EXCLUSIVE Land of Broken Hearts/We're Awakening/Footsoldiers interview with Neal Avron [Transcript]

My friend Jeanna and I got an amazing opportunity to exclusively interview Neal Avron, the current producer working with Switchfoot on "Vice Verses." He had a ton of insight for us, and if you want to listen to our rough audio recording of the interview, head over to LOBH.

For the word-for-word transcript, read on!

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Jeanna: what is the musical direction of this album?

Neal Avron: The musical direction of this album I think is several. I think the main thing is its gonna be much more of a rhythm section and bass record; not as densely packed on the guitar front, and it's much more assertive from the drums, bass, and percussion setting, and it really advanced where these guys have been before as far as all the grooves that are on the record. That's been one of the main driving forces. I think the other is also just the space, and not feeling like every moment has to be filled with something so there's these really great breaths in the music. And the other thing is there's this incredible variety of different sonic signatures that the guys were totally willing to go for. So each song really has its own voice on the record, not just from a lyrical standpoint.

Job: How far along is the recording process? Are the guys getting ready to do mixing?

NA: We are very far along, conceptually. Next week will be pretty much the last week of recording. There might be a few things to tidy up before that but we should be mixing shortly after that.

Jeanna: What has been the most difficult thing about the album process so far?

NA: Well it's been a very smooth record. I think the most difficult thing though would be choosing which songs work for this record. Jon is a super prolific songwriter, and I think he wrote 50-60 songs prior to the beginning of the idea of making this record, which were whittled down to 20 or so that got sent to me, which we whittled down to a core group for the record, which we then even whittled down further. And Jon even wrote a couple new songs; I believe there were three more written during the making of the record that were not only great songs, but important to the record, and they fit really well into the record. I think going in, it was very important for us to find a core group of songs that really represented a similar… I don't want to say feeling but… they all felt like they belonged. It doesn't matter that one was fast, one was slow, one was singing soft or singing loud or whatever, they still feel like they had the same matter that kind of joins them together. Choosing which songs were the right ones was the hardest job.

Jeanna: Along those lines, what are the guys trying to say with this album? What are the themes and what are they trying to convey?

NA: I think based on what we talked about early on, I think they want to come off in a positive light. I think there are some songs that can definitely be taken in any way, but I think ultimately they're looking for a positive message or finding a way to move forward on something. I think ultimately that's where it's at. There's not a lot of negativity just coming through in the lyrics; I think it's just finding a good place in your life or finding a way to get to that good place in your life.

Job: You're coming off two straight No. 1 Billboard albums with Sara Bareilles and Distrubed. Has that changed your philosophy in the studio any or has it just given you a confirmation as to your skills as a producer?

NA: First of all, I didn't produce the Disturbed record, I mixed that record. But I think that it's always great to get that kind of validation. And I think more importantly for me is to find a way to take whatever artist I'm working with, whether that's Linkin Park, Sara Bareilles, or Switchfoot, any of those bands, and get to the core of what they're trying to say both lyrically and sonically, and help them achieve and express that, whether that's producing or mixing or both. And that just comes from a lot of discussions about how we want to achieve what kind of sonics or what kind of density or production we want to achieve, and then we go after achieving it. Sometimes we nail it on the head right away, sometimes it's a matter of finding our way through the song and letting our guts decide where to go ultimately. But I think that having a No. 1 doesn't really change or validate what I'm doing. I think more than that is bands the I've been able to work on multiple record with. I mean Fall Out Boy I've done three records with, Linkin Park I've done a couple records with now; I continue to have bands that want to come back, and that's the biggest validation for me.

Jeanna: What's your favorite song on the album and why?

NA: Wow! That is really hard. It changes daily for me. Part of that is because the way we cut this record, we decided to group the songs into small bunches. Sometimes you'll do a record where you'll cut the drum tracks for all the songs, then you'll do the bass tracks, then you'll do the guitar tracks. So you're constantly having to rope in 12-14 songs of material and keep track of everything that's going on with each one.

What we've done with this record is we've said, "ok, let's pick three or four songs. Let's record those songs and get them sounding like we want them to sound. Then we're going to put them away, put them on the shelf, start with another three or four, so we can give the song a lot of attention, spend a lot of time with it, get it to a place where we feels it's good, and really just be able to take each song as far as it can go." Then we move on; and when we come back to it, we'll come back and see "oh yeah we put too much of this, we need a little more of that," and I think it's really helped us with the album.

As far as a favorite song, there's a song called "Afterlife" which I think is amazing. Just a beautiful song, it's got a really great mood to it, and I think it takes a nice step up for Switchfoot.

Job: Are there any specific instruments, certain guitars or pedals that the band has gone back to a lot on this record, or has it been more of a wide open experimental plane where you're just using all sorts of instruments?

NA: That's a good question. It's definitely been a wide open plane. This band has their own studio which really is a great luxury so they can really find time to explore a lot of different avenues, sonically. They have a ton of different amplifiers and guitars, they have a bunch of mics, and I brought some mics, and we've really been able to just try anything we want. We've been using multiple guitar amps at the same time, combining them sometimes, separating them into stereo, having a lot of small old amps. With guitars, a large portion of the sound that they drive is from a small combo of amps, and not large Marshall stacks or 4x12's, which has really given the record a big personality that isn't as much on other records, especially rock records. And I'd say drum-wise, again, we've really explored a lot of different avenues, not only in ways for Chad to play his parts and the grooves that he plays, but sonically.

So I can't say there's one core group of things that we've done. Every song since the beginning has had its own voice and a lot of that is based on taking chances sonically and giving it a completely different set signature.

Jeanna: What's it like working with Switchfoot, the pros and the cons?

NA: Well once again, I don't have a lot of bad to say - pretty much nothing. These guys are super sweet guys; they walk in every morning with a smile on their faces, high-fiving each other because they know they're making music and it's the greatest thing ever. They're doing exactly what they love to do, and really there's nothing bad that seems to come with them. I think the good things though is they are so willing to go for and try anything; they're open to any new idea despite the fact they've made a bunch of records and there's no one way for them to do things. And the other thing is they're great musicians, so when I ask for them to try a different part or a different sound, it's just a matter of minutes to kind of bring it up and try it. It's just great to have that kind of versatility and have the guys be such great musicians.

Job: But is there one member that is really stubborn about pursuing a song or an idea?

