Steve 'Dandy' Brown (Orquesta del Desierto, Hermano)08/18/2004
I said it before and I’ll say it again: that was a very, very impressive gig… maybe also because I didn’t really know what to expect. I think that’s a lot of what’s going on with this tour. A lot of people don’t know what to expect from this band, because, you know, of the background that everybody has, everybody’s thinking we’re gonna come out and, like, be stoner rock or something. It’s often like “what’s goin’ on here?” you know and next thing you know, by the end of the show they’re warming up and they realize it’s a bit of an expansion. You gotta open up your mind a little bit. It was still rocking, though! Yeah, yeah! I haven’t heard the first album, but I heard Dos, the second one, and it is like this laidback, vibe album… just like Brant Bjork’s albums, for instance; that’s what I compare them to. I didn’t know what to expect: something acoustic and laidback, or something more rocking and it was closer to the second. Right on. So, the tour’s been going well so far? The tour has been awesome! There’s been a completely warm reception. People seem to be into what’s going on… Like I just said, it starts out kinda tepid, while they’re kind of adjusting their minds, because… You know, you run into a lot of people that can only see things one way, they only think “this music is good” or “this music is good” and they can’t open themselves up to something. So they come, with those previous thoughts, thinking “oh, here comes a hard rock show, these guys have all been in hard rock bands” and all of a sudden, here comes a jazz tune or a Latin tune or even a blues tune or there’s even some elements of soul goin’ on a little bit… and then they kinda have to… … re-adjust their expectation patterns? Yeah. I’ve never wanted to be classified under one genre of rock. You know, I did the Hermano record, which was a release of all these feelings I had at the time, living in a huge city, watching a lot of racial animosity that went on in the city I was in and so, that city just happened to be a blues town that I grew up in, playing the blues. What city is that?
Very true. But every genre has credibility. I don’t know about, like, modern country. There are a couple of people out there doin’ modern country that I like, but modern country is just fucked up, man. I can’t listen to it. That’s something we don’t really have here… Oh good! You guys are smart… Oh yes… I’m inundated with it, I’m constantly pounded by country music in my nation, you know. I like country music, I like c-o-u-n-t-r-y music, I wanna make sure I’m clear on that. There’s country music until up about 1983-1984 and then suddenly, all of these pop engineers moved down to Nashville and took all the reverb machines with ‘em and they turned it into something totally fucked up, man. It’s… (sighs)… I shouldn’t be so harsh, but that music just doesn’t touch me, you know, so… The diversity you’re talking about and keeping a broad mind, is that also reflected in your own CD-collection? Do you listen to stuff that maybe some people who’ve heard Hermano wouldn’t expect? Oh, definitely. You know, my… hero, or my heroine, would have to be Sade, you know. Really? Sade is probably one of the biggest influences in my life, as for as
music goes… Consistently, time Hehe, I have the same with Al Green… Al Green is great! And I’m not even into guys! Only into Al Green! That goes back to… I grew up in a blues town, I grew up in a blues and R&B town, and those influences from the ‘50’s, ‘60’s – even goin’ back to the ‘40’s, you know, your big bands and jazz bands – those thing were constantly around me and so… While my parents weren’t big heavy metal fans, they brought music into the house that had melody and a lot of emotion and a lot of power. Those are my influences, my mom and dad, because my mom would sit down with me, my mom played the organ and she played a lot of gospel music on the organ and so she would teach me some gospel songs and those are all blues-based of course. So, that’s from Day 1 the kind of music I was listening to. Of course, I grew up and when I was a teenager, I had a chance to see, like, The Replacements and Hüsker Dü… Cool! I saw them back in 1982 and 1983 and it blew my freakin’ mind how much power they had, you know. It was power and passion, before it was, you know, melody and passion, and then I was just like “WOW, this is fuckin’ great too!!” you know. So, I think that at a very early age, I learned to open my mind to different things and I just wish there were more people like that, you know. Everybody wants to push their philosophy down everybody else’s throat and hey, that’s the main problem with my nation. Many nations. Mine just happens to be on the front page every day doin’ that, you know what I’m saying? It’s fucked up… I don’t know. Anyway… I rambled along a little bit, sorry! No, not at all. It’s fine! Uh, I don’t know if this is exact, but I read somewhere that as far as touring goes, this band is a band of rookies… Yeah! The show you saw tonight was our … (counts fingers), our seventh show ever. You must be kidding, man! No, I’m not. Because it feels like the band has been around and you guys played a lot together. With my nominal, weak-ass abilities as a musician, I’ve surrounded myself with awesome, awesome performers, you know. So, while I’m a crappy little bass player, these guys around me are seasoned pros. They just step in and fuckin’ do it. They’re awesome. I can’t thank all of those guys, everybody I’ve performed with