Author: AG Crew

Pernambuco Diary – Goo Goo Dolls bassist talks about show in Recife

‘Iris will be the highlight’, comments Goo Goo Dolls bassist about show in Recife

By: Bettina Novaes Ferraz

Translated from the original

North American rock band The Goo Goo Dolls was founded in 1986, but only broke out worldwide in the late 1990s. The ensemble, originally from the city of Buffalo, New York, was already famous in its country of origin, but it was the ballad Iris that led the group’s sound to be known internationally.

The hit, made especially to compose the soundtrack for the movie City of Angels (1998), was so successful that, more than twenty years after its release, it continues to be played on the radio and remembered as a classic of that era.

On September 22, Recife will have the opportunity to hear and sing this mega hit live with Goo Goo Dolls, at the band’s presentation, which takes place at Arruda Stadium. They open Bon Jovi’s This House Is Not For Sale tour in Brazil. The capital of Pernambuco is the first city to receive the tour, which still passes through Curitiba and São Paulo. In addition, the group’s visit to the country will feature a show at the World Stage of Rock in Rio on the third night of the festival.

“I’m very happy. This opportunity is amazing because we always wanted to play in Brazil, but we never made it,” says Robby Takac, bassist and founding member of the group, in an interview with Diario , about his first performance in the country in more than 30-year career – besides him, only vocalist John Rzeznik has remained in the band since its formation. “We always hear good things about Brazil, now we can fulfill this desire to know the country.”

This is the second time The Goo Goo Dolls and Bon Jovi have been on stage. The two bands had toured 10 years ago. “We toured the United States with them. It was a lot of fun,” recalls Robby. “I think our audiences are beautiful together and I’m looking forward to seeing this in Brazil on an international tour,” comments the musician about the partnership.

New job
In addition to the songs released over the past three decades by Goo Goo Dolls, Recife will be able to check out the band’s latest work, the Miracle Pill album , whose tracks have a very pop and lyrics feel. with social criticism.

The third track, which names the album Miracle Pill , is a distress call. “Baby, would you be my miracle pill? / And I could be someone else / So sick of living inside me,” says an excerpt from the song. “I think this song says a lot about a lot of people,” explains Robby. Do you know those days when we have a problem? So you take the pill and that fixes anything. “Still according to the bassist, this need to want an immediate solution to all setbacks is linked to modern society, which lives connected to social networks.” We live in small bubbles, surrounded by people. bad, “says the bassist.

The other songs on the disc have the same theme as a starting point. Robby says this project involved the whole band and two other music producers. “We wrote the lyrics, recorded the songs and in the end we came up with a lot of different results,” says the bassist about the album creation process, which has 11 tracks in total.

But for the musician, the climax of the performance will not be with any hits of the moment. Iris , the song that opened doors for the band around the world will be responsible for the most beautiful moment of the show. “This is definitely going to be the highlight,” says Robby. “This song is a gift that has given us another 20 years of career. It’s always wonderful to play it.”

Sound the Sirens Magazine – Goo Goo Dolls ‘Miracle Pill’ Review

The Goo Goo Dolls have always just written good music for people who cared only that the music was good

One of the most remarkable things about the Goo Goo Dolls is their steadfast consistency amongst the ever-changing backdrop of popular music. Six years ago when they released Magnetic, I wrote that the band remained unchanged in the face of their supposed “waning popularity” in the eyes of pop culture and radio charts. It’s true that many of their contemporaries that made it big alongside them in the late 1990s are long gone, but for the Goos, they’ve quietly continued to be above everything else, themselves, just older, wiser, and continuingly more refined. Miracle Pill is their 12th studio album and is the natural progression from 2016’s Boxes. Like their previous release, Miracle Pill continues their musical evolution away from alternative rock to the more serene territory of adult contemporary. Sure, it may sound like a bad thing, but like everything the Goos have done over the past 25 years, it’s supremely confident and composed.

They may not write songs with the caustic bite like “Here Is Gone” anymore, but they have been finding comfort in the more introspective pop-strewn melodies found in songs like “Lights”. Similarly, in the new album’s lead single and title track, the Goos tap into bouncy, easy-to-digest pop empowerment. Songs like “Indestructible” show that the band haven’t put down their guitars just yet, constructing songs that are still fond of their alternative rock roots but have found comfort in grander, more expansive sounds.

