Brett Buchanan

Bio: Brett hosted the BWR podcast from 2004 to 2009, and then opened in May 2009. The site changed its name to in June 2013. Brett also owns Reach out to Brett at; brett (at)

While Pearl Jam are known as being one of the few 90’s alternative rock bands who kept their act together and never broke up, the band did go through 5 drummers from 1990 to 1998. These drummers contributions were glossed over a bit in a humorous scene in PJ20, so I thought I would dig deeper with an retrospective on Pearl Jam’s drummers, and their contributions to the band’s legacy.

An honorable mention goes to Chris Friel, who drummed on the early instrumental sessions (along with Matt Cameron) that ended up creating the tape that recruited Eddie Vedder to sing for the band.


Dave Krusen

Krusen was Pearl Jam’s original drummer, playing on Ten and at the band’s early shows, when they were known as Mookie Blaylock. Krusen brought a ‘big’ classic rock drumming sound that is very unique to Ten. Krusen left Pearl Jam in 1991, for reasons he discussed in a 2010 interview on the All That’s Sacred podcast:

“My leaving the band had to do with, they gave me so many opportunities to get it together, they were so nice about it. They never got on my case and sat me down and confronted me, but they always kind of subtly [would say], ‘Take care of yourself, don’t drink too much.’ That kind of thing. They gave me every opportunity in the world, and I just couldn’t stop.

I had so much going on at the time, I had a relationship I was in that wasn’t going well. I was about to have a baby, and I was sticking around to try and ‘do the right thing,’ which ended up not being the right thing. These are things that if you look back when you’re older and you realize, I should have been true to myself, but it’s easier said than done. But at the right time I thought I was doing the right thing, but I wasn’t.”

He added, “I was at the Singles wrap party, and we played a show, and I ended up getting so drunk that we ended up getting in this big melee at the after party. I got in an argument with my girlfriend, which led to a fight with some other guy, which led to the police coming, this is all in Seattle, which led to me disappearing for two days in a blackout. Finally the band get a hold of me and say, ‘You know you’ve got to get some help, because obviously the drinking is so out of control.’

I had a really bad attitude about it, then I finally went you know what you’re right, I’m going to go to rehab. I went to rehab for all the wrong reasons, this was my 2nd time in rehab. I got out and got a call that the band was going to play the RKCNDY, and that there was a plaque to pick up at the office. I ended up going to the show and talking to Kelly Curtis, he asked how rehab went, and I said it was great. I started drinking like a week out of rehab, and the band was doing crazy well, and I was very much in denial. I was probably extremely depressed, but I didn’t even have a clue about what I was feeling, and ignored it, and thought this is the way it goes, and didn’t deal with anything and started drinking again.

Then when I went to the show and Kelly asked how it was going, I said it was going great, I quit drinking, blah blah blah. Probably an hour later I’m getting in a fight with somebody, getting pulled off, totally drunk. I remember the look on his face, he was like Dave, get it together.”


Matt Chamberlain

Chamberlain briefly played with Pearl Jam in 1991, with one of his shows being filmed for the “Alive” video. Chamberlain bridged the gap between the Krusen and Abruzzese eras, and while offered a spot in the band he declined since he was burned out from touring for years with Edie Brickell & New Bohemians.


Dave Abbruzzese

While Matt Cameron is a great fit for Pearl Jam today, Dave Abbruzzese drummed for the band during their absolute artistic prime: the Ten tour, Vs. and Vitalogy. While Abbruzzese wasn’t the band’s original drummer, views him as the band’s ‘classic’ drummer. He drummed with the ferocity of a machine gun on “Go,” the opener to Vs. that he primarily wrote the music to. The outro to “Go” is arguably one of the greatest drumming moments in Pearl Jam history.

