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IT'S ALL GREEK TO ME

daevid allen - E-mail interview by Thodoris 11/11

Thodoris: Which are the current projects you're involved in? Are you doing recordings this period?

daevid: Two projects to report:
New release (Oct 2011): A beautiful, elegantly hard bound, high quality printed book of more recent poetry from the naughties. Already a rare book as quantities dwindle. A quality collectors item of funny wise surreal provocative sad but ultimately transcendental poems. Many songs have been seeded from this collection. <daevid allen: soundbites 4 tha revelation 2012> BRACKET PRESS. UK. <www.bracketpress.co.uk> The key to this project is 73 (my age now): thus: 73 copies only. Each costs 73.00 pounds sterling or australian $108.00
Latest release (Dec 2011) CD: sound design and spoken word. <daevid allen: soundbites 4 tha revelation 2012> Download at www.flamedogrecords.com
NOTE: flamedog records is run by Orlando Allen (Gilli and daevid's son).

T: How much your beatnik background influenced your career as a musician?

DA: 100% except on tuesdays when my Situationist background took over.

T: What do you remember the most from your company with William S. Burroughts and Robert Graves?

DA: One I didn't fuck and the other I left to Gilli.

T: Under which circumstances the free jazz daevid allen Trio transformed into The Soft Machine psychedelic sound?

DA: It was a post modern lobotomy.

T: When you started playing music as Soft Machine, had you realized then that you were pioneers and inventors of British psychedelic sound?

DA: We just thought we were total freeks.

T: Do you think music history would be different if there wasn't the Robert Wyatt's injury and Syd Barrett didn't lose his mind?

DA: Nothing by accident. Everything has meaning. Imagine a world without Wyatt's album: ROCK BOTTOM.

T: How difficult was to form a new band and find band members in a turbulent Paris?

DA: I had a love affair with a tubulent front line Paris journalist and she featured me two weeks running. I was briefly fashionable. This certainly helped me to steal Claude Francoise's rhythm section for GONG.

T: Which was the process of writing a Gong song? It was more like jamming at studio or each member worked the compositions on his own?

DA: We tried everything. Even composing underwater on acid. Whatever it takes we do it.

T: Did you enjoy playing as Acid Mother Gong? How did you came in contact with Acid Mother Temples members?

DA: The pixie queen from the underworld danced into my life with a coded message from them. We never talk about music. We still play together on special occasions. We are family.

T: Which is the purpose of the existence of University Of Errors?

DA: To make fun of the power of winning. To promote the beauty of losing. To cock tease the music business but always remain a free band. Free to ERRORISE for we are all ERRORISTS!

T: Had you met Jim Morrison while he was staying in Paris?

DA: I sat on his grave in a cold wind and caught a chill. I nearly died.

T: What music do you hear this period?

DA: Right now I am listening to a Kate Bush new release. Then Saul Williams, Ornette Coleman, George Antheil, Carla Khilstedt, Igor Stravinski…..

T: Have you ever been in Greece? Send a message to Greek listeners.

DA: I have been to Greece many times and I love that country. I am flinging everybody kisses in the form of tiny radio controlled model helicopters shaped like teapots and which taste of vulva hulva. I hope to see you next year with GONG!
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