Iggy Pop And Josh Homme - In Conversation At The Grammy Museum

It's been sad times lately, so I jumped at the chance to go listen to something positive, especially when it was one of our favorites, Josh Homme, talking about his new record with Iggy Pop - the wonderful Post Pop Depression - in the intimate Clive Davis Theater at The Grammy Museum. We trekked downtown (and had a great talk about Prince on the train with a stranger), and settled in to hear from two of rock's most interesting characters for the next couple of hours.

The event opened with an introduction from Grammy Foundation VP, Scott Goldman, who asked everyone to please silence their favorite Stooges ringtone, and then described Pop as first generation punk rock, a member of The Rock and Roll Hall Of Fame, the bloody, bruised lead of The Stooges, and Homme as the leader of Queens Of The Stone Age (etc, etc, etc), and massively inspired by Pop. As the Davis Theater is pretty small, they weren't going to be putting on a full stage show, so they screened as yet unseen footage recently shot for Austin City Limits. The double whammy of Pop's classic calling card,  "Lust For Life" and "Break Into Your Heart" off of the new album. The footage showed how great they already are together - and it was only their second show ever. It also showed how funny and entertaining Pop is ... which would be proven again throughout the evening.

With that, Pop and Homme took the stage to a standing ovation, in matching black leather jackets, both about as cool as you can get. Pop immediately exclaimed, "That was only our second gig! We're so much better now! We're cool." He didn't have to tell us.

They got right into it, with Homme explaining that he first got turned on to Pop's music  as an 11 year old in San Diego. The album was Raw Power, and he bought it directly because of the cover. He said he played the album until it didn't play anymore, and still didn't really understand it, to which Pop replied, "That's too much record for you, Boy." Homme agreed that it had been ... that he was afraid of it, but also drawn to it, "like a moth to a big old fire" (Homme is not at all afraid of analogies - and they're pretty good ones). That album had been made in 1972, and Pop said, "I thought kids would like it (to laughter, but Homme did!). It had spunk." Homme said he thought it was the most successful marriage of an album title and a sound - Raw Power. "Well, it's my noisiest record," said Pop. "On most of the cuts it's like is it a song or a problem?" That cracked everyone up.

Goldman asked how the two guys met, and Pop said it was at the Kerrang Festival in London. "It was
Lifetime Achievement time for me," said Pop with a laugh. "And I was asked to leave," chimed in Homme, who apparently had partied a little too hard for the metal fest. They were asked to be in a photo with Marilyn Manson, and Pop was impressed with Homme, "Mainly because he was the only other guy there not in a Satanic space outfit." The next time they met, Pop was to follow QOTSA at a festival, but he didn't really want to because they were GOOD. "I was mixed between telling them how good they were and wanting to blow them away, so I went to their dressing room and stuck my head in and said, 'You guys are really good, I gotta go, Fuck off!" The respect was there from the beginning.

In speaking to how emotive Post Pop Depression is, Pop explained that in the race for the buck in the music business, "less and less feeling is allowed. There's less happy songs, there's less sad songs ... Like Clockwork (the incredible QOTSA album) really affected me emotionally ... and it was craft. Like Chopin would use in a nocturne. You don't hear that much anymore. I was looking for something I could sing with, and his music gives you that space."

Homme followed that by saying, "I think it's important to be a fan. I gave up doing things I don't like. I wanted to be a part of something that connects people." So, once they got to talking about doing a collaboration, Pop sent Homme an entire dossier of material to get to know him by. The two share a love of Germany, so there were German photos and inspiration, there were essays about Pop's sex life, there were poems by Walt Whitman and Pop himself ... all personal glimpses into what makes Pop tick.  "It was the first step in being vulnerable," said Homme, "And I started to see the wing span of a human being." "I sent it to him to hold up my end of the bargain," Pop explained. "Josh has a huge pile - he's a great guitarist, a writer, a composer, he has this whole little Motown thing happening in the desert, and I have this little pile - I sing and write - so I wanted to give him something to write about, and establish a common experience before getting into the studio. Like, Josh would already know when I write about Gardenia, because he'd already met her in my sexual essay. I wanted to give him an idea of what was on my mind." What a cool way to go about it, right?

