BLATANT AND PERVASIVE CHICANERY Warren Cuccurullo
Jun 04, 2010
BY GIL MACIAS
Not many guitar players have had as interesting a career as Warren Cuccurullo. In his teens, the Brooklyn born guitar virtuoso got to experience firsthand the tutelage of the legendary Frank Zappa - a rare honor any aspiring guitar player would dream about and something Warren, to this day, greatly cherishes. From there, Cuccurullo went on to form Missing Persons with Dale Bozzio and drummer extraordinaire Terry Bozzio. In 1986 he replaced Duran Duran's exiting guitarist Andy Taylor and would remain in that position for 16 years. Since 2003, when all of the original Duran Duran members reunited, Cuccurullo has been off the radar working on various experimental projects and running his Italian restaurant, Via Veneto, in Santa Monica, California.
Some of his musical projects have been nine years in the making - some not even out yet - while others have been recorded recently and are just becoming available now. One notable project is his new band Chicanery, a duo formed by Cuccurullo and vocalist Neil Carlill. It's the closest to pop-like project he's done since leaving Duran Duran. It's a psychedelic, experimental rock album, chaotic yet controlled, at times sedative, and features abstract, mind-fuck lyrics conjured up by Carlill. Fans of Radiohead's Kid A and Primal Scream would find this right up their alley. And the best part is, it reunites Cuccurullo and Terry Bozzio, who have always been amazing together.
We were able to catch up with the guitarist at his home near Venice Beach, California. We discussed many things including: Chicanery, his rarely talked about meeting with Michael Jackson, looking back at Duran Duran, an encounter with Lady Gaga, and what a long road it's been getting his music off the ground.
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BLURT: So how did Chicanery form?
CUCCURULLO: Chicanery started as a duo. I met Neil Carlill a very, very long time ago in London in 1999. We decided to do a couple of tracks together back then. He was going to sing on this TV Mania project - this other offshoot thing I was doing with Nick Rhodes - which coincidentally is coming out sometime this year. Almost 15 years later. Anyway, Neil was going to be the singer for some of the material we had. I heard this guy's voice on TV one day, and it was Neil in this band called Delicatessen. So I got in touch with him and started working on a couple of tracks outside of the TV Mania thing. They were sounding great. A few years later, he moved to the States and then I moved to the States - and out of Duran Duran - completely lost touch with him.
In 2003, I decided to go back into the studio and start making music again because I was bored out of my mind. Some of the songs I had done with him were still there so I thought I would get in touch with him so we can do some other stuff and I couldn't find him. He didn't surface until a couple years after that, like in 2005 when I had finished up this other project I was working on called Enlighten Up, which still isn't out yet.
You finished something else in 2005 and it's still not out yet?
[Laughs] The definitive Warren Cuccurullo interview is very difficult because I have been recording since 2003, but the way it's going right now, the last project I did in the studio, which would've been finished in 2005 or 2006, came out first, last year in 2009. The first one I did, called Enlighten Up, is not coming out until later this year in Europe, might not come out in the States this year, but that was the first one I recorded. The second one was Chicanery, which was recorded between Playing with Tongues, the one that was recorded last, but came out first.
It's a little confusing, but I think I'm getting it now...
So it's going the opposite way now. The last one I recorded came out first, Playing With Tongues on Zappa Records. The second one I recorded, Chicanery, is out now. Thank God [Laughs]. The first one I recorded is coming out last. As it is now, Chicanery was a dormant project. It's not like the old days where you were signed and you made a record and you had to get it out in 3 or 4 months. There's no time table. Stuff is sitting on the shelves collecting dust. I started doing more political stuff that I was doing for my website. I wasn't thinking about getting signed to a label or anything. Neil had been doing interesting music on his own the last few years. All of a sudden, there's interest in it. We had like 9 songs and we thought we needed more. We made 14 tracks, but put 13 on the album. For me, it sounds like a band. It was done sporadically in bits over many, many years, but it's got a totally cool identity.
When did Simone Cello add his touch to it?
Simone Cello is a producer, guitarist and songwriter I worked on other projects with. It was a thing where we could take an idea, I'd send it to the east coast, then we'd send it back here, Simone would get it, he'd do some stuff to it, and then we'd listen to it and go, "Ok, we can take that to another level," so it was all interesting. It was like an internet project at the same time.
And how did you get Terry Bozzio involved?
I was mixing Chicanery and I heard Terry was coming to town and I was getting into this very Miles Davis-like guitar playing. I had this more horn player approach to guitar. So I wanted to do something very free and quick, go in the studio, jam for a couple of days, edit and make it a record. When I heard he was coming, I booked a studio and I knew I had 4 or 5 days with him. So I thought, the first day, let me get him to play on a few of these Chicanery tracks that could benefit from live drums. I just threw up those tapes to him before he got into the totally loose jamming we were doing. So he got to play on those few tracks.
The lyrics on this Chicanery album are a little out there...
A little?
I guess that's an understatement. Are you involved in writing them?
No, no. I wish. That's Neil's whole thing. He is an amazing word man. They're nonsensical but they're rhythmic and musical. We're both Captain Beefheart fans, so there's a little of that there. It's like instant cut-ups, like David Bowie's cut-ups. It's very interesting. If you're not going to talk about what's going on in the world, you might as well talk nonsense as far as I'm concerned [laughs]. I'd rather try to find hidden codes in lines like, "lived in Alaska/No dice for Monopoly." That's a classic if I ever heard one. I just marvel where people can pull stuff from. I love experimental things. So to take English to its nonsensical limits is pretty interesting.
The song that jumps out, for me, is "Hubert Selby Song."
I love that one too, yea. It seems to be very simple but it has an interesting arrangement. Simone did a beautiful job on that one. It's just a little guitar riff, but has quite a sound.
You've had a huge variety of projects since 2003. Do you ultimately plan to form a band that will be a permanent fixture for you, or would you rather keep having all these one-off projects?
It's a great question. How does a guy like me make me make a living in music today? [Laughs] It's ridiculous. What I should do if I had a sensible partner is to do Missing Persons correctly. But that didn't work, like I said, I don't have a sensible partner. So it's not a working situation, it's impossible. As opposed to Duran Duran, we could've done it with just me and Simon if Nick ever left, you know? We had the will and everybody was sensible. Everybody knew how to work, could show up, and keep commitments. You can't get into flakey shit, you can't.
What was your reaction to Dale Bozzio's recent arrest for animal cruelty? The photos that were released were pretty horrific.
Like I said, I tried to put Missing Persons back together before the end of the year, so I kind of saw her before she went to jail to serve that term. [Pauses] It's a disease. It's a disease that needs treatment, that's all I can say. It's not nice for animals to be hoarded. It's not nice for newspapers to be hoarded [laughs], so imagine animals. It's a disease. I'm sure it can be treated but some people don't want to be treated.
Well, Journey replaced their lead singer. Have you ever thought of looking for a lead singer who looks and sounds like Dale and moving on without her?
It would have to be a tranny. Hung like a horse [Laughs]. Nah, I don't even think Terry Bozzio is into doing it at all. I wanted to do it because Dale's voice sounded really good. Plus, I had a bunch of music I wanted to record. I thought it would be a nice 30th anniversary, and here it is, the 30th year and there ain't no anniversary, baby. It's just not happening.
That's too bad. You guys have some really great material.
It is too bad. There is really great material. The setlist I had put together was amazing. I had Joe Travers on drums and Scheila Gonzalez on keyboards and sax. It was incredible.
I think you should seriously consider replacing Dale. She toured without you guys all those years; I don't see why you can't do the same. Maybe do a reality show and find a replacement. Until then, are there any unreleased studio tracks by Missing Persons you plan to put out?
No, but I did have a list of songs I guess we'll never record. It was a mess. It would've been amazing if there was full sanity. You can't go out and be a flake. I won't be involved with anyone who is not 100 percent professional. People thought I was nuts for trying to do it with Dale, but I thought, if she did it back then and I'm with her now, maybe it'll be ok. But it ain't!
I recall during your 2002 reunion tour with you Dale, and Terry, she kept forgetting words onstage.
Forgetting words? Dude, she was forgetting to bring clothes to the gig. She was forgetting, period. It's an illness, she needs help.
So when you left Duran Duran, did you get hit with a lot of job offers? I would imagine someone with a resume like yours could get into another band easily.
Who would offer me a job? The whole thing is - I'm a writer, I'm a producer. Nobody really wants you in their band unless they want to give you their band.
Have you paid attention to the last two Duran Duran albums?
I heard some of the stuff. Obviously, I wasn't impressed. It was very disappointing. I was hoping for a lot on the first one but it was so bad. And the second one was even worse. Look, when you're looking for the essence of yourself in other people, outside producers - and I'm talking handfuls of them - handfuls of them for truckloads of cash. It just really doesn't work. It might work for a young Madonna or a middle-aged David Bowie looking for another image change, you know? I think it's best to do things - and I told this to Nick Rhodes too - handmade, man. Handmade is the way to go. Do it yourself.
Back when it was announced you were leaving Duran, the press as well as the news section on DD.com made it sound like sunshine and rainbows, that you and the guys agreed to part ways and it was a smooth segue into a new era of Duran. Not long after, rumors came out about how there were lots of secret meetings, you were in the dark and that you sort of first heard you were leaving the band through other mouths and not directly from Simon or Nick first. Can you clarify how it all went down?
I didn't know anything about the reunion. Kind of like a "reunion of the snakes," is it not? Total secrecy. The amicable factor comes from the fact that we worked out an agreement for the forthcoming album, "Astronot," where I would be compensated. The other negative rumblings came from the request by DD management, that I not come to any of the shows or backstage. I was shocked. I was really looking forward to hooking up with them. I had my restaurant ready for whenever they wanted to come. I was really crushed and I got the word out. Turns out it was an Andy Taylor insecurity thing. Didn't know he saw my G Magazine photos.
What was your first reaction when you heard that Andy Taylor left the band again?
It was the same old thing again. Exactly like 1986. When you're in a band, it has to be beyond a serious relationship. He just doesn't work. It doesn't work. It's like a family relationship or marriage - you got to be amenable, you can't be on the edge all the time.
After he bailed again, I know a ton of your loyal fans were hoping you would get your job back. Would you have taken it if they offered it to you?
At the time, I probably wouldn't have. Now, who knows? I don't know. It's been a while. It's been 9 years now. Time flies. But I've been writing a lot of music, having a lot of fun, enjoying life, but I lived on the road. So that was a big adjustment for me. Now it's like I make music and hangout with the cat. Before I made music and went out to sell it. It's not like that anymore. It costs so much money to go out and play shows. I couldn't do that, it's ridiculous.
Do you keep in close contact with any of the band members?
Oh yea. I'm mainly in touch with Nick Rhodes because we still have things going on.
Even to this day, on all of the major Duran Duran fan forums, you'll see the occasional Andy vs. Warren threads break out and the fans go at it. Do you like to peek in and read what the forums are saying about you?
You have to be a paid member on the official site, and I didn't join any of those, so I can't see anything. People send me some things though, you know. [Rolls eyes]
Not even any of the free major message boards like on the Duran Duran Lizard King site?
I haven't seen that site in years. On YouTube, in the comments, you see the same kind of shit there too. Anyone in the know knows there's no contest. [Laughs] It's obvious. The guy couldn't even work with them. It wasn't a good mix. I knew what our priorities were. It's a difference between a band and a brand. I think what's become if it is, let's go off into the sunset and become a brand, and not so much about the band.
So when Andy originally left Duran Duran, you had to go in and reinterpret his work and make it your own. Since then, the tables have turned and now Andy [has] translated your work [with the band]. How do you think he did?
He's incapable of redoing my work. He doesn't have the ears. He had big, big problems with the songs. The thing is, if you're a guitar player who, first of all understands Led Zeppelin, which if you're going to call yourself a "rock" guitar player, you better understand Led Zeppelin - the soft and the hard of Zeppelin. [Warren pretends to play guitar]
So if you're going to attempt to play "Ordinary World," which is in the key of C-sharp, you have to use your ears and see where the open strings are occurring. Any guitar player would do it. Once you find the key, C-sharp, you'll see that you have an open E-string, an open B-string, and if you're holding it in different positions like in the 7th or 5th position, you say, "Oh, C-sharp minor, here's the 7th in the top, ok, now I'm playing a B." [Pauses] He couldn't find where those parts are, dude! He couldn't hear the voicings of the chords, man. That means he's tone deaf and - in a guitaristic sense - lame! Spastic! Because it's all there. The only way you could play it is like that. And then the voicings that he decided or thought were working in the verses completely screwed up Simon's melody. I sent an email to Nick with the exact voicings and everything, man. They couldn't even talk to the guy. It was impossible to even be able to communicate with the guy. Nick's words were, "Pure rage." It's the only thing that would come out of him. So imagine trying to work with somebody like that.
Have you ever had a conversation with Andy before or after your time in Duran Duran?
Only before I was in the band. He was in Power Station and I was with Missing Persons. We went to the studio and we were working with Bernard Edwards and he was working with Bernard too. We just hung out there. But damn, I couldn't believe that a rock guitar player who was English could not find those voicings. You'd think he'd understand Jimmy Page, which I got "Ordinary World" from that Zeppelin land or whatever you want to call it. It's just shocking to me.
