orders are available today along with a detailed list of the contents of each configuration HERE.

Temple of the Dog came together from the ashes of Mother Love Bone following the death from a drug overdose of its frontman Andrew Wood, Cornell’s close friend and roommate. Cornell wrote future TOTD songs “Say Hello 2 Heaven” and “Reach Down” to help process his grief, “but the songs didn’t have any destination,” he says. “I was compelled to write them and there they were – written in a vacuum as a tribute to Andy. My thought was that maybe I could record these songs with the remaining members of Mother Love Bone and that maybe we could release them as a tribute.”

Mother Love Bone’s Gossard and Ament began playing with McCready, and they brought in Soundgarden’s Cameron to drum on demos. Because this was a collaboration, and a tribute, there was no commercial expectation for the Temple of the Dog album. It would be, Gossard would later observe, “the easiest and most beautiful record that we’ve ever been involved with.” Adds Cornell: “Temple was about making an album simply for the joy of doing it. We weren’t concerned what anyone outside of our group of friends would think of it. It was the first and maybe only stress-free album that we all made.”

Gossard, Ament, and McCready were also simultaneously forming a new band, which more than six months later would be known as Pearl Jam. A singer from San Diego named Eddie Vedder, who was vying to lead the project, came into the studio to sing background vocals on three of the Temple songs. When Cornell thought another song, “Hunger Strike,” needed a duet, Vedder was enlisted. “Hunger Strike” became a hit single, peaking at No. 4 on Billboard‘s Mainstream Rock Tracks chart.

Temple of the Dog performed live only a handful of times, most notably in Seattle, in November and December of 1990. Those shows have become some of the most legendary Seattle concerts of all-time. Their 2016 shows mark the first time the band has ever toured. (Cornell joined Pearl Jam in 2014 at the Bridge School show and for two nights at PJ20 in Alpine Valley, WI, and the Temple line-up played “Reach Down” and “Call Me a Dog” at Seattle’s Benaroya Hall in January 2015.)

“This is something no one has ever seen,” Cornell says of the official reunion. “We wanted to stop and recognize that we did this and pay homage.”

Temple of the Dog’s upcoming tour dates are as follows:

11/04 – Philadelphia, PA – Tower Theater
11/07 – New York, NY – Madison Square Garden
11/11 – San Francisco, CA – Bill Graham Civic Center
11/14 – Los Angeles, CA – The Forum
11/20 – Seattle, WA – Paramount Theater

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Temple Of The Dog Reunites And Will Tour For First-Time Ever!

Temple Of The Dog Reunites And Will Tour For First-Time Ever!

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Temple of the Dog – the Seattle supergroup featuring Soundgarden’s Chris Cornell, Pearl Jam’s Jeff AmentStone Gossard, and Mike McCready, and drummer Matt Cameron (who plays drums with both Soundgarden and Pearl Jam) – has reunited and will tour for the first time ever since forming in 1990. The band will play five cities, Philadelphia, New York, San Francisco, Los Angeles, and Seattle, in November. A special ticket pre-sale for fans signed up to the Ten Club, Soundgarden, and Chris Cornell email lists begins immediately and runs through July 27th. Tickets will go on sale to the general public at 12:00 PM local time on Friday the 29th. $1.50 from each ticket sold will benefit the Chris and Vicky Cornell Foundation and an additional $1.50 will benefit Pearl Jam’s Vitalogy Foundation.

The tour marks the 25th anniversary of the release of Temple of the Dog’s first and only album, a self-titled set that was released by A&M Records on April 16th, 1991. “We wanted to do the one thing we never got to do … play shows and see what it feels like to be the band that we walked away from 25 years ago,” Cornell says of the 2016 tour.

On September 30th UMe will release a special Temple of the Dog 25th anniversary reissue collection of their landmark album, newly mixed by Brendan O’Brien. The collection will be available in four configurations, including a four disc Super Deluxe, a double LP, a two CD Deluxe, and a single CD. Physical pre-orders are available today along with a detailed list of the contents of each configuration HERE.

Temple of the Dog came together from the ashes of Mother Love Bone following the death from a drug overdose of its frontman Andrew Wood, Cornell’s close friend and roommate. Cornell wrote future TOTD songs “Say Hello 2 Heaven” and “Reach Down” to help process his grief, “but the songs didn’t have any destination,” he says. “I was compelled to write them and there they were – written in a vacuum as a tribute to Andy. My thought was that maybe I could record these songs with the remaining members of Mother Love Bone and that maybe we could release them as a tribute.”

