The Howard Stern Show 2026 03 03 | Eddie Vedder

The Great [music] and Better Jimmy Page.

>> I have. He's incredibly

sweet and kind and loves music. Uh, same

with Robert. Same with John. And last

year I was in London doing something at Royal Albert Hall for Teenage Cancer Trust with Roger Daltry, Sir Roger. And

Robert introduced me to John's sister, John Bonham's sister, and she was incredibly sweet and kind and cool. But

yeah, you know, they're just people that still live and breathe music and uh it's not random that they are who

they are or became who they became u even all those years ago. You know, that becoming Led Zeppelin documentary is just incredible. And to think that they

just incredible. And to think that they were all getting together writing the first record in a little house on the river with all the windows open and

playing loud and no one complaining.

Could you imagine being in a little boat hearing that [ __ ] coming out of a >> No.

>> Like before it was even put out, you know, the whole first record.

>> The amazing thing to me is if you're Robert Plant and you got Jimmy Paige who comes up with the, you know, these riffs and the music and he brings them to you and then you got to write lyrics to it.

It's like I mean it's kind of the same thing with you because it happened to you with Pearl Jam. Those dudes brought you the music and you were like, "Okay, I'll I'll write some lyrics over this and come up with the melodies. You must

really relate to Robert Plant because that's your whole jam when you first got into Pearl Jam, right? I mean, that was your whole thing." I don't know how you guys do that. If I heard that song, how would I come up with a melody over it?

You know what I mean? It seems

impossible to do. It's an amazing accomplishment. I wish I could have sang

accomplishment. I wish I could have sang like a siren like he does to cut through, but I I was able to kind of find my way.

>> You're not kidding. Hey, man. It's good

to see you. I was I was making jokes yesterday, but I said, um, I always call you Eddie, but I think I'm supposed to call you Ed, and I never got that straightened out. So, I'm thinking of

straightened out. So, I'm thinking of calling you Edward. Does anyone call you Edward?

>> Sounds good. Edward sounds more like Howard, so I like that.

>> Yeah, you got your Howard Stern cuff.

Just tell me what you want me to call you from now on whenever I speak with you.

>> Just call me Ed.

>> Ed.

>> You don't like the name Eddie. You don't

Eddie implies I don't know you that well, right? Those on the in say Ed.

well, right? Those on the in say Ed.

>> Well, you know, it's interesting. People

who knew Tom Petty and we're friends would call him Tommy.

>> Um I have another friend Ed Burns and everybody who knows him calls him Eddie, >> right?

>> And then here I'm Eddie, but I guess people who know me better just call me Ed. Speaking of Tom Petty, you do a

Ed. Speaking of Tom Petty, you do a cover of I Won't Back Down in the new movie. We're going to talk about this

movie. We're going to talk about this documentary you put out. Boy, that's a moving thing. When you are sitting with

moving thing. When you are sitting with a guitar, that guitar, that one, the J200, right? That's the jumbo guitar.

J200, right? That's the jumbo guitar.

That one, the acoustic. I had so many thoughts in this documentary. When you

just sit and play, no band, is this the ultimate high for [music] you? I know

you love your band and I know you love playing with those guys, but then all the [ __ ] craziness, all the stuff you have to deal with the band. Isn't there

something so romantic about just going out on stage with that one guitar and entertaining an audience and having them all singing along with you? It must be so [ __ ] liberating.

>> Well, I'm going to think about that the next time I do it. I haven't really been paying attention to how it feels. I

mean, I guess that's part of the answer is that you don't really have because there's no, you know, you have to just kind of be immersed

and there's not really room to take a break or or take a breath or turn around and, you know, in the middle of a, you know, uh, you know, with a band,

you're kind of riding a wave, >> right?

>> And then when you're playing by yourself, you're kind of riding the wave, but you are the wave. And um and it's a different kind of focus. It's

it's it's a different kind of calisthenics >> when you're up on stage and it's just you and you're doing either a Pearl Jam song or you're doing a cover like, you

know, I won't back down. First of all, you do this thing. I can't tell. Are you

looking at the audience and focusing in on different people? Where's your head at when you're performing live by yourself? Just an acoustic guitar. Are

yourself? Just an acoustic guitar. Are

you focused on the audience or are you blocking them all out?

>> What I can tell you is that sometimes you have to be careful because if you lock into somebody and that was interesting about these shows in particular because it was part of a summit of all these EB families,

epidermalyisa, all these families of this community that are having to deal with this intensely difficult and challenging skin disease, doctors, donors, all these

things. we we'll talk about it but but

things. we we'll talk about it but but know knowing that they were in the audience and then having eye contact with them and the families and some of the young folks and I had to be careful

because the the songs were taking on um you know like a song like just breathe you know if you you put it in

that ju position um it was almost too you didn't you weren't thinking that it would feel that literal um so I guess

You almost have to be careful um you know where your line of sight ends up cuz then it'll you'll get too uh locked

in and kind of forget.

>> Yeah. In other words, >> what you're doing, >> the money you raised to treat this skin disease, which by the way, 80 million bucks you've raised so far and they're, you know, they're coming up with treatments. I mean, you're really making

treatments. I mean, you're really making a difference. And I got to tell you,

a difference. And I got to tell you, when I was watching the documentary, I was like, "Holy shit." I mean, how can I feel bad about anything? These kids

really suffer. They not only die young, they their lives are filled with pain and real misery. And they're they're pretty incredible families that you portray in this documentary because, you

know, somehow through this horror, you know, watching your child, these parents watching their children suffer with all this [ __ ] you know, they remain hopeful and you've given them a lot of hope. You

know, $80 million can buy some research and maybe come up with a treatment or a cure for these kids. So, you know, it's really remarkable. But I'm watching you

really remarkable. But I'm watching you with the guitar and the words were taking on new meanings of your songs because you're looking at these kids in the audience and I'm like I don't know

how Eddie's holding this [ __ ] together like it's uh you know even I won't back down when you were doing that. I was

like what the [ __ ] It's taking on a whole new meaning you know I'm going to keep I'm going to keep fighting and I'm going to keep struggling and all the songs worked really well. So what are you doing now? You're going to Japan and

you're going to what? just take out your guitar and play solo shows like where you no band, no backup.

>> The bands played there only twice. Uh,

and I believe the last time is 20 years or more. And last year I went with Jack

or more. And last year I went with Jack White and his group. There was some baseball involved cuz the Dodgers and the Cubs were opening the season there.

And we just had the greatest time, you know. I mean, we weren't working, but um

know. I mean, we weren't working, but um myself, Jill, my wife, and my daughters, we just loved it. And we had the best guide, and we were getting to see music

and then some baseball and seeing all the sites. And really one of the first

the sites. And really one of the first times I've ever been anywhere without playing or working or having a reason to be there outside of just experiencing

it. And then that is um what made us

it. And then that is um what made us want to just go back and and play for people. And it was just easier to kind

people. And it was just easier to kind of set it up um uh to do it solo and make it easy and um I'm really really looking forward to it.

I was thinking it takes balls, Ed, because just to go up with a guitar and play stripped down like that, does the band get jealous in a way? Like, do they

get nervous that this is your future?

Like going out and doing your own thing?

Like, are they [ __ ] in their pants that they're going to lose you?

>> Yeah. No, I don't think so. I I think >> I think they are. I think they're freaking out.

>> Yeah. They call me privately.

[laughter] >> Just tell them that. Yeah. Tell them.

Uh, yeah. The solo thing's good, but you know. Well, look, that's part of it. I

know. Well, look, that's part of it. I

mean, the the band thing is something, you know, we're a gang and and we're committed and it's a brotherhood and and

that music is it is we as a you know, we the the sum is greater than the value of the parts individually all that. So, it's

it's a different thing, you know. It's

it's the difference between you know, surfing and towing surfing or uh let me think if I can be a more relatable.

>> No, you're being relatable. What is Now, take me through this. When you've got to go up on stage and it's just you and your acoustic guitar, what's the process? Do you walk around all day

process? Do you walk around all day until that show? Are you sitting there going, "Oh, [ __ ] I've got to go do a show." Are you nervous? Are you do do

show." Are you nervous? Are you do do you practice at all or do you know these songs so well that it's really just a walk in the park?

>> No, I I I play I I I'll tell you though I I that process is uh more involved when it's a a band show. The shows are a

bit longer. There's more people there.

bit longer. There's more people there.

There's um uh the set list that we change all the time become more detailed. And I'm feeling like I'm

detailed. And I'm feeling like I'm really trying to please a lot of folks and most importantly the group. Um, and

then also there's communication with the group like can we do this? Can we

experiment with that? Can we add this?

And do you see the the symmetry behind this decision that I'm thinking about?

So there's more communication needed as opposed to making it up on the spot. Um,

you know, not [clears throat] that I don't have arguments even during a solo show. It's just it's just kind of up

show. It's just it's just kind of up here >> all going on in your head.

>> Um yeah, I can I can argue with myself in the middle of a song.

>> So you you're going out on stage and at least in the show in the documentary you go out and you do um I think the first song was was it Black? Is that just something you immediately do when you go

out on stage? Is that the first one?

Does that loosen you up for for a live acoustic show?

>> Um you know it might have been Small Town if I remember. Is it Small Town?

>> I'm sure. Yeah. Um

>> Oh, maybe it was Elderly Woman >> that's the one. Yeah. Yeah,

>> that's what it was. It was Elderly Woman. You know what [ __ ] blew me

Woman. You know what [ __ ] blew me away in this documentary? You're up

there with the guitar, you know, you're doing hearts and then the lights go up and the whole audience starts singing Away and I'm like, man, this dude's got them

in the palm of his [ __ ] hand. Like,

you know it, right? It's got to be the greatest feeling in the world when everyone in that audience is completely caught up in what you're doing and singing. I can't imagine the high. What

singing. I can't imagine the high. What

is the better high? Catching a great wave surfing cuz you love surfing or playing that music and hearing the audience singing every word with you?