"Ordinary World" is one of the few songs he played from your time period that really stood out as not being the same live anymore. So much of your guitar work is so complex.
What I did do all throughout my time in Duran Duran was make sure that anyone who ever tried to do what I did would find it ridiculously difficult. Not for what I just explained, but for the sounds. I took those sounds with me directly from the studio. This was like the beginning of the time where you could take studio gear and switch it from a pedal on the floor. So you'd have the real shit, the real delays, the real expensive stuff, in a rack, and you can change each program and have every sound just like it is in the studio. So I went to the fucking max on that. If you take a song like "Electric Barbarella" - It's impossible for anyone else to play [laughs]. First of all, they'd have to spend about 30 grand in gear, but just to get that shit together and to do that was---forget it! Go through any record that I did. The guitars are impossible, just on the tonal aspect, to duplicate.
That's one thing about you I missed when I first heard the Chicanery album---that guitar.
Well, as soon as "Hubert Selby Song" comes on, it's like - that's what's missing in Duran Duran. The first 3 notes come on and that's what you think. What a melody Neil wrote.
If you put out a single or make a video, that's definitely the one.
That's it, totally agree.
You were once called in to do some guitar work for Michael Jackson. What was that like?
I'm glad you brought that up, because the day I was working with him, his fucking nose was falling off [Laughs].
Really?
Yea, this is really bizarre. I got a call from Chuck Wild, the old keyboard player from Missing Persons. He was working with Bruce Swedien, who was our producer for Rhyme & Reason, who was also Quincy Jones' engineer who worked on all the Michael Jackson records. So while I am in London, Chuck calls me up and asks when I will be in L.A. and when I can do this thing. So I said, "Yeah, OK, great." So we set it all up in Los Angeles, my gear all goes to the studio. I've got all my stuff set up, my giant pedal board rack and who's there? We've got Bruce Swedien, Chuck Wild, Lisa Marie Presley, and Michael Jackson. He comes in the room, we're talking, I'm trying to show him what I do, and he's leaning against the door. And while he's leaning against the door next to his wife, there's this clear liquid dripping down from the middle of his nostrils.
Now there's like 4 or 5 people in this room who have known him for years. And it's dripping lower and lower and it's like this long letter "u" of clear glue just hanging there. It's the equivalent of someone having this huge piece of spinach stuck on the side of their cheek, and this shit is hangin' there, and nobody said anything. Nobody! Nobody went like, "Hey Michael, do you need a tissue?" There wasn't even an emergency code word for like his nose is falling off in front of others. [Laughs] So I didn't say anything either! I figured, well, what the fuck? If Bruce ain't saying anything and Bruce has known him since he was 4-feet-high, I ain't going to say anything! [Laughs]
Nose dripping aside, what was all of this for anyway?
This was for the HIStory project. And the funniest fucking thing was - that's all I had to do - was go in and play to nothing. [Laughs] I did get paid. I don't know what they were doing. I think maybe they were going to take loops of things and use it as a background for something or a voiceover type of thing. Who the fuck knows?
Do you plan to make music videos for this Chicanery project?
Well, who the fuck does music videos anymore? What I mean is, there's really no way unless you're a hot shit editor yourself and have all the stuff they use now to make a video. I love shooting stuff and I love to edit, but I don't know how to use the new editing stuff. There is some really cool footage we shot back in 2005 that's screaming to be put together. Neil might have some stuff that he can put together but it's not going to be like it used to be - like back in the old video days. And the label wouldn't do anything like that. The music industry's not the same anymore.
And what do you mean by that?
I know someone who works in music marketing and he tries to find ways for musicians to make a living through music because most bands that are signed nowadays have day jobs. I was like, "What?!" Fuck that. I would have never wanted to be a musician if that was the case. It was always about freedom. You can't get any more free than I have been the last 9 years-and that's music keeping you alive. You got to write songs if you want to live in music.
So I assume you still get royalties from Duran Duran and Missing Persons music.
That's what I live on, dude. Really, I haven't worked in 9 years. "Destination Unknown" in the last 6 months made about $50,000 dollars. Just that song, it's insane. You have got to write your own music and you can't ever sell your publishing.
Are you going to tour this new Chicanery album soon?
We're basically all ready, but who is going to pay for it? Since 2003, I've spent over $100,000 dollars making music. I could've gone and bought another house but I said "fuck it." I needed to make music. I didn't know what I was going to make, but I knew I was going to make Enlighten Up. I had to story to tell, I went through some shit and I had to write about it. Somebody offered me a deal, it fell through. But anyway, it's over 100 grand. That's a commitment. You spend over $30,000 dollars making a whole record with artwork and everything and you're not even going to get back an advance of $5,000 dollars? It's worse now.
Has the internet or social networking sites helped you get your music out there?
Somebody was telling me about how effective these social networking things are. But I was like, what about Jay Leno, David Letterman, Good Morning America, and all these other shows? I remember being on a major label, in a major band, doing all these TV shows and the next week - the album goes down. So what the fuck is a bunch of Facebook friends going to do? [Laughs]
Well, these sites are at least great for discovery.
Discovery is great. You can type in anything and something will pop up. That's cool. But is someone going to pay for it? Probably not. I think people who really use computers to find music would never pay. There's no way. They just say "Nah, fuck that," and go on a computer, they go here, they go there, and get all they need at 128 kbps.
Well, we're in an iPod generation now where people would rather download single tracks at low quality and a low price without buying a high quality physical product. I for one treat CDs like a movie. I like to listen to them from beginning to end as a full experience.
Yea, me too. And I make albums like that. It's not like that anymore. It's all about track consumption. They'll make their own compilations or whatever. It hurts in a lot of ways. I know Pink Floyd just won a lawsuit where you couldn't take track by track on one of their albums. Film and music are being ripped off left and right now. I can't go and get a free hamburger anywhere right now, and I'd love one. I can't go to an In-N-Out Burger and just take the burger and fries and just walk out. So how the fuck can you do that with music? It's not right. You can't even buy music at a records store anymore, they're all gone.
Do you keep in contact with your old Zappa bandmates?
Here in L.A., I've got it made. I hook up with my old Frank Zappa bandmates often. If you listen to my music on MySpace, I've got all these great players. It's a treat to be able to play with the people I played with 35 years ago. We actually all live within 5 minutes of each other. It's pretty crazy.
So are there any major new bands you're into or do you have any comments on the current state of radio?
Nah, not really. I'm not into Lady Gaga or anything. Actually, I met her in 2007. She didn't have anything out except her ass. This was after 9-11. I'm flying back from New York. I did a benefit show for the fire fighters out there and there's a girl in the lounge. She reminded me of Lamya, the singer who was with Duran for a while - who passed away a couple of years ago by the way. She was only 38 or something, it was horrible - God rest her soul.
Anyway, Lady Gaga reminded me of Lamya. When we got to L.A. and I'm making my way to the baggage claim. I'm like, "There's no way I'm not talking to this girl." Every guy was looking. Her skirt was so short you would not believe it. I walk up right behind her, tap her on the shoulder and ask, "What do you do? You look too fucking fabulous."
She tells me she's a singer and we start talking. She was really smart and told me she was with Interscope Records, gave me the link to her MySpace and I went and checked it out. And I had a fight with my girlfriend that night [laughs]. I was telling her this chick was pretty cool. She didn't have anything out but her ass, I mean, it was out. She wasn't even pretty or anything. She was hot, but she wasn't a gorgeous chick. She was alluring.
But, I just don't like that music. I like her fashion sense and her weirdness but I have seen that somewhere before. Her songs: they all sound like the soundtrack to Bruno. Every song.
What's next for Chicanery?
Me and Neil have some more songs. Now that there's some interest in this we'd like to get another one done. We've already got at least 6 tracks on the go, left over from last time, and they sound killer. One of them is called "Wake Up Levitating," and that sounds like an album title to me. It's a very experimental piece, I really love that one. He's so much fun to work with because I never have to think about melody. I can just go experiment with grooves, tones and weird basslines and he can just take it and transform it with these melodies and words. He's very fast too, so it's fun. I'd love to get another one done, but I don't know how this one is going to go.
I think from what I have been reading about it and from me going back and listening to it, I think it should win Best Alcoholic Album this year at the Grammys - if they have that category. I don't know what it is. It's got a vintage fermenting going on. It goes really good with a nice cabernet and really good with vodka as well [Laughs].
Out of your entire career, what has been your favorite time period?
It's so hard. When you're making the millions, you don't even know it. I would have to say it has to be when Frank Zappa was around. When he was around, my father was still around too. Even though I didn't know anything - that was everything. I was in Frank's band. It felt like nothing else could be achieved beyond that. There I was; here in Los Angeles. It was impossible and I was in it. And I didn't know what tomorrow was and I didn't care. Sometimes it's the first thing you ever do. And with that guy? How could it not be the best time?
If I went back, I wouldn't change the smallest fucking thing.
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CrazyFan
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"I know I'm an egoist, but my ego is a motor not a monster!"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
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DurAnna
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Блин так много!!! Так интересно, но без перевода мне непонятно 
Пожалуйста, переведите бестолковой девочке хоть кусочек!
Заранее благодарна за труды!
Пожалуйста, переведите бестолковой девочке хоть кусочек!Заранее благодарна за труды!
ДАЖЕ ЕСЛИ ТЫ НЕ ФАН - УВАЖАЙ DURAN DURAN !!!
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Re: Интервью, статьи Уоррена или об Уоррене.
DurAnna писал(а):Блин так много!!! Так интересно, но без перевода мне непонятно
Заранее благодарна за труды!
Спс за тему, будем читать, попутно совершенствуя свой английский
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Re: Интервью, статьи Уоррена или об Уоррене.
DurAnna писал(а):Блин так много!!! Так интересно, но без перевода мне непонятно
Заранее благодарна за труды!
Ань, честно, сама ещё не всё прочитала. Т.к. нашла интервью с пресловутого мобильника... Не очень удобно было...
Если вкратце, то в интервью много говорится об альбоме группы Chicanery. Не единожды упоминаются Дюраны вместе с Энди. В частности, был вопрос, следил ли Уоррен за творчеством ДД, он ответил, что слушал альбомы (понятное дело кроме All...), но они его не впечатлили.
"I know I'm an egoist, but my ego is a motor not a monster!"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
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Re: Интервью, статьи Уоррена или об Уоррене.
CrazyFan писал(а):Если вкратце, то в интервью много говорится об альбоме группы Chicanery. Не единожды упоминаются Дюраны вместе с Энди. В частности, был вопрос, следил ли Уоррен за творчеством ДД, он ответил, что слушал альбомы (понятное дело кроме All...), но они его не впечатлили.
Было бы странно, если бы Кука впечатлился р-н-бишной масякрой
Nothing Human Loves Forever
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CrazyFan
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Re: Интервью, статьи Уоррена или об Уоррене.
Warren Goes Way Back
January 21, 1994 from T'Mershi Duween # 36
In March 1992, I approached the Capitol/Parlophone press office about the possibility of interviewing Warren Cuccurullo for TD. On Friday 21 January this year, at 7pm, he phoned me. What follows is a pretty accurate transcript of our conversation.
When carrying out these interviews I'm always worried that people will prefer to talk about their present activities and so try to limit the number of questions I ask. In this case, though. Warren was equally enthusiastic about the past, present and future and would have been happy to answer a whole load more. Anyhow, as I slowly started to sink beneath the ocean of scrawled-upon pieces of paper (I couldn't tape it and I don't do shorthand, plus I was mindful of the fact that Warren/EMI would be footing the cost of the call), I terminated our conversation after around 40 minutes. We vaguely agreed to do it again face-to-face "next time". Naked, of course. Who knows?
AG: How did you get interested in Zappa and, ultimately, come to play with him?
WC: A friend of mine had a copy of Hot Rats. At the time I was into Deep Purple and Black Sabbath, but I really liked Willie The Pimp, it had a great guitar sound and a great riff. Then, when I was about thirteen, I saw him on 'The Dick Cavett Show' with the Turtles playing, I think. Who Are The Brain Police? with an extended guitar solo I had started playing the guitar when I was 10 - you know, copying Grand Funk - and hearing this solo and seeing his fingers move, it got me. Then I heard the Fillmore East album, which again had great guitar, plus some funny stuff like Do You Like My New Car? By the time of Over-Nite Sensation I was completely into it. I thought "This is it!". So I went to see him play at Brooklyn College, and I couldn't imagine anything else like it in rock; the way he used Ruth, George, Chester, Tom, it was everything I ever wanted. Then I saw them again at the Forum in '74 and I started taping the shows. By 1975 ten shows per tour on the East Coast. I followed the band with Terry, Patrick and Eddie in '76, and I became friendly with Davey Moire - who is now my sound man; we're both from Brooklyn - just before the Halloween shows. One night I was watching over his cases and he came back and said something about "...well, you know how Frank is." And I said "No, I don't. I've never met him." And Davey was really surprised and said "Tomorrow night, come backstage." So I took my girlfriend, Chrissie.
AG: Any connection with the one in Titties & Beer?
