I"**"',,,W*,:ry;il*r fc I the oii-"".irtt--".t"tv line.apologies U"irb." nurnU'ss Eut ttrat seems to "oJ" I U. tfr"^ ottto r*v in whteh the whole thlttg I torxl: .t* L"v"- effectivly been golng nolr I 1'o;--i;o ,t.o" r owâ‚Ź have b-een repninted andnry I tob rh .iapan...which brlgs ne onto
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I lev"ral thousand rnt'les Lway at podueed I nrttute tt "". ls e farazlne tetng f called OUT SIm tC,yO wtrlch ls a Japanese I str.nsled.it is now 19?9 W the tlne you iead this you rllt havu besn nsde J. t "n" lp.'ard I "tntr. of tJre Stlanglers l1te re jJ rhl-ch I also of tJre solo IP f]m E3$oo tJrls lnslda piece on [. should have a at ls bok d I the much t"gu""t \yrlc reaSr got{reto I ti*" of pnfntfng th* nagEnd of !offi" t press for releale at the pressras trSUsI tJre ln fr;;p-y;r* f "y.i-"p"" that so t we ,rL yetr-rng fbr eontrlbutlons thl's *tt-o". tf,e Eagrrso ipt blql ffi'ltENln F yoo "nr"a-.;...nlogr Nd lw Ine EErI\tG i[ rcrt RrGHT AND cENTRE ltrtu RrclRD To
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AciuAIJX CCMnTSUrING To tTIIs MIc..BEArEN nr-mDE-itgo LilE tgosAuDs oF MILEs Alrmx ]N JAPA}I AND TtE US...TI[[NK ABOUT IT.
muslcoowe have sttll the iil.iEln-foof" erd his new balrd..l stlll tlp SCRE THROAT..EDGE and pinpolnt" erl..to be honest :Lbave been a lltt1e slolc with plcklrrg up wlth new band sto lntev1*.-."o" t[e brnnu6il's have been moro furyortant...but i could argue thatt tJrat is whgre you come 1n..
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REGARSD TO
ln dePtfotd" to all see loi dotm at the KINGS HEA.D INN
a big hello
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T.M. Ear1y Facts? D.T. The people in the band have aItr. beln Ln earller Projectst we had a1t been in bands that had broke uP and there was no recorded evidenc€.
got together to record a sLngle - to have a record rras fun so we did nTokion & ItHeart of Darknegsn. . .The band was put together to do
in September 1975 in Cleveland, after a character in a series of turn of the century wright Alfred Jarry. Their first jive show was pn the PERE UBU
were formed
first
sing1e "30 seconds over Tokyo"/"Heart 0f soon aftenvards. The group's first t{ew Ycrk follow up s'i ngle "F'inal Solution"/"Cloud I49"
UBU's
We
that single. We'then decided that was released
when
whlch was December 75t that we would do one perforuance
to sort of seII the thing. Fhat turned out fairly well so we decided to staY together there were a couP1e of P€rsonal changes ln the flrst six months. T.M. Was that released on Your ovrn label? D.T. That vtas on the ItHey Arthurtf labe1r we then dld four singles on our oYtn nB1ank Labeltr . trtJe borrowed moneY off friends etc o fou know how lt go€s... T.M. slas lt a pretty unique thlng to do at the tlme i to bring your own single out? D.T' Definitely in Clevelandr YOsr it was the starting Polnt fof a lot of thingsr 3t the tine we were unahtare reaILY of anything that was haPpening in other townsr wo heard about other bands who wer6 dolng thlngs later one T.M. How dld the nane of PERE UBU originate? D'T. There are a serles of PIaYs written by e frenchmant Arthur Jane in the 18P0rst in which the maln character ls PERS UBU - father [Ibu. I cantt real}y descrLbe them and do justice to then. lle work wlth images and we chose that name to colour the Fieture of the thlngs we dld, T .M. Did you galn what might be desc ribed as a local followlng after that first etg? D.T. WeII lf you talk about a followlng we are talklng about 50 people. I mean to thls day I donf t think tbat we could draw more than 300 people. Our fans are very dedlcated in Cleveland; when we-'got back to Cleveland after dolng our first official
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appeared around the same time.
