Visit the Fish Website
interview for DPRP by Dries Dokter, Martien Koolen and Bart Jan van der Vorst
Photos by Bart Jan van der Vorst

The Retirement of Fish as a singer?

Before the concert at Tilburg's 013 on February 26th Bart and Dries were to have a little chat with Fish. Our colleague Martien was also there, although he was to interview Fish for a different magazine. However, as time was pressing, we decided to join forces and do the interview together.
Fish was a little late, because he'd had to do some quick shopping...

Fish: Sorry, I had to go out and do some shopping. You know, that's what I like about Holland, you are equipped for tall people. Because you know, in the UK, there are only fucking midgets

DPRP: So welcome back in Holland. What was the show [in Belgium] like last night?

We're doing four in a row and the last two gigs were really big gigs. We had London and Paris, which is like the equivalent of a football team playing kinda like a premier league match against a top club on Sunday, and then going to the champion's league on a Monday to play another team, you know.
And then the French record company very kindly put me in the position where I had to do about 14 hours of interviews on the day after. I was not a happy bunny.
Then the next day I got a bit of a lie, so my day-off disappeared, and then the next day I had to go to Belgium and I was in Belgium the night before and it was rock on Belgian radio at 12 o'clock at night. And then I had four interviews yesterday before the show, and then a two-hour drive to Verviers. And I was very very tired and I knew that I had Tilburg coming and I had Utrecht, which, no disrespect to Verviers, but playing 1000 people in Tilburg against playing, you know, 350 whatever in Verviers - although it's sold out. And it'd been a progressive rock audience, which is gonna sit there and listen and not react, you know. It's like OK, we'll do the show, so last night's show wasn't as right as it could've been.
But I'm doing OK you know, no cigarettes, taking care of myself.

You did that before the album? Because I noted how good your voice sounds on the new album...

I was smoking on the album.

you were? So what was your secret?

I just took the keys down. I stopped singing high keys, it's the same as tonight, I've got a voice that you know if this had been in the last tour, with this voice, I would have been in a situation where a lot of people would have been really worried. But I've taken all the old songs down a semi-tone, and the keys for the last two albums have been more suited to my voice. I mean, I listen to stuff like Script For A Jester's Tear and it's like a different fucking person. Even Steve Vantsis, my bass-player, I played him Recital Of The Script one night, we were having a wine and nostalgia night, and he'd never seen the old stuff, and he's saying that it is a different person. It is a completely different person to the one that he met way back in 1995.

I can imagine that.
You also recently helped compile the new live box set Curtain Call, which will be released soon. What was it like to listen to those old recordings again?

It was interesting, not unlike watching a family album of photographs... that's it really... I didn't have a hard-on!

The new album seems to be very well received, everybody seems to be very pleased with the new album. Obviously you are...

yeah, it works out I'm really proud of it, I mean, considering that it was an album that. You know, it was like we're gonna make an album and when we started working on it at the beginning of the year I had no real idea what we were gonna do.
You know, John Wesley had gone, and I was like "who am I gonna write this with?" and I had Frank, and Frank although he writes, he's not a mean kinda writing soul, you know?
And I needed to find a keyboard player. And I also have the problem with John that working with people from other countries is fucking hard. You have to bring them in and then they gotta stay with you for a long period of time, and if Wes came over he's gonna have to stay for three or four months, and he'd want full pay for those months. And I'd say sorry, you know, but I ain't Dave Gilmour...
So I had to try and build a completely new unit together. And you're talking about Yin and Yang... I'd met Bruce Watson again, and Bruce and I have known eachother from before the Vigil album, which is a long time, and I met him again for the first time since a long while at Stuart Adams' memorial service, after his suicide. And I later phoned him up, said "would you like to have a crack at doing something?" and he was up for it, he was looking for a project, so Bruce came in. And I had found another keyboardplayer called Irvine Duguid, he was introduced to me by James Prime from Deacon Blue.

