POSTS FOR BREAKFAST! | 15.12.2016
An update of recent activity from Faith No More and its members.
- Chuck Mosley Interviews.
"It started really early. My parents were always playing music and my sisters were teenagers, so I can remember hearing the first Beatles album when I was about three years old. Then came the Rolling Stones and things like the Jackson 5, but it wasn’t until I heard Jimi Hendrix that my tastes started going sideways. That was also about the same time that I started smoking weed which may have helped things along… But I’d probably have to say that it was hearing David Bowie that made me want to play guitar. I’d already been having piano lessons for quite a time, but when I heard ‘Hang On To Yourself’ I totally resolved to learn guitar. It just made me start thinking about music in a different way, like it was something I could be a part of. I’d always wanted to play music, but when I heard David Bowie it was something that I could really identify with, straight away."
"Yeah, I met him [Bill Gould] when I was about 17 or 18, I think. He was the first one of those guys I met, because I didn’t even meet Roddy until Billy had moved up to Berkeley. We both had this friend, Mark Stewart, who I had known since Elementary school. He started to play guitar around the same time that I started playing piano, but I didn’t really see him play until we were in the 12th grade or something. Then one day we were hanging out and he started playing something and I discovered that he had got really good, so I said we should start a band. He asked Billy and two other friends, Paul and Kevin, and that was what became The Animated. As soon as me and Billy met, we pretty-much clicked. He was into all the same bands that I was into, so we started going to shows together. I think he liked going out to shows with me because I didn’t have any limits, so it was like going along to see how drunk I would get or if I was going to get in a fight or what was I going to knock over or what I was going to fuck-up… It was like that most nights, I was pretty-much out of control for various personal reasons. I always went out just to see the bands, that was all I intended to do, but it would often end up in those kind of situations."
"That was for the re-release of the first album for its anniversary. It would have been bigger, but they couldn’t get Jim to do it, so they decided on just two shows with me doing my acoustic shows and then joining them for a few songs. They announced it two days before and they sold out both shows in San Francisco and Los Angeles, which was kind of cool."
"I should be rich by now, but I guess I’m always going to be a blue collar working class musician. Everything just takes forever to get going, shit happens. We tried to go out with VUA, but that was a big fiasco. I don’t want to go into all of that, but the first big show we were playing with Bam Margera and the drummer walked offstage midway through the third song of the night and that made everything crash. I didn’t want to cancel the tour so I finished it on a greyhound, and every night I would teach the support band a couple of tracks so they could accompany me, then I’d play a few solo, so I still put a show on. The main problem then was I spent my family’s money paying the other bands and travel expenses. We played New York and they didn’t honour our guarantees so by the time we got back from there, everything was just fucked up. I didn’t see a way out and didn’t want to ask friends. Someone suggested asking fans for donations and putting a few songs online and I really didn’t want to do it at that point. I mulled it over for a couple of weeks and thought “I can’t do that, I can’t announce to the world that I’m fucking broke and ask people I don’t know to help me”. But I did it in the end and the response was overwhelming, it was really moving. I didn’t know what to say. I has to say stop after just a few days, because I got what I needed and didn’t feel right taking any more than I need to pay the rent and keep my family off the streets. I started feeling guilty about it. My life has always been up and down, so I have always had something to deal with and that has driven me on to accomplish what I set out to do. Just carried on battling through it."
"And that's what I liked about it. I mean we bickered and fought a lot and someone was always the one getting picked on at a certain time. I did it and instigated it some of the time, not all the time, Jim Martin was there too, but I always thought it always made for a good dynamic, the whole explosive nature of it.”
“There's a lot of people who are, like, ten years younger than me, that listened to me when they were teenagers and they want to come out and finally see me play in person. A lot of young kids as well, twenties and thirties, a couple came with their parents. I ask them 'did you want to come or did he drag you out and say – 'you gotta come check this out'' but they have been fans for ages. From 18 up to 60. Faith No More have passed it down, kept on putting out records and people always go back and find out there was something before The Real Thing and stuff. There's also people asking about Cement now as well.”
- Mike Patton and John Kaada will have a new video out soon!
- Roddy Bottum's new opera 'The Ride' premieres tonight as part of Experiments In Opera's Story Binge II at Kaufman Music Center. It would also seem that his earlier opera work 'Sasquatch' is to be performed at the Edinburgh Fringe Festival in August 2017. READ MORE
"…the impetus for my opera is a theme I’m particularly fond of, that of the gentle giant, the misunderstood monster, the impaired genius with the sensitivity of a child. I reference John Merrick of the Elephant Man, Frankenstein, King Kong and a 100 pound four-year-old I once saw on Jerry Springer as characters of inspiration. The story centres around a trashy family in the backwoods that takes tourists on tours of the Sasquatch country with a promised sighting of the beast. Beyond that, more significantly, it’s a love story. The opera itself is three scenes of what will eventually be a full form opera. The current instrumentation is timpani, trumpets, synthesizer and drum machine. The artistic exercise is a profound and unique opportunity for me to tell a story through music in an experimental setting and work and collaborate with some of my favourite artists."- Roddy
We will have more news on this as it develops.