Jimi Hendrix

Jimi Hendrix

Photo: Daniel Teheney/Authentic Hendrix LLC

News

Director John McDermott Talks New Jimi Hendrix Documentary, 'Music, Money, Madness … Jimi Hendrix in Maui'

Facebook Twitter Email
Ahead of an exclusive premiere of the film this week, presented as part of the GRAMMY Museum's COLLECTION:live programming, GRAMMY.com caught up with McDermott to discuss how the documentary continues Hendrix's lasting legacy
David McPherson
GRAMMYs
Nov 16, 2020 - 5:45 pm

Jimi Hendrix accomplished more in five years than most artists achieve in a lifetime. Songs like "Hey Joe," "Purple Haze" and "Voodoo Child" are classic rock staples. His innovation on the electric guitar influenced generations. He's responsible for seminal moments now emblazoned in the annals of rock: the time he set his axe ablaze at the Monterey Pop Festival or the time he played an instrumental version of "The Star-Spangled Banner" on a Sunday morning coming down at Woodstock. In the late 1960s, Hendrix was also the pensive leader of America's counterculture movement. 

The Seattle-born musician left us far too soon. On Sept. 18, 1970, the 27-year-old died at the bohemian Samarkand Hotel in Notting Hill, England. The cause: asphyxia while intoxicated with barbiturates. Fortunately for fans, old and new, Hendrix left a cache of unreleased music. Now, thanks to archivist John McDermott and the Experience Hendrix family-run company, his lost music allows us to discover another untold chapter in the life of this mercurial musician. 

The new narrative: the backstory on the making of Rainbow Bridge, a bizarre and controversial independent movie released in 1971. Directed by Warhol acolyte Chuck Wein, the project was financed by a $500,000 advance from Reprise Records, with the promise of a Hendrix soundtrack. 

In his new documentary, Music, Money, Madness … Jimi Hendrix in Maui, McDermott attempts to set the record straight about this boondoggle. The feature-length film, which drops Nov. 20, includes never-before-released original footage and new interviews with those who were there. (Live In Maui, a two-CD/three-LP package that includes the free Maui concert at the foot of the Haleakalā volcano on July 30, 1970, in its entirety, arrives the same day.) 

On Wednesday (Nov. 18), the GRAMMY Museum will host an exclusive premiere of Music, Money, Madness as part of its COLLECTION:live programming. The event will also include a live panel discussion featuring some of Hendrix's closest family members and associates, including younger sister Janie Hendrix, former bassist Billy Cox, engineer Eddie Kramer and McDermott.

Ahead of the premiere, GRAMMY.com caught up with director John McDermott to discuss his personal Hendrix history, his insights on Music, Money, Madness … Jimi Hendrix in Maui, and why, 50 years on, the groundbreaking electric guitarist's music still resonates.

Before we talk about the documentary, I'm curious how you landed this dream job as "keeper of the Hendrix vault" in the first place.

In the late 1980s, I was working as a writer, producer and a director on various music projects. I was always fascinated by the Hendrix story. I had previously written about him for a major music magazine, and that opened up a friendship with Hendrix engineer Eddie Kramer. From there, we worked on a book together, Hendrix: Setting The Record Straight, which came out in 1992. It was not a traditional biography. We presented Jimi through the eyes of those closest to him. 

The idea of a tribute album came next [Stone Free: A Tribute to Jimi Hendrix]. Released in 1993, the record featured artists like Seal, Buddy Guy and Eric Clapton. Some proceeds went to a United Negro College Fund scholarship fund created in Jimi's name. 

Shortly after, Eddie heard Jimi's father [James Al Hendrix] was involved in litigation over the ownership of his son's legacy, including the rights to Jimi's music, name and likeness. The Hendrix family asked me to help. Eventually, Al was victorious and all rights were returned to the Hendrix estate. That's when Al asked me to manage Jimi's music catalog. It's hard to believe that was 25 years ago. Since our first archival releases of unreleased Hendrix music in 1997, our mission has remained the same: keep Jimi in front of as many fans as possible. As a fan myself, I only came to truly appreciate Hendrix after his death … I never saw him live. For me, he was always this extraordinary artist with a fascinating story.

Speaking of fascinating stories, Music, Money, Madness … Jimi Hendrix in Maui certainly fits the bill. It's a captivating tale of a strange yet seminal time for the Jimi Hendrix Experience.
What makes this show so fascinating is its uniqueness. Three weeks before he was playing to 500,000 [people] at the second Atlanta International Pop Festival. Then, he arrives on Maui to play for 700 people seated by astrological order at the side of a volcano … that was something only Jimi could do.

Why did you decide to tell the story of the making of Rainbow Bridge and the Jimi Hendrix Experience's Maui sojourn in the summer of 1970?

We've told the arc of Jimi's story before: from birth to death in Jimi Hendrix: Voodoo Child [2010]. In other archival releases, we've examined temporal moments such as the Monterey Pop Festival and Woodstock. 

The Maui performance is always one fans request the most. With this film, we wanted to drill down and recalibrate what this whole thing represented. If we were going to do it, we wanted to do it in a way that provided the context for this story and share all of what exists of film—using the complete concert performance at Haleakalā to tell the real story. Rainbow Bridge was clearly not a Jimi Hendrix project, but it only could have taken the form it did with him dying. Had he lived, it never would have taken this form. Maybe it might have been just an instrumental score for a surfing documentary … no one really knows. 