WC: A lot of people ask that. I don't know. But there's lots of connections to me in Joe's Garage. Anyway, I met Frank and he said "Come up to the soundcheck" and I kind of followed him around. I watched him on some other chat show, and afterwards he told me he was putting another band together - the one with the horn section used on the In New York album. That's when our friendship really started to develop. He said he liked my guitar playing, but all his other guitarists were singers, so I never thought I'd be in his band. The turning point came when he took me and my friend out to dinner on my birthday. We were in this little place in New York and William Burroughs and Allen Ginsberg were at the next table. Frank introduced us: "This is Malcolm, he's a taxi driver. And this is Warren, he's a guitar player..." And I thought "Fuuck!" Two weeks later he asked me to play on his European tour.
AG: Before you played guitar with him, you told the story of Ms X at the New York show in'78 - is that a true story?
WC: Yes. I told him it in Florida and he recorded it. he laughed all the way through. As the shows progressed he said "I really want you to do it with us". I changed the name for the show. I think be was testing me to see if I could handle it. And I handled it! Later on in a dressing room we picked up a couple of guitars and he showed me a riff, I played it and we carried on like that for about twenty minutes. A friend taped this, and when Frank heard it he went "Wow! Do you know this song?" And we continued to jam.
AG: Could you tell me about Al Malkin and the Mongoloid?
WC: Al's a friend - he's also known as Meatball. We used to miss school together, listen to Frank and smoke pot. Frank offered to tape his life story. He was like the Wild Man Fischer of the 80s.
AG: Do you know what happened to the planned I Need You Love album featuring those tapes of you and Al?
WC: Frank was editing those before his death. I've got another one here called The Pus Tape, it's recorded live with Vinnie and Bruce; really weird stuff. Also there's lots of stuff on video.
AG: There's a clip of you in The True Story of 200 Motels video with Ike Willis - I think it was recorded during the making of Joe's garage.
WC: Did I look like a punk?
AG: Yeah.
WC: That would be from that time, then.
AG: One obvious question I've got to ask you is why you were called "Sophia"?
WC: That was because I was always wearing women's clothing.
AG: I thought it was after Sophia Loren - Sophia War-ren.
WC: And she's Italian, too! We both came up with the name. I used to wear glass earrings, tiger coats, big boots, it was my first time in the UK and I went to Kensington Market. I was buying, like, jackets for 50p and I came out wearing everything I bought. I used to go to rehearsals at the Rainbow like that.
AG: Are there any other good studio jams like While You Were Out and Stucco Homes not yet released? How did those songs come about?
WC: That was originally one piece, but Frank edited it because it had different tonalities. It came about before his studio was built. I was playing along to a live solo of Frank's and he took my track and flew it over a live Vinnie drum track. Then Frank recorded over the top of that with his Black Widow. It was unbelievable. He did it in one take! I was there all night watching him put it together, and afterwards he gave me the guitar I'd used - as payment. I used that for the next two years with Missing Persons.
AG: Frank did a stint as a DJ on WPIX-FM in November '79 - have you any idea why he dedicated The Deathless Horsie to "the Cuccurullo family"?
WC: Just friendship. I remember one time he came to Canarsie and played in my basement. This was where we used to worship him and suddenly he was there - my friends were just crying. We played Watermelon In Easter Hay which, since his death, Duran have been playing; I taught the guys it. We'll probably do it at Wembley next week.
AG: I understand you're doing an album of cover versions - is there any chance that it will include that?
WC: We could do Easter Hay as a bonus track - I've talked to Gail about it. Either that, or I'd love to do Willie The Pimp. We've already done a great version of lggy Pop's Success with Mark and Howard, and Terry - there's going to be some great drummers on it: Tony Thompson, Steve Ferrone...
AG: I assume you were responsible for getting Vinnie to play on the last album?
WC: Yes.
AG: Which Zeppelin song will be on the new one?
WC: Thank You - again with Terry.
AG: Have you heard Tori Amos's version of that?
WC: I love Tori - she's a real inspiration to me at the moment.
AG: Have you got any good stories about John Smothers you can tell me?
WC: There's loads. The funniest one I remember was when we were at the Hyde Park Hotel with Donovan and his wife and kids. he got some pot out and the kids started helping themselves. Smothers eyes just went really wide because Frank was about to arrive at any minute. So he went and got Gail and ended up throwing them all out of the door saying "We don't like that kinda stuff". I remember I was playing Donovan's acoustic guitar with the in-laid stars and planets.
AG: The last I heard of John was that he was ill. Do you know how he is?
WC: We played Washington recently, but I couldn't track him down. I don't know what's happened to him.
AG: I've got a couple of questions from a friend here (hi, Gorgo!):(1) did Dale Bozzio ever perform live with Frank?
WC: No.
AG: (2) The band played Blondie's Heart of Glass during rehearsals in early 1980 - was it ever performed in your time?
WC: NO, but I played the Blondie album to death whilst on the road with Frank.
AG: Okay. Why did you leave the band?
WC: It was the hardest decision of my life. But there were always so many band changes and it got so I wanted a more permanent situation. I had been hanging out with Terry and Dale and we'd made about 10 songs together. We thought we had something special and Frank liked it. Then he called up to say he was gearing up for the road again and I said 'I think we're gonna do this band thing. He wished us all the luck in the world. So, with his blessings, we did it.
AG: Did you keep in touch with him up until the time of his death?
WC: Yes.
AG: The BBC made a documentary last year which shows Bozzio at UMRK with The Chieftains and those throat singers - it didn't look like Frank was participating in that session other than directing things.
WC: No, I think he played with Shankar and those people.
AG: Have you ever been paid for Beat The Boots?
WC: The what?
AG: The official bootleg box-sets - they've been a bone of contention with some former band members who haven't been paid any royalties.
WC: No. I'm not concerned by any of that.
AG: When I saw Terry a couple of years ago he said he'd work with you and Patrick again " anytime, any day. perhaps we'll form another band in the future - who knows?" Do you?
WC: We definitely are going to work together again. In fact I spoke to him for about two hours this morning - they've just had that earthquake out there. I'm going to do something alongside my DuranDuran career. There's so little time - frank proved that- you've got to get stuff out there, make statements. When Terry, Patrick and I get together, there's a kind of magic. And with all we know now, it'll be something else.
AG: Steve Vai thanks you on the sleeve of Flex-Able - have you two ever actually worked together?
WC: No. He's a friend, though.
AG: I read that he recently phoned to compliment you on your work on The Wedding Album.
WC: Yes, he loved it. He's a great guy.
AG: What led to your joining Duran Duran?
WC: Well Missing Persons were on the same label, and Bozzio and Patrick got to play on some of Andy Taylor's stuff. It was the first time in a while that I had nothing to do, so, being a Brooklyn boy, I decided to go for the jugular and I called up the rest of the band. I liked the Arcadia and Power Station outings - stuff like Election Day - and I liked the arrangement on Wild Boys; I just thought it would be great. And I was right. Like them, I was very Bowie influenced.
AG: Have you persuaded the rest of the band to perform naked yet?
WC: No, not yet - but what can you do? Actually, I'm wearing even more on stage these days. Times change.
AG: In 1988, at the time of the 'Broadway The Hard Way' tour, Frank said Thomas Nordegg was unavailable because he was working for you - what was he doing?
WC: He was my guitar technician. Still is. We've been together since about 1980. He still videos a lot of things.
AG: In a 1990 interview you described yourself as a "mini-FZ" in the light of your experiences with Missing Persons and DuranDuran. How come?
WC: I'm becoming a maxi-Frank now! His influence is so strong - I find my capacity for work is endless. I've just organized a 15-piece orchestra for a Duran Duran Unplugged show. My experience with Frank is my most valuable asset.
AG: In the same interview you said you had enough material put by for three solo albums, but were committed to Duran for the time being. Is that still the case?
WC: I probably have enough material for about nine albums now! I'm gonna combine careers. I'll be doing this thing with Terry and Patrick...and a mystery vocalist - someone like Julian Lennon. It could be Ahmet!
AG: Have you played with Ahmet or Dweezil?
WC: I've just played on Dweezil's guitar opus, What The Hell Was I Thinking?. Ahmet and Dweezil are amazing; together they almost equal Frank! No one will ever be quite like him, but they have his musical genius, his humor; and they can really play his stuff.
AG: In 1991, you were listed as a 'Guest Artist' in the program for the 'Zappa's Universe' concerts in New York - what happened?
WC: Oh, a problem with transport. It was so unorganized. I would've liked to - I was gonna play Crew Slut or five-five-FIVE.
AG: I understand you judged the Muffin Men as best Zappa soundalikes in a Cover Contest in Holland a couple of years back?
WC: I don't remember that.
AG: They're a band from Liverpool who play Frank's music - they've got a really good CD just out and are about to tour Europe with Ike Willis.
WC: I haven't seen Ike for ages.
AG: He made a great solo album, I Should'a Gone Before I Left.
WC: I've wondered what he's been doing. Mark and Howard were talking to me about doing an album of all Frank's songs that should have been hits - try and get terry involved, maybe George. I would really like to make one of his songs a big hit.
AG: Mark and Howard remained friendly on and off with Frank over the years, didn't they? At one time they were gonna be on the 'Broadway' tour.
WC: So was I - Frank invited me to join him.
AG: What do you think of Keneally?
WC: I understand he's got a good solo album out, but I haven't heard it. Dweezil loves Keneally - he raves about him all the time.
AG: I believe you have your own fan club in the US.
WC: Yeah, It's sort of a Duran spin-off, but it covers my work with Frank and Missing Persons.
AG: OK, a final question: have you ever tried oral sex with a miniature rubberized homo-replica?
WC: Sort of. I can say that. But it wasn't until this year. And it wasn't miniature.
January 21, 1994 from T'Mershi Duween # 36
In March 1992, I approached the Capitol/Parlophone press office about the possibility of interviewing Warren Cuccurullo for TD. On Friday 21 January this year, at 7pm, he phoned me. What follows is a pretty accurate transcript of our conversation.
When carrying out these interviews I'm always worried that people will prefer to talk about their present activities and so try to limit the number of questions I ask. In this case, though. Warren was equally enthusiastic about the past, present and future and would have been happy to answer a whole load more. Anyhow, as I slowly started to sink beneath the ocean of scrawled-upon pieces of paper (I couldn't tape it and I don't do shorthand, plus I was mindful of the fact that Warren/EMI would be footing the cost of the call), I terminated our conversation after around 40 minutes. We vaguely agreed to do it again face-to-face "next time". Naked, of course. Who knows?
AG: How did you get interested in Zappa and, ultimately, come to play with him?
WC: A friend of mine had a copy of Hot Rats. At the time I was into Deep Purple and Black Sabbath, but I really liked Willie The Pimp, it had a great guitar sound and a great riff. Then, when I was about thirteen, I saw him on 'The Dick Cavett Show' with the Turtles playing, I think. Who Are The Brain Police? with an extended guitar solo I had started playing the guitar when I was 10 - you know, copying Grand Funk - and hearing this solo and seeing his fingers move, it got me. Then I heard the Fillmore East album, which again had great guitar, plus some funny stuff like Do You Like My New Car? By the time of Over-Nite Sensation I was completely into it. I thought "This is it!". So I went to see him play at Brooklyn College, and I couldn't imagine anything else like it in rock; the way he used Ruth, George, Chester, Tom, it was everything I ever wanted. Then I saw them again at the Forum in '74 and I started taping the shows. By 1975 ten shows per tour on the East Coast. I followed the band with Terry, Patrick and Eddie in '76, and I became friendly with Davey Moire - who is now my sound man; we're both from Brooklyn - just before the Halloween shows. One night I was watching over his cases and he came back and said something about "...well, you know how Frank is." And I said "No, I don't. I've never met him." And Davey was really surprised and said "Tomorrow night, come backstage." So I took my girlfriend, Chrissie.
AG: Any connection with the one in Titties & Beer?
WC: A lot of people ask that. I don't know. But there's lots of connections to me in Joe's Garage. Anyway, I met Frank and he said "Come up to the soundcheck" and I kind of followed him around. I watched him on some other chat show, and afterwards he told me he was putting another band together - the one with the horn section used on the In New York album. That's when our friendship really started to develop. He said he liked my guitar playing, but all his other guitarists were singers, so I never thought I'd be in his band. The turning point came when he took me and my friend out to dinner on my birthday. We were in this little place in New York and William Burroughs and Allen Ginsberg were at the next table. Frank introduced us: "This is Malcolm, he's a taxi driver. And this is Warren, he's a guitar player..." And I thought "Fuuck!" Two weeks later he asked me to play on his European tour.
AG: Before you played guitar with him, you told the story of Ms X at the New York show in'78 - is that a true story?
WC: Yes. I told him it in Florida and he recorded it. he laughed all the way through. As the shows progressed he said "I really want you to do it with us". I changed the name for the show. I think be was testing me to see if I could handle it. And I handled it! Later on in a dressing room we picked up a couple of guitars and he showed me a riff, I played it and we carried on like that for about twenty minutes. A friend taped this, and when Frank heard it he went "Wow! Do you know this song?" And we continued to jam.
AG: Could you tell me about Al Malkin and the Mongoloid?
WC: Al's a friend - he's also known as Meatball. We used to miss school together, listen to Frank and smoke pot. Frank offered to tape his life story. He was like the Wild Man Fischer of the 80s.
