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KYHOMG
- פותח הנושא joelgirl
- פורסם בתאריך
GOOD MORNING REVIVAL
Good Charlotte GOOD MORNING REVIVAL Track-by-Track “Intro”: Joel [Madden] and [producer] Don Gilmore put that together all by themselves. They had this idea of how they wanted to open the record and they just went with it. It was meant to be in the same key as “Misery”, the song that follows it, and I really dig how it starts the album. When I heard it, I was like “This is fucking awesome!” (Billy Martin) “Misery”: That was one of the first songs Joel and Benji came up with when they went away to Canada to write. Me and Billy are stay at home musician types and were not into the whole nightlife thing that Joel and Benji seem to devour, but we both really loved the club vibe of it. We love electronic music. And when they came to us with stripped down songs with bass and drums and keyboards, we added the heavy guitars to it. It’s such a powerful song, so I really think it deserves to open the record. And that was one the songs we played on our club tour last fall and knowing that we could play it and pull it off live made us all so happy (Paul Thomas) “The River”: That’s our first single in America. In the video -which Marc Webb did for us- we kind of go all around L.A. And it’s hands down the coolest video we’ve ever done. Some people might think its anti-LA. It’s just sort of an observation of the Hollywood scene, Anyway, we’re friends with Avenged Sevenfold, and when we were in the studio, they dropped in to say hi and wound up playing on the song. That’s Brian (a.k.a Synyster Gates) doing the shredding at the end. When we were piecing the song together it sounded great. At first I wasn’t that into it-it caught me off guard, but now I can’t imagine the song without that part of it. That’s our first collaboration with another band, so it was fun and unique for us. (Paul) “Dance Floor Anthem”: I think it was so natural with what we were doing for the last few years of DJing. It captures a lot of what we were doing in our lives and with our friends and the whole thing came from a very organic place. It wasn’t overdone. There are danceable moments but its still very much a Good Charlotte record. But we are informed by the things we do and the way we live and it all enters our music. It came out very natural (Joel) I love that song. It’s probably my favourite song on the record. Its real fuzzy, but vocally its got this straight up Good Charlotte super chorus. It was cool because it’s different. I’m really not much of a punk fan I never really have been. And people ask me all day long who my favourite punk band is, and I never know what to say. It was cool to put all those keyboards on the record. I know the media likes to play us as a punk band but we’re so much more than that. And I think this song, and this record as a whole really shows that we can go in any direction. (Billy) Lyrically that goes in a different direction for the band. It’s not real angst driven. It’s not from the “I hate my father” mentality or the “Where do I fit in in society?” mentality. It’s not the typical stuff we’ve been known for. And that alone makes it unique, coupled with the electronic element that gives it such a fresh vibe. Hopefully it will get played in the clubs. I’d be psyched if we could have a crossover like that. (Paul)
Good Charlotte GOOD MORNING REVIVAL Track-by-Track “Intro”: Joel [Madden] and [producer] Don Gilmore put that together all by themselves. They had this idea of how they wanted to open the record and they just went with it. It was meant to be in the same key as “Misery”, the song that follows it, and I really dig how it starts the album. When I heard it, I was like “This is fucking awesome!” (Billy Martin) “Misery”: That was one of the first songs Joel and Benji came up with when they went away to Canada to write. Me and Billy are stay at home musician types and were not into the whole nightlife thing that Joel and Benji seem to devour, but we both really loved the club vibe of it. We love electronic music. And when they came to us with stripped down songs with bass and drums and keyboards, we added the heavy guitars to it. It’s such a powerful song, so I really think it deserves to open the record. And that was one the songs we played on our club tour last fall and knowing that we could play it and pull it off live made us all so happy (Paul Thomas) “The River”: That’s our first single in America. In the video -which Marc Webb did for us- we kind of go all around L.A. And it’s hands down the coolest video we’ve ever done. Some people might think its anti-LA. It’s just sort of an observation of the Hollywood scene, Anyway, we’re friends with Avenged Sevenfold, and when we were in the studio, they dropped in to say hi and wound up playing on the song. That’s Brian (a.k.a Synyster Gates) doing the shredding at the end. When we were piecing the song together it sounded great. At first I wasn’t that into it-it caught me off guard, but now I can’t imagine the song without that part of it. That’s our first collaboration with another band, so it was fun and unique for