July 21, 2025 • 56 mins
Tim Wright drummed in Primus from 1986-1988 as Primus gained a larger following in the Bay Area, and played a key role in helping advance the band's fortunes via endless practice and rehearsals and a grinding gigging schedule. Tim shares sme wild stories from that time period, the origins of his nickname, and some watershed moments from his own band, Curveball. Thanks to Tim for taking the time. Great talk!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's Josh Freaky with a couple of dump shits. Hello Primates, Nope,
(00:20):
Hello Primates, you found Primus tracks. Congratulations. Today we speak
with Tim curveball Wright, who drummed for Primus between nineteen
eighty six and nineteen eighty eight and appears on The
Sucking Song's demo. Tim manned the drums' Primus slowly gained
momentum in the Bay Area, but also started gigging throughout California.
(00:42):
We delve into that time period, his interactions with numerous
familiar names and bands, and the origins of his nickname
and his own band that has a quite colorful history.
Thanks again to Tim for speaking with us.
Speaker 2 (00:55):
And enjoy the talk back and back in those days.
Speaker 1 (01:05):
Yep, oh damn, So you screened that one. That's excellent.
Speaker 2 (01:08):
If it's one of the homemade eighties things, yep, yeah,
it's two colors. It's sure looks familiar, Yeah, it does.
It looks familiar like.
Speaker 1 (01:16):
I know that nice man that was. It's held up too.
Whoever previously owned it took good care of it. But
just like all those other T shirts in the eighties,
it's labeled as a larger, an extra larger something and
it's pretty small now.
Speaker 2 (01:33):
So I'm intrigued that you guys are fascinated by primus
early days, eighties.
Speaker 3 (01:38):
I think we are so into primordial primus. You have
no idea?
Speaker 2 (01:42):
Yeah, I don't. I don't have any idea. I mean
I have, but that's pretty cool. So you guys are
going to be the keepers of the history, like it's
all in one place. You're gonna you're gonna get it
all in one place and chronologically organized it so so
I get it the right people to like to contribute to.
That's what I think.
Speaker 1 (02:03):
Thank you, Oh thanks man. That's what we're trying to do.
Make this living document, put it out there for people.
Speaker 2 (02:09):
Did you guys reach out to me A couple of
years ago some people from Europe said, Hey, would you
like to do our podcast? I'm like, you guys don't
want to hear what I have to say. I hope
I wasn't shining you guys. Was I shining you guys?
Speaker 1 (02:20):
On?
Speaker 3 (02:20):
No?
Speaker 1 (02:20):
That wasn't us.
Speaker 2 (02:21):
Okay, cool, all right, all right, I'll let it fly.
I'll tell every I'll tell the whole thing.
Speaker 1 (02:28):
Excellent. So what we'll do is, yeah, if if your game,
we'll just throw some questions at you, and because there's
there's some history out there and maybe you can confirm
some information that we have or think we have. Let
it go, man, tell us what you know, which is
probably a lot, because you've been around You were around
the scene for a while.
Speaker 2 (02:48):
So Les and I were friends before I was in Premise,
and then we were roommates. We lived in a couple
different places, and he was starting this band Primate, and
before that well, so he lived in El Sobrani. He goes, hey, oh,
I wasn't curveball at the time. Okay, I haven'tn't quite
curveball yet. I got this drum machine when you come over.
(03:10):
I had had a Len drum, so I knew how
to use it. Sowing up with so BRONI and he
had this little four track thing gone and he was
trying to program some drum beats. So I go, yeah,
you just go like this and you put the high
head in. So I did two to five and some
other early whatever the fuck's on his drum machine. And
then so we had met from a guy I worked
(03:32):
with Trows and I worked together. Okay, yeah, this is
like nineteen eighty two or three. And then Lesson Trous
came to the came from from Elsab and less came
into the world. He was playing in a band with
these still friends of mine today Nicky Strawns and Tom
Dryde and Tommy Dryden and they were playing in this
(03:53):
band with Peter or Peter when was in and out
of it. Before there was Primus had they had a
rehearsal space at every warehouse. So Less and I became roommates.
And then Les goes, hey, you should go play with
h you should go play with Nicki blah blah blah. Okay,
So I got in this band with Nikki and then
(04:15):
Less than Primus. It was Primate and then it was
Primus shared the room, but we were roommates at the time,
and he was playing another band and Peter was in
the room and some other bean was playing with him
for a bit playing in the other band, and then
Peter was out. So there's other stories. Let's see a
couple that was probably a couple of years with Peter
(04:37):
and we would go see Primus and Peter sounded good.
He's playing They were playing Tommy the Cat and he
was playing some other cool shit. He was like eleven,
Less and I were on the porch at the house.
He goes, kerbal, how do you count this?
Speaker 1 (04:51):
What is this?
Speaker 2 (04:52):
And he's playing this crazy bass part. I go, hold,
I'll go slower. Yeah, I think that's eleven. So that's
a pretty cool. So they were doing that in the
Peter Libby era, those songs that I remember, And we
were so as roommates and playing music and being down
at the rehearsal space. You know, we're we're around each
(05:13):
other a lot. And so then hey, you want to
complay with prime as blah blah blah. Sure, so we played. Dude,
you don't know how much work we did. We rehearsed
three nights a week. We were gigging one year, we
gigged fifty shows that year. Nice and build our own
grassroots thing, and so this is part of this is
(05:36):
part of the history. So during that era, Bill Graham
had locked up on the Bay Area that scene. If
you were not one of his artists, you couldn't attract
a record deal. And we tried, and we tried, and
we made demo tapes and we shopped them and we
shove them on our own and we're not going to
get any help. So we're going to have to create
(05:56):
our own grassroots things. So we made our own flyers
and mailers, and we mailed our little demo tapes that
we recorded to all the college radio stations, and we'd
get on these tours and we would do our own
self promotion. We call the radio station, Hey, you want
to give away some primes tickets to a show or
(06:16):
coming to your town, and we'd get in the van
and we would go. We would go to La, or
we would go up north, a whole bunch of going
to LA. And now the Red Hot, Chili Peppers and
Fishbone were our peers and face no more, and none
of us had record deals, so we could we could
fill a local club and they'd come up to the
(06:39):
Bay Area and play with us. And these guys were
young and raw and like you're like, whoa these guys rip.