AG: Do you know what happened to the planned I Need You Love album featuring those tapes of you and Al?
WC: Frank was editing those before his death. I've got another one here called The Pus Tape, it's recorded live with Vinnie and Bruce; really weird stuff. Also there's lots of stuff on video.
AG: There's a clip of you in The True Story of 200 Motels video with Ike Willis - I think it was recorded during the making of Joe's garage.
WC: Did I look like a punk?
AG: Yeah.
WC: That would be from that time, then.
AG: One obvious question I've got to ask you is why you were called "Sophia"?
WC: That was because I was always wearing women's clothing.
AG: I thought it was after Sophia Loren - Sophia War-ren.
WC: And she's Italian, too! We both came up with the name. I used to wear glass earrings, tiger coats, big boots, it was my first time in the UK and I went to Kensington Market. I was buying, like, jackets for 50p and I came out wearing everything I bought. I used to go to rehearsals at the Rainbow like that.
AG: Are there any other good studio jams like While You Were Out and Stucco Homes not yet released? How did those songs come about?
WC: That was originally one piece, but Frank edited it because it had different tonalities. It came about before his studio was built. I was playing along to a live solo of Frank's and he took my track and flew it over a live Vinnie drum track. Then Frank recorded over the top of that with his Black Widow. It was unbelievable. He did it in one take! I was there all night watching him put it together, and afterwards he gave me the guitar I'd used - as payment. I used that for the next two years with Missing Persons.
AG: Frank did a stint as a DJ on WPIX-FM in November '79 - have you any idea why he dedicated The Deathless Horsie to "the Cuccurullo family"?
WC: Just friendship. I remember one time he came to Canarsie and played in my basement. This was where we used to worship him and suddenly he was there - my friends were just crying. We played Watermelon In Easter Hay which, since his death, Duran have been playing; I taught the guys it. We'll probably do it at Wembley next week.
AG: I understand you're doing an album of cover versions - is there any chance that it will include that?
WC: We could do Easter Hay as a bonus track - I've talked to Gail about it. Either that, or I'd love to do Willie The Pimp. We've already done a great version of lggy Pop's Success with Mark and Howard, and Terry - there's going to be some great drummers on it: Tony Thompson, Steve Ferrone...
AG: I assume you were responsible for getting Vinnie to play on the last album?
WC: Yes.
AG: Which Zeppelin song will be on the new one?
WC: Thank You - again with Terry.
AG: Have you heard Tori Amos's version of that?
WC: I love Tori - she's a real inspiration to me at the moment.
AG: Have you got any good stories about John Smothers you can tell me?
WC: There's loads. The funniest one I remember was when we were at the Hyde Park Hotel with Donovan and his wife and kids. he got some pot out and the kids started helping themselves. Smothers eyes just went really wide because Frank was about to arrive at any minute. So he went and got Gail and ended up throwing them all out of the door saying "We don't like that kinda stuff". I remember I was playing Donovan's acoustic guitar with the in-laid stars and planets.
AG: The last I heard of John was that he was ill. Do you know how he is?
WC: We played Washington recently, but I couldn't track him down. I don't know what's happened to him.
AG: I've got a couple of questions from a friend here (hi, Gorgo!):(1) did Dale Bozzio ever perform live with Frank?
WC: No.
AG: (2) The band played Blondie's Heart of Glass during rehearsals in early 1980 - was it ever performed in your time?
WC: NO, but I played the Blondie album to death whilst on the road with Frank.
AG: Okay. Why did you leave the band?
WC: It was the hardest decision of my life. But there were always so many band changes and it got so I wanted a more permanent situation. I had been hanging out with Terry and Dale and we'd made about 10 songs together. We thought we had something special and Frank liked it. Then he called up to say he was gearing up for the road again and I said 'I think we're gonna do this band thing. He wished us all the luck in the world. So, with his blessings, we did it.
AG: Did you keep in touch with him up until the time of his death?
WC: Yes.
AG: The BBC made a documentary last year which shows Bozzio at UMRK with The Chieftains and those throat singers - it didn't look like Frank was participating in that session other than directing things.
WC: No, I think he played with Shankar and those people.
AG: Have you ever been paid for Beat The Boots?
WC: The what?
AG: The official bootleg box-sets - they've been a bone of contention with some former band members who haven't been paid any royalties.
WC: No. I'm not concerned by any of that.
AG: When I saw Terry a couple of years ago he said he'd work with you and Patrick again " anytime, any day. perhaps we'll form another band in the future - who knows?" Do you?
WC: We definitely are going to work together again. In fact I spoke to him for about two hours this morning - they've just had that earthquake out there. I'm going to do something alongside my DuranDuran career. There's so little time - frank proved that- you've got to get stuff out there, make statements. When Terry, Patrick and I get together, there's a kind of magic. And with all we know now, it'll be something else.
AG: Steve Vai thanks you on the sleeve of Flex-Able - have you two ever actually worked together?
WC: No. He's a friend, though.
AG: I read that he recently phoned to compliment you on your work on The Wedding Album.
WC: Yes, he loved it. He's a great guy.
AG: What led to your joining Duran Duran?
WC: Well Missing Persons were on the same label, and Bozzio and Patrick got to play on some of Andy Taylor's stuff. It was the first time in a while that I had nothing to do, so, being a Brooklyn boy, I decided to go for the jugular and I called up the rest of the band. I liked the Arcadia and Power Station outings - stuff like Election Day - and I liked the arrangement on Wild Boys; I just thought it would be great. And I was right. Like them, I was very Bowie influenced.
AG: Have you persuaded the rest of the band to perform naked yet?
WC: No, not yet - but what can you do? Actually, I'm wearing even more on stage these days. Times change.
AG: In 1988, at the time of the 'Broadway The Hard Way' tour, Frank said Thomas Nordegg was unavailable because he was working for you - what was he doing?
WC: He was my guitar technician. Still is. We've been together since about 1980. He still videos a lot of things.
AG: In a 1990 interview you described yourself as a "mini-FZ" in the light of your experiences with Missing Persons and DuranDuran. How come?
WC: I'm becoming a maxi-Frank now! His influence is so strong - I find my capacity for work is endless. I've just organized a 15-piece orchestra for a Duran Duran Unplugged show. My experience with Frank is my most valuable asset.
AG: In the same interview you said you had enough material put by for three solo albums, but were committed to Duran for the time being. Is that still the case?
WC: I probably have enough material for about nine albums now! I'm gonna combine careers. I'll be doing this thing with Terry and Patrick...and a mystery vocalist - someone like Julian Lennon. It could be Ahmet!
AG: Have you played with Ahmet or Dweezil?
WC: I've just played on Dweezil's guitar opus, What The Hell Was I Thinking?. Ahmet and Dweezil are amazing; together they almost equal Frank! No one will ever be quite like him, but they have his musical genius, his humor; and they can really play his stuff.
AG: In 1991, you were listed as a 'Guest Artist' in the program for the 'Zappa's Universe' concerts in New York - what happened?
WC: Oh, a problem with transport. It was so unorganized. I would've liked to - I was gonna play Crew Slut or five-five-FIVE.
AG: I understand you judged the Muffin Men as best Zappa soundalikes in a Cover Contest in Holland a couple of years back?
WC: I don't remember that.
AG: They're a band from Liverpool who play Frank's music - they've got a really good CD just out and are about to tour Europe with Ike Willis.
WC: I haven't seen Ike for ages.
AG: He made a great solo album, I Should'a Gone Before I Left.
WC: I've wondered what he's been doing. Mark and Howard were talking to me about doing an album of all Frank's songs that should have been hits - try and get terry involved, maybe George. I would really like to make one of his songs a big hit.
AG: Mark and Howard remained friendly on and off with Frank over the years, didn't they? At one time they were gonna be on the 'Broadway' tour.
WC: So was I - Frank invited me to join him.
AG: What do you think of Keneally?
WC: I understand he's got a good solo album out, but I haven't heard it. Dweezil loves Keneally - he raves about him all the time.
AG: I believe you have your own fan club in the US.
WC: Yeah, It's sort of a Duran spin-off, but it covers my work with Frank and Missing Persons.
AG: OK, a final question: have you ever tried oral sex with a miniature rubberized homo-replica?
WC: Sort of. I can say that. But it wasn't until this year. And it wasn't miniature.
"I know I'm an egoist, but my ego is a motor not a monster!"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
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CrazyFan
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Re: Интервью, статьи Уоррена или об Уоррене.
WINES AND OLD, OLD QUESTIONS
The first out-of-this-ordinary-world fruits of Warren Cuccurullo’s ongoing collaboration with English tone poet Neil Carlill finally see the light of day on their imminently eponymous debut album, Chicanery – described as ‘a surreal and psychotic vision of pop music’.
IB: Neil, tell us a little about your background.
Neil Carlill: Very quiet reserved Englishman from the provinces, always skewed on literature and, later on, music. Got into music via the beat writers and formed a band called Delicatessen; avant-garde Indie Rock. My twisted slightly gothic ways discovered Beefheart and I never looked for anyone else really. Shiny Beast was my start point but it was the voice and the words. Lick my Decals was always my favourite, but I can't stop listening to Trout Mask Replica recently. It is unnerving how repeated listens reveal the POP magic revealed in all those twirling guitar lines. And of course zappa! Zappa! ZAPPA! (Thanks to my mentor, WC.)
IB: If you were a milkshake, what flavour would you be?
NC: Al Cappuccino.
IB: Warren, what's the ugliest part of Neil's body?
Warren Cuccurullo: NOT his mind.
IB: When did you two first meet?
WC: I met Neil in London in 1999. I’d seen one of his band’s videos on ‘the box’ and tried to contact him. We met a week later.
NC: Warren was doing TV Mania with Nick Rhodes and he saw a video of Delicatessen and invited me to sing with them. I went round to Warren's house/studio, the only house on the quiet street with blacked out windows with iron grill bars for security. There were usually European girls hanging round outside. It was very rock 'n' roll. Warren was larger than life. I always brought alcohol with me.
IB: You’ve been working on material together as Chicanery for quite a few years now – when was the album actually recorded?
NC: The bulk of the material was recorded in 2005, in Los Angeles.
IB: You write most of the lyrics – what inspires you?
NC: The Captain, of course. James Joyce, the Dadaists, Kurt Schwitters. I like the concentrated power of the lyric, it should be like hypertext, the confusion of all the doubled up nonsense in the world being expressed through fragments of meaning. Oh, and jokes to patch it all up. Art that escapes the mainstream is always appealing.
IB: Warren, you must’ve had a hand in Hubert Selby Song - Selby being a local hero?
WC: The title was my suggestion - he had recently died when we were finishing that track.
IB: Do you normally write music around Neil’s lyrics?
WC: With me, Neil has been writing to tracks, or just bits. I Came Back To You is a live jam. The four acoustic numbers – The Midnight Owls, I.O.D., Hit The Wall and Luminal Dark - were written on guitar by Neil.
IB: What happened to His Mind Into Her?
WC: That track, along with Cut Me From The Mirror, were the first things we worked on together in London. In 2004, I used His Mind... for the as yet unreleased N’Liten Up CD - it is SO that record: Ben Wendel’s soprano sax; Chris Golden’s fretless bass - it felt a little out of place in this collection.
NC: Yes, it was going to be on Chicanery but we went for Cut Me From the Mirror as it seemed to fit the mood of the piece better.
IB: Who came up with the name Chicanery?
NC: I think it was a committee decision - me, WC, Vino - can't actually remember. I can't believe it's not been used before (to my knowledge).
IB: I used to know a guy who had a band called Chicane in Basingstoke. What was working with Terry Bozzio like for you, Neil?
NC: Lovely man, but his drum kit scared me: it was extra-terrestrial. We jammed a little, so it was an experience to hear his energy and creative skills at work. More please!
IB: Tell me about some of the other people on the album – firstly, Simone Sello, who produced the lion's share of the album.
WC: Simone is someone I've been working with on various projects. He is a guitarist and a producer/programmer from Rome. He’d been working with Billy Sheehan and a friend of mine suggested him to me. He’s excellent, and he makes my life a lot easier. We’ve been working together since 2004.
NC: He really was the glue to many of the pieces - arrangements and sonically. He will be in the band also. The third member of Chicanery.
IB: And Ustad Sultan Khan, the sarangi player?
WC: Sultan Khan and I hooked up in London in 1998; we did a lot of recording at my home studio. He is a genius and a legend. His work on the George Harrison-produced Ravi Shankar’s Music Festival From India is magical.
NC: I never met Sultan, but his work is spellbinding, The Tuva throat singer that I always wanted to be.
IB: Any plans to perform Chicanery material live?
NC: Yes, yes with zingy Bells on. We're hoping to get Terry Bozzio or Joe Travers, and we will be playing in the Fall I sincerely hope.
WC: We'd love to perform this stuff. There is talk of doing some promotional dates...we'll see if that can turn into full fledged touring.
IB: Warren, what did you like about Joe Travers' playing when you first saw him perform with Dweezil - sat next to Frank - in Hollywood?
WC: Joe had the energy and chops of Bozzio/Vinnie, and the bang of Bonham. I didn't know what a nice guy he was till after the show.
