It even made it back into the iTunes top 40 chart four years in a row. As a result of the One Direction bounce, Wheatus has adopted a whole new fan base by gaining 50, new Twitter followers in two months. Additionally, the "Dirtbag" video garnered 5 million hits on YouTube. I'm able to do that because of 'Dirtbag. Wheatus is finishing its sixth album, "The Valentine LP," set to drop in mid-August in an effort to catch the wave of this newfound interest.
Later this year, the band will release a 20th-anniversary album-length re-recording of Wheatus, which they plan to promote on a fall tour with fellow turn-of-thest-century rockers Alien Ant Farm. And around that time, there are plans to finally release a decade-in-the-making Wheatus documentary called You Might Die.
His quest has sent him scouring the internet for gear that most closely resembles what the band originally used to record the album. The end result is an impressive technical feat that no passive listener would ever distinguish from the original. So why, then, is Brendan Brown doing any of this?
The short answer: He no longer possesses the master recordings to Wheatus. The album was recorded on a long-defunct transitional format called ADAT. For a musician whose lifelong income is very much dependent on a single song, this is a problem.
Brown is far from alone in his obsession with the song. For a single that never even entered the pop charts in the U. That summer, a teenager stabbed his friend to death, leaving his body in the woods, where he showed the corpse to friends for a full two weeks before the crime was even reported to the police.
The murder of Gary Lauwers traumatized the small town of Northport. After attending college in Pennsylvania, a twentysomething Brown ended up in New York, playing in a local band that ended up scoring a gig opening for Joan Jett. Brown in his home studio. Photo by Joey Slater. The first half of the song came easily. The hardest part to write, and the section of the song that Brown seems most proud of, is the infamous third verse.
When the song was first released, Brown kept its backstory to himself. A lot of prototyping. And then there was this weird artifact. I only used the acoustic guitar on that record and I was standing in front of the speakers and they were just blaring right into the top of my guitar. This turned the guitar top into somewhat of a microphone, so every time the snare hit, and this was the original demo drums which were fake, the sound was bleeding right down my guitar channel.
It made this sort of echo artifact of snare but processed through the guitar sound on only the left side of the song. We sat for hours listening to the original mix wondering what that little flash was that was making the drums a little more stereo in the chorus, and eventually we figured it out. But there were all these strange twists in the road and things that we had to trace back. But it worked. So we really must have come close! It has ticked up in the last few years.
For the most part the syncs on the master side have been pretty selective and sparse. The publishing syncs for covers and other versions have kind of gone off the charts — I think One Direction really kicked that off, and we also had the placement in Generation Kill.
But I think a bit of scarcity has helped it along slightly. I wanted to do away with all of that and to get it right again while we still can, and to possess this thing that we have the right to possess.
This thing that was ours to begin with. It feels like the exploded version of our first album. We went over this a lot and we thought, how do we do it? How do we name it? Plus the original masters are unavailable in multi-track or acapella or instrumental.
Oh man, talk about unforeseen consequences! The next thing we know it kind of blew up and she and our bass player Matthew have been neck deep in editing hundreds of submissions. First of all, how did the masters go missing?
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