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Preparing to get the songs down on tape, McCready persuaded Gossard to enlist his Mother Love Bone bandmate Jeff Ament on bass, and Soundgarden’s Matt Cameron offered his services on drums.

The pre-Pearl Jam Jeff Ament (bottom left) and Stone Gossard (top middle) with Mother Love Bone, 1988.

That’s a long-term relationship right there.” “We’re into long-term relationships in this group,” Vedder explained, “in our personal lives, with each other as bandmates, and with the audience. Their very existence feels like a reassuring thing. It’s not just in the fact that they still put out great new records (although their output has slowed somewhat), or even in their euphoric, communal live shows. He wanted to know what the future looked like. He was more interested, he explained, in what Radiohead or Guided By Voices frontman Bob Pollard were doing than in gazing back to rock’n’roll’s Big Bang. His band were about to enter their third decade, and Vedder wanted to face forwards again. It’s more interesting now to see how a band navigates an open field of music.”Īll the looking back required for Cameron Crowe’s career-spanning documentary had the nostalgia-wary frontman feeling uneasy.

Even the business of music and digital, it’s always moving and the tides are changing. “Music is not contained,” he continued, “it moves. He was working his way through a box of American Spirit cigarettes and reflecting on the imminent release of the Pearl Jam Twenty film. Vedder was sitting opposite me at Pearl Jam HQ, on the outskirts of Seattle. “Music ain’t a swimming pool, it’s an ocean,” the singer said in 2011.

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