Source: http://www.writeinstyle.com/keithurban/bio.html Keith says he learned to play guitar as a six-year-old in Australia, when a young woman wanted to place an ad in his dad's shop window offering guitar lessons. His parents made a deal with her that they would advertise in return for lessons for their young son. He had a natural ability and young Keith was winning talent shows by the time he was 8. He also was involved in a youth acting company which required him to sing, dance and memorize lines, all of which led to an ease on stage that would serve him well in his music career. With a father who was deeply interested in American culture and country music, it was natural that Keith would gravitate towards country music early on, when he was influenced by the singing of Glen Campbell, Dolly Parton and Don Williams, and the songwriting of Jimmy Webb (Galveston). As a teenager already playing club gigs with a band, he became interested in the guitar playing of rock stars like Dire Straits' Mark Knopfler and Fleetwood Mac's Lindsey Buckingham, and after in-depth study of their techniques and endless practice, Keith brought those influences to his own music. The resulting unique style of blending country music with rock-style guitar (which he sometimes refers to as "funktry") brought him success in Australia, where he charted three #1 singles and had a successful solo album. All along Keith knew that to be a real success in country music he would have to go to America. He made several trips to Nashville in the late '80s where he collaborated with such songwriters as Billboard "Songwriter of the Year" Gary Burr, multiple CMA-winner Trey Bruce, and Hall of Fame member Dave Loggins (Please Come to Boston, Pieces of April). Soon he realized that the move to America would have to be permanent and headed to Nashville for good. Once there, with his Australian bandmate Peter Clarke, a drummer, he formed the three-piece band The Ranch. Their original bass player soon returned to Australia, but West Virginian Jerry Flowers quickly fit in as their new bass player. Their live shows featuring Keith's hot lead guitar playing led to a record deal with Capitol Nashville and a management contract with I.R.S. Records founder/The Police manager Miles Copeland, and their debut album, The Ranch, was released to critical acclaim in 1997. By 1999, Keith released his self-titled solo album. His tour in support of that album included opening for such major acts as Dwight Yoakam, Faith Hill and Tim McGraw, as well as headlining his own shows. His stunning solo performances as an opening act won him numerous fans in the Yoakam/Hill/McGraw audiences, and his talent, hard work, countless interviews and openness and friendliness to his fans paid off with a Top 15 hit in It's a Love Thing and a Top 10 single with Your Everything. |
KEITH URBAN MATES .NET |
KEITH URBAN: TAKING THE GOLDEN ROAD HOME CMA CloseUp Magazine - February 2003 A strange sound is coming out of Nashville. Stand in the heart of Music Row and you may hear it - a buzz that is gradually getting louder and louder. It's the sound of music industry insiders placing their bets on Keith Urban as the next Country superstar. And the way things are going for the 201 CMA Horizon Award winner, the payoff could be enormous. "When you strip it down to its core, he's an incredible talent and then when you add to that how he and his music connect - whether on stage or on recordings - it's magical," explained Fletcher Foster, Vice President of Marketing, Capitol Nashville. "He's a singer, songwriter, producer, musician, entertainer - everything. And then he has this overwhelming charisma. Toss that into the mixture and you've got a superstar." With the acclaimed release of his sophomore solo album, Golden Road, hopes are that Urban will follow in the footsteps of prior Horizon Award Winners, like Garth Brooks (1990), Travis Tritt (1991), LeAnn Rimes (1997) and Dixie Chicks (1998). "I was really proud of the Horizon Award," Urban said. "And particularly because it was the CMA. When I came to Nashville, all I really wanted to be was accepted. I wasn't even thinking about being the best. I just wanted to be accepted like a new kid in school." Finding his place in the music industry lunch table has not been a problem. "Somebody Like You," the debut single from Golden Road, made an impressive run, staying atop the Radio & Records Country chart for eight weeks; Billboard for seven; broke the record for the most weeks at No.1 in 2002 (surpassing Kenny Chesney's "The Good Stuff"); and drove Golden Road to Gold certification in just eight weeks. Membership in Urban's international fan club has almost doubled in the past year to more than 3,000 due largely to his cross-genre appeal. "We have a lot of people saying, 'I wasn't a fan of Country Music before, but after I heard Keith, I started to check it out,'" said Sharon Eaves, President, Keith Urban International Fan Club. "He gets close to 1,000 letters a week from all over the world." Urban's appeal to his fan base has a lot to do with ability to connect with them on a personal level, whether through his music or down-to-earth interaction. "You can tell that he gives his all when he is performing," said fan Varcy Rose, 40, from Oregon City, Ore. "When you get a chance to say hello to him, you feel like you are the only person he is thinking of at that moment. You are not just another face in the crowd, but someone he truly cares about." Some artists develop a love/hate relationship with the music industry, but Urban has a deep respect and admiration for the people who helped him get where he is today. Since moving to Nashville from his