Posts Tagged ‘Griffin Goldsmith’

goodluckwithwhatever_coverart.jpg

Taylor Goldsmith admits that he’s been pretty lucky during the current stultifying Pandemic lockdown, all things considered. He and his wife of nearly two years, actress/musician Mandy Moore, get along great and didn’t mind spending so much time together in their native Los Angeles, and they’re actually expecting their first child, a son, in early 2021. They often co-write together, as on the missus’ new Silver Landings comeback, her first album in 11 years, and Goldsmith, 35, has spent the rest of his free time perfecting the Dave-Cobb-produced Good Luck With Whatever, the seventh effort from his folk-rock quartet Dawes, and its first for legendary imprint Rounder Records.

Moore’s spring tour was cancelled, as was his, he adds. “So I look forward to concerts coming back, but sometimes I feel like it’s around the corner, and other times I feel like it’s three years away, and anybody who says they know for certain one way or the other is lying to you.”

So for his extracurricular viewing and listening entertainment, he’s been consciously steering clear of anything that reminds him of the COVID-19 existential crisis. “If it’s something that’s going to drag me through the dirt, I just can’t do it,” proclaims the singer, 35, who put thoughtful, cheerful topspins on Band-retro new Dawes tracks like “”Still Feel Like a Kid,” “Free As We Wanna Be,” “Between the Zero and the One,” and the childhood reminiscence “St. Augustine at Night.”

“Whereas if you’re going to uplift me and make me feel like there’s a reason to move forward, I find myself going back to those records—like the new Killers album Imploding the Mirage—over and over again. I just can’t stop listening to it, because it makes me feel hopeful, strong, and positive.”

His followers will probably soon be viewing the charming, disarming, yet subtly cynical “Good Luck” in the same optimistic light. “Although obviously, our universe is much smaller.

Taylor actually co-wrote some material with Brandon Flowers, recently. There’s a B-side song on his album The Desired Effect called “Desired Effect.” Then the other song was “Never Get You Right,” which was really cool the way it got written. I was on tour with Conor Oberst—we were Conor’s backing band—and I was texting back and forth with Brandon, who needed lyrics for a song, so we were trying to write something remotely. But then Conor and I just sat down and wrote this batch of lyrics and sent it over to Brandon, and he said, “It’s not the right thing for this song, but I really like ’em.” So he took those lyrics, embellished them, and wrote “Never Get You Right,” a whole new song just from those words.

“Memorized” from NBC’s This is Us, just got nominated for an Emmy Outstanding Original Music and Lyrics. that started from zero. And it was a trip to do, because Dawes isn’t a “hit” band, you know? We’re very aware of our own particular lane. But the mission was to write a fake hit song, something that the audience would perceive as an arena-sized hit, because that’s how this artist is portrayed. So I was like, “Wow. I’ve gotta try to go for something I’ve never written! And I have to make it believable.” People have to hear it and intuit as, “Oh, I can see that being a hit.” So Sid, the guy that scores This is Us wrote the music, and sent it over to me, and I came up with a draft, and the chorus with the title was there from the beginning. So then we just started chipping away at it, until it made sense for me and Sid and the creators of the show. And it was a blast—up until recently, I’d never done anything outside of just writing songs about my feelings, for Dawes. So to be asked to do that, I was like, “I don’t know how to do this, I’ve never done it before, but I’ll give it a try.” And it ended up being so satisfying,

We are tapping into The Band, circa “The Weight.”. They have always been this guiding light for us. With our first record—like a lot of people’s first records—I was like, “I don’t know how to do anything other than honour my heroes and hope that some personality comes through.” You listen to early Dylan, and it feels like Woody. You listen to early Springsteen and it sounds like Dylan, and early Tom Petty sounds like The Byrds. And I think that that’s a beautiful time in any artist’s career. So when I listen to our first record, it feels like “How do we sing The Band songs, because we really just love The Band?” And then as time goes on, you try and get away from it, and you hope that your personality, your singularity, your idiosyncrasies, just find their way through, no matter what.

