textfiles/music/PINKFLOYD/soundbt.txt

Sound Bites - short bits and pieces of interviews


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: Here's another excerpt.  This one pertaining to Roger's leaving the
: band.  It is reprinted (without permission) from Rolling Stone issue
: #513, dated November 19, 1987.

..."We never assumed that it was defunct," says Gilmour.  "But the
growing tide or rumors and Roger's vocal output combined made it almost
like an avalanche.  We couldn't keep issuing press statements saying,
'No, we haven't split up'.  It wasn't worth the bother.  Our assumption
- my assumption, anyway - was that we would do another record."
According to Gilmour and Mason, Waters officially announced his
leaving in a letter to the Floyd's record companies, Columbia in
America, EMI in the UK, in December 1985.  "We had had discussions,"
Mason says.  "We sort of knew something was up."  Gilmour and Mason say
that Waters thought his exit would mean the de facto end of the group.
"We'd been having these meetings in which Roger said, 'I'm not working
with you guys again,'"Gilmour says.  "He'd say to me, 'Are you going to
carry on?' And I'd say, quite honestly, 'I don't know.  But when we're
good and ready, I'll tell everyone what the plan is.  And we'll get on
with it.'  I think partly his letter was to gear us up into doing
something."

"Because he believed very strongly that we wouldn't do it," says
Mason.

"Or couldn't do it," Gilmour says.  "I remember meetings in which he
said, 'You'll never fucking do it.'  That's precisely what was said.
Exactly that term."  He laughs wryly.  "Except slightly harder."
 
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: This is an exceprt from an interview with Dave.  It was on the "In The
: Studio" radio program where they choose an album and talk with the
: people who made it.

It's a bit of a joke.  We started off once, and we put all the tracks
down without any noise reduction on them, but using these things called
keypexes (sp?) which are noise gates which would turn the tracks on when
we were using them and off when we weren't using them.  Just cut out the
hiss between the moments, you know.  And like the Dolby system, which is
a general noise reduction system which is in operation all the time.
And then -- this is a period of very heavy technical advancements
rapidly happening.  During that period of time the Dolby system became
quite wide spread, and they got them in at Abbey Road, and we actually
had all the tapes copied.  All the master tapes were copied onto --
sixteen track non-Dolby onto sixteen track Dolby.  So all the masters
are second generation from the word go.  It's amazing what you can do
with sound.  Technically speaking, every rule in the book was broken on
that.  And people think it's a kind of an audiorile record.  Wonderfull
(chuckle).  And it shouldn't really be that way (interviewer laughs).

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: Roger Waters, Musician Magazine, May 1992

Something is triggered off in each of us when we listen to certain songs,
a feeling so intangible that it might only whisper, yet is recognized. Roger
Waters explained how he thinks music does this: "As an audience, we look at
the painting or hear the music and recognize truth of some kind that affects 
us deeply. It explains our universe to us in some way that is reassuring.
It is that which makes me feel there may well be something to be in tune with."

Roger's description of his school illustrates how the traditional educational
process seems designed to squash creativeness, a theme that he later explored
artistically in The Wall. "My father was killed in the war when I was three 
months old, and I was brought up in Cambridge, England, by my mother, who's
a school teacher. She didn't encourage my creativity. She claims to be tone 
deaf, whatever that means, and has no interest in music and art or anything
like that. She's only interested in politics. I didn't really have a happy
childhood. I loathed school, particularly after I went to grammer school. 
Apart from games, which I loved, I loathed every single second of it. Maybe
toward the end when I was a teenager, going to school was just an 'us and
them' confrontation between me and a few friends who formed a rather violent
and revolutionary clique. That was alright, and I enjoyed the violence of 
smashing up the school property. The grammer school mentality at that time
had very much lagged behind the way young people's minds were working in the 
late '50's, and it took them a long time to catch up. In a way, grammer
schools were still being run on pre-war lines, where you bloody well did
as you were told and kept your mouth shut, and we weren't prepared for any 
of that. It erupted into a very organized clandestine property violence
against the school, with bombs, though nobody ever got hurt. I remember one
night about 10 of us went out, because we had decided that one guy - the man
in charge of gardening - needed a lesson. He had one particular tree of Golden
Delicious apples that was his pride and joy, which he would protect at all
costs. We went into the orchard with stepladders and ate every single apple 
on the tree without removing any. So the next morning was just wonderful;
we were terribly tired but filled with a real sense of achievement.

