The former New Radicals frontman has stop the enterprise 3 times. But he nonetheless finds his manner again from time to time.
It’s a drizzling autumn evening in New York City when Gregg Alexander, identified to the world because the mastermind and frontman of late ‘90s one-hit marvel New Radicals, seems. He’s exhausting to overlook: Standing at 6’5, his massive body looms within the shadows of East Village’s Tompkins Square Park the place, early on in his profession, he used to busk. Today, his signature bucket hat has been changed by a baseball cap; the remainder of his outfit is unassuming, proper right down to the sneakers he wears to appropriate his posture.
“I introduced you an additional umbrella in case you wanted one,” he says. I level out that I have already got one. “I do know what to do then — I’ll go away it proper right here in case anybody has use for it.” He steps to the iron railing that circumstances the park and hooks the umbrella onto it.
It’s considered one of many small acts of kindness that assist outline Alexander, a former pop star who deserted the highlight the second he stepped into it. He’s chatty but pensive, inquisitive but assured, beneficiant to an extent that he has $20 payments in his pocket able to thank a waiter for going even barely out of his or her manner. At each flip, he describes the individuals he admires as “beautiful.” He has the type of egoless familiarity of somebody who doesn’t take care of fame — by no means did, actually. It’s probably the identical intuition that impressed him to hightail it out of the music business when he found its extra insidious nature and as a substitute give attention to charity work and the liberty that got here with utilizing different artists as a medium for his songwriting.
All the in the meantime, he’s cast a outstanding profession behind the scenes. Two many years have handed since his group burned vivid as a lone wolf in up to date pop. In the time since, he’s written hits together with Santana and Michelle Branch’s “The Game of Love,” which topped the Streets Talkin Adult Top 40 and Adult Contemporary charts in 2002; Ronan Keating’s “Life Is a Rollercoaster” and Sophie Ellis-Bextor’s “Murder on the Dancefloor,” which reached Nos. 1 and a pair of within the U.Ok., respectively; and the soundtrack for the 2014 movie Begin Again, for which he earned an Oscar nomination for Best Original Song with “Lost Stars.”
He relishes in his relative anonymity amongst those that don’t examine liner notes. “I feel for my artistic emotional wellbeing, for lack of a greater time period, in some unspecified time in the future the music enterprise changed into a pastime for me,” he later explains. Alexander hasn’t granted a considerable interview since 2014, and earlier than that, 1999. Right now, he’s seated in a wheezy leather-based recliner within the empty foyer of a lodge on the Lower East Side, Estrella in hand. “Which doesn’t imply I don’t make a dwelling from it. But, I nonetheless consider, in my coronary heart of hearts, that an important rock and roll track or nice pop track could cause a fucking revolution.”
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At 48, Alexander in some ways holds the identical perspective that compelled him to type New Radicals, his first main foray as an artist and, quietly, a subversive political act. “I knew that the one manner I used to be going to have the ability to say even an iota of what I may say to the world is thru music, as a result of I knew if I went screaming on the rooftops, I'd find yourself in a straightjacket someplace,” he says.
After two failed solo offers and a pair of albums within the late ‘80s and early ‘90s, he scraped collectively a demo tape with a carousel of musician pals in studios in downtown Detroit and Los Angeles. The lot of it will make up Maybe You’ve Been Brainwashed Too, which was mastered straight from the cassette (except for the primary three tracks) and celebrated its 20-year anniversary on October 16. (On the day, he wanted to be reminded of the milestone over electronic mail.) It was “actually a solo challenge,” he says, and wasn’t a lot of a business juggernaut: It peaked at No. 41 on the Streets Talkin 200 and spawned just one single, “You Get What You Give,” which reached a modest No. 36 on the Hot 100.
