PUDDLE OF MUDD : 2005

2005 Year In Review

Puddle had remained relatively quiet since their last show in October 2004 in Beaumont, Texas at KIOC's Big Dog Jam 4 and their first public event in 2005 included drummer Greg Upchurch doing duties as a contest judge.

As part of a nationwide talent search on January 22, Guitar Center's Drum Off Final's 2004 Competition was held at The Wiltern in Los Angeles. Greg and Josh Freese were part of the judging panel along with Michael Shrieve and Greg Errico who held high court evaluating the finalists and declared Royce Shorter, Jr. from Seattle, WA the winner. Soon after the event Puddle of Mudd were on stage as part of the after contest entertainment as well as The Vandals and Virgil Donati. Puddle's setlist was Out of My Head, Bring Me Down, Abrasive, Drift and Die, Bleed, Blurry (dedicated to recently deceased Dimebag Darrell of Damage Plan/Pantera), She Hates Me, Said, Basement, Cloud 9, Away From Me, and Control.

By the end of January 2005, suspicion that Greg Upchurch was leaving Puddle of Mudd began to make news among the fans.

Headlines had been picked up by major music news sources that drummer Daniel Adair had suddenly left Mississippi based rockers 3 Doors Down, just before the band's new album Seventeen Days was going to drop leaving them in the lurch. Adair was on his way over to join fellow Canadians Nickelback, effective immediately.

Articles appeared in 3 Doors Down's local newspaper that Upchurch would be the replacement drummer. News filtered in and there weren't any official statements from the Mudd Camp or 3 Doors Down, leaving the fans in a panic. Puddle's status of taking a break fit right in with Greg as a fill in for 3 Doors Down at the time but it was difficult for fans to finally receive what some may say as an unofficial-official word many, many months later that this move could be permanent.

Though it came as a big blow to the fans when it was speculated he was joining Escatawpa, MS based band 3 Doors Down, the fans supported whatever his reason was for leaving. It left a dry spot in the middle of the Puddle and throughout the spring and summer fans were worried who could fill those shoes and the status of the band. What would Puddle do, why did Greg decide to leave, were all questions everyone was asking.

The public doesn't always know what goes in within a band, nor do they have a right to know every aspect of their decision making process. Some issues are private, it's hard to know what to say when you are the one leaving, and we as fans feel the loss, despite not knowing the details.

When Greg decided to leave he was able to step out of one job and directly into another. Puddle and 3 Doors Down had toured together along with Nickelback during the summer of 2004 and 3 Doors Down had been a witness to his prowess on drums. Greg was offered the position after auditioning. Puddle's loss was a gain for 3 Doors Down, the fans were divided, this was a change they never saw coming yet knew it was up to Greg to be in charge of his own future, even if that meant leaving Puddle.

Before December 2004, many people had never heard of Banda Aceh, Indonesia or some of the other small, lesser-known countries in Southeast Asia. But that all changed after a deadly Tsunami hit the region on December 26, 2004 which left many countries and communities devastated with a death toll of more than 273,000 people, thousands of bodies never found, and entire infrastructures decimated. The members of the rock music community were quick to offer their services to raise money for the victims of the disaster in conjunction with organizations such as the American Red Cross.

Former Puddle of Mudd tour mates Linkin Park, were pivotal in starting Music For Relief in early 2005 and created a movement to get young people to contribute to those left devastated by the disaster. Musicians from all genres signed up to place the Music For Relief banners on their website in the hope that their fans would open their hearts and donate to the relief effort.

Puddle was part of this fund raising effort both as both a band as well as with Wes participating in a charity concert event via another sponsor. The Music For Relief organization raised over $236 million dollars through donation links, charity concerts, auctions, and special recordings of songs offered via the Internet for purchase.

At a separate event not tied to Linkin Park's Music For Relief initiative, on February 18, 2005, Wes teamed up with Jerry Cantrell and the remaining members of Alice In Chains, Sean Kinney and Mike Inez to participate in the Tsunami Continued Care Relief Concert with Seattle's 96.5 KRQI at The Premier, a local nightclub.

Alice In Chains had not played together since 1996 and this was an historical event with a purpose. Other musicians were ready to assist any way they could and soon the show's roster had some real rock stars behind it. Joining the lineup were Ann and Nancy Wilson (Heart), Pat Lachman (Damage Plan), Maynard James Keenan (Tool/A Perfect Circle), Chris Degarmo (Queensryche), Sir-Mix-A-Lot, Supersuckers, Nirvana's own Krist Novoselic, and others.

After some of the other acts had performed the remaining, members of Alice In Chains took the stage for a two-part show, acoustic and electric sets where a variety of guests contributed the vocals that had once been done by Alice In Chains singer Layne Staley (1967-2002). The electric set is where Wes was able to showcase is vocal abilities by performing Again with Pat Lachman, Would and Angry Chair with Alice and again taking the stage for the all-star rendition of Rooster.

