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Kaleidoscope & Fairfield Parlour interview with Peter Daltrey


Peter, thank you very much for your time and effort. I would like to talk about the beginning of your music carrier. As far as I know you started a band called The Sidekicks around 1964. Eventually you become The Key in November 1965. When Fontana Records signed with you, you changed your name to Kaleidoscope. Can you tell me about your beginnings as The Sidekicks and then transforming into Kaleidoscope?

We`d served a three year apprenticeship by the time we arrived at 1967 and found ourselves the proud owners of a recording contract with a major international label. We began in '64 as a sort of covers band; we played Stones and Beatles songs and lots of blues, or rhythm and blues as it was called back then. As a fledgling band with nil experience it was easy to play steady blues stuff. We then ventured into Stones territory.

But we soon realised that writing our own songs would be a logical next step. The Beatles lead the way. Up to that point very few bands wrote their own songs. We realised that we could wallow forever in the shallows playing old blues songs. To achieve any sort of success we would have to produce some original material. Eventually we were writing reasonable songs and a name change was in order to reflect our move away from the youth club circuit and our blues-fixated past.

As The Key we played many of our own songs in a set. We were creative on stage. We used to have a girl in a mini skirt sitting on stage with us. She sat there reading a book of poetry throughout our set. Ed and I would eat an apple during one number. Probably meant to be very symbolic and mysterious but just made it difficult to sing with a mouthful of apple mush. And then during our finale number -- the explosive and now long lost `Face` -- I bit on a plastic blood capsule and collapsed on stage just as the last chords were fading. It caused a right old riot and we were chased out of the building by the gig organisers who had called an ambulance, completely fooled by my Oscar-wiining on-stage death and they felt pretty silly having to explain their donkey-brained mistake We were pushing at invisible boundaries.

When we signed to Fontana in early ’67 we changed our name to Kaleidoscope, influenced by the steady emergence of psychedelia. The name itself was a kind of buzz word at the time, representing as it does a vision of myriad changing colourful images. We all felt it would be a good name to reflect the nature of our developing music with its many different styles.

Did you release any material before Kaleidoscope?

No. As The Sidekicks we recorded some standard R&B songs and our own first attempts at song-writing. We used tiny cheap studios that produced a rather average result. But, of course, at the time we were very proud of these first recordings, unable to recognise just how amateurish they were. We sent tapes to various record companies thinking we could get a recording contract that way. Boy, were we naive!

However, with the growing interest in the band in the Nineties these first recordings were released in April 2003 on the Alchemy label, `Kaleidoscope - The Sidekicks Sessions.` They are only of interest to those fans who simply want to acquire everything we recorded. But having said that, they do give the listener a good indication of how we sounded on stage during the early Sixties. I personally find it quite amusing that these rusty little recordings are now out there on CD. If only those four young kids could have known that all their efforts would be rewarded one day...

Flight from Ashiya / Holiday Maker single was your first release on Fontana Record back in 1967. Do you remember your first recording sessions?

On the 24th February 1967 we had our first recording session as Kaleidoscope at Philips` Stanhope Place studio just a giant leap for mankind from Marble Arch. Although nervous, entering this mysterious, subterranean dimly-lit cavern, we knew that we could not allow anything to go wrong. We recorded `Holiday Maker` and `Kaleidoscope.` Unlike every recording session we`d ever had before -- in egg-box dives -- we were not disappointed with the results. In fact we were stunned by the clarity of the results, fascinated by the recording process and pleased to find that the engineers were friendly and co-operative. The actual recording process was taken out of our hands and was something of a mystery: we did what we were told in terms of levels and retakes. The arrangements were down to us, although Dick did have some input via carefully phrased suggestions. We were always willing to listen and incorporate inventive ideas. But all the songs went into the studio fully-formed. We never wrote in the studio like some bands. Our songs were very carefully written, rewritten, arranged and polished long before recording sessions. Dick produced, obviously aware of the beating of our novice hearts, allowing us time to settle down, to accustom ourselves to the cathedral studio. In fact, the studio was so enormous that when we set up our equipment we only occupied a small area, but this was how we preferred it -- reminiscent, perhaps, of our nights rehearsing at the school hall in Acton not so long before.

A memorable day indeed. We experienced for the very first time that dream-like state as we stepped from the cocoon-twilight of the studio into the outside world -- like travellers returning from a voyage of discovery. You blink and find yourself back in the real world where life goes on. Difficult to explain; you should have been there.

I don`t recall the actual `Flight from Ashiya` session. But the day itself was kinda special. We`d popped in to see Dick Leahy around lunch time to play him our new songs. When he heard `Ashiya` he grabbed the phone and demanded a studio slot for that evening. He was very excited about the song and this enthusiasm drove the session. Dick fancied himself as a bit of a George Martin -- indeed, we heard around this time that he was telling people in the business that he`d found the new Beatles. I`m not sure who came up with the idea of the huge Armageddon piano chord at the start of the song, but it certainly grabs your attention.

A bit later you released your first LP called Tangerine Dream. Catchy melodies, imaginative lyrics, trippy sounds and arrangements and really good production. What can you tell me about recording and producing this LP?

By the time we entered the studio to start recording the album we had assembled a collection of songs culled from the dozens that we`d written over the preceding months. Our quality-control regarding song choices I always felt was quite good -- although it did desert us occasionally, particularly later...

As a band we never wrote in the studio. Everything was finalised and well rehearsed before we went into the sessions. The arrangements were adaptable and we were influenced by Dick`s input. Song structure might change slightly, but the basic material was there from the start. It was the embellishments that made them psychedelic, the weird guitar effects, vocal manipulations etc. To be honest, I don`t think we had particularly conscious targets of producing a psyche album -- but obviously we were influenced by what we were hearing at the time and it was inevitable that these trippy influences, as you call them, would seep into our own music.

Who did the cover artwork and if you perhaps know how many pressings were made?

Sorry -- I have no idea who came up with the cover concept or who was the photographer. I do remember the session at a small studio in Kensington. We arrived in our finery and found a aluminiumfoil `cave` set up and waiting for us. Of course, with the studio lighting we were soon cooking -- almost literally! The resulting photographs were startlingly good. Apart from the one used on the cover there is another good one used on the first single advert.

When we became Fairfield Parlour we were more in charge of album designs -- and today I am obsessive about the details of my own album artwork. But as Kaleidoscope we were lead by the noses by more experienced record company people. Although in our early twenties we were still very green behind the ears when it came to dealing with a multi-national record company...