Today, Maybe You’ve Been Brainwashed Too stands as a remarkably enduring set of pop gems that showcases Alexander’s aptitude for main seventh chords and swishing, ebullient choruses whose irresistibility took them to sudden locations. A video for the melancholy “Someday We’ll Know” is floating round on YouTube with 11 million views, and whereas the group disbanded previous to a possible single push, it had a second life, individually lined by Hall & Oates and Mandy Moore. At its peak, “You Get What You Give” discovered a house on Total Request Live countdowns, sidling subsequent to the slick upstart pop of Max Martin productions and the nu-metal wave of bands like Korn and Limp Bizkit. It caught out not only for its musical optimism — vivid, jaunty pianos and fluid percussion that lightened the rallying cries towards company America — but additionally for its artistry at a time when main labels have been more and more positioning musicians as merchandise.
“I feel the report firm and an honest quantity of the individuals within the press have been bemused versus wanting to assist fire up a much bigger hearth I hoped to gentle,” Alexander remembers. “Maybe it's higher, as a result of possibly if I might have saved going, I might have been shot lifeless.”
Was it actually that severe? He takes a protracted pause. “Who’s to say the place I or different artists would have gone when it comes to making an attempt to problem the established order?” he asks. “If I had saved making an attempt to say issues I feel lots of different individuals have been feeling about the place society, expertise corporations and large enterprise have been going, I feel there would have been a concerted effort in some unspecified time in the future to say, ‘We can't let artists assume that is honest recreation for them to speak about something however intercourse, medicine and rock and roll.’”
In a manner, “You Get What You Give” has turn out to be his hallmark, a crystallization of the beliefs he maintains a couple of society that’s extra damaged than ever. It’s the kind of track that unifies karaoke bars internationally but shocks listeners as they learn its lyrics in regards to the superficiality of our tradition for the primary time on the display. (Of essentially the most obvious: “Health insurance coverage rip off mendacity/FDA large bankers shopping for/Fake laptop crashes eating/Cloning whereas they're multiplying.”) He assembled the track as a writing train, with the purpose of constructing every line high the final: “Four A.M., we ran a miracle mile” references his time dwelling round L.A.’s Miracle Mile space and revels in miscreant frivolity; “We’re flat broke however hey we do it in fashion” serves as a nod to couch-surfing for 2 years round city and when he was dropped as a solo artist.
He didn’t intend for its ultimate stretch, an indictment of celebrities that name-checks Courtney Love and Marilyn Manson, to be the takeaway, although the media response fixated on it. “I used to be a bit bummed out that it centered on this absurd superstar bash of individuals — I had no points with them — versus one thing that I assumed was difficult the powers that be, in a pop track that acquired on pop radio all around the world. That hadn’t occurred when it comes to being that political in, fuck, 20 years?” (Still, he confronted no backlash from his targets: “Of course I didn’t. I’m 6’5, and I’m a loopy motherfucker named Ice Cube,” he jokes).
There’s a poetic irony to “You Get What You Give” when utilized to Alexander’s profession at massive. As the observe started to develop, so did his fan base. In 2000, Joni Mitchell known as it “the one track I’ve preferred in a very long time” and referred to him as “my type of punky white boy”; Alexander remembers assembly heroes Prince and George Michael, who each lauded Maybe You’ve Been Brainwashed Too. But because the adulation grew, so did his disdain for the precise company greed he bemoaned on the track. (There wasn’t one particular second that led him to kill the challenge. Instead, he cites the promotional obligations that got here with it: “My life was irrevocably altering, and was now not going to be about music each day, however about lots of the madness that comes with the star equipment.”)
“I'd seen contained in the dream manufacturing facility as a customer. I acquired the customer move, if you recognize what I imply,” he continues. “When it truly began occurring for actual, and I needed to speak about injustice and politics and significant issues, there was no help system. I had nobody backing me up. I used to be younger and disillusioned and noticed fairly a little bit of the writing on the wall about consolidation of radio cable corporations, large enterprise.”
Danielle Brisebois, a member of New Radicals who has labored with Alexander all through the years and co-wrote “Lost Stars,” witnessed it firsthand. “Even in 1999, we have been horrified the place the music enterprise and media have been rushing to,” she says. “Gregg needed to return to being a ‘day-to-day artist’ and never a ‘profession rockstar.’ He was possibly simply too beneficiant, and even naive of a spirit for the job. He was an enigmatic performer, and on tour throughout encores he would typically let the viewers rush the stage to bop and leap round, but he was stunned when individuals would seize onto him and never let go. That childlike marvel was kinda lovely.”
