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Young Gun Silver Fox On Staying True To The West Coast Sound While Creating Their Own Shangri-La

"There was never pop music that was so musical and accomplished, and that sophisticated, on the radio," Young Gun Silver Fox's Shawn Lee says of the AOR his band is modeled after. The British duo's take on the West Coast Sound hits the road Jan. 23.

Young Gun Silver Fox's music is nothing if not evocative. It envelops you like a warm breeze on an early summer evening and floats over the Topanga Canyon of our minds — a familiar soundtrack for a groovy house party or drive along the coast. It’s timeless in one sense, while also referencing a very particular era.

Over four albums, YGSF reflect "an apex of analog record-making" that occurred between 1977-1982 —  a period of pop radio where groups like Hall & Oates , Steely Dan , the Doobie Brothers and countless less-heralded others created million-dollar records that dominated the charts and remain staples of classic rock radio.

"One of the things that was unusual about that whole West Coast scene was that you had these really talented people, but they all worked together in different capacities. One day they were working on a Michael Jackson record and another day they were doing their own record — or maybe sometimes the same day," says YGSF co-founder Shawn Lee, an American multi-instrumentalist with credits the length of some of his idols. "That's why the music sounds so money, because everybody was at the height of their powers. Everybody had craft."

Although Young Gun Silver Fox nod to an analog era, they make music in a very 21st century medium. Collaborators Lee and Andy Platts – both multi-instrumentalists, with Platts doing much of the songwriting — met on Myspace. And while both live in the UK, they are rarely in the same room. Lee is more of a city guy and lives in London while Platt lives with his wife and young children about 2.5 hours away along  the M25 motorway — they primarily work separately and send each other files. 

"There's an advantage now because you know how things were done and how they're supposed to be done. You have history and you know where the bodies are buried," Lee says with a laugh. "These were records that cost a lot of money to make, and we're making these things in a way that is the exact opposite of that."

The result is era-perfect, and could easily be placed among any of their yacht rock idols. Yet Young Gun Silver Fox are distinct for their medium and messaging; where their heroes were sarcastic or heartbroken, YGSF are wistful and in love, incorporating funk, soul and psychedelia. Their most recent album, 2022's aptly titled Ticket To Shangri-La , is being released as a deluxe version with two newly remixed tracks.

Following their first North American shows in late 2023, Young Gun Silver Fox are preparing an American tour beginning Jan. 23 in Los Angeles. Fittingly, Shawn Lee and Andy Platts sat down over zoom from their respective homes to talk about recreating the sounds of the late ‘70s and ‘80s.

This conversation has been edited for length and clarity.

Tell me a little bit about how you translate what's on the record into a live performance with multiple additional players.

Shawn Lee: It requires a lot of concentration. I think we have a laugh when we play live and it's unscripted. There's a lot of people singing along and dancing around. The choruses will often erupt into big sort of sing-alongs, so it's a lot of fun.

I quite like "Lenny." It's a sort of epic little track and it's always a big sing-along. "Underdog" is quite cool; I love that drop in the middle and everybody claps their hands. Sometimes you can't even hear what you're singing in the chorus. "Mojo Rising" has always been a real massive crowd sing-along and we're trying to get our little vocal blend together and it's like…

Andy Platts: You can't even hear yourself. [At a gig in] Cologne in Germany, [a guy] must've been two meters tops from me, singing every ad lib, every single vocal detail from the record, whilst I was doing it. It was like a double tracking lead vocal thing in the room. He was really on point, really passionate, just singing his heart out. I think after the fourth number, I was halfway through a song and I [mouthed] Really? Is this the thing for the whole show? I think he kind of got the gist of my discreet, please shut the f— up .

Lee: Sometimes people sing the horn parts as well, which always makes me laugh.

I'd love to take it back to just the two of you and learn a bit about the genesis of your group. How did you guys come to develop this distinct but very familiar sounding vibe?

Lee: Back in that time when Myspace was really big and it was a really good networking site for musicians …that's how we met. We tried producing an earlier iteration of [Platts’ band] Mama's Gun, and for whatever reasons that didn't quite happen. So that planted the seed in my head that I wanted to make this kind of sophisticated West Coast music with Andy, and I knew he had all the right reference points and all the right talents that together we could do something good.

It was a good couple of years to make the first record, off and on occasionally doing a tune while we were both busy with our own respective things. And it was very much just a labor of love; we didn't have any big plans for it. It was just let's cobble together a record in our spare time .

Platts: The A&R guy for the label we went with in Holland, he was a guy called Jacques de Bruin, who I'd worked for years, and we got the record to him initially and he was like, "I love it. I grew up with this s—, but I don't know who's going to buy it." And then two months later he called and said, "I want to put it out. F— it. Let's have a go."

There was a DJ that picked up on a track called "Long Way Back," the very last track on the first album, which is like this six minute 50 BPM, really slow soul jam. And he started playing the s— out of it, over and over, and that really caught fire. So it was a real natural, slow-burning word-of-mouth thing that has put us on this journey. 

What does a typical collaboration look like for you guys, if there's such a thing as a typical working pattern?

Platts: It’s one of three things. Shawn will make a perfect sounding record and play almost everything on it — maybe not the horns. It'll sound finished and it's just waiting for some songwriting, some lyrics, melodies, perhaps some backing vocals; a few extra bits of sugar on it – synths or whatever.

Another way is that I'll start and I'll send all the multi-tracks over to Shawn. He'll add or replace whatever needs replacing. Invariably if I try and play drums on the track, Shawn will replace that because he is a master drummer. The third way is your old school get it together in person, which has happened on a few tracks. 

More often than not, we kind of like being masters of our own domain and using the technology and the internet for speed and bottling stuff and getting s— done. A Young Gun Silver Fox record doesn't take that long to make usually. It's just having the time set aside to do it.

With all that in mind, it's pretty incredible that you guys managed to make these records that sound like million dollar Los Angeles productions from the '70s. And in reality, you're just emailing back and forth. What is the secret sauce?