I have no idea how many were pressed. What I do know is that Fontana were the worst company on the planet for distribution. It was this that hampered our efforts for chart success throughout our time with them. Fans wanted to buy the records but Fontana`s inept promotions department were less than effective in their limp efforts and the follow-up distribution to the shops was abysmal.

Faintly Blowing was your next album. Again I have to say, that production is absolutely amazing. Peter, tell me what are your strongest memories from the recording sessions and the production of the LP? How many copies were made?

The album is a reflection of our growth as songwriters. Writing of any kind develops and matures with time. Being able to write is a precious gift: but you use it or lose it. Ed and I never stopped writing. We were very prolific. But we were also honest with self-criticism. If a song did not come up to our standard we let it wither and moved on. Before we went into the studio we would have studied which songs were ready; maybe a couple of dozen songs, many already incorporated into our stage act. So by the time we got into the studio the songs had already been through several editing processes.

The songs on `Faintly Blowing` -- my own favourite of the two Kaleidoscope albums from the Sixties -- were very carefully written, arranged and recorded. With `Tangerine Dream` we -- Dick included -- were anxious to get into the studio and start recording and finish the first album to get it out behind the first single. With `Faintly Blowing` it was a more carefully-considered process, with various meetings to decide which songs would go on the album; close scrutiny was also given to the running order of the tracks to present a good listening experience from beginning to end.

I like the variety of styles -- lyrical and musical -- on `Faintly Blowing.` Ed and I were maturing as writers and the album is a good showcase of the different genres we were tackling. The whole album has a better sense of attention to detail than the first -- although the first still has that appealing freshness, a youthful naiveté.

The `Faintly Blowing` sessions were quite extensive and intense. We all worked very hard, aware that we were building on our first album. Dick secured plenty of studio time and persuaded the layers of bosses above him -- the suits with the purse strings -- to agree to a full orchestral arrangement on a few of the tracks. I was particularly pleased as Donovan`s arranger, John Cameron, was chosen to work with us. Donovan was a big influence on my lyrics; his `Storybook` album is still one of my favourites and one of the very few that I still listen to occasionally.

Again -- no idea how much commitment Fontana actually put into the production and promotion of the album itself once recorded...

Would you mind telling me a bit about songwriting, by that I mean where do you get inspiration and about what are some of the songs...

Hmmm... I do get a bit annoyed when I listen to some song-writers explaining their work. They make it sound like such a high-brow mystical process that produces such meaningful spiritual work. Look -- there ain`t no mystery to it: it`s just hard work and application. Let me tell you this: anyone can do it. OK, the quality will vary, but start with a line or two, start humming a melody and you`re writing a song!

Regarding the Kaleidoscope songs -- I would give Ed batches of lyrics. I wrote all the time and so Ed would get a dozen sheets of neatly typed lyrics. Over a period of weeks he would sift through what must have mostly been dross to find the ones he could work with. I`d get a call: "I`ve got some songs. Bring some wine." We`d start the evening with a Chinese meal at a local restaurant. The crab and sweet corn soup was so delicious we`d have quite happily had a couple of bowls of that and left. And the lychees. We would go back to Ed.'s parents.. house. Mr.P would be in his tiny room where time literally stood still as he repaired wrist watches. "Hulloooo, Peeete!!" An impressive, tall man with a chiselled, Slavic face, Mr.P wore glasses with a magnifier over one lens. This served to make one eye huge and all-seeing. The spirits came out. Tiny glasses of fire. In the kitchen Mrs.P would be working at the table, dwarfed by a mountain of trousers. The needle would be flying. "Oh, you boys...!" she would grumble affectionately, shaking her tiny head in mock despair. Lovely people -- gone forever -- but living for eternity in the minds of those who remember them. And Fred, the old black Spaniel: overweight, over-sexed and over here. Well, over there, actually, pushing up daisies in paradise.

We`d pass a dozen or so of Ed.'s many sisters as we climbed the stairs to his room. Once inside Ed would become a nervous wreck, worried about revealing his creations. We`d sit on the bed and Ed would eventually play me the new songs, accompanying himself on guitar or on the piano that we'd manhandled up to his room on his birthday. Ed had a good voice and would set the standard for many songs that would later become my vocal responsibility. It was thrilling to hear a lyric that I`d written weeks or months before taking on musical flesh and bone and turning into a song. I was rarely disappointed. Now the real drinking would begin. I once came round with my head stuck between the bed and the wall. All I could hear was a distant, uncontrollable laughter. Sometimes we`d walk the cool streets just to try to sober up.

As far as influences are concerned regarding Kaleidoscope: blame it on the brothers Bee Gee. I`d bought a copy of `Horizontal.` `Lemons never do forget.` But it was the single, `New York Mining Disaster 1941,` that made us sit up and listen. `Lewis Tollani` was written as a direct result of hearing that song. I`ve no idea where the story came from. OK, I suppose if I`m honest it was a conscious effort to produce something `weird` but that was all part of the learning process for a writer. You listened -- you learnt -- you took in what affected you the most -- and adapted, moving on in a growing, developing way. Obviously we were influenced by everything that was happening in the Sixties: the music, the fashions, the social and cultural revolution that was changing Britain from a monochrome bombed-out post-war wasteland ruled by pipe-smoking stiff-upper-lip politicians in tweed suits who were anxious to preserve the status quo of the class system hierarchy that kept them and their like at the top and the rest of us down there with the obedient, cap-doffing plebs. It was becoming a Technicolor world and young people were leading the way, slicing through the dusty drapes and letting the light in. Nothing could stop us.

I know you travelled around the Europe after you release this LP. Would you mind telling me some stories that happened on the road. You played and support Country Joe & The Fish in Amsterdam...

Well, there are too many stories to relate here, but certainly the Country Joe episode still leaves a bad taste in my mouth. We arrived at the Amsterdam concert hall in the afternoon for rehearsals and were alarmed by the amount of echo in the hall. It was very difficult to play as everything came back to you a fraction of a second later. We were assured that this would not occur in the evening once the hall was full. But during our evening performance the situation had not improved and we struggled. Eventually we got the dreaded slow hand-clapping. For a young band on its first tour of Europe this was not an encouraging start.

But worse was to come when Fairfield Parlour supported Pentangle at the prestigious Royal Albert Hall and some bastard messed with our leads and settings before we went on, leaving us floundering and barely able to recover in the glaring spotlight...

What happened next? I know that you changed your manager and the name of the band to Fairfield Parlour. Why?

We changed our name to Fairfield Parlour after we shrugged off our psychedelic colours and embraced the progressive folk sound that was approaching. We didn’t feel the name Kaleidoscope was appropriate for our new sound and image. In retrospect I guess it was a bit of a mistake. We should have stuck to our guns, proud of our name. But at the time it seemed the right thing to do.