NA: Well, I mean Jon is the main songwriter. He's the driving force in that regard. Tim and he have this incredible simpatico as brothers. It's actually kind of amusing. There will be several times where Jon is done singing, and Tim will say something, and two seconds later Jon will say an exact thing. Or a guitar part is about to happen, and the two of them will literally spit out the same sentence when they're talking to each other. They kind of have this "brother" thing. And each person brings his own thing. Drew's got his own thing where he'll be in the back of the room playing his guitar as we're doing a vocal, and as soon as we're done doing the vocal, he'll come to me and say, "what do you think? Here's a guitar idea I had." And we'll listen to it and go, "that's great!" And he'll just jump in there and put some guitar down on it and everything kind of feeds off each other. That's kind of the way the whole thing has been.

And when it's time to do bass, Tim plugs in… when [people] start hearing the bass lines on this album, it will open people's eyes. And people who are bass players are going to be smiling from ear-to-ear because it's pretty amazing.


Job: What are you or the guys most excited about when the record comes out?

NA: I think for me, the thing I'm most excited about at this point is that this is a real, honest, true, front-to-back album. It's not a concept record, but it's a [record] chock full of great songs from top to bottom. It's not going to be one of those albums where you're going to find two songs that you like, and the rest you're not going to want to be part of. It's really going to be an album listener, and I think there's going to be days where you go, "wow, I really want to listen to these five songs." And another day where you go, "I want to listen to these other five songs; they make me feel a certain way." There's going to be days where you're going to need to listen to the whole thing top to bottom. I think there's going to be plenty of songs that will feel like singles, but ultimately, it's just a great core group of songs that I think fans and other people are going to want to listen to top to bottom.

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There you have it. What do you all think?

The "Hurricane" is arriving; Collector's Deluxe review; Roadtrip Nation Feature

Check out the new Roadtrip Nation video, which features Switchfoothere. A few teenagers/college-aged kids interview Jon Foreman and Chad Butler about their music, and life as college students when the band was just starting out. It's definitely insightful, for those of us who are that age especially.

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Andy Barron posted this message on the official message boards to give us an idea of what to look for in the "Hello Hurricane" packaging.

i think i can help here.

cd - jewelcase, 8 panel fold out booklet
cd/dvd - digipak, 16 (i think) page booklet
vinyl - 1 140g vinyl, cd in plastic sleeve
collectors - diecut slipcover, cd dvd bsides in envelopes in book, 84 pages

i seriously can't wait for you guys to see all this stuff. i think it turned out pretty great.

andy.

^sweet.

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WARNING: SPOILER ALERT!!!!! For those of you who haven't seen it yet and don't want me to spoil it for you, don't read any further. :)

As many of you have already found, "Hello Hurricane" is arriving on doorsteps, mailboxes, and p.o. boxes everywhere across America. I just got mine yesterday, and was blown away by the beauty of the Collector's Deluxe Edition package that had just emerged from the bubble wrap. I thought I'd post my thoughts about it here, as a mini-review featurish thing. :]


Review of the Collector's Deluxe Edtion

You've read our review of "Hello Hurricane." Here's my brief little overview/review (I don't think you can even call it that) of the Collector's Deluxe Edition. It's a beautiful piece of art, for sure. If you don't have it, you should seriously consider it.

"Building A Hurricane: Alternate Versions, Out-Takes, And Demos"

If you're a recording aficionado or are just hyper-intrigued by the recording process, you'll have a field day with this cd. It's filled with writing sessions, alternate cuts of the "Hello Hurricane" songs, and random interludes. I think you'll be intrigued by the sheer difference between the older version of "Needle" and the studio cut. It used to have a mid-tempo, arpeggiated rhythm, a far cry from the frenzied speed of the final studio cut.

Also interesting is to listen to the progression of "Mess of Me." It used to be funk-inspired, soul-inspired number. No, it did not use to be the hard-charging we know and love today. In one version, "aint no drug" used to be the chorus! There's also a very primitive recording of "Red Eyes" from way back in 2005.

Overall, you'll love this. Not as good as the final record (of course), but it's an intriguing-yet-brief look into just how eclectic these recording sessions were.

"Making of Hello Hurricane" DVD

You've seen the trailers. You know how great this DVD was going to be. And it delivers and then some. Cast in black-and-white, with some film scratching that gives the film a sort of timeless feel. This is an emotionally charged flick – for those who are the weeping type, you might want some tissues.

We all know Jon Foreman comes close to tears, but I bet few of you would've guessed that Drew Shirley would unsuccessfully hold back his. This was a truly difficult record to make, and it shows. For anyone who's been waiting so long for this record to come out, this is a must-watch. If you can't get the Collector's Deluxe, at least grab a copy of the CD/DVD.

Photo Book

The artistic prowess of Andy Barron is dazzling. The photos are, as always, amazing, with selections from the studio, the road, the Salton Sea desert shoot, etc. This package doesn't come with a typical cd booklet with lyrics, but not to fear – It's worked into the book, tastefully. There's not much else than can be said about this, since it's hard to describe visuals with words. But I suggest you try try try to get it if you haven't yet.

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Charts

"Mess of Me" is starting to slow down on Alternative radio. KEEP REQUESTING it at your local rock stations friends. Remember to go here to see a list of stations that are playing it! It's time for us to step up!

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VOTING

Don't forget to take the time to vote also.

- 98.7 (Los Angeles) Badass 8 We were No. 7 last night. We need to continue to put pressure on and get higher! The station is starting to spin the song more... VOTE.

- 91x (San Diego) Christy Taylor's REALLY BIG Countdown Keep requesting each day to keep it on the countdown! We were no. 1 last night. YES!

- RadioU's Top Ten Most Wanted. We still have the top spot! Well done! Let's keep it that way!

- We need to get "Mess of Me" on to KROQ, in order to get this single off the ground. Go HERE to request it! Keep it up friends! Don't slow down, WE NEED THIS. Keep going.

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Again, go here to see a list of stations already playing "Mess of Me" and phone numbers to call in and request the song with!

We're Awakening and Land of Broken Hearts Collab: "Hello Hurricane" Review Part 6

Here is the sixth and final part of the We're Awakening/LOBH tag-team "Hello Hurricane" review. For Part 1, go here, for Part 2, go here, for Part 3, go here, for part 4, go here, and for part 5, go here.

Job:

"Sing It Out" (4/5)

This song is unlike anything (and I mean anything) the boys have done before. If anything, the closest comparison to a past Switchfoot song I can think of is "Daisy." This song is another grower. If I had reviewed this song first, I would have probably given it a lower review, but listening closely changed my opinion.

It is a slow-building song, with a desolate, haunting tendency –– it feels darker than anything Switchfoot's done. Yet, the chorus somehow captures an optimistic tone.

"Sing it out… sing it out… take what is left of me… make it a melody."