"You move at the speed of opportunity, and in a collaboration, you move together," said Homme. "You take a real chance. I don't know what it's gonna be, but it's gonna be alright. I'm willing to do whatever is necessary ... if I have to jump off a cliff, then we'll hold hands and jump." This "we're in it all the way together" vibe permeates both the album, and the obvious love and respect these two carry for each other.

Homme sent Pop what he called "The Shitty Demos", to which Pop began writing and adding to. "He has such an economy of word choice, and so much color. He has so much color the Skittles people are jealous." Pop said after talking about how much they both love the gay Caberet scene in Berlin, Homme used a word to describe what the album would sound like, and Pop was shocked. He leaned over to whisper it to Homme, who said, "Go ahead, say it," but then they got sidetracked and we never learned what that word was. And I still want to know.

"Iggy just turned 69. There's an edge, and most people fall off, but one person doesn't fall off and they have the best view, and that's Iggy." Meaning Iggy has come from the hard living guy cutting himself on stage to be here now, still creating and loving and inspiring. Pop added, "I'm not doing some things anymore, but if I want to put the pedal to the metal for five minutes, look the fuck out!" Yes.

Once they got to work, it was on, though they decided not to tell anyone about it. Homme's Dad told him that you shouldn't tell people what you're going to do, you should tell them what you've done, so they just went for it, promising if it was no good they'd just literally bury it in the desert, and no one would ever know. "If no one knows you're making a record, then who are you making it for?", asked Homme. "That's sweet. I make something for you, and you make something for me." Pop added, "I'd be crushed if it wasn't good, but I'd be PERSONALLY crushed."

Pop explained that he did two chanson albums in French to get him to here. "I'm singing 'La Vie En Rose' in French, and Stooges people online are thinking that now I just want to go and put on my slippers." Not if Homme had anything to say about it. "Every record deserves the chance to take a chance ... but protecting himself is not in Iggy's DNA." He went on to say, "I don't work in a bank. I'm here to take a leap. I can't always figure out how to say something, but I can figure out how to play it. Look, this record might wind up being a coaster for someone, but it will be a tits coaster, I'll tell you that." Truth.

For Pop, after having 25 copies of his French albums sell on the counter in a wine shop in Lyon, "I kind of knew it was time to stick one to the motherfuckers ... that's the best way I can put it." Homme was on board for that. "There's an army of us affected and INfected by what Iggy has done, and I won't let that go unnoticed. I'll make tea for that." The reaction they've had from fans has been overwhelming, and Homme said that tonight when they play the Greek Theater here in L.A., "You'll look left, you'll look right, and you'll see this joyous thing, and we'll be up there grinning, and they'll get to show Iggy  all this respect they have for him."

They discussed how they worked together, and how Homme would agonize over a word and Pop would say, "No, just throw in something terrible and the right word will come." This was an epiphany for Homme, who said they'd been at the Magic Castle the night before, but this idea was the real "Ta Dah!" "This is the best thing I've been a part of," Homme said humbly and clearly appreciatively. When Goldman opined that "Sunday" is the "Hallelujah" moment on the album, Homme answered that  he almost kept it for himself, "but I wanted him to know that I'd give him everything. "Sunday" is like, what if at the end of American Valhalla, he makes it to Sunday?" "I've got all I need and it's killing me" went the line, but then Josh added, 'killing me and YOU' - and that changed everything," explained Pop, "and the strings at the end are TRAGIC." Give it a listen, they really are.

Goldman asked Pop if this album was a summation for him. "I"m summing up my vocation in this role. I hope to survive the experience, and quiet down a bit. You do less ... but I do a lot of other work too, like voiceover, some acting, a radio show, I like to guest on Christmas albums ..." cracked Pop. They then opened it up for some questions from the superfans (which these Grammy events always attract, so you actually learn a LOT), and one guy said that we've lost so many icons lately, and asked what their thoughts were on where we go when we pass. OK. Both Homme and Pop kind of hedged, and then Pop said, "There's a book called Sum with many possible answers to that. I'd suggest that book." - getting them both off of the hook. But then Homme wanted to add his two cents. " I know when I burn wood, it changes to ash, but it's still there. Wherever they go, I hope they're there when I'm there, or I'll be fucking pissed." Me too, Josh. Me too.