The album’s best moments are when the Goo Goo Dolls unashamedly tug on the heartstrings like they’ve done so many times before. The quiet jangly nature of “Over You” does this particularly well, while the bigger, electronic-infused arena rock of “Lost” shows that this type of music is just done extremely poorly by bands like Imagine Dragons. “Autumn Leaves” is a throwback to the kind of songs found on Let Love In and Dizzy Up The Girl, sounding organic and wistful, while the closing of “Think It Over” is the kind of song they’ve been hinting at since Something For The Rest Of Us. It’s part quintessential Goos, but contemporary and timeless at the same time.

Credit to the Robby Takac songs of the album too- “Step In Line”, “Life’s a Message”- both some of the finest songs Takac has written. He is often cast in the shadow of John Rzeznik’s more recognizable sound, but on Miracle Pill, his work is the best its sounded since Dizzy.

The Ringer recently wrote a piece titled ‘The Goo Goo Dolls Were Never the Cool Kids, but They’re Still Standing’. I echoed these sentiments in that Magnetic review years ago, but if there was anything long time Goo Goo Dolls fans know is that the band were never concerned about popularity or being “cool”. The problem with being cool in music is that it fades. The Goo Goo Dolls have always just written good music for people who cared only that the music was good. Not much has changed in that sense, and really, that’s much better than being cool.

The Daily Gamecock – The Goo Goo Dolls talk new album, perseverance


The Goo Goo Dolls are more than just the guys behind “Iris.”

In their 33 years together, lead singer-guitarist John Rzeznik and bassist-singer Robby Takac have released 12 studio albums and seen a complete transition from punk to pop rock. Their music isn’t the same as it was in the 20th century, and neither are they.

“I think when you’re younger, your whole world is — or, at least, when we were younger — our whole world was kind of about how everything was affecting us directly,” Takac said. “And then I think as we got older, we sort of started to see how things affect others and how the big picture is out there.”

The Goo Goo Dolls rose to prominence on the edge of the grunge scene. Their breakthrough album, “Dizzy Up the Girl,” featured somber power ballad “Iris,” but the album’s other tracks were just as heavy: “Slide” observed the aftermath of a teenage abortion. “Black Balloon” described a heroin addiction. The entire record was about tumultuous relationships and a hazy sense of self, nodding to the band’s dark headspace at the time.

Their latest album is a testament to just how far the they’ve come since then. Released on Friday, Sept. 13, “Miracle Pill” refers to a very different kind of drug: instant gratification in the age of technology.

“If you’re feeling sad, you take a pill. If you need approval, you go on Instagram and receive it immediately. It speaks to the second decade of 21st century angst,” Rzeznik said in a press release. “We’re inundated by bullshit, garbage, and false solutions to every problem we have. The real path is to work hard, be nice, and keep going. However, this route gets overlooked, because we’re all looking for the ultimate shortcut and escape.”

While the band’s subject matter may have changed, Takac said the lyrics are no less biting. The difference is in their perspective.

Both he and Rzeznik are now sober. They’ve settled down with wives and children, and Takac said they’re “in a pretty cool place right now.” This new chapter in their lives rubbed off on the songwriting in “Miracle Pill.”

“I’m speaking to my daughter,” Rzeznik said in a press release. “I want her to pursue what she wants, but we’re living in a scared and unfair world. You have to bravely go out and enact the changes you want to make in order for this to be a better place.”

Their evolution didn’t happen overnight, though. Takac said they’ve been careful not to jar fans with a vastly different sound from one album to the next. Instead, their music has gone on an organic, record-to-record journey. In that regard, the piano- and synth-rich tracks in “Miracle Pill” come as less of a surprise.

The Goo Goo Dolls started experimenting with new technology several albums back, allowing them to “twist and maneuver sound” in new ways. They’ve become especially partial to using vintage studio gear to smash digital sounds in compressors and preamps, dragging modern technology back into a classic sound.

“It really makes for music that feels everlasting to me,” Takac said. “A lot of electronic music and stuff, it’s so clean. I don’t know, it just feels too pristine and too clean. You get a little bit of stink on it and it sort of sounds a little bit more like our band.”

As they continue to evolve and explore new musical pathways, Takac reminds listeners that the makeup of Goo Goo Dolls hasn’t changed since the ’90s. He and Rzeznik never split up or took a break. They’ve encountered rough patches, but they always worked through them because they genuinely care about each other and want to see the band persevere. That, Takac said, is what separates The Goo Goo Dolls from other ’90s-era bands.

“We were never a band that went away, and then got big, and then said, ‘Oh, wow, we could make some money again if we got back together, played ‘Iris’ for people.’ Like, that’s never been our goal,” Takac said. “We know people love to hear ‘Iris,’ and we love to play it for people. But we’ve been The Goo Goo Dolls since the beginning, and now it’s what we still do.”

