Bob: Some of them are going to show up on EPs and things. On the album, we kept two Albini songs and five of the Kim Deal songs. The rest we recorded at a studio we found in Dayton.
Why did you not want to use all the songs you recorded with them?
Bob: Because we wrote better songs after we toured Europe. I got back, and for some reason I was inspired to write a bunch of songs, and they were better.
Do you do that often-just scrap stuff?
Bob: Yeah. We've always done it.
[Greg enters the room]
Greg: Yeah, whenever I can. I can't tour [except for weekends].
Are those you're official "playing a show" pants?
Greg: Actually I borrowed them from my mom.
You're full of it.
Greg: They're the joke pants.
But they're not a joke, they're revered by thousands of GBV fans across
the
globe.
Bob: When he first got them, I didn't want him to wear them, I thought
they
were silly, but then I noticed that all the chicks were hanging out with
him.
One time he forgot them, and I made him go home and get them.
So you wear them at every show?
Greg: Every show, yeah. The zipper broke one time, and had go to the
alternative pants. The backup pants.
Did Greg play on the new record?
Bob: [Greer] didn't play on much of anything.
It seemed from interviews like you were really bummed out not to be in
the
band anymore.
Greg: Well, wouldn't you be bummed out? I tried not to think about it
every
day, but I'm happy to be back, whenever I can do it.
Bob: Greg is our bass player. We'll get different people to play with us
on
tour, but as far as anything we do that's really special, [Greg's it.]
So when Greer left, was that weird at all?
Bob: No, it wasn't weird at all, in fact I could see it coming. He
didn't
seem to be very happy. I think he wanted to get back to writing.
So Bob, here's a really dumb question. Do you think you've ever written
what
you consider a love song?
Bob: I write love songs to the world. I don't write about personal
relationships.
In a way that's really cool. So many love songs are cliched or
redundant.
What do you consider your love songs?
Bob: I don't know. A lot of them are exorcisms, like apologies for my
past
mistakes or something. I try to cleanse myself. On the new album there
are a
lot of them like that, like A Man Called Aerodynamics. On the new album
there
are songs of apology. A Man Called Aerodynamics is my apology to the
crickets. When I was a kid, I went as far as to call myself the Hitler
of
crickets. I tried to exterminate every cricket in my yard.
My brother used to do stuff like that. Is there some male gene that
makes
guys want to do things like that?
Kevin: I did it to frogs. We used to brutalize frogs. I cut the frogs up
bad,
but when you're a kid, you don't know.
Bob: I feel really bad about that [stuff].
Why don't little girls do stuff like that?
Mitch [I think]: Maybe they don't admit it.
Bob: I don't know what it is with the inherent evil of males. Maybe it
has
something to do with watching wrestling. But I think men grow out of
that.
What, when they're forty?
Bob: Twenty-five. I grew out of it eventually. A lot of songs I write
now are
to rid myself of past feelings of aggression.
And the songs are non-direct about it?
Bob: It's definitely non-direct. It's not intentional, I just write
stream-of-consciousness poetry. A lot of times I try to look back and
fit
some kind of meaning to it, and I find a lot of them seem to be some
kind of
spiritual. It has a lot to do with things I've done in my past, [like]
'I'm
over that, I'll rise above it.'
But do those meanings occur to you at the time, or is it afterwards?
Bob: It's afterwards, always. Sometimes it takes other people to point
it out
to me.
Do people come up to you a lot with their interpretations of what
different
songs mean?
Bob: Yeah, that's why I decided not to print the lyrics
with the
new record.
That's what I liked about early REM records-you couldn't quite figure
out
what he was saying, but you got enough to sort of make up your own
imagery.
Bob: Yeah, I liked it better when it was like that too.
Where do you get your imagery from songs?
Bob: I have an anthology of fairy tales and I get a lot stuff from that.
So what about Dayton? 'The Gem City.' Someone once told me that
Cincinnati is
the Queen City and Dayton is the Gem City and Dayton is the Gem in the
Queen's crown.
Bob: I was talked to Greg Dulli of Afghan Whigs about doing a split
single-we'd call it Gems and Queens. Dayton, like most of Ohio, is known
for
the inventions that were created there-the Dayton Cash Register, the
airplane, the pop top.
Do you think it's strange in some indescribable way?
Kevin: I think it's strange, but it's a great town. When you're growing
up,
you kind of despise where you live, but when you get older, you start
appreciating the good thing. And Dayton's got a lot of great things-it's
easy
to get around in, you don't have to wait in traffic jams, you can go
from one
side of the city to the other [easily], and it's pretty laid back.
Greg [I think]: Dayton has a lot to do with aliens, too.
Bob: You know the Roswell crash, they supposedly harbored the alien
[from the
crash] at Wright-Patterson Air Force Base. We think it escaped and began
reproducing. The alien escaped and now he hangs out with us.
He's wearing striped pants, isn't he?
[Much general laughter and in-jokes that I don't get]
Kevin: If you hold a map of Ohio up to a mirror, Dayton won't appear on
it.
