A very belated update so thanks for sticking around. I am working on the foundations of a book on the band so any other free time is limited.
Fifty minutes on one song? Glad to know that I’m not the only person overindulging and analysing Faith No More. The Session programme on California’s 95.5 KLOSpresents regular breakdowns of iconic songs and last week it was the turn of Faith No More’s Epic.
Here is their detailed, forensic and loving track-by-track, channel-by-channel analysis of the song, giving each band member their turn in the spotlight. An insightful, educational and entertaining listen.
Thanks to Patton Fanatic for this and spotting the deliberate mistake in an earlier version of this post.
We Care a Lot anniversary
Today is the 29th anniversary of the release of the second version Faith No More‘s single We Care a Lot. Naturally, Faith No More Followers have the lowdown with a special post here.
Angel Dust analysed
Ireland has a lot of grá for Faith No More. Radio station Newstalk has devoted a few shows to the band in the past few years and now Irish podcast Jackdaw Sandwich Record Club has dissected Angel Dust in their unique way.
Friend of the site Ben has interviewed frequent Mike Patton collaborator Kaada for Skwigly, and he speaks about working with Patton and his work on the Patton-featuring The Absence of Eddy Table.
Faith No More have teamed up with Sonarworks True-Fi to offer fans an enhanced audio experience of Sol Invictus track Cone of Shame.
Sign up here, enter your email address, enter the model of your headphones and then you’ll receive an email saying:
“You have successfully signed up for listening to Faith No More’s single “Cone of Shame” in Authentic Studio Sound. The FREE listening session will be released on February 7th.
In the meantime keep an eye on your inbox, as we will send you some exclusive footage bits from Faith No More.”
Bill Gould’s latest interview as part of the We Care a Lot re-issue promotion was a Q and A in Team Rock/Classic Rock largely focusing on the band’s early days and motivations:
With FNM, how much of what you do is art provocation and how much instinctive miscreancy?
It’s a bit of everything. People get hung up on how we fit into their box. We don’t think about it too hard. We just do what feels good.
You never seemed like one of those Last Gang In Town type of bands – more a confederacy of opposites. Fair?
Completely. We were a bunch of people with different abilities and quirks; a dysfunctional family. Jim came from the metal world, which was very different for us. [Chuck Mosley, first frontman] was the wild card; that was part of his charm. We were just playing loops and he would scream over the top. It was hard when we started getting into patterns and structure and touring – it became more like regular work. That’s when the tension started.
You must be proud of the band’s achievements: you defined a style of music, defied it, then defiled it.
All of that. It’s cool. You respect what you do, but at the same time you’re a bit of an iconoclast.
Every band has a voice. FNM’s is snarky, sarcastic, even satirical. Are you the hard-rock Steely Dan?
Ha ha! It’s funny, it’s almost like forensics: you have to take the dead body apart to see what the fuck it’s made of.
How did this collaboration come about? Was it simply a matter of a phone call to Patton?
Well, yes. Lombardo, Crain, and myself had thought of a few people to sing, Patton being one. Fortunately for us, the universe had its shit together… and here we are.
You had written material with Gabe Serbian prior to parting ways. Did you start afresh when Patton was enlisted?
We had the songs written and recorded prior to Patton’s involvement. When we started working with Patton, he jumped in and started working on lyrics and recording vocals.
So how has Patton’s influence changed the sound?
It’s hard to explain. The band is still finding it’s own skin to fit into. No matter whom you bring into a band, the sound becomes who all are part of it. Let’s revisit this question after the album comes out, after we play shows with the new line up, and after we can reflect on things.
The album will come out in early 2017 through Patton’s Ipecac label.
Brilliant Chuck Mosley interview
One of the few pleasures of 2016 has been the rehabilitation of the reputation of Chuck Mosley during the promotion of We Care a Lot. And Chuck, who has been in the studio working on the second Primitive Race album, has given a very revealing interview with Fear and Loathingin which he expounds at length on the early days of Faith No More.
Some choice cuts:
You first met Billy Gould when you were both going to punk gigs in Hollywood ?
‘Yeah, I met him when I was about 17 or 18, I think. He was the first one of those guys I met, because I didn’t even meet Roddy until Billy had moved up to Berkeley. We both had this friend, Mark Stewart, who I had known since Elementary school. He started to play guitar around the same time that I started playing piano, but I didn’t really see him play until we were in the 12th grade or something. Then one day we were hanging out and he started playing something and I discovered that he had got really good, so I said we should start a band. He asked Billy and two other friends, Paul and Kevin, and that was what became The Animated. As soon as me and Billy met, we pretty-much clicked. He was into all the same bands that I was into, so we started going to shows together. I think he liked going out to shows with me because I didn’t have any limits, so it was like going along to see how drunk I would get or if I was going to get in a fight or what was I going to knock over or what I was going to fuck-up… It was like that most nights, I was pretty-much out of control for various personal reasons. I always went out just to see the bands, that was all I intended to do, but it would often end up in those kind of situations.’
You’d already sung with them on a couple of occasions, just as a temporary thing, hadn’t you ?
‘Yeah, because they were going through different singers and guitar players every other week. So they’d call me if they had a show in LA, and say, we haven’t got a singer, can you do it ? I’d get up and sing with them when they came down to LA without a singer. Billy always loved irony and I wasn’t a singer back then, so it made sense to him that they should ask me to sing!’