But then Irvine fell out halfway through the album because he just couldn't handle... Irvine is a type of keyboardplayer who just went along and played keyboards and then got a cheque and that was it. He never worked in bands before and we knew that with writing you have to be very patient, you have to be very relaxed and you gotta keep a slow tempo.

So Ivine pulled out the frame and Tony Turrell came in and it was great having Tony back. And Tony provided the missing pieces, as he's far more prolific keyboardplayer than Irvine was. Irvine is more like a session keyboardplayer.

but even though he didn't play on the album, he is credited for a few songs on the album

Yes, he got percentages of the songs. But these are back-up percentages... But you know, I really don't wanna talk about Irvine, cause it's not worth it.

It's the same with the drummer situation. We started working... and I've got... you know, I've got high standards of musicians, and I've worked with a lot of real quality musicians, and they'd know what I want, and I'm very specific with things that I want. And I give people a lot of chances to move in. I don't expect somebody to just walk in and if somebody does walk in and it goes click, then that's it, that's brilliant, great. And with other guys you go "well, I think they could possibly do it" and you bring them in and you give them five, ten gigs or whatever and you let them work. The problem was with the drummer that we picked back then, basically he wasn't good enough. He wasn't supplying what we wanted. Maybe it was our fault, maybe it was his fault, but when we said to him "I'm sorry, but you gotta leave" Irvine left as well, because him and Irv were still friends, and that was it.

So Mark Brzezicki came in and Tony Turrell came in. And Tony Turrell was great, I mean, Tony and I had a problem which was not a problem between me and Tony, but it was a problem between me and Tony's partner way back, that Tony was dragged into.

And what was it like to have Mark back after such a long time?

It was great to have Mark Brzezicki back, but Mark is a flaky kind of guy. He's a great drummer, and he's... he's... I talked to Mark in December and I got Mark doing the album, so I asked him "Are you gonna do the tour with me?" and he went "yeah, I really wanna work with Bruce and you again, and it was great with Frank and things, just like the Vigil tour, and great, I'll do it". And then I got a fucking e-mail on the 21st of December, saying "did you get my e-mail from the 16th of December saying that I can't do the tour in January?"
And I was like "What the fuck??"
It was typical Mark. Both Bruce and I have come to the decision never to rely on Mark to do the tour.

Mark is a lovely guy, but he's like a headless fucking chicken. He commits to so many things. He had Procol Harum and he said to me "it's not a problem. Procol Harum aren't on tour until June and I can do your tour and then put this in there" and then Procol Harum put their tour forward. But I didn't like the way he dealt with it and I was very... both Bruce and I was a little bit annoyed about the way that it was left. And then we picked up Windsor McGilvray who came in on the recommendation from another drummer. And he's been kinda like "ok he's got the letters, he's got all the bits so let's try him' and... well, it's working.
It's not the best... I mean, no disrespect, but it's not the best rhythm section I've had, but he's doing well.

So what are the main musical difference between the new album and the previous albums?

In what sense? You heard the album yeah?

no I haven't heard the album.

well, that's your problem then.

I didn't get it

why didn't you get it? Did you ask for it?

yes

when?

when? Well, a month ago, at least.

They were sent out! This is such a fucking pain. You can have broadband nowadays, where you can fucking put an e-mail in and get the stuff right out. I'd be quicker employing fucking small children with sacks and give them sandwiches and say "take these albums to Holland"
The amount of time that it has taken for mail... you know the advances in communications technology are immense, but getting a fucking package from one country to another...
I had packages... and this has got nothing to do with our office... we're just about to take legal advice against the post office, against the Royal mail.
We've had packages that sat in Haddington for three days, then gone to Edinburgh to the main post office, that have sat there for eight days, before they've gone down to fucking London and then they've gone to London and then they've sat on the International Hub for three fucking weeks waiting to go out. And some of those packages have been sent on guaranteed next day delivery, others have been sent "special delivery". And they all get treated the same. It's a shambles. The European post office is a fucking shambles. Because it's the French hub which goes to Paris, and we've had a package going to Luxembourg with 25 CDs for promo on this tour and it went missing for six fucking weeks.
And it's my business! And I've got the preorders and the promos, over 300 CDs that were sent and like guaranteed fucking deliveries that just disappeared for fucking three weeks.