Platts: Before it turns into ones and zeros, we're actually playing this s—. It's all these same instruments from back then, same analog processes.

Lee: I think it's one of the gifts of modern technology to not have to go into some expensive studio. It's basically working with really strong materials and then putting it together. There's a saying in the studio world: You can't polish a turd. You need to have good ideas, and good execution of ideas. 

Platts: When people say you can't make a record like that for $100,000. What they're talking about is a $100,000 musical idea . They think that they're talking about the studio and all the bells and whistles and the Star Trek Enterprise, and that's the vessel through which all this brilliance seems to work and come out sounding how it should. They're not attributing that to the source material.

Having those shared reference points and just deeply understanding the language of what you are trying to reference, probably goes a long way in creating something that sounds authentic.

Lee: I think the magic in record making is in the people; in the musicality and what they put into it. There is magic in the process, and it's just about being open to that and letting it happen. I work really fast and I always have. Working fast really ensures that the magic gets in there because I'm discovering it at the time that I'm recording it. 

When you're being intuitive and noodling along, there's a sort of innocence. There's a sort of not pushing too hard thing, which has an energy and a magic to it. It hasn't become stiff and sterile, or I haven't been obsessed by the technical delivery of it.

Platts: It’s a bit more chin stroking for me in that department. I'm happy to gestate on stuff. [Lyrics are] probably one of the big gold standards of the time period in which we're referencing. And for me, that's all about songwriting craft. There's a certain duty of care that is less prevalent in the mainstream to my ears these days in terms of lyrical integrity. You've got to be able to look at something and want it to stand up. 

Is there an underrated, a AOR/yacht-rock group that each of you feels has really influenced your sound?

Lee: I feel like everybody is highly rated amongst the aficionados [of this music]. But I think there were definitely people at the time of inception that didn't really have the hits. You had your Steely Dans and your Doobie Brothers with Michael McDonald who were getting the big hits, and the Christopher Cross es and people like that.

At the same time those records were coming out, there were other bands that weren't really setting the charts on fire, but there were records that I was listening to and enjoying at the same time. There was a record called Single by Bill Champlin, which came out in 1978, which had all the same people working on it.

Pages was another band; they didn't really have any hits, but they've become this sort of musicians' band now. And they were very involved in the whole scene as backing singers. They sang on so many hit records, everybody from Michael Jackson, to Al Jarreau , to Kenny Loggins . 

You had these guys who were obviously really, really amazing at what they did, but they were friends and they had fun and they were making music all the time. Those guys are doing it every day, day in and day out. With all the talent that they had, and all the great people that they had to work with — the great studios, and the great engineers, and the great arrangers — that's why the music sounds so money, because everybody was at the height of their powers.

There was never pop music that was so musical and accomplished, and that sophisticated, that was on the radio. Steely Dan is the perfect example: They made this really, really sarcastic music, almost like they were the smartest people in the room and maybe had a slight bit of contempt for you. But their songs were on the radio and you were singing along and they had the best musicians. And that's a rare thing. It doesn't exist anymore.

Andy, are there any records that really inspired you, particularly from a songwriting perspective?

Platts: Young Gun Silver Fox was started by Shawn. I think he harbored a desire to start making music that referenced this time at some point because it's so deep within him. He came up when that s— was on the radio. One of the great exciting things about this project is that I've been introduced to a whole load of s— that was kind of second nature to Shawn. I hadn't heard, for example, "Biggest Part Of Me" by Ambrosia. And when Shawn played me that, I was like, f—ing hell that's awesome. Absolutely awesome.

I read that "Moonshine" from Ticket To Shangri-La   was co-written with prolific songwriter/Heatwave member Rod Temperton. How did that come about?

Platts: In 2005 I got to score my first ever publishing deal, and they were keen to develop me as an artist. They're like, "We like your songwriting style, we like what you're doing, but you just need to put in the hours and do some wood shedding. Is there anyone you want to work with?" 

I'd spent the previous three years going around the world working with loads and loads of pop people. There are people who are really good at doing that and write fantastic songs, but that's just not the environment that I wanted to be in. I knew that I wanted to be educated in a different way, I think by osmosis.

I spent two days and nights with [Temperton] at his place in Topanga, just hanging out, smoking a lot of Marlboro Reds. Talking and listening, and working on a track together. We created this horrifically sounding '80s demo; it epitomized the worst of the '80s in one production. I knew it was a wicked song, so some 20 years later, Shawn had heard it and he said, "Look, this could work."

He came back with this whole production around my vocal and Rhodes that really did justice to the song, to the spirit of Rod's writing, to where we were with Young Gun Silver Fox. We quickly released it as a little limited edition seven inch, and it just flew. 

Lee: It was an amazing opportunity to be part of that legacy in my own way just to put myself into that scenario. And I definitely felt the responsibility that I had to do it justice. 

As somebody who writes about revivals quite a bit, I cringe asking this question: How do you not exhaust this fairly specific sound, both as performers and with audiences?

Platts: It's a narrow timeline and pool of music and style if you're looking at it from the outside in. [But there's] the fact that it can cross from white bread, straight-down-the-line pop rock to deep gospel and everything in between. It gives you a lot to play with. But we do just sound like ourselves.

Back then — whether it's Michael McDonald or Hall and Oates or whoever — there was a lot of angst, heartbroken love songs. There's a lot of men baring their feelings, which is fine, but I don't think we're treading a lot of those same lyrical things. The first song on Ticket to Shangri-La is capturing a portrait of an old couple who is still in love after all these years. "Sierra Nights" is a song which tries desperately to capture the novel Don Quixote in a song.

Lee: I think it's an interesting thing that happens when you understand you've cultivated the sound which is yours. There's a structure now, and that actually frees you up because you concentrate on other things. You are augmenting what you've already done. And it's great, man. It's like having some stability. It's a strong anchor to work off of.

I think now we just have to sound like the best versions of ourselves, to write the best songs, make the best records. And I think that's the kind of thing that Andy and I really thrive on, always doing something better than we've done before.

Are you working on anything right now that you can detail?

