KB: When you were recording the album, did you lay down your vocal tracks with the band? So if I had to start thinking about how my throat is being held or where my tongue is in my mouth, then I’m not gonna be in that same spot. ‘Cause that’s the thing, I’m totally within the music.
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It just worries…because people have actually told me, well, yeah, they’ll show you how to hold your throat like this and how to do this and I’m like, ‘Yeah, that’s all well and good but I think I’m just gonna hang out.’ I’m not gonna worry. There’s even kind of a slight quaver to your voice in places.ĮV: Yeah. KB: I don’t think you need to take vocal lessons because you have such a range.
I get really worried though, like if they say, ‘Take vocal lessons,’ or something because it’s kind of like I used to really love to draw when I was a kid and then I took like an art class - because everyone said, ‘Oh, you’re so good, you should take a class and maybe you can be really good,’ and then I went to the class and then they showed me how to use a ruler and perspective and all this stuff and it totally made me not want to do it at all. Because when I do it every night, it probably is gonna hurt ’cause I really don’t know what I’m doing. I mean…but I never learned how to sing or anything, so…I probably should. Have you always sang like that, in past bands?ĮV: Well, yeah. KB: It sounds a lot like you’re running your voice pretty ragged. You can rage on a song or you can do something like “Porch,” very rhythmical, with your vocals. KB: I guess, this band, or the material, is probably a vocalist’s paradise. People were very impressed.ĮV: Yeah, the show at Wetlands was amazing. KB: I think a lot of people went back to see you on the subsequent night. I mean, I’d look down and I memorize their faces and I’d sing a few lines to the people in the back and then I’d look down and make sure that all those same faces are still standing. They kind of watched, but Wetlands and many other shows it gets totally intense and I turn into a lifeguard, you know? I’m aware of every person in the audience. I mean, everyone was pretty mellow at Marquee. That was the first one that we played and then after that, actually the show at Wetlands was much more intense in the front rows. I’m right in the middle, behind…I’m riding the wave of this music into the shoreline, which is the audience and I’m very much…actually, I mean, most shows…I think you must’ve seen the show at the Marquee then?ĮV: Yeah. I mean, actually that’s where… I mean, right in the middle.
Even when I feel good… it seems like every time I start to feel good, something really awful happens. I every day sound like that.ĮV: Well, no. KB: You sound uncertain if you’re good or not.ĮV: Um, for a reason. Not long after, Pearl Jam blew up and Vedder was very selective about the press he would do this music scribe, who has since interviewed thousands of people, unfortunately could never get another interview with him.
Just as the cassette ran out, he told me I could call him back if I needed anything more. The following is a transcription of that interview recorded on cassette via my answering machine. I called Curtis Management, and it took quite a while to get him on the phone - they kept coming back and asking me to wait just another minute, and when he finally took the phone, he seemed out of breath. When I got the Seattle band’s debut, Ten, co-produced by Rick Parashar, I couldn’t stop listening.īy the time I was set to interview Vedder, I knew that album front to back. When they had a pair of gigs at New York’s New Music Seminar festival, I made sure I went to one of them.
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