Rocky George na Guitar World

Passeando pelo fórum do Suicidal me deparei com uma entrevista do Rocky George a Guitar World, publicada no último dia 17. Como todos sabem, aguardo as respostas do ex-guitarrista do ST para uma conversa com o blog já há algum tempo (recentemente, ele me disse que não havia esquecido).

George em ação com o Fishbone.

Basicamente, são as mesmas perguntas. Apesar disso, como aqui não há espaço para vaidade, reproduzo parte do material (excelente) da revista abaixo, enquanto sigo na expectativa de um retorno definitivo de Rocky.

GUITAR WORLD How did you hook up with Suicidal? You were in the band fairly early, and from what I understand, the guitarist on the first album, Grant Estes, was a fill-in guy.

ROCKY GEORGE Yeah, he wasn’t in the band that long. The guy before me didn’t last that long either. I joined in ’84. Amery [Smith, Suicidal drummer] was my connection. I met him through another guy that used to play guitar in Suicidal. I starting jamming with some people, and Amery was one of the guys I was jamming with then. Not too long after I started jamming with these guys, the guitar position opened up and Amery suggested me to audition. In fact, I was the only guy they auditioned.

GW Even on the first album Suicidal had guitar solos, which was verboten in punk at the time.

GEORGE That’s one of the things I liked was the fact there was space to play some solos. At that time, it was different for that genre of music. I know it pissed a lot of people off, but you can’t please everybody.

GW So did you feel the band was going for something different or had more vision than other hardcore bands?

GEORGE Yeah, definitely. There didn’t seem to be many restrictions. It wasn’t like, “We have to do this format.” Later on, when Robert [Trujillo] came on, he brought in another element from another musical direction, and that started changing things too. It wasn’t on purpose—it was a natural evolution. We never had an agenda,like, “we’re gonna go out and do this.” It was like putting seeds in the ground and seeing what will happen. The band was a complete democracy as far as decisions went and everyone had an equal input.

GW Why do you feel Suicidal was willing to do things differently when a lot of bands weren’t?

GEORGE I think it had a lot to do with the mindset of everybody. Maybe where we come from, too, and not conforming. I remember we were really proud of looking at old pictures. There weren’t too many pictures where we looked at and went, “oh my God, I can’t believe what I’m wearing.” That goes for the music too. We were just naturally doing what we wanted to do, what we felt like doing. I can’t see how you can be ashamed of something when you’re doing what you want to do.

GW The first Suicidal album is considered an important album in the metal/punk crossover. Did you feel it was a natural evolution that those genres would come together?

GEORGE I never really thought about it back then. I don’t really remember a drastic overnight change. I think it was gradual enough, because even in the early days we had a mixed crowd. In the mosh pit there were people with long hair, some mohawks, some skinheads and people with bandanas. I guess in some aspects it was good, because it seemed like the audience was getting bigger. There was a point, I think after we did that tour in ’91 with Queensryche, when it started boosting a little more with the metal people.

GW The song “Institutionalized” was popular on underground radio, and the video got a lot of play on cable. Did you ever think that song would be a hit?

GEORGE No [laughs]. Like I was saying about back then in ’84, there were a lot of different kinds of people at the shows, especially in different cities. There would be a completely different type of crowd in every city and it had a lot to do with the video being played in clubs. In ’84, ’85, maybe a little in ’86, a lot of videos they were playing on MTV were being played in dance clubs and bars and a lot of people were turned on to the band from seeing the video there. A lot of the videos we did were requested a lot, but MTV had a problem playing us. Someone there didn’t like the name of the band so we were pushed to only a certain time of the day. We didn’t break into the prime-time afternoon rotation. But I don’t think we expected to be embraced by MTV that much at the time. Later on in the ‘90’s we asked, “what do we have to do?” I forgot what video it was, but there was one we tried to obey their rules.

GW Did it work?

GEORGE No [laughs]. Most of our videos were interesting. We got good directors for all of ‘em.

GW Tom Araya has a brief appearance in the “Institutionalized” video.

GEORGE Kerry’s in there just for a quick second as well. You see him in the back.

