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Interviewing Bassists Stories Pt. 3

Dear Tom, Thank you so very much for this thread of amazing experiences, it almost feels like i used to work at BP haha. Id just wanted to say that, your work is immaculate and unique and i enjoy reading it everyday almost, its no surprise BP is headed where everyone thinks it is. Clearly you have a gift, but this gift is not limited to music or verbal articulation. Your personality really adds color to what you write and im 1000% sure that had i heard you play bass back in your day - i would have felt the same. You sir are an artist, be it a bass guitar, a pen or a laptop you seem to deliver what all great artists do, the best expression of self that leaves others better for it. At least that is how I feel. You may not be able to lay down the groove on wood sir, but i assure you your feelings and poetry flows through your hands like it never had stopped.
I live in a 3rd world country where we get BP magazines second hand (most old issues) and rest assured I will be going through them at my local swap meet to unearth more of your work.
Thanks again mate.
P.S: Maybe consider a change to Artistic_Tom ?
 
Thanks so much! I really appreciate it.

After I was forced out of the music-journalism business, I thought I'd never again be able to take joy in writing. But things change. I taught myself long-form writing so now I've got books both written and ready to write.

It took a long time to come to grips with what happened to Ghosts and Ballyhoo, but in the end its just a book. A copy is in the library of Congress, and it'll still be in print for years to come.

In Cold Sweat seemed to be a failure, but it's still in print after thirteen years. In its fourth printing now, I think. Did you see the trailer? It's got all my old copies of Bass Player in it.

Thanks again for the message. Much appreciated.

 
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Thanks so much! I really appreciate it.

After I was forced out of the music-journalism business, I thought I'd never again be able to take joy in writing. But things change. I taught myself long-form writing so now I've got books both written and ready to write.

It took a long time to come to grips with what happened to Ghosts and Ballyhoo, but in the end its just a book. A copy is in the library of Congress, and it'll still be in print for years to come.

In Cold Sweat seemed to be a failure, but it's still in print after thirteen years. In its fourth printing now, I think. Did you see the trailer? It's got all my old copies of Bass Player in it.

Thanks again for the message. Much appreciated.


I have not seen the trailer as of yet, but rest assured thats what ill be doing this evening. Also no need to thank for the compliments, they are well deserved and well placed. You officially have 1 big fan in Pakistan now !
 
After I was forced out of the music-journalism business,
See my post #819
You continue to say you were forced out of music-journalism business ....

You made the same choice that we musicians make everyday ... do we want to do art or do we want to make a living? Or are we lucky/talented enough to be able to make a living doing our art exactly the way we want to vs the way we are expected to.

Just sayin' that maybe it's time to let it go ...
 
For a very small time, I was able to do a midwestern bit of music journalism. I wrote for a smalltown newspaper's entertainment "magazine" and for a local promoter's magazine. Both were a lot of fun. Both allowed me to talk to musicians that were way above my paygrade, and I had an absolute blast. One of the things they seemed to get a kick out of most was that I wasn't interested in just little dibs and dabs about their album. I did my homework and asked somewhat tough questions.
And in return I was rewarded with some great quotes and fun opportunities. One of them was from a 1960s era guitarist/singer who is a staunch advocate of the 2nd amendment and sportsmen's rights.

"I am the pointman for the Louis and Clark expedition of rock and roll."

Right before the interview, my in-phone tape recorder futzed out on me, so I had to do everything typing on my computer. He said, "Oh man, do I feel sorry for you. This is gonna be painful," when I told him.

Sadly, the closest I ever got to Gene Simmons was doing photo duty at their makeup reunion tour with all the original members. That day was pretty cool. I got the call from the label saying that the press passes would be available at the will-call booth right before the show, and not to be late, because the tour manager would be there promptly and would not be waiting around.

I showed up on time, along with two other local writers from competing publications, a photographer, and a TV videographer. Every last one of them looked bored to death, but I was having a blast.