European Tour we did a gigr we had the nelr L.P. ready and i.t was effectively to be that last g1g before we €n-
barked on thls U.K. Tour, I mean ire are an OK band, $re have some reputat{Gm and- lt would be sonethlng of a major eventl I would have thought,
but all the notlee we got was one llne in a loeal paper, There " ls no nedia support at all exeept for ItCtEn (a local fanzlne ) aad guy c:ur only brlng tt out wtren he gets enough money togethcr - he I only prlnts 1OOO and they go to the same people. T .M. Have ybu played in other parts of Anerlca? D.T. We have played at hlashlngton, Ba1tinore, Bo$on stG r I{e do weIl, *e get a good rsF sponse. CBGBts told us that re reng the largest non-il€ut, i
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D.T. The flrst prlortty when re got a new label was to play in ,Europe and then play more tn Anrerle,Br T.!{, It ls lronlc that bands }ike yourselves have to come to Europe to play and galn some measure
of suceess before
returnlng to their home tase to fo-create that gucc€gg. D.T. It lcn ironic, it is typieal, there are a lot of groups w.ho $ere ln our sltuation, rte are luckyr H€ have got out of that and we ean at least come oYer here end be treated 'llke hunan belngs, there are a lot of groups in Amerlca havlng a real tough tlme. There 1s a group ln Boston called the GIRLST baads Ilke that have no real hope in the U.S. they have to get over here. T.M. To do that they are golng to have to work very hard. I mean the anount of bands that do that break away ls Yery
snall.
D.T. Rlght, that t s the way lt- ts ln-Clirveland, you ean onlY
ftght the systen so long
and you eventuallY break uP and go back tnto Your base-I ment-and stdrt agaln, that s the utrr Ameri,ca lE, ob-
vlouslY there
ie the cult
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bulld up a followj.ngr a cult whatever you wartt to'cell tt. I think Ameriea wtll be able to senl-support us eventually I tn uge. o, o It t g a lot of the tlne a lot of work. I.l.m mofe interegted ln playlng the nlddle States of Amerlca away fron the East and Uest coastsr I dlsltke the power stmcture they are always talklng about the East and ldest coast where everything le. T.M. That certainly is the Lmpreeston that we are fed ovei here. D.T. Los Angeleo ls a forLegn country, California 1g barely part of Amerlca, ller lork ls too !19 - tog frlghtenlng, you canrt be left alone ln New Iork. T.M. Do you find that the puntera react better over here to you than ln the $tateg? D.T. On the whoLe tt ls much better, they seee nuch nore involved ln the muslc, the level of unltlng 1g g6ner,
.
aIly hlgher - tt ts more lnvolved, lt is more firn to play over hsre. In Amertca music ls nuch more background you pay money and the band ls just there to entertata. When people go round to frfends
they Just throw onr a reeord {ro that they can talk. T.l{. Do you tblnlc that a sltuation could arLse rhereby aII of those snalL bands that you houses
mentloned right ecross, Amerlca could sonehon get together and affect the mr,rste, ln the $ane way that the $bx Plstols dtd ov€r here?
D.T. There could never be nothing Ilke the Sex PlgtoLa lfi ,, Amerlce. Is EEgland the press ls much tsor€ opon, to everythtngr the pcople you ses ln the papers_ ltko Joha Cooper Clark rould never be wr{.ttea about tn RoIIlnS Stone, aIL that gort
theie 1g no nedLe of thlns. gupp6it'these snall bandet to they are unkreora outgLde their oua clttes-America ls g@ vest and the medLa aYrten Ls ghut dorrn.
