Показывай ссылками или картинками хотя бы, где да что написано. А то так не понятно )
Сколько лет туда захожу - ничего про Кёльн не замечал подобного )

Chad Kroeger & Nickelback   Published in SOS May 2003
Pieces Of Silver

Heavy rockers Nickelback have enjoyed amazing success with their multi-platinum album Silver Side Up. Frontman Chad Kroeger is not only their main songwriter, but also plays an active role in production and looks after an expanding business empire.

"I can play and sing anything I write really well, but I don't consider myself to be great in either department," says Chad Kroeger. "Whenever I'm in a room with a bunch of singers who I think are better than I am, I'll call myself a guitar player, and whenever I'm in a room with a bunch of guitarists I'll call myself a singer... and when I'm in a room with both, I'll call myself a songwriter."

What about when he's in a room with all three?

"Well, then I'll let them all know that I can drink them under the table!"

One thing that Kroeger doesn't lack is self-confidence. As the lead singer/songwriter/guitarist in the ultra-successful Canadian Metallica-meets-Nirvana rock outfit Nickelback, he's enjoyed a pretty phenomenal couple of years, and his career thus far is an object lesson in breaking through in the competitive American music business. Songwriting talent is one thing, but Kroeger clearly combines this with a keen business sense and a highly focused approach to recording.

Breaking In

Having taught himself to play guitar at the age of 13, Kroeger was thrown into a juvenile detention centre the following year for continually breaking into his junior high school. (I would have thought he'd be breaking out, but then teen deliquency can manifest itself in mysterious ways.) Eventually he was reinstated, and after finishing high school Kroeger began touring during the early '90s as the lead guitarist in a covers band. Also featuring his older brother Mike on bass and Ryan Peake on guitar, this outfit performed numbers by likes of the Red Hot Chilli Peppers.

Eventually the covers band split up, before Kroeger convinced his brother, their cousin Brandon (drums), and Ryan Peake to enter a Vancouver studio and record a number of songs that he'd written. This endeavour resulted in the seven-song Hesher demo and, subsequently, the Curb album which was released in 1997 on the band's own label and supported by plenty of airtime on Canadian radio and concert dates throughout North America. (The band's name was apparently inspired by Mike Kroeger's experience as a cashier at Starbucks — when customers regularly handed over $1.50 for a coffee that cost $1.45, he'd have to give them... yes, a nickel back.)

Several changes of drummer led to Ryan Videkal permanently assuming the role, and shortly after the band recorded their second album, The State, a deal was signed with EMI Canada and heavy metal label Roadrunner in the USA. Released in America in March of 2000, The State proved to be Nickelback's breakthrough, with both 'Breathe' and 'Leader Of Men' going top 10 on the mainstream rock charts. Thereafter, while the band built their following via a heavy touring schedule, sharing the stage with likes of Creed, Silverchair and Everclear, they also road-tested many of the songs for their next album, Silver Side Up, which climbed to the top of the Billboard Hot 100 in December of 2001. In 2002, Chad Kroeger also enjoyed a transatlantic hit with 'Hero', a collaboration with Saliva vocalist Josey Scott that was lifted from the soundtrack to the movie Spiderman.

Songwriting (And Golf)

While he confesses to having average ability as both a singer and a guitarist, Kroeger has no such apprehensions when discussing his compositional talents. I asked him to detail the songwriting process which has produced so many hits. He's been a songwriter since the age of 16, and now looks back fondly on his first effort in this regard. "It was a great song and someday I'm going to pull it out," he says. "I'm sure the first song I ever wrote could be a hit.

"I pride myself on the ability to write something that can get stuck in people's heads. I always start by jamming a riff on the guitar and humming different melody lines, and once I figure out how I want the melody to go I just lay it down. The melody always comes first and then the lyrics almost write themselves. I'll just open my mouth, different stuff will come out, and I'll write down the lines as this happens. I'll look at them for a second and then I'll get the idea and I'll go, 'Ah, I know what this song's about.' I honestly don't know what a song is going to be about when I start writing it, but once I get the idea for it I'm like 'Oh, OK.' At that point I really have a direction, I start scratching off all of these different things, the lyrics get very in-depth, and away we go.

