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1-
You said in an interview that you had begun to play and composing songs with
your brother. Could you tell us in What year it did happen? What kind of music
did you use to listen at that time? Did you have a band? What was the name of
it? Did you publish any records?
My
brother and I started playing guitar in 1979. Things happened very quickly for
me, I picked it up pretty fast. Playing along to Who and Beatles records in his
bedroom, we had some sheet music, but the chords were always in the wrong key
signature. I knew then that there was more to it than chords in a book. My
brother was a real literate sort, so he wrote many folk songs, although he
probably didn't call them folk songs. We played two shows together before he
retired from the music business. The first was my group, the Kids, at the New
York State Fair battle of the bands, a rock show at 10 o'clock in the morning.
The second was a variety show at our high school, where we performed his folk
songs for the student body. I can't imagine it was very good or entertaining.
We had made a demo tape in order to get the high school show spot, but it was
never released in the states.
2-
I guess you were a member of two great bands of the West Coast: Flying Color
and The Sneetches, is it true? What could you say about your relation with
these bands. The Sneetches are one of my favorites bands, and the record of
Flying Color is really good, What do you think about it?
I
played with Flying Color from 1987 until they broke up in 1989. I see more of
them now than ever. We're all friends and still make music together. Dale and
Hector don't really work much together, but I helped Hector on his latest
album, and I'm producing a project with Dale and John. My touring band now
features John Stuart. Our relationship is continuous, especially now that the
album's been reissued in Spain. I'm surprised my name is mentioned at all in
the reissue packaging, since of course I wasn't involved in the recording at
all.
I
don't see Mike and Matt from the Sneetches around ever, but I am friends still
with Daniel and Alec. I think the Sneetches play a show twice a year. I wish
they'd play soon, I like some of those old songs.
3-
What other bands have you played in? (surprise us again).
I
played with Paul Collins, and also for a man called E, who has a great new hit
now with his new group, the eels. For fun I play in a group called the Saturn V
featuring Orbit, a 60's retro group that plays some surf music and frat rock.
It has Johnny Bartlett from the Phantom surfers, and Ron Silva. I play the a
vox organ in that band.
4-
When, how and why did you decide to begin your solo career?
I
had too many songs and ideas that nobody else cared to do anything with. I
wanted to be responsible for my own demise.
5-
Was the beginning difficult? How did you play in the presence of people, alone
with your guitar or with a band? How were people's reactions?
I
did some solo shows at local clubs here, opening for bands. A demo tape I made
got a good review in one of the local papers. That helped get some bookings,
and then the Pop Gem Factory, my first cvs pop band, was formed. As usual, the
San Francisco club patrons have very eclectic taste in music. The weirder and
more perverse and contrived, the better. My music more about refining my skills,
rather than a trend or a costume. I suffer the consequences as well. We would
like to be much more popular, and my more recent shows have been well attended.
6-
The first record you published was a single in your label, What was the year?
What were the songs? Do you still have some copies?
My
first release was a 45rpm I put out by myself in 1991. It has a different
version of "On the Run." I made plenty, and I'm still selling those.
7-
In 1993 you published "Sight & Sound", which compiles the recordings
you made during the last three years. Do you think it would be a better album
without some of the songs or do you like it just as it is?
Sight
& Sound is longer in duration than the following two records. I consciously
included more songs because I had so many accumulated by that time. I figured
that I might not have any use for those songs later. I suppose I could have
re-recorded some of them for later release, but why? I decided to keep the
recordings as they were originally, with no regrets.
8-
Contrary to "S. & S.", "Big White lies" isn't only a
collection of songs but a real album with a different conception and moreover
with a better production. What did people say about it?
What
I say is that because the backing tracks for Big White Lies were recorded at
one time, the album has more continuity sonically. The material was mostly
written around the same period, as well. It sold more and also had the
multimedia presentation included on the disc. Some folks prefer my first album.
9-
Now, you have published your third album that, unfortunately, we haven't been
able to listen to it (but will do it very soon). Tell us something about it?
What are the differences with the previous ones? Do you think it is your best
album?
Go!,
my latest disc, is an interim product that includes some older recordings from
the Sight & Sound period, and a number of new songs. It sounds like both my
first records, but has some hints of what my next album will be like. I'm
working on the new one now.
10- Are you thinking about doing a promotional tour trough Europe, and
specifically through Spain (Don't forget Valencia!)
If I release an album in Spain, I will certainly tour to promote it. That is
being negotiated now. There has been a lot of interest from Spanish fans and
labels as well. I would be surprised if I didn't tour there in 1997.
11-
Changing the subject, do you have to feel in a especial way to compose songs?
Yes,
of course. Anything creative that's good takes dedicated work to complete
successfully, that's why songs are special. However, great songs can come out
the clear blue sky while you're walking down the street. Some of those are the
best.
12- Is it difficult to get to big audience doing pop songs in the USA?
I
think the same answer (#11) applies here.
13- I think that you have produced the last album of Hector Penalosa. Tell us
something about it...
I
mixed his record for him.
Hector was offered a deal with Bam Balam records, and he had intended to
re-record all of these songs that I had known for years, along with a few newer
ones. These recordings were made over the past ten years, and I thought it was
foolish to discard them. I talked him into remixing the original tapes.
Everyone seems to be very happy with the result. It's the same ideology that
led me to keep Sight & Sound the way it was.
14- According to you, what ten records should there be in any good collection?
Your
own favorite ten.
Well, Chris, these were my questions, I hope you found them interesting. When
answering to them, just write the number and your answer. Thanks a lot for
wasting some of your time with me and I hope this internet-letter won't just be
the only one. You know you can count on us (fanzine members, my radio
program...) for anything your ask for. See you!!!