Here it is! The big long interview from Muckraker issue #7. Looking at it again, there appears to even be some bits that were cut from the final print...bonus tracks! Pinch you nose, open wide, and take it all in one gulp...more to come!
Patrick Marley interviews Phil and Joincey of Inca Eyeball by mail (reprinted with kind permission from Muckraker)
How did you come up with the idea behind Inca Eyeball? What were the circumstances of the first session? When was it?
Joincey: I can't recall when it was.... the reason was, umm. No idea. Phil wanted to do it. The first session involved a song called "Cat Diagonals," me playing a radiator and Phil almost singing a real song. Actually, Phil had done one or two songs solo under the ¥ moniker prior to "me" happening.
Phil: I met Joince through a mutual friend, Mr. Matthew Tunnicliffe. Me and Matthew were making a film about alien biscuit thieves and Joince had a bit-part as a biscuit junkie. The film was (thankfully) never finished, but I did get tapes of Joincey's amazing musical combo Monica. Inevitably, Joince left Monica pretty quickly. I asked him if he wanted to form a band with me to record short, improvised pop songs. And, sensibly, his answer was "no." But one day I was at his house when he was putting a compilation tape together for someone. I suggested that I sing a song to go on the tape, and Joince accompanied me on the electric fire grate. The song was "Cat Diagonals," and soon we had a "band." If I remember right, we were only going to do one tape, for the Oska label, which was a big influence on me at the time. In fact, a good deal of the UK "underground" (or whatever you want to call it) wouldn't exist (at least in its present form) if it were not for the genius of Jod and his early Oska releases. You can definitely lay the blame for Tea Culture, Prick Decay and a few others at Jod's doorstep in addition to Inca.
Where does the band name come from?
Phil: I was working at what I believe you American types call a "hardware store" (to any Brit slobs reading, that's "a DIY shop") and "Inca Eyeball" was the name of a type of spotlight I used to sell. Either that or something very similar, from which I derived our stupid name. Incidentally, I had the name about a year before I had the band to go with it.
Explain Inca's process. What is the typical session like? How much preparation is involved? What would an unedited Inca tape sound like? Is the order of the songs on the tapes the order in which they are performed?
Phil: We turn the tape recorder on and sing the songs. The lyrics are usually written in advance of the session. On the early stuff I'd either make up lyrics on the spot (usually a disaster -- the songs would have thirty second instrumental intros while I mused over which five words I was going to sing!) or write them immediately before we did the song. There's no discussion (except maybe one of us will say, "This should be a slow one," or whatever), no editing/mixing/overdubbing of any kind on the songs and, this may really surprise you, but... we've never practiced! An unedited Inca tape sounds pretty much the same, except for a bit of shouting/laughing/crying or what-have-you between the songs. Joince does the compiling, and the songs usually aren't compiled in the order they were performed in. I think just about everything we record is used, except for a few real disasters.
Joincey: A session is only "planned" in as much as we pre-write the words. Otherwise, it's "Oh, let's do Inca on Saturday, Joince...." And I usually say, "Oh no!" (it's always at my house and it's too long and noisy). The session involves doing an "exposition" (instrumental), then Phil doing 90 songs, then me. Editing? Pha! Sometimes a song goes too badly and we start again, but 99.99% of everything performed is used. Exceptions? -- a cover of Frankie Paul's "Gun Pon Cock".... We'd never live that down (?). Unedited ¥ tapes would be.... funnier (Phil shouting at me)... lots of talking... less hiss (?). I "edit" all releases, the order of songs moves about as I see fit (some songs are stand-out tape-beginners, etc.)... or if I can be fucked to rewind and fast forward some stupid tape for 99 hours....
How does improvisation fit into Inca Eyeball? Do you ever perform the same song more than once? Do you ever re-use lyrics?
Joincey: Improvisation... Well, I s'pose.... It's not free improvisation really but, in the main, "composition" as such is left at the door with the boots. It's not so improvisational: it's Phil doing a few chords, me tapping out a rhythm, me doing a casio solo, etc. Sometimes we say, "Make this one a bit more improvy...." before we start.... Songs don't get re-aired. They would if we did gigs.
