CUZ: What type of venues was Lubricated Goat playing in Sydney?
GUY: In Sydney, the first live show we played at the Piccadilly Hotel
which was in Kings Cross and that was like a cobbled together show where it
was Stuart and I & actually James Baker (Hoodoo Gurus) played the drums at
that show. Then after that we Brett moved to town and Peter came over as
well and they were in the band. And when we started playing we started
playing places like The Trade Union Club, The Piccadilly Hotel where was a
Black Eye Night at one stage. The Palace Hotel in Darlinghurst which was a
placed we played a fair bit. Strawberry Hills Tavern, um, what was that
place downtown? Um there were lot’s of places that we played, there were
lots of venues in Sydney at that time. Sydney Cove Tavern downtown, it would
depend. The early shows were at small places like Palace Hotel, Strawberry
Hills and the Evening Star, places like that. Sometimes when we supported
bigger bands like Sonic Youth or Henry Rollins or something like that we’d
play at Cardona Café or The Sydney Cove Tavern or Selena's.
CUZ: What were your initial feelings within the group of the music
that you were making? Were there any feelings that the music you were making
was different to what was going on with Australian music?
GUY: Ha HAR! I think it would be fair to say we thought we were the
best band around Ha! Everyone had mighty egos you know in that band we
thought we were great. I think we thought we like the heaviest, weirdest
band around at the time.
CUZ: What approach did Lubricated Goat have on Shradenfruader?
GUY: I think Shardenfrauder was our attempt to, um was recorded in
strange state there after we knew that we had an American record deal and we
needed to make a new record and we didn’t have enough material that’s why
it’s only a six song EP. But we did take some time over it and what were we
thinking? I’d actually taken Stuart to see Metallica not long before we
recorded that, and I think Stuart was impressed by the slick power of that
band. I think we might have tried to do something slick and metal as
probably the Goat ever got HAHA. Who knows?
CUZ: Could you explain the mentality of the Australian Music Biz how
it treated Lubricated Goat when it obtained an overseas deal when several
bigger/mainstream acts didn’t achieve that goal?
GUY: Apart from John Foy and Black Eye we were pretty much ignored by
music industry as far as major labels were concerned, there was never any
interest from them. There really wasn’t much going on in Australia at the
time even though we had relationships with bands and the people that worked
at Waterfront Records we defiantly didn’t fit into the Waterfront mould.
Really there weren’t a lot of options for us, maybe Au-go-go in Melbourne
but um. John Foy realty ran Red Eye records which was more the commercial
arm of it and had relationships with people like Tex (Greg Perkins) and some
other people in the scene through that part of the record label decided he
wanted to you know put out some of the more stranger more electric music
that was seen on Black Eye. He was the only person who was interested in
what we were doing to tell the truth. I think that what happened was had
relatively good distribution and really the interesting thing was that when
he distributed his records in America it turned out that there were people
over here that actually really like the records and thought that bands like
The Lubricated Goat and Salamander Jim stuff like that were doing was you
know really innovative.
CUZ: So why didn’t the Shardenfruader line up remain intact when on
the first o/s tour?
GUY: Well. The line for that record was Gene on Drums, Charles Tolnay
on Guitar and Stuart and myself. What happened was we started to get some
profile even in Australia playing some pretty big shows supporting some
international acts and big local acts and stuff. Gene who was also the
drummer for the Space Juniors at the time he played in both bands and
Charlie was in King Snake Roost who had in their own right a record deal
with the same company we did Amphetamine Reptile. And I guess Charlie just
decided that he needed top focus more that he was into deeper which was KSR
and Gene never really decided to go with us for what ever reason and I’ve
never really seen Gene since that day or since those days. So Stuart and I
were left without drummer and a guitar player because neither of them wanted
to commit to going and so we had to think quick. So Stuart had thought we’ll
get Martin (Bland) because he had recorded the first record and Stuart was
from Adelaide and Martin was from Adelaide and we’d met Martin and Ren (also
from Bloodloss) when we’d been to Adelaide to play shows and Martin and Ren
were fast friends. Obviously it was a great suggestion that both of them
would join the band and that’s how that came about. I’m not sure why Charley
and Gene didn’t want to do it. We were a tight outfit at the time though so
it’s a pity that they didn’t.
CUZ: Originally the agency TERMINAL was supposed to book your tour yet
there were some disorganization that took place. Could you tell us your
views on what took place?
GUY: originally we came to America on the first tour there was a company
called Terminal who I believe a chap called Bossco who actually worked at
Sub Pop Record (off camera) is that right Martin? For some reason Tom
Hazelmyer who ran AMP REP hired these people because they were doing a lot
of stuff for Sub Pop at the time and Tom had links with them and he hired
them to do some of the promotion and booking for it. And I think they hadn’t
done a very good job and so a lot of the stuff wasn’t finalized before we
arrived. I think what happened in the long run, Tom himself got his close
friend Peter Davis to finalize a lot of the shows and sort stuff up for us.
