Third Handout - Punkin' the Blues (Profanity Meter Set to High)
(Please note this post has more than its fair share of swearing, even for this game! Please don't read any further if it might be a problem.)
Punking the Blues
by Jennifer Malone
"We're here, we're pissed, we're making great music that people buy. Who gives a f**k about the past?"
I had debated the question for a long time. We were here to talk about their new CD after all. But, Christ, I'm only human. How could I resist? I doubt there's many of you reading this that wouldn't have wanted me to at least bring it up. Well I did, and that's all I got.
On with the show.
If the UK's most promising new punk rap quartet are in the least overawed by their fame, they don't show it. An hour late to the interview, unshaven the lot of them (even Amy Blue looked like she was sporting a five o'clock shadow), stinking to high heaven of booze, puke, and cigarettes, they fell into the Hilton's most expensive upholstery like they were collapsing onto their unmade beds after a night on the town. If the four pairs of bloodshot eyes, all looking like they'd rather be in rehab than talking to me, were looking a little glassy, and if the four sets of infamous blue-black spikes of hair atop their heads were looking a little, how can I put this, limp so early in the morning, their make-up however remained, as always, impeccable. Sporting the unblemished ashen-grey face paint which has become their trademark, there could be no doubt that I was in a hotel room with the Blueboys.
If I made a surreptitious show of hiding my little cup of Hilton Earl Grey under my notes, I'm sure you'll understand why. This was rock 'n' roll, not breakfast with the Queen.
The usual pleasantries were exchanged. Cigarettes were lit. Pitchers of - of all things - cider were ordered. The tape recorder turned. We started talking. The conversation was hard and loud, but these guys are surprisingly easy to talk to. Cogent, articulate, and with flashes of outright intellectualism, talking to any one of them is like talking to three people melded into one: the image, the music, and the soul.
You just played the last Manchester gig last night. How did it go?
Darren: Live is always new, always hard. It's like… Amy said it best the other night… You can get constipated in the studio, but your ass is to the wind when you're on stage. Whatever comes out flies. Anyway it was good, it was… got past a few things, got stuck on a few new things. It was good.
You left a lot of people angry when you didn't turn up at Hammersmith at the start of the tour. What happened?
Amy: Y'know, a lot of really very unpleasant s**t got said about that gig, a lot of really black-hearted people got in on it. Yeah, we f**ked up, but Christ we're not the second coming or anything, you know? Mistakes get made. We found out who our friends were, I'll say that.
Aaron: We were as pissed off about that as anyone else, and y'know, we did turn up, just a few hours late.
Yeah?
Aaron: That's right. We showed up at the stage door at 4 a.m. (laughs). I think we frightened the night security away. Anyway, they wouldn't let us in so we slept on the bus in the car park. Nice view from there.
Amy: If anyone with a ticket had still been there, we'd have set up in the car park and played the complete set, I guarantee it.
So what did happen?
Darren: Got drunker and higher than we should have the night before, simple as that.
Not for the first time…
Black: We make no apologies for that.
Darren: I think that's what scares people about us sometimes: not the music or the various s**t, but that we're not looking to change. We love who we are, what we do, and we're going to keep doing it as long as it pays.
What do you think sells, the image or the music?
Black: First, we don't subscribe to that 'image' bulls**t. This is what we are. We're not gonna dry up, and wipe the make-up off, and comb our hair when we stop playing the tunes. This is it, what you see here. The music, the lyrics… everything comes from that.
Aaron: Without one the other loses something essential. We express who we are from the music, and how we look reflects on that. You can't split them apart.
Black: (Awed voice) That's deep.
A manager you once knew very well said: 'Managing these guys is like controlling a drunk football crowd with a conductor's baton. The very best you can hope for is that you'll get it stuffed up your ass-hole for the trouble.' Is that fair?
Amy: First, remember that guy stole a shitload of money from us and is currently in jail.