Lee: It's in progress. We don't really talk about what we do. We just kind of do it. The first record, we almost didn't talk the whole time that we did it. It was completely autonomous. 

I think four albums in, we kind of understand what we're doing now and that's a double-edged sword. Sometimes it's like, I feel like we could always make a good record without putting a lot of effort into it. It would take care of itself. But I think the idea is that you want to feel like, hey man, we broke through another wall with this .

You [have] got to aspire to greatness. Whether or not you ever achieve it, even if you achieve it for a moment.

Platts: If you're not trying to kick it with the very best who've ever done it, what's the point? You absolutely want to go shoulder-to-shoulder with anyone who's ever done it. That's definitely a big part of the criteria. To be able to keep doing it is one, to get better at doing it is the other. And between those three criteria, you've got success. 

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Photo: Chris Casella

On The Melvins' 'Tarantula Heart,' Buzz Osborne Continues His Idiosyncratic Calling: "I Don't Want To Do Anything Normal"

Kicking out bassists, flipping the script on drummers, beating up drunks: no conversation with the razor-sharp Buzz Osborne is going to be conventional. And the Melvins' gloriously strange new album, 'Tarantula Heart,' is a boon to off-center music fans.

"I will answer any and all questions. Just, a lot of times, people don't like my answers."

So goes Buzz Osborne — the long-reigning King Buzzo, of cult heavies the Melvins — halfway through a hair-raising, hour-long interview. He had a catbird seat to the exhilarating rise and tragic fall of the grunge era; for some, his brutal honesty in that regard might be a liability.

"That's just Buzz," said his old friend Krist Novoselic of Nirvana , after Osborne virally disparaged the documentary Kurt Cobain: Montage of Heck as "90 percent... bulls—." "He's always been like that, but we love him so we just accept him for that. He's always had these opinions. Like, 'Oh, there goes Buzz again.'"

There he goes again, indeed. But Osborne's honesty is just that — honesty. Go ahead and scour his interviews; try to catch him in a lie, or a half-truth, about anything he's lived through.

"I wasn't wrong then, I'm not wrong now. I was misunderstood then, and I'm going to continue to be misunderstood," Osborne tells GRAMMY.com of the old days, when he watched his friends in Nirvana and Soundgarden grow from nothing to dominate the earth. "But that's OK, it's part of the deal."

Unlike either act, Osborne has always been 100 percent opposed to conventional notions of rock stardom. (Cobain seemed hot and cold on the matter.) He doesn't drink or take drugs. He's been married to the same woman forever. "I live a conservative life, and I let my wildness come out of my art," Osborne explains.

And while Tarantula Heart might not necessarily grow his cult fanbase, it's one of the wildest things Osborne's made — and that alone makes it worth celebrating and cherishing.

The Melvins' 27th studio album (Osborne estimates the total to be over 30, so perhaps it depends on how you count) is rife with off-kilter, pummeling tracks like "Working the Ditch," "She's Got Weird Arms" and "Smiler."

Therein, Osborne shows he can still throw a wrench in the works when things threaten to become predictable, and come up with profoundly idiosyncratic and ineffably satisfying art. (How he recorded the drums alone is fascinating — and by some standards, backwards.)

Read on to learn how Tarantula Heart was made, living with Kurt Cobain 's distorted public shadow, which of his grunge-era contemporaries he still talks to, and much more.

This interview has been edited for clarity.

I'll admit that I haven't heard every Melvins album. But Tarantula Heart still strikes me as a high watermark in the discography.

Well, I don't think anybody has heard our entire catalog.

I probably have. I would say that I guarantee you Steven [Shane McDonald]'s never listened to all of our records. The guy who plays bass for us. I really, seriously doubt it. I doubt that [former bassist] Kevin Rutmanis has ever listened to all of our records. I can't imagine that the Big Business guys listened to all our records. It's too much for anybody to take in. I don't expect people to do that.

At any rate, how do you keep your artistry so fresh and inspired?

I stay inspired by thinking — moving my feet. After 30-plus albums, I am always looking for something that's going to inspire me in a new way. I don't really have much interest in going back and making records the way that I did 30 years ago, or 15 years ago.

There's really no template for how you guys do things, is there?

No, there's no template. I don't want to do anything normal. Nothing. I'm an accidentalist, I'd say, by 50 percent. And the other 50 percent is making sure that you are not throwing out the good stuff with the bad stuff. 

Also, as time has gone on, I've realized that my tolerance for lots of stuff is a lot higher than most people are capable of dealing with. I can listen to long, drawn-out stuff, and I always could, but I realized in my music, I always held back a little bit on it. Then, I realized, Well, I don't need to do that. I can do whatever I want. I can view albums the way that I want to.

One of my favorite albums for that kind of thing is Heathen Earth by Throbbing Gristle . That's been a huge inspiration on what I've done for a long time. Or early Swans . I mean, we were never going to sell millions of records. All we were going to do was make music that, because I felt like I had good taste, there'd be other people that would like it. It probably won't be millions, but it'll be enough.

Those kinds of inspirations [are] very exciting for me. And I expect people not to understand it, but that's the way it's always been.

We did this record in such a weird fashion. I knew that I needed to tell people how we did it, but…once they knew, they would say, "That's what it sounds like." They'd piss all over it.

You know how many times I have been told what I should do in the last 41 years? It's like if I listened to all this good advice, I'd be sitting here with nothing.

You characterized yourself as an "accidentalist." Give me a couple of great accidents on Tarantula Heart.

Well, one of them was accidentally figuring out how we were going to do this record. Because that's not how we recorded the drums originally. I didn't know that's what we were going to do. I just accidentally stumbled on it while listening to the demos or the rough mixes of all the jams that we made.

So, we would have a basic riff that we could jam to with the drummers. We recorded for about 15 minutes, 20 minutes, maybe a few minutes into it, the drummers would lock up into something. And I realized when I was listening back to [the demos] that they did something interesting for this little six-minute section or eight-minute section, and then they kind of lost it.