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TAlltheworklhaveproducedoverthelastthreeyea.'scanbeadequately of whether they
1e{arOtess described under any ol the above-1gglitit or single headings' are taken as grouP 3"qu"n""t si'' ho'n'euer on rell ection i9 i{t;
lf tonite at
say nidnt glrt eannabls was Lega1lsad ystr would wake rp tJre next norntng go into your sleet shop erd .ftnd that ln ; nattc of hsurs eompanles ltke playcs and rothnan ete rould heve the product walttng fe you ...tle reason betng that as lf,e spealc e co4llete eanpalgn has already beEn mapped outrto promote this nelr trnoduct.Alrea$r packets have been deslgnedrbrand nemcs appwed sources
of the produet aff,lrned ete etc..that
nlght on NatLonwide arnrtte val rorrld appear on ttre screâ&#x201A;Źn rrlth a Jolnt l.n hse hands saylng sonethlng }lle..FTolnlte ngtlonrlde [oes ncrttr-to see shat the peopl of blrmlnghara thtnk about the legaLisatlon
of cannabisrbut flrst wtrat ls carsrabLs?thls Ls e nJOINTilas lt ls caLled..blah blah... t alr nolt golng to shor yor how to ro11 itt blah bLagh......snd nor I $rilt smoke tt..
(pults a vtrJr odd face h"â&#x201A;ŹIt 1 dont knor 1 dont feel aqy dlfferent tfiat do-you thlnk flank ......FRAhK..$eLL lfllstick to ry plpe n rd ndt a strarge stcy flom of aLl
plaeeso.oo.oo.o......tsend so onl en not ln actuaL fect advoeatlng- lts legaLlsaticn beceuse l,tke arythlng lf that happened f he whole thlne would be destrostd ry t*re b1g conpanies ...1 dont lnfaet thlnk that lt tl.IIL wffor be legallsed rather more l:tkely artd praetlcaL would be ttsdecrimLnallsetlon. I mean ln thls day ard ege etc..lt seen a bit rldleulas tobe arebted f,e waltklng arourd lrlth the shrlveled up renelns of a plant tn , ysl Pockgt .... + +-.
At li rst t was ratne??#"v6 and within tne terms
oifi;;rkile
it now seems
t;;t
Ii rarrclcl"nie'is
tne one I prefer' and self and home delence
tt" ri#t'ritOi"i nir"ttiontiin" :;:i! trjTfr i; *llw r'nection ;, 6f,ffi being the
G **tl}fi:y;p ;;;;t material extension
ili"=il'fful point it is r,iiu:*:,Tli..:'lf:iTJl,llitri',liili;;il,;;inererectron'dsest .ont.io-rtiv iitiyg^.1o1-|1.this to the image or tne setithat was instigation actual the is ilri,funi"n the ol easy to bridge eilhe.il:;;;rt6 t"'ho1e def ence' which ot a reftection of
tni'J"iil" tn" environiletit,-"i extended-self'
ln response
is the active ,eintoicliieni oitn"."terially g=tl Although the object " question' the ro each situation ii,a "";;;ddrt"d, unanswered ili;il;;;;"tion-t5 "n siluations soverned bv first was made "r'"i second ,"", .onJ;J;i';lil"oeo
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recoqnition, it tnen fo[ows that "
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f,"-irprementation ol intention'
ontheverysimplestleveltnegu'n'i"p,"jlnt'alormolaccessto this'self'.