Phil: The songs are improvised, but they are improvised as songs, i.e. not free. The songs seem to have a regular structure (verse/chorus/bagpipe solo/bridge/fade-out or whatever). What we do (in my point of view) is to imply a structure which seems to be larger than the actual song fragment which is performed. I tend to think of it as being a bit like Raymond Pettibon's cartoons (I was that teenage Black Flag fan...), where you just get one little fragment (usually one panel with a caption), but the reader fills in the rest of the narrative (or at least what he/she thinks is the rest of the narrative) her/himself. Before I get struck by lightning for being too smug and pretentious, I'd like to add that we struck upon this process entirely by accident. It was not calculated in any way. There's no plan behind what we do. It's just playing. But certain structures, patterns, and ideas tend to fall into place by themselves. Er... where was I? No, we don't perform the same song more than once, except the cover versions and "Death Line In the Black Marks of the Crossword," which we did at our first "gig" (man). I suppose that would be like covering an improvisation? We sometimes re-use lyrics if the first attempt at them is too shit to release.
You mentioned that you were not entirely pleased with the live performance. Do you think Inca could work as a live group?
Phil: It was a little thing at a friend's Christmas party. It was pretty bad, and nobody was paying attention really. We did the same thing again this year, and it went quite a bit better. I enjoyed it more, anyway. I'd certainly like to do Inca live. We've been sort of offered a gig (by the esteemed Scum organization) and we'll do it, if my often-stubborn colleague agrees to it....
Have you been accused of being lo-fi? Why do you reject it so vehemently?
Joincey: I'm sure we have. Oh, we were so offended! It's just a stupid term. Forget that, you know? Why bother with that? Seems ridiculous to me.
Phil: The main thing I hate is the ridiculous notion that because music is "lo-fi" (home recorded, "amateurishly" performed, etc., etc.) it's somehow more "genuine" or emotionally fulfilling or better for your bowels or whatever. This is clearly a load of old cobblers. This is why all the "sad" sounding Inca songs are written to a formula (the chord sequence G-D-C crops up again and again) and have totally ludicrous lyrics. Everyone calls us "lo-fi" and I hate it!
Did you choose to cover "Maypole" because the lyrics were similar to Inca lyrics? What inspired some of the other covers?
Joincey: Ask Phil. I think I only "chose" the Frankie Paul cover (see above)...: why that? I just liked it! Oh, I "chose" "Myth Song" as a target (hey!) for our skills too. Again, don't ask why. It felt right at the session.
Phil: I like the lyrics to "Maypole," but never thought of them as being similar to Inca lyrics until you mentioned it. Someone taped me the Dark LP and I rather liked it (I have an occasional fetish for early 70s British rubbish -- surely nobody in the world loves the film Psychomania more than me). I read an interview with them somewhere in which one of them said that the song (or maybe just the bass part) was just D all the way through, so the logical thing to do was record an Inca cover which was just D all the way through. I missed the first verse out 'cause I couldn't make out half the lyrics. Nothing "inspires" the cover versions other than us wanting to do them. Godz covers are especially fun.
In what way are the "Kissed on the Mouth" songs related?
Joincey: Difficult! It's not the sort of thing that "explains" well. It's a phrase that... seems to work? It's all sexual fantasizing, me issuing pleas to all these people, subliminal, whatever! The first two were "Ismael Lo" (an African singer/guitarist... hopeless) and "David Thewlis" (piss-poor UK actor). The first was instrumental. The second, I saw Mr. Thewlis in a film or play, or whatever, and he was on a train, or some such. They (songs) aren't probably related at all... other than the title... i.e. they don't (really) have "common" themes. Maybe. You tell me. There are many Inca "themes" (as in the titles). "It's only a..." etc., etc., etc.
Phil: They have three things in common: They all feature the words "the day I kissed" and "on the mouth" in the title; they're usually written by Joincey; Joincey hasn't really kissed any of the people he claims to have kissed on the mouth. Except Maxine Buttery. Perhaps.
What is the source of the "Two Fully Grown Men" song ["Bile Truncheon," misprinted as "Bib Truncheon" on C-92]?
Joincey: I don't recall that. Must be one of Phil's...? Lyrics? Oh, I'd rather not! I just always have paper, pen with me and write down all the dumb things I see, hear and feel compelled to use them. Why not Inca as vehicle? It's developed into a "train" of its own now too. They are "serious;" I'd imagine many (!) people hearing them assume they're "funny" -- it seems that's how folk see them. [Later:] The "Two Fully Grown Men" quandary got to bugging me. It is one of mine, innit? I'm sure it is. It's hard to recall, and I can't find a copy. Isn't is "Two fully grown men/hold one another," etc.? "One is twice as old...." I'm doing my best memory-impersonation. "It's not even dirty, they aren't even lovers." Is it a father-son song? Man-boy love? Rape? I can't be sure. Besides, don't I want to carry on being oblique? Oh yeah, and "It's so unnatural that they aren't lovers"... "gently rubs the belly of the other." I recall. It's an evocative little image, no?