There is a certain power to Abbruzzese’s playing in Pearl Jam that elevates the band’s heavy side, seemingly pushing them to the absolute edge. Abbruzzese was fired from the band in 1994 for reasons that fans debate to this day, including reportedly disagreeing with the Ticketmaster boycott, and even a story that Eddie Vedder didn’t like that Abbruzzese appeared on a magazine cover. Abbruzzese discussed his firing in an interview with In Music We Trust, “The only thing that could have maybe been perceived that way was that I didn’t have a problem being successful. I don’t think that’s a star trip, that was just me saying out loud – wow all the things I ever dreamed about happening are happening and this is a really fucking great thing, and not being afraid to say that.

He added, “But you know, when I first got fired and I was getting those questions, was it a star trip blah blah blah, it actually really hurt my feelings a lot. It was like fuuuuck, what the fuck is that all about?….Just because it was so far from that. I felt so incredibly far away from that idea.”

Abbruzzese is definitely one of the 90’s most underrated drummers, with his contributions largely being overlooked in the otherwise fantastic PJ20.


Jack Irons

After getting Eddie Vedder the demo tape that would get him in the band in 1990, Jack Irons joined Pearl Jam right as the band were putting the finish touches on Vitalogy in 1994. Irons brought a garage rock sensibility to the band that definitely fit the loose experimental sound the band had during the No Code era. Irons also drummed on one of Pearl Jam’s best albums: Yield. Irons got to show of his diversity on the album’s epic tracks like “Given to Fly” and “In Hiding.” He left Pearl Jam in 1998 after growing tired of touring.


Matt Cameron

Pearl Jam’s current and longest tenured drummer entered the band in 1998, after they had already recorded their landmark albums, a challenging task for any drummer, even one of the greatest drummers of the 1990’s. Cameron’s first Pearl Jam record was by far their most experimental work yet, Binaural. The dreamy “Sleight of Hand” and southern tinged “Thin Air” featured a completely different rhythmic side of Cameron, who had largely played heavy hard rocks tracks with Soundgarden.

Cameron continued to explore different aspects of his playing on subsequent albums like Riot Act and Pearl Jam. While Cameron has recorded great material with Pearl Jam, arguably his greatest contribution to the band has been to the band’s live show. Pearl Jam play some of the most extensive setlists of any touring band out there today, and Cameron is able to make past material he didn’t originally play on feel like his own.

Shaun Morgan discussed Alice In Chains and other Grunge acts in the final part of’s exclusive interview with the Seether frontman. Seether are currently on tour in support of their latest album Isolate and Medicate, recently wrapping the Rockstar Energy Drink Uproar Tour. Morgan discussed his admiration for Layne Staley.

“I’m a huge fan of Layne Staley’s voice. I think that the story of his life is pretty brutal, and I think how he died was pretty sad. The saddest part about that is that nobody cared enough to find him for two weeks, that’s brutal. I see a lot of comparisons between myself and whatever he was going through at the time.”

He also discussed modern day Alice In Chains and what some Grunge bands are currently up to, “I do like some of the new stuff, I don’t like the new singer, because I think Layne Staley can’t be replaced, to be honest. But it was good to see that Alice In Chains is still around and doing it, as one of the old bands. Like Pearl Jam, and homeboy from Smashing Pumpkins is still trying to do something. But at least Alice In Chains and Pearl Jam have maintained the integrity. Jerry’s still writing the music, and being the main singer on the albums, so it has retained the Alice In Chains sound.”

Watch the interview below, conducted by Brett Buchanan and Elias Fulmer:

Here is the latest installment of Mark Pellington’s retrospective on his classic music videos for  This latest installment is on his 2005 Foo Fighters “Best of You” video:


My memories of that video were that I was in a really fucked up, sad, and dark place, because I had lost my wife about a year and a half before. I was still deeply processing a lot of feelings, then I heard that song, and I just wrote this treatment that was extremely personal and emotional, and a little bit crazy. I don’t think Dave or the management of the band knew exactly what I was going to do, but they were trusting enough of the emotional purity of my intentions that they supported it. All they had to do was just play, and Dave had to sing. They just had to be them, they’re amazing performers.


