2003/12/31

2003 Gigography



Here is the list of concerts by Joseph Arthur in 2003


If you own an audio / video recording and an "unavailable" concert, thank you kindly send me an email to whenyoucryyoureyesarehollow@gmail.com


2003-01-09 North Star Bar, Philadelphia, PA USA
2003-01-10 Knitting Factory, New York, NY USA
2003-01-15 Hotel Cafe, Los Angeles, CA USA
2003-01-16 Troubadour, Los Angeles, CA USA
2003-01-17 Craig Kilborn Show, Los Angeles, CA USA
2003-01-17 Crocodile Cafe, Seattle, WA USA
2003-01-18 Bottom of the Hill, San Francisco, CA USA
2003-01-21 Twist & Shout Instore, Denver, CO USA
2003-01-22 Fox Theatre, Boulder, CO USA
2003-01-25 KCRW Radio, Santa Monica, CA USA
2003-01-31 Martyr's, Chicago, IL USA
2003-02-01 400 Bar, Minneapolis, MN USA
2003-02-06 Middle East, Boston, MA USA
2003-02-07 Aldrich Museum, Ridgefield, CT USA
2003-02-09 FNX Radio, Boston, MA USA
2003-02-10 WFUV Radio, New York, NY USA
2003-02-13 Carson Daly TV Show, New York, NY USA
2003-02-13 Rivoli, Toronto, Canada
2003-02-14 Cabaret, Montreal, Canada
2003-02-21 Housing Works, New York, NY USA
2003-02-25 Fordham University, Bronx, NY USA
2003-02-27 Smiths Olde Bar, Atlanta, GA USA
2003-03-08 Calvin College, Grand Rapids, MI USA
2003-03-09 Union Ballroom, East Lansing, MI USA
2003-03-13 Higher Ground, Winooski, VT USA
2003-03-14 The Continental, Buffalo, NY USA
2003-03-15 Bowery Ballroom, New York, NY USA
2003-03-28 Rosebud, Pittsburgh, PA USA
2003-04-03 Iron Horse, Northampton, MA USA
2003-04-04 Colony Cafe, Woodstock, NY USA
2003-04-08 The Living Room, New York, NY USA
2003-04-18 Peabody Hotel, Memphis, TN USA
2003-04-19 Gerstle's Place, Louisville, KY USA
2003-04-20 3rd & Lindsley, Nashville, TN USA
2003-04-23 Waterloo Records Instore, Austin, TX USA
2003-04-24 Stubbs, Austin, TX USA
2003-04-25 Jenny Craig Pavilion, San Diego, CA USA
2003-04-26 Coachella Festival, Indio, CA USA
2003-04-30 Fletcher's, Baltimore, MD USA
2003-05-01 The Orange Peel, Asheville, NC USA
2003-05-22 KMTT Radio, Seattle, WA USA
2003-05-23 Railway Club, Vancouver Canada
2003-05-24 Sasquash Festival, Seattle, WA USA
2003-07-08 Meadow Brook, Rochester Hills, MI USA
2003-07-09 Murat Center, Indianapolis, IN USA
2003-07-11 Calvin Theater, Northampton, MA USA
2003-07-12 Merrill Auditorium, Portland, ME USA
2003-07-13 Veterans Memorial, Providence, RI USA
2003-07-15 Beacon Theater, New York, NY USA
2003-07-18 David Letterman Show, New York, NY USA
2003-07-18 Fleet Center, Boston, MA USA
2003-07-19 Casino, Hampton Beach, NH USA
2003-07-20 The Green, Shelburne, VT USA
2003-07-22 Electric Factory, Philadelphia, PA USA
2003-07-24 Wolf Trap Filene Center, Vienna, VI USA
2003-07-25 Regency Park Amphitheatre, Cary, NC USA
2003-07-26 Pier 6 Concert Pavilion, Baltimore, MD USA
2003-07-29 Thomas Wolf Auditorium, Asheville, NC USA
2003-07-30 The Tabernacle, Atlanta, GA USA
2003-07-31 House of Blues, New Orleans, LA USA
2003-08-02 The Backyard, Austin, TX USA
2003-12-13 Theatre Arc-en-Ciel, Lievin France
2003-12-14 Le Cactus, Brugge Belgium
2003-12-15 Le Botanique, Brussels Belgium
2003-12-16 Le Botanique, Brussels Belgium




UPDATED ON 2018-05-07


INTERVIEW : 2003 Bring True to the Song and Writing About Insanity (by Andy Garrigue)



In 1995 Joseph Arthur was selling guitars in some shop in Atlanta, possessed of dreams but no real prospects. In 1996, Arthur was signed as the first rock artist on Peter Gabriel's Real World label, and great expectations were heaped upon him as his first release BIG CITY SECRETS emerged.

And while he labored initially in obscurity, people started to notice. A 1999 EP VACANCY got a Grammy nomination for packaging - and Arthur earned that recognition himself because he did all the art. His second album COME TO WHERE I'M FROM drew even more attention, with Entertainment Weekly naming it the 'Number One Album of the Year 2000', and many publications, including The New York Times and CMJ, naming it to their Top 10 lists for the year.

With the release of REDEMPTION'S SON at the end of 2002, Arthur's star continues to rise, and he stands a chance of making the leap from treasured secret of in-the-know critics to household name. The London Sunday Times says the new work "exhibits the sure sign of a classic album ... brilliant." The Boston Herald calls it a "near-masterpiece, dominated by irresistible hooks, an aching falsetto and ethereal backup choruses...One of the year's best pop releases." 
CMJ New Music Report says "Arthur creates a rewarding, dreamlike universe of sound, allowing the listener to get lost deep within its sprawling canvas." And these critics apparently aren't the only ones enjoying REDEMPTION'S SON, because the album recently scored the top position on the College Music chart on the back page of Rolling Stone. I agree that REDEMPTIONS'S SON is an impressive, ambitious, enjoyable work, with a host of different feels and shades within its 75 minute journey into a man's tormented psyche. Recommended tracks include "Dear Lord," "Innocent World" and "Let's Embrace" on the prettier and poppier side, and "Nation of Slaves" and "Blue Lips" for the more harrowing and poignant moments. We caught up with Arthur at his apartment in Manhattan, shortly after the College Music Chart news arrived that this album seemed to be well on its way to more than cult success. 


