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| Performing
at The Shot Out Eye |
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Characters from Shockheaded
Peter, The Tiger Lillies' hilariously
sick and twisted musical based on
the the 150 year old German children's
book 'Struwwelpeter,' a series of
violent deaths visited upon the ill-behaved
and the merely unfortunate. Called
'scrumptiously gruesome and wickedly
ghoulish,' the play won an Olivier
Award, the English equivalent of an
American Tony Award.
"The silliest and most sinister
show in town. Part giggle and part
goose flesh"
The New York Times
"In the tradition of Lemony Snicket,
"Beetlejuice" and "Edward
Scissorhands"
The Journal News
"An exquisite creep-out"
The Los Angeles Times
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Martyn,
on his encounter with Edward Gorey:
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"While
on tour I was told I had received
a funny letter from someone called
Edward Gorey and he thought I was
the 'cat's pyjamas.' He said he had
a lot of unpublished work and in due
course he sent it to me in a large
cardboard box. It was with a great
sense of honour that I set about turning
this working into the collection of
songs.
He also sent me a stone in a saucer
saying if I stared at it long enough
it would turn into a frog. Sadly I
never got to meet him as he died just
before I was due to fly out to Cape
Cod for a visit, but I hope I have
captured something of his wonderful
and unique vision of the world. I'm
still staring at the the stone..."
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| An
Interview with The
Tiger Lillies |
by
Ron Sawyer
with
kind permission from
Livid Looking Glass
Magazine
www.lividlookingglass.com
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| The
Tiger Lillies are three
modern day, crass and naughty
British minstrels who weave
a devilishly fabulous dark
cabaret. They are also the
creators and performers
of 'The Gorey End,' a musical
tribute to Edward Gorey,
and 'Shockheaded Peter,'
a macabre series of tales
involving children who each
come to meet their demise
in poetically dire ways.
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Ron Sawyer: Let me start by saying
how happy I am that you made it
into the US, what with you being
a band that is no doubt on the
FBI's list of questionable acts
that conflict with good ole American
family values.
Adrian H: I wonder if we
are. We probably are.
Martyn: No, they don't
care about us. We're just a kind
of bunch of tiddlers.
Adrian H: Minnows.
Martyn: Well, maybe you're
right. I don't know. It's possible.
Adrian H: It depends how deep
the paranoia runs.
R.S:
How would you describe The Tiger
Lillies to someone who's never
heard your music or seen your
performances?
Adrian S: I like 'Satanic
folk', really. I've been trying
to think of other things. We thought
we were a cabaret band for a while
but we're not quite sure really.
We use double bass, accordion,
and a very very small drum kit.
So it's all quite acoustic. But
it's quite evil at the same time.
Adrian H: But not Satanist.
Adrian S: It's music and
it takes in all sorts of -
Martyn: Some people would
even question that.
Adrian S: Exactly, I question
that sometimes. No, I can't describe
it. There's musicians onstage
-
Martyn: Some people would
even question that.
R.S:
Each of your albums has a general
theme. In your live shows, do
you pick one theme for each show?
Adrian S: We have, but at
the moment we're generally playing
lots of stuff. We've got a lot
of new songs at the moment that
are maybe not so specifically
theme-based. We did have a lot
of themes in the last few years.
But we seem to have these new
songs that are more kind of general
themes at the moment. Yeah, we
tend to kind of get into themes
onstage. When Martyn's writing
a series of songs he can't get
off it. He get's a bit obsessed
and so we end up doing a whole
evening of animal sex songs. But
at the moment we seem to be kind
of moving around a bit more. It
just kind of goes in waves.
Martyn: A lot of songs about
drowning.
R.S:
Yeah, your album "The Sea".
Martyn: Yeah, "The
Sea". I seem to be doing
a lot of songs about drowning.
Midlife crisis. Some people buy
a red Ferrari. I make songs about
drowning. I'd probably buy a red
Ferrari if I could afford one.
But unfortunately I can't.