So for us, as time has gone on, I’ve always been like, “You know, I have no control over this, because you don’t get to invent your own signature, you don’t get to invent your own fingerprint.” It’s a synthesis, and it just happens on its own. And with every record that we make, we’re tuning the focus a little more and making it that much clearer who we are and how we’re separate from everything else. So while The Band were this very obvious influence, initially, they’ve still always been a beacon for us. Nobody in that band is the best at what they do, and yet when they’re together, there’s something in their DNA that can only happen when those five guys are playing together. That’s the same way I feel about the Dead, the same way I feel about the Stones. So we’ve always wanted to make sure that came across — with our band. I really want you to feel Griffin (Goldsmith, his drumming brother). I want you to feel Wylie (Gelber, bassist) and Lee (Pardini, keyboardist)and myself. And I don’t feel like I’m the greatest guitar player, not even close. But I do feel like I have a better sense of reading—and reacting to—Griffin and Wylie and Lee, and them to me, than anybody else possibly could.

This is interesting because the bass rides herd on “None of My Business,” but with “Didn’t Fix Me,” “Still Feel Like a Kid,” and the title track, you let the keyboards control everything.. Goldsmith: Yeah. And a lot of that is just the mix. When we were doing “Didn’t Fix Me,” that is largely a guitar riff. And the way that Dave Cobb found the mix that he was looking for, the keyboards were kind of out front. I still hear it as a shared riff between the two of them, And Dave really has this incredible sense of catching a spirit.

“St. Augustine” had me believing that you were actually born in Florida, and I had to double-check that you actually hail from California, as I’d thought. I chose “St. Augustine” because we had family there, and whenever we were on tour and had a show in, or near, St. Augustine, we would ask our agent for a day off so we could all hang out and go fishing or whatever. So this song is a composite—it’s not about one person in particular, but it’s based on my experiences there, and based on my conversations with family, and just seeing how that town is, how everything is interlocked and everyone knows everyone. So it’s about St. Augustine in name and references, but I’m hoping it will be relatable to anybody that has a home town. Which is everyone.

I wrote songs like “Good Luck With Whatever” and “Between the Zero and the One” right after reading “Gravity’s Rainbow.” That book loomed large. But in songs like “Zero,” where I mention the Tarot, I had to look shit up, because I didn’t know how the Tarot works. And I needed to, to write that verse, to put it over the top of believability. So I actually bought a Tarot deck and studied it to find out what card means what.

And with “Free As We Wanna Be,” it’s funny, because when I watched “The Social Dilemma,” I thought, “This song is about that movie, So we don’t treat that world with the respect that it needs so it won’t keep zapping our brain. So I’m still learning how to draw my own lines, and I’m not really encouraged by my results so far. And “Free As We Wanna Be” is about our complicity.

“Good Luck With Whatever Dude.” It just feels like a big shrug, as humanity hurtles toward its own extinction. That song is all paranoia. “There’s a man with a chainsaw standing out in my yard.” And it’s trying to be funny, like it could be my gardener, or it could be Leatherface. Or you see a car parked across the street, and you populate it with your own details to make that story as horrific as you want. And that’s something that we all do, and it’s the basis of the conspiracy theorist in all of us.

For me, even during COVID-19, even during this election, like I was telling some fiends of mine, “I am the worst fortune teller that you have ever met. Everything that I decide to be scared of, and every way that I interpret a situation — like “Oh, my God—this could happen!”—you could pretty much take that to Vegas as insurance that it won’t. Because everything that I get concerned about is just not the way that things unfold. And I think we’re all really bad fortune tellers. If you told all of us two years ago that COVID’s on its way, and these are the general points of what it’s going to be, I think we’d all tell the worst version of that story imaginable. So while what we’re dealing with is needless and sad and horrific and scary in a lot of ways, we’re also cracking jokes, we’re also seeing family, and we’re also singing songs. And that’s a weird thing to say.

