(click on picture to open file)

By: Michael D. Vogel

© April 10, 1998. Michael D. Vogel.  All Rights Reserved.   

Published in:

The Album Network magazine – April 17, 1998  

Totally Adult magazine – April 24, 1998

Free Gotham – June 8, 2011 

Dave Matthews attacks his acoustic guitar as if he were playing a drum kit. “Percussions are my obsession. In fact, sometimes I see myself as drummer trapped in a guitarist’s body,” states the South African native, who is rarely caught standing still when performing with the Dave Matthews Band.

A true genius on the acoustic guitar, Matthews really prefers to be viewed more as an ensemble player–a brilliant and yet distinctive instrumental voice, but still just one of the bright threads that help to weave the complex sound of the Dave Matthews Band. The antithesis of the flashy guitar extrovert, Matthews chooses to let his fingers bounce around the fret-board almost as quickly as he dances around the stage. In the end, both the musicians and the audience are witness to the birth of music that is completely fresh and new.

My telephone rings promptly at 12:15 on a Monday afternoon; it’s Dave Matthews calling from the band’s small studio in Charlottesville, Virginia, ready to talk about the new album, his worship of women, the marketing of the band–and oh, yes, his guitar playing.

The new album, Before These Crowded Streets, is a view of your more intense side. Why such a dark and brooding tone to this album?

Dave Matthews: “This is most definitely a darker album than what we have done in the past. There is even a certain level of desperation–a fear of loss in it as well. Overall though, I think, in certain elements, the album seems to present a fear of blindly losing hope. Sometimes I think we so eagerly storm toward the cliff edge, not ever really noticing that it’s there, mostly because we are too busy looking out at the horizon. With that view in mind, there is a certain degree of clarity on the album as well.

“In many instances, we are much better at fixing our mistakes after we’ve made them. In some situations, it is easier to sweep things under the rug and forget about them. People are not very pro-active in general, I think, because we are too busy rushing blindly towards our own goals. In relation to the album, there are bits of reflection and a lot of greed. Some of the characters represented on the album are selfish and greedy, but in a ‘tongue-in-cheek’ sort of way.

“But as for the overall feel of the album, the songs just developed that way. Maybe it’s just a place I’m in right now. At one stage there was more of a separation between my music and what I think about, but, at least for now, the two seem to have come together. It was more often an escape than it was something that needed to be addressed. Mostly, it’s just a greater level of frustration that has leaked into the music, especially on this album. For example, there are songs like ‘Crush’ that are more of a worship-of-women-type of song. I feel that I have worked my whole life to get to the point where I should have a good understanding of women. But I’m still trying, and although I think I’m a little closer, as any guy knows, we still have a long way to go.”

The song “Halloween,” a dark number that is somewhat reminiscent of a Vincent Price movie, seems to be an extreme reflection of this level of frustration.

DM: “True. Initially, the song was about a past lover. The main character is frustrated because he can’t control the subject of the song, the woman he desires. This infuriates him to the point where he decides to infiltrate her dreams–ultimately making her life a nightmare. The lead character thinks he’s in love, but he’s actually just frustrated that his affections are not being reciprocated. He has focused all his anger on his own inadequacies. And he’s doing a damn fine job of it, and it’s a little bit humorous, too.

“He’s angry at triviality as well. Although he seems much more vicious now, at the origin of the song he was much more frustrated with the blind leading the blind. Those sorts of images that are feeding our simple appetites and not looking for something more, that is where the song originated, but has now taken somewhat of a crash turn. The change probably came after listening to the song and realizing that he didn’t sound as lofty as he thought he was. He sounds much more like a crude version of a control freak to me. At his base though, he is simply a sad soul who is not as conniving as Marilyn Manson, but one who is much more of a victim. Besides, it’s got a good beat and you can dance to it.”

Although, lyrically, the tone created has a much darker feel, the music itself is played with such a high level of energy and emotion; a counterbalance is created within the music. Is this type of yin-yang relationship something that you constantly strive for in your music?

“Sometimes it’s nice to be able to reflect on the music itself and then write lyrics that I feel anyone can relate to. It’s not my dreaming tree that is dead. The feeling of a loss of hope is universal. There are moments that we’ve all felt a little bit of it, so I don’t think it is something that is too hard to identify with.

“We try and capture a ‘seize the day’ feel within the music itself. Even though lyrically the song may have a dark feel–songs like ‘Pig’ and ‘The Last Stop”–in a way, it is also addressing the topic in a positive fashion. Even though the music is somewhat furious, the song is really saying things really aren’t as bad as they seem.

“Other songs, like ‘Stay (Wasting Time),’ are so blindingly happy. It’s like sour candy that makes the back of your mouth water. Overall, the music on this album shouldn’t give off a sense of sadness, because it is played with so much intensity and emotion that you can’t help but feel good after listening to it. Music is supposed to make you feel good, and that is our goal!”

The song “The Last Stop,” reminiscent of Zeppelin’s “Kashmir,” is sonically different from the rest of the album. Why experiment with such a radical departure from your core sound?

“Personally, I have been listening to a lot more Eastern singers, especially from Pakistan and North Africa. I have been moving towards this type of music because the sounds of their scales tend to be more desperate in nature. Eastern prayer, for example, allows for a certain level of loose improvisation, which can be very overwhelming. Combined with a certain [intangible] element–maybe because it is somewhat foreign–that ultimately makes the music inherently holy. Almost as if the scales themselves hit you right in the center of your soul.

“So, I thought, to turn something like that into a rock song, with a heavy Zeppelinesque style, would be quite a challenge. Musically, the song has a much simpler guitar sound than some of our other songs, almost like a stereotyped movie soundtrack. We wanted to make it rock, but we also wanted to make it serene. Lyrically, the song describes a level of frustration with how easily we blindly follow our leader’s opinions without making sure we have a complete understanding of the big picture. The hook of the song, ‘Black And White,’ is somewhat of the idea behind it as well. Life is really a lot more complicated than simply seeing it as black and white. I personally think it is dangerous to easily dismiss [societies] as bad, yet this type of bigotry slowly creeps into our culture. Ultimately, we tend to judge others based on the way we view the leaders that represent them. As a result, we are teaching each other how to hate. It is this type of stereotype that gets ingrained within our society in a self-perpetuating cycle.”

Although the Dave Matthews Band has never been classified as a “political band,” it appears that you have some pretty politically charged views. In the past, you’ve tended to be a little more reserved; is it now a matter of needing to voice your opinions?

“I grew up in a very politically aware family. My mother always taught me to question everything, never believing anything simply at face value–especially the nicest, most adamant politicians.

“I’m still having as great of a time as ever playing, but this time around we approached everything a little differently. Because we weren’t preparing the new material on the road, I had more time to listen to the music and write lyrics according to what situation the music reminded me of. In the end, I try to maintain a little bit of ambiguity so that I can covertly sneak the notion of being less judgmental into people’s heads.”