Miracle Pill is out now. The Goo Goo Dolls will have a tour in support of the album later this fall, stopping in Charleston Nov. 17.

Win a Meet & Greet for The Goo Goo Dolls in Sioux City IA, Des Moines IA, Peoria IL or Davenport IA on the Miracle Pill Tour!

Enter to win! One entry per person per show. Entries close on 9/21 at noon est. Must be 18 to enter. Meet and Greet does NOT include show ticket. You MUST have a show ticket to attend the Meet and Greet. Meet and Greet is for one person only & ID must match winning name. Cannot be resold or transferred. Please follow the AG site on Twitter, ( to enter.

Pop Matters – Review: Goo Goo Dolls Evolve and Raise the Bar with ‘Miracle Pill’

By Jeff Gaudiosi

Goo Goo Dolls formed in Buffalo, New York in 1986. A trio when they started, the Goo Goo Dolls were a loud, fast, garage punk band at the outset. Bassist Robbie Takac handled the lead vocals and early records were notable for punked-up covers of songs like “(Don’t Fear) The Reaper” and “Gimme Shelter”. By their third album, the band began their first evolutionary change when guitarist Johnny Rzeznik took over the lead vocal spot. A change in style also occurred, spurred by Rzeznik’s exceptional songwriting, that saw the Goo Goo Dolls become more a melodic, mainstream band. This change to an overwhelming period of success centered around their 1998 classic Dizzy Up the Girl.

For the next decade or so Goo Goo Dolls lived off Rzeznik’s guitar-driven, sing-a-long melodies and sold millions of records. Following the lukewarm reception to 2010’s Something for the Rest of Us, the group began their next evolution. 2013’s Magnetic was a hybrid between the heavy guitar sound of the past and a look toward a more modern, sleeker sound that would come to fruition on 2016’s exceptional Boxes. Boxes showed the band had little interest in living in their garage rock past and were willing to ride Rzeznik’s brilliant songwriting and vision headlong into the future. That future explodes into the now with the release of Miracle Pill, easily a high-water mark of the band’s career.

One thing is clear on Miracle Pill, there are very few people that can match Johnny Rzeznik’s songwriting talent. Regardless of style, whether it’s heavy guitars or synth and drums, a great song is a great song, and the foundation of Miracle Pill is superb songwriting. The record poses a bit of a shock on first listen as sonically it’s not the Goo Goo Dolls of “Slide” and “Black Balloon”. The songs are driven more by keyboards than guitars, but Rzeznik’s penchant for coming up with the perfect sing-a-long chorus always reminds you that this is, in fact, a Goo Goo Dolls record.

As with Boxes, lyrically Miracle Pill is a very personal record, and the band have done a superb job with the running order of the tracks. The first part of the record contains the anthems, songs like “Indestructible”, “Fearless”, and “Miracle Pill” with their big choruses that are designed to get the listener engaged in what’s to come. The second part contains the more reflective songs like “Over You”, “Lights” and, one of the highlights of the record, “Lost”. Miracle Pill is meant to be listened to as a whole, as the themes and sounds of each song build into the next.

Of course, no Goo Goo Dolls record is complete without Robbie Takac’s songs. Here he has two, “Step in Line” and “Life’s a Message” and both rank among his best contributions to any Goo Goo Dolls record. He sounds in great voice, and both songs are fun, upbeat tracks. Miracle Pill draws to a close with possibly two of its strongest tracks. The sublime, beautiful “Autumn Leaves” and “Think It Over”, a throw-back to the more traditional Goo Goo Dolls sound.

Goo Goo Dolls are a band that seldom look back and continually try to move forward. While their contemporaries are usually satisfied with touring their hits and avoiding new music, Rzeznik and Takac continue to push the envelope, evolve their sound and release vital new music that easily stands alongside the best of their career.

WRMF 97.9 FM: Goo Goo Dolls giving fans a ‘Miracle Pill’

The Goo Goo Dolls giving fans a ‘Miracle Pill’: “They like to take that journey with us”

The Goo Goo Dolls’ twelfth studio album, Miracle Pill, is out today.  While many artists these days have abandoned the idea of making full albums in favor of singles or EPs, the veteran group believes an album’s the only way their fans can have that “deeper connection” with them.

“I think we’ve got millions of people who’ve grown up listening to our albums and they like to take that journey with us,” bass player Robby Takac tells ABC Radio.  “To me, it’s a special part of what we do…people make a deeper connection to a band when they say something. And I think the people who have been with us a long time…they’re that kind of people.”