And there are people depending on the mail, and the mail is not cheap...And with the prices, the service is absolutely fucking despicable. So we are now taking legal advice and we're also going to the BBC on a Watchdog program, because we got fans who complain to us about how long it takes for their fucking CD to arrive in the mail.
We've sent test packages out to places and seeing just how long it would take to get there.

And the thing is, the Royal Mail, they are now going to take the night train off. We used to have the famous night train. And it was this train from London, and it was this train that goes down with all the packages and the post and stuff. And they take it off because we don't need it anymore.
THEY FUCKING NEED IT NOW MORE THAN FUCKING ANY OTHER TIME - CUNTS!!

Anyway, enough of that. So that's why you don't have the album yet.

Then Fish' mobile phone rang and he got told that his next gig in Germany, two days later, got cancelled because one of his German promoters went bankrupt and had run off with the ticket money.

... [quiet]

I'm so sick of this fucking industry, it's just a joke

So after 16 years as a solo artist, are you still having fun?

No, I'm leaving it.

[Laughs] yeah? When?

Uhm, probably September-October...

[Quiet...] Seriously? For Good?

Well, all I'm gonna say is that I've had enough. I've got a great album. I have no plans at all to do another one -at this moment of time. Normally when I've done an album I go like "yeah, I wanna go that way" At this moment of time there are no plans.

It gonna take at least two years, possibly three before I make another album. And I've done it! I've been doing it for a fucking long time, I'm forty-six years old. I'm having a compromise, this is wonderful, this is a great venue to play, we got lights, we got a PA, we've got a stage big enough for the whole band. If I could do just gigs like this, play every week to a thousand people or whatever... You know I was in Verviers last night, and we got 350 people in... It's 10.30 at night before we go on stage. I know most of the crowd are there because it is a late-night drinking place... you know, what the fuck is that? I'm forty-six years old - FUCK OFF! You know?
And I come on and I get on the bus, and we got the travelling buses you know the touring buses and the thing is, that two months... this is definitely the last organised two month tour that I'll ever do in my life - I will not do this again. Cause it's a waste of time and I'm wasting days and weeks of my life. I love going on stage, I love being there, I need the fix from being onstage, but I can get that fix in another way. I can get that fix treating music in a different way. I was doing a movie three weeks ago from John Maybury, and I'm working with Kris Kristofferson and Adrien Brody who won the fucking Oscar for best actor last year, Jennifer Jason Leigh...
And Kris Kristofferson, he's a musician too. And he's doing two nights in Dublin, then doing the movie for two weeks, then he does two nights in Edinburgh, two weeks in the movie, two nights in Glasgow. That's how I wanna do it.

You know, I'm more interested now in movies than I am in music. I don't listen to new music - I watch DVDs. I'm far more interested in cinema and I knew that I'd be. And I sat there on the set watching them thread the film through the camera. The big fucking camera, not the wee fucking little independent dvd fucking shit, no we're talking the big fucking cameras, the big lighting crew. And I'm sitting there and going like "WOW!"
And you know the last time I did that? It was in 1982 when I sat in the Marquee studio when we were doing Script and I watched them put two-inch tape on a spooler. And I was excited and I went "This is were it's at".