Then, I would take that section, and write a riff to it that had nothing to do with the original riff that was on it. The first one I did was "Allergic to Food," I think. And then I put vocals on it and then I realized I could do the whole record like this. The drums are playing along with stuff that's not now on there. So, all their accents and all the way that they're playing isn't the way they would've done it, had we rehearsed it or something like this.

So, I got something out of it that's brand new.

That's the epitome of a happy accident.

I just accidentally stumbled upon this thing that might work, let me try doing the whole record like that. And it worked. But I don't know, I couldn't do it again, because now they'd be suspicious of it and they might play in a way that wasn't as free as the way they played. So, it's probably a one-time-only.

There's a song we did a long time ago called "The Bloated Pope," and there's a stumbly-sounding drum intro. Dale [Crover] made a mistake. I went, "Leave that in there. That's really cool." Now, that's the intro. It sounds intentional. That's how we play it now. But it was a mistake.

You mentioned Kevin Rutmanis. Do you keep in touch with old members of the Melvins?

I'm still really good friends with Kevin. Let me think. Mark [Deutrom], no. Lori [Black], no. Jeff Pinkus… I'm going to do a big acoustic tour starting in August with Trevor Dunn, who's also played with us. Jeff Pinkus is doing all the U.S. touring, and we're trying to get him on the European end of it. So, I talk to both Trevor and him a lot.

Matt [Lukin] from Mudhoney — no, not in the least.

I didn't know stuff wasn't cool with Matt. I just knew he played on the first Melvins album, Gluey Porch Treatments.

Oh, no, I don't get along with him at all. I haven't liked him since I was in high school. He's a very toxic human being. He wasn't a very good player, and I just found him irritating and counterproductive. I've not looked back one minute, nor have I regretted any part of not having him in my life.

He can do or say whatever he wants. I don't give a s—. That's nothing new. It's not like that's a new revelation. Look, hardly anybody in the world even knows who he is. You're one of the first people that's even brought him up.

That's surprising, as Pearl Jam named a song after him. It's not a hit, but fans know it.

Yeah, well, if Eddie wants to think he's a great guy, then so be it. Better him than me.

How about your other contemporaries, like the other members of Mudhoney?

Oh, I get along with those guys great. I would love to do a recording with all the Mudhoney guys.

Mark [Arm], especially, is someone I've known since the very early '80s. I learned a lot of stuff about bands and music that I never knew before. He turned me on to lots of stuff that I was very excited about, like Foetus and the Birthday Party — just a host of bands.

I always viewed him as somebody who was really smart — really fun to be around. He and Steve Turner know more about music than anyone I've ever been around.

I’d like to broach this as sensitively as possible: April 5 marked the 30th anniversary of your old friend Kurt's passing. How have you dealt with the endless flattening and deification of a person you knew as flesh and blood?

It's very weird. It's not the kind of thing you get over. People tend to want me to look at it like the good old days, but to me, heroin addiction and death, it's hard to romanticize that. I'm not going to get over it anytime soon. I don't know that I ever will.

Part of me also thinks that, yeah, I turned him onto music and got him interested in all this stuff, and it's like maybe if I hadn't, he wouldn't be dead. So it's a weird position to be in.

I hope that doesn't bedevil you too much. That's a massive weight to carry — one that you didn't ask for.

I mean, at some point, you just have to move on. And musical ideas that I had, other people took, and it changed music on a global level. So I wasn't wrong about what I originally thought, and I'm happy to have that be the case, and I'll just move forward with the same attitude I did then.

I wasn't wrong then, I'm not wrong now. I was misunderstood then, and I'm going to continue to be misunderstood, but that's OK, it's part of the deal. I'm OK with that.

It's your lot in life.

That's all right. I mean, I make my living as a musician. That's all I ever wanted. So no one could have guessed any of that stuff would happen.

I mean, the Nirvana guys and the Soundgarden guys — those are rags-to-riches stories.Those guys, especially the Nirvana guys, had nothing. And if you look at the guys in Soundgarden, those people all come from nothing. Zero.

So, it's been exciting to watch people you're so fond of become successful and have that kind of thing happen and say that you were an influence on what they were doing. Great.

But when you're handed that kind of responsibility and those kinds of keys, you need to work harder than you ever have. You just need to keep doing this good work. And that's what I've tried to do for the next 35, 40 years.

*The Melvins in 1991 (L-R: Dale Crover, Buzz Osborne, then-bassist Lori Black). Photo: David Corio/Redferns*

It feels so unfair what happened to you guys. You were kids from the sticks — and to varying degrees, you were all thrown into this ruthless celebrity grinder.

Oh, yeah. It's easy to avoid that stuff. I'm not going to any industry parties. I never have. I don't want to do that kind of stuff. I've always shied away from it, because I'm not comfortable there.

I don't think it's wrong for everyone, but it's wrong for me. I'd rather just do my work and let that be the end of it. I'm not good at networking. I'm not good at outselling myself to people who may not give a s—.

I've been in L.A. for 30-plus years and most people in the industry don't even know I'm there. They still say, "Oh, so you live in the Northwest?" I go, "Well, I left there in '86, '87." And in L.A., you're far more likely to see me at a municipal golf course than at a rock and roll show.

At this point, I only go to rock and roll shows if I'm getting paid to be there. They're not fun for me. I end up in the audience talking to a bunch of drunks. That's not fun for me. Drunks are only fun if you're drunk.

And I appreciate everybody who comes to our shows, but I don't have fun at live shows myself as an audience member. I'm in those places all the time, and I don't want to put myself in a position where I'm going to have to punch someone in the mouth. It's not a good place for me to be, so I avoid it.

That's unfortunate, but I know exactly how I am. If you push me far enough. I'll beat the living f—ing s— out of you. And I don't fight fair. I don't. I grew up in a redneck town. I fought all the time. I'll kick you right in the nuts and then lay your head open.

I get to see enough shows. We did a tour last year with Boris, and we played some shows with We Are the Asteroid and Taipei Houston, who are really good. On stage, I'll get to watch Trevor Dunn play every night. I'm not feeling unfulfilled in a live music type of way at all.

