“Riding Mikes Bikes
With Gary Asquith Of The Lavender Pill Mob”
An Interview with The Lavender Pill Mob
(GARY ASQUITH, also formerly of
Renegade Soundwave)
(April 2006)
Interview by Todd E. Jones aka New Jeru
Poet
toddejones@yahoo.com
“Cocaine sex is fast
and effective…”, chanted Gary Asquith. when he was the leader of Renegade
Soundwave. Cool music can be instantly appealing and somewhat shocking. Gary
Asquith has always created music that was accessible but not commercial. For
more than two decades, Asquith created intelligent, fun, emotional, catchy, and
catchy underground music. As he moved from group to group, the musical styles
changed. Originally in Rema-Rema (with members of The Wolfgang Press), Asquith
cemented lifetime friendships with many people in the music industry. After
Rema-Rema, he helped to create another group called Mass. Asquith eventually
left 4AD Records and formed the legendary industrial / dance / hip-hop /
electronic group Renegade Soundwave. Their cocaine anthem, “Biting My Nails”
was major hit in the independent music world. Still, the b-side to that single
(“Cocaine Sex”) earned them more limelight. The controversy of “Cocaine Sex”
had people either thrilled or angry. During a time when cocaine was considered
a yuppie drug or a crack head’s choice, Renegade Soundwave let us know that
drugs hit everybody. There was not a
brooding message of doom. The song simply suggested that we should all have sex
while on cocaine. This one song exemplifies the power of Gary Asquith’s music
on listeners.
Time has focused Gary Asquith. Renegade Soundwave eventually
broke up and Gary Asquith disappeared from the public spotlight. In the new
millennium, Gary Asquith formed The Lavender Pill Mob with Kevin Mooney (from
Adam And The Ants). Asquith’s creativity has pushed into the realm of business
and creative control. Asquith created Le Coq Musique, an independent label to
create and/or release music without limitations. The debut self-titled album by
The Lavender Pill Mob was a low key affair but featured (or used) performances
by Rammellzee, Mick Allen (of The Wolfgang Press), and others. Their 2006
sophomore album, “Mikes Bikes” is a mind-blowing treat featuring punk rock
music fused with hip-hop and indie pop. Adam Ant contributes lead vocals to
“Black Pirates”.
Gary Asquith has earned a sense of peace with The Lavender
Pill Mob and his label, Le Coq Musique. With complete creative control, he has
the resources and power to craft his art and help others do the same. The
exciting music will fascinate and entertain listeners due to his passion and
diverse influences. Asquith and The Lavender Pill Mob have created timeless
classics in the styles of Punk rock, hip-hop, industrial, and acoustic ballads.
The revolution is both global and personal. Gary Asquith has revolutionized
himself and used The Lavender Pill Mob to contribute to an ongoing musical
revolution. Take a ride on Mike’s Bike and get high with The Lavender Pill Mob.
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T.JONES:
"What goes on?"
GARY ASQUITH: “Since finishing ‘Mikes Bikes’, at the end of June in London, I've been living back
in France, renovating my houses, and making my world a better place to live in.
All the tracks on ‘Mikes Bikes’ were
written in London, except the track ‘Mikes Bikes’, which was recorded in Berlin. Right now, I'm digging out my cellar with the
idea of linking it to my main house via a spiral staircase. It's a stunning
space where I intend to have my machines gathered for some recording next
summer. I've got so many houses and various types of barns. It's hard to keep
the place under control. Local cuisine and wines also turn me on, especially
when I've some guests.”
T.JONES:
“Tell us about your new LP, ‘Mikes Bikes’
by The Lavender Pill Mob.”
GARY ASQUITH: “It's a punk rock guitar-fuelled affair with guest
appearances from Film 2, Adam Ant, Mekon, and The Detroit Sinner. This is my
favorite collection of recordings from everything I've done thus far. ‘Mikes Bikes’ is a super cool album.”
T.JONES:
“Which song on ‘Mikes Bikes’ took you
the longest to complete?”