Throughout the first part of the song, a low, almost incoherent pad pervades, before giving way to a burst of guitars in very similar fashion to "Daisy." Not quite as intense, "Sing It Out" feels a little more frail, more unsure of itself, whereas "Daisy" ended in hard-charging fashion.

In no way does it feel superior, however. It's another solid track to the cd.

"Red Eyes" (3.5/5)

The album closes on a quieter note. "Red Eyes," while a little louder than past Switchfoot closers (think "Twenty Four" or "Let Your Love Be Strong"), it isn't nearly as strong as those tunes.

The guitar riff throughout sounds a lot like it could've come from the days of "New Way to Be Human," and it's a welcome addition to the song, although at times, it sounds a bit rushed and sloppy. However, it is raw and emotionally charged, which partially makes up for it.

Perhaps it wasn't the best of songs to end an album with, musically, but it's raw and introspective, which should leave people with something to think about. The "outerlude" features a random assortment instrumentation, as well as a reprise of "Needle and Haystack Life."



"Red Eyes" appropriately bookends an album that began with a song about finding "miracles there in your eyes…" After such an eclectic, varied, energetic, introspective, personal, moving musical journey, all while saying hello to a hurricane, it only makes sense that the end of the road sees us with tired, red eyes…

I'm sure Switchfoot felt the same way after completing this masterpiece for us to enjoy. Those red eyes may have come from the tears poured out while making this record; they may have come from the sheer exhaustion that comes from working on a record for almost two years. Whatever it is, the guys gave it their all while making this album.

"I hope it moves you..."



Jeanna:

Sing It Out - 5 out of 5

I have been dreading writing this particular review. I don't know if I can explain why... it's just that... for me? This song is as close to perfection as Switchfoot has ever come. I feel inept and dismally unqualified to review such a masterpiece.

Jon once said that a review tells you more about the reviewer than the actual product, and I think this review is going to showcase that strongly. I LOVE this song. When I first heard it, I was absolutely speechless. It was so... new. So unlike anything Switchfoot had ever done before. I believe I told Romey the song was "haunting", but that's really not the right word. So once I could get my hands on a dictionary, I started searching for a word that would described this song more accurately. Haunting wasn't it. Melancholy? Almost, but there's a hope in this song that the word wouldn't convey. Poignant? Not powerful enough. There doesn't seem to be anything that can concisely convey the emotions in this song.

The beginning stills your soul. It's beautiful. It's pain and it's beauty all in one. Jon's voice is deeper than usual and the quiet longing in his voice is unequivocal. The chorus smolders with a deep passion and fervor, but maintains the throbbing mournful tone of the song.

Again. This song is master class. It will tear you apart.

Red Eyes - 4.5 out of 5

Red Eyes has a long history. It's been around in the Switchfoot catalog for quite some time now; in fact, it was even on the short list of songs for Oh! Gravity. I'm glad this song has finally seen the light of the day.

One of my favorite moments is the beginning, where the song begins like a lullaby, playing a gentle tune, before the guitars kick in with a melodic crunch. However, while the music itself is solid, for me, the real hero of the tune is the lyrics. "What are you waiting for? The day is gone. I said I'm waiting for dawn. What are you aiming for, out here alone? I said I'm aiming for home. Holding on. Holding on..." Those lyrics paint a clear visual in my head. The entire song is intricate, with subtle doses of wistful melancholy. Jon sings the song as only he can - emotionally. "All of my days are spent within in this skin, within this cage that I'm in," he sings, his vocals breaking slightly on the word "cage." This is a song that is going to make you feel something - pain, loneliness, hope - something.

As good as the song is, the very ending outshines everything that went on before. In fact the ending might be one of my favorite moments on Hello Hurricane - and probably one of my favorite Switchfoot musical moments EVER. I don't want to spoil anything for you, so I'll just say this... when I first listened to this song, back in July, all of the guys kept telling me repeatedly to listen to the ending of Red Eyes. When I commented on this to Tim, he laughed but then said seriously, "The ending just ties the whole album together. It brings it full circle."
It does indeed.


In conclusion, I LOVE this record. But it's not an "easy" record. The album has SO much emotion; SO much power; SO much passion, that it's almost overwhelming. It wades into these difficult areas of pain and triumph, and it's almost kind of tough to process everything. The songs are relatable, real, and brutally honest. This album, above all else, will make you feel.

Personally? I feel it's one of the best releases of 2009, and quite possibly, one of the best of Switchfoot's already impressive career.

We're Awakening and Land of Broken Hearts Collab: "Hello Hurricane" Review Part 5

Here is part 5 of the We're Awakening/LOBH tag-team "Hello Hurricane" review. For Part 1, go here, for Part 2, go here, for Part 3, go here, and for part 4, go here.

Job:

"Bullet Soul" (3.5/5)

Another solid rocker. It seems a bit misplaced, sandwiched between "Always" and "Yet," but it still doesn't interrupt the flow of the album too badly. The song's electric guitars are even more distorted on the studio cut than they are live.

The song has a solid guitar riff throughout, and the crunchiness of the electric guitars is classic Switchfoot. Lyrically, the song is ambiguous to me. Jon Foreman is also a little vague in his description of the lyrics, saying something along the lines of the fact that our lives are never bulletproof or clean-cut. There are some rough edges and frays. But other than that, I suppose the lyrics are left to the listener's interpretation.

It's an enjoyable song, and, as we have seen by a brief sampling, will translate over to the live stage well. I also predicted it would be on many a sports highlight reel, and it indeed has, being featured on ESPN College football games.

"Yet" (3/5)

Here's a "grower" song. In fact, the rest of the album from here on out will require several listeners to grasp. It will take a lot of people some time to wrap their heads around this one. When I first heard it on a recording of Jon's solo show in UCSD earlier this year, I wasn't impressed in the least. My thoughts ran something like, "Wow… if this is what the new album is going to sound like, I will be sorely disappointed."

But since it was a Switchfoot song after all, I gave it some time, and it really grew on me. The song doesn't require much from the listener besides a chance. I slowly began to really appreciate the lyrics as I listened to it more and more. This is "Hello Hurricane"'s answer to "The Blues," with even the same drum beat and tempo to match.

"If it doesn't break your heart is it love? If it doesn't break your hear it's not enough. It's when you're breaking down, with your insides coming out… it's when you find out what your heart is made of."

^Those are challenging lyrics. Jon and Tim Foreman have formed a habit of challenging people's insides with the words they write. Once listeners begin to grasp the lyrics and the sparseness of this song, it may become a favorite. For me, I will always compare this studio cut to that first raw acoustic version, which is, in my opinion, a much better performance than the studio version. The words seemed to flow a lot better live for some reason. But this song, by no means, can be considered "filler." It fits this album.



