What music becomes a movie hero most?
Sarah McLachlan’s first album of new material in seven years will come out on June 15. And it looks like she has a little tour called Lilith 2010 coming around to help promote it.
Our love for Dave Grohl pretty much knows no bounds, but it’s just taken an exponential leap with “Fresh Pots!,” the hilarious Youtube video posted by Them Crooked Vultures as a cautionary tale to the dangers of caffeine addiction. Leave the heroin to other folks.
in the two-minute clip, we see Grohl, who is seriously the nicest guy in rock, get a little wacked out his drug of choice, coffee.
The epilogue swears that Grohl, who is now working on a new Foo Fighters album, actually landed in the hospital a few weeks after this video was filmed for caffeine-related symptoms, but we have a feeling that may just be part a tall tale. If so, we sure hope a withdrawal video is forthcoming.
this is one addict we don’t think will need a stint with Dr. Drew.
David Byrne is brilliant and he’s earned the right to do whatever appeals to his crazy little mind, but we do have to say that when we first heard about his plans for a two-CD concept album about the relationship between Imelda Marcos, wife of the former Philippines leader Ferdinand Marcos, and one of her servants, it sounded like it could appeal to a very small niche market.
Ironically, Big Star, who no doubt influenced 1000 of the 1500 acts playing at SXSW this week, was slated to play the Austin music festival on Saturday.
Chilton was only 16 when he sang the Box Tops’ huge hit, “The Letter” in the ‘60s. Shortly following that band’s break up in 1970 and a short-lived attempt at a solo career, Chilton joined with Chris Bell (who died in 1978), Andy Hummel and Jody Stephens, who, like him were obsessed with British pop. The foursome, known as Big Star, helped put Memphis on the modern day pop map, recording at Ardent Studio, as well as being the lead act on the Stax-distributed label. It released three critically adored albums, but the band never achieved any true modicum of commercial success.
Chilton, always a reluctant musical hero, returned to his solo career and relocated to New Orleans. In the ‘90s, with their cult status secure, Big Star reunited with the addition of Jon Auer and Ken Stringfellow from the Posies. The last Big Star album, “In Space,” was released in 2005.
The group never scored a major hit, but it—and Chilton’s—influence on modern day pop music can’t be underestimated, especially when it comes to ‘80s acts like REM and the Replacements, who revered Chilton so much that they wrote and recorded a song, “Alex Chilton,” as a tribute for its 1987 album, “Pleased To Meet Me.”
Additionally, scores of artists, ranging from Wilco, the Bangles, Jeff Buckley and Counting Crows have recorded his songs. However, for many people, their only exposure to Big Star was the group's "In the Street," a version of which was used as the opening theme for "That '70s Show."
Chilton is survived by his wife, Laura, and son, Timothy.
Lifehouse may not grab the headlines for their offstage antics or celebrity hook-ups. Instead, the quartet quietly goes about topping the charts with tunes that stick to radio playlists like glue. Since its 2001 major label debut, â€œNo Name Face,â€ the Los Angeles-based band has crafted hit after hit, including â€œHanging by a Moment,â€ â€œBreathing,â€ â€œYou and Me,â€ â€œWhatever It Takesâ€ and, now, adult contemporary chart topper, â€œHalfway Gone,â€ the first single from the groupâ€™s fifth album, â€œSmoke and Mirrors.â€
Released March 2, â€œSmoke and Mirrorsâ€ debuted at a career-high No. 6 on the Billboard 200 last week. It features Lifehouseâ€™s stock-in-trade: instantly recognizable, mid-tempo, lyrically dramatic rock tracks, but also switches up rhythms and instrumentation in the way the band had never attempted before.
Hitfix chatted with founding member/lead singer/primary songwriter Jason Wade, who got his geek on with us. Â
â€œSmoke and Mirrorsâ€ is a hybrid of rawer material that you wrote on the road and more polished studio songs How deliberate was that?
It wasnâ€™t really that deliberate in the beginning, but about halfway through the record, we started to realize we were kind of making a more organic rock record and neglecting the polished radio side thatâ€™s kind of kept us alive over the past 10 years. So we kind of shifted our focus to kind of bring some balance to the record, I guess you could say. And thatâ€™s where the whole smoke and mirrors concept came from. We were really kind of showcasing two different sides of the band thatâ€™s reflected on this album.
Some bands would say letâ€™s just go with the organic side and see if our fans will follow us. Did you feel that wouldnâ€™t fully represent who you were?
I kind of feel like we already did that on our album, [2002â€™s]Â â€œStanley Climbfall,â€ and it didnâ€™t really work out too well (laughs). Weâ€™ve kind of been down that road before and I think itâ€™s really important to see yourself from the outside. Thatâ€™s a problem that a lot of bands have: they canâ€™t really see who their fans are and where theyâ€™re at in their career. I think we took a healthy glance of where weâ€™re at after 10 years. We had a lot of fun making this record, to be honest.
What was so fun about it?
Just kind of pushing the sonic space a bit more. We didnâ€™t want to just recreate â€œNo Name Faceâ€ or the last record. We really had a lot of fun, we pulled out some synth basses and we kind of just messed with some of the rhythms and just didnâ€™t take it that serious, you know.
Did your producer, Jude Cole, encourage that in the studio?
