Napster Q&A

March 16, 2010

Q&A with Too Short

Legendary Oakland rapper Too Short has collaborated with a ton of high-profile artists during his storied career, including The Notorious B.I.G., Scarface, and Diddy. He's also well known for his own hit singles, including "Gettin' It" (which he made with George Clinton, see below), and more recently "Blow the Whistle." Now he aims to stir things up in the digital world and was even willing to share his plans with us:

What’s new? 
I'm making the transition from the major label world to the digital world and working on an online-only album called Still Blowin'. I'm also working on a collaboration album with E-40 and a few TV projects.

Looking back, of your many collaborations, which is the most important to you?
The song "Gettin' It" in 1996 from the 10th album I made, when I announced my retirement. The song was a collaboration with George Clinton and Parliament. I recorded it after one of my shows, and we just made a hit record that night. I grew up on Parliament, so it was a good feeling not only to collaborate with them but to also make a hit song and video with them.

Any acting gigs in the future?
Actually, I just had some meetings with a talent agency in L.A., and I plan to take on some small rolls in a few big-budget movies. Nothing too big, though.

What was your favorite release of 2009?
It's a toss-up between Jay-Z's The Blueprint 3 and Snoop Dogg's Malice 'N Wonderland.

What’s next?
My next goal is to totally do away with the age stereotype in hip-hop. I pretty much stepped on it, but now I'm tryin' to s*** on it, feel me.

Any last words?
It ain't over.



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March 04, 2010

Q&A with Groove Armada

When your catalog of classics contains hits like "Superstylin'" and "I See You Baby," people take notice. Groove Armada fans have been noticing the jams ever since basking in the serene tones of 1997's "At the River." Now those fans have reason to celebrate once more: This week the Armada is back with a new album called Black Light. We had the wonderful opportunity to get in touch with the group and ask them about it. Here's what they had to say:

How would you describe the evolution of Groove Armada’s sound from Northern Star to Black Light?
It’s been a long and winding road. We've gone from being a couple of guys noodling around in a studio with samples to being something much more akin to a full-fledged band. With that has come fewer samples, bridges, verses and choruses which I wouldn't have even known the name of 10 years ago. I think the way we play live, which is properly live and direct, has had more and more impact on what we do on record.

What was the toughest obstacle you had to overcome to release Black Light?
I guess a bit of self belief. It’s a great record, something we're both really proud of, but its a real departure for us. When you're that far out of your comfort zone, you do have to check yourself from time to time, but right now it's all good.

The new single “Paper Romance” sounds amazing. You guys work extraordinarily well with vocalists. Is there any artist in particular that you would especially like to work with in the future?
We’re loving working with Saint Saviour, who sings on 'Paper Romance' and performs live with us. But there are people out there... We’d love to work with Nick from Passion Pit, and from the UK the likes of Plan B and Paloma Faith. But having just worked with Bryan Ferry, we're pretty cook-a-hoop on the collaborator front.

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March 02, 2010

Q&A with 3OH!3, Kerli, Metro Station, and Neon Hitch: Alice in Wonderland and Almost Alice

The trifecta of dark, quirky film-making is back. Tim Burton, Danny Elfman, and Johnny Depp have once again combined forces for one of the most anticipated movies of 2010, Disney's epic 3-D live-action remake of Alice in Wonderland. To further stoke that anticipation, Disney hosted an "ultimate fan" event for the film on Feb. 17 that featured performances by bands on Almost Alice (a companion album of songs inspired by the story) and brief, but screamingly welcomed appearances by cast members including Anne Hathaway, Helena Bonham Carter, Crispin Glover, Tim Burton, and ... wait for it ... Johnny Depp. Napster was there for the excitement, and 3OH!3, Kerli, Metro Station, and Neon Hitch were kind enough to momentarily jump down the rabbit hole with us:

You’ve just arrived in Wonderland. Who are you dying to meet?
3OH!3: The March Hare. His set at Glastonbury last year was awesome.
Neon Hitch: Johnny Depp. He's amazing.
Metro Station: The Mad Hatter, because he's got those crazy teeth!
Kerli: Fairies, mostly, and the Cheshire Cat.