IB: Neil, ever made love to a vampire with a monkey on your knee?
NC: Oh vampires are so dull these days: they go to high school, for Chrissakes; primp themselves in mirrors; promote celibacy. Shockingly teen and tame. The monkey can stay in the news, and I'll nibble the ear of a werewolf.
IB: Please, not Taylor Lautner! Where did you find that wonderful album cover photo?
NC: A friend of my wife's family took the picture about 15 years ago, somewhere in Canada. It's very famous in the family circle - such a great image. He very kindly allowed use to use it. His name is Tim Mahoney and he returned to the house a month later when it was no more.
IB: What's the best smelling hotel you've ever stayed in?
NC: I've never been smelled by a hotel; or the Ramada in Amsterdam at the height of tulip season.
IB: Warren, when I interviewed you way back in 1994, you told me you had enough material for around nine solo albums – the archives should be just about ready to explode now. It must be very frustrating not being able to release stuff quickly – though you did do just that with O’Bummer (Operation BS), and you’ve made demos and other material available via your website. Do you have plans to release material more frequently– eg. for download only, like VaiTunes?
WC: I think once this year is over, the archives are spent as far as I’m concerned: TV Mania, N’Liten Up and Chicanery will all be released in 2010; editing is a wonderful thing.
IB: Yes, I noticed Cut Me From The Mirror is now half its original length.
WC: Yeah. Theoretical 5 is creating loads of material, so my WC projects are on temporary hold - although I have five or six new things that I’ve been working on.
IB: Theoretical 5 is the new band with Tommy Mars and Arthur Barrow, plus Andy Kravitz and Larry Klimas. Tell us about your plans.
WC: We love doing these free-form jams. But, we might start a Fight Club...or maybe just the senior’s branch of the ‘He Man Woman Haters’ club. Live streaming free-form jams is something Arthur would like to get going.
IB: Sounds great. And what about The Composers, with Anthony J. Resta, Eric Alexandrakis and Steve Ferrone?
WC: Steve, Eric, Anthony and me, we’d all worked together in some configuration or another. The musical possibilities are endless and inspiring. These days you have a much better chance of hearing one of your compositions in a movie or a TV show than getting on the traditional radio airwaves.
IB: True dat. So how long before the second Chicanery album?
NC: We have four or maybe five songs in development at the moment so it will be finished sometime in the Fall, I think, depending on our promotion schedule with the debut.
IB: What do you think of Obama?
NC: Oh my, oh my - politics and the artist! Hate politicians as a rule, but my household is in love with Obama so I will give him his due. Maybe he needs to stop the bi-partisan chit-chat and convert the liberal agenda he was mandated to do and...oh, there: I go I’ve said too much already. Yes to Obama. But very little really changes as society crumbles all around us.
WC: Obama is a puppet, probably the most controlled ever. Manchurian is a word that comes to mind, not American. I think my song O'Bummer just about sums up my feelings.
IB: Warren, Zappa Records released Playing In Tongues – was that a one-off, or is that a question for Gail?
WC: It’s not a one-off. Gail would like to reissue my Missing Persons CDs at some point, with added tracks...Late Nights Early Days in particular.
IB: How is Sid Arthur as a manager?
WC: Sid didn't really work out as a manager, but he's currently working on a Rodney Dangerfield tribute act where DoUBLEyOuSEe is his acting coach.
IB: Tell me about tap-dancing The Black Page.
WC: Not PROPER tap, but I got the beats.
NC: This was in 2006, preparing for Warren's gig at the Viper room. Terry Bozzio was in the band and, as I recall, Warren was tap dancing The Black Page for Peter Wolf. He would do a similar thing for the Chicanery track Midnight Owls, although it was a percussive performance using his hands on his body as he sang the words. The man performs with his whole being.
IB: Warren, after Duran Duran, you relocated back to the US and (cough) let your hair down a bit. Do you regret any of the naughty-naked-nude snaps, the Rock Rod, beating it with your fist on camera....or are you justifiably proud of your bod?
WC: My only regrets are real estate related.
IB: What was the name of your first pet, Neil?
NC: Stanley the cat with the shiny belt.
IB: And what colour is your toothbrush, Warren?
WC: Transparent.
The first out-of-this-ordinary-world fruits of Warren Cuccurullo’s ongoing collaboration with English tone poet Neil Carlill finally see the light of day on their imminently eponymous debut album, Chicanery – described as ‘a surreal and psychotic vision of pop music’.
IB: Neil, tell us a little about your background.
Neil Carlill: Very quiet reserved Englishman from the provinces, always skewed on literature and, later on, music. Got into music via the beat writers and formed a band called Delicatessen; avant-garde Indie Rock. My twisted slightly gothic ways discovered Beefheart and I never looked for anyone else really. Shiny Beast was my start point but it was the voice and the words. Lick my Decals was always my favourite, but I can't stop listening to Trout Mask Replica recently. It is unnerving how repeated listens reveal the POP magic revealed in all those twirling guitar lines. And of course zappa! Zappa! ZAPPA! (Thanks to my mentor, WC.)
IB: If you were a milkshake, what flavour would you be?
NC: Al Cappuccino.
IB: Warren, what's the ugliest part of Neil's body?
Warren Cuccurullo: NOT his mind.
IB: When did you two first meet?
WC: I met Neil in London in 1999. I’d seen one of his band’s videos on ‘the box’ and tried to contact him. We met a week later.
NC: Warren was doing TV Mania with Nick Rhodes and he saw a video of Delicatessen and invited me to sing with them. I went round to Warren's house/studio, the only house on the quiet street with blacked out windows with iron grill bars for security. There were usually European girls hanging round outside. It was very rock 'n' roll. Warren was larger than life. I always brought alcohol with me.
IB: You’ve been working on material together as Chicanery for quite a few years now – when was the album actually recorded?
NC: The bulk of the material was recorded in 2005, in Los Angeles.
IB: You write most of the lyrics – what inspires you?
NC: The Captain, of course. James Joyce, the Dadaists, Kurt Schwitters. I like the concentrated power of the lyric, it should be like hypertext, the confusion of all the doubled up nonsense in the world being expressed through fragments of meaning. Oh, and jokes to patch it all up. Art that escapes the mainstream is always appealing.
IB: Warren, you must’ve had a hand in Hubert Selby Song - Selby being a local hero?
WC: The title was my suggestion - he had recently died when we were finishing that track.
IB: Do you normally write music around Neil’s lyrics?
WC: With me, Neil has been writing to tracks, or just bits. I Came Back To You is a live jam. The four acoustic numbers – The Midnight Owls, I.O.D., Hit The Wall and Luminal Dark - were written on guitar by Neil.
IB: What happened to His Mind Into Her?
WC: That track, along with Cut Me From The Mirror, were the first things we worked on together in London. In 2004, I used His Mind... for the as yet unreleased N’Liten Up CD - it is SO that record: Ben Wendel’s soprano sax; Chris Golden’s fretless bass - it felt a little out of place in this collection.
NC: Yes, it was going to be on Chicanery but we went for Cut Me From the Mirror as it seemed to fit the mood of the piece better.
IB: Who came up with the name Chicanery?
NC: I think it was a committee decision - me, WC, Vino - can't actually remember. I can't believe it's not been used before (to my knowledge).
IB: I used to know a guy who had a band called Chicane in Basingstoke. What was working with Terry Bozzio like for you, Neil?
NC: Lovely man, but his drum kit scared me: it was extra-terrestrial. We jammed a little, so it was an experience to hear his energy and creative skills at work. More please!
IB: Tell me about some of the other people on the album – firstly, Simone Sello, who produced the lion's share of the album.
WC: Simone is someone I've been working with on various projects. He is a guitarist and a producer/programmer from Rome. He’d been working with Billy Sheehan and a friend of mine suggested him to me. He’s excellent, and he makes my life a lot easier. We’ve been working together since 2004.
NC: He really was the glue to many of the pieces - arrangements and sonically. He will be in the band also. The third member of Chicanery.
IB: And Ustad Sultan Khan, the sarangi player?
WC: Sultan Khan and I hooked up in London in 1998; we did a lot of recording at my home studio. He is a genius and a legend. His work on the George Harrison-produced Ravi Shankar’s Music Festival From India is magical.
NC: I never met Sultan, but his work is spellbinding, The Tuva throat singer that I always wanted to be.
IB: Any plans to perform Chicanery material live?
NC: Yes, yes with zingy Bells on. We're hoping to get Terry Bozzio or Joe Travers, and we will be playing in the Fall I sincerely hope.
WC: We'd love to perform this stuff. There is talk of doing some promotional dates...we'll see if that can turn into full fledged touring.
IB: Warren, what did you like about Joe Travers' playing when you first saw him perform with Dweezil - sat next to Frank - in Hollywood?
WC: Joe had the energy and chops of Bozzio/Vinnie, and the bang of Bonham. I didn't know what a nice guy he was till after the show.
IB: Neil, ever made love to a vampire with a monkey on your knee?
NC: Oh vampires are so dull these days: they go to high school, for Chrissakes; primp themselves in mirrors; promote celibacy. Shockingly teen and tame. The monkey can stay in the news, and I'll nibble the ear of a werewolf.
IB: Please, not Taylor Lautner! Where did you find that wonderful album cover photo?
NC: A friend of my wife's family took the picture about 15 years ago, somewhere in Canada. It's very famous in the family circle - such a great image. He very kindly allowed use to use it. His name is Tim Mahoney and he returned to the house a month later when it was no more.
IB: What's the best smelling hotel you've ever stayed in?
NC: I've never been smelled by a hotel; or the Ramada in Amsterdam at the height of tulip season.
IB: Warren, when I interviewed you way back in 1994, you told me you had enough material for around nine solo albums – the archives should be just about ready to explode now. It must be very frustrating not being able to release stuff quickly – though you did do just that with O’Bummer (Operation BS), and you’ve made demos and other material available via your website. Do you have plans to release material more frequently– eg. for download only, like VaiTunes?
WC: I think once this year is over, the archives are spent as far as I’m concerned: TV Mania, N’Liten Up and Chicanery will all be released in 2010; editing is a wonderful thing.
IB: Yes, I noticed Cut Me From The Mirror is now half its original length.
WC: Yeah. Theoretical 5 is creating loads of material, so my WC projects are on temporary hold - although I have five or six new things that I’ve been working on.
IB: Theoretical 5 is the new band with Tommy Mars and Arthur Barrow, plus Andy Kravitz and Larry Klimas. Tell us about your plans.
WC: We love doing these free-form jams. But, we might start a Fight Club...or maybe just the senior’s branch of the ‘He Man Woman Haters’ club. Live streaming free-form jams is something Arthur would like to get going.
IB: Sounds great. And what about The Composers, with Anthony J. Resta, Eric Alexandrakis and Steve Ferrone?
WC: Steve, Eric, Anthony and me, we’d all worked together in some configuration or another. The musical possibilities are endless and inspiring. These days you have a much better chance of hearing one of your compositions in a movie or a TV show than getting on the traditional radio airwaves.
IB: True dat. So how long before the second Chicanery album?
NC: We have four or maybe five songs in development at the moment so it will be finished sometime in the Fall, I think, depending on our promotion schedule with the debut.
IB: What do you think of Obama?
NC: Oh my, oh my - politics and the artist! Hate politicians as a rule, but my household is in love with Obama so I will give him his due. Maybe he needs to stop the bi-partisan chit-chat and convert the liberal agenda he was mandated to do and...oh, there: I go I’ve said too much already. Yes to Obama. But very little really changes as society crumbles all around us.
WC: Obama is a puppet, probably the most controlled ever. Manchurian is a word that comes to mind, not American. I think my song O'Bummer just about sums up my feelings.
IB: Warren, Zappa Records released Playing In Tongues – was that a one-off, or is that a question for Gail?
WC: It’s not a one-off. Gail would like to reissue my Missing Persons CDs at some point, with added tracks...Late Nights Early Days in particular.
IB: How is Sid Arthur as a manager?
WC: Sid didn't really work out as a manager, but he's currently working on a Rodney Dangerfield tribute act where DoUBLEyOuSEe is his acting coach.
IB: Tell me about tap-dancing The Black Page.
WC: Not PROPER tap, but I got the beats.
NC: This was in 2006, preparing for Warren's gig at the Viper room. Terry Bozzio was in the band and, as I recall, Warren was tap dancing The Black Page for Peter Wolf. He would do a similar thing for the Chicanery track Midnight Owls, although it was a percussive performance using his hands on his body as he sang the words. The man performs with his whole being.
IB: Warren, after Duran Duran, you relocated back to the US and (cough) let your hair down a bit. Do you regret any of the naughty-naked-nude snaps, the Rock Rod, beating it with your fist on camera....or are you justifiably proud of your bod?
WC: My only regrets are real estate related.
IB: What was the name of your first pet, Neil?
NC: Stanley the cat with the shiny belt.
IB: And what colour is your toothbrush, Warren?
WC: Transparent.
"I know I'm an egoist, but my ego is a motor not a monster!"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
-
Mezmerized
- Джономан и Никовед
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Re: Интервью, статьи Уоррена или об Уоррене.