"Syd Barrett [the cofounder of Pink Floyd with Roger] - who was a couple of
years younger - and I became friends in Cambridge. We both had similar
interests - rock 'n' roll, danger and sex and drugs, probably in that order.
I had a motor bike before I left home, and we used to go on mad rides out into
the country. We would have races at night, incredibly dangerous, which we 
survived somehow. Those days - 1959 to 1960 - were heady times. There was a
lot of flirtation with Allen Ginsberg and the beat generation of the American
poets. Because Cambridge was a university town, there was a very strong 
pseudo-intellectual but beat vibe. It was just when the depression of the 
postwar was beginning to wear off and we were beginning to go into some
kind of economic upgrade. And just at the beginning of the '60's there was a
real  flirtation with prewar romanticism, which I got involved with in a way,
and it was that feeling that pushed me toward being in a band. I used to go 
with friends on journeys around Europe and the Middle East, which in those 
days was a reasonably safe place. How much all that experience had to do with
my eventually starting to write, I've no idea.

"The encoragement to play my guitar came from a man who was head of my first
year at architecture school at Regent Street Polytechnic, in London. He
encouraged me to bring the guitar into the classroom. If I wanted to sit 
in the corner and play guitar during periods that were set aside for design
work and architecture, he thought that was perfectly alright. It was my 
first feeling of encouragement. Earlier, I had made one or two feeble attempts
to learn to play the guitar whan I was around 14 but gave up because it was
to difficult. It hurt my finger, and I found it much to hard. I couldn't
handle it. At the Polytechnic I got involved with people who played in bands,
although I couldn't play very well. I sang a little and played the harmonica
and guitar a bit. Syd and I had always vowed that when he came up to art
school, which he inevitably would do being a very good painter, he and I 
would start a band in London. In fact, I was already in a band, so he joined 
that."

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: Roger showed up on MTV News At Nite yesterday, with a 
: interview that lasted 3-4 minutes.
: This is what he said about Pink Floyd:

	People do what they do.
	I left and there's a band there still called pink Floyd.
	People must make of it what they will.
	It's not of my busiens anymore, you know.
	Gilmour and Mason own the name pink Floyd, that's it, finished!
	It's nothing to do with me.
	I have no control over it, I have no control over back
	catalogue, I have nothing to do with any of it.
	I'm out of it.., OK?
	And it happened several years ago, and I was jolly angry
	and gloomy about it at the time, and I'm now over it and I'm
	getting on with my own work.
	You know, let's talk about something else.

	[ Smiling when saying this ]

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: There is also Waters "interview" in the latest Q magazine (November '92)
: It seems it's the same that was on MTV.

: Here are some nice quotes :-)

"I wrote The Wall as an attack on stadium rock - and there's is Pink
Floyd making money out of it by playing it in stadiums! Pathetic. They
spoiled my creations."

"Well, anyway, I am one of the best five writers to come out of
English music since the War."

"Radio One won't play my single because they know it's no good. They
know it's not as good as Erasure or Janet fucking Jackson."

[He also said that Lloyd Webber used music of Echoes in the beginning
of Phantom Of The Opera.]
"Bastard. [...] But I think that life's too long to bother with suing
Andrew fucking Lloyd Webber."

[Waters was asked which writers could possibly rank above him]
"John Lennon. [...] Er, I can't think of anybody else [...] Freddy
Mercury maybe...."

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: --- Included from Dave Gilmour interview, Q Magazine, August 1990 ---

HAVE YOU COMMUNICATED IN THE LAST THREE YEARS OTHER THAN
THROUGH LAWYERS?

Oh yes. We've met and talked. He has now stopped coming to the meetings we
have to hold - we are still in business together and we have to have board
meetings to make various decisions, but now he usually sends a proxy along.
The last time I spoke to him was when we signed our agreement (in 1987),
which stopped all lawsuits at that time and settled the fact that we had the
name in perpetuity. He got some rights and bits and pieces, particularly to do
with The Wall. There were one or two areas of the agreement that weren't
clear and he subsequently entered two or three lawsuits against us, which he
has now dropped.

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: Extracts from an article about The Wall in Berlin, taken from 
: Q Magazine, #48,  September 90.

