Michael Johns – J&R Music and Computer World NYC – VIDEO

Thank you for posting this, MJ! Interesting interview tidbits and didn’t know there was strain on his marriage due to touring with AI. Great to see Michael Johns perform, wish I could have been in NYC for this.

Interesting part about Simon Fuller letting him out of his AI contract and saying he has been “a gentleman and an ambassador for AI”. Wonder if that’s in reference to anyone else?

The thing is, Michael didn’t know what kind of artist he was. He suffered from Carly Smithson Syndrome. He kept trying to be this rocker dude and it never worked. His elimination should have been no suprise based on that alone. The few times he got it right with the bluesy soul stuff were not enough to save him in the end. It’s kind of weird that he had to this “market research” to find his own sound at age 29. I am glad he, like Syesha, woke up from his stubbornness and figured things out before he ended up another Idol has been.

Actually Matt Giraud suffered from the same thing as Michael. The sooner Matt realizes he’s a soul singer, the better off he will be. Quit trying to be some faux rocker Matt, it’s not you. I think Kara wasn’t all that off the mark in trying to tell these sometimes clueless kids what kind of sound suits them best. Apparently, they needed it.

Oh, I just saw this: MJ on Good Day NY.
What happened to his voice? It sounds completely shot. Never heard him sound that way before. Hope he’s taking good care of himself while doing promo for his album.

I still don’t get what it means that he was “let out” of his Idol contract. I used to think it meant that he got the go-ahead to release an album/single before the 6 months waiting period ended (ergo the relevance of his age), but then he took over a year to release his album, so I don’t get why he needed to be freed from the contract. It would’ve ran out by now anyway.

I think it’s lovely how so many idols who are not signed say that they had offers from major labels but they turned down those offers… seriously? mmmm…

Oh, I just saw this: MJ on Good Day NY.

That was bad. Maybe because it was morning? I guess it happens to everyone. I just couldn’t hear it till the end.

“Actually Matt Giraud suffered from the same thing as Michael. The sooner Matt realizes heà ¢Ã¢â€š ¬Ã¢â€ž ¢s a soul singer, the better off he will be. Quit trying to be some faux rocker Matt, ità ¢Ã¢â€š ¬Ã¢â€ž ¢s not you. I think Kara wasnà ¢Ã¢â€š ¬Ã¢â€ž ¢t all that off the mark in trying to tell these sometimes clueless kids what kind of sound suits them best. Apparently, they needed it.”
This is the exact same thing I thought when I first read this from Michael. He reminds me so much of Matt in his diligent tries to be a Rocker, when he clearly excels as a Soul/Blues singer. I am just glad that Michael learned this about himself, and as much as I love Matt Giraud, if he doesn’t figure it out soon as well, IDK if I will buy or enjoy his music…

WOW, that Otis cover is fabulous! If it weren’t for all the fangirling in the background I’d make an mp3 out of it.

I still donà ¢Ã¢â€š ¬Ã¢â€ž ¢t get what it means that he was à ¢Ã¢â€š ¬Ã…“let outà ¢Ã¢â€š ¬  of his Idol contract. I used to think it meant that he got the go-ahead to release an album/single before the 6 months waiting period ended (ergo the relevance of his age), but then he took over a year to release his album, so I donà ¢Ã¢â€š ¬Ã¢â€ž ¢t get why he needed to be freed from the contract. It wouldà ¢Ã¢â€š ¬Ã¢â€ž ¢ve ran out by now anyway.

He needed to be able to sign contracts earlier than the 6 months. He also wanted to be able to record what (and with whom) he wanted without getting approval through 19. So he needed out.

I’m not sure that “so many idols” say that they had offers from major labels but I know that both Carly and Micheal know from previous experience that a “record deal” from a major label is tantamount to selling your soul to the devil. You record music that you don’t own the rights to, are held to a brutal schedule dictated to you by the label, and the fate of the album is almost totally out of your control.

Actually Micheal knew full well the “artist he was”, he was Micheal Lee the front man for two different bands signed to major record deals. The problem is that he needed to move on and become the “artist that he is and will be” and that involved some letting go of past dreams (Dream On no more Mr. Lee.) and turning the page.

Sunshinegirl Jun 25th, 2009 at 11:32 am

The thing is, Michael didnà ¢Ã¢â€š ¬Ã¢â€ž ¢t know what kind of artist he was. He suffered from Carly Smithson Syndrome. He kept trying to be this rocker dude and it never worked. His elimination should have been no suprise based on that alone.

To each his own. I loved the rocker stuff, “Cradle” in particular. Michael sang some **hot** vocals with The Rising.

http://tinyurl.com/Cradle-video

I think MJ wanted to be a rocker on the show, and he would make a fine rock singer IMO, he would just have to stick to the soulful side of rock. On AI kept picking songs that didn’t play up that part of his voice. There were some songs on this new CD that I think find the balance.

I think that is also Matt’s problem. Matt can be a pop-rocker like he wants, but he’s going to have to stick to the branch of pop rock that borrows heavily from soul music.