R.S:
Who and what have inspired your
songwriting over the years?
Martyn: Lots of people,
really. Jacques Brel would be
a primary influence. So would
Brecht and Weill's "Threepenny
Opera". That's a major influence.
And I'm quite influenced by Billy
Holiday, who's not primarily a
songwriter herself but who did
write some songs, and Bessy Smith.
Gypsy music was a big influence
on my songwriting style. Things
like classical Italian opera had
an influence, I would say. It's
a very broad wash of different
influences from different parts
of Europe and America. Primarily
Europe and America. Probably more
European than American in most
cases.
R.S: Where have your most memorable
shows been, both good and bad?
Adrian H: Russia, Czech
Republic, Greece were good.
Adrian S: Some of the worst
gigs, I suppose, have been everywhere,
really. We had a very bad gig
in Germany at this thing called
the Schmitz Tivoli. They stuck
us on there at about midnight
to an audience of about 600 German
pensioners.
Martyn: What about the
Sausage Tent in Hamburg? That
was pretty bad as well, wasn't
it?
Adrian H: It's like a fun
fair in the middle of Hamburg.
They had this big gig arranged
for us, which was playing in the
sausage vendors tent. That was
so bizarre.
Martyn: We were singing
"Gas Bill", which is
a song about the concentration
camps. Our manager was sitting
there and she was dying, saying,
"Oh my God. How can you do
this, Martin?" And then,
at the end of the song this German
man came up and wagged his finger
at me and said, "I know what
you're singing about!" Which
was very funny.
Adrian S: I remember there
were lots of little children about
six years old walking up to the
stage and all their parents suddenly
swiftly moved them away.
Martyn: Yeah, those were the
days. But I suppose if you're
talking about bad gigs, we did
a lot of bad gigs in our early
days. I mean, our first American
tour was pretty spectacular, wasn't
it, as well?
R.S:
When was that?
Adrian H: Six years ago.
280 million people in America
and we played for 280 of them.
In a month.
Adrian S: We did 28 shows
in 34 days, driving all the way
across America.
Martyn: Remember The Barking
Spider? There were 4 people there.
Do you remember The Barking Spider?
Adrian H: I do. I don't
remember the 4 people though.
Martyn: Actually, you're right.
There were only two people there.
Two girls came to see us.
Adrian H: There was one
place; I can't remember where
it was. There was this old lady
with a white Barbie haircut.
Adrian H: In Philadelphia,
a little bar. We said, "We're
playing tonight." And she
said, "We haven't had a band
play here for 6 months."
And there was a band set up onstage.
And she insisted they hadn't had
a band there for six months. So
we ignored her. Two German fans
who had immigrated to America
actually came. They were the only
ones who came to see us.
Martyn: The smell in the
toilet -
Adrian H: Smelliest toilet
in America. And that includes
Canada and South America.
Adrian S: Really, we've
done thousands of gigs and some
of them have been awful.
Martyn: We've played in
the shittiest places, really.
Adrian H: I remember a
good one. We were somewhere in
Austria. A friend of ours had
arranged for us to do a little
concert. To get the hotel free,
we had to play in the corridor,
playing underneath the sign to
the toilet, in a corridor with
people coming past, as quietly
as possible, playing to the salad
bar. And then Rudy, the manager,
he had to audition us in the foyer
first just to make sure it was
suitable for the three people
that were having brunch. And then
we lined up and we played very
quietly and then one lady having
some salad put her finger up.
He went over. "How can I
help you, Madam?" "I
can't hear myself eat." "No
problem, Madam. I'm sorry, I have
to ask you to stop." We played
one and a half songs or something
and then we stayed there for nothing.
That was spectacular, the salad
bar -
Martyn: The toilet sign
above our heads as well and the
arrow pointing at us.
Adrian H: What's the next
question?
R.S:
I was just gonna say that it's
interesting how the most memorable
concerts are the ones that are
most unusual and playing for the
strangest audiences.
Martyn: Well, salads are
an unusual audience.
