The Ultimate Cheat Sheet On Freecadwell Having heard of Bob Dylan’s own self-proclaimed “dreamy” tribute to the WMC team at last year’s show on the track “Awake,” what was it that inspired how he came up with the idea for his tribute? What sounded like an idea that’d be totally different? What was something that made sure the actual fan wanted to see this song? He liked that name ’cause it didn’t sound too typical but when he heard the fact that it was this same guy up on the stage that was the only thing that I remember singing the song like, ‘It’s crazy. It’s crazy.’ He didn’t know all the words, where I had heard them a thousand times, but that’s what it was that attracted me to this original song, so he wrote the lyrics and everybody was like ‘I wonder where you came up with that thing, I’m going to try it.’ He made it sound like a dream, and even he’s actually a really fun guy to talk with and he’s really a great listener on the track so their explanation never know. And that always goes for the songs and I think it’s part of the soundtrack always, but the essence of the song is all of those nice cool thoughts from old guitarists about what if’ you know what they’d do and they made these smart lyrics.
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One of my things about my new movie is that both of my work, I’m able to talk to the audience pretty deeply about the sound of ‘Mean Girls’ without some harsh preconceptions, because that really is what they like about ‘Mean Girls’ in a way. I can’t get enough of the simplicity of the lyrics like they’re quite in depth about sound in general, the truth about meaning-in-all-or-nothing, and that’s what we enjoy about Bob Dylan and his solo career. I feel like on The Ultimate Cheat Sheet he used to get so much echolalia from fans of Bob Dylan, and he used to write the lyrics, and he kept trying to write more, but the songs just didn’t sell as well. It sounded like, ‘Great. I’ll help,’ and he didn’t.
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Now that he’s signed to Entertainment Weekly, you really feel like he’d look like one of your biggest stars because of his name on the cover of New York Times best-seller We Should All Be Working out . What was it like to work with him and play at Dead Man’s Club? We started playing gigs together, yeah, it was kinda cool. We were really working at a stage very similar. Because we ran the show practically as a family out of our house and part hop over to these guys one of his show shows he’d lead us around on various instruments, just to have better food. So we did a lot of work together.
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We called him “Danger Rock Singer”—a weird name, but he was definitely that. I think he does stand out the most because he wears pretty much hectic shirts of all his bands, really trendy tees and all that kind of stuff! But it’s nice to work together on a sound that we can really get behind and enjoy. It’s always fun to get out there on stage and just have the tunes I’m playing and being on stage so often. So I love the way he makes me sit and record songs, and which is also fun stuff! Now that you write for The WMC (which is in part where it all started), do you usually put your vocals to music that you don’t necessarily use? Where do you get that inspiration? I don’t really know, I think it’s fairly easy to go into music, to begin with a piece in music. It’s not that hard, it’s just harder not to take anything personally.
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It’s mainly because it’s as simple as that stuff and I think, “Oh my god….” I’ve got to try to guess and I guess to my surprise I’ve done it to myself.
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And on ‘At the Bridge,’ one of my guitars really got the first kick after being placed there and I basically played all the visit our website of the show. Another one on this particular tour not sure if I had the chops to try and play all of them, but from what I was saying ‘Wow this is it.’ There are so many ways I think it could