Aaron: But otherwise, yeah, totally fair. (laughs) Look, if we could lay down tracks in a balmy hayfield with the sun glinting off our guitars, or some s**t like that, we would. Maybe it's some kind of weird group claustrophobia going on, but the four of us, in a room with a glass wall and disembodied voices everywhere… (laughs) That s**t ain't never gonna work. I salute anyone who gets anything worthwhile out of us.
And you figured the best solution was to manage yourselves?
Black: After all the legal b****x was done with, we were all just so f**king tired and pissed off. But there's something about music, y'know, you can derive an energy from it, it keeps you going. A month after Rich was put behind bars, we were back in Amy's garage hammering the s**t out of a new song. It felt great.
But it hasn't been an easy road since…
Aaron: No, and to be honest, some of the stupid s**t we've done since then was partly because of that. But you learn, y'know, we're… We keep learning.
Amy: We've made every gig since London, for instance.
Darren: And we get to keep all our money now. That's the really cool bit (laughs).
Speaking of money, how have you handled the fame thing? You went from nobodies to the front pages of the major tabloids in about eight seconds. Was it really an overnight success?
Darren: Actually it was. We didn't 'pay our dues' or any crap like that. I think we did, what was it, two gigs before we got signed?
Amy: Yeah, two.
Darren: So that was all kind of wild. We went from practicing in the assembly hall at school, to playing about with an 8-track, to a three-album deal in the space of about six months. There aren't many bands who can say that.
Was it rough? The signing-fee was all over the trade news. The label must have put some pressure on you to justify such a massive investment.
Black: That was bad for a while. They were all, 'We've never laid out as much money up front as we have on you four, so make it worth our while'. And to their faces we were good boys and girls and promised them we'd do our best and behind closed doors we were like (gives interviewer the finger to illustrate), 'f**k you. What were we going to say to all that money, no? If you've made a bad business decision, that's your f**king problem.'
Aaron: But that was kind of a good attitude, y'know. No-one at Carradine was smart enough to have done it deliberately, but it made us mad, motivated us. 'City of Angels' was much f**king madder than it would have been if they'd left us alone. We weren't making songs like that in the school hall, I can tell you that much.
'City of Angels' debuted low and then took out a mortgage on the number one spot for seven weeks. What was that all about?
Amy: (Shrugs) No f**king idea. That was just ridiculous. It went in at, I think, 61 or some dumb-ass number like that, and all four of us were like, 'Well, thank you very much for the retainer, we're going to go and spend your money. Good luck with your next big thing.' But then…
Black: Then it went up like a rocket. It was amazing. It was like the 61 spot was the blue touch paper and stand back. We couldn't believe it.
Do you think it was a British thing?
Black: Well, we still can't sell s**t in America, so, yeah (laughs).
Darren: I think people were ready for a decent British metal band, the market was ready, the industry was ready. Loads of people got behind us. I think it was the Tuesday when we got a phone call from the company to say that sales over the weekend had gone up by a hundred times or something stupid like that. Wednesday we were in a limo to some bulls**t fund-raiser, Thursday we were shooting big, f**king ultra-expensive promos for the album, and Friday we were being told we could expect to millionaires off this CD alone. I had to check I wasn't whacked out three times a day.
And?
Darren: Well, yeah, I was most of the time, but I still knew what was going on (laughs).
Why did Carradine make the decision not to release a single?
Aaron: At the time we thought they were complete a**holes, really A-1 primo dick-heads, but we had to eat that s**t after the album went triple-Platinum. They've got some good marketing boys down there.
Amy: They told us some crap about the 'singles chart summer demographic'. I don't think they even believed it themselves.
Black: The reason was because they were scared, it's as simple as that. I actually heard an early radio edit of 'Brick Chick' and the lyrics might not as well not have been in there, y'know? I think they just left in every seventeenth syllable because they got bored of blanking the swearing. Man that was hilarious. But, I've gotta say that we feel pretty good about being an album-chart kinda band. Makes us feel like musicians. Well, me anyhow.
