PUDDLE OF MUDD : 2003

2003 - The Life On Display Years

WHERE THEY’VE BEEN - WHERE THEY’RE GOING

One would think for Wesley Scantlin (vocals/guitar), Paul Phillips (guitar/vocals), Doug Ardito (bass/guitar/vocals), and Greg Upchurch (drummer/vocals) of Puddle of Mudd that 2003 would be a time for rejuvenation after spending 17 months on the road promoting their 2001 debut album Come Clean. However, the members of Puddle of Mudd found themselves for the most part, out of the limelight but working virtually non-stop amidst a calendar hopping release date for their second album Life On Display. It’s hard to match, let alone surpass, the stellar performance of their record setting first album, but they proved they were poised and ready to face themselves, their peers, and their fans.

Having spent much of 2002 developing new material while still promoting Come Clean, this year will be known as the year to “put up or shut up.” In an industry where time forgets you, they met eye to eye with their foes and allies with confidence to show their growth as a band. Life On Display comes not disguised as a mimeograph of their first effort or an imitation of the post-grunge era, but as an accumulative of all their influences from their times as teens, yet they were able to incorporate the older and wiser tastes they have acquired. With an appetite that could not be stifled, they dug down deep to write some out-right rock and roll music with a classic feel that hopefully will be around a long time. Delivering a no-frills-goose-bump-chills rock show, Puddle of Mudd were more than willing to show their supporters and detractors that even after coming off a year with four Billboard Music Awards (2002) and two prestigious ASCAP Awards (2003), they still have more to offer and are far from done with contributing their part to the world of rock and roll history. In the days of mega-star egos and self-serving attitudes, Puddle of Mudd remains approachable and unfazed by the celebrity stature bestowed upon them. With a “what you see is what you get” mentality and “leave the arrogance at the door” persona, they have developed their own presence. With an ominous “brotherhood of muddatude” – a loyalty to each other and their fans – the ties that bind are evident in all they do.

Speculation and anticipation were hot topics as their follow up album aptly titled Life On Display faced several delays throughout the year. With final production at a close in late fall, the album officially arrived in stores November 25^th setting the gears in motion for them to get back out on the road and do what they do best. The band gives it all they have and it shows song after song and show after show. This year closes on the verge of a full-blown nationwide and worldwide tour. Life On Display and the first single Away From Me are currently working the Billboard and Radio and Records charts rung by rung. Like everyone else, they contemplate their future. With aspirations of longevity, they are ready to do what it takes to secure their place in 2004 and with their hard work ethic; no doubt they will be formidable force in the music industry.

THE FINAL PRODUCT – LIFE ON DISPLAY

Following their highly successful tour supporting Come Clean, in the winter of 2002 the band took refuge together in a house in the Los Angeles area that had been fitted with recording equipment and all of the inspirational essentials. Thinking they were going to have some time off from their long road tour, three weeks after moving into the house their producer was at their doorstep with a large truck containing recording equipment. It worked out to be a great arrangement, if someone was inspired at 3AM, everyone is there and you can get to work on the spot. Confined to a space they soon called home, their focus was to cultivate a new musical harmony – virgin – yet familiar. Though Paul once said in his journal on the POM website, “That way we can live and work in the same place, which is very important when you are as lazy as we are,” you can see there wasn’t any slacking when it came to their new album. Working hard, developing every song till they felt it was at its maximum potential was labor intensive; Paul compared the evolution of their sound as ‘rawer’ with an edge. Not willing to abandon their signature style, they wished to exhibit a visionary approach for their future and demonstrate their development as musicians, but at the same time draw from the core rock background that had influenced them.

As luck would have it, as the album neared completion several times, more material was penned and they felt it had to be recorded to give those songs a chance, wanting the best selection from which to choose only causing more delays for its release.   Producing duties were shared between John Kurzweg (producer of Come Clean as well as albums for Creed), Michael “Elvis” Baskette, and the band members. Elvis, who was previously an engineer, was making the big step to producer and had previously worked with Incubus and Chevelle. Andy Wallace in New York (who also mixed Come Clean) received the production for the final mixing. A change in direction mid-recording was a partial reason for the delay as well as the desire to record, newly written material.

Having had an outline for the album running in his head during the creative process, Wes realized as the material evolved, some things didn’t work out as planned and it was back to the drawing board. Tracks were laid and new ideas unfolded adding more to the mix and while some changes were for the better, it was hard to abandon what was already written.