What may have been doesn't a lot concern Alexander; as a substitute, he traces the downfall of New Radicals to its roots, likening his burgeoning fame to Hotel California, a metaphor for the jail that superstar can shortly turn out to be. “You're this scrawny little fucking musician, some 28-year-old, however unexpectedly, you turn out to be the conduit to individuals’s bonuses, their better agendas,” he says. “There was part of me that felt prefer it was going to fucking destroy me. I noticed one likelihood to expire of the Hotel California, and I feel I noticed [that the only way to do that] was to burn that motherfucker to the bottom.”
He shrugs. “Nobody will ever know if 5 – 6 singles [would have come] out, whether or not it will have offered yet one more copy or 20 extra million copies. Nobody is aware of, and I don't fucking care at this level. But I used to be grateful once I left the enterprise of being an artist. When I extracted myself from that scenario, I had the identical factor I’ve now: tons of and tons of of pop songs.”
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Music has been a relentless in Alexander's life since his childhood in Grosse Pointe, Mich., and it by no means went away, even after he pulled the ripcord on New Radicals in 1999. Since then, he’s recorded and mastered someplace between seven to 10 full-length follow-ups to Maybe You’ve Been Brainwashed Too. He'll most likely by no means launch them. “Sting as soon as mentioned music is its personal reward,” he explains. “In that context, it’s been its personal reward for me. I nonetheless scheme generally in regards to the concept of possibly placing information out. Maybe after I die, I’ll put them out yearly.”
It’s as a songwriter that he’s continued to excel. Alexander has the kind of watermark that writers can solely attempt to depart on a track. There’s a throughline between his biggest tracks whenever you line them up: the chug of acoustic guitars, the yelps, the handclaps, the charming musings about romance. And there’s one thing frayed and acquainted about his demos — some leaked to the Internet, others he despatched me as as attachments in emails main as much as our interviews — that are so stuffed with ardour that their efficiency rivals that of the variations different artists recorded.
“Gregg’s biggest power as a author is soul-searching lyric and melody concepts that seemingly seem out of skinny air,” Brisebois says. “[He] can write wonderful songs at three a.m. on a practice in Morocco together with his acoustic guitar and a beat-up cassette deck, or in a large studio in the course of California. I consider he simply may have been as large as Coldplay or Max Martin, however fame or the sport have been by no means what really mattered to him.”
After disbanding New Radicals, Alexander jetted to England and settled in Notting Hill. (At one level, he remembers, he lived with rock revivalists The Darkness.) The music business by no means forgot him. As he settled in London, music executives like Craig Kallman and Lucian Grainge rang him, as did Clive Davis and Colin Barlow. “I assumed Clive was calling to yell at me,” he says, smiling. “He was like, ‘I actually believed in your band. If you’d wish to make some information…”
Those calls led to alternatives to put in writing for different artists and, as he places it, a “clean test” creatively. Keating remembers their work fondly: “Gregg is likely one of the most inspirational track writers I’ve had the pleasure to work with. I really like that he doesn't care about boundaries or limitations with regards to songwriting. He writes from the center and is 100 % dedicated to his songs. I discover that really infectious.”
“The Game of Love,” initially demoed by Macy Gray (whose model is unreleased) after which Tina Turner (whose rendition was included on Santana’s Greatest Hits in 2007), ended up being his greatest hit. After Santana and Branch gained the Grammy Award for Best Pop Collaboration with Vocals for the observe in 2003, although, that previous feeling of disillusionment crept again. Alexander offered his catalog to some boutique publishers however saved the masters. “I’m not that loopy — I might by no means try this,” he says.
He was nonetheless open to working with anybody who known as sufficient instances (the benchmark for a way he picks working with new artists right now), however he fell virtually fully out of the general public eye, except for showing at a couple of business gatherings in hopes of assembly his idols. He speaks of artists he adores with the depth and appreciation of a real music fan — artists like Billy Idol, Lionel Richie and Aretha Franklin, the latter of whom praised “Lost Stars” previous to her passing. (“The purpose even one-third of me has a foot within the door is the joys of assembly Smokey Robinson or one thing like that,” he says.)