9x: Congratulations on your album occupying the #1 slot on the College Music chart in Rolling Stone. Do you feel you've now 'arrived', or did you 'arrive' a while ago?
Joseph Arthur: Um...hmmm... I don't know. I don't know what 'arrived' really means.
9x: Maybe you 'arrived' when your song "In the Sun" got played on Dawson's Creek.
JA: Right.
9x: So what has made this record #1 on the College Music chart? Is there a single that's getting played?
JA: I'm not sure. It's nice that people like the record. "Honey and the Moon" is the single. The people at the label who study these things say people are most responding to it. It's got that AAA vibe, I guess. If that's a hit, then the sky's the limit! If not, I guess it's time... to release a new record -- which I wouldn't mind. It's kind of a win-win situation - either I have a hit or I get to release more material. I don't want to have to hold off on releasing new material. Sometimes people can have a hit, and they're not allowed to release more material for a while. Then, that's a lot of pressure - knowing it has to be good. I wouldn't want to be in a position like that. I've got plenty of material, and I'd like to be able to release it. I'm pretty much always writing. I haven't had that writer's block thing yet.
9x: You do a lot of art, too. You've done the covers for your records, and received a Grammy nomination for the packaging for one of your EPs. You also do a lot of sculpture, working often with found objects that you pick up on the streets of Manhattan. Does the process of songwriting compare at all to the process of painting or sculpture for you?
JA: I guess so. They're similar in some ways. You can learn things from paintings that you use in songs and vice versa.
9x: Is producing your own record kind of like directing a film you're starring in? You produced REDEMPTION'S SON. Do you produce all of your records?
JA: No, I don't produce all my records. T-Bone Burnett produced the last one, and I helped out, too. Marcus Drab produced the one before that. I don't know if producing a record is like directing a film I'm starring in, because I've never directed a film I starred in!
9x: Fair enough. Is not producing your record a frustrating experience, artistically?
JA: No, not really. First of all, production is kind of a bullshit term anyway. It means so many different things to different people. It could be getting the coffee. It could be writing the songs and playing and everything. People always talk about it as if it's something specific. It's similar to a business arrangement, where each time it can be something different, known only to those involved. I've always been really creatively involved in the production of my records, whether I'm producing or not.
9x: I first heard you on WFUV up in New York, a public radio station that plays a very wide open "City Folk" format. I heard "In the Sun," which I love, enough to let it get under my skin, and I went out and bought the record. I later heard you doing an interview there, and playing some live in the studio, and talking about the road journals that you sell as well, with notes and drawings you've done when out on the road. My question is how important is a station like that to you?
JA: Well, not that many stations play my music. So I guess they're really important!
9x: I saw on a recent set list, that I viewed on your artist's home page (accessed via www.josepharthur.com), that you did the Stones song "Wild Horses." Why did you do that one? It's a great song. And what other covers do you play? You don't strike me as a guy who does covers.
JA: That's probably the only cover I've ever played. I wish I played more. I was moved to learn that song and play it at that time. Plus it was easy to figure out. There was no special reason I played it, really.
9x: How has your life changed since COME TO WHERE I'M FROM came out? You seem more high profile now.
JA: Not really, no. Nothing has changed. Not even any more interviews. I still live in the same apartment. I still don't have any money. I mean I have money to live, don't get me wrong - I'm okay. I can eat and all. But nothing's really changed in my life. I think I need a hit for things to change. I'd like a bigger place to live. I have this one bedroom apartment - it's pretty cramped. But it keeps me honest, keeps me focused.
9x: REDEMPTION'S SON is the name of the new album, and the opening track. What does the term Redemption's Son mean?
JA: It's like... the son of Redemption. You personify Redemption. You're the product of Redemption.
9x: On the second cut on the new album, "Honey and the Moon," there are some very atmospheric background vocals, and it's very dreamy. I'm reminded somewhat of Robbie Robertson's first solo album. Would you agree?
JA: I'm familiar with his work with The Band, but not his solo work.
9x: That first one is the one to get - he's got Peter Gabriel singing on a couple of tracks, actually.
JA: Really! I didn't know that.
9x: Yeah, check out the song "Broken Arrow". Do you sing all the background vocals?
JA: I do most of the background vocals, although sometimes Pat Sansone's singing. (Hint: check out the bass background vocals on "Dear Lord" towards the end, rumbling just below the surface.)
9x: On "Dear Lord," I hear both Bob Dylan - from the BLONDE ON BLONDE era with the acoustic harp work and keyboards - and World Party. Are either of those influences on you?
JA: Bob Dylan has been. I haven't listened to World Party, so I really don't know what he sounds like. I met Karl Wallinger, though - he was really funny. I got to go to his studio in London. People have told me I sound like him ever since my first record. I take it as a compliment. I started getting lots of comparisons, and it kind of tripped me out for a while, but it's okay.
9x: I've been studying the lyrics to this new album, and I was trying to think of what album it reminded me of, and then it hit me. I hope you don't mind that I'm going to compare it to another album. This album reminds me of THE WALL by Pink Floyd, from the angle that it's an in-depth chronicle of a soul's torment and struggle with madness. Is that fair?
JA: Yeah. That's good. I like that. I like that comparison. It's funny - you're the first person who's said that. I've always thought the main character's dealing with insanity. What I'm really doing is writing about insanity. People always think I'm religious. But I'm always writing about mental illness, and just the... human condition. Every one I know is mentally ill! I don't mean that in a bad way. I think everyone is mentally ill, to some degree, if you think about it.
9x: Do you have spiritual struggles like you describe on REDEMPTION'S SON? Do you feel at times lost and then found and then lost again? The accounting seems very heartfelt and honest, as if you'd experienced it yourself, or seen it up close in someone you know.
JA: Yeah, I think so. It's definitely personal - but I don't necessarily think I'm always writing about myself. Although I am a lot of times.
9x: Who are some of your favorite songwriters or instrumentalists?
JA: I just got the Bonnie Prince Billy album, by Will Oldham. I really like that, so that's a current thing I'm into. I like the Smiths, Bob Dylan, Lou Reed, Nick Drake.
9x: I hear some nice acoustic guitar on a couple of tracks on the new album that make me think of Nick Drake, actually. I guess it's on "Honey and the Moon" and some others. What about favorite albums? I know you used to listen to Jimi Hendrix a lot when you were younger.
JA: It's always changing. To key in on one, or even a few, is misleading. That's the thing with artists - they're always into something, and it keeps changing. I like that new record The Streets a lot. Have you heard that?
9x: I haven't got that one yet.
JA: You haven't? You really should. I like that new Primal Scream record, too.
9x: What does the future hold for you?
JA: I'm working on eliminating negative things from my life - like television. And drugs. I'm thinking about writing, and how to be a better writer. The older you get, the more have to work at it, I guess. I'm more into work, and less into bullshit. Then I'll make babies! Then I'll become a full time painter when I'm 40, and have switched my passions... I'm just bullshitting now... I'm just trying to be positive, and have some peace on Earth, which seems pretty hard right now.
9x: What would surprise people about you?
JA: People think that I'm really serious. People think that because of my music. But I'm not. I guess I am in some ways, but, really... I'm a clown. I'm a goofball.
9x: Is there a message to REDEMPTION'S SON?
JA: Hmmm. I hadn't really thought about it, but there probably is. It's an overall vibe. There's a philosophy inherent in it, but there's not a particular, overt message. I'd have to say it's positive, because at the end he's still trying. So it's not nihilistic.
9x: What's the most important thing to you about your music? Would it be honesty? Your work seems very honest, and your lyrics are very direct a lot of the time.
JA: I think it's good to not be pretentious. I think you can hide behind that. I think a lot of smart people fall into that, and they get rewarded for it. So I'd like to avoid that. And honesty, yes, that's important. Being true to the song - not necessarily being true to yourself, because I think it's okay to be in character. Ultimately I'm most concerned about lyrics and melody. If that's on point, I'm less concerned about the other stuff.