Each song is like your child. Only another musician, poet, or writer can understand the intent is not for it to be perfected to the umpteenth degree. With a musician’s song, their rough, jagged edges given to it by its maker are not all meant to be polished, smooth, and refined. To be defined by their edges and outer layer limits their beauty within. Only when one steps outside of the box and hears with their eyes and sees with their ears all that it beholds will they release its spirit. As it weathers through its journey in time, some become porcelain smooth, others remain sharp and chipped, but nonetheless a precious gem in the eyes if its creator. Not wanting to settle for anything less than their best, the writing process continued during recording.   More than 20 songs were recorded and the selection process was at hand enlisting the help of family, friends, and record company officials. It is a scary moment, you have exposed your inner psyche for critique and now it is do-or-die time, you have to choose your favorite children to put on the album.

Originally requested by Scantlin to be titled “Galvanic,” which Wes defined as a skin response to something that makes the hair on the back of your neck stand up, the first news of their sophomore effort title became public in January. It was when Wes was on his way to an American Music Association after-party in he announced the tentative title for the new album as Life On Display. MTV had caught up with Wes for a short interview and he commented that he had heard some of the tracks, which literally sent chills up his spine. This small news snippet soon made the rounds and the word was out, fueling excitement in the fans and the speculative music industry media outlets. Life On Display seemed a natural selection for an album title, the idea of living in a fish bowl and losing your anonymity does not sound appealing, but when you already write autobiographical songs you are already living that life. It’s the equivalent of living naked in a storefront window 24/7 with the eyes of the world watching your every twitch and falter. He drew from Pink Floyd, Led Zeppelin and even mentioned the Beatles when asked from where he drew inspiration, having grown weary of the nu-metal comparison; he focused on just writing great rock music.

The goal to transform real-life subject matter into expressive lyrics that give you a candid, bird’s eye view into the life of these musicians was a challenge they met head on. You soon realize they are everyday people with issues like the rest of us - they face challenges that do not disappear with fame and fortune. Their lives are not like shiny pennies, the tarnish shows through the lyrics, their subconscious spells out their frustrations on paper, each song more of an autobiographical snapshot of a moment in time and not a work of fiction. The songs on this new disc are not faceless, contrived rhyming wit being pumped out in mass quantities, but for the most part there is a message in the music left for each listener to decide its interpretation. What is likened to therapy for its creator, is a bonus to those of us on the outside looking in trying to unravel its meaning. Striking the nerve of the listener are impassioned vocals, strong guitars, bass lines, and drum scores which shows everyone’s part is evident, deliberate and in its perfect place.

This album’s content varies from the melodic fantasy feeling and inner reflection of Time Flies and Change My Mind to Sydney, a touching memorial to a long time musician friend of Scantlin’s. The relationship analyzing Think and pondering over what went wrong in Nothing Left To Lose vent the pent-up frustrations the writer had to finally say out loud. Wishful thinking for one last chance in Spin You Around to the harder rock driven progressions in Bottom; which resonates of a self-imposed bottom of the pit lost soul looking for help and answers. The love-them-and-leave-them attitude from Away From Me and Heel Over Head speak out to something all genders and ages fear. Originally penned more than 15 years ago, Cloud 9 confirms Scantlin’s insight and rebelliousness at a young age. Being different and reading the judgmental attitudes by others, it hits that feeling of loneliness of being an outcast in Freak Of The World. Taking that step to save yourself before it’s too late in the tempting world of addictions is inspiring in Already Gone making you realize it does not have to have a bad ending. Twelve songs each echoing a poetic reality check full of hope and grit for the audience while emulating an empowering sing it like you feel it spirit. The highs and lows in a life, evoking a response from even the most calloused listener and connecting at their deepest recesses. As musicians they draw you into their space, a lyrical and musical inner place where you are not only the observer, but also the lucky ticket holder who is granted admission.

There are two bonus features added to the disc, one portion includes an interview with the band members with their observations of the creative process. Filmed in black and white, it has the appeal of being almost like a confessional and speaking what their hearts really feel. The purchaser is also allowed special access to their official website to listen to live audio footage recorded at a show in Baltimore, Maryland in 2002. The setlist available for the Baltimore bonus content included Out Of My Head, Nobody Told Me, Basement, Said, Bring Me Down, Blurry, She Hates Me, Piss It All Away, Drift & Die, and Control. In addition, with what Wesley Scantlin once dubbed as a “Mudd Lotto,” and as a special promotion for their fans, the first one million copies of Life On Display gave them the chance of a lifetime if they were the lucky winner. Holders of ten specially marked “Platinum Passes” would award them prizes of a signed guitar and one additional winner of the grand prize, to join the band for one week on the road in 2004 complete with their own tour bus, accommodations and other prizes.