native Australia in 1992, Urban has been embraced by industry insiders and critics alike. The first album from The Ranch, Urban's three-man, Country-rock band, was released in 1997 to critical acclaim, but very little commercial success. Urban stayed at Capitol Nashville after the band split and released his debut solo album two years later. That album brought the same critical acclaim - but this time the commercial success was evident, the No. 1 hit "But for the Grace of God" and two Top 5 singles, "Where the Blacktop Ends" and "Your Everything." "I think The Ranch record was definitely a big part of who I am," Urban said. "It's more raw and rootsy and band-orientated. The first solo record was a bit softer. I was trying to figure out which of those I am, and I realized that I am both. So, hopefully all of it will show on this record." What Golden Road shows is an artist comfortable in his own skin ("Who Wouldn't Want to Be Me"), yet still has some demons to wrestle ("You're Not My God"); someone who is deeply spiritual ("You're Not Alone Tonight"), but can still have ("Jeans On"); and a man who can easily write a love song for the object of his affection ("Whenever I Run"), as he can for his father ("Song for Dad"). The thing that distinguishes Golden Road is that when you hear it, it's as though Urban is sitting right across from you telling his life story over a cup of coffee. "For me, it was like writing a diary, trying to make sure you write it the way you feel it," Urban recalled. When I was finished, I closed the cover and that was that. And then someone comes along and said, 'By the way, I am publishing your diary.' I'm glad I didn't think about that when I was making it." Urban produced the entire album, with help from Dann Huff (Faith Hill, Jewel, SHeDaisy) on six of the 12 tracks. His goal was to capture the intensity of his live shows. After winning the Horizon Award in 2001 and the success of his debut solo album, Urban has received more attention from the mainstream media. Since October, Urban has appeared on "The Tonight Show With Jay Leno," "The View," "The Today Show," Entertainment Tonight," and "Access Hollywood," just to name a few. In print media, he has been featured in People, US Weekly, and Rosie. "Winning the Horizon Award, being embraced by the industry as well as his fans and the huge success of 'Somebody Like You' has combined to create real momentum for Keith's career and paved the way for national media interest," said Regina Stuve, Manager of Publicity, Capitol Nashville. "People now know who Keith Urban is." Industry buzz, national media attention, Gold albums and the prestigous Horizon Award aren't guarantees of future success, but it does look promising. One thing is certain: even without the accolades, Urban would still be playing music. "I never lose the passion," Urban said. "I never lose the reason why I play in the first place. I love playing. I just love it. That's it." |
By FISH GRIWKOWSKY, EDMONTON SUN FREELANCE Keith Urban is a dangerous imposter. The ease with which he owned last night's soldout country crowd at the Jube was remarkable. Especially so, considering - really - you have to ask yourself, in what way is he "country?" Ah, but therein lies his skill and beauty. Skill for the boys, beauty for the girls, incidentally. And ask any record store clerk, cookie-cutter Nashville's on its way out, anyway. Born in New Zealand, trained in the land of Oz, there's no doubt Urban has mastered that certain Tennessee drawl when he sings his infectious dirt-road rock tunes. He lets out with the direct passion of Garth Brooks and even, during You Look Good in My Shirt, all sweet and nasal, like Terri Clark. So while occasionally formulaic last night, he slapped them silly with lots of humour and a very dynamic band, suprisingly full of woesome fiddle, deep bass and molten steel. And, stupidly enough, he wasn't even the headliner. Northern Alberta's Carolyn Dawn Johnson was. I say stupidly, because when Urban beckoned half the Jube out of their seats to the front, there was no hesitation. I'd never seen that rebel energy before at the soft-seater, and especially not at a country show there. If this had happened at the Winspear, security would have had aneurysms. Basically, the headliner came on in the middle of the show. He lured everyone down with Tom Petty's 1989 hit, Free Fallin'. There was no way to top that, once he sung Somebody Like You, like I said, Urban's not excessively country. He told a funny story about walking in and surprise-playing for a wedding couple outside of Dollywood. "Then I charged them two grand. I didn't really," he added. "It was 1500." Urban, starting with his name, is just that. He's modernizing pitifully stagnant hot country by getting rid of the hokey shiny shirts and turning up the influences to reflect bands much better than those that live in Nashville. He's not about to take on the world, but he's definitely kicking up dust in the genre he's invaded. I mean, when was the last time you were reminded of Godspeed You Black Emperor, full of rising metal licks, at a country concert? |