Mother Love Bone’s Gossard and Ament began playing with McCready, and they brought in Soundgarden’s Cameron to drum on demos. Because this was a collaboration, and a tribute, there was no commercial expectation for the Temple of the Dog album. It would be, Gossard would later observe, “the easiest and most beautiful record that we’ve ever been involved with.” Adds Cornell: “Temple was about making an album simply for the joy of doing it. We weren’t concerned what anyone outside of our group of friends would think of it. It was the first and maybe only stress-free album that we all made.”

Gossard, Ament, and McCready were also simultaneously forming a new band, which more than six months later would be known as Pearl Jam. A singer from San Diego named Eddie Vedder, who was vying to lead the project, came into the studio to sing background vocals on three of the Temple songs. When Cornell thought another song, “Hunger Strike,” needed a duet, Vedder was enlisted. “Hunger Strike” became a hit single, peaking at No. 4 on Billboard‘s Mainstream Rock Tracks chart.

Temple of the Dog performed live only a handful of times, most notably in Seattle, in November and December of 1990. Those shows have become some of the most legendary Seattle concerts of all-time. Their 2016 shows mark the first time the band has ever toured. (Cornell joined Pearl Jam in 2014 at the Bridge School show and for two nights at PJ20 in Alpine Valley, WI, and the Temple line-up played “Reach Down” and “Call Me a Dog” at Seattle’s Benaroya Hall in January 2015.)

“This is something no one has ever seen,” Cornell says of the official reunion. “We wanted to stop and recognize that we did this and pay homage.”

Temple of the Dog’s upcoming tour dates are as follows:

11/04 – Philadelphia, PA – Tower Theater
11/07 – New York, NY – Madison Square Garden
11/11 – San Francisco, CA – Bill Graham Civic Center
11/14 – Los Angeles, CA – The Forum
11/20 – Seattle, WA – Paramount Theater

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WALKING PAPERS: Jeff Angell Offers An Exclusive Look Inside The Band!

WALKING PAPERS: Jeff Angell Offers An Exclusive Look Inside The Band!

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Seattle’s Walking Papers, the much-buzzed-about new band featuring rock luminaries Duff McKagan (Guns N’ Roses, Velvet Revolver), Barrett Martin (Screaming Trees, Mad Season), Jeff Angell and Benjamin Anderson (both of The Missionary Position) have signed with Loud & Proud Records and are gearing up for the August 6th release of their self-titled debut. Recorded in Seattle and mixed by veteran producer Jack Endino (Soundgarden, Nirvana, Mudhoney), Walking Papersfeatures a guest appearance by Pearl Jam guitarist Mike McCready, who played on lead single “The Whole World’s Watching” and “I’ll Stick Around.” “The Whole World’s Watching”  hit rock and alternative radio in June.

Guitarist/vocalist Jeff Angell and drummer Barrett Martin formed the band last year and played their first shows inSeattle as a duo.  They became a trio with the addition of bassist Duff McKagan and a quartet when keyboardist Benjamin Anderson joined the fray. Angell and Martin also served as the album’s co-producers. Walking Papers show that a great song can be conveyed with thundering drums, rumbling bass, and a howling guitar just as easily as it can with percolating marimbas and shimmering vibraphone. The songs on this album can stand alone as individual stories, but taken together as a whole, they convey a much larger narrative with tales of wandering souls, the collisions of will, and the dark beauty of the American heart.

The band will celebrate the release of Walking Papers with a headlining slot on the second stage of this year’s Rockstar Energy Drink Uproar Festival. The tour, which features Alice In Chains, Jane’s Addiction, and many more, kicks off August 9th at the Toyota Pavilion at Montage Mountain in Scranton, PA. The band has already received media praise from both sides of the pond, with noted Seattle Times rock critic  Charles R. Cross saying the band’s brightness rivaled the sun’s and, unlike so many supergroups, its future might be even brighter, and UK mag Classic Rock praising the band’s collection of songs as “a masterpiece of mood and tension.” Jason Price of Icon Vs. Icon recently caught up with Walking Papers frontman Jeff Angell to discuss his musical roots, the formation of Walking Papers, the creation of their powerful debut album and much more!