You know who else was like that for me? Paris Bennet. To me, as good as Allison and Archie are, Paris was the most vocally talented teen on the show ever IMO. BUT she wanted to be Beyonce, while her voice was saying Erykah Badu. People kept telling her she was a jazz singer and she didn’t want to hear it, instead of looking for a way to pick a modern sound that fit her throwback voice.

MJs only problem, to me, is that the new stuff doesn’t sound like it could get played outside AC radio. I hope he finds a niche though, because I think there may be a market for his album. Didn’t he say previously he was aiming at baby boomers? I don’t know how he’s going to reach them. He went indie, so its not like he has to sell a whole lot to make a nice profit anyway.

I think ità ¢Ã¢â€š ¬Ã¢â€ž ¢s lovely how so many idols who are not signed say that they had offers from major labels but they turned down those offersà ¢Ã¢â€š ¬ ¦ seriously? mmmmà ¢Ã¢â€š ¬ ¦

LOL haha I know. but I only heard it from him and Carly and I don’t believe that one bit. just one of those things they say to save face I think…
since they are not going to be asked to name the major labels anyway, just be like “yea I got all these offers but wanted to make my own sound so yea I rejected them all…” blablah… What if they won?????? that was always a possibility… what would they have done had they won? They came into the show, knowing full well that if they win, they will have to sign a major label contract so don’t tell me that you don’t want a major label contract. THAT IS BS.

Ià ¢Ã¢â€š ¬Ã¢â€ž ¢m not sure that à ¢Ã¢â€š ¬Ã…“so many idolsà ¢Ã¢â€š ¬  say that they had offers from major labels but I know that both Carly and Micheal know from previous experience that a à ¢Ã¢â€š ¬Ã…“record dealà ¢Ã¢â€š ¬  from a major label is tantamount to selling your soul to the devil. You record music that you donà ¢Ã¢â€š ¬Ã¢â€ž ¢t own the rights to, are held to a brutal schedule dictated to you by the label, and the fate of the album is almost totally out of your control.

Considering we’re talking about people who go on the most watched TV show, sell their soul to the devil, and who were desperate to win, knowing that if they won they’d have to sign with a major label… makes me really not believe that crap, sorry.

He needed to be able to sign contracts earlier than the 6 months. He also wanted to be able to record what (and with whom) he wanted without getting approval through 19. So he needed out.

I get that 19 let him out early to sign whatever contracts he needed to sign to work with whoever he needed to work with… but does anyone know how early? Was it over the summer, or perhaps even prior during the season, since he got kicked off pretty early on? I was always curious cuz it sounded like he got a big head start to pull things together, to the extent that Simon Fuller even asked him to agree not to put something out before David, and yet, he totally took all this time… and ended up with an album full of old stuff. Not to mention it’s only a little ahead of Brooke’s schedule, and she didn’t get let out of her contract early, did she? I don’t get it.

LOL haha I know. but I only heard it from him and Carly and I donà ¢Ã¢â€š ¬Ã¢â€ž ¢t believe that one bit. just one of those things they say to save face I thinkà ¢Ã¢â€š ¬ ¦
since they are not going to be asked to name the major labels anyway, just be like à ¢Ã¢â€š ¬Ã…“yea I got all these offers but wanted to make my own sound so yea I rejected them allà ¢Ã¢â€š ¬ ¦Ãƒ ¢Ã¢â€š ¬  blablahà ¢Ã¢â€š ¬ ¦ What if they won?????? that was always a possibilityà ¢Ã¢â€š ¬ ¦ what would they have done had they won? They came into the show, knowing full well that if they win, they will have to sign a major label contract so donà ¢Ã¢â€š ¬Ã¢â€ž ¢t tell me that you donà ¢Ã¢â€š ¬Ã¢â€ž ¢t want a major label contract. THAT IS BS.

You know…that’s an excellent point.

Ià ¢Ã¢â€š ¬Ã¢â€ž ¢m not sure that à ¢Ã¢â€š ¬Ã…“so many idolsà ¢Ã¢â€š ¬  say that they had offers from major labels but I know that both Carly and Micheal know from previous experience that a à ¢Ã¢â€š ¬Ã…“record dealà ¢Ã¢â€š ¬  from a major label is tantamount to selling your soul to the devil. You record music that you donà ¢Ã¢â€š ¬Ã¢â€ž ¢t own the rights to, are held to a brutal schedule dictated to you by the label, and the fate of the album is almost totally out of your control.

Another good point. This is precisely why so many major label pop artists end up disowning their first and sometimes even second albums as the years go by. I remember Jessica Simpson and her identity crisis. With every album she made, she would say “now this one is really me”. And now she’s in country. Ha! Go figure! And Many Moore, who has a new album out, was on Ellen recently and fully admitted to how crappy the songs she sang early in her career were. She owned up the fact that she was the puppet of the label and did what she was told. Diana DeGarmo’s another example. She said she was given a list of songs and was told to sing them. She even grimmaced at fans telling her how much they loved that CD because it’s not her and she had no say in what went on it. But then again, major labels are not about developing artists, they’re about making money. And I fully expect that Kris and Adam will have the same struggles that so many others have had in working with a major label. They can say the label supports what they want do all they want, but I don’t buy it for one second.