Somebody Like Him Keith Urban's star is shining so brightly right now, it's blinding. His single "Somebody Like You" has become the longest-running chart-topper of the year, after spending eight weeks at No. 1 on Radio & Records' country monitor. In addition, his new disc, Golden Road, debuted at No. 3 on Billboard's country albums chart, and the video for "Somebody Like You," featuring supermodel Niki Taylor as his love interest, is enjoying a lot of success on CMT and GAC. Born in New Zealand and raised in Australia, Keith picked up a guitar at the tender age of 6, and knew by age 7 that he wanted to be a country music star. The following year, Keith was winning talent contests, and by the time his teenage years rolled around, he was playing in bands. After charting four No. 1 country singles in Oz, Keith made the move to Nashville. Once in Music City, he formed a three-piece band, the Ranch. The trio's live shows caused a buzz in town, eventually leading to a deal with Capitol Nashville and the release of a self-titled album in 1997. Critics raved about the disc, but the industry's indifferent reception toward the album led to the group's breakup. "You can't compare yourself to anyone or anything when you're making a record, because it can drive you insane." -- Keith Urban Keith then signed a solo deal with Capitol Nashville and released his self-titled debut album in February 2000. The lead-off single, "It's a Love Thing," broke into the Top 20 of the Billboard country chart, but subsequent singles climbed even higher. The ballad "Your Everything" peaked at No. 4 and "But for the Grace of God" became his first No. 1 hit. The latter song was co-written by Keith along with two members of '80s new wave rockers the Go-Go's, Charlotte Caffey and Jane Wiedlin. Last November, he scored perhaps his biggest honor to date -- the CMA's 2001 Horizon Award. Keith recently sat down with us to talk about "Somebody Like You," the "golden road" he's on and his definition of success. (By Donna Hughes) |
Niki Taylor does Keith Urban ROAD LESS TRAVELED Country News True, Golden Road is the title of Keith Urban’s new album. But to the sizzling guitar-slinging singer, those words perfectly describe the real-life path he’s traveling. “ ‘Golden Road’ is a good way to describe the road you’re supposed to be on,” shares Keith. “I was on it for a long time. Then I took some really bad detours and dead ends. Now, I feel like I’m back on track.” It’s hard to believe that Keith, 2001’s CMA Horizon Award winner and the ACM’s Top New Male Vocalist for 2000, has ever hit so much as a speed bump. But only four years have passed since he struggled with a serious cocaine addiction, ultimately hitting rock bottom. “At that point, there was major chaos in my life,” confides Keith. “I pushed everybody away. Cocaine kills everything you need – belief and self-esteem.” His debut album, Keith Urban, scored four hits – including his self-penned No. 1 “But For The Grace Of God” – and went gold, selling 500,000 copies. Then, just as he started work on his follow-up album, Keith’s world was shaken again when he and his fiancee broke up. “That was a very hard time,” he admits. Once again, music played a pivotal role in Keith’s healing process. In fact, his new No. 1 smash, “Somebody Like You,” was written while nursing his heartache. “When I wrote that song, I was still in the midst of this breakup with my fiancee,” he confides. “It was weird to write about being so positive and secure with that going on. But she really loved me. I could see that. I was going through all sorts of stuff and didn’t like myself. I said, ‘Man, I wish I could love me the way you do.’ That was the inspiration.” The song inspired a romance-charged video co-starring the woman rumored to be Keith’s current real-life love interest, supermodel Niki Taylor. When asked if there is, in reality, a romance blooming, Keith remains mostly mum. “We’re friends,” he smiles. “Good friends. She loves country music. A mutual friend suggested we meet because Niki wanted to be in a video. The video is very earthy and organic. She just fit the bill so well.” Keith claims he doesn’t mind all the talk about him and the girl who has graced a thousand magazine covers. “I’d ask about it, too!” he laughs. “But seriously, I’m really happy with my work right now. Dating is just not a priority. I’m not going to turn down love if it comes along – but it’s the last thing I’m thinking about.” |
from www.warnermusic.com.au "It's not an indulgent type of performance when I play live, but there is a lot of passionate guitar playing involved, and it's as equally predominant as the singing and performing - if not just a little bit more so. It's definitely a focus of the show ... and we do have a tendency to play longer than we're supposed to! Once we get into the groove, we're kind of like long-distance runners - that adrenalin kicks in for me and I just keep running - and I don't stop!" - Keith Urban (Grammy nominee, 2001, for the instrumental "Rollercoaster") Okay, I know the "country" part of the headline above may already have been enough for the blinders to snap shut and the antennae to wax over on some of you "Rough-Edgers" out there. Unfortunately, sometimes the word still carries a kind of antiquated stigma in certain circles, despite the blurring of all the genres over the last 30 years. But true connoisseurs of great music, I've always found, aren't put off by prepackaged labels, especially when many of the best artists often defy strict categorization. And Keith Urban is definitely one of those artists. Unlike his rollicking, strutting guitar-driven album with his former band, The Ranch, many of the cuts on Urban's current solo debut album ("keith urban") are more restrained and subtle, largely reflecting his introspective mood at the time he recorded it. However, for you guys out there who "wanna rock!" - don't let that fool you. Unshackled and live, Urban's virtuosity and intensity is undeniable; it's a true guitar connoisseur's manna from Heaven. Frankly, although I've primarily covered rock-related (whatever that means) artists for the past 20 years (well, I was only 10 when I started), the first song I ever became absolutely mesmerized