GARY ASQUITH: “We work really quickly. It was more a problem of
finding a set of tracks that we thought worked well together. Countless tracks
were written that didn't seem to fit, so we just kept on going until we cracked
it. Some of the free downloads on lecoqmusique.com are songs that we thought
might originally make the album but didn't.”
T.JONES:
“The shortest?”
GARY ASQUITH: “‘Jesus Version’ was done in about 20 minutes or
so. That's quick on my block.”
T.JONES:
“How did you hook up with Adam Ant for the song, ‘Black Pirates’? Describe the
session with Adam Ant.”
GARY ASQUITH: “Kevin, who's my partner, was bass player with the
Ants in their most glorious period. I was in a band called Rema-Rema with
Adam's co-writer, Marco Pirroni. This was before he joined the Ants. We've all
known each other for a very long time. We just asked Adam if he'd like to do a
song with us. A couple of days later, he turned up and selected a backing track
that he liked. He sang, ‘Black Pirates’. No complications or traumas. Pure, simple,
and wrapped up without any re-runs. Professional style. He has not done any
recordings for 8 or 9 years, so I'm very happy that he chose to work with The
Lavender Pill Mob.”
T.JONES: “Do
you have a favorite song on ‘Mikes Bikes’?”
GARY ASQUITH: “‘Go Go Go’, ‘1625’, ‘Green Grass Bike Stop’, ‘It
Doesn’t Matter’, and ‘Black Pirates’. I pretty much like it all. How
can you not like ‘It's A
Sure Thing’? It’s chippa, ‘Mikes Bikes’.”
T.JONES: “How
is ‘Mikes Bikes’ different from the
debut album?”
GARY ASQUITH: “‘Mikes
Bikes’ is more song-based. I've always thought of the first album as a
piece of art, rather than an album.”
T.JONES:
“How did you meet Kevin Mooney?”
GARY ASQUITH: “When I played my first gig with Rema. Rema,
Kevin's band was supporting us and playing their first gig. We've been mates
ever since. We'll always be mates because we really appreciate each other’s
talents. Working together is so natural.”
T.JONES:
“On the debut self-titled album by The Lavender Pill Mob, the song ‘Darling’
mentions a name of a certain land. Can you tell us about that land?”
GARY ASQUITH: “‘Aes sidhe'
is an Irish term for 'the witches’ pronounced ‘shee’, as in ‘banshee’."
T.JONES:
“What sparked the idea for you Kevin Mooney to work together again and form The
Lavender Pill Mob?”
GARY ASQUITH: “Kevin had been married to supermodel Leslie Winer
and was living in Boston for many years. I assumed that I'd not be seeing
him again when I chanced upon an ex-girlfriend of a mutual friend of ours
called Nazrin Montag. She was crossing a zebra crossing on London's Finchley Road. We took coffee together and she mentioned that
she bumped into Kevin at a zebra crossing further up the Finchley Road, towards Swiss cottage tube station, some days
before and exchanged telephone numbers. She, in turn, gave me Kevin's number. When
I phoned a few days later to say, ‘Hi’,
he told me to come round to his place straight away. When I arrived, he was
recording and demanded that I do a vocal, there and then. That, I guess, was
the birth of The Lavender Pill Mob.”
T.JONES:
“The Lavender Pill Mob crosses various genres. The sound varies from punk rock
to hip-hop to new wave to something incomparable. Was this intentional?”
GARY ASQUITH: “Tough question this one, Todd. Both me and Kevin
listen to a wide variety of music. That reflects on our every moment and
breath. I'm not too sure if anything I've recorded with The Lavender Pill Mob
is intentional, but I'm sure that it's a natural, instinctive song writing procedure.
Musical genre-hopping is in my blood. So, maybe it is intentional. Sorry to be
vague. You got me there, Todd.”
T.JONES:
“One of my favorite songs on ‘Mikes
Bikes’ is ‘It Doesn’t Matter’. What inspired this track?”
GARY ASQUITH: “When I split with my ex-wife, named Jo, I fell
into a sequence of relationships with women called Jo, directly afterwards.
That was my inspiration for ‘It Doesn't Matter’.”