Fairfield Parlour released two 45's, one EP and one absolutely amazing album called From Home to Home. What can you tell me about this album? It was released on Vertigo label originally, right?

The first session was on 19th November 1969 -- and nine days later it was finished, mixed, done and dusted -- literally in the can. I have only misty memories of the sessions. As you can see we were working at a steady pace. At this stage we were financing the sessions, the costs to be claimed back from Vertigo later. One particularly vivid memory I share with Dan. On the final mixing session at Olympic Studios in Barnes, Dave presented us with a mix of `Emily brought confetti` that almost left us in big-girl-blouse tears. The massed vocal harmonies -- all of which we had done ourselves -- would have done all the angels proud. The playback was at Dave`s usual earthquake-inducing level and we all drove home in a daze, convinced we`d produced the greatest piece of music ever committed to tape. Although the final released version is good, Dave lost something of that majesty in subsequent mixes. He did like to fiddle.

Of course, the album is not the full Fairfield Parlour Sunday roast that it first appears. Anyone who had followed our career to date would realise that there were two courses that had been frozen, reheated and served up anew. In my opinion, `In my box` should never have been included on the album as it stands out like one of those sore digits. It is recognisably from the late Kaleidoscope “Oh-my-god-let`s-write-a-quick-hit” period. The other side dish -- although to my mind, more filling -- is `I remember Sunnyside Circus`. In fact, we had actually attempted to record this as Kaleidoscope many months before, but were disappointed with the result and binned it. I do love the Fairfield Parlour version: it`s tight and punchy with some inventive instrumentation. Sadly, the lyrics are pants -- and, again, don`t fit the new image of F Scott Fitzgerald-meets-folky-muso.
**The album`s release had to be seriously delayed following Dan`s spinal breakdown during a performance at Birmingham`s `Mothers` club in June of 1970. That`s why Graeme Edge was roped in to play drums on the second single. The album was finally released in what I think was the first Vertigo batch on 14th August -- along with albums by Affinity, Nucleus and Uriah Heep. Just a couple of weeks before our Isle of Wight Festival appearance.

What is the story behind your second album, it was not released shortly after it was finished, but many years after in 1991. Why is that?
It's a conceptual album and I would like if you could tell me a story behind that concept.

Over the spring and summer Ed and I had begun this process. When we`d get together to look at new songs we would enjoy playing those songs from our unrecorded stock that pleased us most. This way they came to the surface naturally and the songs with less appeal gradually got over-looked, not forgotten, but certainly shelved. I remember a few of these orphans with some fondness, amusement and regret: `The Purple Spider still speaks`, another with quite a good rousing chorus about a girl called Maddy-something; one about a school for delinquent boys. Umm, perhaps it`s for the best that those particular gems failed to glint as we panned for gold.
During this period of repeatedly playing our favourite songs late at night in Ed`s blue room, I noticed a vague, most obscure link emerging. A line or two in a song, the changing moods of melodies complimenting that of the following song. I began to feel that I was singing these songs to someone in particular or about that person. Driving home to Rayners Lane, just west of Harrow, in the early hours of the morning, I would ruminate on who this person might be. Soon I was jotting down my ideas on the subject, trying to work out for myself the tenuous threads that linked these songs. When I was ready I put the idea to Ed. How about arranging these songs in an order that could then be interpreted as a continuous story? I would write the story in the form of a novel that could be included with the album or sold separately. Ed gulped and pointed out two immediate problems that came to mind: the story that I had outlined didn`t exactly leap out at him from the existing lyrics; and we had too many songs for one album. OK. We could easily adjust some of the lyrics to suggest more of the story, although I was against spelling out the story too obviously; the listener wouldn`t want that. Too many songs for a single album? Let`s make a double!

We put our ideas to Dave and he loved it from the start, no hesitation. His enthusiasm, always infectious, boosted our confidence and we began serious work on the fine tuning of the material. I began writing the novel. I`d written a novel the previous year, all purple prose and juvenile ideas, a Sci-fi pot of nonsense. After repeated rejections it was confined to a desk drawer to die quietly. I knew that this one had to be better.

Dan and Steve were now involved as we rehearsed and arranged the songs. This continued while we were on the Isle of Wight. We had our gear set up in the bar of Herbie`s Clarendon Hotel. We would practise during the day and those evenings that we weren`t at the festival we played for free to Herbie`s customers. It was here that we were said to have recorded a live album. Tosh. OK, someone might have been surreptitiously taping us, but if they did they`ve been sitting on the tape for almost three decades. Some steamy afternoons we would drive out to a cliff top and discuss the project. It was gaining momentum. Planning was at an advanced stage. Arrangements had been finalised and now Dave was planning track allocations for the various instruments.

The album drew its name from a pivotal track: White-Faced Lady. As with the first Fairfield Parlour album and singles, Dave would negotiate a tape lease deal with Vertigo. He outlined our project to new big bossman Olaf Wyper and received his blessing. He told Dave to proceed and let him know when the album was finished. Monetary matters could then be discussed, bills and advances paid, leasing contracts signed.

Dave found a new studio called Sound Techniques, situated in a village street in Chelsea, just off the busy Kings Road. It was a haven of tranquillity. A narrow street bordered by quaint Victorian terraced cottages. A bakers shop sold its aromatic produce just across the road from the studio. Inside the studio the live room was small but adequate for a group. The control room was suspended above, reached by a flight of wooden stairs, a wide window looking down over the studio floor. Our first session for the new album was on the 2nd November 1970, a year after our `From home to home` sessions. On this first phase we spent five nights at the new studio, recording well into the next morning. I have fond memories of emerging from the studio at five or six AM, blinking in the dawn, blackbirds heralding the new day, the smell of delicious bread wafting from the bakers, the hum of traffic in the distance. Wonderful times.

Once the album was finished Dave should have been trotting off to Vertigo with the tapes of `White-Faced Lady.` But towards the end of the sessions Olaf had informed us that he was leaving Vertigo. He was off to RCA. "Where does that leave us?" Dave asked, "and our deal?" Olaf assured him everything would be fine. It would work in our favour as RCA was a better company than Vertigo. And besides, with Olaf gone there was no-one at Vertigo prepared to take on an unauthorised double-album. Not to worry. The deal was sweet: we`d simply decamp to RCA where Olaf was waiting.

So Dave went to see our friend Olaf. Dave told him how much we wanted for the album, a figure that had already been verbally agreed months before. Olaf shrugged. "I`ll have to pass on this one," he told our astonished manager. "I don`t have that sort of budget here. You`ll find someone else." Dave stood his ground, but there was no shifting the blonde, Scandinavian with the sparkling, friendly eyes. One comment that had been made was that there wasn`t a single on the album and we would need one to interest another label.

