|
http://www.classicrockrevisited.com/Interviews06/scottrockenfield.htm
Queensrÿche / Slave to
The System drummer Scott Rockenfield:
The Best Of Both Worlds
By Ryan Sparks, March 2006
Drummer Scott Rockenfield has been a force in the metal world for over 20
years with Queensrÿche, a hugely successful juggernaut of a band that has
helped influence a handful of today’s newer generation of progressive metal
bands. That being said there may be a lot artistically that you don’t know
about Scott, for example his soundtrack work which got him nominated for a
Grammy Award or the fact that he runs a few of his own businesses in
addition to playing his main gig with the Ryche. As if all that wasn’t
enough for one man to handle, now his ‘other’ band Slave to The System,
which has been a work in progress for about 5 years with ex- Queensrÿche
guitarist Kelly Gray and Brother Cane members, Damon Johnson (vocals /
guitar) and Roman Glick (bass) have just released their fantastic full
length self titled debut CD. Slave to The System is a full on rock ‘n roll
fantasy, chock full of killer riffs and hooks, with an emphasis on creating
music for the pure joy of it, just a bunch of friends making some great
music together, free of some of the usual stress and hassles which sometimes
comes with the territory. I had a chance to speak to Scott at length not
only about his new band, but also some of his past projects and film score
work not to mention the upcoming release of the highly anticipated
Queensrÿche disc Operation Mindcrime II which will be released in April.
CRR: I was surprised to learn that Slave to the System isn’t really a new
band and you had in fact recorded an independent release back in 2000 or
2001 is that right?
Scott: Do you have the full length?
CRR: I do.
Scott: I can give you a bit of a history on that. I’d say 80-85% of the CD
that you have was done when we first got together and the history is, back
in late 2000, early 2001 if my memory serves correctly, is when we decided
to do a project together. I may answer a bunch of your questions but I’ll
give you a history of the band. Kelly (Gray), who was in Queensrÿche with us
for a few years, we did the Q2K record together, we had just finished that
tour and he and I had always wanted to do a project together. We were gonna
have some time off after the tour, so to make a long story short, he brought
up the idea of getting together with Damon and Roman from Brother Cane who
Kelly had worked with before, producing the Wishpool record for them back in
the mid 90’s. He mentioned the four of us getting together to see if we
could make some music, they were really interested and so was I, but I had
never met the guys before, Kelly was the constant but the rest of us had
never met. Needless to say, the excitement was high so we flew Damon and
Roman into Seattle and we parked ourselves over at Kelly’s house, he has a
nice studio in his home that he had built; we basically set up shop and
started working on some songs together. The cool thing Ryan is, from day one
when they showed up, we started jamming on some stuff, three weeks later the
record that you have in your hand was pretty much done. The chemistry was
instant and it was just really cool, it was a totally relaxed situation and
the chemistry and personalities together were great. We just had some fun,
made some rock music and kinda step out a bit of the boxes that we’d all
been in with our other projects.
CRR: So when you say the record was done in three weeks, you had no songs
written beforehand, everything was done from scratch?
Scott: From day one, we just started jamming together, we would record and
write everyday as we were going and it just fell into place; literally three
weeks later those guys flew home and 90% of the record was finished except
for a few touchups that we did. So anyway to go back to your original
question, the CD you have was the project that we started with. What
happened at the time was, we pressed it up, we got an internet site going
and we were going to sell through the normal chain of events independently
and we did, we sold maybe a couple thousand records and got a really great
response, the fans loved it. We got some great press, not a lot but a few
press things came into play and at the same time we filtered it to some
people that we knew in the industry, but trying to knock down doors and get
people to listen to you, even with our respective histories it still wasn’t
easy, we didn’t have someone representing us at the time and we all had our
‘day jobs’. One of the people that got it was Spitfire Records, they called
us last year after a few years had passed and out of the blue asked us if we
had done anything with the CD. We told them we hadn’t and they were really
interested in taking on a new project, they were very excited about it and
they offered us a deal, we signed with them last summer and now we’re
getting ready to launch. Also to add to the equation and the story, I say
about 80 or 85% of the record was made back then because in the interim
period before we had the deal with Spitfire, we actually got back together
and went back and recorded a whole second batch of songs that we were
thinking of releasing independently once again. Two of those songs “Ragdoll”
and “Cruze Out Of Control” were added to the finished version which you
have. It was a surprise record deal and I guess patience was a virtue with
us not really stressing about anything. We wrote songs relaxed and we wanted
to be stress free, we didn’t want to be as the name of the band implies,
Slave to the System, because we’d been that before with our other bands in
some respects. It’s all good but it was kind of an opposite metaphor I
suppose and we were making fun of ourselves because we didn’t want to be
slaves to the system.