Yeah, heâ€™s been a huge catalyst. Heâ€™s always the one pushing us forward and is always the first one to scrap a song and take it back to the beginning. He pushed us pretty hard on this record which I think was kind of necessary.
Because I think that when you get to a certain place where youâ€™re having a certain amount of success, itâ€™s easy to just get complacent and just make the same record over and over just because itâ€™s working and I donâ€™t really think thatâ€™s a healthy thing, especially for us, because we felt we just needed to continue to move forward and try some new things and Jude was a huge catalyst for that.
Smoke and mirrors as a saying means that things are all an illusion. How do you feel that also fits into making music these days?
Well, I think itâ€™s funny because I feel like our band has always been the kind of antithesis to smoke and mirrors. Even though weâ€™re in the studio making some albums that are more polished than others, weâ€™re still not really flying anything in, using Autotune live; weâ€™re just two guitars, bass and drums. A lot of people are shocked when they see us live. When they hear us on the radio, they think itâ€™s going to be this big production with a lot of smoke and mirrors, I guess you could say, but really, when we are out on the road, itâ€™s just two guitarists, bass and drums.
So thereâ€™s no illusion when youâ€™re out on the road.
Exactly. What you see is what you get.
You guys are road dogs. Whatâ€™s the one item youâ€™ve learned you canâ€™t live without on the road?
Iâ€™d have to say probably my iPod for listening to music before the show. Iâ€™m just a huge fan of every genre as long as itâ€™s quality music.
Whatâ€™s on your iPod that would surprise us?
The last couple of years, Iâ€™ve just been obsessed with film music. I have over 350 soundtracks on my iPod. I really hope to get into film music someday in the future.
Whoâ€™s your favorite composer?
Iâ€™d have to say, right now, Thomas Newman. Heâ€™s just brilliant. Just in how he uses the clarinets. â€œAmerican Beautyâ€ is one of my favorites. The stuff he did for â€œSix Feet Under,â€ heâ€™s a genius.
First single, â€œHalfway Gone,â€ you wrote with Kevin Rudolf. Thatâ€™s a bit of a switch up for you guys.
We were about 90% done with the record. At that point we felt like we had our pop songs covered. We had our rock songs covered, but it was funny, every time that song â€œLet it Rockâ€ would come on Top 40, it was the only song I would turn up in my car. Jude and I had the idea to reach out to him for a collaboration and see if we could kind of fuse together these two sides of the record that we were making. It turned out that he was a big Lifehouse fan and he happened to be in L.A. at the time so he came down to the studio. It was a really different kind of collaboration because I usually write on acoustic guitar and Kevin brought all these keyboards in and all these drum loops and it sounded like a dance party. It was like these two different worlds colliding in a good way. So it was a really interesting collaboration.
You also wrote with Chris Daughtry and Richard Marx on â€œHad Enough.â€Â What was that like?
It was interesting. The whole collaboration came out of me and Chris Daughtry had become good friends over the last couple of years.Â Chris wrote a song with Richard and [Nickelbackâ€™s] Chad Kroeger and so he had the idea to fly Richard in from Chicago. To be honest, I knew his stuff, but I wasnâ€™t that familiar and once I got to know Richard during those two days, I realized I knew all these songs that he wrote from everyone from Keith Urban to Luther Vandross. It was kind of going to a professional songwriting clinic, you know what I mean?Â And for me, thatâ€™s different because Iâ€™ve always come from a visceral place. Not really professional, I just kind of pick up a guitar and go where it takes me, so it was definitely a really good learning experience.
Youâ€™re touring with Daughtry and Cavo. How is it different from your previous tours?
Weâ€™re playing a 45-minute set and itâ€™s going to give us a chance to highlight a lot of the new stuff and really sink our teeth into this record. Itâ€™s a long tour, itâ€™s three and half months and it justÂ came out of a natural progression of being friends and getting to know those guys and I think we share a lot of the same fans, so it just kind of made sense.
You turn 30 in a few months. You were 18 when you started this band. What are your thoughts about this milestone?
You know what?Â I think Iâ€™ve felt 30 since I was 25 with all the wear and tear on the road. I donâ€™t think itâ€™s going to be a huge deal. I already feel 30, to be honest, so Iâ€™ve got that going for me.
Do you have a gig that day?
I donâ€™t think so. The Daughtry tour wraps up mid-June, so Iâ€™m thinking about maybe going to Mexico with my wife.
As you mentioned, the band has been together a dozen years. Are there times you can see it ending or can you see that in the blink of an eye it will be 24 years together.
I kind of think as long as weâ€™re all having fun doing this, weâ€™re going to keep it going. I hit a point about mid-way through the bandâ€™s existence in 2005 where everyone started growing apart. Me and Rick [Woolstenhulme] the drummer became good friends, but [band co-founder/bassist] Sergio [Andrade] and I kind of grew apart and we were kind of childhood friends.
So when that happened, just no one was having fun anymore and it just became a job and when music becomes just a job, it becomes miserable and I donâ€™t think any band has any right sticking around when theyâ€™re not having fun. So as soon as [current bassist] Bryce [Soderberg] joined the band, the chemistry just really locked it. Weâ€™re just having a blast right now, so as long as that attitude is prevalent, weâ€™re still going to be doing it.