us. (Paul) “Dance Floor Anthem”: I think it was so natural with what we were doing for the last few years of DJing. It captures a lot of what we were doing in our lives and with our friends and the whole thing came from a very organic place. It wasn’t overdone. There are danceable moments but its still very much a Good Charlotte record. But we are informed by the things we do and the way we live and it all enters our music. It came out very natural (Joel) I love that song. It’s probably my favourite song on the record. Its real fuzzy, but vocally its got this straight up Good Charlotte super chorus. It was cool because it’s different. I’m really not much of a punk fan I never really have been. And people ask me all day long who my favourite punk band is, and I never know what to say. It was cool to put all those keyboards on the record. I know the media likes to play us as a punk band but we’re so much more than that. And I think this song, and this record as a whole really shows that we can go in any direction. (Billy) Lyrically that goes in a different direction for the band. It’s not real angst driven. It’s not from the “I hate my father” mentality or the “Where do I fit in in society?” mentality. It’s not the typical stuff we’ve been known for. And that alone makes it unique, coupled with the electronic element that gives it such a fresh vibe. Hopefully it will get played in the clubs. I’d be psyched if we could have a crossover like that. (Paul)
חלק 2
“Keep Your Hands Off My Girl”: When I DJ, I get attitude thrown at me all the time. It’s mirroring that. Like, some guy gets pissed because his girlfriend said hi to me, Like, I’m in Good Charlotte and they suck. And hes mad because his girlfriend came over. Meanwhile I’m like, “I don’t even remember who she was,” And theres the other guy, who’s like “Why are you playing N.W.A? Play some fucking Daft Punk!” And its all this attitude from people you don’t even know. But they already seem to know so much about you already. It’s just annoying. I’m not complaining about [fame] but I had to do something to get it off my chest, so I wrote that song (Joel) It’s almost a rap song. Honestly the first time I heard it I was like “Are you fucking kidding me? People will never know that’s a Good Charlotte song.” And then Joels like, “Well that’s the point.” (Billy) “Victim of Love”: At Don’s insistence, we got ourselves out of L.A and out DJing every night. After the first day in Vancouver, “Victim of Love” came and we knew we were onto something. Being in L.A can make it hard to focus just on songs. We’d definitely leave town to write again. In fact, I think we should do anything Don says. If Don tells me to do something, I’m doing it. This record is proof that Don knows what he’s talking about. (Joel) “Where Would We Be”: Look, I’m sure people are going to say it’s about this or that. But for me it’s a big part of who I am and I just accept that. I love ‘love’, you know what I mean? I love falling in love, I love being in love. I just got out of my relationship recently as many people will know. (Joel) “Break Her Heart”: We’ve grown up and we’re just kind of figuring things out as evolve with relationships. With our father we didn’t exactly have the best role model of how things should work, so we kind of stumble through it the best we can. And if you examine the lyrics on this record, there are definite revelations and deeply personal feelings. (Benji) “All Black”: We wanted to give the intro to that song a gothic feel. But to me the song itself is just an old school rock and roll tune. The lyrics employ a gothic sensibility, but for me it’s a rock tune. (Benji) Its kind of saying who I am. It’s a self assessment put to music. And it’s saying what you kinda of already know about me. People think it, but maybe they wouldn’t say it to me. So I’m saying to them. Like, “No shit!” They shake their heads, like, “Oh. Okay, I get it now” Its kind of like affirming something. (Joel) “A Beautiful Place”: I wrote that song down in Mexico. I was down there during Hurricane season and when I was down there I was in this beautiful, beach environment. I had a night off and I was just thinking about how lucky I was. I was feeling really hopeful and I was wishing everyone could feel that way I felt at that moment. (Benji) It was a real Dean [Butterworth] moment. It was different when we wrote it, but then Dean started playing that real pronounced drum part. The drums are part of the hook. And it changed the whole sound (Joel) “Something Else”: There’s the good and the bad in love and relationships. It drives me in everything that I do. Love is a big part of me and I’ve accepted that and its in my music. And I’m not afraid to just show it. Like, okay, this is me. I’m writing these songs for real. (Joel) “Broken Hearts Parade”: For some reason I just heard these 80’s horns on it. And I was trying to explain it to Don. Im like “I want fucking horns on it. And hes like, ‘Horns?’ And I’m like ‘Yeah dude,’ so anyway I started playing this horn part with my mouth of how I wanted it, and they brought real horns onto it later” (Joel) That song has keyboards on it and xylophones. But it’s still sort of for the old school punk kids who have been with us since the first record. I think fans of the punk/pop sound we used to really embrace will appreciate that one quite a bit. (Billy) “March On”: We definitely knew that we’d want to wrap up the album with ‘March On’. We thought it was super important to our fans and for the overall vibe of the record to close it with an upbeat number. (Benji) If ‘Misery’ starts the record in a sort of brooding way, ‘March On’ is the optimistic ending. It’s the perfect way to end what I think is the best album we’ve ever done. (Paul)