CRR: Compared to previous projects, like recording with Queensrÿche for
example, which is probably a more lengthy and drawn out process recording
wise, this must have been a bit of a breath of fresh air for you as a
musician and an exhilarating feeling to just go into the studio, write and
record these songs in a matter of weeks.
Scott: Absolutely, you totally hit the nail on the head. I shocked myself
[laughing]. We definitely thought that we weren’t going to approach it like
we had with our other projects. I definitely didn’t want to do that and I
was really excited that Damon and Roman came from a background of being just
good rock ‘n roll musicians and with the Queensrÿche thing you’re totally
right, I suppose you could say when Queensrÿche makes a record it’s more
along the lines of a Rush. We spend a lot of time doing things, we change
things and we generally nitpick more and that’s just kind of how the
chemistry and nature of how Queensrÿche works and its fine but it’s a
totally different ballgame to how we did it with Slave to the System. Was it
a breath of fresh air? Absolutely, it’s kinda nice ‘cause I get the best of
both worlds, I can be a sort of casual rock musician with Slave to the
System, I don’t mean casual in that we don’t put a lot of care in what we
do, it’s just a more casual approach and I think the result is a bunch of
really great casual rock songs that for whatever reason right now are really
starting to hit home with the fans. Then I get the Queensrÿche thing where I
can be a sort of nitpicky artist.
CRR: And I think it would be fair to say that there’s a lot more riding on a
Queensrÿche release isn’t there? It’s a bigger machine.
Scott: It is and you got the analogy perfect, it’s pretty much like what
you’re saying.
CRR: Do you as a musician get hyped up a bit and excited before a new
release hits the stores? Let me clarify exactly what I mean by this
question, you’ve got this project which is coming out and the new
Queensrÿche CD is coming out in April, you as a musician have lived with the
music for so long, you must get anxious to receive feedback from the fans as
to how these projects will be received.
Scott: Absolutely. I should say yes and no. Yes that you’re right that I’ve
lived with the music for so long, both projects. Especially with the Slave
project, I mean I’ve lived with that one for almost 5 years, with the
Queensrÿche thing we’ve been so deep into it for so long, for example the
Mindcrime II that’s coming out has been a work in progress for 18 months,
not full on everyday because we toured in the meantime. We would tour for
like 6 weeks and then work on the record for 6 weeks and then tour again, we
were going through so many changes and so many different things it was like
making Pink Floyd’s The Wall or something like, but it was cool. Needless to
say that almost burned me out more in terms of wanting to keep listening to
it now in my anticipation of it, than the Slave thing which is somewhat
fresher to me because I haven’t been listening to the record for the last
couple of years [laughing]. But on top of that I have to say that they both
hold their own charm. I am excited to see what the fans think, is one more
of an excitement than the other? I think they’re just different. I gotta say
I’m very excited about the Slave CD because I think we made a record that
hasn’t been made yet, not that Queensrÿche doesn’t do that, but I’m strictly
talking about Slave right now. I just think we came up with a really good
batch of great rock songs and the feedback has been so nice from the fans
that have heard it and believe me it’s not a million fans by any means but
the ones that have, have really gone nuts for it in a really positive way.
CRR: I find the disc to be a great mix of classic rock but with a modern
twist, musically it’s quite varied. For example you have a song like “Cruze
Out Of Control” which has a heavy Soundgarden feel to it and then the next
song “Abyss” has more of a laid back southern sound. There is something on
here for both Brother Cane and Queensrÿche fans and everyone should be able
to get something out of it.