the past few years… “Do you wanna come in and do a project together?” It just blows me away. I mean, I’m no virtusoso. I maybe have a little bit of a knack for writing catchy pop songs or powerful hard rock songs… Do you write most of the songs? For the first record, I wrote all of the songs, but for Dos I wrote almost half of ‘em and I’ve decided with this new record that… (sighs) … When I reflect back on the first Orquesta-record, I hear a lot of things that were rushed and weren’t given enough time to develop and maybe I tried to push my vision through too much, instead of allowing the collaboration to come in and allowing… Did you record the second one in a different way, then? I made up my mind from the very first day that the only way to make this record more cohesive and a group effort, was to say “I’m not going to write all the songs for this record, you guys have to write some songs” and it reflects, the second album blows the first one away. In my opinion, and I think that’s a good feeling, you know when you’re progressing upward. Who knows, maybe for the next record I won’t write any songs and it’ll be a huge hit (laughs). Let’s wait and see! Right. But yeah, we haven’t really played out much. It’s always had kind of a “project feel” to it and I’ve always wanted to get out and do this live. This band. Because I thought that it was much different than Hermano and I couldn’t be pigeonholed into “this guy’s gonna write a bunch of hard rock records” because that would never be me. And I didn’t wanna build up any expectations like that, either. Here’s something else, and here’s something else. Who knows, the next record may be cajun-jazz or something, you know. But, whatever it is, it’s gonna be what it is at the time. I know I’m saying “what it is” a lot here… (laughs) Next question! How did you do it exactly? The second album sounds meticulously produced, carefully arranged… Was it that you were sitting there at the control panel and asking each of the members to step in and do their parts? When I finished the first Orquesta del Desierto-record, I had just finished mastering… I’d just gone though three years of hell with Hermano, because we couldn’t release our record. I knew that it was a powerful statement, I knew it was a very powerful heavy blues record. Maybe it wasn’t like rocket science, or world-changing, but I knew it was a powerful and beautiful record and I had to sit on it for three years, you know. Then came the Orquesta record and that takes me about another year to put together. By the time that record was finished, I was so burnt-out on music that I wanted nothing to do with it. Non-stop for fifteen years, I had either engineered local bands or done my own music or did things like that basically… and then, with Hermano, then Orquesta, it was just so consuming, there were so many highlights and disappointments with the Hermano record… not being able to release it for so long. After Orquesta was done, I told my wife, I said… “We’ve got to… just go away, we’ve got to move somewhere where it can just be quiet and I can do something totally different.” So we moved to Florida, from the desert to Florida and we lived there for a couple of years. And at the time as was there, I was just a couple of minutes from the Atlantic Ocean and so it was a radically different environment, as opposed to the desert, you know. I was sitting on my back porch at night, basically doing what I’ve done my whole life: play my guitar and listen to what was goin’ on around me, and I started to come up with some new songs, sitting there. Then it just struck to try another Orquesta-record, so I called everybody from the first record and said “You wanna try and do this again?” and again I asked for collaboration and material so we could try and put it together. That’s basically how the songs were written: by passing CR-R’s of demo’s back and forth. Finally… it’s a crazy story, but my wife became very ill in Florida. She’d grown up in the desert, she’s of Mexican descent, all of her ancestors are right there, next to the Mexican border. She was not ready for Florida. It’s very humid, a lot of pollens and it really messed with her lungs and she couldn’t breathe and the she got pregnant with our daughter. It got worse and worse, I mean she… (imitates rasping sound)… like that and I was “Oh my God, I got to get my wife out of here”… … and move again. I’d been teaching at the time at a high school there and I told her to get back home, back to the desert and out of the humidity, so she went home, I finished my contract back in Florida with the school I was working for and then I moved back to the desert and it was a that point I really got serious about bringing Orquesta back together for another record. As far as getting in the studio with it… The first record, like I said I wrote everything and it was just people coming in, there was never more than, like, me and the drummer and the engineer there. Or me and the guitar player, it was never the whole group. So, for Dos I told everyone “We’ve all got be in the same studio at least a week” while the drums are being tracked, you know, while the initial tracks were coming together. So, I think that’s the cohesiveness of Dos. We were actually all there, at one time. It does sound very warm and organic, indeed. You can’t go wrong recording at Rancho de la Luna, the studio that’s out there in Joshua Tree. You get every one of these elements. I love Joshua Tree so much I bought a house there, I live there now. It’s an unbelievable place.