Adrian H: We did a wedding
in a castle. Everybody was dressed
up in sort of medieval costumes
and they'd hired a priest with
a fake hook hand to marry them
and they'd had hurdy gurdy players
and things and we played on a
balcony. This wasn't one of the
terrible ones. This was a good
one. And they were very disappointed
because the priest didn't wear
his hook like they had wanted
him too. He wore a prosthetic
hand. But he was dancing to "Banging
In The Nails" as well.
R.S:
If you could go to any place or
time on Earth to perform, where
and when would it be or for whom?
Martyn: French Revolution.
Bastille. Be there as the heads
roll. No, I don't really know,
actually. That sprung into my
head but I don't know really.
Any ideas? Come on, that's mine.
Adrian H: I made the mistake
of watching a couple of hours
of American TV so the only answer
I can think of is Los Angeles
tonight.
Adrian S: Somewhere like
Berkeley in the 1950s with all
the beatniks and playing for William
Burroughs or something like that.
Playing in one of those places,
that would be fun.
Adrian H: Maybe try Berlin
in the '20s or '30s or something
or wouldn't have minded being
in London in the 1920s maybe.
Martyn: Berlin in the 1920s
would be good or the Left Bank
of Paris to Toulouse Lautrec,
that'd be quite nice, wouldn't
it? Playing to all the French
Impressionists.
Adrian H: Could be just
a bunch of hysterical artists
running around though, couldn't
it?
Martyn: Well, there probably
would be.So they wouldn't just
be onstage. They'd be out in the
audience too.
Martyn: Yeah, they'd be
in the audience. I wouldn't want
the artists onstage.
R.S:
I read something about how a family
lobby group in Australia tried
to get you kicked out of the Melbourne
International Arts Festival recently
because they didn't approve of
a band that sings about prostitution,
suicide and drug abuse and who
has graphic images on their website
of plastic inflatable sheep being
sexually violated by grown men.
Shame on you, by the way! How
did it go at the festival?
Adrian S: It went fantastically
well. It was a complete sellout.
And the only response they had
in reference to that article was
someone asking if they could get
tickets.
Adrian H: It was sort of
written in a way to make it infer
that we were given $5.5 million
of taxpayers money to go there.
R.S: All that went to you, of
course.
Adrian H: Definitely. We
spent it on inflatable dolls.
There's a whole mountain of them
somewhere in Australia being blown
across the desert.
Adrian S: No, I mean, we
had a very good - I mean, it was
sold out before we even arrived.
We were playing to like 300 odd
people every night in a Spiegel
tent right opposite the Arts Center
in Melbourne. It was very good.
Adrian S: We have journalists
who write these sort of things
saying, you know, "They should
be banned." They phone up
a few interested groups and say,
"What do you think of a band
that sings songs about murdering
Jesus and having sex with animals?"
and they go, "I'm against
it!" And then they go, "Fine.
Can I quote you on that?"
And they go, "Yes, of course."
Adrian H: It's the same
everywhere. All these bad reviews,
we put them straight on our website.
Martyn: Before Melbourne,
we had Athens. They did the same
kind of thing, didn't they?
Adrian H: But didn't they
do that on purpose to stir it
up?
Adrian S: No. All the posters
had that on them. They had this
series of posters saying the Mayor
of Athens invited us. They had
a similar thing. They had a three-page
article in Athens just before
we played there, sort of saying
a similar kind of thing. You know,
"Why is the Mayor of Athens
promoting this evil band?"
You know, it happens but it's
just journalists.
Adrian H: On a page towards
the back there was a two-page
review of all our CDs as well,
saying how wonderful they were.
Martyn: Journalists are
desperate, aren't they? They've
gotta fill their newspapers and
magazines with something. I mean,
look at you. You're interviewing
us.
Adrian H: There was a review
in Moscow saying we were -
Adrian S: Satanists, neo-nazi
fascists or something. We got
invited again by the Mayor of
- we played the Moscow Film Festival
and they were saying the Mayor
of Moscow invites Satanists and
they were saying that we were
some sort of neo-fascist skinhead
band.