Since Jimi died in September, less than two months following these concerts, the Rainbow Bridge movie and accompanying soundtrack played a larger role in Jimi's initial posthumous legacy. With this movie, we want to reframe that story.

How did you reframe the story to specifically focus more on Jimi's story and the free Haleakalā concert? 

First, we recovered original footage from Jimi's time in Maui. This documentary was more about extracting that new footage and providing fresh context. In Rainbow Bridge, there [were] only 17 minutes of performance footage that was haphazardly put in the movie. Mitch [Mitchell] had to overdub his drums at Electric Lady Studios just to save the audio. 

Read: Jimi Hendrix's 'Electric Ladyland' Turns 50

At the same time, you wanted to present an objective story, correct? How did you achieve this balance?
Definitely. You get the Hendrix side of the story listening to new interviews with surviving bandmates Mitchell and Billy Cox; Warner Bros. record executives; his engineer, Eddie Kramer; and others close to Jimi. We chatted with some of the original participants in the movie and included interview clips with [Rainbow Bridge director] Chuck Wein to tell their side. 

Fans need to understand how this chapter in Hendrix's career became blown up because of his death. To hear his bandmates talk about that time in Maui … that fascination that attracted me decades ago happens anew for kids around the world who appreciate the phenomena that was Jimi Hendrix. Take the Beatles film Eight Days A Week. Those who lived through that understand about the girls screaming at their shows—the tsunami and energy about the creation of that music—but that movie showed a new generation of global audiences what The Beatles really meant. In the same way, you can't fathom how amazing Jimi was until you see, hear and learn more about him. 

Why now? Did you plan the film's release to coincide with the 50th anniversary of Hendrix's death?

Not at all. Restoring the footage and the original audio took time. This is a project we had on the broiler for quite a while. We wanted to take time to get it right and speak to the right people. There is a temptation sometimes to get the easiest folks to speak, but often these people don't shed the greatest light on a subject. Originally, we had hoped to screen it at the Maui Film Festival this past June, but because of the pandemic, that didn't happen.

Why, a half-century since the electric guitar innovator and Recording Academy Lifetime Achievement Award recipient died, is the Hendrix legacy still important to preserve?
First, Jimi alone keeps his legacy alive. He is the guy who does the heavy lifting. Why is his legacy still so important? Compare it to what people would give to hear just one more wire recording from Robert Johnson. Because Jimi died so young, he left so many questions unanswered. Every one of these projects we release is another clue to that puzzle, from both a sonic and a visual perspective. Hendrix's appeal [resonates] with young people and remains with original fans. They, along with a growing global audience, see him as an ongoing touchstone: No matter the country where they are from, their gender, their race or their age … something about Jimi cuts right through.

'Band Of Gypsys': 5 Facts About Jimi Hendrix's Final Living Release | GRAMMY Hall Of Fame

Grammys Newsletter

Frank Zappa in 'Zappa,' a Magnolia Pictures release

Frank Zappa in Zappa, a Magnolia Pictures release

Photo: Roelof Kiers/Photo courtesy of Magnolia Pictures

News

Actor/Director Alex Winter Talks New Frank Zappa Documentary, 'Zappa': "It Was The Full Complexity Of The Man I Wanted To Show"

Facebook Twitter Email
For the film, Winter and his team combed through more than 1,000 hours of footage to capture the complicated essence of one of the most groundbreaking rock experimentalists
Jordan Blum
GRAMMYs
Dec 30, 2020 - 12:13 pm

Few 20th-century musicians have amassed as unique and influential a catalog as two-time GRAMMY winner Frank Zappa. Between the late 1960s and the early 1990s, Zappa's multifaceted artistry knew no bounds. He was a one-of-a-kind musical genius whose attitude and approach rubbed off on countless creative followers.

Of course, he was far more than that, too. As the recent documentary Zappa lays out, the singer/songwriter and composer was an adamant denouncer of censorship, which led to him morally testifying before the U.S. Senate in 1985, as well as a fearless critic of social, spiritual, and political hypocrisies. Plus, his collaborators and loved ones knew him as a highly demanding yet devoted bandleader and a flawed but loving family man.

There were many professional and personal dimensions of Zappa, and the actor-documentarian Alex Winter—best-known as the amiable, peace-loving goofball Ted Logan in the Bill & Ted film franchise—did an exceptional job capturing it all. Zappa, which arrived in theaters and on-demand last month, provides the most heartfelt and robust examination of the man on film to date.

Winter and his crew could have been overwhelmed by the sheer amount of footage available to them—more than 1,000 hours, to hear him tell it. However, his goal to spin a compelling yarn for a universal audience rather than create a footage-dump for superfans kept him focused.  "It was important for us to tell a certain story," Winter tells GRAMMY.com. "We found so much great stuff that [spoke] to his inner life. It motivated us to stay on track."

GRAMMY.com spoke with Winter about what sparked his interest in telling Zappa's story and why Zappa's legacy endures almost 30 years after his untimely death.

This interview has been edited and condensed for clarity.

Let's begin by discussing how you discovered Zappa. What are your favorite songs or albums by him?

I first became aware of him on Saturday Night Live. I have an older brother [Stephen] who's a musician, so I knew the music. As I got older, I became much more appreciative of his music, especially the expansiveness of it. That fact that he wasn't just a rock guitar player or even just a rock musician.