But our confidence was shot. We were all broke. We were seriously disillusioned. The band broke up. But justice was ours when new generations of fans discovered our music and we then had several labels asking us if they could release `White-Faced Lady.` A change of fortunes indeed!

I Luv Wight is another project. Let the World Wash In / Medieval Madrigal was single released as I Luv Wight. Not much is known about this project. Can you help me out?

It`s a very long tale. And I think I`ve rambled on long enough. For anyone who is interested they can go to the website and read the whole sordid story --

You also released many solo albums after that. Can you share a few words about your solo career. I know you have two brand new albums out on Global Recording Artists called King of Theives: The Best of Peter Daltrey/Vol 2 and The Morning Set. I would like if you could present this two releases to us.

I`ve released eighteen albums. A creative person can`t simply stop. It`s in your blood. All my albums are available from the website. I`m very pleased with my two new releases on the Global Recording Artists label in the USA ( The Best of... is a collection of tracks from my many solo albums and my work with the American singer-songwriter Damien Youth. Damien and I have recorded three albums together -- and are currently working on a fourth. Damien is a mercurial mystical genius, a very talented musician and song-writer and superb vocalist with a distinctive voice. I am very proud to be working with him. I urge you to check out his recordings online. The Morning Set is our upbeat band album, a real tour de force, even if I do say so myself. But my favourite collaboration with Damien is Tattoo -- currently available to buy online as a double CD package -- with Heroine -- from

What are some future plans for you, Peter?

More writing. More recording. I`m currently writing with a great American psyche band called Asteroid #4. A very talented bunch of musicians. Sadly the original Kaleidoscope will never appear on stage again. Steve Clark died many years ago and the other guys don`t feel they are up to the rigours of live work.

I would like to thank you once again for your time and effort for making this interview. It's a real honour for me to talk with you about your amazing music carrier. Would you like to add anything, that I perhaps didn't ask?

Protect your ears! I`m now partially deaf and have raging tinnitus in both ears. If you go to gigs or you`re in a band wear protective ear-plugs at all times. Or end up like me...


Interview made by Klemen Breznikar / 2011
© Copyright 2011

Fire – Could You Understand Me (1973) review

One of the fiercest and most loud yu rock bands, Fire has sprung just here in my town, Čakovec. Yes, it was 1973., and Yugoslavia has already cracked some of its top aces such as Grupa 220, Time or Pop mašina. Band Jutro was also playing here, the band which will soon become Bijelo Dugme. However, despite all the number of decibels that were coming out from the amplifier of the band Fire, a small number of people heard them here. It certainly contributes to the fact that their lyrics were mostly in English ((as in Yugoslavia that was a rarity) and on the other hand their music was a little bit too much “underground” for people’s taste then.  Of course there were bands with similar musical preferences, but they all more or less opportunistically adhere to a compromise with the record companies who wanted their piece of the pie, so they forced bands to record pure pop songs as possible hits. This is precisely the reason why serious Yugoslav rock audience those days listened mostly to B-sides of singles, because only there the band sounded exactly as they wanted to. In desire for commercial success, pop songs were recorded by Korni Grupa who were otherwise inclined jazz-rock, Bijelo Dugme (clones of Led Zeppelin), and even Time, great Yugoslavian prog rock band. However, Fire were uncompromising -  they rather went into exile in Holland, where they recorded "Could you understand me". Fire followed the tradition of power trios such as the Jimi Hendrix Experience, Cream, Groundhogs, Taste, Grand Funk Railroad ... only they were a little fiercer sounding about like Truth and Janey few years later. Explosive fuzz, riffs, solos which growl like mad dogs, maniacal drumming – that’s how we could describe their music. Approximately that’s how at the time sounded Four Levels of Existence from Greece (which they are often compared with), Tiger B. Smith from Germany, Terje Jesper & Joachim from Denmark, and their countrymen Pop Mašina too. And so, since no gigs in the Netherlands, nor in Germany did not result with success, at the end of the 1976 they returned home, where they recorded the single "If You're Alone", which is quite a good fit in the concept of pre-recorded LP. But then strange things started happening – they entered a strange symbiosis with a band Demoni, and for some time even played entitled Demoni - Fire, but in the end that setup again was just called Demoni. The previous sound was drowned and attenuated by the new pop rock orientation which Demoni are gone, though I must say that their first album, released in 1978th is definitely worth listening to. But this story is certainly not over. Fire plays again, so I saw them this winter in a nearby club. True, Jura Havidić (guitar and vocals) is the only original member that remained, no matter - they played all the old numbers from Dutch LP with occasional rock classics. As the night progressed, more and more it seemed to me that the old man who holds the guitar is little by little becoming a long - haired young man who once again with furious sounds of his faithful guitar conflicts the world.

Review made by Martin Okun/2011
© Copyright

Traveling Circle Interview


Thank you very much for agreeing to do this interview! When and where was Traveling Circle born?

Charlie: Thank You! The three of us got talking at a party in Brooklyn one night and the next morning we were jamming, despite the hangovers. That was about 4 years ago now.

Dylan: That tradition of morning jams lives on. I believe we’re still the only Brooklyn psych rock band that wakes up at 10am on Sunday mornings to rehearse, hung over or not.

Josh: I wish we could play shows in the morning. I hereby trademark 10am shows.

Tell us about the beginning of the band?

Dylan: We all brought different musical tastes to the table and eventually discovered a common recipe for how we wanted to alchemize our sound. It’s an evolutionary process that takes on new shapes and forms every time we write, but we are definitely in tune with one another’s taste buds. We’ve become pretty telepathic at this point in our life cycle. We can tell what’s on the Traveling Circle menu…even when blindfolded.

Josh: We were lucky enough to get some pretty good shows right away. If I remember correctly our first few shows were at the Glasslands Gallery here in Williamsburg with Heavy Hands, Weird Owl, Strange Haze (then known as Whooping Crane),  Apothecary Hymns, Jeremiah Rifles, and D. Charles Speers and the Helix.

Why the name Traveling Circle?