Well, both things are are experiences that you you look back on them with like some reverence and and excitement. And

it's almost like after having done it, then you can appreciate it. But in the middle of it, whether it's the song and the stage or the wave and the ocean and

uh when you're in it, you have to just kind of be in it. You're it's all your neurons are firing and don't wipe out.

That that's what you're thinking in both cases. Don't wipe out.

cases. Don't wipe out.

>> Have you wiped out? Have you have you done like Elderly Woman with just your guitar and wiped out?

I mean, no one got hurt, but >> um if you [ __ ] up once, people actually kind of it humanizes the person up there and and people

really enjoy it. You know, you forget a word or two or you just, you know, so many times, Howard, I I can, you know, maybe it's a song I hadn't played in a while. Now I'm playing it. Now the

while. Now I'm playing it. Now the

vocal's about to come in and I just can't I just don't know. I don't know what the first line is. cuz I don't know what the first line is. And if you open your mouth, the first line comes out.

It's this bizarre thing that happens >> really >> most times. And then [laughter] every once in a while, one out of 10, it won't come out. And then you'll have to look.

come out. And then you'll have to look.

At least people in the front row usually know. So I can just lean in and ask

know. So I can just lean in and ask them. Um

them. Um >> the panic must say >> but but see one if you if you you know one of those people really kind of like

it and two of those they're like oh three or four there's like this is not I feel like this is not professional.

>> Yeah.

>> It's less charm it loses its charm after three or four. So you kind of have to be on it you know. No,

>> you can't get lost in the, >> you know, I really don't there's not a It's interesting because, you know, shoot, we've been doing it long enough, too. I I feel like maybe I should

too. I I feel like maybe I should appreciate that feeling more. I I just You can look back at the end of the night and go, that was that was pretty nice. But while you're in it, there's no

nice. But while you're in it, there's no kind of not room for that.

>> I can't imagine the pressure. You know,

the other thing too is I'm I was kind of amazed when you were doing Porch in the documentary. [music]

documentary. [music] You're strumming your guitar like it like really hard. Like I'm like [ __ ] wrist is going to fall off. You're

hitting it like a drum. It's pretty

impressive. Let me see that guitar. Take

Could you mind taking that guitar out?

The the the jumbo 200.

Now that is a nice guitar, [music] right?

Yeah. When you strum that thing that hard, it's remarkable to me. I

>> [music] >> When did you know you were good enough?

>> Like really hard? Like really like [music] Heat.

[music] [music] Heat. [music]

Heat. [music] >> [music] >> Good lord. Now that is a [ __ ] skill when you were first.

>> But those are just D chords and E. It's

the simplest chords. It's just it's fun to, you know.

>> No, no, no, no. that you got to be very musical for that because when you first started to learn guitar, right, you would do something like that, but you would do it super slow. You wouldn't be able to get that kind of speed. Am I

correct?

>> Yeah. I don't I don't remember. I What I do remember is watching, you know, one particular musical genius and that was Pete Townsen. And I think there was something

Townsen. And I think there was something called Secret Policeman's Ball.

>> Yes. [music] Yeah.

>> It was just him acoustic. I think it was two or three songs. and Drown from Quadrophinia was one of them. And

[music] the strumming was just exquisite. I I'm still not even close.

exquisite. I I'm still not even close.

But um >> Don't put that guitar.

>> You got to do uh wait because I got a bunch of guitar questions to ask you, but last night I was writing down a million questions because this is like a the guitar class from you. So you think about Pete Townsen when you're strumming

like that, right? Because he's one of your musical heroes. You've even said in interviews there was a point in your career when you were with Pearl Jam and you guys are on top and you're riding high. You were thinking about hanging it

high. You were thinking about hanging it all up, you know, walking away from the whole experience, but Pete Townsen somehow like kind of inspired you to keep going. Is that correct?

keep going. Is that correct?

>> Well, it was the first time I met him and and uh it was really one of those situations where where I was trying to avoid that. Um, only because

avoid that. Um, only because it made me nervous thinking that that if if there was um

so much of my being [laughter] was and my and my musical

pyramid, the whole bottom stability uh was based on the music of the Who and the writing of Pete Townson and the and the recording of Pete Townsen studying

in his um early demos where he played all the instruments himself. That was

very inspiring. And I look back thinking what you know uh I was just having a hard time and and you know he asked me well the first thing he said was like you know I waited so long to meet you.

>> Wow.

>> Which was >> Yeah.

>> And then he asked how I was doing and I and I told him the truth of I was like I I'm I think I'm having a hard time.

and he just kind of took it in and and then relayed back to me. He said, "Well, you know, you've kind of been elected to do this. You know, I I mean, you have a

do this. You know, I I mean, you have a choice. You could, you know, or just put

choice. You could, you know, or just put it away and just and then pick it up again, you know, to be be healthy, take care of yourself." You know, the the thing I I just don't, you know, as

ambitious as we were or as as bad as everybody in our group and even people our our community, our close-knit community of Seattle, I mean, everybody played to play. They

played to entertain each other, played to entertain themselves.

The ambition was not the the aim, the trajectory. No one ever imagined this kind of trajectory into mainstream

um and magazine cover, you know, etc., etc. and uh airing on MTV all the time. And you

know, it just wasn't it hit people in a way that it wasn't comfortable, >> right? And um you did want to sell

>> right? And um you did want to sell enough records to be allowed to make another which I

always remember that 40,000 was the >> that was the number we had to reach to get another one was 40,000 and then you know it was um [clears throat]

>> it was an exciting time but also u I think it was pretty terrifying and and a little paralyzing and

uh and that's about the time when when I met him. So he he uh gave me some

met him. So he he uh gave me some uh good great words to to live by and persevere

and I was very uh very grateful. And

then and then in his book that he wrote a few years ago, uh, who am I? He

mentioned that story. And then I remember one where he came to me at a House of Blues show when John Antwussell was still alive, small venue. It was

awesome, but it was their first night back and there was a show the next night and he sat and said, "I can't do this anymore.

>> I just can't do this anymore." You know, and and John's volume and the And so what did I tell him? I said, "Well, then don't."

don't." >> Right. You know, sometimes I think about

>> Right. You know, sometimes I think about your life, you probably have a million stories that you've never even told like crazy things cuz like even when I watch like when you go up and do uh a song

with the Rolling Stones when you did Wild Horses a while back and you're up there with MC Jagger and it's like one of your pinch yourself moments. I mean,

it's [ __ ] MC Jagger and Keith Richards is there and Ron Wood and you're standing there singing with those guys and I'm just like, man, Ed probably has a [ __ ] magical story every day in his life. Do you ever have like just a

his life. Do you ever have like just a calm day where you don't do [ __ ] or is it constantly like just one miracle after another?

>> You know, there's a there's a a lot of a lot of great days. I've I really appreciate

all of them. Um, how do I how do I say this without being modelllin? But um

[clears throat] you know it's it's that is one of the the coolest parts about um having a life in music and anybody

um that relates to that or or has had that experience would agree that that so much is getting to know or learn or be

friendly with, you know, all the people that you've looked up to and admired and their music has changed your life. And

it could be, you know, people from Discord House in DC or Ian Mai and um um it could be Kim Gordon, it could be Flee, it could, you know, all these

people that you've always cared about, respected, saw at a young age. And just the ability to meet up

age. And just the ability to meet up with them every once in a while and and know how their families are. And um it's

that it's that the musical communities feels very healthy at least the the circles that I run in.

>> How does it work?

>> I mean, >> yeah, but how does it work? Like the

Stones say, I don't know, they get in touch with you somehow through like your management and they go, "Hey, you know, we hear Ed's around. We'd love for him to come up and do Wild Horses with us."

And then like do you get together with those dudes and bond a little bit first or is it all business? like you just go backstage real quick and go, "Okay, man.

I'll sing this part, you sing this part, and boom, you're out there on the stage." I mean, what's the deal on that?

stage." I mean, what's the deal on that?

How does that all work? All these duets, >> you know? Howard, the one I remember is uh with the Rolling Stones was the um we

played Oakland with them. Um the big stadium, Oakland, Alama, I think. I

think they just closed it four or five nights. And the last night after we

nights. And the last night after we played and I believe it had been raining or something, we we played the gig and then somebody came

right when we got to our little dressing room and then said, you know, they're inviting you to, you know, Mick would like you to sing a song and da da da, >> right?

>> And I looked at the fellas, it was like, you know, I don't I don't want to. And

they they looked at me like, you got to do that. Wait a second. Why was your But

do that. Wait a second. Why was your But why was your first reaction? I don't

want to. I don't want to. You mean

because you were intimidated or you like what? You were freaking out?

what? You were freaking out?

>> No. No. I was feeling like I didn't want to be separate from the group, you know?

It wasn't like we're going to have a big jam and Mike McCriedy come out and play with your hero Keith and >> all that. It was like I was kind of being singled out just because it was

I'm sure easier um especially to throw something together. That was

together. That was >> looked at me like you got to do that.

>> Thank god they do that.

>> Yeah. But thank God they did that because you know what that would stifle you creatively. Of course you want to go

you creatively. Of course you want to go out and sing with Mick. And when you go So so do you go to Mick and say Mick, I need a run through on this song. We

haven't rehearsed or anything.

>> Well, you know, it was it was a cool one because um I just been up with Ronnie Wood most of the night the night before.

And >> doing what? What were you doing? Just

hanging out, listening to music.

Obviously, >> you guys get high. I don't even know. Do

you get high at all?

>> Uh, if other people are, I probably do.

>> Oh, okay. I didn't know that about you.

You know, who knows? You could be sober.

I don't story.

>> Yeah, peer pressure. You succumb to peer pressure easily, don't you?

