South By Southwest is always a good time to try to catch up with
some artists that have been a bit absent from the scene for a few
years. This year was no exception, as David DeVoe got the chance to
meet up with Rob Dickinson, erstwhile singer/guitarist for
brilliant English band The Catherine Wheel. David and Rob sat
down and discussed the current state of the musical world, and how
each of them fit themselves into the puzzle.
Hybrid Magazine: How's the tour?
Rob Dickinson: It's good. We did the last show in Brooklyn
on Friday of last week. It went really well. Some were better attended
than others, but generally, it was really great.
HM: Is this the end of the tour?
RD: Yeah. I'm playing Coachella in
when is it? April
or May. And then I may go back to Canada and do some more stuff in
Canada and the west coast later on.
HM: I've been following everyone's reports of the tour from
the Texture list. [editor's note: Texture is the Catherine Wheel fan
list on Yahoo]
RD: Right! I've got to say that I don't have a computer that
works, so I haven't been following any of it. I guess there's a bit
more traffic on Texture than usual.
HM: As a result of the tour, yeah
there's been a lot
of talk. A lot of chatter.
HM: Yeah, yeah. Everybody seems to be really impressed. There's
been a lot of people saying, "I didn't know how I'd like it,
just Rob and his acoustic guitar doing this stripped down deal".
But everyone says it's been good and they really like it so far. Everybody's
liked the set lists.
RD: That's encouraging. I've tried to keep people happy, you
know, and do as many of the interesting old ones as possible.
HM: [laughter] The interesting old ones!
RD: Well, you know it's
I'm trying to play some of the
old ones that we never really did with the band. I'll play "Eat
", I've played "The Nude", which was a
song we never did live
So, yeah. It's been a bit challenging
but interesting. A bit fucking scary, actually, going out there for
an hour on your own.
HM: Does it feel good from your end? I mean, are you enjoying
playing the shows? Do you feel the audience is receiving you well?
RD: Yeah. Absolutely. It's good, you know. It's been good
reception for the new stuff, and obviously people still remember the
old stuff, which is great
Yeah, it's been great.
HM: You still can't escape "Black Metallic"? You
still have to play that.
I dig it out. I don't play it every night. But
I feel compelled to play it, you know, a little bit.
HM: But not quite the nine minute epic versions
I kick in a distortion box sometimes, so it gives
it a grunt. It's good playing it again. I never really got bored playing
HM: Well, some of those songs are just really good songs.
There's a reason that the critics loved the Catherine Wheel,
and that the hardcore fans are still hardcore fans. Those are good
RD: Yeah. And they take being stripped down reasonably well.
None of them were studio creations, they were all kind of written
in a bedroom basically on a guitar. So they take being brought back
to their roots quite well. I think it's a sign of a reasonable song
that you can busk it, basically.
HM: I would have to agree with that. So many bands manufacture
things in the studio.
RD: Well, or their music relies on loops or sounds, more than
on compelling lyrics or whatever. Yeah
it's funny. I don't own
any of the records, so I've been having to borrow our records from
friends so that I can work out the fucking songs. [laughter] I'm sitting
in a room with a ghetto blaster trying to work out "The Nude".
HM: What's been the highlight of this tour? Does anything
Just really good shows in Chicago and Boston and Toronto. They were
great. Well, they've all been great. You know, I played to like
35 people in Montreal, but it was still a great show
to like 250 in Toronto. But they've all been good. Even when they
haven't been that well attended, they've been pretty passionate
people. So, nothing's really stood out. I've been driving myself
around, doing it all on my own, generally, and that's been fun.
I wasn't really looking forward to it, driving myself around, but
driving around the country has actually been quite calming. You
know, spending time with yourself, and listening to local radio
stations, I've quite enjoyed that. And just being back doing it
after 5 years is kind of weird, you know? Having not been in a club
for 5 years, just been messing around doing other stuff, its been
I'm glad I haven't got all the bullshit that surrounds a band. Doing
it on my own is great. I like spending time on my own, and having
to be social with other people is becoming an increasing chore,
I think. [laughter] Especially having to spend every day with them,
you know. You get on a fucking bus with them
doing it on my own is rather enjoyable. I don't have to say hello
to anyone in the morning.
HM: A little bit more freedom?
RD: Yeah. It's kind of liberating in its own way.