(http://plan9music.com)






COVERART : Holding The Void







REVIEW : Holding The Void - 75orless.com

May 13, 2003 3:57 PM

Holding The Void (Joseph Arthur)



As a side project for the increasingly prolific Joseph Arthur, this is a straight-up rock album that stands apart from his solo act.
Supported by a backing band, Arthur indulges in the occasional guitar solo and, more importantly, sounds like he's having fun the whole time. 
While the lyrics aren't terribly deep, it's proof that, underneath it all, everyone just needs to rock out every once in a while.

REVIEW : Redemption's Son - The Austin Chronicle



REVIEWED BY DAVID LYNCH, FRI., FEB. 14, 2003


If Joseph Arthur ever decided to contract his name, "Joe Art" would work just fine, because this Ohio-born, NYC resident is a true artist. 
His paintings are stark and powerful and helped him earn a Grammy nod for album artwork previously. 
With sound, Arthur paints with both broad and subtle brushstrokes, and his lyrics can stand free as poetry. Having contributed to several compilations, and released EPs and two LPs under his own name, Arthur has earned binders of critical and artistic praise. 
His latest, Redemption's Son, may be his best. 
Culled from over 75 songs, the 16 tracks here are all gold, and it's not hard to find overlap with other acts. 
"Evidence" could be from Elvis Costello's looped beat set list, "Nation of Slaves" is the fruit of a hypothetical Bowie-Tool recording session, and "In the Night" could be a lost gem from a Lennon-McCartney fin-de-siècle songbook. These overlaps don't mean that Arthur mimics, but rather that these artists should cover Arthur's compositions, for he is quite simply a stunning songwriter and aural watercolorist. 
"Innocent World" is beatific, but be ready to turn up the volume, because you'll want to get closer to the expression. 
While the sounds and words used by Joseph Arthur are wholly singular, his songs about loss and redemption are universal.




Source





REVIEW : Redemption's Son - Houston Chronicle


'Ambiguous genius'
Enigmatic Joseph Arthur explores excellence again on 'Redemption's Son'



It's unjust that Beck could become a winner with Loser while Joseph Arthur toils in obscurity despite near-unanimous critical kudos.

Arthur's last album, Come to Where I'm From, was honored as the top album of the year for 2000 by heavyweight magazines including Entertainment Weekly and Newsday.

His progressive sound and traditional songwriting are highly touted by other musicians such as Peter Gabriel, who signed the rock artist to his world-music-dominated Real World label.

Yet few beyond the music industry know his name.

For Redemption's Son, Arthur continues his exploration of computer vs. man-made sounds, emphasizing bass loops and catchy guitar balladry.

Arthur's latest is not the masterpiece Come to Where I'm From was, but he sacrifices little in an attempt to find his own Loser.

The title track offers a soothing embrace of strings and Mellotron around Arthur's narration of comfort. The tranquility is threatened by a booming bass march, like an infantry unit coming over a hill. That he created this drama with references to faith and his father's cigar butts is his ambiguous genius.

Like the dark silhouettes haunting his CD cover's painting, Arthur's melodies offer peripheral moods and images shrouded by a more central focus.

Honey and the Moon is an understated country strum that introduces the soft hues of Fleetwood Mac-ish soft rock. It unfolds deftly, but the rural tone is set in the song's first seconds with what sounds like a tin can being spun on a broom handle. The hollow clang continues, coyly underneath, for the track's entirety.

Favorite Girl does a similar bait 'n' switch in its lyrics. The music sounds like an unexpected burst of adoration, but Arthur passively offers the compliment, "I'm so happy being unhappy with you."

Arthur is a loner, but labors to make his songs sound like an ensemble effort.

September Baby is as gentle as a warm bath, with its spare guitar and snare-drum whisper. Synthesized notes, crying like a melancholy tuning fork, are artificially sweetened dollops of chamber pop.

The extras aren't always necessary. Innocent World plays like an acoustic studio outtake of Arthur showcasing his fragile falsetto. Dressed up with synthesizers and faux violin strings, however, it suffers from overaccessorizing.

Arthur still may not have a hit on Redemption's Son, but he's once again proved that he's no loser.


Grade: B+

MICHAEL D. CLARK, Copyright 2002 Houston Chronicle
Published 6:30 am, Sunday, January 5, 2003

REVIEW : Redemption's Son - A.V Club


By Keith Phipps
Jan 20, 2003

When Joseph Arthur's American debut Come To Where I'm From appeared in 2000, it signaled the arrival of a talent at once intriguing and half-formed. Thanks to an enveloping sound appropriate to an artist signed to Peter Gabriel's Real World label, Arthur made it easy to overlook his shortage of memorable songs, as well as lyrics which might politely be called direct–;or, less politely, clumsy.

In a reversal of how notable albums usually work, Come To Where I'm From grew less pleasurable with each listen. The new Redemption's Son seems unlikely to encounter the same problem. 
Not every track represents a powerful stride in the right direction, but more than enough do for Son to make good on Arthur's past promise. 

His new songwriting muscularity reveals itself on the opening track; "Redemption's Son," a dark, cooing tale of a lost father, establishes the themes of emotional and spiritual dislocation that haunt the disc. With the help of mixer Tchad Blake, Arthur carries forward the sonic layering that distinguished his last record, but he makes room for a lot of diversity within that framework.

