Interview with Mike Bordin on May 23, 1995

Interview with Mike Bordin on May 23, 1995

Okay, this is part one of the interview i did with mike bordin in detroit on 23 may 1995. i didn't have the tape recorder positioned too well, so a lot of it was garbled and rather than try to put words in anyone's mouth, i just left it out. enjoy...........

zena

(a bunch of stuff i can't make out so i'm not even going to try......)

  • ZB- are you one of those people who likes to do the meet-and-greet thing or would you rather just go to the bus and crash?
  • MB- generally, i like solitude, generally. but, you know, i'm not going to say that......people are good to me, but i'm definitely more towards peace and quiet.
  • ZB- have you encountered the same kind of obnoxious fan thing that i imagine was happening during the whole mtv/"epic" boom thing?
  • MB- well, i don't know. that's a good question. i think it's a little different.
  • ZB- do you think the fan base has changed much or they've grown up or what?
  • MB- i have no idea.
  • ZB- well, based on the people you see.....
  • MB- i think when you get a song on the radio or on the video, the audience gets a little younger. it gets you a broader base. i think now - i can compare now to angel dust and people now on this tour to me are more - they seem like they know more about the music, to where on angel dust i think there was still a lot of hangover from people whether they were coming to see us because there was something really hip about us or we were playing with some big stupid bands, you know......there were more of the hangover people kind of making the scene last time and not really knowing anything about the record, and there's a couple different ways you can tell. this time it is definitely - people who are coming to the shows are definitely keyed on actually being there with the music, which is good. to me, it's a really good sign.
  • ZB- does it matter that much to you, who's listening to your music?
  • MB- who's listening? like......
  • ZB- well, as long as they're buying your albums and coming out to your shows, would you rather have a 13 year old who only knows the words to "epic" or the person who owns every album and b-side?
  • MB- i can't do that. the only thing i've done is what i did. i mean, i helped prepare the meal, i can't keep people away from the table or encourage other people to the table, know what i mean? that's not for me to do. one thing i would like is, and you see it more than you used to, is, like, women and people that aren't white 16-year old men. that's important to me, and you know, goes to the black folks, goes to the asian folks.....i don't know what that's all about, but if you've got an audience that's all 16-year old white males, it doesn't really reflect the world or reality. but i mean, again, that's not our business. whatever comes out comes out. however it goes, it goes. and for me to try to push it along or shape it isn't really right. it's not for me to do.
  • ZB- well, you just find so many attitudes among bands about who they want listening to their music. you find a lot of bands that say, "i don't want this type of person at my shows because i don't think it reflects who should be listening to my music." not necessarily 15-year old white men, but like hardcore bands who get frat boys coming to their shows. i go to school in chicago and......
  • MB- where in chicago?
  • ZB- loyola.
  • MB- ahhhh! so do you know any goulds?
  • ZB- any ghouls?
  • MB- no, our bass player, bill gould, they're all loyolans, but they're up in l.a. yeah, they're all loyolans. so you go to catholic school?
  • ZB- thirteen years! did you do catholic school?
  • MB- no. fuck no. i did a whole other thing. you want some coffee or something?
  • ZB- sure, if it's made (there was a full pot of coffee on the dresser.)
  • MB- this coffee is yours, i don't drink coffee (reads a package of brim.) oh, there's fucking coffee in here! someone made it before and just let it sit!
  • ZB- well, if it's not made already, don't worry about it, i just saw it there....
  • MB- no, it's not mine. i didn't do it. eew. that's gross. no, it's not mine. i don't even drink coffee. oh, who you want at shows, you see, i don't believe in that. it's like, music shouldn't be a club. it shouldn't be exclusive. it should be inclusive. it should encourage people to not herd, to not follow the herd. it should encourage people to think for themselves, some kind of stimulation.
  • ZB- that's a refreshing attitude...........
  • MB- no, every asshole says that. but it's just, we've been, like the question you brought up, we've been the super hot important flavor and i gotta say with pride, i think that when that was happening, we said it was bullshit. and at the time, people said, "what's the matter with you guys? what's the matter with your singer? you could be the next fuckin'...." but it's bullshit. and now, we're definitely not the flavor of the month as far as perception, whatever, press......"these guys were really popular and now they're really old....what's going on?" it's all bullshit, on the good side of it, on the bad side of it.....it's all bullshit. so to encourage saying, hey, we're young, we're white, we're hip - fuck that. no way, no way, no way.