As for specific records, [1969's] Hot Rats had the biggest impact on me, and then I came to love his orchestral music, such as [1993's] The Yellow Shark.

Those are great ones! What attracted you to making this documentary?

I was interested in who he was as an artist and his relationship to his art, his fellow artists, and the politics of the time. It was the full complexity of the man I wanted to show—more than just a standard music documentary or a standard cradle-to-grave biopic.

That's one of the best aspects of Zappa: it even appeals to people who aren't necessarily fans of his. There's a lot of pathos to it, with sadness beneath the happier aspects.

Yeah, I mean, his life was tragic in that he died so prematurely [in 1993, from prostate cancer]. He faced the consequences for living as he did, and the film tries to chart the ups and downs of his life in that way. It's not just a celebration but also an examination of what it means to be an artist.

Read: How 1970 Became The Year Of Syd Barrett

You also interviewed former Zappa musicians who express that he was a bit of a tough leader at times, but that's what was needed to get the band to perform properly.

Right. I wanted to get at the root of what was—not unfairly, but maybe superficially, a reputation he had for being a martinet. I had a suspicion that the artists I would speak to would paint a more comprehensive picture of how he was. 

I was so grateful for those interviews and for having a sense of a man who had a very specific vision, yes, but who also was extremely collaborative with his fellow musicians, with his family, and with his audience. He was very curious about a broader view and working with others.

I didn't have a problem getting to people, either, and I only wanted people I felt were able to speak vehemently about having worked with Zappa and experiencing his inner life.

Zappa is far from your first documentary. What did you learn from doing those prior films that influenced this one? How was making Zappa a different process?

There was an aspect of this far beyond anything I'd done before: the sheer amount of media that we had to work with. We had to preserve a lot of the media that was in Zappa's home. Then, we had to go through all that media [laughs] and figure out what we wanted to use.

We benefited from doing a preservation project to get that media into shape, which took us a couple of years. It allowed us to figure out exactly what to choose. I think that at least 98 percent of the archival footage we used has never been seen or heard before.

Oh, wow.

There was an exhaustive process of rebuilding things to make them coherent. Sometimes, we'd find a piece a film from one time and then search for the right sound and sync it up somehow. Some of that took years, and it was like finding the Holy Grail when we finally located the proper audio for a piece of visual that we wanted to use. It's been an extraordinary journey, to put it mildly [laughs].

From what I understand, the Zappa family—and especially his late wife, Gail—were very private and particular about who would get access to the archives, vaults, et cetera. I'm sure other people have tried to see and hear those things before but couldn't. I wonder what led to you being able to look through all of that.

Well, I pitched Gail a way of telling the story, and she just happened to like it. Many people had come to her asking to make much more standard music docs or legacy docs about Frank, sort of ignoring the broader spectrum of who he was and what he represented.

I was only interested in telling a story about him as an artist and as a man pitted against his time, dealing with the consequences of committing to living a particular life. That's what she wanted someone to tell. I didn't know that when I pitched her, so I was glad. I expected her to tell me to get lost, to be honest with you.

I guess it's all about the angle of the story.

She was notoriously a tough cookie, and I knew that going in. There was a good chance that she wasn't going to like what I wanted to do. That would've been fine. It would've been twenty minutes out of my life instead of six years.

Frank Zappa in 'Zappa,' a Magnolia Pictures release

Frank Zappa in Zappa, a Magnolia Pictures release | Photo: Roelof Kiers/Photo courtesy of Magnolia Pictures

What were some of the most surprising things that you learned about him? What did you have to cut?

We had the mandate to tell a very specific story, and that gave us parameters. It helped us weed out the stuff that didn't fit. We had over 1,000 hours of unseen and unheard media; we could've made a 10-part series, no problem. I wasn't distracted by it, though. Mike Nichols, the editor, and I were pretty determined to craft a very coherent narrative, so we didn't worry about many of the media we had. Let it get used by the next people who come along. [Laughs].

Have you discovered any bands that are inspired by Zappa?

Oh, there are so many, from classical musicians to pop and rock musicians. Artists like Beck, “Weird Al" Yankovic and Weezer. The list could just go on and on. There aren't too many popular bands who don't have a Zappa influence, even if they don't know it. Also, a lot of avant-garde composers.

Zappa had one of the most successful Kickstarter campaigns in history. How has the reception been so far?

The reaction has been overwhelmingly positive. It's a film that I wanted to see out in the world, and I believe that Zappa's story was extraordinary and untold. I was hopeful that others would want to see it, too.

I was never a fanatic—more just a fan. This movie is aimed at anyone who likes an interesting and compelling story. That was the gamble we took when we set out to make it, and I couldn't be happier with how it's being received. 

Director John McDermott Talks New Jimi Hendrix Documentary, 'Music, Money, Madness … Jimi Hendrix in Maui'

Grammys Newsletter

Huey Lewis & Jimmy Kimmel at the GRAMMY Museum

Huey Lewis & Jimmy Kimmel

Photo: Alison Buck/Getty Images for The Recording Academy

News

Huey Lewis Talks New Album 'Weather,' Legacy Of 'Sports' & Staying Hopeful

Facebook Twitter Email
The leader of the legendary GRAMMY-winning band talks new music, staying positive amidst hearing loss and finding the heart of rock and roll in Cleveland
Ana Monroy Yglesias
GRAMMYs
Feb 18, 2020 - 4:57 pm

In 1983, San Francisco blues-rock outfit Huey Lewis & The News released their third album, one the world would never forget, Sports. They hit it out of the park with six of the nine tracks landing as hits, including classic jams "The Heart Of Rock And Roll," "If This It," "Heart And Soul" and "I Want a New Drug."