Michael should have a talk with Elliott Yamin about the hard road of an Indie artist, then make statements about how he never wanted to sign a major label deal. Or, you know what, wait a few months.
His album is barely available in common retailers, making it harder for fans to purchase it (and certainly harder for casual buyers to pick it up), not to mention his lack of promo and radioplay… Going Indie is what you do when you can’t get signed by a major label, that’s the truth, anything else is lies you tell yourself to feel better.

PS – I’m not talking about artists who already had Major label success, made their money, and are now in a sort of “be my true self” retirement… Also most of those artists haven’t made the choice to leave their label for the dreamland of Indie stardom, they’ve been “let go”. Mandy Moore’s last album has sold basically nothing, I’m sure she’d appreciate a little promo and support.

WORD Jolene.

I don’t get the “let out” business either. Was anything he did unusual for others 19 didn’t sign? If anything it feels like it took him even longer to get material out than say Elliott, Bucky or Phil. I don’t remember them needing to do anything earlier than the other people in their seasons and IIRC they got their albums out in a much more timely manner than Michael.

MJs only problem, to me, is that the new stuff doesnà ¢Ã¢â€š ¬Ã¢â€ž ¢t sound like it could get played outside AC radio.

It’s not even burning up the AC chart either. I think Elliiott was really that rare exception when an indie artist managed to break out with a huge radio hit. Maybe if whatever Michael released was unbelievably amazing it would have grabbed some attention but I dont think it was. I’ll never believe these people dont WANT a major label contract. I’d bet anything Michael would love a major label deal but where he can have things done his way with all the major $$$ backing him.

Mandy Mooreà ¢Ã¢â€š ¬Ã¢â€ž ¢s last album has sold nothing, Ià ¢Ã¢â€š ¬Ã¢â€ž ¢m sure sheà ¢Ã¢â€š ¬Ã¢â€ž ¢d appreciate a little promo and support.

The ironic thing is that the song she sang on Ellen was just as cheesy of a pop song as her earlier songs that she now bashes.

Michael should have a talk with Elliott Yamin about the hard road of an Indie artist,

Elliot benefited from having a cousin in the business that hooked him up with a sweet distribution deal and knew how to help him cut corners with a limited budget. Elliot also released more commercial music and got it out before the next season went off the air. He scored a spot on the show doing his new song before people forgot about him. Elliot played his hand very well, I think.

We’ll see if mj is half as savvy.

I do believe him when he says he didn’t want a major label contract. Once he didn’t win, I could see him wanting his last shot on his own terms.

I think ità ¢Ã¢â€š ¬Ã¢â€ž ¢s lovely how so many idols who are not signed say that they had offers from major labels but they turned down those offersà ¢Ã¢â€š ¬ ¦ seriously? mmmmà ¢Ã¢â€š ¬ ¦

I believe that they were “approached” for talks, but solid offers? Doubtful. I wouldn’t be surprised if some label reps set up meetings to just chat with them, but that they didn’t get any serious offers (in terms of something they would actually accept that had reasonable money, level of control, direction, etc.).

Elliot benefited from having a cousin in the business that hooked him up with a sweet distribution deal and knew how to help him cut corners with a limited budget. Elliot also released more commercial music and got it out before the next season went off the air. He scored a spot on the show doing his new song before people forgot about him. Elliot played his hand very well, I think.

I was thinking about Elliott’s current problems with his 2nd album when I wrote Michael should consult him. He’s been talking quite a bit about his problems as an Indie artist and how hard it is. His first era was indeed an exception to the rule, and very successful by any measure. Sadly, that’s a rare case.

I do believe him when he says he didnà ¢Ã¢â€š ¬Ã¢â€ž ¢t want a major label contract. Once he didnà ¢Ã¢â€š ¬Ã¢â€ž ¢t win, I could see him wanting his last shot on his own terms.

I actually remember Michael talking very excitedly about having meetings with 19 and hoping to sign with them, before the season even ended IIRC. The talk about not wanting to go Major started later, probably when some things cleared up.
I think it’s easier to say you didn’t want a major label deal than to admit you weren’t offered one.

I was thinking about Elliottà ¢Ã¢â€š ¬Ã¢â€ž ¢s current problems with his 2nd album when I wrote Michael should consult him. Heà ¢Ã¢â€š ¬Ã¢â€ž ¢s been talking quite a bit about his problems as an Indie artist and how hard it is. His first era was indeed an exception to the rule, and very successful by any measure. Sadly, thatà ¢Ã¢â€š ¬Ã¢â€ž ¢s a rare case.

Oh, I agree. I was not challenging you, i was just expanding on what you were saying. Going indie is hard, and Elliot had special circumstances going on that made it work for him, and I don’t know if mj is in that same situation.