>> [ __ ] rolling stone, right?

>> Yeah. You got me. Hey, those guys are getting high. You don't want to be

getting high. You don't want to be sitting there like a [ __ ] and like not not smoking something or doing something.

>> So, you mean you hung with Ronnie Wood the entire night? a few nights on that little run.

>> What do you do with his family and some of his friends and Hunter S. Thompson

and you know, you can only imagine. But

>> yeah, do you jam with those dudes? Like,

do you get out the guitars and start playing with Ronnie Wood?

>> Those trips we were just listening, you know, Ronnie had a a uh a music console in a big rack. It was like three giant

refrigerators. I don't know how they fit

refrigerators. I don't know how they fit it in the rooms or in the elevators, but >> and it and it had vinyl, it had CD, Blu-ray, everything you could imagine.

And then um and it got loud. Um but

they've rented out the whole two floors of the whole hotel and there's security on every floor and >> you can kind of get away with that. But

lot of old blues, Junior Walker, you know, turning me onto a few things that I'd never heard before.

>> So wait a second. You're in the room with Ron Wood and he's playing records and [ __ ] for you like he's playing the blues and and he's turning you on to music.

>> Oh yeah. You know if you have you ever heard of Junior Welcome and No, I don't think Oh, it's going to blow your mind.

>> You got to help me with this cuz I can't hang with anybody. I'm a [ __ ] disaster. Like so you're sitting there

disaster. Like so you're sitting there chilling with these dudes. He says,

"Have you ever had Junior Walker?" And

then you go, "No." And he puts on record and then what are you guys doing? just

staring at each other looking at like listening to the record and like nodding off or you know or nodding at each other like approval like that's the move.

>> Yeah. You're just kind of listening and listening and then he'll tell you a little bit of history and then he'll say you know he's part of the Delta Blues and then da da da and then he

>> played with this guy and then there's a great 70s recording where Clapton plays with and Charlie Watts play with Howland Wolf and there's a Oh, that's another V

here. I've got it. I've got it on vinyl.

here. I've got it. I've got it on vinyl.

And he'll pull that one out.

>> Um >> I'd be like, I got to get out of here.

>> So, it just kind of continues the the musical education, which is >> your bonus uh feature of getting to play with the,

>> you know, Open for the Stones. You get a a musical education as well.

>> It's a college. It's music college. So,

when you went out on stage with Mick, I'm just trying to understand the buildup to this. You go out there, it's co it's a cold call, right? In other

words, you haven't rehearsed this song, you're gonna sing Wild Horses. H what's

the move?

>> You know, the the list of a few songs, they said we have this thing and and we interject a new uh a crowd chooses a song or something and and it was going

to be let's spend the night together and d and I'm thinking I'm not running on that stage with I'm not I can't keep up.

I'm not >> right.

>> And this is a long time ago. This was um '90s 97 98. Um and but waiting on a friend is on

98. Um and but waiting on a friend is on there and I said how about that one and then um so they said give us 15 minutes

and run down and I ran down to Mix Room and and it's got nice chiffon stuff on the walls and and uh just like you picture it.

>> Wait a second. When you say there's a nice chiffon stuff on the walls, you're doing that sarcastically. In other

words, your dressing room is probably bare bones. You walk in and Mick's got

bare bones. You walk in and Mick's got like a like a brothel look to it, like it's probably got these gorgeous uh you know, you probably think that's so insane, right? You're probably like,

insane, right? You're probably like, "That's so rockar to have chiffon curtains in your dressing room."

>> It would have been insane if he didn't.

[laughter] That that's what would have thrown me off, >> right?

>> Cuz it was San Francisco, right?

Oakland. So, Bill Graham would always do stuff up or his Bill Graham productions would always do stuff up. There'd be,

you know, overboard with u jukeboxes and community areas and um always little bit more showy, you know. It it made it like

a a fun area backstage, you know. And I

remember getting into the elevator and it was um it was kind of some of the chiffon but also with the leopard print, you know, all in the elevators, you know, and then >> look what you remember. I mean, you

remember cuz it had to blow your mind.

But yeah, so you get in and it's it's all >> I get in and there's two two Stones crew guys and there they got the fanny packs and they're kind of they've been around, you can tell or maybe they're the truck

drivers, but they've been their truck drivers for since 1978 or whatever. And

and the one guy looks at the other. He

says, he looks around at the leopard and the pink and the he says, >> "Do you think that the band thinks the whole world

looks like this?"

>> And the other kid said, "I think they do."

do." >> Yeah.

>> Cuz everywhere they go.

>> Yeah. Yeah. But you know what, man? That

is so the point of being in rock and roll. Everyone always says this to me.

roll. Everyone always says this to me.

Rock and roll stars live in this rarified era. And maybe even you don't

rarified era. And maybe even you don't even realize you're in it, too, because you don't have a boss, per se. Like,

it's the most unrealistic lifestyle in the world. You can do whatever you want

the world. You can do whatever you want pretty much. You make a ton of money.

pretty much. You make a ton of money.

You're doing what you love the most, but you have no [ __ ] clue anymore. Yeah,

you grew up poor and [ __ ] but you have no clue anymore what the rest of the world is doing. The stones probably think, yeah, like everywhere you go, they hang chiffon curtains up in your room. you know, they you lose touch,

room. you know, they you lose touch, right? It's so easy to lose touch,

right? It's so easy to lose touch, >> you know.

>> Yeah.

>> I think that's one of the challenges is to to stay in touch, you know? U I've

got plenty of people to ground me and and and I I feel pretty grounded. Maybe

some of those people that um maybe I need to ask them maybe.

>> Well, you know what?

>> Differ.

>> You brought up the Led Zeppelin documentary, right? Are you watching

documentary, right? Are you watching this McCartney documentary on Amazon where um Have you seen it yet?

>> I can't wait. Oh, I didn't know it was out. I the box set and yeah,

out. I the box set and yeah, >> this is all him post Beatles and in a way the dude figured out how to stay in touch.

>> He like post Beatles they went to Scotland. He lived in this [ __ ] farm

Scotland. He lived in this [ __ ] farm but it was run down. I mean really just [ __ ] up. He built he started like he started doing all his own [ __ ] so he didn't like kind of get lost in that

world of chiffon curtains you know and it's fascinating you're going to love it >> and the wings songs are incredible I mean it's still just great great songwriting great playing great

arrangements and singing and background is all so good >> you mentioned um what was the story of Paul punched you in the face like you what was what was that all I mean I don't even know

>> last time I was talking to No, you I've heard I've read somewhere that you got punched in the face by Paul McCartney, but it was like an accident, but something >> Well, he was just he was telling me a

story about how he he punched some guy and then he was acting it out and then didn't pull his punch back soon enough. was just he was just

talking to my wife and I and then he just kind of and then [laughter] and then he hit and then he was like oh you know sorry and then kept telling the story and and then I was

like I was like why he just actually hit me like I'm I'm tasting blood in my mouth.

>> He really hit you hard. Well, he he's Paul McCarnney. He's he's a southpaw.

Paul McCarnney. He's he's a southpaw.

You know, I wouldn't I didn't expect the Maharishi used to say there were no such thing as accidents. You think in a way back in the day he might have even been envious of you. Like, you know, you're

writing these songs, you you've sold 85 million albums, you're handsome and exciting, and he and he's getting older and he just punched you in the [ __ ] face. Do you ever think about that, Ed?

face. Do you ever think about that, Ed?

Do you think about it?

[clears throat] >> Yeah. No, I did not think about that.

>> Yeah. No, I did not think about that.

>> All right, just finish the statement because I was asking you about um this this moment with MC Jagger when you sing with him. I'm just curious.

with him. I'm just curious.

>> So, you know, the cool thing about it if you there's a there's an incredibly cool video waiting on a friend is this really cool thing where Mick's hanging out on

these this front stoop in New York.

>> I love that video.

>> And yeah, it's so cool. That's also the building that's on the Led Zeppelin cover, by the way. But they're hanging out >> and then Keith comes up and they're just kind of shooting the [ __ ] and then and

then they walk down the street and they walk into this bar and then there's the other guys or whatever. It was so surreal because it was Mick and I just kind of going over the song and um I

believe Chuck was their musical director and kind of checking on things. Okay,

you take this first or we could do this and you know they're going on in 20 minutes or something. But then Ronnie peaks his head in and we' just been hanging out all night and it's like oh

and then he kind of grabs a guitar and comes in. Keith walks in. Then Char was

comes in. Keith walks in. Then Char was very it it flowed just like that experience of the it was it was like walking into that like video.

>> Yeah.

>> Yeah. It was like a a Wizard of Oz moment of walking into that world. And

they were so cool and kind. And then um you know when it came down to playing I mean one of the cool things is I was standing on the side and and about to walk out or be introduced or whatever.

We hadn't really gone over that part.

And I'm standing right next to Keith Samp and and and I'm hearing him play just so liquid, you know, like so like, you know, he's doing this flow

thing. It's like he does he never plays

thing. It's like he does he never plays the same thing once, you know? It's just

like what is happening? And it's just uh an an expregated volume from the back of his amp and you're standing 5t from it.

And then that song ends. And I know that this one is the one I'm going on. And

then the song just starts and there was no kind of and ladies and gent and we're going to have some help on this one or you know he was out here earlier. We're

bringing him back you know nothing. It

just the song you know what it's like, [music] [music] you know, that thing start and then the the cool background singer um she starts singing and and I'm

standing there and I and I looked to the crew guys that were kind of ping around with me while I was listening the Keith's guitar and and then I looked at them like,

"Hey, should I just what should I" and they just all turned around like, "You're on your own, kid. Just left me."