with - at age three - was the Johnny Cash classic, "Ring of Fire." I loved the imagery, authenticity, emotion and melancholy of that song. And I have no biases about the so-called "country" genre to this day, even though I haven't always been compelled to write home about it in its strictest forms. But, despite some mass-market, commercial "image" problems over the years, country has definitely had many an extraordinary moment. Indeed, for those inclined to tune in, it is, in its best incarnations, the ultimate in moving "blue-eyed" soul. But, before I get to the interview with Keith Urban, certainly the first country male artist who has been an heir apparent to the "crossover" throne in many long years, I want to rewind for the Doubting Thomases. Way back in '85 when I was still too naive to know I was shooting the breeze with a bona fide legend, the late, lamented Stevie Ray Vaughan, who was himself in the process of tearing down the walls for the blues genre at the time, made some comments which also relate to the topic at hand. During an interview backstage at Chicago's notoriously decadent sweatbox, the Aragon "Brawlroom," Stevie, a true King of Hearts, was like the proverbial kid in the candy store when discussing his own diverse musical tastes. In part, Stevie exclaimed, "I'm a George Jones nut! Shoot yeah! I love country music; I like all kinds of people! The emotion, the feeling - the soul - is the most important thing. That's what it all boils down to. If you feel it, and you make sure it gets across, I don't care what kind of music you play - that's IT!" Later in the conversation, Stevie also admitted that his insatiable drive to go play all night jams at local Austin clubs, even on the breaks from his then-grueling tour schedule, was part of his "problem" on the homefront. "I don't know when to quit," Stevie sighed, "but you know, I don't just do this for 'a job!' It's part of me." So how does that all relate to Keith Urban? To begin with, hopefully at least a few of you will follow Stevie's eclectic musical philosophy to look past any "country" label biases enough to be turned on to the first bona fide "guitar God" Nashville has spawned since who knows when. (Some of you may already know of him from his recent #1 country single "But for the Grace of God" - co-written with Go-Gos Wiedlin and Caffrey - off his debut solo album, "keith urban," or from his recent Grammy nomination for Best Country Instrumental Performance.) Second, Urban, in his guitar playing (which is certainly a larger part of "what he does" than is typical for any country artist) as well as in his singing and his songwriting style, embodies the kind of "emotion, the feeling - the soul" that Stevie was so ardently referring to. And, finally, it was actually a remark Urban himself made during a recent conversation that gave me enough of a déjà vu moment to go back and dig up/dust off that old Vaughan interview tape in the first place. With the kind of unmistakable earnestness that earmarks truly gifted artists, Urban, too, enthused that performing/playing guitar, is "not so much of 'a job' as it is a passion - and something you don't have any say over! It's part of you; it's what gets you up in the morning; it's what drives you!" No, even with his plaintive tenor croon and a fondness for the traditional country instrumentation of the slide guitar, banjo, and fiddle, Urban is not your existing blueprint for a country artist by any stretch of the imagination. After all, this is a guy who was born in New Zealand, raised in Australia, and who cites amongst his primary guitar influences Mark Knopfler, Lindsey Buckingham, and the Rhythm and Riff Master himself, AC/DC's venerable Malcolm Young. This is also the guy that was rumored to be the primary inspiration for Garth Brooks' rockstar alter ego, Chris Gaines, and the guy who has been blowing away the Nashville establishment for the past several years with his fleet-fingered guitar prowess to the extent that he was recruited to lend both his guitar and gango (six string banjo) skills on projects by "names" like Dixie Chicks, Garth Brooks, Alan Jackson, and others. (This despite the fact that he never had studio musician aspirations.) In a nutshell, unlike many country artists to this day, Urban not only plays his own instruments on his records (GASP!), he plays phenomenally well. Still with me? See interview below for more. It's 9:30 AM, but Keith Urban is chipper, old friend familiar, and already in a joking mood when I ask him, tongue-in-cheek, if he's a morning person. "W-e-e-e-l-l ... I can sometimes get up early without having to have a REEEASON, " he laughs, alluding to his typical musician's night-owl hours, "but it certainly helps if there's some interviews to do!" And Urban definitely has enough of that kind of "business" going down these days to burn the candle at both ends. There have been the appearances on the "Tonight Show," a week-long host spot on VH1's Country channel, and a feature profile segment on CMT's On The Verge - amongst other things. Plus Urban is also smack in the middle of writing appointments with other esteemed Nashville tunesmiths like Rodney Crowell and Darrell Scott, in contemplation of a second solo album, not to mention preparing for a spring/summer tour schedule that includes solo dates sandwiched between gigs with Brooks & Dunn's 40+ date "Neon Circus and Wild West Show." Not that Urban is complaining about the pace - far from it. Indeed, if there was ever a time in an artist's career when you might expect off-putting primadonna behavior, it would be now for Urban, with all the heady first rushes from the success and media attention he has