I actually remember him talking very excitedly about having meetings with 19 and hoping to sign with them, before the season even ended IIRC. I think ità ¢Ã¢â€š ¬Ã¢â€ž ¢s easier to say you didnà ¢Ã¢â€š ¬Ã¢â€ž ¢t want a major label deal when you arenà ¢Ã¢â€š ¬Ã¢â€ž ¢t offered oneà ¢Ã¢â€š ¬ ¦

Hmmm.. was he talking management or recording? Still, perhaps I am reading him wrong after all…

Great interview. I missed this one =D

Michael will start a radio tour in July, they are not promoting it heavily right now. But he will beed a hit single to do well.

The ironic thing is that the song she sang on Ellen was just as cheesy of a pop song as her earlier songs that she now bashes.

I don’t know what she sang on the show, but I have the whole CD and it’s really nothing like her earlier stuff. It’s still pop music, but it’s hardly bubblegum pop anymore.

Major label could have meant an offer to do country music….he did do well with It’s All Wrong But It’s All Right–so that could have sparked that kind of interest. And he wouldn’t have been the first to walk away from something like that:

From Wiki:

Immediately following her stint on American Idol, McKibbin signed with 19 Management and RCA Records. They urged her to record a country album, but she was determined to stay true to her rock roots; she rejected the idea, saying she felt she would be “selling out.” The creative differences resulted in no releasable recordings being produced.

Michael’s been burned twice already by the big labels. The recording industry is in turmoil. He probably intuited that he a) wouldn’t get control of the music, b) could get saddled with songs that were not his style, and c) wouldn’t get the promotion needed for a successful record anyway. 19 was already investing in David and David. It’s a stretch that they would invest in the 8th place finisher (but not a stretch that they would embrace him wholeheartedly if he went on to win a Grammy or something ).

I understand the route he is taking. He is not saying he wants to be the biggest thing. He is saying he wants to be what he knows is best for him.

My impression is that he’s been very busy with performances the last year–maybe some private/corporate gigs, the David Foster thing, creating his album, and performing/writing the soundtrack for “Don’t Look Down”–so, he has released two albums since the end of the season 7 AI tour. I haven’t completely kept up with all things Michael so maybe someone from MJO who has can post.

dusty
Jun 25th, 2009 at 1:09 pm
Major label could have meant an offer to do country musicà ¢Ã¢â€š ¬ ¦.he did do well with Ità ¢Ã¢â€š ¬Ã¢â€ž ¢s All Wrong But Ità ¢Ã¢â€š ¬Ã¢â€ž ¢s All Rightà ¢Ã¢â€š ¬’so that could have sparked that kind of interest. And he wouldnà ¢Ã¢â€š ¬Ã¢â€ž ¢t have been the first to walk away from something like that:

He didn’t sing the song in any country manner though, and I seriously doubt he’d get any country offers from that. It was pure soul. Do you thing the White Stripes would get country offers after recording Jolene?

Oh yeah. I forgot about “Don’t look down” for a moment.

19 has right of first refusal so by this I understand that if they want to sign you, you have to sign with them, no questions asked. I take it as since Michael was allowed to be released from his contract means that none of the 19 labels had any serious offers of signing Michael.

That said, I do like his album… but I just don’t believe these statements of him and Carly refusing major labels… bunch of BS to me.

It is possible that some smaller major labels had some interest in him. I never quite understand the difference between a label like HiFi (for example) and being a true indie.

That said going indie is brutal. Elliott’s first album was the exception and sadly the second one is more typical. It is possible for Johns to piggy back off his S7 buzz and sell enough to make some $. I’m pretty sure he’ll get $2 or $3 per album so he doesn’t have to sell alot to make some decent change.

Maybe it’s the Aussie in him, that makes every interview always seem to be Me, Me, Me. But maybe that’s what keeps most performers going and he’s just being honest.

I’m pleased that his album is sitting at #4 on the iTunes pop chart and #21 overall.

The discussion on Michael’s sound is actually very interesting.

I like his sound now, but I personally really liked his sound when he was in a band called Film.

it is more of alt-rock sound, I suppose.

http://www.myspace.com/film

à ¢Ã¢â€š ¬Ã…“Labels came to me, sure, and they wanted to talk. They said, à ¢Ã¢â€š ¬Ã‹Weà ¢Ã¢â€š ¬Ã¢â€ž ¢re really interested in working with you.à ¢Ã¢â€š ¬Ã¢â€ž ¢

I don’t read that as Michael saying he was offered a deal with a major label and turned it down. I read it as Michael saying some labels showed interest and he chose not to pursue that route any further. Big difference IMO.

Maybe ità ¢Ã¢â€š ¬Ã¢â€ž ¢s the Aussie in him, that makes every interview always seem to be Me, Me, Me.

I’m have to admit, I’m curious. Who else should he be talking about in an interview about himself? :wink_wp:

I think Michael chose the path that he thought was best for him after getting burned by the majors and having his music owned by them and now sitting on a shelf somewhere. Can anything he faces as an indie artist be worse than that?