Dylan: For me the name really has meaning because it spans from geographic to cosmic. Firstly, it speaks to the relationship we have with each other as humans. I believe our destiny will be to travel together and, quite literally, become a Traveling Circle of fellow friends and musicians. Secondly, this very earth we live on is a circle traveling through space. Our solar system, our galaxy, even our universe is yet another circle expanding into the great unknown beyond. The dimensional possibilities of Traveling Circle are really quite infinite, yet all happening right now as we speak. We all know there are distant friends in the outer dimensions of both the universe and our consciousness that are awaiting our awakening. They have revealed themselves in fleeting moments in our skies, assuming the shape of a Traveling Circle. I know you believe, brother.
 Josh: “You mean like a wheel?” I stole that from a friend of a friend (thanks Jesse!). I like the name. I think it makes us sound like a bunch of hippies. It’s pretty hesh. I’m into it.

Charlie: Frosty Whale was on the table for a while before we decided on Traveling Circle. I think Traveling Circle suits us much better, but Frosty Whale is not without its charm. I guess we’ll save that for a Glam side project.

What are some of your influences?

Dylan: I was born into a family of great musicians and they have all been a big inspiration. My mother was in an early 80s punk band called The Refuzors and their stage antics would include throwing a dead alley cat into the crowd while performing. My uncle was in a band called the Telepaths also from the early 80s and later went on to form a legendary band from Seattle called The Nights and Days. Their music was probably one of my biggest influences. I had never heard anything like it before. They were also a big influence for other people in Seattle. Their song "Split" on the first Sub Pop 200 is rumored to be what inspired Steve Turner's lick on "Touch Me I'm Sick". Mudhoney is another influential band for me...and great guys. Otherwise, I’m into weird stuff from across the globe, from weird German prog-psych like Brain Ticket to obscure Middle Eastern music like The Churchills. Most recently I’ve had Bo Hansson’s Music Inspired by Lord of The Rings on high rotation. And I just picked up a rare psych-rock album from this Dutch band called Mr. Albert Show.

Josh: Traveling Circle treats cats much better though. We love cats. As far as influences, I would list Can, Blue Cheer and Tyrannosaurus Rex. I don’t know.  We have never strictly tried to sound like anybody though. I’m sure everything we listen to has some influence on us. Gandalf always makes the list I think. Some good records I’ve picked up lately include The Flower Travellin’ Band, Uriah Heep, Mountain and Lindisfarne. I am waiting for a Comus reissue to get here. Overall I have a pretty strong interest in music from the years from ’67 through ’72 but I also steel a lot of drum licks from other bands around town too.

Dylan: I respect dead cats. I’ve always loved Stephen King’s Pet Sematary. His description of Gage freaked me out when I was little.

Charlie: I picked up Demons and Wizards by Uriah Heep not too long ago. I don’t know too much of their other stuff but I like that record a lot. Flower Travellin’ Band is great too. Satori Part II is actually on the soundtrack to “Stay Gold,” the latest Emerica skateboard video. That whole soundtrack is really good, pretty surprising choices. Psych rock and skateboarding are a great combination! The 70’s Turkish psych group Bunalim is a favorite of mine. I love the mix of fuzz and traditional elements.

Were you in other bands before forming Traveling Circle?

Dylan: I was in various garage bands in Seattle, a few of which teetered on progressive-like sounds. Probably my first serious band was Flathead. We actually performed a few times with Mudhoney. Then I went on to form Laissez Faire, which included the drummer from the Nights and Days...this was a bit of 15-minutes-of-fame experience for me as far as the underground scene was concerned. Beauty Mark and the Button Push was yet another amalgamation of dear childhood friends pumping heavy riffs alongside the torn poetry. I was also in a heavy-improv-basement-jam band called The Daymares, which churned out music born from acid awakenings and weed-induced ruminations.

Josh: I was in a band called Anorak here in Brooklyn. I’m from Seattle too. I saw Laissez Faire play a house party there before I knew Dylan. I was friends with the drummer, Matt. They were great. I was in a few bands back there. The more active included a band called The Permanent Press and one called Cold Way Walking. There is only limited evidence left of any of them though. As far as my music career goes I am more or less a total failure. Anorak has a song on a comp on Attacknine records, which is still available. I was also playing in a band called Sorceress more recently. They are really cool, though I am not playing with them anymore. I am playing on their track on a recent Puta Records cassette comp. I did a fill-in show with a band called Madam Robot and the Lust Brigade not too long ago. That was a lot of fun. They have a lot of energy and are all really great musicians.

Charlie: I played in a handful of bands while growing up in New Jersey that didn’t amount to much. When I moved to New York I started writing more music and recording at home. Most of that stuff just ended up in friends’ student films. It’s fun to learn new instruments and overdub parts, but It’s much more fulfilling to play live music with other people.

In August 17, 2010 you released your first album called Handmade House. I love your psychedelic sound with some Prog elements. How are you satisfied with the album? What can you tell me about producing this album?

Charlie: Thanks. The tracks on Handmade House came from two separate recording sessions that were done about a year apart. We recorded at Seaside Lounge in Brooklyn, where our friend Mitch mans the mixing board. Side A on the record is pretty much all songs from the first session and side B songs are from the second. I think it all flows together really well. We were lucky to have Yoed Nir (cello) and Matt Abeysekera (Keys) on board for some songs and I think their parts really added a lot.

Dylan: Handmade House is the first chapter of Traveling Circle. All the songs were chosen by Carola, who is the owner of Nasoni Records in Berlin. We were impressed with her visionary decisions and happy with how she curated the album in the end. It was quite a pleasure working with her to invent a record that’s never existed before. I hope people will appreciate it.

Josh: The record sounds pretty great. I am usually too neurotic to be satisfied with my own performance but I enjoy listening to our record. I think it sounds like it was made in a cottage in the woods by some trolls that only ever heard Hawkwind and Forest. It is pretty heavy but also has a really homey folk element mixed in. Seaside is not a cottage but actually a sweet vintage style studio though. Mitch at Seaside was really great to work with.

I really dig the cover artwork for the LP...

Dylan: Josh’s girlfriend Erin did the cover art. She’s a fantastic illustrator. Her work is very distinct, which I think sits well with our sound.   

Josh: Erin Klauk! Check out her art! I’m glad you like the cover. I think it says a lot about our sound and if I saw it in a record store I’d pick it up. I think trolls listening to Hawkwind and Forest would really love the cover art. The photograph on the back was taken by Dylan’s wife, Alex. It’s from a show we played at the Glasslands Gallery. I think it was maybe the first Brooklyn Psych Fest? If you get the LP, it comes with a poster insert of another photograph from Alex. A really nice picture from Central Park.

Charlie: Thanks for all your help Erin and Alex!

Would you mind telling us about the songs. If you can share a few words about the songs on the LP?