: I have only typed in what Waters says, the rest is just a description
: of the show and things like that.

: Interviewer Phil Sutcliffe


                ...AND PIGS WILL FLY!

"If this concert is to celebrate anything, it's that the Berlin Wall
coming dow can be seen as an liberating of the human spirit," Waters
tells Q during rehearsals.

So it is not in any sense a "Top that!" addressed to Dave Gilmour and
Nick Mason, now legally established owners of his old band's name
and, hence, proprietors of an fabulously successful Pink Floyd
comeback in the late '80s?
  "No it's not Top that! But it certainly will be most gratifying
that a few more people in the world will understand that The Wall is
'my' work and always have been. There must be an element of that.
Though after hearing them at Knebworth I don't think I should worry.
They just haven't got the faintest idea of what any of it's about.
But then they never did. Still most of the audience for this show
will probably think it's Pink Floyd anyway. The attachment to the
brand name is limpet-like. It's something I live with."

...The 100-piece Soviet army band took no more than a word in the ear
of the right chap. Four tanks, though, were just not on. Nor,
finally, were the pair of WW2 bombers buzzing the site, proposed by
Waters.
  Even Cheshire had balked at that one. "He said, You can't do that"
Waters recalls. "I said, "But that's what this is all about! Anyway,
we had an argument. I think he felt bad about it because he still has
things to deal with, knowing he'd been up there dropping bombs on the
poor bastards."

The bomber proved unobtainable anyway but for Waters, other
satisfactions were readily to hand. "When I came to listen to the
album again after 10 years, I thought, Christ, I hope I like it still,"
he says. " Then I put it on in the car and it was, This isn't half
bad. I'm extremely proud of it. I'm proud of the fact that I get
letters from schoolteachers who use Another Brick as the basis of
class discussion.
  And there's a book about psychotherapy in which the author mentions
The Wall and says how extraordinary it is that an Englishman should
write in this way. When I read that in an academic tome about child
psychology I did feel a warm thrill that somebody had taken it so
seriously.
  I get letters about The Wall too - I'm not saying the mailbag's
bursting with them - but from people it meant a lot to, helped them
free their feelings. It's given comfort. So the pay-off from having
expressed myself before my peers and torn down my wall, if only to
limited extent, the pay-off is... good."

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When the band reached NZ on "that" world tour, Dave and Nick and Rick
were interviewed briefly for television. One of the questions asked was
very similar to the above, along the lines of "How do you feel about
performing without Roger Waters".

Dave's answer (paraphrased - this was some time ago):

"Well, we're only doing three songs that he sang on and I'm singing
those, and bass players are ten-a-penny really."

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Stolen from the 08Jan83 Goldmine:

Gilmour:
"The whole side three bit with the orchestra all got shortened
radically.  Other songs -- `Run Like Hell,' was chopped to bits,
really.  Whole chunks.  One was concentrating then on vinyl.  It
wouldn't matter so much today, but with vinyl, there was a finite limit
of about 21 minutes a side.  Every extra minute, you lost a db, one db
of level when it's being played on the radio.  Not so much here, where
they compress the shit out of it, but also [the] signal-to-noise level
gets worse and over 25 minutes you're beginning to suffer quite
distinctly.  So, our objective was to get it short enough to be able to
get it onto two albums, and some things suffered for that."

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  Here is what roger waters said of "not now john"
 "john" is a british word much like "jack" or "buddy" in the states.

INTERVIEWER: "not now john" is about over ambitions & drive for money and
  winning...blind ambitions to best the "wily japanese" and to conqueor
  the russian bear"
ROGER:yes, but never mind the russian bear, what about the other members
  of the human race?...wait until they start trying to compete, and that's
  most of us.  There are lots more of them than there are of us. There are
  more of the third world than there are of the old and new worlds.  And as
  soon as they get TVs, they're going to get well up-tight.  In fact,
  they may well say, "You've had your go, we want our go now."
  it's that kind of 'more.'
INTERVIEWER: Would you say that the personality/persona of the singer
  in "not now john" has the same mentality or character as in "have a
  cigar?"...We're all put together as a team.
ROGER: Well, yes.  You've done your homework!

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Rolling Stone, July-ish 1990:

RS: I understand that PolyGram Records, which is releasing a live album of
the event, has put a lot of pressure on you to employ special guest stars
in the show.  It strikes me that 'The Wall' is less suited to a parade of
guests than, say, 'Tommy'.