Oh, and that cover of “I’ve Been Loving You Too Long’? Wow. Love it even more than his “Single Ladies” cover and that’s saying a lot!

I donà ¢Ã¢â€š ¬Ã¢â€ž ¢t read that as Michael saying he was offered a deal with a major label and turned it down. I read it as Michael saying some labels showed interest and he chose not to pursue that route any further. Big difference IMO.

I have to admit, I don’t see that big difference.

I actually think MJ did well by getting Downtown as his label. They are not the typical “indie” label and, as a fan, I am pleased with the amount of backing he seems to be receiving (modest as it seems, compared to the full power of a big label). My speculation is that the album was done months ago, but it was his efforts to line up the right label that resulted in much of delay in getting the album released.

Did a major approach him? There is some purported insider from 19 on another forum who reported there were extensive talks between 19 and MJ. Probably need to take all that kind of stuff with a grain of salt however. I am sure that Michael — like just about everyone else — would have loved to have a major label plus full control and good financial terms. I am pretty sure he stood zero chance of getting that. So, I think it is plausible that he got some feelers from majors, but on the typical “if you agree to sign your life away, we will agree to accept your signature” kind of terms. No surprise that those kind of talks would have gone nowhere quickly as MJ as already seen how badly that can turn out. Whatever $ he is making off his Downtown deal has to be a vast improvement over the squat he got out of his prior Major label signings.

To each his own. I loved the rocker stuff, à ¢Ã¢â€š ¬Ã…“Cradleà ¢Ã¢â€š ¬  in particular. Michael sang some **hot** vocals with The Rising.

I totally agree! And with this too:

I think that is also Mattà ¢Ã¢â€š ¬Ã¢â€ž ¢s problem. Matt can be a pop-rocker like he wants, but heà ¢Ã¢â€š ¬Ã¢â€ž ¢s going to have to stick to the branch of pop rock that borrows heavily from soul music.

You know who else was like that for me? Paris Bennet. To me, as good as Allison and Archie are, Paris was the most vocally talented teen on the show ever IMO. BUT she wanted to be Beyonce, while her voice was saying Erykah Badu. People kept telling her she was a jazz singer and she didnà ¢Ã¢â€š ¬Ã¢â€ž ¢t want to hear it, instead of looking for a way to pick a modern sound that fit her throwback voice.

I like all kinds of music. For me, it’s not so much about genre but about how well the artist sells the individual songs and whether or not they resonate with me personally. I don’t think there’s a formula for it. I think a great artist writes and performs a lot of material and, over time, he (or she) sees what a live audience responds to. Then he goes into the studio and records the stuff that’s gotten a strong response. Unfortunately, there isn’t a lot of room for artists to maneuver that way anymore–not with major labels in any event.

I’m a baby boomer and I really don’t care for Michael’s new album, at least not after one listen. I do like the single, but I would have more hope for him if he’d penned it himself.

What? Yet another also-ran claiming to have turned down major record label deals? Or was it simply “talk” of deals? Anyway, LMAO. Sure.

But, really, this is no surprise coming from Carly and Michael. Carly has always had a chip on her shoulder, and Michael is just an arrogant boy toy. Actually, of the final 10 from AI7, the three most affected contestants were Carly, Michael and Syesha.

I know talking about himself is what the interview is all about. There’s just always self promotion in everything he says and does. And he seems to lack much humility or modesty. On the other hand, I think Aussie males seem to all be like that so…And a big ego really does help in the entertainment field so I can’t fault him for it.

I find that most “insiders” who post about 19 are full of it in general. They sign who that want and that’s it.

I’m going to Hollywood tonight to see Michael! Last minute decision, should be fun! Woo-hoo!

On the other hand, I think Aussie males seem to all be like that soà ¢Ã¢â€š ¬ ¦

I have met Hugh Jackman several times, and I NEVER got that vibe from him AT ALL!!!

I know talking about himself is what the interview is all about. Thereà ¢Ã¢â€š ¬Ã¢â€ž ¢s just always self promotion in everything he says and does. And he seems to lack much humility or modesty. On the other hand, I think Aussie males seem to all be like that soà ¢Ã¢â€š ¬ ¦And a big ego really does help in the entertainment field so I canà ¢Ã¢â€š ¬Ã¢â€ž ¢t fault him for it.

A couple of Aussie males I know have told me that that’s because, living in that dry and sparsely populated (but gorgeous!) land so far from everywhere else, they’re scared the world will forget about them or take them too lightly. So to head that off, they spend a lot of time declaring themselves “world class.”

I can kind of see that. lol

I don’t know if it’s the Aussie in him, but he’s in the U.S. now and an American Idol alumni with all the scrutiny that goes with it to boot. I just don’t think it behooves him to be quite so full of himself. Having said that, I’ve heard much worse than this interview from him…

I think all artists have to have confidence in order to sell themselves and it is often times confused with arrogance, you don’t have to be an Australian male to have this issue. Listen to your average NBA player. I am sure many people could infer that Adam is arrogant from interviews he has given, but that is not the Adam people met in person by all accounts, but in show biz you gotta believe in yourself first and foremost and then other people will believe in you.

