You may be excused for dialing Schizophrenics‘Recent sophomore releases, Man of the sky, And think you’re hearing something lost MC5 Sessions since 1971. Where many newcomers are extremely conscious of keeping themselves out of their influence, this San Diego rock ‘n’ soul power trio proudly wears their sweat-soaked sleeves. But founding member Pat Bears (vocals / guitar) and his wife Letty (drums) are not imitating their idols as much as they are in carrying out the mission of the pious and riotous Rama-Lama Rev-up in the 21st century.
And that musical method is not the only old-school standard of the schizophrenics. At a time when most bands spend all their offstage time sharing all their thoughts and moving to Instagram, The Schizophones has devoted itself to their core social media: live performances instead. In recent years, the band has gained a reputation as one of the most glorious uninterrupted and relentlessly entertaining live shows in the American underground, thanks to Pat’s manic, magnetic stage presence. When you see him perform, it’s like his soul Iggy Pop, Jimmy Hendrix, And James Brown Fighting for control of his soul, as he runs the mic with one hand and closes the fretboard unit with the other hand, all the while his restless legs give him a chance to split and land on the floor. On the phone from somewhere in the snow in Wisconsin, Pat explains how The Schizophonics made their irresistible stage laws এবং and why their rolling-door base-player policy ultimately enhances the experience.
Spotify for Artists: What was the first band you saw that made a big impact on you?
Pat Bears: When I was really young, I went to the first real concert Kiss. This was their fourth farewell tour in the late 90s. I just assumed the concert was like this: the guy goes in a zip line, and there’s a fireball and all these things. It was quite constructive in my opinion about a rock philosophy. KISS gave me an idea that it’s okay to be over the top and try to entertain people and not try to be too cool. We like the dive-bar version of it আমরা we do it on a reasonable budget.
You are located in San Diego, a one-story garage-rock with the city of Tih. How did your local scene inspire what you do on stage?
There are two things I always think about the San Diego scene: dance elements and fun stage banners. I feel like a band Creeping creeps, Where they play the rock ‘n’ roll but almost every song is danceable – there are such party elements for many bands that come out of it. And then there’s the ridiculous stage-satirical thing Rocket from Crypt I like, half of them are just listening to the show [frontman] John [Reis] Speak in the middle of the song. It has a lot of this punk-trick element. This has definitely affected our live show. I always notice that if one person starts dancing, it will start to spread and everyone else will start dancing. So I try to be the first person to do it. If I behave foolishly, then everyone is allowed to act foolishly.
Have you ever had a night where you were giving what you got and the audience was not reciprocating at all?
If we spend a night like this, we will have a dance competition where we stay with our drinking tickets so people can go. But I go to shows, and I’m not always in the mood to stand in front and at the party, so I never get angry at the audience for not responding. And sometimes, someone will see that they are having a miserable time, and after the show you realize, this is exactly how they come out – they just take it.
Was your performance style effective from day one, or did it evolve over time?
The high energy thing was always we when we play, I just hang out. That rock ‘n’ roll forces me to. But it took us five years to develop what we were doing. In the first version of the band, we were trying to do a Hendrix-type freak-out thing. We saw his Monterey pop [Festival] The set, and towards the end of that show, he’s playing “Wild Thing” and he’s alone with one hand, and I just thought it was great. I’ve used the same type of fudge paddle, so I’ll just allow [my guitar] Feeding and vaccination. But then it just transforms into that style of playing guitar mixed with Iggy Pop, where I hang out all the time. And so over the years, I just started throwing different elements, and not really consciously. I’ve never been like, “I’m going to split this part!” I really try to fluiden and improve that part of the show.
When did you try to split?
We paid tribute to James Brown for a Christmas show at The Casbah in San Diego and I didn’t play the guitar, so I was just trying to imitate James Brown. The first time I tried splitting, I thought I had torn a ligament. It took a year until it became normal. Now, I can do it better – I do a lot of stretching now.
In 2013, you went on your first European tour Time, And serve as his backing band. What was the impact of this on the development of the schizophrenics?
It was like rock ‘n’ roll boot camp. El Vez is always very funny, and has a very punk sensibility – he’s a troublemaker. But at the same time, he is a professional. On each show, he would change something, and at first, it would drive everyone crazy – like, “Why are you changing the show before every sound check?” But since we’ve added something new to the show every night, we had this crazy complex show at the end of the tour that you can’t even learn with weekly rehearsals. It definitely took me out of the headspace where, at the time, I was playing the same setlist every time [Schizophonics] Show, because I thought if I changed it, it would lose something. The El Veg Tour really took me away from there and realized that if you don’t constantly change what you’re doing all the time, it’s going to be kind of stagnant.
Is that why you never got a permanent bus player?
Yes, it keeps things fresh. Basically, it started because we were traveling so much, and we could only get what was available. For example, one of our bass players is a teacher and can only travel in the summer. At the moment, we have a base player who came from New Zealand – we met him when we went on tour there. But I like that everyone comes up with different vibrations. Really fun getting different input from people and hearing what their band version looks like. Sometimes, people show up and have already learned all the things, but I like to wait until we get together with that person and do the songs together. You just have to be more discriminating with the help you render toward other people. I always go around so much, so we have to get on stage feng shui together.
– Stuart Berman