If Brian Wilson and David Mead adopted a baby, he’d grow up to be Brandon Schott, the L.A.-based singer/songwriter whose lush harmonies, heartfelt lyrics, and gentle, sun-baked melodies have earned him a steadily growing fanbase since he made his solo debut with Release in 2003. Now he’s back with a new album, Dandelion, which forms a sort of song cycle around the year Schott spent learning he had cancer, struggling with the disease, and finally learning he was in remission. For fans of his last album, 2007’s Golden State, the new songs won’t disappoint, but they’re also a progression — they feel deeper, rawer, and less meticulously assembled, while still glowing with the melodic beauty of Schott’s best work.
Brandon was kind enough to take some time to talk with Popdose about what went into the making of Dandelion, which arrives in all the finer digital outlets today.
Okay, let’s start at the beginning: “Seasons Turn,” Dandelion’s opening track. It’s beautiful — more of an invocation than a first song. Can you talk about how it came together?
Thanks! I definitely wanted it to feel like an opening prayer, set that kind of tone for the record. It was written a cappella in the car one afternoon — very shortly after finishing treatment and finding out I was officially in remission. The lyrics and melody all came in that one sitting — just kind of poured through me (I had to pull over a few times to keep up). The track was one of the only ones on the project that wasn’t initiated from scratch for the record during our sessions in the church — a good bit of the song was initially completed at home. When we started tracking the rest of Dandelion in the church the intention was to go in and just record the lead vocal on this one and call it. However, being that we had a pipe organ at our disposal that was aching to be part of the tune, and the harmonium and piano sounded so glorious in this space, the textures kept getting deeper and deeper — and naturally evolved into where it rests now. (more…)

Reader questions are becoming almost de rigueur for our higher-profile Popdose Interviews, so we thought some of you might like to be part of our upcoming conversation with one of our very favorite artists, Neil Finn. Submit your questions here before midnight on Monday, and we’ll fit in as many as he can (or is willing to) answer. Feel free to touch on the Split Enz years, the Crowded House era, his solo work, or his many collaborations with Tim, Liam and the whole Finn brood — including the new 7 Worlds Collide album, ![Reblog this post [with Zemanta]](http://img.zemanta.com/reblog_e.png?x-id=e93b2baf-9e35-401d-8f4d-88ed55a0c529)
Bill Champlin has a lot to be happy about these days. He’s got a steady gig singing and playing keyboards with Chicago, a spot he’s held since 1982. His solo album
For women who want to make it in the all too male-dominated music industry – and music journalism in particular – writer Carrie Borzillo-Vrenna is an inspiration. Her name has appeared in Billboard, SPIN, RollingStone.com and the Alternative Press, and MTV, VH1, Fuse and E! have all sought her expertise on music and relationships. It’s a good thing for us daring women, then, that Borzillo-Vrenna has written a rock-chick reference, Cherry Bomb: The Ultimate Guide to Becoming a Better Flirt, a Tougher Chick, and a Hotter Girlfriend, and to Living Life Like a Rock Star.
Rick Springfield is getting something of a career re-boot this week. Twenty-seven years after “Jessie’s Girl” and the Working Class Dog album made him one of the ’80s’ first superstars, Springfield is ubiquitous once again – if only for a few days: Good Morning America, Live with Regis and Kelly, Fox and Friends, Nightline on Friday evening. He even returned to his old haunting grounds on the General Hospital set, singing his new single “What’s Victoria’s Secret?” in the guise of aging rocker Eli Love. (See, Love is a doppelganger for Springfield’s classic character, Dr. Noah Drake, who one time had to fill in when Eli … oh, never mind.)
“But you’re in Mariah Carey’s new video for ‘Touch My Body,’” I reminded him. “I saw it advertised on VH1 at the end of February, and I watched it on YouTube just the other day. Don’t worry. Everything’ll be alright.”


Eddie Money knows he’s an archetype, and he doesn’t mind it one bit. His 15-year run of AOR hits and arena-rock stardom, from the 1978 double shot of “Baby Hold On” and “Two Tickets to Paradise” through MTV hits like “Take Me Home Tonight” and “Peace in Our Time,” was interrupted in 1981 by a drug overdose that nearly took his life. Rehab stints for drug and alcohol problems later put a dent in his always healthy touring schedule, but Money soldiers on as he approaches his 60th birthday next year — staying clean and “trying not to smoke a million cigarettes,” as he rasped during our talk a couple weeks back.