Adrian H: What did they
say about Martin wearing the dresses
of dead prostitutes.
Martyn: I have a collection
of dresses from murdered prostitutes.
Adrian H: It was amazing.
I didn't see it but it's quite
an amazing story.
Adrian S: It's on the website.
Adrian H: Is it in English?
Adrian S: Yes. There's a translation.
I got translations.
R.S:
Continuing on the subject of deviant
behavior, Martyn, is it true that
you once put a pigs head with
a cigarette in its nose on an
alter in a church in Wales?
Martyn: Absolutely...
alright, yeah.
Adrian H: It was the pig's
idea, just to show how bad smoking
is. I've just currently stopped
smoking and I'm on a mission.
R.S: Describe hell.
Martyn: Being in The Tiger
Lillies? About 25 percent of the
time, being on an airplane. Chicago
Airport at about five o'clock
in the morning.
Adrian S: I suppose hell
would be us playing concerts somewhere
where every 20 minutes a whole
300 drunks would just walk in,
all talk about something completely
unrelated to what was going on
onstage and then they'd all walk
out again. And then another lot
would come in again. That's how
our concerts used to be. They'd
just keep going in and out, in
and out.
Martyn: We used to play
lots of bars so that was pretty
much what it used to be like.
You'd get 30 drunks coming in
and they'd all be talking and
shouting. So we developed our
music style, for a few years was
actually really almost built,
designed to be performed in front
of drunks in bars.
Adrian H: It was like pugilism,
wasn't it?
Martyn: So that was a very
aggressive and screaming phase
for The Tiger Lillies. "Ad
Nauseum" is the album, probably,
which sums it up. It's a very
aggressive, noisy kind of style
that we developed because there
were no dynamics. If we did anything
soft or quiet then the drunks'
attention span - they would immediately
start talking to each other. So
we just had to keep screaming
at them just to keep the, you
know...
Adrian S: Just sort of
pin them to the wall, basically.
It worked. It took a lot to play
unusual music in a bar full of
people who didn't really arrive
to see that. You kind of have
to take some strategies, I suppose
to engage them and it worked.
They were engaged. They were actually
kind of more than engaged.
Martyn: They enjoyed it.
They managed to get into it.
Adrian S: More and more,
we had people who actually did
want to see us play. So it became
more balanced after a while. People
would come to see us rather than
just to come see their friends.
We've been turning into a really
old band. We spend most of our
interviews reminiscing. Let's
talk about the future.
Adrian H: I see the future
but we're not in it.Do you have
any plans to resurrect your famous
17th century gothic shock cabaret
Shockheaded Peter or do you have
any plans for any other theatrical
works?
Martyn: We may be doing
the West End (London). There were
plans to do the West End again
at some point in the distant future.Any
other theatrical plans?
Adrian H: There's lots
of things on the go.Martyn: We're
doing "Little Match Girl"
as a show, which is a story about
a little girl who freezes to death
in the snow. Hans Christian Andersen.
Kiki did it. You ever heard of
Kiki and Herb? That's a very funny
cabaret band. Yeah, so we're planning
to do that, "Little Match
Girl". We've got another
show called The Tiger Lillies
Circus in France, in a suburb
of Paris. We do a smaller show
called "The Punch And Judy".
So we have a few different theatre
projects and shows.
Adrian H: It does take
a bit of a while to get bookings
in America.
Martyn: We have a dance
show we do sometimes called "Circa",
which a film has just been made
of, with a dance group called
The Holy Body Tattoo. We do have
a few different theatrical projects.
R.S:
Is that the thing that Steve Severin
from Siouxsie And The Banshees
is involved in? I also noticed
his name on some of your albums.
Adrian S: Yeah, he produced
some of the albums.
R.S:
Will The Holy Body Tattoo be doing
shows in the States?
Adrian S: The show has
been touring for a while now.
Martyn: I think they're
in New Zealand next year.