"I think a lot of stuff comes out of my subconscious. I don't usually have too much just sitting on my chest, although the song 'How You Remind Me' was an exception to that rule. I was really just pissed off at the girl I was dating at the time and I wanted to get some crap off my chest. That was the only time that's happened, and the order in which I did things was also different — I started by writing the lyrics, and then the guitar part and then the melody, so it kind of came out ass-backwards.

"In general, it all comes down to focus. If I start and get distracted, that song will never get finished. That's typically the way it works. I'll have a verse and a bridge, or I'll have the chorus and no verse, and it'll just sit there on tape. I've got 90 of them like that and they never get finished. So, I've come to realise that I need to unplug my 'phone, lock my door and go, go, go from start to finish in order to get this very focused piece of music that is definitely going to get a point across instead of sounding schizophrenic. You know, 'This sounds like a verse that he wrote two years ago and this sounds like a brand new chorus.' You can hear that stuff.

"I'm very very aware of when I'm struggling. The minute I am struggling with an idea and it's not flowing, I'll put my guitar down and go play video games, jump in the pool or do something else. Usually that means I can't go back to the song, either because I can't get the vibe back or because I'm not into it and it's just not floating my boat. I mean, I've thrown away more songs than most people have written in their entire lives. I'm really, really, critical of my music. I can completely step outside of it and say, 'Am I or am I not a fan of this?' Any guitar player knows that sitting there playing the same riff over and over and over again for 20 minutes is fun, but it's not fun to listen to. It's like golf — golf is a lot of fun to play, but it's no fun to f**king watch, and you have to be very, very aware of that. You've got to know when you're losing your audience, especially in this day and age when people are used to sucking in information from four different places at a hundred miles an hour. You have to keep your songwriting at the same pace and really keep some of the tension, and that's becoming more and more difficult to do.

"On the other hand, when a song really, really flows — when it's flying out of you at a hundred miles an hour, the lyrics are coming and you start getting that little iceball in your stomach and you're thinking, 'Ooh, this is good. Ooh, this is good, too,' — that's when you know you can't stop and you have to keep going because you're on to something."

The Search For The Perfect Producer

Nickelback's last album, Silver Side Up, was co-produced at Vancouver's Greenhouse Studios in just five weeks by the band and Rick Parashar (Pearl Jam, Temple Of The Dog), yet Chad Kroeger pulls no punches when stating that, unlike the video directors with whom he has forged an instant connection, he hasn't yet found a producer who he likes to work with.

"My vision of the perfect producer is someone who can play the drums better than I can — and I am a better drummer than I am a guitar player — and play the guitar better than I can," he says. "He's also got to be able to sing just as well or better than I can, harmonise, and be just as good a songwriter while knowing three times as much as I do about the technical side of the studio. At that point I will completely appreciate his opinion, because I will then know that I'm dealing with someone on the same level. Otherwise, it's 'Well, I don't really like the drum fill. I can't explain what I want it to do, but I know I don't like what you're doing now.' That's not a good producer. A good producer, when he comes up with an idea, every single person in the studio is going, 'Yeah! That's a great idea!' There's got to be a producer somewhere who can do all these things."

Getting Into The Studio

For writing and demoing purposes, Kroeger has a recording setup in his home away from home: the bus in which he travels when Nickelback hit the road. Each of the band members has his own bus, and in Kroeger's case the middle section of his vehicle houses a Pro Tools rig, which he has only recently come to appreciate for its ease of use.

