That's where the problem lies. Older crowds normally don't want to listen to music inspired by their generation, unless it gets really big. If they want to listen to Billy Joel or Tom Petty, they'll listen to them. And younger crowds just want something similar to EIIT, so they alienated their audience and pared it down to something they want to do, which is fine, but cost them in terms of fans.
Yeah, I guess I never thought of it that way. I mean, it could've been force-fed to older crowds by them performing on Letterman or whatever the fuck 40-50 year olds watch these days but that's very true. I still love that album and I was really hoping it would launch them into another stratosphere
They were on the brink of becoming huge with 'Honestly', got bumped up to Epic, everything seemed to going in their favor....Then the damn fucking bubble. I dont want to say it ruined them, but took a lot of credibility away. 'Lose It' IMO was a great single that just got overshadowed by the Bubble and the reality show.
Then they tried again with 'Cycles' and the amazing single 'Lose It' and 'Faster Ride' is the single that should've brought them right back to where they are. But it just never happened sadly.
I refuse to drink Dr. Pepper because of it!
Haha, I do remember being called an asshole on that show though.
If New Surrender had been a better follow up to Cities than what it was, Anberlin would be much, much bigger I think. Also, I heard Impossible on the radio a lot when it came out, but I'm not sure if DitW spawned any more radio singles after that, though....
"You Belong Here" was used in promo for American Idol. "Art of War" with some clever editing could have been great for a single.
Also, I think the band Far should have been a lot bigger. It always seemed as if their label never really knew what to do with them or that their timing was just a little bit off. Even their newest album At Night We Live felt like it was made for rock radio.
I'd argue that Something Corporate should have been bigger than Jack's.
However, from a shitty human being marketer perspective,his leukemia should have been played up a lot more to get Jack's more exposure. The story behind Everything in Transit is as compelling as the music.
I believe it did. They did as much as they could. I mean Andrew got interviewed and performed on "The Daily Show," which doesn't bring a whole lot of musical guests on. The problem was he just couldn't get the momentum from there.
Obvious argument against this logic is Gaslight Anthem and Bruce Springsteen.
Right, but that is way more the exception than the rule. Even in that case, Gaslight isn't huge, they're just known. And another band that tried to emulate Springsteen, The Killers on "Sam's Town," mostly fell on their face in terms of momentum. Younger fans didn't want to hear their version of "Born To Run."
As far as Matchbook Romance, I never got into their second album(I think it was called Monsters), but usually its a band's sophomore album that makes or breaks a band. Acceptance and Autopilot Off never had a second chance to release a second album.
Sugarcult should have been bigger than they were. Start Static was fantastic, but Palm Trees and Power Lines had a lot more slower tempo type songs which knocked them under the radar.