The former New Radicals frontman has give up the enterprise 3 times. But he nonetheless finds his means again once in a while.
It’s a drizzling autumn night time in New York City when Gregg Alexander, recognized to the world because the mastermind and frontman of late ‘90s one-hit marvel New Radicals, seems. He’s arduous to overlook: Standing at 6’5, his giant 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 certainly 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 means. At each flip, he describes the individuals he admires as “pretty.” He has the kind of egoless familiarity of somebody who doesn’t take care of fame — by no means did, actually. It’s seemingly the identical intuition that impressed him to hightail it out of the music trade 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 solid a exceptional profession behind the scenes. Two a long time have handed since his group burned brilliant as a lone wolf in modern pop. In the time since, he’s written hits together with Santana and Michelle Branch’s “The Game of Love,” which topped the Billboard 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 couple 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 inventive emotional wellbeing, for lack of a greater time period, in some unspecified time in the future the music enterprise become a passion 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 residing from it. But, I nonetheless consider, in my coronary heart of hearts, that a terrific 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 means I used to be going to have the ability to say even an iota of what I might 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 buddies in studios in downtown Detroit and Los Angeles. The lot of it could 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 e mail.) It was “actually a solo undertaking,” he says, and wasn’t a lot of a business juggernaut: It peaked at No. 41 on the Billboard 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 top, “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 — brilliant, jaunty pianos and fluid percussion that lightened the rallying cries in opposition to company America — but in addition for its artistry at a time when main labels had been more and more positioning musicians as merchandise.
“I feel the document firm and a good quantity of the individuals within the press had been bemused versus wanting to assist fire up an even bigger fireplace I hoped to mild,” Alexander remembers. “Maybe it's higher, as a result of perhaps if I’d have saved going, I’d have been shot useless.”
Was it actually that severe? He takes an extended pause. “Who’s to say the place I or different artists would have gone when it comes to attempting to problem the established order?” he asks. “If I had saved attempting to say issues I feel numerous different individuals had been feeling about the place society, know-how corporations and large enterprise had 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 suppose that is truthful sport for them to speak about something however intercourse, medication and rock and roll.’”
In a means, “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 screen. (Of essentially the most obvious: “Health insurance coverage rip off mendacity/FDA huge bankers shopping for/Fake laptop crashes eating/Cloning whereas they're multiplying.”) He assembled the track as a writing train, with the objective of constructing every line high the final: “Four A.M., we ran a miracle mile” references his time residing round L.A.’s Miracle Mile space and revels in miscreant frivolity; “We’re flat broke however hey we do it in type” 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 little bit bummed out that it centered on this absurd movie star bash of individuals — I had no points with them — versus one thing that I believed 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 giant. As the monitor started to develop, so did his fan base. In 2000, Joni Mitchell referred to as it “the one track I’ve appreciated in a very long time” and referred to him as “my sort 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 undertaking. Instead, he cites the promotional obligations that got here with it: “My life was irrevocably altering, and was not going to be about music every single day, however about numerous the madness that comes with the star equipment.”)
“I'd seen contained in the dream manufacturing unit as a customer. I acquired the customer move, if you realize what I imply,” he continues. “When it truly began occurring for actual, and I wished 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, huge 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 had been horrified the place the music enterprise and media had been dashing to,” she says. “Gregg wished to return to being a ‘day-to-day artist’ and never a ‘profession rockstar.’ He was perhaps 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 might 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 movie star can rapidly turn out to be. “You're this scrawny little fucking musician, some 28-year-old, however impulsively, you turn out to be the conduit to individuals’s bonuses, their higher agendas,” he says. “There was part of me that felt prefer it was going to fucking destroy me. I noticed one probability 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 or 6 singles [would have come] out, whether or not it could 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 state of affairs, 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 stated music is its personal reward,” he explains. “In that context, it’s been its personal reward for me. I nonetheless scheme typically in regards to the concept of perhaps placing data 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 try to depart on a track. There’s a throughline between his biggest tracks while 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 filled with ardour that their efficiency rivals that of the variations different artists recorded.
“Gregg’s biggest energy 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 prepare in Morocco together with his acoustic guitar and a beat-up cassette deck, or in a large studio in the midst of California. I consider he simply might have been as huge as Coldplay or Max Martin, however fame or the sport had 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 trade 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 believed 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 data…”
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 without doubt 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 in terms of songwriting. He writes from the guts and is 100 % dedicated to his songs. I discover that actually 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 monitor 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’d by no means try this,” he says.
He was nonetheless open to working with anybody who referred to as sufficient occasions (the benchmark for a way he picks working with new artists at present), however he fell nearly completely out of the general public eye, except for showing at a couple of trade 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 cause even one-third of me has a foot within the door is the fun of assembly Smokey Robinson or one thing like that,” he says.)
By Alexander’s rely, he’s retired 3 times from the trade he can’t appear to depart behind. He says his true passions are philanthropy and creating a greater world — a world he first strived to vary 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 varied 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 trade: 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 numerous the superficial features 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 believed 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 perhaps 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 price range. It was additionally ubiquitous, featured prominently on streaming providers 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 12 months, the #OscarsSoWhite marketing campaign [happened], it was a testomony to how lopsided even the movie enterprise might be typically that there have been no classes the place the good work of African-Americans was being celebrated apart 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 well-liked 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 should you don't have the correct channels. Over the final 12 months, he's spent his time tending to his mother and father, each of whom have fallen sick. From what he tells me about them, he cares very deeply about them, in his personal intense means, with the identical fervor he does for the world at giant.
Throughout our five-hour interview, Alexander brings up a number of moments that symbolize New Radicals’ affect to him over time. He thinks again to when the lyrics from “You Get What You Give” had been quoted on the funeral for Joe Biden's son Beau in 2015, or how U2 performed opening monitor “Mother We Just Can't Get Enough” each night time 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 girl approached him whereas consuming lunch at a restaurant to debate “You Get What You Give.” “She stated, 'I’ve to thanks on behalf of my dozens of youngsters for making that track.' I used to be like, ‘Wow, you’ve gotten dozens of youngsters?’ She stated, '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 had 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 throughout the galaxy?’ I'm going to be forgotten in a short time. Almost all the individuals in present enterprise, only a few will probably be remembered. But if a sentiment or a track can stay 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 numerous love. For that, I can solely be eternally in debt to the universe and music for permitting me to be the vessel.”