I'm sure your intense work ethic also stems from your upbringing.

Suffering and working a s— job and all those kinds of things — I don't know that that ever made my music better, but it did give me an understanding of how important things like hard work are.

I think it's kind of a tragedy that teenagers don't work more. I always enjoyed working when I was a teenager. I wanted a job. I wanted to do things like that. I think that working hard is something that people should do. I couldn't wait to get a car. I couldn't wait to be mobile, and be my own person.

I've only ever been around my family situation, around people who had to work, so I don't know anything else. I don't know what it's like to live some bourgeois life where work is just not important. Unless you plan on inheriting a lot of money, I don't know how else it's going to work out for you.

I went to school and went to a job after school, got home by about 9 or 10 at night, and went and did the whole thing over again. I never had a problem with that. You don't do the work, you don't get the money. That's just how it works. So this whole idea that teenagers don't work anymore hardly in the US anyway, I think is just kind of absurd.

Before we go, give me a line from the album that you believe in with your whole heart.

"I'm about to make you happy."

What's that mean to you?

It could be the truth. It could be a lie.

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Photo: Kevin Mazur/TCA 2008/WireImage/Getty Images

Disney's Golden Age Of Pop: Revisit 2000s Jams From Miley Cyrus, Selena Gomez & More

As Disney Music Group celebrates its defining era of superstars and franchises, relive the magic of the 2000s with a playlist of hits from Hilary Duff, Jesse McCartney and more.

"...and you're watching Disney Channel!" For anyone who grew up in the 2000s, those five words likely trigger some pretty vivid imagery: a glowing neon wand, an outline of Mickey Mouse's ears, and every Disney star from Hilary Duff to the Jonas Brothers . 

Nearly 20 years later, many of those child stars remain instantly recognizable — and often mononymous — to the millions of fans who grew up with them: Miley Cyrus , Selena Gomez and Demi Lovato . Nick , Kevin and Joe . 

Each of those names has equally memorable music attached to it — tunes that often wrap any given millennial in a blanket of nostalgia for a time that was, for better or for worse, "So Yesterday." And all of those hits, and the careers that go with them, have the same starting point in Hollywood Records, Disney Music Group's pop-oriented record label.

This time in Disney's history — the core of which can be traced from roughly 2003 to 2010 — was impactful on multiple fronts. With its music-oriented programming and multi-platform marketing strategies, the network launched a procession of teen idols whose music would come to define the soundtrack to millennials' lives, simultaneously breaking records with its Disney Channel Original Movies, TV shows and soundtracks.

Now, two decades later, Disney Music Group launched the Disney 2000s campaign, honoring the pivotal, star-making era that gave fans a generation of unforgettable pop music. The campaign will last through August and lead directly into D23 2024: The Ultimate Fan Event with special vinyl releases of landmark LPs and nostalgic social media activations occurring all summer long. April's campaign activation was Disney 2000s Weekend at the El Capitan Theatre in Hollywood, which featured special screenings of 2008's Hannah Montana & Miley Cyrus: Best of Both Worlds Concert and 2009's Hannah Montana: The Movie and Jonas Brothers: The 3D Concert Experience .

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But before Miley and the JoBros, Hollywood Records' formula for creating relatable (and bankable) teen pop stars began with just one name: Hilary Duff. At the time, the bubbly blonde girl next door was essentially the face of the network thanks to her starring role in "Lizzie McGuire," and she'd just made the leap to the big screen in the summer of 2003 with The Lizzie McGuire Movie . In her years with Disney, Duff had dabbled in recording songs for Radio Disney, and even released a Christmas album under Buena Vista Records. However, her first album with Hollywood Records had the potential to catapult her from charming tween ingénue to bonafide teen pop star — and that's exactly what it did.

Released on August 26, 2003, Duff's Metamorphosis sold more than 200,000 copies in its first week and debuted at No. 2 on the Billboard 200. The following week, the bubblegum studio set performed the rare feat of rising from No. 2 to No. 1, making the then-16-year-old Duff the first solo artist under 18 to earn a No. 1 album since Britney Spears .

The album's immediate success was no fluke: Within a matter of months, Metamorphosis had sold 2.6 million copies. Music videos for its radio-friendly singles "So Yesterday" and "Come Clean" received constant airplay between programming on the Disney Channel. (The latter was eventually licensed as the theme song for MTV's pioneering teen reality series "Laguna Beach: The Real Orange County," giving it an additional boost as a cultural touchstone of the early '00s.) A 33-date North American tour soon followed, and Hollywood Records officially had a sensation on their hands. 

Naturally, the label went to work replicating Duff's recipe for success, and even looked outside the pool of Disney Channel stars to develop new talent. Another early signee was Jesse McCartney. With a soulful croon and blonde mop, the former Dream Street member notched the label another big win with his 2004 breakout hit "Beautiful Soul."

" When 'Beautiful Soul' became the label's first No. 1 hit at radio, I think that's when they really knew they had something," McCartney tells GRAMMY.com. "Miley [Cyrus] and the Jonas Brothers were signed shortly after that success and the rest is history.

"The thing that Disney really excelled at was using the synergy of the channel with promoting songs at pop," he continues. "I did appearances on 'Hannah Montana' and 'The Suite Life of Zack & Cody' and my music videos were pushed to Disney Channel. The marketing was incredibly brilliant and I don't think there has been anything as connected with an entire generation like that since then."

By 2006, Disney had nearly perfected its synergistic formula, continually launching wildly popular tentpole franchises like High School Musical and The Cheetah Girls , and then giving stars like Vanessa Hudgens and Corbin Bleu recording contracts of their own. (Curiously, the pair's HSM co-star Ashley Tisdale was never signed to Hollywood Records, instead releasing her first two solo albums with Warner.) 

