UF-I'M SURE IT'S AN OUTDATED QUES-
TION, BUT YOU SAID YOU WEREN'T
GOING TO GO WITH A MAJOR LABEL ?
BOB-I don't think we ever said nev-
er. A Couple years ago it didn't
seem like it would be necessary.
UF-I THINK IT WAS JUST SUGGESTED
THAT YOU WOULDN'T IN MY LAST INTER-
VIEW WITH YOU.
BOB-It was suggested. We all sort of
thought that way. I think part of
it was that we really felt that
way and aprt of it was when we
knew we were going to, we didn't
want people to know.
GRANT-We were elusive for half
B-It saves a lot of questions by
UF-DO YOU THINK YOU MIGHT HAVE SAID
THAT JUST BECAUSE OF THAT ANTI-
MAJOR LABEL ATTITUDE A LOT OF BANDS
HAVE JUST TO KEEP WITH THE SCENE?
G-We have resisted being a part of
that. Maybe that's part of our im-
portance to the scene. We've taken
bold steps on our own, rather than
depending on the cool factor to
guide our movements.
UF-WHY DIDN'T YOU GO WITH A DIVI-
SION OF WARNER BROS., LIKE SIRE ?
B-If you're gonna make the move,
you might as well go with the
UF-WAS IT YOUR CHOICE ?
B-That was the obvious choice of
all the labels that contacted us.
UF-OBVIOUSLY YOU'VE HAD FREEDOM
WITH WARNER BROS. WAS THAT HARD
TO COME BY OR DID THEY JUST LET
YOU DO WHAT YOU WANTED ?
G-According to Karen, the A&R
lady, every band that is willing
to take the initiative has the
similar freedom. I do think there's
a lot of bands out there that
need an intense amount of guidance
with their career because they're
B-It comes down to five things you
need to work with a major label.
You have to have a lawyer, which
we have. You have to have an ac-
countant, which we have. You have
to have a booking agency, which we
have and is our own. You have to
have management, which is our own,
and you have to have a producer,
which is ourselves. So we have all
UF-WAS THERE ANY PROBLEMS WITH
B-No. It took a lot of dialog. We
didn't just say, "We want it all
our way, and that's the way it's
gonna be." They put out the records
and do have some control, but they
don't misrepresent the band.
UF-DID THEY HAVE ANY SUGGESTIONS
YOU DISAGREED WITH ?
B-They disagreed on what the first
single should've been. We stood
fast on that. We thought that going
with "Sorry Somehow" as the first
single, being the most obvious
commercial track on the record,
would've ben possibly a bad move
at the time. A lot of people would
have taken it the wrong way. Like
"Oh yeah, there's the song they
copped out on; that one's obviously
the single...." It just happened to
be the most commercial song on the
record. It was gonna be commercial
whether it was first or second. So
to save people a lot of mental an-
guish, we put it out second.
UF-WHAT DOES WARNER BROS. THINK OF
YOUR LIVE SHOWS ?
G-You got to light a fire under
these people, because in the ex-
ample of SST, you're dealing with
five or six people that are into
your band anyway. A lot of times in
a major record label, bands can be
no more to John Doe than a poster
on the wall or a tape in a box.
You've got to excite these people
with your music. You've got to get
to know them and gain their re-
spect and let them know they're
more than just a record label to
B-There's a lot of different people
and a lot of different divisions
and a lot of different titles these
people hold, and they all play an
intricate part of keeping it going.
As opposed to an independent where
it's four or five music fans. War-
ner Bros. is made up of a number
of music fans, but of different
musical persuasions. Some people at
a major label think that Van Halen
is the best or that Whitney Houston
is. It's not like SST where they like
all of their bands. At a major label
there's too many people for every-
one to like every band on the label.
UF-WHAT DOES YOUR CONTRACT STATE,
AND WHAT DO THEY HAVE PLANNED FOR
YOUR FUTURE ?
B-We've got a second record coming
out next year and after that I
can't really say what's going on,
'cause I don't know myself. Probably
renegotiate, I suppose.
UF-HOW DOES IT FEEL TO BE SUCCESSFUL
AND GAIN SOME COMMERCIAL RESPECT ?
G-If you enjoy what you're doing,
it's not really a feeling that
B-We don't have day jobs any more. We
all had to have side jobs to get
by, but we've always been serious
enough that this is the way we
wanted it to be. It's a twenty-four
hour a day thing.
G-We were serious enough that we
would skip meals and skip some of
B-The people who yell "SELLOUT" or
the people who yell, "They don't
deserve it." are crazy. Anybody who
works hard enough will get what's
coming to them. All these bands
say they would never do it; if they
could get the opportunity, they'd
do it n a second. I don't believe
a word of it.
G-Not only that, but nobody ever
asked us what it's like to be on
food stamps back when.
B-Nobody asked us what it's like to
live in a basement for $70.00 a
month with no heat or anything.
UF-HOW LONG AGO WAS THIS ?
B-Three years ago. It's not that dis-
tant that we've forgotten.
UF-SO IT COMES DOWN TO MONEY ?
B-It comes down to, we did what we
did our way. This is what we got
from it and this is what we do for
a living as well as for our life.
UF-OBVIOUSLY SUCCESS HAS AFFECTED
YOUR ATTITUDE, AS YOU LOOK BACK,
BUT YOU DON'T SEEM TO DISCRIMINATE
AGAINST HOW SMALL A PERSON IS IN
THE MUSIC WORLD.
B-Not at all. That doesn't change. The
only thing that chages is your im-
mediate reality, like realizing
that this is the first year that
you have to pay taxes in your life.
Those are the things that change.
You start going, "Oh shit, now I
have to start paying the government
for doing well." Money can't buy you
everything, but it can certainly
keep a roof over your head.
UF-HAVE YOU HAD ANY INTERESTING EX-
PERIENCES TOURING IN THE LAST FEW
MONTHS SINCE YOU'VE BEEN ON WARNER
B-We've only done two tours under
the Warner Bros. blanket. One in
England and one on the West Coast.
The East Coast we did in February,
right before the record came out.
It wasn't supported in any way by
the company. The tours aren't under-
written by them anyway. It's just
physical support, people showing
up, or postering. We had a good time
in England this time. Last time in
Europe was so miserable.
UF-ARE YOU PRETTY OPEN TO YOUR FANS ?
B-We're pretty available over there.
If people want to talk to us, they
know where to find us.
G-The best-distributed record over
there was Land Speed Record up
until the time Candy Apple Grey
came out. So there's a lot of Euro-
peans that thought we made a jump
from Land Speed Record to
this material. If people took the
time to read when things were re-
B-Yeah, the difference between '81
and '86 is five years and ten rec-
ords. That was an interesting situ-
ation over there. A lot of the people
had only heard Candy Apple Grey
or only heard Land Speed Record.