"I used to look at the screen behind my engineer and not have a f**king clue what he was doing," Kroeger admits. "Then I started using it and I went on the road for six months with the Pro Tools rig, and now it's like I've woken up and found that I can speak a different language. When I sit behind my engineer I know everything he's doing, and I'll be reaching over to the screen and going, 'No, no, no, not right there. Cut this off right here and move it over here, and grab this piece here and move it there... there we go.' Beforehand, I was always like 'This is my vision. I want the vocal part to come in backwards,' and I would just try to explain it to somebody else so that they could make it happen, whereas now I understand how it works and so it's a lot easier. Instead of me saying, 'How do you get that effect on the voice?' I know that it's a reverse reverb and how to achieve it on two-inch tape or how to achieve it on Pro Tools.

"I love the studio. It's fun just sitting around, getting stoned and listening to songs, and sitting there and wondering, 'Hmm, what would sound really cool right here?' If the toughest thing you've got to worry about is coming up with a really cool part for the bridge, then life ain't so bad."

Nickelback's modus operandi in the studio is to never perform as a band, but to record in layers, doing however many takes are required to perfect the drum part, for instance, before then doing the same with each of the other musical components: bass, guitars, vocals, harmonies, guitar solos, melody guitar over the top of the chorus, percussion and whatever else enters the mix.

"We know how the songs sound live, we've played them a billion times," Kroeger explains. "However, in the studio I've never done anything just live off the floor. Once you know how a song is supposed to sound, it's just like building a house, and that's the only way I've ever recorded. We lay down the foundation, the floor plan, everything else goes on top of it, and then we kind of sit back and say, 'What do we want to do here and what do we want to do here?'

"We've made lots of records with lots of mistakes on them, using takes that we didn't think were the best ones ones but which had a good feel to them, and all I ever do is wind up sitting around and going, 'Jesus, I wish we hadn't left that on there, it sounds like I'm singing flat here, and I wish we had done this.' We've made lots of records with loads of crap on them that I didn't really like, and now I'm in search of the perfect record. Even though we record our songs in layers, they have a live-off-the-floor feel to them, and I'm not a big fan of that. I like it when songs are completely airtight and sonically perfect, even though some people think that sucks the life out of the music.

"The perfect take always takes way too long to achieve. I mean, sure, we can all sit around and get the perfect drum take and the perfect bass take and the perfect guitar take and the perfect vocal take, but it's going to take you six months to make a record that it should have only taken you six weeks to make. At that point in time, all you're really doing is putting money in the pockets of the engineer, anybody else who's working by the hour or the day, and the owner of the studio."

Kroeger has no illusions about the idea of taking on the producer's role himself for one of Nickelback's records. "I'm smart enough to know that's dangerous," he remarks. "I could be missing out on a ton of different things that I never would have seen. Fresh perspective is always a good thing. Of course, I produced 'Hero' and that did extremely well — it was my third song to go to number one — but it wasn't a Nickelback thing. I mean, can you really imagine me telling my brother, 'No, no, don't play like that?' He would f**king freak! It doesn't matter how much experience I have as a producer, I'm still his little brother, and there's still going to be the part where he and I are like 'OK, well f**k you! Do you wanna go outside then?' With a solo project I have no problems being the producer, but Nickelback is a little bit of a more difficult beast to tame."

The Greenhouse Effect

The aforementioned Greenhouse facility in Vancouver is the invariable location of choice for both Kroeger and Nickelback. "It's a got a great vibe to it and it's completely haunted," he enthuses. "There are numerous producers and engineers who have had to work late by themselves in this great big room and have seen, heard, felt and smelled spirits in there. They've heard doors slamming, seen televisions turning on and off, and heard people walking up behind them with keys jingling while they're working and then turned around to see nobody there. I myself have personally never seen or experienced anything, although I have had the feeling of someone behind me when I've been going up the stairs.