Often the relationship between song and title seems tenuous at best. Is the correspondence always clear to you? What are some of the less obvious ones?
Joincey: The "relationship" of lyric > title is a lot of the fun for me. It completes the song. When you only do two lines, two words in a song, a decent title caps it all off. I hear Phil sing his songs, and I check out the titles and I'm confused... Maybe he is being deliberately obscure! Not me, sir (ha).
Phil: Some of the song lyrics logically flow on from the title, sometimes not. Sometimes they're word associations, sometimes they're anti-word associations (where you think of a tantalizingly evocative title then proceed to write about something else.... I've recently been pinching Gertrude Stein's let's-frustrate-the-reader's-expectations strategies). All of the songs have an inner, personal meaning for me, which is usually more to do with the sounds of the words and the rhythms they generate, and responses to certain (usually archaic) words, rather than what they mean when they're all strung together. We're back now to the you-only-get-part-of-the-picture thing discussed a few questions ago....
There is an element of humor to almost all that you do, yet melancholy hangs around certain songs (Snow Over Interstate 80 comes to mind). Do you try to balance the tapes with songs of disparate moods? Do you view them as disparate?
Joincey: No; no. "Certain songs," mmm, interesting.
Phil: My favorite types of humor are always tinged with melancholy. Things which are absurd and/or ridiculous sometimes become desperate and traumatic when you actually think about what they could mean for the person expressing them. And vice-versa, of course. Jean-Louis Costes' work is particularly brilliant in its embodiment of this duality. He's probably the biggest single influence on Inca Eyeball.
When I asked Chris [Freeman] what I should ask you, he said, "How can they record all that shit so fast?" Well?
Joincey: Easily. It's just how it works for ¥. Simple.
Phil: "Shit" is the operative word.
Do you approach the recordings for the vinyl releases any differently than you do for the cassettes?
Joincey: No. "For best results, pretend this record is a cassette." CD is better (for ¥), roll them CD companies up there! Come up, fools!
How long have Betley Welcomes Careful Drivers and Face Like a Smacked Arse been operational? What are your opinions regarding the cassette as a musical format? Do you resent the anti-tape view expressed by Forced Exposure and others? How do you feel about the fact that most of your releases won't be able to survive more than twenty years? Why do you feel that tape labels shouldn't use catalog numbers?
Joincey: BWCD -- longer than FLASA. FLASA -- 18 months? Tapes are cheap -- and ignorable too!
Phil: Betley Welcomes Careful Drivers has been going for five years now, which is kinda funny/kinda sad when you think about it. I'd like to release 7"s/LPs/CDs as well as cassettes, but finances don't permit at present. Also, the cassette is still the best format for a lot of things. I actually think that CD would be the best format for Inca. Not because of the sound quality (which is clearly worse than that of vinyl) but because you can select, program and randomize lots of short tracks. Somebody out there must want to release a CD of us! C'mon! I've got cassettes more than 20 years old which still play perfectly. Besides, you can dub them onto new cassettes the night before they magically decompose (like Cinderella's glass slippers) when the clock strikes ten years, and all will be well.... To quote the god-like Thomas Eicken, "Forced Exposure is for old people." Who cares what they think? F.E. used to be vehemently anti-CD, but now they don't seem to release or distribute any other format. Tape labels shouldn't use catalog numbers because collector scum, like Forced Exposure, live by them. Also, I once read that the woman whose phone number is the same as the catalogue number to Michael Jackson's Thriller LP used to get dozens of phone calls every day from rabid Jackson fans. I wouldn't want something like that on my conscience....
Can you map out the various groups with whom you are involved? How much bleed-through is there from group to group? Is it really essential to record under so many monikers?
Joincey: Yes, they're all different groups. It's all me, Phil, Marky [Loo Loo].... I actually do far fewer projects now. ¥, Wagstaff, Coits, Front Door Enemy... others will carry on, but not today.