The lead single, “Don’t Drink The Water,” gives some pretty potent imagery about one’s loss of self-identity. Is this a result of being too judgmental toward other cultures?

“There is a certain level of ambiguity to the song. The song could revolve around a Native American just as easily as it could be about a new arrival to our soil. If it comes across that it is about someone who has forgotten whom he or she is, and is now struggling to find an identity, then my aim for that track was true. In order to help promote the song, we employed the help of Dean Karr, who shot a wonderful video done mostly in the Amazon, with a few clips from the States. The point being, the character portrayed is not clearly identified as a native or not. It has been done in a surreal sort of way, but that is as much as I’m going to say–you’ll just have to wait until it comes on MTV to find out the rest.

“At its core though, the song is lyrically about the frustration I have with cultures being dismissed because they are different. It seems that the easiest way for people to deal with differences is through fear and, ultimately, hatred. To me, that is the mark of someone who is very shallow and narrow-minded.”

What prompted you to bring in outside artists for this album? Did you feel there was a missing element in some of the songs that only a certain artist could fill?

“I don’t necessarily think anything was missing from the music. Because it was a sound that we haven’t had before, I just thought it would be fun to include other artists, and that was pretty much the level of it. I wanted to bring in some strings on ‘The Stone’ from the moment I wrote it just, because I thought it was a logical element to be included in the song; but I don’t think it was desperately missing anything.

“I was very sure about the Kronos Quartet, I just wasn’t sure if they’d accept the offer. Bela Fleck has sat in with us a few times on the last couple of tours. Being a good friend, I just felt it would be great to have his contribution on the album as well. I met Alanis Morissette while visiting San Francisco for a benefit show. She came by to visit while we were recording the music, and again while we were laying down the vocal tracks. She was mainly going to do some background vocals, but because she was into the new stuff we ended up giving her a few verses.”

Let’s shift gears here. You have been very instrumental in the marketing and promotion of the Dave Matthews Band. How did you know it was okay to go outside the norm, to cultivate a fan base without the initial support of a major label?

“I think it is very key to keep a bit of control over how much exposure you receive. Personally, I don’t want to burn out on the whole scene. It’s not about having the best record deal, or winning awards or even being on television–we are here because we enjoy making music. We have been playing together for years before being approached by the industry, which has helped give us a solid foundation in regards to the whole scene. As a result, the same crew, for the most part, has been with us from the very beginning.

“I think inside the industry there is an urge to ‘blow your wad,’ so to speak, right away. Our popularity has grown quickly, and we are very grateful for that, but we are also very hesitant in regards to complete exposure. Although the stages may be larger, the lights brighter and the audiences bigger, we are still the same band making the same great music.”

Is the ultimate success story the Live At Red Rocks 8.15.95 CD, which has been certified Platinum with very little promotion?

“We just felt this was a good way to give something back to the people who care about the live shows, including the improvisational elements. It’s not that we have a problem with bootlegs, because nothing could be further from the truth. We have no intention of stopping people from bootlegging our shows. The trouble comes with the idea of some guy, who really doesn’t give a crap about the band or the music, just simply trying to cash in on an easy buck.

“We were real specific about who we went after in that regard. In fact, some stores had the complete opposite reaction–grateful there was a good live album they could sell without having to deal with the hassles of selling mediocre multi-generation bootleg recordings. Besides, with that kind of recording quality, it just irritated us that people would spend their hard-earned cash on live albums that sucked. The fan could probably get a better mix if they taped off of the radio using an old tape recorder.”

With the cross-format success the band has seen, what genre of music does the Dave Matthews Band best fit into? Are you cautious as to how far you’ll delve into the mainstream, including Top 40 and Adult Contemporary?

“I don’t want to sound arrogant, but to define what type of music we play, for example, Southern rock, would only confine and constrain the whole creative process. If we were to limit ourselves, we wouldn’t be able to play a song like ‘The Last Stop.’ It would kind of be like Picasso saying his next phase would be the Cubist phase–that’s simply absurd!

“Whether or not there is an obvious song on the album which could eagerly be put into the Top 40 realm is irrelevant if radio is unwilling to play it. All we can do is make the music and, if they like it, it would be stupid to say, ‘Well, you can’t have it.’ I just try and write reasonable music that will fall into many different genres, reaching the most people as possible. Music has always appealed to people in many different ways. But it is also unrealistic to think that everyone will like us. If they came to a show because they like the song ‘Crash Into Me,’ but found that we didn’t meet their expectations, than we’ve lost someone along the way.”

The focus of the Dave Matthews Band has always been on the group as a whole and never on you as an individual player. Do you intentionally steer the spotlight away from yourself and keep it focused on the band as a whole?

“We sort of have to. Obviously the name of the band doesn’t make it any easier, but it was more for the lack of a name that we ended up as the Dave Matthews Band. It just seemed to be the easiest thing. Like some bands that are named for a fictitious person, people were surprised there really was a person named Dave Matthews.

“Certainly, when we are playing, it unfolds the way it is going to unfold. So there will obviously be more instrumental sections, but you also want to focus on the vocals and not necessarily on the guitar playing. The attention really should be spread out amongst us all, because there are some very accomplished musicians within the band. It just makes it more interesting for everyone, the fans as well as the members of the band, because it allows different voices to be heard.”

I think you are one of the most underrated guitar players making music today. Do you feel that your playing ability has received the recognition and credit it deserves?

“First of all, I don’t touch electric guitars. It’s just not my thing–I stick with acoustic guitars only. Secondly, I know I have a very unusual style of playing, where other more recognized and technically proficient players might look at me and wonder what the heck I’m doing. The purpose of my learning to play the way I do was more to accompany my singing. I figured out a style where I’m mentally playing the drums over a simple melody. I just try and put it all together and then not mess with it. For me, it’s a real obvious way to play, but to others it is simply technically wrong.

“Personally, I have always been drawn to percussion and drums, to bass and piano, in music much more then I am drawn to the guitar and the other lead instruments. The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.” ^m^

Origin:

Born in Johannesburg, South Africa, Dave Matthews now makes his home in Charlottesville, Virginia, where he put together a multi-racial band consisting of acoustic guitar, bass, violin, sax and drums.

Line-Up:                                                          

Dave Matthews – Vocals & Acoustic Guitar                       Stefan Lessard – Bass 

Boyd Tinsley – Violin                                                                     Carter Beauford – Drums & Percussions

LeRoi Moore – Saxophone                               

Guest Musicians:

Tim Reynolds – Electric Guitar & Mandolin)                       Alanis Morissette – Background Vocals

Bela Fleck – Banjo                                                                           The Kronos String Quartet – Strings

How Label Deal Came About:

We often talk about how most successful bands in the ’90s have largely set themselves up for the success they now enjoy. The Dave Matthews Band has perhaps become the best example. Through constant touring, releasing projects on their own label and by careful thought, they placed themselves into a position where major labels took notice.