"The room goes for about 500 Canadian bucks a day, and it's got a 48-channel SSL board that used to be in Little Mountain Studios and was used by Metallica, AC/DC, Aerosmith, The Scorpions, you name it. We've had studios that range from 2,000 to 2,500 US bucks a day offer us the same rates as Greenhouse to record there and we've said, 'Nah'. There's a reason we record there, and it's not entirely because of the price. Creativity seems to flow. At other studios there's sometimes a main room with three or four offshooting rooms and you're sitting around with a bunch of bands. Well, as soon as you put a bunch of bands together, there's instant competition and animosity — 'Oh, we're a better band than they are and we're going to make a better record than they are,' and you just start experiencing all these shitty feelings. That's not creative, that's competitive and negative. Greenhouse, on the other hand, has a separate studio that's just across a road, and it also has its own separate kitchen, its own entertainment room and a huge live room. Anytime you're sitting around and singing different harmonies, the creativity that comes out of that room for some stupid reason is just very comfortable and very productive."

The Business End

Kroeger's money-consciousness, hardly one of rockdom's most common attributes, is indicative of Nickelback's hands-on approach to the business side of making music. Having earned a small fortune from their endeavours thus far, Kroeger and his bandmates have every intention of holding onto it, and to this end they are fully involved in the management of their finances and marketing of their product.

"I understand how independent radio promotion works, I understand how the politics of everything works, and I know far too much about the business because I love paying attention to that side of things," Kroeger states. "The true artist will always go broke and the true businessman will never have good enough songs, so you have to be able to switch back and forth just like flipping on a switch. When I'm writing a song or when I'm Chad from Nickelback, then I have to wear one hat, and I have to wear various others when I'm Chad Kroeger who is co-owner of 604 Records or someone who's working on an independent project. At that point I want to know where the record is getting licensed, as well as absolutely every aspect of how we're going to deliver a song to the public and how we'll all get paid for doing so.

"That having been said, I never let the lines get blurry, because when I'm in creative mode I don't give a shit about the business. I don't care if the manager's calling and I don't care about any of that stuff, because right now I'm writing a song about a girl who went to her high school prom, gave birth to a baby on the bathroom floor, put it in a garbage can and then continued with her prom. When I'm writing about that I don't really give a f**k about money or business or anything else — I've got a cold chill down my spine and I'm trying to get something across musically. Once it's done and recorded, and I know that it's going to be on a soundtrack or whatever, and we start talking dollars and cents, then I'm wearing a completely different hat and I'm in a different mode."

As it happens, these days Chad Kroeger willingly chooses to wear any number of different hats, not least as a musician whose compositional talents lend themselves to projects both within and without his regular band. "I really have to find a place for all this material, because I'm not just a guy who writes songs for Nickelback. There's only so much of that I can do. I hate limitations and having someone go, 'It's too light,' or 'That sounds like a country song,' or 'It's way too heavy, we can't do that.' That's when I start getting on the horn.

"I'm going in so many different directions all the time. I've done the 604 Records thing, I've just done something with Santana, I did the 'Hero' thing, Nickelback just finished something with Kid Rock, and the entire next Nickelback record is written. I've started a development group that buys commercial properties and develops them into condos, I've just purchased two other companies with my father, we're in the middle of signing four different bands to 604 Records, and we're getting ready to go overseas and finish the Silver Side Up tour in Europe. So, I'm really stretched but I'm having a great time, and I wouldn't really give a shit if I woke up tomorrow and every newspaper and every television commentator was calling me the worst songwriter, or if I couldn't sell a CD, a T-shirt or a concert ticket for the rest of my life. I would just go one and do something else.

"I want to continue with Nickelback as long as people are interested in buying Nickelback records. If people are still interested in what I'm writing songs about, then I'll keep on doing that, because after all, that's what made Chad Kroeger who Chad Kroeger is and I haven't forgotten that. I will always be writing songs, whether I record them or somebody else does. I'm pretty sure I've already got another smash hit in my back pocket. If I didn't, then I guess I'd be worried. Who knows, we might release it and it might flop, but I still won't care because I already got to do it once. You know, I've written my 'Hotel California', I've written my 'Stairway To Heaven', and I did it when I was 27 years old, so I'm very happy."