Music has been one of the biggest parts of your world for many years. Looking back, what are your first memories of music in your life and how did it become a passion of yours?

Jeff Angell

Jeff Angell

I think I was born with the built-in DNA to be into music but at one point, it is actually kinda funny, my Mom was a single mom with two rotten little boys. She had to stoop so low as to date an Elvis impersonator at one time! He brought over the “Heartbreak Hotel” 45. I remember that song with the desk clerks dressed in black and spinning that record. I think that record and Glen Campbell’s “Rhinestone Cowboy,” because my Dad was a cowboy archetype kinda guy. Those two songs and the imagery they held just fascinated me with songs in general. Really early, even before Kindergarten, I would listen to songs on the radio and I would change the lyrics. I would take something like Barry Manilow’s “Made It Through The Rain” and change it to be about some soldier coming back from Vietnam, who came back and made it through the war. Luckily, I learned that was a way to learn to start writing songs, by imitating the songs you like and moving on from there. It has always been an obsession of mine, songs in general, and how they can say more in three verses with what they leave out than what a novel can say in three hundred pages.

What made you pursue music as a career rather than following a different path?

Kids! [laughs] I mean, I just really liked it. I was fascinated as a career so much as when I first started, it was more of what I wanted to do to kill my time doing, listening to records. Then I got a little starter guitar because my brother had a guitar but he broke it pretending he was in KISS or something! [laughs] I did a lot of begging and pleading to get one and they finally got me one at Christmas when I was in the fifth grade. I don’t know, I without getting too melodramatic, I think I kinda had a troubled childhood and having an instrument where I could see the benefits of putting time into it just made me feel better. Rather than sitting in the living room and fight with everybody, I would just sit in my room and play guitar. It became a really good friend to me and it just seemed like a natural thing to do to put a band together and keep playing like that. I guess I always had aspirations but it is so a part of who I am and who I have always been. I guess I always figured I would grow up and move to LA or something but then I was fortunate enough to live in Seattle. Some girls talked me into going to a show. One of them said “My boyfriend is in a band.” It turned out the boyfriend was Mike Starr from Alice In Chains. One of the first local shows I saw was Alice In Chains and Mother Love Bone at a Kent Skate King. There weren’t a lot of people there but I could tell the bands were just as good, if not better, than the bands I was listening to. Instantly, I was like “I’ve got to put together a band and start playing here!” Before that, I just played by myself and expected to move to the big city when I grew up and graduated high school. I just skipped all that and jumped right in!

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Who would you cite as some of your biggest influences as an artist?

Musically, I think some of that stuff changes through the years as you grow up. At first, it was anything on the radio. Certain bands that stood out to me were The Cure, The Fixx and that sorta pop radio. Where I lived, we didn’t have the best rock radio because we were out in the sticks. Pop radio could get there and I heard some of the early Cure singles, Tom Petty and stuff like that. It had a big influence on me. One of my brother’s older friends brought home an Ozzy [Osbourne] record, “Speak of The Devil, which was the one with all the hits of Black Sabbath on it. When I heard that, I was like “That is my record right there!” It was blues based with the flat five, the devil’s interval and needed that in my music. I think the lyrics to some of those songs, like “War Pigs” and songs like that and how they relate to religion and politics. As young guy, I already had suspicions that a lot of the stuff they were teaching you was bullshit. Finally, there was an adult telling me this and shooting straight — not saying one thing and doing another. So that had a huge influence on me and Black Sabbath had a huge influence on me. Then, as I grew up, watching the Seattle bands really influenced me. I was in my pre-teens and early teens when I was seeing those bands play and watching them evolve into who there would become, with Mother Love Bone into Pearl Jam and Alice In Chains having four originals to writing a couple of records that definitely changed the way music harmonies sound on rock radio forever. They had a big influence. I can’t forget Jane’s Addiction. I was fortunate enough to go on tour with them. Their album “Nothing’s Shocking” was a big influence. I have always loved the Rolling Stones ever since I can remember. I think my Mom was listening to it and it fascinated me early on. Now, they have so many records, you can really dig into the different eras and that is very cool. When I started getting a little bit older and thing “Man, I’m 27 and I don’t think I am going to make it.,” my ex-wife had brought home Tom Waites’ “Big Time,” which is a video of him playing. I saw that and thought “Wait a minute! This guy is forty-something and he is cool! He is like Keith Richards, Louis Armstrong, Frank Sinatra and all these other guys put into one dude!” He was an older guy so it kept the whole idea of being obsessed with youth obsolete. I felt I had a lot more time to find my own thing and I could embrace blues, which I fought for a long time. I think in the early 90s, there was a lot of really heavy rock and it was getting really dark there. I still liked country songs and blues songs, so I think what Tom Waites showed me brought me right back to “Heartbreak Hotel” and “Rhinestone Cowboy”.

