Theory of a Deadman seems a strange band to open for Daughtry. The reason people "hate" Daughtry is because he only got where he is because of American Idol, and the music is really cookie cutter.
Sep 26, 6, 1, Kansas City. IState08 said:. My guess would be because he sucks Apr 11, 12 Because I don't like it when my ears bleed.. Nov 27, 27, 4, Rochester, MN. I'm going as much if not more for Theory than for Daughtry. Freebird Well-Known Member. Apr 11, 2, 2, CTAClone said:. Never heard of Daughtry either. How do you even pronounce that name? Sep 10, 53, 40, 41 Ames. Freebird said:. But hey, chicks dig him Hey Daughtry, Nickleback called..
Apr 2, 32 28 Ames, IA. A better question would by why do people like Daughtry? Feb 10, 18, 18, Omaha. DaddyMac said:. Before asking why people hate Apr 11, 33, Denver, CO. Good musician and entertainer.
Would go if I didn't have a shoot scheduled that night, and I can't move it as she's a National Guard member back on leave from Iraq. I don't get why people love to go out of their way to rip on the guy, but it is what it is. Reactions: HiltonMagic. Mar 29, 3, 63 Plano, TX. ISUFan22 said:. May 1, 3, 83 Windsor Heights, IA. Apr 21, 20, 1, 48 Saint Paul, MN. Call me a music elitist, but here's how I evaluate musicians: -Do they lip sync at concerts?
Too many "musicians" these days are nothing but shiny industry creations, with good looks and zero talent. American Idol vexes me, because they fail on many of these criteria, and I know that there is legitimate musical talent out there that is better and remains undiscovered because they aren't shiny industry creations.
Carl Svahn October 28, Harleston residents seek answers to repeated burglaries of laundry. Amelia Colafati November 9, Duck, professors speak to impact of test-optional policy on applications. Rohith Raman November 10, Hey Macklemore, can we go thrift shopping? Sophie Wax November 9, Juliette Wu protests vandalization of her artist statement. There were years when we couldn't get that. We get a lot of writers putting a lot of thought into what they think about us.
Whether they like us or don't like us, or they think it's a good or bad record, it's not about some tabloid thing. It's about the music. That's come around for us in a lot of ways, which is a relief. It seems like the time on the farm has given you a lot of peace and perspective.
Nancy Wilson was thumbing through some notes when she found a poem written by her son, Curtis. Perceptive and probing, it seemed to sum up our politically malignant era—and what was spiritually absent at the core of it.
The words were so clever and so whimsical. He was like, 'Black and white, wrong and right. It's a contrast from the heavy times we've had to live through and puts it in a different tonality. Really, Wilson is preoccupied with in-betweens throughout the album—the spaces between life and death, dreams and memories, good relationships and poisonous ones. It's also her first solo album ever , despite making music with her sister, Ann Wilson, in Heart for nearly a half-century. Over the decades, what was the biggest obstacle to putting out a solo album, whether internal or external?
Well, I think I would call it the vortex that's Heart. There's a vortex of the work ethic of Heart for the last almost 50 years, just to be honest. I hate to even date it. But it's been a mind-bending job to do every year for the touring of it and the album after album—mainly, the touring of it all. You know, everywhere with electricity, we've played there. It's an interesting dichotomy with the pandemic stopping the hurtling, you know.
Heart's been hurtling through space for nearly 50 years. It's an interesting contrast to that to have to be shut in and be at home and stop the momentum and reconvene with your personal soul and self, in order to be able to know what to do musically and creatively with that time I had in my hands like everybody has had. It's really a blessing, you know? It's been a blessing outside of the larger curse of it all to be able to reconvene with your communication with your own self.
That's dedicated to my mom, who left us quite a while ago now. She's still in my skin, in my DNA. So it's kind of a gravity-free zone where I can talk to her in that song.
