NEWS
Eddie Vedder
Photo by Danny ClinchPearl Jam‘s Eddie Vedder, who’s back on the road after positive COVID-19 cases postponed dates on his solo tour earlier in February, says his own bout with the coronavirus was “pretty serious.”
As Ultimate Classic Rock first reported on Sunday (Feb. 27), Vedder shared his experience in front of a live audience in Los Angeles Friday night. The moment was captured on video by a fan at the show.
“I just wanted to take a quick second to look at this, because it’s very rare,” Vedder said, looking out at the crowd after his daughter Olivia performed her own song “My Father’s Daughter” onstage at L.A.’s YouTube Theater. “It’s incredible. I got the COVID right before we were supposed to start practicing, probably five, six weeks ago, and literally saw my life flash in front of my eyes.”
Vedder continued, “I wasn’t quite sure… because I’ve done some very good things for my body, and I’ve also had a lot of fun. I’ve done some things that could be … some kind of abuse, I mean, nothing really clinical,” he joked. “I won’t get into the details. Just use your imagination!”
“But it was, it felt pretty serious,” said Vedder of his illness. “And to get through that and then be back in a room like this, facing this many people facing this way, listening to us play music for you is really, truly, it’s been a gift and an honor. Thanks for listening. We’re so grateful.”
Vedder and his band the Earthlings — Chad Smith, Josh Klinghoffer, Chris Chaney, Glen Hansard and Andrew Watt — launched the tour support of Vedder’s new album, Earthling.
Listen to Vedder talk about returning to the stage after having COVID-19 in the concert clip below, and watch Olivia perform “My Father’s Daughter,” a ballad co-written by her dad and Hansard.
NEWS
There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