Scott: Absolutely, god you’ve answered all my questions, maybe I should be
asking you “So Ryan what do you think of the record?” [laughing] I think
what you’re saying is totally right on though, that’s kinda what I get out
of the record. It’s full of dynamics, there are a lot of different colors on
it but they all tend to work together. To be honest this is one of the
records that I’ve been involved with that I’m one of the biggest fans of and
the Queensrÿche thing is totally different because like I said, we spend so
much time writing and recording, that its not as spontaneous. I tend to just
go from one record to the next, Mindcrime II is done but I’m actually ready
to make the next one now because I’m done with it [laughing]. That’s totally
fine because it’s been that way with every record that we’ve ever done, it’s
just the flavor of how we do it and maybe that’s what’s kept us going for so
long, I’m always looking forward to the next one. We’ve even started talking
about the next one. With Slave, I’m definitely ready for the next one and we
will do another one, but I’m really excited about this one right now, it’s
still totally fresh and it’s one that I’m fully involved with. I’m doing all
the interviews with Damon but he’s actually busy right now because he’s
doing some stuff overseas, so I’m kinda involved in everything. I’m helping
to manage the band with Damon and I handle every day to day chore more than
I do with Queensrÿche.
CRR: It’s a more hands on approach.
Scott: Absolutely, it’s kinda like my baby. We all do things equally in the
band and I feel it’s something special and I think we’re gonna have some
interesting things happen for us, and we’re already getting some stuff come
our way that’s never even happened for Queensrÿche for whatever reason. For
example all next week we’re going to be one of the featured artists on AOL,
for the whole week and I’m excited about that. So once again I do get the
best of both worlds. I got the Queensrÿche legacy, when that CD hits, I mean
the fans are already going nuts, the tour is being booked for September and
will start in the States, it’s already turning out to be 3 times as big as
the tour we did last year, that’s how big it is. I kinda already know its
happening; it’s not that big of a surprise to me because we’ve been around
for so long. The Slave thing is more of an anxious anticipation, is it going
to do well, is it not?
CRR: Do you think people who are aware of your vast body of work with
Queensrÿche and also your projects outside of the band will be surprised at
all with your playing on the Slave CD?
Scott: So far the majority of people who have heard the record have had
nothing but great things to say about the record itself and what I did
personally on it, fans of both what I’ve done in Queensrÿche and some of my
other outside projects have accepted it with open arms. I got an interesting
phone call a couple of weeks ago when I was in New York, I was live on the
radio with Damon and I got a call from the president of VH1 who was driving
in his car listening to us and we played like 5 songs off the CD that night
and he just wanted to call and say that he was the same age as myself (42)
and has been a Queensrÿche fan for years but my performances on the Slave CD
was nothing short of stellar. I was like “Wow, thanks, we’re gonna have to
get you a video then aren’t we?” [laughing] So I think that kind of answers
your question, I don’t think my playing on the record is completely out in
left field from what I’ve done before and I think I played the stuff well, I
just hope everybody else enjoys it.
CRR: Would you say your work outside of Queensrÿche, for example your
collaborations with Paul Speer, has really helped you grow as a musician and
would you encourage other fellow musicians to explore these other avenues
outside of their respective bands like you have?
Scott: Absolutely. I can’t say enough about what it’s done for my life and
what I’ve learned by working with other people and also working on other
types of things with other people. I’ve just been that way; I’ve always
loved to diversify and to be honest if I stay in one place too long I get
bored. The Queensrÿche thing has been running for so long and it’s just a
machine, it just does it’s thing when the time comes and we have to do it
and that’s totally cool, listen it pays the bills [laughing], but in a good
way because it gives me the freedom to do all of my other things and not
have to worry about a day job.
CRR: It’s opened up other doors musically for you.
Scott: Exactly, it’s done nothing but good things for me. Whenever I work
with outside people like my buddy Paul Speer or if it’s my own compositions,
right now I’m working on some possible film projects and some other things
for Hollywood, I compose orchestra stuff, a lot of instrumental music as
well.
CRR: How long had you wanted to compose music for soundtracks, was that
something you had a burning desire to do since you first got into the
business?
Scott: You know that’s a great question. Yeah actually and I kinda remember
when it all really started for me, it was in 1984, I was young, about 20
years old and we were in England.
CRR: Making The Warning?
Scott: Yeah we were making The Warning and James Guthrie who was producing
it with us; he had done The Wall and stuff like that. He turned me on to
that; he said “You seem to be the type of guy who would like film stuff”. I
think Mad Max or The Road Warrior was out at the time and the Road Warrior
soundtrack was actually Holst’s Planet suite, an old orchestrated piece that
was re-done by a guy named Brian May for The Road Warrior. I liked it so
much and James told me that it was actually originally done by Holst. I went
out and bought it and got to know it and love it so well that I just kept
buying more and more. It became my flavor and to be honest to this day
whenever I buy CD’s most of them are strictly film music. I became a huge
fan of it and that got me into just wanting to do it and that’s why in 1998
I did my first full project with my partner Paul Speer and we got offered to
compose the music for an animated short length movie.