Look at how heavy they are there. They're loud and
fast and hard, Fishbone and fucking so fish is the drummer,
and Fishbone and Jack Irons and them and Chili's they
and we're all kind of galv and ieing our identity
(07:01):
and our sound and these songs in these earlier years,
right and faith, themore pops in, so like the Chilis
were the first one after a couple of years to
get a record deal. But of course the record didn't
do anything for like a year. It didn't do anything,
and Primus couldn't man couldn't get a record deal. So
like I remember the day Smiley walks in.
Speaker 4 (07:23):
Hey, you got to speak some help, you know, like, yeah,
well you lick these stamps and here's how you fill
out this envelope and you put this name on and
you call you make a listen, you call him next
week and blah blah blah.
Speaker 2 (07:36):
So there was a lot of tours in a van
with those bands and all these numerous shows that had
a number of things to talk about, like going to
La I didn't know who Rick Rubin was, but Smiley did, Yeah,
I gotta play this show. Now, it's a pretty big
local show. It's pretty big. It had like seven thousand kids.
(07:57):
And I don't know who Rick Reuben is or why
it's important, but we got to wait to go on
because he's not there yet. So Smiley pulls his whole
charade bla blah blah blah. That's one of the many stories.
Or here's a really really epic story one tour in LA.
We're playing a punk rock club called Al's Bar. And
(08:18):
this club is so punk rock that it has two microphones,
one for the singer and one you gotta decide is
it going on? The kick drum or the snare drum? Oh?
One fare, light bulb and then it's a Sunday matinee
with Faith No More. So I'm like, wow, this is crazy. Well,
thousands and thousands of kids are coming to this venue.
(08:39):
Right it's getting overrun in the outside. Down the block
for as far as you can.
Speaker 1 (08:45):
See, it's packed with these kids.
Speaker 2 (08:47):
Now, I'm like, wow, this is crazy heavy out, so
i gotta get some air. It's too many people in
the street. The manhole cover lifts off and fifty kid
urchins climb out of the sewer system of La. Like,
look at this, guys, you won't believe this shit. Did
you see this shit? Unbelievable? So we Primus tries to play.
(09:10):
When the fire department shows up and it's trying to
it's a fire hazard. You've got a vacery, so we're
not gonna stop. So they turned the power off to
the club. I'm like, well, I still can play, So
I'm still trying to play trials and clem are running
around trying to plug shit in, trying to find a
way to get power going again. It was like, Wow,
this is some this is out, This shit is out
(09:33):
and Pumpy after the show, So Puffy sitting backstage, and
do you guys know who that is? Mike Bordon, Mike Bordon,
Faith No More? Ye legend, Yeah, he's a legend. So
he just can sit there his hands and every finger
is taped up with his white tape is all the
way taped and his fingers were all swollen. He's just
staring in his hands while all this chaos is going
to complete chaos and Mayhem sitting there staring at his
(09:55):
fingers like I gotta play tomorrow. Fuck.
Speaker 1 (09:59):
That was where Faith No More? That was a headlining
gig for them at this place or yeah, shit.
Speaker 2 (10:05):
I don't remember, dude. It might have been low headline.
It could we were lucky to I think Faith No
More came after Primis, so I don't know who had
more draw. They didn't have a record deal. I don't think,
of course, I don't remember it. It had to be
nineteen eighty seven, wow.
Speaker 1 (10:20):
Because you guys, yeah, because less of course, in the
in the book and all the different pieces of history
talks about how he was playing to nobody essentially as primate.
But I think around around the time you joined the band. Yeah,
there you go, so he's he's playing to very few people.
When you joined the band. It seems like the some
(10:42):
momentum starts to build, but it certainly wasn't luck or anything.
You guys were working your asses off as I'm curious.
Speaker 3 (10:52):
I'm curious about the tapes. Tim. You mentioned the demo tape,
so we know that you are on Sucking Songs, which
has the Baby on the cover featuring Tommy the Kats,
Argent Baker, Temporary Face and eleven. But there's a subsequent
tape after that which has his Keeter on the artwork.
(11:13):
Do you feature on that ape as well?
Speaker 2 (11:15):
Dude, you know this history better than I do. I
can't remember, but there was like there was a Berkeley
Square show tape that popped up from somewhere and it
had all those songs. Early shit. Lauren Miller was our
sound guy. He's a bad dude. Yeah called him Dragon
(11:36):
lest did call him Dragon Breath. He's a bad dude.
And he recorded the board tapes he was one of
the best engineers ever. So there's a whole Berkeley Square
show and Lessons singing.
Speaker 1 (11:45):
Really desert.
Speaker 2 (11:49):
Shit like that. Do you know that? One? Crazy?
Speaker 1 (11:53):
Wow? So I am curious how you got into the scene,
got into the drumming and uh and you you talked
about how you met less Uh what got you into
a drumming yourself?
Speaker 2 (12:07):
I have been I started drumming at eight because I
saw Peterskin play and I became a like freaked out
and climbed up on the stage and leaned against his
kick drum. I was eight. So then he joined weather
Report and I'm I'm gonna grow up and be the
drummer and weather Report and then yeah, I've been studying
drums since I was a little little guy. So Lesson
(12:28):
I met when I was like twenty three or something,
twenty yeah, two three, something like that. So I've been playing.
I played, I was played, I had a room to
play in. That's all. Played in a lot of different
a lot of different bands and stuff. So brain. So
so let's talk about meeting those guys. So, yeah, you
know playing these shows, and this group of guys came
(12:52):
to one of the shows, and and and they all
and they introduced themselves and they all had these crazy names.
It was Brain Mervyn House. Like, you guys have weird
names too, that's crazy. So we met these guys and
hung out with them. And the first time we went
(13:13):
to one of the Limbos. So that's the Limbo Maniacs, right, Yeah,
that's where we met Brain. We went down to their
house down in the South Bay. Talk about out. It
was like a skate punk thing going on. Somebody was
riding a motocross bike through the living room and Brain
was lighting posters on the wall like on fire, Like
what's going on? These guys are really out. I like
(13:36):
these guys. They're fun. That's how we met the Limbos.
And then of course do we play? Did the Limbos
and Primus play a lot? A little? They were new,
so they were later Primus got our foothold playing with
the Chilis and Fishbone. Primarily we we've kind of that bill.
We did a lot of that, and so all right,
(13:58):
so I got another story. This story, this is the
this is a famous story. So why did they So
people say, hey, why did they call you Curveball? And
I go always go, well, that's a long story. And
then there's a weird look on their face or something.