Bottle of “Shrink Me” potion or Cake of Giant Proportions: which one do you go for?
Kerli: Giant, definitely. I'm tiny already—I don't need any more shrinkage!
Neon Hitch: Giant proportions, always! I'm always over the top.
3OH!3: Yeah, giant for us as well, so we can try out for the NBA again.

You’ve been invited to a tea party. Pick your poison: What’s your favorite drink?
3OH!3: Puckers and Sprite. [laughter]
Metro Station: Sweet tea.
Kerli: Sex on the Beach.
Neon Hitch: Jack Daniels. I'm not a big fan of the girly drinks. If you're going to drink, do it properly.

The White Queen and Red Queen duke it out. Who’s your money on?
Neon Hitch: The Red Queen, the queen of love. That's what I'm a believer in!
Kerli: White!

Can you tell us a little about getting involved with Almost Alice?
Metro Station [Trace Cyrus]: We were overseas on tour with my little sister Miley, and they asked if we would write a song for the movie. We started working on it in our hotel in London, and it was the last song to make the album, so we were lucky.
Kerli: I have two songs on it. One of them is called "Strange"—it's a duet with Tokio Hotel, which is the first song I've done that I didn't write, but I could really relate to the message. Everybody feels a little strange sometimes. It's weird in this human body, and often I feel like I can't relate, so that's what this song is about. The other song called "Tea Party," which is a super fun song about a twisted tea party.
3OH!3: It was awesome. We're big fans of Tim Burton's films and of the book. We read the book again right before we hit the studio, to get the vibe right. We tried to make a song that was a little whimsical and nonsensical, but at the same time [one that] was in the vein of our style, which is hopefully catchy-sounding stuff. We got to work with Neon Hitch, who's an artist we're a big fan of, so it was a good release.

What are you up to in 2010?
3OH!3: We're in the studio right now recording our new album, which will be out mid-to-late June, and then we're touring this spring with Cobra Starship and Travis McCoy.
Metro Station: New music and shows in the future.
Neon Hitch: I just signed with Warner Bros., so there's an album on the way.
Kerli: This year I'm going to release my second album, so it's going to be very exciting.

Any other classic stories it would be fun to make music for?
Kerli: It's actually a huge dream of mine to do a movie score. I would love to do something for The Snow Queen, if they ever make that.
Metro Station: We're huge movie buffs, so we'd be open to anything.
3OH!3: Lord of the Rings: The Hobbit or Moby Dick.

 


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February 25, 2010

Q&A with Morgan Page

If you frequent the Napster electronica page, you're probably pretty familiar with the work of the Los Angeles dance music producer Morgan Page. Even if you've missed our coverage of his work, you may be familiar with him through the explosive, Grammy-nominated Deadmau5 remix of his track "The Longest Road." 2008's Elevate was Page's first official full-length album, and it quickly became a huge success. Now he's back with another installment: The new album is called Believe, and we're very excited, not only about having a whole new list of Morgan Page tracks to absorb, but also about having the opportunity to speak with him about it.

What was the most rewarding thing about making Believe?
The final body of work—13 originals songs, two of which were covers, but both were completely re-imagined. It's really satisfying when the album forms and gels into this amazing end product after all that hard work. Making sure you could listen all the way through was really important. To have that one cohesive experience is great, but the album also works well if you shuffle the songs around. There's enough diversity in the sound, but also consistency among the songs.

What’s your favorite track on the new album?
"Fight For You," for sure. But I'm equally excited about them all. Vocal tracks take a long time but are really gratifying. The instrumental segue tracks are just fun; I can relax and just build a soundscape, working much faster. Working fast is key because after too many repetitions you hit the "point of no return" where you lose your objectivity, and your decisions aren't as good. You need to work fast, let the songs incubate for a bit, then return to them.