T.JONES:
“What’s the meaning behind the title, ‘Mikes
Bikes’?”
GARY ASQUITH: “Both me and Kevin had connections with guys
called Mike who had Bikes. We found ourselves having a laugh about it. We
decided, way before we'd started ‘Mikes
Bikes’, that it was going to be the title of our next album.”
T.JONES: “On
your website (www.lecoqmusique.co.uk),
some unreleased mp3’s are available. Why were songs like ‘Rocking Garage’,
‘Line Of Attack’, and ‘Lip Glow’ not included on the albums? The song, ‘Lip
Glow’ is actually one of my all time favorite tracks by you. Were these songs recently
created? Will they ever be officially released?”
GARY ASQUITH: “‘Rocking Garage’ is a version of ‘Gary's Garage’, which was an additional track on my
‘Dragonbass Soundsystem’ version of ‘Cocaine Sex’. ‘Line Of Attack’ and ‘Lip
Glow’ nearly made it on the CD. Both tracks were originally going on ‘Mikes Bikes’ before we changed the
shape… again! ‘Lip Glow’ is possibly the most beautiful track that I've ever
sung.”
T.JONES:
“Tell us about this collaboration with Dif Juz, called Tranquil Trucking
Company.”
GARY ASQUITH: “I've known those scoundrels called Dif Juz for
many a good year. Really excellent musicians, top notch. I love Bromley's bass
bandit attitude and wanted to collide with the Curtis brothers. Dave Curtis
lives around the corner from my mother’s. I'd pop in to see him frequently. We
started writing some stuff together and it finished up being Tranquil Trucking
Company. I haven't spoken with Dave much since my move to France. I hope he's well.”
T.JONES:
“You worked with other artists too. Do you have a different approach for every
artist?”
GARY ASQUITH: “Not really. I like entering people’s musical
world, if I like their style, that is. It's bliss for me to get involved with
musicians who inspire me.”
T.JONES:
“When creating a track, do you have a set theme or idea first, or the music
first?”
GARY ASQUITH: “It works both ways, like milking cows. Sometimes,
I just write stuff and then, get a lyrical idea. Sometimes, I just go on a pen
frenzy and write down what's going on in my head, at that moment. Then, I fit
it into whatever tracks that are around. Then, buzz them in.”
T.JONES:
“Favorite drum machine / sampler?”
GARY ASQUITH: “505, band in a box.”
T.JONES:
“Favorite guitar?”
GARY ASQUITH: “Fender Precision Bass.”
T.JONES:
“Describe the creative process. Where do you do pre-production? How long does
it usually take to finish a song?”
GARY ASQUITH: “When I worked with my much-respected brothers at Renegade Soundwave Towers, we'd spend ages getting things to sound like
nobody else could imagine. You can hear how slick those recordings are still
today. With Kevin, it's a different state of mind. He doesn't like to dwell on
songs. One-take Kevin. So, my formula has changed since I started working with
Kevin, or Special K, as I sometimes call him. When I'm in full writing mode, I
like to get a song finished in a day. We have a mobile studio that we cart
around London. When we're vibed, we unlock the machines from
their cases and proceed with caution.”
T.JONES:
“How and why did you start your label, Le Coq Musique?”
GARY ASQUITH: “I needed to write songs. I don't like the nerd
culture at record companies. They take the piss out of their artists then, dump
them on the freeway. Le Coq Musique is about me & Kevin. It's our home and
we're perfectly capable of writing songs for ourselves, rather than some fat
clueless music industry executives. Le Coq Musique is cool and I'm very proud
of having the likes of Adam Ant, Mekon, Film 2 and The Detroit Sinner involved
in the projects. We're a good connection and we write good songs. For sure.”
T.JONES:
“Is there a deep meaning behind the name, Le Coq Musique?”
GARY ASQUITH: “No, it's a play on Le Coq Sportif. Also, Tottenham
Hotspurs are my North
London football club with
a cockerel as their motto. So, it just fit real good.”
T.JONES:
“Will there be other artists on Le Coq Musique?”