To RCA’s credit, the A&R staff, the promotion department, the sales and marketing people, publicity and everyone else involved were willing to go along with the momentum Dave Matthews and his very talented band had already set in motion. Perhaps the biggest leap of faith was in trusting that DMB had a sound that the public was hungry for; a sound that didn’t neatly fit into any our convenient categories. 

About The Current CD:

Four RCA releases and over 11 million albums sold later, the Dave Matthews Band is ready to take us to a new level–both in musical awareness and lyrical integrity. It is clear that his dream for us is to be more open-minded — not only about music, but also about how we deal with each other as human beings.

Discography:

Before These Crowded Streets (RCA, 1998)    

Live At Red Rocks (Bama Rags/RCA, 1997)

Crash (RCA, 1996)

Under The Table And Dreaming (RCA, 1994)

Remember Two Things (RCA, 1993) 

Produced By:

Steve Lillywhite

Label:

RCA

Website:

www.dmband.com

© April 10, 1998. Michael D. Vogel.  All Rights Reserved.  This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as this entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file)   

By: Michael D. Vogel    

© April 3, 1998. Michael D. Vogel.  All Rights Reserved.   

Published in:   

The Album Network magazine– April 17, 1998   

Dave Matthews attacks his acoustic guitar as if he were playing a drum kit. “Percussions are my obsession. In fact, sometimes I see myself as drummer trapped in a guitarist’s body,” states the South African native, who is rarely caught standing still when performing with the Dave Matthews Band.

A true genius on the acoustic guitar, Matthews really prefers to be viewed more as an ensemble player–a brilliant and yet distinctive instrumental voice, but still just one of the bright threads that help to weave the complex sound of the Dave Matthews Band. The antithesis of the flashy guitar extrovert, Matthews chooses to let his fingers bounce around the fret-board almost as quickly as he dances around the stage. In the end, both the musicians and the audience are witness to the birth of music that is completely fresh and new.

My telephone rings promptly at 12:15 on a Monday afternoon; it’s Dave Matthews calling from the band’s small studio in Charlottesville, Virginia, ready to talk about the new album, his worship of women, the marketing of the band–and oh, yes, his guitar playing.

The new album, Before These Crowded Streets, is a view of your more intense side. Why such a dark and brooding tone to this album?   

Dave Matthews: “This is most definitely a darker album than what we have done in the past. There is even a certain level of desperation–a fear of loss in it, as well. Overall though, I think, in certain elements, the album seems to present a fear of blindly losing hope. Sometimes I think we so eagerly storm toward the cliff edge, not ever really noticing that it’s there, mostly because we are too busy looking out at the horizon. With that view in mind, there is a certain degree of clarity on the album as well.  

“In many instances, we are much better at fixing our mistakes after we’ve made them. In some situations, it is easier to sweep things under the rug and forget about them. People are not very pro-active in general, I think, because we are too busy rushing blindly towards our own goals. In relation to the album, there are bits of reflection and a lot of greed. Some of the characters represented on the album are selfish and greedy, but in a ‘tongue-in-cheek’ sort of way.   

“But as for the overall feel of the album, the songs just developed that way. Maybe it’s just a place I’m in right now. At one stage there was more of a separation between my music and what I think about, but, at least for now, the two seem to have come together. It was more often an escape than it was something that needed to be addressed. Mostly, it’s just a greater level of frustration that has leaked into the music, especially on this album. For example, there are songs like ‘Crush’ that are more of a worship-of-women-type of song. I feel that I have worked my whole life to get to the point where I should have a good understanding of women. But I’m still trying, and although I think I’m a little closer, as any guy knows, we still have a long way to go.”   

Although, lyrically, the tone created has a much darker feel, the music itself is played with such a high level of energy and emotion that a counterbalance is created. Is this type of yin-yang relationship something that you constantly strive for in your music?   

DM: “We try and capture a ‘seize the day’ feel within the music itself. Even though, lyrically, the song may have a dark feel–songs like ‘Pig’ and ‘The Last Stop”–in a way, it is also addressing the topic in a positive fashion. Even though the music is somewhat furious, the song is really saying things really aren’t as bad as they seem. 

“Other songs, like ‘Stay (Wasting Time),’ are so blindingly happy. It’s like sour candy that makes the back of your mouth water. Overall, the music on this album shouldn’t give off a sense of sadness, because it is played with so much intensity and emotion that you can’t help but feel good after listening to it. Music is supposed to make you feel good, and that is our goal!”       

The song “The Last Stop,” reminiscent of Zeppelin’s “Kashmir,” is sonically different from the rest of the album. Why experiment with such a radical departure from your core sound?    

“Personally, I have been listening to a lot more Eastern singers, especially from Pakistan and North Africa. I have been moving towards this type of music because the sounds of their scales tend to be more desperate in nature. Eastern prayer, for example, allows for a certain level of loose improvisation, which can be very overwhelming. Combined with a certain [intangible] element–maybe because it is somewhat foreign–that ultimately makes the music inherently holy. Almost as if the scales themselves hit you right in the center of your soul.

“So, I thought, to turn something like that into a rock song, with a heavy Zeppelinesque style, would be quite a challenge. Musically, the song has a much simpler guitar sound than some of our other songs, almost like a stereotyped movie soundtrack. We wanted to make it rock, but we also wanted to make it serene. Lyrically, the song describes a level of frustration with how easily we blindly follow our leader’s opinions without making sure we have a complete understanding of the big picture. The hook of the song, ‘Black And White,’ is somewhat of the idea behind it as well. Life is really a lot more complicated than simply seeing it as black and white. I personally think it is dangerous to easily dismiss [societies] as bad, yet this type of bigotry slowly creeps into our culture. Ultimately, we tend to judge others based on the way we view the leaders that represent them. As a result, we are teaching each other how to hate. It is this type of stereotype that gets ingrained within our society in a self-perpetuating cycle.”   

The lead single, “Don’t Drink The Water,” gives some pretty potent imagery about one’s loss of self-identity. Is this a result of being too judgmental toward other cultures?    

“There is a certain level of ambiguity to the song. The song could revolve around a Native American just as easily as it could be about a new arrival to our soil. If it comes across that it is about someone who has forgotten whom he or she is, and is now struggling to find an identity, then my aim for that track was true. In order to help promote the song, we employed the help of Dean Karr, who shot a wonderful video done mostly in the Amazon, with a few clips from the States. The point being, the character portrayed is not clearly identified as a native or not. It has been done in a surreal sort of way, but that is as much as I’m going to say–you’ll just have to wait until it comes on MTV to find out the rest.”   