Jeanna:

Bullet Soul - 4.5 out of 5

Bullet Soul is one of the most energetic tracks on the record, but I feel like where this song REALLY shines is in a live setting - that's when it comes alive and takes on a whole new energy. However, there is much to be said about the studio version. This is one of the "driving" tunes on the record - a full out musical assault. Again, Tim's backing vocals add an extra punch to the song, as does Drew's killer guitar work. I feel like Chad's, Tim's, Drew's and Jerome's contributions are a lot more evident throughout the course of this album, and especially so during this song.

Jon's vocals are also noteworthy, as his voice takes on a smooth, sultry tone during the verses, only to change to a hardened rock growl during the chorus as he screams out, "Are you ready to GO!?"

Lyrically, I don't think this song is as ambiguous as I first thought, though it may take a few listens to understand what Jon is saying. Switchfoot has always said that they make music for "thinking people", and I love that this song is going to force a thought process. Personally, I feel like this song is about attacking apathy and not letting personal fears, trials or pressures hold you back. I think it's a song about not just existing, but LIVING. "You can't stand by forever, you're a kid with the bullet soul, are you ready to go?" Now I haven't discussed this with Jon, so this is just my personal opinion, but I feel like Jon is encouraging those who stand on the sidelines to embrace the life that is within in them - the powerful "bullet" in their soul. "Ooo, I want to turn up the radiation, ooo I want to glow in the dark."

I'd be interested in hearing your guys' thoughts when you hear this song, but for now, that's what this song means to me.

Life is not passive. This song screams that message loud.

Yet - 5 out of 5

I take issue with the people who write off this song as boring. I personally find "Yet" to be one of the most fragile and personal tunes that the guys have ever created. This song is unrestrained with stripped down vulnerability. The quite strength and defiance of this song is evident as Jon sings in the chorus, "But you haven't lost me yet. No you haven't lost me yet. I'll run into my heart caves in. No you haven't lost me yet."

The emotion in Jon's voice is achingly compelling, and it's hard not to feel the pain that must have precipitated the writing of this song. "Yet" also includes some of my favorite lyrics; most notably in the bridge. "If it doesn't break your heart is it love? No if it doesn't break your heart it's not enough. It's when you're breaking down with your insides coming out, that's when you find out what your heart is made of, and you haven't lost me yet." I find the song to be everything you want in a ballad - heartbreaking, sincere, impassioned and stirring.

My only issue with the song has to do with the live version that we hears prior to this release. During the bridge, Jon sang "That's when you find out what your heart is made UP of." It seems ridiculous to nit-pick over a single word, but that "up" added a beautiful, soulful tone to the bridge that is somewhat lacking in the studio recording.

Still, even without the "up", this track is one of my favorites on the album and one of Switchfoot's best ballads.

We're Awakening and Land of Broken Hearts Collab: "Hello Hurricane" Review Part 4

Here is part 4 of the We're Awakening/LOBH tag-team "Hello Hurricane" review. For Part 1, go here, for Part 2, go here, for Part 3, go here.

Job:

"Hello Hurricane" (4/5)

The title track will always be a sentimental favorite, since it was the very first finished material any one of us heard from the new record. (Remember when the guys played it over the PA system after the Visalia show?) When I first heard it earlier this year, I was struck by the seemingly contradictory energy and laid-back feel of the song –– it felt both intense and brooding, yet bright, hopeful, and relaxed. Credit the surfer boys from San Diego for pulling this off.

The song is melodic. The oohs during the intro are echoey and expansive; the verse's melodies are enthralling and engaging. Jon's vocals are complimented very well by Tim's steady baseline and Chad's peppy drumming. The mandolin during the intro doesn't sound as campy as the idea would suggest.

It all fits together in a nice, well-written piece of pop rock. It has the indie rock feel, particularly with the oooo's at the beginning of the song, but preserves a very accessible sensibility as well. It's messages of hope against the storms of life are universal – this is the most straight-forwardly positive song on the record, in the exact same vein as "Meant to Live."

"Hello Hurricane, you're not enough… you can't silence my love."

"Always" (3.5/5 [Album Version])) (4.5/5 [Radio Edit])

(Album Version)

This is the part of the album that left me scratching my head. Where did the boys go wrong on this one? It's arguably, potentially, one of their most moving songs on this album, but it doesn't quite reach the apex. This one felt tragically unfinished, and it feels like it was put together rather haphazardly. It has its high points though, no doubt.

The bridge still sounds just as incredible as it did in the preview clips from tour. My only gripe is that Chad's drumming, while just as solid as ever, sounded underproduced and undermixed. If there's a way to sum this song up in one concise statement, it'd be that this song sounds like an unfinished demo with mad potential.

(Radio Edit)

Now, I'm sure the guys recognized these issues in post-production, so they signed on with Rob Cavallo to re-work the tune and prepare it for radio. The results are nothing short of extraordinary.

Where the album version failed, this radio edit succeeded big time. Cavallo helped Switchfoot by first putting a glossy sheen over top of the entire song, smoothening out the rough edges and taking care of the rawness that shouldn't necessarily find a place on a song like this. Additional instrumentation overall gave this song a more finished, produced feel. For that alone, this song makes a jump on the quality scale.

What really made this song is the brand new instrumental interlude before the bridge, where Cavallo's years with Green Day seem to come through. It has a sweet, simple guitar solo that gives the impression of space for the electric guitar, yet doesn't come across as overbearing or intrusive to the mood of the song. In fact, the mood is enhanced by it. Another pleasant and welcome surprise is the addition of harmonies from the "hallelujah's" on towards the end of the song.

For this, I consider the song's potential realized. Will it make it onto final copies of "Hello Hurricane?" I hope so, but doubt it. It would be a tragedy if this version isn't released for purchase in one form or another.



Jeanna:

Hello Hurricane - 4 out of 5

I have a slightly bipolar relationship with this song. First I love it. Then I think it's bland. Then I think I was too harsh and I love it again. Then I think I wasn't that harsh at all and it really IS kind of bland. Then I love it again.

I guess I'll just say that while I'm not sold on this song, I have a feeling it might be a "grower" - one of those tunes that you start out not being fond of, but 2 months down the road, it's your favorite track on the album. 

Hello Hurricane is a very lighthearted, strong song with a punchy beat and a great drive. I love the defiance of the lyrics... "Hello Hurricane, you're not enough! Hello hurricane, you can't silence my love." It's a very honest song; straightforward without many hidden meanings. It's bold and brash and above all, encouraging. The message of standing strong is beautiful expressed. "I'm a fighter fighting for control, I'm a fighter fighting for my soul, everything inside of me surrenders, you can't silence my love."