Aly Michalka showed off her vocal chops as sunny girl next door Keely Teslow on "Phil of the Future," and fans could find her off-screen as one half of sibling duo Aly & AJ. In between their 2005 debut album Into the Rush and its electro-pop-charged follow-up, 2007's Insomniatic , Aly and her equally talented younger sister, AJ, also headlined their own Disney Channel Original Movie, Cow Belles . (Duff also helped trailblaze this strategy with her own early DCOM, the ever-charming Cadet Kelly , in 2002, while she was simultaneously starring in "Lizzie McGuire.")

Even after years of proven success, the next class of stars became Disney's biggest and brightest, with Miley Cyrus, Selena Gomez, Demi Lovato and the Jonas Brothers all joining the network — and record label — around the same time. "Hannah Montana" found Cyrus playing a spunky middle schooler by day and world-famous pop star by night, and the network leveraged the sitcom's conceit to give the Tennessee native (and daughter of '90s country heartthrob Billy Ray Cyrus ) the best of both worlds. 

After establishing Hannah as a persona, the series' sophomore soundtrack introduced Miley as a pop star in her own right thanks to a clever double album that was one-half Hannah's music and one-half Miley's. It's literally there in the title: Hannah Montana 2: Meet Miley Cyrus .

From there, Cyrus' stardom took off like a rocket as she scored back-to-back No.1 albums and a parade of Top 10 hits like "See You Again," "7 Things," "The Climb," "Can't Be Tamed," and the ever-so-timeless anthem "Party in the U.S.A."

At the same time, Gomez had top billing on her own Disney Channel series, the magical (but less musical) "Wizards of Waverly Place." That hardly stopped her from launching her own music career, though, first by fronting Selena Gomez & the Scene from 2008 to 2012, then eventually going solo with the release of 2013's Stars Dance after the "Wizards" finale aired.

For her part, Lovato — Gomez's childhood bestie and "Barney & Friends" costar — got her big break playing Mitchie Torres in Camp Rock alongside the Jonas Brothers as fictional boy band Connect 3, led by Joe Jonas as the swaggering and floppy-haired Shane Gray. Much like Duff had five years prior in the wake of The Lizzie McGuire Movie , Lovato released her debut solo album, 2008's Don't Forget, just three months after her DCOM broke records for the Disney Channel. 

Building off their chemistry from the movie musical, nearly the entirety of Don't Forget was co-written with the Jonas Brothers, who released two of their own albums on Hollywood Records — 2007's Jonas Brothers and 2008's A Little Bit Longer — before getting their own short-lived, goofily meta Disney series, "Jonas," which wrapped weeks after the inevitable Camp Rock sequel arrived in September 2010.

As the 2000s gave way to the 2010s, the Disney machine began slowing down as its cavalcade of stars graduated to more grown-up acting roles, music and careers. But from Duff's Metamorphosis through Lovato's 2017 LP, Tell Me You Love Me , Hollywood Records caught lightning in a bottle again and again and again, giving millennials an entire generation of talent that has carried them through adulthood and into the 2020s.

To commemorate the Disney 2000s campaign, GRAMMY.com crafted a playlist to look back on Disney's golden age of pop with favorite tracks from Hilary Duff, Vanessa Hudgens, the Jonas Brothers, Miley Cyrus and more. Listen and reminisce below.

Photo: Courtesy of Abby Sage

Press Play: Watch Abby Sage Feed Her “Hunger” In This Acoustic Performance Of Her Single

Rising indie star Abby Sage performs “Hunger,” an unapologetic track about sexual liberation from her debut album, ‘The Rot.’

With "Hunger," rising indie star Abby Sage takes autonomy of her body. It’s a story of shameless self-discovery as she submits to her natural desires while simultaneously breaking down the toxic ideas she learned about sex in her adolescence.

"Feed my hunger/ No shame, I'm just a beginner," she croons in the chorus. "It's my own wonder/ Don't press, I'm just a beginner."

In this episode of Press Play , watch Sage deliver an acoustic performance of the single from her debut album, The Rot , which she released on March 1. According to a statement, the project is largely about "the decomposition and reconstruction of everything I was taught," including sex, anxiety, and more.

Sage said "Hunger" is "the most important song to me on the album" adding, "I wish I heard a song like this when I was first exploring my sexuality and my sexual journey, and for that reason, I hope it reaches people."

This May, Sage will embark on an international tour that begins in Los Angeles and concludes in London, with support from gglum, spiderblush, and Jayla Kai.

Watch the video above to hear Abby Sage's empowering performance of "Hunger," and remember to check back to GRAMMY.com for more new episodes of Press Play .

Watch Genia Narrate The Pain Of Heartbreak In This Raw Performance Of "Dear Life" | Press Play

Photo: ROBYN BECK/AFP via Getty Images

11 Artists Who Influenced Taylor Swift: Joni Mitchell, Stevie Nicks, Tim McGraw & More

From Paul McCartney to Paramore, Emily Dickinson and even "Game of Thrones," read on for some of the major influences Taylor Swift has referenced throughout her GRAMMY-winning career.

As expected, much buzz followed the release of Taylor Swift 's 11th studio album, The Tortured Poets Department , on April 19. Fans and critics alike have devoured the sprawling double album’s 31 tracks, unpacking her reflections from "a fleeting and fatalistic moment in time" in search of Easter eggs, their new favorite lyrics and references to famous faces (both within the pop supernova’s closely guarded orbit and the historical record). 

Shoutouts abound in The Tortured Poets Department : Charlie Puth gets his much-deserved (and Taylor-approved) flowers on the title track, while 1920s screen siren Clara Bow, the ancient Greek prophetess Cassandra and Peter Pan each get a song titled after them. Post Malone and   Florence + the Machine ’s Florence Welch each tap in for memorable duets. Relationships old (Joe Alwyn), new (Travis Kelce) and somewhere in between (1975’s Matty Healy) are alluded to without naming names, as is, possibly, the singer’s reputation -era feud with Kim Kardashian. 

Swift casts a wide net on The Tortured Poets Department , encompassing popular music, literature, mythology and beyond, but it's far from the first time the 14-time GRAMMY winner has worn her influences on her sleeve. While you digest TTPD , consider these 10 figures who have influenced the poet of the hour — from Stevie Nicks and Patti Smith to Emily Dickinson, William Wordsworth, Arya Stark and more.