What prompted you to bring in outside artists for this album? Did you feel there was a missing element in some of the songs that only a certain artist could fill?    

“I don’t necessarily think anything was missing from the music. Because it was a sound that we haven’t had before, I just thought it would be fun to include other artists, and that was pretty much the level of it. I wanted to bring in some strings on ‘The Stone’ from the moment I wrote it, just because I thought it was a logical element to be included in the song; but I don’t think it was desperately missing anything.

“I was very sure about the Kronos Quartet, I just wasn’t sure if they’d accept the offer. Bela Fleck has sat in with us a few times on the last couple of tours. Being a good friend, I just felt it would be great to have his contribution on the album as well. I met Alanis Morissette while visiting San Francisco for a benefit show. She came by to visit while we were recording the music, and again while we were laying down the vocal tracks. She was mainly going to do some background vocals, but because she was into the new stuff we ended up giving her a few verses.”   

Let’s shift gears here. You have been very instrumental in the marketing and promotion of the Dave Matthews Band. How did you know it was okay to go outside the norm, to cultivate a fan base without the initial support of a major label?    

“I think it is very key to keep a bit of control over how much exposure you receive. Personally, I don’t want to burn out on the whole scene. It’s not about having the best record deal, or winning awards or even being on television–we are here because we enjoy making music. We have been playing together for years before being approached by the industry, which has helped give us a solid foundation in regards to the whole scene. As a result, the same crew, for the most part, has been with us from the very beginning.   

“I think inside the industry there is an urge to ‘blow your wad,’ so to speak, right away. Our popularity has grown quickly, and we are very grateful for that, but we are also very hesitant in regards to complete exposure. Although the stages may be larger, the lights brighter and the audiences bigger, we are still the same band making the same great music.”   

I think you are one of the most underrated guitar players making music today. Do you feel that your playing ability has received the recognition and credit it deserves?    

“First of all, I don’t touch electric guitars. It’s just not my thing–I stick with acoustic guitars only. Secondly, I know I have a very unusual style of playing, where other more recognized and technically proficient players might look at me and wonder what the heck I’m doing. The purpose of my learning to play the way I do was more to accompany my singing. I figured out a style where I’m mentally playing the drums over a simple melody. I just try and put it all together and then not mess with it. For me, it’s a real obvious way to play, but to others it is simply technically wrong.   

“Personally, I have always been drawn to percussion and drums, to bass and piano, in music much more then I am drawn to the guitar and the other lead instruments. The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.” ^m^   

Origin:   

Born in Johannesburg, South Africa, Dave Matthews now makes his home in Charlottesville, Virginia, where he put together a multi-racial band consisting of acoustic guitar, bass, violin, sax and drums.   

Line-Up:                                                           

Dave Matthews – Vocals & Acoustic Guitar                      Stefan Lessard – Bass  

Boyd Tinsley – Violin                                                                    Carter Beauford – Drums & Percussions 

LeRoi Moore – Saxophone                                

Guest Musicians: 

Tim Reynolds – Electric Guitar & Mandolin)                     Alanis Morissette – Background Vocals 

Bela Fleck – Banjo                                                                          The Kronos String Quartet – Strings 

How Label Deal Came About: 

We often talk about how most successful bands in the ’90s have largely set themselves up for the success they now enjoy. The Dave Matthews Band has perhaps become the best example. Through constant touring, releasing projects on their own label and by careful thought, they placed themselves into a position where major labels took notice. 

To RCA’s credit, the A&R staff, the promotion department, the sales and marketing people, publicity and everyone else involved were willing to go along with the momentum Dave Matthews and his very talented band had already set in motion. Perhaps the biggest leap of faith was in trusting that DMB had a sound that the public was hungry for; a sound that didn’t neatly fit into any our convenient categories.  

About The Current CD: 

Four RCA releases and over 11 million albums sold later, the Dave Matthews Band is ready to take us to a new level–both in musical awareness and lyrical integrity. It is clear that his dream for us is to be more open-minded — not only about music, but also about how we deal with each other as human beings. 

Discography:  

Before These Crowded Streets (RCA, 1998)     

Live At Red Rocks (Bama Rags/RCA, 1997) 

Crash (RCA, 1996) 

Under The Table And Dreaming (RCA, 1994) 

Remember Two Things (RCA, 1993)                                   

Produced By: 

Steve Lillywhite 

Label: 

RCA 

Website: 

www.dmband.com 

© April 3, 1998. Michael D. Vogel.  All Rights Reserved.  This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as this entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file)

By: Michael D. Vogel

– With Contributions from Greg Sorrels

© March 13, 1998. Michael D. Vogel.  All Rights Reserved. 

Published in:

Aggro-Active magazine – March 27, 1998

Bon Scott sang the immortal words, “Let there be sound, light, drums, guitars…let there be rock!” As simple as these words might be, I don’t think they were penned with the Internet in mind.

In the beginning, back in 1986, a small Rock station in Long Beach, California, signed on the air, in an effort to satisfy the city’s insatiable hard rock appetite. Then it came to pass in 1995 that that little ol’ rock & roll show packed up its “Pure Rock” format and bid a fond farewell to the airwaves, leaving a hard rockin’ legacy that went far beyond its 3,000 watt reach.

But that was not the end of KNAC–for absence really only creates that much more of a desire. So, three years to the day of their sign-off, February 15, 1998, KNAC was reborn. Only this time they have gone global, broadcasting on a whole new medium–the Internet. In a follow-up conversation to an earlier interview (Album Network #980, 2/13/98), I had the pleasure of speaking with the head “Pure Rocker,” KNAC vet Long Paul, about what has transpired since signing on the ‘Net with original programming, as well as his vision of the relatively uncharted waters of Internet broadcasting.

One thing is for sure: KNAC is back, and this time they aren’t stopping for anything short of complete world domination!

Why don’t you give us a little background on how KNAC’s “Pure Rock” format originally got started, and how it came to be such a well-known entity.

Long Paul: “KNAC came to be because Iron Maiden was doing four shows at the Long Beach Arena on the Powerslave tour; KLOS’s call letters were on the tickets, but nobody was playing them in town. There they were, selling 50,000 tickets over a four-day span, and they weren’t on the radio! At that point, our President/GM, Gary Price, just kind of scratched his head and said, ‘You know, maybe we have something here.’ It was soon after that, in January of 1986, that KNAC changed formats.”

What was the impetus for KNAC on the Internet?

LP: “It all started with Rob Jones, Jr. He’s working at Demonet, a software demo company that does huge World Wide Web projects. Rob’s been around the business and in band management, and has been a big fan and supporter of the station. One day, he just decided to create a Web site, and thought, ‘Gee, I could put old KNAC programming on there! Wouldn’t that be neat?’ Then, he called Mike Stark, and Mike called me, and we put our heads together and said, ‘You know what we could do with this?’ The idea was literally born and snowballing within two weeks.”

