I heard that volunteers were let in for free with the understanding that they'd stick around to help clean up, but of course they all left, and there were like three people picking up the entire grounds.
Yeah. Putting on that show taught us a lot about how to put on your own show. There were definitely things we didn't do right. The barricade was too small. It broke at one point during Cypress Hill's set. We were definitely getting into something we didn't have the experience dealing with, but it was still great. There was definitely a celebratory vibe to that show, and relief. It took months of us working with the city to pull it off.
Let's talk about Brendan's remix. He had a crack at a few songs on the "Greatest Hits" album that came out in 2004. What is it about the sound of "Ten" that has bugged you?
Well again, it goes back to making our first record with Brendan, which was "Vs." When we heard how powerful that sounded in the way that he treated it, which was basically not treating it very much, other than making things punchier and doing some EQ and compression ... There's really not a lot of reverb on things. "Ten," you can hear when you listen that there is so much going on. You can hear the tool of the time, the Lexicon Reverb, on almost everything. Somewhere in the late '90s, I found a rough mix tape of "Ten." I played it on cassette and that's when I started saying, "We have to remix 'Ten'." It would usually happen after we'd been in a club or something and we'd hear a song from it. It was like, "Ugh! This is killing me!" At one point I told Brendan that I'd pay him to just do a version for me, just so if I had to listen to a song to re-learn it or whatever, I'd hear the proper version. He was always like, "It's a classic and I don't want to touch it." He was very respectful. That's the reason the original is still part of this package, because it's the version that 10 million or however many people bought. When you hear his version though, it's just twice as powerful to me. It's so much more distinctive. You can really hear the texture of Ed's voice and of the instruments. It also reminded me what a great drummer Dave Krusen was. The other mixes, there's so much room and reverb that you don't hear the attack on the drums, but on this version you really hear him playing hard. I think everybody is super, super psyched about it. A few weeks ago when Stone first heard it, he cranked it up and sent me a text saying how happy he was.
And this brings the representation of those songs more in line with what they sound like live.
Yeah. I think those songs changed so much the first couple months we were out touring. That's what was hardest about listening to the record. Not only were the songs slower on "Ten," they had a really soft sound to them. We felt like it didn't represent us, so here it is, represented.
Tell me about this blues jam that you found.
I think there were a couple of days where Stone was either sick or at the dentist. We had a couple of days in the studio, and on one day we did "Master/Slave," which is the beginning and end of the record. The other day, we just jammed on some things. This was one of the things we pulled up and we were like, "Wow. This isn't terrible!" It shows you, even at that time, what Ed could adlib. Nothing got changed. That's just us hacking away at 12-bar blues and Ed going off and Mike going off, basically. I think that was the sort of thing we wanted to grow into as a band. We wanted to be able to play like that; take 12-bar blues and move it somewhere exciting.
So there's no Stone on that?
I don't think so. I think it's just one guitar.
And of course "Brother" resurfaces here again, but this time it has singing.
Hallelujah! I was really, really into that song. Stone wrote that song musically. There was a point during the recording of "Ten" that Stone was like, "Eh, I'm over it." And I was like, "No! Let's work on it." We actually got in a big fight about it in the studio. It didn't end up getting worked on anymore. It got to a point and Stone was over it. I think maybe to some degree Ed probably wasn't totally happy with where it was at, so it never came out. I think there's great guitar on that song.
Was it a compromise then to put it out as an instrumental on "Lost Dogs?"
Yeah. I think at that point Ed still didn't want the vocals on it, so Mike just threw a bunch of guitar on top of it. A part of me thought some of this stuff would never come out. But it just felt like the right time to put it all out. The other thing we found which I don't think had ever been out there before is the "State of Love and Trust" that Dave Krusen played on. I think it's vastly superior to the one that's on "Singles." Again, I don't think I fully appreciated what Krusen brought to the band at that point. He really plays that song in the spirit it was written in. It's has a much trashier, Crazy Horse feel to it. It's awesome.
Is he also on that version of "Breath" on the bonus material? That's from 1990.
Yep. I think that is from the second time we went in.
Did you actually listen to "Ten" before this process began?
I didn't listen to it before Brendan did the remix. I did listen to dozens and dozens of unmarked cassettes trying to find stuff that was interesting, but I didn't listen to the whole album until Brendan remixed it.
There was that totally different "Jeremy" that was played live in 1995, but it's nowhere to be found here.
I don't know that we ever got it to a place where it would have been a really proper alternate version. I think we only played it five or six times.
Do you still find yourself experiencing the material in different ways as time goes on?
I think hearing the remixes I did, definitely. Except for that rough mix I mentioned, I don't think I've really sat down and listened to anything off of "Ten" unless we were deciding to play "Deep" one night for the first time in three years. The combination of listening to the remix and digging through those boxes brought a bunch of things to the surface that I think I'd buried. I think I felt from my side that I wasn't as good as I wanted to be, so I was looking forward and trying to be a better bandmate and bass player. I always kind of cringed when people would take about it, but because it was so huge, it added this weirdness to it.
But by the same token, almost all of those songs are still in live rotation. They still have a life.
Yeah. Especially the fact that we've had three drummers since we made "Ten" -- each one has been able to play different songs better or differently, in ways that got us excited.