Phil: It's not a matter of "recording under different monikers" at all. Inca sounds nothing like Tea Culture sounds nothing like Ashtray Navigations sounds nothing like Hock sounds nothing like Front Door Enemy sounds nothing like Dogliveroil and so on. In fact, I'd even go as far as to say that the "me" who plays guitar in Target Shoppers is a different persona from the idiot who sings in Inca. They're all totally different bands. It's just some of the people in them look alike....
With your other projects you often have guests, but Inca's lineup is not fluid. Have you ever tried involving other people in it?
Joincey: We don't really have guests in other groups, they're all separate and defined. Neil [Davies] was once "in" Inca on piano. Me and Phil are not a "team." We are not the "hub" of all "this," OK?
Phil: We've tried involving other people in Inca, but they usually don't turn up. We were meant to have a permanent clarinet/flute player at the beginning, but she never bothered coming to the sessions. We have had "guests" earlier on, namely Neil Davies and Andrew Bennett. There may be more in the future. Who knows?
Clint [Simonson] has suggested that Inca songs work in part because of the fact that you string short songs together -- that in effect you create a suite of songs. What are your thoughts on the Inca formula? Do you feel that it is necessary to have several songs presented together? Were you satisfied with the cassette single? Where does the 45 minute song fit into this?
Joincey: There is no formula. Nah... the 45-minuter shows this! (Ha.) Two songs, 200, it's fine. Whatever! If it works best for you/the listener it'll.... continue to be? But formula? It's (¥) only a "formula" in that... Well, we go to my house, we play, I edit the tape, Phil packages it, "sends it off...." The duration of a song, or number of tracks -- it doesn't come into it for me. Phil jokes about Inca being a triumph of quantity over quality. Maybe an Inca 7" with 2, 3 10-second songs on it would be shit. But we wouldn't do that 'cause it'd be a waste of vinyl-space. Cram as much on as you can. An Inca song presented alone? I'm sure it would "work." Why not? Where would it be presented so? On a compilation? There are comp tracks.... I dunno, maybe you're right, it does work better in bulk. I don't mind.... (The cassingle is great. The best reaction I had to ¥ was to "Tin Blue Puzzle." Phil Smith (Scum) said it made him cry.... Neat.)
Phil: I'm fascinated to hear other people's interpretations of what we do, and Clint's suite idea is particularly interesting. I've never thought of that before -- we certainly don't conceive them as anything other than individual songs. There's no conscious attempt to string them together in any way, except to put them all on an "album" the way every other band on the planet does. There's been individual Inca songs on compilations that have worked OK in isolation, I think. In fact, the song on S&M Volume 2 is one of my all-time favorites. I like the cassette single too. The 45-minute song is a different matter entirely. It just seemed kinda inevitable that after doing a million little short songs, we'd do one that was really long. Like a lot of Inca things, it was done as a semi-joke because we thought no one would be listening, but then we find ourselves having to justify our stupidity in a top-ranking improv zine. Oh well, that's show business....
Second interview from Muckraker #7: Patrick and Phil in a phone booth, Joincey on the other end of the line! You can see it in your mind...telecommunications verite.
This interview was conducted on the spur of the moment in a London phone booth. Phil Todd stood by in person; Anthony Joinson spoke from Stoke-on-Trent.
I don't have any questions prepared. I guess this is an improvisational interview.
Joincey: Ask us about our amplifiers.
So, why don't you tell me about your amplifiers?
Joincey: Um, they're very good.
Phil: I haven't got one. It doesn't work. He spends too much money on amplifiers, I know that.
Joincey: I spend too much money on amplifiers?
That's what he says.
Joincey: I wouldn't say that. I spent fifty quid. Do you think that's reasonable?
So what's the basic approach to recording. You seem to have a lot of instruments going. Do you just have these things laying about and you decide you're going to record an Inca tape?
Joincey: It's not really that many insturments. It's whatever you can find. [Unintelligible].
Phil: Is this picking up, by the way? Or would it be easier to hand the phone to me and then I can say what he's saying.
[After handing the phone to Phil]
OK, we were talking about your instrumental approach. [Talking to Joincey] Well, what happened was, you were compiling that tape for that friend of yours, who was it? He was doing a tape for somebody anyway, a compilation tape. So I thought I'd come 'round and sing one song. And it was "Cat Diagonals," wasn't it? I played acoustic guitar and made up this song.
Did you have lyrics written up?
I wrote them very, very quickly beforehand without really thinking about them. It was kind of like automatic writing.