The tour manager shows up, and apparently I was the only one who had any clue that he was Tommy Thayer from Black 'n Blue. He hadn't yet done anything with Kiss onstage, but later on that tour filled in for Ace on a few shows when he got sick. So I told him I was a big fan of Black 'n Blue, and I was pleasantly surprised to meet him. He asked me what my favorite songs were, and I only later realized it was a test to see if I was just schmoozing or if I was for real. Apparently, my saying "Swing Time" got me a pass, and we all went back stage.

I was really surprised that every one of the media that was in the small group looked bored as hell.

So, if you've done the photo-line on larger shows, you know that you basically walk out for a few songs at the beginning, the band hams it up to get you some good pics, and then you are ushered off to the side, so the video crew can continue getting those shots for the people in the nosebleed seats.

So when it was all said and done, and everyone was walking off backstage, Tommy stopped me, and motioned for me to go back out front and get some more shots, motioning to Gene (we were stage right, same side as Gene). So I was able to go out exclusively and get another couple of rolls of film worth of shots, about 8" from Gene's boots. It was a very cool moment. Later on, when media was supposed to be allowed to go backstage and talk to the band, we were told we were not going to be able to, as the band had an early flight and wanted to get back to the hotel.

So, having read through all of the previous commentaries, I can add Tommy Thayer's name to the list of mensch-like personnas in the music industry, as he let the smallest circulation publication have a lot more time shooting the band than the ones that dwarfed ours. And I believe it's all because I actually gave a damn about the music.
 
So, having read through all of the previous commentaries, I can add Tommy Thayer's name to the list of mensch-like personnas in the music industry, as he let the smallest circulation publication have a lot more time shooting the band than the ones that dwarfed ours. And I believe it's all because I actually gave a damn about the music.

That's a great contribution.

The people I interviewed always gave me their best, because they knew from my questions that I also gave a damn. Too many journalists in all fields want to make the story about themselves, as well as "cut that guy down to size."

Is it envy? I don't know. I never had the urge to cut anyone down to size. I saw how hard their lives were, in a very real sense. Sure, they got fame and money, and in return they got stalkers, sycophants, con artists, no free time, eighteen-hour days, terrible interviewers, temptations only a saint or eunuch could resist, and a ride on a conveyer belt from show to show.

The price they pay is too high for me. One of my favorite films is Invalid Link Removed If you haven't seen it, give it a shot. I found it to be 100 percent accurate.

Think of all the great talents that snuffed themselves out. The business is utterly inhumane, so yes, Tommy Thayer is indeed a mensch, because he retains his humanity in an industry that does its best to destroy everything good in a person.
 
I interviewed Dean Roland from Collective Soul (I know, don't name names and all), and he was genuinely surprised when I said my take on the album "Disciplined Breakdown" was that it was overall positive and about taking back control in the face of having one's art monkeyed with. They had just split with their manager, were involved in a HUGE legal fracas and had recorded the record in the middle of a pasture in Georgia. He said that most people's take on it was that the songs were about being beaten up. I told him, "You can be beaten up, and you guys certainly have, but that doesn't mean you're beat. I mean, you guys wrote, 'Precious declaration reads "Yours is yours and mine you leave alone now." And precious declaration says, "I believe all hope is dead no longer.'" So, I find it hard to believe the entire album is about imminent defeat, vs. it being what you do when faced with imminent defeat."

Or something to that effect. I often wondered if music artists get as big a kick out of hearing how others interpret their work, vs. how they see. Some do, as Dean Roland did, and some don't as apparently Scott Thunes may not. Sort of like being able to see yourself through someone else's eyes.
 
I found that it all depended on the artist. Every creative person likes it when you "get it," but I met an awful lot of people who thought you were a philistine if you didn't "get it," but if you "got it," you were a mindless sycophant. You just couldn't win.