"Let's Embrace"; sounds unabashedly poppy, the album-closing "You've Been Loved" belongs on any make-out mix, and "Dear Lord" sneaks gospel into a harmonica-driven rave-up. Jesus is name-checked more often than on some DC Talk albums, and "Dear Lord" is only one of God's many cameos, sometimes as a distant friend, sometimes as an impossible ideal, and sometimes as an alter ego. 

Arthur can occasionally sound like a clove-smoking undergrad, but he mostly handles his headiest material with grace to match his musical ambition, and a depth of feeling that should only grow more impressive over time.

Rare Tracks 2003-2005







RARE TRACKS 2003-2005 - MP3



REVIEW : Redemption's Son - Variety


By JEFF MILLER


“Redemption’s Son” (Enjoy/Universal), the newest album from New York-based critics’ darling Joseph Arthur, is a sprawling collection of orchestral singer-songwriter rock that often feels as if it’s about to collapse under its own heady ambition. Arthur was smart, then, to leave the band at home and accompany himself at this show; by looping percussive guitar tracks with a sampler he brought out the best qualities of his songwriting without highlighting its occasional pretentiousness.

Arthur focused mainly on the new album, unfortunately leaving behind some of his best songs from 2000’s “Come to Where I’m From” (Real World). His set was split evenly between intimate, personal guy-with-a-guitar strumming and band-re-creating sampling, which found Arthur tweaking knobs as much as it found him playing his instrument. Though he remained on an acoustic through the night his sampler gave his playing room to breathe; he often emulated electric sounds, playing swooping, distorted space-rock solos over his own atmospheric backing tracks.

His secret weapon, though, is his voice, a Marlboro-tinged growl that often falls from falsetto to whisper in a moment. When Arthur howls, his banshee-like emoting is resonant; the set’s high points all included some sort of vocal acrobatics.

Arthur was almost upstaged by opener Alexi Murdoch, who has been rapidly drawing buzz thanks in part to heavy support from KCRW. His set of band-backed songs evoked both Nick Drake and David Gray, and audience response to even the quietest numbers was rapt, silent attention, a sign that Murdoch is well on his way to being a headliner himself.


2003/12/16

2003-12-16 - Le Botanique, Brussels




On Stage :

Solo concert


Setlist : 

stumble and pain
keyboard improvisation
redemption' son
i'm in your life
crying like a man
i donated myself to the mexican army
you are the dark
tattoo
you've been loved
into your heart
glass pipe
in the sun
eyes on my back
i am the witness


Recording :

This concert was officially recorded, and sold on CDr after the show.



2003/12/15

2003-12-15 - Le Botanique, Brussels





On Stage :

Solo concert.


Setlist :

glass pipe
into your heart
can't exist
eyes on my back
i am the witness
good about me
mercedes
leave us alone
in the sun
vacancy
toxic angel
speed of light


Recording :






2003/12/14

2003-12-14 - Le Cactus, Brugges



On Stage :

Solo concert


Setlist :

can't exist
leave us alone
glass pipe
september baby
birthday card
vacancy
big city secret
echo park
eyes on my back
in the sun
ashes everywhere


Recording :

This concert was officially recorded, and sold on CDr after the show.

2003-12-14 Brugges





2003/12/13

2003-12-13 - Theatre Arc-en-Ciel, Lievin



On Stage :

Solo concert


Setlist : 

glass pipe
vacancy
can't exist
eyes on my back
toxic angel
blue lips
echo park
i donated mysef to the mexican army
leave us alone
honey and the moon
in the sun
speed of light
straw dogs
mercedes


Recording :

This concert was officially recorded, and sold on CDr after the show.





2003/07/20

2003-07-20 - The Green, Shelburne


On Stage :

Solo concert
Opening for Tracy Chapman


Setlist : 

No information


Recording :

Sadly, there's no audio recording of this event. 
If I am wrong, thank you to inform me by email.


Poster :



2003/07/18

2003-07-18 - David Letterman Show, New York


On Stage :

Solo performance


Setlist :

honey and the moon


Recording :

Sounds horrible, but it's a document.







2017 UPDATE : a better version of this vidéo has surfaced on YT !!




2003/07/15

2003-07-15 - Beacon Theater, New York



On Stage :

Solo concert
Opening for Tracy Chapman


Setlist : 

in the sun
ashes everywhere
birthday card
innocent world
mercedes
you've been loved 


Recording :

An audience recording of this event exists. 



2003/05/01

2003-05-01 - Orange Peel, Asheville



On Stage :

Solo concert
Opening for Wilco


Setlist :

stumble and pain
mercedes
innocent world
straw dogs
i donated myself to the mexican army
september baby
birthday card
prison


Recording :

2003-05-01 Asheville





2003/04/30

2003-04-30 - Fletcher's, Baltimore


On Stage :

Solo concert


Setlist : 

september baby
leave us alone
mercedes
?
i donated myself to the mexican army
i am the witness
prison
innocent world
straw dogs
blue lips
redemption's son
honey and the moon
into your heart
crying like a man


Recording :

Sadly, there's no audio recording of this event. 
If I am wrong, thank you to inform me by email.


2003/04/26

2003-04-26 - Coachella Festival, Indio



On Stage :

Solo concert


Setlist :

september baby
mercedes
i am the witness
innocent world
straw dogs
i donated myself to the mexican army (with gomez)
big city secret
in the sun


Recording :

 2003-04-26 Coachella AUD


Poster :




2003/04/25

2003-04-25 - Jenny Craig Pavilion, San Diego



On Stage :

Solo concert


Setlist : 

into your heart
i donated myself to the mexican army
innocent world
straw dogs
in the sun
blue lips
september baby
mercedes
speed of light


Recording :

An Audience recording exist.

2003-04-25 San Diego



2003/04/24

2003-04-24 - Stubbs, Austin



On Stage :

With Pat Sansone on keys


Setlist : 

into your heart
i am the witness
you are the dark
mercedes
blue lips
honey and the moon
innocent world
i am
i donated myself to the mexican army
you've been loved
nation of slaves
in the sun
leave us alone
september baby
speed of light


Recording :

This concert was officially recorded, and sold on CDr after the show.

2003-04-24 Austin



2003/04/20

2003-04-20 - 3rd & Lindsley, Nashville


On Stage :

Solo concert


Setlist : 

mercedes
september baby
innocent world
straw dogs
vacancy
favorite girl
i donated myself to the mexican army
honey and the moon
speed of light
leave us alone
big city secret
in the sun
you are the dark

Recording :

This concert was officially recorded, and sold on CDr after the show.