Мне понравилось, как Чад тут сказал: "I can play and sing anything I write really well, but I don't consider myself to be great in either department," says Chad Kroeger. "Whenever I'm in a room with a bunch of singers who I think are better than I am, I'll call myself a guitar player, and whenever I'm in a room with a bunch of guitarists I'll call myself a singer... and when I'm in a room with both, I'll call myself a songwriter", все-таки приятно понимать, что он не считает себя лучше всех.

What Men Want: Chad Kroeger Edition
Chad Kroeger, the lead singer of Nickleback sat down with StyleCaster to answer a few questions about what men want.

SC: First off, being seen in the public eye all the time as a platinum selling artist, are you concerned with what others think of your style?
CK: No, what I wear reflects who I am, so they are seeing a part of me. I'm not out there wearing crazy things anyway.

SC: So what would you say is a normal day's attire for you, and what's something you would wear to an awards show?
CK: The two don't vary much at all, because I find myself wearing a lot of the same things. I like it simple. A pair of jeans, boots, a t-shirt, and maybe a leather jacket.

SC: I think that's kind of a typical rock star look. Do you have certain go-to brands?
CK: Yes, a go-to for me is definitely Diesel jeans, a dark colored tee that's comfortable, worn boots, and a rockin' leather jacket.

SC: What do you think makes someone's look standout to you?
CK: I wear a lot of the same things day in and day out. So to change it, I'll rock a sweet armband, necklace or belt buckle. The little things stick out.

SC: So any advice for people on how to Sstyle themselves?
CK: Yeah, people need to dress according to them. Everyone's different and their clothing shows that.

http://www.stylecaster.com/news/3630/me … er-edition

Кристи,я такого интервью полностью нигде не читала-а тут еще такие факты о песнях открываются.Чед не знал до 18 лет,что у Майка другой папа?!Майк-пятидесятник???Круто.Нет слов)))

Nickelback's Chad Kroeger Is Not His Band's 'Puppetmaster'
In 2009, Billboard magazine named Nickelback in the top ten 'artists of the decade.' It's true, Nickelback has had a dizzying amount of success since their self-released debut 'Curb' back in 1996. (Roadrunner rereleased 'Curb' in 2002). Since that release, the band has moved something like 30 million records off store shelves.

These days, the quartet is still touring behind the 2008 release 'Dark Horse.' The Canadian band will swing back through the United States this fall for 25 dates with support from Three Days Grace and Buckcherry.

Notoriously elusive with the press, I had the chance to talk with Nickelback singer and songwriter Chad Kroeger about his band, the seemingly never-ending 'Dark Horse' tour and plans for a new album.

You literally try to tour everywhere. Do you worry about overhead?

I'm very adamant about taking the ridiculous machine that we have of a show everywhere. I want everybody to be able to see this thing and it gets costly and it gets to the point where even if you sell-out every arena twice in Australia, you still come home and break even. But I don't want those kids down there to look at YouTube clips of us live and see this massive thing that we tour around with in America and then go over there and give them a half-assed show with a half-assed production and half the lights, half the stage, half the video screens, half the pyro. I mean, its stupid but they really appreciate it when you get over to Germany and you bring the monstrosity we have sitting behind us every night. And it served us well and it's when we put that much back into the show, people will really enjoy it and it makes them to want to come back to the show again.

How many semis do you run on tour?

About 14 trucks. It's an 18 truck show pretty much, but they squeeze everything into 14 trucks. That and about the same in the tour buses. We've got about 80 crew members. We are a traveling city.

You love the business, don't you?

I don't know that I love – I think everybody thinks that. I think everyone sort of looks at me as this 'puppet master' and I'm sitting back in this evil chair, I'm swilling cow blood in a low voice, 'Muhhhha, look at all my trucks!' And its not that at all, it really isn't. I mean, that's my brother [Mike Kroeger, bass] and Ryan [Peake, guitar]. They really get into that aspect a lot more than I do. I'm the guy that's constantly running around pulling his hair going, 'What's with this or that?' I'm that guy. I get involved with the production side of stuff and what I want the stage to do and ideas that way. And when it comes to throwing the darts at the map as to where we're going to pick, that whole thing...that's more Mike and Ryan.