One can’t help but notice Wes is pictured on the album promotion with his arms extended above his head. It is a perfect stance for Wes who has a personality that is wildly animated and has tends to show a photographer his playful gestures. After listening to Life On Display, even just the first few times, I understand that subliminal pose. Something about this album makes one want to reach out and embrace something. It’s just an empty space, we know what there is to reach for, but it’s there, a vulnerable identity. The “I’ve been knocked down but I'm getting back up,” lyrics are what real life is about. I can feel the message in the music - and I like it - it gives me peace of mind. There were many small steps and obstacles to get to where they were going in 2003. The walk through that cavernous tunnel must have seemed bleak at times, but out of the darkness they emerged as survivors. The old adage, good things come to those who wait was certainly true and it was a journey they won’t soon forget. Life On Display is just that, a journey - a pilgrimage of words - a singing novel.

Doug personally pushed for Cloud 9 to be on the new album. Wes showed it to him and he was impressed. He thought it not only captured what kids like Wes felt then as a teenager, but what they feel now, anger, aggression, out of control, and a destructive nature. They add a touch of rearranging and put it on the album.

The public got a national taste-test of Life On Display courtesy of New York City’s K-Rock DJ Matt Pinfield. A world premiere hosted by Matt was on tap for syndicated programming featuring the band in the studio live for interview questions, spins from the new album and a live acoustic performance. The sneak peek was a first listen for many before the album dropped of what was in store for the fans. Disc tracks Away From Me, Heel Over Head, Spin You Around, Change My Mind, and Think were included in the premiere. As a special treat, the band did live acoustic versions of Away From Me and Think.

CRUNCHING THE NUMBERS – CHARTS AND AWARDS

In January, Puddle of Mudd was represented at the American Music Association Awards with a nomination for Best New Artist. While not capturing the win, no one could be disappointed for such an impressive start for this band with one major label release. Not to be left out in Europe, Puddle of Mudd was nominated for a German Echo Award in February for 2003 Best Alternative Group of the Year. During the first half of the year, they were still riding the wave of success of their debut album. Not ready to relent any momentum it had gained since its release, Come Clean remained on the Billboard 200 Album Chart for an astounding 87 weeks (peaked at #9 in 2001) before dropping off in May. She Hates Me, the fourth single released from the album, had respectable placements in the first quarter on the Billboard charts. The video for this single also appeared on the major music television stations in regular rotation, even securing a spot on VH1’s Pop Up Video Winter Countdown. As of the close of this year, Come Clean has sold over five million copies worldwide.

The general population, though not a fan per se, could not escape the year without hearing something from Come Clean in their everyday life. Their four hit singles were popping up on television and actively being played in the background for MTV shows, the movie trailer for A Man Apart, as well as in elevators, grocery stores and shopping malls across the country. Several music compilation CD’s including Target Red Room and SK8er Rock planted Puddle of Mudd songs on their discs.



Photo Credits: Barb Mudd Mom

One of the most prestigious honors that can be bequeathed on a musician is that from ASCAP, the American Society of Composers, Artists, and Publishers. At the 20^th Annual ASCAP Pop Music Awards in May, Wesley Scantlin and Doug Ardito were recognized for superior achievement during a star-studded event at the Beverly Hilton Hotel. Thanks to the phenomenal success of their hit single Blurry, the songwriters secured the approval of their peers and the public with wins for Song of the Year and Most Played Song for the accounting period. While some awards are fact driven, one that was delved out to Puddle of Mudd by the fans themselves was being named Jacksonville, Florida’s Best Concert 2003 as voted by readers of northwest Florida’s news and opinion magazine Folio Weekly for their appearance on July 24^th at the local club, Plush.

Away From Me, the first single from Life On Display, was released to radio the week of October 3^rd, followed by call-in interviews by the band to major market radio stations for its debut. It has met with much success. With only eight weeks under its belt, Away From Me forged ahead to the # 1 spot on Billboard’s Mainstream Rock Chart and held that spot for three continuous weeks, and closes out the year at # 2. On the Modern Rock Chart, Away From Me peaked at # 5 and finishes up at #7 for the year.

Life on Display made its debut on the Billboard Album 200 Chart for the reporting period of December 13^th   It pulled in at # 20 with 103,000 in unit sales its first week out. While those numbers may at a glance seem dismal, in a depressed music market and the competition the week of release, those numbers are something to be quite proud of. Second week sales numbers pushed total sales to 160,000 and it continues to remain in the top 60 on Billboards chart.

