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Goo Goo Dolls News & Info / Why Rebel Beat?
« Last post by jordhunter on June 15, 2019, 01:51 PM »
Been browsing the recent sets the band has been doing in their supporting slot for Train and I am perplexed how this song is still in the set? They've been doing 16 songs; as you'd expect, they're all singles aside from Miracle Pill. I get the "playing all the well-known songs" but why Rebel Beat? Does anyone else find it really hollow and that it adds absolutely no momentum to the set? Plus, ya'know, it is their worst chart-performing first single they have had since A Boy Named Goo.

Better well-known songs that should be in the set ahead of Rebel Beat in my opinion:

Long Way Down
Lazy Eye
Let Love In
Before its too Late
All That You Are

So all those above (I may be missing one, possibly two) all performed better and charted higher than Rebel Beat (apart from Notbroken). And they're all such better, better songs.

Some songs will get deleted from their live catalogue forever and I'd be so gutted if Rebel Beat survived when one of the before-mentioned songs, didn't. I personally think its such a black hole in their set

Anyone agree?
Well respected rock band!!!  Yessss!!!
Thank you for interview. Keep em coming!!! 
Goo Goo Dolls News & Info / AZ Central - Phoenix Show Review
« Last post by Gen on June 13, 2019, 09:00 PM »
Train took a victory lap in hit-filled Phoenix show but Goo Goo Dolls brought better songs
Ashley Naftule, Special for the Republic

To paraphrase an old PSA: “It’s 7 p.m. Do you know where your mothers are?”

If you live in the state of Arizona, there’s a good chance your mom was at Ak-Chin Pavilion Wednesday night to see Train and the Goo Goo Dolls. The huge crowd waiting to get in the venue was primarily composed of women ages 30 and up, most of whom seemed very eager to get inside, down some fishbowl cocktails and go ham when “Meet Virginia” dropped.

It was a turnout that made both Live Nation and the Valley’s babysitters very happy.

The prospect of seeing an outdoor show on a particularly brutal June day, with daytime temperatures pushing well-past 110, didn’t keep fans of late 90’s-early Oughts adult contemporary jams from coming out in full force. And truth be told, while getting into and leaving Ak-Chin can be an absolute nightmare, it really is the best outdoor venue for a summer show. The shade structure that wrapped around the auditorium and the fans whirring overhead at full blast kept us all cool for a night of lukewarm bops.

I made my way to my seat as opener Allen Stone warmed up the audience with some blue-eyed soul. Nothing too interesting or off-putting – just an agreeable set of vamps and riffs that could just as easily inspire tuning out or turning up. The perfect opening act for what should have been called The Monsters of White Wine Rock Tour. The most memorable moment of Stone’s throwback R&B set was when he gave a shout-out to the pizza girl selling food in the aisles. When all else fails, you can always elicit a reaction from people by shouting “Pizza _____!”.

Who were the headliners?

Waiting for the headliners to come on, I wondered who would go on first. The Goo Goo Dolls seemed like the bigger act: Had any Train song penetrated the popular consciousness to the degree that “Iris” did? More importantly: The Dolls seemed more worthy of the prestige of a closing spot. They actually have a handful of great tunes to their name. Train, on the other hand, have far more hits and 100% ZERO good songs. The Goo Goo Dolls are like an In-N-Out style restaurant that can do a few things really well; Train are a conveyor belt sushi joint where all the fish is guaranteed to give you mercury poisoning.

Granted, I’m biased: I was in high school when “Iris” blew up. It was an inescapable song — romantic and grand and just a little bit overbearing. But Johnny Rzeznik’s voice has just enough grit and grain in it to anchor the song and keep it from going the Full Diane Warren. On songs like “Name” and “Black Balloon,” he croons and rasps like he’s some Bizarro Paul Westerberg from an alternate dimension where he traded in writing Replacements anthems for composing prom make-out music. I never went to prom or made out to a Goo Goo Dolls song, but their music seems like it’d be the perfect soundtrack for snogging someone beneath a spinning disco ball in a dark room surrounded by other awkward kids trying not to step on each other’s feet.

Perhaps if “Hey Soul Sister” was the jam in my high school days, I would have given Train the same nostalgia-driven benefit of the doubt I give the Goo Goo Dolls. But I was fortunate to grow up in a world that hadn’t been cursed yet with the horror that is “Hey Soul Sister,” so I don’t have to.