CRR: Which was Televoid.
Scott: Yeah that was Televoid. Ryan you’re very knowledgeable I love it,
‘because I could talk for hours about it, but its better when you know what
I’m talking about [laughing].
CRR: I was interested to learn that you were involved in Televoid because
the same person who worked on that, Michael Boydstun also did a lot of stuff
on the Mind’s Eye animated series which I was a fan of.
Scott: Absolutely.
CRR: I still have a few of those volumes and back in those days that was the
‘in’ thing as far as computer graphics went.
Scott: The Mind’s Eye stuff was really cutting edge. So yeah Televoid was my
first project outside of Queensryche and I was the first member to ever step
outside the band and do something. Paul and I got offered that project and
we ended up getting a Grammy nomination for it.
CRR: Not too shabby.
Scott: I felt pretty good I’ll tell yea. I’m actually sitting in my studio
here at home and on the wall is a picture of my wife and I at the Grammy’s.
We didn’t actually win the category but we were one of five who got
nominated in the Best Long Form Music Video category. Ever since that day, I
was the first one to step outside of the box and to get a Grammy nomination,
I figured I would keep going at it and I still am. Anyways to answer your
question of 3 hours ago [laughing], about whether outside projects have
befitted me and would I advise others to do the same? Absolutely, I couldn’t
see anyone who would not benefit from more education and that’s what you get
when you work with other people.
CRR: Exploring those other avenues helped you grow as an artist.
Scott: Absolutely. It’s even gotten to the point, as I said I’m in my own
studio, and I do all my own recordings now, drums and everything. I engineer
and mix and do all my own projects and I’m working on one now with a lot of
drum stuff and keyboards and I’m doing it all in house. I wouldn’t be able
to do all of this if I hadn’t stepped out of the box.
CRR: You stepped out of the box in so many ways. You’ve done CD’s of drum
loops and......
Scott: Gee man, you are educated. [laughing]
CRR: You’ve also got your own company Rocken Wraps which specializes in
customizing drum kits with some real interesting designs, we could talk
about that as well.
Scott: Yeah that’s a whole other machine in itself.
CRR: Are you as hands on with all these different projects?
Scott: The Rocken Wraps thing is interesting that you bring that up and I’d
be happy to give you a quick little run down on that, ‘cause all the press
on that will help me as well.
CRR: Go for it.
Scott: We launched it a couple of years ago, it was something that I
invented in my house just for myself to be different. I was tired of drums
looking the same, I don’t know maybe it was my ego; I always wanted to be
seen. So I just kinda worked up an idea on how I could do this and it turned
out that so many fans liked it once they saw it, so I ended up launching the
company public. It is strictly run by myself and my brother, no other
employees; we have a small shop set up right next to my house here in
Washington. We’ve got four hundred dealers worldwide and we make and
manufacture everything on a daily basis. I handle the phones and take all
the orders and I do all of the design work. Almost all of the designs on the
website were done by me except for a few artists that we have that also add
some stuff to the kitty.
CRR: There’s a great picture on the Queensrÿche website of you in the studio
with a really cool looking kit where the design is what looks like currency
or bills, is that one of your creations?
Scott: Yeah absolutely, that’s one. That’s a design we’ve had for years.
We’ve got a whole thing going as well with one of the biggest tattoo artist
conglomeration groups in the world called Tattoo Johnny, and they submit
artwork to us now as well so we’ve got a whole new artist series and we’re
in cahoots with possibly signing with a huge distribution company that’s not
even related to drum products. We’re 2 years into it and we can’t even keep
up with it anymore, but its cool, I’m still hands on and I answer all the
phones and I probably talked to twelve customers yesterday and they’re all
floored when they find out its me, I end up doing interviews when I’m not
even supposed to. [laughing]
CRR: If you could offer a piece of valuable advice to a young musician just
starting out today, what would that be?