Courtesy of Big Hassle PR

Dawes return to their roots-rock origins for their seventh album, recorded with Nashville superproducer Dave Cobb. “Good Luck With Whatever” comes two years after their previous effort, Passwords, which found the band exploring textured modern rock with long time collaborator Jonathan Wilson. But early offerings from the new LP suggest something closer to the sound of the band’s first two albums: “St. Augustine At Night” is an intricate novella-style song that conjures classic Taylor Goldsmith epics like “A Little Bit of Everything,” while upbeat rockers like “Who Do You Think You’re Talking To?” finds the band channeling Eighties Petty. “In the past, I’ve definitely been more precious about the way I wanted the songs to sound, but that’s never as fun,” Goldsmith has said of Good Luck With Whatever. “The fact that we’re able to lean on each other and celebrate each other as individuals just makes us so much more excited about getting to play together in this band.”

The L.A. rock band Dawes will release their first new album since 2018’s Passwords later this year. Good Luck With Whatever is out October. 2nd on Rounder Records, and lead single “Who Do You Think You’re Talking To?” is out now alongside a fun new music video. The band, helmed by guitarist Taylor Goldsmith alongside his brother Griffin and their compadres Wylie Gelber (bass) and Lee Pardini (keys), recorded the new album at RCA Studios in Nashville, Tenn., with one of Music City’s most in-demand producers, Dave Cobb. “We’re a living breathing organism,” Pardini said in a statement. “People love to say, ‘this record sounds so THIS’ and ‘that record sounds so THAT,’ but to us, it just sounds like Dawes. We make records to document where we are at that time, but every time I check, it just sounds like Griff, Taylor, Wylie and me.”

Release date: October 2nd

Dawes press photo 2020

Dawes have released “St. Augustine At Night” as another preview of their first album for Rounder Records, and seventh studio release overall, “Good Luck With Whatever,” which is due on October 2nd. Says Goldsmith: “‘St. Augustine at Night’ is a song about one’s relationship to their hometown, but also is a song about the varying degrees in which we all watch our lives pass us by.”  The five-minute track strikes a confessional, reflective air, with simple accompaniment to frontman Taylor Goldsmith’s vocals by acoustic guitar and piano. The band, also featuring Griffin Goldsmith (drums), Wylie Gelber (bass) and Lee Pardini (keys), introduced “St. Augustine At Night” at some of their shows on their 2019 tour.

It’s been 11 years (next month) since L.A. rockers Dawes launched dual residencies that fueled the success of their debut album “North Hills” and cemented them as Southern California favourites. Six albums later, their take on Everyman classic rock has aged well — familiar, earnest, relatable music that wears like denim.

The quartet — Taylor and Griffin Goldsmith, Wylie Gerber and Lee Pardini — today announced that their seventh album, “Good Luck With Whatever,” will be out October. 2nd. It’s their first release for Rounder Records.

“In the past, I’ve definitely been more precious about the way I wanted the songs to sound, but that’s never as fun,” Taylor Goldsmith says of the album. “The music we make is everyone’s mode of expression, and the other guys all have chops that I don’t have and never will. The fact that we’re able to lean on each other and celebrate each other as individuals just makes us so much more excited about getting to play together in this band.”

The first single “Who Do you Think You’re Talking To?” is a saxophone short of a blue-jeaned Springsteen, the kind of tune you blare on the open road. “This song is about the way we bring our baggage with us as we move away from traumatic experiences and relationships,” Goldsmith says. “And the irony of sometimes our newer partners needing to be part of the processing more so than the folks who caused the trouble in the first place. It’s also about the other side of that coin — trying to assess a situation but knowing when not to take it personally and also finding a way to avoid over-analyzing.

“As a band, it was the first time we’ve ventured into certain grooves/arrangements for our tunes, so it was fun to push ourselves, see what felt natural and what we could get away with.”

The album was produced by six-time Grammy winner Dave Cobb (Chris Stapleton, Brandi Carlile, Jason Isbell) at Nashville’s RCA Studio A. Caitlin Gerard directs the video.