In closing out the night, Pop said, "The main responsibility is to entertain, so I just want people to enjoy it." Homme's final thought was that, "The Arts are a Swiss Army pleasure device, and every time I just hope it works."

It works, as evidenced by the thunderous applause and people back on their feet at the end of the program. What an interesting, great time it was listening to these two cats, both super individually impressive, but more impressive even together, showing what can happen when it's about love, friendship, and respect over the mighty dollar.

Get your copy of Post Pop Depression to see what I mean ... available now everywhere.


*All photos by Paul Gronnner Photography.

Halloqueen Fourteen!

This was one of the most fun Halloweens in recent memory, for sure. It began back in the Summer, it feels like, with spooky Halloween decor showing up on houses on an almost Christmas level. I've never seen as many houses getting so into it, as the adult takeover of the holiday continues its advance.

The place to be in Venice for Halloween is Rialto Avenue, and this year was no different. The street was blocked off so kids ands their handlers could roam freely between the extra-decorated homes without worrying about cars. One house was better than the next, and so much candy was being handed out that kids could hardly carry their own bags of the loot.

I had to speed-race up and down the block, as this was another one of those over-booked holidays, but I certainly saw enough to be impressed.

People went all out, with full on horror vignettes, not seeming to care at all if it might be scary for little kids - good!

My friends Russ and Harry live on Rialto, and out-did themselves, as usual. From costumes to decor, people on Rialto mean biz.

The Dragon house was again breathing fire, delighting all who passed by. Live bands played in driveways, and sidewalks got congested with all the kids squeezing past to get to their sugary reward.

I didn't look at my photos until the next day, but among them seems to be a real ghost. I swear! It was this shadowy and black and white without my doing and I don't at all remember taking it. OoooOOOOoooo!

I couldn't linger long as I was going to see the Queens Of The Stone Age at the newly refurbished and fabulous Forum! This was the first time I've been to a big, real concert on Halloween, and it was a complete blast.

Everyone was into it, in full costume, as they made their way into the Forum after checking out the circus-y side show attractions and haunted house put on by Queens in the parking lot. We didn't get there in time for all of that (because of Rialto, which is a must), but I heard it was real scary.

Costumes ranged from Queens (and Kings) of the Stone Age and Vampyres (of time and memory) Josh Homme (a tall dude in a red wig) concert-themed get-ups,  to a full sized lobster, lots of John Snows, a few American Horror Story clowns and a full dumb range of sexy cats (REALLY?! My least favorite costume every year) which I railed against in my PSA costume of Sexy Einstein. Smart is sexy, Ladies!

Mariachis strolled the concourse, lending it all an even more festive vibe. Nick Oliveri and The Kills opened the show, and sounded great from outside, but we were in Halloween party mode out in the lobby and missed them. I waited too long on securing tickets and wound up with a nosebleed pair, but it didn't even matter. Queens will rock you, front to back, top to bottom. No one is safe.

Queens took the stage in priest costumes (!) and people went bezerk from the opening number, "Keep Your Eyes Peeled". Like BEZERK. People leapt to their feet in the last, highest row - and stayed on them the entire show. People were moshing so furiously, I was thankful that many of them had squishy costumes to pad and protect them a bit. Whoa.

We were in full party/enjoyment mode, so I didn't really take awesome notes (or take any good photos), but you can just read the set list and pretty much know how hard it all rocked. "Feel Good Hit Of The Summer". "The Lost Art Of Keeping A Secret". A fun maraca opening to "My God Is The Sun". Josh Homme greeted the crowd by saying, "There's a shit ton of candy out there! What a night! This shit should be illegal! ... This is our last show for a long time (What?! Sad!!!) ... Fucking Smooth sailing ..." And they gave us fucking "Smooth Sailing." Awesome.