been experiencing since the release of "keith urban" late in '99. (Last I checked, the album was still in Billboard's Country Top 20.) Yet Urban is still authentically stunned and quaintly humble. In fact, though he's an exceptionally colorful and articulate conversationalist, one of his most frequently used words (in addition to "passion" and "balance") is "surreal." That's because nearly everything in his life right now seems like a pseudo-reality to Urban. For a start, he flat out admits that his current world, which has obviously been full of touring, promoting, songwriting and recording for the past two years, is the very definition of "surreal." Yet he is also highly aware that it's crucial to take time out for a "real life," even just to generate viable songwriting material. In fact, he states an important truth when he comments, "I think a lot of time artists who go out and make a second album too quickly haven't got out and done anything, and everything they've been immersed in is kind of a surreal existence. And I think a lot of times that's why the second records suffer ... so I'm trying not to get caught up in that." But Urban may be in a bit of a quandary on that point; it's a classic Catch 22. The multidimensional demands on high profile solo artists, as we all know, are immense nowadays, especially when Urban, unlike most country artists, writes the lion's share of his own material, co-produces his albums, and, of course, always plays multiple instruments on his own recordings. (Plus, there's no delegating the interviews, appearances, video shoots, or "bandleader" functions, either.) Lord only knows how he plans to actually find time for much of that "real life" he speaks of, even though he says that for him that simply entails hanging out with friends and "reading quite a bit, going to movies, or watching a bit of TV ... just the normal things most people do to relax." Moreover, he also concedes (albeit amiably), "The only 'down time' I really get is when I get home at night. If it's ten o'clock, then I've got probably an hour or two to do my laundry, and whatever else I've got to do ... I'm fortunate in that I'm not married, and I don't have any kids, so I can obviously devote a lot of time to what I do without people telling me that I'm not taking care of business at home." And Urban also admits that many of the life-changing events of the past year (including an AMA nomination for Best New County Artist and an ACM nomination for Best New Male Vocalist), but especially the Grammy nomination, "are still sinking in." He adds, "Even though I've been recording for 11 years now - I recorded my first record in Australia in 1990 - I still wasn't ready for it at all ... It's just like certain milestones you work for in your life; when they actually come, you're caught off guard because you've spent most of your life working towards them." So, Urban, at age 33, is doubtless too primed and pumped on keeping his career momentum going right now to slow down too much; after all, despite the ongoing buzz surrounding him, it has taken nearly ten long years of false starts and dues paying on the Nashville scene for his career to take off nationally. While he doesn't come out and say so directly, it's clear that he has experienced his fair share of both the "agony" attributable to his musical "gift" and the "ecstasy" counterpoint he is immersed in now has been long overdue. It all began with ukulele strumming at three and "a love thing" for the guitar that reared its head at age six. Initially, he was fascinated with country music in particular (having grown up listening to his parent's catalogue of classic country albums), but he also studied (and was influenced by) some of the rock guitarists named previously, along with other people like Mellencamp, Jackson Browne, Freddie Mercury, and others. (During a short stint in his teens, he also "rebelled " for a short period as the lead guitarist for a Scorpions/Judas Priest/Whitesnake-type band.) Eventually, while developing his own unique, hybrid playing style, and after winning numerous awards for both vocals and instrumentals on the surprisingly vital Australian country music scene, he knew it was Nashville time - or bust. Urban first worked as a songwriter via a publishing deal when he came to Nashville (on the heels of four #1 Australian singles), but he also went the route of playing out at every opportunity, either solo or while fronting his three piece, the Ranch. And it was actually those live performances that put the Nashville establishment on red-alert notice, not only because of Urban's strength as a singer/songwriter/frontman, but especially because of the rarity and power of the high velocity/voltage of his disciplined instrumental virtuosity. Which all sounds like a pristine, upbeat script in retrospect, but with the growing Nashville recognition, there were struggles and setbacks too: the unspoken resistance to a country "outsider," in addition to the other rejections of a kind that perhaps only other musicians who have been through it themselves can fully envision. For quite a few years - it might be well speculated - there was also the lingering frustration and fear associated with a great promise still left unfulfilled. All of which weighed heaviest on Urban after The Ranch (a country-rock-funk-ish band in the vein of Little Feat/Mellencamp/Eagles) released a guitar-driven and swaggeringly brilliant collection of diverse material on their self-titled album in '97. Shamefully, though critically beloved, that record went largely ignored by the trend-oriented country radio Gods. (That's a book in itself.) Dark days subsequently followed