In June, Dawes released “Live From Richmond, VA,” a digital album with proceeds going to Reform Jails LA and Black Lives Matter LA.  In the midst of all this changing and learning and growing we have decided to release ‘Live From Richmond’ as a digital download on @bandcamp with 100% of our proceeds being split 50/50 between @reformlajails and @blmlosangeles. Please check out both organizations if you have the chance.
Yesterday someone I admire told me that this is the first time they have felt hopeful in years. I’ve got a lot of work to do and this is barely just the beginning….but I feel hopeful too. And that feels so good. I hope you enjoy the music. Link in the bio. – TG The band’s last studio album was 2018’s Passwords, the last of three on HUB Records. 

Band Members:
Wylie Gelber,
Taylor Goldsmith,
Griffin Goldsmith,
Lee Pardini,

Banner

From the first downbeat, Good Luck With Whatever, the seventh studio Album by the Los Angeles based rock band Dawes, sets a tone all its own. The album unfurls with the crunchy chordal cadence of what could only be Goldsmith’s guitar. As the band quickly hop their way aboard this rhythmic rail car, we find ourselves thinking “Hey, these guys are pretty good. I’m so glad you dragged me to see some live music!” — “Still Feel Like A Kid” serves as a reminder that we all love a good filet, but there’s no shame in still ordering off the kids menu from time to time. You can hear the eye contact in the room, you can see the lyrics as they fly from Goldsmith’s mouth straight into your ears, you’ll find yourself singing along to a song you’re hearing for the first time. It’s fresh, it’s raw, it’s a four tiered seafood tower of all American ear candy. Think “I Don’t Wanna Grow Up, I’m A Toys R Us Kid” meets “I Wanna Be Sedated”.

Recorded at the historic RCA studios in Nashville Tennessee, the boys teamed up with six time Grammy award winning producer Dave “Corn On The” Cobb (Brandi, Jasi, Chrisi, Stergi, etc) and just decided to LET IT RIP. “We were out in Nashville for just under 730 hours, or 1 human month” says bass player and resident ‘problem child’ Wylie Gelber. “We wanted that sloth like urgency, that cold heat, that all knowing curiosity. And me thinks that’s what we got.” The arrangements are as lively as they are lovely, from the rapidly ruckus “Who Do You Think You’re Talking To” to the robustly restrained “St. Augustine at Night”. A culmination of their entire catalogue and career all wrapped up in nine tracks. If you don’t know Dawes by now, you will never never never know them…

Far from apathetic,Good Luck With Whatever is Dawes at their most unapologetic. It’s sympathetic and magnetic, 50% genetic and highly kinetic. Songs like “Didn’t Fix Me” and “Me Especially” showcase Goldsmith’s poetic prowess perfectly; a historian of the human condition, transforming turmoil into motor oil. Drop the tone arm down, turn the volume up, unplug the phone and if you still feel nothing… call a doctor.

This album is a celebration of each other and our closeness as a group. It’s the 4 of us live in a room not hiding behind any sort of studio magic. This band has made us stronger and brought us closer through the years and we’re recognizing that and are more proud of that than ever.

“This song is about the way we bring our baggage with us as we move away from traumatic experiences and relationships. And the irony of sometimes our newer partners needing to be part of the processing more so than the folks who caused the trouble in the first place.

It’s also about the other side of that coin – trying to assess a situation but knowing when not to take it personally and also finding a way to avoid over analyzing.

As a band it was the first time we’ve ventured into certain grooves/arrangements for our tunes, so it was fun to push ourselves, see what felt natural and what we could get away with.” Dawes began their journey in the San Fernando Valley back in 2009, it was the year of the Ox, but don’t be fooled, these guys are No Bulls#$t. Having played with, for, and against some of rock’n roll’s most illustrious icons, the merry men have picked up more than a few things when it comes to sticking around and what it means to be a true BAND. “Sometimes I wish I did hate my brother”, explains frontman/stuntman Taylor Goldsmith, “might sell us a few more books… but the reality is, I can’t get enough of the guy! Scariest part bout’ it all is, knowing we’re gonna be playing music together for a long, long time.”