So that story of that goes. So when Less and
I are roommates, you know, there's always like college girl
neighbors around or something like that. And so I'm taking
(14:20):
a shower and the shower curtain peels back unless it's
got like four or five of the girl's next door
standing there. He's see I told you, I tell you
it's Dick's curves. The left got a curve cock his Yeah,
I tell you, I tell you. He's freaking out. I'm like,
what is going on? Less? So of course I didn't
like that. And the more you don't like it, the
more it becomes super glue. Right, it really gets become
(14:44):
super glue about your this some nickname that Less coined.
So of course at the gig on stage, you know
we're really laid back, Less stops the show and he's
had him out. Hey curvedcag you know, why don't you
show him the curve? So the crowd starts chanting, show
them the shows the curve, shows the curve. Diamond there
here's I met a I met a I met a crux?
(15:05):
Like do I brush it off? And like turn around,
and ignore this, or am I punk rock?
Speaker 1 (15:12):
Like?
Speaker 2 (15:12):
Fuck it? So I stripped naked. Fuck it, I'm naked
or in my BBDs or some shit, and I'm playing
drums like that. So that became like a thing, and
so Less is so though this is Less's wit. He
goes the song adds or whatever the fucking he goes
rack out. It's your cag out. So the Chilis are
probably watching this, and I think they ran with that
(15:32):
whole stick for the rest of their days. Rock out
with your cockod became a redhot Chili Peppers thing. Then
they put the tube socks on their dicks. They're like
these Bay Area guys, they're fucking heavy. We gotta keep
up with these guys. That's a pretty good story.
Speaker 1 (15:47):
So we can trace uh that imagery back to you,
uh stripping down well.
Speaker 2 (15:55):
Less causing this hole? What is causing this whole scene about? Yeah,
oh so there it is. It becomes super glued, you know,
like so he pointed flap and trows and smiling and
curveball and yeah, that is the thread.
Speaker 1 (16:08):
Because we talked to Dave Libby and he said, yeah,
the you know, the more you fight it, the more
the more it sticks. To you, and and the Trough's
nickname is is well known as far as how we
applied it to Chris Quavis, who didn't appreciate it all
that much, especially the song.
Speaker 2 (16:26):
That went with it about flaps ears. Flap sears used
to stick out that's from up ship let's come, but
now left flap is cool with it.
Speaker 1 (16:33):
Yeah, yeah, nowadays we would call that body shaming.
Speaker 2 (16:37):
Yes, that's all right.
Speaker 1 (16:41):
When we we we got started here, he said that
was fascinating that we were interested in primordial primus and
eighties primus. These are some of the reasons why, because
there are so many things that are left to mystery,
and it's really great to talk to venerable gents such
as yourself who lived it, who can shed some light
on just what the hell was going on back then,
(17:02):
because details have been slim for so long and they're
just like they're just now starting to make their way
out for I guess public consumption, you know, including even
these demo tapes, like we're hearing these older or original
versions of these tunes and they're they're fascinating, you know,
forty years later or what happened?
Speaker 2 (17:24):
Okay? Cool?
Speaker 1 (17:25):
Yeah, yeah, And so there was there was always mystery
around you. And I'm talking like in the nineties when
I'm a teenager, you know, just first getting on the
internet and reading as much as I can about Primus.
This is like ninety five. There was this name Curveball,
so I didn't you know, I knew that there was
this guy named Curveball who drummed for Primus for a while.
Didn't hear a lick of him playing drums until many,
(17:48):
many years later, you know, and a lot of really
lousy quality recordings. So but but it's there, and you
had a really cool style and approach to playing with
Less that most subsequent drummers. Every The cool thing is
every drummer did something different. And so when I heard
(18:09):
your recordings with the band, I was like, damn, this
is really different and really cool. What was your do
you recall it all? Your approach to working with Less
given that he is a pretty busy bass player.
Speaker 2 (18:23):
Oh, that's a key, that's a key question, that's hat on,
that's a crazy question. So less Less comes in with
these one line. He's been working on a line, it's
been stuck in his head. So he plays this line
and we were in this rehearsal space three nights a
week and jam and some stuff. And now it's not
hard for me to think of some accompaniment or or
(18:45):
vice versa. Like I can remember trying to play like
Puffy and like Puffy was beating the shit out of
the toms and I was trying I was playing a
thing like that, and that became Sergeant Baker yeah and
blah blah blah. So these song ideas during that, you know,
like they're not completed. A song needs an intro and
a bridge and an ending, and so we you know,
(19:06):
we developed so the songs that I remember being part
of were like you like it, Sergeant Baker, frizzle, Uh,
what do you call that one? At Barrington? What do
we call that song?
Speaker 1 (19:22):
O frizzle fry?
Speaker 2 (19:22):
Yeah, tell you that one, because I'll tell you about
Barrington Groundhog's Day. Some those are the so over two
years that I remember, it was two years. I really
can't remember, you guys, but we collect we wrote these songs.
Let's doesn't finish a song, but he'll go home like
well jam and then and Todd is over in the
other side of the room like noodling on the neck
(19:45):
of his fucking guitar. He doesn't even join in, and
so me and lesktt a thing going and everybody had
a cassette player and you go home and think about
it some more. It's like Todd. It's like Todd was
playing to another band in another rehearsal room, and then
he'd come in. He'd come back with this thing. You're like,
oh wow, look at Todd.
Speaker 1 (20:05):
Go yeah, because he had some out there stuff and
it's it's fascinating to hear his approach and he he
had some really creative lines, but I agree, they sound
like they might have been for a for a different
band or a different a different song. But it works.
Speaker 2 (20:24):
Oh man, he is a unique genius. His he actually
his brain works like that. He walks through the world
like a different guy. He's a genius and a really warm, sweet,
sweet guy.
Speaker 3 (20:35):
So yeah, it is. Yeah.
Speaker 1 (20:37):
Yeah, we had a great time talk to him and
then and then of course listening to Porch, which is
pure Todd Houth. You you really understand how his mind works.
Speaker 2 (20:47):
I'd like to I'll have to go home and listen
to that. That's cool.
Speaker 1 (20:50):
Yeah, great talk with Todd.
Speaker 2 (20:52):
That's a good guy.
Speaker 1 (20:53):
Yeah for sure. Uh So it's It's interesting to know
that tunes like July Kid, Frizzle Fry and groundhow started
with you, because I don't think as far as we know, uh,
Frizzle and a Groundhog didn't make it to tape until
the Sausage demo that we know of once again, Yeah.