Now, 37 years later, the GRAMMY-winning band has released their 10th studio album, Weather, on Feb. 14. The seven-track project is made up of jubilant songs they finished recording before Lewis suffered an intense episode of Ménière's disease—an inner-ear disorder that affects hearing and balance in varying intensity—in 2018. Because of this heath issue, Lewis hasn't been able to perform, record or even listen to music since—but he is hopeful things may improve in the future, and is grateful for his many rockin' memories.

Ahead of Weather's release, the "Hip To Be Square" singer treated GRAMMY Museum guests to a heartwarming and enlightening conversation with his celeb bestie, Jimmy Kimmel. The dynamic pair dove deep into Lewis' long musical career (all the way back to busking around Europe with his harmonica at age 16), living with hearing loss, Weather and the new "The Heart of Rock & Roll" musical.

The GRAMMY Museum event opened with a special early preview of the star-studded "Her Love Is Killin' Me" music video (which you can watch above), featuring Kimmel, S.F. Giants' former manager Bruce Bochy, legendary S.F. 49ers quarterback Joe Montana, Andy Garcia, Brandon Flowers,  June Lockhart, Topher Grace, Brad Paisley and many more. During the chat, Kimmel shared his excitement about finally fulfilling his dreams of staring in one of their videos, while Lewis revealed that his original idea for the video was for Kimmel to lip-sync the whole song. 

Before Lewis and Kimmel's conversation, Huey graciously spoke to the Recording Academy about Weather, the legacy of Sports, living with hearing loss and where the heart of rock and roll is still beating (hint: it's in Ohio).

The band's first album of new music in almost 20 years, Weather, is coming out soon. How are you feeling?

Yes. Friday, Valentine's Day. I'm very excited. I honestly think it's among our best work. I have these hearing woes, so I probably shouldn't be trying to do interviews and stuff, but I've tried to give the songs a nice sendoff. We're very proud of the record, and we're trying to make some noise with it.

"I honestly think [Weather] is among our best work…We're very proud of the record, and we're trying to make some noise with it."

Can you talk a little bit about the message behind "While We're Young"?

Yeah. It's written from the point of view of someone who's not that young, but not dead yet either. I think that's the idea. [Grins.] It's how do you handle middle age, let's say.

"We'll take a nap in the afternoon." That's just part of the fun.

I love that lyric.

So much of youth is wasted on the young.

I was just having that conversation with my coworker today—what should we be doing now that we're going to be mad we didn't do when we're 50?

See? [Grins.]

Can you talk a little about your experience living with hearing loss?

Yeah. It's something I've lived with for a long time. I lost my right ear 35 years ago, or 80 percent of it. [Points to left ear.] This just happened two years ago. Unfortunately, the left ear fluctuates. When my hearing's good—I wear hearing aids—I'm okay. I can hear speech and everything, and I might even be able to hear music enough to sing. But I haven't been able to find that out because I'm never good long enough to book a rehearsal. My hearing turns crappy again like it is now. When it's bad like this, I can't hear anything, I can barely hear the phone. I can hear you when you're 24 inches away, that's about it.

Has it been hard emotionally for you? Do you just take it day by day?

In the beginning, it was very, very hard. I spent my first two months in bed really, just fasting and taking steroids and trying everything, hydrating galore. I lost 18 pounds, but my hearing never got better. I was really depressed.

My kids are great and helped me through this all. It turns out you can kind of get used to almost anything. I have to realize that there are lots of people worse off than I am. I have to be grateful for what I have. It's hard sometimes, but it's only right. That's what I try to do, try to look on the bright side.

That's important.

Not always easy, but I try.

"Our dream is to play music for a living, period. That was it, to be able to do nothing else but play music. And so, Sports was the record that proved to us that we could do that."

What did the success of Sports feel like to you at the time?

Well, it was a relief for us because our dream is to play music for a living, period. That was it, to be able to do nothing else but play music. And so, Sports was the record that proved to us that we could do that.

But it's an interesting record because it was a record of its time, it came out in 1983, but we recorded it in '82. If you think back to that time, it was completely a radio world, Contemporary Hit Radio ran the whole show. Even MTV, which had just started, its playlist exactly mirrored radio's playlist. And so, our job was to make a hit single. If you didn't have a hit single, you didn't exist.

This was our third album, and if we didn't have a hit with it, it was going to be all over. So we insisted on producing the record ourselves because if we're going to make those commercial decisions, we wanted to make them ourselves. Because you've got to live with that stuff. So our manager went to bat for us. Our label was in London, so they couldn't really control us. We were 6,000 miles away, so they allowed us to produce it ourselves.

We aimed pretty much almost all the songs at radio because we knew we needed a hit. We didn't know we were going to have six of them. Each with different styles—one was kind of a ballad, one was a rocker, one was kind of a bluesy thing, one was R&B-based, not knowing which one would work. Now, when I look back at the Sports album, I see it as a record of its time, a collection of singles because it was a singles world back then.