Not only was this a priceless event to be on stage with Jerry Cantrell, but the concert proceeds, merchandise sales, etc. raised over $100,000 for the tsunami victims. Wes' performance was rippin', eerily comparable to Layne by some reports, yet still with that special Scantlin-ized edge to it.

Valentine's Day 2005, would usually be a day for lovers but DJ Pinto at 105.1 WTAO in Murphysboro reported to www.southernillinoisan.com's reporter Kristen Cates, a popular favorite is Puddle's She Hates Me, which fell in at number four on Cates' list of south Illinois Top 10 Requested Love Songs. It seems not everyone is happy and in love on Cupid's day based on their request list of popular songs and vindicated jilted lovers everywhere.

March 12, 2005 marks the first day Wes slid behind the steering wheel of a race-ready Toyota Celica GT-S for practice to participate in the Toyota Pro/Celebrity Grand Prix of Long Beach. Photographers caught the action as the drivers learned the do's and don'ts during practice. In full driver gear and strapped into a 5-point safety harness, Wes thoroughly enjoyed every minute of practice.

In a race scheduled for April 8, the celebrity driven cars took to the downtown streets of Long Beach, a 1.97-mile course for 10 laps of blood-pumping-heart-thumping all-out racing. In the celebrity lineup Fox Network Malcolm in the Middle's Frankie Muniz and Justin Berfield, Olympians Amanda Beard, Misty May, and Aaron Peirsol, rock musician Meat Loaf, basketball star Karl Malone, local Toyota dealer Mike Sullivan, and actors/television personalities Ingo Rademacher (who captured the pole position in qualifying), Patrick Dempsey, Paige Hemmis, and Mark Steines proved it would have been a tough race to the finish. Wes was one to watch according to Ingo, but in the end, Wes would have to sit the race out due to a reported wrist injury. In the end, it was Frankie Muniz who finished first among the celebrities just behind professional driver Rhys Millen.

The 29^th running of this charity event which raises monies for children's hospitals under the name of 'Racing For Kids,' donates $5,000 in the name of each driver to the charity as well as another $5,000 going to the each driver's charity of choice.

Fans have harped on for years that MTV should do a Puddle of Mudd Unplugged series. Not quite the wish that came true because it didn't include all of the band members, but while on hiatus from Puddle in the spring of 2005 the fans of Wes' came out to two very special solo shows at the Mohegan Sun Casino in Uncasville, CT on May 9 and 10.

In the 300-seat Cabaret Theatre over the course of two spectacular nights to remember, Wes put on a bare-bones acoustic set that not only covered some tunes from Come Clean and Life On Display, but some older songs from his early Puddle of Mudd days in Kansas City. Every seat was a good seat in the Cabaret, with its nightclub type seating, there was no pushing or shoving; the atmosphere was relaxed and enjoyable. But honestly the best seat in the house was up front; literally a few feet from Wes perched on a stool as if he was sitting in your living room.

The set list varied slightly on each night but included Puddle's five hit singles Blurry, Drift & Die, Control, She Hates Me, and Away From Me. One night's show featured the old Puddle ballad Locket while another night's audience was treated to Suicide. While those two songs are not familiar to most fans, the hardcore fans in the audience knew it was a special performance they were witnessing of the older material. Other songs that carried well as acoustic interpretations were Nobody Told Me, Out Of My Head, Bring Me Down, Basement, Said, Piss It All Away and a Nirvana cover of About A Girl.

On stage with only a 6-string guitar and a 12-stringer, Wes wasn't able to do a quick guitar swap on stage as he was used to with a full crew set up, but he took to the task well. He was good-humored on stage, interacting with the audience as he changed the tuning on his guitars taking time for shout-outs to cell phones hoisted into the air and commenting on his lost luggage by the airline. Camouflage shorts and white crew socks were exactly Wes' style, anyone who has been to Puddle shows knows there won't be a dramatic fashion statement, Wes has a 'come as you are' philosophy. Jeans and a t-shirt were all that was needed for another night, as long as the guitars had made it; he was good to go for the fans.

After the shows, he took the time to sign memorabilia, ticket stubs, and pose for pictures. The no-camera rule wasn't a big issue at this event, which afforded the fans an unprecedented opportunity to capture the moment on film via digital cameras. The lucky fans who attended were forthcoming in reviews on the puddleofmudd.com website, being the eyes and ears for those who were not able to attend. Props go out to the fans and a big high five to them for keeping everyone informed, sharing their pictures and memories of their incredible and unforgettable night.