2003/04/08

2003-04-08 - The Living Room, New York


On Stage :

Solo concert


Setlist : 


leave us alone
september baby
vacancy
favorite girl
innocent world
blue lips
you are the dark
invisible hands
i donated myself to the mexican army
you've been loved
honey and the moon
eyes on my back 


Recording :

Sadly, there's no audio recording of this event. 
If I am wrong, thank you to inform me by email.


2003/04/04

2003-04-04 - Colony Café, Woodstock




On Stage :

Solo concert


Setlist :

toxic angel
vacancy
birthday card
innocent world
straw dogs
blue lips
i donated myself to the mexican army
leave us alone
nation of slaves
speed of light
eyes on my back
honey and the moon
in the sun
the real you
you've been loved


Recording :

2003-04-04 Woodstock




2003/04/03

2003-04-03 - Iron Horse Music Hall, Northampton


On Stage :

Solo concert


Setlist : 

favorite girl
vacancy
september baby
leave us alone
bill wilson
toxic angel
straw dogs
blue lips
mercedes
honey and the moon
in the sun
nation of slaves
you've been loved

Recording :

This concert was officially recorded, and sold on CDr after the show.









known recording : SBD

2003/03/28

2003-03-28 - Rosebud, Pittsburgh


On Stage :

Solo concert


Setlist :

Vacancy
Birthday card
Blue lips
Innocent world
Straw dogs
September baby
Honey and the moon
I donated myself to the mexican army
Speed of light
The real you
In the sun
You've been loved


Recording :

The concert was officially recorded, and sold on CDr after the show.

2003-03-28 Rosebud






2003/03/15

2003-03-15 - Bowery Ballroom, New York


On Stage :

Solo concert, with Pat Sansone on keyboards


Setlist : 

prison
september baby
innocent world
permission
blue lips
mercedes
bill wilson
honey and the moon
i donated myself to the mexican army
you are the dark *
in the sun
history
favorite girl **
the real you **
speed of light **


* not on the sbd recording
** not on the aud recording 


Recording :

2 audio recordings of this event exits. 
If I am wrong, thank you to inform me by email.

The concert was officially recorded, and an audience recording is available too.




2003/02/26

INTERVIEW : 2003-02-26 Come To Where He's Been (by Hobart Rowland)


Come to where he's been
Atlanta and beyond -- Joseph Arthur's expanding universe



LIFE LESSONS: Atlanta made a lasting impression on onetime resident Joseph Arthur. Too bad the reverse wasn't true.

"It was the first place I lived outside of my hometown. I was just really thrilled to be ... away. I didn't go to college, and just wanted to gosomewhere."

That somewhere was Atlanta. And from there, it was as if Joseph Arthur had been shot out of cannon. His career trajectory is a marvel of breakneck efficiency. In a matter of months, the nobody musician went from eking out demos in a basement apartment behind Fellini's Pizza on Ponce to indulging his copious muse at Peter Gabriel's Real World studios in Wiltshire, England. What followed was a string of compelling and eccentric releases -- 1997's Big City Secrets, the 1999 EP Vacancy, the full-length Come to Where I'm From a year later, and his latest,Redemption's Son -- steeped in a darkly flamboyant, preternatural singer/songwriter aura unlike anything since Jeff Buckley.

Arthur spent four years in Atlanta, and he might've stuck around longer if it weren't for that life-altering answering-machine message from Gabriel. One of Arthur's tapes had found its way to Sir Sledgehammer, who promptly made the Akron, Ohio, native Real World's first rock signing.

Most of the details of Arthur's stay here are less than compelling; some are even embarrassing. "I got a couple of bad write-ups along the way -- like, in the Music Menu. I never made any sort of impact in Atlanta," says Arthur.

He worked at Clark's Music on Ponce (now a pawn shop). He played bass ("slap-and-pop style," he giggles) in funk-rock band Ten Zen Men. He played bass in rock band Bellybutton. Finally, he started writing his own songs on an acoustic guitar, and things started opening up.

Arthur wasn't new to songwriting. "I was writing songs, but it was the early '90s, so the main key of the song was getting people to rock in the mosh pit. Then I realized that if I just divorced myself form that scene, then I could be free to write what I wanted to."

Ultimately, that meant divorcing himself from Atlanta entirely in 1996. Yet Arthur, who spent a year in London before moving to New York, still has a soft spot for the city -- even if the Big Peach wasn't always a doting host. "It was like growing up," he says from his apartment on Manhattan's East Side. "I spent my college years in Atlanta smoking pot. ... No, not just that, I cleared my head. I transformed in Atlanta; I got straight in Atlanta. I met a lot of really great people."

One of those people was poet/spoken-word artist Mikel K, who was the first in a long line of artist/musician types to pass along the demo that found its way to Gabriel.

"I never even knew Peter Gabriel had a record company," Arthur says. "Mikel K gave it to Joe B, then he gave it to Harvey S, then he gave it to P.G. It just crawled through the system."

"Sorry, I'm painting right now."

Joseph Arthur apologizes for sounding distracted. He's salvaged some old dresser drawers on the street and is busy painting them as he talks. "Damn, dude, I've got some old art supplies," he says with mild disgust. "I haven't painted in a long time."

Anyone familiar with Arthur's albums knows his painting abilities go beyond furniture revitalization. His artwork -- colorful, brash, often disturbing self-portraits rendered in a manic slash-and-burn style -- lend an epic peculiarity to the album covers for Come to Where I'm From and Redemption's Son.

"With Come to Where I'm From, there's a self-portrait with two cockroaches with eyes facing off in a war with the self," Arthur explains. "On Redemption's Son, there's a humanoid figure that's grown wings and is moving from the dark into the light."

A nourishing optimism pervades not only the album's artwork, but its content as well. In both its lush production (by Arthur, with Tchad Blake) and the grainy warmth of Arthur's vocals, Redemption's Sonis restrained and somewhat conventional, its refined pop melodies bathed in a refracted glow like sunshine filtered through a cracked stained glass window. Arthur elaborates on how Redemption's Son came together:

"I had shit-piles of material and went to go mix it with Tchad [Tom Waits, Paul McCartney]. I just picked songs that I wanted him to mix -- and when we ran out of time and I had to go, that was it. Then Tchad went through a lot of the other material and put together four EPs [the limited-editionJunkyard Hearts series]. It was nice to turn the shit over to him at that point because I'd been living with it for so long."

The weeding-out process resulted in a 75-minute album whose many dips and turns make the journey somewhat protracted, though ultimately worthwhile. Still, Redemption's Son is a far cry from his '97 debut, Big City Secrets, a tortured gail-force blast of cleansing self-confessional air that manifested itself in an eccentric avant-folk style. After the album received only cursory attention, Arthur kept quiet until 1999's Vacancy EP, whose bleak cover art earned Joseph and pal Zachary Larner a Grammy nomination for Best Recording Package.