Is the Rancho also the place where bands like Kyuss recorded at the time? Kyuss recorded at Rancho de la Luna for a couple of records. It has a reputation for a good sound then. It’s a great studio. You know, a lot of people have worked there. It was owned by Daniel Lanois for while or partially. He had his gear there and did a lot of his music there. There are just too many, the list would go on and on. A name I’m always coming across when the Rancho is mentioned, is Fred Drake. Who was he? Fred Drake was this guy that, uh… He’d lived in Los Angeles for years and years and one day, he and a group of friends were, I guess, in search of someplace different and they came up to the high desert in the early ‘90’s and they discovered that it’s just a wonderland, the emotions that the high desert will bring out of you, the mountain ranges, the sea of sand, the desert plant and animal life, it’s just amazing. The sky at night… you know, in most places you might see – if you’re lucky – a few thousand stars. In Joshua Tree at night, there are millions of stars, it’s just like a blanket of white dots above you and occasionally, from my experience, the thing I was saying, sitting on my back porch, playing the guitar at night with the silhouette of the mountains, this blanket of stars, a coyote call coming in occasionally – sometimes a coyote running, stopping and looking at you and goin’ on… - all of those things and more and you’re there, creating art… Anyway, that’s what Drake had found in the early ‘90’s and they ended up renting a house there and bringing a lot of their musical gear and it turned into Rancho de la Luna. It became a very inspiring and… I don’t get into hocus pocus too much, I’m not a super-spiritual person, but if I was gonna be persuaded into spirituality, Joshua Tree is the place to find it. I can imagine all that. I’ve been to the US two years ago and drove through Arizona and New Mexico and for a Belgian like me, it was something I nearly couldn’t fathom. I went like: “What the hell is this?” Yeah. It’s like an American coming and walking into the square in Brussels and to see that type of architecture, you know, because it’s so foreign to us. We have the weakest fucking architects in the United States… There are some areas where there’s some beautiful architecture, but overall, it’s like they decided to build a bunch of cardboard boxes and put people in them. So if you bring someone from the States here for the first time and they walk into any town square – it may be the ugliest town square to a European, but for an American to see something as old as that can bring something out of him, so I can imagine the experience. I remember in 1991, I moved to Paris for while, I was so shocked, I don’t think I spoke for like two weeks, because my eyes could not stop absorbing the beauty of the architecture and then it became every city I would go to. They have their own characteristics, but it was still something I never experienced, so I know what you’re saying, It was the same for me when I discovered the desert. I grew up in the Midwest and I got transplanted out into the desert and it’s pretty radical and damn hot there. Let me tell you: July and August… it’s insane. The heat’s insane and it goes on and on and on for weeks. I haven’t seen rain in six months, this is the first time I’ve seen rain (it was pouring when the band arrived at the Sojo) in six months.
Welcome to drowsy Belgium! Yeah. It gets so hot that some days, you’ll be inside where it’s a little bit cool and you open the door and just like… (gasps for air)… it takes your breath, it’s like taking a blow-dryer in your face. So, that’s intense, you know, and it burns people down to their most desperate elements. That’s part of the beauty of the desert, too. It comes out in the music there, I think. Yeah, I was gonna say that, because – I’m not the world’s expert on music, but if you’d given me Dos, I would’ve know it was recorded or originated in the desert, just like Brant Bjork’s music or the early Meat Puppets albums or maybe even Calexico, although I’m not sure about that one. Yeah, I think those guys live out there. So the desert must have this particular effect on people. I think every place has beauty. What drives me crazy is… somebody will send me a CD that’s, like, stoner rock and they’re from – and they call it “desert rock” or something, and they’re from, like, I don’t know, Greece… and I always wonder why… when I put those CD’s in, the first tones I hear are the same Josh Homme had on Welcome to Sky Valley and you know the first thing I do with that CD? I take it out and put it back in the case and maybe give it away to someone. I think every city and every place in the world has its own beauty and romance. I think every musician should strive to present the romance of their place, that’s the true emotion of music. True emotion of music isn’t taking somebody else’s music, or somebody else’s tones, or somebody else’s sound, or somebody else’s… just “vibe” and making it yours, you know. It is about taking what’s yours and showing it to me, sharing it with me and making me feel what your place is like. You know, that’s beautiful. Is that also true, for instance, when some guy from New York makes an album about the ugliness of his city? Well sure, definitely. I don’t mean to say… The blues is the