A Quote by Dave McPherson
We've been pretty lucky we've played with Feeder, Hundred Reasons and Puddle of Mud, but I think the one we're most proud of is playing with The Deftones because when we were kids they were everyone's favourite band. I think all our mates were pretty envious.
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I think it started with both the shows and the box set from finishing White Material. I think we were also pretty desperate to get it released. We felt pretty proud of it, and it just escalated from there. We were thinking about playing some live shows, doing the soundtracks live. It was just trying to shine a little light on this 15 years of work we've done.
Small Faces were really a soul band as far as we were concerned. That's what we listened to; that's what we played, you know? We were pretty much based on Booker T. and the M.G.'s.
I remember Green Day came down and played this South Florida club called the Plus Five. I think I was too young to go - I think I was 12 or 13. It was before Green Day were on a major label, but I loved them because they were this band who were a punk band, but they had melody.
People have been introduced to our band in so many ways. Whether we were playing at their college or we were the record that entertained their kids with.
I think initially, our audiences were filled with young men. You know, our initial audience was a lot of young guys who I think were trying to - who you played a bit of a big brother role for and were trying to sort out a lot of the same things right - soon as "Born To Run" hit, you know? So it was something that I worked pretty hard on.
We kinda were a radio-rock band. We were still pretty technical, but I think the prog people hated us because we didn't do a bunch of weird time signatures... which are cool at times, but I'm more interested in progressive harmony.
All my kids were raised on computers: They were home-schooled on the Internet, so they're pretty good at that stuff. And I'm proud of them, but I don't really keep up with it.
We were proud of our first two records, but the parameters were pretty narrow. We didn't have full drums, for example. There were just so many limitations to that setup, and we really fully explored them.
I never felt pretty. I don't feel pretty now. I'm not a pretty person. I don't like pretty. So I don't feel badly. And I think it worked out well, because I found that all the girls I know who got by on their looks, as time went on and they faded, they were nothing. And they were very disappointed. When you're somebody like myself, in order to get around and be attractive, you have to develop something, you have to learn something, you have to do something. So you become a bit more interesting.
I remember in the days when we started, when we first went on the road, we went to Berkeley and played with Exodus. We couldn't believe another band was playing the same kind of music we were playing because there was only a handful of bands that were doing it.
I think we were damned lucky that our music never went down the drain because we went down the drain, and I think, in truth, there are moments where you could have said we got pretty close, you know.
We were the first all-girl band that wrote and played our own stuff. You know, the odds were really against us because rock has traditionally been dominated by men.
One of the things that happened that I think is noteworthy, my parents were pretty tolerant people given their position in society. They were pretty interesting about being interesting able to look at their children and think oh my children know things and they gave us a lot of sense of our own agency, and that may be a kind of a ruling class trait.
I think one of the reasons I'm successful as a musician is that the first like 30 shows I played, I played with no monitors standing in front of guitar amps in a shitty, smoky warehouse where people were screaming and wasted, knocking over my gear. So shows after that seem pretty easy!
I mean, I think in the early days we were pretty... pretty British in our entertainment leads.
I think back to some of the pots we made when we first started our pottery, and they were pretty awful pots. We thought at the time they were good; they were the best we could make, but our thinking was so elemental that the pots had that quality also, and so they don't have a richness about them which I look for in my work today. Whether I achieve it all the time, that's another question, because I don't think a person can produce at top level 100 percent of the time.
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