8/24/2023 0 Comments Safari joe blessingI'm not sure what part ego plays for me in the creative process. ML: For me, the pleasure of making music is simply making something where there was not. It's no good, as I have discovered to great pain, to be unable to change a detail, to loosen or tighten up a phrase or theme because one is holding on to an idea that is not working. Is part of the pleasure in collaborating the testing of self and surrender of ego? Does the surrender of ego get easier with time?ĭG: One's attitude must be flexible, in conjunction with one's skill and technique. I love Duke's singing but wanted to hog the limelight myself, as usual. ML: That was the way I brought the idea to him. The awesome 'Shade Of The Sun' is written by Mark, I have yet to be in the desert long enough to make a tune like that. Was it always strictly delineated - Duke making the music, Mark the vocals, or did that emerge?ĭG: That's the way it is, I make sounds and rhythms for Mark to find songs in. ML: Quite a bit of time went by between beginning to think about it and actually finishing, so I'd have to say the best part for me was seeing the thing get finished. What was the best moment of the Black Pudding project for you both?ĭG: When Mark hit the vocals, hearing it all come together, I knew we had it down and the thing was alive. Is part of collaboration not doing what people expect?ĭG: Perhaps, or doing the thing you do best and then inspiring the best out of your comrades, and to open the mind to new angles, thus create the unexpected. Someone interesting and interested.ĭG: A skill I do not have, a sound, a vibe, a vision. I am a lone wolf most of the time, but I want to do a lot more collaborating. The music that comes from the process has unique qualities that can not be accessed alone. ML: Someone who's doing something that I like musically. I'm not asked very often to work on stuff that I'd prefer not do. ML: I feel like it's best to be straightforward, but if I say 'no' to something its almost always because I don't have time for it. Like all creative ideas it needed a spark, and the tour provided that in the form of a grand piano.ĭo some musicians take it for granted that you might want to work with them?ĭG: It is always hard to say no, we all seek the new, nature has programmed us to say yes. Mark Lanegan: I have always been a fan of Duke's music and thought it might be cool to sing with him.ĭG: It seemed like a thing that could work out. When you first went on tour together, was the idea that you might work together always lurking in the back of your mind? You're both frequent collaborators with other musicians. Here, the collaboration with Lanegan continues the experimentation, creating an otherwordly and warm place for their musical voices to meet.Ĭan you tell us about the first time you met?ĭuke Garwood: It was backstage at Bush House, Soul Savers show, I was there to play with Steve Gullick and his band Tenebrous Liar, Mark walked over and said 'Are you Duke G?', I said 'Yes I am.' Then I heard the man sing live for the first time, and I thought, this cat is as heavy as Coltrane, and holds the stage like a volcanic statue. On Garwood's criminally-underrated solo albums he played a warped, Anglicised blues, recording in rural rooms that lent a real presence to his work. Which is why Mark Lanegan and Duke Garwood's Black Pudding is such a refreshing listen (not like a well/oasis/woman's lap in a godforsaken town &c). This sort of thing has resulted in all sorts of terrible musical hokum over the years, trad, canonical and blokey, and as progressive as a mule train. MEN! Purifying their souls in the sun's hot gaze as their lips crack and beards drip with sweat. Men! In the desert! MEN! Walking, yomping, fighting, struggling across the barren land of rock and cactus and wobbling horizons and lizards doing the two/four hot foot dance.
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