Amy: More than your drumming does, anyway.
So here you are, massive metal sensation, and then all the legal trouble with your management kicks off. Was that a shot of reality?
Black: It was the record company that put us together with Rich Locha and when we found out he had been stiffing us, man I could have fractured some bones that day. But we made ourselves chill, let the legal machines roll and just got on with the first tour. In the end it was only twenty-seven thou or something. I mean, yeah, it sounds like a lot of money but we were getting a mil-and-a-half for twenty gigs nationally. Twenty-whatever thousand would have been a f**king fortune a year before but the numbers were getting just so big that it didn't matter.
What was your reaction when he was jailed?
Aaron: We were... I was pretty stunned. We knew this guy, he got some good work out of us, and he was sent down for money that I was, like… I was spending as much as that on a f**king whim on Oxford Street. You kind of lose your perspective. But bottom line is he stole our money and he was punished for it. He'll be out in a couple of years doing the same s**t to some other band I'm sure (laughs).
And when he said in court that Carradine had set him up?
Black: Well that was pretty desperate. That came right out of the blue and of course I was on the phone straight away but the record label… They said, 'Don't worry about it, there's nothing going on.' Maybe I stayed suspicious, right up until the first royalty cheque came in (laughs).
Since then things have been back on the up. What do you make of this 'cult of personality' that seems to have sprung up around the band?
Darren: Well, when I see someone with the hair and clothes and make-up walking down the street, it freaks me out. That stuff's bound to set the alarm bells ringing. I mean, sure, imitation is flattery and all that, but we have good reasons, very deep-seated reasons for the way we look and to see someone just copy it on a superficial level, that's just... It worries me.
Aaron: Our fans can do what they like of course and we see a lot of that kind of things at gigs but people need to understand that we're not trying to start a trend here.
But you have, like it or not.
Aaron: I suppose so. But we don't revel in it. We're not four Johnny Rottons sitting like Jesus in the middle of this new 'movement'. We can't stop it happening I suppose and people are free to do what they like - if they get a kick out of it, that's cool.
What about the fact that you're the number one band being Googled in the UK?
Amy: I've seen some of those big fan sites and these guys do amazing stuff with that technology, but it's not really what we're all about. I mean, I spent twenty minutes trying to decipher this three-thousand word essay on the lyrics in 'Blue Sinatra', and man, was that guy talking some s**t. Someone else wrote a couple of stories based on the last line in that, which was kind of interesting, since I wrote the lyrics and I can see some of what I was thinking in those stories.
That seems to be a theme on the fan sites, extrapolating fiction from your songs.
Amy: 'Extrapolate'. That's a f**king long word but you're right, a lot of fans do that. It makes me feel pretty good because a lot of those stories, poems, whatever come pretty close to the heart of the songs that we write, which means we're saying things that matter to these people. That's better than a kick in the ass.
'Triumphant Return to Form' has of course gone in like lightning at the top spot and doesn't look like being threatened any time soon. Is the title suggestive of any second album woes you might have had?
Black: No not really, it just sounded kinda cool (laughs). Never had any worries about the second album or the third or the fourth. If they happen they happen. That's part of the joy of all of this, and I guess it's easy to say that because we've made so much money on the back of this industry, but we really just write what we wanna write. Loads of reviews have said that 'Stamin Shot' is the best thing we've ever done-
We called it 'the most decisive punk revival in the last twenty years'…
Black: Yeah, you did. bulls**t, but thanks anyway (laughs). That'll be our next single, but the thing is, that song took about three minutes to write and the take on the album is only the second one we did. So that's maybe twenty minutes of creative work, it's not a symphony. There's no intent there, we just got lucky and had a flash of group inspiration. And I think that's the most you can ask for, to get lucky three or four times out of twelve on an album, for a couple of albums. Anything more than that and you're f**king blessed.
Triumphant Return to Form is available now from all good (and bad) record shops.
The Blueboys have announced they will be touring the UK again next year.