RW: Well, I thought Tommy was reduced *dramatically* by the inclusion of
Billy Idol and Patti LaBelle and Phil Collins.  I find the ubiquitous
nature of Phil Collins's presence in my life irritating anyway - but
having said that, the kid is a child actor and he was very good, though I
did feel it was kind of overkill to wear two different costumes.  But
Billy Idol and Patti LaBelle were an absolute nightmare.  They were fucking
*aweful*.  But I am using as much outside help as I can get, particularly
for "Bring the Boys Back Home".  I want to get soldiers from opposed
ideologies onstage together to create a piece of music theater, which is
symbolic of what Leonard Cheshire and the Memorial Fund are trying to
achieve.  Which is international cooperation in the face of national
disatsters.

On the other members of Floyd being absent:

RS: It's ironic that you're singing about cooperation and breaking down
walls, and yet you're not including the people with whom you recorded
"The Wall" originally.
RW: Yeah.  I wouldn't be able to focus on the piece, or the day, or what
it was about, or its aims, or whatever, if either Dave Gilmour or Nick
Mason were there.  If I was to get involvied with them, it would have to
be done at Big Sur and it would take six months.  Having said that, I
absolutely acknowledge that some of the work involved in The Wall is Dave's.
But the fact that he cares as little as he does for the feelings that
are in the piece, I think, makes it impossible for me to invite him to
be there.  You know, he has been out in stadiums playing my piece, in
exact opposition to my emotions and ideas and philosophies and whatever,
for his own profit.  And I can't forgive him for that.


[ ed note--"Big Sur" is a "new age" sort of rehabilitation/retreat center
in California.  Waters here is suggesting that any kind of "reunion" of Floyd
would invlove lots and lots of therapy, group discussions, getting to know
one another, and probably more than a small amount of tranquilizers.]

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  In an interview with Karl Dallas, in _Bricks In The Wall_,
   "DALLAS:  The cross-cutting in the movie, with the Anzio landings, don't
    you think that's a little far fetched?
   "WATERS:  Not really, no.  I don't.  Because there seems to me to be
    something ... well, it's strange, because it's not a direct parallel.
    Clearly, the motivation behind people jumping off DUKWs and running up
    beaches in Anzio is that they've been bloody well ordered to do it, you
    know.  And they thought, and they were probably thinking, they were
    fighting a war that needed to be fought.
   "Whereas the motivation for the kind of involvement inrock shows that I'm
    pointing at is masochism.  It's something I don't understand.  I do not
    understand that thing of people going to rock shows and apparently the
    more painful it is the better they like it."
 
 Regarding the final scene:
   "WATERS:  [...] That final image, if it's saying anything at all, it's
    suggesting that when we're born, we don't like Molotov cocktails, and
    that we learn to like them as we grow older.  We learn to want to burn
    stuff and break things. ...
   [Later, after being asked if that's sentimentalizing childhood]
   "WATERS:  [...] Children don't ... well, actually children DO like Molotov
    cocktails, of course, they do.  They love Molotov cocktails.  I don't
    know why I said that.  It's clearly nonsense.  They like guns and
    fireworks and bangs and ... but they don't like killing.  Well, most of
    the children I know don't, anyway. [...] Killing is very worrying I think
    to children, and it's something that we get hardened to as we grow
    older.  Some of us get more hardened to it that others."

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Dave Gilmour on "Midweek" - UK Radio 4

Dave confirmed that he and Nick and Rick were currently "jamming in the 
studio" and "preparing [to start] the new album".  He didn't mention a 
release date. Concerning the break-up with Roger, he defined the point 
of no return as during the filming of "The Wall", basically saying that 
Roger's ego had got too much to handle. Also, apparently, at one point 
(he didn't say when) he was advised by the police not to go to the 
studio and to stay at home because the FBI had informed them that a 
crazed fan was on his way over with a hand gun!

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MTV News at Nite Nov 24, 1992

[A short bit about Pink Floyd with interviews with Gilmour and Waters.]

Gilmour, about Waters leaving (paraphrased):

	"We lost something and we gained something....
	 You always have some regrets about losing
	 a talent.., don't you?"

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David Gilmour in the February 1993 Guitar World.


WHAT ABOUT YOUR SOLO ON COMFORTABLY NUMB? DID THAT TAKE A LONG TIME TO
DEVELOP?