How has your being an American dance-music artist affected your career?
I think it brings extra challenges, as European tastemakers—especially in dance music—often want to push their own artists and will not open the gates to outsiders. America loves importing foreign talent and breaking artists from overseas, but often at the expense of homegrown talent going unnoticed. This just makes you have to work harder. I think facing over-saturation and the challenge of competing with the Lady Gagas and Pitbulls of the world in the same categories makes you more resilient. Inspiration-wise, I think there's something to be said about the size of the country—the endless expanses of national parks and diversity within the country is something that really inspires me to make music. "The Longest Road" was about the desert in Joshua Tree. It was a mental image I saw throughout the entire songwriting process, based on the dozen or so trips out to the desert. I feel that if I lived in other countries, with the exception of Australia—I would feel a bit claustrophobic. I grew up with the mountains in Vermont, and now I have even bigger ones in my backyard in L.A.

Morgan, you’re an amazing artist with some really amazing music, and on behalf of all your fans here at Napster, thank you for your time.
Thank you.

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February 10, 2010

Q&A with Jason Yates

Singer-songwriter Jason Yates recently released a new, self-titled album on Vapor Records. It's an intimate set that invites you into his thoughts, conveyed via roots-rock and country arrangements. In addition to answering a few questions, Yates also recently sat down with Napster's Coolest Cat for a quick jam, which you can see here.

Who’s influenced you most recently?
This last year has been a real trial for me as a musician. After close to five years steady touring and recording with Ben Harper, I had a lot of music inside that needed an outlet. So, it was a year of my own soul searching and self discovery. I must say my biggest influence throughout my career has been my father. Funny, he's not a musician, but through his guidance and support I have been forever touched.

Who have you enjoyed touring or recording with the most?
The best tours are always with bands that are organic, meaning real bands. But with Harper, the Innocent Criminals were old friends of mine for years beforehand, and I think that friendship, in conjunction with good songs and amazing fans, really made for a great musical setting.

You’re a fan of Charles Bukowski. What’s your favorite work?
I just re-read Ham on Rye. For the fathers! Yeah! I haven't even scratched his poetry yet.

Some artists say it’s easier to write songs when they’re in a certain mood. What mood do you prefer to be in when writing new material?
My songs usually come when my life is in turmoil. When things seem to falling apart all around me, a song might be my only salvation.

What do you most want to accomplish in 2010?
For now I really want to make that transition from side man to front man. I would like to overcome my fears and open up to sharing my music. Playing my own music live!

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February 03, 2010

Q&A with Midlake

Texas-based lo-fi psychedelic rockers Midlake have steadily gained attention since their acclaimed 2004 debut, Bamnan and Silvercork, and 2006 follow-up, The Trials of Van Occupanther. Now they're back with an already well-received new album, The Courage of Others, on Bella Union. It's a busy time for the band, but guitarist Eric Pulido was kind enough to answer a few of our questions:

What do you like best about The Courage of Others?
That it got finished! It was a long two years of recording, filled with goods, bads, and uglies. We didn't know if this album was going to come together and struggled to get the songs sounding right. We feel like we matured and grew a lot as a band, and [now we're] in a better place than ever.

Your sound and overall aesthetic has always been extremely creative and on the lo-fi side. Have other artists influenced your sound, or was it more of a natural development?
Each album has had a specific set of bands or sounds that have been influential and inspiring to us. We really become immersed in whatever music is moving us at a particular time. Its a pretty natural thing, really. We all love music, of course, and whatever you're listening to has an inherent way of getting into what you're creating. With the latest record, we really got into the '60s/'70s British folk scene. It wasn't [that] much of a stretch from the '70s West Coast folk-rock vibe that influenced Van Occupanther, but it was still a departure.

What were your main inspirations for the new album?
Bands like Fairport Convention, Amazing Blondel, Pentangle, The Incredible String Band, Steeleye Span, etc. were on constant rotation and very influential. We weren't trying to make a carbon copy of what those bands did (and couldn't if we tried), but rather interpreted those influences into our own voice.