What the fuck am I gaining? You know, I've done great album, what the fuck am I gonna do to beat this album? And regarding tour, what is the point of going out and fucking touring when everybody is just taking the piss out of the artist. I've got a Dutch government that's taking 27% tax of me. I've got a British government that if I wanna fly to Holland to play a gig, they want 50 pounds a man in tax before I've even got to fucking Holland. And then the money I make in Holland I gotta take it back and then I've gotta pay fucking huge amounts of tax over there. What's the point in that? Germany is taking 30% tax, 32% tax even. I get little bits of paper saying that I've been on tour - Fuck touring, it's a waste of time.
And I'm out there and all I get is people telling me "oh your voice is kinda gone, it's not the same voice anymore". I can walk on a movie set with this voice and the guys go "your voice sounds fucking great".

You know what I mean? And get more a kick out of doing movies and I get more a kick out of writing, and I've done this album, and I've done this with 23 fucking years and it's time I changed. And it's time I seriously get real with my life.

You know this album, the original concept of this album, was gonna be about a guy who as a kid is given an air gun. And he goes out and he shoots a crow, and he goes through the shock of killing an animal. The idea was that he kinda gets over and the guy, the older guy, he starts shooting more birds, and then he moves on and he starts shooting deer. And then he sees what's going on in the world and he goes into the city and he becomes a serial sniper.
And eventually what happens he is chased out, and while he's hunting in the city they're also hunting him. Eventually he is chased out back into the woods where he originally shot that crow and he fucking hunted down by the authorities and he is shot.
And in between you got the guy who did teach him about the hunting, you got the other people, you got his family, you got all the other people - HOW THE FUCK DO YOU DO THAT IN A SIXTY-FIVE MINUTE ALBUM???

And I'm coming up with concepts like that and ideas like that - that's a screenplay, that's not a fucking album. And I just find music so restrictive.

The film industry is also a fucking major industry, but there is more scope for being political, there is more scope for dealing far more outlandish fucking cinema, you can work with independent cinema. And they got the digital movies now, you can set up movies now using digital cameras, digital editing, right, which you could never do with 16mm, and be allowed twenty years ago. And it's far easier to try and put that together and deal with that, than it is to deal with music at the moment. I just find it very frustrating to deal with the current music industry. And I'm having to make so many compromises, like I got no lighting designer, I don't carry lights on the Euro-tour, I got to pick up PA's where I go, and rent a shit monitor system. All the time: "maybe we get a shower in the venue, maybe we don't", or "maybe we get food in the venue, maybe we don't".
Fuck that, I'm forty-six, and all I get is requests like "please could you play some songs from twenty years ago?" - NO!!
I have fun playing music, but I'm not going to do it on touring, I'm fucking sick of it.

The music industry I joined is not the same as the music industry as it is today. It's completely different. It's not designed for artists. I always knew... I am not nave enough to think that when I joined the artists were all powerful. But at least we weren't treated like the shit they're treated at the moment. Actors get treated like shit as well, but musicians... I've done the calling, I've done the business.
I'm just not enjoying it anymore. And I've always said at the beginning, that when I get to the point when I go on tours and I'm not enjoying tours anymore, and I'm walking out and I'm just doing gigs because it's an easy way of making money, then I stop. I'm not going to that cynical.
I left Marillion in '87 after we'd done the best fucking album we ever did, right? And if it comes to leaving the music business after Field Of Crows then I've got the voice to do it. I've got the biggest balls you can fucking think of. And even if it means going "thank you very much for the Grammy, but now I'm going to do movies" then I'll do it. Somebody's just not having fun anymore.

So I suppose you agree with Don Henley's recent statement that artists are only 'content providers' for record labels.

Yes, that's all we fucking are!
I'm getting paid two pounds per album. The Dutch record company wanted to put the album out before the tour. I said no. It's my fanbase, I spent years putting this fanbase together. They pay me less than two pounds per album, for an album they sell at 14 pounds in shops I get paid two fucking pounds. And that's working as an independent!
It cost me 50,000 to make this album. All the musicians, the studios, the mixing, the mastering... and I'm doing roughly about 50,000 albums, everytime I put an album out. So I'm getting 2 pounds an album, that's 100,000 net income I get, 50,000 of that is an album, so it leaves me with 50,000. And of that 50,000 I've already spent 10,000 on promotion - my money! The record company spends fuck all.
So I'm sitting there and I have 40,000 left after paying for promotion, and that 40,000 is going to keep me alive for two fucking years, until I've made my next album and paid for the beginning of writing the next album. I can make more fucking money selling my ass in the canal district!