Read: Michael Kiwanuka On His New Anti-Alter Ego Masterpiece 'Kiwanuka,' '70s Psychedelia, Songwriting & More

As the group came together in San Francisco back in the '70s, do you feel like '70s S.F. had an influence on your music or career as a musician?

It was a great time for music. Even before that, live music was abundant when we grew up. That was the entertainment of its day. There were four or five clubs in Marin County, which had live music all the time. And so, it was a great, great place to learn your craft. I was in a band called Clover that played five nights a week for years.

And then this band, we played clubs and concerts. We've played thousands of shows probably, certainly more than a thousand. A lot of groups today don't get to do that. In fact, it's a mistake if you do. It's better to make a nice video or screen time thing, and let that work and don't go out there and blow it. And so, it was just a different time then.

In our day, the way you broke a record was you released it and then you go play the country. You started in Seattle, go to Portland, go to San Francisco, go to L.A., go to San Diego, cross Tucson, Phoenix, then Texas. And in each town, you invite the radio stations and the newspapers, and hopefully, when you leave, you get a nice review and the radio stations will be playing your song. You do that all across the country, about 50 shows. When you get to New York at the end, hopefully, the whole country is playing your record. But even if they aren't, you've just done 50 or 60 shows. So that's how we learned our craft. It was very much a live performance thing. I think today it's less of that.

A lot of cutting your teeth, hustling that music.

Yeah, a lot of cutting your teeth. We weren't playing with machines, so we're ad-libbing more. It was a different deal.

Related: Memphis In May’s Beale Street Festival 2020 Lineup: The Lumineers, Lil Wayne, Leon Bridges, Brittany Howard, DaBaby, Deftones & More

Where do you think now the heart of rock and roll lives now?

Well, it's probably still beating in Cleveland. Cleveland is a cool place. I wrote that song because we had played a gig there and, you know, we're from San Francisco, and we'd always heard that Cleveland is a great rock and roll town. I thought to myself, "How could Cleveland be a great [city]—we're from San Francisco!" We had the Grateful Dead, Jefferson Airplane, Sly & the Family Stone. [Jimi] Hendrix played the Fillmore [West]. Then we played the gig and it was amazing. The audience was amazing. It was really one of our best gigs when we were first coming up.

Driving out of town on the bus, somebody had a T-shirt on with the smoky skyline of Cleveland that said, "Cleveland, you got to be tough," or something. I looked at the shirt and, mindful of the great gig, I said to the guys, "Hey, you know what fellas? The heart of rock and roll really is in Cleveland." I said, "Wow that could be a song." And the guys went, "The heart of rock and roll is in Cleveland? I'm sorry, that's not very good." I changed it to make "the heart of rock and roll is still beating," but that was the inspiration.

I think it's probably still beating in Cleveland. It's beating in a lot of places, but just not as loudly as it once was.

What gives you the most hope right now?

Wow. My kids, my family. [Grins.] My kids are so positive. I get notes from my daughter, like just now [points to phone], she says, "Love you dad, and I know you're looking at an upturn any minute." They're just so positive and so wonderful. It's really wonderful to have a great family.

Grammys Newsletter

Foo Fighters Announce 25th Anniversary "Van Tour"

Rise Against

Rise Against

Photo: Jason Siegel

News

Rise Against's Tim McIlrath On The Deterioration Of The American Dream & Why He's Rallying For The 'Nowhere Generation'

Facebook Twitter Email
With their new album 'Nowhere Generation,' rockers Rise Against sought to create a rallying cry for younger generations—and anyone barred from the American Dream
Joshua M. Miller
GRAMMYs
Jul 12, 2021 - 9:03 am

When Rise Against's Tim McIlrath talks to his fans and teenage daughters, a troubling throughline emerges: how difficult it is to achieve the American Dream. 

"These ideas kept coming up," the singer and guitarist tells GRAMMY.com. "These anxieties about what tomorrow's going to look like, and also just the weight, they felt they were waking up with every day." Because of this, McIlrath says, the ideal and reality of the American Dream are pulling further apart.

After hearing those repeated concerns, he decided enough was enough. So on their latest album, Nowhere Generation, which was released June 4, Rise Against takes a stand against these demoralizing, capitalistic forces. "We are the nowhere generation/We are the kids that no one wants," he sings in the title track. "We are a credible threat to the rules you set/A cause to be alarmed."

"I think the Nowhere Generation concept is giving [a voice] to the fears of the younger generation," McIlrath says. "What they've communicated to me is that they feel like they are being asked to run this race while the finish line just keeps moving on them." Because of this, "I wanted to give that perspective a platform and a voice and create a song that was speaking to that sentiment."

To coincide with Rise Against's recent appearance at the GRAMMY Museum's Programs at Home series, available now on COLLECTION:live, GRAMMY.com spoke to McIlrath about the process of writing honest and authentic lyrics about the collective struggle, returning to the road in their 20th year as a band and why young people shouldn't feel alone in their fight.

This interview has been edited and condensed for clarity.

What was your biggest inspiration for writing "Nowhere Generation"?

When we would talk to our fans, the theme was apparent. These ideas kept coming up. This idea of these anxieties about what tomorrow's going to look like, and also the weight they felt they were waking up with every day. 

The more I examined that, the more I realized that there's a lot of evidence and a lot of good reasons to feel that weight. Whether it's living in a time that has normalized the idea that one can work full-time and still live below the poverty level or living in a time where we're expected to accept the idea of concentrated wealth and the rise of the one percent. 