So that was how our relationship with Peter Davis and Tom Haze was forged
through the incompetence of Terminal booking agency.
CUZ: What was the relationship with Amp Rep like for Lubricated Goat?
GUY: Antagonistic. Well when we first got there we kind of went a bit
crazy and spent a lot of money he he.. Lost our heads a little bit, we
weren’t showed much guidance by this chap. Well to tell the truth I don’t
care, I thought Bossco was a fine chap and we had a good time with him. By
the time we got to Minneapolis we didn’t have a lot of money and um Tom
seemed to think that chap had mismanaged our stay thus far and was kind of
angry with him. I think Tom expected that we’d be like, you know. It’s
entirely different in America, in Australia your likely to go from Sydney to
Melbourne and play a few shows in a weekend and go to Adelaide and play a
couple shows and come back it’s not that serious. In America you’re expected
to work hard and drive all over the country do all these shows in college
towns and stuff and I think Tom was expecting people that were
professionally driven and like responsible and actually we just wanted to
have a good time and hahahaha.
CUZ: It’s so hard not to laugh at that, Tom was a marine he thought
he was signing an Army troupe.
GUY: I was in the armed services, I don’t know. We didn’t know what
the whole music biz was all about in America when we came here the first
CUZ: Are you still there? You sort of dropped out.
I don’t think we knew what the American music biz was all about on such a
low level as being an independent band on an unknown label. Apparently there
was more business then we knew about involved in that stuff…..
CUZ: So how did the SUB POP single come about?
GUY: Well, along with Amp Rep were people who were kind of interested
in what was going on in the Australian Music scene which started before long
before Lubricated Goat. Bands like Salamander Jim and even bands like The
Lime Spiders and stuff like that, they thought there was something like
seminal about something that hampered to the 1960’s like the original sort
of psychedelic underground they had had a lot of interest in Australian
music and people like Tom Haze and people at SUB POP liked that sort of
thing. It seemed like quite a close relationship between Amp Rep and Sub Pop
at the time. Sub Pop was the first place we went when we came to America, we
flew into Seattle and someone picked us up at the airport and took us to the
offices of SUB POP in the Terminal building in Seattle. I think they were
interested in the sort of music that we were doing they offered and had the
Single of The month Club at the time and we were coming back to Seattle at
the end of the end of the tour and they said will you make a single for us.
Of course we agreed to it and that’s pretty much where that came from. I
think they actually asked us if we’d like to sign to their record label over
a rather improvised burrito lunch. As I remember Jonathon Ponman posing the
question perhaps we might want to leave our label in Minneapolis and sign to
the label in Seattle because it might be good for us or something like that.
I seem to remember that happening.
CUZ: After leaving Lubricated Goat when did Monroe’s Fur start?
GUY: Monroe’s Fur was formed before I left Lubricated Goat that was a
band formed independent of leaving Lubricated Goat. That was a band I
formed, I didn’t form it. A bunch of my friends and myself got together and
we had a band it and it was going before I left Lubricated Goat. But after
Peter Hartley was kicked out of Lubricated Goat, Peter was of course the
drummer in Monroe’s Fur. But we didn’t start Monroe’s Fur until after he had
been kicked out of Lubricated Goat.
CUZ: So the Monroe’s Fur records they were self released?
GUY: The singular record released in Australia was self released with
the help of Waterfront records. Essentially we released it on our own label
but they pretty much did all the work for us and the distribution work like
telling us where to get it pressed and stuff like that.
CUZ: So what was the decision to relocate (Monroe’s Fur) to Seattle?
GUY: Um, it wasn’t realty a conscience decision to relocate to
Seattle. There was a conscience decision to leave Australia, we actually
intended to go on and relocate ourselves in Brittan but um we just never
made it. We weren’t very well organized ha har! And we left Australia with
the hope Peter our drummer would come with us with us at some point and he
never did. And so we ended up here so Martin (Bland) started playing the
drums and Martin lived here in Seattle so there weren’t a lot of conscience
decisions of where we were going to be. We did end up here and a lot of it
because Martin lived here and we knew some people we knew like Mark Arm and
stuff who helped us get some shows and stuff like that and that’s how we
ended up here.
CUZ: ...so how did you come to join Mudhoney?
GUY: um , Martin and Ren had a band called Bloodloss that was formed
in Adelaide in the 1980’s and when they lived in Seattle and I lived in
Seattle the band had many incarnations and there was a incarnation of the
band where I played the bass in it, Mark Arm played guitar and we played
together then and when Monroe’s Fur was based here Mark had sat in on some
strange instruments like the synth and so we done stuff together and we were
good friends and the other guys in the band as well. Well, Matt (Lukin) had
quite a number of years ago and Mudhoney decided they wanted to keep on
going and they asked me to play the bass for them and I said that I would
coz, I’d always been a fan of the band, before I’d ever meet them. So I more
than happy to get involved and that’s how it happened.