What was the subject matter?
Don't know. He says we always write them out beforehand. We don't spend much time thinking of them, though, do we? They just sort of -- sudden inspiration! [laughs]. Is this bleeping? Yeah, it's bleeping, you want to stick another coin in there? [Prompted by Joincey] Next question!
So initially it was entirely improvised?
[Speaking for Joincey] No, it wasn't really, was it? I wouldn't say that, that's a bit... a bit not true. Though it's not really.... it's just.... This is very confusing, this, doing it like this. Um, what was I saying? Well, what happens is, on some of the songs either you or I wrote the words very quickly before we played the song. I tried to improvise lyrics and music at the same time but I found myself doing endless guitar bits at the beginning while I tried to think of some words. Or I just came out with total crap, as on that Destroy All Music tape, all copies of which should be burnt. Don't you think? Next question!
So, how much do you talk about a song before you record it?
About minus a second. Well, sometimes you say, "This one should be a D-G-C," or, "This should be a slow one."
Do you end up talking about a song longer than the song lasts?
I'd say we do for the songs which last one second.
What's involved in a one second song?
What's involved in a one second song? "Dah!" Or "Bing," or "Cling," or that kind of thing. Not much more than that [laughs]. I'm at a loss. Ask us about tapes or records. Or some of the lyrics or none of the lyrics or some of the guitars or the amps. We already talked about the amplifiers. We don't really use amplifiers, do we?
What is your lyrical inspiration?
What is your lyrical inspiration? You can answer this one -- you've got some interesting things to say about this one I'm sure. Joince says he hears someone say something funny and he tends to write it down. Your mother says a lot of funny things, doesn't she? Your mother has a lot of witty repartee. A lot of racist comments, as well, your mother has. "Were There Coloreds?" on the first two cassettes were based upon things that your mother said. We did a band called Snake Disco with Chris. The people next door to where we were playing were saying, "Is that the Temptations?" And Joince told that to his mother, and she said, "Why were the coloreds there?" Great logic! So that's basically it. You hear people say things at work. Or see a stupid picture or have a stupid dream or have a stupid thought or you have a political manifesto or you have to listen to people at college talking about Marxism and then you go and write a song taking the piss out of them. Or bus rides, yeah.
Who held their penis up to the light? (ed note: reference to a lyric on, uh, I think Snow Over Interstate 80. Phil? Joince? Care to dispute my memory?)
No one. Simon [Morris] took a picture of his penis though, didn't he? But he wouldn't hold that up to the light, it might burn. You'll keep it forever, did you say?
Who writes the lyrics and who does the singing?
Well, the person who sings the song usually writes it, there's only a few exceptions to that. Like there's that one that you wrote that you said should sound like Billy Bragg so you had me singing it, because I've got a big nose like Billy Bragg has. And I'm a leftie. It's fairly equal. I think on the early tapes it was mostly me because you weren't too into it. But now it's mostly him because he's got loads of spare time because he's a dole-dodger. And I've got to go to college and hold a job and be a respectable member of the community, not like these people living on benefits, eh? [Pause] Next question!
Outside of Minneapolis, how well recieved is Inca Eyeball?
Did you hear that? He was playing Tunney the LP -- Matthew Tunnicliffe [of Tea Culture, sometime-Target Shoppers dancer] -- and he said it was quite good. But don't quote me on that. And he was choking -- choking or joking? -- he was choking as well last night, laughing at the songs. And he had to spit out Joincey's window he was laughing so much. Jase [Williams of Archaic Braille, ex-I'm Being Good, Prick Decay part-timer] said he got an Inca Eyeball tape that he had to switch off because it was so bad. Joince says that's the reason we should do more of them. Everybody hates us I think, don't they? Yeah, people outside Minneapolis don't really count -- can't count, actually. Can't count past five. Can't count past 300. Which is what? How many singles there were. There were more than that I think. I think there were 400. How many copies has he sold, do you know?
Maybe half. Tell me about the Inca Eyeball live performance? Was there only one?
There was only one, yeah. Will there ever be one again? That was at Neil Davies' [of Tea Culture and Pomposity; occasional Inca guest]. And Joince wouldn't do any songs because he's a wuss. And he couldn't think of any lyrics and he didn't want to make any up. So I did -- we did -- a few songs and we did some Godz covers. We did "Radar Eyes" and it sounded -- who was it that said it sounded like the Proclaimers?