I shot hours and hours and hours of footage, and ideas, and I spent a really long time working with my editor in crafting that expression, kind of line by line, and beat by beat, of what I felt. It was a very personal video for me, to put those ideas into the context of that video, it was a very symbolic and metaphoric exploration, and the band was very supportive. Again, it all starts with the song, every one of these videos we’ve been discussing are incredibly epic, ambitious, and emotionally powerful machines, those songs. It always starts with the song, and when you start with a song like that, and really tap into another level visually, I think that’s where interesting videos came about.

Check out Mark Pellington’s previous retrospectives for on his music videos:

Cage The Elephant – “Cigarette Daydreams”

Pearl Jam – “Jeremy”

Alice In Chains – “Rooster”

U2 – “One”

Nine Inch Nails – “We’re In This Together”

The 10-Year Anniversary of Green Day’s American Idiot was on Saturday.  See an oral history of the album’s title track and the political climate that inspired it below:

Billie Joe Armstrong (Artist Of The Month 2004): It’s about what’s happening in the culture. Anything from CNN, Fox News, to reality television, whether it’s war, or a bad administration, and sort of feeling like you’re not being represented the right way.

Tre Cool (Jaded 2004): The bombardment of bullshit, fake news, like Fox News and CNN; all the reality-based shit that’s on television, stuff like Fear Factor that the government is using to keep everybody like good little sheep and not asking too many questions. It’s like how if a cop hears you use the word “terror” it basically means he can take any normal American citizen’s rights away from them. A cop can do that at his or her discretion if they think you might be a terrorist or whatnot.

The whole Patriot Act; it’s like do we actually have any rights after all? We don’t have the right to a proper election, we already found that out. The fabric of our government right now is basically just made out of one hundred dollar bills that are drenched in oil.

Billie Joe Armstrong (SPIN 2004, Alex Pappademas): We always wanted our music to be timeless. Even the political stuff that we’re doing now. I would never think of ‘American Idiot’ as being about the Bush administration specifically. It’s about the confusion of where we’re at right now.

Billie Joe Armstrong (VH1 Planet Rock Profiles 2004): A song like ‘American Idiot’ is me being confused about what it’s like to be an American, and what patriotism is because American patriotism is much different than say Ireland, because America’s got the stigma of walking around saying: ‘We’re number one!  We’re the greatest country in the world.’  There’s no such thing as the greatest country in the world, but you get these sort of rednecks, or this representative of your country, the President, who goes around acting like a bad tourist.  Even worse than that, the war, and everything on top of that.  That doesn’t represent who I am, I’m a guy in a band and an artist, I don’t want to be represented by some redneck from Texas.

People and the media are supposed to be the checks and balances in every country.  Rock and roll is supposed to be about rebellion and being dangerous. I’m a firm believer in the church of rock and roll, and that’s what the rules are, the lack of them.  We want to challenge people, if people get a bit resentful, then we’re doing our job.

Lost debuted 10 years ago today, on September 22, 2004. The show was an overnight smash hit, and lasted 6 seasons, ending in May 2010. To celebrate Lost’s 10 year anniversary, let’s take a look at what the show’s characters are probably doing a decade later.



Jack unfortunately died in the series finale, and will be the only dead character covered here. As of 2014 Jack is hanging out in purgatory world with his son David, who never actually existed in reality.  Boy, that must sound weird as hell to somebody who has never seen Lost.  Anyways, hopefully Vincent didn’t eat Jack’s body.  Speaking of Vincent-



Vincent has become evil like the dogs on The Leftovers, with Hurley and Ben speculating that the smoke monster/Man In Black has returned and overtaken his body.



Hurley’s still the king of the castle on the Island, after taking over as the Island’s protector.  He’s still trying to figure out what the hell the deal was with those numbers, and the statues.


Ben Linus

Ben Linus is still serving as Hurley’s No. 2 on the island, and is seeking out the families of John Locke, Charlie (he did order Mikhail to kill him) and all of those Dharma Initiative people he killed, begging for forgiveness.  On second thought, John Locke really didn’t have much of a family.