No. I just went out into the studio and banged out five or six solos. From
there I just followed my usual procedure, which is to listen back to each solo
and mark out bar lines, saying which bits are good. In other words, I make a
chart, putting ticks and crosses on different bars as I count through: 2 ticks
if its really good, 1 tick if its good and a cross if its no go. Then I just
follow the chart, whipping one fader up, then another fader, jumping from
phrase to phrase and trying to make a really nice solo all the way through.
That's the way we did it on "Comfortably Numb". It wasn't that difficult. But
sometimes you find yourself jumping from one note to another in an impossible
way. Then you have to go to another place and find a transition that sounds
more natural.

WHEN YOU DO A COMP LIKE THAT, ARE YOU CONCERNED THAT YOU'LL WIND UP WITH A RESULT THAT'S PHYSICALLY IMPOSSIBLE TO PLAY?

Not if it sounds alright. I'm perfectly happy to puzzle the hell out of people
who try to work out how its done.

(important part here!)

FOR LIVE SHOWS, DO YOU THEN HAVE TO GO AND LEARN TO PLAY THE SOLOS FROM THE
RECORD?

No. I NEVER PLAY LIVE SOLOS EXACTLY THE SAME WAY THEY APPEARED ON RECORD. I
tend to start with the same thing that's on the album and take off from there.
Every once and a while I'll remember a bit from the record and fall back on
that. Of course, the solo in the middle of Comfortably Numb is worked-out.
I always do that the same. But I never play the main solo - the jam solo at the
end - exactly the same as the original.

(end of interview)

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Something from TAP:

	QUNTROVERSY & AGGRESSION

	Winding through the tapes of writer Matthew Gwyther,
	we found quotes from Waters and Gilmour which, while
	too specialist for his Observer feature (see Medialog,
	TAP 59), will interest scandalously-inclined Floyd
	fans...

	  DG on Waters: "I haven't spoken to Roger since the 
	23rd of December, '87, when we finalised our agreement.
	We made up, on a word processor, an agreement; the two 
	of us together with one guy, from our accountants...
	  "I have seen him since, at Paul Carrack's 40th birthday
	party... he turned round from the bar with two drinks in 
	his hand and couldn't help but smile. Then he stalked off 
	and gathered his party and left."

	  Waters on Sorm Thorgerson: "He came and stayed with my 
	mother and brothers and me. I'll never forget him saying, 
	Oi, I want my cup of tea, or, I want my breakfast. My 
	mother said, Well, go downstairs and put the kettle on, 
	then. 'Oh, alright.'
	  "About ten minutes later, this 11-year old came back and 
	said, How do you put the kettle on? He'd been at (boarding
	school) since the age of five and didn't know how to boil
	a fucking kettle of water! [Which is] a fantastic indictment 
	of that whole thing about education and children." *

	  Fast forwarding futher, Matthew asks about Mason being 
	Rog's best friend: "Well, so I thought... But when push came 
	to show, when we were making The Final Cut, I asked him to
	stand by me, to be part of 'my gang'. 
	  "He said to me, '...I want to go on with Gilmour...'. At 
	least he had the courage to tell me that. I went, Alright, 
	if that is what you belive."

	Finally, we get to the poetry Rog's been composing. There's
	stuff about Grantchester Meadows, fishing in the River Cam
	and the obligatory dead dad bit: "We did our best / We kept
	his trust / Our dad would have been proud of us." You read
	it here first...

	* Thorgerson gets his revenge, in an interview with Simon 
	Taylor, for the laters college dissertation 'The Music and
	Images of Pink Floyd':
	  "There was an argument between Roger and me over the 
	crediting of the Animals cover. Using Roger's concept, it
	was up to me to design the cover and organise it all.
	Getting the pig, photographers all in place was my work.
	  "Therefore, I credited myself as sleeve designer. Roger 
	was furios and after a long argument the sleeve notes were 
	changed with him listed as designer. After that, he never 
	bothered to call me again; which is a shame really, because 
	we were good friends.. That is typical of Roger, a very 
	unforgiving sort of chap.
	  "That is why I didn't get asked to do The Wall cover. The
	one they used is very bleak, isn't it? But then it reflects
	the music on that album. On the whole, I think his covers over 
	recent years have been awful, but that's his decision."

