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Misty
Green, Blue, and Gray
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Remember Paul Gray? No,
me neither. Anyway, I recently caught up with him (thanks for
signing that copy of the Big Issue you sold me, darlin) and over
a nice cup of rocknroll tea he was good enough to answer some
questions for our website.
Nice young man, but complete barmy. |
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Batttttty : You suffer from Tinnitus. Blimey. How do you deal with
that? (It's obviously made your eyesight stronger, cos how else
could you explain that terrible "green on black" colour scheme
you use on your website. Shiiiiiiiish.)
Anyway, how has the tinnitus thing changed your life?
Paul : Terrible colour scheme? Do you
think so? I'm rather partial to it myself. I'm also colour blind
but hey, it makes things more interesting for you guys! Tinnitus
has changed my life in that I'm not able to tour any more - last
gig with The Damned was in 97 and with Eddie & the Hot Rods
in 99. I developed it back in the early 90's but ignored the warning
signs - for the next 5 years I was doing about 100 gigs a year.
Loud ones, with VERY LOUD DRUMMERS. I blame them and their bleedin'
cymbals. Also I used to demo everything at home using headphones
- after a few beers your top end of hearing goes so you whack
up the treble. The longer you do it the more tired the old ears
get and less you hear, so you add yet more gain and top. The next
day you come back to the mix and wonder why the hell it's so toppy...easy
to see why in hindsight, but try asking any muso to stop mid creativity
flo, yet alone mid beer...
Have to use earplugs when out seeing bands which is 2/3 times
a week and have to avoid noisy places without 'em - big bummer.
Been seeing this mad prof at Cardiff University since 94. My tinnitus
level is 60db - thats high - and anything over 80db starts getting
painful. That's an everyday noise level - gigs weigh in at 110db+.
I'm currently trying things called maskers - they play a constant
white noise into the old lugholes. Suppose to use 'em for 8 hours
a day for up to 3 years. Fuckin' impossible - tinnitus racket
and white noise! Can't hear a bleedin' thing!
Trouble is now I'm a getting a bit deaf as well and I have this
thing called hyperacusis which is a sensitivity to high frequencies
- kids shouting, air brakes, dishes clattering away but it still
don't get me out of the washing up.
Apparently it's the luck of the draw, in the genes, whatever...
some folks smoke 40 a day and live till 150, others have the occasional
growler and get cancered up at 40.
Not much hope for me really is there! Put the old sod out to grass
and have done with it. |
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Batttttty : This 'New Deal For Musicians" project. Great idea.
What stage is it at, and how much input do you have, and how rewarding
is it, job-satisfactionwise?
Paul
: NDfM started 3 years ago. I think it was
Alan McGee from Creation records hobnobbing at No.10 with Tony
- it went something like "Oy, Tone, the UK music industry generates
£3.5 billion, kids on the dole, some talented fuckers out there,
sort it" and then he probably went and chopped one out on the PM's khazi...
I'm paraphrasing of course, but it worked, basically if you're between
18-25 and been out of a job for 6 months you can apply. |
Different organisations tender for the contract. I work freelance
for Community Music Wales at the moment - pretty much full time
- as a mentor for the whole of Southeast Wales. I treat it like
managing a band on government dosh. I push for as much as I
can get if I think the band's good, so the people I mentor love
me! I try to teach 'em as much about the industry as possible,
including the shit side. I help with pre-production and production
(not too loudly!), help get gigs and festivals sorted, press
( I've just sent some stuff from one of my new bands to Dave
Ling, the old UFO/Damned contacts prove well handy!), setting
up labels, sound engineering training - you name it.
Even roped in Mick Glossop (Making Contact) to produce one of
'em in Abbey Road last year. I've helped and worked with Lee
Gaze from the Lost Prophets - I had the wonderful experience
of seeing employment service personel bringing in CD's for him
to sign after being on TOTP - a year previously they were writing
him off as a no-hoper. Psycho Squad (Phil Campbell from Motorheads
son) is in 'em, The Kennedy Soundtrack, DJ's (aaaarrggghhh!!!),
r'n'b singers...a couple of bands for this year I think will
be Trip, a drum n bass metal band from Newport and Free Peace
Sweet - crap name but 3 minute songs to die for. I'm taking
'em in the studio in 2 weeks for some serious quality recording.
The girlies love 'em and thats good enuff for me. So, er, very
rewarding!