GARY ASQUITH: “Yep. The Imbeciles & Templeton are our latest
additions. We still want more from our Detroit Sinner.”
T.JONES:
“What happened to Renegade Soundwave? Why did RSW break up?”
GARY ASQUITH: “We imploded. I never really got on well with
Danny. When Karl left, there was a void in our sound. I did most of my writing
with Karl. Mute Records dropped us because we were hard work to deal with.
Pretty much everything that went wrong at Mute, Renegade got blamed for. If
someone took a cab without authorization, you can be sure it would turn up on
the Renegade Soundwave account. In fairness, we were no angels, but we didn't
give a *** about what people thought of us. We always made good records and
pushed our boundaries.”
T.JONES:
“What did you do between the end of RSW and now?”
GARY ASQUITH: “I've just continued making records when I like
and with whoever was about at the time. I've relocated. I've always got plenty
of stuff going on in my houses that keep me occupied. If I only could invent a
machine that slows and accelerates time….”
T.JONES:
“The song, ‘Cocaine Sex’ by Renegade Soundwave created some controversy. What
kind of criticism or effect came from this song?”
GARY ASQUITH: “‘Cocaine Sex’ actually charted in the middle week
English chart. I'm proud to have that song in my repertoire. I can't remember
the fuss, really. We got tons of press and we left Rhythm King Records shortly
afterwards. Mark Moore from S Express played it out when it was still a promo
and I can remember the whole dance floor erupted into a mass of hysteria.
Fantastic vibe to see 600 people gyrating to a song that still hadn't been
released. ‘Cocaine sex is fast…’”
T.JONES:
“Do you still do cocaine?”
GARY ASQUITH: “Not today, thank you, Todd. I've done my fair
share. The last time I DJ'd in London, I got offered cocaine. I took a bottle of beer
instead. It kind of bores me now. I'd like to be a better advert for modern
society than a drug-fuelled *** who can't get his words out quick enough.
We've got too many jerks on our planet without me being one of them.”
T.JONES:
“What other drugs have you done? What drugs do you still do?”
GARY ASQUITH: “I like the liqueur shops still. Fine wines.
Chateau Chambert 1998 is a good wine and not too expensive. Pot crops up from
time to time. I've done most of the drugs that have hit the market squares of
my life. I loved the E thing when they had the MDMA capsules. New York speakeasy’s and a magic pill took me to my favorite
places in the early 80's. They fucked that drug up when it changed to a pill.”
T.JONES: “The
b-side to ‘Biting My Nails’ is a song called, ‘Kray Twins’. Morrissey also has
a song about the Kray Twins called ‘Last Of The Famous International Playboys’.
What did you think of his track?”
GARY ASQUITH: “I've not heard it. I'm not too crazy for
Morrissey or The Smiths. All those whining Northern English bands piss me off.
An old girlfriend of mine, called Fiona, is now living with the guitarist’s
family in Manchester. I've heard he's a really nice guy, but that's it
for me on Morrissey connections.”
T.JONES:
“What did you think of the film ‘The Krays’?”
GARY ASQUITH: “Crap. It's a shame.”
T.JONES:
“RSW were one of the first electronic hip-hop groups with a white emcee. If
Renegade Soundwave came out in 2006, how would things be different?”
GARY ASQUITH: “I'm not a hypothetical type of wizard. Renegade Soundwave
would always be a good band because all of its members have contributed to
music through their love of music. Skills in abundance.”
T.JONES:
“Do you still listen to hip-hop? What hip-hop artists or albums do you like?”
GARY ASQUITH: “Yeah, I like The Common, Rammellzee's new stuff,
all of the old Beastie Boys, and Run-DMC stuff.”
T.JONES:
“Will Renegade Soundwave ever release something new?”
GARY ASQUITH: “I'd love to do a new Renegade Soundwave album. Vinyl
for Danny and a double CD for me. Anything is possible, in my world. I'd have
to patch up some bad history with Danny, though. That could be difficult. Karl
would be the one who I'd love to have another opportunity to write with, Karl
and Danny. One playing live drums while the other programs drums. Make sure
it's Karl playing the live drums. Gee, I miss those comrades.”
