“Living in L.A., with so many bands, you’ve gotta work extra hard,” observe… Read Full Bio ↴“Living in L.A., with so many bands, you’ve gotta work extra hard,” observes American Eyes vocalist David Henry. “Bands are a dime a dozen out here, and to get noticed is impossible. That’s the thing — people are impressed that we get reactions at our concerts because in Los Angeles, kids just stand there with their arms crossed.”
Credit such significant notoriety to the fact that American Eyes never settled on playing standard fare, stand ‘n’ stare rock music from its inception. Instead, the quintet had always been a dark-edged neo-gothic punk act that’s incorporated prominent dance rhythms within its material, whether it’s on the band’s first two self-released recordings, or their SideOneDummy debut EP, Never Trust Anything That Bleeds.
Hailing from the westernmost region of Los Angeles County — Agoura Hills, to be exact — American Eyes’ members Henry, Richardson and Gold actually shared sandboxes together, having known each other since pre-school. The three didn’t really materialize into a musical act until their years at Agoura High, where they met locals Anthony and Johnson — it’s also the same institution of which members of Linkin Park, Hoobastank and Incubus had attended (but, of course, ended up in an entirely different musical genre). Originally formed under a different name, the pre-American Eyes act gave the members ample opportunity at which to cut their teeth.
Since high school wasn’t the act’s forte, Henry, Richardson and Gold opted to swap their chance at higher education for a shot at bigger venues and more recordings. With a renewed spirit, a more focused concept and a few years of steady experience already underneath their collective belts, the set launched American Eyes in 2002. But the launch wasn’t exactly the propulsive lift-off that the act had been anticipating.
“When we first started, no one would book us because we had a really bad reputation around L.A.,” says Henry. “We played an all-ages show and kids were going nuts — it was a typical hardcore show. Next thing I know, I see a chair getting thrown through a window. The cops came and it made the front page of the local magazine. A week later, we played at USC and I put my foot through the grand piano on accident. No venue would book us. Troubadour? No. Knitting Factory, Roxy, Whisky? No way.”
The only place that gave the band a shot was a gay club in West Hollywood — and American Eyes was the first band to ever play there. Packing in their audience amidst the cage dancers, American Eyes soon grabbed the attention of local radio stations and other promoters. Next thing they knew, they were welcomed back into L.A.’s club scene — selling out nearly every local show they’ve played since.
That doesn’t mean that American Eyes have toned down their act. Actually, Henry mentions that the group was recently asked to leave another local venue — the reason given was that Henry had endangered the crowd by climbing up the side pillars and hanging upside down while singing — in short, just going nuts. “We’re just always looking for trouble,” Henry admits. “I believe it’s fun, it’s music.”
An American Eyes show isn’t just a band slamming through a handful of songs and making a quick exit — it’s a total production that goes well beyond the scope of five guys playing music on stage. For example, the band’s Valentine’s Day gig in 2005 featured a kissing booth and a snow machine. “We throw events, we don’t throw concerts,” Henry adds.
The chatter of their famed shows and a well-connected Henry caught the attention of the SideOneDummy record label execs, who inked a deal with the band after catching a seemingly rousing practice session in 2004.
Enter Never Trust Anything That Bleeds, American Eyes’ six-song label debut. Produced by Michael Patterson (Puff Daddy, Notorious B.I.G., Beck) and Gavin MacKillop (Sugarcult, MXPX), the concept EP was devised around a relationship in Henry’s life, and all the ensuing emotional twists and turns. “It was a turning point in my life. I’d got out of high school, I was out in the world, I had a girlfriend for five years and we had broken up. You didn’t know anything, you didn’t trust anybody, not even yourself. You just had to keep your eyes open.”