blues, and most rock music is based on the blues, you can’t escape that art form completely, that’s gonna be behind people that like to rock. The blues are gonna be there. So, that’s gonna be there, but I’m saying there’s something more subtle in the sounds and tones and emotions and lyrics, the whatever it is, that reflects where you are, who you are. I wanna know about other people and we come back to seeing the world in different ways. Those who can see the world in a broader sense see more of the beauty of the world. Those who can only see… “tunnel vision”, they can’t see much, and in my opinion, you only get one trip, so why waste it just seeing one thing in one way? Why don’t you try to see who people are inside of them. Don’t try to reflect who you are in them, see who they are in them. Am I getting too philosophical? I’m sorry! No, not at all. (Yells) IT’S JUST A ROCK BAND, MAN! No, no, no. I was talking about the same thing with Wino from The Hidden Hand a few weeks ago. I told him I appreciated what he did, because he wasn’t only doing the basic loud rock ‘n’ roll thing, singing about testosterone and booze and women… and that having a message or whatever, can still be okay. You can play loud music and still read books… Yeah, there’s too many people out there that can’t, I guess, I don’t know… they can’t show me their own thing. I don’t… I guess I do understand it, and I don’t, and that’s why there are… (sighs). I don’t know where I was goin’ with that… I don’t wanna go negative or anything like that, I wanna stay positive. What you just told me… is that also why you became a teacher? Let me tell you about becoming a teacher. I never thought that I would become a teacher. When I graduated from college… I was just getting ready to graduate from college with a degree in English literature. My goal in life was to become the next great American writer, I wanted to write. Novels, short stories, poetry… When I was a very small child, like five-six years old, I developed a love for antique books and my father would take me to antique stores and yard sales and garage sales and I developed this love for ‘a book’. That may sound weird. I tell it to my students and they think it’s very weird. Really? It sounds quite recognizable to me… “Mister Brown is weird” you know. (laughs) That was my desire, so I work through college and Creative Writing, earned my degree in English literature, but my mom and dad approached me one day and they said “We think that you should go one more quarter of school and since you only have this many credits until you get your teaching degree, we think you should do it and we think it would be a good idea.” My reaction: “I don’t need that!”, because that’s what every young person would say. But they said “really, we think you should do it” and so, they talked me into it, so I got the teaching degree. I graduated from college and moved to Paris and spent the next five years of my life going from the United States to Europe… I’d stay in Europe for six months, then go back home… What did you do? Write! I’d start a novel in the United States, come here and finish it and go back home to try to sell it. I never had any luck, with any of the three novels I wrote. That went on for five or six years, I had a lot of short stories published and a few poems and I thought I was off to a great start as a writer. Suddenly, around 1998, things started happening with the music and… There are many types of writers, but the type that I was… I was completely consumed. When I wrote, I would be lost for weeks. Out of contact. When music started taking off I had to give more time to music, while I was still trying to write and do music. I was being consumed by both and then I was very lucky to meet, you know, the love of my life, my wife. I married my wife and then I had children and I’ve got music and I’ve got writing and then I’ve got teaching, you know. I’ve gone off on a tangent on this, it’s gonna be hard to transcribe, but the writing had to give way, I lost my momentum. I had to focus on something or nothing would get my attention. So, I never thought I would be a teacher, I was gonna be a writer the whole time. It goes back to the story of my wife getting ill in Florida. We decided to go there and get away from the desert and when I arrived in Florida, I was thinking “What can I do here to get away from music and do something else?” and I was thinking “I have this degree in teaching”. My parents had told me what was gonna happen to me almost ten years later and it was like “Wow, I’m gonna try it,” so I went to a high school, I applied and they were like “You got the credentials, okay, come on” and it was fucking mindblowing, it was mindblowing to walk in and try to help young people find out who they are, you know. What age group is that? From 15 to 18, so they’re about ready to do what they’re gonna do, and they need some confirmation, and they need to know that they’re cool, and they need to know that they’re loved, and they need to know that they’re needed, and they need to know that it’s okay to love and need other people. To help them find those things is the beauty of teaching. You expose them to things that allow them to find out who they are. You’re not telling them who they are, but you’re helping them to discover themselves. It’s a beautiful, yet extremely