County Grind: What would you say is

the state of R&B today and also what is your favorite era from the

past?

Patrick Stump: Those are great questions. I love getting asked that. I

think R&B right now is fractured into two schools. There's

either the hip-hop-esque R&B, where pretty much it exists for the

club or whatever, or there's like the throwback history kind of R&B,

which really pays a lot of homage to specifically '60s and '70s really

organic kind of R&B. There are a lot of other artists who are

messing with it, but for the most part I feel like on a grand scale

there's a lot of those two things when you say "R&B" to people. It

frustrates me because I was always a fan of the '60s and '70s. That

covers a lot of ground as well. That's a mouthful already. One thing

that I kind of miss is that I do miss a lot of the post-funk stuff that

had such a really interesting effect on, before it intertwines with

hip-hop, there's a lot of interesting things that happened with Prince,

with James Brown and his influence on and that echo chamber that

happened and Sly Stone and where that plays into funk and soul, if I had

to pick an era. Ultimately, Minneapolis is my favorite thing, I really

have this historian love for it. When I pick up a guitar, it sounds like

a Time record.

Especially "Everybody Wants Somebody" from Soul Punk, might I add. I

noticed that Prince vibe as soon as I heard it. I'm actually from that

area, too. Who else are these soul punks? Do you see Prince as a "soul

punk" performer?

Oh yeah. Absolutely. I think Prince is a great example of

it. In a lot of ways I always felt a really strong punk undercurrent in

somebody like Curtis Mayfield. It's obviously very different music, but I

thought "Nobody's serious and it makes me furious," that's a punk-rock

lyric. Eugene McDaniels, it's really proggy and fusion-y, but it has

some really serious punk-rock-isms. I think everything post-Prince is

really fused. I look at it now and you know the modern generation want

to look at Janelle Monae or J*Davey, or Bad Rabbits. There's a lot of

these artists coming up now who have very much of their own accord, this

weird kind of fusion-y  funk thing with a lot of punk energy.

All of these people you mentioned all have huge bands

that they're commanding to do this and you've made this album by

yourself. How

hard is it to get all of that together if you're working on the

project alone?

I think it's a little bit easier, actually, because I

got to explain it all to the people. One of the hardest things was to,

because obviously I come from more of the punk end of things, where I

cut my teeth. So I still feel like I'm hopefully acheiving the same

ends. Getting there, there's a lot of resistance to it in punk rock.

There's a lot of "Oh, R&B is for Backstreet boys," or something like

that. Which of course if you've never listened to any R&B, I guess

it sounds like that if that's your only benchmark for R&B, you know.

Prince sounds more like Backstreet Boys than he does Pantera, but

you're still talking about wildly different music. I think it was a lot

easier to do it and show it to people than it was to talk about it.

One thing that I was really cognizant of early on was that when i wasn't

listening to punk rock, I wasn't listening to the same stuff as my punk

rock friends. A lot of guys were treated to country music, they grew up

on it. I have no base in country music. I really have no idea. I've

never owned a country record, to be honest. It's not something I

dislike, it's just that I don't know that stuff at all. I never had a

Metallica poster on my wall, never had the Led Zeppelin poster, or the

Nirvana poster. Those weren't really things that spoke to me. It's not

something that I disliked, it just wasn't as strong an influence on me

as the Time, or Michael Jackson. You say pop, but at the end of the day

Michael Jackson was an R&B artist who got huge, especially the

1970's Jacksons stuff that's crazy. "Blame it on the Boogie" is a really

groovy song. I love the history of R&B. I love taking it from Nat

King Cole to Ray Charles, to Stevie Wonder and watching that influences

keep going.

What about your Chicago hometown hero R. Kelly?

Yeah,

R. Kelly is in there, it's just tough to really separate man from myth.

He's definitely influenced me a little bit, I think, as a singer. It's

really hard to mess with him. Love him or hate him, he's definitely has a lasting

impact on modern R&B. When you put on Trey Songz's record, you know

where he's getting it. When I hear something in modern pop-R&B that I

dig, I still latch onto it. There are some records that come out that I

really feel. I like to look at the lineage of it.

"This City" is a good local jam in the tradition of many.

Kanye did one about Chicago as well, which I'm sure you've heard. Are

there any other city pride songs that you can get down with?

One

of the things that I really wanted to do was, that I wanted it to be

pride, but I wanted it to be conscious pride. So that was something that

I really thought about, like Stevie Wonder, or Bill Withers' "Harlem."

It comes from love, but I think those two songs are a lot darker. In

both cases I think those guys really loved their cities. I was thinking

broad. I started writing it, I looked at it and thought, "this could be a

song about Chicago, I could take this all the way and have it be a big

Chicago song." I was like, "Chicago has songs. I love Chicago, but

Chicago doesn't need another song. Chicago has a lot of songs."