WALT! is still trying to figure out why he is ‘special’ and rescue his father Michael’s soul, working with Ben and Hurley on the Island. Things must not work out too well for him though, as Walt and Michael weren’t invited to the church in purgatory world.



Cassidy is in a custody dispute with Sawyer regarding their love child Clementine.



Since she no longer can raise Aaron, Kate has moved onto taking care of Jin and Sun’s daughter Ji Yeon.  Kate hooks up with Sawyer again at some point, but the purgatory world indicates that Jack is her soulmate, unless love triangles still exist in Heaven…



Clare is still dealing with Aaron being confused over the identity of his real mother, after being raised by Kate for a few years.  Aaron will play bass when he grows up in a Driveshaft reunion tour, to pay tribute to his surrogate father Charlie, with the tour’s final stop being The Island.



Out of everybody, Desmond got the happiest ending.  None of his loved ones died, and he no longer has to deal with his a-hole father in law.  He is enjoying life, stopping by the island every once in awhile to reminisce about the good times with Ben when they tried to kill each other.



Miles’ ‘Sixth Sense’ talking to dead people business is lighting up with the few island survivors seeking to communicate with their ‘lost’ friends beyond the grave in purgatory world.  But technically if Miles is able to communicate with people in purgatory world, shouldn’t he be able to communicate with himself?


Richard Alpert

Richard is 187 years old, so obviously he has become the richest History college professor in the United States.


Frank Lapidus

Frank has launched a multi-million dollar business where he flies tourists to the Island, called ‘We Have To Go Back.’

Alex Riley On The Pre-Show:


Booker T Not Saying “Tell Me, I Didn’t Just See That” After Goldust & Stardust Interview:


Christian & Chris Jericho On The Peep Show:


Randy Orton On The Peep Show:


GoldenStarDust defeated The Usos To Win The Tag Team Titles:


Sheamus defeated Cesaro To Retain The United States Title:


When I Heard The World’s Biggest Country Star Was Coming Out:


The Miz defeated Dolph Ziggler To Win The Intercontinental Title:


The Dean Ambrose and Seth Rollins Brawl:


The Guy Who Will Finally Beat Rusev:


Randy Orton defeated Chris Jericho:


John Cena defeated Brock Lesnar via DQ in a WWE Championship Match, then Seth Rollins failed to cash in his briefcase:


Pearl Jam guitarist Mike McCready, Red Hot Chili Peppers drummer Chad Smith, actor/cowbell expert Will Ferrell, formers Guns N’ Roses/Velvet Revolver bassist Duff McKagan, and Brandi Carlile covered The Rolling Stones’ “Honky Tonk Women” at the Cancer For College benefit show at the Meany Hall for the Performing Arts in Seattle last night. Watch video below!

TOMA from the Puscifer Entertainment release, “Conditions of My Parole.” Directed by Tim Cadiente. featuring THE FLYING CALIENTE BROTHERS, Clifton Collins Jr. as Hermano Uno, Jacob Vargas as Hermano Dos. Ian Cadiente as Hermanito Uno, Logan Cadiente as Hermanito Dos, Sean Hunt as LA PLACA, Chris Lisk as EL RUDO, Keith Gill as EL REFERI, Sarah Sandin as LA SANCHA, Edited and shot by Tim Cadiente and 0484 CREATIVE, Characters created by Puscifer Entertainment.

Bono discussed U2’s new album Songs Of Innocence on KROQ this morning.

“The punk rock thing to do is annoy people and get in their faces,” he said. “If people have a problem with the way we released the album, I’m sure they’ve read about it online.”

Bono’s talk of punk rock didn’t end there. He also explained the band’s Songs of Innocence tribute to Joey Ramone, “The Miracle (of Joey Ramone).” Apparently, when Bono was just starting out, he had the realization that his singing voice wasn’t very masculine — an asset that ended up helping him front U2 — and Joey Ramone’s music made him feel like it was okay.”