The band began writing songs for Miracle Pill last year, as soon as they were done with their tour celebrating the 20th anniversary of their biggest album, Dizzy Up the Girl. Frontman Johnny Rzeznik says playing the songs on that album gave him closure.

“By the end of the tour, I just felt like, ‘O.K., we can kinda put that record, and that time on the shelf,'” he tells ABC Radio. “I was, like, ‘O.K., I’m ready to come up with something new.'”

To do that, Johnny says he experimented with different sounds, different co-writers, and even different studios in different cities.

“What I wanted to do on this album was…learn from people,” he explains. “So I worked with guys that I felt like I could learn something from.”

Despite the experimentation, Miracle Pill still includes those upbeat, anthemic tracks that Goo Goo Dolls are known for.

“Things [in the world] are nuts right now,” says Robby. “So…we’ve been trying to look for some optimistic things to share with people who listen to our music.”

HMV; Goo Goo Dolls Miracle Pill Interview

by Tom London

Goo Goo Dolls are a pop-rock institution.

The band, who consist of singer John Rzeznik and bassist Robby Takec, come into the recording of new album Miracle Pill after an extensive world tour celebrating 20 years of their classic LP Dizzy Up The Girl.

Though it was the band’s sixth album, it’s one that sent them into the stratosphere, largely thanks to the success of single ‘Iris’, and wound up selling over four million copies. On the tour, they played the record in its entirety and came home, naturally, hungry to do something brand new.

That’s Miracle Pill, which arrives in stores today, we spoke to Rzeznik about how it all came together…

When did you start putting the songs together? Were these tracks written on the road?

“We did the 20th-anniversary tour for Dizzy Up The Girl, we played that whole record and a few others, and, at the end of that tour, I felt like we’d put that album to bed and I was ready for something else. I sat down pretty quickly after that. This record developed really quickly, which was a lot of fun.”

Did you have a goal in mind? Or an idea to do things differently? Or do you just write and see what comes out?

“What comes out, that’s how I work. I don’t think about it too much. Once you have the rough versions of the songs, you begin to think about production. I have a great collection of vintage recording equipment, spring reverbs the size of refrigerators, stompbox pedals that go straight into the console. I really enjoy mangling up my songs once I have them.”

When does Robby come in?

“When the basic idea is done. It’s the same for me with his songs. On this record, I was working in New York and Los Angeles and he was up in Buffalo doing his thing. If either of us needs help we’re only a phone call away. But we were both really on a roll this time. We both just wanted to keep going, it was very fast.”

There are a few collaborators on the record, but no named producer, was that a decision you took? Or did the songs come so fast you didn’t need anyone?

“I don’t like using one producer. I want the band to be the element that ties the song together rather than the producer being the sound. When I start to sing or the way I play guitar is us, I want to retain that. And, to be honest, I burn producers out. I’m a producer myself and I burn these guys out. The last time I did 10 songs with one guy I thought he was going to have a nervous breakdown.”

Not a great idea…

“It’s a lot easier for me if it’s three or four guys and you do a few songs with each. Time is limited. You do two weeks with somebody and then you agree to do it again next year. It keeps fresh energy pumping into the situation.”

Who did you have with you this time?

“A guy named Sam Hollander, incredible guy. Derek Furman, great producer, Drew Pearson, another good one. They’re my friends, and, mostly, we’ve been working together for a long time. The power of collaboration has become so important to me. I used to sit in a room by myself and go insane. A couple of records ago I just decided that I couldn’t do this anymore, I need to be around other people. You learn so much from other people. You always need to be open to discovering something new.”

What kind of album is it lyrically?

“The songs that I write seem to have a theme of dealing with people and trying to make connections. Feeling like you may never make a connection, but there’s always hope. There always has to be hope in my songs, what is there to live for otherwise?”

When did you decide that Miracle Pill was the right title for the record?

“When Sam and I wrote Miracle Pill, I thought instantly that it was a great name for an album. That was it. I wish I had a better story. I immediately started thinking of album covers and photoshoots, a lot of cool imagery, that’s when you know you’ve got a good one.”

You’ve got 12 records now, your live set must be a challenge to put together…

“It’s a fine balance. You don’t want to play a song that nobody knows. That’s just awkward. What I hope is that people really want to hear the new songs and make it even harder. But it’ll be the songs people know and love. People take the time to come and see you and pay their hard-earned money, you need to give them what they want. I get to indulge myself with a few rare tracks.”