Since KNAC originally came into being as a result of a void in the Los Angeles market for an Active/Aggro Rock station, is the new incarnation of KNAC also a result of a vacancy in the market?

“I think so. Everything runs in cycles. There are still hard-rock artists that are making great music today. Radio, just as it has done in the past, has turned a blind eye to these artists until somebody pointed them out. So, as we see it, that’s our job; the role of KNAC is to point these artists out. Once the recognition happens, it usually means it’s acceptable for everyone else to play them again. In the end it’s all good stuff, so we play it. The bottom line is that the music should always do the talking.

“For example, the only way to get ‘cutting-edge’ bands like Megadeth, Ozzy, Aerosmith or even Metallica on the airwaves in Los Angeles is to tune into AM Sports Radio, or even Talk Radio, and listen for the musical segues. It seems that the music has moved more towards being background sounds­–and frankly, there is no reason for that! I can’t explain the state of Rock Radio–but there are stations that are content simply to chase their own tail, and evidently very happy to do so. We’re going to try and change that. Our mission is to do what we have always done: take the good tunes and expose them to the masses, and have some fun while we’re doin’ it.

“The only reasons I can see for the evolution of Los Angeles Rock Radio was because KLSX couldn’t compete as a rock station against KLOS, and Pirate Radio sank because they couldn’t put KNAC out of business. As far as KNAC flipping to Spanish, it was a complete shock! KNAC, unlike most other formats, was turning a profit within two months of signing on the air. When it changed formats in 1995, it was still turning a profit. It was never a money-losing deal. It was just the fact that there was another 105.5 in Ventura, and two ownership groups got into a bidding war for that frequency, and we happened to lose. And, at that price, the Lieberman Group, which bought KNAC, would have paid any amount of money for the stick, and they did. They paid millions of dollars more than Key Market paid for it a year previously. It was unbelievable! But this type of competition is present in every market, regardless of the format.

“I don’t think Rock Radio is having as much fun as it used to, either. Somewhere along the way, the fun was taken out of radio and it became very corporate and rigid. After all, it’s not brain surgery, nor are we contemplating the meaning of man’s existence. KNAC has always been a fun place to be. It was like an extended family, for both the staff and the listeners. This helped promote a positive attitude on the air, which ultimately translates back to how the listeners view the station. The ‘Pure Rockers’ out there are just as passionate about the music as we are.”

So, would you consider KNAC and its “Pure Rock” format to be the first Active Rocker?

“I guess it was! In what’s almost laughable today, we were the first to play Poison and Bon Jovi, because the rest of the country thought they were too heavy! And that’s laughable! Those are two bands, on the pop side of things, who took off to mega-Platinumism. And, of course, Metallica is a story in and of itself. They had just released their third record when we came on, and nobody was exposing them, either. And it went on…to Guns N’ Roses to Alice In Chains and Stone Temple Pilots–they’re all mainstream acts. And, at the time we broke ‘em, nobody would touch them.”

Like most rock stations, KNAC was originally programmed for a local audience; how has the programming philosophy changed to help incorporate a larger, worldwide demographic?

“For the most part, our style of programming hasn’t changed at all. With the advent of personal communications through the Internet, people have an easier time keeping in contact with the station. As a result, we are receiving, on a regular basis, material from many more unsigned and uncharted bands. Other than that exception, the world has always been the stage regardless of how big the spotlight was. 

“So far, we have heard a lot from England, Sweden, Germany and the Netherlands. And just the other night [for example], I got an on-air request for White Zombie from Hastings, Nebraska.

“The first time around, we had no idea what the limits and boundaries of what we were doing would be. We found out that there are none. This time around, we are armed with that kind of knowledge going in.

“As far as the programming itself is concerned, it’s 1998! There are going to be two sides to the programming; there’s going to be KNAC on the ‘Net, which will be the hardest single entity on the face of the planet; then there will be a version of KNAC that we will syndicate, and that will be a viable, Active Rock station for the 90s. Yeah, we’ll probably be a tad bit heavier than what is out there right now, but that’s just the nature of the beast. That’s who we are.

“In the beginning, we’ll probably feature both programming sides on the Web site; certain hours we’ll do ‘Net programming, and certain hours we’ll do syndication programming for you GMs sitting out there looking for a viable format. As far as the demographics we’ll be reaching out to, obviously the new, fresh stuff will be there. This time around, I think we can have the best of both worlds, demographically speaking. I think the older demos are going to reach out for it, too, because last time around, they thought Metallica and Guns N’ Roses were evil, scary people; now, they’ve grown up and realize that it’s pretty good stuff. And I think the people who were there the first time are certainly going to be into it, and the people who missed it the first time around have learned that it’s not all that scary after all. I think we’re going to be opening some new doors.”

One of my favorite aspects of the original KNAC was the passion of the station. How do you plan on executing that kind of ‘On-Air’ emotional presentation through an Internet radio station?

“The only thing that has changed is the delivery of the system itself and how the listener receives it. Otherwise, nothing has changed. Just turn on the mike and go from there. The door is always open. You want to come in and sit down with us–that’s fine. It’s just a policy. There aren’t going to be strict guidelines of what a jock can and cannot do, because to do that would be a limitation of creativity. And if we limit their creativity then we are left with nothing more than liner-card jocks.

“This also holds true for the artists as well. Interactions can be made from their own home or studio and yet still maintain the integrity of a live, in-house interview. The artist, in addition to the disc jockey, is no longer limited to the confines of the station itself. This helps to promote an element of freedom that conventional radio, as we know it, doesn’t have.”

Speaking of an element of freedom, KNAC has a unique opportunity to bring some special types of programming into the mix that conventional radio can’t do. For example, being on the Internet, you will be able to add a visual aspect as well as access to retail outlets that you couldn’t have before. What do you have planned?

“Video-on-demand. We’re going to have several videos where you can go to the video page and pick whatever it is you want to watch, whether it’s Slayer, Armored Saint or a new release. We’re also planning on selling record catalogs online as well, because every ‘Pure Rocker’ knows that a trip to Tower probably isn’t going to be all that fruitful, ’cause they don’t carry the stuff. And it’s not that it isn’t available; it is. You just can’t get it. So, we’re bringing that aspect into it as well, making it available to the masses.

“The videos will not necessarily be synchronized with the playlist, though. Instead, they will be stored in a video library. For example, if you wanted to see the video for Stuck Mojo, Metallica or AC/DC, all you would need to do is access the KNAC video page, pick your desired artist and press play. Videos-on-demand.

“Selling records via our Website is also something that is new to radio. We already have Tower Records, as well as individual labels, who have put their catalog on our Website. That way, the listener can go directly to the source (the label) and order the desired album.”

And you have a chat room going right now…what’s going on in it? What are people saying?