On another note, I absolutely dig Tim's backing vocals during the final chorus. 
Overall, it's a great tune, and I think I'll be blaring this one in the car with the windows down. 

Always - 3.5/4 out of 5

Always. I'm so torn when it comes to this song. I had a really hard time deciding what to rate this tune, partially because I hate rating any Switchfoot song less that 4.5 stars (I'm biased. I know it. I freely admit to it.) and partly because I feel the bridge is this song's salvation. 

So what's my "issue" with this song? Let me ask you a question first... do you ever get that feeling where you know something is missing but you just can't put your finger on it? That's my problem here. This song has so much potential it's insane... and yet... the song never seems to take off. It frustrates me because I do truly love this song and I feel like it has the potential to be heartbreakingly epic. But it never seems to reach that climatic moment.

However, on the plus side, the lyrics are incredibly heartfelt. "These are the scars deep in your heart, this is the place you were born. And this is the hole, where most of your soul comes ripping out from the places you've been torn." Words like that need a lush, full background to underscore their power. 

I can't say enough about the bridge. The emotive force with which Jon's cries out "Hallelujah! I'm caving in! Hallelujah! I'm in love again! Hallelujah! I'm a wretched man. Hallelujah! Every breath is a second chance! And it is always, always yours!" is absolutely breathtaking. And just when you think it can't get more beautiful... a chorus of "Always" take over the background in a beautiful melody. I can easily see the crowd joining in on that part at concerts, singing at the top of their lungs.
Now, I'm not going to review the radio edit, but I WILL say this... I feel like it fixed all the issues that I had with the album version and I sincerely hope it somehow BECOMES the new album version. 

Though I would like it if they left the whimsical exchange between the Brothers Foreman at the end of the studio version of the song. Tim: "Eheheh! You can't do spanish." Jon: *chortle* "I think it's Italian."

We're Awakening and Land of Broken Hearts Collab: "Hello Hurricane" Review Part 3

Here is part 3 of the We're Awakening/LOBH tag-team "Hello Hurricane" review. For Part 1, go here and for Part 2, go here.

Job:

"Enough to Let Me Go" (4.5/5)

Before I go into an objective review, I do have to say that I developed quite an emotional attachment to this song. My friend Corey Vidal streamed it over AIM one time for me, and I thought it was a chill, relaxing pop song.

I didn't hear of it again until the purashop.com previews emerged. After listening to the 30 second clip, I realized then that I was in love with the song –– a lot. Yeah… I'm kind of embarrassed to admit it, but hey. Whatever. :P

Now, to review the song. It's beautiful. It feels aching. It has resonance with me personally –– love is never easy. Sure, two people in love means they will probably do whatever it takes to spend time together… but many times, that love needs time to grow on its own. Jon and Tim touch on lyrical matter that is rarely ever covered in pop culture today, and I think it's timely and relevant.

"Do you love me enough to let me go? To let me follow through, let me fall for you my love. Do you love me enough to let me go?"

Perhaps love isn't about clinging to things. Perhaps truly loving someone is setting enough of yourself aside to let the other person go. Compelling.

Musically, the chiming guitar lick is as optimistic as it is mournful. It is an emotional paradox, and it is beautiful.

"Free" (5/5)

This is a song I wasn't sold on until I heard the bridge on the studio version. Sure, the vocal acrobatics of Jon Foreman during the verse is intense and spectacular, but hearing the song in full acoustic mode, I felt like the song left much to be desired. Perhaps it was the dropped D tuning and the subdued vocals, but it wasn't cutting it for me.

But, thanks to the incredible bridge of the studio version, I am convinced this is one of the strongest songs on the record. If you thought "Mess of Me"'s "aint no drug" bridge was intense, wait until you listen to the "broken, open!" part of "Free." It feels like you are being lifted by Jon's voice into the heavens. Unbelievably anthemic.

After all this, the song brings you back down to earth, as if to say that the heavens are waiting, but for now, we are still waiting to be set free.

"Free! Come set me free… down on my knees, I still believe you could save me from me!" Of all the rock songs on this album, I would have to say "Free" is the strongest, in comparison to "The Sound" and "Mess of Me." This needs to be a single somewhere.



Jeanna:

Enough To Let Me Go - 5 out of 5

This song means a lot to me for a number of reasons and it's become one of my favorite tunes on Hello Hurricane. However, this song IS different. For those who have read the lyrics, but haven't heard any clips, this song might come as a bit of a surprise. "Enough" is a paradox. The lyrics are serious and a little bit dark, but the music is quirky, catchy and infectious. In theory, these two contrasting elements should not be able to work together without creating some form of chaos. But for whatever reason, that doesn't happen here. It's an oddity that actually works. New listeners might initially struggle with the dissimilarity, but if you give it time, this song will win you over. 

"Enough To Let Me Go" is also one of my favorites lyrically. The emotions that Jon expresses throughout this song are so incredibly real and heartfelt, the listener can't help but grab hold and take them personally. This subject matter is incredibly challenging, as the song asks the questions that most of us want to shy away from... "Do you love me enough to let me go?" That type of voluntary surrender is excruciating. "But every seed dies before it grows, do you love me enough to let me go? To let me follow through, to let me fall for you, my love."  I really want to quote the whole song here, because the lyrics are so impeccable I want them to do my talking (typing?) for me.  From verse to chorus to verse, the writing never falters.

Again, there is a current of hope that runs through the song. Perhaps it's the romantic side of my feminine psyche coming out, but I simply love the lines, "Back from the dead of winter, back from the dead and all our leaves are dry, you’re so beautiful, tonight."

Vocally, Jon's voice is alternatively strong, emotional and fragile... I love when he hits the high notes about 3/4 of the way through the song, crying, "Breathe it in, and let it go. Every breath you take is not yours to own, it's not yours to hold."

Genius.

Free - 5 out of 5

Free is EPIC. 

The end.

I could end this review with that. I feel like this song is one of Switchfoot's finest works. The beat is incredible. The guitars crunch with a melodic dissonance that storms through your head like a battle cry. The passion in this song is virtually unmatchable. In searching for the perfect adjective to describe this song, I did a thesaurus search on "aggressive." I came across the word "combative" and I think that fits. The lyrics, the music, the timing... this song is eager to fight.

Judging by the emotions and complete fervor that Jon sings the words with, I feel like this song connects with him deeply. Every word is absolutely saturated in passion. In talking about the songs on this album Jon said, "If you don't believe it, with every ounce of you, then there's no point in singing it." I feel like that philosophy was strongly enacted here. Jon BELIEVES this song. And he makes you believe it too. 