J’ai la mélancholia qui rend l’âme à nue
..qui me constitue
..qui me constitue
-
Mezmerized
- Джономан и Никовед
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Re: Интервью, статьи Уоррена или об Уоррене.
скинуть сюда еще инфу о его группе и их альбоме?
J’ai la mélancholia qui rend l’âme à nue
..qui me constitue
..qui me constitue
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CrazyFan
- Evil Regal Admin
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Re: Интервью, статьи Уоррена или об Уоррене.
Неее, я под его группу отдельную тему создам.
"I know I'm an egoist, but my ego is a motor not a monster!"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
-
Mezmerized
- Джономан и Никовед
- Сообщения: 7119
- Зарегистрирован: Вс авг 29, 2010 11:22 pm
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Re: Интервью, статьи Уоррена или об Уоррене.
CrazyFan писал(а):Неее, я под его группу отдельную тему создам.
тогда создавай скорее, а то я еще потеряю ссыль...
J’ai la mélancholia qui rend l’âme à nue
..qui me constitue
..qui me constitue
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CrazyFan
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Warren Cuccurullo - Thanks to Frank
Guitarists such as Steve Vai and Joe Satriani received the lion's share of attention during the late '80s/early '90s, due to their otherworldly instrumental chops. But several other guitarists were just as talented, yet failed to receive as much recognition, especially Warren Cuccurullo. Born on December 8, 1956 and raised in Brooklyn, New York, Cuccurullo started playing drums at an early age, before moving over to guitar in time to jam with friends. By the early '70s, Cuccurullo had become a diehard Frank Zappa fan, and for much of the decade, would travel far and wide to catch Zappa in concert. It wasn't long before Cuccurullo became friends with members of Zappa's backing band, and eventually, Zappa himself. Cuccurullo appeared during a backstage segment for Zappa's concert movie, Baby Snakes, and in December of 1978, got the phone call he'd been waiting for, when he was invited to try out to for a vacant guitar slot in the band. Warren got the gig, appearing on several Zappa tours and such albums as Joe's Garage: Acts 1-3, Shut Up & Play Yer Guitar, Tinseltown Rebellion, and volumes one, four, and six of the You Can't Do That On Stage Anymore series. Shortly after the dawn of the '80s, Cuccurullo quit Zappa's band to form the new wave outfit Missing Persons, along with the husband-wife team of Terry Bozzio (drums) and Dale Bozzio (vocals). The band enjoyed success early on with such hit singles as "Words" and "Destination Unknown," as well as a gold certified debut album, 1982's Spring Session M. But after two further albums that failed commercially, 1984's Rhyme and Reason and 1986's Color in Your Life, Missing Persons broke up. Cuccurullo got word from an insider that one of the world's most popular pop groups, Duran Duran, was about to lose founding guitarist Andy Taylor, and he inquired about joining. Warren was soon invited onboard, and appeared on such subsequent albums as 1986's Notorious, 1988's Big Thing, 1990's Liberty, 1993's self-titled release, 1995's Thank You, 1997's Medazzaland, and 2000's Pop Trash. During the same time, Cuccurullo began issuing solo albums on his own, including 1995's Thanks to Frank, 1997's Machine Language (an album he'd been working on since the '80s), 1998's Roadrage, and 2000's the Blue. The '90s also saw Warren either collaborate or record with Blondie, Meat Loaf, and Michael Jackson, but in all three cases, the material was ultimately shelved. Cuccurullo eventually left Duran Duran (when it was announced that its original line-up was reuniting), but kept himself busy with running his own extensive website, opening up an Italian restaurant in Santa Monica ("Via Veneto"), and issuing his own adult toy, the "Rock Rod." The guitarist also took part in several Missing Persons reunion shows during 2001, while his next solo release, Trance Formed, is scheduled to be released sometime in late 2002.
Review by Stephen Thomas Erlewine
Guitarist Warren Cuccurullo began his career with Frank Zappa, so it should come as no surprise that when he made his return to experimental music after years of pop craftmenship with Duran Duran and Missing Persons, he would do so under the guise of Thanks to Frank, a tribute to the late composer. Working with bassist Pino Palladino and drummer Vinnie Colaiuta, Cuccurullo sounds creatively reborn. Drawing from a variety of different world musics, the guitarist fashions complex and challenging soundscapes that prove he learned a lot from Zappa. It's not a consistent record, but the best moments on Thanks to Frank showcase a guitarist overcome with the joy of finding his own voice.
http://finditur.blogspot.com/2010/07/wa ... frank.html
Guitarists such as Steve Vai and Joe Satriani received the lion's share of attention during the late '80s/early '90s, due to their otherworldly instrumental chops. But several other guitarists were just as talented, yet failed to receive as much recognition, especially Warren Cuccurullo. Born on December 8, 1956 and raised in Brooklyn, New York, Cuccurullo started playing drums at an early age, before moving over to guitar in time to jam with friends. By the early '70s, Cuccurullo had become a diehard Frank Zappa fan, and for much of the decade, would travel far and wide to catch Zappa in concert. It wasn't long before Cuccurullo became friends with members of Zappa's backing band, and eventually, Zappa himself. Cuccurullo appeared during a backstage segment for Zappa's concert movie, Baby Snakes, and in December of 1978, got the phone call he'd been waiting for, when he was invited to try out to for a vacant guitar slot in the band. Warren got the gig, appearing on several Zappa tours and such albums as Joe's Garage: Acts 1-3, Shut Up & Play Yer Guitar, Tinseltown Rebellion, and volumes one, four, and six of the You Can't Do That On Stage Anymore series. Shortly after the dawn of the '80s, Cuccurullo quit Zappa's band to form the new wave outfit Missing Persons, along with the husband-wife team of Terry Bozzio (drums) and Dale Bozzio (vocals). The band enjoyed success early on with such hit singles as "Words" and "Destination Unknown," as well as a gold certified debut album, 1982's Spring Session M. But after two further albums that failed commercially, 1984's Rhyme and Reason and 1986's Color in Your Life, Missing Persons broke up. Cuccurullo got word from an insider that one of the world's most popular pop groups, Duran Duran, was about to lose founding guitarist Andy Taylor, and he inquired about joining. Warren was soon invited onboard, and appeared on such subsequent albums as 1986's Notorious, 1988's Big Thing, 1990's Liberty, 1993's self-titled release, 1995's Thank You, 1997's Medazzaland, and 2000's Pop Trash. During the same time, Cuccurullo began issuing solo albums on his own, including 1995's Thanks to Frank, 1997's Machine Language (an album he'd been working on since the '80s), 1998's Roadrage, and 2000's the Blue. The '90s also saw Warren either collaborate or record with Blondie, Meat Loaf, and Michael Jackson, but in all three cases, the material was ultimately shelved. Cuccurullo eventually left Duran Duran (when it was announced that its original line-up was reuniting), but kept himself busy with running his own extensive website, opening up an Italian restaurant in Santa Monica ("Via Veneto"), and issuing his own adult toy, the "Rock Rod." The guitarist also took part in several Missing Persons reunion shows during 2001, while his next solo release, Trance Formed, is scheduled to be released sometime in late 2002.
Review by Stephen Thomas Erlewine
Guitarist Warren Cuccurullo began his career with Frank Zappa, so it should come as no surprise that when he made his return to experimental music after years of pop craftmenship with Duran Duran and Missing Persons, he would do so under the guise of Thanks to Frank, a tribute to the late composer. Working with bassist Pino Palladino and drummer Vinnie Colaiuta, Cuccurullo sounds creatively reborn. Drawing from a variety of different world musics, the guitarist fashions complex and challenging soundscapes that prove he learned a lot from Zappa. It's not a consistent record, but the best moments on Thanks to Frank showcase a guitarist overcome with the joy of finding his own voice.
http://finditur.blogspot.com/2010/07/wa ... frank.html
"I know I'm an egoist, but my ego is a motor not a monster!"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
-
Tatian
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Re: Интервью, статьи Уоррена или об Уоррене.
Из жадности тащу сюда интервью, найденное тут: http://midnightsun.narod.ru/war_int.htm
Выражаю свою огромную благодарность людям, нашедшим, переведшим, опубликовавшим и т.д. это интервью. Надеюсь, такое использование их материала не пойдет вразрез с их интересами и авторскими правами.
Выражаю свою огромную благодарность людям, нашедшим, переведшим, опубликовавшим и т.д. это интервью. Надеюсь, такое использование их материала не пойдет вразрез с их интересами и авторскими правами.
ExtraOrdinary World 1993
Уоррен Куккурулло
5 Апреля, 1993
- Ок, камера. Уоррен, материал для вашей новой пластинки был записан в твоей студии, верно? У тебя есть домашняя студия ?
- Ну да, мы решили записать наш "собственный" альбом и сделать это в "своей среде", и к тому же это позволило избежать накладных расходов в течение следующих пяти лет. И вот что мы сделали: мы соорудили небольшую цифровую студию у меня в гостиной, которая дала нам возможность стать "плодотворной" группой, который мы действительно хотели стать. И вы знаете, мы сделали большой вклад в актив группы на будущее благодаря этому.
- В психологическом плане, как это повлияло на группу?
- Это просто позволило нам максимально расслабиться, и я думаю, что это действительно то, что нам было нужно, чтобы креативный процесс пошел наилучшим образом. Ты знаешь, когда ты сидишь в студии и работаешь, когда не все идет гладко и деньги уходят, время выбивает из тебя деньги, - и доллары и фунты - все вылетает в окно - это просто оказывает подавляющее действие на тебя. А в своей домашней студии ты можешь сказать: "Давайте прервемся на день, давайте посмотрим немного ТВ или выйдем в сад и не много позагораем…" И затем, прежде чем ты опять приступишь к работе, может что-то еще придет тебе в голову в этот период расслабления, когда на тебя нет никакого давления и не угнетает мысль, что ты тратишь время и деньги… То есть что-то стоящее может прийти на ум, когда ты просто сидишь в саду в парочкой гитар, так мы и создали многие вещи с этого альбома.
- В музыкальном плане, что вам предложила работа в домашней студии? Я подумала, может быть что-то новое в техническом плане, что вы использовали для этого альбома: какой-то новый звук или еще что-то?
- Ну, нам всегда нравилось оставаться на вершине технологий, но это было большей частью… Я хотел сказать, что я по большей части исполнитель электронной гитары (причем технический исполнитель). A здесь получилось так, что со всеми моими гитарами, висящими на стенах, я всегда брался за акустическую гитару и быстро записывал что-нибудь, что приходило мне на ум. Так я записывал свои мысли с акустической гитарой. И это придало музыке приятный вкус, который никто из нас не захотел убирать. И это еще придало нам что-то наподобие веры в подкрепление наших идей, которые эти песни пробуждали акустической гитарой и голосом. Прямо сейчас мы устраиваем акустический тур, и вы знаете, я считаю, что это как раз то, что позволяет нам почувствовать на что мы способны. Мы можем устроить шоу просто со струнными, гитарой и ударными, и песни расцветут.
- Как насчет песни "Femme Fatale"? Я помню, ребята говорили пару дней назад, что работа над ней началась с твоей подачи и с подачи Фрэнка Заппы, верно?
- Ну да, я имею в виду, мы все этого хотели. "Femme Fatale" - это одна из тех песен, которые Лу Рид написал будучи с "Velvet Underground", а мы все любили эту музыку за ее экспериментальность. И когда я только попал в группу, как-то раз я играл с Фрэнком Заппой несколько трэков и помнится мне, что Фрэнк, услышав голос Саймона, каким он тогда был, выдал мне: "Ммм… ты знаешь, это великолепная песня… вам, парни, следует записать кавер-версию". А я просто отшлифовал эту идею, ляпнул об этом в группе, на что они сказали: "Хм, интересно, ты знаешь, нам нравится эта песня". Когда мы закончили запись этого альбома в нашей студии, у нас была полная свобода для работы над другим материалом. Мы всегда хотели сделать что-то вроде альбома "Pin-Ups" Дэвида Боуи, который состоит как раз из одних только кавер-версий тех песен, которые мы с вами слушали в разные годы. Однажды и мы должны произвести на свет что-то подобное, как раз тогда мы быстро записали "Femme Fatale" для будущего альбома, а до релиза текущего диска еще было время, и мы решили воткнуть ее в "Свадебный" альбом. И вот теперь "Velvet Underground" опять собрались вместе. (смеется)
- Серьезно?
- Да, и сейчас они в туре, это правда забавно.
- С Лу Ридом?
- Да.
- Вот это да! ОК, стоп камера, звучит музыка... Ок, камера. Вы думаете записать еще какие-либо кавер-версии, или может быть вы уже что-то записали?
- Ну, все эти годы мы слышали разную музыку, обнаруживали что-то новенькое у других музыкантов, чего мы не знали. Большинство песен, которые мы хотим исполнить прямо сейчас - это как раз те кавер-версии. Но мы держим этот проект в тайне, потому что как только я начну говорить об этом, кто-нибудь еще захочет сделать то же самое, прежде чем наши кавер-версии увидят свет. Потому что мы не знаем когда материал будет все-таки издан. Но есть другой способ, я могу описать эти песни, как мне кажется, даже еще лучше - в большинстве своем это подзабытые классические вещи великих артистов, в основном из 70-х и парочка из 90-х.