Dylan: Everyone will have their own interpretation when listening to these songs. As the person who writes all the lyrics and guitar parts, I find it very hard to step outside of that experience and hear the songs as you would. It’s quite maddening actually. Often after recording an album I find myself listening to the songs over and over hoping that eventually I will tap into that objective point of view and hear the songs as someone else would…I’d really love to know what it’s like for other people. What would the mainstream audience think of these songs? I'd love to think the masses will eventually evolve and open their hearts to music like ours and shift the gluey attention away from the artist who wears a deep-sea oil rig costume to validate grocery store muzak. I mean I have nothing against Lady Gaga...I'm sure she's a nice person. But the songs on Handmade House are anything but skin deep. Au contraire, these songs delve into the human psyche.

Josh: I’ve heard Lady Gaga’s very nice. It’s hard to think of what to share about the songs. If you listen to this record you are going to hear some echo, some reverb, some feedback. All the things you like. I really enjoy the song “Formations” as time goes on. More than anything I think we try to make music we like so hopefully some other people will like it too.  

Charlie: I met one of Lady Gaga’s back up dancers once. He was pretty nice.

How is touring going for you? Are you satisfied with it? Share an interesting experience you had from concerts...

Charlie: Most of our shows have been in the NYC area. We had the good fortune of opening for Mudhoney a while back at Maxwell’s, in New Jersey. That was a fun time. I also really enjoyed playing the Brooklyn Psych Fest.

Dylan: We’ve really just been focusing on completing our forthcoming second album, but we hope that will be the catalyst for our first and long-awaited tour. Playing in NYC is OK, but the scene suffers from surfeit. Everyone wants to play here so the quality of music gets spread too thin and that can take the fun out of it. Sometimes I just want to go play in a small village where no one knows my name…except the trolls of course. Maybe it’s like that where you live?

Josh: We’ve also gone up to Boston but we really haven’t done a proper tour. We played there with Lyres and The Black Hollies. That was a fun show and Jeff Conolly from Lyres was really nice to us. He helped me find parking for the van. The show was at The Middle East. We are working on getting something more ambitious together. You would think a band named Traveling Circle would tour more. We would all really like too, so hopefully when the second record is done we will be able to get out of New York more.

Dylan: Jeff is a legend. He was in DMZ. Their first album rips so hard.

How about some future plans for the band? By that I mean do you have an idea for new album in the future? Where will you go touring? I hope you come to Slovenia. It would be very groovy to see you on avenue for alternative culture called Metelkova in Ljubljana?

Dylan: Metelkova? I don’t know what that is…but I like it.

Charlie: We have a new album in the works right now called Escape From Black Cloud. It’s a natural progression from the first record. I think the three of us have come in to our own a lot more on the new songs and I can’t wait for people to hear them! 

Dylan: My wife and I have a map of Ljubljana on our fridge. We would love to come play there. Maybe if Escape From Black Cloud gets some recognition and the right push you will be seeing us there soon.

Josh: The new record is going to flip some lids! It’s more driving and darker. Listen for some Theremin from a guy named Matt Dallow. It would be marvelous to play the new songs in Slovenia! We have received a good response overseas and it would be pretty natural for us to tour in Europe.

What is your opinion about the psychedelic scene these days?

Charlie: In terms of New York, there’s a lot of great bands that we’ve had opportunity to share bills with: Naam, Weird Owl, Heavy Hands, Strange Haze, and La Otracina, just to name a few. 

Dylan: There are some pretty good psych bands in NYC but I’ve always felt like we belong to a more foreign music scene. In Europe there seems to be a real force to proactively seek out psychedelic and progressive music and support kindred weirdness. We’re getting greater reception from that side of the globe.

Josh: There are some pretty cool bands around for sure. I just caught a really good Brooklyn Raga Association show. We have had a fair amount of radio play on a program called Sunrise Ocean Bender. You can listen to the archives here: It’s a really good place to check out new music with psychedelic and progressive leanings. You’ll hear newer stuff like Acid Mothers Temple and Sula Bassana. You’ll also hear a lot of far-out classic stuff like Amon Düül or Tomorrow. I picked up an LP from the French progressive band Pulsar called “Pollen” from 1975 after hearing it first on Sunrise Ocean Bender. That record is awesome! You can hear a lot of brand new bands there too, even bands without records yet.

It’s really hard to say much about the scene overall. Some stuff is really good out there. It’s wonderful that Nasoni Records is around. We have been really lucky to work with them. It’s great that there are sites like yours digging into the current psych scene and getting the word out. I enjoyed reading your interview with Beggar’s Opera. I also read the Tír na nÓg interview that was up. That aspect of the scene is very encouraging.

Thank you very much for your time and effort. Do you have anything else to say about the band or yourself, that I didn't ask?

Dylan: Thank you and happy traveling.

Josh: Thanks so much for interviewing us!  Thanks for giving our record a listen!

Charlie: Thanks!  Hopefully we’ll see you in Ljubljana soon!

Interview made by Klemen Breznikar / 2011
© Copyright 2011

Jorma Kaukonen Interview about new Hot Tuna album (Steady As She Goes)


I'm really honored, that I can talk with you. Your music has inspired many generations. From your start in psychedelic era to now, when you are more into bluegrass/blues music. How are you?

First of all Klemen... I'm great, as I hope you are. As for my music genealogy, I started out playing bluegrass, old timey as well as rockabilly and the like. I got seduced into rock and roll and we morphed into what we no know as 'psychedelia.' I'm back to basics now... but i can't deny psychedelia in my roots today.
You are preparing a new tour. This tour is very exciting, because you made a new album with "Hot Tuna" called "Steady as She Goes". It is the first "Hot Tuna" studio album since 1990. How did you and Jack Casady decided to make another album?

This is a good question... for better or worse, the answer is simple. The time just wasn't right until now. The right record company, Red House Records, came along. We had the right band for the project... that would be, Jack, myself, Barry Mitterhoff, Skoota Warner, and of course Larry Campbell and his wife Theresa Williams. I had some songs ready and we co-wrote the rest at the studio. In a sense, it was indeed the 'perfect storm' of recording artistry.

I would like to know about recording of the album. You recorded it at Levon Helm Studios. Beside you and Jack, there was also Barry Mitterhoff on electric mandolin/acoustic mandolin and Skoota Warner on drums. How do you like this lineup?

As mentioned in the previous answer, we all love this lineup. Well... I've loved all our line ups but so far, this one takes the cake. Working at Levon's studio was the best. I did my last solo project, River Of Time there as well. I love it... can't wait for the next one.

If I'm not wrong, the band started recording new tracks in November 2010. On March 11, Red House released "Angel of Darkness" as a free single. On April 5 the album was released.
The producer of  the album is Larry Campbell. Are you satisfied how the album turned out?