challenging thing to do, to reach out every day to young people. Some days, they don’t wanna be reached out to, you know. We were all young once and it’s been many moons ago for me, but gosh, I sure wish there was somebody at that time in my life that made me feel cool about what I wanted to do, other than my parents, just another person that made me feel cool about it and exposed me to things that gave me culture, you know, and did it in a way so that I could see them and discover them. That’s the secret to teaching: the secret is when they take over the teaching of themselves. You lead ‘em down the path to get to that point, you teach them the skills they need, in order to begin to do those things for themselves. But, it seems that a lot of teachers I had did it in a very negative way. They weren’t positive about what I was giving them, you know, so… I don’t know, there are so many facets to teaching, I can go on an on, I could write a book about it. It’s a tricky job, but I love it. It appears that things are going to happen over the next year that may pull me away from teaching for a while, but I’ll go back to it, just like I someday will go back to writing. These are all things that stay in my mind, I don’t think I can ever not be consumed by anything, I just gotta find the time for everything. Life is way too short. You got that right. It’s like I tell my daughter. I tell my daughter “Why do you complain so much?” you know, “Why do you complain?” Let’s not complain, you know. She’s nine, so… they complain anyway. (laughs) Any stuff you’d recommend me? When it comes to listing kind of questions, my first thought is always: “Hey, I can sit there and talk about a thousand and we can be here the next year talkin’ about great writers, because there are so many of them”, but the writers that changed my life, I’ll go from there… I would have to say Herman Melville, in many ways. For the grandeur of his writing and the way that he could expound upon what it meant to be a human being with faith and make you see the faith in his writing and make it kinda cool. There’s a lot of people that write about faith, but few make faith cool. He had something spiritual about his writing that could touch you and elevate you, you know. It’s very long and wordy, but gosh, when you fully get into one of his pieces, you’re lost. Lost until the end. Henry Miller…
… blew my mind, you know, and he blew everybody’s mind. That’s why he was banned in his own country for years and years. … and he went to Paris. Yeah. What a great thing for a writer to be able to make you feel good – in this world where… this is nothing against females, I think females have their own power, I love the power of the female… but the power of the male gets a bad rep a lot of the times. It’s like it’s not cool to feel good about being a man and the visceral feelings that a man carries. Henry Miller made me feel good about being a man. All the way down to the most basic elements of who I was. Life-changing. “It’s okay to like pussy and like pussy a lot”, you know, and let that consume you as an art form. Sexuality is an art form. Incredible, it changed my life… Classic American writer: F. Scott Fitzgerald. The way he could turn a phrase could bring tears to my eyes. When I would reach the end of an F. Scott Fitzgerald book, I would literally have a tear rolling down my cheek… I’m even getting tears now, just thinking about it. Phrase after beautiful phrase after beautiful phrase, for a whole book, a whole novel about these tragically beautiful people and you reach the end and it’s just… (sighs)… almost like Sade, you know, it’s melting in a very romantic way. That’s what I loved about him, it changed my life as a very early person. Uh… I’m trying to think of another really good one… Zora Hurston, you know Zora Hurston? She’s a black writer, right? A Southern black writer who came along at a time, during the Harlem Renaissance of the 1920’s in America and truly expressed the hardships that the African-American race faced in our nation, you know, but also could make you laugh and show what was going through her mind. You know I was talking earlier about seeing the world in different ways… The way she brought her culture into my white Caucasian world and made me feel the power of her words and her culture and see the beauty in it, that’s Zora Hurston all the way, all the way. Amazing writer who had a very tragic ending to her life. I had a similar sensation with another black writer… when I read Ralph Ellison’s Invisible Man. That book may have taught me more of ‘the black experience’ than anything else… Yeah. There’s two ways of taking Invisible Man: some say it’s not about ethnicity, but that it’s about sexuality and they say Invisible Man is about homosexuality as well. You’ll see that to when you read it again. Anyway, both arguments represent anyone’s that’s been suppressed. Homosexuals also feel suppression, you know, in our world… Here I am preaching diversity tonight, man (laughs). You may not be homosexual, but love you fellow human beings and accept who they are. Homosexuals have been here forever, you know, so why not accept that it’s natural and love ‘em, embrace ‘em and let them be? For Chrissakes… I don’t know, but it’s a fucked up world, man. But you know, I think I just mentioned all-American authors… I love many world