tle 'it could be if The experience of potential, t!1Lit: experiencing or to put it iniention. ol I chose, situation, is ine passive te*difono1Pl"l'3j through which
is aiorm another *"y, ,nrr"lt"J ilt"n-tion probabiy better in most cases ,eti"i-r";d;ila.1is the omnipotent attd"p]{.F=use it misht actulrty n"*t ffi;ffii; rhe it reatisarion ot preserve a'sonse ol the fo iO""' q:3.1 except simpty not be realisable idea of realisation' than tne |o; ty oossibte it is oette'r'ti"g;?;&LJt,
io actually attempt realisation.ano lal'a6 assertion 2ecar that my make an to -aLa i1 r^ A simple exampte, lor instance' andio any discussion ol out leave your c?m.eF camsra is better than ln this way an assertion is made photography or ro,,ip"iison of pictures' rhe potsntial ol
th" ;*n"t't ioiutv' fiifid;i;ff;t q"+it the camera is tne[-;tilb"t"d "n'e ai*lvt.:t.f"^.,"^:T:"t:'?"in it'H: terms our societv about rhe camara J
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.d-":11?"^qTple il one accepts that the !I ol their property, ;hi"h is quile meaninitul persons' The same kind I it ': property.or, p"oi";fit[p""lor in"'i li tn"'ii"" to' credibilitv of struc{ure, sarnrns r and
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Despite eertai4 articles bY varj.ous authors, the Stranglers still maintain a strog suPPort anongst the folk of this fair fs1e, It must mean something. Eave the knoekers got it wrong? After a ehat with Hugh it was diseovered that J. J. hlas lunehing in an upstairs room which all gives waY to say an_ interview
iitfr Hugh followed bY J - J . T.C. Are You Planning to rglease a live album from Battersea? H. C. Not a live album, but there i; a filn being made of the whole gig. I.d. What are the outlets for it? JaPant H.C. T.V. in Anericat andhave maybe England if theY 11 it. t:4. 0bviously it t11 betoforl'T'V' the B'B'C beeause yo;ir;"bad boYs ' at the moment . t t know don I moment the For ' C It. . influand status the feel You f. C. I E"" of the band' that thelr 11 " give way regarding lraauallY duildford ete. R.C" Oh Yeah theYrll give Y?Y' t. C. Wtt"i is Your intense d'islike for them? dislike for H:C. No intense in tft"n. The educationali system at the moment s stagnailt ' n:rif ""a iotally mis-interpretgd were U"T-*" orb gig t -Thg reaL Guildf that oo"r was story never go t oul '' with ?1-d llt"t ' C B the we had an agieement "B ' gie if half in"t-teta oilrY dotothestudents and the tickets wbnt town trif f went to kids in the that ' lfhen we got there we found' to ii;;t aIl"had been distributed all theY s9 the stuaenis in the town, gpt out to IFt -Year students-t fiee , I00 o f them Tftey were ":S*, and were sold at a disbppeared Drrirc eheeib and. wine ParIY. | 1I st ill do we thouglt we gig ifi" how it ,aild-we'11 as[ the audi919"I t go *i"y t ias were there who didn there were to itre colleger and about 4 ot-5"fiom the council estate ;;i of ?00. We ha4 been taken advantage of. T. C. S6me People say Ygu- onlY because took this arrog"*l stand would but your sueeess, You of tt"vl taken it at any Point in your eareer? h. C. Yes definitelY
You
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reallze now tbat youtre pulli power, that if the Stranglers- decide to be quite a heavy thing taboo it it would I been some heavy feed s H. C. Yeah there baek about it now, I go into a eollege to see a group and the social secretary comes up to ne and says 'r I !otq}1y agree witfr whatt you aia at Guild f ordfl II t s amazing, I ve had three of them say that to nâ&#x201A;Ź. T. C. Would You be PrePared to PlaY other uni.versities? H.C. I As long as the gates were opent I don t care where it i s . T. C. What are the plans for the future? H. C. Next week we I re gor'ng to do a new single which won I t be releassfr until FEbuary. John wontt have finished his solo album until Christmas. We t re got a live album eomlng out in APril is and a live single from that, which t t one a. secret, it s-not a new one it s we all know and 1ove. fhat I s reeording plans, we t re not gigging agaln until January in Germany and then Japan. Between now and then wetre tYing uP loose ends. Wefre preparing a video album with cartoons and live films. People say that there I s| no market for that any foore , but you 11 be surpris-e-d. In new towns they have a separate t.V. network, so you ean put out filns and l:t:u" youI11 understand people night misinterpret that as being only for those who have video the elite. H.Co Yesh, but look at itt this way. In five yearsi lime everyone s going to have a vid.eo machine. T. C. Will the Stranglers be here in five years t time? T.C.