2016 may have been a relatively fallow year for Faith No More (We Care a Lot re-issue aside) but as usual the individual band members are keeping as busy as the Trump Tower lifts. Roddy has returned to opera and his latest opus – The Ride – will be performed at the Merkin Music Center in New York tomorrow night (15 December).
The opera chronicles two gay men from different generations who take part in an AIDS charity bike ride from San Francisco, CA to Los Angeles, CA. Roddy of course has taken part in the bike ride himself and raised quite a considerable sum of money for the cause.
“The older generation of gay men who dealt with AIDS as a life threatening disease and were in the trenches for the first generation of the disease helped their friends get through life or death situations,” Roddy told Experiements in Opera, who are present the piece as part of Story Binge II. “The generation of gay men today who are on PrEP drugs and TRUVADA don’t really view the disease as life threatening. It’s just a different relationship. And that, to me, is interesting.”
Story Binge II is a single evening event featuring semi-staged and concert versions of five works in progress. Throughout this 15-minute opera, the characters sing and talk from stationary bikes about how their participation in The Ride is emblematic of their relationships with the disease.
The cast is: Robbie Daniels, rider one; Tristan Viner-Brown: rider two; Ann Magnuson, Lorri Jean; Luis Illades, drums; Roddy Bottum, synthesizer; Robbie Lee, synthesizer; Domenica Fossati, Margaret Lancaster, Katie Cox, and Roberta Michel, flutes.
CM: Yeah, in the dream I get invited back to play. I’m on stage with them but I can’t sing a word, I can’t remember a word and I don’t know what to do, and I freak out and hide behind an amplifier, and Billy looks disappointed at me and they’re all looking at me. I had it for a good 20 years or something – a lot! – and it was weird. And then it stopped when I started playing with them again. It stopped happening actually after the first time I went back with them.
So wait? You’re telling me they’d already auditioned Mike Patton when you were still in the band?
CM: I dunno, maybe they had. It took a while, you know, for it to come out. It could easily be that they’d already been talking to Mike before I was even done. Billy was really angry with me for a while for whatever reason. But it’s all under the bridge now, we’re all really super good.
Looking back, what would you do differently?
CM: Probably just show more that I was a team player and go along with the programme a bit more. I could never do that when I was a kid. I’ve always been a rebel and it’s got me in trouble sometimes, and probably kept me poor. And then again, maybe not, because I might not have the two daughters that I have, you know. And we’re all so close now. You know, I came full circle for a reason; I had to grow up a little bit and we all grew up and it’s all good.
“This is one of those tracks that had to be a video, really, because it lends itself so much to visual imagery. Given the song’s sense of Americana, it would have been easy to shoot this in Arizona or New Mexico, but having been to Macedonia several times, there’s a vibe there that I felt wouldn’t be out of place as a backdrop to this song. Goce Cvetanovski, as a director, understood this immediately; he knew exactly what to do with it, and along with an amazing cast, has managed to create something very dark, and beautifully cinematic.”
And the band confirmed that a limited edition “Cone of Shame” 7″ will be available on 25 November; with pre-order information available soon.
Douglas Esper has given us an update on how the Chuck Mosley European tour is progressing. The band played Chester last night and play in the midlands in Cannock tonight.
Hello from Cannock! Chuck, Andy, and I just arrived in town and we are taking advantage of the local ASDA for two free hours of parking. Last night in Chester was a fun gig. Chuck actually read my setlist and played a few chunks of songs like, Sleep by Cement, and Punk Rock Movie by VUA. As a big fan of the song Sleep I hope to see it in the set at some point. The U.K. has been a blast and the people have treated us very well, but a quick note: crowds, please don’t the shy! Sing along! We love it and feed off of it (ask Edinburgh). We have 18 shows on this leg left and we hope to see you at the shows!
Chuck Mosley interview with Irish radio
Meanwhile, Irish radio station Newstalk continued their series of interviews and features on the We Care a Lot as presenter and seeming uber-fan Joe Donnelly speaks to Chuck about WCAL and early Faith No More .
Chuck Mosley’s UK and European tour is now well underway – and early dates in the England and Scotland have earned wide acclaim on social media.
27th Live Rooms Chester
28th The Station Cannock
29th Fuel Cardiff
30th The Bierkeller Bristol
1st Sanctuary Basingstoke
2nd Cobblestones Bridgewater
3rd The Underground Stoke on Trent
4th The Flapper Birmingham
5th Underground Bradford
6th The Victoria Swindon (support from Phil Cooper)
7th The Anvil Bournemouth
8th Crauford Arms Milton Keynes
9th Hairy Dog Derby
10th Boston Music Rooms Tuffnell Park, London
11th Bootleg Social, Blackpool
12th Star & Garter Manchester
13th The Owl Sanctuary Norwich
14th The Lady Luck Canterbury
15th La Mecanique Ondulatoire Paris, France
A bit of a bolt from the blue this week as Faith No More teased a video for Sol Invictus track Cone of Shame.
The video is written and directed by Goce Cvetanovski, the Macedonian director whose short film Bill Gould scored last year.
Produced by Lynx Animation Studios & Faith No More
The video and the comments by Mike Patton to The Age this week – “I don’t know whether or not we’re going to attack it, but there is some stuff we wrote around the time of the last one and said, ‘Why don’t we save this for the next record?’ So we’ll see” – have gotten Faith No More fans, sated on three re-releases in the past few weeks, excited about the current Faith No More incarnation all over again.