From: Wha33@aol.com Date: Wed, 12 Oct 1994 15:04:16 -0400 Was going thru old 'zines last night and came upon this early 80's Q&A w/MES. The magazine was from Toronto, date unknown. The layout was pretty DIY but I think I've typed it in the intended order...fall@gibbs.oit.unc.edu [ SPOKEN EN ROUTE TO THE RAMADA INN LOUNGE ] Adrian- Last night I had a dream about you guys. Mark E.- Oh, yeah? (Adrian) Yeah, I was at one of your shows. I yelled, "Play Steppin' Out! " and you said "What's that?" and I said "Play Steppin' Out and so you did. It sounded great. It was the best version ever! Mark-Really? I wish I'd heard it! H- What sort of music do you listen to in your spare time? Do you? M- I like country & western, and a bit of Wagner I like now and again. I change my mind a lot. H- What about the other guys in the band? M- They're different. They like all stuff, some of them like the B-52's for godssake! and stuff like that. A- Actually I saw them once in concert, I didn't like (their) record, but once I saw them, I thought they were good, not as chintzy sounding. The drummer was good. M- Yeah well Cow-Wow-Wow group, they're always playing that stuff and I'm always telling them to turn it off. I can't stick it. A- After IN THE PARK on GRTESQUE it sounds like you're in a living room drinking and you're saying something in the back, 'it leads you to visions of proletariat..' M- 'hysteracy'. That's my sense of humor. It's like trying to get into a working man's club in England which is very hard, you see you've got to be a member. But you can always geta drink after 'time'. There's a scat on the front, that we had a working men's club image. Being from the North of England we're very unique in the fact that we're actually a working class group. So, everyone answers to that, there's a lot of working class working men's club outfits. On that thing I was trying to get into a working men's group. It's this super poet trying to get this guy to let him into the club. A sort of country & western song is behind it, too. I think that was one of the most unpopular things I've ever done. People used to write and say I love the old people on this track, is this a joke? What are you doing this sort of thing for? H- Did the guitar player just leave the band? M- Yeah, I got rid of the guitar-keyboard player. H- Why did that happen? M-He's a good friend of mine, mind you, it's just that we were getting too melodic. Not in the conventional sense, but in my eyes. What we're going for is a noise thing, not like 'aaaa', but the music should come from...of course I can't explain it, but I knew what I was doing. I was getting sick of that constant hit tune sort of stuff. Say, for instance " New Face in Hell " , where you get a repeating organ motif, over and over again, it's great stuff, but it becomes very limiting after a while. You get to the stage where you're just waiting for the tune to come up again. H- You were working with some women in your band a couple of years ago, your manager and keyboardist? M- Yeah, we still have got Kay, Kay's still our manager. H- There was that other girl, Una. What exactly happened with her? M- Una had a nervous breakdown. H- Do you think it was from working with THE FALL? M- No, she was always like that. She formed THE BLUE ORCHIDS. She had a nervous breakdown a few weeks ago, actually. H- Are THE BLUE ORCHIDS helping her out? M- (shakes head) Actually, believe it or not , Kay our manager is one of the few friend's Una's actually got. A real friend, although she don't never see her. Una always surrounds herself with these idiotic people like Martin Braumer and NICO. H- Why is NICO an idiot? M- Well, it's just completely irresponsible people. They just care about themselves and being stars. And there was the other girl, Yvonne. She's alright. She still writes to me. H- You really lose tolerance. THE FALL is not tolerant of questions, of people assuming the, there's an upsettism that comes out in the final draft that comes out as the interview. I can tell you honestly that I don't perfectly understand THE FALL. I react instinctively to what I listen to. M- There are too many things nowadays where people think to analyze is the be all and end all of everything and if you can't analyze it something's wrong. People are always analyzing things. You don't find out things just by knowing everything. H- What were you all doing beforehand? M- Well, I used to work on the docks, I was a clerk for about 3 or 4 yrs. That's when I started writing. I left school very early, I was 16. I could have done further education but I never did. You go from 16 and you