T.JONES:
“Looking back, what do you think of the music of Renegade Soundwave?”
GARY ASQUITH: “Classic and innovative.”
T.JONES:
“What RSW song are you most proud of? Which album?”
GARY ASQUITH: “‘In Dub’
sounds great. So does most of ‘Soundclash’.
I'd still love to remix ‘Soundclash’.
That would be a good project for Danny & myself. ‘Bubbaluba’, and the track
Renegade Soundwave CD with 7 mixes. Wow! That's a great CD. You got me going
now, Todd! The ‘Bassnumb Chapter’ is excellent too.”
T.JONES: “What
RSW stuff are you least proud of?”
GARY ASQUITH: “‘Bacteria’ doesn't do much for me.”
T.JONES:
“Any regrets from the RSW days?”
GARY ASQUITH: “Not really. We had our ups and downs. It's a cool
mark having been in RSW.”
T.JONES:
“What do you think of the ‘Thunder’ version by The Chemical Brothers?”
GARY ASQUITH: “I know The Chemical Brothers have a version of
‘Thunder’. It is their ‘Brother’s Gonna
work It Out’ CD. I'd like to hear a remix. It sounds like a good idea. I
wanted to add that I'd like The Chemical Brothers to do a punk rock album. Let
me have some details on that, Todd.”
T.JONES:
“How did Rema-Rema form?”
GARY ASQUITH: “Friendships. I went to school with Michael Allen
(from The Wolfgang Press and Genuiser). He's a very good friend of mine. He
was pissed off in The Models and asked me to join him on his new adventure.
That discussion probably changed the route of my life. You can blame him for
all that you don't like in me. My paper airplanes used to whiz pass Michael's
ears in our school classroom. We got thrown together through having surnames
beginning with ‘A’ chronologically classed.”
T.JONES:
“Why did Rema-Rema break up?”
GARY ASQUITH: “Marco joined Adam Ant. We couldn't be Rema-Rema
without Marco, so we slumped into being Mass.”
T.JONES:
“You worked with Michael Allen on debut Lavender Pill Mob CD. What is he like
working with these days, as opposed to the collaborations of the past? How is
he different than other artists?”
GARY ASQUITH: “Oh dear, Todd, He used to be a nightmare, always
wanting his own way. But now, he's just a regular Lavender Pill Mob misfit,
when he wants. Todd, Michael Allen will always have a space on my table. I love
that guy. He's the tops. Michael has a bass groove like no other.”
T.JONES:
“What do you think of Michael Allen’s new group, Geniuser?”
GARY ASQUITH: “I really like it. I should drag it back out from
my musical vault. He made a small mistake with not asking me to do a number,
but besides that, it's a great CD.”
T.JONES:
“You were on the song, ‘Louis XIV’ by The Wolfgang Press from their ‘***’ album). You have that famous line.
(‘…In Venezuela, they
have lots of cocaine…’) What did
cocaine have to do with it? Did you ever do coke with Mick? How did this song
happen?”
GARY ASQUITH: “Michael isn't big with drugs. I'm sure I must
have done at some point. Michael likes being in control, so drugs don't show on
his CV. Michael instructed me on the Cocaine line on ‘Louis XIV’ because our
voices worked so well together in Rema-Rema. I'm Michael's favorite singer on
planet Earth and that's a big compliment
from him. Smoked a whole
lot of pot with Michael in the 70's.”
T.JONES:
“What do you think of Louis The Sun King?”
GARY ASQUITH: “It makes me think of Flamboyance, Todd.”
T.JONES: “Looking
back, what do you think of the music of Rema-Rema?”
GARY ASQUITH: “Really like it still. Especially, the bass
grooves. We had a whole album of great songs that never got recorded. Renegade recorded
a Rema-Rema song on ‘Soundclash’
called ‘Murder Music’.”
T.JONES:
“Andrew Grey (from The Wolfgang Press) produced songs on the ‘Mikes Bikes’ album by The Lavender Pill
Mob. What is he like working with these days, as opposed to the past? How is he
different than other artists?”