Speaker 2 (21:11):
And Harold of the Rocks. But it's on that Berkeley
Square thing. You guys would have heard versions of those
songs probably in eighty six or seven.
Speaker 1 (21:20):
I think those are floating around.
Speaker 2 (21:21):
Yeah, I'll send you a link. Some kids me a
link to the Berkeley Square tape. Blah blah blah.
Speaker 1 (21:28):
Oh great, yeah, like.
Speaker 2 (21:31):
Who has this tape? Where does this come from? Yeah?
Speaker 1 (21:33):
That's the other thing is where where the world did
these things surface from?
Speaker 2 (21:37):
That's always so Lauren would record with the board tape.
Speaker 5 (21:41):
Yeah, yeah, have you have you watched the Primordial Sergeant
Baker performance that is featured us an Easter Egg in
the animals should not try to act like people DVD
that came out back in two thousand and three.
Speaker 2 (21:58):
So that was recorded. My buddy had the first video camera,
like the first high dev video camera, and that was
a commotion and so he goes, hey, I'll shoot your
show for you. So he recorded that I'm wearing like
a flannel shirt and shit, and we what year was that?
That was like the first VHS machine, you guys, I'm
telling you right now. And his name is Mike Nolan,
(22:18):
Big Mike. So he and somebody the original I have
a version of that on VHS that the full show. Yeah,
oh yep, I have that and Trow's and Amy so
are crew. They're in the video on the side, like
they're running around moving people or gear and ship in
the video. And you've talked about commotion and you know
(22:42):
a little bit about that. That was the Looters, Big Cities,
co Op Community Space blah blah blah. Cool cool, cool cool.
Speaker 6 (22:51):
There's there's still going back to the tapes to him.
There's still a lot of mystery shrousing this artifact. Do
you recall how much traction they generated back in the
day when you guys were recording them and sending them
out to radio stations and selling them at shows, Like
(23:13):
how much noise did these tapes actually make back when
they were made?
Speaker 2 (23:17):
Were they actually no one ever got the video? We
didn't have the money to reduce copies of a VHS
tape I'm not sure what we like. We had to
make more money to do something.
Speaker 3 (23:27):
Oh no, no, I mean I mean the demo tapes.
Speaker 2 (23:30):
So the demo tapes.
Speaker 1 (23:31):
Yeah, well so that's see.
Speaker 2 (23:34):
Momentum is a is an invisible, mysterious thing. So you
show up and you play and you think nothing's happening.
And so here's how I see the timeline. So what
so we we kind of broke up. Blessed I and
Todd were like, our second is shit. We have killed ourselves.
It's been like eight years. Less is gone. It's like,
(23:54):
I'm just gonna quit, no more primise. I go, well,
at least keep the name of the band. So we're
all going to go our separate ways. And then Jay
played a few shows for six months, he auditioned musicians
and two months later recorded with Tim and Lure and
that sold one hundred and ten thousand. So the momentum
(24:16):
to build that had to be percolating. Now, those guys,
of course played really great and it was a great recording,
and all of that plays into it, but there had
to be momentum behind the scene. Even before I joined
the band, they had a little local following and it
was a thing already. It wasn't like we had to
start from scratch. Peter and Todd and Less had already
(24:37):
put in some work and wrote sets of songs and
got comfortable on stage and got an identity. So it's
all momentum. It all has part you know what I mean?
Speaker 3 (24:50):
What songs did you enjoy playing the most? Which songs
do you have recollection of playing a lot?
Speaker 2 (24:57):
I don't know, shit like that.
Speaker 1 (25:00):
You you certainly had a sense of groove then, for sure?
And is uh did that did you see that through
in subsequent subsequent drumming gigs? Like is that was that
kind of your signature style?
Speaker 2 (25:14):
Maybe? Maybe? Sure? Shit, I don't know.
Speaker 1 (25:20):
It's all right not to know. Uh. I didn't want
to ask because there's this great uh there was this
website in the nineties. It's still active. It's a legacy
website run by a guy named Ram who put together
a primus family tree with the help of guys like
Smiley and House and all that mess.
Speaker 2 (25:41):
It's nearly accurate. It's almost accurate. Pretty good.
Speaker 1 (25:43):
Yeah, Yeah, I was curious about that because there's a
lot of info about your your band Curveball, and a
lot of the guys that that you played with. And
they're all really familiar names like Jeff Comes and I think, uh,
I think Pete Scaturo is in there somewhere. Uh So,
(26:04):
a lot of these guys in keyho so and brain
of course, So a lot of these guys whose names
we know and who we've talked to. Uh you were
working with them. Uh So tell can you tell us
about the band Curveball?
Speaker 2 (26:17):
Okay? The short Okay, yeah, sure, I'll try to make
it short. So after primus, I'm like, I got it.
We have to do something. So I got a rehearsal
space and.
Speaker 1 (26:27):
I go kyo so key, and I was supposed to start.
Speaker 2 (26:29):
A band together. So for like a year, we go
to a rehearsal room and we just fucking drink beer
and fucking hold our dick. Nothing's happening. Come on, Brian,
so so, because nothing has happened for a year, and
I'm paying he could rent. I book a gig, I
book a gig, I go hey, we got a gig there.
All of a sudden, they get sober. Oh shit, we
(26:51):
better learn something, we better do something. So what do
we gotta call it? Brian's like, we got what are
we gonna call it this is funny. I go, how
about he came up with fatty like poma. I'm like, fine,
that's whatever. That's punk rock. And then he goes, no,
wait a minute, they'll think it's a boil on my ass,
so fucking let's call it curveball. I'm like, I don't care,
so so we do. I'm the drummer. The singer from
(27:13):
the smoking section, really talented guy, was supposed to sing,
and we're gonna play covers because that's all we could
get together. We're gonna play covers. Okay, the singer doesn't
show up to the gig, I'm like fuck and we
got a couple hundred people at the night break, so
I'm like, fuck it, I'll sing and play drums. I
didn't think it was a big deal. Some we got
(27:34):
to put on a show because people came all the
way out to see. So then the next show. So
I'm like, well, it's so much easier to get a
drummer than a singer, so I called Ja. So Jay's
like sure, So Jay comes and plays and I'm going
to sing. It's just supposed to be punk rock. It's
supposed to be funny and silly and I'm wearing a
slice stone like costume. Well, you know, things change and
(27:58):
move along. And then it's to keep busy. It's to
keep out there and playing. That's all it really was.