Adrian H: As I said, it's
quite irritating cos we'd like
to know but it takes years, it
seems, to sort of book bigger
shows like that, where as we can
virtually arrange a tour or Menno
[Tiger Lillies agent], can arrange
a tour for the band.
Martyn: We do plan things
a year in advance. We're booked
pretty much solid for next year.
Adrian H: People need to
look at the website and sign up
for our newsletter and then they'll
get a newsletter when we're touring
again. That works really well.
The Internet's fantastic for us.
A little band with tentacles reaching
out.
Martyn: There are a few bands,
people which seem to be, I don't
know, seem to be like this cabaret
thing, bands like Gogol Bordello
and The Dresden Dolls. We're meant
to be doing a concert with them.
What's that other one? Rasputina.
So there seems to be a few younger
people taking an interest. We're
meant to be playing at the Royal
Festival Hall with this group
called Lost Vagueness, which is
a kind of funny nightclub promoter.
This whole cabaret thing and dressing
up seems to be - we were in Melbourne
recently and there's a mirror
tent there and everybody seems
to dress up in suits and hats
and things. So there seem to be
some younger people who are interested
in this kind of style of music
which we were talking about earlier.
So who knows. Maybe one of them
will become more successful and
that will be a way for us to maybe
become a bit bigger. We live in
hope.I think part of the reason
for your popularity is the fact
that modern life is so boring.
You're kind of a timeless band.
It's kind of a nice outlet to
be able to escape to a more interesting
time.
Adrian H: What are they
gonna remember from the first
half of the 21st century, the
first decade? What music is there?
Martyn: The Tiger Lillies.
Adrian S: He summed up
the decade. One of the smallest
bands of the '90s, now one of
the slightly larger known bands
of the 21st century.
Martyn: Is the voice of
reality speaking this?
R.S:
Your music was used in the film
"Plunkett & Macleane"
and you even had a cameo appearance,
if I'm correct, in a bordello
scene?
Adrian S: Yes. If you hold
your eyes open for about four
seconds as the camera pans past
us.
Martyn: They spent half
a day shooting it, which is quite
a lot of time in a big major feature
film and as we were leaving one
of the productions persons actually
said, "So we spent half a
day filming you." Like, "Why
the fuck did we do that?"
That was their kind of charming
riposte as we made our exit. So
yeah, they did film us. Jake,
I think was a bit of a fan. He's
the director. He saw us playing
in Prague and he liked us and
he wanted us to be in the film
and sort of have the title music
at the beginning, as well. But
I think there were quite a few
other people in the company that
actually didn't really like us
very much. I think they thought
we were - it's the thing about
being a bit weird. This is the
same company that I think did
"Four Weddings And A Funeral"
and had the band Wet Wet Wet.
So having a band that made very,
I suppose what they would regard
as being very avant garde music
-
Adrian S: But it wasn't an
art house movie.
Martyn: So I think there
were certainly people within the
film -
Adrian S: Commercial suicide
for us to be doing this in the
film. They hated us. So they cut
us out as much as possible.
Adrian H: I think it was a
foible because of the director
liking us and they sort of had
to have us in there.
Adrian S: This was his
first feature film and I think
he wanted us to be more involved
in the film and eventually we
were.
Martyn: At the end of the
day, you know, he was young and
I think he actually had a rather
artistic vision and the producers
tried to reign him in a bit and
try and -(Martyn is interrupted
by the loud sound of my digital
voice recorder falling off the
chair, smashing onto the ground)
Adrian H: Oh dear! That's
it for the interview.(Looking
at voice recorder) No, it's still
going.
Adrian H: Remember you
did that when you've got your
headphones on, otherwise you'll
be deaf.
Martyn: It's knocked all
the other stuff because it's one
of those digital ones. So you've
lost the interview now. We've
done interviews like that where
they said, "It was a great
interview. But I'm terribly sorry,
you know what?" I've seen
them a year later and they say,
"You know what? The machine
didn't work. So I had to do it
all by memory."