Then came 2000's Come to Where I'm From, an album so wracked with inner torment it seemed its protagonist might bleed himself dry (if he didn't hang himself first). Fractured sonic webbing, experimental flagellation and uncompromising stylistic extremes conspired with Arthur's vocal histrionics to give the effect of an extremely creative soul bouncing off the walls to be heard, whether it meant serenading a fickle public with crafted pop melodies or ripping the front door from its hinges and screaming until his face turned purple. The dichotomy worked: Perhaps swayed by their own millennial neuroses, critics connected with Arthur's antsy volatility in a big way, and Come to Where I'm From made it onto many year-end best-of lists.

Redemption's Son invites human contact in more obvious ways, even as it details the sometimes-toxic reaction of skin on skin in unnerving detail on tracks like "Favorite Girl" ("I've been so happy being unhappy with you"). And "Dear Lord," "Let's Embrace" and the title track suggest Arthur is becoming increasingly at ease with his own spirituality, comfortable in the resolution to heal thy sorry-ass self through love and faith.

It's never easy to address such subjects without listeners feeling they're being spoon-fed someone else's pat recipe for salvation. But while the potential turn-offs could've been many, Arthur averts disaster with a mixture of imagery and impulse.

"I write from the unconscious, so I don't really think about it," Arthur says. "I don't know what to think about all that stuff. But I use it to help me in life. And it does help me."

hobart.rowland@creativeloafing.com

2003/02/25

2003-02-25 - Fordham University, Bronx



On Stage :

Solo concert
This show was broadcasted on WFUV Radio.


Setlist : 

vacancy
birthday card
honey and the moon
i donated myself to the mexican army
in the sun
favorite girl
mercedes
bill wilson
innocent world
speed of light
crying like a man 


Recording :




2003/02/14

2003-02-14 - Cabaret, Montreal




On Stage :

Solo concert


Setlist :

favorite girl
vacancy
birthday card
redemption's son
i donated myself to the mexican army
you are the dark
blue lips
nation of slaves
in the sun
bill wilson
tattoo
the real you
innocent world
straw dogs
invisible hands
echo park
mercedes 


Recording :

This concert was officially recorded, and sold on CDr after the show.

2003-02-14 Cabaret, Montreal






2003/02/13

2003-02-13 - Carson Daly TV Show, New York


On Stage :

Solo concert
with Pat Sansone on keyboards


Setlist : 

inocent world


Recording :

A recording of this performance exists.




2003-02-13 - The Rivoli, Toronto


On Stage :

Solo concert


Setlist : 

favorite girl
vacancy
birthday card
nation of slaves
bill wilson
innocent world
straw dogs
speed of light
honey and the moon
devil's broom
i donated myself to the mexican army
blue lips
you've been loved

Recording :

This concert was officially recorded, and sold on CDr after the show.


2003/02/10

2003-02-10 - WFUV Radio, New York


On Stage :

Radio Session


Setlist : 

you are the dark
honey and the moon
favorite girl


Recording :

Sadly, there's no audio recording of this event. 
If I am wrong, thank you to inform me by email.


2003/02/07

2003-02-07 - Aldrich Museum, Ridgefield



On Stage :

Solo concert


Setlist : 

toxic angel
vacancy
birthday card
honey and the moon
devil's broom
history
september baby
bill wilson
dear lord
in the sun
you've been loved


Recording :

2003/02/06

2003-02-06 - Middle East, Boston


On Stage :

Solo concert


Setlist : 

nation of slaves
bill wilson
tattoo
innocent world
straw dogs
i donated myself to the mexican army
evidence
evil will
in the sun
crying like a man


Recording :

This concert was officially recorded, and sold on CDr after the show.











2003/02/01

2003-02-01 - 400 Bar, Minneapolis





On Stage :

Solo concert


Setlist : 

Innocent world
Straw dogs
Vacancy
Bill Wilson
Mercedes
Evidence
Evil will
I donated myself to the mexican army
You are the dark
In the sun
Cockroach
September baby
Favorite girl
Tattoo
Ashes everywhere
Honey and the moon
Devil's broom
The real you


Recording :

This concert was officially recorded, and sold on CDr after the show.

If someone could send me a FLAC version, it will be great.


2003-02-01 MP3






2003/01/31

2003-01-31 - Martyr's, Chicago



On Stage :

Solo concert


Setlist : 

blue lips
birthday card
prison
in the sun
mercedes
bill wilson
honey and the moon
devil's broom
the real you
i donated myself to the mexican army
favorite girl
evidence
evil will
speed of light 


Recording :

The concert was officially recorded,  and sold on CDr after the show.




2003/01/25

2003-01-25 - KCRW Radio, Santa Monica, CA


On Stage :

Radio Session

Setlist :

honey and the moon
favorite girl
innocent world
you are the dark
september baby
in the sun


Recording :


2003/01/22

2003-01-22 - Fox Theatre, Boulder




On Stage :

Solo concert


Setlist : 

prison
birthday card
toxic angel
i donated myself to the mexican army
evidence
evil will
innocent world
straw dogs
in the sun
you are the dark
history


Recording :

The concert was officially recorded, and sold on CDr after the show.




2003/01/20

INTERVIEW : 2003-01-20 Joseph Arthur’s Redemptive Songs (by Lucas Hanft)


Joseph Arthur was on a van traveling through the South of France. He was on his way to another club gig in another town where practically nobody would know his name or his music, but it didn’t seem to bother him.


“I think people who remain slightly under the radar are sort of the luckiest,” said Mr. Arthur via his cell phone. By this, he meant: “Artists who have a good-enough fan base to make a living, but never getting too huge, because ultimately that messes you up.

When he talked to Manhattan Music late last year, Mr. Arthur was on his second tour of Europe for the year, evangelizing his album Redemption’s Son . Then he returned to his native country-he hails from Akron, Ohio-to repeat the process. (He played the Knitting Factory on Jan. 10.) Such is the life of your average below-the-radar musician.

The thing is, Mr. Arthur is hardly an average musician: He’s an exceptional lyricist and a serious melodist-one of the few young songwriters out there who has a shot at being one of the greats.

And though Redemption’s Son (RealWorld) is not a masterpiece, it is one of the most worthy and listenable albums of 2002, as well as a testament to Mr. Arthur’s potential. The album crashes almost as much as it soars, but the results are always interesting. And often they are sublime.


