Matchbox Twenty would be the kind of band that you can't say trash about, period. They are just so immeasurable and extentless and real. In terms of their music they are just so diverse and insightful. Their tunes are so phat, they just make me wanna go learn guitar. And Rob Thomas has the most intense voice I've ever heard, plus the way he pronounces his words is seriously immense("It's 3am Ah must beh lonelah!")

And in the light of everything, they're all still very decent fellows. Not like *NSYNC jumping off the d*** walls with pleasure, but they're all right:)

So now you're probably asking yourselves: "Hey, what the heck, who do you like better, these guys or *NSYNC!?"

It's weird, but it all varies constantly. Sometimes I'll just pop in "Yourself or Someone Like You" in my CD player and it'll stay for weeks. Then, I'll suddenly get tired of it and watch reruns of the *NSYNC concerts. I'm weird and fickle and not really that picky, I know. Matchbox 20 had this weird hiatus where they were in Australia or something and they were gone for like all of 1998, so during that time they kinda lost my interest, but now they're back and I'm getting into them again.

The temptation to say that I'm a bigger *NSYNC fan is great, and in all respects that's most probably true. I gotta be honest; Deep down I know that if asked who I wanted to meet and get autographs from more, one member of *NSYNC or all of MB20, I'd still pick that one *NSYNCer in an instant.

"So...Why exactly did you make a site about *NSYNC and not about Matchbox 20?" Well, it's just easier to talk and joke about *NSYNC, plus they're so easy to make fun of:). No, I'm kidding, although to an extent that's true. I think that making this webpage was a way of releasing my inner *NSYNC fan, 'cause he never really gets to come out and play, whereas my inner Matchbox fan rides on the swingset everyday. Um...no, wait, don't dial 911, I'm not crazy!

You guys wanna hear something interesting and totally pointless? A few weeks ago I went and got "Mad Season," their recent album, and the second that I opened the CD case the two parts of it just came apart. I remember just standing there stupidly thinking, "God, I hope this isn't an omen." Thankfully, the album was tight. It was even a little more drastic than the first one, if that was possible.

LAUNCH: What are your reflections on the marketplace today--boy bands, teen sensations? Do you feel that it's good, or does it worry you?

ROB: Pop music, the idea of it, has no boundaries. If you're alternative, or metal, you have certain things you have to adhere to. Pop, if you turn on the radio, it seems to adhere to everything from Celine Dion to Korn. I think everything is OK. Everything is good. I don't know any of them. When that Britney Spears song came on--"Oh, baby, baby"--I would turn it up, I couldn't hear enough. And that's because somebody wrote a great song. That's as important as a Joni Mitchell song. Somebody like the Backstreet Boys, they're really nice guys, they work extremely hard, have really nice voices. It's like a Broadway show--they have lights, they fly around, they have costumes. They're a traveling show. That's what they do. If you go and see all the people who go to see them, you see people dancing, they're happy. For a couple of hours, those people are worried about nothing, and that's because these guys did their routines, sang their songs, and there's nothing wrong with that. I think people take music too seriously. I think the whole idea of music was to alleviate some of that seriousness of life. I have a friend who says, "If they don't write their own music, I don't want to know about them." But look at Frank Sinatra. Who was cooler than Sinatra? And Elvis. Bernie Taupin wrote with Elton John. Does that mean one is more important than the other? They're both just two genius parts that work together, Without the Korns and Limp Bizkits, the Backstreet Boys and the 'N Syncs, the Third Eye Blinds and the Vertical Horizons, and without the Celine Dions and Mariah Careys, without that all working at the same time, then pop music would be in trouble. But the fact that we have all that to choose from, I think that means we're doing pretty OK.

KYLE: There's nothing I would really buy right now. Sometimes I put myself in that A&R position...you can get so personally involved, and you need to step back and think like a consumer. There's a lot of things I hear on the radio that I think are fun, but it's a different ball game when I decide to buy something. I'm not personally pleased with what's going on right now. The Beatles are just--they really summed up what this art of music should be, and that's the kind of no walls, no formulas. But I think sometimes commercial music has to have that formulaic foundation. Ever since the folk songs, in the renaissance days, there's a formula there and people need to follow it, so people have been rewriting it over and over and over. And that's how I feel about the boy bands: "Yeah, that's catchy, but I've heard it before."

These guys are so cool. And no I don't think Kyle is being dismissive, I know exactly where he's coming from. And I'm glad they are being so open-minded.

Let me see some other musicians Enough of that, take me back to *NSYNC!

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