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 March 2001


                    During the month of March, a CD contaning rarities and un-released songs was being conceived. Among the songs expected to appear on the rarities compilation were B-sides, soundtrack and benefit album tracks, as well as selections from the group's annual fan club Christmas singles. 

                    "I don't think we even realized how much the band had recorded for things that didn't end up on albums. There's definitely stuff I forgot about. Knowing them, they'll pick all the most obscure ones nobody wants", Kelly Curtis (Pearl Jam Manager).

                           On March 27th, the second leg of official boot recordings from Pearl Jam's North American tour became were released.Official Bootleg from Montreal, October 4th, 2000

                    "The idea is great. We really showed a lot of other people that you can be not so precious with your live shows, and people will be excited about hearing things that maybe you wouldn't feel would be pro enough to put out or promote. It was another situation where our initial instinct was just to make these live records available on our Web site. Based on our deal with Sony, Sony was convinced we needed to put them out through their system, or else retail would be upset, and there would be all these sorts of political ramifications. We said, "well, whatever, we can do it." When they sold as well as they did, everyone was pretty surprised. Our initial instinct was that there were maybe 10 shows people were really talking about, but the rest of them are probably still sitting on peoples' shelves, gathering dust, or being returned [laughs]. I still think ultimately it's really a Web site item. I hope other people look at it as a new concept. Well, not a new concept. People would like to own shows they were at. There are shows some nights that are really special, where people want to hear the mistakes and the glitches and the energy. In this day and age of digital everything, between the bootlegs and the DVD, all that stuff is so available. We record every show, and all it costs is four ADATs or four digital tapes, which is nothing. It's so cost effective to record everything, and you never know when you're going to have a good one. At the end, we were like, why do we want to choose which ones everyone gets? Why not just let other people choose. But when you get 40 or 50 records in a store staring you in the face, it's kind of embarrassing. I've certainly taking some teasing on that front, as to whether I was going to release another 70 mediocre live albums the following year [laughs]", Stone Gossard.

                    "When Kelly Curtis [PJ Manager] told me about the bootlegs a few months ago, I wasn't sure that it would go. One worry was how enthusiastic the label would be to do it, but it would seem they've been cooperative. Three million total is a very significant result for Sony [Epic's parent company] as much as for the band. It just goes to show that if you make a good enough case, these giant corporations will do exactly what you want. It's been my experience they respond well to being infiltrated, and if you go to your corporation with a plan and it's a good one, very often you'll get total cooperation and have good results", Paul McGuiness (U2's Manager).

                    On March 31th, Eddie arrived in Auckland, New Zealand. He was one of the artists that Neil FInn (Crowded House) invited to collaborate with him in Auckland, New Zealand at the St. James Theatre on April 2-6. Neil invited artists he admires at these special shows: Eddie (vocals), Radiohead's Ed O'Brien (guitar, vocals) and Phil Selway (drums), Soul Coughing's Sebastian Steinberg (bass), singer/songwriter Lisa Germano (vocals, piano, violin), The Smiths' Johnny Marr (guitar), and Neil's big brother, Tim Finn (vocals). The group began rehearsals at Crowded House's studio at Karekare, on Auckland's west coast, by the end of March (sans Ed's presence).

                    "We had an amazing rehearsal out in a barn. We worked for 10 hours a day, with jetlag, but it felt effortless. It was like we were on holiday because we were having such a brilliant time", Neil Finn.

                    "I just rang everybody that I know and met and liked to see who was around. Eddie Vedder was the one I expected would need a bit of time to consider after the year they had last year with all that Roskilde stuff. But he was like 'OK, I'll come. Sounds great. I'll be there'", Neil Finn.