All those influences and years of experience brought you to the point you are now. Tell us a little about Walking Papers and how it got off the ground initially.

Walking Papers

Walking Papers

Duff [McKagan] had actually seen a band I was in and asked me to try out for Velvet Revolver before they found the guy who sold 40 million records. [laughs] He took the job but Duff and I remained friends. We recorded some demos and I kept those for myself, I didn’t play them for people to get notoriety or anything. It has been only recently I have been telling people I auditioned for the band. I always kept it a secret out of respect for our friendship, ya know? Duff started talking about it, so I guess it was OK! Since then, we have established a trust and a friendship for around ten years now. I had another band going called The Missionary Position, which I played the keyboard player from Walking Papers, Benjamin Anderson. We have made a couple of records over the last couple of years and gigged really hard. We played a show with a band Barrett [Martin] was in and I think he was looking for some people to play with and get the piano in there and open up some different things besides just a guitar/bass combo. He had him come down and play some percussion stuff on one of The Missionary Position records and we made friends. Then he just called me up and asked me one day if I wanted to do something. I said “Sure! Let’s get in a room and se what happens naturally!” We jammed a little bit and the first guy we called was Duff. The Missionary Position doesn’t have a bass player, so it was kinda nice to start playing with a bass player again. We put it together like that and it all fell together really fast. We actually recorded the record after about eight rehearsals. I had a few songs hanging around and then we did these jams. I am not the sharpest knife in the drawer but I know I have the best rhythm section I am ever going to play with here, so I worked really hard at making the rehearsal tapes, refining the parts and putting them together to make them full songs. When we did go into the studio, I had worked really hard at home on my own to make sure I knew where the changes were going to be and the structures were complete. I had lyrics for about six of the songs when we went into the studio and the other ones I knew how they were going to go, so I just brought them home and sang them.

How did you guys choose the name Walking Papers for this project?

Originally, we were going to call the band Red Envelopes, which are the bills you get. The first one is a white envelope asking you to pay it nicely. Then you get a yellow one saying “Hey man!” Then you get the red one that says “Listen here! We are going to take your TV back if you don’t pay this thing!” [laughs] Then we found out there was some kind of card company, like a Hallmark type of company, called Red Envelopes. We tried to come up with something like that and came up with Walking Papers. We were kinda surprised there wasn’t a band called that already because it is American slang. The funny thing is though, in the rest of the world, no one knows what Walking Papers are! Even in the United Kingdom, they are like “Walking Papers? You guys are psychedelic with your imagery!” [laughs] We get asked all the time in Europe, “Papers that walk? What is this!” We have to explain it to them! We thought it was good because it is kinda catchy with everything that was going on with all the Occupy Wall Street protests and things like that going on.

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What can you tell us about the writing process for the album and how it all came together?

I had a few songs I had ideas for already but a lot of the stuff, Barrett would just jam a drum beat and I would play over the top of it. We would record everything. I think the key to a lot of stuff in writing is to make sure you listen, so you are not just feeling but listening to it. We would listen to those ideas and go down and jam for a couple of hours and develop eight or nine ideas. We would make little MP3’s of each one and talk about which ones we wanted to pursue. After four or five times jamming, we would have enough ideas. Then, with the couple of songs I had, I would say “Oh, I have this thing. Do you want to try it?” He would play along to it. Then, Barrett had some studio time and then we got in there and did the last three rehearsals, really worked and took the ideas we were trying to play, listen to the adjustments we made at home and tried to solidify them. We had the basics in about three days. As a writer, writing becomes more of a lifestyle. To be any good at writing, you don’t sit down and say “I am going to write a song today.” It is more like you put our antenna on and a filter in front of your life where you are constantly looking for new ideas all of the time. You might write them in a journal, scribble them on a napkin or sing it into your voice recorder. You compile those ideas and then when you don’t have any ideas, reviewing all of these things you have come up with, find a good one and put some sweat into it. Whether I am reading, watching something on TV or having a conversation with a friend, I am always looking for a lyric or a concept for a song. It’s the same thing with music. Ideas might jump into my head or if I am in the rehearsal room where two bands are practicing on opposite sides of the room and there becomes one song together, I am always listening to that.

