I caught your show when you guys were at the Cradle in June, and it seemed to me that you were sort of the wild card of the band. I mean, you played the tin whistle and the harmonica and a little bit of everything. Are you still going to be doing that on the Vertigo tour?
Definitely, that's my little schtick. This tour is a little different in that we're definitely focusing on the Vertigo songs. I think when you saw us in June we were trying to play a lot of older songs because we'd just released a compilation of older stuff, but this is a very Vertigo-heavy tour, which we're excited about because we're glad that people can finally start singing along to these songs. Now they can get the albums and learn the music and it's always more fun that way.
It seems that Vertigo is more mellow and introspective than your earlier stuff. How does that translate into your stage show?
I think it's really great because it gives people a variety of emotions in the songs, from the bouncier songs of Magazine to the more personal and dramatic Vertigo songs. With this album we wanted to be more honest, and I think we achieved that. Our father wasn't doing well when these songs were written, and I think we put a lot of that into this. And then, we were falling in love with people, and we put a lot of that into Vertigo. So you've got songs that are happy, really triumphant, you've got songs that are really kind of sad, and then you've got a few pop songs. But I think as far as a live show goes, it all works really well.
This CD has been in the works for awhile because of label difficulties, right?
Yeah, at least a full year. We started recording it last year in L.A., and it should have come out in May of this year, but we got stuck in some really nasty label issues and we just came to an agreement a couple of months ago, so it was a very, very frustrating year. It shouldn't have happened that way, but it did, so we're trying to make the best of it.
So how did the EZ Chief label come about?
When we knew that we did not want to be with Breaking Records anymore after they were dropped from Atlantic, we said, "We want to put this out on our own, we don't want to stay with you," and they made it very difficult for us to make that decision. But we were resolute, and we said, "Well, what we're gonna do is start our own label." And so EZ Chief is something that Johnny says all the time--"eeezy, chief"--it's a little saying of his, and we decided that it was a fun name for a label. We hope that EZ Chief will eventually be able to put out more of our albums.
You have the kind of rare privilege of being in a band with your brother--what's that like? Do you guys ever fight like Liam and Noel Gallagher?
[laughs] Well, no, um, we decided when the band got really serious that we were not going to be brothers. We keep our brotherness to Christmas and Thanksgiving. And it's worked out surprisingly well. We have to be friends and deal with each other as friends rather than as relatives. But then he's like my friend that always comes home with me for the holidays, so I'm really lucky. I love that.
The song you sing on the CD, "Singer," is one of my favorites. It seems really literal, like you're describing a specific time and place and person, and then it also seems really stark. Is it hard to get up onstage and do that?
Well, it's interesting because I've been promising my girlfriend that the songs I write are not about specific incidents. I would tell her this for a long time because it was true for me for a long time. And then I sat down and "Singer" came out and it is very specific--it's very specific to a time that we both shared. So in a way, it is hard because it is about actual events that I can remember, but it's also really fun because I can always bring back that moment when I'm performing it. It helps me to think of her when we're far apart.
Who's your favorite teen pop dream?
Well, I really like Britney. I've been sort of obsessed with Britney Spears since we played France two years ago, because I'd never heard of her before we went to Paris and she was really, really huge there. French MTV only has four videos that they play--I mean, it was really silly. You could turn on MTV in France and within five minutes you'd see that "Baby Baby" video. I'd never heard of her, I thought she was like French or English or something. It became a goal of mine to see that video every time before I left the hotel room. Ever since then I've always had a soft spot for Britney.
If there were a fight between Underdog, Hong Kong Foo and Droopy, who would win?
I'd have to go with Hong Kong, even though Underdog was our champion on the last tour, because he's just supercool. If he would have fit into our theme, we would have used Hong Kong. I like Droopy a lot, but I think Droopy would be more interested in getting out of the fight.
And now for the ultimate Recess question, as created by former Music Editor Robert Kelley: If you were a vowel, would you want an umlaut over your head?
I don't think I would need an umlaut because I've never really understood them. I would say that Ward Williams would absolutely, definitely want an umlaut because it's so incredibly rock n' roll. In fact, a lot of times when he signs his name he puts a couple umlauts over the Oa's in his name. Ward is definitely the umlaut lover.
Matt and the rest of the band will be in the area on Oct. 11, performing live at the Record Exchange in Chapel Hill at 5:30pm and at Cat's Cradle later that night. Go check them out.
Getting Started:
The Licorice Tea Demos (1995)
Jump, Little Children's first creative effort as a group, The Licorice Tea Demos, presents a funky collection of some of the band's earliest (and roughest) recordings. Before large budgets and fancy studio equipment, there was this fun, infectious indie gem, filled with Irish-inspired acoustic rock. Introducing themselves as formidable musicians, the members of J,LC showed off their instrumental skills on everything from harmonicas and mandolins to anvils and cauldrons. Memorable tracks on LTD include an early, jumping version of "Opium" and the melodic "Dancing Virginia"-both still fan favorites, as well as the quick rhyming "Quiet" and "U Can Look."
Buzz (1997)
The second release from Jump, Little Children, Buzz is comprised of three live shows recorded at the Music Farm in Charleston, SC, the Georgia Theater in Athens, GA, and Ziggy's in Winston-Salem. Following the success of The Licorice Tea Demos, Buzz quickly became a must-have for J,LC's rapidly growing fan base. Another strong indie showing, Buzz propelled Jump, Little Children even closer to a shot at securing a label. Buzz's six tracks include "I Can Feel You," "Easter Parade," "Bad Side," "Innocent Kiss," "Underground Elite" and a re-mixed version of "Opium" featuring Gran Torino.
Magazine (1998)
Magazine was Jump, Little Children's first major-label release. Signed by Breaking Records, a branch of Atlantic owned by Darius Rucker of Hootie and the Blowfish, Jump, Little Children's music got a face-lift, as a much more refined sound emerged from their raw, independent ashes. A definite step toward pop-rock, Magazine broadened the J,LC following even further with limited but well-received radio play and set the tone for a newer, fresher, plugged-in band. Soft ballads such as "Cathedrals" and "Close Your Eyes" complement pop favorites such as "Come Out Clean" and "My Guitar" in addition to hip rock-raps like "Habit" and "Body Parts."
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