Having followed Michael’s career for the last year and having met him once, I’d say he reminds me more of the humble school of Aussie artists, so I can only be perplexed, I like to think I am a pretty good judge of character and trust me I have observed some of the not so humble musician and other types. Certainly does not surprise me that David Cook and MJ remain very good friends.

I find most Aussie actors and musicians are far more humble and real than your average Hollywood types, except perhaps Nicole Kidman but then I think Keith has mellowed her out because in fact Australians don’t like it when people get too big for their britches – called Tall Poppy Syndrome. They are very supportive of their own so long as you don’t get too cocky. [ Now don't forget that Mel Gibson is not actually Australian, he was born in the US, his dad won some money on Jeopardy and moved his rather large family to Australia because he didn't want his older sons being drafted into the army and going to Vietnam, just saying.] Hugh Jackman – what more can one say. He needs to be cloned pronto. Hope Mrs. Jackman doesn’t mind.

Most Australians I know, and I have had the pleasure of meeting and knowing several, having spent time there and through the INXS fan community, male and female, tend to speak from their heart and don’t bother to check if what they say is politically correct, a quality I actually find endearing. But YMMV.

I am beginning to wonder if maybe we aren’t all too hard on those Idol contestants who do find trouble finding their way musically like Matt G or Carly S or yes even Michael Johns. It’s not easy for most of us to find our way generally – sometimes it takes a lot of trial and error to find one’s niche so to speak. Some of us never find it. Others get lucky and find it early or always knew. And sometimes you just get blown into another direction, and viola, there it was all along.

Look at artists like Elvis Costello who has probably tried every genre of music known to mankind, well perhaps not all, I jest, but people tend to see Mr. Costello as an artiste who is brave because he tries different things and he often doesn’t sell much but the critics rave, Rolling Stone just loved his latest foray, this time into American bluegrass if you can believe that, I love EC but I’ll be passing on that one. I think EC is the kind of guy who has his core base of very accommodating fans and is happier switching it up, giving himself a challenge, and getting the critical or peer praise than selling a million records and people keep letting Elvis C make record. Adam is getting praise because he says he won’t be boxed into a musical style.

Yes Dusty you are quite right. MJ’s been very busy. He has played the game very well from a textbook point of view when you are not on a record label and you are new to the business, certainly as a solo artist, MJ is new, you just gotta get yourself out there, anywhere, everywhere, and he has taken advantage of opportunities that just seem to lead to more opportunities, which is what new artists have to do, Idol or no Idol, but in the music business, especially in today’s climate, that doesn’t mean success either however sitting on your butt waiting for people to come to you ain’t going to work either. I compare this to another artist who I am rooting for, oops I mean cheering for OK my Aussie friends, some may prefer to root, ehem – JD Fortune, who has just made what seems like every mistake in the book vis a vis his now solo career, but he could still prove us all wrong, he’s like a cat with nine lives. His new solo material is great actually but where’s the CD? Like burn it at home and sell it out of the trunk, if you have to.

MJ co-wrote a soundtrack for a documentary on the snowboarder Shawn White, it’s a very good soundtrack and there is a wonderful duet Brooke and Michael did which should be released as a single. Brooke and Michael just sound dynamite together as do Carly and Michael for that matter.

Guess I am just a sucker for the male/female duet – oh Stevie and Lindsay, we miss ye! I mean Allison’s and Adam’s Slow Ride was da bomb.

Anyway MJ’s take is perhaps no different than Elvis Costello.

Ià ¢Ã¢â€š ¬Ã¢â€ž ¢m going to Hollywood tonight to see Michael! Last minute decision, should be fun! Woo-hoo!

Have a great time!!!

I donà ¢Ã¢â€š ¬Ã¢â€ž ¢t think thereà ¢Ã¢â€š ¬Ã¢â€ž ¢s a formula for it. I think a great artist writes and performs a lot of material and, over time, he (or she) sees what a live audience responds to. Then he goes into the studio and records the stuff thatà ¢Ã¢â€š ¬Ã¢â€ž ¢s gotten a strong response.

I don’t really see what I said as a formula though. The process you describe is exactly why idol gets little respect. I think a more typical scenario is to start out with a kind of music you love, maybe aping your favorite singers in the process. Over time you figure out how to hone something that works with your vocal, songwriting, and instrumental strengths until you craft your own sound where you feel comfortable while appealing to large numbers of other people. You do it through writing songs, performing them, maybe even trying to sell your own CD, and seeing what feedback you get each time. I totally agree with that.

I think Idol allows people to skip that process, and get their feedback directly from industry professionals instead… in front of the whole world, who get to weigh in themselves each week. And honestly, I think in the case of Matt and MJ, they got advice that was dead on. Matt’s voice sounds best singing soul-ish, jazzy stuff. There is plenty of pop-rock that is meant to be sung with those kind of inflections… if he wants to be a melodic pop-rocker, I think he needs to gravitate towards that kind of material. That’s not formula to me, that’s where he would have ended up if he had “paid his dues” so to speak, and had the self awareness to incorporate the feedback.

