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ATOMIC 7 TAKE 2
THE CASE OF BRIAN CONNELLY’S UNDERPANTS
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by Eric Schulz
July 8 — 14, 2004 |
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There once was an issue of MAD magazine named “Snappy
Answers to Stupid Questions.” The gist of the issue was that a
stupid question was asked and then followed up by a barrage of
witty comebacks. The following email interview with former
Shadowy Men From a Shadowy Planet and current Atomic 7
guitarist Brian Connelly made me think I was trapped in MAD
magazine. Atomic 7 may be an instrumental band, but as
Connelly shows in this interview he isn’t at a loss for words. The
band recently released a follow–up to 2003’s Gowns By Edith
Head titled ...en Hillbilly Caliente. Atomic 7 nukes the Starlight in
Waterloo on Thursday, July 8th.
ECHO: How did you come to a partnership with Mint Records?
Brian Connelly: When I first talked to the folks at Mint I think they
thought I was Brian Connelly from the Sweet. They could smell
another “Ballroom Blitz” or “Fox on the Run” so they let me do
whatever I wanted. When they found out they were getting me and
an instrumental go go dance band, they tried to be all cool like
they knew it all along. They were too embarrassed to back out of
the deal.
My relationship with Mint has been great. Although, we did
break up for about a week when I caught them slutting around
and putting out other peoples’ records. We made up under the
bleachers and can now proudly hold hands walking down the
halls. Oh yeah, and I worked with Neko Case (signed to
Mint) for a couple of years.
ECHO: On en Hillbilly Caliente the other instruments (bass and
drums) really shine. The guitar is still the centre of attention, but
the bass and drums seem to have more life vs. Gowns By Edith
Head. The last time I interviewed you, you said your ideal was for
everyone in the band to write together. Was en Hillbilly Caliente
more of a collaborative effort this time around?
BC: Gowns By Edith Head was recorded with an unamplified stand
up bass, so the drum sound had a softer, more roomy sound.
With en Hillbilly Caliente we used electric bass for most of it so
the bass and drums had more sonic space to really holler. The big
difference between the two records is our new bass player. Mandi
has a completely different style of playing. She likes the more
subtle el kabong, knee capping low end wallop kind of bass
playing. She knows what to play to make asses shake.
As far as the writing goes, we’ve been kind of busy, so we’re
still working through my sock drawer of songs.
ECHO: Once again the song titles are exceptional. How do you
come up with them? What is “The Happy Fingers Method?” What
are you referring to by “Stab it and Steer it?” It sounds dirty.
Where do the titles “Kicking at the Ghost of Ass” and the “Wreck
of the Dick Family Wiener Boat” come from?
BC: I use the Ouija board, tequila and pant suit method like
everybody else. “The Happy Fingers Method” is the method of
piano lessons Dr. Terwilliker used in the Dr. Seuss film The 5000
Fingers of Dr. T. “Stab It & Steer It” was the theme for Nicholas
Cage’s driver training film that was scrapped when they found out
Nicholas Cage couldn’t drive. “Kicking at the Ghost of Ass” was
written about a guy in my neighbourhood who’s been kicking ass
so long he can’t remember what ass he’s been kicking. And the
“Wreck of the Dick Family Wiener Boat” was about a failed attempt
at a recipe from the Carolyn Mark cook book.
ECHO: For readers have haven’t heard en Hillbilly Caliente yet,
there is a song entitled “What I Liked About Lord of the Rings.” It’s
5 seconds of silence. So you’re a big fan?
BC: I’ve never written a more direct song in my life. I poured my
heart into that song and I think it speaks for itself.
ECHO: There seems to be a lot of riffs that get reused in
instrumental music, rockabilly, country and surf. This isn’t to say
that artists are ripping each other off — it’s more of a tribute. Do
you borrow riffs? What are your thoughts on riff borrowing?
BC: Borrowing is how you learn an instrument. You figure out bits
and parts of songs that are attractive to you and you add it to
your bag of tricks. But I really hate the word ‘riffs,’ so lets just call
them underpants. Borrowing underpants is one way of paying
tribute to someone that inspired you or to test who’s listening.
Planting underpants in the middle of a song and seeing who picks
up on it is great fun. Sometimes I learn underpants in hopes of
those underpants working their way into the way I play. I’ll steal
underpants from anyone.
ECHO: Why don’t you ever play Shadowy Men songs live? Ever
tempted to pander to the audience and play “Having an Average
Weekend?”
BC: Is the idea of covering yourself just weird or is it weird and
creepy?
ECHO: It’s known that you dislike it when people call Atomic 7 an
instrumental surf band. I think the title for the new cd is a great
way to describe your sound. Would you describe Atomic 7’s
sound as Hillbilly Caliente — Hot Hillbilly?
BC: But... but... but we are a surf band! Maybe we’re just not a
very good surf band. But maybe our hillbilly is so hot it sounds
surf.
ECHO: Shadowy Men began during the great Can Rock revival.
What are your impressions at the current state of Canadian indie
rock?
BC: The bands have never been better and the industry has never
been worse. Those idol tv shows are a pretty accurate picture of
the commercial music world. Some soulless clone does some
karaoke and is judged by a panel of ‘seasoned’ retards and then
it’s packaged up, dipped in gold and pushed down your throat.
How stylish. On the other hand, you have bands like the Fiftymen
from Ottawa or the Brothers Cosmoline or Ronnie Hayward,
Carolyn Mark…. Labels like Mint or Ian Pearson’s Zedtone Records
make you kind of proud to be in this mess and make you work a
little harder. Or at least write better underpants.
ATOMIC 7
w/ The Band From Planet X
Thursday, July 8
Starlight
Saturday, July 10
Jimmy Jazz
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