At Radio and Records, a national airplay accounting agency, Away From Me is holding on tight to the # 2 position on the Rock Chart, # 2 on the Active Rock Chart, and # 6 on the Alternative Chart. Radio and Records recapped the year in review with a ranking chart that encompassed all of 2003 and Puddle of Mudd had two songs that were posted on their three rock charts. She Hates Me received its fair share of airplay earlier in the year, enough to secure the # 15 spot on the Rock Chart, # 37 on the Active Rock Chart, and # 39 on the Alternative Chart. Not to be left out, Away From Me, even with its early October release, still had enough airplay to rank # 73 on the Rock Chart, # 37 on Active Rock, and # 93 on Alternative.

TOUR 2003 - THE SHOW MUST GO ON

As a precursor to a full-blown tour to support Life On Display, Puddle of Mudd played a series of summer shows and later a small club tour to get prepared for the long grueling road ahead. Having grown weary from the days of their large arena style tour, they brought it down a few notches for some up-close-and-in-your-face small venue shows that treated the fans to rock and roll shows they would not forget. Tunes from Come Clean were the staple with some of the new material pitched in to gauge the fans’ reception. They had come a long way since their beginning days, when they played to an audience who was unfamiliar with their material. Fans were following along at concerts syllable for syllable, and when they pitched in a new tune from the upcoming album, by the end of the song they were singing the chorus along with the band.

Overall the feedback was positive, leaving fans with just a taste of what was to come in November with the album release. As an even bigger bonus, some of the club tour dates were part of the Budweiser One Night Stand concert series, which included free admission for fans and radio contest winners. Ticket prices for the club tour were dirt cheap compared to other rock concerts running at the time and with an average of $20 a show, the fans received more than their Andrew Jackson’s worth. After two weeks of rehearsals in Los Angeles they were ready to hit the road.

The six-city summer tour began in Atlantic City July 18 at Trump Marina Hotel Casino’s Grand Cayman Ballroom. Local station 102.7 WJSE carried an on-site interview with Wes and Doug via radio stream. This was their first show since their last tour had ended in 2002. They were hyped about the new tour and had three new songs from the album on the setlist for that night’s show and were more than ready to premiere the new material. One of the most memorable things to happen during a show occurred here, though it didn’t exactly involve POM, it did make for a moment those attending won’t soon forget. The support band was a local group called Blowup and in between set changes for POM, a gentleman in the audience seized the opportunity to get onstage and propose to his girlfriend who happily accepted. A crowd favorite was Control with some Black Sabbath’s War Pigs thrown in for good measure. After show reviews by the WJSE DJ’s had them surprised at how tight the band had become. One further comments, he was surprised by how powerful POM had become, leaving him ready to hear the rest of the album.

A quick bus ride followed with a stop at the Nokia Ramps and Amps Invitational that was hosted at Randall’s Island in New York City, a sports and recreational complex in the heart of the city. The expo featured three events, Freestyle Moto X, Vert Skateboarding, and BMX competition with athletes coming from around the world to compete for $150,000 in prizes. Puddle of Mudd headlined the entertainment on an outdoor stage in the vicinity accompanied by Trapt and MXPX.

It was off to Hartford, CT July 21 for a show at the Webster Theater. This event was sponsored by Budweiser One Night Stand Concert Series, which was great for fans, no ticket to buy, but the reverse of that double edge sword was you had to win them from the radio station or find the Budweiser Street Team, which put tickets scarce as compared to the fans that wished to attend. Attendance was limited to a 21+ audience but they seemed to enjoy the opening band Campfire Girls before POM came out with their set. Selected as an unusual closer for this show was the band doing the cheesy lounge version of She Hates Me, which ended with Wes snapping his fingers while the band members left one by one, only to have Paul come out and haul him off the stage. One hates for a great moment to end.

Moving further south, next stop Raleigh, NC at The Ritz Theater (Disco Rodeo) July 23. The members of POM shared their time with some fans that had gathered at the venue before the show with the chance to chat, take pictures and have their memorabilia signed. Once again this was a 21+ show sponsored by Budweiser One Night Stand series with 96.1 WBBB doing on-air interviews with the band, a radio winner meet and greet, and posting some pictures on their website. Campfire Girls once again opened for POM.

Down to the Sunshine State, sunny Florida July 24 to play at the nightclub Plush in Jacksonville. Once again a 21+ Budweiser show sponsored by 93.3 WPLA with two support bands, Campfire Girls and the local band Opiate. This was a hometown show for Paul and the crowd was really rocking it and showing the love for the band. The band must have left an indelible impression as the readers of Florida’s news and opinion magazine Folio Weekly voted this performance as Florida’s Best Concert 2003. Maybe it was the lounge version of She Hates Me that POM did for the closing song that cinched it, after all, how often does a band do a cover of a cover of their own original song, it makes for a humorous o