>> So, I ended up, >> you know, I've told this story before, but you know that uh and I always add that there's that that Spielberg shot like in Jaws, you kind of invent it. So,

it's like it pulls out at the same time it zooms in, you know, it and the distance between the side of the stage and where that microphone was, where MC

Jagger was, it looked it all of a sudden it was like a 100 yards, you know, and it was still probably 25, but and I just didn't I was like, what?

And I better start moving now or I'm not going to be there in time for the So, I just kind of put my head down and walked. [laughter]

walked. [laughter] >> Wow. Wow. And it worked out. It worked

>> Wow. Wow. And it worked out. It worked

out okay. But um and then at the end of the night um I'm sorry if anybody's heard the story, but at the end of the night, it was the last show and there's

a there's a gathering in Keith's room and and um knock on the door and and Keith puts his arm around me and and he says, "Uh, man, did you hear that

response when you when you walked out?

That was that was incredible. That was

really something." I said, "Yeah, well," I said, "You know, your man kind of left me hanging there for a minute."

>> Yeah.

>> And he put his arm around me. He says,

"Don't you worry about it, my dear boy.

He's been doing that to me for 43 years." [laughter]

years." [laughter] Wow. What a [ __ ] life. Too much.

Wow. What a [ __ ] life. Too much.

Meanwhile, when I went to your show at Madison Square Garden, you were kind enough to let me go backstage, and I'm backstage watching you guys, you know, pull it together, and I think you were going to do a cover version of uh I

don't know, maybe Tom Petty's, you know, I won't back down or something. I don't

know what you were going to do, Rocking in the Free World, you know, and Little Steven was back there. And

>> you look over at me, I think you felt bad for me and you go, you know, Howard, >> um, you could join us and play tambourine. And I went, can you imagine

tambourine. And I went, can you imagine what a douchebag I'll look like tambourine because you know you felt bad. You wanted me that was really nice

bad. You wanted me that was really nice of you.

>> I think I suggested that you played guitar and you said no I will I would maybe play tambourine. I think that's how it went [laughter]

>> in my mind saddle you with a tambourine.

Plus, it's nice if if you go out there in Madison and Square Garden, I want you to have something covering your your midsection, and I just want you to feel

fortified and protected like with a less Paul. Also, that night, you uh you were

Paul. Also, that night, you uh you were very kind when I was shocked that you got up and played glorify G with your band because uh you don't do that song

anymore. You have made that clear. you

anymore. You have made that clear. you

don't like singing about guns, but it's one of my favorite songs if not I wouldn't say it's my favorite of yours because I have a bunch, but it's certainly way up there. And you uh said the crowd, hey, I'm going to do this for

Howard. I was like, what is this

Howard. I was like, what is this happening? This was a big deal for me.

happening? This was a big deal for me.

And you did it. And I and I have to compliment myself. You know, that song

compliment myself. You know, that song killed. The audience went wild, right? I

killed. The audience went wild, right? I

was right. Have you changed now? Are you

now doing that in concert, Glorify G, or are you still against it? Anytime you

come, we will play it.

>> Wow. Wow.

>> No, I'm not being cy, but No, no, I'm I'm glad. Maybe you you breathe new life

I'm glad. Maybe you you breathe new life into that song.

>> Yeah, I was I was the inspiration for that song. When you go to Japan and

that song. When you go to Japan and you're doing and you're sitting there with that guitar, what's the first song you're going to play for a Japanese audience? What are you gonna open up

audience? What are you gonna open up with? This is my way of trying to get

with? This is my way of trying to get you to play that guitar. And also, you know what else I want you to play? So Ed

sends me a video of himself the other day of him playing a song called Spanish Romance on the guitar. It's a classical tune and you blew me away. I'm trying to

learn it now. It is so difficult. And I

went, "Holy [ __ ] you got to do that.

Please show my audience what you did."

>> There's real guitar players out there just going, "This is, you know, uh, Spanish guitar 101." But

>> no, it's not. You play it.

>> Oh, that's good, man.

>> But it's nicer on a nylon. it.

>> So, I've been practicing it, you know, cuz I was going to send you I was going to send you back a uh video of me doing it, but I got embarrassed cuz I cuz it just sucked. I can't play in front of

just sucked. I can't play in front of people. It's just horrible. But, you

people. It's just horrible. But, you

know this >> Well, this was only a couple weeks ago, so you've [music] been >> Yeah, it's a talk. I'm not going to do it cuz I'll I'll choke. I don't And that's the other thing. I don't know how

the [ __ ] you don't choke. Like, I guess it's from so many years of playing.

Like, what is your warmup? Like, you

just go into that cold. you warm up before a show. What is your guitar warm-up? What do you play in order to

warm-up? What do you play in order to get your fingers moving and get it so that it's not you're not going to [ __ ] up?

>> A lot of times I kind of run out of time. I spend too much time on the on

time. I spend too much time on the on the set list or or maybe there's some introductions to be made or some discussion to be had about a local issue

or a global issue. But um maybe if it's a uh like in Japan, I'll be learning some language phonetically just to be able to uh communicate any way we can.

>> So you don't warm up.

>> So a lot of times don't get a chance to warm up, but um you [clears throat] know, maybe you know the first show I'll I'll play a little bit before Yeah. I

don't I don't really not even the voice, which I think I'm gonna have to start doing but >> Wow. I'm shocked. You know, you uh set

>> Wow. I'm shocked. You know, you uh set me straight. So, I had a private

me straight. So, I had a private conversation with you and you said to me, I I was lamenting. I was being I was being whiny and I said to you, "Shit, I'm so sorry. I just started guitar two

years ago. I wish I'd had it in my life.

years ago. I wish I'd had it in my life.

Like, maybe I could have done something with music." And you said to me, you go,

with music." And you said to me, you go, "You know what? Thank God you didn't do that. You'd probably just be another

that. You'd probably just be another broke musician." And you're so right.

broke musician." And you're so right.

There are so many great guitar players and so many great musicians. Like you

even watch these kids like on American Idol, they can sing and they can play guitar. They're really talented, but

guitar. They're really talented, but there's something there's a special sauce with certain people where they break through and that like you, you end

up selling 85 million albums. What is that special thing? You've probably met a million musicians that are fantastic and you probably say to yourself, how the [ __ ] haven't they made it, right?

What is the special sauce? Give me the secret Ed.

>> There's some magic involved. I think

there's some stuff that's probably unexplainable. There there's there's

unexplainable. There there's there's almost like the uh the unbe unbearable weight of being um meaning the choices

that you make um and and one thing leading to another. And you know, the one thing that I've seen is maybe a

parallel or something in common with uh folks who also have had their wishes fulfilled of

getting to work in the arts. One is

perseverance, but also just just working at it and and and and being in it for the art and and being in it for, you know, it's almost like a a curse, you

know, they need it. That that's that's where they they feel mentally stable that that it it improves their mental health, that they need it just like a a

gym rat needs to work out, like a an artist or a musician needs to play or a playwright needs to write. like sticking

through all the challenges cuz it you you know usually it's you know three steps back for every step forward and then you know if you're fortunate which

I consider myself and and most folks there was there was sometimes usually a break but then at that point all that work that

you've done that's what informs the work that you now have to do when you get some kind of break or an opportunity. Um, and it

could be small or big. I didn't I didn't even know um how what this opportunity I was getting to move to Seattle. I I

really had no clue as to what I was getting into. But that's when the real

getting into. But that's when the real work began. You know, I I I I guess I

work began. You know, I I I I guess I just think that, you know, it's it sounds basic, but you know, I think you can create your own luck. You know, the

other thing for me is I just felt that that I I would do everything. I would

try as hard as I could for a certain amount of time and then if it didn't work out, I would know that I tried. I

might become the, you know, a manager at a Longs Drugs, which is where I worked, and get cost plus 10%. Or I would, uh,

hopefully work, you know, as a rigger or around shows or around the arts. You

know, I I loved the the gathering. I love the volume. I

love the ritual of rock shows. And the

best job you could have was be able to be a writer and a player and a singer of all things. But it's all, you know, and

all things. But it's all, you know, and then running all that music through your filters and being able to, you know, I was really fortunate because I think our group was doing something that was um

had its own path and its own sound and that kind of groove rock thing of Stone Gossard and Jeff Aean. And you know, I was fortunate to to fit in.

>> Now, that's a really thoughtful answer because now I'm thinking about my own career. I didn't have any

career. I didn't have any >> too long.

>> No. No. You You're making me think like I didn't know if you'd have a good answer for that, but you're right. It's

it's a sick perseverance. Like, it's a it's a drive. Like, I just had to be on the radio and I had to get good at it.

And I suck so bad. And it just was an obsession that I wanted an audience. You

know, that's about the best explanation I've ever heard for why some people make it and some don't. Like some people I talked to who wanted to be in the music business, they sort of just they burn out. There's so many setbacks like you

out. There's so many setbacks like you said and then they just get defeated by the setbacks. They just they don't have

the setbacks. They just they don't have that spirit of like [ __ ] it, I'm still going to do it. You know, when you're sitting there in this film, I have to talk to you about the film and we'll get to it. Eddie's documentary is on Netflix

to it. Eddie's documentary is on Netflix right now. It's pretty phenomenal

right now. It's pretty phenomenal because it's not only Eddie's just I'm telling you just sitting there with the guitar, but also these incredible stories of these children who are and families who are suffering with this

horrible disease that he and his wife have have raised $80 million for, which is just unbelievable. But there were a couple of moments in that when you're sitting there with the guitar. I guess

I'm I'm I'm dying for you to play something as long as you got it sitting there in your lap. The couple of the songs really just [ __ ] blew me away.

The time now he puts it away. Don't put

it away. What if I could laugh? There's

a couple of moments where you're singing and these kids stories are going by.