[Even though it's really noisy and Bob looks kind of green due to a
greasy
bowl of chili he ate earlier, I persist in asking dopey
journalistic-type
questions.]
As a lyricist, who do you admire?
Bob: Early Peter Gabriel lyrics-early genesis Peter Gabriel lyrics-and
Pete
Townshend, Bowie, Blue Oyster Cult.
Did you see the History of Rock series on PBS?
Bob: No. Was that any good?
Well, parts were good but it made it seem like there was no rock after
1980.
Bob: Well, I almost agree with that.
Don't even start!
[Bob is looking really green]
Do you hate getting interviewed?
Bob: No, I just hate that chili. I feel like shit.
Are you going to be able to rock?
Bob: Yeah, but I need to puke. I'll be able to rock.
Well, my last question is this: What are your ambitions for GBV? What do
you
want?
Mitch: To meet an alien.
Besides the one in your band?
Mitch: [We want to meet] the King Alien.
Bob: Eventually, if evolution takes it course...we'd like to be a new
religion. [Actually] I don't have any goals. I never had any goals. Just
to
make a good album. We concentrate all our efforts on that. Things are
kind of
escalating for us, now we're in kind of a different league. I think our
record label feels that putting out too many records dilutes [the
impact].
They also think kids don't have enough money to buy our record. I
disagree
with that.
What's your favorite record you've done?
Mitch: I love all of 'em
Bob: I like Vampire on Titus a lot, also the new record-there are a lot
of
standards on it.
PART TWO
3/2/'96
Southgate House
Newport, KY
So let's talk about ditching the Albini and Deal tracks again. Did you
re-record any of them?
Bob: The album was going to be a concept album. It was going to be
called the
Power of Suck. An autobiographical concept record about how Guided by
Voices
had started from nowhere and all of a sudden we were thrust into the
limelight. The story was like, Are they going to sell out of not? What's
going to happen at the end? And Don't Stop Now was supposed to be the
big
finale. So originally it was a concept album and I was writing all these
songs geared toward this concept record, and was getting really
difficult.
Jim Greer had already written the story for it, and it was really hard
to try
to write songs for the record. All the songs that we were doing with Kim
Deal
and Steve Albini were for the concept album. We went to Europe and did
our
tour and when we came back, I had decided to shitcan the concept album,
and I
wrote a bunch of new songs, like 18 or 20 songs, and I thought they were
better. They were more spontaneous and more free, they weren't geared
toward
a concept of anything, so we decided to record them in Dayton. I just
decided
to get rid of all this stuff from the concept record. Plus [for the
concept
record songs] we rehearsed for maybe a month in the basement, and took
maybe
two more weeks to record it-the whole process took two months to
rehearse and
record, and I don't like to work that way. I like to record as we
rehearse.
The stuff we did with Kim and Steve is painful for me to listen to. Not
all
of it, some of it turned out really good, but a lot of it is painful for
me
to listen to because it took so long and it was so labored.
Was it too polished for you?
Bob: It wasn't a question of being too polished, it was just that the
songs
were too labored over and worked out, and I like things to be
spontaneous.
Most of the stuff that's on the record [now] is really spontaneous, it
took
us maybe three or four hours to record a song.
Was going into a big studio something you always wanted to do, though?
Bob: Oh yeah, we've always wanted to go into a big studio. Our first
record,
Forever Since Breakfast, was [made] in a big studio. We've always had no
success whatsoever in a big studio. The four-track stuff we started
doing in
the late eighties or early Nineties sounded to me much better than the
big
studio stuff. We had more control of it and we did things more
spontaneously.
We'd go into a big studio and work with these unsympathetic engineers
and it
just didn't work. Finally we got to work with Kim and Steve-some of the
stuff
is really good, but the best thing is that they showed us that we could
go
into a big studio and be comfortable and kind of showed us the ropes a
little
bit.
Are you going to do that again?
Bob: We're going to work in big studios from now on, I think, but we're
going
to do it ourselves.
You're going to record it yourselves.
Bob: Yeah, see that's the thing,-we've always been called this
four-track
band, this low-fi band, but the main thing, more than how we record it,
is
that we do it ourselves. That's the main thing.
Not to change gears too much here, but I was re-reading an interview
with you
the other night, and somewhere it said that your father forbade your
brother
from going into your room when you guys were younger because your dad
thought
you were crazy.
Bob: My brother and I come from jock beginnings. We were really good
athletes
in school. My dad always had aspirations for us to be sports stars. My
brother was all-state in basketball, he got a scholarship to Arizona
State
and all that shit. But I started getting into music, and it's really
ironic
because my dad turned me on to music. He was a pretty good singer. By
the
time I got to be a senior in high school, I started developing a pretty
bad
attitude. My dad was like, 'You're not concentrating on sports. You're
too
pre-occupied with music.' But it's ironic because he's the one that
turned me
on to music. He joined the Columbia record club where you get like 12
records
for one penny, and he let me pick all the albums. I picked based on the
names
of the bands. I really didn't have any idea who they were.
What did you pick? Can you remember?
