Tuesday, November 29, 2011
The Reason I like The All American Rejects
I like The All American Rejects Vocalist's not because of soundthat good but I like this band because the action stage of the vocalist (Tyson Ritter) is very interesting, not only that, because it's songs like Too Far Gone uses orchestral background sympathetic,while other tracks include Drive Away, My Paper Heart and One More Sad Song proves that the guitar hard and feeling melancholymusic can make a great rock & roll. Most music is songs made by The All American Rejects theme of love, self-doubt, andnegligence of youth, like I Wanna, It Ends Tonight, Move Along.
Friday, October 28, 2011
Tyson Ritter
Tyson Ritter – lead vocals, bass guitar
- Tyson Jay Ritter, born April 24, 1984 in Stillwater, Oklahoma, is co-founder of The All-American Rejects. He lived in Destin, Florida after the success of The All-American Rejects, and moved to Los Angeles, California in 2009 where he lived briefly. In May 2010 Ritter moved back to Santa Rosa Beach, Florida. Aside from his role in the band, Ritter has worked as a film and television actor. He performed as himself in the American television medical drama House, M.D., appearing in the episode "Fetal Position" which aired April 3, 2007 on the Fox Network.[34] He also appeared with his other band members in television series Smallville season six episode 3, titled "Wither", performing "It Ends Tonight". He also appeared in his first film, The House Bunny, in 2008. In June 2010, Tyson Ritter sung a duet with R&B singer Timbaland with the song "I'm in Love With You". The song features as a bonus track on Timbaland's EP Shock Value II: The Singles. Tyson Ritter started his own charity called "Don't Hate On Haiti" to raise money to get water to the people in Haiti, by designing a t-shirt. He is very passionate about Haiti, as he has stated in many interviews and on his personal Twitter account. At Warped Tour 2010, he "sold his body" to raise money, by taking pictures, giving autographs, sidestage passes and even kisses for donating money. In June 2011 he began a campaign for Haiti that entails him keeping silent for 30 days. Many people have began to sponsor his silence by giving money for every day he keeps quiet.[35] "In the end, we're just a band, close friends, who care deeply about what we do," says Tyson.
Nick Wheeler
Nick Wheeler – lead guitar, backing vocals
- Nickolas Don Wheeler was born on March 20, 1982 Sillwater, Oklahoma and lived there until moving to his current residence in Destin, Florida. He is co-founder of The All-American Rejects.
Chris Gaylor
Chris Gaylor – drums, percussion
- Christopher James Gaylor, born April 11, 1979, lives in Edmond, Oklahoma. After joining the band in 2002, Gaylor has added a muscular edge to the band's drums. Gaylor is a co-founding member and drummer of "These Enzymes", and played drums on the Ben Weasel album These Ones Are Bitter.
Mike Kennerty
Mike Kennerty – rhythm guitar, backing vocals
- Michael Brian Kennerty, born on July 20, 1980, in Houston, Texas, grew up and lives in Edmond, Oklahoma. He joined the All-American Rejects in 2002 after The All-American Rejects had been completed. Kennerty is a founding member and guitarist of the punk band "These Enzymes", along with bandmate and drummer, Chris Gaylor. The side project was started after a 2003 tour in England, and includes other members Neil Rubenstein and Andrew Palmer.[36] He produced and played guitar on Ben Weasel's album These Ones Are Bitter. He is also the owner of Edmond Records, which specializes in colored vinyl pressings, including Ben Weasel's latest album.
Sunday, October 16, 2011
The All American Rejecst Biography
You can sit beside me when the world comes down/If it doesn’t matter than just turn around/You be the queen and I’ll be your clown/You can sit beside me when the world comes down.”
The All-American Rejects front man, Tyson Ritter, sings the verse to “Mona Lisa” for the 29th time. “All right, nice pass,” comments the voice behind the glass. “Some good stuff in there.” Producer Eric Valentine sits behind the console in his Barefoot Studios control room and imparts his bohemian brilliance. On the soundstage beyond the wall, the band o’ Oklahoma brothers track live their third cd. Welcome to the womb of creation where minds meld, riffs congeal, voices carry, lives alter, skin sheds and a modern rock multi-platinum success story swing, swing for the fences. But for The All- American Rejects, the road to When the World Comes Down, their third long form musical offering, has been anything but a straight line.
“This record hasn’t been smooth sailing,” confesses Nick, sporting a wry grin across his boyish face. “After the success of Move Along, we felt an innate need to challenge ourselves to grow. And to challenge our fans to grow with us. On the last record, all the songs were there before we even entered the studio. We were completely rehearsed. We just had to show up, play the parts, producer Howard Benson pushed the buttons and in six weeks, we were done. This LP is where we’re at as people, not just artists, here and now. That’s why we took the bus trips and locked ourselves away in remote cabins to recreate this sense of torture like we had in the past, before we sold any records.”