Never Trust Anything That Bleeds leads off with the electro-charged “Knife Fight With A Girl (True Story),” a song about confusion, incomprehension and the emotions of having to sever ties with a former love. Next comes the propulsive “Telephone Wires,” followed by the anthemic “Carry On For Keepsake,” which grapples painfully with a sense of loss in the wake of a tumultuous relationship. “The Girl With The Broken Heart (By The Way)” is a straightforward rocker, which then leads into the sweeping, orchestral ballad, “The Day We Died,” of which Henry addresses internalizing his frustration. The song is a collaboration featuring vocals by Curt Smith of Tears For Fears fame. “Recording with Curt was surreal,” Henry exclaims. “I had to kick myself!” The disc’s massive send off is the upbeat, sing-along track “Radio.” “With that song it’s like, it doesn’t matter, I can do whatever I want to do,” Henry notes. “I’m doing what I love to do. And hopefully one day, she’ll hear this song on the radio and be like, ‘Wait, I fucking blew it.’”
And it’s that intriguing dichotomy of tormented, frustrated lyrics and danceable, stimulating rock (“We make happy music to cry to,” says Henry) that’s made American Eyes such a favorite — especially online, through their MySpace profile. “We put ‘The Day We Died’ on MySpace and tons of people were hitting us up, saying ‘Oh my God, that song is reading what I’m thinking.’ The lyrics can totally bum you out but the music is happy. It’s all right to be sad. It’s all right to grieve.”
American Eyes receive and continue to respond to personal e-mails seeking advice on many of their fans’ issues. “It’s like therapy,” he says. “That’s how we’ve gotten to where we are, because we’ve made personal connections with everyone. We’re going through the same thing they are.”
It’s no surprise American Eyes have caused kids to uncross their arms and take notice. And Los Angeles is just the starting point.
Credit such significant notoriety to the fact that American Eyes never settled on playing standard fare, stand ‘n’ stare rock music from its inception. Instead, the quintet had always been a dark-edged neo-gothic punk act that’s incorporated prominent dance rhythms within its material, whether it’s on the band’s first two self-released recordings, or their SideOneDummy debut EP, Never Trust Anything That Bleeds.
Hailing from the westernmost region of Los Angeles County — Agoura Hills, to be exact — American Eyes’ members Henry, Richardson and Gold actually shared sandboxes together, having known each other since pre-school. The three didn’t really materialize into a musical act until their years at Agoura High, where they met locals Anthony and Johnson — it’s also the same institution of which members of Linkin Park, Hoobastank and Incubus had attended (but, of course, ended up in an entirely different musical genre). Originally formed under a different name, the pre-American Eyes act gave the members ample opportunity at which to cut their teeth.
Since high school wasn’t the act’s forte, Henry, Richardson and Gold opted to swap their chance at higher education for a shot at bigger venues and more recordings. With a renewed spirit, a more focused concept and a few years of steady experience already underneath their collective belts, the set launched American Eyes in 2002. But the launch wasn’t exactly the propulsive lift-off that the act had been anticipating.
“When we first started, no one would book us because we had a really bad reputation around L.A.,” says Henry. “We played an all-ages show and kids were going nuts — it was a typical hardcore show. Next thing I know, I see a chair getting thrown through a window. The cops came and it made the front page of the local magazine. A week later, we played at USC and I put my foot through the grand piano on accident. No venue would book us. Troubadour? No. Knitting Factory, Roxy, Whisky? No way.”
The only place that gave the band a shot was a gay club in West Hollywood — and American Eyes was the first band to ever play there. Packing in their audience amidst the cage dancers, American Eyes soon grabbed the attention of local radio stations and other promoters. Next thing they knew, they were welcomed back into L.A.’s club scene — selling out nearly every local show they’ve played since.
That doesn’t mean that American Eyes have toned down their act. Actually, Henry mentions that the group was recently asked to leave another local venue — the reason given was that Henry had endangered the crowd by climbing up the side pillars and hanging upside down while singing — in short, just going nuts. “We’re just always looking for trouble,” Henry admits. “I believe it’s fun, it’s music.”
An American Eyes show isn’t just a band slamming through a handful of songs and making a quick exit — it’s a total production that goes well beyond the scope of five guys playing music on stage. For example, the band’s Valentine’s Day gig in 2005 featured a kissing booth and a snow machine. “We throw events, we don’t throw concerts,” Henry adds.