R.S:
Well, if that happens, I'll send
you a tape of me crying.
Martyn: Was there anything
else on Plunkett & Macleane
- I mean, a lot saw the film.
Adrian H: It brought people
into us.
Martyn: I remember Jake.
He was really almost like boasting
to me that this would really make
us. And I think his vision, first
of all, he wanted us in it much
more and we were meant to do the
title tracks as well. But we got
elbowed off the title track. We
were meant to do half the soundtrack
but we kind of got manipulated
by this other guy out of doing
that. I think he thought that
it would really do a lot for us.
It did do something for us, I'm
not denying that but it could
have been a lot more. I noticed
a discussion on a website message
board regarding your music in
the film and people were saying
how much they liked your music.
Martyn: That's the great
thing about the Internet for us.
Some people think the whole web
thing is very bad. Without wishing
to name drop, I remember talking
to Nick Cave about that. He said
to me that the whole Internet
thing is really shit. He didn't
like it. And from his perspective,
because he's got a proper record
company that's promoting him,
it probably didn't seem to be
- but for us, as a very little
band, it's quite useful.
Adrian H: Really, it's
completely useful. You've got
to make the most of it. It has
got stupid sides to it but it's
very useful to us. Even five or
six years ago, people would travel
with their children - I remember
a German housewife whose husband
was working that night, she drove
about 300 kilometers because she
saw on the website we were playing
and then came and bought the CDs
and then drove home again. Didn't
even see the show but she wanted
the CDs and she bought five CDs.
And that was just because she
knew about it on the website.
Adrian S: We've always
tried to kind of keep a little
bit ahead. We had CDs before a
lot of bands actually were making
CDs. We had tapes and then it
was like pressed up CDs which
was quite unusual for independent
bands when they first happen.
And then we had a website kind
of quite a bit before people.
We were trying to keep, you know,
just try and use everything we
can really. We're not adverse
to things like that.Martyn: We
are desperate men.
Adrian H: If you go into a
record shop and they've never
heard of The Tiger Lillies then
what do you do?
R.S: Can you talk a bit about
your 'post mortem' collaboration
with Edward Gorey?
Martyn: Yeah, he sent a
letter and said he really liked
us and his favorite song was "Banging
In The Nails". And I wrote
back and said I'd love to do something.
And then he sent us all this unpublished
stuff and I turned it into 12,
13 songs and then I was gonna
go and play and rehearse with
him. And then, three days before
I was due to leave he died so
it was very upsetting. That was
basically it. So I never actually
got to meet him, you know, even
though I had written all these
songs specifically to perform
to him over a weekend. He had
actually delayed going into the
hospital because I was coming
over. So actually, in a horrible
kind of way, I was even sort of
responsible. He may not have even
died if it hadn't been for me
coming over to see him. He would've
died sometime.
R.S:
I'm sure he'd be happy with what
you did with his work.
Martyn: Well, I hope so
but we'll never know. It's one
of those strange things.
R.S:
What other people or groups have
you worked with or collaborated
with?
Adrian H: The Kronos Quartet.
Adrian S: In Russia, a
band called Leningrad, we did
an album with them about a year
ago. They're from St. Petersburg
and someone said they're the most
famous rock band in Russia. I
think they're quite unusual. The
singer's very - he's kind of like
a cross between a poet and a street
thug. He's kind of like one of
these 'men of the people'. He
sings in a very low voice.
Martyn: Lots of vodka,
they drink a lot.
Adrian S: But he's like
a poet and he does acting and
he's got this crazy band, sort
of a ska band. We did an album
with them where they were doing
versions of our songs in Russian.
They'd take the songs and he'd
adapt the words a bit and we'd
have like a whole brass section.
That was an interesting collaboration.
And on the whole, with other sort
of things, we worked with Steve
Severin from Siouxsie and the
Banshees. He produced "Circus
Songs". Blixa Bargeld from
Einstuerzende Neubauten played
on a couple of tracks on "2
Penny Opera". A couple of
guys who played on the "Poe"
CD and toured with Lou Reed on
a couple of our CDs, German musicians.