If you had the power to change one thing in this world, what would it be?
Man, that's a tough one. I would want it to be a great one—something that does good for all mankind; a change that makes a positive difference... I'll go with teleportation being possible. That would be cool.

What keeps Midlake motivated as a band?
The desire to make a better record, have a better live show, and be better people.

      

 
 

 

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February 02, 2010

Q&A with Rob Zombie

Multitalented rock eminence Rob Zombie is a busy man. His latest film, Halloween II, was recently released on DVD, and today, via Roadrunner Records, he drops his fifth studio album, Hellbilly Deluxe 2, featuring such tracks as "Jesus Frankenstein" and singles "What?" and "Sick Bubblegum." Back in 1995, you couldn't escape the words "More human than human" from White Zombie's Astro-Creep: 2000. Fifteen years later, his new album's subtitle is "Noble Jackals, Penny Dreadfuls, and the Systematic Dehumanization of Cool." Fortunately for us, Zombie is still human enough to entertain a couple of questions:

What did you learn from making Hellbilly Deluxe 2? 
I learned I like being in a band more than being a solo artist. Working together with a group of friends is much more fun.

What's the biggest difference between this album and the original Hellbilly Deluxe or your other previous albums?
The main difference is that the first one is a true solo record, whereas this is a total band-made album.

What's your favorite musical moment in Halloween II?
My favorite moment is Michael Myers walking away from the nurse lying dead on the floor while The Moody Blues' "Nights in White Satin" plays faintly in the background. The song is truly Michael mind frame.

With Valentine's Day on its way, if you could remake/re-score any romantic comedy from the past in your style, what would you choose?
I've always loved The Seven Year Itch. I think that could be redone in a more adult way with interesting results.

What’s next for you?
I'm directing an episode of CSI: Miami. It is a huge episode with many guest stars that you wouldn't expect to see on that show.


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January 12, 2010

Q&A with Laura Veirs

Laura Veirs just released her latest solo effort, July Flame, via her own label, Raven Marching Band Records. The Seattle-based singer-songwriter first gained widespread acclaim in '04 for her album Carbon Glacier. And although now a mother-to-be who obviously has her hands full, she was kind enough to entertain a few of our questions:

Any surprises or epiphanies in the making of July Flame?
Here's a story: We were trying and trying to get a good vocal take for "When You Give Your Heart." I couldn't seem to do it, and I was mentally deciding: "Okay, let's just cut this song. I obviously can't sing it." Tucker [Martine, Veirs' producer] could sense that I was getting frustrated and suggested we go out to lunch. We did, and when we came back I had an appointment to go to and was on a time deadline, so I decided to give it one more try. On that try I nailed the take, and I think that vocal take is actually the strongest on the album. It's amazing to me how fragile the recording process is, how fleeting "the right head space" can be, and how much I have to learn about the mind/body connection each time I make a record.

It’s been 10 years since your debut. What’s the most important thing you’ve learned in that time?
That's a tough question. I've learned a lot about how to sing. That's one major thing. I just didn't know how to sing well when I started and didn't have any confidence with guitar playing either. I've gotten good at that. I've learned a ton about making records, and all the different things that go into that: songwriting, selection of musicians, artwork, touring, marketing, and starting a record label in earnest. I've also learned much about performance, how to get through stressful situations, tour management, recording contracts, and all kinds of aspects of the business side of things. I've seen many different countries of the world because of my musical travels and have learned about different aspects of cultures that I wouldn't have seen as a tourist. I've made dear friends for life. And I've learned about patience, determination, collaboration, and trust in other musicians and Tucker, my producer. It's too hard to choose what's most important out of that list!

What concerns you the most these days, and how does it affect you artistically?
The health care situation is the one that gets me most riled up. I feel so much envy when I go to Europe or Canada and learn about their health care systems. It feels like we're still in the dark ages on this issue, and it's incredibly frustrating. This doesn't affect my art per se, but it certainly affects me and my friends, many of whom are self-employed musicians without any health care at all.