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I{o , maybe not , but the video alb . 0. will be, but its the same for any neyr te chnologieal advanee , l-ike Polaro j-ds. When they first cane out they were very exBensive, and. as soon as the patent slaeks off after about two years they
very eheap. Pol-arolds used. to eost about g2OO, but now theytre about g1.l. Its eheap now to hlre a video machine. Its â&#x201A;Ź18 a nonth to hire one which is amazing. In a yearrs time then the year after A5 it | 11 be â&#x201A;Ź,10 and and then they r 11 be giving thern away with foVtso f . C. You t re very into video now, w5.th trRise of the Robotstr' complete automation for all entertainment, so all we have to do in the future is push a beeone
button.
H.C. WelI, I hope not, but I see the ri. s ing inportanee of the vid eo as a eommunication media. I must say though I prefer cellulose to vid.eo, because I think that video is always When I see a piece of sterile. video there r s never any mood. to it. Its always reality, which sometimes i-s good if yoube telling a story which people are going to slt down and wateh I think the film media ean influence how its going to eome out more than vid.eo. 1{hen you re playing, do you T . C. get f ed up witl" the same o1d songs youtve been doing since the beginning or do you realise that the punters rea1ly want to hear them? We enjoy the songs that we H. C. okay beeause werve got so many now and the ones in our set are the ones we en j oy playing the mo st , but one of the reasons we t ve eome of f the road. now is that we want to get together more new material. T.Co How do. you feel when its Put to you that Youf re ending up like Rick Wakeman. and Brian Eno? U?ZDntL H.C" It has no effeet on me ?
what soever.
.::,.
Jet $te were talking to T;0: Whenthe that yuan, h" said albuns eailier in everyone t"J"it'"ittriits. 9{-:o}: in that ' Do vou
hav!";v-i"teiltions
lrhere's
a Yasue id-"-?: witb' s9tto $:E:"t':T;" do"some work g]ry I *"it one
treats the
He I{grs a p"tlit'iotti*i'not as a tine druus as ;; instrut""t ' do fri31'"3; vou reel {:"^?"1,:"lY these things beeausJ*ol*trre--sirangrers? us the -opportunity H. C. Uellr'it" givgP great ' i-t'"i Yhi"h is to do thi'ng^s" ii[" Your fr iln? T . C. Wha{"aUo'ot made' iri""as have {"ilH.C. !Iâ&#x201A;Ź ""4-" still f ll,ns on ffi;"; a; uut-we'Ie [t'* f iln industry l-earnhg. ttre way sin-ifar to the isis con$truel"a """V have to it nuslc i"ailiiit- P"*-vbu so if t" ro'albrrm' multiplY ;;;;'irring it to nak""iir" takes a nontlr 'ioo{n" so I "n filn' to 7 takes 10 -donr t expEct to -*I-?1 "tty!F119 ""9I re still experla least ;;;;. ther{e ryediao menting "i{u"Io"t - of i[i"e" do you want -
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do you feel when these ffiot the karate ournalists eatt
I
,
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-!
You
man? r no+orbiking theYtre that .i. it seams that it I s off, me rying to slag derogatory. f. C. Yeah but it t s ultraete. masculine riding a motorbi-ke t re theY what see J. J. I ean driving at but I don I t see why theytre so obsessed with itrI d-ontt see what the big deal is f.C. You have very derogatorY referenees to women, and then You exploit then tike at Batterse&. J. i. What do You mean? We had to pay them, theYlre our mates, well 3 of them were. hle didnr t PaY the tloke. f . C. T'lhat about the lyrics to
xpert
I
L,ond.on l,ady?