It looks like MJ figured it for himself as well. The judges were right all along with him, IMO.

tinawina, I really wasn’t disagreeing with you. I actually agreed with everything you wrote; that’s why I quoted you!

The “formula” I was referring to was just a general comment referring to the genres that the judges use when they’re critiquing the contestants. I can see why somebody like Matt got confused. Although I didn’t care for many of his performances on the show, I really loved his studio version of “You Found Me.” It’s pretty faithful to the original, except he adds a few nice R&B flourishes that really add to the song, IMHO. He managed not to overdue it on that one for a change. I also liked his Human Nature and Let’s Get It On.

Re the Boomers, I hope, for Michael’s sake, the new album does appeal to them, even if it doesn’t appeal to me. I actually like the guy a lot, and have bought a LOT of his music, even if I don’t care for this latest effort. I like bluesy Michael, too, but I liked the Michael of The Rising the best.

Re the “skipping of the process,” I actually think the ones who did go through that process (Daughtry, Cook, Kris, and Adam) actually owe their success on the show to knowing exactly who they were as musicians, and what worked for them, before they entered the competition.

Michael actually is not going “indie” anymore, he was when he decided to record the album and then look for a label. Downtown made a licensing deal with him, the same kind of deal they did with Gnarls Barkley (they sold 2 million copies). Downtown is an “indie” label with major label resources. If you look at Gnarls Barkley on myspace and Michael too you will se that they both wrote on “LABEL:” Major. And their myspace was redesigned by Downtown, so they probably know what they are =D

^^ Uhm… Michael isn’t signed to a major label. That’s a fact, no matter what his MySpace says. Downtown isn’t a Major label, and I have no idea what “Indie with Major resources” means, but if they have those resources, they sure aren’t using them for Michael. Sounds like spin to me.

Re the à ¢Ã¢â€š ¬Ã…“skipping of the process,à ¢Ã¢â€š ¬  I actually think the ones who did go through that process (Daughtry, Cook, Kris, and Adam) actually owe their success on the show to knowing exactly who they were as musicians, and what worked for them, before they entered the competition.

Oh I’m sorry, Bootstar! I understand now. I agree with this statement too… I think Idol works best for people who already have some idea of who they are vocally, whether they’ve ‘paid their dues” or not, but they need some good advice about how to get the rest of the way there. If you have a good grip on yourself, are a quick study, and are likable enough to entice idol fans, it can be a powerful springboard.

Jolene: I think he’s trying to say Downtown is an indie with major distribution.

Well, i guess they know what they are. He was on Ellen in may, it aired again this week, is going to be on Regis and Kelly, probably Hannah Montana and that show from Joel Mchale, is appearing in local TV news and some radio interviews and radio talk shows. And his radio tour will start only in July 4th, so the interviews he is doing now are like “bonus”. They are starting to promote the single (talking about radio here, negociating with radio stations). They will shoot a video and will send the single to HAC and probably Top 40 (top 40 isn’t a sure thing yet)- so now he is only on AC because they haven’t added him to HAC, but they will, and his AC spins must start to climb in the next weeks.

So yes, they are promoting him. They have major label resources. Of course they don’t have the same amount of money that 19 has, but they can promote him well as they did with Gnarls Barkley. Gnarls Barkley single “Crazy” became a HUGE hit and was played everywhere.

Please tell me he’s NOT going to be on Hannah Montana…please???

^^ Uhmà ¢Ã¢â€š ¬ ¦ Michael isnà ¢Ã¢â€š ¬Ã¢â€ž ¢t signed to a major label. Thatà ¢Ã¢â€š ¬Ã¢â€ž ¢s a fact, no matter what his MySpace says. Downtown isnà ¢Ã¢â€š ¬Ã¢â€ž ¢t a Major label, and I have no idea what à ¢Ã¢â€š ¬Ã…“Indie with Major resourcesà ¢Ã¢â€š ¬  means, but if they have those resources, they sure arenà ¢Ã¢â€š ¬Ã¢â€ž ¢t using them for Michael. Sounds like spin to me.

Actually Downtown is a “major” indie label. Its affiliated with a major label and has a wide range of resources. Downtown isn’t like “HiFi” or other cheap companies, it’s a professional company. Gnarles Barkely and The Cold War Kids are just some of their artists.

Since you are asking, okay. He is not =D hehehe

He probably will, and will play himself on the show (like DA did i think).

See you in Hollywood tonite..Mr. Michael Johns!!!Michael New CD is wonderful!!So proud of him.

Michael should have a talk with Elliott Yamin about the hard road of an Indie artist, then make statements about how he never wanted to sign a major label deal. Or, you know what, wait a few months.
His album is barely available in common retailers, making it harder for fans to purchase it (and certainly harder for casual buyers to pick it up)

Actually, I got my copy at Borders. Granted, it wasn’t out in the open in the CD section (I asked an employee and he went in back of the store and found a copy. They just hadn’t been put out yet) but it was there.