Then then the limbo guys got on board House and
Brain and and Adrian Isabel and percussion of super Bad Dude.
And it grows and it's kyo still and we have
(28:21):
horns and now there's thirteen members. And then I had
singers and it becomes this huge thing and it gets
better and better. It got more traction, faster, curveball grew rapidly.
It grew to the point where we played with the
rolling stones. It's no joke. Wow, ten years it was
unfucking believable singing and I'm like, I'm not the singer.
(28:43):
I'm a foot I want to play drums. So it
had a run and had killer musicians. It had Oriyan
and Gomes then ripping and Oriyan. So Oriyan is a
savant and he's a really really talented special guy. Still
one of my close friends today. That dude is special.
Do you know who Oryan is from? Fungo the bass
(29:04):
player and Fungo.
Speaker 1 (29:05):
Okay, Fungo, Yes.
Speaker 2 (29:07):
And Gomes was the drummer, so they were Curveball's rhythm
section for a couple of years after the Limbo guys,
and then came a drummer named Michael Orbano from who is.
Speaker 1 (29:19):
He eventually was Spent Poets and Spend Poets and.
Speaker 2 (29:23):
He was reported on Third Eye Blind because so I
so so that was Kerrbal did a lot of shit.
I mean, we played with Eddie Money and Boss Skags
and the Stones. We played this private party for the
Rolling Stones. They hired us to be the entertainment. I'm like, oh,
that's cool. So we played two sets. I gotta tell
you this part stuff. So we take a set break
(29:45):
at the warfield, super super security NDAs and stuff. No
one's supposed to know because the streets would get mobbed
if they knew that Rolling Stones were inside. So there's
a set break and I go up to the bar
up through the aisles of the warfield and there's Nick
Jagger sitting with his like then eighteen year old daughter
(30:05):
in the aisle and she's bumping her dad pointing at me.
There's that singer guy, that senior guy. In my head
nearly exploded. I'm like, your dad is fucking Big Jagger.
You gotta be fucking kidding. Holy shit. So we so
we play another set and then Keith Richards is standing
up against the stage with his lighter going back and forth.
(30:25):
So ron Woods jump jumps on the stage and Keith
Richards and Zig Modalist and all that. You know, they
had They had seven thousand super famous musicians at at
this show private and they were all on stage and
we jammed. We jammed until five in the morning. And
so a jam needs someone to lead it. Yeah, and
so I'm like, well, fuck, i gotta do it. I
(30:48):
gotta like tell it. I'm breaking down like ron Wood
and Wendy from Prince and stuff like that. I'm like,
this shit is way heavy. It was really a thing.
So that was one moment that was a moment, that
was a Curveball moment.
Speaker 1 (31:03):
That's that is a moment for sure.
Speaker 2 (31:05):
Oh okay, the end of the night. So I'm my
twin brother, I'm a twin he's a really great singer
and he was a singer in Curveball. There was three
or four singers. So we're standing there and the curtain
breaks open and there's Wendy Malvione with her sister Susanna
standing there a foot from me and my twin brother,
and you know who these girls are. You know who
they are. Susanna was engaged to Princeton. He wrote the
(31:30):
song nothing Compares to You about Susannah Melvion and her
twin sister, Wendy, who was the guitar player all through
the Revolution. The first Okay, I know Wendy, yes, man,
is she badass? Now I'm starstruck because it's Wendy and
they and they're not saying anything. They're standing there across
(31:50):
from my brother and I foot away at it, and
I go, so, I don't know, I'm being sarcastic. So
I go twins, and I point like we're gonna have
a twin hookup. Wendy got so mad she stormed off.
I was just walking around. I was just easing to
see if she had any sarcasm in her. But I
regret not having the moment to go, no, no, I'm not
just playing around. I admire you so much and your
(32:12):
playing in your career. But that's yeah, was the end
of that story.
Speaker 1 (32:16):
Oops, sometimes you step in it.
Speaker 2 (32:18):
Yeah yeah, yeah, yeah, yeah wow.
Speaker 1 (32:24):
So I was, of course aware of the band Curveball
and many of the members whose names were familiar to
me just from talking to people about the scene back then.
And of course, uh the success of other bands like
Spent Poets and merv and and all these guys didn't
realize you were playing private parties for the Stones and
(32:47):
opening for folks like bos Skag's, which is an eddie money,
which is freaking wild to me. So you guys, you
guys certainly had a good run there. And how long
did that run? How long did you maintain that?
Speaker 2 (32:59):
Ten years?
Speaker 1 (33:00):
Ten years?
Speaker 2 (33:00):
I did that for ten years because it kept the
lights on and the remp paid type shit while playing.
I'll tell you that the other bands. So Brain was
really good to me and a good friend of mine.
He would always like, ah, I can't do it, call Curve.
Or when Brain would leave a gig, he'd have to
go to something else. Curve get Curve to do it.
So he let's see, he got me in a band
(33:21):
with Joe Gore and Robin after him, and we played,
and Joe Gore would get so into his solo as
he fell backwards over all my drunks and then fell
to the ground. And then he got me a tour
in Europe. And then let's see what other bands. Oh,
MCM and the Monster. So he was the drummer in
MCM in the Monster, and then I became the drummer
(33:42):
in MC in the Monster. A couple of years House
and I did that. Now we've made a dope record.
You shal guys should get that record. Super good Convertible Turtle.
I like that record.
Speaker 1 (33:52):
I know the name. Yeah, I haven't hunted that one
down yet. Thank you for that reminder.
Speaker 2 (33:57):
That record's good. It slams, it's like pop punk. It's
it's the original pop punk thing.
Speaker 1 (34:04):
Oh nice. Uh, I didn't know that Brain was that you?
That you and Brain were so hooked in like that.
That's great.
Speaker 2 (34:13):
He's a dude. He's my friend. So we were peers
and friends and we play together like with Jay, you know,
in the community. We're hang and we play on the
same show and we go to clubs and look at
other shows the night. So how did the limbo manias
come about? Like so someone goes like Smiley, Hey, this
band from DC's coming. They're playing this shit called Go Go.