	  Incidentally, can Storm explain the Delicate Sound Of Thunder 
	cover...?
	  "Because [it] was a live album, I wanted the cover to reflect 
	what was so special about a Floyd gig - what made their shows
	unique - which I concider to be the marriage of light and
	sound. So you have Mr. Light in a showdown with Mr. Sound. The
	whole thing was shot in Spain."

	  Lastly during his chat with Simon, Storm confirmed he had 
	been "working on a book about Pink Floyd with Nick Mason". This 
	was not the Shine On rubbish, so maybe we'll see something 
	interesting published to coincide with next year's Pink
	shenanigans...

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Roger Waters, Musician Magazine, May 1992


Something is triggered off in each of us when we listen to certain songs,
a feeling so intangible that it might only whisper, yet is recognized. Roger
Waters explained how he thinks music does this: "As an audience, we look at
the painting or hear the music and recognize truth of some kind that affects 
us deeply. It explains our universe to us in some way that is reassuring.
It is that which makes me feel there may well be something to be in tune with."

Roger's description of his school illustrates how the traditional educational
process seems designed to squash creativeness, a theme that he later explored
artistically in The Wall. "My father was killed in the war when I was three 
months old, and I was brought up in Cambridge, England, by my mother, who's
a school teacher. She didn't encourage my creativity. She claims to be tone 
deaf, whatever that means, and has no interest in music and art or anything
like that. She's only interested in politics. I didn't really have a happy
childhood. I loathed school, particularly after I went to grammer school. 
Apart from games, which I loved, I loathed every single second of it. Maybe
toward the end when I was a teenager, going to school was just an 'us and
them' confrontation between me and a few friends who formed a rather violent
and revolutionary clique. That was alright, and I enjoyed the violence of 
smashing up the school property. The grammer school mentality at that time
had very much lagged behind the way young people's minds were working in the 
late '50's, and it took them a long time to catch up. In a way, grammer
schools were still being run on pre-war lines, where you bloody well did
as you were told and kept your mouth shut, and we weren't prepared for any 
of that. It erupted into a very organized clandestine property violence
against the school, with bombs, though nobody ever got hurt. I remember one
night about 10 of us went out, because we had decided that one guy - the man
in charge of gardening - needed a lesson. He had one particular tree of Golden
Delicious apples that was his pride and joy, which he would protect at all
costs. We went into the orchard with stepladders and ate every single apple 
on the tree without removing any. So the next morning was just wonderful;
we were terribly tired but filled with a real sense of achievement.

"Syd Barrett [the cofounder of Pink Floyd with Roger] - who was a couple of
years younger - and I became friends in Cambridge. We both had similar
interests - rock 'n' roll, danger and sex and drugs, probably in that order.
I had a motor bike before I left home, and we used to go on mad rides out into
the country. We would have races at night, incredibly dangerous, which we 
survived somehow. Those days - 1959 to 1960 - were heady times. There was a
lot of flirtation with Allen Ginsberg and the beat generation of the American
poets. Because Cambridge was a university town, there was a very strong 
pseudo-intellectual but beat vibe. It was just when the depression of the 
postwar was beginning to wear off and we were beginning to go into some
kind of economic upgrade. And just at the beginning of the '60's there was a
real  flirtation with prewar romanticism, which I got involved with in a way,
and it was that feeling that pushed me toward being in a band. I used to go 
with friends on journeys around Europe and the Middle East, which in those 
days was a reasonably safe place. How much all that experience had to do with
my eventually starting to write, I've no idea.

"The encoragement to play my guitar came from a man who was head of my first
year at architecture school at Regent Street Polytechnic, in London. He
encouraged me to bring the guitar into the classroom. If I wanted to sit 
in the corner and play guitar during periods that were set aside for design
work and architecture, he thought that was perfectly alright. It was my 
first feeling of encouragement. Earlier, I had made one or two feeble attempts
to learn to play the guitar whan I was around 14 but gave up because it was
to difficult. It hurt my finger, and I found it much to hard. I couldn't
handle it. At the Polytechnic I got involved with people who played in bands,
although I couldn't play very well. I sang a little and played the harmonica
and guitar a bit. Syd and I had always vowed that when he came up to art
school, which he inevitably would do being a very good painter, he and I 
would start a band in London. In fact, I was already in a band, so he joined 
that."

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