The chatter of their famed shows and a well-connected Henry caught the attention of the SideOneDummy record label execs, who inked a deal with the band after catching a seemingly rousing practice session in 2004.
Enter Never Trust Anything That Bleeds, American Eyes’ six-song label debut. Produced by Michael Patterson (Puff Daddy, Notorious B.I.G., Beck) and Gavin MacKillop (Sugarcult, MXPX), the concept EP was devised around a relationship in Henry’s life, and all the ensuing emotional twists and turns. “It was a turning point in my life. I’d got out of high school, I was out in the world, I had a girlfriend for five years and we had broken up. You didn’t know anything, you didn’t trust anybody, not even yourself. You just had to keep your eyes open.”
Never Trust Anything That Bleeds leads off with the electro-charged “Knife Fight With A Girl (True Story),” a song about confusion, incomprehension and the emotions of having to sever ties with a former love. Next comes the propulsive “Telephone Wires,” followed by the anthemic “Carry On For Keepsake,” which grapples painfully with a sense of loss in the wake of a tumultuous relationship. “The Girl With The Broken Heart (By The Way)” is a straightforward rocker, which then leads into the sweeping, orchestral ballad, “The Day We Died,” of which Henry addresses internalizing his frustration. The song is a collaboration featuring vocals by Curt Smith of Tears For Fears fame. “Recording with Curt was surreal,” Henry exclaims. “I had to kick myself!” The disc’s massive send off is the upbeat, sing-along track “Radio.” “With that song it’s like, it doesn’t matter, I can do whatever I want to do,” Henry notes. “I’m doing what I love to do. And hopefully one day, she’ll hear this song on the radio and be like, ‘Wait, I fucking blew it.’”
And it’s that intriguing dichotomy of tormented, frustrated lyrics and danceable, stimulating rock (“We make happy music to cry to,” says Henry) that’s made American Eyes such a favorite — especially online, through their MySpace profile. “We put ‘The Day We Died’ on MySpace and tons of people were hitting us up, saying ‘Oh my God, that song is reading what I’m thinking.’ The lyrics can totally bum you out but the music is happy. It’s all right to be sad. It’s all right to grieve.”
American Eyes receive and continue to respond to personal e-mails seeking advice on many of their fans’ issues. “It’s like therapy,” he says. “That’s how we’ve gotten to where we are, because we’ve made personal connections with everyone. We’re going through the same thing they are.”
It’s no surprise American Eyes have caused kids to uncross their arms and take notice. And Los Angeles is just the starting point.
The Beginning Of The End
American Eyes Lyrics
We have lyrics for 'The Beginning Of The End' by these artists:
3.20 Wouldn't think I'd make it here But bitch I made it…
A.T.H. Projekt Welcome to my nightmare This is my world Are you ready to…
Any Given Day This life is constantly on its way down I have…
Attrition Sitting Waiting Staring at the edge of the air I…
B.B. King When I first met you we burned like a flame Now…
B.O.W When I first met you we burned like a flame Now…
Barbara Mandrell In the beginning there was love And there was nothing that…
Bill Ricchini The ex -disco dancer still remembers all of the old…
Cause & Effect Open heart Open mind A lot depends on what we say Afraid to…
Cockney Rejects They try to tell me the lies they sell me They…
Crash Test Dummies And when the rain begins to fall And there's flooding in…
Crematory Emotions - reflecting the dreams of reality Deep wounds - de…
Damien's Trail Of Blood Don't believe in the voices…
Diablo A reflection of trauma pulls you under again Your silent agg…
Diana Ross & The Supremes Tender words of love That once came easy Now seems straine…
Diana Ross and the Supremes Tender words of love That once came easy Now seems strained …
Doug Stone I miss the changes taking place thought i felt warmth in…
Extortion This is the begining Of what it the end A world that…