- Хорошо. Я знаю, сейчас многие критики высказываются относительно вашей новой записи в положительном ключе. Мне показалось, что эти записи отмечают в серьезной тональности, где главная жилка отводится написанию материала. Ты находишь это справедливым? Для Дюран Дюран, может быть это новый шаг или новое направление, или новая отправная точка в музыке группы?
- Я думаю с новым альбомом, мы достигли зрелости, которую вы можете почувствовать в песнях, только потому, что мы создавали его более 15 лет. Я имею ввиду индивидуально и коллективно, и настолько долго, насколько мы остаемся сосредоточенными на создании музыки, на своем искусстве, к тому же мы не ослабляем себя наркотиками и всеми другими безумными способами отвлечения, которыми можно затуманивать свои мозги, чем предельно просто можно загубить свое музыкальное видение. Ты должен совершенствоваться, т.к. ты осознаешь, что ты сделал до этого и стараешься это улучшать, к тому же ты отдаешь себе отчет в том, что происходит где-то еще, что стоящего создают другие люди. Ты сам как бы нацеливаешься на этих композиторов и рассчитываешь на лучшее. Затем в нашей ситуации, когда нас четверо - 4 артиста, 4 продюсера и 4 аранжировщика, которые "заправляют" друг друга и добавляют каждый свои идеи, и затем, получив вдохновение от других музыкантов, развивают это в своем направлении. Таким образом, я думаю, мы всегда достигаем лучшего варианта песни, который может быть. И если критики замечают - это прекрасно. Но вот что самое главное для нас, так это то, что люди, которые слышат нас по радио, покупают записи и приходят посмотреть нас живьем, понимают то, что мы делаем и осознают, что мы растем.
- По поводу стихов… "Ordinary World", например, претендует на серьезную лирику… Где вы черпаете вдохновенье? Вытекло ли это настроение из новостей, из того, что происходит вокруг, от близких друзей или это фантазии?
- Записывая в домашних условиях эту композицию, мы практически не выключали телевизор - он постоянно работал в кухне, и там освещалась война в Персидском заливе, серьезнее этого ничего и быть не могло… И все это было представлено как, ты знаешь, какое-то развлечение, как разновидность кошмарного развлечения… А там был мой брат… И я думаю, что такие песни как "Ordinary World" действительно ударяют в определенные точки, т.к. мы не хотим так жить, мы не хотим, чтобы подобное происходило вокруг нас, мы не хотим, чтобы нас развлекали убийствами, мы не хотим подчиняться таким вещам, мы хотим вернуться к тому положению вещей, которое было в "незатейливые" времена. Эй, давайте вернемся в 50-е годы, нда… (смеется) В каждой декаде было что-то, вы знаете, какая-то кризисная ситуация, а 50-е - это было замечательное время - выходила великолепная музыка…, но затем проделывали эти эксперименты с атомными бомбами и никто не подозревал, что все эти дела, которые выпадали вместе с дождем с неба были смертельными… и в 60-х был Вьетнам, и убийства расценивались как "большое дело", все эти великие лидеры только приносили убитых… И в 70-х нагрянула свободная любовь, в 80-х - СПИД, СПИД и еще раз СПИД. Всегда что-то происходило, и нужно серьезно к этому относиться, потому что когда посредством музыки говоришь с людьми, ты должен осознавать какую информацию ты им даешь… Сейчас существует много музыки, которая несет в себе "сообщения". К примеру рэп - это послания людям прямо с улицы, они несут в себе те проблемы, через которые мы проходим, они сообщают что мы должны сделать, чтобы это изменить. Вот и в нашей музыке есть такие элементы, но в тоже время, мы хотели бы главным образом развлекать и отвлекать людей от этих проблем.
- Ты не находишь перемены в музыке, в звучании музыки? Мне кажется тип музыки с ранних 80-х, когда Дюран Дюран впервые появились, а это было нечто большее, чем звук "Новых романтиков", звук "Новой волны", "синтетический звук", до сегодняшних дней - конца 80-х - начала 90-х, сильно переменился. Мне кажется это связано с тем, что мировое сознание развивается и вместе с ним развивается личностное сознание?
- Я думаю, что музыка кардинальным образом изменилась со времен 70-х - ранних 80-х и до наших дней. Во-первых потому, что каждый день появляются новые группы, которые выросли на самой разной музыке. Они моложе нас и музыка 70-80-х годов повлияла на них. Мы выросли с группами 60-х - начала 70-х годов, поэтому наша музыка развивалась по этому пути… Когда-то я работал в группе "Missing Persons" и мы равнялись на таких как Дэвид Боуи, "Roxi Music", те же, на кого пытались быть похожими и Дюран Дюран. И конечно большое влияние на всех нас оказал Peter Gabriel, т.к. он всегда создавал потрясающую музыку с "Genesis" и затем самостоятельно. А теперь, я думаю, со всеми этими новыми группами происходит то же самое, т.е. они равняются на нас, кого окрестили как "Новая волна" или "Новые романтики", эта музыка сейчас очень важна. Это U2, Depeche Mode, Duran Duran. Depeche Mode - это одна из групп, которая на самом деле никогда не изменяла своему звуку со времен "Новых романтиков". Они все еще играют очень мрачные мелодии, и я всегда любил их музыку. Сейчас же они добавили несколько гитар, но звук-то остался таким же. Я думаю, это отличная основа, т.к. они не должны меняться в каком-либо направлении, они просто придерживаются того, что делают. А мы, т.е. команды, которые прошли через размежевание и изменения , я имею в виду, когда группу покинули гитарист и ударник (это большое лишение), которые необходимо было восполнить. И затем Дюран Дюран пошел в направлении фанка в 1986 году с Найлом Роджерсом на гитаре. И после этого к группе присоединился я, поэтому в стиле Дюран Дюран было очень много перемен, но это ведь один из плюсов. И одно из удовольствий быть именно в этой группе, связано с тем, что у нас нет никаких стилистических границ, более того, быть как "Beatles", которые никогда не боялись экспериментировать и уходить в разные виды музыки. Было круто называться "Битлами", уже одно только это влияло на альбом и было не важно если он был не такой как "I Wanna Hold Your Hand".
- Верно, ты можешь описать нам полную картину того времени, когда ты был в Лос Анджелесе, в 70-77 годы? Что там происходило, и если ты знал, что происходило тогда в Англии?
- Ну, ситуация в Лос Анджелесе 70-х была потрясной, это было что-то в роде сражения между пост-панком групп "новой волны" и всеми видами "die-hard", тяжелыми хард-рок группами, которые расплодили таких великих гитаристов как Randy Rhodes и групп как Quiet Riot и… и Van Halen, они играли кругом в клубах. The Starward был хорошим клубом, и еще Whiskey-A-Go-Go, Troubadour. Но затем появились все эти клубешники: Madam Wongs и West Coast - такой же как CBGS и все в таком духе… и в Нью-Йорке был Mud Club и там всегда выступали отличные группы. Я видел первое выступление Джо Джэксона в Америке как раз в этом клубе, но здесь всегда играли тяжелый рок и затем пост-панк. А из Англии выходила великолепная музыка "новой волны", хотя моими фаворитами долгое время был Боуи и такие как он. Я имею в виду, я думал, что то, что он делал было лучшей музыкой конца 70-х. Из этого же времени вышли такие классные Нью-Йоркские группы как Blondie, Talking Heads. Это было балдёжное время, т.к. появился новый стандарт отношений между музыкантами, которого так не хватало группам 70-х, за исключением "диско"… хотя даже в "диско" работали некоторые отличные музыканты, которые были способны к рутине. Но до того времени, когда появилась панк-музыка, ты должен был знать о своем инструменте немало… С приходом же электронной музыки в ранних 80-х, настоящих музыкантов не осталось - все дурачились с компьютерами или синтезаторами, и, нажимая кнопочки, говорили: " это могло бы стать песней". Тогда этим занимались многие, будучи студентами. Но я вышел из совершенно другой среды, я был музыкально образован, хотя и ценил таких исполнителей как Talking Heads, и то, чем они занимались, несмотря на то, что для меня они звучали простовато, мой слух ведь привык к музыке потяжелее, и у меня был опыт работы в оркестровой, зрелой среде, даже в "рок-формуле" у Фрэнка Заппы. Но я был способен оценить и материал попроще, который играли музыканты типа "Normal" и ранние "Devo". Это было действительно здоровое время для музыки, для тех, кто тогда формировался, а сейчас стал очень важными музыкантами, я так считаю.
- А какова была первоначальная среда, в которой ты вращался? Что ты слушал, играл, прежде чем присоединился к Фрэнку Заппе?
- Прежде чем я попал к Фрэнку, я играл огромное количество его музыки в группах, которые я сам собирал, с людьми, которые могли играть его музыку. Я также играл множество своей музыки, еще до времен "Machine Language". В основном это была инструментальная музыка, которая могла обеспечить мне тогда хоть какую-то практику, солировал, экспериментировал со своей гитарой, т.к. я всегда был гитаристом, которому нравится использовать кучу разных тональных эффектов. И это был период, когда я окунулся в очень экспериментальную музыку, потому что в Нью-Йорке, где я тогда жил просто не могло быть иначе: там устраивались шоу Энтони Брэкстона или Дэйва Холланда, а все это были по-настоящему экспериментальные музыканты. Они устраивали живые концерты в маленьких клубах, и для меня было в порядке веще все это наблюдать. До этого же я был просто большим фанатом рок-н-ролла, к которым я себя отношу и сегодня. Led Zeppelin, Jimi Hendrix, Cream - я вырос на их музыке. Led Zeppelin и Jimmy Page были моими фаворитами. Это была своего рода эволюция - через блюз и через "Beatles", "Monkees", и затем оставаясь с "Beatles", "Stones", открывая великих блюзовых музыкантов: BB King, Johnny Winter, далее двигаясь к материалу посложнее - Mahavishnu Orchestra, Фрэнк Заппа… Я думаю поэтому я хотел реализоваться по полной…Я тогда вернулся к учителю-гитаристу, изучал теорию. Это на самом деле пошло мне на пользу… А затем работа с Фрэнком - КОНСЕРВАТОРИЯ РОК-МУЗЫКИ.
- Что ты привнес в Дюран Дюран?
- Ну, в Дюран Дюран я привнес 27-летнего гитариста, но скорее всего 20-тилетнего в душе, который писал музыку, и человека, который преуспел в сотрудничестве с музыкантами, который любит музыку более всего на свете, и, у которого в жизни было не так много развлечений. Я также взял на себя функции музыкального директора в текущем туре, еще я писал струнные аранжировки, в общем в этой группе мне предоставили возможность делать то, что я люблю. В Дюран Дюран все мы представлены в равной степени, каждый из нас имеет очень сильное музыкальное мнение и озвучивает его, а вообще это хорошо - иметь в группе кого-нибудь типа меня :) Т.к. перед моим появлением в Дюран Дюран была следующая картина в написании музыки: Джон, Ник и Саймон. Им не удавалось писать рок-музыку без гитариста, а я считаю, что в рок-группе гитара - это одно из важнейших звеньев, возможно даже самое важное. Поэтому гитарист представляет перспективу в музыке, и мы сразу переместились на другой уровень.
- Назови день, когда ты был принят в Дюран Дюран, и расскажи как все развивалось дальше?
- Впервые я стал подумывать о присоединении к Дюран Дюран в августе 1986 года. Тогда группа "Missing Persons", в которой я был, только что распалась. Это был удар для меня - 6 лет работы… А Энди Тэйлор, бывший гитарист Дюран Дюран, знал о нашем распаде. Ударника Тэри Бозио и басиста Patrick O'Hearn Энди приметил для своей будущей работы, в общем он пригласил их в свою ритм-секцию. Все это происходило в Лос Анджелесе, и я, как-то раз пропуская бокальчик вина, услышал, что Дюран Дюран записывают в Англии альбом. Я подумал: "Ладно, Энди не живет больше в Англии - он здесь играет с Терри и Патриком, мне следует им звякнуть, т.к. скорее всего им требуется гитарист". Я позвонил и переговорил с менеджером или с кем-то еще, я сказал: "Я бы хотел переговорить с ребятами, зайти на запись и поиграть на гитаре…" и он не понял зачем. Я решил, что он передал это группе и они на самом деле не поняли зачем я звонил, т.к. были уверены, что Энди вернется. А дальше я просто был настойчив и выслал им бандероль с видеозаписями, дисками и прочим… Не прошло 3-х недель, как мне позвонили и сказали оставаться Нью-Йорке, что через пару недель они будут здесь, и что они надумали взять меня на запись своего нового альбома. Я решил, что Энди позвонил им и сказал, что хочет идти своей дорогой, и так получилось, что у меня была информация о группе "изнутри" и это здорово сработало на меня! Я всегда думал, с тех пор как я присоединился к группе, что если бы я был в Бирмингеме в 1978-79 годах, то я бы пришел туда раньше. Я думаю, мой стиль игры на гитаре был действительно тем, что было нужно группе, он больше подходит к тому направлению, к которому принадлежат Ник и Джон. Энди был больше в американском роке. Поэтому вот так забавно все сработало.
- Ты играл в сессии "Notorious"?