Scott: I think it comes back to what we were talking about a couple of
minutes ago, if I had to say it in a short sweet sentence I suppose my best
advice would be learn everything you can. For example, if you want to be a
drummer, great, practice and learn your craft and be comfortable with it,
don’t do what other people tell you to do, this is obviously a lot longer
than a sentence by the way [laughing]. Learn the best you can but don’t just
learn that one craft. I’m so glad I don’t just play drums; I’d get bored
with that. I like to compose my own music and to be able to do that I had to
learn to at least tinker on a keyboard and that’s all I do. I’ve never taken
lessons or anything that I’ve done in my life, everything has been self
taught, but it’s gotten me a Grammy nomination for just hacking around on
tools of the trade and it worked for me so I keep doing it. Learn everything
you can including the business, don’t think that somebody else is going to
handle your money for you and watch your back, watch your own back. I tell
my daughter this, I have 3 kids and my daughter, the middle one is nine and
she’s really interested in being a pop singer. I tell her “You gotta learn
an instrument, don’t just sing” or she’s always going to be trying to find
someone else that can make music with her. I want her to be able to stand on
her own two feet by herself; at least she’ll feel secure in that and if she
ever has to just rely on herself she can, like play piano like Elton John or
play guitar like Sheryl Crow. It’s funny that you bring that up because
that’s basically what I’ve been telling my kids.
CRR: Who better to pass on his own experiences to them, to give advice and
direction, than their Dad who’s a musician himself right?
Scott: Absolutely, the problem is I don’t know if they’re going to listen to
me because they don’t clean their rooms when I ask them [laughing]. They’ll
probably learn how to play multiple instruments before they clean their
rooms and that’s fine I can deal with that. So yeah, learn everything you
can including engineering, own your own studio, learn how to record, get a
Pro Tools rig or get a computer recording system. I prefer Pro Tools and
I’ve been using it for years, if I didn’t have it or know how to use that
I’d be hosed, I wouldn’t be able to do half of the things I can do now.
CRR: When you first got into the music business did you have any idea you’d
still be doing this over 20 years later?
Scott: No, nor did I ever think the first record we ever made would have a
hit single on it in “Queen of The Reich”. I never looked on it as a career,
I just went kind of day to day, I loved music and I loved rock.
CRR: That E.P. really reached out to a lot of people everywhere. I can
remember the first time I heard it was when I was in High School. In my art
class students were allowed to bring in their own records and you could
listen to them while you drew or painted and I’ll never forget the time one
of my classmates brought the EP in and slapped it on the turntable. That was
my first exposure to Queensrÿche’s music, music which still resonates today.
Sometimes I can’t believe it’s over 20 years old, the band has changed so
much in that time.
Scott: Absolutely, time passes so quickly. Its funny you say that ‘cause I
look back when we’re doing a tour, for example this past summer when we did
the tour with Judas Priest, for our set we wanted to visit everything from
the past, dig in and play some stuff we hadn’t played before, one for our
own benefit, to shake things up a little bit and two our fans wanted to hear
it. I didn’t even remember playing half of that stuff [laughing].
CRR: I remember reading something where Geoff (Tate) said something about it
being hard to go back to the old material and he likened it to an artist
going back to his first drawings or first childhood paintings.
Scott: Totally. I felt like I was trying to figure out someone else’s parts
for some other band [laughing]. It’s not like some of it was real easy
either, we’d have to dig in and figure some stuff out. Some stuff I just
changed to be myself now and it worked fine.
CRR: You have to put a different spin on it 20 years later.
Scott: Yeah. A lot of time has passed but god bless the music business, for
myself at least I can say after 25 years I’m still doing it and I’ve got new
things coming out and I’m still doing it, but it is a lot of work, I get up
every day and I go to work.
CRR: I got my copy of Mindcrime II a few days ago and I can say it’s really
a great follow up to the first one. It’s like following up The Wall or
something of that magnitude though. What was the general feeling in the band
now that the record is done, was everyone happy with the end result?
Scott: You know I’ve gotta be honest, I haven’t talked to anyone in the band
for a few weeks [laughing]. We just kinda spread out afterwards, the
record’s not coming out until the beginning of April, we’re not playing on
any tours prior to it coming out so everybody has been just chilling with
their families and I laugh about that because I’ve only had the record for a
few weeks. It only got finished over the Christmas holidays, I think it was
even being finished into January and I had removed myself from it because I
had been done for awhile. Geoff was finishing off his end of things in
California which is also where it was mixed. I didn’t get a copy physically
in my hands until a few weeks ago and I’ve listened to it maybe twice, I
just haven’t had time.