We expected good things from this project, but I have to say that the finished project exceeded our wildest expectations. We are indeed blessed!

The opening track for the album is "Angel of Darkness". Casady’s booming bass lines stand out on this song. I really love it! The second track is "Children of Zion" by legendary Reverend Gary Davis, which is one of my favourite blues artists. I still remember, when I first heard this song on Pete Seeger show from early 60's and I really enjoy Hot Tuna's cover. Along with "Children of Zion" I was absolutely amazed when I heard another Davis's song you did called "Mama Let May Lay It On You". It is probably one of your best session moments, isn't it?

You know, Klemen, at the risk of shameless self promotion, each song had session moments that will always stand alone in my memory. You may have noticed that each song has a different beat underlying the enduring qualities that make Hot Tune well... Hot Tuna! We did the whole project in eleven days and loved every moment of it!

"Mourning Interrupted" and "Things That Might Have Been" are another two tracks that on my opinion stand out from the album. What did inspire you to write them?

I started 'Mourning Interrupted' after listening to some Memphis Beat tunes. The lyrics came in a funny way. I just started writing and wound up with that song. When my wife, Vanessa, first read the lyrics she said, 'Are you OK? Are you depressed?' I had to laugh and I told her, 'It's a song. I followed the rabbit down the hole, and that's where he wound up. I love the song... and no, I'm not depressed.' Things That Might Have Been is about family relationships and, well... things that might have been. I was proud when I finished writing that one.
I really love the ending of album with track "Vicksburg Stomp", written by legendary Papa Charlie McCoy. I really enjoy the album very much. It's one of the best I heard!
I would really like if you could pick a few blues artists, that are less known but had an impact on you and your music career (I'm a huge blues fanatic).

Well, as you know, I'm a big blues fan as well. There are so many unsung heroes of blues. Let's see
1. Funny Papa Smith
2. Spark Plug Smith
3. Washington Phillips
4. Brownie McGhee (solo)
5. Ian Buchanan (My mentor)

And many more of course!

At the moment you are on tour. Your first show is on 04/14/11 at Live Oak, FL. You will play as a acoustic Hot Tuna. Later you will combine acoustic and electric Hot Tuna as well as your solo performance. At the end of the year you are also coming to Europe to play in Sweden and Finland (I wish you could come closer to my country Slovenia, at least to Austria, Italy or Germany. Perhaps someday?). Are you excited to play on tour with Jack Cassidy again as Hot Tuna?

Since this questionnaire was sent we have done an electric run with Larry Campbell and Theresa Williams in the band. We played ALL the songs on the new CD. Next week, we're going out again electric and there are more dates coming this summer. We are going to be in Italy with the Electric Tuna July 17 through July 25. The dates are still in flux... you know how things are in Italy... but we'll be there. i love touring Italy! I would love to come to Slovenia some day. Thoughts on this?

Barry Mitterhoff and I will be in Finland and Sweden this Fall. Perhaps Tuna will get there again someday too.
After the tour, what are some of your future plans? Perhaps a new Hot Tuna album, new solo album? Another tour perhaps?

I tour all the time... that is the life I have chosen and I still love it. Vanessa and I also have the Fur Peace Ranch ( in Southeast Ohio where we live and I teach there... well, not all the time, but frequently. Last night we had a show with the great country singer Suzy Bogguss... it was stellar and I got to play with them. Check out my website and blog You'll know more about me than anyone could possibly want to know.

I'm always thinking about the next project, but for now, I just going to enjoy playing the songs we have.

I'm really happy you took your time for this interview. I wish you all the best on your tour! I hope you will someday come closer to my country, because I want to see your show really badly. Do you have anything else to say about the band or yourself, that I didn't ask?

Klemen, my friend... it has been my pleasure to answer your questions. I would love to come to your country... perhaps this will happen someday. Feel free to stay in touch with Vanessa and myself and perhaps we will see you in Italy in July.

Your American Friend


**Brand new interview with Jorma can be found here.

Interview made by Klemen Breznikar/2011
© Copyright

Tír na nÓg Interview

Why did you decide to call the Duo Tír na nÓg? I mean, there are many other places in the Celtic Otherworld. Why exactly Tír na nÓg?

I was always interested in the Celtic legends as a child. A book I repeatedly got from the library was called,I think, Irish Myths and Legends, by Eileen O'Faolain....That is also the one I would recommend you to read. Very poetic descriptions.The story of Tir na nOg was just one of my favourites and still seems to have relevance in my life. Sonny came from a different background and was not so interested in the more Celtic side of things. We did not name the group until we arrived in England. Many Irish groups have Gaelic names now, but it was most unusual then. 

How did you came into the British Folk with it's Celtic roots and wounderful lyrics?

Listening to records of Donovan, Fairport Convention, Pentangle, Bert Jansch etc. 
You toured and gigged with many well known Artists and Bands (Jethro Tull, Procol Harum, The Who, Cat Stevens, Bridget St. John, The Velvet Underground, Hawkwind, ...). Are there some experiences you had with some of them and would like to share with us?
Jethro were probably our favourite...we did three tours with them (and with Procol Harum), Benefit, Aqualung and Thick As A Brick...and watched every show...A very sober living sex or drugs but plenty of Rock'n'Roll! The Who we just played with once, in Liverpool. They were very polite and kind; even giving us their dressing room while they stayed in the corridor, except for Keith Moon who curled up, and crouched in a closet in the corridor. Hawkwind were as you would, drugs and something resembling Rock'n'Roll! That was one of our first gigs, in London. We shared a chaotic dressing room...booze, puke etc! They trained a strobe light on the audience, so we all went home with a splitting headache! We did one tour with Cat Stevens around the time of Tea For The Tillerman. He was friendly, serious, polite, and we spent some time with him again later at Morgan Studios, where we were recording A Tear & A Smile, and he, Catch Bull At Four. Most of the bands we toured and played with were very diciplined and serious about their work, not the wild times that are often portrayed about that time. We became quite personal friends of Bridget St.John who toured with us for our Strong In The Sun UK tour. She came to
one of my solo shows in New York in recent years and was just as lovely; a
very calm and serene person.

Can you tell us a bit about the atmosphere and your impressions of the situation, when you arrived in London at may 1970? And got you involved into that scene or was the mood  a bit distant?

Very exciting time for us as we arrived with no contacts and very little money... It was a beautiful summer and we went from playing folk clubs to playing The Royal Albert Hall. We w  ere very fortunate in that we mixed with musicians of all sorts, from the folkies like Al Stewart, Martin Carthy and John Martyn to bands like Hawkwind and Jethro Tull. Everything went well for us from the moment we arrived in central London with just our suitcases and guitars. Apartments, gigs, record contracts, girlfriends...all landed in our laps! It was all just like we had hoped and imagined...and much more.

