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 "What are we going to do? Ben's gone." ...

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 Ben Moody says Amy Lee was obsessed with "selling out" ...

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 Amy Lee, solo artist? ...

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 Think Moody is bitter? Ask his replacement ...

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 Evanescence live in New York, 04.16.2003

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Evanescence had begun to sprout two heads about a year after signing with Wind-Up Records in 2001, before the single "Bring Me to Life" announced the band's presence to the mainstream. Any rift was undetectable in the countless interviews to promote Fallen that focused on how Lee and Moody met as teenagers, worked hard and wound up becoming the Cinderella story of the year.

As songwriters, Lee was the dark-themed lyricist and Moody provided the musical muscle. More than that they were friends — best friends — as it says in Fallen's liner notes, and the two had even dated briefly. But there was always a separation between the two when it came to work.

"Amy and I never wrote together," Moody said. "Maybe two or three times in eight years did we actually sit down and write together in the same room."

  A Brief History Of Evanescence:

  1994: Ben Moody and Amy Lee meet in Little Rock, Arkansas

  2000: Origin released; approximately 50 copies were made

  January 2001: Band signs with Wind-Up Records

  March 4, 2003: Fallen released

  March 12, 2003: Fallen debuts at #7 with more than 141,000 copies sold

  May 18, 2003: Fallen certified platinum

  October 22, 2003: Ben Moody leaves band during European tour

  January 16, 2004: Evanescence name Terry Balsamo as new guitarist

  February 8, 2004: Evanescence win two Grammys, including Best New Artist
The song "Catherine," penned in 2000 prior to their self-released debut, Origin, and omitted from the album, was the only example of a joint songwriting session that Moody could cite. Customarily, Moody and Fallen co-writer David Hodges came up with the music and recorded it onto a CD, which Lee would then take so she could write the lyrics.

The process wasn't entirely exclusive. Moody would sometimes help out with a vocal melody and Lee often pitched her musical visions. Whatever the songwriting method — and theirs is used more frequently by bands than most fans assume — it obviously worked. Piling on layers and juxtaposing parts like muddy guitars and soaring vocals, thuggish melodies and soul-baring lyrics made for a fresh addition in the pop-metal genre.

"When we were writing the first songs, which are five or six years old now ... it was more [organic]," Lee said. "Let's say we started off with a piano, then we'd say, 'Let's put guitars all over it,' and then maybe a huge choir in the bridge. It became this ridiculous fun thing. We put stuff in that wouldn't necessarily be anything like what we were hearing at the time. It would just be what we wanted because ... just because. It was never about boundaries or rules or following what somebody else did."

Moody, however, approached songwriting more conservatively, keeping the pop convention of verse-chorus-verse-chorus-bridge-chorus in mind. "When you're trying to create a new thing, it would seem like the doors would be wide open, but they weren't," he said. "I made the rules very strict. It had to fit certain criteria."

Some would call Moody's conformation to pop boundaries classicist. Others have a harsher term for it.

"Just because something's catchy doesn't mean you're selling out, and just because you sell records doesn't mean you're selling out," Moody said. "And that was the word of the day with Amy. Sell-out this and sell-out that, and I'm like, 'Give me a f---in' break.'

"Just because you follow certain rules of songwriting doesn't mean you did something bad," he continued. "It means you're a professional and you know what you're doing."

Moody took his approach outside the studio, too. Where Lee had to overcome some shyness as Evanescence's career began to blossom, Moody was always ready for face time. He was aware that his newfound role as a rock star entailed more than just expressing himself through his art. This was called the music business for a reason, and doing interviews, walking red carpets, rigorous touring and "sleeping when you're dead" were all part of the bargain.

"There are certain things about the music business that, honestly, are not about music, and they're not about art," he explained. "They're about playing the game so that you can continue to stay successful, and Amy didn't want to play those games. I was more about doing what I had to do to be able to play music and do these sorts of things for a living.

"With Amy, it became this obsession with being an artist," he added. "I thought that what people need from the musicians they look up to is a good time, [musicians] who don't take themselves so seriously. That was something we greatly disagreed on."

NEXT: Amy Lee, solo artist? Plus, Lee says that for Moody, 'It's all about shock value.' ...
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 "Bring Me To Life"

 "Going Under"


 "My Immortal"