“People are just fully stoked. They really are. What’s caught me off guard is the industry seems to be just as stoked as the listeners are! We’ve been greeted with open arms, and it’s really neat. We don’t even have a product to sell yet, and some major, Fortune 500 companies are approaching us, wanting to work us. It’s amazing! So, we’re going to be filling a huge hole.

“We’ve received about 13,000 hits in about six weeks, and that was before our official launch, as well as no advertising. And who said word of mouth is ineffective? Our first week on the Fast Chat Network we were the #3 room in the entire network. The following week we were #2 and last week we were #1.”

Can you fill us in on the network?

“KNAC is only one product under the umbrella of a radio network we’re putting together. This is only the first project; as of right now, we’re already soliciting fresh programming to give it a whirl.

“The parent company will be called–no tongue-in-cheek–I.B.S. [Internet Broadcasting System]. We’re looking for fun projects, and if it’s fun, if it’s rock, if there’s a hole, we’re going to provide the programming. KNAC is just the first project under that larger umbrella. It will be a situation where if you want to shop a program, our door’s open. We want to do more than radio; we want to do broadcasting. I think that’s something that the industry has lost sight of. We want to do fun things, and if it turns a buck, that’s a bonus. A big bonus!

“As a broadcast network, and due to the overwhelmingly positive response from the industry, we are able to expand on the network a lot sooner than we thought. We are actually able to bring in more original programming material. This ultimately could lead to multiple formats through the Internet Broadcast System. Will they be straight music formats–no! We don’t want to get into the jukebox thing because that’s not what we are really all about. But specialty programming pointed at a particular segment is something that is of interest, and worth further investigation.”

In the past KNAC has gotten behind some bands that have now become part of rock music’s mainstream. As a trend-setting station, who are some of the artists out there you feel are about ready to explode?

“Stuck Mojo is the first band that comes to mind. Another band that has come a long way is Entombed. They are at the same point COC was on their Blind album. Life Of Agony is another great band that has been around a long time and are now just getting noticed. Union is another strong band. But we can also look at those bands that have been recording for years and still aren’t getting the exposure they deserve. UFO and Yngwie Malmsteen both have good records out, as well as Bruce Dickinson, who is back and as strong as ever, and Rob Halford, who has continued to grow and push the boundaries of his music. The music is there, and in most cases sitting somewhere on a Music Director’s desk. You can’t be afraid of music–it’s not brain surgery. If it rocks, and you are a Rock station, then play the record!”

Everyone in LA has been speculating, since the whole KNAC/Internet thing started, that this could possibly be the beginning of a return–from the Internet to a full-fledged radio signal–of KNAC to the LA airwaves. Could you see that happening?

“Sure, I could see it happening. Do I know anything you don’t know? Probably not. But, again, that goes back to the fact that we don’t have a product to sell yet. But, hey, it’s risk-free! You can listen to it first, and that’s what’s kind of neat about it. I think it’d be nuts for someone in LA to not pick us up. And it’s not because we want to stick in LA, but Jesus, listen to LA radio! It sucks! It really does! LA radio is in the same state now that it was in 1986…if it’s rock in LA, it’s either 20 years old or it’s ska, which is cool for five minutes.

“We’re in no hurry. It’s not a two-week load and then we’re gone. We’re in it for the long haul. We’re prepared. It’s meat ‘n’ potato time!”

KNAC is broadcasting live on the Web at www.knac.com. ^m^

Photograph credit: Long Paul

© March 13, 1998. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file)

By: Michael D. Vogel

© January 24, 1998. Michael D. Vogel.  All Rights Reserved.   

Published in:

The Album Network magazine – February 6, 1998

The birth of Gov’t Mule began when Warren Haynes and Allen Woody sought an outlet to jam outside of the Allman Brothers. With the addition of Matt Abts, who played with Haynes in the Dickey Betts band, the trio was complete. “They’re a reckless rhythm section,” Haynes says of the other two. “They’re like an earthquake with an ‘on/off’ switch. When you’re improvising, a big part of it is how deeply you listen. These guys take up space, but in a very meaningful way. That’s what a trio is all about.”

For Warren Haynes, who until recently shared guitar duties with Dickey Betts in the prolific Allman Brothers Band, fronting his now ‘full-time’ power trio is always an exciting challenge. Featuring drummer Matt Abts and former Allman bassist Allen Woody, Gov’t Mule is a band dedicated to a style of playing that can best be described as an intertwined, improvisational musical camaraderie. “All you really need to do is listen to some of the greatest bands in music history to see what I mean. Groups like Band Of Gypsy’s, Cream, Free and even Led Zeppelin,” says Haynes from his apartment in New York City, “and you can hear it takes a special chemistry. We just happened to stumble upon it while we were part of the Allman Brothers, and realized it was right for us.”

How have you evolved as a musician since being an active member with the Allman Brothers? 

Warren Haynes: “Osmosis is the key. Having the opportunity to play and be a member of such a storied band with the caliber of the Allman Brothers definitely taught me a lot about performing, and the craft of music itself.

“Obviously, my songwriting has evolved over the years. These days, I’m writing more with the sound of Gov’t Mule in mind, whereas over the past eight or nine years my concentration was on writing material that was distinctively created for the Allman Brothers’ unique sound. There has never been a mistaken identity when identifying an Allman Brothers song. But, as my songwriting increased, I found that I was writing songs that weren’t for the Allman Brothers, and hence Gov’t Mule became the outlet for me to record these songs. In general, though, not all of my music is destined specifically for Gov’t Mule, although I never know until each one is finished. But, for the most part, at least I have a definitive sound I’m writing towards.

“In my opinion, in order for a band to be at its most cohesive point, each member needs to be integrated in such a personal way that you always know what makes the band tick. It’s not just how good of a musician you are, or even how adaptable your playing is– it’s the chemistry that is developed by a lot of common influences, as well as several common musical mindsets.”

How does being part of a power trio compare to being part of a large band like the Allman Brothers? 

WH: “To be quite honest, I never seem to have a moment to relax onstage–expect for maybe during the drum solo. But Woody and Matt have a similar role, by way of taking up more symphonic space than would be required by an average rhythm section. A successful trio is one that can paint a musical picture that is bigger than what the three members of the band should be able to create. The chemistry of the band forces each member to add more to the overall sound by trying to get that big, full and multi-layered effect of a large band out of just three people–it is that aspect which will ultimately make or break a trio.

“In the case of the Mule, the tones we choose are a little different. Obviously, the songs and the direction of the music are different, and the trio format causes each of us to play entirely different than we would in a large band. A lot of the time, when playing with the Allman Brothers, I would be playing something complementary to what Dickey was playing in his solo, and not really holding down the rhythm as much as trying to add to the musical picture he was painting. Another good example of this was demonstrated by Miles Davis’s band. Whether it was Herbie Hancock, Ron Carter, Tony Williams or Wayne Shorter on solo, the rest of the band contributed to the overall big picture, as opposed to having one person in the spotlight and the rest of the band subdued in the background. Overall, it all comes down to making the whole thing three-dimensional, which is really what making this kind of music is all about!”