I think this is most clearly demonstrated near the end of the song, where Jon begins to sing, his voice rising with each passing second, "I had a dream that my chains were broken, broken, broken open! FREE! Come set me free! Down on my knees, I still believe you could save me from me."

The plea is undeniable and this song is unshakeable. 

We're Awakening and Land of Broken Hearts Collab: "Hello Hurricane" Review Part 2

Here is part 2 of the We're Awakening/LOBH tag-team "Hello Hurricane" review. For Part 1, go here.

Job:

"Your Love Is a Song" (5/5)

"Ooh, your love is a symphony, all around me…"

With these words, this song will capture the listener's imagination and pull them in. "Your Love Is a Song" is as close to a sure-fire pop hit as Switchfoot has come in years. It is gorgeously arranged, navigating the perfect balance between acoustic ear candy and pulsating semi-distorted guitars.

The song begins with a synth-driven wall of sound that is taken from any proven rapper's handbook (it's hard to explain, you'll understand when you hear it). This gives way to a full-blown instrumental intro, the same as what you hear on the first "Hello Hurricane" trailer, before Jon Foreman's surprisingly frail vocal steps in.

It later gives way to his familiar open wail, Jon desperately crying out during the chorus. Drew's perfectly placed guitar melody licks absolutely MAKE the instrumental portion of this song.

If you were forced to tab a song as the next "Dare You to Move," this song is IT. I struggle to find a more moving, beautiful Switchfoot ballad than this one, certainly on this album, but also on "Oh! Gravity." and even "Nothing Is Sound." I would say "The Shadow Proves the Sunshine" still bests this, but the two are so different stylistically it would almost be a moot point to compare… but I digress. It's a great song, a definite highlight on the album, and will be stuck in your head for hours, if not days.

"The Sound (John M. Perkins Blues)" (4/5)

The album quickly and swiftly, almost abruptly, shifts back into pure rock mode, with "The Sound." I would describe the opening riff as a distantly related cousin to the one found on "Bodysnatchers" by Radiohead. But that is where the similarities end. This is no subtle, artsy number –– it's a full-blown, fist-pumping rocker.

Tim Foreman and Chad Butler drive this one starting from the intro to the verse. It's reminiscent in style to "Lonely Nation," where the two rhythm masters from Switchfoot also take charge.

The chorus is simply intense, with the guitarists taking the center stage along with the gang vocals. It makes the hard-charging verse and pumping intro feel quaint at best; needless to say, Jon and co. aren't afraid to let it out for this song.

"This is the SOUND! of a heartbeat, this is the SOUND!" they cry.

Oftentimes, what can be lost with such rock songs is the lyrical content. That being said, "The Sound" may be one of the more challenging songs on the album.

It is essentially a paraphrase of what John M. Perkins said in his book, "Let Justice Roll Down," which Jon has read. In it, Perkins, a civil rights movement advocate, says that America is a haunted nation; the evils and hatred of the past run deep within her veins, running through the streets.

"Our stream of conscience flows, under the streets below"

And yet, despite all of that, Perkins (and Switchfoot) argue that there is a sound, louder than the static hatred: Love.

"John Perkins said it right… Love is the final fight… There is no sound louder than Love."

It's a hopeful tune and rocks as hard as any Switchfoot song has rocked in their 13 years of existence. I foresee this one becoming a fan favorite, once everyone starts to learn it. It has that live energy that is just evident, even in a studio recording.



Jeanna:

Your Love Is A Song - 5 out of 5

Jon has stated that this song is the conclusion to a trilogy of sorts - "Let Your Love Be Strong", "Your Love Is Strong", "Your Love Is A Song." So, in preparation for this review, I decided to listen to the three songs in sequence, to more fully understand where this particular song is coming from. Without sounding too corny, I guess I'd label the three songs as follows: A plea; A prayer; A promise. All the ideas, struggles and pain that Jon explored on the previous installments are touched on here, but the approach is completely different. I feel like this song, above all, is a song of hope. "Oh your love is a symphony, all around me, running through me. Oh your love is a melody, underneath me, running to me, oh your love is a song." There's no doubt in the chorus. No anguished plea. Just a simple, bold and beautiful statement. As I listen to the album, I keep catching onto a running theme: holding on. Holding onto hope desperately with all that you have, even when life is crashing around you and everything seems utterly lost. I sense that theme strongly throughout the course of this song. "I've got my eyes wide open, I've been keeping my hopes unbroken."

Lyrically, this song simply soars. The music and lyrics together become a journey that sweeps you along and leaving you with an oddly voyeuristic feeling. Personally, I feel this is the most "beautiful" and accessible song Switchfoot has ever created. The emotion and music will simply not leave your mind.

I predict people are going to fall in love with this song... and fall hard.

The Sound (John M. Perkins Blues) - 5 out of 5

This song has become one of my favorite tunes on the record, and I think I have to give Tim the credit for that one. For me, his backing vocals in the chorus just MAKE this song. If you watch a live performance of "The Sound", you'll notice it's Tim's vocals that give this song that extra jolt of energy and drive. Another person I need to champion would be Chad. His drumming on this album has reached a whole new level. I normally don't hear the drums on albums... to me they're an intrinsic part of the music, but not something that I ever notice separately. However, as I play the CD, I find myself listening for the drums, trying to tune everything else out and focus solely on them. Chad has managed to capture a tangible energy and life into his beats, and it grabs (and holds!) your attention.

Lyrically, this is another Foreman masterpiece. A song that gets your blood flowing with it's pulsing and pounding music. The lyrics are gripping. "The static comes in slow, You can feel it grow, Our stream of conscience flows, Under the streets below..." I find that visual to be brilliant.

Besides Tim's vocals, my favorite part of this song is the pause right after the second chorus... everything stills but in the background, you hear something start to slowly build... building... building... then "DOWN!" Jon screams out.

EPIC.

We're Awakening and Land of Broken Hearts Collab: "Hello Hurricane" Review Part 1

That's right, folks! Land of Broken Hearts and We're Awakening! are teaming up for a special, exclusive, Switchfoot-fan-filled collaboration to review the new "Hello Hurricane" record! Our friend Jeanna from LOBH and I will be presenting our reviews of the new songs, two a day, until the album premieres on Myspace next week. Should be fun, savvy? So without further ado, I present you with Part 1 of the LOBH/WA! "Hello Hurricane" review.

---------

Job:

"Hello Hurricane."

Music is a journey. I often liken it to movement – movement is impossible without a purpose, or even an irritant; without it, it can't even be at all.