GW During your years in Suicidal you were always seen wearing a Pirates cap. I would assume were a fan of the team.

GEORGE You know, it’s funny, I used to be, back in the [Hall of Fame hitter] Willie Stargell days when they actually wore those hats. I used to wear that hat going to school then I stopped caring about baseball–I got sidetracked into other stuff. I still had the hats, and I liked the hat, so I wore it one day for a photo session. Our manager thought it was cool so I kept wearing it. Next thing I know, it became a thing. I can’t even wear them anymore.

GW Because your hair’s too big?

GEORGE Yeah [laughs]. Not possible. I’ve still got some Pirates hats though. They would get a little sweaty after a while and I’d have to retire them. I actually had a guy search the country for some of the suppliers and I got a box of those fitted hats for my size. I’m slowly going through that box. I’ve still got a few left but I can’t put ‘em on!

GW For a long time, Suicidal had a hard time getting gigs in L.A. because people were afraid of crowd violence.

GEORGE Yeah, it was paranoia. The promoters were scared and the people who had to insure the shows were scared. They were afraid of something happening but nothing’s ever happened. I forgot what show it was but someone had an issue at a show somewhere, and they were like, see what happens?” It got tied to us, like they’re the same kind of crowd that would do this. It just kept mushrooming, and next thing you know, we could play anywhere but L.A. We would tell them, “we’ve played here, here, and here…”, and they’d say, “but your audience isn’t there.” How could you be worried about something that never happens? I could understand their paranoia if they had an incident that happened, but it never did.

GW At the time, the only place Suicidal played in L.A. was a pretty infamous venue, The Balboa Theater. I never went there, but I heard it was a scary place because of the neighborhood.

GEORGE Yeah, it was a scary place. I don’t remember what it looked like inside but I remember how horrible it was outside. I remember that neighborhood–it was not a good place to go. I’m sure it had something to do with [the owners] not really caring about the building as long as they got paid. A lot of the nice places didn’t want that kind of stuff going on in there. I think somebody told me it was going to be fucked up but taking it in once you actually saw it, it was like, “wow.” What could we do? We already agreed to play [laughs]. [Ed Note–The Balboa Theater was located in South Central L.A. and it sporadically booked shows with bands such as Possessed, D.R.I., Corrosion of Conformity, Hirax, Cryptic Slaughter, and others until it closed in early 1989.]

GW By the early ‘90’s Suicidal played a big show at Irvine Meadows that went fine, then you were playing L.A. regularly after that.

GEORGE It got to the point where we were selling a good number of records and making good crowds in some of these others cities. We were playing San Francisco a lot and promoters saw, “okay, we can make some money.” I guess it was a matter of finding the right venue for people to realize it wasn’t going to be a problem.

GW So how did it feel to play L.A. after all that time?

GEORGE It was nice. It was good.

GW After your first album with Suicidal, Join the Army, the band moved up to a major label with How Will I Laugh Tomorrow. When did the majors first show interest in the band?

GEORGE They were interested when we did Join the Army. Labels actually offered us a deal but they wanted us to change our name, so we put out Join the Army through Caroline. Then Epic came along but they didn’t want us to change our name. They came to our shows, they saw that we had good audiences and that we sold a lot of merchandise. Epic let us do our thing. They didn’t try to twist things one way or the other.

GW It felt like there was a big improvement from Join the Army to How Will Laugh. The songs and production were a lot stronger. Did you feel you went a step up when you signed with Epic?

GEORGE Oh definitely. Everything in every way got better. We were put on salary and we had better touring conditions.

GW Before the majors came knocking, did you feel the band could go to the next level?

GEORGE I kinda wasn’t expecting it to get where it did. I didn’t have that kind of foresight. It’s not like I didn’t think we could. I just wasn’t thinking about it. It was like climbing a ladder and it happened at a good pace. We didn’t do it too fast. We did small steps, little by little.

GW What was your favorite album you did with Suicidal, and what were your favorite guitar solos you laid down with the band?