“I realized that I sang as a girl and I was a bit depressed about it as a young Irish male,” he recalled. “And then I realized Joey Ramone sings like a girl. He was inspired by all those great sirens as well as everything else. He has a beautiful melodic voice. And if I could be so lucky, I might try to have one of those.”

The band’s next tour, however, might not be like past ones. Bono thinks the songs would sound live best when played acoustically. “We wanted the tunes that if you play them acoustic on the piano or the pub, they would stop people from going home at closing time,” he said of the album. “All this hype and getting in peoples’ faces is fun, but i just want people to listen to the tunes and i think the best way to do that is to play some acoustic sessions.”

Below is the latest installment in director Mark Pellington’s retrospective series on his classic music videos for, where he remembers directing Nine Inch Nails’ “We’re In This Together” music video from 1999:

That was another epic, big, ambitious, sprawling video. Trent Reznor didn’t say much about what it was about, I would have to re-read my treatment to recall the inspiration. I hadn’t done a video at that point for a year and a half because I went and made a movie, so I hadn’t done one in a long time, and was really itching to do one. The song was long and cinematic, so I just let my mind go, and wrote this very trippy, kind of SciFi allegory, very much a dream nightmare. I sent Trent the treatment and some references, black and white, and he was on board. He was very supportive and very into it, he was game.


The shoot was 4 days in Guadalajara, Mexico. Trent was very involved in the editing and sound design at the beginning, because I remember all the black jerseys at the end, and the storm was coming. It was so weird, and emotional. Then it was a little disappointing at the end, with the editing. I delivered it, and kept getting this sense of, ‘Well, I’m not sure.’ We got a call one day, ‘Oh, they want all the footage,’ because the record was coming out. I could tell Trent was really nervous about how the record was going to do. This wasn’t the first time I had dealt with artists being really supportive of the video, then before it comes out they start to get a little bit nervous. I understand though, it’s their image.

So he re-edited it, and I’m like, ‘You can’t fuck this video up unless you really mangle the rhythm.’ It wasn’t even like, ‘Oh, I want to put more me in there.’ They re-edited it, and I will go on record as saying they mangled it. What was more disappointing was I didn’t hear from him. I had really felt like we had gone down this road together, and if you’re not happy with it, say you’re not happy with it and you want to change it. But to hear it kind of second hand was a little bit disappointing.


So I was like alright, I’ll just put out my version, so I’ve always had my version. I think over the years that’s the version people have seen, I don’t think they look at whatever was on MTV at the time. I’ve seen people over the years post the Director’s Cut of it. But that was it, I haven’t spoken to him since then. He’s obviously great and successful, I wish him only the best, but that’s my recollection, as an artist being a little bit bummed out that originally the world didn’t get to see the full megillah.

It was just disappointing. I ask somebody to do a song for a movie, and I end up not liking or using the song, I respect the artist and call them and tell them. “Fuck dude, I’m really sorry it didn’t work out. The song didn’t fit, your interpretation wasn’t right for it.” That’s just respect.

Check out Mark Pellington’s previous retrospectives for on his music videos:

Cage The Elephant – “Cigarette Daydreams”

Pearl Jam – “Jeremy”

Alice In Chains – “Rooster”

U2 – “One”

Below is the latest part of’s interview with Seether frontman Shaun Morgan, where he discusses working with producer Brendan O’Brien, and the South African music scene including KONGOS and Die Antwoord. We also have exclusive photos from Seether’s performance at the Rockstar Energy Drink Uproar Tour’s stop in Irvine, CA earlier this week, taken by’s Elias Fulmer.

Seether Irvine Show Photos:








Jack White and Foo Fighters have released a joint statement (they share the same publicist, though this seems to lean towards White), ending their ‘feud’ seemingly before it could even start, after Jack White’s rant at his show last night:

Dear dream-makers of the media….

Last night Jack White made a joke on stage!

There was a minor equipment mishap, specifically with his guitar, and in an effort to keep his audience engaged, he made a joke! It was meant to be funny and self deprecating: “hey sorry, you’re stuck with just me up here…” vs the Foo Fighters who have three guitar players on stage and regularly play stadium shows.