What are your next musical plans?
Releasing my new album, touring for two months in Europe and then the States, and then resting for a bit and having a baby in mid-April. Then I plan to take a few months off and start touring again with the kid. We'll see how it goes!

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October 20, 2009

Q&A with Gov't Mule

Southern rock band Gov't Mule have been rocking since the mid '90s, blending blues and psychedelic rock influences and creating a sound all their own. The band is fronted by Warren Hayes, who, among other things, was Duane Allman's second replacement in The Allman Brothers Band. Warren was kind enough stop by, play some licks with the Napster cat (see photo), and chat about Mule's new album, By a Thread—available exclusively now on Napster a week before official release, with exclusive bonus track "Railroad Boy."

Can you tell us a little about the new album?
It’s our first album with our new bass player, Jorgen Carlsson. I think it was really important to go into the studio and galvanize the chemistry that we’ve discovered with him and start building on that immediately. One of things that I really love about By a Thread is that it sounds like stuff we’ve never done before, but it also has similarities to our first two albums. The last three songs we recorded were written in the studio—we’ve never done that to that extent before, and they turned out to be three of the best tracks on the album that capture the spirit of the band.
 

Any new artists you’ve discovered recently that you can recommend?
There are a couple of bands out in New York I like called Earl Greyhound and The London Souls. They’re both rock bands, which I think is refreshing since there’s such a shortage of new rock bands. Up until the last couple of years, young musicians were scared to play rock music because things had gotten so compartmentalized. There’s “triple A” music, which is the lighter side of rock, and there’s “active rock,” which is the heavier side of rock, but there’s nothing in between, so bands that fall into that middle ground like Gov’t Mule and The Black Crowes find themselves spreading their audience out over a lot of different directions.

There’s also a good band opening up for us right now called Carney. The singer Reeve’s voice reminds me somewhat of Jeff Buckley. And all of the influences they choose are cool and timeless—they’re not just taking trendy influences and capitalizing on them, which I think is really important, because we need bands that are going to stand the test of time.

Who’s the most interesting musician you’ve ever shared the stage with?
If I had to choose some of the ones I’m most proud, there's Bob Dylan, John Lee Hooker, and Willie Dixon—who is not a household name to some (maybe with the Cadillac Records soundtrack people are starting to realize who he was), but he wrote songs that were covered by Cream, Hendrix, The Rolling Stones, The Doors, Grateful Dead, and The Allman Brothers. Every great rock band from that era covered a Willie Dixon song; he was kind of like the Chuck Berry of blues. So I was fortunate to play with Hooker and Dixon before they passed away. And playing with Dylan was as interesting as it gets.

What do you look forward to most these days?
I probably look forward to the next project.  I’m always wanting to do something different, and it seems like there’s never enough time to do all the projects I want to do. And also since I’ve been on tour so much, I look forward to spending some time of the road writing because it’s hard to write on the road—I do it, but it’s not as natural as writing when the tour is over.

What does 2010 look like for Gov’t Mule, and any plans for another solo album?
In 2010, Gov't Mule's going to be spending a lot of time in Europe promoting By a Thread. I’ve actually completed a solo record—it’s a soul album with all original material and one cover. It’s an album I’ve waited a long time to do. All the songs hearken back to my earliest influences, which were soul singers like Sam & Dave, The Temptations, The Four Tops, Otis Redding, and Wilson Pickett. So if you combine my blues influences of B.B. King, Albert King, Freddie King with that, it makes for a really interesting mix. It’s got Ivan Neville playing organ and clavinet, Ian McLagan from Faces playing piano, George Porter, Jr. from The Meters playing bass, and Raymond Webber from Neville’s band Dumpstaphunk playing drums. It’s very fresh, but sounds like a record you might have missed from the ‘70s. Look for that next year, too.