Switchfoot has always been that band for me that played its music with a purpose; they don't mail it in, just to get to the top of the charts. They're a band that lets the music speak for itself. It may sound a little obscure or general to say that Switchfoot is the epitome of what great musicians these days should be, but if anything, they're pretty close. They sing with passion, strum with gusto, and smash with intensity.

"Hello Hurricane" embodies the essence of that passion. It's that punk rock ethic that got them where they are today; "The Beautiful Letdown" wasn't an overnight hit. It's the passion and desire for the music to speak timeless truths to people that propels this band to greatness each day. It's the requirement that their own souls need to be soaring before delivering it to their audience.

Here, my friends, is a love offering. None of us will ever know how difficult or strenuous the process was for this album. What we do know and can appreciate is that this is Switchfoot in its essence, and that this was the hardest record for them to ever make. It's a really great album, and I feel unworthy to even review or critique this album, but here's my humble attempt to do so. Hope you like it!

"Hello Hurricane" Review, Part 1:

"Needle and Haystack Life"(5/5)

This is one of the better songs on the record, if not the best. The spacious guitar intro really gives the listener a wide visual canvas. The best way I can personally describe it is that it evokes images of falling water in outer space somewhere.

After the "waterfall" of sound, the song enters the verse, where the atmospherics are replaced with a stripped-down beat. The drum machine really provides contrast to the full-band intro.

Vocally, this song is diverse. Jon sings the low octave during the verse, and appropriately so, the lyrics introduce the album by saying "the world begins, with newborn skin, we are right now."

The song then begins to build during the pre-chorus, where Jon's voice also starts to rise in tone. He sings "You're breathing in, the highs and lows… we call it living!" before launching into the exultant chorus.

"In this needle and haystack life, I've found miracles there in your eyes."

There's enough atmospheric pull on this song to lift anyone's spirits. I definitely felt goosebumps, as well as a tingling down my spine.

You all will love this track.

"Mess of Me" (4/5)

The first single. The rocker of the album. The most aggressive Switchfoot song to date. All these phrases can be used to describe "Mess of Me," the second track on "Hello Hurricane." The first time I heard this song, way back in the summer, I thought it was a solid, catchy number, with the hooky riffs to go along with it. I was especially impressed by Jon Foreman's soaring vocals on the bridge, when he belted out "there aint no draaauuuuggg," desperately and emotively. Not often before has Jon stretched his voice to those limits.

When I first took a listen to the studio cut of this song (about a couple months ago, at this point), I was surprised by the rawness of the guitar fuzz. It hearkened back to the days of old when the band tracked their tunes without the modern amenities a major label would have afforded them –– but this was a beefier crunch than those earlier days.

The opening bursts of guitar sound eventually give way to Jon's bluesy vocals, which remind one of a '60's garage rock song. He and the rest of the band then launches into a rousing chorus, filled with enough distorted guitars to make Foo Fighters fans happy.

Switchfoot fans will undoubtedly be happy, especially my fellow "Nothing Is Sound" fans.



Jeanna:

Hello Hurricane - A REVIEW

The very first time I heard this album, it was a pleasant summer evening in late July. I was sitting on a folding table in a tent, playing the album on Chad's iphone, surrounded by the five guys who poured their heart and souls into this piece of music. One headphone in. One headphone out. Trying to keep up with the conversation and take in the album at the same time. Music, thoughts, emotions and ideas swirled through my head, as we all laughed and talked about every random topic under the sun. I went away from that experience with a few dim memories of the songs and the album as a whole... vague impressions that I tried desperately to keep in my mind to replay later.

The main thought that I took away from that initial listen was that this album absolutely BURNED with smoldering energy. It was very, VERY intense emotionally. It was an emotional assault that didn't let up. Not once.

That first impression was dead on.

Hello Hurricane IS a storm. A storm of emotions. This album, more than any that Switchfoot has done, is an album that's trying to rip you apart.

I think it accomplished it's goal.

Sometimes it's difficult for me to review Switchfoot's music. These songs mean so much to me and I have a hard time stepping back and being objective. I tend to get "flowery" or overly poetic. I've found that my first impressions are often the most honest, so as I was listening to this album again, on a sunny October day, from the comfort of my home, on my own computer, I tried to scribble down some initial reactions so that I could maintain the integrity of my original thoughts.
I hope I was able to accomplish that and I hope you enjoy these reviews!

Needle And Haystack Life - 4 1/2 out of 5

I have a soft spot in my heart for the opening guitar riff of this song, partially because the guys are just so dang excited about it... as they should be. If you ever get a chance, ask Drew how he created that sound. It's a neat little story and it really makes you appreciate the musicianship and creativity the guys put into crafting these songs. It's a great way to start the record out... a subtle, majestic hint about what is to come.

This song is a fabulous album opener... it's sweeping, uplifting and it builds strongly to a soaring crescendo as Jon sings with passion, "It's no accident we're here tonight, we are once in a lifetime, alive!" The ending is abrupt and almost a little breathless, leaving your head spinning while you try to comprehend what just happened. It's a beautiful, hopeful song, full of plaintive lyrics and vocals.
I've heard some fans express worries, based on the previews, that this sound might sound a little "whiney" but let me assure you - those fears are completely unfounded. This song is full of emotion, for sure, but not once does it come across as whiney.

A perfect way to start this album.

Mess of Me - 5 out of 5

Ah Mess of Me. I LOVE Switchfoot's aggressive side and this song is a perfect canister to showcase that side of our favorite San Diego rockers. Jon's vocals in this song absolutely MAKE the tune for me... whether he's growling out the lyrics to the chorus or crying out "There ain't no drug!", his voice is spot on. One thing I noticed about this album is that Jon's voice carries an incredible amount of emotion throughout every single song. I've long since ceased trying to figure out how he does it, and instead, I simply enjoy the emotion as it comes. The emotion in this song is full of passion and an almost... defiance? A defiance against the norm. A battle cry to fight the cages of our modern culture and "spend the rest of my life alive."

I could rave for a couple more paragraphs (at least) about the bridge of this song. THAT BRIDGE is what people are going to walk away with. That's the bridge that's going to be running through their heads throughout the day. The musicianship underscores Jon's soaring vocals perfectly. This song is pounding, aggressive and intense. I guess if the album itself is a storm, then this is the... thunder?

Exclusive Joint Interview with Charlie Peacock! (in conjunction with Land of Broken Hearts)

Charlie Peacock- a man known for both being a Jazz musician early on and an industry veteran later on. A man who discovered, signed, and developed a little San Diego band called Switchfoot; the rest, as they all say, is history. I am pleased to present to you all for your reading pleasure, an exclusive interview with Mr. Peacock. Jeanna from over on Land of Broken Hearts first pitched the idea to me, and I was thrilled to contribute. The result is this short yet very informative interview with the man who helped start it all. So without further ado, here's our interview!