for Urban, who, while not in a position to drive home to regroup or to reground himself, had vocal problems, a dependency problem (now in the past), and personal problems converge all at once during and after the demise of The Ranch. Ultimately, after soul searching and numerous other pathfinding remedies kicked in, his true saving grace was that he retained a solo contract with Capitol, resulting in his rise-from-the-ashes solo debut (now Gold - and still going) that could just as easily been called The Phoenix, since these days Urban sincerely admits, "I couldn't be happier." In fact, Urban virtually oozes with enthusiasm, positivism, and overall good guy/winner-type vibes as he speaks. Consequently, he merely finds it ironically amusing that many of his newly enlarged fan base, generated in large part by his recent hit videos (designed to put the focus on the singing/songs, as well as his videogenic charisma) are totally unaware of his guitar prowess. As he explains it, "It's interesting because I've spent all my life playing live, and having people comment on my guitar playing, but I've always wanted to put more focus on the songs and the singing. So now, it's kind of funny, because I'm in a position with 'Your Everything' and 'Grace of God,' where people don't know I even play the guitar! It's just this wonderful thing ... because I've spent so much of my life struggling to make the other thing known, and then the reverse has happened with the nomination for the Grammy for the instrumental. But, with these songs charting, it's just a beautiful balance." Urban also admits, with a bashful chuckle, that (methinks partly due to the videos, the label's marketing strategy to capitalize on his visual appeal, certain romantic ballads on the CD, and the fact that he was recently featured in People magazine's "Sexiest Man Alive" issue) his audiences of late have been "definitely heavy on the female front." But, hey, that's okay by Urban: "Oh, I love it! I mean, what guy wouldn't? But not just for the obvious reasons. And I think when women like your music - as much as anything else - then it's a great compliment." Especially when those women drag their sometimes reluctant boyfriends/spouses to the shows - and then the guys invariably wind up being the most rabid converts! (Keep in mind that country CD sales throughout the '90s were, unlike many other genres, very heavily driven and controlled by the female demographic; even records by male-melters like Twain, Hill, and Dixie Chicks were primarily bought by women.) And I wouldn't let that female furor surrounding him mislead any of you "men's men" out there either; remember, some of the best - and most successful - harder-edged bands of the ages (i.e.: Zeppelin, Queen, Scorpions, Leppard, Bon Jovi, Pearl Jam, Chili Peppers, Nirvana, etc.) knew/know well how to balance the elements that massively appeal to both genders. Certainly, you guys out there who can appreciate dynamics, control, and feeling in addition to speed, technique, and all the other exalted intangibles a gifted musician possesses, along with tight melodies and grooves, will find Urban's performances exotically thrilling. Moreover, Urban himself says this much: "It's not an indulgent type of performance when I play live, but there is a lot of passionate guitar playing involved, and it's as equally predominant as the singing and performing - if not just a little bit more so. It's definitely a focus of the show ... and we do have a tendency to play longer than we're supposed to; once we get into the groove, we're kind of like long-distance runners - that adrenalin kicks in for me and I just keep running and I don't stop!" But, make no mistake, Urban is not a guy who is interested in abandoning his country roots for the sake of crossover/commercial appeal. What he aims to do is redefine some of the preconceived notions of what country is - or can be - and to also aid the genre in achieving a kind of image metamorphosis. In a nutshell, he says he has a need to have country "perceived as a cool genre and a broad genre." All of which is certainly part of why Ronnie Dunn (of Brooks & Dunn) stated on CMT's On The Verge program that "Keith has it all. He’s a rockstar in disguise. He opens the floodgates for country music, and it’s not just regionalized - it’s a worldwide thing. He brings something to the table that’s fresh and innovative and he’s gonna be BIG." But if you really want to get to the core of Urban's innermost career dreams and aspirations, you need only listen to him enthuse about the artist he seems to admire most overall, Glen Campbell: "What I love about Glen," Urban stresses, "is the balance he found. Behind the scenes, for those more involved in the industry, he was revered as a phenomenal guitar player, yet it wasn't what made his career. He really made his career on knowing a great song and just being able to sing the hell out of it! But, when you went to see him live, you found this complete other ace up his sleeve ... and that's exactly the kind of career I'm looking for." |
