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Page 1
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Adam Sandler dances like he's on the toilet, and he sings like his mouth is one ...
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Page 2
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Shhh ... Don't Tell has a dirty little secret: It's Sandler's filthiest album yet ...
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Page 3
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Sandler's buddies David Spade, Rob Schneider and Molly Shannon stop by ...
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Though his albums have given birth to a string of memorable characters, Sandler insists his dozens of voices are just slight variations of each other. "I only can do so many voices, and so all my characters, you definitely know it's the same guy doing it. When I'm doing a voice for a character, in the back of my head I'm like, 'That's about 20 percent different from the character I did on the third album. So there you go."
Later, he gives an example. "The excited Southerner [from 1996's What the Hell Happened to Me?] is basically Bobby Boucher from 'Waterboy.' It's the same damn voice."
All these modest claims, though, are hard to believe when you look at Sandler's hugely successful catalog of movies and albums, or even just Shhh ... Don't Tell. Throughout the 20 tracks, Sandler transforms himself from a pushover college student to a blues singer to an overly adventurous old man named Pibb, the album's repeat character. ("There's nothing that makes us happier than an 85-year-old man getting hurt," he jokes of the skits.)
The common thread running through most of the tracks is, fittingly, a blending of arrogance with reticence. Sandler's character in "The Boss and the Secretary," for example, is a pompous ass who happens to be extremely ill-equipped. And then there's the British rocker, "The Amazing Willy Wanker."
"We wanted to do like a proud English rock and roll tune, like the guys from Oasis and a lot of the English dudes, when they sing they look very cool and believe in the words so much," Sandler explains. "And we wanted to write a song where the guy is very confident about what he was saying and it meant a lot to him, but it was about whacking it. There you go."
Whether it's Billy Madison or Henry Roth in "50 First Dates," Sandler's movie characters share the same sort of confidence paradox as those on his albums. The biggest difference is that the albums are far, far more obscene, especially Shhh ... Don't Tell.
"I think I curse more on this record than ever before," Sandler admits. "Yeah, the album's not too tame. In real life, though, I'm a little tamer at home. I don't curse as much. [Jackie Titone, his model wife of less than a year] yells at me for that, 'cause we're gonna have a kid [eventually] and I guess I can't curse [then]. I'm in trouble when my kid grows up and one of his friends goes, 'Hey, listen to your dad's album.' I'm dead. There's no way I could win any fight with that kid. 'You did this! You did that!' And I'll be like, 'Eh, eh ... You win.' "
To Sandler, a lot more than the amount of cursing separates his movies from his albums. While movies have certainly made him more money, the albums are more fun for him to make. Still, after starting Happy Madison and signing on for a string of too-good-to-pass-up movies (such as director Paul Thomas Anderson's "Punch-Drunk Love" and "Anger Management" with Jack Nicholson), he went four years without being in a recording studio.
With his film schedule looking as full as ever, he decided the best way to get back to making albums was to build a studio on the Sony lot, behind Happy Madison's offices. "I said, 'Let's just slowly do it while we're shooting movies.' We started out slow and then all of a sudden got excited and [started] skipping work on the movies and going, 'We'll get to the movie tomorrow; we've got to get this song.' "
"I guess there's less pressure on you," he says later. "It doesn't cost so much money. We're making movies every minute, it's money, and you've got to move on and everyone wants you to get done and blah, blah, blah. When making the album, I have all my equipment here, I've got all my friends here, I know how to work the equipment, so we can take our time and it was a great process."
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Photo: MTV News
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