Living in a time where we're dealing with global warming and climate change, and society's response or lack of response to it. A number of other elements have contributed to this downwardly mobile landscape.

How did these conversations help you be more honest and authentic as a songwriter?

I think that having a relationship with our audience helps that. I think being a father of two teenagers gives me a bit of a crash course in it as well—and then just talking to the band about it.

It's amazing how many people have their own stories—their own things to add to this narrative. It takes on a life of its own. People talk about what it's like to feel like they're swimming upstream as they try to get ahead. They started asking questions like, "Why? Why does it feel like this? What's happening?"

What parallels do you see with your own experience?

I grew up in a relatively stable time politically, economically and socially, and I think we took a lot of that for granted. That's what made [succeeding] generations less sympathetic to these concerns. I think that we all think, 'Well, this is life. It's hard, and you figure it out,' without acknowledging 'Is life different? Is the experience different now than it was before? Are we living in a society that is ripping the crops out without replanting the seeds for the future?' 

That's what's happening now. I think that we're starting to realize the new and unique obstacles to getting ahead in today's world. Young people are less likely to own a home or have savings. That is keeping people from being able to pursue that American Dream.

"Nowhere Generation" reminded me of the Replacements' "Bastards of Young." A song about people that are trying to find a place in the world.

Yeah, that's one of my favorite songs. I think you're right. I think people feel a little bit lost. And "Nowhere Generation" is speaking to people who are trying to figure out where they fit in the landscape nowadays, if they fit in at all. 

And I talked about young people, but you don't need to be young to relate to this idea. For people my age, older than me, if you were part of this generation that is sort of falling victim to the short-term way of thinking instead of long-term, then you're part of the Nowhere Generation.

On the song "The Numbers," and elsewhere on the album, you remind the listener that they're not alone in this fight. Why do you think that's important, especially entering into this post-pandemic world?

I think it's pointing out things like, despite its flaws, democracy is still our most effective way of governing. Giving voice to the people is still the best way we've figured out for human society to function. But it definitely requires those voices. It requires that voice. I think that not only that voice, but social movements throughout history have given rise to a lot of the ideas and concepts that we take for granted today.

"The Numbers" is reminding people that, no, you don't need to take it from us. There's a lot of evidence of individuals or groups that have put their hand on the steering wheel of history. And it shows them for the better. And that progress is often the result of somebody simply being fed up and trying to demand that they be listened to. 

We still have a government that's based on voting. It's people that need to be listened to. "The Numbers" reminds people that no matter how helpless you feel, your voice is still one of the most powerful gears of governance.

That song opens with a sample from "The Internationale." Why did you think that it fits with the album? And how can history be part of the solution?

Especially with a song like "The Numbers," it was talking about the people. "The Internationale" has always been an anthem of working-class people. It has been used by many different countries and [adapted into] most popular languages. 

I thought it was a good way to show the listener just how timeless some of these concepts really are. It turned into a great way to start the song and to start the album. It sets a good tone.

What was the most challenging song to write?

One of the last ones I got to was "Broken Dreams, Inc." I feel like I was out of ideas by the time I got into that one. I'd sit there for a while until one day I started writing that chorus and then the rest of it just fell out of me. But it took me a long time to get around to. I was almost going to give up on the song. Then, it all came together as one of the best songs on the album.

The band worked with GRAMMY-nominated creative director Brian Roettinger for the visual aspects of the album. Was it important to have a universal look and feel?

We wanted this era of Rise Against to be defined by a look that people would recognize. If you were to look back at it, you would see the imagery around development. You would know specifically that this was this era of Rise Against. 

And part of the way of doing that was working with a single person instead of many different people, which is what we've done in the past: Someone for the album, someone for the video, someone for the live look, someone for the merchandise and that. [They're all] great people, but this is way more universal and cohesive.

I recently read the story of a Chicago fan who was so inspired by the band's music that he became a lawyer. What does it mean to see that tangible impact?

Seeing things like that is the best part of being in this band because you write these songs hoping that they land with people. [That they don't] just listen to it, but actually connect with it. Not everybody connects with it. It's just not the way it always turns out. 

When somebody does, it really takes this song that you pull out of thin air—you just made up—and turns it into something real and tangible. It validates the effort that you put in. It helps that person, but it also helps you as the writer of it to know, "Alright, there was a reason that put these words out to the world. They found somebody and they helped shape their path."

Have you stayed in touch with him?

No, it was just a very quick and random interaction at a coffee shop. We ate there, we just ran into each other on the street. But the story stuck with me.

The band's debut album turned 20 this year. What does that milestone mean to you?

It really puts a fine point on just how long we've been doing this. [It causes me to] look back on those days where we've come from, looking back on those songs, how we've grown musically, and sonically, and how Rise Against snowballed into what it is from some pretty humble beginnings. 

I don't think that the guys that made that record had any idea of what was ahead of them. That we would be touching the lives of people that were being born that year, or the years after that. That's something that I never thought we'd be playing shows for the babies that were born the same year the debut album came out.

Why do you think the band's sound is still effective all these years later?

That's a good question. I think punk rock has always been dark and angsty. And it's always been our response to mainstream music. And even no matter how popular it gets, it's still always going to have those roots, that it's something that was created in response. It's something that was created by people who felt like they didn't hear what they wanted to hear on the radio. They created their own thing, and I think that will always resonate with the outsider.

