The hype surrounding his music has died down considerably since he made his Sony debut in 2001 with musicforthemorningafter, but even as the choruses of “next big thing” have subsided, Pete Yorn has set about building a career out of one solidly crafted, well-reviewed album after another — and he’s looking to add two more to the catalog this year: the recently released solo set Back & Fourth, and an upcoming duets set with Scarlett Johansson, Break Up. Having just completed a string of dates opening for Coldplay, Yorn is ready to hit the road in support of Fourth, and was nice enough to set aside some time on a day off for a chat with Bullz-Eye’s Neil Carver. Their talk touched on the new albums (of course), his newfound love for New Order’s “Bizarre Love Triangle,” what inspired him to work with Scarlett, and how his songwriting process has changed over the years:

“In the old days, I wouldn’t really write much on tour. I’d come home and everything would come to a grinding halt, and then I would start to get really restless and freaked out. That’s when I’d start writing the songs.”

To read more of what Pete Yorn had to say in his Bullz-Eye interview, follow this link!

It physically pains us that Kylie Minogue isn’t big in America. Heaven knows that we’ve embraced singers with thinner voices and weaker tunes, not to mention there are few pop stars on the planet as awesomely hot as the Divine Miss K. Capitol thought they had lightning in a bottle when “Can’t Get You Out of My Head” exploded, but once “Love at First Sight” scratched and clawed its way to #23, they learned the same lesson that Geffen learned a decade before: in radio terms, Kylie’s not a girlfriend – she’s a one-night stand. With the release of Boombox: The Remix Album, it appears that Capitol (who shuffled the contract off to hipster indie Astralwerks) is fulfilling their obligation to releasing Minogue’s records, and the choice is a curious one. On the one hand, compiling the remixes will rope in her gay club-going fans, but will they be satisfied with edited versions of the mixes? Astralwerks better hope so, because the mixes on Boombox are not going to play to mainstream dance popsters. The mash-up of “Can’t Get You Out of My Head” with New Order’s “Blue Monday” is cute, and the Chemical Brothers add a nice dose of sleaze to “Slow,” but the majority of the mixes are relentless, thumpa-thumpa-thumpa dub-style mixes (“Wow,” in particular, is hacked to bits). If we had our way, Boombox would use single edits, with a bonus disc of full-length remixes. With any luck, a more commercial-friendly version of Boombox is in the works. (Astralwerks)

Kylie Minogue MySpace page

(Love to the Mayor of Simpleton, for giving me the idea)

The news hit the AP wire today, announcing that four acts from ‘70s and Miles Davis, who died in the early ‘90s at the age of 375, were inducted into the Rock ‘n Roll Hall of Fame. They’re technically the Class of 2006, but I call them the Class of ’81, since any band whose debut album was released in 1981 or earlier was eligible for inclusion. The very fact that only two of these bands were within sniffing distance of the ‘80s leads me to believe that a ton of also-ran ‘70s bands will get in before any of the truly worthy ‘80s bands will, and that, frankly, disturbs me.

And so, without further ado and in no particular order, I submit my top ten list of ‘80s bands that should be inducted into the Rock ‘n Roll Hall of Fame sooner rather than later. U2 is already in, so they’re obviously disqualified.

1) REM. Forget the Bill Berry-less train wreck that the band’s become of late, and remember when they and U2 ruled the rock world the way Darth Vader dreamed of ruling the galaxy with Luke Skywalker. Between 1987 and 1994, they were bulletproof, and there are thousands of bands and nerdy record store clerks who worshiped at their altar.
2) Madonna. If she doesn’t get inducted in the Class of 1983/2008, she will have Guy Ritchie and her children dropped off the Empire State Building. Which is really hard, because there are these tall metal bars on the rooftop deck with sharp points that curl inward. I’m guessing she uses a catapult.
3) The Smiths. Forever changed the face of modern rock, they did. Johnny’s done some good stuff with Electronic and The The, but he has to know that his best work rests within this band’s catalog, feuds with Steven Morrissey be damned.
4) New Order. Simply put, there is no electronic music scene without these guys. Kraftwerk may have gotten there first (something I’ll get to in a minute), but New Order was the band that fused a rock and roll sensibility into those machines, which in turn created a legion of knockoff bands by the late ‘80s. Even the Cure nicked half of their best licks from these guys. “In Between Days,” anyone?
5) Guns ‘n Roses. It may have ended in a haze of lawsuits and coke, but Goddamn, when Guns ‘n Roses was clicking, there wasn’t a band that could come within a thousand miles of them. And forget Appetite for Destruction: their best stuff was all over the Use Your Illusion albums, the greatest single album that never was.
6) Janet Jackson. Because you don’t make it to First Name Only status without earning it, bitches.
7) Public Enemy. Because their records from the ‘80s still scare white people.
8) Run DMC. The kings of rock. There is none higher.
9) Beastie Boys. It’s safe to say that not even Rick Rubin had any idea what kind of band the Beastie Boys would become. After all, find another band who went from the Juvenile But Massive Debut to Groundbreaking, Trendsetting Sophomore Album.
10) Motley Crüe. If only because they lived the life of rock and roll excess to a degree that would even make Bonzo and Keith Moon go, “Whoa, dudes, let’s not go nuts here.” Few bands embody the spirit of rock and roll more than Motley Crüe. Oh, and they also wrote some kickass tunes.

Bubbling Under: Bands and artists I would like to see inducted but will likely need some help
• Duran Duran
• Depeche Mode
• Stone Roses
• Talk Talk
• The The
• Ministry. The birth of industrial, people.
• English Beat/Madness/Specials. Someone from the ska era has to be represented, dammit.

I didn’t list Nirvana (whose first album Bleach came out in 1989 when none of us were looking) because they’re a no-brainer first ballot inductee. Ditto the Pixies (comment entered after Neil totally faced me on their omission).

Five holdovers from the ‘70s
1) Kraftwerk. Man, how on earth are these guys not in? They were and are light years ahead of their time. Hell, Coldplay’s stealing their songs and claiming them as their own, fer crissakes.
2) Van Halen. And so, a generation of shredders was born.
3) T. Rex. Yeah, okay, Bolan’s dead, so he’ll never know you didn’t induct him, but for crying out loud, bands are still ripping him off. That has to be worth something.
4) Cheap Trick. Few bands have meant so much to so many different genres of music. Cheap Trick is that band. Big Star gets all the love, but Cheap Trick was the better band, by a country mile.
5) Rush. Thrown under the progressive rock bus only because no one knew what to do with them. But they have amassed a body of work that today’s popular bands would be lucky to emulate.

Comments, suggestions, hate mail? Bring it, suckaz.

Post script: It just hit me that I left off the Red Hot Chili Peppers, whom I meant to include, so you Fleabies out there, quit hatin’ right now.