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Die REVOLTING COCKS kommentieren die Songs ihrer neuen Scheibe |
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| Ein Artikel von Krümel vom 06.02.2009 (17917 mal gelesen) |
1. 'Hookerbot 3000'
JOSH BRADFORD: In our travels, we came across some crazy guy in the
desert that owned a time machine. It’s just about how we went to the future, and there’s robot hookers everywhere. It was the best time we ever had!
SIN QUIRIN: The first song that Josh and I did together was ‘'Hookerbot 3000'.’ It was a bit nerve-racking for me, because we finished that song and had Al come down to the studio and listen to it. He was sitting on the couch while we were listening to it, and I was biting my nails and sweating – we didn’t know what Al was going to think of it. Once he finished listening to it, he came over to me, picked me up, and gave me a kiss! He was like, ‘That’s awesome – that’'s exactly what I wanted it to sound like! Keep writing more songs like that.’
2. 'Keys To The City'
JOSH BRADFORD: That'’s just about various trips to Vegas. Y’ou know the
rule: ‘Whatever happens in Vegas stays in Vegas’? But all I have to say is it was inspired by Sin, me and Clayton when we were stuck outside Steven Adler’s house – from GUNS 'N' ROSES. He was in a gated community, and no taxi could pick us up. We were totally screwed, and this nice hooker that had just finished working picked us up and showed us a good time.
SIN QUIRIN: '‘Keys to the City',’ if I'’m not mistaken, was originally written by Raven and Al. I got to play guitar on that, so I have a lot of memories with Raven on that one. Initially, that was going to be a MINISTRY idea, but it didn’'t fit in to ‘"The Last Sucker",’ so we kept it around, and said, iIt would be a great RevCo anthem.’
3. 'Loser Leave Town' (now titled Robo Banditos)
JOSH BRADFORD: It’s about Juarez – J-Town. Cop-bribing, cheap hookers,
cheap drinks, cock fights, wrestling matches – that place is just out of
control. That song is about us having a situation where we had a showdown
between us and what we call the Robo Banditos – the only way to sort it out was to have a sex competition, to see who was better at pleasing the local women. Obviously, RevCo won.
SIN QUIRIN: '‘Loser Leave Town’' if I’m not mistaken is now being called ‘Robo Banditos.’ That’'s the last song that I did for the album.– We had actually wrapped up the record, and Al said: ‘We'’re going to need one more song.’ So I went back in the studio and started writing the music.
4. 'The Red Parrot'
JOSH BRADFORD: '‘Red Parrot'’ wrote itself – when the COCKS and MINISTRY
‘MasturbaTour’ came together, that'’s where we basically lived - at the Red Parrot. It was a strip club down the highway in El Paso. One of the coolest strip clubs in America.
SIN QUIRIN: I woke up one morning, and I had this guitar riff in my head. Usually, we would start working at around noon. It was around 9am, I woke up our engineer, and I was like: ‘You'’ve got to get up and get the rig, because I have to get this song idea down before I forget it.’ I knew going into it, I was going to write a strip joint song. So we recorded it, I called Josh, and told him about the strip joint idea, and he said: ‘We should make it about ‘The Red Parrot’.’
5. 'Cou'sins' '
JOSH BRADFORD: That is about what we all dream about - having sex with
your hot cousin when she comes to visit for the summer. And of course, the
reference of going camping and role-playing, I have a ranger’s outfit
‘cause I’'m Canadian. That comes in handy in the intimacy department.
SIN QUIRIN: That'’s the second song I did for the record. It was a very ‘80s new wave idea. As soon as Josh heard it, he thought of having sex with his hot second cousin.
6. 'Lewd Ferrigno'
JOSH BRADFORD: I don'’t know what celebrity it’s written about –I can'’t officially say,– but let'’s just say there was this amazing man we all grew up loving, and as I got older, Sin and I were doing our weekly trip to the porno warehouse, and we came across a bootleg adult film, with a certain star we all looked up to. And it just changed our perception of reality it was that good!
CLAYTON WORBECK: That was the first one I worked on with Sin when I got
down to El Paso. They had the basic intro set up, and I’'d been listening to a bunch of old RevCo– the ‘"Beers Steers and Queers"’ remixes. I was like, “OK, the endings got to have this tempo change and it'’s got to get heavy.” Sin came up with the title and Josh wrote the song about that title.