Martyn: German theatre musicians.
They go all the way back, in Hamburg
they were on Tom Wait's "The
Black Rider".
Adrian H: Didn't we have
someone from The Bonzo Dog Doo-Dah
Band?
Martyn: Oh yes, The Bonzo
Dog Doo-Dah Band. They're dead.
Adrian H: That was in the
'60s.
Adrian S: They were like
sort of arty. They kind of wore
old clothes and did funny sort
of - one of the guys in the bands
was friendly with The Beatles.
They did that sort of mockery
of The Beatles: The Rutles. They
were kind of a funny sort of old
fashioned sort of band using a
lot of Victorian music hall songs.
Martyn: So if we meet any
funny people, strange or unusual
people we are always quite keen
to work with them, collaborate
and stuff. We're still thinking
of doing something with Kiki and
Herb at some time in the future.
R.S: One final question. What
is the meaning of life?
Adrian S: It doesn't have
one.
Adrian H: That's a good answer.
I don't know. Can we email you?
R.S:
Is that your answer?
Adrian S: Have you seen
the film?
R.S:
Yeah. It's excellent.
Adrian S: The film sums
it up.
Martyn: That's true, "The
Meaning Of Life", the film,
it's quite good. He's a fan, Terry
Gilliam. We meant to work with
him.
Adrian S: On the Gorey thing.
It was a theatre show based on
the Edward Gorey songs and he
was gonna direct it.
Martyn: Yeah, "The
Meaning Of Life" was quite
nice. It was quite humorous and
cheerful. Cos I think you can
get very - what's the word? Morose.
Adrian H: Morose? Can you
get morose in America or is it
just Europeans?
People are in denial but yeah,
you can get morose in America.
Adrian H: Can you get decaf
morose or morose lite?
Martyn: I quite like them.
They're quite humorous and cheerful,
aren't they?
Adrian S: It's black humor.
We use a lot of humor in -
(Interview is suddenly interrupted
by a passerby in the hotel lounge)
Passerby: I like those
hats, guys. They're fucking cool,
dudes. Who are you dudes?
Adrian H: We're The Tiger
Lillies.
Passerby: Never heard of
you. Where are you guys based
out of?
Martyn: London.
Passerby: Oh, London. I'm
English also. I'm from Chester.
Bloody bollocks.
Martyn: We're playing at
The Knitting Factory this evening.
We expect you to be there.
Passerby: Can you put me on
the guest list?
R.S:
Don't ask me!
Martyn: He's not even in
the band. He's a journalist.
Passerby: Of course he
is.
R.S: You wouldn't believe what
I had to do to get on the guest
list.
Passerby: I don't suck
dick. I'm just fucking with you
guys. I'm a composer and writer
for Streisand and Ozzy Osbourne.
That's what I do. I'll give you
a card. You guys can give me a
call if you want. Come out to
my house, I'm in Encino. I don't
know how long the fuck you guys
are gonna be here -
Adrian H: We're leaving
tomorrow morning.
Passerby: Come out tonight,
party with me.
Martyn: We're playing tonight.
Passerby: Well, then come
over afterward. I don't give a
fuck. I've got a pool table, I've
got a big house. I've got seven
bedrooms in my house and eight
bathrooms.
R.S:
Can you get me on "The Osbournes"?
Passerby: Serious, no shit.
Nice to meet you all. I've got
a whole fucking lot of band shit
set up, all sorts of crap. You
guys wanna come over, come over.
Give me a fucking call.
(Passerby walks out the door )
R.S:
Welcome to L.A.
Adrian S: "Fucking
Streisand and Ozzy Osbourne."
Martyn: Is that his card?
Fantastic. 'Musician/Composer/Investor'.
There's a billing.
Adrian S: He's a saint. He's
the Saint of L.A.
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| Interview
© Livid Looking Glass - www.lividlookingglass.com
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