HM: You still talk to the guys, I assume
RD: Yeah. Absolutely. Not regularly, but you know, we got
to know each other so well and the band didn't break up under bad
circumstances at all, you know. It was just we all thought we should
call it a day. So, everyone's cool, and everyone's doing their own
stuff, not necessarily so fussed about what each other are doing.
HM: Have you heard Brian and Neil's stuff? The
50 Foot Monster?
RD: Yeah, I've heard some of it. Brian sent me some stuff
about 4 or 5 months ago. And I like it. It's good.
HM: Yeah, I mean, a great guitar player and a great drummer,
what's going to be bad?
RD: Yeah. I know people are finding Brian's vocals a bit challenging,
but I think that makes it interesting for me. Brian used to send me
his song ideas and I had to take a leap of faith as to what the vocals
could be. And I think it's good that he's singing. I'm glad they haven't
gotten another singer in there.
HM: It's good to hear that stuff. And it's cool that they're
confident enough to share it with everybody.
RD: Absolutely. The good thing about Brian is that he was
never precious about any of the stuff. I mean, Brian could churn it
out. And I was the one that was the filter. You know: yes, no, yes
no. Brian was always just: there's another one
there's another one. I was always the anal one, you know.
Brian was prolific with his ideas, and I think he's probably got so
much stuff just stacked up that he's got to get rid of it
is probably, I think, what he's done. He won't have slaved over it
too long, which is good.
HM: So, what's next?
RD: Well, I'm trying to get another record deal
the chances of this record really being successful on Sanctuary are
limited. We're looking to maybe get the record re-released on another
label. But, just continuing to play, really. I've got plenty of new
stuff to potentially start thinking about another record, but I'm
unlikely to do that quite yet. I don't think this one's been played
This one hasn't stayed the course, I don't think, yet. Just
more playing and trying to attract as much attention to the record
as possible, by whatever means possible.
HM: When you play Coachella are you going to do that with
a full band, or is it going to be just you?
RD: Just me.
That should be terrifying.
RD: Well, it's 11 o'clock in the morning. I'll be playing
to the insomniacs and the people who've stayed up drinking. I don't
know much about Coachella. Is it just one stage, or are there a number
HM: I think
I've never been, but I believe there are
2 or 3. 3, I think. And I don't know exactly how they're arranged.
I'm sure there's a main stage and then a couple side stages. And I
think they try to always have something going on. That's my understanding
at least. I'm not certain that is completely accurate.
RD: Well, it should be fun. I don't know anything about it.
Just like, I've never been to South By Southwest before, either. This
is a bit of an eye opener to me. I didn't really know what it was
HM: It's kind of nice if you have a couple of days here
to skip around and see a couple bands.
RD: Yeah. It's a bit of a rush. I mean, I'm leaving tomorrow
morning, so I got to see a few bands last night, but
HM: Anything notable? It's always interesting to hear about
what other folks are seeing.
RD: Some band that sounded like Black Sabbath, from
What are they called? Mother
sounded like Black Sabbath. You know, which is entertaining for like
ten minutes. [laughter] It was, actually. It was more entertaining
than the band that sounded like Soft Cell that were playing
next door. I don't know, I just find it overwhelming. I've stopped
I'm not a very good music listener. I don't listen to a lot of music,
and I've got so much respect and admiration for people who can absorb
so much fucking music, you know? I don't know how they do it. It's
just like cacophony for me, and I don't
It's just rare to see
something brilliant, and that's the problem. And I'm not sure if people
really know when they're seeing something really good, because there
isn't so much good stuff around, you know? Like a Jeff Buckley,
or someone who's really great. Whether you like the genre or not,
someone that's just fucking incredible. He's just a star, and he's
gifted, and he writes great songs. But then again, there probably
are people like that, but as I said I don't get out and see a lot
of shows, so
I mean, thank God there are people that listen
to music still. Because I mean, I make it, but I don't find myself
listening to a lot of stuff. The last time I walked into a record
store in LA about a year ago, and they had this guy, Devendra Banhart,
and Rejoicing In The Hands
and I thought to myself, this is
good. I should go up to the counter and buy the fucking record. And
I thought I've got to attempt to make more of an effort to listen
to music. Because when I do find stuff, I can still get into it, which
is great. Because I tend to just go back to the old stuff, that I
always listened to as a kid
that always met the classic standards.