Land of Broken Hearts(LOBH) & We're Awakening (WA): Thank you so much for doing this interview with us Mr. Peacock. It's truely an honor! Now you've been with Switchfoot since their beginnings as a band. Can you share some of your first impressions of the band and their music?

Charlie Peacock: My first impression of the music was via a cassette tape. I thought the music was wonderfully inventive. Loved the lyrics too. Arrangements and parts were very clever and magnetic. Then I met them as people and was totally captured by their innocence and enthusiasm for life.


LOBH: What has it been like for you, watching Switchfoot’s progression over the past 10 years?

Charlie: One of my favorite collection of memories to be sure. Very proud to know these guys and have some small part in their trajectory of good. I love to hear fan's responses to the music. I especially like stories of how the songs help people become one kind of person in the world and not another -- how they shape people toward goodness and curiosity.


LOBH & WA: What was it like working with Switchfoot on the earlier albums? You were executive producer, and Jimmy Lee Sloas was the producer. Was it more of a watch-from-a-distance type of thing for you? Will it be different this time around?

Charlie: I was the executive producer on the first album because I was afraid that if I produced it I'd ruin their sound by trying to clean it up too much. I was very involved though. I chose the producer and engineer and studios and picked the songs. I also played on the recording and helped with arrangements. I am the executive producer on Jon's EPs because Jon doesn't really need a producer anymore. He just needs people who will tell him their honest opinion and I've always done that with Jon. I produced New Way To Be Human and half of Learning To Breathe and then was a co-producer with Fields and the guys on the single "Dare You To Move" on The Beautiful Letdown. I don't want to say too much about the new recording because it's really the band's choice as to what they communicate about it. I think it's safe to say that I've worked on it to some degree and that it will of course be the best Switchfoot album yet!


LOBH & WA: We heard your interview with CMCentral back in December, and you were talking about Switchfoot working with ATO Records in some sort of fashion? Is that true, or has it been confirmed? If so, to what capacity will they be helping the guys out with the record?

Charlie: Another question better answered in full by the band. For now, It's no secret that Switchfoot is working with ATO and the good people at Red Light Management. Bruce Flohr at ATO is a great music person and he will serve the band well. There's a reason both Switchfoot and Radiohead chose to partner with Bruce and his team. They are really good at what they do. Switchfoot is a smart band. They make good choices.


LOBH & WA: How close are you to the Switchfoot guys as friends?

Charlie: Well the original three are like sons -- though they all have excellent parents so I'm not that needed. Romey and Drew are like best friends I'd hang out with in highschool, maybe play in a band with doing Cure, Smiths, and The Jesus and Mary Chain covers. All of them are high integrity fellas.


LOBH & WA: What was it like working with Jon Foreman on his solo stuff?

Charlie: I love the songs so it was very enjoyable. I also liked being able to help Jon sort through the mountain of songs he's written over the last year or so. He's very prolific you know. Songs are his oxygen. He let me play a few vintage keyboard parts too which was a nice bonus. Most of the time I just made him tea and biscuits and fetched his laundry.


LOBH & WA: How’s the new Switchfoot album coming along? Any new sounds we can look forward to? We hear there’s a bit of a focus on electronic and acoustic...?

Charlie: It wouldn't be a mystery if I explained everything. But I know you're curious so I'll give out one tiny bit of information. There's electronic and acoustic, and there's rhythm and melody, but absolutely no harmony. That would be so 2004. I'm usually not this obtuse, I promise.


LOBH & WA: How long have you been making music? What got you interested in that field?

Charlie: I started getting serious about music when I was probably 8 or 9. I played snare drum first, then clarinet, then trumpet and I stuck with that for a long time until I taught myself guitar and piano when I was about 13. Next I learned music theory and then recording. My father was a musician and I learned a lot from him. I wanted to be a poet but I found out that being a poet is even harder than making it in music. I started writing songs. I signed a development deal with A&M Records early on and later made an album for them and one for Island Records. Then I got into producing because I loved experimenting in the studio. By all accounts I have lived a charmed life. To be anything but grateful would be an insult to grace and to God specifically.


LOBH & WA: We've heard that you personally have always wanted to make music and promote bands that make music for everyone... not just the CCM market. Is that still important to you, or have things changed?

Charlie: That's correct. I started out in mainstream pop music as a very young Christian. I later worked with Sparrow and EMI because I believe that people of faith should be everywhere and in everything -- including the church. I didn't realize how much this choice would brand me or music I loved. To say that I dislike the branding of music by some genre description like CCM would be a massive understatement. I am a tireless worker for music and bands that take their music everywhere and believe for good things in the strangest of places and circumstances. Besides that, the whole concept of ccm is horribly dated and nearly faded from church culture.


LOBH & WA: How about yourself? Are you going to release a new record? Those songs on your myspace sound great!

Charlie: Thank you. Yes, working on several things right now. First I have Arc of the Circle coming out in April. It's a duets record with saxophonist Jeff Coffin from Bela Fleck and the Flecktones. This is quirky improvisational music -- something I call jazz/not jazz. We have some stellar guest including Marc Ribot, the iconoclastic guitarist featured on the new Robert Plant/Alison Krauss project. Then West Coast Diaries Vol. II is being reissued in June as a remixed and remastered version. It's sort of like my version of Jon's EPs but from 20 years ago of course. Then sometime after the first of 2009 I will have a new book and full-length out. I'm very interested in playing live again. I love that the changes in the music business are forcing musicians to be real musicians again and get out of the soul-killing studio life and record business.


LOBH & WA: Lastly, we have what call the LOBH Three, which we ask to all our interviewee's:

1. What is one questions you've never been asked and the answer?

Charlie: Why do you sometimes write songs that don't have separate verses or even choruses? Because I'm attempting to write in a cinematic style where a song has an emotional story arc to it, a beginning, middle and end. To repeat a section would destroy the integrity of the song's journey and the listener's experience of it.


LOBH & WA: 2. What is one song you wish you had written?
Charlie: Fountain of Sorrow by Jackson Browne.


LOBH & WA: 3. What is the best advice you've ever been given/heard?
Charlie: "Always confirm, never assume." "Don't worry about tomorrow, each day has enough trouble of it's own." "Seek ye first the kingdom of God."


LOBH & WA: Mr. Peacock thank you so much for your time!
Charlie: Hope you like [the interview]!