Bill Spooner interview
I was hooked on The Tubes from the moment I got their first album. And just like with Genesis years before that, I looked at photos of the stage show and wondered what song went along with it. A few years later I finally got to see them live and what an amazing evening that was ! Not only because of the great music and live show, but I also got to meet Vince Welnick and Roger Steen. Today, 30 years on, I'm equally thrilled to have this chat with Tubes axeman extraordinaire Bill Spooner !
- How did you get started in music?
Listening to my mom play Elvis records and later listening to my big sister Suzy's records. Like many musicians of my generation seeing the Beatles on TV that first time. I was a goner. My mom bought my dad a guitar and I pretty much took ownership of it, I was about 12. My first guitar teacher forced me to play right handed, something I'll always be thankful for. Makes it easier when buying guitars. Later in exchange for music lessons I sang in a choir that played at various churches in the Phoenix area. I learned a lot during that time. I started writing songs and playing in bands in high school. Listen to the song "Strung Out on Strings" that's my story.
- The Beans was the nucleus of what was to become the Tubes. Tell me something about that band.
The Beans were Vince Welnick on keyboards, Rick Anderson on bass, Bob McIntosh on drums with me on guitar and vocals. We were a hippy band, long jams and sweeping arrangements. We became a pretty big band in Phoenix, eventually known for our themed shows.
- Poor quality recordings circulate, but was anything recorded for possible release?
I've heard some decent live recordings. We did go into the studio with Lonnie Mack, but I don't know what became tapes. I hadn't thought about putting anything out. If anything I'd just make it available for folks to download.
- Why the move from Phoenix to San Francisco?
From the sweltering sun to the rolling fog. We loved being out of the heat. Actually we moved up here because I wanted to go Conservatory of Music. Roger and I went there for a while.
- Where did you find the other guys for the Tubes?
We used to do gig swaps with the Red, White and Blues Band which consisted of Roger Steen on guitar, Prairie Prince on drums and David Killingsworth on bass and vocals. The had moved to SF when Prairie and Michael Cotten got accepted to the Art Institute. When we played in SF we'd stay at there band house and when they came back to Phoenix they stay at Stately Bean Manor (our band house). They lost there bass player and had a gig at the Art Institute coming up. They said we should just play it since they were having a hard time finding a bassist. I said why don't we play it together. No one was really sold on the idea. Bob McIntosh really dug the idea of he and Prairie doing the dual drummer thing. I think Prairie came on board then. Fee was a roady and cook for the RWBB. I'd seen him in a high school summer stock theater version of Bye Bye Birdie, he had a small part but totally stole the show. So we dressed him up as Carmen Miranda for a number and he was great. He wasn't tied to an instrument so he was totally free to work the crowd.
- The Tubes pretty soon made a name for themselves with the amazing live show. How did that concept come about? Was it necessary to make yourself stand out in San Francisco?
The Beans had been doing themed shows before we moved to SF. Once the bands merged into one (we were the Beans until we signed with A&M) a full blown show began to develop. Our art school comrades Prairie and Michael could magically create whatever crazy idea we came up with: giant amplifiers, 12" shoes from tomato juice cans, space aliens, endless amounts of costumes. We spend long days rehearsing and long nights building sets and props.
Musically we already stood out, the shows just seemed a natural course for us to follow. We were making commentary on the world around us in the music and providing visual accompaniment to get the idea across.
- By the mid-70's you signed to A&M. That first album is not only one of the all-time classic debut albums, it's a classic album, period. Was it basically your live show that was brought into the studio?
Not really. We recorded songs that had been part of our live show for years, but there really was no way to capture the show in the studio. The music had to stand on its own without the visuals.
- Who hooked you up with Al Kooper? Apparently things didn't always go so smoothly in the studio...
The record label gave us a list of producers to work with and we liked what he'd done so we chose him. Things went pretty smoothly once we finally got into the studio. Initially Al came to us with the tapes he'd been sent to check out. He asked each of us specific questions about what each of us were playing in relation to each others parts. We all just looked blankly at him. We all knew our parts, but not the way he wanted us to know them. So he sent us into the rehearsal studio to rehearse songs we'd been playing for years! Best thing anyone had ever done for us. Really got the arrangements super tight before entered the studio. I loved (and still do love) working in the studio.
- Malaguena salerosa is a rather unusual cover. Who came up with that ?
Malaguena was a song the Red, White and Blues band had learned from a mariachi band they met in Japan. It's a great song.
- Who are the White Punk Chorus?
Us, some of the guys from the Eagles, their roadies and our roadies. I think Glen Frey, Don Henley, their manager and maybe Joe Walsh. It's a pretty foggy memory.
- The intro to Up from the Deep is pretty intriguing. What is being said there? Is it Japanese?
It's a Japanese radio station identification. They are saying the station's call letters and such.
- Were you pleased with how the album turned out ? Even in Europe it was an immediate success, proving that it could stand on its own and appealed to people even if they were not familiar with the live show.
I was happy with it.