It's tremendous stuff that uh you put out there. It's really moving. And I was

out there. It's really moving. And I was thinking about it. $80 million was enough money to buy these kids some hope that they might even get a cure or a

treatment that'll somehow mitigate their their horrible circumstances. Then I

started thinking about, you know, the government. We spend so much money on

government. We spend so much money on [ __ ] and bombs and crap. We've got

enough bombs to protect us. Why aren't

we spending more money on these diseases? Really, what would be better

diseases? Really, what would be better than that?

>> Well, not only that, and I'm I'm not an expert, but I I recently heard um in fact, one of the women uh incredible

woman, Dr. Gene Tang who um genetic research uh she's been part of one of the FDA approved treatments not a cure

yet for EB but a treatment which helps seal together you know some of the wounds it takes down some of the pain some of the itching just in the last two

years there's now three gene therapy treatments um when she was talking about you know clinical trials and and you know this

We're at a really good time because this is a um you know there's a revolution in gene editing. Um there's a thing called

gene editing. Um there's a thing called crisper. There's a thing where they if

crisper. There's a thing where they if they isolate the mutated gene now they're looking at finding ways to replace it. You know this is one of the

replace it. You know this is one of the last hurdles. you know, we we feel we're

last hurdles. you know, we we feel we're very very close and we're being told that this is scientifically

um a solvable disease and is because of well even 10 years ago with computer power uh just um

uh deciphering the human genome you know that was a big part of it was you know uh all the variables and options and being able to feed that into

supercomputers and um get some answers and um now we're allow you know that creates a situation where you're able to

identify a mutated gene. Some of this has been funded. A lot of this has been funded not in our situation but but as a whole

government has contributed and this administration has pulled back nine this is the figure I heard $9 billion

out of the healthc care and scientific research community. you know, as if as

research community. you know, as if as if science isn't, you know, it's it's almost like p like

like uh debating the worth of science that that uh kind of castigating it, saying, you know, it's that science isn't real, >> right?

>> Epidermalis blossa, it's a rare disease.

That's the good news that, you know, not a million people have it or two million people. But if for those that do and

people. But if for those that do and that community, if it's not, you know, 10 years ago, you know, you get no help.

You get no no one knows about it. No one

wants to know about it. No one's going to understand it. No one's going to have the time to understand it. And it's

going to go underfunded because it doesn't, you know, or not and not not even under Yeah. Just no funding at all.

It would almost be like a a someone on death row, an innocent person with a death sentence not having an attorney.

And so this ability to come in and raise awareness, you know, this is why we're we're proud of the film that all those things I I just

mentioned that that you do get to know what this condition is. You do get to know what the kids and the parents go through and and part of it parts of it

are very tough to watch. But damn it, you get to see and you get to feel and you get to understand that, you know, it's heartbreaking, but it's hopeful and

and you learn from these kids and you learn from these parents and and you you take away something about like I you

know, I feel like I have less complaints about, you know, I don't think things for granted.

Um, you know, we're we're fortunate to have um a situation as difficult as parenting

can be. Um, you know, it to think that

can be. Um, you know, it to think that these other parents are having to give their kids on a daily basis,

you know, 2hour torturous uh changing of bandages and these bleach baths. This is

a a process they do every day or every other day. Um, you know, they have

other day. Um, you know, they have bandages uh every, you know, on their limbs, between their fingers, their toes, so they don't fuse together. Um,

you'll learn more about it in the film, but it's it's something where the mutated gene has kept them from getting something called a a collagen 7. I

believe it's a protein. And that that's what helps kind of keep your skin together on the different layers. And so

any kind of abrasion, you know, uh they can't really play soccer, they can't really, you know, really if they were to scratch their eyebrow in the wrong way, you know, that might be a wound that

would be there for years.

>> When I was watching it, I was thinking all the things you just said. First of

all, this uh skin disease, so when a child is born with it, it's almost instantaneous. They know, right? The

instantaneous. They know, right? The

skin won't heal. it can lead to cancers of the skin. The kids are incredibly uncomfortable. And I was thinking just

uncomfortable. And I was thinking just what you said. I've watched this film and I felt like, thank you, I thank God my kids don't have this thing because it, like you said, it's challenging and

and the and living in the world is challenging. And then you add this, the

challenging. And then you add this, the stress of this EB where your skin can't function like skin and you're uncomfortable every day of your life and these poor parents are watching their

kids suffer and then dying young. I

went, "Holy [ __ ] this is something so worthwhile. I mean, I commend you for

worthwhile. I mean, I commend you for putting this documentary out and I think it's great. You're raising awareness and

it's great. You're raising awareness and look, let's face it, you're the glue that holds this thing together because it's a concert film as well." and

watching you and then even watching you uh break down at times and and getting emotional while you're performing for these kids. It's really spectacular uh

these kids. It's really spectacular uh documentary. So, congrats on that. But

documentary. So, congrats on that. But

my heart broke and and and it did change my attitude when I watched it. I said,

you know, you [ __ ] [ __ ] Look at you got a lot to be grateful for. You

got a you know, you got your health.

Imagine going through your life with this skin disease or watching your kids with it. And I know it it must be hard

with it. And I know it it must be hard on you in terms of performing and thinking of the emotional situations with these kids. So you know it's beautiful thing you and your wife are

doing. I mean and and it is they cut

doing. I mean and and it is they cut back all this scientific research.

What's more important than helping people who are suffering who who have this affliction whatever the affliction is you know to them it's their only hope. It's it's pretty distressing

hope. It's it's pretty distressing honestly. in the courage, you know, I'm

honestly. in the courage, you know, I'm I'm glad you get to see also the the courage and um and the the humor and the

wisdom of these young folks and you know the the parents, you know, the the one parent who who adopted two kids

knowing that they had it. She wanted to take care of them.

>> Amazing.

>> These are real heroes. So, you know, going up and playing a few songs and, you know, we we've been, you know, my wife Jill, she likes to make things

happen and she admits that she is not the most patient person. And in this case, it works out great because there's

a constant movement forward. What more can we do?

movement forward. What more can we do?

What are we doing here? What can be done there?

um do we have these people getting together? I mean that was the whole

together? I mean that was the whole point of this um EB summit that that is what's uh shown here in the documentary.

It was a 3-day uh event of gathering of donors, doctors, genetic researchers, scientists, the families with music is just kind of

something we would do at the end of the night to get everybody together after they've had their symposiums etc. But you know some people meet in their you know these families meeting each other for the first time. You know they feel

isolated in their communities. It was

really a a powerful thing to have everybody together and share this information and share the experiences

and you know again the the courage of these parents also to allow us into their uh this is where I'll bring up the name of the filmmaker this guy named

Matt Finland from Canada. Uh we had worked with him before on some EB PSAs and u fundraisers etc. If it weren't for him, uh, and his his

approach, we couldn't have been, you know, there couldn't have been a camera in those intimate settings of bandages being

changed or watching the preparation that the parents do just to get their kids on a plane, etc. I just wanted to commend

all those parents for allowing us to tell the story and and and and letting themselves be

uh so useful and to you know having it only been out about 10 days. We're just

getting so much positive feedback from people all over the globe and and people in their the EB outer communities that are are expressing their thanks and

gratitude for allowing their families and their struggles to be seen and and in a hopeful way. So, we're that that's why we can, you know, it's really this

week with getting that kind of feedback that I I I think we're starting to feel very proud of it.

>> Yeah. I don't know. It's a very very powerful film. It was really unsettling

powerful film. It was really unsettling and I and I got really upset because you've raised this money, but I also think the government shouldn't cut back spending in these areas. And I was

thinking about that a lot. So, when you raise $80 million, is that through you just going out and doing concerts on your own and then is that primarily how you raise money? You just go out and do

a show? I know when you do a show it

a show? I know when you do a show it raises a lot of money. Is that the way you're you put together the 80 million?

>> No. Well, we have a a very streamlined and um powerful board, you know, we have um great people with good contacts uh out there spreading the word. We have a

scientific advisory board which takes the money, take uh looks at the projects that need to be funded. They vote on

where the funding goes. the you know I I work at it and raise a chunk every year >> right >> and but then there's also and explained

in the film as well but just to encourage donors to know that there's something cool happening with with uh venture

philanthropy and that is you fund these um research projects if something you know we're nonprofit however If something commercially viable comes out

of this research that we funded, there's also some money that comes back >> as part of the deal and then that money is promised to go right back into

further research.

>> So then it becomes like sustainable philanthropy.

>> Yeah.

>> So you could you could take a dollar donated and turn it into six potentially.

>> That's a whole thing, man. How come uh Sandler Adam Sandler's name is thanked in the credits? What's Adam Sandler got to do with this?

>> One of the ways that we've done fundraisers, there's another group that we've worked with called uh EBMRF. Um so

good people that um done a the first one I did was maybe right when we were getting involved with this stuff 10 12 years ago, but a backyard a great guy

called Mark Gervitz.

um did a small show, raised some money and and had some nice people come and auction things and um and then then other artists would do that every year,

you know, I think Sting and uh but Adam Adam and I did one together um and he headlined which was very gracious of him and he killed it was awesome.

>> He's a great guy, right?

>> And he's been to quite a few. He's been

to uh Spade and you know who used to come was uh Katherine O'Hara. One of my favorite nights was getting to play for her one night.

>> Yeah. What a talented woman.

>> Wonderful.

>> Oh yeah. And Sandler does a good impression of you, doesn't he? He uh

does a good Eddie better.