No, not the coloreds, the Proclaimers. They're Scottish, that's worse. But so are Dylan and Lisa -- and they're the worst of all. They're colored and Scottish.Colored green, I believe. Oh yeah, the live performance. It didn't go down very well, did it? Joince says there were a lot of people skinning up in the corner and that's a bad point.
A lot of people what?
Skinning up. Rolling their marijuana cigarettes. You can't hear the music on the video -- you can't hear the voice. You can hear the voice talking about skinning up, which is probably the best way 'round, really. If you heard the music that might be quite bad.
Did people walk out?
There weren't enough people to walk. There were about five people. There were more than that -- there were about seven. They were too stoned to get up anyway. Tunney said it was quite good, even though he didn't hear any of it. He's a bit of a diplomat. There's other words for him.
Are you going to be inspired to play live again?
I'd quite like to do Inca live, wouldn't you? You don't like doing anything live, though, do you? Except Backdoor Fucking Enema. I'd like to do Inca live. We'd have to write a load of songs, though. We'd either have to know what we were going to do and do old songs or prepare new ones.
Do you ever repeat songs? Other than the many versions of "Were There Coloreds?"
They're not versions, though. They're seperate songs. They're sequels. They're additions, Joince says. They seem to have a similar flavor to them. Yeah, they have, haven't they? There's lots of different songs that have sequels, he says. My what? Oh, my ones with the three blocks -- there's one on the LP -- and the arrows and that. Back and forth, yeah. They're not all necessarily the same. We repeated a couple songs when we played live, though, didn't we? We could probably repeat something like "Comfort Station Crocodile Clip," couldn't we? We could repeat a lot of them it we wanted to. It's not that hard. All it is is bashing a few tins about and talking a lot about coloreds. That really says it all, doesn't it? Have you compiled this tape for Emil [Hagstrom] to release yet, the C-15? He's getting on it tonight. It's going to be called Fuck the Legal Stations and the cover's going to be a big lamp turned into a radio. You'll do that tomorrow? So, it'll be ready for me next week then.
Anything else or should we finish it up?
I'm willing to go on if you are. Joince says he's willing -- he says he's enjoying this. Most fun he's had all hour. You don't know what you were doing the hour before that, do you? What were you doing? Painting the fence? You were not, were you? You were watching Baywatch or something. He was watching Jim Davidson. Do you get a lot of your song lyrics from Jim Davidson?
It seems you two have a lot of other projects. How important is Inca Eyeball compared with your other bands?
There's not as many these days. Joince used to do about 20 different things, he says, but now he could probably count them on one hand. Yeah, that hand you've got with about 22 fingers on it. That's why you can't play guitar very well, you've got too many fingers. That's why you can play acoustic guitar so well, because you can hit every note. Is this thing bleeping? He's putting another pound in -- he's wasting a pound on us. How important is Inca compared with all these? Well, it's got more records out or something, hasn't it? You could put that as a way of it being important. What do you reckon? I think it's important. No, I don't. I don't know because I never thought Inca would do anything because everyone hated it and it wasn't really very good and then that silly American wrote to us and asked us to do a record. And that was it basically. We used to half-joke about doing a box set CD. Well, we used to always joke about doing a box set of Nipponese Roofing Felt Poofters CDs as well, but that doesn't mean we'd do it. Joince says he always thought Inca Eyeball was more important than the Niponese Roofing Felt Poofters. That puts it all in perspective.
If nobody likes Inca Eyeball, how come you have fifteen tape labels willing to put out your stuff?
Because we like it.
How do you coerce people to put out your tapes? With black record sleeves? (Ed. note - From Muckraker editor Patrick Marley: "When I did the Freeman/Mojdehi record, they wanted black inner sleeves. The only place we could find them was a place in the U.K., and it was really expensive to order directly. So I went through Phil. He used that as blackmail to get me to put out an Inca tape. Not that I minded. Much.")
He says you can put any rubbish out if they think it'll be on the cover of Rolling Stone. I think people who put them out don't listen to them much.
So you fooled these Americans into putting out your records and now a bunch of English people want to put out your cassettes.
Yeah. I'll go with that.
Still want more? You masochist! Okay, there are more interviews to be printed, including a few questions Yours Truly asked the Boys in Puce, but they're coming later. Wait your turn. Have a fig newton and stare intently at your carpet. Isn't that cool the way the patterns seems to change and move about?
Last updated: August 16, 2000