And that what it feels like. I'm getting lectured by them as they don't want me to sell my own. I make 7 an album selling it directly to fans here, and it's the fans that come and buy the albums at this gig that are keeping me alive - not the record companies.
I've got another record company waking a forty-six year old man up at 10 in the morning saying "you're gonna do a photo shoot!" - Get a fucking life!

And I don't expect an easy living. I've worked for my living and I've worked damn hard. And in the last four, five years I've put a lot of work into it. But you know I'm sitting and going "wait a minute, all I'm doing is giving myself to people and I'm not getting anything back."
I'm putting everything down on the album, my emotions, my soul, and I'm getting nothing back. I got a lot of other fucking people making a lot of money out of it, including the fucking retail outlets. They are the ones that when it comes to price of CDs, these are the ones that people should be looking at, not at the fans or the fucking record companies or whatever.
The record companies are selling CDs to these guys at 6, 7. And they're the ones selling it at 14!
I have one album every fucking two years, most retail stores are dealing with at least 50 albums a fucking month!
And I've never seen anybody from HMV, or Our Price or wherever turn around and go "oh, we don't have any money". HMV posted a 17 fucking-million pound profit last year. And all they are, and let's get this right ladies and gentleman here, they're a fucking shop! - A SHOP!!
And if the internet destroys retail, then fucking let it be so!

But it doesn't interest me anymore. I know I come across as really cynical, and people are reading this article and go "my God, he's so twisted and cynical, fucking hell!"

Cynical? More realistic I think. And people who listen to your music and read the lyrics will probably already know this and will agree with you in a large share.

It's just pointless. I made a brilliant album, I'm really proud of this album, and I'm really looking forward to playing 1000 people tonight, it's gonna be great. And that I'm never going to be able to walk away from. I'm like Kris Kristofferson, he still makes albums.

You know before I got Braveheart. I spent two days with Gibson and Gibson goes "I want you to do Braveheart". I said "can't do it, because I got to do the Suits tour"
Last year, The Jacket, I should have been working on The Jacket movie for four weeks, and they come around to me and say "January" and I have to say "the tour is booked, I can't do January"
I said to him in November, I really want to do the movie, the script is fucking great, the director's great. It's a perfect movie for me, a perfect part they had for me and I couldn't do it. And I've been doing that for so long now, I'm just going NO. From now on end, from September, after this tour it stops!
The band already know this, and now the rest of the world.

This is the last tour. I'll probably still go and do like two weeks in France, as I like the French gigs when you get all the wine and I can stock up my cellar, and then I go out and I play a Saturday, take the Sunday and the Monday off, and then on Tuesday and Wednesday I'll play gigs, and then Thursday, Friday off, and a few more gigs on Saturday and Sunday, and that's it and I can fit that in in between movie shoots. And then I get two, three months film work in between.

The problem is with acting, I've done a lot of the set-up stuff. I've done three movies, I've got the basics and everytime I do things people go like "you're really good at this, you gotta do more". My agent keeps on phoning me up going "I;ve got this down, it's a month and a half", and I'm going 'no, can't do it, I'm rehearsing for the tour, I've got to record an album, I got to go on tour" and he's getting pissed off.