>> Oh, no. He does. He does. You love

Saturday Night Live. I mean, you've been the musical guest four times. You have a special place in your heart for that show, too, right? those guys and the satire and the form of comedy they do and because you're not a guy who appears

on TV a lot so you must have some special connection with that show >> well Studio 8H you know it's historic you know of course you know I think of

you know Belushi early Bill Murray um >> wasn't it the best Saturday Night Live when you were a kid growing up Saturday Night Live was like this forbidden fruit you know >> yes

>> it's amazing show really is and >> yeah I mean to that's one good thing about being old is you got to see something like that at a young age at a

formidable age uh or a forming age you know I cuz I remember staying up late or you know parents going to bed and then knowing to sneak in the living room turn it on quiet and watch and I think I was

12 11 >> who was on that cast when you were like 12 years old. Oh, this was the first cast. Belushi and Lorraine Newman and uh

cast. Belushi and Lorraine Newman and uh Belushi as Beethoven and Belalushi is Elizabeth Taylor and Bill Murray as the lounge singer and um

>> Oh, that was so great. Belushi as

Elizabeth Taylor. You're right. That was

great. And how about Dan Akroyd when he was uh Julia Child and he chopped off his fingers and stuff.

>> Yeah.

>> Yeah.

>> And Basimatic and >> Basmatic. That was it. Yeah, that's

>> Basmatic. That was it. Yeah, that's

right.

>> [laughter] >> a young Ed Veter watching Saturday Night Live and then and then you must have pinched yourself when years later you were a musical guest four times.

>> Yeah. Yeah, I mean these are definitely goals that were obviously unattainable completely, but then um you know it's cool to the kind of more let let me

think about this for a second cuz it's like the more the more art you're exposed to and you realize its importance. Let's say like playwrights

importance. Let's say like playwrights and you love Edward Albby. Um or authors and you love Kurt Vonagget or The Last Walts, you just love the Last Walts or

you you love the Who's so much that you know everybody who works on their you know you've studied the liner notes and you know who the mixing engineer is and all that. you know, the deeper you get

all that. you know, the deeper you get into this stuff and then it not only does the knowledge kind of fortify you, but then when you

actually get to a situation where you're at the place, you know, Saturday Night Live and you know who the cameraman is or Dave Evans or, you know, something,

you know, the guy who sits in the silver chair with the calligraphy on the back, >> that's that's very exciting. And those

crew guys, they love the fact that you know who they are and and it just feels like, you know, you get to be part of the family. Um, and the same with, you

the family. Um, and the same with, you know, everybody that ever played on the Last Walt that if I didn't get to meet Dr. John or uh Rick Dank, you know, all

the it's like the what you put in what you put into it is it really affects what you get out of it as well, if that

makes sense. meaning you appreciate,

makes sense. meaning you appreciate, you know, uh, Bobby Priden, the sound guy from The Who, because, you know, cuz

you've you've you've done the the work or or not the work, you know, you've you've just it it it means so much to you where some people might not know that.

>> Yeah. You know what? And then the the adults in your life are looking at you like you're this goofy kid because like you're studying the liner notes and everyone thinks you're an [ __ ] because you know you go to the Emerson

Lake and Palmer show and you know every [ __ ] song and everything but man that's your education. That's that's it.

[snorts] And and then I was thinking right it's like it's like it seems nutty to everybody else but it makes total sense to you.

>> Yeah. And now and then and then you you know you get to the siren out loud top of the mountain or whatever and then this wonderful thing happens you're just like [ __ ] all the

naysayers you know >> right I know that's that's part >> no no not that you're bitter but I like that you say that a lot of my career was

[ __ ] you man all you people treated me like an [ __ ] now I'm look at me I'm somebody and and there is a bit of that [ __ ] you when you finally get on Saturday Night Live I said, "What what did I read that you were excited cuz you

were going to meet Don Partardo, the announcer?" And I was like I laughed. I

announcer?" And I was like I laughed. I

think but that's it's so I'd be the same way. Like, "Oh, hey, there's the guy."

way. Like, "Oh, hey, there's the guy."

That's Don Partardo. It's too much.

Meanwhile, you guys on one of your appearances did three songs, which is unheard of on Saturday Night Live. They

only usually give two. So, it only indicates how unbelievably popular you were in that moment, too. It's just it's staggering. Three songs. I think they

staggering. Three songs. I think they just didn't have strong enough material on the skits.

>> That's it.

>> That's it.

>> I have to set you straight story. I'm

sticking to it.

>> Whenever I have you on, I always do a ton of research and somebody once asked you and I don't know who, but they go, "Uh, what do you attribute your longevity to with Pearl Jam?" And you and you're so humble. You go, "Well, you

know, it's our fans. They're so loyal to us." And and I wanted to say, Ed, knock

us." And and I wanted to say, Ed, knock off the [ __ ] It's because you can [ __ ] sing your ass off and you got great songs. Audiences are fickle.

great songs. Audiences are fickle.

They'll go on to the next thing. The

longevity of Pearl Jam. It It's you, dude, and your band. I mean, they you guys knock it out of the park. A lot of guys have one hit and they can live on

that the rest. I mean, think of this. 85

million [ __ ] albums. There's 85 million albums out there. I mean, it's just it's just a remarkable thing, you know? It's it's a pretty amazing career.

know? It's it's a pretty amazing career.

The only thing you didn't >> But I do feel like there's a trust there. I I feel like I that's just

there. I I feel like I that's just something I wouldn't take for granted, you know, that uh because there's [ __ ] I I think we have songs that that I

thought would be received better even by the people that like us. Um, so I I don't think you can really judge it on just material or your output or whatever

cuz tastes are different or the band wants to grow or you know I they're always going to, you know, folks love hearing certain songs and some of them are because they were part of their

youth and they're part of mine too and I we don't mind playing a a full round of um all the colors are on the palette from all the years and etc. But but I

think there's a trust there. I I or there's a relationship. I

>> No, it's just really good.

>> I'm telling you, trust me on this, you know. You don't have to say that. Hey,

know. You don't have to say that. Hey,

what's with Matt Cameron leaving the band, your drummer? I mean, what is going on to me being a drummer in Pearl Jam? [ __ ] I wish I could play the

Jam? [ __ ] I wish I could play the drums. I'd take that gig in two seconds.

What's his deal? What's going on, Ed?

Fill the fans in.

>> What's his deal?

>> What is his deal? I mean, honestly, did you sit him down and say, "Are you [ __ ] insane?

you know, that's not that's not, you know, there's something about the way we've operated all these years. And and

it is um it's not necessarily a democracy. It's, you know, a democracy

democracy. It's, you know, a democracy would be, you know, you vote and if it's two to three or whatever, uh, three

wins. But, but it's really if someone

wins. But, but it's really if someone said no, I don't want to do that or no, I don't want to do that tour or no, this doesn't work or let's wait to make a

record or I don't like that. If one

person were to say no, then we don't do it.

>> Um, it it I guess it has to be a unanimous decision. And I'm I'm I hope

unanimous decision. And I'm I'm I hope I'm not talking out of turn because it's it's almost this is unspoken. Um and

we've been doing pretty good. So 35

years. So I don't want to >> That's true.

>> I want to answer your question, but I don't want to blame you for ruining >> ruining the band for Pearl Jam breaking up.

>> Yeah.

>> Yeah, I could do that.

>> Um >> don't don't hang around with me too much. I could I probably sit down with

much. I could I probably sit down with the band and get them broken up in a few minutes. Sure. [laughter]

minutes. Sure. [laughter]

>> Yeah. So what's what's with the band?

You said you you guys are woodshedding.

That's a popular musician's term. Now

that I am playing guitar, I know what woodshedding means. It means the the

woodshedding means. It means the the band. You got to as a musician, you got

band. You got to as a musician, you got to go somewhere like go to the woodshed and practice, practice, practice, come up with new songs and all kinds of [ __ ] Is that the state we're in right now,

Ed? You're you're woodshedding.

Ed? You're you're woodshedding.

>> State we're in. Y

>> in the shed.

>> You're in the shed >> with wood.

>> What does it mean that you're woodshedding? You're writing. What?

woodshedding? You're writing. What?

Okay. I watched the thing. You got to hear me out. Maybe you'll be open open to this. So I'm watching this old clip

to this. So I'm watching this old clip from the Dick Habit show and he has Paul Simon on. One of the greatest

Simon on. One of the greatest songwriters of all time, right? Will you

agree?

>> Yes.

>> Yes. Okay. So he says to Paul, "What are you working on now?" And he goes, "Oh, I'll show you what I'm working on now."

He goes, "In fact, I'm writing a song and I don't know where to go with it, so maybe you can help me." And of course, it was like one of the greatest songs ever. [music]

ever. [music] >> Still crazy after all [singing] these years.

And that's where I'm stopped. Now,

>> it was fascinating. So, I'm going to ask you the same thing, Dick Cav asked Paul Simon. What the [ __ ] are you working on

Simon. What the [ __ ] are you working on right now? What is You're probably

right now? What is You're probably talking to me and there's a song in your head. There's a lick. There's a riff.

head. There's a lick. There's a riff.

There's something in your head right now that you can't shake. Am I correct?

>> Uh, no. But it doesn't take We've talked about this before just um on the phone, but I you know Howard plays really great guitar and he works hard at it

>> and he doesn't want I don't think he really wants people to know. He's shy.

It's charming.

>> And I wrote a protest song, by the way, which I might give to you to perform uh at some point. Uh I'm thinking you might be able to handle the singing on it. Uh,

so that'll be coming your way very soon.

>> This is breaking news.

>> Yeah, this is breaking news.

>> That sounds great. This is this is new.

>> A very important song, very big song.

And um, you know, we'll see what happened. Actually, I need you to

happened. Actually, I need you to evaluate it and go, "Hey, this is real shit." Or it's good, you know, and not

shit." Or it's good, you know, and not hold back any anything. But go ahead.

What is going on in your head now? And

what does woodshedding mean? I

interrupted you. Well, I it's just everybody getting together, you know, the act of getting together and um and getting to play. Everybody's been

wanting to play. We hadn't um played live for a while, but um >> I just think that, you know, I've tried to tell you or my do daughter, you know,

um just picking up a guitar and and you know, I think music's easy.