- The first album was also one of the very first cd's released by Mobile Fidelity, even before they used the gold coating. Have you heard that version ?
I don't believe I've heard that version. It's sonically a very dynamic album so I imagine anything that enhances that would be great.
- Young and Rich was an amazing follow-up. How difficult was it to make?
Many of the songs we'd been playing for years as well, but weren't a good fit for the first album. We'd learned a lot recording the first album and were able to apply it when went in for Young & Rich.
- Don't Touch me There was an amazing song. How did it come about?
That song was written by Jane Dornacker and Ron Nagle. Jane was a great comedian and part of our collective for years. She was the tallest dancer we ever had. A very talented person. She was killed in helicopter crash many years ago. Ron was half of the Durocs (with Scott Mathews) a great San Francisco band.
- "Now" seemed to move away from sexual innuendo, towards more depth in songs and lyrics. Although still a great album, maybe it lacked a stand-out track...?
NOW, was not a great experience. We'd been touring nonstop for the last two albums and then it was time to record, but there hadn't been time to write. The pressure was really on. I had the band calling me, the label calling... how are those song coming Bill? When we got into the studio it just wasn't a good experience. My least favorite producer. We locked him out of the studio halfway through the projects. I think "Pound of Flesh" goes way beyond innuendo.
- Beefheart's My Head is my only House is an unusual cover. Who came up with that one?
We are all Beefheart fans to the core.
- Who were some of your other idols or influences ?
Buddy Knox, Buddy Holly, Buddy Miller... all the Buddies. No seriously some of my earliest influences were Elvis (big fan of Scotty Moore), Chet Atkins, Johnny Cash, and later James Brown, Mother's of Invention, and of course Captain Beefheart. I was also influenced early on by local musicians, Mike Condello, who I eventually played with, he was regular on the local kiddie show Wallace and Ladmo. All the kids in Phoenix grew up on that. Another guy was Ray Taynor, Stand Up and Shout from our second album is a Ray Traynor song. I loved Cream, they were so great live. More current bands I admire are Squeeze, XTC and Jellyfish. All really stong vocal bands with great, great songs. I really like the first Mars Volta album, killer drums on that sucker. Foo Fighters are great as well. We've got a local band here called 20 Minute Loop, that is so original and complex while being melodic and fun. I'd love to play with those guys (and gal). Awesome, awesome band. The last month or so I'm stuck on Sufjan Stevens album "Come on Feel Illinoise" amazing dynamics and mind blowing arrangements.
- I get the impression the band had reached a crossroads with the live album marking the end of the first era. Was that what the band was feeling at that point ?
I don't remember thinking we were at a crossroads or the end of an era. Maybe that's a hindsight sort of thing.
- Why the live set so early on in your career? Of course, the Tubes live show would have been one heck of a dvd ! Any plans for that now? Did anything get filmed?
Our fourth release, right? Is that early on? First and foremost we were a live band. The show and songs went hand in hand, so it was a natural evolution for us to have a live album. Had the ability to easily film and produce DVDs been around I'm sure it would have been a live DVD rather then a record. Mike Cotten's documentary will contain a lot of great footage.
- Remote Control was a rather drastic change in style. The sound was a lot heavier. Was Todd Rundgren responsible for that?
Funny, I never thought of it as heavier or a drastic change. It was different for sure. We were always striving for different. It's no fun doing the same thing over and over again. Todd has a particular way of doing background vocals that really lent to the sound of the album.
- After Remote Control you moved from A&M to Capitol. Who's decision was that?
That would depend on who you ask. We'd done as much as we could at A&M and had a nice offer from Capitol. How's that for diplomatic and noncommittal?
- Completion Backwards Principle was a pretty interesting album, with new stage show, a video and back to a lighter sound. Was the choice of David Foster as producer a conscious attempt at making the music more radio-friendly?
Every album had a new stage show. We did the one of the first long form video albums for CBP and were nominated for a GRAMMY in the first year that category existed. I think Olivia Newton John won.
Anyway, I'm confused by your lighter sound comment, have you heard the first albums on A&M? What is light about Up From the Deep, Mondo Bondage, Haloes, White Punks on Dope, Pimp, Tubes World Tour, Your No Fun, Smoke, I was a Punk before you were? I'm not real clear here on what you mean by light. I think some of the Capital stuff was more mainstream and achieved more airplay because of that. We were Foster's rock band experiment. And he was a successful in that we had a few radio hits.
- To me it sounds like the overall sound is a lot heavier, that's all, although I must admit that is not as obvious on the cd anymore. I do think it sounds somewhat denser due to the instrumentation and layered background vocal technique.
Anyway, I hear Todd doing backing vocals here and there. Did he also play on the album?
He sang all over the Love Bomb album, but I don't recall if he played on it.
- For the first time in Tubes history the producer, in this case Foster, remained on board for another album, yet got replaced by Todd Rundgren for Love Bomb. What was that all about?