I could never make it as an interviewer now. I'm too cranky. All the game-playing toasts my grits. All I want is art, not attitude. It was always great to meet a down-to-earth person who enjoyed our little chats.

They were rare. I can't even imagine what it's like nowadays. I saw something called "Iggy Azalea" being interviewed, and it was like a conversation with a septic tank. They played the sewage she pumps out, and all I could think of was what I'd ask her if I were conducting the interview.

"How does it feel to be famous even though you have no talent at all?"

"Why does an upper-middle-class Australian want to pretend she's ghetto American? How does that make the world a nicer place?"

"Do you wish you could sing?"

"When you're alone at night, do you ever vomit at the thought of your life?"

And so on.
 
Ordered the book as an early Christmas present for myself, it'll be here tomorrow. Merry Christmas to me. :-)

Edit: just realized its 2 interview books. The second will be here Thursday. (Buying books from Amazon, what a novel idea)
 
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I found that it all depended on the artist. Every creative person likes it when you "get it," but I met an awful lot of people who thought you were a philistine if you didn't "get it," but if you "got it," you were a mindless sycophant. You just couldn't win.

I could never make it as an interviewer now. I'm too cranky. All the game-playing toasts my grits. All I want is art, not attitude. It was always great to meet a down-to-earth person who enjoyed our little chats.

They were rare. I can't even imagine what it's like nowadays. I saw something called "Iggy Azalea" being interviewed, and it was like a conversation with a septic tank. They played the sewage she pumps out, and all I could think of was what I'd ask her if I were conducting the interview.

"How does it feel to be famous even though you have no talent at all?"

"Why does an upper-middle-class Australian want to pretend she's ghetto American? How does that make the world a nicer place?"

"Do you wish you could sing?"

"When you're alone at night, do you ever vomit at the thought of your life?"

And so on.
She is a puppet; merely the vehicle for some producer's vision. I bet she feels led from place to place and hardly has a concept of what is happening in her career or life. It's a little sad actually; it's the kind of thing Sinead O'Connor was trying to warn Miley Cyrus about. We won't have to think about Iggy Azalea for long.

Now, Hank Azaria on the other hand...there's a talent. ;)
 
I found that it all depended on the artist. Every creative person likes it when you "get it," but I met an awful lot of people who thought you were a philistine if you didn't "get it," but if you "got it," you were a mindless sycophant. You just couldn't win.

I could never make it as an interviewer now. I'm too cranky. All the game-playing toasts my grits. All I want is art, not attitude. It was always great to meet a down-to-earth person who enjoyed our little chats.

They were rare. I can't even imagine what it's like nowadays. I saw something called "Iggy Azalea" being interviewed, and it was like a conversation with a septic tank. They played the sewage she pumps out, and all I could think of was what I'd ask her if I were conducting the interview.

"How does it feel to be famous even though you have no talent at all?"

"Why does an upper-middle-class Australian want to pretend she's ghetto American? How does that make the world a nicer place?"

"Do you wish you could sing?"

"When you're alone at night, do you ever vomit at the thought of your life?"

And so on.


Ouch!
 
"Why does an upper-middle-class Australian want to pretend she's ghetto American? How does that make the world a nicer place?"

This one always gets me. Bad enough that the top 40 is stuck in some limbo where rap meets soul and the soul is bubblegum that hasn't changed for 20 years, we get people like her who ditch her own culture for some plastic representation of another. There are actually people who think you shouldn't rap or hip hop in an Australian accent, and I just don't get that attitude. Anyway merry Christmas Tom, good to see you're still going.
 
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Well, she's a gross polluter. I watched a couple of her videos, and it was like they'd been produced by the Ku Klux Klan as an attack on black people. Her professional demise can't come fast enough.

:roflmao: Tell us what you really think, Tom!

I haven't paid any attention to her, so I can't comment on her talent or lack thereof (and I try to avoid putting people down on TB, no matter how much I hate them), but I am a connoisseur of good put-downs and yours here are superb.
 

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