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Have a lovely 2009 everyone!! Let's hope for more Jon goodness!!
Happy new year for Jon McL, his wife and family as well!!
JM: It’s a lot different actually. A headlining tour as opposed to opening up is for me … there are many pros and cons. When you’re opening up, the pros and cons of opening a show are, the good thing is that you don’t have to be responsible for everything. You know like everything is not on your shoulders, like if the show tanks, the promoter’s not coming after you. So you get to, or at least I’ve got to tour and open up with some really great artists who pull in a lot of people so you don’t have to worry about a crowd being there. I love the aspect of, or the idea of getting up on stage as an opening band and having no expectation. Like most of the people out there don’t even know who you are, they have no expectation of you, if anything they’re expecting to probably not listen to you or like you. And I love getting up on a stage and trying to win them over because it’s just fun, everything is light, they don’t have any expectation of you, you don’t really have any expectation of them, you just do your thing. You either love it or you hate it, it’s like you’re just putting it out there, you know? And on a headlining tour there are pros and cons as well because it’s, it’s … the greatest thing about a headlining tour is, like the other night we were in Philadelphia, you know you can play a song and you can kind of just step away from the microphone, keep playing and the crowd sings your song. Which is really the ultimate goal in this whole thing, like that right there – being in a room playing a song that you’ve written and having this room full of people you’ve never met in your life singing these thoughts you’ve written down. I mean you can get a bigger room and more people, but that’s it, that’s the end game of this whole deal. You get that when you’re headlining and you don’t necessarily get that when you’re opening up. It’s fun though, you get to play longer, you get to jam a little more, you don’t have to watch the clock. I definitely would take a headlining tour over an opening tour but whenever I go out on an opening slot, I’m just kind of like stress free, nothing can bother me in the world.
AN: Did you know that both you and Kelly (Clarkson) had songs titled “Beautiful Disaster” when you embarked on the tour with her or was that just a weird coincidence?
JM: I did know that. I knew that she had a song “Beautiful Disaster,” after I wrote it though. I heard it somewhere - I heard like an acoustic version of it and I really liked it actually. And I think that I had heard her studio band version, but I just didn’t pick up on it being the same name. It is kind of funny though, but I don’t think she ever played it on that tour, so it was okay (laughs).
AN: This past year has been pretty big for you, a lot of it attributing to the fact that you were featured in the hit Disney film “Enchanted.” The song you sang in the movie, “So Close,” went on to be nominated for an Oscar and you actually got to perform it at the Academy Awards this year. In fact, sales of your first album increased by 1,514% overnight after that performance. What was it like singing on that stage in front of practically every big name in
JM: It was ridiculous. In a way it was like a nice break, a nice vacation. Obviously it’s a crazy, not normal event and it’s amazing to be a part of something like that. Just to be able to go was amazing. It was cool, we went in for a whole week, we got to do rehearsals everyday, which I loved because I loved being in that theater and being around everybody. I wanted to do rehearsals everyday. That part of it was a little, as compared to what I do normally, was a lot less stressful because we don’t have any gear, I just show up and sing and that’s it. You either like it or you don’t. But actually going to the Academy Awards was like going to the senior prom times a million, going to your senior prom with like Penelope Cruz and George Clooney. It’s just crazy, there’s no way to explain it. Hopefully I’ll get to go again.
AN: Your new album “OK Now” is being released on October 7th, and on your website, you say you went into the recording studio with the “intent on undergoing both a musical and stylistic transformation.” What can we expect to be different on this album from your first record “
JM: Um, It’s not going to be as “Jon sits down on the piano for 12 songs” kind of thing. I get away from the piano a little bit. It’s kind of just a little more extreme. I feel as a whole, as far as a piano player I just pick my shots a little more, or a little better. There are some songs that are definitely piano based and a little more piano solo type things, but there are some songs I didn’t even play piano on. Most of the record I didn’t even write on piano, I wrote on guitar and I think that comes across in the production as well. We kind of did more 80’s vibe, synthesizer, guitar stuff and didn’t stick to the same thing. Like the last record that I did, I wanted every song to be piano, bass, drums, guitar, organ, and that’s it, nothing else. Maybe some strings and that’s it. And on this one, for whatever reason, I was just down with doing some different stuff, like maybe I won’t play piano on this, maybe this song doesn’t have to start out with solo piano and then the band comes in. I just kind of got tired of that and wanted to switch it up a little bit and use some synthesizer, use some different sounds and make it a little bigger. It’s definitely more pop and it’s a direction I didn’t see myself going in at all two years ago, it’s almost the opposite direction, but it works and it was necessary I think.