Stevie Nicks

If Taylor Swift is the chairman of The Tortured Poets Department , Stevie Nicks may as well be considered its poet laureate emeritus. The mystical Fleetwood Mac frontwoman earns an important mention on side A closer "Clara Bow," in which Swift ties an invisible string from herself to a pre- Rumours Nicks ("In ‘75, the hair and lips/ Crowd goes wild at her fingertips"), and all the way back to the 1920s It Girl of the song’s title.

For her part, Nicks seems to approve of her place in Swift’s cultural lineage, considering she penned the poem found inside physical copies of The Tortured Poets Department . "He was in love with her/ Or at least she thought so," the Priestess of Rock and Roll wrote in part, before signing off, "For T — and me…"

Swift’s relationship with Nicks dates back to the 2010 GRAMMYs, when the pair performed a medley of "Rhiannon" and "You Belong With Me " before the then-country upstart took home her first Album Of The Year win for 2009’s Fearless . More recently, the "Edge of Seventeen" singer publicly credited Swift’s Midnights cut "You’re On Your Own, Kid" for helping her through the 2022 death of Fleetwood Mac bandmate Christine McVie .

Patti Smith

Swift may see herself as more "modern idiot" than modern-day Patti Smith, but that didn’t stop the superstar from name-dropping the icon synonymous with the Hotel Chelsea and punk scene of ‘70s New York on a key track on The Tortured Poets Department . Swift rather self-deprecatingly compares herself to the celebrated Just Kids memoirist (and 2023 Songwriters Hall of Fame nominee) on the double album’s synth-drenched title track, and it’s easy to see how Smith’s lifelong fusion of rock and poetry influenced the younger singer’s dactylic approach to her new album. 

Smith seemed to appreciate the shout-out on "The Tortured Poets Department" as well. "This is saying I was moved to be mentioned in the company of the great Welsh poet Dylan Thomas. Thank you Taylor," she wrote on Instagram alongside a photo of herself reading Thomas’ 1940 poetry collection Portrait of the Artist as a Young Dog .

Emily Dickinson

When it comes to iconic poets, Swift has also taken a page or two over her career from Emily Dickinson. While the great 19th century poet hasn’t come up explicitly in Swift’s work, she did reference her poetic forebear (and actual sixth cousin, three times removed !) in her speech while accepting the award for Songwriter-Artist of the Decade at the 2022 Nashville Songwriter Awards.

"I’ve never talked about this publicly before, because, well, it’s dorky. But I also have, in my mind, secretly, established genre categories for lyrics I write. Three of them, to be exact. They are affectionately titled Quill Lyrics, Fountain Pen Lyrics and Glitter Gel Pen Lyrics," Swift told the audience before going on to explain, "If my lyrics sound like a letter written by Emily Dickinson’s great-grandmother while sewing a lace curtain, that’s me writing in the Quill genre," she went on to explain.

Even before this glimpse into Swift’s writing process, Easter eggs had been laid pointing to her familial connection to Dickinson. For example, she announced her ninth album evermore on December 10, 2020, which would have been the late poet’s 190th birthday. Another clue that has Swifties convinced? Dickinson’s use of the word "forevermore" in her 1858 poem "One Sister Have I in Our House," which Swift also cleverly breaks apart in Evermore ’s Bon Iver-assisted title track ("And I couldn’t be sure/ I had a feeling so peculiar/ That this pain would be for/ Evermore").

The Lake Poets

Swift first put her growing affinity for poetry on display during her folklore era with "the lakes." On the elegiac bonus track, the singer draws a parallel with the Lake Poets of the 19th century, wishing she could escape to "the lakes where all the poets went to die" with her beloved muse in tow. In between fantasizing about "those Windermere peaks" and pining for "auroras and sad prose," she even manages to land a not-so-subtle jab at nemesis Scooter Braun ("I’ve come too far to watch some name-dropping sleaze/ Tell me what are my words worth") that doubles as clever wordplay on the last name of Lake Poet School members William and Dorothy Wordsworth.

Swift revealed more about why she connected to the Lake Poets in her 2020 Disney+ documentary folklore: the long pond studio sessions . "There was a poet district, these artists that moved there. And they were kind of heckled for it and made fun of for it as being these eccentrics and these kind of odd artists who decided that they just wanted to live there," she explained to her trusted producer Jack Antonoff . "So ‘the lakes,’ it kind of is the overarching theme of the whole album: of trying to escape, having something you wanna protect, trying to protect your own sanity and saying, ‘Look, they did this hundreds of years ago. I’m not the first person who’s felt this way.’"

Paul McCartney

Paul McCartney and Swift have publicly praised one another’s work for years, leading to the 2020 Rolling Stone cover they posed for together for the special Musicians on Musicians issue . The younger singer even counts Sir Paul’s daughter Stella McCartney as a close friend and collaborator (Stella designed a capsule collection for Swift’s 2019 studio set Lover and earned a shout-out of her own on album cut "London Boy").

However, Swift took her relationship with the Beatles founder and his family a step further when it was rumored she based Midnights deep cut "Sweet Nothing" on McCartney’s decades-long romance with late wife Linda. While the speculation has never been outright confirmed, it appears Swift’s lyrics in the lilting love song ("On the way home, I wrote a poem/ You say, ‘What a mind’/ This happens all the time") were partially inspired by a strikingly similar quote McCartney once gave about his relationship with Linda, who passed away in 1998. To add to the mystique, the Midnights singer even reportedly liked a tweet from 2022 espousing the theory.  

The admiration between the duo seems to go both ways as well, with the former Beatle admitting in a 2018 BBC profile that the track "Who Cares" from his album Egypt Station was inspired by Swift’s close relationship with her fans.