You are working alongside some very talented musicians on this record. Is there anything you picked up along the way from this great musical collaboration?

Walking Papers

Walking Papers

I learned some things when it comes to being in studio. Those guys are from the tape days. I was a Pro Tools guy, really early! I had a record deal before it was Interscope and the first thing I did with my money was go and buy Pro Tools. I understand how to use that as a tool and this and that. Through that process, it took me ten years to learn all the punching in and how this crap with editing just ruins your songs more than it makes them good. When I went in with them, to see that they don’t even look at the computer screen, they just have their head between the speakers and play things like performances — you start, play the whole song through and if there is a nip or tuck it is a minor little thing. There are no quick tracks or anything like that. Through that process with them, watching the way they recorded, sometimes I don’t know if Pro Tools has made anything better! It allowed people to make records but as far as the process, it seems like it kills more productivity than it helps it, unless you are dealing with musicians who can’t play. Those guys are from the era where you played it through and you played it right! You didn’t keep punching in parts, ya know what I mean? I learned that from those guys. I have a great relationship with Barrett because he really sees the whole forest but then I am really into staring at the bark on the tree! [laughs] We meet somewhere in the middle and then we are able to put together the whole thing. I think it is a good relationship like that! Playing live with the guys is a whole different thing! Duff is so relaxed in that situation because he has played to so many people and do done so many things. I am still going out there like it is hand-to-hand combat! He is just kinda like “Hey! Settle down. Just take a minute to get your guitar tuned, buddy!” [laughs] The first time I had a guitar tech, he brought a guitar tech with him and we played this show and there were a lot of people there. It was one of our first shows. I had broken a string and I was going to fix it myself, pull it off and finish the song without it or whatever. He comes up to while he is playing the bass part and says “Ok. Settle down. You’ve got a guy over there. Hand it to him over there and he will fix it for you and you will be right back to it! He is going to hand you another one.” It’s so funny to me that we are right in the middle of the show and I have all this panic and Duff is so cool about it! [laughs] I think he gets a kick out of exposing me to these bigger audiences. I mean, in the last European tour, I probably played to more people in a few weeks than I have in the last ten years in clubs! And that isn’t because I wasn’t playing a lot! All of a sudden you are playing to ten, twelve, twenty-four thousand people in a shot. It takes a lot of 100 people club shows to make up to that kind of thing!

You have been at it in the music business for quite a while now. What is your advice to aspiring musicians?

My personal opinion is that anyone who is playing for some type of financial reward — the jokes on them! Even if you are successful, it is still a lot harder than people think. You have tour buses, managers, t-shirt costs, hotels and planes. There are a lot of expenses going on and even when you get to that level it gets hard to rub two pennies together. If people start out with the wrong intentions, it can really screw things up. Just making good music and good records is key. If they keep their eye on that, good things will happen to them. Of better or worse, something good will happen to them. Everybody I know, all of my friends and even work I get outside of music is all based around my drive as a musician and music fans that I know.

What are your long term plans for Walking Papers?

We are going to move forward to make another record. We are already working on new songs but we are going to push this record as far as we can and get it into as many hands as we can. Hopefully, when that cycle ends, we will start recording the next one! We have already been playing new songs live but we are not passing out those cigars until the baby is born! [laughs]

Looking back on your journey as a musician so far, how do you feel you have evolved along the way?

Walking Paper's Jeff Angell

Walking Paper’s Jeff Angell

I think in some ways you evolve and then you devolve again. You start out by learning a couple people’s songs and then you start writing songs and get delusions of grandeur that you are actually inventing it and writing these songs, when it is the universe that is handing them to you, if you are smart enough to pay attention. Then I have been in these bands and in The Missionary Position, a lot of times we would have to all-night shows to make enough money to get to the next town, so we would be playing three to four hour sets. Then you go amazing Prince song with one repetitive lick or Rolling Stones song with two chords and you realize how great those songs are in their simplicity. I think the biggest evolution for my has been to keep it simple, not try to take myself too seriously and be humble in the way I go about it because the songs are all there if you tap into them. I think that is proof there is a higher power at work or something, the way chords resonate with each other and create emotions through the science of those waves going through the air and entering peoples ears. If a person can use that to communicate a lyric or an idea, the ability to touch people through that is way bigger than any human being or some guy with a notebook and a guitar. I think it comes down to communication and keeping your eye on that. That is the biggest evolution — realizing you ain’t all that special! [laughs] That is my biggest evolution! I just work hard and am grateful for the people who take care of us!