Mr. Arthur has a talent for turning freakish human emotions into a kind of in-phase beauty. He’s the man behind the counter in Yeats’ “foul rag and bone shop of the heart,” dressing his dirty wares in elegant lyricism and sensuous pop arrangements. As he sings on “I Would Rather Hide,” a song that has an ethereal Brian Wilson–esque intro and a 70’s soft-rock sound: “I know that we’re all insane when there’s no one else around.”

Mr. Arthur isn’t exactly eager to discuss how he came by this knowledge. His Akron upbringing was off-limits during the interview, though he did recall a supposedly memorable moment in nursery school. “We were making masks, and I purposely set out to make a really freaky mask,” he said, without describing the finished product. “I didn’t understand what I was doing, but it was the same drive, trying to really expose something.”

After forcing himself to graduate high school, he headed north to play in a jazz band in Cleveland. At 18, he moved to Atlanta, where he said he worked odd jobs -pizza chef, door-to-door salesman, guitar-shop gofer-until his demo tape landed in Peter Gabriel’s hands in 1996. Mr. Gabriel and Lou Reed auditioned Mr. Arthur at his first solo gig at the Fez downtown, and that landed him on Mr. Gabriel’s label, RealWorld.


Mr. Arthur is an anomaly on the RealWorld roster, which is mainly devoted to practitioners of world music, such as Mr. Gabriel and the late Nusrat Fateh Ali Khan. And, not surprisingly, he admitted during the interview that he was unhappy with the way RealWorld had been promoting Redemption’s Son .

But getting a label berth enabled Mr. Arthur to get his foot in the door, even if he’s still trying to get into the Big Room. “I’m still at the place where I struggle to make a living, and I’d like to struggle less,” he said.

That said, much of Mr. Arthur’s work is about struggling and failing and coming clean about it. “Vulnerability is entertainment,” he said on his tour bus.

But when it comes to his own work, Mr. Arthur claimed that there’s another element in the mix. “My experience and my personality are the clothes the songs are wearing, but [the thoughts] are ultimately coming from a deeper place-from a spirit of the universe.”


That may sound trippier-than-thou, but listen to “Favorite Girl,” one of the album’s best songs. The track starts as a languorous guitar-and-piano kiss-off to a vain lover, with Mr. Arthur singing in the hushed tones of an addict well-acquainted with the power of his addiction. Then the chorus elevates the song. “I don’t know what I should do / I’ve been so happy being unhappy with you,” he sings as cellos gently rise and fall, later adding: “And if salvation only comes when you fall? / Oh lord, it’s so hard for me to believe / Oh lord, I’m still waiting for you to call.” Anyone who lives in this universe knows that there is always room for one more original song about sadomasochistic love affairs.

Of course, in the wrong hands, vulnerability and liberation can amount to Top 40 dreck. But Mr. Arthur’s nuanced lyrics are devoid of bombast, never whiny and always brutally frank.

His music, too, tends to be quiet, though it defies easy generalizations. The layered acoustic guitars and piano recall the music of Nick Drake and the early work of Leonard Cohen, who is clearly an influence. But Mr. Arthur also works with hip-hoppy drum loops and gauzy, electronic sounds with touches of grunge, synth-pop and emo-ish chamber pop. There are hummable melodies of different kinds, and everything is given the same texture and power by his voice-which ranges from searing falsetto to gravelly croon-and shimmering harmonies.

Mr. Arthur works best when he works simple, as he does on “You Are the Dark”, with its stripped-down-staircase melody plucked on an acoustic guitar and fretless bass, and its down-and-out lyrics: “I guess I’ll live up in my head / I’d call you up, but my phone is dead / And I need too much.”


You can’t blame Mr. Arthur for experimenting, but Redemption’s Son suffers from too much of it. There is a tendency to pile on the instruments and effects. Two of the best-written songs, the title track and “Honey and the Moon,” are nearly crushed by heavy-handed production.

But even the songs that fall short have a wounded beauty that captures his (and our) struggle to struggle less. Mr. Arthur doesn’t avert his eyes from the kind of fucked-up behavior that makes others blink-and cringe. And the retentive, introspective glances on Redemption’s Son make him worthy of a place on our radar.



2003/01/18

2003-01-18 - Bottom of the Hill, San Francisco




On Stage :

Solo concert


Setlist : 

bill wilson
prison
blue lips
you are the dark
straw dogs
i donated myself to the mexican army
evidence
evil will
birthday card
in the sun
speed of light
honey and the moon
the real you
tattoo
vacancy
you've been loved

Recording :

The concert was officially recorded, and sold on CDr after the show.

Now this show is available for download on JA's website :





2003/01/17

2003-01-17 - Late Late Show with Craig Kilborn, Los Angeles


On Stage :

Solo performance


Setlist :

honey and the moon


Recording :








2003-01-17 - Crocodile Café, Seattle




On Stage :

Solo concert


Setlist : 

vacancy
you are the dark
devil's broom
birthday card
the real you
i donated myself to the mexican army
honey and the moon
space needle
speed of light
redemption's son
mercedes
innocent world
straw dogs
exhausted
evidence
evil will
september baby
wild horses (rolling stones cover)
in the sun


Recording :

The concert was officially recorded, and available for download on JA's website




2003/01/16

INTERVIEW : 2003-01-16 Here Comes The Son (by Dave Di Martino)



Even though he was discovered by none other than Peter Gabriel and his major-label debut, Come To Where I'm From, was declared by Entertainment Weekly to be the best album of 2000, singer-songwriter Joseph Arthur is still one of modern music's best-kept secrets. Which is a shame, for he is a true artiste. He also paints and sculpts (his artwork for his 1999 EP, Vacancy, was nominated for a Grammy for Best Recording Package), and he goes about making his music in much the same way: When playing his dazzling one-man shows, he spontaneously records loops of samples, layering them one of top of the other to create exquisite sound-sculptures on the spot.

Perhaps Arthur's profile will be elevated with his latest work of art, Redemption's Son, which showcases not only his stunning songwriting skills but also adds sweeping, cinematic touches that suggest an additional career in film scoring might be in his future. This modern-day renaissance man recently stopped by LAUNCH's studios to chat with executive editor Dave DiMartino about his music and his art, and it was a most interesting conversation that namechecked everyone from Hendrix and Zeppelin to Mariah Carey and Elton John to Nirvana to even Eddie Money. 

Here's how it went: 

LAUNCH: Tell me about your interests in visual arts. 