Jack has the upmost respect for the Foo Fighters and communicated with Grohl this morning.

So if you’ll let us, we’ll all continue with our day and we assure you: All is well in the rock n roll world. recently interviewed Seether frontman Shaun Morgan on the Rockstar Energy Drink Uproar Tour, and we asked Morgan his thoughts on Nirvana’s 2014 Rock N’ Roll Hall of Fame reunion performances, if he was contacted to be a guest performer, and if he’d ever be interested in performing with Nirvana.

Morgan said, “It would be something that I would love to do, but it’s not something that anyone has ever asked me to do. Obviously, just from being a kid, even just to play a show with those guys would be great. But it’s not something that I’ve ever been approached about doing, but obviously as a childhood dream, it would be great to be on stage with those guys.”

Morgan also discussed his issues with modern music, “A perfect example is Lorde winning Best Rock Video at the VMA’s. That just doesn’t make any god damn sense to me.”

Watch Morgan discuss Nirvana and Lorde in more detail below!

Interview was conducted by Brett Buchanan and Elias Fulmer.

Foo Fighters have responded to Jack White’s rant from last night where he said, “We could be like Foo Fighters, play like them and have a second guitar player play the same parts I play here in case I make a mistake, he’s still playing it for you, you’ve got to do stuff like that nowadays.”

See the Foo Fighters response below!

White’s full rant:

Jack White went on a rant at his show in Boston last night. White first said most singers don’t use chords any more for their microphones.

He then said, “We could be like Foo Fighters, play like them and have a second guitar player play the same parts I play here in case I make a mistake, he’s still playing it for you, you’ve got to do stuff like that nowadays.”

He also ripped Rolling Stone, saying that his rant would be clickbait content for the website tomorrow. He said the website is “brought to you by the Kardashian family.” He joked about a list of 12 reasons why Rolling Stone won’t have a black and white cover unless your dead.

“OK, I’m officially supposed to stop now, because this is becoming a Kanye West-esque rant. Because apparently, nowadays, you aren’t allowed to speak to your own fans about anything, lest it be a rant.” He concluded, “So forget ISIS, forget the war in the Middle East, forget any problems at home, forget gay marriage, forget everything you ever thought about everything. This not a rant. This is just me saying, HELLO CLEVELAND!”

Billy Corgan has posted a new blog on

On the album front, MONUMENTS TO AN ELEGY’s mastering has been approved, with HOWIE WEINBERG having done a masterful job of giving the collection the rocka rolla it deserved; and required. For those of you who don’t know Howie’s work, look him up, but know that for SP he was at the helm for GISH, SIAMESE, MELLON COLLIE, ADORE, and MACHINA; plus ZWAN, FUTURE EMBRACE. Oh, and he also worked on that little album called ‘Nevermindme’….

Hope you enjoyed that play on words/joke grrrunge fans…

QUESTION TO SP: “So you guys are from Seattle, right?”

AWKWARD SP: “Um, no…”

Back to 2014 stylings, Shredder and I mucked around with THE SPANIARDS, doing some recon on how to get the song past it’s siesta-slope; the changes moving too slow for the modern mind. So rather than speed it up all we did is look for more subliminal excitement, adding a tom-tom beat and running my Jupiter4 through a mammoth fuzz. PrestoChango-we have something; guitar army followed; ala STARLA where you just wing out what you play to a hypnotic affect. Very satisfied with these B-sides so far, as they’re not fussy like everything else we do and these capture the in-between spirit of the two, going-to-be very different albums.

If DAY FOR NIGHT is the end then, we’ll go out swinging on a psychedelic comet. For today, we’ll either add more orchestra (guitar drops/synths) or start into R + D phase; or both.

Lastly, let me praise this track I’ve got above by PHANTOGRAM. IMO opinion this is THE track of the year. Kudos to them for getting it done (as we say on the mean streets of Glendale Heights, ILL)