I want to thank you for your time today, Jeff! I has been a pleasure and I can’t wait to catch Walking Papers on tour! We will be spreading the word!

Thanks so much, Jason! I am grateful for your time! Thanks for you enthusiasm! Take care!

Don’t miss your chance to catch Walking Papers live. Uproar tour dates are as follows:

AUGUST

9 – Scranton, PA – Toyota Pavilion At Montage Mountain

10 – Hartford, CT – The Comcast Theatre

11 – Darien Center, NY – Darien Lake Performing Arts Center

13 – Saratoga Springs, NY – Saratoga Performing Arts Center

14 – Mansfield, MA – Comcast Center

16 – Bristow, VA – Jiffy Lube Live

17 – Holmdel, NJ – PNC Bank Arts Center

18 – Wantagh, NY – Nikon At Jones Beach Theater

20 – Toronto, ON – Molson Canadian Amphitheatre

22 – Tinley Park, IL – First Midwest Bank Amphitheatre

23 – Nobleville, IN – Klipsch Music Center

24 – Clarkston, MI – DTE Energy Music Theater

27 – Oklahoma City, OK – Zoo Amphitheater

28 – Dallas, TX – Gexa Energy Pavilion

29 – Woodlands, TX – Cynthia Woods Mitchell Pavilion

31 – Albuquerque, NM – Isleta Amphitheatre

SEPTEMBER

1 – Englewood, CO – Fiddler’s Green Amphitheatre

2 – Salt Lake City, UT – USANA Amphitheatre

5 – Nampa, ID – Idaho Center Amphitheater

8 – Ridgefield, WA – Sleep Country Amphitheater

11 – Mountain View, CA – Shoreline Amphitheatre

13 – Phoenix, AZ – Desert Sky Pavilion

14 – Chula Vista, CA – Sleep Train Amphitheatre

15 – Irvine, CA – Verizon Wireless Amphitheater

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Duff McKagan, Barrett Martin Form Walking Papers; New Track Debuts Featuring Pearl Jam’s Mike McCready

Duff McKagan, Barrett Martin Form Walking Papers; New Track Debuts Featuring Pearl Jam’s Mike McCready

Walking Papers

Walking Papers

Seattle’s Walking Papers, the much-buzzed-about new band featuring rock luminaries Duff McKagan (Guns N’ Roses, Velvet Revolver), Barrett Martin (Screaming Trees, Mad Season), Jeff Angell and Benjamin Anderson (both of The Missionary Position) have signed with Loud & Proud Records and are gearing up for the August 6th release of their self-titled debut.

Recorded in Seattle and mixed by veteran producer Jack Endino (Soundgarden, Nirvana, Mudhoney), Walking Papersfeatures a guest appearance by Pearl Jam guitarist Mike McCready, who played on lead single “The Whole World’s Watching” and “I’ll Stick Around.” Rolling Stone spotlighted the latter, praising it as a “slow, grinding blues pace that combines elements of Morphine and Tom Waits.” The song can be heard here: http://www.rollingstone.com/music/news/duff-mckagan-on-his-sensual-sinister-new-band-walking-papers-20130516

“The Whole World’s Watching” will hit rock and alternative radio in June.

Guitarist/vocalist Jeff Angell and drummer Barrett Martin formed the band last year and played their first shows inSeattle as a duo.  They became a trio with the addition of bassist Duff McKagan and a quartet when keyboardist Benjamin Anderson joined the fray. Angell and Martin also served as the album’s co-producers.

Walking Papers show that a great song can be conveyed with thundering drums, rumbling bass, and a howling guitar just as easily as it can with percolating marimbas and shimmering vibraphone. The songs on this album can stand alone as individual stories, but taken together as a whole, they convey a much larger narrative with tales of wandering souls, the collisions of will, and the dark beauty of the American heart.

The band has already received media praise from both sides of the pond, with noted Seattle Times rock critic  Charles R. Cross saying the band’s brightness rivaled the sun’s and, unlike so many supergroups, its future might be even brighter, and UK mag Classic Rock praising the band’s collection of songs as “a masterpiece of mood and tension.”