  • ZB- even saying that the bad side of it is bullshit........
  • MB- it's awful. the whole thing is bullshit.
  • ZB- yeah, but specifically saying that the bad side of it is bullshit, knowing that it's bullshit, does bad press hurt? at least in the reviews for this album i've seen mostly praise for you yourself, and i see that in most faith no more press, but i know that in the rolling stone review, the other mike got lambasted and trey got lambasted and everything.
  • MB- well, personally no. it doesn't make me feel like a bad person, no. because it's again, this band that you're talking about is something that is, how can i say it, i've already made my peace with it. i've already done my stuff even before it was put out, before it was recorded. so me, i'm sure. i mean, and i've said it already when i was in europe on the press tour, it was fucked. you go around real genuine and real excited because we worked real hard on this record. we put everything into this record. we wrote this record in our blood, literally.
  • ZB- have you done that before?
  • MB- not to this extent. we always work hard, we always do the best we can, we all challenge ourselves as much as possible because that's what it's all about, but as far as.....i mean, we all really feel that this is a really fucking special record. end of story. no doubt, that's my feeling, that's what i know deep down. i've done five records with this band over a period of ten or twelve years, whatever it is, and it's like monty python life of brian - "i know you're the messiah......" i've done this a few times now, and you get a feel for it. my feel for angel dust is different from this feel. my feel for the real thing is a little different from this feel. and for me, i know guts wrote this record. i know it's a special record. i am 100% happy with it. so having said all of that, now it goes out, and i'm kind of surprised that some people think it's a little disjointed. i hear that word a lot and that surprised me because to be honest with you, this is about the simplest album that i think faith no more could ever do. as far as stripped down, melody is right here......
  • ZB- well personally, i think people say disjointed and when they get that vibe it's because you're genre-hopping more than you have been, but then they relate that to individual songs, and it doesn't seem like that should happen. i think when you genre-hop and you don't necessarily do it intentionally, it's the mark of a good, flexible band.
  • MB- well, we've always done it, but i feel now that we can be more effective at what we're attempting because - i think the difference between "evidence" and "edge of the world" is that the guitar player never played on "edge of the world." he never bothered to write a guitar part for that. that's a drag.
  • ZB- because he thought it sucked or......
  • MB- he thought, you know, probably in some way, yeah, and probably because in some way, in my opinion, it was probably beyond his musical comprehension. without a doubt. as was "midlife crisis." as was a lot of songs that have come and gone with us.
  • ZB- he didn't play on "let's lynch the landlord", did he?
  • MB- fuck no! billy played on that. billy played on a few different things that we don't even have to talk about. seriously. and that's......it's a funny fucking concept. people, i think, expect you to, once you do something to do it forever. that's what you're going to do. and for us, we're all about getting better and trying to fucking learn and be more effective. i hope that never stops, and if that confuses people, and if that confuses fucking critics, and if it fucking pisses them off, so be it. we're not bon jovi. we're not ac/dc. we're not metallica for christ all fucking mighty. we're not. we're not going to do the same thing. it's like ayn rand. did you ever read her books?
  • ZB- i read the fountainhead.
  • MB- fucking conveyor belt boom boom boom boom boom. somebody's mouth is right here, and everything comes right up the belt, no surprises, everything is like everything else, and it just slides down......you've got something that's good, different than usual, or worse, bad than usual. it doesn't go, it doesn't fit. it makes people have to think, and that's the way it is. and what i was going to say was that with a new guitar player, i mean, one of the reasons that we work, one of the things about this record is the work that we did on it, and that's firing a guitar player, and we were fixing something that....

    (tape ended, had to flip it over............)

  • ZB- so yeah, firing guitar player, fixing it.........