Really?

Yeah. There you go. We just pulled the curtain back. I'm not the one.

Do you want to be the puppet master?

No, not at all. That job sucks. Give it to someone else who enjoys pulling those strings because it's not fun sitting [in] on all those conference calls and getting all the meetings and its just labor. That's not why one picks up a guitar in the first place and starts [playing]. You don't dream, 'Oh my god, I can't wait to sit in meetings with people in boardrooms and us across the world, sitting on speaker phone and blah, blah, blah!' It's just really not appealing to me.

Are you surprised that you're able to keep selling out shows? Pollstar recently ran an article about how nearly every tour is tanking. But here you are. But you're also not charging a million dollars for back row seats either.

No, when you sit in the back, it's about $50.00 and if you're going to sit up front or sit up really close, it's about $80. And we bring $120 show.

You're like the last of the arena bands. It's sort of like you're carrying a torch.

I don't know about that. But it means you can still get there and people still want to put their devil horns up in the air and scream along to 'Hells Bells' and 'You Shook Me All Night Long.' And there's a few bands out there that can do it. And this is our ticket to jam. We don't know how long it's going to last and we don't know when someone's going to write in the sky for when the time's up. It's great to be in that band that people want to come and see. That's a great feeling. And our fans are good to us, they really are. They're fantastic to us and they stand by us when everyone else is putting us down and saying how much we suck and this, that and the other thing. And our fans are like, 'Really? Have you seen them play?' And then that's the thing that keeps people in the New York's and the LA's scratching their head going, 'Who are these guys and what, like really, really Nickelback?'

I've interviewed a lot of bands. And literally, I'll ask, 'What's the biggest show you've seen?' And I'm not making this up. The bands often say 'Nickelback.'

Really? Wow.

So if you put your money in and your time in, you're going to get that return on your investment.

Yeah, I mean, that's just a mindset that we sort of latched ourselves to when [the single] 'How You Remind Me' went through the roof. And [management was] like, 'Guys, the van days are over. We have tour buses and we're going to have trucks and you can do whatever you want.' And we're all like -- I remember the day when our tour managers were like -- 'Guys, what do you want to do?' And we just looked at each other and we all just went, 'We want to blow everything off the face of the planet up at our show! We want to incorporate every cool thing that we've ever seen everyone else do at a concert and we want all of them in our show.!' And [the managers are] like, 'Really? Jesus Christ, have you guys have seen the bill? Do you know what this is this going to cost?' And we're like, 'We don't care.' And we started doing it early and now...we just don't downsize well.

Well, at some point you can't, right?

Oh yeah, I mean ... U2 does the same thing. They just keep trying to turn themselves into this ... I don't even know how to describe it. That's a monstrosity as well. They do like 100 trucks. And when you go see U2, I mean, it's a production. It's not a couple of guys up on stage telling you to 'Get your lighters in the air.' It's like, 'Oh, my God, look over there!' and 'Oh look over there!' That's the thing that people want. They want to be entertained. I mean, everybody's gone to Las Vegas and seen Cirque du Soleil and seen what their entertainment dollar goes to and they have high expectations now. And so that's what we try and do.

This new leg of the 'Dark Horse' tour features Three Days Grace and Buckcherry as support. It's pretty common for tours to have three or four bands on a bill these days ... sort of like a mini-festival.

I get nervous sometimes when you get four bands on the bill. It's the fatigue actually because we don't want to be the headlining act that says, 'Okay, guys, you can't have free reign with the sound.' Because by the time we're halfway through our show, the eardrum -- once it gets fatigued -- your body actually gets very tired and you start looking at your watch and you don't even understand why it's happening. But the eardrum causes that to happen. And so you need to limit the amount of the time and how loud the opening acts can get because you want people to make it through the entire show. You don't want them going, 'Come on Stephanie, we've got the babysitter waiting. I know we haven't seen the encore yet, but let's get out of here.' And you notice that on Monday and Tuesday and Wednesday when it's just too loud in the arena.

