A Quote by Robert Wyatt
I really liked them, not just Syd, but all of them. Roger was very important, I thought, his contribution. And so was Rick's organ playing. It was a good band. It became something else completely, obviously.
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I nodded. I liked Augustus Waters. I really, really, really liked him. I liked the way his story ended with someone else. I liked his voice. I liked that he took existentially fraught free throws. I liked that he was a tenured professor in the Department of Slightly Crooked Smiles with a dual appointment in the Department of Having a Voice That Made My Skin Feel More Like Skin. And I liked that he had two names. I’ve always liked people with two names, because you get to make up your mind what you call them: Gus or Augustus? Me, I was always just Hazel, univalent Hazel.
It's good to be young and full of dreams. Dreams of one day doing something 'insanely great.' Dreams of love, beauty, achievement, and contribution. But understand they have a life of their own, and they're not very good at following instructions. Love them, revere them, nurture them, respect them, but don't ever become a slave to them. Otherwise you'll kill them off prematurely, before they get the chance to come true.
I liked Augustus Waters. I really, really really liked him. I liked the way his story ended with someone else. I liked his voice. I liked that he took existentially-fraught free throws.
I think ultimately what you really want is a few people within any label that are into the band enough to really work on it every day for a long time and to actually try a little bit. But obviously, the major labels have more money to spend, so if they feel like spending it, they have bigger resources there when you need them. It doesn't always necessarily translate into them doing a better job for a band, but I think especially if you're playing the game of commercial radio and making videos and stuff like that, that's sort of an expensive proposition.
Well, at first the band were simply called Horsepower, but a lot of people thought that was something to do with heroin. That really pissed me off, so I decided to put something in front of it to distract them. “I got '16' from a traditional American folk song, where a man is singing about his dead wife and 16 black horses are pulling her casket up to the cemetery. I liked the image of 16 working horses.
I was in a band called Episode Six with Roger Glover, which was more of a harmony band, really. At one gig, there were a few dodgy characters leaning up against the wall of the venue - and we ended up joining their band. Purple was the talk of every musician in the country - they had something new and very exciting.
Marking the differences between them was really important. It just became second nature. When we were choosing pajamas or something, instantly you'd be able to spot: those are [princess] Margaret, those are [princess] Elizabeth. It became this sort of language, really, of the two sisters.
Basically, if you could get a good trailer out of the script, Roger had no objection to you making a really good movie. He liked it if you did. He liked the more cleverness and ingenuity you could bring to it. He just wasn't going to give you any more money.
I was writing before I met Rick and actually I created the band before Rick Finch. Basically, the first album, I wrote. Who's to say what would've happened? Rick was very talented too.
We never really write 'love' love songs. There's always something twisted about them. But as far as love songs, women just became way more important to us after we turned 21, as a band in general. Kind of broke up our boyhood solidarity as we started branching out into babes.
But I think Steve's main contribution besides just the pure leadership is his passion for excellence. He's a perfectionist. Good enough isn't good enough. And also his creative spirit. You know he really, really wants to do something great.
When I first started playing, I plunked away just like everyone else. During the Sixties I played in a blues band for a few years, and I liked it. It wasn't until I was playing for a while that I made the decision to change my style from a percussive to more of a legato approach. I just wanted a different sound.
I prefer playing with a band. It's good to do both, but for me it's quite exciting when I hear my songs completely transformed with the band behind me. You can really get into it more, and so can the audience.
I was basically 18 when I got offered to join Mister Valentine band and go on tour and leave high school. I was pretty stoked on that, but the band wasn't really my style so after like six months of playing with them I decided to play with the aesthetic of a DIY hardcore band playing pop music. That was the original idea.
All those experiences were a chance to learn more about music. Playing with the Valley band is like such a "live" band. I mean, really, in many ways Bright Eyes is really a studio project. We form bands to tour, but it really is - you know, we take the songs and we figure out how to decorate them and it's all in the studio, we build the songs that way. Whereas Mystic Valley Band was the exact opposite, where everybody knows what they are gonna be playing on the song and there's sort of a general stylistic approach, and then it's just plug in and play.
Ironically, when I was playing in my first band, I would deliberately not write down any lyrics. I have a really good memory and I would just keep them in my head.
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