  • MB- so it was like, we knew we could better. it's like when you're racing a car and you say, well, i could get a little more horsepower. and you may be going fine, and you may be going fast, but.....that's our fucking burden i guess, to do our best. and maybe that will confuse people, but ultimately i think it will get us respect from the people that listen to us because they know that they're listening to something that is fucking from the heart. anyways, the comparison i was going to be making was about the songs on this record and why they sound even more unique or individual onto themselves. i think that if they didn't, something would really be wrong because we've been doing this now for a long time, and you should get better! these new songs, you know, i'm cookin' on the stove here, and i've got three pans. one's chicken, one's fish, and one's vegetables. and you don't want to slap what's in one pan into another pan. you don't want to do that. you don't want to sound like a hard rock band playing a smooth song. that's stupid! there's no growth in that. to me they turned out better, they turned out exactly as they should be, because they're like, fuck! this doesn't sound like a fucking funk/rock band!
  • ZB- well, to tell you the truth, when i listened to "evidence", first thing i thought and same thing i think every time i hear it is sade. i think it sounds like sade.....
  • MB- yeah, sounds like sade and al green.
  • ZB- but it sounds like, she, who has done this, this is her genre, this is what she does, you pulled it off and made it sound like something sade would do rather than something that you tried to make sound like sade.
  • MB- that's right, and i think that that's really important. to me, that's good, what you just said is good, because that means that we're playing good. we're writing a dong well, good writing, good arrangement, good mixing, good performance, good sound, good result. that's what we're after. and if that is bad to someone, then they're probably listening to the wrong band. myself in this band, i have to make my peace with that. if that means we're going to be losing, you know, guess, you fill in the blank, how many people are going to be buying a white zombie record this year, untold millions, you know. if that means we're not gonna, pushes us away from that, i can't help that, because at the end of the day i'm gonna say i did my best, and i owe that to myself. when i was in school and i was wanting to continue with this band and i wanted to take a stab and see if we could get it going, if you don't try to do it the way you want to do it, you'll never know and you'll be pissed off. you'll have regret. and so for me, no, i think it's going to take time with this record, for people to get used to it again, to get used to the band again, and there you go. but what it is is totally worthwhile and extra-special, so that's the best we can do.
  • ZB- seeing as you're so satisfied with the album, do you think that has anything to do with the setting in which you recorded it, and would you be willing to try that again?
  • MB- um, i enjoyed it. it helped us focus. we were coming into this record with a lot built up to it. we'd been waiting, trying to get together, just right, and the new producer was exciting, and with the new producer came - what he was really hired for was perspective, a new outlook, a fresh set of ears, because we knew everything about matt, and matt and us - ten years is a long time, especially for a producer, and there was a refreshing change, so we were definitely up for trying that. andy wanted to work in this place, he said it would sound great, we like the sound of his records, that's why he was here. he wasn't even so much here for a producer, but to help us get what we wanted, which was a lot like what trey was involved in as a guitar player. he had ideas about what we'd like to hear or which direction we'd like to get it going, so the main thing about bearsville was the focus. we had nothing else to do but do it, and andy got us down to work. that was great. before, you'd record and go home, and whatever. but i'd do it again, sure. no problem.
  • ZB- now, i know that all the other guys in the band have a whole other band, be it bungle or duh or - how do you pronounce the name of billy's band?
  • MB- bru-her-eeh-uh!
  • ZB- thank you, because i always say bru-gee-ear-uh, and i never want to talk about them because i know i'm saying it like an asshole.
  • MB- yeah, the j is the h. no way, jose!
  • ZB- well, i know that you're doing that percussion thing that i'd like you to explain on tape, but do you......
  • MB- that's it. i have a wife, i have a kid. NO!
  • ZB- yeah, i was gonna say......
  • MB- a wife and a cat. yeah, a cat. but yeah, i really don't have any other bands. it takes a lot of time. same thing about billy, i don't know how much time he spends on brujeria but i do know that he spent a FUCK of a lot of time on this record, as did mike, but it's different, you know? that's why we've got so much time with him now, because.....the dog ate it. we were getting searched.....
  • ZB- the dog ate your shirt?
  • MB- no, on the border, you know?
  • ZB- oh yeah, roddy was telling me about that.
  • MB- we were getting searched pretty hard at the border.
  • ZB- i ALWAYS get hassled at the border.
  • MB- yeah, it's not a cool border.
  • ZB- well, you went through new york, didn't you?
  • MB- um, yeah.
  • ZB- detroit's usually not that bad.
  • MB- yeah, we skated on through here. but the thing i was going to show you, i can't. the dog searched my bag pretty bad...
  • ZB- oh, they had dogs!