You know, 6 or 7 albums that I listen to when I'm in the mood to listen
to music. But I got [Devendra's] record, and it was great. I think
he's an outstanding talent and very original.
HM: Yeah, he's definitely got his own thing going on.
RD: For me, he's kind of got this cross between Jeff Buckley
and Marc Bolan, but no
It's highly original. No retro-isms,
no tipping of his hat to nostalgia
it's just like
Which is always the most exciting stuff, I think.
HM: It is hard to find. As I said, I hear so much new music,
and so much of it either not good, or highly derivative. When you
have something that comes through that actually stands out, you know,
hopefully it stands out on an early enough track that I actually get
to hear it. There's definitely been stuff that I've passed on, and
then someone's talking to me about it a year later, and I'm like,
"yeah yeah, I remember that record. It was horrible based on
the three songs I listened to."
RD: Yeah. I think about my record, and hopefully my record's
a solid record. Well, I made damn sure it was in my mind. And every
song was a grade A song I'm thinking, 'well, who the fuck wades through
albums these days?" I'm not sure anyone does. People come up
to me at shows and mention a song that's deep into the album, like
track 8 or 9, and I feel like kissing their feet. I thank God that
someone actually listens all the way through. Because with iPods and
such, it's just so easy not to.
HM: Yeah, you get the one song you've heard, or the two songs,
and the rest of the record goes by the way side.
HM: But so much of today's music is geared towards that, I
RD: Well, yeah. I think it has to do with a whole generation
of people making music - and a lot of them will be here this week
- who've never had that moment where you put a piece of vinyl on a
turntable and sit down for twenty minutes and then get up and turn
it over and then sit down again. Back then, that was a big part of
the ritual of listening to music. And in that forty minutes you read
the fucking liner notes. And that doesn't happen anymore, you know?
There was a certain amount of interaction involved in that. You had
to actually get off your ass and go over to the record machine
And obviously that couldn't stay the same. Technology has to take
over. What we still have is the concept of an album
of songs and a sense of well, this is what you do in a band, you put
out twelve songs. When actually, there was a reason it was only twelve
songs. You could only fit twenty minutes of music on each side, so
it was somewhere between eight and twelve songs. But then again, I
find myself saying that and then I think about the band I saw last
night that sounded like Black Sabbath, and they're like 21, 22 years
old. They've probably got their Sabbath albums lined up at home, and
their Zeppelin records? [laughter] Maybe their father introduced
them to it
So you never know, maybe there are a bunch of new
people who are literate in great albums. Which would be nice, if there
were. Because there's something inarguably right, when it comes to
rock and roll, about forty minutes. Forty minutes, for me, has always
been a good length for a rock and roll set. I've never seen a band
that hasn't bored me after a half hour. Our band used to play for
fucking two and a half hours
God, I wouldn't have wanted to
be in the audience. Playing it is fine, but
Jesus. Forty minutes
is an important number in rock and roll, because it's the length of
the great Neil Young records, Dark Side Of The Moon
It's just twenty minutes either side. It's almost like God deemed
it to be so. A novel needs to be that long and a record needs to be
HM: I'm the same sort of person. Even though I have all these
CDs coming through, I can't stand it when there's no liner notes.
I need the liner notes. I need to see the artwork. And so much of
that gets dismissed. As press, especially, we get advance copies where
all you get is a track listing
and that's great, but I'm just
going to have to go buy this record when it comes out, for the art
so I can understand more of it than simply the aural presentation.
RD: It's intrinsic, but it's become less important. It's natural.
It had to happen. Someone had to invent something like the iPod, and
there's no stopping it. It's pointless criticizing it, I'm not criticizing
it, in my little moment in history right now, sitting in this room,
I think we're in a very delicate time. Record companies are trying
to figure out how to make technology work for them, and how we're
going to sell music with new technology and the rest of it. I think
we're at a pivotal moment in music, because, really, I don't know
how technology can advance to make listening to or accessing music
any easier. If a guitar still exists in a hundred years time, which
of course they will, or some form of musical instrument
still got to listen to it with ears. So you still need speakers of
So obviously if you've got one foot in the
old way like I have
I'm old enough to have experience of the
old way; it's an interesting time. It just obviously had to happen.