Bob: Yeah, Moby Grape's first album, King Crimson's first album, all
kinds of
shit like that. I decided that's how you pick albums, on the basis of
names.
Anyway, I really got hooked on records, so the time I got into high
school,
in my little room I maybe had a thousand records. I'd be in there
playing
music real loud, and even though my dad thought maybe his aspirations
for me
were shot, my brother still had a chance, [so he told him] 'Don't go in
there. He's crazy. He's fucked his career up, but you still have a
chance.'
That must have been hard to deal with-total lack of support.
Bob: Nah, I didn't care. I still had not completely blown it. [At that
time]
I still was a pretty good baseball player, I still was a good athlete,
but I
was getting into rock and [my dad] thought that was misguided. Misguided
by
Rock.
[I quote a GBV lyric] "I dare not say the way I feel about your
inability to
suck it up and win the race."
Bob: Yeah, that song is pretty much about my dad. But he wasn't a
fanatic
about it, he didn't beat us. We were talented in sports, and he thought
we
had a chance [to do something with it]. He told me once, 'Do you realize
how
many bands are out there?' This was when I started joining bands in
college.
He was like, 'Do you realize how many shitty bands there are out there?'
And
he was right!
Yeah, there are even more now. This whole DIY four-track thing has given
everybody in the world the idea that they can start a band, even if they
suck.
I know, I know. That's what I tell people when they ask me, 'What do you
think about this whole low-fi movement?' I say, 'Well, I think it opened
the
door for a lot of non-talented people to think they could do something.'
I
don't like listening to bad music like that. I like good music. People
misconstrue that we're part of some kind of low-fi thing, some
home-taping
thing-which we were because that's what we had access to. But we always
aspired to be as good as we could be. We [just] got a better sound on
the
four-track than we did with these unsympathetic engineers in the studios
in
Dayton. That's the reason we did [four-track stuff].
Do you hear a lot of people trying to imitate that low-fi, scratchy
sound?
Bob: Yeah, [where they're] trying to be bad. We never tried to be bad.
Some
of our sloppier stuff, like Matter Eater Lad, some of our 7" EPs and
shit, we
weren't out of sync on purpose, we were out of sync because we were on
four-track and it's hard when you put the headphones on and you start to
do
the vocals over what you just did, and you can't hear anything, so you
sing
it, and it's hard to stay in sync with it. We're not purposely trying to
be
terrible.
What's the dumbest thing you've ever been asked in an interview?
Bob: The first question I was ever asked in the first interview I ever
did
was from this guy Everett True from the [English music paper] Melody
Maker,
he's like a legend in England-he even calls himself The Legend and put
out a
Sub Pop single under that name-but he's pretty cool. He thinks he
discovered
us, which he probably did [as far as England was concerned]. Anyway,
here's
the question he asked [puts on ultra-British accent]: "What's your
definition
of beauty?" I just didn't know what to say. Imagine the first question
you're
ever asked in an interview [being that]. Of course my answer was
completely
fucking [useless].
You should have said, "You, Everett. You're my definition of beauty."
Bob: Yeah, I wanted to. "Your house shoes, they're beautiful."
How was touring in Europe for the first time?
Bob: It was good. We always do better in big cities. Our London show was
really really good. The rest were good too. We always do well in big
cities,
like Chicago.
[People start coming up and talking and the Who comes up. Bob breaks
into a
rendition of "Behind Blue Eyes," and says his old heavy metal band
Anacrusis
used to cover it. His Ultra-Daltrey interpretation of the line "When my
fist
clenches, crack it open" gets kudos all around. Bob is presented with a
peanut butter pie by a fan, and then talk turns to The Monument Club,
the
"bar" in Bob's garage.]
I heard about the Monument Club, I heard girls aren't allowed?!
Bob: They are allowed. You just have to be openminded, because we have
some
sexists in that bar. I got some friends from high school who are just
total
racists and sexists, and when they start running their mouths you have
to be
openminded. The rule of the Monument Club is that you can't be offended
by
anything.
I used to live with guys who used to compete with each other to
embarrass or
offend me, so I can deal with that.
Bob: Yeah, that's how the guys I know are. They'll do it on purpose. As
long
as you can handle it, you're all right. We have girlfriends or wives
come in
there and someone says something, and they'll [get offended].
But the thing to do in a situation like that is to kick the person's ass
logically, oratorically. Just cut the legs out from under them verbally,
not
get offended.
Bob: Yeah, no shit.
[A journalist from the Washington Post stops by and he and Bob talk
about
possibly doing a story on the sad freaks-people that travel to see the
band,
etc.]
Bob: Unless you come to the Monument Club, you have no story.
"The club is open..." [Bob starts singing A Salty Salute.]
Jim Pollard [sitting nearby]: We were in the Monument Club and nobody
was
showing up because there was a big ice storm and shit, and we were going
to
call in to the stations that had all the school closings and tell them
to
say, "The Monument Club is open." [much laughter]
Bob: Yeah, all these schools are closed, but "the club is open," the
Monument
Club is open.
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