  • MB- which is fine, because that way you get it over with quicker.
  • ZB- yeah, unless you have something on you.
  • MB- well, you're not supposed to. it's not part of the deal. he ate a picture of my cat. i have a bunch of pictures of my cat and there was one that was all fucking mangled. it was a picture, for christ's sake! lighten up, dog. but anyways, not really. i mean, i don't feel the need right now to.......i get as much out of this band as i want to. someday, probably, yeah. someday. but not right now. fair enough.
  • ZB- have you ever considered putting out a b-side comp?
  • MB- didn't we?
  • ZB- well, there was songs to make love to which had four, but it just seems like "i wanna fuck myself" or "absolute zero".......
  • MB- well, again, the night is young. we did all that stuff for b-sides so we didn't have to fuckin' dig up some crap from somewhere and we have two more singles coming out...
  • ZB- which ones?
  • MB- the next one is "ricochet" and we have a video for that, an excellent video. excellent video. and "evidence" is going to be the single this summer. seems natural to me. if ANYBODY is going to play a song on the fucking radio, to me it would be that.
  • ZB- well that could even be, and i don't know if this is a good or bad thing, but do a "more than words" thing and transcend radio genre.
  • MB- but for us, the radio people come on, and for me i think we're going to need something like that, so that singular onto itself, like you say, something that crosses over......i have a feeling that that's what it's going to take in this country because, you know, your car's stuck in the mud and you kind of need that extra lurch to get it out. of course, the world, you know, we have a really strong position, but here, we're going to need to wake some people up. and whether it's a super-rockin' song or a super-smooth song, i think the super-smooth one has a better chance to be played.
  • ZB- more of a crossover potential........
  • MB- yeah, i think so. and having said that, it's not why we wrote the motherfucker. we wrote it because we liked it, so yeah, it's like saying you have 14 kids. one of those kids happens to be really good at something, the other kids are good at something else. and that's fine, that's nature, you know?
  • ZB- well, i know that with "easy", if i ever called the local typical alterna-station and requested it, they'd say, "we can't play that. even though it's faith no more, it sounds too much like the commodores." would you be okay with "evidence" not doing well in the market you're normally accustomed to and doing well in other markets? because "easy" did get some play on the adult contemporaries here.
  • MB- i don't know, you know? wait, what does your shirt say? "it's not a beer belly, it's a gas tank for a sex machine." wow, that's funny! that's a funny shirt. i don't really think of it like that.
  • ZB- but even with the kid analogy, there might be a kid that you'd like to be a doctor, and if you don't force them to be a doctor you might hope for them to be a doctor.
  • MB- well, we had 14 kids that turned out really good. that's the first step.
  • ZB- i know this leg of the tour ends pretty soon - what are you doing after?
  • MB- go play in europe!
  • ZB- i can't get over how much you guys tour. roddy was saying how he was going to have ten days off and tour with imperial teen in that time......
  • MB- i don't know where he'd getting those ten days! oh, it's probably after austraila or south america.
  • ZB- oh, you're doing south america again?
  • MB- yeah, hell yeah.
  • ZB- i got the impression from the media that you guys really liked that.
  • MB- definitely.
  • ZB- do you know when you're coming back to america?
  • MB- it looks like we're going to try to put together a package. september, i guess. october. we'll see what happens.
  • ZB- are you all excited about playing with duran duran in chicago?
  • MB- no. not at all.
  • ZB- oh, they're not one of your favorite bands?
  • MB- honestly, not really, but even if they were......i know that was a facetious question!
  • ZB- i opened up the paper and it startled the shit out of me. duran duran, faith no more, and a buncha other people.
  • MB- (garbled, i can't remember, but it was some band that i knew was playing with them in milwaukee.)
  • ZB- no, i think they're playing with you in milwaukee. this one is sheryl crow, KFMDM, sponge, stone roses, phunk junkeez.......
  • MB- what's up with phunk junkeez?
  • ZB- have you heard them?
  • MB- yeah.....
  • ZB- do you like them?
  • MB- (smiling) yeeeeeeeeeahh!
  • ZB- i have some friends in a band that sound like them in a roundabout way. actually they just toured with killing joke in europe.
  • MB- what are they called?
  • ZB- shootyz groove.