"If I Had A Tail" went right into "Little Sister" and then Homme said, "How 'bout something dark and dirty?" So they aptly went with "Someone's In The Wolf". After "Vampyres Of Time And Memory", Homme commented on how great all the costumes were (there was a pre-show contest in a boxing ring set up in the middle of the floor, manned by Suicide Girls - I hope it was won by a Queen of the Stone Age), and said, "That haunted house nearly scared the dick right off my body!" I'm not so bummed I missed that. "Are you having a good time, L.A. fucking Forum?!?!" The answer was a deafening YESSSSS! Man.

I love "I Sat By The Ocean" (they did not play my favorite "Kalopsia", but that's cool) and of course, "I Want To Make It Wit Chu"always keeps the party going. Speaking of parties, Homme said, "You could be at some stupid party, but instead we're at a stupid party together." As I was Einstein, I can solidly tell you - this party was nowhere near stupid. It ruled.

"Regular John" and "No One Knows" were followed immediately by "Go With The Flow" and "You Think I Ain't Worth A Dollar, But I Feel Like A Millionaire" in a flurry of punches that left us feeling like we'd been in that boxing ring after all. That needs to be noted ... QOTSA are RELENTLESS. It just never lets up, in one of the most exhilarating live rock experiences you can have these days (but not for a couple more years now, I guess.) They're so tight it's ridiculous, which comes from all the shows they've logged over the last couple of years all over the world. Super, extra impressive. "Happy Halloween!!!", shouted Homme, as the band left the stage to pure, ecstatic fan thunder.

A couple minutes more of yelling and they really would be playing Songs For The Deaf. The priests blessed us again, and came back out, this time with their friend, The Devil (Nick Oliveri). "Together they blazed through "Six Shooter", "Auto Pilot", "Another Love Song" and "Gonna Leave You", which all ruled, but vocals should really be left to Homme. Sorry, he's just worlds better when it comes to singing. A nice reunion, though.

Fittingly for a Halloween show, Queens ended with "A Song For The Dead". They just went completely off, none more so than Venice homie and drummer, Jon Theodore. His laser-enhanced mid-song solo actually lifted the people OFF of their feet, airborne with rock bliss. A girl in front of me was banging her head so hard, I think her scalp came off (though it may have been a wig).

As the last chord rang out, cannons spewed out black and orange confetti endlessly while the band took their bows. "We'll see you in a couple years!" and from the sound of it, that's gonna be a very long time to wait for these rabid fans. Carny music came on and the costumed masses poured out of The Forum only to find that it was FINALLY RAINING IN LOS ANGELES!!!

No spirits - good or evil - seemed to be dampened at all by this. People ran to their cars, skipping and dancing in the puddles on their way to whatever trouble they'd get into next.

Halloqueen '14 is in the books - as one of the very best times ever. Hope yours was too!

Queens Of The Stone Age Give Gibson Ampitheater A Scorching Last Hurrah

Queens Of The Stone Age blew apart the Gibson Amphitheater on Saturday night in L.A., which was fine as it's about to close and be turned into a Harry Potter ride. Yep. It's sad to see the place go, as it has been one of the few places in town where pretty much every seat was good. If it has to go, this was the show to have in your memory as your last here, for sure. Every single mind was blown, and every single face was rocked off. Happily.

We missed the openers as it's L.A. and there's freeways closed and you fight your way through all the tourists roaming around the chain stores to get to the venue. Also, we're slow. There was just enough time to get one last $18 dollar drink (It's the very cheesy Universal Citywalk, after all) before the lights went out and the people started yelling their lungs out. We'd made friends with everyone around us, so the atmosphere was extra festive.

The fans started losing their shit as soon as they saw the QOTSA guys and the windows on the video screen started breaking. Mayhem erupted as soon as they TORE into "My God Is The Sun" and it never once let up for a split second the rest of the show. I'm not kidding. I don't know how they/we do it. The rock is relentless.

You again saw air drumming all over the room, as Jon Theodore is exactly that fun to watch, and for some, to imitate. For "No One Knows" the place started clapping along spontaneously, to which Josh Homme said, "Hello, Los Angeles! It's goddamn good to see you! Clap along ... you won't look like a fool, you'll look like someone who gives a shit." Exactly.