Having done Dizzy Up The Girl in full, is that a one-off or can you see yourself doing that again for another record?

“I don’t think I’d do that again. It’s too much of one album. Not again.”

You’re booked pretty solidly in the US for the rest of the year, when is Europe and the UK on the horizon?

“We’re on tour with Train right now and then we’re going to South America to open for Bon Jovi. An intimate show, just a little soccer stadium. Then we’ve got another headline tour in the States in the fall and then we’ll think about it. We’ve really just started to break in Europe and in the UK we generally play the Academies. I love them, they’re so old and dirty and they have such good energy. That’s where you should play rock and roll.”

Goo Goo Dolls’ new album Miracle Pill is out now in hmv stores.

Maximum Volume Music – REVIEW: THE GOO GOO DOLLS – MIRACLE PILL (2019)


Look, I am well aware that Goo Goo Dolls have released albums in the 21st century. Some good stuff too, but to me, they are always going to take me back to that summer when I was 22 years old. Coming up for 23. “Dizzy Up The Girl” the thing was called, and like all the bands I loved back then – Counting Crows, Live, Semisonic, Matchbox Twenty, Gin Blossoms, Bon Jovi they were about as American as radio rock gets.

I had a reason for loving “Slide”. That first verse: “Could you whisper in my ear. The things you wanna feel. I’d give you anythin’. To feel it comin’.”

The reason I had for loving it was simple. It spoke about the same girl that was “something beautiful” in “Mr. Jones” the one who, if she “didn’t expect too much from me, might not be let down” In “Hey Jealousy” and just about any other sad song you can think of.

Times, situations, tastes change. I haven’t even so much as seen her for nearly 20 years, and I don’t invest myself emotionally in songs like that anymore – and to be honest, US Arena Rock doesn’t do it for me these days. Shinedown? They wouldn’t know real emotion if it bit them on the arse, Alter Bridge? Oh please….

But there’s something inside that you see the name Goo Goo Dolls and you owe it to the 20 something you to review it. God alone knows how it would have turned out if I had this website then, but I am sure of one thing: if I had reviewed “Miracle Pill” back then, then it would have sounded just the same.

Not for nothing have John Rzeznik and Robby Takac sold millions of records. There is nothing to dislike about “…..Pill” whatsoever.

It is rooted in its homeland. After the tinkling pianos of “Indestructible” you almost expect them to start singing “the screen door slams, Mary’s dress sways” but it soon opens up into some kind of polished pop music. Even with the solo at the end, we are a world away from their punk rock roots, but then, like I say times change.

Then comes “Fearless”,  and you originally think, “blimey, this sounds like one of those self-help tapes” as it slams its way, in an extremely commercial way, then you stop and think about the positivity of the message. About how it’s what the world needs. A sense of community. And above all how it might help some kid, just like me in the 1990s, who needs something to reflect their existence.

And then you get it.

This is how the two have done it. Sustained a career when some of those contemporaries and peers have not. They are gifted with being able to write songs that connect in some way. “Miracle Pill” is catchy (that’s a given) but it embraces change.

Likewise “Money, Fame And Fortune” is driven with synths and never strays away from the middle of the road, but it has a charm that you can’t resist. “Step In Line” is pure pop, but it is epic in scope, and when they do a ballad, like on “Over You” it just sounds like an effortless way to get another Gold Disc.

But then, GGD are much more interesting than most modern pop I hear. “Lights” doesn’t do anything lyrically out of the ordinary, but has a huge soundscape to build them on. And you haven’t heard big until you’ve herd the drums on “Lost” – which it mixes superbly with the singer/songwriter stuff. Daughtry, to be honest, could learn some lessons here.

Given their admirable philanthropy and charity work, you can only applaud the two for walking it like they talk it. “Life’s A Message” does that, and you can almost hear the internal conflict in “Autumn Leaves”, which you sense desperately wants to stay stripped down but can’t help itself but go widescreen.

Sometimes with bands like this you are never quite sure how many new ones are going to make it in the live set, but if “Think It Over” isn’t there I will be staggered. “I am scared to make the change” sings Rzeznik, and its euphoric, soaring end is made solely for the arenas it is going to be sung in.

Ok, there aren’t a lot of chances being taken here. But then if you are looking for Goo Goo Dolls to be cutting edge, you are probably barking up the wrong tree anyway, but on the other hand, if you are looking for a manual on how to do arena rock for a mainstream audience, then no one here is on the slide – and that’s a Miracle (Pill) after all this time.

Rating 7.5/10