Is the preparation different when writing solo material, as compared to writing for a band? 

“The songwriter always needs to keep the overall character of the band in mind when writing any type of musical material. In the case of Gov’t Mule, some of the sections will be created through improvisations that happen onstage or in the rehearsal studio. Because the infamous tape is always rolling, we are always able to document them. This ultimately allows us to revisit and utilize them, but only if it adds more to the overall picture that we are trying to create. But lyrically, melodically and even rhythmically, you tend to get into the spirit of the overall picture the band is painting. By doing so, you try to cater to that spirit, as well as enhance it, and then explore a direction you haven’t explored before.”

Do you feel a need to invent melodies over some of the adventurous changes to make these kinds of things happen?

“I make a conscious effort not to stay in a pre-established realm or genre. I know what I don’t like–and that’s cliché blues-rock! I always like for there to be some sort of exciting element, whether it be coming from a jazz direction or a folk base or whatever, something thrown into the musical stew that makes the song have its own unique sound.

“In general, Gov’t Mule can best be described as a blend of several different styles of music. But, as a band, much like other bands, we strive very hard to make our music unique. The more people open their minds to other influences, the more interesting the music will become. Similar to some our favorite bands, we try to record music that is distinctive to us. Even though the elements and influences are obvious, the sound is unique to the band itself.”

The lead single from Dose, “Blind Man In The Dark,” shows an incredible ability to interplay the guitar parts with the lyrics of the song. Was this intentional, or more coincidental when writing the song? 

“I usually like for the dynamics, within the course of the song, to have the band progress up and down together. As it pertains to the Mule, our music is so steeped in jazz and the blues that we use a lot more natural dynamics during the course of a song than the average band would.”

There are shades of many different influences and styles in your guitar playing. Where is your head at when you actually sit down to write new material? 

“I try to approach each song individually. By doing so, the song dictates which way it wants to go. A lot of times a songwriter falls prey to certain patterns and routines–it is those types of crutches that I try to break with each new song. This ultimately helps to keep the music sounding fresh and new.”

When writing lyrics, are you the kind of guy who writes down two lines, crumples up the paper and throws it away, or do you try to just let the ideas flow? 

“As a songwriter, the most anyone can hope for is that a song will come naturally and instantly. Unfortunately, that is not the case, or we’d all be wealthy songwriters living life in the lap of luxury. For me, it is hard to finish a song if my original mindset has been disturbed. I don’t like to force the songs into completion. Instead, I like to let them marinate for a long time. That way, those small, minute little changes might be some of the most important in turning a good song into a musical masterpiece!”

After all the pieces of the song are assembled, do you then leave it alone, or do you learn the whole song again and then replay it? 

“Once we do it, it’s done. Our philosophy stems from what our predecessors created. The music that we like over the years has been filled with many mistakes. Sure, the artist could go back and record them at a later date, but then again, that is also what the live venue is for–exploring different versions of the music that the fans can’t purchase on the record.

“Music, in my opinion, is cooler and much more organic if all the rough edges are left in. When these rough edges are smoothed down, the music eventually takes on the characteristics of Muzak.

“Looking back to when Otis Redding and Aretha Franklin were recording, technology prevented them from going back and re-recording various parts of a song–instead, it was really all about capturing that exciting performance. But as technology advanced, so did musicians’ desire to create songs that were as perfect as possible. But, I think over the last several years, musicians and fans alike have come to realize that music and perfection are not meant to be said in the same sentence.” ^m^

Photograph credit: Danny Clinch

Origin:

Warren Haynes, a native of Asheville, NC, currently resides in New York City; Allen Woody, born and raised in Nashville, and rounding out the trio is Oklahoma-born Matt Abts, who has relocated to Los Angeles.

Line-Up:                                                                                       Website:

Warren Haynes – Vocals & Guitars                                    www.mule.net

Allen Woody – Bass                                                                 

Matt Abts – Drums

About The Current CD:

After a pair of previous albums, 1995′s Gov’t Mule and 1996′s Live At The Roseland Ballroom, Gov’t Mule is set to release their third album, Dose, the first for Capricorn Records.

Discography:

Dose (Capricorn/Mercury, 1998) 

Live At The Roseland Ballroom (Foundation, 1996)         

Gov’t Mule (Relativity, 1995)                              

Produced By:

Michael Barbiero

Label:

Capricorn/Mercury

© January 24, 1998. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.

(click on picture to open file)

By: Michael D. Vogel 

© November 20, 1997. Michael D. Vogel.  All Rights Reserved.  

Published in:

The Album Network magazine – December 5, 1997 

The scenario: a dark, crowded, hot and sweaty theater in Hollywood. The venue is stuffed to the gills; the audience is waiting for the first band to begin. A young lady standing next to me whispers in my ear, “I drove all the way from San Diego to see this show. I think Art Alexakis and Everclear are just awesome.” With a simple smile, I lean back and casually tell her that she’s in for quite a pleasant surprise. Complementing this bill is Toronto’s Our Lady Peace, out in support of their second album, Clumsy. As the quartet begins “Automatic Flowers,” the unassuming concertgoers start to move as one collective unit to the mesmerizing beat. Longhairs and buzz-cuts, leather jackets and suits all move to the sound of this one band. As the set ends, the young lady thanks me for the good advice, and asks that I refresh her memory as to the name of the band. I happily respond: Our Lady Peace!

We were first introduced to Our Lady Peace back in 1994 with Naveed, an album the band refers to as its beginning phase. It sold in excess of 1,000,000 copies in Canada as well as 500,000 units in the United States. In addition, the album also provided the Top 10 Rock and Alternative Radio track “Starseed.” With Canadian sales nearly seven times Platinum for Clumsy and one multi-format hit already under their belt, Our Lady Peace seems destined for the superstar status they’ve achieved in their homeland.

Recently, I spoke with chief philosopher/poet and vocalist, Raine Maida, not only about the release of Clumsy, but more importantly about the inner workings, processes and state of events that have helped to make Our Lady Peace.

There seems to be somewhat of a balancing act between control and discipline within your personal style. What’s the secret behind maintaining this delicate balance?

Raine Maida: “I really don’t know if there’s any trick to it. The music that I listen to and admire the most has always been able to draw some sort of emotion out of the listener. But on a more personal level, I try to leave the lyrics for our music a bit more ambiguous. One of my favorite examples of amazing lyrical imagery is captured by Sting and the Police on ‘Every Breath You Take.’ The lyrical content of the song juxtaposed by the mood you feel from it are completely different. Most people seem to be blinded by the beauty of the song itself and are unaware that it is mostly about a stalker! But, it is those amazingly beautiful qualities that I have used as an example of how lyrical imagery can help to reshape that, which might be immediately conceived as the obvious.