authors, but those came to my mind at first. Finally… any plans for a new album maybe, somewhere in the future? Are you already thinking about it? Hermano has a new record coming out in October and we will be here in November. I would like to try to get the new Orquesta-record going no later than next summer and hopefully have it out in the fall as well. The fall of 2005 or something. I’m a busy man, you know. Like I said, I got a wife, two daughters, I teach for a living, I’m playing music. It’s hard for me to be, like, a back-to-back-to-back-to-back album producer, you know what I mean? I’ve got to… I got a little baby girl that’s a year and a half, that I’m just longin’ for, right now, that I got to pay attention to. She’s got to, like my other daughter, they’ve got to know who their daddy is… that’s the key to life, that’s what my life is about: my girls. After that, there’s stuff that’s about me, you know. I gotta have something for me, too. It’s hard to do one record after the next, I have to split things up a little bit and do what I can, so… Hopefully another Orquesta-record in the fall of 2005, we’re gonna keep the thing active and try to do a lot of dates over the next year and develop new material and, like I said, it’s only our 7th show ever. If you add up the number of times we’ve rehearsed and the number of times we’ve played, you’d have a number less than thirty. So, now that we’re actually performing together and becoming even more cohesive, of a unit, there’s gonna be some new flowers that are gonna spring from that ground, you know, and I think that if we keep it active, by the time next summer rolls around, we’ll be bustin’ for another record. And don’t forget to come back! Thanks for the interview! Thank you, man. |
Ain’t
it great when your expectations aren’t met? Granted, it can be
infuriating when things turn out to be unacceptably bad, but when they
exceed your presumptions or turn out to be something that’s
totally different from what you expected, so that you really have to
tell yourself to make that switch, it can be a blast. Orquesta del Desierto
is a “project” that’s been around for a few years,
but never really materialized into this substantial band before.
People from different areas with different backgrounds joined each other
to create the sonic equivalent of a ride through the desert. Last year,
Dos – the project’s second album – was released
and the recordings must’ve been so much fun that the “band”
actually decided to take it to the road. Lucky people that we are, the
Belgians were treated to one of Orquesta’s first concerts ever.
As you can read in the live review, it was an unpredicted delight and
when I talked to Dandy Brown after the show, he seemed to have enjoyed
himself as much as I did. Like the concert, the interview’s also
something different, but if you wanna know more about the charm of Sade,
the magic of the high desert, books and teaching seen through the eyes
of a guy who still values a sense of wonder higher than almost anything
else, please continue…
Cincinnati,
Ohio. And uh, those influences just came out of me. I worked in a recording
studio there for a while and so I was doing a lot of session work with
people that were reflecting how bad the racial animosity was in their
music and it just started to filter into me, and these heavy blues riffs
just came up. But before Hermano, I’d played in all kinds of different
bands. I’ve never just been a heavy blues player, or just a jazz
player, or just a Latin music player, you know. You gotta see the world
in more of a broad sense. That’s what’s fucked up with the
world: too many people can only see things one way, you know, and it
filters down to even people that like music a lot. “Only heavy
metal is good” Now that attitude drives me crazy. Or only stoner
rock, or pop music. That cuts you off from so much diversity and so
much of the beauty of what music is. Music is a reflection of who you
are and where you’re from and the personal moments that you share,
in that environment. People get too caught up in other things you know…
the style. The style don’t mean shit, you know. When
it feels good, it’s good. It doesn’t matter if
they’re wearing, like, iron studs on their arms… if it feels
right and it’s cool music, it’s good. Wearing a cowboy hat
on stage… if it feels right, if you feel the passion they’re
giving you, then it’s right. There’s great music in every
genre and there’s shit music in every genre, you know.
after
time, that woman has put out beautiful pop music and I know ‘pop’
is kind of a taboo word among many of the people that like stoner rock,
but uh, even in pop music, there are people who deliver it with total
integrity. Prince, Sade… I mean, those people are pop artists
that are fuckin’ bad-ass! There’s two right there
that people probably would be surprised by if they listen to Hermano.
Because I’m a huge Prince fan and I LOVE Sade, you know…
Uh… my wife gets jealous at Sade, you know (laughs).
I wouldn’t leave my wife for Sade and uh… (to mic)
Lisa, if you ever read this!! (laughs)… I think that
Sade has one of the sexiest voices as far as true sex appeal there is
out there. I love a lot of female singers, but she just melts me. I
mean, when I hear it and I’m in a situation with my wife, you
know, it’s like “HELL YEAH”. This is groovy baby,
let’s groove!
Yeah!