The band just announced tour dates for later this year. What does it mean to be able to get back on the road?

It means the world to us; it's really incredible. Especially during some of the darkest times, the pandemic, we wondered when our show would ever happen. If it would ever happen again. To see it actually getting greenlit, seeing the lights turn back on, that's pretty emotional. And I imagine it will be an emotional experience to play these shows again.

The Roots of 'Roots': Sepultura's Game-Changing Metal Masterpiece At 25

Grammys Newsletter

Wolf Alice

Wolf Alice

Photo: Jordan Hemingway

News

Wolf Alice On Their Rock Evolution, Why The Studio Is A "Toy Shop" & Their New Album 'Blue Weekend'

Facebook Twitter Email
GRAMMY-nominated English rockers Wolf Alice were bundles of nerves when they cut their first album, but their vibrant, new release, 'Blue Weekend,' displays their facility as studio tinkerers
Morgan Enos
GRAMMYs
Jun 8, 2021 - 9:19 am

What's the greatest opening track on a debut album? Is it the Beatles' "I Saw Her Standing There"? Guns N' Roses' "Welcome to the Jungle"? N.W.A.'s "Straight Outta Compton"? Whatever's your favorite, chances are it's the sound of a young, hungry artist with a chip on their shoulder and something to prove—not to mention full of jitters about being in a studio.

For better or worse, that's exactly what Wolf Alice sounded like on their 2015 debut album, My Love is Cool—and they readily admit it.

"It's a mixture of nerves, anticipation, excitement, and rage kind of blurring into one project," drummer Joel Amey tells GRAMMY.com. From an adjacent Zoom square, lead vocalist and guitarist Ellie Rowsell echoes his statement. "We're 10 times better than we were when we started off," she says. "For [bassist] Theo [Ellis], Joel and I, we were very new to our instruments, weren't we?" (Guitarist Joff Oddie rounds out the quartet.)

 

Flash-forward to 2021, and Wolf Alice are stumping for their third album, Blue Weekend, which dropped June 4 on the British indie label Dirty Hit. On tracks like "Lipstick on the Glass," "How Can I Make It OK?" and "The Beach II," the GRAMMY-nominated alternative rockers' studio vision finally catches up to their ambition—which they were never lacking in the first place. 

Plus, they have a new, crack producer—three-time GRAMMY winner Markus Dravs—on the case. "When you're a garage band at home, you have vague ideas of reverbs and things like that," Amey says with a laugh. "It was really fun to explore those things with people who actually know what they're doing."

Throughout the interview, Amey and Rowsell speak with a sense of awe about the mechanics of music-making, from nicking a Sufjan Stevens guitar sound to paying homage to the Roches' "Hammond Song" to drifting along on an Arthur-Russell-style drum loop.

GRAMMY.com caught up with Wolf Alice's Ellie Rowsell and Joel Amey to discuss the creative trajectory that led to Blue Weekend, why the mercurial-yet-democratic Fleetwood Mac is a fount of inspiration, and how a demo blooms into a full-fledged track.

This interview has been edited and condensed for clarity.

Wolf Alice

Wolf Alice | Photo: Jordan Hemingway

Congrats on the new album. How do you feel?

Rowsell: Super excited. It crept up on us, hasn't it?

Amey: It really has, yeah.

Is there a release show of any type? Or are you still doing the virtual thing a year and a half into this situation?

Amey: In the U.K., we can do a socially distanced thing; a very small capacity can come in. I actually went to one last Friday. It was cool to hear live music, but it was sort of strange. It was a bit like an examination hall layout in terms of tables and a rock band playing.

How do you feel the band has developed creatively across your three albums?

Rowsell: God, I feel like it's probably easier for someone else to hear it rather than us. We've been, obviously, fully immersed in being us as a band. But I think we've gotten better, for sure. As musicians, we're 10 times better than we were when we started off. For Theo, Joel and I, we were very new to our instruments, weren't we?

Amey: That's a polite way of describing how we were.

Rowsell: I think we sound better. [Knowing laugh].

How would you describe yourselves at the beginning—perhaps from the standpoint of your limitations?

Amey: I think we've always been in our own world—ambitious, considering what we can do. Maybe when we started—I don't know if "ideas bigger than our stations" is the right phrase—but we've always thought of the little details, I think. My Love is Cool was done in four weeks, and it's a mixture of nerves, anticipation, excitement, and rage kind of blurring into one project.

Then, Visions of a Life—actually, our guitarist, Joff, said something that was kind of interesting: It's quite experimental by our standards. We went on loads of different tangents and we were encouraged to have a real adventure in the studio by Justin [Meldal-Johnsen], our producer, who was super encouraging about going down the rabbit hole of loads of ideas.

I feel like there's a lot of each person's personality in Blue Weekend. We've kind of distilled it down to what we appreciate from songwriting and being in the studio. It's more focused.

On the topic of anticipation and nerves, I think of the Beatles or Joy Division on their debut singles. They sound jittery like they can't believe they're in the studio.

Amey: Yeah, it's like a toy shop for people, isn't it? When you're a garage band at home, you have vague ideas of reverbs and things like that. It was really fun to explore those things with people who actually know what they're doing. [Chuckles.] You get tips!

