“I didn’t really get it at first, but I sent Bruce a demo of it and he wrote back and said, ‘Come out to my studio if you’d like.’ So we went out to Jersey. But my producer Rob said, ‘No, have him do a duet with you on that song about your mom.’ I’m making a record!’ He said, ‘Well, if you need me for something, I’m down.’ So I figured he’d play some guitar, shout some vocals. So I wrote this song, and right before I was making the record I went to see Bruce Springsteen in Boston, and I told him, ‘I’m going to L.A. “There’s also some pretty intimate songs, like ‘Aftermath’ and ‘Broken Radio,’ which, I didn’t realize at the time was about my mom, who passed away from cancer when I was 17. I sent Bruce a demo of it and he wrote back and said, ‘Come out to my studio if you’d like’ Jesse Malin We wanted the Fender and the Gibson sound blended together. On Fine Art I used mostly a J-45, but on this one I played a Les Paul Deluxe and a couple of Strats because there were more textures and we wanted some different kinds of tones. “It’s more of like a pop-rock record, with more electric guitars. I made the record with Rob Caggiano, and we put it out on Green Day’s label at the time, Adeline, and they were very supportive. and people thought I was a male prostitute. I’m a big walker, but I would try to walk in L.A. “This one was recorded in California, mostly, and I’d never done a record out of New York. I could really go deeper into my life and write more autobiographical stuff instead of just writing for the gang.” 4. And for me it was a chance to write about things that were more personal. But Ryan was fearless and enthusiastic and very supportive, and the band I had at the time just really came through. It’s very raw, and I didn’t have much money because I didn’t have a record deal. He and I were looking for a lead guitarist, and he just strapped on the guitar and suddenly became a lead guitarist too. He’d never produced a full record, but he had worked with so many great people. I thought it was going to be a pretty quiet record, but then Ryan Adams came in as producer. It was all about the mosh pit or the hairdo, and not about the songs. But once I got past that, I realized it was a time where people were listening to songwriters again, and in D Generation I was always frustrated that my lyrics were never heard. Why isn’t the band called Jesse Malin?’ I thought that’d be very adult. I’d always been in bands, but somebody said to me, ‘You pay for the rehearsals, you write all the songs. “I was really nervous to be a solo artist. We got to play Max’s Kansas City, CBGB, A7, the Ritz, and eventually we went on tour, to the point where I stopped going to junior high school and just started touring.” 2. I guess I just had this atheism already in my 14-year-old head. “As for the title of the EP, I had never even heard of Nietzsche. “It has three songs: ‘God Is Dead’ is a thrash number, ‘Shotgun’ is an anti-NRA song – which, you think how many years ago that is and how it’s the exact same stuff that we’re still dealing with – and ‘You’ is about a girl that didn’t want to give me any notice in junior high school. The only other band that had a record out around then was the Bad Brains, and they were from D.C. I believe it’s the first New York hardcore record. “We put this out, and then we went and started doing shows with the Misfits and the Bad Brains and the Circle Jerks. We were a power trio, and our manager was a guy named Mojo who the Beastie Boys later wrote a song about. It was a three-song EP my band Heart Attack cut at a studio in Long Island City. “This came out when I was in junior high school – PS 194 in Whitestone, Queens.
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