(34:33):
We got to go to the ibeam and scene him
and we all, you know, we move as a Posse
and they played Trouble Funk played, and again our heads
came completely off. And the Limbos went and put a
go go band together and they called it the Limbomaniacs,
and so that was the start of that. But so
we're all really old friends. Like Brain used to give
(34:56):
me clothes and drums. I got brains snare drunk. We
were young kids, and you know he'd like to skate
like one Brain story. So Primus, when they Primus got
back together with with Tim and the band, they went
and played in New York City at the New Music Seminars.
So we all just let's go to New York. So
the whole posse, Me and Clem and Rock and Trows
(35:16):
and all of us go and support Primus because still
Primus was new and didn't have a caroline. They had
a little bitty deal and Brain and the Limbo guys
were there. We walked through Manhattan for an entire day,
from one end to the other, and Brain wanted to
go in every leather shop. We gotta go find a leather,
I gotta get a leather g string. We gotta go
(35:37):
in here. I heard so this is a leather We
went in a leather bar and the strippers are dancing
on the bar bridge. Where how do I got a
leather g stream? Let's go on shit like that. The
brain story. You wanted to be Baby He wanted to
be Baby Snakes. You know the Zappa record with Bozio
playing the solos in this little That's what he wanted
(35:58):
to be.
Speaker 1 (35:59):
Hey that uh the uh that's great, that's that's that
seems like a brain thing. Uh, based on when we've
talked to him and just some of his uh, some of.
Speaker 2 (36:13):
His antics and Bucket showed up on the scene. He
Bucket was a big Curveball fan because like he loved
Michael Jackson and we used to do I could sing
Michael Jackson. It sounded like Michael Jackson.
Speaker 1 (36:26):
Dang, yeah you were playing. You guys were playing a
lot of funk in R and B.
Speaker 2 (36:29):
Right, yep, all the funk. And I think this inspiration lesson.
I used to talk, let's do a cover band and
play Aisley Brothers songs. Well I went and did it,
you know, because well, gotta do something, got it? Well,
let's so yeah. I then we played James Brown and
the earth Wind in fire and blah blah blah, blah blah.
But I see I could sing like the Jackson five
(36:50):
and that was a big deal. People like their eyes
popped out. Wow, that sounds like Michael Jackson. So bucket
was he was in awe he was. He was a
young guy. Wasn't bucket they had the Deli creeps. He
wasn't really buckethead. He was a young guy, was hanging out,
wanted to hang out and see us guys. Is so
humble and nice, super nice guy.
Speaker 1 (37:09):
Wow. You you've you have said so many great and
unfamiliar names and this and this is it, Like, this
is why I'm so interested at this time because in
nineteen eighty seven, you know, I don't know if there
was any expectation that anybody was actually going to go
anywhere and make a true career out of you know,
(37:32):
music and performance. But you know, you guys were all
young and had boundless energy, and you were going for
it regardless.
Speaker 2 (37:39):
It seemed well there you go, yeah, yeah, you keep
you keep plowing ahead, and then you never know what
could happen, you know what I mean? You never know.
No one knew that Primus would still be relevant forty
years later. You know what I'm saying, Yeah, what if
What if the band was Poison or Quiet Riot and
it was some hair band and it meant everything in
the eighties and now today you're like, ooh, that's kind
(38:02):
of like, I'm glad I'm not related to Poison. I'm saying, I.
Speaker 1 (38:07):
Don't think I'd be doing a Poison podcast if that
were the case.
Speaker 3 (38:10):
Right, Yeah, right, Tim, I was wondering, what is your
opinion about the sausage record riddles are about tonight, which
are essentially re recordings of many songs that you used
to perform when you were in Primus.
Speaker 2 (38:28):
Was that with Tim playing them?
Speaker 3 (38:29):
No, that was with Jay Lane. I'm taught who. It
came out in nineteen ninety four.
Speaker 2 (38:34):
I never heard it. I never listened to it. Really, Yeah,
we share.
Speaker 3 (38:39):
It would be quite a revelation if you heard it.
Speaker 2 (38:41):
Yeah, Jay's the dude.
Speaker 3 (38:43):
Jay is the fucking dude.
Speaker 2 (38:45):
He's another that's a loyal friend. He's a good dude
to me. He's always like super cool. So Jay was
next door is down the hall in this rehearsal room,
and he'd come over and he would show me how
to Hey, I'm playing this Peterson check this out or
seven to seven? Jay showed me how to play seven
seven seven ninety three eleven.
Speaker 1 (39:01):
I'm like, that's wow.
Speaker 2 (39:03):
So yeah, so we all came up together. We grew
up together and supported. The cool thing is there wasn't
weird competition, you know, we all supported each other. There
was no like, hey, I'm better than top Brain or Peter, no,
none of that. We're like, oh, man, that sounds cool.
That sounds great. I like the way you did that.
And so we could all hang and support each other
(39:25):
and share gigs. Man, we share a gig.
Speaker 3 (39:28):
That's really that's really amazing that Jay taught you how
to play that, because he's still doing that nowadays.
Speaker 2 (39:35):
I'm still doing it. I still try to do It's hard.
He showed me the subtleties to seven seven. He goes,
check this, Kirk, check this out.
Speaker 1 (39:45):
And that's still a barometer for for Less. I don't
know if you saw the drum audition videos, but there
were a couple of guys that busted out seven seven seven.
Speaker 2 (39:54):
I like that guy. He's a good drummer.
Speaker 1 (39:56):
I was.
Speaker 2 (39:56):
I was thinking I'd like to see him in Primus
that what's his name, grooveman.
Speaker 1 (40:00):
Oh Grosman. Yes, he was amazing.
Speaker 2 (40:02):
He's good. I really like him.
Speaker 1 (40:04):
Yeah, he was great. That was that episode was hilarious too.
Uh Yeah, that guy can play. Oh my gosh, he's cool.
Speaker 2 (40:14):
Uh.
Speaker 1 (40:14):
So So the this, the that feeling of camaraderie and
that sense of community, uh, certainly comes to life when
you're telling these stories. But also in the the cross
pollination because there were so many different bands, so many
lineups Leftwitz told us about all the rent bands that
the Limbos had. You know, they're playing under different names
(40:36):
at all the same clubs so they can actually play.
Speaker 2 (40:39):
Uh.
Speaker 1 (40:40):
And you know, then there's all these goofball things like
turd Boy that I'm still somewhat unclear on, but there's
there are just all these great, great names uh to
these acts, and it's uh, you know, it's kind of
like a grab bag from all these names just getting
together and doing something fun.
Speaker 2 (40:59):
Uh.