Which wells were you drawing from for Blue Weekend? Who—or what—were your inspirations, or archetypes in rock history?

Rowsell: [Long ponder.] I think we were thinking a lot about Fleetwood Mac and how, despite being a kind of rock band in many ways—or a guitar band, at least—[they] wrote these massive pop songs. They're a perfect marriage of the two genres, and that's inspiring to me, I think, in the same way that the Band are to us. Yeah, lots of stuff. All over stuff.

I don't feel like there's one thing that's overarching. It's here and there. We take inspiration from multiple different artists.

What are some of your favorite moments on Blue Weekend? Let's start with "The Beach."

Rowsell: Well, I love call-and-response. [Laughs.] So, I'm glad we got call-and-response on the album. When I listen back to that bit of the song, I imagine hundreds of people chanting it. I think we tried to make it sound a bit like that as well. It was always kind of funny! I'm proud of us that we were like, "Yeah, let's make it sound like hundreds of people are chanting this thing!"

Amey: I think it's one of the few songs we have where all four of us recorded vocals.

How about "Delicious Things"?

Amey: I think "Delicious Things" was a bit of a breakthrough moment for us when recording. We started working with a revered producer, Markus [Dravs]. We didn't do too much hanging out and drinking together. Your first relationship is making something off the bat and hitting "record." That's kind of how we started this.

We got to a stage where we listened back to what we were recording, listened to "Delicious Things" and said, "Maybe we're holding back a bit?" He said, "Less is more," and we had this thing about "Less is more." Then we decided, "No." This was the moment where we plugged in a MIDI keyboard and put on trumpets, put on strings, and just went for it.

I think there was something in the four of us we weren't quite doing up until that point. From then on, we had a new confidence to write the songs in a maximalist way if we wanted to. Not having to strip every song back to, like, four people, which we maybe tried to do at one point.

Moving on to "Lipstick on the Glass." Any thoughts or stories about that tune?

Rowsell: Yeah, we kind of struggled with this one.

We had a demo version, which was soft and slightly electronic, and we had a full-band version. I think Markus at one point said, "It sounds like Las Vegas," which we weren't really happy about! We got into the studio, split between these two versions. Sometimes, you can only really get the good ideas to come out when you're not supposed to be in the studio.

There was one night when we were supposed to be going home since it was late in the evening. I was talking to Iain [Berryman], the engineer, saying, "Please, can we just throw a few things at it? It's not going to be serious. It's just jokes." That's when you can feel confident enough to make things you were once scared of.

From then on, we kind of thought, "OK, this is starting to take on its own identity." We put strings in there. We programmed stuff into it. We'd just been listening to Sufjan Stevens' song ["Mystery of Love"] from Call Me By Your Name, and we were like, "Put those dry, noodly nylon-string guitar things in it!" Basically, just copy what he does.

Now, we get to "Smile." I'm curious how that one came about.

Amey: Early on, when we had a Dropbox of ideas, I had an instrumental with that riff. I brought an acoustic guitar and a fuzz pedal and was kind of mucking around and made it into an instrumental—just noodling and trying to practice my production a little bit.

It kind of hung around for a while. Ellie had these amazing lyrics from another demo called "Smile." It became one of those ones where we crossed them together. Then, we took it into the rehearsal room and [it] became much more of a live band song. It existed as more like an electronic piece before.

How'd you execute "Safe From Heartbreak (if you never fall in love)"?

Rowsell: We were kind of inspired by "Hammond Song" by the Roches. It's a brilliant song. I wanted something that had those kinds of dry, up-front, outsung, stepped vocals. We had the two parts, so it's a male-female part, because, obviously, Joel is a great singer.

We then struggled a little bit to know what music should be going on in the background because this is a vocally driven song. Again, Joff's noodling came to mind. He did it on two guitars—kind of a dueling fingerpicking thing—and it was really hard because it was mechanical. It needed to be precisely played.

Can you talk about "Feeling Myself"?

Rowsell: It came about from a little demo that I had. I didn't really think it was something we'd use. It was just synth-y stuff. The guys really liked it. We worked on it and we kind of fell in love with the middle-eight of it, the music of that and note choices and stuff. It became a favorite moment of ours. I think because of that, we really wanted it on the album. It's a new direction for us that's exciting.

We're almost done with the record. "No Hard Feelings."

Amey: It was something Ellie sent over as an intro to a longer demo. I remember when I first heard it; it sounded like [it had] a Motown-y, girl-group-y kind of vibe to it. Then, it moved onto a different track. We became really fixated with this intro and tried to do a band version of that intro vibe.

We just tried different things, you know? Happy accidents. Joff just felt inspired and came up with this Arthur-Russell-y loop that just kept going and going. He sent the vocals and we were all visibly moved.

Last but not least: "The Beach II."

Rowsell: Yeah, this came from one of Joff's demos that he made on his phone, I think. It had some classic Joff sounds in it: big reverb and distorted guitar noises, electronic drums. We really loved it; it sounded quite old school. We were struggling to find a good melody or lyrics over the top of it.

At the very end, while in the studio, I had another crack at it. It took this song to a different place that had much more of a home on the album. It had all the components of Wolf Alice in one tune: The shoegaze-y stuff, the pop stuff, the electronic stuff, the folky stuff, the rock stuff.

How Do You Follow Up A Blockbuster Album? Let Royal Blood, Who Just Released Typhoons, Explain

Grammys Newsletter