  • MB- wow! they offered to play some shows with us......are they any good? (mb knocked recorder off table, had to turn it on again........)
  • ZB- are there any bands that you've toured with that you particularly liked?
  • MB- oh yeah! (pointing at shirt) shihad. we did six weeks in europe with them. great band, GREAT band! we toured with kyuss (again utilizing a visual aid, whipping out cd.)
  • ZB- yeah, i saw them with fishbone and biohazard.
  • MB- great band, GREAT band. 21 year old guitar player. he was 17 when he toured with us. brilliant. kyuss are great. it's stoner music, if you like the kind of shit. that's from back in my past. but i think they're great, great band. yeah, we've played with a lot of bands. way back when, i was excited to be touring with metallica.
  • ZB- was that the tour that the cult got kicked off of?
  • MB- i don't remember even when that was, i don't know. and justice, we did ...and justice for all with them. i was excited. we've done a lot of exciting stuff. i really enjoy playing festivals. we;re playing with r.e.m. this summer....
  • ZB- really? where?
  • MB- in spain, and also in switzerland. and we were hand picked, we were band approved, and i'm excited about that. we toured with helmet, that was enjoyable. i think it's interesting that paige came by in new york when we played and he said, "that was the first real tour that we did, and ever since that tour, how bands treat us and how we get along with them, it's been downhill." that was a nice thing to say. we would definitely play with them again.
  • ZB- do you like their new stuff?
  • MB- i haven't heard it. they're just making it, aren't they.
  • ZB- no, i mean new since that tour. betty.
  • MB- oh, betty. i don't know. i can't say that i have it, so i'm not in a position to say. do you?
  • ZB- i didn't really like betty, but i think they're still a really strong live band.
  • MB- want a vitamin c?
  • ZB- i just had one before i came, but thanks! but i saw them again with quicksand this year.
  • MB- oh, i think we're playing with quicksand.
  • ZB- they are a GREAT fucking band! they're my best friend's favorite band and when they toured with offspring, it sold out when we were out of town and i had to pay $120 for four tickets to see the fucking offspring.......
  • MB- the standard thing is, "how do you feel about the second wave of punk coming back?" you know, green day. and i like green day, you know? at the heart of it, i think they're a good solid band. offspring i don't really like too much, and that's a different sound to me. i was never too much into sound in my punk rock.
  • ZB- i think people put too much empahsis on, "okay, well, they were on epitaph and that's cool coz they're indie but then they hired a major pr firm....." i mean, i don't like offspring, but since you were making the green day analogy......when they signed to warner my eyes popped out of my head, but all that concerned me was whether or not the album was going to be good, not whether they were going to be able to put their kids through college.
  • MB- not an issue, it's not an issue.
  • ZB- right, and it seems like in the punk community or what have you, people spend so much time looking for sellout scapegoats.......i know that the prospect of making money alters the music for some bands and i really don't agree with that, but for the bands who stay true, why not make money? i know people who were in san francisco after green day got signed and met green day through some friends and were purposely rude to them because of the warner deal, like they needed their punk credibility intact.
  • MB- that's fucking pathetic. that person is a fucking loser. i don't have fucking time for that fucking horseshit. shit like that has nothing to do with music. just remember that, just remember that. you're talking about a cocktail party. it happens all the time. it's crap. top of the world selling 12 million records - crap. people want to know you just because of whatever - that's crap. and if you don't want to talk to somebody because of whatever your perception is......that's all crap.
  • ZB- the only way that success spoils a band for me is sometimes in the shows - i just don't like it when a band that i used to see in clubs and hang out with after turns in to the 15,000 seater band who can't talk to you because they're rock stars......would you rather be in the clubs or doing the big places?
  • MB- i think what we need to do is play what's appropriate venue-wise. arenas weren't meant for music, first of all. if we could do theatres everywhere, that would be great. sometimes we like to do a lot of dates at a small place, like that's how it is in england, where we do brixton. it's a good sized place, like 4,500-5,000 people. last time we did four nights there. and they said, well, you can just play wembley, which is like an arena. and we said, wembley sucks, it's fucking shitty, so we'll play this place for a couple nights then quit. we're not really after a title, like we play arenas all the time whatever. that's bullshit. again, that's not music. has nothing to do what with it. but you do what's appropriate. but one thing i'd say about what you said is, you know, if somebody doesn't have a record deal and they're really genuine and they try really hard and they say, well, i'm from the people, i understand the people, i'm of the people, people are in me and vice versa, and then sign a record deal and sell 10 million records, and get pissed off when somebody looks at them and have to get to the front of the line at a restaurant and sit down immediately, you can't eat. is it because they're using people to get so much bigger? it comes to somebody, what are they getting into this for? are they getting into it because they have something to say or because they want to improve their status. i mean, you see that all the time. you see a lot of fucking alternative bands and to me, they would love nothing more than to be metallica.