And if it had to happen and it's natural, it has to be good. So, I'
certainly not criticizing it, I'm just thinking that in this changeover
period, that it's interesting to see that there's a lot of embracing
of nostalgia, and looking back. All of the hit bands that are happening
now, and some of them are great, but they owe their sound totally
to some other band. And I don't know why that is, really. I don't
know if that's because we've run out of ideas or everyone sort of
can't help listening to the great music of the past
consciously or subconsciously regurgitating it.
HM: It's an interesting phenomenon, at least in the entertainment
industry. The same thing is going on with cinema. There are no new
films coming out, everything is a rehashing of something that's already
been done, right down to simply remaking a movie. It seems there's
been a huge in-rush of that over the past five years or so, remaking
the classic movies from the late 60's through the 80's.
RD: And the comic book movies
which I love. V For
Vendetta. Have you seen that yet?
HM: Not yet.
RD: I was reading an interview in the New York Times with
Moore? Is that the guy who wrote that? I was reading
that he's totally disassociated himself from that. The League of
Extraordinary Gentlemen and all these movies that he feels Hollywood
have hijacked and screwed up. No one's ever happy, are they?
HM: No, I suppose not. You either complain that no one reads
your comic books, or you complain when they make it into a movie.
RD: Absolutely. While sitting in your castle in England
Bought from the millions of dollars
HM: It's an interesting industry. Obviously, it reflects the
time and the culture that we live in. But I don't really understand
where it comes from, either.
RD: We human beings, we like things to be familiar. You know,
we like repetition and we like to hear things over again. We like
to watch things over again, it's comforting
You know, music
is simple. There are only a certain number of notes, and they're played
in a certain way; and if a certain combination of notes and distortion
and vocal attitude and lyrical attitude worked thirty years ago, it's
going to work thirty years later, as well. And I think you can criticize
it for being particularly unoriginal and lazy, or you can say, well,
that's human nature. I mean, I'm a big car fan
a big car-head
and it's happening everywhere. It's happening with cars
we're sitting in chairs that wouldn't look out of place in a London
apartment in 1969. It goes around and it comes around. Maybe it's
just the intellectualizing of it that makes it criticizable. What's
to criticize? It's what human beings do. Once they've gone through
all the ideas, they go back and start again.
HM: Maybe that is it. Maybe it's a time of renewal. Maybe
it's necessary to revisit successful things in order to start the
would certainly not be an out of line theory.
RD: It's easy to get pious and high-minded, but I find myself
being guilty of it as well. It's hard to be original.
HM: How did you decide on covering "Mutineer"?
RD: I saw Warren Zevon do it on the David Letterman
Show a couple months before he died, and he just played a very stripped
down version on the piano. It just blew me away
the sense that his art was sincere. It was a part of him.
And if you didn't listen to it under those auspices, then he'd rather
you didn't listen to it. And I identified with that sentiment quite
strongly through my record. I struggled for a while when thinking
about making this record as to how I was going to make it different
from The Catherine Wheel stuff. I came to the conclusion that the
only way I was going to make music different from the Catherine Wheel
stuff was to make music that was honest about where I was as an individual,
and in the subject matter of the songs. Which is how I always wrote
my contribution to the band. It was generally lyrical or musical,
but the lyrical parts were sincere, you know? They were honest. They
were honest thoughts about myself. And I thought, that's what's different
from five years ago. I'm a different person, and this album should
be a record of where I am at this time in my life
what differentiates it from the Catherine Wheel stuff. So, stylistically,
the music got whatever the song required, like it always did with
the band. And that's kind of why I identified
there's a line
in the song, "There ain't no room on board for the insincere."
So, if you're not ready to embrace the truth, or to embrace this as
my truth, then don't bother. I identified with that quite strongly.
It's just a beautiful song, as well
and a very talented and
unusual man who had kind of passed me by up to that point. I wasn't
a Warren Zevon fan by any stretch of the imagination. Interestingly,
having been blown away by that performance, which tells you an awful
lot about me, it's not that I went back and voraciously discovered
his back catalog
[laughter] I went and found that song, listened
to that song, worked the chords out, and just did it. I didn't listen
to any of his other stuff, which is odd, I suppose.
HM: I've always thought of him as a very impressive songwriter
that no one listened to his full albums. They listen to his songs
on the radio. They listen to "Werewolves Of London" and
a couple more
"Poor, Poor Pitiful Me" and whatever.