I think the word "gravity," in and of itself, kind of keeps the song from walking that too-precious kind of a line. I think the personal, confessional kind of thing about this album—it's almost too sweet. It walks a line that's almost too sweet, but I think in another way, you could say that it's more of a revolutionary act to be that open and that honest.
Walking the line of sweetness can be more of a rock attitude than hiding out behind your feelings. I'm sort of burying a lot of my feelings in this album. And, you know, tongue-in-cheek stuff too, but the honesty of it is kind of a rebellious act on a certain level.
It seems like you're preoccupied with that line where sweetness could tip over into treacle. You're consciously trying to stay on the right side of that. Yeah, exactly. It's almost, like, not supposed to happen. You're not supposed to do that. It's against the rules to be that honest, to bare your soul like that.
I guess if that's an issue, then I don't know what is. She was a steel magnolia. I got a lot of her strength along the way. A military family, right? Marine corps, all those travels we had growing up were a strengthening kind of thing.
We became really tight-knit as a family because we were always moving. Early touring experience, actually! She was the mom and my dad because our dad was off fighting wars.
It's a total tribute to that strength of her character and her nurturing, strong, amazing … She was an amazing woman. When I sometimes dream of her, I feel like I got to see her again and I get to talk to her again.
It's a zero-gravity space, and that's what the song is all about. Yeah, sure. I took a lot of them too. She taught how to edit film and stuff, with the little editing machine.
We used to make films in our family. So, I used a lot of that footage in the actual video for the song and she appears in the video for the song. When I dreamt of her last, it was just her wonderful face. Her spirit. I felt like I had a conversation with her and the words were not even clear. It was just being together and the aspect of her spirit being there. My collaborator, Sue Ennis, who's worked with us for years and years for Heart songs, had a song for her mom called "Follow Me.
We both kind of have a mom thing. We've talked about our parents and we grew up together, so we had all those connective tissue things in our hearts about our moms.
So, we kind of collaborated on the ultimate mom song to try to reach into the ether and touch base with that. We morphed two songs into one. It's a hybrid mom song [laughs].
Well, luckily enough, a few years ago, we got to go to New York, when we used to be able to go anywhere, and we got to see "Springsteen on Broadway" live. When I saw that show, it completely blew my mind. It changed my world around because I've always loved Springsteen and his amazing writing. Growing up with Springsteen on the radio, for instance, he'd be sort of behind this big wall of sound with this rock and roll accent where you could hardly understand the lyrics.
Then, seeing him live, completely by himself, stripped-down, those songs and those lyrics —it completely altered my perception of Bruce Springsteen.
He's an insanely great writer. Those words are so depth-y. Later, after having seen that, I watched it a million times on the show you can watch on television. Then he did Western Stars , his other album that got me through the whole last Heart tour. It was life-saving stuff for me.
So then, when I started to do this album, I was like, "I should do this because of the pandemic. I didn't say hi that night, but I do know him. His people told our people that he really liked my version of 'The Rising'!
That made my day—my whole year, actually—to know that he thought it was cool. Sue had actually started that song with Ben Smith, the drummer. My Seattle folks. They had this song that is, like, a "friend who's going to be there for you" kind of song. The support system that you've always dreamed of having. That's what the song talks about. I've always been that person where I'm there for my people, you know?
I show up. It's a really simple way of saying that you're going to be there for somebody that needs you. And that's a big deal! I mean, that's a huge thing to be able to do for anyone. Can you describe a recent situation in which you were able to be that for somebody? If you are that person for your other people, it's not an easy role to play to show up for somebody that needs help. A lot of people don't have that skill, you know? A lot of people are not equipped with the emotional wherewithal to be there for anybody else but themselves.
So, that's what that song is all about. I had actually recorded it earlier before I got into doing the album. I'd done that in Austin with an amazing producer, David Rice, for a film, actually, which was made in South Africa. It's a true story about human trafficking in South Africa. This guy, Simon Swart, who made the film—it's about to come out, actually—he wanted to see if there was a song I could do for the film.