As with most things, my theory on who would go first was wrong: The Goo Goo Dolls opened for Train. They started their set with “Stay With You,” Rzeznik crooning at the mic while bassist Robby Takac ran across the stage doing bare-foot kicks like a hyper kid at karate class who’s off his Ritalin. It’s a dynamic that informed their whole set: Rzeznik the composed, cool older brother figure to Takac’s spazzy, punky sibling. Honestly, it was kind of a gas to see how amped Takac was. He furiously headbanged to tunes like “Name” as though they were playing Bad Brains. Every MOR band should have one band member who treats every set like it’s a hardcore show; Imagine how much more fun Matchbox 20 shows would be if you knew there was a chance that the drummer might start a mosh pit in the middle of “3AM.”

The vocals were a bit spotty throughout the show. Rzeznik’s voice seemed to be in fine form, but he often turned his face away from the mic and lines would get cut off mid-song. But the audience didn’t seem to care, and why would they? The band was generous with the hits, raining down black balloons on the crowd for (you guessed it) “Black Balloon,” strumming energetically through “Slide,” and closing things down with a surprisingly raucous rendition of “Broadway.”

While the songs were good, the show itself was a mixed bag. The crowd’s energy died every time the Dolls played something that wasn’t off of "Dizzy Up the Girl" or "A Boy Named Good." Takac tried to rouse the crowd during the two numbers he sang, but you could tell that the audience was waiting for the next hit. Projections ran behind the band to give their performance some dynamic visuals, but it often seemed like the images were at odds with the music (like a neon green disco ball for the tender, wrenching “Name”?!). And while Rzeznik and Takac were charming figures, they seemed ill at ease onstage — like after all this time, they still haven’t quite accepted their status as hitmakers.

The bells and whistles

None of that uneasiness was on display for Train’s set. Frontman Patrick Monahan strolled onstage with a wide grin, clearly in his element. Dressed in flowing whites, he looked more like a life coach than a rock star. Watching him and the rest of his band work, I saw why they were the closing act: While Train will never write a song as good as “Name,” they play all their songs as though they were THAT good. It’s like Kim Gordon said: “People pay money to watch others believe in themselves.”

They also used all the bells and whistles you’d expect from a Big Show: pyro, confetti blasts, crowd-pleasing covers (“Empire State of Mind”), even a special guest performance (bringing on Rzeznik to sing Jackson Browne’s “Running On Empty” with Monahan). Train even found a clever way to do the “Which side is the loudest” crowd work game by having Monahan hold up a film camera and pan it across each section of the crowd so people could watch themselves screaming and howling with delight on the jumbo screens flanking the stage.

This is why Train were the closers: They knew how to play the game. They understand the mechanics of arena shows to a T. It was such a well done show that I almost forgot how bad their music is. Almost.

Some bands reveal hidden depths and nuances to their sound live. Train isn’t one of those bands. Listening to songs like  “Calling All Angels” and “50 Ways to Say Goodbye” live, I was struck by how hollow they sounded. Train makes music that sounds like it’s simultaneously pitched at every possible demographic: Inspirational enough to be Christian rock, rootsy enough to be country, just enough guitar to rock, and even faint hints of rap in Monahan’s delivery to satisfy people who think “Rapper’s Delight” knocks a little too hard. It's music engineered to be liked by everyone, loved by no one.

Leaving the Pavilion with the throngs of buzzed, happy audience members (some of whom I could overhear were fretting that they spent their babysitter money at the bar), I kept thinking about a brief moment that happened towards the end of the Dolls’ set. Right after the bridge on “Name,” as the music quiets down to a brief moment of silence before the final verse, Rzeznik stopped playing and stood in that quiet patch. The audience clapped and hooted. Rzeznik raised his hand slightly, like a gentle shush, and smiled. “I’m going to milk this moment,” he said. And he and the band stood there, breathing in this moment of adulation like they needed it.

There were no moments like that in Train’s set, no vulnerabilities to bare, no naked hunger on display. It was a victory lap. That’s why my heart will always belong to the Goo Goo Dolls of the world: I have a soft spot for the losers of the world.

Listen to a few of their songs and you’ll hear that they do, too.

By Dave Gil de Rubio Special to the Daily Herald

The Goo Goo Dolls may have established a comfortable niche as a well-respected rock band with pop leanings reflected by the 12 million albums they’ve sold worldwide and much-loved hit singles like “Iris,” “Slide” and “Name.” But as far as founding member/lead vocalist John Rzeznik is concerned, they’re never too far from their West New York roots.

This blue collar mentality continues to be the guiding moral compass for Rzeznik and longtime friend/bassist Robby Takac.

“We’re from Buffalo and we always carried that pride of the hometown that we’re from — and we still do,” Rzeznik said.