But there is a lot of stuff buried in those records. And I think not
listening to them is akin to not listening to Dylan records
all the way through
RD: Absolutely. To me, too. And I think the time will come
when I gravitate back to them
It's odd. When I listen to music
that correlates to the same mood I'm in to make music. I'll always
put a cd in, I'll always pick up a guitar, and then the mood's gone
and I'm off doing something else. So I find myself, when I'm in the
mood to be musical, whether it's to listen or to play, I'll always
take the option of playing. So I haven't listened to that much bloody
music, but I should. And when I do, it's usually the stuff I'm familiar
HM: There's no crime in that.
RD: No. But there's a lot of stuff I'm missing and I know
that. I just haven't got the energy to wade through it.
HM: Well, my brother and I have a fundamental difference on
that level. I'm of the opinion that life is too short to not listen
to everything, and he is of the opinion that life is too short to
listen to everything.
So he's very particular, and he finds something he likes and he'll
listen to it. Whereas, I want to know everything that's out there,
because I want to be able to pick.
RD: Well, that's good. I mean, thank God for people like you.
Because people like me wouldn't stand a chance without people like
you. And that's what amazes me coming to places like this and meeting
a lot of people who are just so different from me. They've got so
much energy to seek out new stuff, and I think
well, where would
I be, where would people like me be, without people like you
who actually sit down with a record for forty-five minutes and actually
listen to the fucking thing. That's a lot to ask.
HM: Are you finding that the crowds [at shows] are mostly
Catherine Wheel fans?
RD: Mostly. But a lot of people
well, not a lot of people,
that's an exaggeration
[laughter] I'm talking to people every
night who don't know anything about the band, who've heard "My
Name Is Love" on the radio or someone gave them the record
a Catherine Wheel person gave them my record. So, yeah. There's some
conquest sales going on.
HM: It's a great record.
RD: Well, thanks.
HM: It's one of my girlfriends favorite records. She's very
excited to see you playing here at SXSW, she's been telling me how
we have to see you play. So I figured I'd better set up an interview
RD: Is she here with you this week?
HM: Yeah, she's out running around town, listening to music.
RD: Well, great. No
I'm very proud of it. It's certainly
the best I could do. I walked out of a lot of those Catherine Wheel
records always thinking it could have been better or we'd run out
but I really had time to do everything I wanted with
this one. It really said all I wanted to say about stuff I wanted
to say things about. [laughter] It was finished. I really felt
that it couldn't have been any better, which is the first time
I've made a few records, and this is the first time that's happened.
HM: That's an accomplishment in itself, to actually feel good
about the record and feel like you're done. Because Lord knows, I've
never felt like that and I don't think a lot of guys ever do. You
know, they listen to it after three months and wonder why did we even
put this out
it's not done.
RD: Absolutely. And I think a lot of people were rather concerned
that I would be fiddling with it for ages and I couldn't step away
from it. But I knew intrinsically when it was done. Not that I had
some kind of fabulous idea ahead of time as to what record I wanted
but it wasn't as if I was going to obsess over it. I
certainly spent a long time fashioning it, but I knew when it was
done. And I don't think I overcooked it. Some people criticize it
for being overly polished, and there was no way around that really,
because it was recorded in two or three different countries over three
or four years. A lot of it was taken off my demos
we spent six
months mixing the record, just to make it sound cohesive, because
it was very much a technology record. Basically, it was me in a room
on my own playing all the instruments or me with another guy playing
instruments. There was no band really involved in any of the music,
so it required a lot of postproduction to make it all coalesce and
come together. So I think that in many ways, if it does sound rather
produced, there weren't too many ways to avoid that. And I'm happy
with the way it sounds. It sounds good.
HM: It does sound good. And it doesn't sound over produced
in the way that most
I don't want to say educated, but in the
way that most audiophiles understand over produced.
RD: No, it sounds good in headphones. [laughter]
HM: And there's not an extensive amount of processing on vocals,
RD: No. And the reason it took so long was
I mean, there
are over 120 tracks of vocals on "My Name Is Love". It was
just a question of carving sonics out so that you could actually hear
everything. There's lots of midrange guitars, lots of strings, lots
of vocals, and there's just a lot happening in that midrange that
requires a lot of
HM: The challenging frequencies.
RD: Yeah, just a lot of fader moving
to bring stuff
up, bring stuff down, hear that, hear that, and then putting stuff
further back in the speaker. So there wasn't a lot of it being brushed
up and shined up to be shiny, there's a sense of, we need to hear
this. There're lots of overdubs, but they were good overdubs and they
needed to be heard, it was just a question of finding the space for
them. I mean, "My Name Is Love" took three weeks to mix.