Bus trips? Cabins? Torture? How divinely placed are the potholes on the creative road less traveled? “When we first started working on “Real World,” a pretty aggressive rock song for us, we all got in a room, jammed it, and it sucked!” recalls Mike. “So me and Chris went to Florida to Nick and Ty’s place on the gulf coast and hung out for about a month. Ty has this electric drum kit, tiny ass little practice amp. We put the drums through the amp and the song came together really cool. You’ll have to ask Ty and Nick about the cabin and cross country bus trip.”
“‘Breakin’’ came out of the bus ride,” says Ty. “I wrote the chorus at Eric’s studio but after several weeks of basic tracking, I had a meltdown and became totally claustrophobic; lost my touch. I was going soft on everything, like falling into this vortex, grabbing things on my way down. I was depressed and worse, afraid to just let go; certain doom to an artist. So Nick and me got in a bus and just headed east on Interstate 10 to wherever we felt like cruising. And ‘Breakin’’ came together along the way, just me and Nick in the back of the bus, figuring shit out, chords, verses. The song is so different for us. It’s different and weird.”
“Ty and I know each other so well that two weeks in the back of a bus, personal shit doesn’t come out,” says Nick. “We’re in this together. I’ve known him since I was 14. We discussed insecurities but accepted the process. We knew we were growing. The cabin trip up in Rabun County, Georgia, where they filmed Deliverance, we’d done like four songs, two of which are on the record, ‘Damn Girl,’ and ‘Falling Apart.’ It was like the 12th day in close quarters and we’re cracking and Ty says, ‘give it one more day, one more day’ and he sat down at his keyboard with his headphones on and I was diddling some guitar part from another song and he says, ‘Okay, I’ve got it!’ and he plays me the chorus from ‘Mona Lisa,’ and I’m like yeah, but we get back to the rest of the guys and jam it and there’s something not quite right. It sounded like alt country southern rock but the chord changes were too quick. Then, completely frustrated, we played it for Eric and he says, ‘what’s wrong with the demo? Just play it like that.’ And it worked and we decided to track it live and now we love it. A common theme throughout the process of making this record has been ‘what was the initial inspiration or thought for the song? Less is more has won out time and again.”
Beyond a band, AAR is four friends who discovered one other and scored the American dream. Tyson and Nick founded the group and released the EP, Same Girl, New Songs in the summer of 2001. Mike and Chris joined in 2002 and the new quartet hit stores with their self-titled long play debut, The All-American Rejects on October 15th, scoring commercial success with the single, “Swing Swing.” They toured tirelessly and in July 2005, presented their fans with Move Along, a breakout effort featuring three smash hits, “Dirty Little Secret,” “It Ends Tonight,” and the LP’s inspiring anthemic title track. From down home southern boys to multi-platinum stars, AAR broke through the pabulum of mainstream pop with a cache of great songs and an authentic connection to their adoring audience.
While success can often damage the psyche, it just brought the Rejects closer together. It has something to do with personality and good breeding. “I was enrolled at the University of Central Oklahoma, was gonna be a physical therapist,” muses Chris. “’Til I got this call from Ty. Immediately deep sixed school and joined the band. I love playing drums and wish I could do this all the time. More I get to play, happier I am, less apt to get in trouble. I felt like I hit the lottery when I was making 50 bucks a show and not having to work for a living. Success is relative. When we got our first gold record, I started thinking ‘yeah, I guess this could pan out for awhile.’ The recording process of When the World Comes Down has united us in a deeper way. Tyson has really matured in the past year. We all have.”
Songs like “Believe,” a breathtaking homage to a fallen friend that examines why we’re here and where we might go once we cross over, the ambitious “Another Heart Calls,” AAR’s first duet taken to resonant new heights by the hypnotic vocals of a pair of Alabama sisters called, The Pierces, the soaring, roaring, antagonizing, “Hope It Gives You Hell,” (written on a road trip to Vancouver), the bouncy, effervescent “Falling Apart,” and the infectious, monster hooked, “Damn Girl,” illustrate seasoned composition, vintage production and a fierce, experimental spirit that contemporary fans beyond the Rejects’ passionate base will wholeheartedly and enthusiastically embrace.
“I want this record to be more than just good for us, I want it to be good for them, our fans,” insists Ty. “In the end, we’re just a band, close friends, who care deeply about what we do. When the bullshit eventually dies, love survives. I’m no rock star or hometown hero. I’m just a nobody. And like the song says, you’re nobody ’til somebody loves you.”
www.allamericanrejects.com
The All-American Rejects front man, Tyson Ritter, sings the verse to “Mona Lisa” for the 29th time. “All right, nice pass,” comments the voice behind the glass. “Some good stuff in there.” Producer Eric Valentine sits behind the console in his Barefoot Studios control room and imparts his bohemian brilliance. On the soundstage beyond the wall, the band o’ Oklahoma brothers track live their third cd. Welcome to the womb of creation where minds meld, riffs congeal, voices carry, lives alter, skin sheds and a modern rock multi-platinum success story swing, swing for the fences. But for The All- American Rejects, the road to When the World Comes Down, their third long form musical offering, has been anything but a straight line.