This

needs to be everybody's song. This needs to be about every city. It

needs to be about every aspect of a city. I wanted to be subtle with it.

I don;t think it's really aggressive in its politics, but I wanted to

say that I love my city unconditionally, here are the conditions. Every

city has some stuff that's wrong with it. I was looking at Detroit and

New Orleans, because these are places where they've been ravaged by

either economic or natural disasters. People ahve the audacity to say,

"Oh, they should just move." No they can't move! It's their home, it's

their soul. Motown, come on. New Orleans, come on. I didn't even think

of that until this conversation, how vital it is to music, music

history. And that's world music history, too; how important New Orleans

has been to the world, so you want these people to move? That's not

fair. So I wanted a song for that. i wanted a song because it can happen

anywhere, any city in the world. Everything's fragile and we all love

our cities. That's where i was really coming from for that.

These

songs, obviously since you're not working with Fall Out Boy, are

these the sorts of things you were thinking about you have a chance to

get these topics off your chest now, it's your album?

Absolutely.

It's one of those things where I love Fall Out Boy and I love they way

we communicated. I love the way our lyrics were, but if I'm gonna do a

solo thing, I have to validate it in some way. I have to matter in a

way that Fall Out Boy didn't. Because Fall Out Boy mattered in one way, I

have to find some other thing, I have to find a way to say it that is

different from Fall Out Boy, If at any point I'm touching on something

that I could have or have said in Fall Out Boy, there's no reason to do

it. That was something that I was really cognizant of. I think the

record ends up being conscious. I try to be socially conscious and

positive about it. Those were the two big things that I wanted to be. I

think that's one of the things that always made me more R&B than

punk. I'm just as angry as any other punk rocker ever, but I'm still

something of an optimist. I want the world to be better. It's not just

"Fuck you. Anarchy."

When was your last conversation with Pete Wentz?

A

couple days ago. We were talking about James Cameron movies. I was

saying that I never liked James Cameron movies, I didn't think he was

any good. Then I saw Abyss. It was jaw-dropping. I said "This is a great movie, I'm an idiot." I can never unilaterally dismiss somebody.

That's probably not the most business-related conversation you guys have had.

Yeah,

we stay in touch. We don't really talk a lot of business anymore. When

it happened, it was like he'd send me lyrics and I'd send him music back.

One of these days he'll send me some lyrics and I'll write some music

and send it back to him and that'll be it. I think that well just

dried up for a little bit, or that he needs to inhale for a little bit

before he can exhale. Pretty early on in the band I considered

everything an essential component and it all starts with Pete writing

some words. That's how our process starts. If we don't get words from

him, we got nothing.

What is your favorite lyric so far that you've come up with? What's your moment that you're most proud of?

That's

tough, because I try not to think of it that way. There's a lyric on a

song called "Coast" where I say "Pointing out trivia nearly broke me

with tragedy, so you need to put me back together." It's kind of wordy

and it's not really that poignant, but it's nice to have some kind of

catharsis for once. I was being the voice for someone else's for a long

time and I don't really get to say these kind of things, so that was

nice. That's a lyric that sticks with me. Or, "Depression's a little bit

like happy hour, it's always gotta be happening somewhere on any given

night." It's acknowledging that we all get, especially when you're

younger, it's easy to dwell on these things, but as you get older and

have actual real-life stuff happen to you, that's when you get to know

man problems, adult problems. That makes you appreciate the good stuff a

little bit more.

I think it's a nice balance. I think we also have your "pin-looking-for-a-grenade" moments too, that are fun, vivid images.

I

love playing with imagery. I have to restrain myself sometimes because

that's all i want to write about and then you look at the page and say

"This is all imagery and no substance. This doesn't say anything. I'm

not saying anything about any of the characters or any of the places,

I'm just having a love affair with words." it's always a balancing act.

There's a b-side called "Saturday Night Again" and all of it is

imagery. If you were to ask me what the song is about, I don't even

really know. It's almost a character study. I wanted this record to have

some statements and one thing that I really wanted to play with is I

wanted to take pop-culture paradigms, big things that you've heard a

bunch of times like "This City," or "The 'I' in Lie," all of these songs.

There's a drinking song, it sounds like a party, drinking song. There's a

song that's about cheating, like a traditional R&B song about

cheating, but I really wanted to infuse them with a lot more subtext

than that. I'm talking bout these things. I wrote a drinking song about

alcoholism, you know? I wrote a cheating song about what that actually

does and cheating on yourself more than romantically cheating. On this

record, one thing that Fall Out Boy never really did was write entirely

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in metaphor. That's something that I'm doing more of with this.

Patrick Stump. With Wynter Gordon and John West. 7:30 p.m. Saturday, August 20 at Culture Room, 3045 N. Federal Highway, Fort Lauderdale. Tickets cost $20. Click here.

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