GEORGE There’s something about Suicidal For Life… We had so much control on that record because we co-produced it and there was a lot of collaboration. Sometimes when you go back and listen to something you didn’t want to do, maybe it’s because you change your feeling about it later on, but you still remember, “I wish I did it this way.” There was none of that on that record. At the same time, now as I step away from it for a while, I look back at Lights, Camera, Revolution and that was a fun album to record. I would say those two were probably my favorites as far as the recording and the finished product. I like the “How Will I Laugh” solo. I did it at, must have been, three o’clock in the morning. I remember Mark Dodson the engineer was laying on the couch, falling asleep, with the remote next to the couch. I was all wide-awake and excited. It wasn’t that I tried a bunch of takes. I felt like trying it at that time because I felt good. “Let me try it, put that song up,” and everyone there was fading. It turned out really good. When we did The Art of Rebellion, the solo on “Nobody Hears”, I remembered doing a solo and I liked it, and Peter Collins, the producer, said, “you can do better.” “But I like this one.” I kept doing another one, another one… I liked every solo that I was doing. He would say, “Think like this, think like this…” So I tried to think what he was thinking, and I did a blend of what I was doing and what he was thinking, and it worked. At the time I was like, “ehhhh.” Then I went back and listened to it, and I liked that solo. There’s a singing aspect to it that’s cool.

GW Did you work out your solos, or did you improv them?

GEORGE They were all improv’d. I’m sure there’s a couple of solos over the years that I’ve actually worked out. Sometimes I’d think I had a take I wanted, then I’d come back the next day and give it another shot anyways, just to see if I could beat that one. It depends on how I’d feel at the time. If I felt good when I was playing, I’d get good stuff recorded. Unfortunately, you can’t always feel good, but I’d try to. I remember one time I was doing the beginning of “You Can’t Bring Me Down”. That clean part… I had a problem getting that working. I went to go play ice hockey, I came back to the studio, and it went like that. I felt great when I came back, and everything just went boom, boom, boom.

GW When Robert Trujillo came in as Suicidal’s bassist, how do you feel the band evolved with a new musical element?

GEORGE I knew Robert for a long time and I knew what he could do. At first, I was wondering if we could actually show what he could do, then when he actually started doing it, it was like, “this is perfect,” and we tried opening the door even more. It was cool and I’m glad it worked. I wasn’t thinking about it changing the band that much but it did. It was just a matter of talking him into it because he was into a whole different style of music at the time. He liked really heavy bass dance music and hard rock wasn’t quite up his alley at that point, even though he’d been in a band that played Led Zeppelin and Black Sabbath covers.

GW Were you able to do any of that with Suicidal?

GEORGE Every time I had the opportunity to play a non-barre chord I would. I still try to do a lot of chord stuff if I can squeeze it in somewhere. I still practice a lot. I still feel like there’s a lot to learn.

GW You joined the band after the first album came out, but with the Still Cyco album you were able to revisit those songs and play on them. What was that experience like for you?

GEORGE To be honest, I really wasn’t interested in doing it that much. I thought it was something that was done. It had already been stated. There were other reasons behind doing that, I can understand why, but it wasn’t something I wanted to do. [Editor’s Note – Suicidal reportedly re-recorded their first album because they weren’t getting royalties from the original recording.]

GW At the same time, do you feel if you had played on the first album you would have approached the songs the same way?

GEORGE Yeah. It would be interesting to see how I would approach it now. That would be a whole other thing right now. If you keep developing, you should be approaching the same scenarios a little differently.

GW When Seattle became the big thing in the early ‘90’s, did it affect Suicidal at all?

GEORGE Yeah, that affected us. Pearl Jam were our label-mates and, all of a sudden all Epic cared about was Pearl Jam. For the Suicidal For Life album, we were on tour with Metallica playing sheds and big crowds. People would come up after the shows and ask, “when’s the new album coming out?,” and we were like, “it’s out.” Someone wasn’t doing what they should have been doing. It should have been on all the promos for the show and there wasn’t any effort into promoting the album. I really think we could have gone a lot further. We had a lot left in us and we didn’t split up because of a lack of internal energy. We had a lot of ideas we could have explore, and we could have been influential in the coming years after with the way things shifted musically in the mainstream. We agreed to break up after that tour in ’94. The best thing we decided to do then was split up because we were still under contract with Epic and they weren’t doing anything for us. Why keep putting effort into this thing when they’re just gonna sit on their hands and not do anything? In hindsight, it would have been a good idea to go on hiatus but it didn’t even come up during the meeting.

