Tom Waits talks to Beck
BH: I'm always interested in how the whole festival thing evolved. Those pictures from the 50's, the early rock 'n' roll people playing at the state fair.
TW: Opening for super markets.
BH: Yeah, exactly.
TW: Stages that were built in a few hours out of scrap wood.
BH: I'm always curious what it sounded like?
TW: My bass player Larry Taylor toured with Jerry Lee Lewis in the 50's. They toured all over the US in a Cadillac and all their gear was in the trunk. The amps, the bass... the speakers in the hall they played at were no bigger than an encyclopedia. But there was still wild enthusiasm and energy created out of the performances and the crowds went out of their minds. But it wasn't done with volume. It was the odd sight of a man possessed at a keyboard, with hair hanging down. The other thing: the mics for the piano - they just used a violin pick up wrapped in a hanky and stuffed it in the hole of a baby grand. Standards were lower.
BH: But it does make you play a different way. We did this thing a couple years back, we were on a tour in the South. After the show we'd find a bar and we'd play there with little practice amps. Maybe the bar might have a PA with two little speakers. Usually we were singing through a guitar amp. I remember one time we were in El Paso. We had the day off and we were just going through town, and we found a coffee house. They didn't have any equipment. We just had a couple of those little 15-watt practice amps. I think my guitar player found a dorm or something down the street and started knocking on the doors and people lent us the equipment. You know, when we got in there and started playing, probably 100 people crammed into this café that didn't even have a stage; you couldn't hear anything. So the performance had to rely on whatever kind of feeling you could put out.
TW: People had to be quiet so you could be heard then. That's just a basic human thing I guess, right?
BH: There's something about that awkwardness of being bereft of a sound system and that volume you're used to. You're stripped of that and suddenly you have to make due with almost nothing. And the people were crowded in there. They were about two inches from your face. That's another thing. You're singing right into people's faces, which is another interesting thing. (Laughs.)
TW: You'd like to be raised up a little bit. I played the Roxy with Jimmy Witherspoon a long time ago, and somebody hit the telephone pole in front on Saturday. Knocked out all the power - this was like 5minutes before we went on. Place was in total darkness. People were lighting candles. Jimmy Witherspoon went and did a killer show. He just put his organist on a piano, and he has this big big, huge voice any way. Got right on the lip of this thing. I was freaked out. I didn't know what to do. He killed. I guess you have to get reduced to that to find out the origin and basic building blocks of what you do are still in tact. Look under the building, make sure the supports are still there and haven't been eaten through. (Laughs.) But, yeah, you can do a lot with a bullet mic and a wah-wah pedal. But before that there was changing your voice and raising your volume. I guess we've all gotten very lazy with all the toys that are available.
Jul 8th
Go to @popjustice's website now and read...
Popjustice: Let’s move on to easier territory: whether you think the success of La Roux’s ‘In For The Kill’ has helped or hindered your career.
Little Boots: Honestly, if she didn’t exist I can’t see things being a million times different. Obviously it’s been useful for the media to have all their (jazz hands) ‘quirky girls’ features but, really, if you removed one of us there’d still be five of us left. If you took La Roux away, or Florence away, or me away, I don’t think that would really kill the story. But we don’t all go down the pub and have a pie and talk about synths together! I don’t call Elly up and go, ‘have you seen the latest PolySynths?’. I think there’s something in the zeitgeist and that there might have been an oversaturation of indie bands but music always does this – it’s what music’s built on – and I’m sure by this time next year we’ll all be, like, ‘oh God please don’t show me another wacky girl with a keyboard’. But I don’t like how people try to make it a rivalry because it’s not a competition, and La Roux has got brilliant songs.
Jul 3rd
The Wire on McChicken Nuggets
Wallace: Man, who ever invented these, yo these are off the hook...motherfucker got the bone all the way OUT the damn chicken. 'Till he came along, niggas been chewin on drumsticks and shit gettin they fingers all greasy, till he sad 'leave the bone' - figured out some way to make real money.
Poot: You think the man got paid?
Wallace: who?
Poot: The man who invented these. (Holds up McNuggets)
Wallace: Shiit, he richer than a motherfucker.
D: Why...? Did he get a percentage?
Wallace: uh...why not?
D: Nigga, please. The man who invented them things - just some sad ass down at the basement of Mcdonald's, thinking up some shit to make some money for the real players.
Poot: Naw, man that ain't right.
D: Fuck "right," it ain't about "right," it's about money. Now you think Ronald Mcdonald gonna go down to that basement and say "hey Mister Nugget, you the bomb! We sellin chicken faster than you can tear the bone out, so i'ma write my clowney-ass name on this fat ass cheque for you!" ...Shit. And the nigga who invented them things, he still workin in the basement for regular wage thinkin up some shit to make the fries taste better or some shit like that. Believe...
Wallace: Still had the idea though...
Jul 2nd