That's one fucking song. It was a bit of a gargantuan task, but
HM: It's your Roger Waters track. [laughter]
HM: It's a good record, and I'd definitely be proud of it.
RD: Yes. I am.
HM: I was talking to one of the guys in my brother's band
about this last night
we were talking about how he's like, I
really liked Chrome. Chrome was a great record. And
Adam And Eve was an amazing record, but that last record
blah blah. And the nice thing about your solo record coming out is
that it's made a lot of people go back and listen to Wishville
again. And people are discovering why Wishville is a great
RD: Yeah, I was finding myself in Boston the other night
a really good show in Boston and I was being rather self-deprecating
about Wishville, because there's a song called "All Of
That" which I think is probably one of the best songs I've written
and I was saying that no one liked this record, but I liked it. And
everyone was saying, boo, it's a great record. And like seven people
- I always try to meet people after the show - and all these people
coming up to me, it's a fucking good record, man. It's a good record.
And I can see, after Adam And Eve, people weren't such fans
of it who were maybe into the earlier stuff. But there's some good
songs on that record, you know? It's shorter and it's a little less
self-important, I think, than Adam And Eve, which is pretty
overblown and pretty ambitious really
HM: That's the epic record.
RD: I think Wishville is a little bit more of an intellectual
exercise in how we're going to move the game on. And up until that
point, all the records had been very organic
we'd come off six
months of touring and we'd want to sound different for ourselves,
so we'd go in and make a very different naturally sounding record.
When it came to Wishville, we had to sit down and consciously
think about how we were going to move our game along. And Tim Friese-Greene
had a lot to do with that
the guy that produced the first record.
And it was fitting that he kind of produced the last record as well.
And he said, look, if you're going to do this we've got to move the
goalpost. You've got to change the way you attack writing songs, and
he was very much into forcing us to do things differently for the
sake of having a different result at the end. Musically changing the
way that we wrote and he encouraged Neil to get into being creative
with the drum kit
getting into looping and getting into recording
his own drums and giving us drum tracks that were treated a certain
way that, in turn, would make us think differently about guitar parts.
So in many ways it was almost like a college experiment, a little
bit. But it worked out
for me, "All Of That", which
is one of the best songs on the record, grew out of a drum loop that
and if Neil hadn't been encouraged to do that, I wouldn't
have written that song. Simple as that. So it's all valid, and there's
some good songs on that record. It's a very different record to Adam
And Eve, you know.
HM: It's just much more of a sleeper record. Every other record
up to that point there were things that grabbed you immediately. But
on that record, even "Sparks Are Gonna Fly", even stuff
that kind of stands forward on the record, still takes a little while
to get to you. And I think a lot of people didn't give it that chance.
RD: Yeah, I can see that. I mean, Merck, our manager,
didn't like it at all.
Yeah. He couldn't really get his head around it. And I don't know
whether his views on it have softened over the years
HM: Some of my favorite records are that way. Where I've gotten
a record because I knew that I liked the band, and I've been disappointed
with the record the first time I listen to it.
RD: I think there are some records that were made to make
sense a few years later
and I'm a big believer in that. Music
shouldn't be deemed a failure simply because it doesn't get critical
good news at the time that it was made. Sometimes things have to buried
and discovered later on and they start to make sense in hindsight.
Not that we consciously thought about that at the time, we obviously
thought that we were making a good record that was going to be thought
of as such at the time.
HM: Which, I think, is how you make records. If you are making
records for some future goal, then your records not going to be good.
Because you're not being true to what's going on. And a record should
be an immediate thing, whether it gets credence later on or not, a
record is an immediate thing, to me.
RD: Absolutely. I agree.
HM: And I think that's where my problem is with a lot of the
new stuff that sounds like
old stuff. This isn't the immediate
thing, is it? But maybe it is again, and I just don't get it. It wasn't
all that immediate to me in 1979, why would it be now? It's been an
interesting thing, the current state of music.
RD: There's always good music to be found, isn't there? There
was always crap music
even in the heyday of the 60's there was
always plenty of crap. Luckily, the cream just rose to the top, like
it will from every other decade.
Photo by Jim Narcy
More Music Features
e-mail the chief
Like this article?
it to a friend!