AN: So were you worried about your fans’ reactions to this change in sound, as opposed to just releasing an “Indiana” part two?
JM: Um, a little bit. We’ve already gotten a little bit of feedback from fans saying “where’s the piano?” The first single, even though it does technically start out with a piano, it’s not piano based. And I knew that was inevitable, but that happens with every record. Every record that a band does, I would say like 95% on the next record are like “where’s the last record?” And they’re like “we’re still selling it, this is just a new record.” Which is just a tendency, people want “
AN: You recruited help from many new people on this album including Grammy winners Tricky and The-Dream who helmed Rihanna’s 2007 anthem “Umbrella” and John Fields, who has produced hits for bands such as Lifehouse and The Jonas Brothers. In the future if there was anyone you could work with on a third album, who would it be?
JM: Ohh, I don’t know. There are so many. That’s almost a thing that’s a real question because even though I won’t make another record for a few years I should probably start thinking about it now because there are so many great people out there. I worked with John Fields on this record on all but one song, and I worked with him because I heard this band named Rooney, I heard the record they just did with him and after I heard that record, I was like “he has to be the guy to make this record.” And because of that, every time you hear a great record you’re like, who produced it? What a genius! There are all kinds of guys out there. So, if I had to pick an artist to collaborate in the studio with, I feel like I would want to get together with the band The Raconteurs and I would want to record the record as them being the band and them as the producers, and we all just get in the studio, all 5 of us, for a month and see what happens.
AN: Based on the tracks that I’ve heard so far from “Ok Now”, I find it extremely interesting because it’s so clearly a modern pop/rock record, but there’s still something very vintage about it in the sense that it throws me back and makes me think if The BeeGees or Billy Joel were still making music today, this is what it would sound like. That being said, who would you cite as your biggest influences in making this album?
JM: Well the song that you’re referring to, I’m sure, is “You Can Never Go Back,” and I wrote that with the sole intent of writing a Billy Joel song. 1978 – what would Billy Joel write? And it turned out to be that and the verse of the chorus brings a little old feel, but the whole thing is a definite throwback to a 70’s/80’s kind of thing. And I think that’s where Fields came in. I think that the writing as a song, lyrically especially, it’s a throwback, and then Fields came in with his sound that somehow in the end, we managed to have something that gets the point across of where we wanted to go but doesn’t feel like it’s not relevant or that we’re trying too hard to go back there.
AN: Yeah, definitely. Even when I heard the first single, “Beating My Heart,” I thought it sounded kind of like a very new wave U2 meets Coldplay.
JM: Yeah! You know that’s the other thing I can accredit Fields to because I did not go into the studio thinking U2 at all, and it just ended up with U2 all over the record. There are a lot of influences for sure that came into play. Whereas I came into the studio with “
AN: I read that one track on your record, “You Are The One I Love,” was inspired by the tabloid coverage of fellow singer Amy Winehouse’s troubled relationship with her husband Blake. What about their relationship and the way the media handles it inspired you to write this song?
JM: Well I wrote that song with a guy named Jason Reeves who I met in
JM: Well, you know there’s been some stuff. There was some tabloid stuff after the Oscars. There was some stuff dealing with … I’m going to blush when I say this … dealing with a website, I can’t remember what it’s called, something like bigbulge.com or something like that. Someone sent some picture in making reference to my bulge. Someone took a picture of a rehearsal that we did, and I swear the picture is … is a little … like I think they got into Photoshop a little bit and pulled some stuff out. But that was the only blog thing. One of my friends found it and I was a little more concerned that they found it then it was actually there because what are you doing on bigbulge.com? (laughs).
JM: Yeah, actually. I think a lot of the music I’ve written in the past three years has been influenced by that change. On the last record, the song “
AN: You also recently recorded a song with Jason Mraz for Randy Jacksons’ first production album. What was it like working with such industry heavy-hitters and how were you approached to lay down this track?