J.J. Itts about a chick. Does that mean I ean onlY write explieitlY when itts a bloke? loirdon ladY was about a spaeific person and- that is very sexist. We eantt be sp,ecifie about chieks be about blokes. I but we ean t think it s onlY eheaP musieal repcirters. A rePorter has res-
t re
Ls
po""lbilites to nimself, the -paper e lnd the people . When they d'enigrat It d-on they 'd those re3ponsibilites high the to themselves subscribert' stand.ards of j ournalisn that I f eel i s required in a free coun-try. At least, ttrev ean get away with writing these thines. is about a woma\-.-' T.C. londorr lad.y I the S$ranglefs bY s it but beeause out of it t get a storY to try they t women. knoeking it s saying feel J.i. -Well in that ease I about it ' grateful wanting to write about thing this about what [. c. child? J.J. I never touehed the boYs in ny life. I smashed thelr door aira that was it . fheY were in the ir d.ressing room and we were in ours and som6one heard knoeks on the wall and' so I went round to their room It wouldn it and door the trled open. I knoeked on the door, no answerr so I just kieked it dowl'l'. T. C. fhe rePorters said You were virtuallY attaeking them. J.J" Why would I want to do that ?I t' Theyrre not uP to mueh, it wouldn be anything to seore. T. C. What about JaPan, do you enjoy doing Your Karate? J.J. Yeah. T.C. Is it like a monks thing? J.J. Yeah very, io training so to .
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f'flto'
G'eoistMg-qyi
warmers NVyfn 'ii, drint<;:' singing satirist,
ffifflrelly, I
1
.o:Np,lqt;rr / and I think a certaj-n
I number of"g"i*, younger people started to ecttl-"-" adi of list the critic , singer, I me again, so I sang more to his listen spent George ":ltt are endless ' I nl's and I met John and the more, began ancl he where Navy, in the days
singing career and developed G€orge puritan humour' 0o ilemob' worked
I
into civvy street where he packed oPr in an art gallery' but this Mulligan Mick whereupon he met up with 12 I started out on the road' for get l and to years of mahem, and managi-ng feat whieh had'fif t banned from Derby ' a 1976' bY Monsieur I beun repeated until came
Rotten &
Co
'
with You go on tour C. after Miek Mulligan? I didn t t go on tour with anyG .I{o and' started one. I came off the road' to write a striP cartoon called years nFlukefr vrhich went on for 15 to write and through that I began a full-time other things' I became t I wrote two wr j-ter in the 60 s ' the ?O t s t "i"^ books then, and' one in life culture and one about my
T.
Who
did
on rock on the road', which was consid'ered many quite bold at the time ' and
articles for Papers and magazines and two f ilm seriPts ' were theY? T. C. What filns trsmashing timerl G.M. One was ealled |tTake a Girl and the other was called too happy like Yourr, which I wasntt helPed' to with. But still '' it all Then towards the end pay the rent ' I of the 5Ots
began
to find' I
was
h'.
B; SundaY on g who PlaYed Feetwarmers, We mornings in a Pub in Islingtorr' L1 got asked to PlaY here ' there and Derie faYlor' who was Yi
everywhere. to working with Warner Bros ' I eame ,{ and l' I'C'A' the at did we a eoneert W€ suggested we mad'e a record' we were so Pressed for tj'l;'e that thought well ' lets be daft and go on the road', and we did' f .C. Do You see Yourself with Ken Collier and the Max Co11ie? G.M. No, not reallY ' beeause from tbe' although we draw mostly
past for material, I think we Iook on ourselves as entertainefs of arl audience, not necessarilY
a Jazz audi€Dce o sligb,t1Y titillate
We
try to
and Provoke
the audience j-nto liking
what I come on we r re d.oing. W€ d.on t Iike total Puri'st s, which doesnf mean we
t
donrt like the musie -
But we Present it as if it were any sort of entertainment and I think on aeeount of that ' we sueceed in universit i-es ' for instanee, which would not ta^ke too kindlY to it "
we
do.
f.C. Do You think, PerhoPsr tirat the universities are all too trend.Y? And that George Mel1Y 1s a bit of a cult figure?