CRR: It’s interesting how this promo came out, it’s a watermarked CD.
Scott: So is mine [laughing]. It’s got my name on it and a code number.
CRR: Is that a new technology to make sure that there aren’t a lot of
illegal copies being made?
Scott: It’s somewhat new to me actually, I had heard about it. I haven’t had
a new record out in a little while, the last Queensrÿche record, Tribe came
out in 2003 and we didn’t have watermarked stuff back then, not that it
didn’t exist but I never saw it on our stuff so this is really new to me
too. I think it’s probably as you say, its probably being done more these
days to avoid the crash of the initial release. Before a record is even
released, once it’s finished and it’s sent out if it’s not protected in some
way, it can just kill the release.
CRR: Advance copies of CD’s are always being leaked out and pop up all over
the place on the net. Radiohead had that problem a few years ago, the album
ended up on the net and people were downloading a copy of something that
ended up not even being a finished product. I think it’s great when bands
offer streaming audio or free tacks for download on their sites though, but
how do you stop people from ripping off the whole thing?
Scott: Unfortunately in this day and age technology offers people the
opportunity to do that.
CRR: I think people have a general misconception of musicians as
millionaires, who cares if I download it, how is that going to hurt the
artist you know?
Scott: Yeah, I’m just one guy, what’s $15 gonna do? If you get a 100,000
people doing that then that could be a bands full release. If we sell a
100,000 Slave to The System CD’s I’m gonna be very happy, I hope it sells
more but if we sell that many then we can keep going and make some more. The
record company will be happy and we’ll be happy because we will have made
some money, but if it shows up on the net too soon and that 100,000 copies
goes down to 10,000 because 80,000 people have downloaded it, it can eat it
up real fast. With the Mindcrime II thing, it’s a big deal in terms of the
anticipation of the fans and stuff so I think the record company is being
extremely cautious to make sure that nothing gets out in the wrong way.
CRR: Tell me what it was like to have someone of Ronnie James Dio’s stature
singing on a Queensrÿche CD.
Scott: It was awesome. I wasn’t actually there because that was done down in
California with Geoff in December, late in the game but when I heard about
it and actually heard what he had done, I thought it was great. He’s been an
old friend of ours for a long time, I think it was obvious when we called
him that the response would be that he would be happy to do it and he was.
CRR: Is the plan to play live with Slaves anytime soon?
Scott: Yeah we’re off and running in a few days, we’re doing a short run
down in Damon’s part of the woods, down in Alabama and then we move to a
couple of shows in Florida and then hopefully work our way up the east coat.
Needless to say in the next four months we might have a few full on tours
happening and we have a lot of new people coming to the band, agents and
stuff who are real excited to work with the band.
CRR: Then later in the year you’ll take Mindcrime II on the road.
Scott: Absolutely its going to be a full on deal I think with both
Operation: Mindcrime I and II for the whole evening.
CRR: So the plan will to be to recreate both of them live, will you use the
multimedia support with screens and stuff or do what you did more recently
with live people acting out the parts onstage, is it too early to know how
that will all play out this time around?
Scott: I think our plan will be to roll with what we’ve been doing recently
in the last year or sp, which is to do it the new way with the actors on
stage, with the new multimedia stuff, we had all new film footage with
multiple cameras up onstage. It’s definitely bigger than what we ever did
back in the 90’s. The only difference back then until today is back then we
were playing bigger venues which is where we were at in our careers. Now
we’re doing theaters which I think works really well for this, so the plan
is to bring out a slew of actors with lots of film and staging and just go
through the whole thing as a kind of Act 1 and Act 2 rock opera. It will be
a summer of pre-production [laughing].
CRR: Can you ever see the day where Mindcrime will be made into a film?
Scott: We’ve talked about it; we’ve had a lot of interesting things come up
in the last 15 years since the first one. We even had David Cronenberg
interested at one point.
CRR: He would be perfect and I could totally see him doing that.
Scott: Absolutely. I haven’t seen his last film History of Violence yet but
I want to ‘cause I like the people who are in it and I really like
Cronenberg’s work. So I kinda picture that would be something along the
lines of things that you could do with Mindcrime, it would be a really
intense deal. Anyway we’ve had some interesting things come up, none of them
have panned out, one mainly because our schedules were just so chaotic but I
think at some point it would something that could be done.
CRR: Queensrÿche’s music is cinema for the mind.
Scott: Definitely. |