JM: It was completely, like, what’s the word? As half-hazard as it could get. I was doing an interview with Randy on his radio show and literally I just stopped in, drove over to his studio, I’d go in we did the interview, I can’t remember if we were done or we were still on the air and Randy was like “So you’re in LA, so what are you doing tonight?” and I was like “nothing” and he was like “You want to come by my studio and record a song?” and I said “sure” and that was it. So I was like “what time” and he’s like “why don’t you come by around, whatever, 9?” So I went by, he was there eating cereal I think, we were there for like an hour, recorded the song. I had never heard the song before, I just came in, listened the song, recorded it and left, and that was it. It was kind of crazy. It was one of those things where you wake up the next day and you’re not sure if it actually happened.
AN: On this tour, should we be expecting to hear more songs from “Ok Now," “
JM: Um, it’s not quite half and half. It’s a little … it’s almost half and half, maybe it is half and half. As much as I would want to play the entire record of “Ok Now” I realize it’s not out yet. That’s like the hardest thing in the world because you just want to play the new stuff. Yeah, we’re doing about half and half. I’m only playing the ones from “
AN: So are you going to do another headlining tour after the record comes out?
JM: Probably, yeah. We didn’t hit as many markets on this tour as we could have, so that leaves us a lot of room to hit those markets in the fall. I’m not exactly sure what the fall is going to be like, we’re kind of weighing our options right now but I think that it would be important for me to go out and do another nationwide headlining tour afterwards.
JM: (Pauses) I think that you’re trying to ask me what my favorite is in a way that where you’re not asking my favorite, because you probably always get “oh no I don’t have any favorites, they’re like my kids, I can’t choose a favorite.” I’m not sure if that’s true, I think you can choose a favorite.
AN: Well in terms of playing live, for example?
JM: You know I don’t know because it really changes. We could be really excited about one song at first and then on another song maybe we change something up the slightest bit and now that’s my new favorite song. As far as right now, on the record there’s a song called “We All Need Saving,” that’s probably the one I’m most excited to get feedback on and for my fans to hear because it sticks out on the record as an acapella kind of thing, and definitely the kind of calm song on the record.
JM: Yeah, thanks a lot man, I appreciate it!
Original source: http://headphoneinfatuation.blogspot.com/2008/07/exclusive-interview-with-jon-mclaughlin.html
Jon McLaughlin says a flashback to the 1980s set in motion his second album for major-label Island Records.
The Hoosier native shared a bill with Rod Stewart, Debbie Gibson and Richard Marx last November at a Los Angeles nightclub.
The occasion was a benefit concert for ailing guitarist Don Kirkpatrick, an in-demand studio musician who played on McLaughlin's first Island album, "Indiana."
McLaughlin played early in the lineup, and he caught the other performers from a fan's perspective.
"It was awesome," says the 25-year-old, who grew up in Anderson. "They were playing these songs, and I thought, 'Oh, I forgot about this.'
"It sent me back to my neighborhood swimming pool when I was 10 years old. After that, I was way into the music that was my childhood upbringing."
McLaughlin's new album, "OK Now," showcases bright melodies and pop arrangements reminiscent of MTV's early days, with USA Today comparing the recording to vintage work by Daryl Hall and John Oates.
"OK Now's" producer, John Fields, helped craft the chart-topping Reagan-era sound of the Jonas Brothers.
McLaughlin is no rival of the Jonas Brothers, but his popularity is on the rise. "OK Now" debuted at No. 49 on Billboard magazine's Top 200 chart, and current single "My Beating Heart" was listed at No. 23 on the Adult Top 40 chart at press time.
Branching out
Known as a keyboard ace, McLaughlin wrote the songs of "OK Now" on guitar.
"I think that changed my ear," he says. "I was so used to writing on piano and playing piano. You write a song on guitar, and you hear different stuff."
"Indiana," released in May 2007, framed McLaughlin as a sensitive singer-songwriter. When he sang at this year's Academy Awards ceremony, performing "So Close" from the "Enchanted" soundtrack, McLaughlin was introduced to millions of television viewers as a ballroom crooner.
The Anderson University alumnus still marvels at his experience at the Oscars, where he sat in the third row in close proximity to Harrison Ford and John Travolta.
"There are rows of 10 seats or so, and you're packed in there," he says. "It's surreal. You don't even know what to think about it. You sit and wait for someone to come and say, 'You can't sit there. You have to leave.'"