7. 'Touch Screen'
JOSH BRADFORD: That song is about liking to watch how people masturbate, basically. Just being a voyeur.
CLAYTON WORBECK: That was one of the ones I threw into the mix from the ground up. I’'m really happy with how that one tuned out. Al did a bunch
of extra horn arrangements on that, which I think turned out really well.
8. 'Wizard Of Sextown'
JOSH BRADFORD: I used to be a historian, and I found an old ancient scroll that led me on a chase. I found out the actual origin of the human race – J.R.R. Tolkien was pretty close – there was this wizard, and he went to this town of hobbits. He got these really sweet hobbits and took them to this barbarian sex village, and made the hobbits make love to these eight-foot women. They made love and gave birth to the regular size human. That was co-written with the late/great Raven, from KILLING JOKE and MINISTRY.
CLAYTON WORBECK: That was a Paul Raven track that was going to be a
MINISTRY track, but ended up on the RevCo album. I love that one - I think the mix is really cool. It'’s also got a little bit more of an older school Ministry and RevCo feel to it. I think that’s important for this record.
9. 'Abundant Redundancy'
SIN QUIRIN: That song I'’m real proud of. I wanted to go back to an earlier industrial kind of sound. Clayton came up with the drum tracks and beats. I'’m a big fan of ‘"The Land of Rape and Honey",’ and I wanted to bring back some riffs that were along the lines of that album. I think Josh did a great job on the vocals on that, the way he approached his phrasing - it’s very early MINISTRY to me.
CLAYTON WORBECK: That'’s another one of the ideas I originated. I had this weird drum loop-programming set-up, it was an odd time signature, and it wasn'’t really working. So I got Sin to record some guitar to a click track, took what he did, chopped it up, and put it together.
10. 'I’m Not Gay'
SIN QUIRIN: That'’s my favorite song on the album so far. That one I struggled with the most – that one gave me the hardest time in the studio. I had the idea for a while, but I couldn’t quite get it out of me. I know I wanted to write a cool ‘dance club’ kind of song, and while I was in the studio doing it, I wrote it primarily on keyboards – I added the guitars at the end of the song for the big chorus. That song was real tough for me, because I felt a bit lost while doing it– I couldn’'t quite put my finger on where I wanted it to go. But I knew there was a song in there, so thank God I didn'’t just throw it away, because we did shelve it four times– it almost didn'’t end up on the record. To go from shelved to being one of the most liked songs is definitively a good feeling. I think we did a good job on that – I think it’s going to be really big in the club scene.
JOSH BRADFORD: That is a story –it could be about me, it could be about someone I know – about a young, alternative lifestyle young man, that traveled through Texas trying to find a home, and had trouble everywhere he went, until he went to Lubbock, and felt at home. And ‘'I'’m Not Gay'’ is a reference to all the so-called straight guys that would like to say they’'re not gay, but when they get drunk, they make out with other guys. So that song is a reference to all those guys that may need that extra little push,– that little song to make them realize what they really are. It'’s supposed to be the anthem to help people come out of the closet.
CLAYTON WORBECK: That really speaks for itself. I was in the final mixing sessions with Al. Sin hadn’'t heard the mixes for a while, so I sent him a text message saying, ‘Ah, ah, ah, I’m not gay,’ across the screen. And he had no idea what it was! He was replying back, ‘Yeah, sure you’re not, buddy.’ Sure enough, he hears the final mixes like a month later, and he phones me back. He'’s like: /Now I know what you’'re talking about!’
11. 'Hookerbot 3000 (Remix)'
CLAYTON WORBECK: I’'m really happy with that. I didn’t have much time for that one. I showed up for some of the mix sessions, and they said, ‘let'’s do a remix!’ So I did that on fly –I did that on my laptop. Just because of that fact, I'’m happy how that turned out. It brought out some of the elements that were in that song through the layers, it didn’'t quite make it into the final mix. So I'’m really glad we were able to throw that one in there.
AL JOURGENSEN: These three knuckleheads are the future of RevCo. Deal with it.
PS: This record rules!
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