It would be very hard indeed to NOT give a shit about music this good. At various points in the show I could compare Queens to Zeppelin. Pink Floyd. Plain Queen. With no hyperbole at all. This is a legend band like that, but for NOW. Super tight - "Tight" being the word I overheard most often from the rockers around me. They're just flawless musically. We were talking on the way over and I said that the latest album ... Like Clockwork is like Appetite For Destruction in that every track feels instantly classic and there isn't a single one that you want to skip over. Classic like no one's business.

Mr. Homme makes it his business to run the show exactly like clockwork ... Hard as hell, then lighter for a power ballad to give you a half second to breath, then right back to the head thrashing desert metal sound that they've created, and made all their own. (I'm gushy, but I don't care, I love them.)

... Paul's sister is an alien, Oh well ...  has always been a favorite lyric of mine, as I am Paul's sister. The Alien bit remains to be seen ... "Monsters In The Parasol" was a big hit with everyone, but then so was every song. The lush and lovely "Kalopsia" was dedicated to "an old friend", and was extra gorgeous, sounding even better than as recorded. Big waves played on the screen as they lit into "Like Clockwork" the song, with Troy van Leeuwen's very Pink Floyd monster guitar solo. Played in a suit and tie - the whole hot time. Yikes. They are LEGIT.

"This is a song about who I wish I was", said Homme to introduce "If I Had A Tail", a total crowd pleaser with its "Da Doo Ron Ron" chorus that no one was shy to sing along with. There was exactly zero seconds between that and blasting right into the old favorite, "Little Sister". Right on the heels of that these monsters of rock blazed through "Smooth Sailing" and I was again reminded of how Josh Homme reminds me sometimes of Elvis. The way he shakes his hips when he plays guitar, and the way he pretty much just says, "Thank you very much" between songs. The King - of the Desert?

"Is everyone having a good time?" The roar implied yes. "Here's a love song, played really fucking good!" Well, Homme was certainly right, as they played "Make It Wit Chu" awesomely and every single person sang along. And meant it. The guy behind me was on the fence about getting another beer, to which I told him OF COURSE he should. This is a rock show! And not just a rock show, but a Queens Of The Stone Age rock show. Have a beer! "The end is really fucking nigh", after all, if we're to believe their video screen. Enjoy yourselves!

"Unbelievable!" "I'm so happy right now!" "He could only be a rock and roller." "EVERY song is good!" These were just a few of the things I overheard around me at this point, and was proven more than true as QOTSA then ripped up "I Sat By The Ocean", "Better Living Through Chemistry", and "Sick Sick Sick". At this point, Homme stopped to introduce the band, saying, "We're N'Sync!" Hardly. After Homme, the loudest cheers came for my homie, Jon Theodore, on drums. He deserved them too, as he beat the living shit out of his kit and impressed everyone minds in there for life. Ask them.

They closed out the regular set with "Go With The Flow" - as everyone had been doing all night long. The fans wanted an encore and let them know it. If you could still hear at this point, there's no way you could after being subjected to the crowd roar. I'm guilty of splitting a few ear drums of my own with my power whistle. I can usually tell a great show by if I'm hoarse afterwards. I was.

 The excellent encore began with "The Vampyre Of Time and Memory", another Floyd-ian super jam. "Does anyone ever get this right?" goes the chorus and poses a really great question that I do not know the answer to, like a good song should. "I Appear Missing" was more great rock that no one in there wanted to end, but then Homme said, "This is IT! Whip out your dicks! Let down your hair! Take out your vaginas!" ... and I think more than a few probably did so, to get down with the last song, "A Song For The Dead".

Maybe they were talking about those gone before us, or about the about to die Gibson, but it didn't matter because this show was about being wonderfully, gloriously, rocking out ALIVE. Yes. And I'm writing about it, because I can't talk. That show was one for the books. Do absolutely whatever you must to get out to see QOTSA on this tour. It will be one of your all-time classics.

* Photos by Johnny/Tony Mayer JohnnyMayer7@hotmail.com

Lollapalooza 2013 - Day One!