This is someone who doesn't really know how to play well, but just just that it's a noise maker, you know, it's a noise maker. You're you're looking to

noise maker. You're you're looking to make music out of a noise maker and then, you know, it really can happen any old way. Just finding a place to put

old way. Just finding a place to put your fingers, you know, anywhere. You

just tell me where or just like what does that sound like and what does that No, that wouldn't go. So, you know, [music] you know, minors and majors and I'm not

I'm not explaining this.

>> So, you sit down and [music] you start noodling around.

>> Yeah. just within minutes you can usually find something within you know really you just you just find something quick and then kind of repeat it and then and then you find another thing

that will go with it and then you find transitions between that and then you start kind of creating musical transitions and then it might have a

lift and an outro and and you mess with the arrangement so it's not verse chorus verse chore you put a bridge after the first chor you do something keep yourself interested and the listener

interested without getting too confusing. And you know, next thing you

confusing. And you know, next thing you know, you you have a uh kind of a a blueprint or a schematic for a song and

then you leave it there so everybody else can come in kind of look at that.

It's kind of uh by numbers at that point. And then

and then you let everybody else kind of fill in their parts with their uh you know sense of rhythm and melody and and then

everybody ends up feeling like they've contributed to this kind of uh art piece or music or you know like everybody gets to participate in the collage you know

>> right >> um the lyrics are usually the trickiest part. Yeah.

part. Yeah.

>> Yeah. The lyrics are tough, but but you because you don't want to be a douche.

You want to come up with something good that people are going to love and you know that they're not going to laugh at or make fun of. But like you like you said in the past, the riff on Rear View Mirror, you had that in your head for

years, right? I mean, you would noodle

years, right? I mean, you would noodle with that thing that that riff, right?

Over and over again. You didn't have a song. You just had that riff.

song. You just had that riff.

>> Yeah. Let me see if I get my hand [music] cuz it's just as matter. See,

it's just the same note, right? Let's do

two different [music] strings. So,

and then we just, [music] [music] >> you know, it's just that. So, I would just sit and lay there and play that for an hour, two.

>> Really? You'd sit in a room and play that over and over again. And you knew that's really cool.

>> Other friends were out doing fun things.

>> Yeah. and and and you'd sit in a room and just do that over and over again and then what do you start doing? Like you

start humming something like like a melody over that.

>> I don't think I don't I think I I actually just started writing it when when the I got the band to play it, which was our second record. So, um

>> yeah, amazing process.

>> Once they started playing, I was like, "Oh, now I got to come up with something." Which I Yeah, that felt good

something." Which I Yeah, that felt good to do.

>> No, that's too much for me, man. It's

just uh and then and then there's this whole thing you write in secret language in your journals. So if anyone finds them and they find the lyrics they want I mean what the hell secret language

>> well that was that was my that was the old days. I'm I'm less now I now I write

old days. I'm I'm less now I now I write like very distinct calligraphy very legible >> really >> no more code

>> man it's beautiful well look I'm amazed how music moves us how your music moves us and and then I watch you at all these like like I was watching the the video of when you came out for Bruce Springsteen at the Kennedy Center and

you did my City of ruins and he's watching you and he's making sure you do a good job with it. You ever go back and watch that video when you're on stage at the Kennedy Center in front of Bruce Springsteen singing his song >> maybe right after it happened? But

>> oh my god.

>> But I also it was playing for Barack and Michelle. That that was so it was Bruce

Michelle. That that was so it was Bruce and Patty Barack and Michelle. So that

was it was very exciting.

>> Can I ask you a very technical question?

It appears to me when you're doing that performance and you're playing My City of Ruins that you're not using a pick that it seems like you're using the back of your nail. Is that correct?

>> Yeah, that's correct.

>> [music] [music] >> My city of ruin.

My city of ruin.

[music] Now with this hand.

With the hands.

>> [music] >> Yeah.

>> Were you close with Bruce Springsteen or did you barely know him? I mean,

>> yeah. No, I know I've known Bruce pretty good for quite some time. hard done

talking about it really, but we're just pals and um feel really blessed and it feels very sacred and um it's just a a

all I could say is everything you imagine him to be is you're not even halfway there just as a person

uh as an artist as a as a friend um you know not even a mentor that just just happens. by proximity. But um yeah, I

happens. by proximity. But um yeah, I just can't say enough things about him or his family or Patty.

>> In other words, too, you want to keep the relationship sacred in the sense that you never want him to feel like you're going, "Hey, I'm friends with Bruce and here's what Bruce does," blah blah blah. You value his friendship so

blah blah. You value his friendship so much. You want to be very careful about

much. You want to be very careful about guarding the relationship. Am I correct?

>> And I probably wouldn't even So, but I also value your friendship and I feel like I need to at least answer the question. [laughter]

question. [laughter] Really? Well, yeah. I think my

Really? Well, yeah. I think my friendship's a little more important than Bruce Springsteen's friendship to you. And you should, you know, my

you. And you should, you know, my question should all be answered. Oh,

man. If you would only answer all my questions. You have no idea. Like I like

questions. You have no idea. Like I like I'm not going to bring it up, but didn't you ride horses with Bruce Springsteen?

Imagine you two riding off into the sunset. What the hell was that?

sunset. What the hell was that?

>> Who else does that? Who else says that?

I'm not going to bring it up. But didn't

Who else [laughter] >> How come you don't go horseback riding with me? All right. I I'm terrified of

with me? All right. I I'm terrified of horses. And and and that ride with Bruce

horses. And and and that ride with Bruce did not help anything at all.

>> I said, "Now what's happening here?

We're going to get on a what?" He says, "You know, here's here's what's going to happen. You're going to get on the

happen. You're going to get on the horse. The horse is going to walk.

horse. The horse is going to walk.

You're going to get off the horse.

That's what's going to happen."

And then um so it's Patty until me and Bruce and then and then uh and then the horses are walking and there's a trail and it's all seems doable and

the horses seem like they're pretty high up on these horses. Um,

and it's the horse behind me. My I somehow my horse of all horses probably cuz it

knew and I was trying to act not terrified. I was like, I got this. I got

terrified. I was like, I got this. I got

like I'm not going to, you know.

>> Yeah.

>> Don't let the shark know you're scared.

But um then for whatever reason the my horse just took off [laughter] and now my feet

are like like I'm straightlegged in the I'm I'm just trying to and and I'm kind of headed off the trail into like this this forest of trees and I can't even

see where the trail I don't know what is happening and I'm just trying to like surf the like I got my hands on the what I remember is like surfing the horse and

looking where am I going to jump? Where

am I going to jump? But the horse is moving pretty quick and um you know everybody's helping yelling stuff like pull right, pull left, put move your

yeah things [laughter] >> I don't remember but um finally you know and I'm doing a few things and looking where and I I can't see a clear space to jump. Anyways, it stopped

jump. Anyways, it stopped and then came up and then um and then everyone was a little mystified. Patty

was like wondering why like I don't that's very odd. That's very odd. He

might be barn sour is one of the things they said. I didn't know what that was.

they said. I didn't know what that was.

But um and then damn it if the horse didn't do it again. [laughter] So, in the end, Bruce said that was pretty good

horsemanship that I, you know, I didn't crack my head or hurt anything or hurt anybody or >> but um but yeah, that was my [music]

that was my uh my attempt at not being afraid on a horse. But,

>> well, first of all, I've always said to you, come to my house. Zero horses. You

wouldn't see a horse anywhere near my house. That's number one. Number two,

house. That's number one. Number two,

you are a gifted musician and you need those hands. You shouldn't be doing

those hands. You shouldn't be doing getting on any horse. I wouldn't allow that. I'd say, "What if he this guy

that. I'd say, "What if he this guy falls and breaks an arm or something?

We're screwed." You know, you can't do that. This is where fame is dangerous.

that. This is where fame is dangerous.

You know, you think Bruce knows what the horse will do because he's Bruce. He

doesn't know anything about those horses. You know what I mean? And you're

horses. You know what I mean? And you're

doing crazy stuff that you shouldn't be doing cuz you want to impress Bruce.

>> It's dangerous.

>> No. No. I didn't I didn't think I' I didn't think uh I thought like I said I did ask questions like what what how's this

going to play out? But anyway, um well in the end u see I I actually it he was impressed and that made me feel good.

>> It's peer pressure. I'm telling you.

>> Yeah. No, uh maybe I'm ready to try it again. Now I'm kind of getting excited.

again. Now I'm kind of getting excited.

It was It was exciting. It was exciting.

It It got the blood pumping.

>> Are you still surfing every day? Do you

surf every day?

>> Uh well, the ocean is can be fickle. So,

you don't really get to surf every day, but I I'm I'm getting to surf a lot and and I'm very happy about that.

>> And you don't worry, but you don't worry when you're surfing. You're you're a bit of a daredevil, right?

>> I probably don't surf as big a waves as I used to. Not that I was ever um super crazy about it, but um the big stuff.

But no, I don't I don't These days I've changed a little bit. I don't like being held down. Um you know, when when you

held down. Um you know, when when you get tumbled and and held down for long periods of time, I'm I'm >> kind of over that.

>> Yeah, that's good.

>> But I'm good. I' I've I've caught a lot of ways in my life and and I remember most of them and I can kind of live off that and and but I just like being out

in the water and and um yeah, I I I love being out in the water and and it's a one of the few places to get thinking

done and um the meditational, the beauty, the the um the connection. If you had to choose

one, surfing, painting, Ed's a real good painter. He has he has sent me some of

painter. He has he has sent me some of his work. It's very, very good. And it

his work. It's very, very good. And it

it's like an ocean motif. Very good

stuff. So, if you had to pick one for the rest of your life, composing, music, surfing, or painting, what would you choose?