Speaker 1 (40:59):
And I I think that is if I was going
to distill it down to something, it does seem like
it was the camaraderie and the creativity that really made
that a burgeoning scene in the eighties and sent a
bunch of record executives there looking for talent.
Speaker 2 (41:16):
I suppose, Yeah, it was probably a scene like no other.
It really was the most fertile because everybody in another
band would come to Yurgig and support your band just
to see what you were doing, and so the clubs
were half full of other musicians. It was really a supportive,
unbelievable music scene. It was really really great, and it.
Speaker 1 (41:33):
Seemed like you guys also were able to move between
groups and genres and what have you really really well,
especially in Primus, but certainly the Limbos and all those guys.
It seems like you could because you could open for
Fishbone and the Peppers, but you, I know, Primus opened
(41:55):
for a lot of thrash bands every once in a while,
and you know, you guys were able to really move
in between scenes, and I think that helped create the diverse.
Following that, a lot of you guys picked up.
Speaker 2 (42:09):
That's probably a good point. I hadn't thought of that.
That's probably very true. But like it used to blow
my mind that they're that they're thrashing to primise. I'm like,
that's dope, because that was a new idea. This guy,
I know, he takes responsibility for teaching people how to
mash in a circle, go in a circcause we would
tell them they're all banging ends. Go on a fucking circle,
you dumb idiot clowns. Go in a circle, You're going
(42:30):
going to bash each other. So this whole idea, man,
because Fishbone could fucking stage dive in mash. They really ripped.
This guy's fucking ripped. So thrash, you know the whole
Do you know that the Bay Area is given they
are given the credit for this genre called thrash because
(42:50):
and there's a really cool documentary on.
Speaker 1 (42:52):
YouTube about it where we have.
Speaker 2 (42:55):
The Barrier invented thrash, metal, thrash funk, and these terms
were coined by a music editor from our paper, like
if you were had to show it had the the
Sunday paper had this music section, so this guy he
would They kind of coined it and we all blended together.
So there's this really cool idea about the Bay Area
was harder, louder, faster, tougher, and the metal guys are
(43:19):
talking about no posers, no no niss's and ship like that.
They get they'd get thrasher if you had weird hair,
if you had fucking hairspray and getting thrashed. That's what.
Speaker 1 (43:29):
Yeah, the Area I remember seeing that in Murder in
the front Row that they even like. The Bay Area
Thrashers got Slayer to take their makeup off because Slayer
just come up from LA and they were kind of
dipping into the glam side of things, and all the
leather jacket guys at Ruthie's turned their backs on Slayer
(43:49):
and then they.
Speaker 2 (43:50):
Wow, that's right there. You go, Yeah, that's really good.
Speaker 1 (43:57):
Yeah, and you've you've tossed out a bunch of venues
that are long gone but certainly legendary and in primus
and Bay Area history. The you know, the I Beam,
the Night Break, the Gosh, Berkeley Square, mabou Hay Gardens
comes up every once in a while, so I know
the names. Obviously never got to go to shows there.
(44:18):
But is it was it as sweaty as it as
it was as it's been told to us over the years.
Speaker 2 (44:26):
Oh really, Now, how many punk rock clubs you've been in?
It smells like old beer and vomit and stuff and
we and cigarette smoked. So yeah, that's a punk rock club.
You know, it fits three hundred in there or something
like that.
Speaker 1 (44:40):
Yeah, So you were living in those for for a while,
essentially playing in somebody kles a year.
Speaker 2 (44:46):
Bro, that's a lot of going at like every night.
So let me tell you about how like the the
night like what Herald of the Rocks or so I
was there like finally trousing them show back up where
the fox Trow's been. He's got this guy green sleeves
and they're in my house like we're hanging out and
sun tanning on the roof. And then Less writes a
(45:08):
song about it about Old of the Rocks. You're like, wow, okay.
Or Barrington Man Barrington is a deep that's a deep
one acid parties bruh. That was acid punch. So in
the basement. So Barrington was this co op at UC Berkeley,
and it looked like a New York City subway thing.
It was graffitied out because they let all the homeless
(45:31):
and weirdos and freaks stay there. There was no like security,
so right, it was like, oh wow, this is like
being in a New York subway crazy town. And there
were and then and you don't know what you're walking into.
We just know that they have these gigs. We're gonna
play in the basement for their punch parties. So I
mean we yeah, sure, we so we were not afraid
(45:52):
of acid or mushrooms or do some stuff like that,
so we don't shy away from that. So we go
there and we're wandering around the whole and these people
are melting on acid and giffing states. One guy's wearing
a psych uniform, like all orange jumpsuit and he has
a ferret running around inside his suit and he's talking
(46:13):
to himself, and it's just it's super packed and crowded
with freaks. So you go play. You get on stairs
and they're serving punch. I probably had the punch, sure,
and then we start playing and the freaks. So acid
is different kinds of acids. So these guys were a
little on the dark side, and they were like melting
(46:34):
and they're trying to come up on stage and take
our instruments from us, and they're going like and they're
telling Todd, no, it's okay, I got this, trying to
pull the guitar out of his hands and shit, and
Trous is like freaking mister bouncing two guys off one
side and three more come on the other side. He's
going bananas, try to keep the freaks off stage. So
(46:54):
we're just trying to play a set and then I
think kids died that night. There was and that was
the end of Barrington because people for whatever reason, I
don't know exactly what happened, and so that but the scene,
so trying to capture the vibe it was. I've described
it as it's like it's like a homeless encampment under
the freeway kind of vibe. You know, everyone was freaking
(47:17):
out in a in a unique dark kind of dark
and scary, mildly scary. It was out. We had to
get the fuck out of there. It's time to go.
We got to load up and get out. Let's go,
Less writes a badass. Less is how witty is Less?
He should write books. That guy has got conturn a phrase,
so he writes, he recaptures that and that's all him.
(47:40):
He came up with all that shit. But musially, I
don't know if we I don't know if we wrote,
if we jammed it and then he put those lyrics
to it, or he came in. Usually yeah, usually we
jammed something and he would put his lyrics to it.
Speaker 1 (47:54):
Okay, Yeah, So it started with the music and then
he's he's adapting lyrics to the music.