Taylor Goldsmith (Guitar, Vocals) – Griffin Goldsmith (Drums, Vocals) Wylie Gelber (Sweet Sweet Bass) – Lee Pardini (Keys, Vocals)

Dawes “Wish Everyone Good Luck With Whatever” July 22nd, 2020

Image may contain: ‎text that says '‎PRE-ORDER NEW ALBUM LUCK GOOD GOOD LUCK WITH WHATEVER LISTEN το "WHO DO YOU THINK YOU'RE TALKING TO?" WNN 3시ב" AVAILABLE NOW‎'‎

Dawes: <i>Passwords</i> Review

Taylor Goldsmith and his band Dawes latest album release. “Passwords”, This Is Dawes’ sixth studio album, It features 10 new soft-rock songs indebted to Laurel Canyon circa 1972 and in particular the sound of Jackson Browne, with plaintive melodies, soothing piano and lyrical platitudes that are just unspecific enough to feel relatable, like the scenarios in self-help books. There’s the earnest, if self-satisfied, attempt to find common ground on “Crack the Case,” where Goldsmith murmurs rueful lyrics as piano and acoustic guitars mingle behind him. His regretful would-be lover on “Mistakes We Should Have Made” wishes he’d gone for the kiss despite the obstacles, his ardor framed by the prominent snap of a snare drum pushing a mix of acoustic guitar and keyboards, with distant backing vocals from the girls of Lucius. “Feed the Fire” slides around on a slippery guitar riff and shimmery synth parts, and Goldsmith reflects on empty ambition at the top of his vocal range in a way that calls to mind Private Eyes-era Hall & Oates.

Passwords, inspiration pulls guitarist/ singer Taylor Goldsmith, drummer Griffin Goldsmith, bassist Wylie Gelber, and keyboardist Lee Pardini into their most universal, topical territory to date. This is a record about the modern world: the relationships that fill it, the politics that divide it, the small victories and big losses that give it shape. Taylor’s writing is personal at points – the result of his recent engagement, which lends a sense of gravity and self-reflection to album highlights like “Time Flies Either Way” and “I Can’t Love” – but it also zooms out, focusing not on the director himself, but on everything within the lens.

Dawes' Taylor Goldsmith on the Secrets of <i>Passwords</i>

Some artists are naturally loathe to discuss their work in microscopic detail, lest any telling trade secrets be revealed. Not perpetually-disheveled Dawes frontman and main songwriter Taylor Goldsmith. At the mere mention of the Los Angeles group’s slightly sinister new sixth set Passwords, he sings like a canary over every last nuance of the Jonathan-Wilson-produced set, which opens with the Brontosaurus-stomping “Living in the Future” and the abject ode to apathy and ennui, “Stay Down.” And he holds nothing back.

“On one hand, it was important for me to start the record with those two tracks, since they were the bleakest of all he songs, and I felt like if the album were to end with either of those songs, we would have been sending a listener off in the wrong mood,” he explains. “And that’s a mood that we don’t believe in or subscribe to. Other more upbeat numbers like “Crack the Case” and “Time Flies Either Way” are a reaction to that attitude, so I was questioning certain things in life, of what it means to be alive at this moment in time.”

Elsewhere, he expands on these theories, like in “Feed the Fire,” wherein his need for stardom is the same flame that will eventually consume him, and on “I Can’t Love,” which—without cynicism—celebrates the new love he’s found with his fiancée, actress Mandy Moore. “And ‘Greatest Invention’ is a swan song to an image of a woman that never existed,” he says. “And the whole record is about where we’re living, how dark I might feel about it, and then finding some sort of purpose and some sort of meaning in a connection with just one person.”

dawes_newport

Roots Rock band Dawes were live at Newport Folk Festival this last weekend, formed by brothers Taylor and Griffin Goldsmith check out last years album “Stories Don’t End”Album, they also performed a later set as Conor Oberst backing band, you can listen to their set over at http://www.npr.org