So this tour, this album is to try and earn as much as I can from this project to basically pay the mortgage of, to get myself enough of a warchest to work all the way through it.
Next year, I'll take Misplaced Childhood out for maybe 20 gigs in the summer if it's right. Then I'll do two nights, maybe three, that's all in Holland, three or four nights in Germany, maybe one night in Oslo, depending on what the money is, because I want to take the whole thing, backing vocalists etc.
And those 20 shows should get me enough money to pull through, because the roles that I'm taking won't get me paid enough money to keep me totally alive and do all the thing I want to do.
And I want to do various kinds of stuff. I want to do comedy, and I'm trying to do serious stuff as well. I'm not just like "the heavy guy who comes in and kills people"

There's a screenplay called The Raven that I've been working on. And I got to go down to Bosnia for at least a month for research. And maybe if I take a few years off then I do come across for some gigs. It will be easy to do Holland, because you can fly across with Easyjet and I can do five shows In Holland in a week and have a great deal of fun. And I could even do two show, do two days off, do two more shows, two days off - you know, have some drinks, do some things and when I walk on the stage I'm like "Yeah, I want to be here". And I can play stuff from Field of Crows and I can play whatever I want.
Then I can maybe write a song, and three months later write another song and maybe in two and a half years time I might just take two months to put another album together. And then it goes out and it goes out on the Internet.
But a lot of stuff I'm gonna be doing is going to be filmwork, because it just excites me and I'm learning, it's a new experience, it's exciting.

Also, as I said, music is very restricted. I mean how many political artists are out there nowadays? If you look at all the fucking artists that are out there on the major labels, who has actually fucking said about the fucking Gulf war? And that is fucking scary. If this was in the seventies, or in the sixties, there would be an entire fucking wave of people going against it.

And when you look at the future of Rock 'n Roll being in the hands of a band called the fucking Darkness... you know what I mean? This is not an industry I want to be part of. I have lived in the corner of a room for a long time, and I've been happy playing in that corner and there've people come to see me play in that corner and it's been nice. But now I'm looking around the room and going "I really don't want to be in this place anymore, because I don't relate to anybody else in the fucking room".

But it would be a shame for the music business if you retire

For what the hell? I'm not gonna change it? Fuck the hell am I gonna change anything. I tell you what I could do, I could have more impact on the Rock 'n Roll industry by writing a screenplay about the record industry and say this is what the fuck all happened in the record industry in the eighties and nineties. Like this guy who did Nashville, Robert Altman, you get all these different characters coming together. And I could have the little Japanese guys, and the independent guys and the big stars, and do a movie all about them and I would rip the fucking music industries balls off!

And you can be much more political in movies, because as I said, with the digital and the DVDs you are able to get movies out now. It depends on the scope, but if you make them interesting enough you can do it.
As a screenplay writer... I am already aware that once you start handing over your baby then people will start putting your baby in dresses and clothes that maybe you don't want, and therefore if I have one goal in my life, I want to direct a fucking movie. I got too many ideas. The ideas that I've got now are too big for those little discs of fucking silver.
I get so... oh! [makes really frustrated gesture]

I was just about to ask, aren't you getting a bit too old to be like that, to make yourself so angry.

It's not anger, it's passion! And I'm very passionate about cinema. And it just stumps me the way that Rock 'n Roll has just been emasculated in the last five years. And I'm sitting on a populated island, looking at fucking pop-idol and fucking Will & Gareth and shite like that.
When you get Atomic Kitten and those other bands getting thousands and thousands of pounds to walk on a stage, to mime to a fucking song!

Human beings are being passionate people, but our passion is being distilled and it's being put in boxes. It's like the fucking Roman empire, or just before the French revolution, just give them fruit and cake. All the feelings that used to propel us are wrapped up in fucking corporate fucking football, or they're wrapped up in corporate music. And I think cinema is probably more interesting now than it has ever been, because it is easier to make movies.
You might not be a huge Hollywood hit, but you could still make your fucking movie and people would still get passionate about making a fucking film.
And the subject matters you can deal with are far more... you know I'd like to write a song about Iraq, but will that get played anywhere on the radio? No!
If Frank Sinatra came out with fucking My Way now, as a fifty-year old guy singing My Way, where would he get played?
If Paul McCartney wrote Yesterday now, it wouldn't get played, because he's not a guy who is fashionable nowadays. They don't care about the songs, they only care about the image.
So fuck 'em!