Batttttty : This band, Mischief. Tell us about it. |
| Paul
: It's
me and Alan Lee Shaw. He was the guitarist in The Damned for a while.
Wrote a bunch of songs and got Jim Simpson to play drums. Paid for
it ourselves. Couldn't be arsed to go thru all that record company
bollox and besides, wanted to retain copyrights. Was being optimistic,
thinking I could take it on the road - had some offers from promoters,
but due to the above reasons it proved impossible... I really like
it. Well, most of it anyway. Some MC5ish full-on belters, a couple
of the ole rock ballads, and stuff in between. Basically whatever
we fancied, and some dead OTT bass playing of course. |
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Maybe tried to appeal to too wide a market - that's before people
told me not to bother with the UFO crowd, they were only into
Schenker.
That's not true now is it! What's it like? Buy it ya sods and
find out!
Batttttty : It's a shit business, we all know that, but after
all the tributes that were saying John Entwhistle was so great,
I think if I was him I'd prefer to feel a bit indispensible
- for a while at least. So, where do you think the line should
be drawn? Was it cos the tour was so imminent that they had
to go ahead, or do you think that a bassplayer really isn't
as 'important' as the singer or the lead guitar. Loaded question,
but truly interested in what you think.
Paul : WHADDAYA MEAN NOT AS IMPORTANT!!!! God yeah. The Who. Never bothered
with newsgroups much before but have been fascinated to follow
alt.binaries.who over the past week.
Entwistle was a mega influence on my good self. I used to use
his bass rig with The Damned - we both rehearsed at Shepperton
Studios. Shared a few brandies in the pub with him and Mooney.
Tried his Alembics out. Lovely man. Ok, take the bass line off
My Generation. Take it all off "Live At Leeds". Take the bass
and backing vocals off Tommy. Whaddaya left with? Yeah, its
good , but not that good. In fact its fucking empty.
Personally I'm amazed, disgusted and dissapointed in turn that
they went ahead but hey, 25 million bucks at stake, let's not
let some old bass player snuffing it bring us down!!
This is what Mr Townsend had to say about it - a man I used
to have some respect for...
"For my part I am not attempting to deliberately establish any
sense of memorial or tribute to John. Unlike others I entirely
respect (including many of John's friends and family) I don't
feel I know for certain that John would have wanted us to go
on. I simply believe we have a duty to go on, to ourselves,
ticket buyers, staff, promoters, big and little people. I also
have a duty to myself and my dependent family and friends. I
also want to help guide Roger and the rest of the band at this
time, all of whom have been shaken by John's death." "I will
try hard not to fall into any of my usual mini-depressions on
this tour. Pino is determined to enjoy the music, and so am
I". "We are musicians, entertainers. We can do it. We have the
right tools. No worries."Course the tour was imminent. They'd
have had tour insurance tho'. OK, it was their last chance to
go out - they couldn't do it in the future. Not unless they
were a complete bunch of c****.
Put it this way. If UFO were about to head out on a major tour
and Pete partied just a little too hard and woke up dead the
morning after, somehow I don't think me or anyone else would
be getting a call from Phil, do you? And fuck - do you think
we'd want to?
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Batttttty : H-Bomb. Still feel the same about the "screw-brained
jumped-up little Hitler"? ( "Objection, your honour,
my learned friend is trying to lead the witness". "Bollocks,
sit down and let her carry on, she's doing great" ).
Paul : I presume you're referring to my one and only
encounter with His Germanness. For those of you who haven't
a clue wot we're on about you'll have to take a dekko
at the FAQ page on my website. Met his brother - charming
gentleman - and had the honour of guiding his sister's
hands over my Juno 106 in deepest Edgbaston. But Michael....
marvellous guitarist and all that - but methinks a visit
from Mr. Manners wouldn't go amiss...
Batttttty : I want Love To Love played at my funeral. What choons
would you like at yours? Paul :
Bach's Toccatta and Fugue in D minor."He shall feed his
flock" from Handel's Messiah, 'cos my mum sang it when
she was an opera singer and it's a beautiful song. And
"Do Anything You Wanna Do" by me and The Hot Rods, cos
I did... |
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Batttttty : Which version of UFO did you personally enjoy
more? The '83 or the 85-88? Paul
: They were both very different.. The 83 tour
was pretty daunting for me, learning a whole bunch of
unfamiliar songs very quickly - we never actually rehearsed
all together as far as I can recall (altho' we did all
manage to meet in the pub next to Nomis studios )! By
the time I felt comfortable onstage enuff to relax the
bloody thing was over! Also it was then that I realised
the shadow of Mr Way loomed large. Plus everyone kinda
knew it was the end so it wasn't the most "up" of tours.
