Though a voracious consumer of what L.A. has to offer, Gonzalez is faintly apologetic about where he lives. Some of the interstitial tracks on Hurry Up go by the evocative, wondrous names of "Where the Boats Go" and "Train to Pluton," but the view from one window in his condo is of a Yum Yum Donuts. Though most of the songs featuring Gonzalez's vocals were composed on tour and in the city, Hurry Up also is filled with meditative instrumental interludes, mostly written by Gonzalez during stays in Joshua Tree. "I know it's cliché, but being alone in the desert just feels so inspiring," he says. "But I'm not really into all that hippie shit." (It's even more convincing when it's pronounced "hee-pee.")
It's about the only time you ever get any sort of rise out of Gonzalez, since while he often traffics in the emotions of teenagers, anger is one that seems strangely absent from his music (not even on 2005's misleadingly titled "Teen Angst"). Then again, he came to this city looking to have a fire lit under him, and it appears to be working. Hurry Up is evidence enough, the sort of wildly ambitious and arena-ready album he's been straining to make since his modest beginnings, and now has the resources and know-how to accomplish. You get the feeling it's his way of saying, "You think this is big? Just imagine what I could do with DreamWorks' budget."
Perhaps M. Gonzalez would benefit from a course in history before he talks about "all that hippy shit." The hippies exploded music in the 60s and have no doubt had a great influence on Anthony G's musical production, regardless of whether he realizes it or not.
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