GARY ASQUITH: “Andrew is so full of enthusiasm and he's a great
guitarist. Andrew can nail down a song like no other. He should have more
plaudits for sure. I am always happy working with Andrew. We did ‘Line Of
Attack’ together.”
T.JONES:
“What did you think of the ‘Homegrown’
LP by Andrew Grey’s new project, Limehouse Outlaw?”
GARY ASQUITH: “Solid and Interesting.”
T.JONES:
“What was it like growing up in England?”
GARY ASQUITH: “Easy. I'm very lucky to have had a wonderful
loving family around me. My father was my hero. I've never met a more generous
and stoic man before or since his death. He fought for his country with dignity
and charmed the pants off all those that had contact with him. R.I.P. Ronald
Bert Asquith.”
T.JONES:
“Do you have any advice for someone starting in the music industry?”
GARY ASQUITH: “Watch out for the worms. Get yourself a
proficient partner and do your own thing.”
T.JONES: “Who
are some artists you would like to collaborate with in the future?”
GARY ASQUITH: “Kevin Mooney, Andrew Grey, Adam Ant, Mekon, Film
2, Frau Koester of Malaria fame & Detroit's Sinner.”
T.JONES: “Who
have you been listening to lately?”
GARY ASQUITH: “Today, Todd, I've been listening to Jobriath,
Film 2 Vs. Sprung Aus Den Wolken, Evil 9, Whitey, Headman, and The Mogs.”
T.JONES:
“What is your favorite part of your live show?”
GARY ASQUITH: “I'm flattered to have some interesting visuals
that give that extra dimension to our shows.”
T.JONES:
“How has your live show evolved?”
GARY ASQUITH: “I'm happy to still be able to do songs like
‘Cocaine Sex’ with all The Lavender Pill Mob tracks. I guess it has evolved
through my time spent writing the songs that we play live.”
T.JONES:
“How do you think you have evolved as an artist?”
GARY ASQUITH: “Well.”
T.JONES:
“Favorite films?”
GARY ASQUITH: “‘Bonnie and Clyde’, ‘Sexy Beast’, ‘Apocalypse
Now’, ‘Left Handed Gun’, ‘Cool Hand Luke’, ‘Casablanca’, and ‘Rebel Without A
Cause’.”
T.JONES:
“All time favorite albums?”
GARY ASQUITH: “‘Hunky Dory’
by David Bowie, ‘Harvest’ by Neil
Young, Roxy Music’s first two albums, ‘Here
Come The Warm Jets’ by Brian Eno, ‘The
Idiot’ by Iggy Pop and The Stooges, Serge Gainsbourg's entire collection, ‘Love Is The Thing’ by Nat King Cole, ‘Songs For Swingin Lovers’ by Frank
Sinatra, Def Jam recordings 1985, 2001. I could go on forever with my list,
Todd.”
T.JONES:
“Favorite books?”
GARY ASQUITH: “The Bible, Catcher in the Rye, Flashman at the Charge. Anything on
biographically interesting people, like
Alex Guinness.”
T.JONES:
“Rammellzee is on the debut CD by LPM. How did this happen? What was he like to
work with? What character was he in?”
GARY ASQUITH: “Kevin recorded a couple of tracks in New York
with Rammellzee in the 80's. So, we lifted a vocal and put it on a backing
track that had a Rammell feel to it. I like his graffiti art as well as his
diction. We pasted and peeled that track together.”
T.JONES:
“Where were you during September 11th terrorist attack?”
GARY ASQUITH: “I was having a coffee in Belsize Park when the owner brought it to my attention via his TV. I lived through
the IRA bombings, so I know what it is like to have the bombers on your
doorstep. It made me think about a journey I had to New York and going to the World Trade building with Danny
Briottet. Also, about the photo's we took. It made me think that nothing is
permanent. Like the sands on the beaches, we have to live with the movements of
peoples who we really don't understand. Nothing is forever. What's happening
now, in our world, has a bearing on all our souls. I love New York and shame on those who commit such catastrophic
carnage to our civilization. Sort the wankers out, George!”