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October 11, 2009

Q&A with Chickenfoot

Chickenfoot, the new band made up of rock royalty Joe Satriani, Chad Smith, Michael Anthony, and Sammy Hagar, have spent the summer (and now the fall) firing up crowds here and in Europe (we went to an early club show at L.A.'s Roxy—wow!) following the release of their debut album. These guys really know about keeping busy, but recently Satriani and Smith were kind enough to take a minute to talk a little 'Foot with us:

At this point, what fulfills you the most, musically?
Joe: I look forward to things that come with challenge and inspiration. It might be tonight’s concert; it might be next year’s record; it might be a future collaboration. It’s an ever-changing process that I keep chasing.

What's it like being in Chickenfoot?
Chad:
We have a blast. Everyone’s pretty cool, and with history comes experience and maturity, I hope. We get along really well. And because it’s new and exciting, we’re still in the “honeymoon” phase [laughs]. Musically, we hit it off right away.

Outside of Chickenfoot, who's inspired you lately?
Joe: I’ve had a lot of recent inspirations, new and old. Years ago, when I was a young struggling musician, it was hard enough coming up with the funds to buy albums of artists you wanted to learn about, but sometimes they were hard to find as well. Finding music was location specific, and now it’s all in the same place, so to speak. I can jump on Kings of Leon and get into it right away; I can get into Béla Fleck jamming with African musicians; I can get that Stooges compilation I was looking for; I can go back and complete my digital version of an old Jimmy Reed record. I’m listening to things that are sitting in my car or on my iPod, so it’s a mixture of new and old. I wouldn’t know how to even explain to myself why I get into certain records. It’s a mixture of The Black Keys and The Mahavishnu Orchestra [laughs].

When you guys get together do you ever talk about covering any songs from your respective catalogs, or is that off limits?
Joe: Early on we realized the most difficult task at hand, and for any new band, is to get a potential audience to recognize who you are, your music, and what it is you’re trying to say. We wanted to deliver the best show possible, so we considered what the best thing we could do for the health of the show was. I think it was quite obvious to all of us that it wasn’t going to help people understand what this new band was all about if we played our older material. It wasn’t about forming a celebrity cover band—there are a lot of those around. We wanted people to focus on our material, because we spent a lot of time writing completely original music. We became different players for the Chickenfoot album, because we wanted to grow into this new space that we created. If we played “Give it Away,” “I Can’t Drive 55,” “Panama,” and “Surfing With the Alien” it would just confuse the issue, not only for the audience, but for us as well.
Chad: I know some people would like to hear Sammy-era Van Halen, but that’s not what we’re about. Maybe down the road, we might do something, but for now we want to establish what Chickenfoot is.

Any other songs you’d consider covering?
Chad: Well, Chickenfoot kind of began that way. I’d go down to Sam’s place and we’d jam on James Brown, Led Zeppelin, Sly & The Family Stone, The Doors, The Beatles, and even the Chili Peppers—we played everything. But to me it’s more musically rewarding to play Chickenfoot’s songs. For the encore at our shows, though, we normally perform a couple of covers, like “Highway Star” by Deep Purple and “Bad Motor Scooter” by Sam—which is the first song he ever wrote, so that has sort of a sentimental value to it. We’ve also done “Dear Mr. Fantasy” [Traffic], “Rockin’ in the Free World” [Neil Young], and “My Generation” [The Who].

What’s next?
Joe: Chickenfoot’s finishing up touring and filming, so hopefully we’ll have some live concert footage out next year and will continue to write. We have a nice, long break, which I can’t wait for, because I’ve done two tours and two records at the same time over the past two years. It’s been constant work. Sam’s got his charitable cafés to open up—and he’s also an international man of mystery, so you’d have to ask him what he’ll do next. I know Mike will be enjoying life, as he does so well.
Chad: I’ll be returning to the Chili Peppers for a while, but I want to do more with Chickenfoot, and I think everyone else does, too. It’s really fun, and why not?
Joe: We’ll go off in our different directions, but we’ve already started to write new material for a second record. MP3s will be flying back and forth via e-mail as we continue to work. So the next time we’re lucky enough to get back together again we’ll have a lot of material.

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