Though I learned loads from those sessions by watching Foster and engineer the great Humberto Gatica, Foster isn't very band friendly, at least not in our case. The recording of those two albums were a very divisive time for the band. We barely made it through intact. Todd has been a band guy and appreciates the dynamics of a band. And we wanted to record in our own studio, Cavuum Sony. I don't think Foster would have come to San Francisco, to far from the three things he cared about, his bucks, his boat and his bitch. Words from his own mouth.
- That was pretty much the end of the Tubes. What happened?
I believe it was partly because Fee's solo album for Capital didn't do well. So Capitol didn't want to sink anymore money in us and without label support Love Bomb never had a chance. As band members we were all on different pages. I was battling my own demons (and losing) and I let go of the rudder. We crashed on the rocks.
- You were no longer there for the reunion Genius of America. Why not?
I stuck around a few years after Fee left, but touring without an album to support got old fast. I missed my kids and I needed to get healthy so I left the band. Fee came back after a few years and he, Roger, Rick, Prairie and a couple new guys made a record. I was doing my own thing at that point.
- Instead, shortly afterwards you come up with your solo album Mall to Mars. How did that come about after all these years?
I didn't know those came out in the same year. I had a band for a couple years called the Sponge Mummies after that ended I had some songs and buddy of mine Jim Blake had a little record label. He said lets make a record. So we went into Fantasy and banged it out. Prairie played drums and my son Boone had his debut as a percussionist. Boone actually first appeared on First CHUD at 6 months old. If you listen to "Something in My Eye" you can hear him wailing in the background. Now he pretty much plays drums on everything I record in my studio and he's currently producing my album.
- You're still involved in all kind of musical projects. Considering its political message, the EP with Lani Silver (Don't talk to me if you voted for Bush) is pretty interesting...
Lani is a longtime student of mine from Blue Bear School of American Music and prolific writer. She is absolutely passionate about her beliefs and I can't argue with that. I do contribute, but it's really Lani's thing. She's the force behind it. I have a digital project studio and I work with a lot of local songwriters. The styles and genres vary from artist to artist. My amount of input varies as well. Some come in with just lyrics, or lyrics and partial melody or riff, some have it all dialed and I just hit record.I've got some links to samples of the work we've been doing posted on my website. I just did a some of tunes with a high school buddy, Alan Quinlan, from Phoenix that turned out great. A couple of songs I produced for local singer/songwriter Tamra Engle (www.guitartem.com) are some of the best sounding stuff yet. She played them for Glenn Ballard (producer of Alanis Morissette's Jagged Little Pill) and he loved them. I'm really stoked about the great sounds we're getting out of the studio. I work with Boone during the mixdown phase, he's got a killer studio setup, the kid's a real Pro Tools wiz and has a great set of ears. How lucky am I to get to work with my kid? Doesn't get much better... now if I could only get my daughter in there to sing.
- You're also in a band called the Folk-Ups with your son Boone. How is that working out?
We are on a sort of hiatus right now. Alex Bendahan who I started the Folk-Ups has been busy scoring film and teaching live sound arts. I've been consumed with my studio buildout and once that was done I had a lot of folks waiting to get back to work. I started a new album project with Boone producing and we are devoting every free moment to that. I'm sure I'll get back to the Folk-Ups eventually. I really enjoy playing with Alex, he's a great player (and singer) and we have a lot of fun.
- How do you look back on your years in the Tubes?
It was the best of times, it was the worst of times. We've got a body of work that for the most part I still dig. I've seen some of the footage Mike's had restored and I'm reminded what a kick ass band we were. It's really wild to watch us as kids essentially.
- Recently Vince Welnick passed away. You guys go way back. Any particular memories of him you wanna share?
Vince was a great musician and band brother. His death is a real tragedy that I still don't understand.
- Is there any unreleased Tubes material still lying about doing nothing? Maybe even enough for a Tubes box set?
We used to have a cabinet full of 2" tape that we'd recorded over the years. After the '89 earthquake we had to close our studio and I'm not sure where all that stuff went. There are enough albums for a pretty good boxset with or without "lost tracks". It would be cool to release a boxset to coincide with the release of Michael Cotten's Tubes documentary. Maybe a few new tunes. Who knows, anything is possible.
- Can you name some of the things that remained unreleased ?
We did an album for A&M (Suffer for Sound) that didn't get released. And somewhere there are many songs we recorded when we had our own studio. I'm not sure where those tapes are or if they survived the Loma Prieta earthquake.
- Tell me about Michael's documentary...
This will be the definitive word on the Tubes. Michael has hundreds of hours of concert footage as well as industry interviews. They've taped interviews with Al Kooper, Todd Rundgren, all of the band guys, former dancers, Kenny Ortega (director of High School Musical), Steve Porcaro, Kyle Cass (Tenacious D), and David Foster. It's definitely a labor of love for him and Brad Steuernagel (producer) they are consumed by it. I'm going to start working with them to get the incidental music together. I'm looking forward to that. I think the end result will be awesome.
All photos courtesy Bill Spooner