go 2 yrs. more, then you go to University. And it never sort of appealed to me at all. So, I got a deadend job as a clerk, but it's good I did cause that's when I started writing. I used to write on my breaks on the typewriters. Used to be loads of typewriters and shit in the office. H- What sort of stuff do you get in the mail? M- I don't read alot of it, believe it or not. I get a lot of drawings sent me, of songs which I find very good. It's very strange. You get some people who write, I don't know what you call them here, like what you do for a degree. They write you telling you what you are. Unlike the stuff we get from kids in England, who just write an obscene word on a piece of paper, and it's like this ( scrumples napkin ) with a message on it. But, they're usually the most positive one, like " I thought the record was great, don't take any notice of the press, everyone around here likes you, GOODBYE! ". So that's really good. H- Is some of DRAGNET don from practice tapes? M- Practice tapes!? H- That's what SPECTRE VS. RECTOR kinda sounded like. M- (laughs) We were playing along with it in the studio. It worked very well. Yeah there's a practice tape in the background. How did you know that? H- Well it sounds like practice tapes. M- We get a lot of fans that are 11 or 12. We get a lot of 20 yr. old blokes coming over and saying " look, I hate your group " and " look, my little brother is really into it ". The whole idea of DRAGNET was like a dragnet to drag in all the young people. Like WITCHTRIALS is like a respectable rock album as afar as I was concerned. That's not what I wanted to do. A- What's the aspect of C.B. radio you're interested in? M- It was a very big thing in England when we brought the record out, C.B. It was really funny, it's cruel really, but after going to America and seeing C.B. It's a really good thing the way the outlaws and truckers do it. It's a real standout against authority. You're driving down the road in the south and truckers will signal you on the radio that there's police round the corner y'know. But when they brought it into England they had all these limitations on it so anybody that got these C.B.'s could only go 4 miles. You got all these bores thinking they're really being American. You get that alot in England, like " ah yeah, I got a C.B. set like the Americans " you hear them talking, they'd go " hey, it was bloody great, I got 10 miles away last night ". What's the use, they might as well pick up the fuckin' phone. They got into it for the technical aspect of it, forgetting that in England it's a waste of time. A- Unusual topic for a song about C.B.'s... M- It's about more of a character type, like the people who were upset when they found out what ELVIS was like. People who embrace things that they don't really understand, you know what I mean? H- Do you miss your family? M- Do I what!? H- Do you miss your family? M- What when I'm abroad? H- Yes. M- I don't live in me homelife. H- No? You have no one back home? M- Yeah I do miss them, actually. But, I'm saying. when I'm at home, I ring them up sometimes,yeah. as though actually----What a ridiculous question! H- Cover yourself up! Your breasts are bare. M- I'm so inhibited, I telling you. I should come and live in America. H- What do you think of the press? All of the groups that come over here, they talk about the music press in a really derogatory manner... M- Well, it's a very hip thing to do. H- What do you think of the NME and what-not? M- I think that they're basically scum. Then again, THE FALL wouldn't be anywhere without a press like that. There's no way commercially we could have carried on. H- So you want the songs to be constantly changing? M- Yeah, so it'd be like organic growths. H- It's really classical. Travelling and growth. A piece of music as if it were fungus growing in front of you. H.1- Wanna know something?- I was in this group called, well never mind they were called... H.2-THE VEGETABLE FRIENDS. H.1-NoNoNo it was THE WEST HILLBILLIES. M- WEST HILLBILLIES, that's good. H.1-We used to cover "Stepping Out". M- Yeah, well that's one of the easy ones. H.1-It's an early one but it's one of my favorite songs. M- Adrian had a dream about that one the other night. Did you tell them? A- Yeah...small world eh? M- Cover versions, just no way can we do them. It's very strange because nobody can cover FALL songs either. People have wrote us saying we really want to cover this song, right? Remember the group PENETRATION? Well, they always wanted to cover one of our songs and they used to try and they could never do it, they just couldn't get it.