Lollapalooza! My favorite. This is one great festival, and I'm SO excited to be here in Chicago again, checking out seemingly every band that exists in the world today (or pretty close). Again the extremely grateful and thrilled guest of the Farrell Family, I get to see how it all goes down, in front of and behind the scenes. Awesomely.

We met up to toast the first day with champagne and get our little "Perry's" temporary tattoos that got us into the cool areas. Then it was all aboard the big double decker Dobel Tequila bus emblazoned with Perry's giant face to take us over to the Lolla site. Not a bad ride, as all the friends and family caught up and enjoyed the Lake Michigan breeze up on top.

More catching up (and maybe a little partying down too) in Perry's compound meant that I once again missed a bunch of bands, but it's fun to hear all the music filtering in from the various stages, feeling the excitement build all day.

 Perry and Etty Farrell are hosts of the country's best party this weekend, and they make sure everyone is having a massively good time - the whole time. There are not enough thanks for them. THANKS!

I heard a little Father John Misty and Band of Horses and Chance The Rapper on the fly - sounding fantastic - and then we gathered up a full infantry of troops and golf carted on over to see Imagine Dragons, who had their crowd yelling and moving the whole set.

There is always so much to see and do that you kinda gotta keep moving to even scratch the surface.

So we were off to see Thievery Corporation with the gang, who ruled it, and got the approval from Perry as they had their faithful wildly dancing and loving it. Even the little kids got into it.

Grey skies threatened the whole day, but we never had to really deal with it, thankfully. It just looked all cool and dramatic, which is exactly how Queens Of The Stone Age handled their MONSTER set.

I love this band. They simply SCORCHED the already hot Lollapalooza audience, who were out of their minds for every song (I know, because I was, and thus, could recognize it well).

They played a slew of tunes off their new and epic Like Clockwork ... album, as well as bunch of fan favorites that had people going OFF. I saw guys air guitaring and drumming all the way back to the back. I mention the air DRUMMING because Jon Theodore's drumming was a true pummeling of monster rock proportions. I'm biased because we're friends and I adore Jon Theodore, but I'd say it if I'd never heard of him. He was an animal, and held the whole beat down DOWN. Barefoot. GO JON!

Josh Homme is one of those front men that are riveting to watch, because he just so confidently HANDLES the rock.

The songs are super interesting and hard and there was a point where the balcony we were watching from truly felt about to collapse. It would not have been a bad choice of final moments though ... honestly.

The set list was perfect and featured a deafening group singalong on "I Wanna Make It Wit Chu" that no one will soon forget. The sun set on their stage, creating a completely perfect show.

I can't say enough great about QOTSA, so I'll just let you dig them yourselves the very VERY first chance you get. You will never have a regret about it, but you might lose your face in the mayhem.

Mayhem is also an apt way to describe the set and the crowd for Nine Inch Nails. Whoa. Dark and ominous as ever in their first U.S. gig since 2009, Trent Reznor and his guys debuted some new songs ("Copy of A"/"Come Back Haunted") as well as classics like "Sanctified", "Head Like A Hole" and "Piggy".  At this point it was crucial to just enjoy and not try to take crappy photos. Sometimes you just have to LIVE it.

The Chicago skyline had grown dark by now, and as we mixed in with the rabid crowd, a lone firefly flitted around over our heads. It was kind of magical, like hope itself persevering amid the darkness and doom feeling of the music. That fact that whatever the tone of the music was, its very beats made the crowd so happy, it also felt like hope.

The Killers were ruining the other end of the slightly muddy Grant Park at the same time, so we only caught the tail end of them by leaving Nine Inch Nails early, but I could tell that they had brought the same hope and happiness down at their end. As did Steve Aoki at Perry's Stage. Man, there is SO much to do and see at Lollapalooza that you want to clone yourself, but you just do your best.

After all of this, we had completely forgotten to eat, so it was with pure joy that we discovered back in Perry's trailer giant trays bearing the now classic don't miss lobster corndogs. Aka lifesavers.  Fortified, we blended in with the happy music lovers streaming out of the park and out into the Chicago night to see what else we could get into. Before doing it all over again today.

Tra la LALAPALOOZA! Loving every minute of it.