With the band ready to hit the road with fellow alt-pop outfit Train — including a stop Tuesday at USANA Amphitheatre in West Valley City — the Goos are preparing to also introduce fans to material from their forthcoming 12th studio outing, “Miracle Pill.” It’s a collection of songs Rzeznik was working on just as he and Takac were coming off the road from a string of fall dates last year celebrating the 20th anniversary of “Dizzy Up the Girl,” the band’s sixth studio album.

“I was already writing songs and collecting material for the record. The title and concept for the album just came to me at once. It hadn’t happened to me in a long time, but I just got hit over the head for “Miracle Pill,” Rzeznik recalled. “It was sort of a metaphor for the instant gratification. Are you sad? Take a pill. That’s sort of the culture that we live in. Are you fat? Take a pill. Everybody is looking for some easy, short-cut way to find happiness and fulfillment and there just isn’t. But it’s work. It sucks, it’s hard and it’s consistent. I’ve been working out with this trainer and he said if I can be 70 percent consistently, then I’m going to be further ahead than if I’m 100 percent once in a while. There’s a line in ‘Miracle Pill’ where this guy asks this girl if she can be his miracle pill and I can be somebody else/I’m so sick of living inside of myself. It’s like trying to find something external that will cure you. And we all know that it’s an inside job.”

In hitting the road with Train, Rzeznik admits that beyond the new album’s title cut, he and Takac are going to give fans just what they want — well-loved gems from the Goo canon. It’s even more important to do that given how long the duo have wanted to go on the road with Train.

“We’re going to play the new single when we go out. I don’t know how many other songs we’re going to play from the new album, at least this summer. Because we’re out with Train. You’ve got to play all the hits, when you’re out with a band like that. ‘C’mon, Monahan, try writing a crap song or a B-side once in a while,’ ” Rzeznik said with a laugh, referencing Train singer Pat Monahan. “We’re out there playing all the hits. We’ve got a really bitchin’ light show, and we’ve been getting ready for this one. We all had to get back into fighting shape for this tour. It’s going to be a lot of fun, man. I’m really looking forward to it.”

While most music fans might think of the Goo Goo Dolls as being a ‘90s alt-pop band, thanks to some of those aforementioned hits, the Goos were actually looked at as Replacements Lite (that band’s Paul Westerberg co-wrote the 1993 single “We Are the Normal” off that year’s Goo Goo Dolls album, “Superstar Car Wash”) and were actually college radio staples up through the early 1990s. The first decade of the Goo Goo Dolls’ existence found them sharing bills with the aforementioned Replacements, Gun Club, Cannibal Corpse and a pre-commercial breakthrough Soul Asylum. And while fame eventually came knocking, Rzeznik and Takac were quick to heed the word of an early advisor.

“The first little bit of money that we made, was kind of weird. Robby and I literally had nothing. We had a roommate, so there was three of us living together in an attic in Buffalo. We had nothing. All of a sudden you get this check in the mail and it’s more money than my dad made in like 10 years,” Rzeznik recalled. “Then our manager scooped us up and said, ‘Listen. This ain’t gonna last forever. Put the money away, pretend it doesn’t exist, keep your head down and keep working. Forget about being a rock star. Just keep working.’ That stuck with me. Then there was the rule of (investing) — don’t buy a bar. Don’t buy a restaurant. Don’t buy a Ferrari. We’ve been going for 25 years making a living doing this. This has been my job for 25 years, with no other job. For the 10 years before that, I’d play in the band and be a bartender. I’d play in the band and Robby was a DJ. We always had odd jobs we had to do when we came home. I was very blessed because the local punk rock club owner would always have my job waiting for me when I came home from a tour. It was really a blessing and he was so proud of us that we were getting out there.”

For the immediate future, the Goo Goo Dolls will be heading down to South America with Bon Jovi after wrapping up their summer jaunt with Train. And while Rzeznik may have tasted multi-platinum success, he’s still grateful for previously untapped opportunities the Goo Goo Dolls are still getting to experience.