  • ZB- money-wise or fame-wise or......
  • MB- status-wise. you can't have it both ways. if you're a fucking human being, act like a human being. but if you're just a human being because you're waiting for a chance to become king of the snobs, that's another story. and what you said about bands that play arenas and don't have any time to talk to anybody.......
  • ZB- oh, i can understand it when they have no time, if they need to be somewhere or if they're just beat or something.....i recognize the time constraints of being on a major tour.......but i've been in situations where i say hi to someone and they pull the "why are you here, don't talk to me" attitude.
  • MB- right, right, it's like you and i are standing in front of the grocery store and we're waiting for it to open. we're really excited and we're waiting for it. i say, "i'm going right to the cereal aisle, first thing." you say, "i'm really into health foods, i'm going to go to the fresh fruits and vegetables. that's what i've been waiting for, that's what i'm all about." and what happens? the door opens, and when you get your chance, where do you go? the candy aisle. that happens with a lot of bands, where they're small, and they get recorded, and they get an opportunity to be an asshole. there are a million asshole bands in this world and they have the opportunity to be one of them. do they or don't they? that's up to them. and that shows a lot about why the fuck they're doing. you have the chance, you know. that's what happens.
  • ZB- are you online like roddy, dean, and bill?
  • MB- i don't know how to type. i plant flowers.
  • ZB- really? extensively?
  • MB- not right now!
  • ZB- well, obviously.....what got you into that.
  • MB- well, i was blessed and had a popular record and got to buy a house with a yard.
  • ZB- was that something that always interested you?
  • MB- you bet. i do other stuff, you know. i put all my fucking mind into this, sometimes it's nice to do other stuff. i think it would be interesting, though. i don't have a computer. you want to see something really pathetic? (whips out a small, extremely worn blue striped book with a cloth cover and papers sticking out all over.) this is my organizer. pretty bad, i've had it for a long time.
  • ZB- is it sentimental, or do you just like it?
  • MB- someone gave me a fucking computer organizer and i couldn't even figure out how to turn it on. i'm just not so good with that.
  • ZB- well, it's just not something that interests you. that's fine.
  • MB- yeah, but that's like saying, well, i really like music but i'm not up on that cd technology.
  • ZB- i know that on america online, warner brothers put out a faith no more interactive, where you get video clips and can put your face all over and stuff.
  • MB- is it good or shitty?
  • ZB- as interactive music shit goes, it's okay. kind of cheesy. i know there was this lollapalooza interactive they put out where you could take all the characters from the dookie album cover and bomb them with the bomber planes. it was pretty terrible.
  • MB- your average record company stuff, huh? billy's involved in it, i know that. zb -yeah, i know he does that stuff. i'm on the caca volante list, and he's shown up before.
  • MB- what's it like?
  • ZB- well, people on there know EVERYTHING.
  • MB- yeah, that's what billy was saying. i hear they talk about us a lot. it would be nice to talk to people like that; i mean, i talk to fans about music all the time. if i was on there, i'd tell one thing that really disappointed me. in new york........i break ten or twelve drumsticks a night, and what am i going to do with them? what am i going to fucking do with them? i break eight to ten pairs every night. every fuckin' night. every night i break 'em, they're always breaking. and i think, yeah, you know, just go to the front and try to pass em to people so i'm not all throwing them and people are diving for them and all that. and in new york, this guy afterwards said, "you know, there were four people fighting for those drumsticks." that REALLY bothered me. that really fuckin' hurt me. so, if i was on the fucking computer, i'd say, "fuck doing that, don't fuckin' do that shit. fuck that."
  • ZB- did it hurt you because they thought those things were important and they weren't, or was it just that......