And so I decided that "Daughter" would be a really cool idea, because there's a lyric in the song that says, "She holds the hand that holds her down. The movie's called I Am All Girls and it's about to come out.
Anyway, that's the backstory on that thing. I've been singing that song all my life, basically. It's a really amazing song. Somebody told me that the chorus part—the "Lie-la-lie"—was initially a placeholder, but he kept it in the song like that because the verses are so wordy. It sort of opens up and he kept it that way from the initial demo of it. I got Sammy Hagar to sing with me on that because he's a buddy. He's a rock god.
He's funny as hell and he's a really good guy. I said, "Why don't you do something with me on my album here? I want to bring in some people that I love! What have you got? It's elsewhere now. Anyway, long story short, he said, "Nah, that's too predictable. I don't want to be so predictable, to be the Red Rocker on a song about rock. I used to be a boxer!
There's only one of him in the world. That's him. And then the Cranberries cover ["Dreams"]—me and Jeff, my hubby, were just driving around in Sonoma County. We heard it on the radio and he said, "You've got to get Liv Warfield to sing this with you! I said, "OK!
Let's just do that! I think that can be done easily enough! I kind of heard myself saying something one night. I was like, "Wow, we've lost another angel of rock and roll. It's kind of like, "Well, they're going to be having some big party up there at the angel ballroom. I went and sang some stuff for Taylor for his last album, called Get the Money. Really good album. I said, "Well, I'm going to make a solo album now, so do you have any cool jams laying around, dude?
I've got some cool jams kicking around, dude! He sent me this jam that they had. It was a completely long-winded jam that needed a lot of structuring. I structured it very differently from the original. And I had these words, so I put it together and it just became a fun sort of lark of a song. It's kind of a dark topic, but [you can] make it kind of a funny moment. Sort of like the song "The Inbetween. I have two twin boys that are both 21 now. One boy, Curtis, wrote this poem for a class assignment—a poetry-writing assignment, I guess.
I thought it was really clever. He was like, "Black and white, wrong and right. Now, after this horrendous political era we just tried to live through with all the bully-pulpit stuff we've had to deal with, I was scrolling through my notes and I found that again. I thought, "This is really relevant for our times that we're living through politically. It kind of sheds new light on a situation. Sounds like Curtis is pretty wise and perceptive. What do you learn from your boys?
You learn everything from your kids. Being a parent is not an easy thing to do. It's one of the bigger challenges you could ever face. Because when you love somebody that much and you're trying to help them survive through their own childhood.
Because you care. Because you love somebody even more than your own life, your own self. It's bigger than you are and you're responsible for it.
The best thing you could ever possibly try to do is keep them alive long enough to figure it out for themselves. That's a story about a toxic relationship that you have to get out of. You have to face the truth of how you've enabled yourself to be hurt and you've enabled the relationship to go bad. It's kind of self-examination of "OK, I have to be brave enough to get this out of my life and take responsibility for what my part in it was.
It's kind of complex, but it's definitely a truth that we've all had to face at some point in our own relationship lives. There are some unhealthy things sometimes that leave behind.
Were you thinking of any particular relationship or was it a composite of relationships throughout your life? There's been more than one! So, it's a conglomerate of various situations I've found myself in that I had to get out of and get over.
After the '80s, we went home to Seattle. That was a time when all the Seattle bands were exploding. I thought, "Oh, no! They're going to hate us because we're '80s dinosaurs! At the time, our friends from Alice in Chains … Layne Staley was still walking around and talking.
But he was definitely on a course that everyone could see. It was going to go badly. He was going to self-destruct. We all saw that coming. He was a sweet soul, you know? It was hard to see that inevitable demise. He was letting himself go down that dark ladder. So, that's when I wrote that song. He was still alive, but everyone could see that. That's what that song was about.
It's sort of a cautionary tale, but it's also a very heavy message because I don't think he had a chance against that dragon. It was just a sad story in advance of the sadder story. That's been around for a long time. It never was destined to be a Heart song, although we tried to do that song a few times, in a few ways.