It had been a long time since the release of Life On Display in 2003 and the fans were ready for something new to get their Mudd fix. Brought to the public by Eagle Rock Entertainment, Puddle of Mudd: Striking That Familiar Chord DVD was posted for sale at online stores in late May and released to store racks on May 31, 2005. The primary component of the DVD was a concert that was taped live at The Key Club in Hollywood, CA on November 16, 2004.

An acoustic set of four songs was also included on the DVD, which featured the band in a small studio space not much bigger than a large walk in closet allowing the cameras a close up view of a bare bones jam session. The Document Room Studio in Malibu, California was the stage for the acoustic set, without backing tracks or layering of music or vocals, it was just an impromptu session that was reminiscent of the days when music was just the players and their instruments, reminding the viewers if you can't cut it acoustically and without Pro Tools, it will show in your set on stage. Puddle proved they can definitely cut it with our without the electrics.

Blurry, Drift & Die, Think, and Away From Me are the acoustic songs we are privy to for the acoustic set by Wes, Paul, Doug, and Greg. Whitestarr guitarist Duane Betts joined the band as a guest guitarist during Drift & Die.

The taping of the Key Club event was promoted on the Puddleofmudd.com website as well as in an edition of the L.A. Weekly inviting the fans to come out and participate in this extraordinary occasion. Fans lined up early at the venue on the Sunset Strip and were ready to deliver the excitability factor that only a live audience can spark from the band.

The house lights were dimmed to near virtual darkness as the band's shadows come out on stage like stealth black cats sneaking in at midnight to the audience's applause. The multi-color spotlights come up and we get an imposing view of their stage set, the left over remnants of their canvas tent from the Away From Me video shoot suspended haphazardly from the ceiling and cables and Greg's elevated platform draped with the fabric scraps. The props are fitting, Puddle is not a band of artificial embellishments of glitz or glam, this is a rock concert for rocker fans, no tux's or formal wear for the audience, wear your favorite old school rock t-shirt and torn jeans and come on in the party is on them tonight, the show is free and no ticket is needed. With fans riding the front railing, arms were up and the 'horns' were out en masse. The word 'familiar' couldn't have been more appropriate for the DVD title; the first song on the set list was one of their biggest hits that most anyone who listens to modern radio would be familiar with, Control.

With a song that was once Puddle's traditional closing song, the band elects to jump out at the audience with all eight feet with this hard rock song that begins with three tings from Greg on the cymbals and cued perfectly on count four, everyone dives in.

One of the first things we notice is Wes' black shirt emblazoned with the words Loose Leaf when he grabs the mic and as the camera zooms in we are soon eye-to-eye with the baseball cap wearing frontman. With eyes closed, Wes bursts out, "I love the way you look at me," as only he can, gritty yet likeable, extreme passion yet barely constrained as if he is reliving the drama from which the song was written.

Paul picks off his opening licks rocking back and forth pausing to recline backwards while standing entranced in his delivery giving the fans on his side of the stage a glimpse of his concentration. With a beanie pulled down low over his head, he is fused to his PRS guitar and commands it so naturally it is almost just another appendage from his body which he demonstrates by a timely spin and he never missed a note.

Greg is allotted a fair amount of camera time during this song, his face is barely visible most of the time as his hair seems to be in control of his drumsticks, every hair fling brings respect from those watching that he truly is a master of his craft, if the skins could talk they'd be yelping after the first song and they are shown no mercy for the rest of the concert. In the middle of the song, the video flashes between Wes and Greg, giving the viewers an interesting perspective. Greg is relentless on his equipment leaving his DW Drums taking all the abuse his hickory sticks can dish out. If the drumsticks had been two-fisted sling blades, he'd have 10 acres mowed down by the end of Control.

Not to leave out the fedora topped bass player, Doug may be the quiet one but without his sonorous bass lines, the songs would not be full-bodied and echoing on target through the amps, he fills in precisely what is needed not only during Control but every song that follows. He surely was the 'King of Hearts' to bass fans everywhere, he has a head-banging-while-playing-style all his own that can't be mimicked by imposters, and a bass-face to match that reflects every note plucked. This is one musician whose blood doesn't pump through his body; it thumps along at a deep-toned pitch.

Wes and Paul encourage the crowd on for the lines, "I have control of you…" and the legion of fans give a hearty assist with arms raised. Wes executes the final lyrics, "You're not the one for me no…" with a hard push vocally to close out the first song.

Without so much of a breather, the band is ready for the next hard rock tune, Out Of My Head accompanied with a strobe-light effect for the lead in. Greg's drum roll in at the beginning of Nobody Told Me is only the beginning, it is like a deep rumbling from within, and we get the feeling it is going to escalate, like rolling thunder. For almost two minutes, we are treated to guitars, bass, and drums while vocals take a backseat for this intro. It grows louder, everyone is waiting for the kicker line, 'same old sh*t, different day,' and Doug's bass lines sneaking in where we expect them, subtle yet booming.

