26 - Friday, December 25, 1997 — North Shore News

Odd lunch revelations

From page 18

what's going on. And the Ree Centres
just rule over here. You can play hockey
tee days 4 week for five dollars and 10
cents.”

On hockey: “I play once or wice a
week in pickup games. Full equipment. I
played other sports asa kid bur 1 always
wanted to play hockey. So a few years
aga brook ic up. There’s a musician's
league, we call it the MHL. It's a league
that's been going for seven or so vears,
and there’s one in cach of the major
towns across the country. Jerry Wong
from Damn the Diva is the capain of
the one here. fle and Randy Black, the
drummer from Bit Naked, organize alot
of it. And every once in awhile we have
a media game where all che sort of
peripheral Players like avwself play. Irs
really fun. [ll be in the NHI by the
time I'm 50 1 figure. When J give up this
music shit.”

On music: “We love for music to just
happen. To not think about your hands
on your guitar, or what vou ate, or what
you're trying, to say to somebody. Just
do it -— pardon me Nike, Each record's
a triumph in that way for us. For those
reasons we produced ourselves, and
learned how to operate che studio our-
selves.”

On the Dawn Patrol: “It was basi-
cally a straighe moonlighting experience,
bue it became really popular. We started
as the Odlds, and had to think of a way
ofsurviving. Accthat time (in Vancouver)
there were no clubs per se to play into
every night. ‘Phere sill are none. You'd
ply every coupde of weeks. The Savoy
was just closing down. At that time
there was a drought. It’s like the food
chain — if there’s a lot of fish, there’s
less seals. Then there’s more seals and
less fish. It kept Odds going. We were
smart and silly at the same time. It all
came back into the band (Odds) The
Odds were always climbing, at the same
time. We decided to come up with
something where we didn’t have to have
day jobs and where we could always be
together (pause). Which is quite a nice
litde romantic notion. But it seemed to
work (another pause). It took vears.”

On Odds fans: “It’s really broad.
There was a review | read on the 'Net
yesterday of a show we just did and they
were talking about the ‘adult section’
back by the sound board and the bar
and how they were complaining about
all the moshing and the kids. 1 think
that’s amazing that that can be happen-
ing at the show. It’s great to appeal on a
lot of levels. Older people tend to sit on
their asses at home so they get into a few
fevels deeper some times. Because
they're slowing down, they have more
time for their brains to get into it.”

On the sense of humor in the
Odds: “It was always there, but it really
flourished under The Dawa Patrol.
Some nights now when we get way too
carried away when we play five, Pat
always says we've ‘Become The Dawn
Patrol!’ that night. We don’t police our-
selves at all that way, and lately it’s
become quite fun thar way. (Humor’s) a
bit of a survival instinct. Creating music

together is a difficult thing to do. And if

you care enough about it, you're going

"| love it when people are a

little bit confused by what were

saying, but they know there's
“=~ something there.

~ (aig Northey

te want to criticize What sonicone else is
doing ina positive way. Tr can cause
some tension sometimes, so it’s best ta
have a really good sense of humor and
find a way of making evisything rela-
tive.”

On the song Heterosexual Man:
“The audience decides what it means.
We did this song that we just tossed off,
and had huge arguments about ever
including it on the record. We thought
it was the dumbest thing. It was the only
one of our songs that was a complete
sarcastic sharp stick. A poke in the eye.

Ve thought, for that reason, it would
make alot of sense, people would get it.
But, we had to stop playing it for wo
years. All of a sudden these kids in the
mosh pit started to identity with it, And
we were saving, ‘Do you get it? Don'r
identity with ir. [t's bad." So we stopped
playing it.

On the Internet: “It’s a scary
domain. Scary for songwriters and pub-
lishers, for people who need to make
money from their creative work because
it can be stolen so easily. But I like it. In
some ways you can never have any mys-
tique anymore, because of it. They know
how to find you and ask you personal
questions. And it’s changed the wav
artists relate to the people who listen to
their music. | sneak in on the top groups
about us, and then | quickly add an
answer to somebody who's way off base.
1 can kind of curb it, but sometimes |
Hike to let the misinformation go if it's
really interesting.”

On Odds songs: “Let's talk about
how peopie relate to cach other, and the
symbolism of those things. How you
relate to yourself, your selt’ esteem. |
know so many people who just can’t pull
themselves our of bed. That’s more of
what our songs are about. Phey’re about
thar in-between stage of lite, where you
juse can’e pull vourself out of bed, or vou
look at something and say ‘God that’s
weird. E don’t know what to do about it,
bur it's weird.” J love it when people are
a lietle bit confiised by what we're say-
ing, but they know there's sonmthing
there. Then they finally figure it out, and
they say it worked for me in this

On the visual vs. aural: “It’s a visu-
al society. There's so much noise going
on everywhere, All vou can do is try and
make it more beautiful.”

On professional wrestler Bret (The
Hitman) Hart: “Today 1 was working
on his intro music. What better gig
could you have than that? I met Bret on
a TSN show called Of The Record we
did together. And he was the nicest guy,
and we got to taking about our kids,
about lite. AU of a sudden we got really
philosophical. And we're both hig hock-
ey fans. [invited him out to our show
last month. He’s switched to the WCW
trom the WWE and they've kept his
music, so IT volunteered. [got his
footage from Wrestlemania °97, and |
turn the sound off and I score it like |
would work on a movie. [had to call
him and ask him how he’s tecling about
the change (from the WWF). Are you
mad at the other guys? What kind of a
guy are you going to be when you come
our So he told me on a message a few
minutes ago how he feels right now.”

On scoring a movie: “Scoring is the
emotional impact of notes. People when
they're watching him (Harr) come out
aren't thinking about the music.
Working on the Kids in the Hall movi
(Brain Candy) gave me a good exerci
in that. Pm doing Bruce MeCulloch’s
film (Dog Park) in February. Ee’s all shor
now. (Scoring) has been kind of a yreat
sideline. The inspiration is provided to
vou by what vou're looking, at, and like
records, you have to let yourself go and
tind thar place that makes sense. When
Stravinsky talked about scoring tilms, or
some of the classic scoring was done in
the carly days of Hollywood, those guys
really had to think abour it, they really

odds DISCOGRAPHY

@ NEST, Released in 1996 (Warner/Elektra)
@ GOOD WEIRD FEELING, 19935

@ BEDBUGS, 1993 (Zoo/ BMG).
@ NEOPOLITAN, 1991 (Zoo/BMG).

( ‘arner/Elektra).

had to be pros. A fot more films are done intu-
itively now because film has become so much
part of everyone's lite.”

On producing other artists: “Now that
we're more experienced, other people want us
to help them. So Steven's off producing and
mixing and engineering with other bands and
artists, and I’m doing the same.”

On the Odds’ master plan: “We never
really had a plan. We had kind of short-term
goals, We'd get together and go ‘Well we have
#a money, and we need to record some songs.

So how are we going to get somebady to give
us free time.” And we'd scour around and we'd
find a way to do it, We'd take things one at a
time, But that’s as much as it gor. We knew we
wanted to make records and get these songs
that we could make out to people. ” Steven says
‘You know what mistake we made? We never
planned to sell a million records and make lots
of money. Why didn't we do that?’ J think,
though, when anybody makes a plan like that,
then the music starts to suck. That’s a step into
another world.”

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