Pearl Jam & Their Fans Buy A Home For Andrew Wood’s Mother

This Just In From Seattle Music History!!!                                                                          The Kitsap Sun has a great new article up on Pearl Jam and their fans buying a new home for Mother Love Bone/Malfunkshun frontman Andrew Wood’s mother Toni Wood.

“The part of the house I like best is the love that got it for me,” she said.Wood had been living in a broken down mobile home with tarps on the roof, working as a part-time caregiver. When Stone Gossard learned of Toni’s living situation, he called her.“He said, ‘Why don’t we see about getting you a new house,’” she said. “Him saying that — it was magic to me. It took my breath away.”On the band’s website, Gossard said he and Jeff Ament felt they had to help, “The more (Ament) and I learned about her situation, the more we felt we couldn’t ignore it. We decided to go for it and get her a new trailer.”Fans donated more than $36,000, while the members of Pearl Jam and Mother Love Bone’s former manager chipped in $40,000.A few days ago, Wood got a nice surprise when she visited her bank.“I always go and whisper to my teller, ‘How much do I have left?’ because my account’s always verging on setting off all kinds of bells and whistles,” Wood said. “And she came back and said ‘I don’t think you have to worry.’” The money has covered a full replacement of Wood’s home, and some for landscaping, which Wood will use for a garden.

Listen to Previously Unreleased Jimi Hendrix Song, ‘Station Break’ From his DAZE Touring With Curtis Knight & The Squires!!!

This Just In From Seattle Music History!!!                                                                                                                                                                               The track premiered earlier last month at the Daily Beast, which also details the story behind the recordings. Hendrix was a member of Curtis Knight & the Squires from 1965-66. Signed to Ed Chalpin’s PPX International, they recorded a handful of sides that went nowhere. However, once Hendrix became a star a year later, Chalpin repackaged many of the songs and sold them as the new Hendrix albums Get                                                                                                    

http://www.vevo.com/watch/curtis-knight-the-squires/Station-Break-(audio)/USQX91500360That Feeling (in December 1967) and Flashing (in October 1968).                                                                                                     by Dave Lifton PMOn March 24, some of Jimi Hendrix‘s earliest recordings were  released as You Can’t Use My Name: Curtis Knight & the Squires (Featuring Jimi Hendrix) – The RSVP/PPX Sessions. You can hear one of the previously unreleased tracks, an instrumental called “Station Br BY CLICKING ON THIS LINK! ----->    http://www.vevo.com/watch/curtis-knight-the-squires/Station-Break-(audio)/USQX91500360        

After more than a decade of litigation, Experience Hendrix, L.L.C., the company run by the Hendrix family to oversee his legacy, acquired the tapes. They then hired Eddie Kramer, Hendrix’s longtime engineer, to clean up the tapes as best as possible so that they could get a proper release.
Rolling Stone‘s original review of Get That Feeling called it “barely representative of what Hendrix is now doing and is an embarrassment to him as a musician. Moreover, while it does show the early elements of the style he has now developed, it is so badly recorded to be of little historical value.”
That said, “Station Break” is a solid, if rough and unspectacular, instrumental. The music in the verses seems to take a cue or two from Sam Cooke‘s “Another Saturday Night,” while the B-section features a four-bar break. Hendrix doesn’t show off, but you can hear his familiar Stratocaster tone and hammers-on approach even at this early stage.
Read More: Listen to Previously Unreleased Jimi Hendrix Song, 'Station Break' | http://ultimateclassicrock.com/jimi-hendrix-station-break/?trackback=tsmclip 

“I Found My Friends: The Oral History of Nirvana”

Before Nirvana got famous, the members of the band were part of a working community. In a fascinating new book, British author Nick Soulsby probes that period of the band’s early career, interviewing more than 200 musicians.

“I Found My Friends: The Oral History of Nirvana”Nick SoulsbySt. Martin’s Griffin,

When Nirvana’s “Nevermind” topped the Billboard charts in January 1992, like-minded folks.

the trio became the most famous rock group to ever come out of Seattle. But this newfound fame rested uneasily on the band members’ shoulders; in interviews they liked to stress that Nirvana was part of a community of “I Found My Friends” digs deeply into that community, featuring interviews with more than 200 fellow musicians who shared the stage with the band. The book is an extension of British-based author Nick Soulsby’s previous project, the 2014 compilation “No Seattle: Forgotten Sounds of the North-West Grunge Era 1986-97.”

While researching Nirvana, Soulsby became intrigued by the picturesque names of supporting acts at Nirvana’s shows, such as Oily Bloodmen, Gobblehoof and 3 Merry Widows. Soulsby began tracking down the bands, and while the music on “No Seattle” is limited to groups from the Northwest, the interviews in “I Found My Friends” draw from a larger pool.

Previous oral histories such as Mark Yarm’s “Everybody Loves Our Town” and Greg Prato’s “Grunge Is Dead” focused on the members of big acts like Soundgarden and Pearl Jam. What makes Soulsby’s book so interesting is that he unearths a hidden history by speaking to the members of lesser-known groups.

You get a clear sense of Nirvana’s early struggles It offers an inside look at Nirvana’s development as recounted by the fellow travelers who were destined to be left behind, once the band achieved superstar status.

“They could've easily, at first blush, been one of those bands you see a couple of times then fades away, never to be seen again,” is how Bruce Purkey of the band Soylent Green, remembered Nirvana’s early days.

It wasn't an unusual perception. Kurt Cobain tried to make an impression by donning satin trousers and platform shoes for a show, but “beyond the clothing there was nothing memorable about the stagecraft,” says Paul Morris, of the Sons of Ishmael.

That soon changed, of course. But along with admiring the band’s musicianship, memories of the pre-fame Nirvana are remarkably consistent: guitarist/lead singer Kurt Cobain, shy and withdrawn; bassist Krist Novoselic, outgoing and a bit goofy; early drummer Chad Channing, friendly and personable.

It was the kind of band that was ready to lend a helping hand. After one show, Gobblehoof’s Tim Aaron said Cobain gave him $100 out of Nirvana’s earnings, when he learned Gobblehoof wasn’t getting paid.

All of which makes the latter part of the book especially sad. Fame isolated Nirvana from former friends and allies. During an Australian tour, the Guttersnipes’ Paul Brockhoff was told by a bouncer to not even talk to Nirvana, “or we’d get thrown out.” Cobain further isolated himself with drugs. It’s a bittersweet look at the life of a working rock band, from those in the best position to observe it.