Interview made by Amadeus Wächtler / 2011
© Copyright 2011

Astro Al Interview


Thank you very much for agreeing to do this interview! When and where was Astro Al born?

Deb: You are very welcome, it is a pleasure. Thank you so much for helping us with publicity.  J Hmmm, the birth of Astro Al, I would say Astro Al is the illegitimate love child of an asteroid called Guido and a starship called Chaos.  No, actually it evolved from our earlier incarnation of Paul Angelosanto and the Melting Poetry Collective. Paul had created this character he wrote stories about called Astro Al and  that name just stuck. Most people think Astro Al is just Paul. So not sure it was a wise move.

Paul: Thanks for talking to us. The government doesn’t allow many people to talk to us so I’m glad you got a permit. You did get a permit and you have all your shots right? Well Astro Al was born in the bottom of a bottle of beer in a cheap bar on Mars in the future past that existed sometime between 1960 and 3112.

Tell us about the begging of the band?

Deb: Paul would usually ask one of his musician friends to accompany him with his poetry readings. So one night one of the guys had to back out last minute. I thought I could give him a little accompaniment, since I play guitar. So that is how we started, mainly with poetry readings and it evolved from there.

Paul: We began as an experiment that escaped from a lab. They laughed at the mad scientist who created us but who’s laughing now?

Why the name Astro Al?

Deb: Paul can answer that better, as I said earlier it was based on a character he created.

Paul: A guy we used to know Taz actually kind of named us. Taz passed on a few years back. Taz, this is for you dude.

What are some of your influences?

Deb: B-Horror movies and satire. Got to love comedy and music, like the Bonzo Dog Doo Dah Band, The Rutles and 60’s Psychedelic, Steve Martin, so many influences. I have background in theatre and one of the things I used to do a lot before Astro Al was presenting “Hamlet” or Romeo and Juliet” as interactive skits and/or songs. Paul and I met acting in murder mysteries so we were both very used to be very silly.

Paul: William Shatner, Ed Wood movies, Hawkwind, Syd Barrett era Pink Floyd, Monty Python, Robyn Hitchcock, and 50/60’s sci-fi movie soundtracks are all big influences on what we do.

Were you in other bands before forming Astro Al?

Deb: I sang lead in college in a rock band called “Legacy,” them I spent many years just doing theatre. Currently, I am also in a theatrical folk band called Katfish 4.

Paul: I was in a really stupid band called Generator that never played out. We used to just make horrible jams and record them. In some ways things haven’t changed….

Your music is really something special. You must be a Zappa fan. I love your so called freak out stuff on your albums. I would like, since you have many albums out, to present each of did you record them etc.

Deb: Paul you are the one who mixes the mojo. You can explain that better.

Paul: Zappa is way cool. Love his Live in NY CD.

4:20 is our first Astro Al cd. It was recorded very privately running through a mixing board straight into a pc and mixing there. That cd was mostly spoken word but has a lot of people’s favorite on it, I Wish I Had a Goat.

4:21 is a cd of outtakes and alternate takes from all the sessions we did for 4:20. We recorded a lot of stuff at that time.

Exploding Plastic Inedible is a cd made of live tracks from a show we did and that was really well recorded by our friend Al Finn on a great digital system he has. There are also studio tracks on this cd. The studio tracks are all very political. We were very frustrated with politics at the time. Now we’re just used to the stupidity.

Pet Noizes was a split cd we did with the Indiana band Harts Horn. Harts Horn rocks! The tracks we did are very B movie influenced on this one. A standout for me is Dollhouse of the Damned.

Psychedelic Drive In Music came next. This is our first and so far only concept album. All the tracks tell the story of a haunted drive in movie theater or maybe the drive in theater isn’t even real…

Naughty Kitty is our ode to the 60’s. We recorded this one digitally and it came out sounding pretty good. Liquidating Lemonade Stand was a blast to record. We did most of it live.

The Neighbor’s Giraffe is our best produced cd I think. We recorded it all digitally and mixed it on a Mac. I’m well pleased with it. It’s mostly songs and I was pleased that we did a cd like that as opposed to spoken word stuff.

Random Assorted Strangeness is our new cd. It’s made up of live songs from our show at the Landing Pad Festival in Philadelphia and unreleased studio tracks.

Would you mind telling us about the songs. Where do you get inspiration for writing them? I really love the song called You're Dead, 
So Shut Up, it features great atmosphere.

Deb: I get a lot of inspiration from dreams believe it or not. Rodney, the Rodent Roadster” was a dream. Also different experiences. I lost my hearing at one point, the song “ Where do the Shadows Go when they don’t belong?” comes from that. I noticed all my other senses got so much stronger. I’m pretty sure “You’re Dead so Shut Up” comes from a B-Movie but Paul can answer that better. The music aspect of it was inspired by early Pink Floyd.

Paul: The idea behind the words came from my love of horror punk bands like the Misfits. I wanted to write some fun ghoulish words so I did. Thanks! Glad you like it. The music was definitely inspired by old Pink Floyd.

How is touring going for you? Are you satisfied with it? Share an interesting experience you had from concerts...

Deb. We would like to go on a tour, just have had a few out of state gigs which were a lot of fun. We would love to tour Europe some day.

Paul: We play gigs here and there but have never toured. Would love to do so. If any promoters want to book us please do so! Yes we would love to play in Europe! At a show we did in Alabama we got to hang out with Nik Turner from Hawkwind. He is a real nice guy and it was fun to do a cover of Quark, Strangeness & Charm in front of him even though we screwed up the beginning. Also we did a fun show at a haunted attraction where everyone was dancing and singing along to You’re Dead, So Shut Up. It was fun!

What are some future plans for you? New album?

Deb: We are currently working three CDs. I will let Paul tell you about those.

Paul: We’re working on a Christmas cd, a horror style cd, and a 70’s themed cd. We’re talking to a director who might help us make some more videos.

What is your opinion about psychedelic scene these days?

Deb: It’s great! There’s so much out there. Very talented folks.

Paul: It seems to be making a nice come back. The Flaming Lips are doing quite well and Steven Wilson makes a lot of psychedelic styled stuff and he’s doing good as well. I hope we can catch some of their karma success.

Thank you very much for your time and effort. Do you have anything else to say about the band or yourself, that I didn't ask?

Deb: Have you seen any strange Martians lately?

Paul: If anyone wants to book us to play shows in Europe please let us know! Thanks so much!

Interview made by Klemen Breznikar / 2011
© Copyright 2011