A Quote by Fred Frith
We played some gigs in Switzerland a couple of weeks ago and it was the first time I really felt the group was really a band in the sense of something I could write for.
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Some kid can say, "Hey, I really want you to play my town in Switzerland, or Sweden, or Latvia," and they could have a fun night at the show. On the other hand, all those kids could have a record that means something to them in a more personal way a couple months down the road. The live band is a really important thing for us, but my focus is on the album now.
Three of tonights performers are members of the group Return To One, whose album Hopes and Dreams I heard for the first time a couple of weeks ago. Blown away by the album, I called Nathan Hubbard, the drummer and composer for the group, and with whom I've played on a couple of Trummerflora-related occasions, and asked him to round up several of his Return To One cohorts for tonight's show. I can't recommend their album highly enough; please pick up a copy.
Because you know how you say I've got to really get down and really do some training and then of course, you never do or you do it for a couple of weeks and slough it back off again but I'm being forced to do something that I really want to do and I loved it.
I still love 'The Cure' more than almost any other band. But they were really, truly like the first band that I really loved and felt was mine, you know. At a pivotal time in my life when I was 13, 14 years old.
We, Autolux band, write in very different ways; sometimes we play with the band and write music first and then form vocal parts and lyrics. Or I'll find some music, or a guitar part or something, and I'll just write an entire sketch of an idea from that. So I think things have always been that way, it's just that this time around we had some more obstacles off and on all the time.
I played to the best of my ability. Played to win and was fortunate enough to have won a Stanley Cup and a couple gold medals and played on some really good teams... I'm not going to look back and say I wish I could have done this or that.
The first time The Runaways played in Britain, Joan Jett wore my bullet belt onstage. The Runaways were really the first all-girl band to really strut their stuff and say, "F**k you." "Cherry Bomb" was the best song for a girl band to sing. It was just outrageous at the time. There were American families sitting on the sofa watching television going, "F**k me." It was great fun.
I really wanted to, but I just didn't understand how people became comedians. I kind of thought it was something you were born into. And so I wanted to be a veterinarian or an architect. I wanted to be in a band, and for some reason I could understand how you could be in a band because I had guitars and all my friends played music. Comedy was a secret want, but it wasn't anything I pursued.
I remember that first week at the Whisky and the gigs we (The Buffalo Springfield) did with the Byrds, We could really smoke ! That band never got on record as bad, and as hard as we were. Live we sounded like the Rolling Stones.
A lot of it was really, really fun, but at some point, things started getting weird. We didn't allow each other to breathe. We didn't really have a sense of ourselves individually. We were very insecure... We were really threatened by the thought of 'Oh my God, what if someone goes off and does something outside the band?'
It's time to start really writing some stuff, and I really wanted to write some stuff in the vein of the original Misfits, and this was really the first step in that direction.
Something really intense happened to me during the 'SNL' performance. It felt like the person I was made to be faced the person I'm becoming. It was the first time I felt like I was able to make any sense of ownership of my work.
When I had my first child, I didn't write for a year, and I felt when I tried to start again I might actually not be able to do it anymore. I really could not do it well, and I felt out of sorts with it.
I was recording stuff with my dad when I was like five, six years old. I played with him on tour. I'd gone with him to Japan in '91, played some gigs, did a couple shows at the Albert Hall.
Remembering the ball became for Emma a daily occupation. Every time Wednesday came round, she told herself when she woke up: 'Ah! One week ago...two weeks ago...three weeks ago, I was there!' And, little by little, in her memory, the faces all blurred together; she forgot the tunes of the quadrilles; no longer could she so clearly picture the liveries and the rooms; some details disappeared, but the yearning remained.
It was never fun being in the Ramones, which is the saddest thing of all, cause it shoulda been fun. It was probably fun when we played Performance Studio, and maybe some of the early gigs at CBGB's. But the Ramones were the type of group that had a bizarre mindset. Being in the band was so cut off from reality.
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