that’s what we’re going to be. That’swhat we’re going to be continually.To me, punk rock now is so not theway it was. Whatever, who cares. Yaknow, to each his own, but it’s definitelynot this big community.There’s people doing it. Don’t getme wrong, there are pockets, but it’sa minority of people that have theidea of this being a community andeverybody trying to get somethingchanged. Not changed like in apolitical way, just a human thing.Julia: What’s the biggest disappointmentor frustration in themusic scene from when you gotinto it to now?Tim: It’s just a shame to see a lotof people who came from backthen that didn’t bring the flag.But, you know, who cares. I can’tstress that enough. I’m not on asoap box about it. That’s theirlife. They can do whatever theyfuckin’ want to do, but it iskind of sad.Julia: What, if any, differencedo you see between the attitudeand motivation betweenthe bands around when yougot into the scene and thebands today?Tim: It’s different now,‘cause the only motivationback then was basically tohave something to do, tokeep people starting upthings and doingfanzines, starting newbands, ‘cause they’re notgoing to play this on theradio, so it was fun. Itwas basically to keepyour scene going andthen hopefully get to seeother people’s scenesand have people comeand visit your scene. Itwas really close knitback then. Everybodywas reading all thefanzines. Now, it’s reallyfunny ‘cause you’llgo up to somebody thatyou’d think wouldknow about differentbands, like say a garageband, and you’ll start naming off bands like, “Oh, have you seenLee County Killers?” “Who?” It amazes me, because back then weknew about every band, whether you liked it or not. Also, I thinkbands start up now more so because they think they’re gonna makea living, be on MTV, they’re gonna be the White Stripes. You’renot starting a band because it’s like, “Man, I saw these nuts upthere last night, I wanna do that too.” Skating has become like thata lot as well.Julia: Have you ever had deep sound disagreements with a bandthat you were recording?Tim: No, because basically I work for the band. If I have a problemwith what they’re doing, which has happened a couple times, Idrop it because it’s not my band. I’ll suggest something. If I reallyfeel strongly about it, I’ll argue with the person for a little bit justto see how strong they feel about what they’re talking about, butbasically I’m working for them. I’ve had problemstwice with engineers where the engineer decidedthey were going to mix the record and it didn’tmatter what the band said, it didn’t matter what Isaid, it was them that was going to do it. That’s bad. That’s badnews because what happens is you start second guessing yourself.You’re sitting there listening and you ask them to turn the treble upand they’ll pretend to turn the knob, but not really do it and I’mthinking, “Okay, I don’t hear any more treble,” so if I ask him toturn it up more is he going to think I’m an idiot ‘cause he really didturn it up, or what? When that happens I usually tell the bandwhat’s happening and tell them to decide what they want to do. Butthat’s only been twice. Most of the time everybody’s totally into it.Your biggest compliment is if the band likes it and if the bandactually, in a really corny sort of way, kinda grew a little bit. Kindof grew closer, kind of realized some stuff that they didn’t knowthey could do, that kinda stuff and that’s great.Julia: What do you do when things don’t go smooth?Tim: Things usually go pretty smoothly. There’s things you can dowhen people are starting to freak out. First of all, it’s always goodto have somebody in there that doesn’t have baggage with the bandthat cares about what’s going on, because I can tell someone he’sflat or their drum beat is slowing down, but if your singer tells youthat, it’s going to set something off that happened four shows agoand everybody’s fighting and yelling. Also, when things are gettingkind of crazy, if you just leave the studio, just go outside for aminute, it will help. Talk to people.When you find out somebody’s really upset about something,find out why. If someone in the band absolutely has to have a particularthing on that record then make the rest of the band listen towhat’s being said and let’s try to figure out a way to put some ofwhat he or she is talking about in there, because this could end upbeing, hands-down the greatest record ever made and the one personwho didn’t get their say is going to hate it. There’s a lotinvolved and it’s a skill in a sense, but it’s not a skill that I studiedor anything like that. It came about from being in so many bandsand being around people all the time and kind of being looked atlike “dad” or a band leader. And, it’s caring about people. The firstthing I tell a band is when we go in and record, we’re not solvingworld peace. You should look at it like, let’s document this point in
