Page 8 -The Michigan Daily -Tuesday, October 30, 1990

0


STUFF
Continued from page 5
M.M.: So you're not calling it
Kill Every American?
M.G.: Oh, you fell for that? Ac-
tually, that was an idea.
M.M.: I liked the new song
"Caught in My Shadows."
M.G.: Yeah, that'll probably be
the first single.
M.M: When you said "the five of
us," does that mean Martin Bell
(violin, mandolin) is now a perma-
nent member?
M.G.: Yeah, he started out as a
studio musician and then he did two
tours with us. It got to the point
where he was contributing more than
Rob (Jones, former bassist). And he
wanted to join, so we said why not?
M.M.: The press release made it
seem like you guys discovered coun-
try music on your first American
tour and then specifically went out
to find someone to play violin.
M.G.: Oh, wrong as usual, aren't
they? Actually, Rob was into it and
got us started with it. When we did
our first tour here, we basically got
off the plane and asked the bus driver
to turn to the nearest country sta-
tion. So we listened to that for two
weeks, but I haven't listened to any
since. When we did IHup!, Martin
was around the studio and'just started
playing with us. We don't call it
"country," though, we call it "black
country," because that's what people
call the Birmingham area. Also, I
think it's a bit unfair that people are
saying we're countrified now. We
only have three or four songs like
that.
M.M.: What happened with The
Bass Thing (a.k.a. Jones)?
M.G.: Well, he just sort of got
bored with it. I can see how that can
happen...when we started, we always
said if we got bored, we'd quit, so I,
guess he just sort of drifted away.
Actually, he left us in a bit of a
tight spot, because we thought it
would be easy to get a new bass
player, but it took us two weeks.
M.M.: How's the new bass guy,
Paul (Clifford), working out?
M.G.: Oh, Paul's great. With
him and Martin, it's like joining a
whole new band.
M.M.: How did the tour with
The Mission go?

M.G.: Oh, great until Martin got
a throat infection in San Diego. We
had to cancel the rest of the tour,
which is why we're back now, to
play the east coast and parts we
missed the first time. And to keep
PolyGram interested in us. We're do-
ing this all with our own money, to
show them than we can do it. So
maybe they'll promote the next al-
bum a bit better.
M.M.: What did you think of the
Nectarine?
M.G.: Well, it was kind of hard,
because when we got there none of
the equipment was set up, so we had
to get that done quickly. And also, it
was the smallest gig we've played in
two years, not that we minded or
anything. So Miles was in a bit of a
bad mood, but then again he always
is. We say we hate it, but then we
get on stage and everything's a lot of
fun.
M.M.: What are some of you
current favorite bands?
M.G.: I like Jane's Addiction a
lot.
M.M.: I read an article that said
their new management company
wanted to give them drug tests, so
they had a big fight with their record
company over that.
M.G.: Yeah, well I know that
Perry (Farrel, Jane's Addiction
singer) got alot of that for his film,
but I can't tell you about that. I also
like a band called Spirits of the
West,. which helped us out in the
studio a bit. And I think one of the
most underrated band's in England is
Eat. They're brilliant. When we
come back here in the spring, we're
going to try to bring them along.
But I've been listening to lots of
stuff lately, Dinosaur jr...
M.M.: I know things take a
while to get over here, but right now
we're hearing a lot about the
"Manchester scene."
M.G.: That's getting a bit old, I
think most of it's about two years
old now. I think some of the bands,
like Happy Mondays, are pretty
good....
M.M.: The Stone Roses?
M.G.: Well, they've gone and
blown it for themselves. Their last
record, or their only record, was out
two and a half years ago and they
haven't done anything since...
there's "One Love," but that sounds
just like "Fools' Gold." It's the
same fucking chorus. And they play

RECORDS
Continued from page 7
Unfortunately, this effect makes
any attempt at understanding the
lyrics difficult at best. But if you did
want to listen to this song over
1,000 times or if you had a lyric
sheet handy you would find that the
song is about the evils of censorship
and the negative effect that it has on
the movie industry (it's ironic that
this song censors itself in a sense
with its mutilated lyrics). Fortu-
nately, with the recent arrival of the
"NC-17" rating, at a theater near
you, we can rejoice and sharpen our
swords for other battles.
The original version of "Tin
Omen" has a slightly slower tempo
and clearer drums and guitar which
gives it more of a raw quality than
the album version. Alain Jourgensen
of Ministry co-produced this song,

which compares the student massacre
at Tiennemen Square to the student
massacre at Kent State. The music
mixes a pulsing bassline with an oc-
casionally thrown-in speedmetal riff
to form one truly angry and aggres-
sive musical statement. The lyics
are strong but hard to understand, as
usual, because of the large amow.
of distortion added to Ogre's void.
- The last cut is the previously tw-
released song, "Brak Talk." Unfo'p-
nately, there's nothing special hire.
It has repetitive music, spliced sam-
ples and unintelligible lyrics which
have all been done before by Skinny
Puppy and others with a much better
end result.
Music for a white wedding it is
not, but for those who can't wait fo0
the show at the Latin Quarter,
"Worlock" will definitely satisfy
anyone's Skinny Puppy appetite.
Richard S. Davis


As a courtesy to our readers, Daily Arts is featuring yet another picture
of the guys in the Wonder Stuff. A reporter talked to one of them but we
can't tell them apart.

one huge gig every six months. I
suppose that's a good strategy, but
I've heard people say they were
terrible. I mean, if you can't play
live, then why bother, mate? And
they're a lot like Kylie (Minogue),
really into self-promotion....
M.M.: Like Rick Astley?
M.G.: Yeah, but he's dead now.
M.M.: But his career will proba-
bly live on here. I read an article that
said his record company was upset
with "Astley in the Noose," and said
something to the effect of "oh, well,
we'd expect something as vulgar

from a nasty band like The Wonder
Stuff."
M.G.: But I know for a fact that
the press department hated him, be-
cause they issued a statement a few
weeks later saying they liked the
song. And even Rick himself wasn't
that upset with it. When we were
playing in London, we invited him
down, but for some mysterious rea-
son, he didn't make it (laughs).
M.M.: I've always wondered
what the deal is with Cliff Richard. I
mean, everyone seems to hate him,
but he's always on the charts.
M.G.: He's sort of an old timer
yeah, and he's changed his style a lot

over the years. He started out as a
rock singer, but then he found that
he did really well at pop, so he stuck
with that. He's always changing his
style and admittedly, he's a little bit
behind things. But everyone likes
him and thinks he's pretty harmless,
really. I say good luck to him.
M.M.: Any advice to aspiring
young bands?
M.G.: Don't bother, really. No, I
can't say that. I shouldn't advise
people to hate it. Just play and if
people like you, you'll startto catch
on. I don't think anyone famous re-
ally knows why they're successful.
It just happens.

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Senior Telecommunications Consultant
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New Projects Editor
Warner Bros. Records
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Black Entertainment Television
Director of Operations and
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Goldman, Sachs & Co.
Senior Telecommunications Analyst
The Learning Channel
Vice President,
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National Cable TV Association
Director, State & Local
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Tribune Broadcasting
Strategic Planning Analyst
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Federal Communications Commission
Analyst, Legal Affairs
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