But I loved playing with the band - great gigs, perfect
sound, good company, and excellent crew.
The 85 - 88 lineup was more comfortable as it was a
"new start" for the band. I know Phil was hesistant
about calling it UFO for a while. But I got on really
well with Phil and we spent a lot of time knocking song
ideas around together, and I had a quite a lot of input
into the band. The tours were great, especially in the
US, and I can't remember not actually enjoying every
minute of it. I'd have loved it to have continued.
Batttttty : Were you
surprised / disappointed when it fell apart in '83?
Or could you see it coming?
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Paul : After a few days
travelling aroung Spain and France in the cars
with them I realised that if they continued
at the pace they were at something was gonna
give sooner or later. Let's say the party started
when we were turfed out of bed by tour manager
John Knowles, and sometimes that was 7am. So
not suprised, but disappointed, yeah - I'd left
The Damned to do a world tour with UFO and managed
one bleedin' gig in a windswept Greek stadium!
Batttttty :
Why did you play a Rickenbacker bass? Paul : Why
not? I'd played 'em since 76. Marvellous racket
they made - the older ones anyway. Loved the
way they looked - as Lemmy once said to me,
"whoever designed this must have been out of
their fuckin' tree!" |
Batttttty : Are you still friends with the UFO guys? Paul
: Met up with Tonka a few years back in a Cardiff
studio - there's a photo of us on his website. He left
a message at my place last year when he was back but unfortunately
I missed him. I've a lot to thank Paul for - it was 'cos
of him I was in the band. Plus he was always immense fun
to be around! We email each other occasionally. Phil I
last saw at Newport Center - must have been 97? Same time
as I last saw Pete and Paul Raymond too. It was weird
- the banter was exactly the same and it was almost like
the last 10 years hadn't existed. The first thing Phil
said to me was "have you seen page 3 today?" I almost
felt like getting a few whiskies down me and asking where
the tune-up room was! I haven't seen or spoken to them
since - I guess you just kinda lose touch.
Batttttty : How
do you rate Tonka and Atomic Tommy as players? Paul : Both very gifted but very different. Paul's
playing was more my cup of tea, more blues based,
more raunchy, and he had a fantastic stage sound.
He was an effortless player, even with a bottle
of CC in him - made no difference, he always sounded
bloody good. He just did it. Excellent bassist
too. A consummate musician. And great fun to jam
with.
Tommy was a great American player, I guess. It's
a personal thing, but my favourite players have
always been rhythm based - Kossof, Townsend, Rick
Nielsen, and yes Schenker - and I guess Tommy
was more a part of that American guitarist thing
in the 80's of what I call wibbley wobbley playing,
and I didn't warm to it as much. But that's absolutely
no reflection of his ability, just my personal
preference.
Batttttty : If
a film was being made of the your life (assuming
you had one), which actor - or actress - would
you want to play the part of Paul Gray? Paul
: Terry Thomas. Sid James for the older
bits. And Wilfred Bramble for the very old bits,
if I ever live that long. You'd have to dig 'em
all up first tho'.
And thank you very much Batttttty, I think I had
more of a life between the ages of 16 - 21 than
most people do in a lifetime. Anything after that
was a bonus!
Batttttty : Tattoos. If pain was no object, what would you have
and where would you have it? And don't say Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch.
More like Rhyl, I bet. Paul
: Gimme a call love, let's talk privately.
Batttttty
: Hah!
Once a UFO bassplayer, always a UFO bassplayer! |
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Batttttty : What band most influenced you when you first
started out, and do you still feel the same way about
David Cassidy and the Partridge Family these days? Paul : T.Rex. Slade. Hawkwind. Deep Purple. Didn't
David Cassidy have a single called "Wouldn't it be nice?"
or something? I can hear it in me head - great single...always
a sucker for a good pop song... (Paul starts singing
at the top of his voice) Batttttty: Paul, stop it darlin, people are looking at
us. Paul! Stop it! Oh blimey, looks like I'm gonna have
to sit on his face. OK everyone, the show's over. Stand
back, there's nothing to see.
(Well, actually, there is a bit more to see ... HERE )
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