From her days as a country music ingénue to her ascendance as the reigning mastermind of pop, Swift has credited the Chicks as a seminal influence in her songwriting and career trajectory. (Need examples? Look anywhere from early singles like "Picture to Burn" and "Should’ve Said No" to Evermore ’s Haim-assisted murder ballad "no body, no crime" and her own Lover -era collab with the band, "Soon You’ll Get Better.") 

In a 2020 Billboard cover story tied to the Chicks’ eighth album Gaslighter , Swift acknowledged just how much impact the trio made on her growing up. "Early in my life, these three women showed me that female artists can play their own instruments while also putting on a flamboyant spectacle of a live show," she said at the time. "They taught me that creativity, eccentricity, unapologetic boldness and kitsch can all go together authentically. Most importantly, they showed an entire generation of girls that female rage can be a bonding experience between us all the very second we first heard Natalie Maines bellow ‘that Earl had to DIE.’"

"Game of Thrones"

When reputation dropped in 2017, Swift was on a self-imposed media blackout, which meant no cover stories or dishy sit-down interviews on late-night TV during the album’s roll-out. Instead, the singer let reputation speak for itself, and fans were largely left to draw their own conclusions about their queen’s wildly anticipated comeback album. Two years later, though, Swift revealed the dark, vengeful, romantic body of work was largely inspired by "Game of Thrones."

"These songs were half based on what I was going through, but seeing them through a 'Game of Thrones' filter," she told Entertainment Weekly in 2019. "My entire outlook on storytelling has been shaped by ["GoT"] — the ability to foreshadow stories, to meticulously craft cryptic story lines. So, I found ways to get more cryptic with information and still be able to share messages with the fans. I aspire to be one one-millionth of the kind of hint dropper the makers of 'Game of Thrones' have been."

Joni Mitchell

Swift has long made her admiration of Joni Mitchell known, dating back to her 2012 album Red , which took a cue from the folk pioneer’s landmark 1971 LP Blue for its chromatic title. In an interview around the time of Red ’s release, the country-pop titan gushed over Blue ’s impact on her, telling Rhapsody, "[Mitchell] wrote it about her deepest pains and most haunting demons. Songs like ‘River,’ which is just about her regrets and doubts of herself — I think this album is my favorite because it explores somebody’s soul so deeply."

Back in 2015, TIME declared the "Blank Space" singer a "disciple of Mitchell in ways both obvious and subtle" — from her reflective songwriting to the complete ownership over her creative process, and nearly 10 years later, Swift was still showing her appreciation for Mitchell after the latter’s triumphant and emotional appearance on the GRAMMY stage to perform "Both Sides Now" on the very same night Taylor took home her historic fourth GRAMMY for Album Of The Year for Midnights .

Fall Out Boy & Paramore

When releasing the re-recording of her third album Speak Now in 2023, Swift cited two unexpectedly emo acts as inspirations to her early songwriting: Fall Out Boy and Paramore . 

"Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she wrote in an Instagram post revealing the back cover and complete tracklist for Speak Now (Taylor’s Version) , which included Fall Out Boy collaboration "Electric Touch" and "Castles Crumbling" featuring Paramore frontwoman Hayley Williams .

For one of Swift’s original career inspirations, we have to go all the way back to the very first single she ever released. "Tim McGraw" was not only as the lead single off the 16-year-old self-titled 2006 debut album, but it also paid reverent homage to one of the greatest living legends in the history of country music. 

In retrospect, it was an incredibly gutsy risk for a then-unknown Swift to come raring out of the gate with a song named after a country superstar. But the gamble clearly paid off in spades, considering that now, when an entire generation of music fans hear "Tim McGraw," they think of Taylor Swift.

Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album

• 1 Young Gun Silver Fox On Staying True To The West Coast Sound While Creating Their Own Shangri-La
• 2 On The Melvins' 'Tarantula Heart,' Buzz Osborne Continues His Idiosyncratic Calling: "I Don't Want To Do Anything Normal"
• 3 Disney's Golden Age Of Pop: Revisit 2000s Jams From Miley Cyrus, Selena Gomez & More
• 4 Press Play: Watch Abby Sage Feed Her “Hunger” In This Acoustic Performance Of Her Single
• 5 11 Artists Who Influenced Taylor Swift: Joni Mitchell, Stevie Nicks, Tim McGraw & More

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• June 20, 2023 Setlist

Young Gun Silver Fox Setlist at Paradiso Grote Zaal, Amsterdam, Netherlands

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• Still Got It Goin' On Play Video
• Kids Play Video
• West Side Jet Play Video
• Midnight in Richmond Play Video
• Long Distance Love Affair Play Video
• Rolling Back Play Video
• You Can Feel It Play Video
• Sierra Nights Play Video
• Mojo Rising Play Video
• Moonshine Play Video
• Baby Girl Play Video
• Simple Imagination Play Video
• Long Way Back Play Video
• Love Guarantee Play Video
• Underdog Play Video
• Lenny Play Video
• Lolita Play Video
• Tip of the Flame Play Video
• Kingston Boogie Play Video

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3 activities (last edit by magnix , 30 Sep 2023, 08:55 Etc/UTC )

Songs on Albums

• Kingston Boogie
• Love Guarantee
• Midnight in Richmond
• Mojo Rising
• Rolling Back
• Sierra Nights
• Simple Imagination
• Still Got It Goin' On
• Tip of the Flame
• West Side Jet
• Long Distance Love Affair
• Long Way Back
• You Can Feel It

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Young Gun Silver Fox Gig Timeline

• Mar 14 2023 Lincoln Hall Chicago, IL, USA Add time Add time
• Mar 21 2023 The Independent San Francisco, CA, USA Add time Add time
• Jun 20 2023 Paradiso Grote Zaal This Setlist Amsterdam, Netherlands Start time: 8:35 PM 8:35 PM
• Jun 22 2023 Poppodium 013 Tilburg, Netherlands Add time Add time
• Jun 23 2023 Zuiderparktheater The Hague, Netherlands Add time Add time

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Tuesday 28 February 2023

Young Gun Silver Fox

Discover more in Cologne

Ehrenfeldgürtel 127 50823 Cologne, Germany artheater.de/

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