T.JONES:
“Do you think that success and credibility are mutually exclusive?”
GARY ASQUITH: “Wow, Todd! That's a deep river flowing through
your mind! Credibility is often aligned to hard work. Success can, in my
opinion, miss some of the stars that shine in our world. Too many cheap TV
shows make people famous. Clowns don't get the respect they deserve, yet there
are more clowns on TV than at the circus.”
T.JONES:
“What was the worst mistake you have ever made in your career?”
GARY ASQUITH: “Getting married to someone who didn't get what I
was doing. Teased and tied to a bad experience.”
T.JONES:
“Obviously, technology is an important factor in modern music. What do you
think of these new machines and programs like Pro-Tools or Live?”
GARY ASQUITH: “I think it's great. People get a different start
from what is available on the shop shelves these days. More options have got to
be good.”
T.JONES:
“Word association. When I say the name, you say the first word that pops into
your head. So, if I said, ‘Flava Flav’,
you may say ‘Clock’ or ‘Crack’. Okay?”
T.JONES:
“The Wolfgang Press.”
GARY ASQUITH: “Michael's dreams.”
T.JONES:
“Eminem.”
GARY ASQUITH: “Shady.”
T.JONES:
“Elbow.”
GARY ASQUITH: “Clockwork Orange.”
T.JONES:
“Beastie Boys.”
GARY ASQUITH: “Pimps.”
T.JONES:
“Wu-Tang Clan.”
GARY ASQUITH: “Tough toes.”
T.JONES:
“Meat Beat Manifesto.”
GARY ASQUITH: “Groove City Microphones.”
T.JONES:
“Gil-Scott Heron.”
GARY ASQUITH: “Poetry.”
T.JONES:
“Pixies.”
GARY ASQUITH: “Fat Frank.”
T.JONES:
“Felt.”
GARY ASQUITH: “Junk.”
T.JONES:
“The Fall.”
GARY ASQUITH: “Whimsical.”
T.JONES:
“Happy Mondays.”
GARY ASQUITH: “Bez Is Black.”
T.JONES:
“The Stone Roses.”
GARY ASQUITH: “Painted faces.”
T.JONES:
“The Chemical Brothers.”
GARY ASQUITH: “Groove machines.”
T.JONES:
“DJ Krush.”
GARY ASQUITH: “Drug rush.”
T.JONES:
“Moby.”
GARY ASQUITH: “Baldy pants.”
T.JONES:
“My Bloody Valentine.”
GARY ASQUITH: “Black Dior.”
T.JONES:
“The House Of Love.”
GARY ASQUITH: “Happy house.”
T.JONES:
“Close Lobsters.”
GARY ASQUITH: “Pink coconuts.”
T.JONES:
“Trisomie 21.”
GARY ASQUITH: “Germs.”
T.JONES:
“Severed Heads.”
GARY ASQUITH: “Bollocks.”
T.JONES:
“Curtis Mayfield.”
GARY ASQUITH: “Fly.”
T.JONES:
“George Bush.”
GARY ASQUITH: “Oil. I'm getting the hang on this, Todd.”
T.JONES:
“What are some major misconceptions do you think people have of you?”
GARY ASQUITH: “No Idea. Self-analysis hurts too much.”
T.JONES:
“What are some future collaborations fans should look out for?”
GARY ASQUITH: “Adam Ant and my regular crowd, I hope.”
T.JONES:
“What is next for you, The Lavender Pill Mob, and Le Coq Musique?”
GARY ASQUITH: “Recording with Berlin-based, Film 2.”
T.JONES:
“Final words?”
GARY ASQUITH: “I Like being Gary Asquith and I want to be the
last man in the graveyard.”
Thank you Gary!!!
Interview by Todd E. Jones
aka New Jeru Poet
toddejones@yahoo.com
NOTICE:
This interview is property of Todd E. Jones and cannot be duplicated or posted
without written permission.
Official Websites:
Le Coq Musique: http://www.lecoqmusique.co.uk