- Да, на трэке "Skin Trade", озвучивал кое-что еще, не на ведущей гитаре, а на нескольких ритм-гитарах. Играл еще на парочке трэков - мое первое соло в песне "American Science" и плюс где-то на 4-х трэках.
- А потом были альбомы "Big Thing" и "Liberty", верно?
- Да, "Big Thing" я делал с группой в 1988 году. Мы записали его в Париже, я тогда все еще был всего лишь гитаристом, которого просто наняли и который был с группой в туре 86 года. Я ничего не привносил в группу в плане написания, что меня несколько расстраивало, потому что я, мы все, были людьми "с идеями". Будучи в "Missing Persons" 6 лет, мы писали вместе, а тут я попал в группу, где просто выполняю функции гитариста, где я слышу все, что происходит, и могу играть на гитаре все, что захочу. Но если в музыке есть что-то, что я хочу изменить и я не получу за это денежного вознаграждения, то я не стану этого делать. Потому что это музыкальный бизнес, и когда ты участвуешь в написании, меняешь стихи или мелодию, а взамен не получаешь ничего, так работать с людьми становится тяжело. Итак, после записи мы отправились в тур, и каждый решил, что все-таки нам следует писать вместе, т.к. это явно пошло бы нам на пользу. По мере того, как мы играли вместе, нам становилось веселее, мы делали успехи, и у нас действительно был одинаковый музыкальный интерес. Я думаю, что период с 86 по 88 был для меня испытательным сроком. И c момента "Liberty" в 1989 году мы стали писать вместе, создали кучу песен, не все из которых были записаны на этой пластинке.
- Это было время, когда они нуждались в изменениях. "Notorious", хотя и был хорошим альбомом, не принес группе такого успеха, как до этого, поэтому для тебя было не так уж приятно отсиживаться на заднем плане, осознавая, что этой группе чего-то не хватает. Каково тебе было в такой ситуации?
- Хм, мне следует повторить все то, что я только что сказал, разве не так?
- ОК
- Позволь мне подумать, могу ли я вникнуть в суть… нда
- Выключите камеру, звук… Дай мне знать, когда будешь готов.
- Нда, я просто пытаюсь придумать как вникнуть в суть тех перемен, хм…
- Я думаю, мне нужен комментарий. Т.к. они через многое прошли в то время, в том числе и в психологическом плане.
- Потеряли двух музыкантов и тому подобное.
- Было напряжение, появился ли ты в группе, чтобы его снять?
- Хм…
- Мне кажется, мне нужно, чтобы ты описал, что происходило в группе может быть в психологическом плане?
- А, хорошо.
- Отлично! Ок, камера…
- Когда я попал в группу в 1986, для них это был очень интересный период, потому что из пяти членов оригинального состава осталось трое парней, продолжающих называться "Дюран Дюран", имея гитариста и ударника, которые не являлись участниками группы, равно как и не входили в "писательскую" команду. Продолжать работу в такой ситуации, поддерживать имя группы - это было то, что меня на самом деле восхищало в Джоне, Нике и Саймоне. Были такие фанаты, которые ожидали увидеть группу целиком и такие твердолобые фэны, которые думали, что это больше не Дюран Дюран. Парни были под огромным давлением тогда, и приняв меня, они заполнили пустоту в гитарной плоскости. На ударных был Стив Феррони, так музыкантов в группе прибавилось. В туре у нас было 3 секции духовых инструментов - отличный звук и это здорово выручало, однако после тура они должны были написать еще материал. Big Thing и Notorious не достигли того уровня успеха как например "A View To A Kill" - последний сингл перед этим и номер 1 в чартах. Поэтому то, что происходило в Big Thing - это были искания души, очень хорошая экспериментальная запись. На ней было очень много интересного гитарного и синтезаторного материала. Но с гаснущим интересом аудитории билеты продавались не так уж здорово, а это было очень хорошее шоу. Тем, что позволяло держаться нам на поверхности, было как раз ощущение единства, как одной "пишущей команды", мы осознавали, что мы делаем что-то сильное, что делаем что-то классное, чего никогда прежде не создавали. Этого было достаточно, чтобы продолжать работу с "Либерти". Когда мы записывали музыку, мы чувствовали как все здорово, но альбом вышел и ничего не произошло. С этим альбомом мы не устраивали тур, а просто сделали промоушн, однако на радио он не прошел. Тогда мы в очередной раз столкнулись с проблемой: когда один из нас не в духе, а остальные пытаются его взбодрить, говорить: "Встряхнись! Не сиди дома, мы должны это сделать!". Поэтому думаю, что понятно какое большое дело для нас - иметь домашнюю студию и просто работать, расслабляться, осознавая, что музыка - единственная вещь, которую мы любим делать. А когда этого не было, в период "Либерти", например, у нас возникали такие мысли : "о, боже, может нам следует сменить название?"… А теперь мы осознаем, что то, как мы чувствуем музыку теперь - это лучше чем когда бы то ни было, это держит нас на высоте. И мы еще наделаем шороху!
- Здорово! Ты можешь рассказать что происходит с группой в гастрольных путешествиях?
- Длинный, даже скажу больше, расширяющийся тур - это как раз то, что мы устраиваем сейчас. Для меня за весь период работы в группе не было ничего круче! Сейчас у нас есть скрипач, ударник, который играет на установке и барабанах одновременно, - интересный подход…Классный женский бэк-вокал, разумеется вокал Саймона, игра Джона на басе и моя на акустической гитаре, Ника на клавишных, никакой фонограммы, Ник просто играет различные "оттенки" акустических звуков, фортепиано, некоторые другие струнные звуки и звуковые эффекты. Теперь это хороший фундамент для группы, что на самом деле не идет ни в какое сравнение с предыдущими "воплощениями" Дюран Дюран. Я это понял. А как бы вы сыграли "Girls On Film" со струнной секцией? Я проделал это примерно с 7 старыми песнями. Я написал для них ансамблевую часть. Эта работа меня очень порадовала - я получил огромное удовольствие, работая с людьми, а не сидя у компьютера. Для меня очень волнительно сейчас быть в туре с группой, в связи с этим мне даже кажется, что история Дюран Дюран переписывается заново. У нас есть такие песни как "Planet Earth", "Girls On Film", которые были абсолютно переработаны под ансамбль, в котором есть струнные. Теперь я, играя на акустической гитаре, использую ее, в основном как ритм-инструмент, это что-то вроде "ударного" стиля, еще я использую определенный тип гармонического движения, который нельзя было услышать в песнях прежде, в основном в партии гитары. Затем кое-что из того, что я не играл, но хотел бы слышать сыгранным, исполняет струнная секция. Куда-то было бы неплохо включить бэк-вокал, в общем я интерпретировал старенькие вещи в партию, состоящую из 3-х гармонизированных частей. Такие песни как "Girls On Film" & "Hungry Like The Wolf" просто сносят мне башню - вот в них как раз 3 движения, так появилась новая форма "intro", после которой идет развитие основной мелодии, но с разным "привкусом". Т.е. ударник может не играть на барабанах, он просто может играть на установке или на "треугольнике" или на чем-то еще, а гитарная партия может быть изменена подчистую, и ритм посвежее. Саймон поет первоначальную мелодию, чтобы публика узнала песню. Но затем эта мелодия выливается в совершенно другую вещь, например с индийскими влияниями, где ударник играет по-настоящему дикие ритмы. Движение из трех частей в одном произведении делает его более потрясным. В других песнях, например новых, таких как "Come Undone" звук абсолютно реальный для записи, т.к. это была очень простая песня, когда мы ее только записали - с одной лишь гитарной партией и одной клавишной, парочкой вокальных наворотов и барабанами. Но сейчас, когда мы исполняем ее в живую… прежде чем исполнять вещи в "хай-тэк", ты должен проработать каждую мелочь с музыкантами, составить программу. А когда ты разрабатываешь эту самую программу, ты можешь выключить то, выключить это, привнести это, написать что-то еще, а когда работаешь с группой - думаешь - вот в этом месте было бы неплохо остановиться и свести барабаны на нет, и затем добавить другие акценты… Теперь же если мы хотим что-то изменить, просто вносим это в компьютер. Сейчас у нас есть аранжировки, которые мы создавали с человеческим чувством и с человеческими способностями игры, поэтому если мы хотели, мы могли это сделать на уровне "хай-тэк". Хотя возможно мы не должны были этого делать, пока у нас не появился бы большой стадион или что-то в этом роде. В любом случае, я думаю, что этот акустический подход сейчас позволяет нашим песням говорить самим за себя. Мы выступаем с тоннами энергии, это совсем не так, как если бы я сидел на табурете, принес микрофон сюда и мы играли бы "I'm hungry like the wolf…". Сейчас это настоящее рок-шоу, но сделанное полосатым способом.
- Мне кажется группа нашла себя в интересной категории, в которой оказались некоторые группы 70-х в 80-е годы, когда группа Дюран Дюран в 80-х была невероятно популярна сейчас возвращается в строй и будет выступать перед аудиторией, состоящей из старых и новых поклонников. Как ты думаешь, вы проведете мост между расхождениями этих поколений?
- Мне кажется, что несмотря на то, что фокус в середине 80-х был установлен музыкой на подростковую аудиторию, были и такие люди как я, которым нравилась эта музыка. Т.е. среди них были и музыканты, которые восхищались ценностями этой "продукции". Люди, которых мы заполучили в поклонники сейчас, может быть повернулись к нам с песней "Ordinary World", они открывают для себя то, чем может быть увлекались их старшие братья и сестры. Есть у нас и такие фэны, которые с нами с самого начала, которые теперь стали родителями и прошли через все то, через что прошел каждый из нас. Мне видится, что наша ситуация больше напоминает историю с Rolling Stones. Когда я оказался в группе, я почувствовал, что попал в одну из лучших британских команд, которые тогда имели место быть. Было здорово состоять в группе, которая достигла такого успеха, как Дюран Дюран. А Rolling Stones прошли уже три декады и сейчас, к несчастью они потеряли басиста, но они как раз те, на кого мы огладываемся, думая о себе. Мы не смотрим на все эти новые группы, мы равняемся на тех, кто окружал нас долгие годы. Потому им придется считаться с нами еще долгое время!
- Так и будет! Отлично! Камера.
Интервью Allie Eberhardt
Перевод Маша
©2000-2001 Midnight Sun/The Russian One
"Just keep listening, don't mind the drama..." WC
"sent from my heart to my brain to my fingers to you" WC
"sent from my heart to my brain to my fingers to you" WC
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Tatian
- Дюраноман
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Re: Интервью, статьи Уоррена или об Уоррене.
Tatian писал(а): А дальше я просто был настойчив и выслал им бандероль с видеозаписями, дисками и прочим…
... Я всегда думал, с тех пор как я присоединился к группе, что если бы я был в Бирмингеме в 1978-79 годах, то я бы пришел туда раньше. Я думаю, мой стиль игры на гитаре был действительно тем, что было нужно группе, он больше подходит к тому направлению, к которому принадлежат Ник и Джон. Энди был больше в американском роке. Поэтому вот так забавно все сработало.
Не знала, что Уоррен был настолько упорен в своём стремлении работать с ДД.
Tatian писал(а):Но если в музыке есть что-то, что я хочу изменить и я не получу за это денежного вознаграждения, то я не стану этого делать. Потому что это музыкальный бизнес, и когда ты участвуешь в написании, меняешь стихи или мелодию, а взамен не получаешь ничего, так работать с людьми становится тяжело.
Вот-вот. Энтузиазм, конечно, вещь великая, но без поощрения работает недолго.
Tatian писал(а):Были такие фанаты, которые ожидали увидеть группу целиком и такие твердолобые фэны, которые думали, что это больше не Дюран Дюран.
Да они постоянно в такой ситуации. Почти всё время своей музыкальной карьеры.
Tatian писал(а):Мы не смотрим на все эти новые группы, мы равняемся на тех, кто окружал нас долгие годы.
Вот эта позиция лично мне намного ближе, чем та, что у группы сейчас. Мы много спорили, насколько ДД первичны в том или ином направлении. Я не об этом. Всё равно ведь берёшь что-то откуда-то, не в вакууме же пишешь. Но одно дело - ориентироваться на тех, кто впереди или хотя бы рядом, а другое дело - на тех, кто следует за тобой...
В общем, я сейчас готова понаписать всякого и по объему превысить размер, собственно, статьи...
"Just keep listening, don't mind the drama..." WC
"sent from my heart to my brain to my fingers to you" WC
"sent from my heart to my brain to my fingers to you" WC
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CrazyFan
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Re: Интервью, статьи Уоррена или об Уоррене.
Tatian писал(а):- Что ты привнес в Дюран Дюран?
- Ну, в Дюран Дюран я привнес 27-летнего гитариста
Такой скромняжка
Блин, как же я люблю Кукку!
И акустические аранжировки старых песен - стопроцентная его заслуга. Нет, жаль, конечно, что его и Дюрановская дороги разошлись. Думаю, если бы не разногласия, они могли бы привнести в творческую жизнь друг друга очень многое.
"I know I'm an egoist, but my ego is a motor not a monster!"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
"Mistakes? I don't talk about mistakes. I learn from them!"
"... I’m the special one"
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