Category: Interviews (Page 6 of 7)

We got the Hives, and we’re gonna share them

The Hives took a circuitous route to fame, recording a couple albums and EPs in the 1990s and getting the greatest hits packaged all together in one magic hit CD, Your New Favourite Band, a couple years ago. Last year the Swedish punks came back with the all-new Tyrannosaurus Hives, a clean, punchy set that clears the sinuses of music fans who’ve just about had it up to here with wussy stuff from the likes of Dave Matthews and Sheryl Crow. The band’s new concert DVD “Tussles in Brussels,” released in time for the Christmas shopping season, gets the Hives phenomenon down for the record: The hard licks, the black-and-white outfits the band wears, and of course, the singular sound of lead vocalist Howlin’ Pelle Almqvist, with whom we sat down for the following chat:

Bullz-Eye: Describe a Hives concert for those in our reading audience who haven’t been.

Pelle Almqvist: If you’ve been to a rock concert–I’ll assume that much–if you take what you’ve seen there and multiply it by ten, that’s pretty much it. It’s like a rock concert except there’s more of everything else. Except color, because we’re dressed in black and white. It’s a bid louder, more intense, a bit more energetic. The only thing it isn’t a bit more of is…calmer.

BE: I’m sure you’ve been asked this about 5,000 times, but here’s 5,001: why do you dress that way, anyway?

PA: It looks good, but also, we’re convinced it makes us sound better. Like some hippie bands had some statues on their amps and stuff because it made them sound better? This makes us sound better. The treble’s a bit clearer.

BE: I’ve been listening to your stuff for a couple years now….but describe your music for those who haven’t heard it.

PA: Well, it’s rock music, that’s what it is, I’ll tell you that much. Very very very energetic rock music. If you like the classic values of rock – first it has to be entertaining and exciting, and after that you can do different things with it – it’s fast and loud and fun.

BE: Does the DVD cover one show or a series of shows?

PA: We just recorded one show and we had to just trust that we’d be good enough to put it out, otherwise we’d have to record another show. It’s one show straight through, not edited. It turned out really well. We spent a lot of time cutting between cameras and making sure the sound was as good as it could be.

BE: What do you remember about the gig?

PA: I was going into the crowd and this guy was pulling on my leg and I fell and did a jump and I landed with my shins on the barrier. I think you can maybe see where it happens. My leg was bleeding and swelling up halfway through the show, and I keep getting stiffer and stiffer. But the good thing is that I was wearing black pants, so you can’t see the blood.

To read the read of the interview, click here.

Bullz-Eye is caught by the fuzz

It’s funny how a lack of mainstream success can be a good thing. Supergrass was one of the titans of England’s Brit Pop scene in the mid ‘90s, but while their peers went on to varying degrees of stardom in the States (Oasis had the big album, Blur had the big single, Elastica had the big beer jingle), the closest Supergrass got to mainstream success in the US was the inclusion of “Alright” on the “Clueless” soundtrack.

Call it a happy accident, then. Where those other bands have either imploded or become a shell of their former selves, Supergrass are still going strong. Their newest album, Road to Rouen, is one of their best yet. Bullz-Eye had a chat by phone with ‘Grass drummer Danny Goffey, who was at his home in merry old England, making dinner for his kids.

Bullz-Eye: Well, let’s get right to it, and talk about the new record. This is the album that I expected you to make the last time around.

Danny Goffey: Uh huh.

BE: It just seemed like a more logical progression from the third album than the previous one.

DG: We weren’t really too sure what we were doing (when making Life on Other Planets, the band’s previous album). Maybe if we didn’t have a producer last time, we may have been more accustomed to making an album like this. Um, we just wanted to do another kind of pop album rather than a straight-ahead album.

BE: That’s interesting, the comment about the producer. Was he forcing you to do more I Should Coco kind of stuff?

DG: Not really. I think at that time, we were more up for playing some hectic songs, the faster kind of songs, you know. I don’t think he forced us to do anything, we were just in a certain frame of mind.

BE: The songwriting on this album seems a lot different to me. Your songs have always been really direct in the past, but the song structures on this album felt a little more exploratory. Was that a conscious decision on your part, or did it just kind of happen?

DG: It was a kind of conscious decision to make an album that didn’t have a three- minute single, something that had more of a mellow vibe about it. There have been those obscure tracks that have been on the album that no one probably had heard, because people just buy our singles or see just what’s on the charts or on the radio. So yeah, we wanted to make sure that that side of us come out of us a bit more, you know, and that we didn’t just pick some radio friendly song to release.

You can read the rest of the interview with Danny Goffey here.