By Alexander’s rely, he’s retired 3 times from the business he can’t appear to depart behind. His says his true passions are philanthropy and creating a greater world — a world he first strived to alter together with his music. After promoting his catalog within the wake of the success of “The Game of Love,” he acquired into advocacy work for poverty alletion in sub-Saharan Africa, working with NGOs and giving “low seven figures” to numerous organizations. He generously praises fellow altruists like Oprah Winfrey and President Barack Obama, recalling the time he met the latter on the former’s home previous to his presidency and urged him to do extra for the Global Fund.
He was coaxed out of retirement for the second time in 2014 with John Carney’s movie Begin Again. It couldn’t have aligned higher with Alexander’s personal experiences within the business: The film follows a younger musician in New York City (Keira Knightly) who begins writing and recording an album with a disgraced govt (Mark Ruffalo) after her ex-boyfriend (Adam Levine) dumps her in his quest for fame. It’s a lighthearted condemnation of company greed and the monetization of creativity that rang true to what Alexander skilled all through his profession.
“There was the disillusionment of lots of the superficial facets of the music enterprise,” he says. Alexander stops to level out that Begin Again was filmed simply blocks away from the place we’re sitting. “I assumed it had one thing very significant to say about that, and hopefully the lyrics infused the script with [the notion that] we're all misplaced stars. I'm a misplaced star, in some respects, as a result of possibly I walked away from my bigger, true future if I had had seven albums out by now.”
Begin Again was successful, grossing north of $60 million on a reported $eight million funds. It was additionally ubiquitous, featured prominently on streaming companies and airplanes. “Lost Stars” acquired its Oscar nomination, and Common and John Legend’s “Glory” beat it out. Alexander couldn't, expectedly, care much less: “In the shadow of the truth that, that yr, the #OscarsSoWhite marketing campaign [happened], it was a testomony to how lopsided even the movie enterprise could be generally that there have been no classes the place the good work of African-Americans was being celebrated aside from within the Best Song class.”
After a average press run, together with uncommon performances and interviews, he retreated again from the highlight as soon as extra. He did some work with rock group The Struts for “Put Your Money on Me” off their 2014 album, and two years later co-wrote on Spencer Ludwig's “Right Into U”; he’s presently in New York engaged on music with a preferred English band. It’s unclear the place, precisely, he calls house. (He's an ardent traveler.) Right now, it seems to be the Lower East Side. He isn't on social media, and getting in contact with him is its personal impediment course for those who don't have the correct channels. Over the final yr, he's spent his time tending to his mother and father, each of whom have fallen unwell. From what he tells me about them, he cares very deeply about them, in his personal intense manner, with the identical fervor he does for the world at massive.
Throughout our five-hour interview, Alexander brings up a number of moments that characterize New Radicals’ impression to him over time. He thinks again to when the lyrics from “You Get What You Give” have been quoted on the funeral for Joe Biden's son Beau in 2015, or how U2 performed opening observe “Mother We Just Can't Get Enough” each evening on its 113-date Elevation tour in 2001 simply earlier than they went on stage.
Alexander settles on a reminiscence from 10 years in the past, when a lady approached him whereas consuming lunch at a restaurant to debate “You Get What You Give.” “She mentioned, 'I’ve to thanks on behalf of my dozens of children for making that track.' I used to be like, ‘Wow, you may have dozens of children?’ She mentioned, 'No, I work in a most cancers ward. Your track gave hope to them.' Not simply due to the track, however due to my buzzed head. They noticed me and have been going by means of chemotherapy and issues like that.
“I'm just a bit conduit,” he continues. “That's what ‘Lost Stars’ is: ‘Who are we, only a speck of mud inside the galaxy?’ I'm going to be forgotten in a short time. Almost the entire individuals in present enterprise, only a few can be remembered. But if a sentiment or a track can reside on in individuals's minds or they share it with their children and it lives on, that's when it goes past you. It's a passport to lots of love. For that, I can solely be endlessly in debt to the universe and music for permitting me to be the vessel.”