“Going to South America with Bon Jovi is so exciting to me. I can’t believe Jon asked us to open for them. We’re doing Rock in Rio, then we’re going to Peru. We’ve never played down there,” he said. “The last time we toured and opened for those guys, they were so good to us, man. It was a cool scene. I’ve got to say that Jon is doing us a real solid because he’s helping us break open a new market that we’ve never been to.”
Love these interviews!  You feel good? Yeah! You feel alive?  One of my favorite songs and so much fun live! Can't wait to rock out to it soon, not soon enough.
Goo Goo Dolls News & Info / Re: Line up summer tour
« Last post by googoodollsforever on June 12, 2019, 05:35 PM »
Thanks a bunch!
Goo Goo Dolls News & Info / Re: Line up summer tour
« Last post by BulletproofAngel on June 12, 2019, 09:47 AM »
Hey fellow goo fans, does anyone know if Allen Stone goes on before or after the goo goo dolls? My show is in August,  but I like to know what's going on to calm my nerves. Lol

Allen Stone opens the show, then the Goo Goo Dolls come on next.
Goo Goo Dolls News & Info / Robby's Latest InRock blog, June, 2019
« Last post by BulletproofAngel on June 12, 2019, 09:46 AM »
Heyhey In Rockers and Welcome to my first column of the ReiWa Era and the Cherry Blossom fairy filled world of Robby’s Lobby for this month! I live here in the states with my wife Miyoko, a native of Tokyo and our daughter Hana and we’re often involved with events put on in conjunction with the small but growing Japanese Community here in my hometown of Buffalo, NY.
This month we are unbelievably busy leading up to an event we help to coordinate with my Music is Art organization to help bring a day of programming featuring Japanese music, art, dance and culture to the people of our city as The Cherry Blossoms bloom and Spring is finally here for everyone to enjoy! Music is Art Partners with The Buffalo History Museum, The Friends of the Japanese Garden, The Japanese Group of Buffalo and The Olmsted Parks System to make this event happen, this being our 6th Annual event.
The Japanese Garden was built in the 1970s outside the Greek columns of The Buffalo History Museum (the building and grounds were built in 1901 for The Pan American Exposition in Buffalo) on a beautiful mirror lake as a gift from Buffalo’s sister city of Kanazawa. Since then many trees have been donated and planted through the years and it’s a truly beautiful place when the blossoms are in bloom. The garden is maintained through donations and grants and is maintained by the Olmsted parks service and local volunteers, as a matter of fact my friend Al and I joined a whole crew of folks last weekend cleaning up the Garden for the celebration!
Unlike Sakura Matsuri in Japan, which occurs as soon as the blossoms come out, in the US we schedule the Cherry Blossom Festivals dates in advance and hope all year that nature will help us out with some great blossoms for our event. Last year’s timing was great in Buffalo, with sunny weather and beautiful blossoms for everyone to enjoy in the Japanese Garden. The festival runs for a full week with Kimono Shows, Cocktail Fundraisers, Pop Up Tea Ceremonies and Japanese film features throughout the week. We help with the music event, which happens on May 4tha and 5th, the last 2 days of the festival.
There are 3 Japanese acts from my indie label Good Charamel Record playing both days; DJ Sashimi, The Molice who are living in Buffalo and also Tokyo’s Pinky Doodle Poodle, who has been basing their band out of Athens GS for the past year. They are all performing both days along with the locally based JGB Shibuki Taiko Group, Odori No Kai Japanese Dancers, The Japanese Group of Buffalo Chorus, The University of Buffalo Kendo Club and a variety of DJs, painters and street musicians/performers to round out the day. My daughter goes to a Japanese school in the US and her school choir “The Buffalo Nihongo Club Children’s Chorus” will also be performing “Sukiyaki” onstage! As a matter of fact, a Japanese exchange student taught my daughter’s first grade class last year and his band “Heisei Spirit” will be playing some songs as well!
Throughout the weekend there’s Pink Boat Rides through the mirror lake, a crane dance performance, a performance by a world champion Kendama Champion and the event closes with a Pink Parade with all of the Children and participants taking one more stroll around the Cherry Blossom Trees. It’s a lot of work, but it’s a lot of fun too, we’re looking forward to a great event, I’ll let u know how it goes!
All 3 of the Good Charamel bands are also performing at The Brooklyn Sakura Matsuri the weekend before as well! The Molice and DJ Sashimi have done the event before and this will be Pinky Doodle Poodle fist time at the event. I’ve performed along w/ Sashimi on my Shamisen, and if all goes as panned I’ll be doing it again this year! Yikes! Speaking of that, I think I think I should go to practice more right now!!!!
Thanks so much for stopping in, looking forward to seeing chatting with you next month here in The Lobby ….. OK ……. Sakura ,Sakura …… 1234 ……….

InRock blog, June 2019
Thanks to Heather for grabbing this cover of Running on Empty, by Pat Monahan and John Rzeznik!

Goo Goo Dolls News & Info / Ridgefield, WA, 6/8 video
« Last post by BulletproofAngel on June 12, 2019, 09:40 AM »
Thanks to HeatherGoo for Name:

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