The band will celebrate the release of Walking Papers with a headlining slot on the second stage of this year’s Rockstar Energy Drink Uproar Festival. The tour, which features Alice In Chains, Jane’s Addiction, and many more, kicks off August 9th at the Toyota Pavilion at Montage Mountain in Scranton, PA.

About signing Walking Papers, Loud & Proud Owner and President Tom Lipsky said, “Members of Walking Papers have earned critical acclaim and success throughout their respective careers. What impresses me most about them however is that they continue to invest their creativity and energy in breaking new ground and in taking their music directly to the fans. I am excited that they chose Loud & Proud as their label and I look forward to a successful partnership.”

“Walking Papers is thrilled to be holding the nail while Loud & Proud swings the hammer,” said vocalist/guitarist Jeff Angell. “It is with great confidence that we put our songs in Tom Lipsky’s very capable hands.”

About Loud & Proud Records:

Loud & Proud Records was founded in 2007 by Tom Lipsky, and is currently in an exclusive distribution, marketing and label services agreement with RED Distribution, a division of Sony Music Entertainment. The label’s mission is to provide a true and transparent partnership between artists and their record label.  Loud & Proud aims to establish and proliferate a new business model which will appeal to both veteran and emerging artists of all levels and status.  Labels under Lipsky’s direction in the past (CMC International, Sanctuary) have been among the market leaders in the veteran artist space, delivering Gold and Platinum albums and DVDs for Neil Young, Lynyrd Skynyrd, KISS, The Allman Brothers Band, Widespread Panic, Iron Maiden, Styx, Megadeth, Bad Company, REO Speedwagon and more. In a previous joint-venture with Roadrunner Records, Loud & Proud was responsible for new albums by Rush, Rob Zombie, Lynyrd Skynyrd, KISS, Lenny Kravitz, Kenny Wayne Shepherd, The Steve Miller Band, Collective Soul, Meat Loaf and Ratt.  Loud & Proud Records is a registered trademark of Lipsky Music, LLC.

Don’t miss your chance to catch Walking Papers live. Uproar tour dates are as follows:

AUGUST

9 – Scranton, PA – Toyota Pavilion At Montage Mountain

10 – Hartford, CT – The Comcast Theatre

11 – Darien Center, NY – Darien Lake Performing Arts Center

13 – Saratoga Springs, NY – Saratoga Performing Arts Center

14        Mansfield, MA – Comcast Center

16        Bristow, VA – Jiffy Lube Live

17        Holmdel, NJ – PNC Bank Arts Center

18 – Wantagh, NY – Nikon At Jones Beach Theater

20 – Toronto, ON – Molson Canadian Amphitheatre

22 – Tinley Park, IL – First Midwest Bank Amphitheatre

23 – Nobleville, IN – Klipsch Music Center

24 – Clarkston, MI – DTE Energy Music Theater

27 – Oklahoma City, OK – Zoo Amphitheater

28 – Dallas, TX – Gexa Energy Pavilion

29 – Woodlands, TX – Cynthia Woods Mitchell Pavilion

31 – Albuquerque, NM – Isleta Amphitheatre

SEPTEMBER

1 – Englewood, CO – Fiddler’s Green Amphitheatre

2 – Salt Lake City, UT – USANA Amphitheatre

5 – Nampa, ID – Idaho Center Amphitheater

8 – Ridgefield, WA – Sleep Country Amphitheater

11 – Mountain View, CA – Shoreline Amphitheatre

13 – Phoenix, AZ – Desert Sky Pavilion

14 – Chula Vista, CA – Sleep Train Amphitheatre

15 – Irvine, CA – Verizon Wireless Amphitheater

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Pearl Jam – ‘Pearl Jam’ – CD Review

Pearl Jam – ‘Pearl Jam’ – CD Review

pearl_jam_cdBy JEN X

I hate to use a term like ?comeback album? for a band that never really left the music scene. However, Pearl Jam’s eighth album, which is untitled (but becoming known as the ?Avocado? album), may be the one that brings back the casual fan and thrusts them into the spotlight that they have shied away from for so long. Pearl Jam shunned endorsements, interviews and videos in the age of MTV. Despite being considered out of the ?mainstream,? they managed to stay relevant to fans, selling out major arenas around the country and moving millions of records and official concert bootlegs. This was due to their live show. Every concert promises to be something different, with set lists varied nightly, rarities and covers of their rock idols, as well as encores that are longer than most bands? main sets. This album is their debut release with J Records and is their first full-length studio release in four years.

