CARUS THOMPSON ASKS GREG ARNOLD:
As someone who had the huge major label deal and the big deserved hit single to follow, are major labels still relevant?
I think they are. They get pretty bad press I know, and independence is a viable possibility for a few savvy artists but they are still the people who brought us Dylan and The Beatles. I just think they need to constantly update like everybody else to embrace the surprising Musician Revolution which has put the means of production in the hands of the workers. ‘Right on Comrade’!
Another Things Of Stone & Wood question, sorry. You guys were very folk-rock influenced with your instrumentation and approach. I know you as a very adept ‘pop’ guy, but the folk thing is definitely there, and it’s part of what makes you so great! Where did it come from?
After a weird flirtation with ‘80s big hair, big synth-pop, I just got sick of the technology. I lost myself in Van Morrison, Cat Stevens and Suzanne Vega world. Mikey from TOSAW used to come over to my place and we’d get pissed and sing harmonies all night – just for the fun of it – no gigs booked, just feeling the love man.
Love your new album The Swamp Dandies Fall. You had such a massive purple patch with TOSAW as a songwriter, did you ever think you couldn’t top those songs? (You have topped them by them the way!)
Well thanks. I still love that earnest folky action but it isn’t something I’d pursue now – that was young Greg. I’m more likely to be happy with each new melody that comes my way. I feel I got a couple of big tunes on Fall so I’m not complaining lest the gods of folk rock smite me down – they’re big ‘smiters’ you know.
If folk rock was footy, I’m always impressed by the way you can ‘switch on’ in an instant. You walk straight on stage or into the studio and you just deliver. You’re like Trent Cotchin. How do you do this?
If only I looked like Trent Cochin. As a Tiges supporter I am very happy with your analogy and will be trotting it out with shameless frequency. I guess I’m just an ‘up, hooray-for-everything’ person – it can get awkward around the existential crisis set, but mostly it’s all beer and skittles in Arnseyville, so why break the habit of a lifetime? And at gigs I think an audience owes us nothing – we owe them some action-packed all-killer-no-filler folk-rockin’ good vibes.
GREG ARNOLD ASKS CARUS THOMPSON:
You’re a bit of a folk road warrior. How has the road changed over the last five years?
It’s got a lot harder. It’s well documented that with the demise of CD sales everyone is on the road. From small bands to huge, mega bands. When I first hit the road the huge bands didn’t’ tour so much, and would only do capitals. Now they’re playing the same venues, towns and using the same avenues of promotion. Luckily the love is still out there and we’re seeing a rise in more boutique gigs put together by real music lovers that can help pick up the slack.
You’re from Freo, you’ve toured Europe endlessly and mixed albums in Nashville – why have you chosen our fair city to be home?
Melbourne is not only the best city and music city in Australia (after all my travels I still think it’s the best music city I’ve seen anywhere), but there’s so much talent, and so many people that LOVE and appreciate music. Paul Kelly’s here, Tim Rogers is here, Mick Thomas is here. It’s where it’s at!
If folk rock was footy, you’d be applauded by your coach for your work–rate – don’t you ever get tired?
No, because even though it’s a cliche, you are only as good as your last gig. I’ve worked too hard to get to where I am to stuff it up with being tired. Also I get energy from the crowd. It’s a special thing, a live gig, something that no matter how many stupid fucking talent shows there are, they will never be able to fully emulate the real thing.
Carus is a better name for showbiz than Greg – not much of a question, more of a statement really – happy having a better name than Greg?
I’m happy with my name, but I’ll trade names if we can trade publishing royalty statements. I want a number one hit too!
