On the first album, we were trying to do a pop-punk album with a classical influence. We'd say 'pop-punk,' and people would say, 'No, you're like burlesque-cabaret-punk,' or, 'It's baroque-pop,' and we were like, 'That sounds way cooler.'
Fall Out Boy never pretended that we were anything but pop-rock.
When I was playing with synth players, I was still within a conceptual framework of playing music. When I started playing solo, I became much more aware of the acoustic phenomena that the instruments were producing.
I grew up going to punk shows, that kind of thing - I don't wanna make pop punk! - but I like the idea of people going totally crazy and it being really intimate, loud and super-aggressive, but combining that with pop music.
I used to have this little punk pop band, and I don't know why we did 'Behind Blue Eyes,' because it's not punk pop. But we did, it was our slow jam.
During our first year, we were playing Priest and Maiden cover tunes all the time while we figured out what we wanted to do as a band. At the time I was getting out of metal and into punk. That's how Slayer's sound came together - it's the speed of punk combined with the big riffs of metal.
Punk was sort of an angry stance against things that had happened just before, against the pop of glam rock, against progressive rock. Music had become very staid and it was about the playing and people obsessed. Eric Clapton was God and we needed an enema within the art form, and punk did do that.
Everyone we knew was forming a band. Boy George, Wham! Sade. But it wasn't a big deal, they were our friends. It wasn't like we were hanging out with pop stars.
I kind of remember a friend of mine saying, like, you guys should make a rap record. You know, because we were already making punk records. We were a punk band. And I kind of thought, that's crazy.
I'm not an '80s fan. I'm more '70s New York pre-punk kind of thing and I guess I grew up with '90s grunge, post-punk pop music.
I'm not an '80s fan. I'm more '70s New York pre-punk kind of thing, and I guess I grew up with '90s grunge, post-punk pop music.
Being the drummer of Fall Out Boy, and any other project I've ever done, is most importantly about playing for the music. Staying out of the way when it's needed and playing more when it makes sense.
I think that breaking into the mainstream - it was just the right cycle of music for us in Blink-182. People were kind of over the boy-band, pop-princess, manufactured sensibility, and were excited for guitars and angst and energy and enthusiasm, which is our thing.
Rip Rig + Panic that I joined, they were really influenced by jazz and blues and punk. So I think what happened from punk, which was kind of DIY, was that it created a kind of creative place that was kind of without limits, in a way.
We grew up with all the Fat Wreck Records and all the Epitaph bands, that era. We mixed it up together. We were never purists of being just pop or just pop-punk. We always wanted to blend everything that we love.
The early influences, in many ways, were in Baltimore. I was passing open windows where there might be a radio playing something funky. In the summertime, sometimes there'd be a man sitting on a step, playing an acoustic guitar, playing some kind of folk blues. The seed had been planted.