Aerosmith: Still full of filth and soul

The bad boys from Boston are back in vintage fashion with a new concert CD and DVD (on the Sony dual disc format) called Rockin’ the Joint: Live at the Hard Rock Hotel. Performed in 2002, this show finds Aerosmith returning to their sweaty roots by blowing the dust off several old relics and laying them down in a small club setting like it was 1972 again. Breaking from their rehearsal schedule as the road vets prepare for a year-long world tour, original bass player Tom Hamilton afforded Bullz-Eye’s Red Rocker a few minutes recently to tout the strengths of Rockin’ the Joint, share his take on illegal downloads, and explain why his son might already be a better musician than he is.
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Bullz-Eye: A record like this (Rockin’ the Joint) comes out and it just makes me want to go home and dig out Get Your Wings and Toys in the Attic. I had a cassette copy of Live Bootleg back in, what, ’78, ’79 when that thing came out…?

Tom Hamilton: (chuckling)

BE: I flat wore that thing out! So are you allowed to have a favorite Aerosmith album?

TH: Yeah, sure. Picking one is really hard. But I’ll say Rocks. Toys or Rocks, it’s pretty hard to nail down which was a favorite.

BE: I saw a quote from your website recently. It was Little Richard saying, “I looooove Aerosmith! They’re one of my favorite rock and roll bands. They’re full of filth and full of soul.” Why are you guys so strong and so vital 35 years later?

TH: I just think we were so drastically imprinted during the ‘60s. You know, when you’re a kid and you go see a really powerful rock band, it goes deep. At least for me it did. So the next thing is, “Man, I’d really like to do that. I wanna be on stage!” And you just always keep that point of view. We’ve managed to keep that point of view, wanting to spit out the kind of stuff that really inspired us when we were just learning how to play, and do it in a way that we really love.

BE: Looks like you guys are going to be touring now through the end of the year. What’s next for you guys? What does 2006 and 2007 hold for Aerosmith?

TH: Well, the rest of this year and next year we’re gonna be touring pretty much straight through, but we’re gonna try and get an album out.

BE: Of new material?

TH: Yeah.”

Read the rest of Red’s interview with Tom Hamilton here.

How do I interview for this job?

Ever wonder how music is chosen for a certain television show? As the music supervisor for “The O.C.”, Alexandra Patsavas has one of the coolest gigs around. But while she receives submissions from some great bands, she admitted in her interview with Mike Farley that she also also gets bombarded by some crappy music. Even with those distractions, Alexandra has developed a reputation for putting new artists on the map and helping to launch their careers.
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Bullz-Eye: …what do you look for in a band or in a song?

Alexandra Patsavas: I don’t know. I just want to like it. Music is so personal. I don’t know how to really define what it is that I look for, but I definitely know it when I hear it.

BE: Just something that moves you personally?

AP: Yeah! Or you look for music that will sit well under dialogue. It’s a very different set of criteria to look for music that works with a picture. You’re enhancing something that’s already there. So it’s different, you’re not listening for a full album; I’m listening for a song. It’s just different.

BE: Do you get bombarded with submissions from crappy bands?

AP: Yes! (laughs) But I also get bombarded with submissions from really great bands.

BE: (laughs) Right. What would you say is a percentage of what gets used from what’s sent?

AP: Well what actually gets used is such a small amount. I think I probably keep about 50 percent of what comes into my office. But as far as what actually makes it to air is unfortunately a really small percentage because we can only use so many things. Really good music doesn’t get placed sometimes just because the appropriate scene didn’t present itself for whatever reason. It might be a great song by itself, but with the dialogue wasn’t quite the right mood.”

Read the rest of Mike’s interview here.

Whose house?

As frontman for the legendary rap group Run-DMC, Reverend Run – born Joseph Simmons – has kept it on the down-low for the past few years, since the tragic death of his bandmate, Jam Master Jay. But 2005 brought the Reverend’s first-ever solo album, Distortion, as well as the debut of his MTV “reality sitcom,” called – what else – “Run’s House.” The good Reverend took time to speak to Will Harris from Bullz-Eye.com about these things, the VH-1 Hip Hop Honors, and his Words of Wisdom.
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Bullz-Eye: Obviously, you’ve got a history with the rock and rap combo there. Was that, like, an intentional choice to…

Reverend Run: Yeah, we were the first to do it with “Rock Box,” and then we made “King of Rock,” and finally “Walk This Way” was the biggest.

BE: So was that an intentional choice, to continue that bridge to this new album?

RR: Uh, it’s just intentional to make what I make, to do what I do, to do what I’m put on this earth to do. So it was a very simple process because I just did…me. I was inspired by me, and that whole Run-DMC type of Rick Rubin-ish, Russell Simmons, Larry Smith era, where we made these types of records, and I just went there and camped out there and made records from that day.

BE: I heard the single’s being included in “Madden ’06 Football.” How…

RR: Yeah, that’s a breakthrough for me…and, then, I have the television show coming on MTV, which is a major breakthrough.

BE: Right…

RR: It’s called “Run’s House.” It’s replacing “The Osbournes.” I’m very excited about that.”

Check out everything the good Reverend had to say here.

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