“Keep Your Hands Off My Girl”: When I DJ, I get attitude thrown at me all the time. It’s mirroring that. Like, some guy gets pissed because his girlfriend said hi to me, Like, I’m in Good Charlotte and they suck. And hes mad because his girlfriend came over. Meanwhile I’m like, “I don’t even remember who she was,” And theres the other guy, who’s like “Why are you playing N.W.A? Play some fucking Daft Punk!” And its all this attitude from people you don’t even know. But they already seem to know so much about you already. It’s just annoying. I’m not complaining about [fame] but I had to do something to get it off my chest, so I wrote that song (Joel) It’s almost a rap song. Honestly the first time I heard it I was like “Are you fucking kidding me? People will never know that’s a Good Charlotte song.” And then Joels like, “Well that’s the point.” (Billy) “Victim of Love”: At Don’s insistence, we got ourselves out of L.A and out DJing every night. After the first day in Vancouver, “Victim of Love” came and we knew we were onto something. Being in L.A can make it hard to focus just on songs. We’d definitely leave town to write again. In fact, I think we should do anything Don says. If Don tells me to do something, I’m doing it. This record is proof that Don knows what he’s talking about. (Joel) “Where Would We Be”: Look, I’m sure people are going to say it’s about this or that. But for me it’s a big part of who I am and I just accept that. I love ‘love’, you know what I mean? I love falling in love, I love being in love. I just got out of my relationship recently as many people will know. (Joel) “Break Her Heart”: We’ve grown up and we’re just kind of figuring things out as evolve with relationships. With our father we didn’t exactly have the best role model of how things should work, so we kind of stumble through it the best we can. And if you examine the lyrics on this record, there are definite revelations and deeply personal feelings. (Benji) “All Black”: We wanted to give the intro to that song a gothic feel. But to me the song itself is just an old school rock and roll tune. The lyrics employ a gothic sensibility, but for me it’s a rock tune. (Benji) Its kind of saying who I am. It’s a self assessment put to music. And it’s saying what you kinda of already know about me. People think it, but maybe they wouldn’t say it to me. So I’m saying to them. Like, “No shit!” They shake their heads, like, “Oh. Okay, I get it now” Its kind of like affirming something. (Joel) “A Beautiful Place”: I wrote that song down in Mexico. I was down there during Hurricane season and when I was down there I was in this beautiful, beach environment. I had a night off and I was just thinking about how lucky I was. I was feeling really hopeful and I was wishing everyone could feel that way I felt at that moment. (Benji) It was a real Dean [Butterworth] moment. It was different when we wrote it, but then Dean started playing that real pronounced drum part. The drums are part of the hook. And it changed the whole sound (Joel) “Something Else”: There’s the good and the bad in love and relationships. It drives me in everything that I do. Love is a big part of me and I’ve accepted that and its in my music. And I’m not afraid to just show it. Like, okay, this is me. I’m writing these songs for real. (Joel) “Broken Hearts Parade”: For some reason I just heard these 80’s horns on it. And I was trying to explain it to Don. Im like “I want fucking horns on it. And hes like, ‘Horns?’ And I’m like ‘Yeah dude,’ so anyway I started playing this horn part with my mouth of how I wanted it, and they brought real horns onto it later” (Joel) That song has keyboards on it and xylophones. But it’s still sort of for the old school punk kids who have been with us since the first record. I think fans of the punk/pop sound we used to really embrace will appreciate that one quite a bit. (Billy) “March On”: We definitely knew that we’d want to wrap up the album with ‘March On’. We thought it was super important to our fans and for the overall vibe of the record to close it with an upbeat number. (Benji) If ‘Misery’ starts the record in a sort of brooding way, ‘March On’ is the optimistic ending. It’s the perfect way to end what I think is the best album we’ve ever done. (Paul)
The River Acoustic
http://www.youtube.com/watch?v=TRtm4QxHd8A הופעה חיה אקוסטית מtrl איטליה. the river + I just wanna live
http://www.youtube.com/watch?v=TRtm4QxHd8A הופעה חיה אקוסטית מtrl איטליה. the river + I just wanna live
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