By Lauren Hunter CNN Showbiz Correspondent (CNN) -- Keith Urban's songs have been described as "funktry," an eclectic blend of country, rock and contemporary funk that has generated attention and adulation from fans and media. Listen to the 33-year-old artist sing, and he sounds straight from Nashville, Tennessee. Carry on a conversation, and the down-under twang points directly to Australia. Urban was born in the small farming town of Caboolture, just outside Brisbane, but his childhood dreams were of Nashville. Urban's music was shaped by early exposure to his family's record collection -- a mix of Charlie Pride, Jim Reeves, Ronnie Milsap, Joe Williams, Glen Campbell and Dolly Parton. All the albums were produced in Nashville -- the then-seven-year-old told his dad he had to move there because that's where records were made. "I never faltered from that," says Urban. "I feel like I'm pursuing a destiny as opposed to chasing a dream." Urban first picked up a guitar when he was six years old, won talent shows when he was eight and worked steadily in a band as a teenager. He had four No. 1 country singles in Australia before he moved to Nashville in 1992. That relocation was a bit of a culture shock for both the non-traditional country singer and the music establishment. "I think it took me a while to convince Nashville that what I do is genuine and my heart's in the right place, and I love country music." When Urban arrived in Nashville he formed a band called "The Ranch." The group performed to rave reviews but disbanded shortly after release of their debut album in 1997. From then on, Urban focused on his solo career, touring extensively and writing. The self-titled "Keith Urban" is his first solo release, with nine of its 12 tracks co-written by Urban. The album's theme is focusing on what's good in a relationship, whether with a partner or a higher power. "But For The Grace of God" is a cut Urban co-wrote with two singers from The Go-Go's. He said it took two years before he understood what the song was about. "I wrote it and God said 'Well, I'm gonna' hang on to them and when you're going through this I'll give it back to you.' And that's exactly what happened." That experience reflects what Urban went through with his music in general. "For a long, long time I felt music was a trick for me. Because I had been playing guitar at such an early age, it felt like a magic trick -- I didn't really have a deep-seated appreciation for it. And I went through a period where I think I came very close to God taking it away from me. Fortunately, I got through it and suddenly went 'Oh my God, this is an amazing thing.' Music is a phenomenal thing and I saw it as a blessing and not as a trick anymore, and as soon as I recognized it for that, everything started coming together." That included being named among People Magazine's 'Guys Worth Watching' and his Grammy nomination for best country instrumental performance. Urban says the recognition is great, but he'd play no matter what, because music is his passion. "I love what I do, I always have. I've kind of had a renewed love for it in the last few years, and it's a wonderful blessing." For this Aussie- CAPITOL RECORDS BIO FOR BE HERE On BE HERE -- Keith Urban's powerful and deeply felt follow-up to 2002's double-platinum Golden Road -- his heart and soul as a man and a musician comes through loud and clear. Where does a guy go after making an album that's been on the charts for more than 100 weeks? If you're Keith Urban, you go deep. As a songwriter, you put more of yourself into your music than ever before. As a vocalist, you sing with newfound passion and commitment. Already recognized as a true guitar hero, you play your instrument with even more fire and skill. "For me, it's just a matter of getting more comfortable in my own skin," Urban confesses. "I hope that there's more of me coming through in the music. I think that comes from getting comfortable with myself as a person and as a musician, but also from getting comfortable in the studio. In the end, all you can do is live and learn." BE HERE, co-produced by Dann Huff and Urban himself, is music from a young man who's lived a little, loved a little and battled a couple of demons along the way. There are songs here for the good times, such as "You're My Better Half," "Making Memories of Us" and "God's Been Good To Me." And there are songs that speak to life's darker patches, like "Tonight I Wanna Cry," "The Hard Way" and "Nobody Drinks Alone." From the driving opening track "Days Go By" (the album's first single) to the graceful reprise of "These Are The Days," BE HERE offers the sound of a gifted singer-songwriter and world-class player embracing life and savoring the chance to play another day. You expect a great deal from country radio's most played artist of 2003, a famously crowd-pleasing live performer with a remarkable track record of four #1 songs and eight Top Five hits - all of this accomplished with just two solo albums. And now on BE HERE, Urban delivers more than ever before. While the songs sound as accessible as ever, BE HERE is Urban's most personal and deeply felt work to date. This is music for living life in the present tense. "If there was a theme to this album, it would be the big questions I ask just like anybody else: What are we doing here? What's life about?" says Urban. "These days, I think more about the brevity of our time here. So it seems to me that making the most of every day is really crucial." Keith Urban grew up loving country music in another country -- Australia. "We moved around a lot in the city of Brisbane when I was very young," Urban remembers. "Then my dad decided it was time to get back to his rural upbringing. He bought a property in a place called Caboolture, a farming town about an hour north of Brisbane. We moved up there and lived on this 12-acre farm. We had our own cows for milking - well, one cow, singular, to tell the truth." He just wanted our family to be self-sufficient from the land. From the start, Urban took to his parents' country records collection -- Don Williams, Glen Campbell, and Charlie Pride, among others. And before long, young Keith was playing along. By age seven, Urban was already thinking about coming to America and making his mark in