You recently released some songs for the video game 'Rock Band.' Are you going to do a series?

I'm not really sure. I don't know. We'll see if our fans are in for the whole this aspect of the band or maybe they're not interested at all. Maybe they're just interested in checking out the tunes and coming to watching the shows when we pull through town. Who knows?

Are you actively writing a new record right now? You've been touring behind 'Dark Horse' for awhile now.

I'm not and I am if that makes any sense. There's not a concerted effort. There's not 12 people in the studio sitting around tuning guitars and drums, and a massive ordeal waiting on every word like, 'Now, what do we do now?' That is not going on. When you have 80% of the idea and then you just take it into the room. What we do is we put a big screen up and then we type out the lyrics, like the skeleton of how the lyrics are going to go. And we sit and stare at that damn TV for endless periods of time: weeks until the goose bumps happen. Because when something's good, it's just good. And that's what the fans are going to think too. Its got to be great, its just got to give me goose bumps in order for it to give someone else goose bumps. That's how that works. And we will sit there and sit there and sit there for 14 hours a day. And I think the longest we ever worked on one song was six weeks.

What song was that?

That was on 'All the Right Reasons.' That was like giving birth and it was a song called 'Savin' Me.' And we had the verse and we knew the verse was good and then the chorus just kept kicking us into mediocreville. And it just wasn't coming around. So we rewrote and rewrote and rewrote and rewrote until one day I was just like ... I don't even know, out of pure frustration, I was just like, 'God, we're just smashing our faces into the same wall over and over again! This is like some episode of the f---ing 'Twilight Zone!' And I grabbed the guitar and it just came right out. And Joe [Moi, producer] was like, 'Oh, dude, do that again!' And I was like, 'What?' And he was like, 'Just do what you just did there.' And I sang this little melody and went round and round. And he's like, 'That's us right there.' And I was like, 'Oh God, it doesn't have to be this difficult.'

People are looking for a new album.

Well, I went down to Nashville recently and I love country songs because I'm a lyric nerd and too many bands these days just do...everything is so introspective. It's all, 'Oh, I feel this and I feel that.' Unless somebody's feeling exactly what you're feeling, you're making it really hard for somebody to identify with what you're saying. So if you paint the picture: I walked into this room and it was dimly lit and this was over in the corner, and this was going on. ... And you take somebody on a journey with you and they create their own little mini movie in their own mind. And it makes it so much easier to connect with the listener. And so country music does that and it does it very well. Now, even though it could be very novelty. Well, just look at 'Rockstar.' That's a novelty song.

That's my favorite Nickelback song.

That is one of the songs where you're writing the lyrics and if it doesn't make you laugh, it doesn't make the cut. We had some lines that were like, 'I want two stripper poles on my tour bus,' and like, 'I want to go pick-up groceries in a monster truck.' There were pages and pages [of lyrics] and we had to go through everything and pick everything that just sort of went very well with the 'rock star' theme. That song was really fun to write. Some of it is tongue in cheek; some of it is very poignant. You know, 'I got washed up singers writing all my songs, lip sync them every night so I don't get them wrong.' Lines like that, people might not get it ... but people in the business definitely do. It's funny because the thing that I find with a song like that is everybody does want to be a rock star. It doesn't matter how many movies you've made or how far you can hit a baseball out of a park. Everybody would trade it in a heartbeat just to be in a rock band.

Why do you think that is?

I don't know but it's true. You ask anybody. Ask the most successful person in any realm if they would trade it to be a massive rock star. It's true, that's why the song hits home so well because everybody does want to be a goddamn rock star ... including myself!

Do you think you're a rock star?

My mom thinks I'm a rock star and that's cool enough for me.
http://www.noisecreep.com/2010/07/21/ni … petmaster/

xaxa 

Спасибо для интервью.

Очень хочется прочитать газетную статью Чада с Плейбоем. но я не знаю английского. такие комменты ещё все оставляют. Прям завидно((