The band is now doing interviews, making appearances on Letterman and SNL, and giving themselves the credit that is long overdue. And if ?Worldwide Suicide? is any indication, the rest of the world will be giving them credit, too. The first single debuted at number one on Billboard?s modern rock chart.

The album starts with the powerful one-two-three punch of ?Life Wasted,? ?WWS? and ?Comatose.? The first track features the battling guitars of Stone Gossard and Mike McCready, mixed with Eddie Vedder?s primal intensity on vocals. The lyrics show the maturity that has come with age and experience. Vedder seems to mock his younger, angrier self that spurned a fame that was built on angst: ?Darkness comes in waves/Tell me, why invite it to stay?/You?’re one with negativity/Yes, comfort is an energy/But why let the sad song play.? The video for ?Life Wasted? came out in May of 2006 and was the band?s first official video since 1998?s ?Do the Evolution.? ?Worldwide Suicide? is Pearl Jam at its best, with an immediate hook, driving rhythm section and lyrical imagery of the effects of war. ?Comatose? has a raw, punk-rock energy and is awesome performed live. With a McCready solo that borders on metal and Vedder?s style of singing through clenched teeth for which he is famous, it is hard to sit still while listening to this song.

Seeing the band perform ?Severed Hand? on SNL opened my eyes to the greatness of this song. So much happens before the first words are even sung, building to a trademark Pearl Jam crescendo. The anticipation begins with a light, airy sound before the drums and more guitars kick in for a second bridge. A third bridge takes it into an aggressive, pounding rhythm. When the words finally start, Vedder sounds a bit demented. When he asks, ?Want to take a ride?,? you can’t help but yell “YEAH!” with him.

The slow, emotion-drenched ?Come Back? has the aching, epic feel of ?Nothingman? from the band?s album Vitalogy. Vedder is amazing in that he can still evoke the kind of raw believable pain with his voice now that he?s at such a happy place in his personal life.

As much as ?Comatose? is a nod to their punk influence, the acoustic ?Parachutes? has an instantly recognizable Beatles influence. With Gossard and McCready?s carefree strumming, you can?t help but be happy when you hear this song. ?Gone,? the other slow track on the album, again showcases Vedder?s storytelling ability as he sings from the viewpoint of a man leaving the lights of the city behind.

The rest of the songs on the album continue to use great melodies and socially-timed lyrics with a softer but more powerful approach to address the problems of today?s society. ?Marker in the Sand? has a mix of good riffs, an infectiously catchy melody and lyrics that paint the picture of someone looking to God for guidance in this messed up world. ?Unemployable? is the story of a working-class man who just got laid off; the story opens as he dents his ?JESUS SAVES? ring when he punched his metal locker. ?Army Reserve,? with music written by bassist Jeff Ament, tells the story of a mother and child left behind while father is at war. An interesting note is that Damien Echols shares writing credits with Vedder on this song. Echols is on death row and has been making headlines for years due to the controversy surrounding the ?West Memphis Three,? who are well known to many metal fans. Pearl Jam, and specifically Vedder, have played a tremendous part in bringing this case to light by supporting Echols and the other two men who have been imprisoned (www.wm3.org).

?Inside Job? closes the album and is the first song to use McCready’s lyrics, causing you to wonder why he wasn?t writing songs earlier. The song, which exceeds seven minutes, starts off light and builds to a quicker tempo that matches the optimism of the lyrics.

Those who pre-ordered the album on Pearl Jam’s official website received a version of the album with different CD art and packaging than the retail version. Instead of the retail digipack packaging, the fan club pre-order resembles a book and has the liner notes bound inside it. In addition, a live CD of the band’s show on December 31, 1992 at The Academy in New York City also was included with the pre-order.

While Pearl Jam has continued to rock for the last 10 years with socially-charged songs, they return to their edgier, more aggressive roots with this venture. The band finally captures the energy that their live shows are famous for, and there is a sense of optimism that was lacking on the last two albums. To the fans that think that Vitalogy is the last album Pearl Jam made, I have this to say: Buy their self-titled CD today and welcome back.

THE VERDICT: 5/5

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