“This record hasn’t been smooth sailing,” confesses Nick, sporting a wry grin across his boyish face. “After the success of Move Along, we felt an innate need to challenge ourselves to grow. And to challenge our fans to grow with us. On the last record, all the songs were there before we even entered the studio. We were completely rehearsed. We just had to show up, play the parts, producer Howard Benson pushed the buttons and in six weeks, we were done. This LP is where we’re at as people, not just artists, here and now. That’s why we took the bus trips and locked ourselves away in remote cabins to recreate this sense of torture like we had in the past, before we sold any records.”
Bus trips? Cabins? Torture? How divinely placed are the potholes on the creative road less traveled? “When we first started working on “Real World,” a pretty aggressive rock song for us, we all got in a room, jammed it, and it sucked!” recalls Mike. “So me and Chris went to Florida to Nick and Ty’s place on the gulf coast and hung out for about a month. Ty has this electric drum kit, tiny ass little practice amp. We put the drums through the amp and the song came together really cool. You’ll have to ask Ty and Nick about the cabin and cross country bus trip.”
“‘Breakin’’ came out of the bus ride,” says Ty. “I wrote the chorus at Eric’s studio but after several weeks of basic tracking, I had a meltdown and became totally claustrophobic; lost my touch. I was going soft on everything, like falling into this vortex, grabbing things on my way down. I was depressed and worse, afraid to just let go; certain doom to an artist. So Nick and me got in a bus and just headed east on Interstate 10 to wherever we felt like cruising. And ‘Breakin’’ came together along the way, just me and Nick in the back of the bus, figuring shit out, chords, verses. The song is so different for us. It’s different and weird.”
“Ty and I know each other so well that two weeks in the back of a bus, personal shit doesn’t come out,” says Nick. “We’re in this together. I’ve known him since I was 14. We discussed insecurities but accepted the process. We knew we were growing. The cabin trip up in Rabun County, Georgia, where they filmed Deliverance, we’d done like four songs, two of which are on the record, ‘Damn Girl,’ and ‘Falling Apart.’ It was like the 12th day in close quarters and we’re cracking and Ty says, ‘give it one more day, one more day’ and he sat down at his keyboard with his headphones on and I was diddling some guitar part from another song and he says, ‘Okay, I’ve got it!’ and he plays me the chorus from ‘Mona Lisa,’ and I’m like yeah, but we get back to the rest of the guys and jam it and there’s something not quite right. It sounded like alt country southern rock but the chord changes were too quick. Then, completely frustrated, we played it for Eric and he says, ‘what’s wrong with the demo? Just play it like that.’ And it worked and we decided to track it live and now we love it. A common theme throughout the process of making this record has been ‘what was the initial inspiration or thought for the song? Less is more has won out time and again.”
Beyond a band, AAR is four friends who discovered one other and scored the American dream. Tyson and Nick founded the group and released the EP, Same Girl, New Songs in the summer of 2001. Mike and Chris joined in 2002 and the new quartet hit stores with their self-titled long play debut, The All-American Rejects on October 15th, scoring commercial success with the single, “Swing Swing.” They toured tirelessly and in July 2005, presented their fans with Move Along, a breakout effort featuring three smash hits, “Dirty Little Secret,” “It Ends Tonight,” and the LP’s inspiring anthemic title track. From down home southern boys to multi-platinum stars, AAR broke through the pabulum of mainstream pop with a cache of great songs and an authentic connection to their adoring audience.
While success can often damage the psyche, it just brought the Rejects closer together. It has something to do with personality and good breeding. “I was enrolled at the University of Central Oklahoma, was gonna be a physical therapist,” muses Chris. “’Til I got this call from Ty. Immediately deep sixed school and joined the band. I love playing drums and wish I could do this all the time. More I get to play, happier I am, less apt to get in trouble. I felt like I hit the lottery when I was making 50 bucks a show and not having to work for a living. Success is relative. When we got our first gold record, I started thinking ‘yeah, I guess this could pan out for awhile.’ The recording process of When the World Comes Down has united us in a deeper way. Tyson has really matured in the past year. We all have.”
Songs like “Believe,” a breathtaking homage to a fallen friend that examines why we’re here and where we might go once we cross over, the ambitious “Another Heart Calls,” AAR’s first duet taken to resonant new heights by the hypnotic vocals of a pair of Alabama sisters called, The Pierces, the soaring, roaring, antagonizing, “Hope It Gives You Hell,” (written on a road trip to Vancouver), the bouncy, effervescent “Falling Apart,” and the infectious, monster hooked, “Damn Girl,” illustrate seasoned composition, vintage production and a fierce, experimental spirit that contemporary fans beyond the Rejects’ passionate base will wholeheartedly and enthusiastically embrace.
“I want this record to be more than just good for us, I want it to be good for them, our fans,” insists Ty. “In the end, we’re just a band, close friends, who care deeply about what we do. When the bullshit eventually dies, love survives. I’m no rock star or hometown hero. I’m just a nobody. And like the song says, you’re nobody ’til somebody loves you.”
www.allamericanrejects.com
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