GW Did you ever think about going back, or by that point you wanted to do something different?

GEORGE I felt like it was time to do something else, but I haven’t thought about going back much. Fishbone and Infectious Grooves played a show together and I hadn’t seen them in thirteen years. Mike’s doing his thing right now and the Suicidal that’s there is a different band. I’m not ragging on them since they’re all good players. They’ve got a great drummer. It’s just different. We played with Suicidal in L.A. too, and it was just weird being there because I hadn’t seen Suicidal play [in a long time]. Hearing it, it just seemed different. I started doing a lot of different things and I still do them. I do a lot of writing at home and recording on a computer. I did some cues on some TV shows and I’d love to do a movie. I have a whole thing of music that I haven’t gotten out and I’d like to do that. I still feel like I haven’t showed myself to the world yet, really. The package hasn’t been completely opened.

9 Comentários

Arquivado em ST for Life

9 Respostas para “Rocky George na Guitar World

  1. Marcelo Gomes

    Que loka essa entrevista hein!

    ele mesmo declarou ” não uso mais meu boné do Pirates pq o Black Gigante não deixa! ”


  2. muito, muito boa essa entrevista.
    legal saber que ele gosta do Suicidal For Life…

  3. Show de bola!

    Surpresa mesmo sobre o Suicidal for Life…

  4. Marcelo Gomes

    se for ver o PESO das guitas nesse album PQP!!!

    Tava ouvindo vixe maria!

    fazia tempos que eu não ouvia meu cd nacional do ST 4 life, to até enjoado de ouvir meus favoritos ( Controlled by hatred, How will i laugh tomorrow e o Lights )

    valeu aí Rocky por me lembrar! rs

    Puts será que ele num vai dar a entrevista aqui mesmo? o fiadamãe é peça chave e aposto que vai dar varios relatos surpreendentes pra gente entender ( mais ) sobre o universo Suicidal!

  5. Folloni

    Esse cara manda muito e o Suicidal For Life é um discaço, principalmente o lado A.

    Se fosse o Herrera na bateria seria um clássico, mas o baterista que tocou naquele disco, embora seja tecnicamente impecável, não fez um bom trabalho. O som ficou muito quebrado, o Herrera tocava retinho. Na minha opinião a bateria é um dos motivos do pessoal achar aquele disco meio estranho.

    • André Pugliesi

      Acho que foi o Jimmy De Grasso que gravou esse disco. Não curto muito o Suicidal For Life, então não vou opinar, mas nos shows que vi pela internet sempre achei que ele “polui” demais as músicas (o novo, Eric Moore, também gosta de florear), embora, realmente, tenha muita técnica.

  6. Herrera sempre foi o cara!

    Uma entrevista com ele aqui seria o certificado definitivo Iso 9001:2008 para este querido brógui.

  7. Marcelo Gomes

    Eu curto um pouco do ST4life como disse antes, mais lógico que preferia o Herrera na gravação.

    Eu acho que o Degrasso toca pra caralho!, fiadamãe mesmo! mais senti falta dos sons rapidões estilo waking dead e no som Disco’s out Mrder’s in – enfim – cheio de solo cobrindo a porrada da bateria

    André, tbm acho que o Eric zua muito, principalmente na Lost Again num show atual ( num lembro qual ) pus o cara corto a linha de bateria, meio que picotô, ah eu que sou um cara que nem gosta desse som (rs) sou chato e prefiro o Herrera perdendo a baqueta como no clipe do Waking

    • Folloni

      É o deGrasso mesmo.
      Como disse, ele é tecnicamente perfeito, mas é chato de ouvir. Aquele refrão de “No Fucking Problem” já diz tudo. Fosse “El Chicano Herrera” e nada daquelas firulas, seria tudo reto no chimbal. A música é muito boa, como quase todas daquele disco, mas fica estragada com esse batera que quis aparecer mais que o Rocky George.

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