  • MB- it was the fact that they deal with the fuckin' situation in that way. i mean, i don't fuckin' encourage anyone to do that. there's enough of that fucking shit in the world as it is.
  • ZB- well, at the show with helmet, some guy tried to jump me for me set list. crazy fuckin' shit........
  • MB- wrong, wrong, that's just wrong.
  • ZB- and the autograph thing always kind of confused me, too.....
  • MB- well that's what you were saying about playing arenas and all that.....the one thing that i really remember about arenas is that, you gotta know, we're a support band - still. i mean, you play shows like that and people don't talk to you, they scream at you. and that's totally unnerving. that's a totally unnerving thing and that is the sort of thing that makes you want to get the fuck out of there as soon as you can because it totally is unnerving. so there's that too. i don't think it's just you, i think it's how people relate to you in that situation. you want some zinc?
  • ZB- i will go for some zinc.
  • MB- you like zinc, you know all about it?
  • ZB- it's the one that does something to red blood cells, right?
  • MB- it's a lozenge, you have to suck it..........it's very very good for your throat.
  • ZB- it tastes like.....
  • MB- crap.
  • ZB- tastes like some kinda bread.
  • MB- cardboard. cheap cardboard. it's really good for sore throats though. it keeps bacteria and stuff out of your throat. i'm tired. real tired.
  • ZB- you gonna go back to bed?
  • MB- no, not at all.
  • ZB- but oh, look at all detroit has to offer!
  • MB- i have a lot of family from here. my stepmom was from here. and my aunt still runs a huge travel service here.
  • ZB- are they coming tonight?
  • MB- no, they don't live here. the aunt does, and there's a lot older people that i don't see much here. but anyways, i'm sorry, did you have another question?
  • ZB- that's about it for questions. oh, do you want to explain that percussion project that you're on?
  • MB- the guy, brian, from redd kross, i met him, and we started talking about jazz records, which i'm really interested in, and explained to him some records that were really important to me that were made in the 50s that were basically getting a bunch of drummers together and drumming together. a lot of cuban drummers, a lot of african drummers, a lot of jazz drummers, and they did these records. they did about six or seven of 'em. and i was telling brian about it, and he's like, this stuff is a revelation! and it is, it's like the best stuff ever made. he said, i want to put together a record of a lot of different drummers. and it wasn't like an ensemble record like in the fifties, but we asked a lot of drummers that we liked, hey, wanna do something? we're making a record of drummers. i'm giving you the fucking control..........i have an empty stomach and you can probably hear it. i'm starving, i just realized i haven't eaten......
  • ZB- well, there's that coney that i told you about in cleveland over there if you still want a loose burger.
  • MB- yeah, might have to! there's nothing else around here, huh?
  • ZB- well actually, there's greek, there's chicago-style pizza, greek is actually just down the block.
  • MB- that sounds real good. so anyways, there's this record, me and herb did something together, maynard from tool put a little vocalizing on it, matt cameron is doing something on it, the guy from reverend horton heat, steven perkins is doing something, dale crover from the melvins is doing something - a lot of great drummers are on this record. i think it's going to be amazing. i think sub pop is putting it out. i met that guy martin atkins the other night - remember, in cleveland? and he's one of my favorite drummers. him and a few other drummers really influenced the way i played, and i gave him the guy's number and told him to call him if he wanted to do something on it. i think that would be a good addition to it. so, we'll see. do you know a lot of record stores in this city?
  • ZB- yeah.
  • MB- where would i get a rare, collectible jazz record. like who's got the best selection of collectible jazz?
  • ZB- desirable discs might be able to help you out, they're in dearborn.
  • MB- ahh, that's a good name. where's dearborn?
  • ZB- down the road about fifteen minutes. i have a car if you call and want to pick something up. the record stores in chicago would have a better selection.
  • MB- yeah, no doubt.
  • ZB- but the record stores in detroit are better on the whole, but not for stuff like that.
  • MB- well, i make a couple of phone calls in each city i go to, because there's this one record that i'm really fucking looking for.
  • ZB- what is it?
  • MB- i'm not going to tell you on tape, then everyone is going to know what i'm fucking looking for.

    (turned off the tape and i know what it is! (yeah, big whoop....))

Thanks to Zena Burns.

Source: Zena Burns
© 1995-2001,2011-2012 Stefan Negele