>> Well, painting or surfing, I would choose painting because painting I can get better at, >> right? composing music. I'm that has to

>> right? composing music. I'm that has to always happen. Again, something not that

always happen. Again, something not that I want to get better at, even I need to get better at. I just I I just always That's

>> You love it. you still I need to do well I I need to you know and and uh yeah I just even for

myself uh we but but the ability to write something good enough to share

with others or um you know uh that's that uh that is a goal too um and and you know if it weren't for music you

know I I don't even you know this this organization that we have you know um and this board like I said and my

wife Jill and this great guy Michael Hunt who's who runs uh he's our CEO and all our stuff is just so locked down and

in good shape and and so proud of it.

But um you know just to think that by continuing to play that then I'm able to make a contribution or or take a bit of

that light that shines shines on the the songs and the songwriter to to just share it with this issue that that I

feel is you know more important or these folks are in more need of understanding and assistance.

Um, so if if if by you know continuing to play you you still are allowed to

um uh draw attention to others then that's another reason to always stay on top of your game. I guess

>> I was thinking I always love when you do covers. Would you ever do take a really

covers. Would you ever do take a really unhip song like like the carpenters close to you and sort of like what Chris Cornell did with Billy Jean? You know, I never expected Chris Cornell to do like

an acoustic Billy Jean, you know, the Michael Jackson song. Would you ever like purposely take a song that you kind

of think is not that's maybe even cheesy >> like Betty Davis Eyes or >> Yeah. Seriously,

>> Yeah. Seriously, >> something like that.

>> Yeah. Would you ever do that? [music]

>> Because that that song it it comes to me because the the the rhyming of she's precocious,

but she knows just what it takes to make a pro blush.

I think that's really stretching it.

>> Yeah. You You hear that and go, >> "And if you're suggesting that I should try to make that into something that actually works, that would be a challenge."

challenge." >> I think you should do it. actually is a good song. People like that song. But

good song. People like that song. But

>> what is your favorite song to cover? If

you go to a party, is it the Tom Petty, I won't back down, or is it rocking in the free roll? What I'm I'm trying to get a handle on what you would play.

>> Well, how many people are there?

>> 30, 30, 40ish maybe or durves and cocktails. No, no dinner. No sitown

cocktails. No, no dinner. No sitown

dinner. People sit down.

>> That's kind of a big room, so I think you'd want to play something a little bigger. So maybe yeah, you'd get into

bigger. So maybe yeah, you'd get into your Tom Petty or Yeah. But like if it was a if it was like 12 [music] people.

>> Okay. What do you >> Then I would maybe uh [music] Can I try one that I I've It's a friend of mine, Glenn Hanzard.

This Irish songwriter. Do you know him, Howard?

>> I don't. I don't.

>> Yeah. We've [music] we've played together a bunch, but he has this song um and it's almost it almost should have been in the film, but I [music] wasn't

really playing it. I would play it if I was with Glenn and I never really The guitar is simple, but I never really figured it out.

>> Damn, that's good, man. That is

beautiful.

>> Yeah, Glenn.

>> And that guitar, man, sounds so good.

It's got such a big sound.

>> All right, Howard, I'm going to admit something to you. I see this is good.

>> Good. Now, now tell me. It's about time you admit something.

>> Yeah. [laughter]

>> Go ahead. What do you got?

>> This is just like your guitar, right?

Cuz you have a blonde J200.

>> Well, wait a [music] second. I have a blonde J200 cuz you gave me one, which I've never really >> That's how I know that you have one.

>> Yeah. And it's exactly like the one you're playing. And but see when I got

you're playing. And but see when I got one of the reason you have a J200 because you know it took me a while to find when you buy Howard a guitar you have to go you you have to go to the big

and tall guitar shop >> right special size jumbo size.

>> So this looks like a jumbo on me. This

is not a jumbo.

>> This is L200 >> a jumbo on me. Now I play it sitting down like the one in the the in the film. I'm playing a J200.

film. I'm playing a J200.

>> I know you are. I'm not crazy. I know

it. Yeah.

>> Now this looks like one. This is

actually smart. This is the Emmy Lou Harris L200 model.

>> Why do you like blonde guitars? Like

when you bought me the guitar and by the way I I I didn't really talk about on the air, but >> Ed the most incredible thing. I would

not spend money on a guitar for myself because I don't feel I'm worthy and I don't feel I'm a good enough guitar player. So I would never go out. To me

player. So I would never go out. To me

that would be such an extravagance. So

this box show it had to be done. It just

it fits you perfect.

>> Yes.

>> And [snorts] your bath is wonderful. And

I know that you like you're in love with that blonde.

>> Right. Exactly. I like big blondes. But

you know I I have to tell you that was an incredibly generous thing and I'm still trying to work up a song on there that I could you know send to you so you could see me playing it. But it's really

really incredible. But um that that song

really incredible. But um that that song you just did was beautiful. And getting

back to my idea, I thought of the song you should cover. Who Let the Dogs Out?

That's what you got to work on. Imagine

you get on stage in Japan and you do a beautiful acoustic rendition of Who Let the Dogs Out. It'll be insane. People

[music] go wild.

>> Okay, >> work on it. Or maybe Mambbo number five.

Mumbo number five would be good for you.

Yeah. No, you're you're something else and what you're doing. But please go watch this uh documentary. It's very

moving. It's on Netflix. And yeah, Ed plays some great tunes on there, man. Um

[music] it's >> I'm just >> It's just What are you playing? Who Let

the Dogs Out. Yeah. [music]

Who let the dogs out? Go on. [music]

Who? Who? Who let the dogs out? Let the

dogs out.

>> No, I thought I was just playing you out. Oh, look. I got reverb there for a

out. Oh, look. I got reverb there for a second. Oh, I thought you were just uh

second. Oh, I thought you were just uh saying good night everybody and playing.

>> No, you're you need you have five more songs you have to do. Here's what you have to do. You have to do >> You have to do Black. You let the dog.

>> You have to do Corduroy. You have to do um the Tom Petty cover. Oh, you're not done. [music] You're you got a lot more

done. [music] You're you got a lot more songs to do.

>> It sound like you were you were uh ending the shift. [music]

>> You know what you could do? Do a cover version of um Macarena or Gangdom Style.

Oh, good. Robin's here. Listen.

>> Whatever Robin just said, that's what I'm saying.

>> Here's what I'm saying, Ed. I'm playing

one of the most beautiful songs for Robin the other day.

>> Oh, no. He's going to tell story on me.

Listen to this, Ed.

>> And Ed will agree with me. I know it.

So, were you a fan of John Prime?

>> I don't really know his stuff.

>> Do you know the song Hello in there?

It's a song about when you get old and there's a person inside of you. It's

most beautiful song ever. She starts

laughing during it. This is why I won't play my new song on the air that I've written because I don't want to hear her cackling laughing cuz she goes

and and she was laughing during one of the most beautiful songs I've ever heard.

>> [screaming] >> like that. That's the laugh. [laughter]

>> I hope you're not laughing during Ed's songs.

>> I didn't mean to laugh at John Pride. It

was just the way this song hit >> came out. All right. Well, anyway, Ed, >> wait a minute. There's a question I have. You know, in the movies when

have. You know, in the movies when somebody's horse runs away, usually people come after him. Did anybody come to save you when your horse took off?

>> I think Bruce was taking pictures.

[laughter] >> Nice. You've said it all, Ed. Uh, first

>> Nice. You've said it all, Ed. Uh, first

of all, your charity work that you're doing for this atrocious disease that affects these families and young children. It's called Matter of Time.

children. It's called Matter of Time.

It's on Netflix.

>> Rare diseases are very important to highlight because they don't get any attention until somebody puts a spotlight on them.

>> People ask us all the time, what is this epidermalis? And if people have the

epidermalis? And if people have the time, this explains it all. And and and it will remain a great form of infusing information just having this this film out there. even if you know skip the

out there. even if you know skip the songs.

>> And Ed, you learn a lot in the film.

Like for example, Ed said that when he invites friends of his to come to his concert, they text him right before the show starts asking him where they should park. And I was blown away by that.

park. And I was blown away by that.

That's really [ __ ] weird. Like, you

know what? Figure out how to park. Name

names. Who's doing that?

you know, the other one or you know, if you're playing Wrigley Field and there's a bar behind it, one of my favorites called Murphy's Bleachers and say, "Hey, before the show, you want to meet at Murphy's just to

>> quick beer or two before you play." You

know, those are just kind of ridiculous questions.

>> It implies that you'd be able to go have a couple of drinks and then hit the stage. I've come around I I've tried to

stage. I've come around I I've tried to turn it into that it's a compliment because you're making it look so easy

that they think it's that easy that you could just hang out and have a rat worst and a couple beers before you go play.

And I bet there are some musicians that can do that.

>> Well, listen, good luck in Japan. I know

you're going to be out there with your guitar doing your thing in front of a Japanese audience.

>> Let the dogs out. Yes.

>> Do who let the dogs out? The the kids will go nuts.

>> Do they know that there? Do they do they know that there?

>> They'll be singing along.

>> And with your talent, stop with the horses. You don't need to impress

horses. You don't need to impress anyone. Just promise [laughter] me

anyone. Just promise [laughter] me you're not going to do that anymore. And

please send my love to your beautiful wife, Jill, who, you know, put her time and energy into this great cause. Some

people talk about doing [ __ ] and then there are others that get up off their ass and do it. And I admire what you guys are doing. All right, Ed. I'll let

you go. You did enough. I don't want to wear you out. Lots of love.

>> It's only 5 in the morning. Oh.

>> Oh. Four. It's only four.

>> Is it Is that Is that what it is? It's 4

in the morning where you are.

>> We just did two to four.

>> Three. Oh, [ __ ] >> And watching the uh You know, I would have been asleep and I would have missed the uh lunar eclipse turned into full red moon. Yeah. Right out front.

red moon. Yeah. Right out front.

>> All right. Ed, thank you for doing this.

It's always a pleasure and I I feel very honored that you you do it here.

>> Right back at you. Anytime. Thank you,

everybody.