'
.FIo
This may or
,.:,
.
-
may,
not
rue, but the thing isrto become cult f i.gure there must be some vement towards what one is doing I mean, one ean t t say .its
suddenly going to 'beeome trend.y, its got to aehieve trendinessc
2O t s
think that,. We d.on t t only play 'universities" One plaee we keep doing i.s Di4gwal1s, and they like us more often than they can get usr so f d.ontt think ts that. lle nay be cult figures wha.tever they are, hrt I d.ontt beeause people say
'rtfell its trendy to like hi.nr. I do think we try to entertain and to be a bit bold here and there.
s. el and T.C. I was going to sayr you your vocals on his sort of to 1l (nl style. rl Not rea11y, I dontt think I rnl JO t
seem
base
G.M.
].ike hin. I think he I s either ininitable, or you have to do a straight imitation of him. d.on I
?l
sound
$l a ee. do either
il=l
l
C.
Do you d.raw from many Bessie Smith, like you mentioned T.
great artist, EI --l My great jazz
instrumentalist is ol Armstrong, et any rate in the
d.on I t
think its
what theyrre trying to d.o. Ronnj.e plays & very hard booting sax, I think, and I get great pleasure out of listening to him. Parkers is a
be
=l
of thosâ&#x201A;Ź o Other people hav interested me a lot more Jimmy Rushing. Definitelyr Ey'voice sound
blaek,
T.Co Yourre one of the few people carry off a songo
701 who ean \^l
s
toni.ght, and any others? G.l{. In Ameriea, people who 've heard G.M. 0h yes, the first songs were (\l me on reeord, not all that many I mus t sung by the tt Shout ers H o f the 10 t s t FI say, think that I am bIack, which is like Gerry Frrshant. We draw from -<l very niee, beeause this is what I all sorts of sourees inefuding some \r\ \ hoped I would sound like. swingeera numbers r and a eertain o T.C. Do you prefer reeordi-ng live
s
of'ballads like rtPennies fros Heavenrt. Its a wide speetrum r. a r in the 5ors, its very much more ? pure jazz elassies, but a l-ot of (\
number
very d.ifferent mateirialr &s long
as
its from one speetrlrno T.C. How do you find Johnts songs, in eomparison to older material? G.M. They are all very good.. 1 They are all r,uorked to a style, and I it was great fun doing them. How do you regard people like J t. t. Scott? Obviously they are fnonnie J
it\
eood, but are they fun? G.M. Yeah, I like that, but I ean t t get much . out of the avant garde
myself, whi.eh.doesnft
mean
like bop. I liked f irst came out in the
40 | s.
I
d.ontt be-bop when 1t
I
knor*
albums
or studio?
G.FI. Well thatf s a problem, beeause I donrt mind either. quite enjoy reeording, but Irn never satisfied. T.C. How important is the mix in the
overdub?
M. We don I t end up doing all that much overdub. We eertainly don t t spend e ight months on each track, unlike some pop groups! I really d.ontt know though. f . C. I{ow do you feel, doing thi's '' filn with the Stranglers? G.
G.Mo It was all right. It was a nj.ce day and 'Itm very fond of Hugh. He asked me to do it and I said sure I havenrt seen it yet.
Were you awate
that tt
was a
type of rf Blow-uptt Mk.II?
G.M. 0h Y'es, I lcnew it was a lfft of that filn, also it was filned on the sane location. I spent two days just walklng backwards 'and' fbfwa^rds with this very beautiful girl' T;C. ' How clld you flnd Lrew llewis?. G.Mo He r s a great guy. H€ must be number one fan with all the brewers, but hels a wonderful barP player but, like You said'' the mouth-orga4 nowadaYs i'snf t a popular j-nstrument
'f .C.
blue s?