That was a nice version of it. That's cool you knew Layne. I personally declare Dirt to be the most powerful album ever written about addiction. Oh, for sure. I love that band. Mike Inez was actually in Heart for a while after Layne disappeared.
He was our bass player for five years, I think. Michael Inez is one of the funniest humans on the planet, for Christ's sake. A seriously funny person. Maybe the funniest person I've ever met in my life. That's kind of a take-off on Paul Simon. I cut my teeth on Paul Simon's stuff when I was nine, 10, 11 and Early on in my playing life, as an acoustic guitar player. I'm actually glad I didn't get sued by Paul Simon because that basic guitar part in the song was a cue in Jerry Maguire , which was based on a Paul Simon-type fingerstyle part.
I kind of took that and ran with it and put lyrics to it, because I already had written it. I had already put that part together for the movie.
If there's anyone to plagiarize besides Paul Simon, I suppose I could plagiarize myself [laughs]. That's the first thing I wrote for this album and I was just trying to touch base with my earlier self—my college-girl self with the poetry that I used to explore before I was in Heart. He's definitely in the top three, in my estimation.
Maybe the Beatles. Those are the four pillars of greatness, I think, in music. I wanted a tribute to Eddie [Van Halen]. When he passed away, I was really sad, of course. I was very moved to try to pay tribute to him in some way. When we used to be in the same place together in the '80s—we did some shows with those guys—he told me he thought I was a really great guitar player on the acoustic. I was like, "How can you say that? You're the best guitar player on the planet!
Why don't you play more acoustic yourself? The next morning, at the crack of dawn, he called my hotel room and played me this amazing instrumental on the acoustic I gave him.
It was just one of the most beautiful things I'd ever heard. Just an exciting, inspirational moment, although he'd probably been up all night partying. So I thought I would return the favor and make him a piece of instrumental music on the acoustic guitar. That's what I did. I put a little piece of the song "Jump" in there. I tried to approximate what I vaguely remembered from what he played me that morning.
I know things have been kind of hot and cold with your main project over the last few years. How would you describe your personal and creative relationship with Ann today? Well, that's a loaded question. I think we're fine. We both kind of welcomed the break from each other and from Heart in a certain way. I think there's a certain blessing inside the larger curse of the whole shutdown we've been living through.
Personally, I feel like it's been a relief and a chance to reorganize who I am, thinking of who I am inside the larger picture of Heart and who I am outside of Heart altogether. There's a lesson in this shutdown for me, and part of it is to remember who I am without defining myself as somebody in Heart. Which is a beautiful reckoning, I think.
There's an offer for Heart to go out in I think that would be awesome to do that. I would want to do that. But having been outside of the world of it and the pressure of it and the framework of it for this long now has been very freeing.
I feel I've gained a lot of momentum as a person because of it. Is this the worst time to be alive? The question is compelling. Sure, we may carry around the Library of Alexandria—plus the totality of music and cinema—in our pockets. But that's cold comfort in an era where mob mentality is the order of the day yet we may have kissed hugging goodbye.
This must have crossed the Offspring's minds. In their latest video, housebound youths are menaced by a a smartphone with arachnoid legs b anthropomorphic coronaviruses and c a bloodthirsty crew of rioters. The title? That's why we're calling this album Let the Bad Times Roll. It's not a walk in the park. But if you think they returned sober and austere after recent global nightmares, remember: These are the guys who wrote " Pretty Fly For a White Guy. What if the answer to that question proves to be "yes"?
The Offspring are psyched to be alive anyway. Their guitarist, Noodles, is getting into birding these days; he calls birds "badass. Maybe therein lies the lesson of Let the Bad Times Roll : the world might suck right now, but you can live around the suckiness—and live well. Noodles: Good. Long and good. We were just talking about how I let myself drink a lot this weekend. Dexter: It looks like we're playing in Dublin this year, so we're all very excited. The Guinness really is different there.
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