G.L.A.M.S I feel like I did if I didn't use drugs See…
Guster We're not sentimental We're just oil-filled machines Trying …
H.C. MINDS Your world is coming to it's end But you don't have…
Hotspur Calm down baby, please don't go I've made up my mind,…
Ian & Sylvia & The Great Speckled Bird This is the beginning of the end When trouble comes, I…
Jupiterkami Ooh A time To love Has ended And who? Could end My light Aga…
Kardinal Sin (It’s gonna be a bad, bad day for you and…
Klergy Ooh, ooh ooh, ooh Ooh ooh, ooh Ooh, ooh ooh Reckless behavi…
Klergy & Valerie Broussard Reckless behaviour Is looking at a man Like he was a savior …
Klergy feat. Valerie Broussard Ooh, ooh ooh, ooh Ooh ooh, ooh Ooh, ooh ooh Reckless behavi…
L.A.S.H. Welcome to my nightmare This is my world Are you ready to…
London After Midnight Your colors fading Your halos looking dim Hide behind hate…
Marion Raven It started with a fire burning Now I'm the one who's…
Maroon You think this isn't right. You think you don't deserve thi…
Marrok Can you believe That our world will fade into dust But I…
Marsheaux There is a time above the fears The time of wiping…
New Buffalo The Beginning Of The End ( New Buffalo EP ) You got…
NIN Down on your knees, you'll be left behind This is the…
Nine Inch Nails Down on your knees, you'll be left behind This is the…
Noise & Paradox I was just starting to like this place Why'd you have…
OH YOON 나 아직 그댈 사랑합니다 이 맘 여전히 단 한곳만 봅니다 거친 비바람…
OS3 Wouldn't think I'd make it here But bitch I made it…
Pinact I must confess This is a mess Broken in two thousand tiny…
Riverdales The beginning of the end I already miss her She lies dead…
Rob Zombie The name explains it all. Destruction, chaos, screaming and…
S.u.n. Welcome to my nightmare This is my world Are you ready to…
Sarayasign 04: The Beginning Of The End What are we fighting for,…
Sjana Rut I’ve spent a long time figuring out why I used…
Stuck Mojo The beginning of the end of a new terror, a…
Sworn Enemy Forgive them of all their sins Soft spoken with no lies A…
Syrian Kosmonauta Fino al cielo Nell'infinito Venti secondi al l…
The Death March Principium finis venit Expergiscimini Progredimini, Bellato…
The Merciless Concept Salvation sounds a new beginning As distant hearts begin bel…
The siberian machinist The sun sank down in black The ground beneth had cracked Fil…
The Softies Are you loving how you're living Is it treating you well Do…
The Supremes Tender words of love That once came easy Now seems strained …
The Twilight Singers You better shut your eyes Here's where your life begins Ther…
Theatres Des Vampires Why am I here?!! I wish to come back.... ...... But…
Threat Signal Realize the pain envision the fear That goes on every year …
TM NETWORK 夢にまでさえ 出てくるのさ 人はいつも 何かに傷ついている それは時に 永遠の彼方 それを人が 人を補う 誰かと誰かが …
Zoe August My mama always said I got addictive tendencies I make up…
We have lyrics for these tracks by American Eyes:
By the way We are not statistics populated by government authorities Th…
Carry On For Keepsake I'm leaving, so carry on for keepsake Go find the love…
Day We Died The day you die Is the day I won't survive I'm not…
Girl With a Broken Heart We are not statistics populated by government authorities Th…
GIRL WITH THE BROKEN HEART We are not statistics populated by government authorities T…
Knife Fight Oh the years they go Aand I'm still standing in my…
Knife Fight with a Girl Oh the years they go Aand I'm still standing in my…
Radio Good moves, good times We're on our way to Celebrate life…
Telephone Wires Turn me on telephone wires I'm tangled up for good My mom…
The Day We Died The day you die Is the day I won't survive I'm not…
The Girl With a Broken Heart We are not statistics populated by government authorities T…
The Girl With The Broken Heart We are not statistics populated by government authorities Th…
The Girl With The Broken Heart By The Way We are not statistics populated by government authorities Th…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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