I don't think music will ever totally fucking disappear from my life. There will be a time in three years where I'm gonna be sitting there and there'll be probably three or four of us that get together and it will be one summer and we're sitting there in the garden and if it feels right to make another album, then we'll do that, and make it happen. But not like this, not like now. We'll only do it if financially we don't have to rely on it.

You know I work in the garden now, and when I'm on this tour, as much as I enjoy being onstage and all, I'm pissed off that I won't be able to plant my carrots, because I'm away during the entire sowing season. So my new potatoes, my carrots... And I'm lying in my bunk on the bus going "oh fuck!"
And I planted 400 bulbs and it's all prepped, so I got the tulips and the big hyacinths and this rock garden which I created two years ago. And I'm going to miss every single fucking flower erupt. I'm getting somebody to take photographs.

But tonight when I walk on the stage all will be fine. I love the stage and up there it's the concentration and the adrenaline and I love it, I really love it. It's the other 22 hours that drive me insane.
And it's really when you start looking at yourself and looking down your life and you go "are you providing the best quality life to yourself?" At the end of the day, after three or four weeks on the tour, are you actually really there, are you there for the fans? Because there will be times when you just want to get through the night, and I don't want to do that. I've never... I've always been straight, always been very honest and I think that's why I think I still have a fanbase. Because I've always been straight and I've always been hones and I've always been sincere with people. And if I lose that, and I lose that respect of my fans I become nobody. In the same way as I left Marillion, because I just couldn't put my hand on my heart and say that I could work with this band honestly and say I'm really enjoying it and I'm doing something that is kind of spiritually valuable or even spiritually enough to fucking compensate for the shite you're going through.
Like I said I'd love to go up and stand there at the Grammy's and say "I'm leaving". And that would a really good thing to do, it would be a very Fishy thing to do.

If only you wouldn't need a big label to back you up to even be considered at the Grammy's. After all, there is no Grammy for best independent artist.

That's right. Just like the Brit awards last week. I mean how fucking sick can you ever get? Five albums, oh, one album is BMG, one album is Universal, one album is EMI... You can imagine them all sitting around a table before the ceremony: "you can get this one, if you can give me that one"
This is another promotion and marketing tool.
And like I said, I'm not nave enough to think that the business I joined had nothing to with making money, I knew it had to do with making money, but nowadays that's the drive and the artists and the soul and the passion just means so little.

At that time the tour manager walked in to tell us we had to wrap it up, so the final question...

You have changed quite a bit during your career, do you think the audience that will be here at the show tonight has changed as well?

Yes I think they have.

You have a younger audience as well now

I think it's dangerous to get into the demographics of who you play to. Because then you start talking corporate speak. "the demographics of our listeners are in the 12 to 14 age group, they are the future" That's the stuff that can get you depressed, definitely on the stage, and I'm like 'no-no-no-no" and that's when you start wondering and the whole fucking show will collapse on you.
You know the best fucking movie I have seen about Rock 'n Roll is School Of Rock? Have you seen it? You know all those wee kids at the start of the movie are so real, that's how they are. And what Jack Black is saying in that movie is just so true.... And then they fucking force The Darkness on us!
All I know about this guy is that he used to make jingles until he decided to become a rock musician. And I'm gonna love it, I'm gonna have a little laugh to myself in three, four years time and he's gone out with that voice and people go "could you sing some of the old stuff?" and then "can you sing three in a row?" Because it's all gonna be on a fucking tape.

Gentleman, that's it, I'm off for dinner.

Thank you very much for your time.

That was the best time I've had in a fucking long while, thank you.

Take care, do a good show tonight.


Links:

Read our Roundtable Review Review of Fish' new album "A Field Of Crows" !

Visit Fish at the-company.com!

 


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