Nashville, Tennessee. "I inherited this kind of love for the American dream," Urban explains. "I fell in love with the music, the cars and the whole idea of America." At eight, Urban started winning country music talent shows. By twelve, he was booking his band in local clubs, and at fifteen, quit school and hit the road. In 1990, Urban signed with EMI in Australia and recorded his first solo album, which charted four No. 1 country hits over there. Finally, Urban decided the time had come to move to Nashville in 1992. Once in Music City, Urban made some industry buzz with a three-piece group called The Ranch. But after releasing one album in 1997, Urban was ready to leave the Ranch and move on as a solo artist. In 2000, Keith Urban, his self-titled debut in the United States, became a real breakthrough effort that established Urban as one of country's brightest talents. The album, co-produced by Matt Rollins and Keith Urban, featured three Top 5 hits, including the No. 1 hit "But For The Grace of God". In the wake of that tremendous success, Urban won the Country Music Association's prestigious Horizon Award in 2001, as well as the Top New Male Vocalist Award at the 2001 Academy of Country Music Awards. As if that wasn't enough, his highflying instrumental performance on "Rollercoaster" was nominated for a Grammy Award, and all of this in the midst of two years of non-stop touring. When it was released in 2002, Golden Road became another great leap forward. The album went gold in eight weeks and spawned a wildly impressive run of hits including "Somebody Like You," "Raining On Sunday," "Who Wouldn't Wanna Be Me" and "You'll Think of Me." "Somebody Like You" spent eight consecutive weeks at the top of the charts, remaining at #1 longer than any other country artist in 2002. The album has now gone at least platinum in every country where it's been released. Now with the release of BE HERE, Urban is excited to hit the road and be wherever the music takes him. "I can't wait to get on the road and play these songs live," he says. "There's a lot to be said for having toured so much since Golden Road came out. I think all that roadwork helped us in making Be Here." And even now, Urban doesn't mind having to win new fans on the road. "It's a daily challenge, ya know, you gotta rise to the expectations, those of your own, of those who've seen you before, and the friends they've brought along, especially the ones they've dragged along." With BE HERE, Urban has made the most ambitious and heartfelt music of his career to date - a song cycle that reflects Urban's great musical range and personal point of view as never before. But like all great music, in the end, ultimately it's all about expression and communication for him. "We want our music to connect with as many people as possible," Urban explains finally. "That's what it's about for me - giving all I've got to lift spirits and raise the roof." |
Hometown: Caboolture, Queensland in Australia (suburb of Brisbane) Birthdate: October 26, 1967 Current home:Nashville, Tennessee (since 1992) Musical Influences: Musical Influences: Don Williams, Elton John, Glen Campbell, Dire Straits, Jackson Browne, Fleetwood Mac Instruments: Guitar, Bass, Ganjo (guitar/banjo), Keyboards, Drums First song performed in public:“San Antonio Stroll” Performed on albums by:Garth Brooks, Dixie Chicks, Olivia Newton-John, Richard Marx, INXS Discography:1991 Keith Urban ’91EMI (Australia only) 1997 The RanchCapitol Records 1999 keith urbanCapitol Records (PLATINUM) 2002 Golden RoadCapitol Records (DOUBLE PLATINUM) 2003 Keith Urban in the Ranch Capitol Records (reissue) 2004Be HereCapitol Records Singles:“I Never Work On A Sunday” (#1 in Australia) “Only You” (#1 in Australia) “The River” (#1 in Australia) “Only You” (#1 in Australia) “Got It Bad” (#1 in Australia) “Walkin’ The Country” – The Ranch “Clutterbilly” - The Ranch “It’s a Love Thing – keith urban (#15) "Your Everything" – keith urban (#5) "But For The Grace of God" – keith urban (#1) "Where The Blacktop Ends" – keith urban (#3) "Somebody Like You" – Golden Road (#1 - 8 consecutive weeks) "Raining On Sunday" – Golden Road (#3); Video #1 "Who Wouldn't Wanna Be Me" – Golden Road (#1); Video #1 "You'll Think of Me" – Golden Road (#1); Video #1 “Days Go By” –Be Here - current single – his fastest top-10 climbdeos:“Only You” – (in Australia Only) “Walkin’ the Country” – The Ranch “Clutterbilly” – The Ranch “It’s A Love Thing” – keith urban “Your Everything” – keith urban “Where The Blacktop Ends” – keith urban “Somebody Like You” – Golden Road “Raining On Sunday” – Golden Road - #1 Video “Who Wouldn’t Wanna Be Me” – Golden Road - #1 Video “You’ll Think of Me” – Golden Road - #1 Video Accomplishments: 1983 – CCMA Junior Male Vocalist 1990 – CMAA Star Maker Award 1991 – CMAA Golden Guitar/Best New Talent 1992 – CMAA Golden Guitar Male Vocalist 1992 – CMAA Golden Guitar Instrumentalist 1997 – CMAA Golden Guitar Instrumentalist 2001 – ACM Top New Male Vocalist 2001 – CMA Horizon Award 2001 – Grammy Country Instrumental Nomination 2003 – ARIA Award (Australia's Grammy) – Best Country Album 2004 – ACM Top Male Vocalist - Nomination *CCMA = Country Capital Music Association *CMAA= Country Music Association Australia Television Appearances:The Tonight Show with Jay Leno The View America's Party - Fox New Year's Eve Countdown 2003 Austin City Limits Who Wouldn't Wanna Be Here – CMT Spring Break concert Entertainment Tonight CMA, ACM, ALMA, CMT Flameworthy, CCMA Awards: Peformer Grammy, AMA Awards: Presenter GAC Country Request Live CMT Most Wanted Live Extra Movie Soundtrack: How To Lose A Guy In Ten Days Other Projects:Amazing Grace III |