Although McLaughlin moved to California this year, he displays a fondness for his home state on "OK Now" track "The Middle."
"Hollywood is just another place I don't belong," he sings. "Let's go to the middle ... live a little closer to what is true. I'll be me. You'll be you."
Scheduled to perform during halftime of today's Colts-Patriots game at Lucas Oil Stadium, McLaughlin says he hasn't spent an extended length of time in Indiana since signing to Island three years ago.
"I have to write songs like that, because I miss it so much," he says. "It's like anything. If you're in love with a girl, you write a million songs about that girl. The songs come out."
McLaughlin adopted a new look to accompany the release of "OK Now," and fans have noticed his shorter hair and more formal wardrobe.
Although he insists he simply grew tired of having longer locks and wearing T-shirts onstage, some observers speculate that Island executives are behind the changes.
"It's funny when people write in (to claim) L.A. Reid is forcing me to wear this shirt," McLaughlin says.
Then and now
Committed to the contrast between "OK Now" and "Indiana," McLaughlin cites the challenge every artist faces when making a high-profile sophomore album.
"You're always caught between a rock and a hard place," says McLaughlin, who made his first recordings for Orangehaus Records, an independent label run by Anderson University students, in 2003.
"If you make the same record, you're going to be criticized for being stale. But if you do something new, people are going to criticize you for not being the same."
McLaughlin says he's happy with the measured pace of his career growth.
"We haven't sold 10 million records, but we haven't taken any steps backward," he says. "It's given me time to form really great friendships with the people who work (at Island). That takes a little bit of the business out of it.
"It makes us feel like this is 'our' second record. It's not this one artist from Indiana who's on our roster."
Upcoming Jon McLaughlin performances
Nov. 2, Lucas Oil Stadium as halftime entertainment of the Colts-Patriots game.
Dec. 1, Murat Egyptian Room as part of "Jingle Jam," presented by WZPL-FM (99.5). For more information, visit www.jonmcl.com.
Source:
http://www.indy.com/posts/12928By Andrew Greer
Not too long ago Jon McLaughlin was roaming the halls of Anderson University as a music student when he began to make waves with his American heartland brand of pop, sharing his stellar singer/songwriter set in clubs, colleges and churches throughout the Midwest.
Fast forward to 2008, and the classically trained piano-popster is busy readying the release of OK Now (Island/Def Jam), his energetic, ’80s-influened follow-up to Indiana, last year’s breakout debut and ode to his Hoosier heritage.
Now with a little experience under his belt and credit to his name, Jon discusses his new record, faith in the spotlight and gigging at the Oscars.
CCM: Your bio describes you as an American heartland singer/songwriter. But OK Now makes a bolder, more progressive musical statement than Indiana. What inspired the creative difference?
Jon McLaughlin: OK Now is definitely different. I’m a huge ’80s fan, and I totally went back to my ’80s pop roots. There’s a lot of Billy Joel and Huey Lewis & the News kind of influence on this record. I loved it.
CCM: What is the story behind the first single, “Beating My Heart”?
Jon: This whole record is about me enjoying my life as it happens. I have a hard time just relaxing. I tend to get really stressed out. I always look back in time and wonder why I was so stressed out. “Beating My Heart” is a song about breaking it down to what really matters, not getting so stressed out about the little things in life.
Not to be cliché, but it gets down to this: God put me on earth for whatever reason, and I don’t really have to know that [reason] right now, right here.
CCM: Do you feel the call to relax has been a necessary move with the pickup of your career in the past couple of years?
Jon: It is definitely necessary. I just had a birthday. I’m gone all the time. My brother just had a little baby. I think I’m dealing with time moving by way too fast. Right now there’s not a whole lot I can do about that other than I might as well not stress my life away.
CCM: Being a recording artist in the mainstream music world, what do you feel your role is as a Christian when it comes to performing and making records?
Jon: Once I started writing songs in college, I would go play at a state school, and people would say, “You go to Anderson University. Are you a Christian artist?” I’d go play at a chapel and sing a song that didn’t have the name Jesus in it, and they would say, “I thought you were a Christian artist?”
So for a long time, I was annoyed and frustrated with having to choose a side. On paper, now that I’m signed to a mainstream label (Island Records), I’m a mainstream artist. But I’ve always felt the desire and responsibility to play in a church or play in a club or college.