time. How we got to here, why we started this with this group offriends. We may not be in here tomorrow, somebody may die, ashorrible as that sounds, but it can happen. Make something thattwenty years from now, when you put that needle down on thatrecord, you just start smiling and think, “Man, that was a crazyweekend. We got this crazy nut from Texas to come down here anddo this.”Julia: Have you ever mic’d avibra slap?Tim: That was my pet peeve upuntil this year. This year, for some reason, somebody hit one and Ididn’t cringe. It’s a long story. We did an instrumental in the BigBoys, I think it was an instrumental, I don’t even remember now atthis point, but Biscuit (the lead singer of the Big Boys) startedplaying a vibra slap on stage. He started making such a completeoverblown, ridiculous production of playing that thing that it got towhere I didn’t want to hear it anymore. So now, when I hear thatsound, it kind of takes me back to that.Julia: Could you tell me how you ended up on guitar and Chrisended up on bass.Tim: Flipped a coin. We were skating and we were talking aboutstarting this band up and getting Biscuit to sing, ‘cause we knew hesang. We both (Chris and I) played guitar so we flipped a coin tosee who was going to play bass.Julia: What did Biscuit’s sweat smell like?Tim: Baloney sandwiches. He did this show one time where hehad sandwiches in baggies safety pinned all over this jumpsuit hehad on. During the show, he’s throwing the sandwiches out to thecrowd. I swear to god, it had to have been at least a year later, wewere at this big show and somebody throws one of those sandwichesup on stage, in the baggy and everything. So Biscuit takes it out,puts it under his arm and sings most of the set with this sandwichunder his arm. Then, at some point, he pulls it out and eats it.The best gross out story is in San Francisco. Big Boys hadplayed there and here come the Dicks. Jello Biafra pulls Gary (thelead singer of the Dicks) aside and tells him, “You know, you reallyprobably better not wear that nurse’s uniform, because when theBig Boys were here, the singer wore a dress and people gave thema bunch of shit.” Gary went out there anyway and some kid spit abig loogieright on hischeek. Garywent right tothe front row,where the kidwas, and eatsit. The wholefront rowstepped back.Texas!Julia: Is ittrue peopleused to slightthe Red HotChili Peppersby calling them the “Small Boys,” as a reference to not being asgood as the Big Boys?Tim: Oh, I don’t know about that. The very first time we ever sawthe Chili Peppers, they were really amazing. It was total JamesBrown. It had no rock in it. It didn’t have any kind of funky rock,funky punk. It was straight-up James Brown. Me and Chris got intoan argument that night because I was going, “This is great. Theycall us funk? We need to start playing more James Brown typestuff,” and Chris was saying, “That’s not funk. The Ohio Playersare funk.” We ended up getting into an argument about JamesBrown and the Ohio Players. The first time we played with them,they did a Big Boys rap. It was weird, because every time I sawthem after that they got progressively more funky punk, funkyrock. There were other bands – Gang of Four was pretty funkysounding. There were a lot of bands doing something other than thestraight-up Sex Pistols sound. There was that band here that was sogreat, Black Randy and the Metrosquad.Julia: Could you clarify the whole Bad Brains coming to Texasand not digging the homosexuals story.Tim: Okay, first of all, Biscuit never really... being gay was not an<strong>issue</strong>. He was gay. We all knew he was gay. We had friends thatwere gay. We didn’t have songs about it. He didn’t announce it onstage – not because he was hiding it – it just wasn’t an<strong>issue</strong>. Nobody cared. So here come Bad Brains. Theystayed at our house. To this day, they were probably one ofthe better bands I ever saw. They were67
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