Do You
o
listen
mueh
to
Pure
'maln taste is G.M. ,F.,€:bt*','I d o o ,Uy the elassie blues (Bessle Snfttb) ' but I listen to a lot of countrY' blues. Robert Johrs'or= *s one of ny favouri.tes', but I don'lt Xike listenfrng to a whqle l.P. ,of it because it is a set Patteq4' T.C. What Plans are thei€ for the future? Just d'igging out'more old '..'.
i.:'::-',
i
'l
iazz stuff? fs .M. Yeah, digging it' out, there enough old stuff suitable' for me
blue s/
that would last
me
for 'aaother
50 years.
.'C. With regard to Your chat, do You draw upon any
T
Bruce?
Irenny and I were great friends. He was a very gentle and kind Person, but was often in a bad way. IIe drew ute a Picture of a cowboY with his cock hanging
G.M.
out and his two guns Pointing at you, wi-th the caPtlon 'ttlfq George' rf who could always shoot ltraisht
o
DRJAZT,
Japan? Japan?-- ,
,
J.J.
Well ""the bandrl''s'.'going-"i1 February: i ;t staYing- out 'there to It w?P gt9: , r do sone trainirlS. -;;; ahd r a {}at sr,iE"ing. ;;.;;- r - - i^ r , ..an 'l r.rnr 'a-nd- I ito o f 'on Lr're ' ftogr ;;;'l' -"1d sot 'JiEni "i""t-*et nveiu, i"- iii"Tl' ,T"T:i*s=I b ' uy-g ?v tt'? :'"Do'i t'o, the ;; ;t Ba;, got e"i- i;,, '. Pb'io:lY,e:70 .'lh' 7 in il 6 unt and stay theie" ' : :?r evenlng. evening. T. C. Do You go into the'l mental
;;";;
i
aspect of it?''
*""t"r asrect +".Pqil' ;:5:""ril ih;y t;t-t; b1-eat< {a*-t!1:il"lo i;.-m'"v iestil'Y9u ?11 l1: ;;:idie ffi;-;;; ?. !9o.1'd' --s; ;i- v;; L'"at in ,
ii }ouhe not to'ge}her{.t: ;;;; rt""a-voil can come out a mental ivre ck? j:i: Yeah, but You've got' to be ;;;;th;; fi the ?irst Place to so there. T. C. Do theY PhYsicallY ,+t-t You It enough"'i" say unt iI You .t . J : J . , ieah, fre worft cut into You :' he t 11 just hit Yo}: r . c. Don' t tou" think th?l., th!{I": i;k; religiol" monks, oPti*g out:-9 world? the real -Yeah; u"t th-u real wo11$ sets i;;.are lot of a lot of tlsts. There rarolld'' breakdowns itt the' westernin Japan t t hardly any cri-me ft " """ no mugging-'io You thillr lli" is? T.C. WhY ; : i ] rt-' the mental thing ' fight " yourself "p -toT.C. BuifAing ' effect of the Eib" i"-it ;us{-a nental- breakthrough? have an t "t . rhe instructors Ygl have amazing o"Y--of doing it: IO fig[ts.- The itFtructgr eomes up kiek ?1*" ti"?} l+T to you "t i Y;"there taking +I all ' iia" ilE lTi"tr* and he just hits You on to the floo !ake1 +l .al1 rtf s anazii.e--th"t"hu'" Youtre cultivT.C. It ""E*" that . ating vlolencg -You're ;:; .- tto ' 1+ Ie stralnl-1g surel{= 1l' " +i;i""i!' v r",r's'\'v ii-""vir'ine' restriet to 1 c trai-ne bett er t o be them get let than ;Iri;-outnur"t"' but of hand. How do You feel. lbgut peoPle t. C. t go i:r f or this? ;h; ooni --I no?i {iiat Y9u ' 11 resPect ; .i . se that I do i'i . teoPle eritiei don|t I me for wtrai-it*-doing, but criticise them. ^
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