During the song Drift & Die, we get an unexpected guest guitarist on stage. Duane Betts, who was performing with the California based band Whitestarr, joined Puddle for this cut that comes in at over six minutes. Bringing in a southern-rock-blues-ish sound during Duane's solo, the pace was slower than usual, uniquely different than the typical version of Drift & Die the fans were used to hearing. Wes commented, "that was some sick ass sh*t right there, man," at the end of the song.

Bleed was featured next and although this song did not appear on the U.S. copy of Life On Display, the band did include it regularly in their setlist while on tour. Bleed had been included on the United Kingdom/Import version and judging by the fans singing from the very beginning of, "You could fly me to the moon and bury me underneath the sun," all the way to the end with, "bleed for me, oh yeah…" Wes is animated, giving us a forefinger to his temple as he sings, "I don't think that you're the only one who hides behind the gun," with his distinct Kansas City accent. Paul, Doug, and Greg shows us what being engrossed in the music is all about, they are all kicking it with a hard rock drive, complete with head banging and sweat rushing from their pores by the gallon.

Spin You Around gives the band a bit of a break energy wise so they can wind it up for the next song, an always crowd pleasing favorite, Blurry. It's hot on stage Wes announces, and he comments that this song did very good for the band. It is easy to see why this song has won many awards; it is as sincere as sincere can get. The recorded version is great to listen to, but if you ever see this song done live, you see the emotion that goes with it, in the eyes of the band, the voice of the singer, and even though it can be done with a ballad-like feel, in concert this hit can rock hard as the rest of the Puddle of Mudd catalog. Wes brings the ending to his knees, grasping the microphone on his way down while pleading to the heavens to end his nightmare. Drum and cymbal work by Greg and executing the difficult harmonics on guitar by Paul keep the song fresh, even though this has been performed thousands of times they push the envelope to deliver perfection. As a co-writer on this song with Wes and Jimmy Allen, Doug has to beam with pride with the reception this song receives when it is done live.

With a serious guitar solo by Wes at the start, it's like 1970's rock is back for Nothing Left To Lose. It's a gutsy, gritty song; everyone is dead-set serious, almost grave-like echoing from hell. A desperate lashing out is evident vocally, and the rest of the band projects from the background as if it is a movie masterpiece, duplicating a deep, dark musical soundtrack that wickedly defies any misconception that Puddle is a soft rock band.

The grind continues with another aggressive track from Come Clean, Bring Me Down. Following into a mellower bridge before knocking it into 5^th gear after 'you've disintegrated…' it is a tune that puts you in the drivers seat as if you are playing Grand Theft Auto©, going all-out-fast-forward-take-no-prisoner kind of attitude. There is a great lead into the next song, Abrasive; the band has combined these two songs together before in live shows and they carry into each other perfectly. The track is unlisted on the DVD packaging and was a surprise for the fans as it merges the old Puddle with the new. Not everyone has been lucky enough to see Abrasive live on stage and this is one of the best songs on the disc.   Originally from the old Puddle of Mudd days second album Abrasive, only two words can describe it, 'kick *ss'. It is evident this is a song the entire band enjoys playing live, Doug gives us a brief crack of a smile at the beginning as he gets his bass going. Not to be overlooked, Paul works his side of the stage, with a lean backwards, relaxing on the incline of the rock wave that suddenly erupts, he is definitely the 'master' working his PRS guitar expecting it to perform the impossible and it does.

Away From Me had the fans up in arms, taking in the story Wes is telling, while Paul encourages his guitar to wail in it's own misery. >Greg works back up vocals while pounding the skins; his ability to work the mic while exerting immeasurable energy is more than miraculous. It's raw and uncut, another one of the top songs on the DVD.

Wes introduces his self-described personality disorder; his lack of focus with "ADD times five" and the next song Think is a reflection of himself. Lyrically it describes a compulsive person who takes action before assessing the situation, and the slower pace gives notice he is slowing down at least at this point to contemplate what lies ahead instead of jumping into the fire. This is a moody song and highlights the importance of Doug's bass work; thump, thump, thump… like a reliable heartbeat. Mid-song, an extraordinary guitar solo is displayed by Paul, giving him a rare opportunity to show the fans what he really has buried deep inside his musical genius. Not one to crave the limelight, his head is down while commanding those six strings and at the end; we witness a sort of relief, his anticipation of the moment then a spiritual remission of sorts. Not one of relief that the solo was over, but one of 'I had something to say and I let my PRS do all the talking.' It isn't something the fans are accustomed to seeing, and they loved it. Guitar One agreed, it was the best guitar moment of the entire show as stated in their September 2005 issue naming Paul's work