JOSEPH: Music and art are just both things I really love to do. Art, or visual art, is something that has no pressure on it, because I'm not really trying to get into any kind of galleries or anything like that. So it's nice that right now it's just for fun, and also for album covers and stuff like that, which is also fun. Music has got more pressure on it, because I am putting it out to the public more. But I love both of them and they help each other--like, if I get sick of making music or if I run out of ideas or something, I can put all that same energy into some visual thing. Then I forget about music, and then when I go back to music, it's like, fresh again, rather than me just beating myself over the head and making something that I don't think is good. 

LAUNCH: You've been called a "junk collector"--tell me about that.
JOSEPH: Well, when I'm walking around New York, there's a lot of things that people throw into the street that can be used for sculptures and stuff like that, and so that's one thing I love about living in New York. It's something that I'm trying to quit; it's almost like this weird addiction. My apartment got overwhelmed with things, and then I had to get a storage space, and then I filled my storage space up, and now my apartment is starting to get overwhelmed with things again.
LAUNCH: What sort of things?
JOSEPH: I make sculptures out of found objects and toys and paint. I make little cities--little crazy landscapes and stuff like that. I haven't made that many of them, but I would love to get a really large space in the city and be able to really go crazy with the visual side of things and really do large-scale paintings and large-scale, big crazy cities. 

LAUNCH: Has any of your stuff been used in music videos or anywhere? 

JOSEPH: There was that one Mariah Carey video that I did where she was in the movie theater. No, I'm just kidding. 

LAUNCH: Do you think your music is very commercial? 

JOSEPH: God, I don't know! It hasn't proven to be so far, but I think it could be--it depends. The music business now seems like it's gotten really, really, totally pop music. But I think [my music] could be [successful], if [the] music [business] completely changed. If we were in a different world, then it would be. But in this world, it's not. 

LAUNCH: Do you think critics get what you try to do? 

JOSEPH: I don't really feel that comfortable when I read about myself, because it's just so weird. So far I have seen flattering things and the people that they usually compare me to I like, so it doesn't bother me, but I'm sort of on this thing where I'm not looking at any publications, because it's just too much noise in your head. I think in some ways it's better to make things in a vacuum, because I just think that stuff can influence you. If they say something bad about you, it's painful, and if they say something good about you, you get a big head. It's seductive, though, when you walk by magazine shops and stuff, 'cause distractions are taking over the world--cell phones and computers and Internet magazines and stuff like that. 

LAUNCH: You know, you are part of it now. You sold out!
JOSEPH: Yes, I'm part of the corporate monster!
LAUNCH: Explain how you do the one-man-band thing where you sample yourself.
JOSEPH: Well, I use this long delay kind of sampler, long delays through my guitar, and make loops by hitting my guitar--like make it sound like drums, or by using my voice, I'll sing--and it will be like a loop, and that will become the backdrop for a song. Then I'll perform over that, and I have volume pedals with which I bring things in and out. And it's all live, and when I stop it, they disappear. It's only for the time for that show. So it's done every time in a unique way.
LAUNCH: So it's very spontaneous?
JOSEPH: Yeah, they sound different--it's sort of like you're reacting to the moment. It's not like you are pressing a tape or something. There's a danger element in it, which is what I think makes it compelling, 'cause people like to see that there's a possibility of it going horribly wrong.
LAUNCH: Have you had any kind of stylistic turns since you have been writing songs and making records?
JOSEPH: I think a lot. I think I've learned how to sing a lot more since I made my first record; being on the road and touring and singing night after night really has taught me how to sing more. I think that might be the biggest change. And also, it's still growing now, but I feel like I'm becoming more and more free with making records and more and more confident. I still feel like I have a lot more music to make; I still feel like I have a lot of songs left.
LAUNCH: Have you ever done anything artistic that when you were done with it, you were surprised you had it in you to do that?
JOSEPH: It might sound really egotistical--or maybe it's opposite of egotistical--but I definitely have been surprised by things before. It doesn't seem...I mean, like I think, "Wow, I could never come up with things like that." Usually the best things are sort of unconscious and come from a deeper place. So I don't know, but that answer is sort of like, "Ooh, I'm a channel. I'm a channel for higher things!" And it's not that. I think it's just a natural thing. I think it's just like dreaming. I'm sure everybody has the experience of having a dream that just seems insane or crazy, like they could never have come up with that or thought of that from an analytical standpoint. And I think creativity at its best is like that--it just comes from the same place that your dreams come from.
LAUNCH: Who did you listen to in your formative years?
JOSEPH: I listened to a lot of Jimi Hendrix. That was like a huge influence on me. That was like the first music that was real that I totally fell in love with. My sister was a big Bob Dylan nut and she forced that on me, and I was like, "I don't get it," but then I started getting into the lyrics and stuff like that and then I really fell in love with him. Led Zeppelin...I was in this band I was in the 8th grade and I played bass and I was in a band with these seniors, like older kids with long hippy hair who smoked pot and were totally cool and listened to Led Zeppelin and stuff like that, so Led Zeppelin was huge. That was the first time I smoked pot and listened to Led Zeppelin, and I was like, "My God!" I felt the power of music. I was just like, "Holy sh-t!" And then they put on Pink Floyd's "Comfortably Numb" and stuff, and I was like, "Yeah, now I really understand what they are saying in this song."
LAUNCH: Tell me about the period in your life right before you met Peter Gabriel and got signed.
JOSEPH: I was working at a guitar shop called Clark's Music in Atlanta, Georgia, selling Fenders and Gibsons and strings and picks. And basically just not enjoying myself enough because I was sort of losing my mind. Working in a music shop is hard, because people come in and play "Smells Like Teen Spirit" over and over again.
LAUNCH: So what triggered what you're doing today?
JOSEPH: I saw a Hendrix video, which is really strange. It was at that friend's house who was a senior with long hippy hair--he had Jimmy Page hair and his face was like an old man's face. But just all that stuff...I don't know, that's just what I wanted to do, and it never really stopped--it evolved. Then I just wanted to be a bass player, and then since then it evolved: I started playing guitar, and then songwriting became more of my focus. I tried to get really good at bass but I just didn't...you know, I love jazz music, but it's just not the music that I always listen to.
LAUNCH: So where do you see yourself 20 years from now?
JOSEPH: Well, I hope my career evolves sort of like Elton John's has. I want to do things for The Lion King and stuff.
LAUNCH: Seriously, now...
JOSEPH: Let's see...I kind of look to Eddie Money, like I want a lot of success and then I want to fall off the face of the earth. No, I'm just kidding. Let's see...20 years from now...hold on, I've got to think. I'd like to I hope I'm still making music. I'd like to be involved more in painting too, and get a space where I can really explore that in a free way, because right now my apartment is so small, I can't really paint. I need a lot of space where you could put big canvases up and go all Jackson Pollack on somebody. That would be really fun.