19 Entertainment allowed Michael out of his contract early so he could start on his album sooner – I recall the discussion at the time and most of us were under the impression that this was something unique, this was not something 19 Entertainment does, they don’t have to. Some of us speculated it was because the group Michael was working with is affiliated to Sony.

I think Michael is fully aware of what Elliott Yamin has struggled with because he is using the same management team and same general set up but I think Michael wanted to go the same road as Elliott. The only difference is that the finished album did attract the attention of Downtown Records and if you read Hits Daily Double news, which is an music industry site, which I do daily, they are on a roll right now. If you had to pick an indie label, they are one of the better indie labels. [They also love one of Elliott's guys, Danny Buchman I think his name is.]

Now too early to say how Michael will fare but it is a gutsy thing because if it does fail you have no one to blame but yourself. You can’t say the record label wouldn’t let me do this or that, I was forced to sing this because you had total control over the musical content.

Yes MJ had his first incidence of losing his voice in a performance. I have always admired his stamina
-working in a band where you play several nights a week in smoky bars or like Adam working in musical theatre 8 performances a week give you a great advantage called vocal stamina. MJ has had some insane scheduling and I’ve been amazed that his voice has never been affected until this one time. I am sure he’s taken care of that and it will remain an aberration.

Since I’ve criticized Michael on the new album, I just want to add that I think part of my reaction has to do with my own unmet expectations. I do like his “bluesy side,” and I was ready for that, but I was thinking more his reinterpretation (the live performance; I didn’t care for the studio version although I bought it) of Dolly Parton’s “It’s All Wrong, But It’s All Right.”

By way of comparison, the title track of Kelly Joe Phelps’s album Lead Me On” is the free single of the day on Amazon. Go check it out (and listen to previews for his entire ablum if you’re so inclinded). The album is 15 years old and could be too far on the country side of the blues to appeal to many Michael fans, but this is the type of spare instrumentation and earnest singing that I was hoping for from Michael. Kelly’s album has a timeless quality to me (which is probably why it’s being re-released) and seems much more current than Michael’s new release.

While I like Michael’s vocals well enough on his new album, I realize what I really dislike is the overuse of the backing musicians. Michael has a great voice and, for me, with this kind of music, less is more.

Thanks, BootStar. I really like Kelly Joe Phelps but only have a few of his songs. Now I have one more

ETA: I would consider Kelly to be more akin to delta blues than country…maybe delta blues is the “country” side of blues. Anyhow delta blues is one of my very favorite genres.

While I like Michaelà ¢Ã¢â€š ¬Ã¢â€ž ¢s vocals well enough on his new album, I realize what I really dislike is the overuse of the backing musicians. Michael has a great voice and, for me, with this kind of music, less is more.

Although the background singers don’t bother me so much in this album, as a rule I agree that less is more — I like songs like Turn to You and HBMH the best for that reason. Eddie Vedder’s “Into the Wild” as a an example of guy with a great rocker voice who made an album with a different (folksy, in Eddie’s case), stripped down sound. In my perfect world, that would be the template for an album for Michael. That being said, I think his album is pretty darn good and, with a one or two exceptions, the background singers are staying in the background and letting me enjoy’s Michael’s voice.

Now too early to say how Michael will fare but it is a gutsy thing because if it does fail you have no one to blame but yourself.

I agree. I believe that he wanted to fail or succeed on his own terms, and I respect that.

Ive been following Michael’s post-AI stint and he seems to have been really burned with being associated with “major” labels in the past only to see them fold and shelve his music. I think what he wanted was owning his masters which I believe is rare when signing with a major label unless you’re a big star, so I see why he would make the choice to pass whatever offer he had (if he had offers, who knows) and make the record on his own. Its a risk definitely but I can understand his reasons

Eddie Vedderà ¢Ã¢â€š ¬Ã¢â€ž ¢s à ¢Ã¢â€š ¬Ã…“Into the Wildà ¢Ã¢â€š ¬  as a an example of guy with a great rocker voice who made an album with a different (folksy, in Eddieà ¢Ã¢â€š ¬Ã¢â€ž ¢s case), stripped down sound. In my perfect world, that would be the template for an album for Michael.

Now I gotta check that album out, love Vedder’s voice.

I do agree that Michael is better sparser and those are my favourite songs on the album as well. Again when you have a great voice you don’t need much trappings.

It has just been him and his guitar and sometimes another guitarist on most of his promotional appearances over the past year and he has sounded just fabulous. Also a testament to the strength of the song, Heart on My Sleeve, that it translates so well acoustically

And I tell ya if Michael had been able to do Never Tear Us Apart on American Idol, his acoustic version is gorgeous. Cannot believe the AI producers thought that song was less recognizable than Simple Minds. I bet NTUA is still on the list for potential first dance at weddings all across the English Speaking world.