“In general, it is a delicate thing to do, but then again, it’s not as contrived as that either. It was our intention–for whatever reason–that music and lyrics, specifically, [be] the only parts for [any] song [that we do]. You can like a song based on pure musicality alone, but for me, if you keep on digging past the surface of the song itself, there will always be something that each person can interpret, personalize and take home for themselves. That is one of the most important aspects of music for me.”

On Clumsy, lyrically there are more first person experiences than on Naveed. Why the shift into a more personal realm?

RM: “It was a weird metamorphosis for me; part of it was a natural maturing process. I feel a little more comfortable talking about that subject matter on a more direct first-person level of communication.

“For example, the song ’4am’ was somewhat of an epiphany for me. It was 3:45am and I had just finished a telephone conversation with my girlfriend–a serious discussion about parents and relationships. I wrote the song shortly after that phone call. The lyrics and the chords I took to the band the next day, where they each added their own personal signature to it. We have always felt that songwriting is a craft, one where you have to get down into the trenches and bust your ass trying to change arrangements as well as make each chord sound better. But in the case of ’4am,’ it feels as if someone gave us that song. Overall, it is one of the most pure and inspirational things, musically, I have ever been associated with.”

You enjoy leaving a song’s meaning open-ended, and thus, your fan base seems to be moved into some very serious debates regarding the intention behind your rich lyrical content. What are some of the more interesting interpretations you’ve heard?

“It is always very interesting to see people interpret things in their own way. It would be very easy for me to sit back and say some of these explanations [aren’t even close to what I intended]. But that’s not what music is all about. It’s all about grabbing something from a song for yourself. I would never even attempt to dissuade someone from what a song personally means to them.

“We have gotten a bunch of letters from fans who have somewhat reinterpreted our songs and have applied them to their own lives. For instance, a woman wrote a huge piece on our Web site [http://www.ourladypeace.com/] about ‘Superman’s Dead’ and how it was all related to [19th century German philosopher Friedrich] Nietzsche. [Another] letter really struck me: a strained relationship existed between a young lady and her father, who was dying of cancer. After listening to ’4am,’ she felt compelled to hug her father and ultimately resolve some of these problems before he died. It is ultimately the most rewarding to know that our music has in some way affected other people’s lives.”

Musical trends have always been circular in nature. At the moment, the trend seems to lean toward a more back-to-basics approach. Are you affected, in the creative process, by these trends?

“I can’t say concretely that it doesn’t end up being an influence just by osmosis alone. But in terms of something that is contrived for us, it doesn’t happen at all. The bands that we grew up admiring and somewhat forge our career in their shadows, bands like R.E.M. and U2, pretty much did their own thing and eventually people’s tastes came around to the kind of music they were making. It is in this light that we try to picture ourselves. We’d hate to be caught up in the next fad, because as we’ve seen throughout the 90s, they tend to run their course and with that so does the career of the bands that are associated with it. We want to build a career–and if it’s building slowly, that’s just fine with us.

“Comparing the two albums, Naveed really seemed like an independent record for us. That was the way we approached it and therefore we do not think of it as a very mature-sounding album, whereas we feel we have now gelled together as a band and Clumsy represents the culmination of those efforts. But we also feel like we have surpassed this album in terms of our own songwriting and mindset due in most part to our extensive touring and recording schedules.

“Overall, colors stand out as the biggest difference between the two albums. If you look at each of the albums as a painting, Naveed was a bit more one-dimensional–the record attacks you from beginning to end. [On] Clumsy, the dynamics presented are more three-dimensional. We attribute this kind of artistic growth to being a live band and playing more than 400 shows between the two records. In hindsight, we felt there was a missing element of cohesiveness when we went into the studio to record Naveed. This time around, we really focused on being a band–all the while taking the listener on a musical journey.”

Does the Canadian content rule affect your approach to writing music?

“Shortly before we released Clumsy, we petitioned the Canadian version of the FCC to relinquish us from the Cancon rule. We wanted Clumsy to be judged on its own merits and not solely because we are Canadian artists. [Cancon] really has nothing to do with the music itself, but whether or not it’s a Canadian project. We understand [Cancon] on the basis of the US’s influence on Canadian culture, [that] the disproportionate share of music coming out of America alone would tend to monopolize Canadian radio.

“The rule is a split between the Canadian content rule on one hand and the smaller musical community that gives us incentives to develop. But on the other hand, it also tends to breed mediocrity for those bands who can’t compete on the international scale, but develop quite a career due to extensive local radio airplay.”

With the music scenes being so diverse, what do you see as the major differences between competing for airplay between the United States and Canada?

“Canadian radio is much more simple. Most importantly, there isn’t as many different formats as in the US. On the whole, Canadian radio seems to be more in the vein of [American] Active Rock.

“Such fragmentation makes it hard for record companies to decide on which formats to pursue first. For us, we just hope that our music is universal enough to fit into several formats. As we see it, the four members of Our Lady Peace are very passionate about the music. Our tastes and views aren’t that much different from the people we knew in high school and college. They are the ones buying our records. So, for whatever format of music they listen to, they are the ones we write the music for.” ^m^

Origin:

Toronto, Canada

Line-Up:                                                                                    

Raine Maida – Vocal                                                    Jeremy Taggart – Drums           

Mike Turner – Guitar                                                    Duncan Coutts – Bass & Keys                                      

About The Current CD:

Clumsy is the second album from Our Lady Peace. It has produced a Top 15 track at Rock and Alternative Radio, and it’s nearing seven times Platinum in Canada (700,000 copies). In the US, Clumsy has topped the 250,000 mark. This follows the success of their debut, Naveed, which produced the Top 10 Rock and Alternative staple “Starseed.”

Discography:

Clumsy (Columbia, 1997)                                              

Naveed (Columbia, 1995)               

Produced By:

Arnold Lanni

Label:                                                                                   Website:

Columbia                                                                              www.ourladypeace.com

*****Canadian Content Rule:*****

In a nutshell, The Canadian content rule (Cancon) says that 30% of all music played on Canadian radio between 6am and midnight must be satisfy two of the four points that make up the so-called MAPL system (Music, Artist, Production and Lyrics). This rule is currently a hot topic in Canada, where some proponents would like to see the percentage increased to as much as 50% Canadian, while opponents would like to see that number dropped to more closely reflect the 12% of music by Canadian artists sold in Canada.

© November 20, 1997. Michael D. Vogel.  All Rights Reserved. This originally appeared on the Vogelism blog at https://www.vogelism.com, authored by Michael D. Vogel. This article may be shared or reprinted as long as the entire copyright message, including the source location of this article, accompanies it.