Speaker 2 (48:02):
It is Yeah, there's some bassline he's about this week
and developing some technique thing, and then we jam it,
we flesh it out more, give it a bridge, and
then he writes and glue. He writes a whole lyrically
song around it. Pretty good, pretty good about it, Pretty good,
think about Tommy the Cat. So that happened early, that
(48:24):
was before me with Peter. Do you know how difficult
it is to play that line that Austinado on the
base and talk freely. Ye, try, try to play and
have a conversation. It's nearly impossible. So so to divide that,
I'm always impressed by that. Divide your brain in that
(48:45):
kind of way is a real, real unique skill. And
he was doing that early.
Speaker 1 (48:50):
Yeah, Yeah, and it was at it was at a
slower pace than as was recorded on Sailing the Ceazy Cheese,
but got to be hard as hell no matter what
tempo you're playing that app because you have to, as
you said, you have to concentrate on the bass part
and your free verse, your free verse reciting pros.
Speaker 2 (49:11):
Yeah, it's a real that's a unique thing. And when
he did that, I watched Peter and then play it.
I'm like, wow, that is something else that's pretty good,
Like who plays one the way he plays everyone who
tries to play like that? His cuticles used to be
all split up because he thrusts the top of his
fingernails across the strings and then he'd be, ah, my
(49:32):
fucking figure, my cuticles are all bleeding and shit. But
that's that's the thing, Tommy. The kat was a thing?
Speaker 1 (49:37):
Yeah, was that one of Was that a fan favorite
at the time? Was that one that guys some notoriety?
Speaker 2 (49:44):
Are you kidding? Everything? Was a fan favorite? Or we
made it that one? No, I don't have any idea.
Speaker 3 (49:51):
Oh, tim this might be a very long shot. But
do the man with the pinstripe suit, then Arch of
the Leper cons ring any bales for you?
Speaker 2 (50:02):
I don't remember. Truth is, I don't remember. Was March
of the Leper consum early shit?
Speaker 3 (50:06):
Or was that after early very early?
Speaker 2 (50:09):
Was it on his little demo tape that he made
in his house on the Ford Track.
Speaker 3 (50:14):
It might have been, but it's not on the first tape.
Based on our timeline, what we speculate is that it
might have been on a tape that came out in
between the first one from eighty four and Welcome to
this world in eighty five.
Speaker 2 (50:33):
Should I we didn't play it. We did not play
those songs. He parked those.
Speaker 1 (50:41):
That's all right, Todd has him, We know that. Yeah,
one of these days, Frank, he's going to break into
his attic one of these days.
Speaker 2 (50:50):
Yeah, Todd's addic. Yeah, okay, and see what he's got. Yeah,
Todd's an out guy. He's like, I don't know.
Speaker 1 (51:02):
So in twenty twenty five, you know, being so far
removed from this in a time sense, what are some
of your takeaways of that era in the eighties and
moving into the nineties. Clearly lifelong friendships and just rewarding
experiences and some wild experiences. But what are some of
(51:25):
your takeaways that we're building blocks for your life, do
you think?
Speaker 2 (51:29):
Well, so, one takeaway is you never know what is
going to lead to anywhere, so just show up and
do it, throw it on the wall, get behind it,
and don't like the number of guys broke up and
started bands over and over again. They work really hard
and then they quit and they start again. But Primus
has kept it going and built this legacy attraction. Like
(51:52):
one example of just try and shit was was Third
Eye Blind So I get a phone call from a
friend of mine who's a record producer. He says, Kurt,
will you do me a favorite? I got this guy.
I promise i'd help him out. He's got this demo
and can you record some demos with him? And stuff
like that. I go, okay, because this guy's a heavy,
(52:13):
cool guy. So I go meet this dude and he's
got this cassette tape of these fucking songs that sound
like Simon and Garfunkel. It's like airy acoustic guitar shite.
It's just shite. And so I meet in the rehearsal
room and these guys suck. So I go tell you
what all you gotta gotta go. I'm bringing in my
(52:34):
bass player Oryan, and I go, Oryan got we gotta
harden this guy up, turn your shit up maximum. I'm
gonna play as hard as I can. So the guy
has to keep up on the microphone. He's barely ever
held a microphone. Steven Jenkins doesn't know what to do
standing there, So we tuned him up and put on
some We put on some showcases for labels and stuff
(52:56):
like that, and that became Third Eye Blind finished his
songs taught him out a hold a microphone, did the
showcases and look at the debut of Third ay Onne
and the drummer was my friend who played in curveball
at the time. And now this guy, Stephen was a
curveball fan. He was a Primus fan, a Barry guy.
He's around all the time. So there there's just one
(53:16):
example on his debut record. What did that sell? Fucking
a Oh.
Speaker 1 (53:21):
Yeah, that sold a lot. To further that, if I
recall correctly, semi charm kind of life. That there's semi
charm life. That the big tune from that record. The
lyrics were inspired by his experience with his friends doing
method a Primis show.
Speaker 2 (53:37):
Is that right? I never got I'll have to check
that out. I listened to the lyrics closer. I never
even listened to it. I used to play that shit.
We had to turn those into songs. They weren't songs.
They were fucking Simon and Garfunkel. So Ryan, that's a
Ryan again and his genius. He's a bad dude.
Speaker 1 (53:55):
Yeah, just showing up. I appreciate that sentiment because if
you don't, nothing's gonna happen. And so do you still
keep up with a lot of those guys I imagine.
Speaker 2 (54:06):
Well, sure, I mean we kind of grew up. It's
not like we hang We don't hang out and have
dinner together, but we grew up together. So there's a
camaraderie like a family type. Shit like flap and troughs
and less, and we grew up together. So you cut
your teeth. You know, we were young people learning who
we are, what we're about inston. If you after you
(54:27):
were on stage and all these fucking shows you experience,
we experienced a lot of shit out on the streets.
So you shared a lot of experiences like whoa did
you get out of that one alive?
Speaker 4 (54:41):
Ah?
Speaker 1 (54:41):
Man?
Speaker 2 (54:42):
Oh yeah, there's stories too many.
Speaker 1 (54:44):
Yeah, that's a So it's it's can As far as
the connection I can make is you know, seeing my
old college buddies and we just pick up right where
we left off, as if twenty years haven't gone by.
Speaker 2 (54:57):
I think it feels like that.
Speaker 1 (54:58):
Yeah, yeah, that's excellent.
Speaker 3 (55:02):
I just want to say Tim, thank you so much
for making time for us for this chat. It was
really fascinating and it's really incredible to finally speak with
primus history in the flesh, which is you.
Speaker 2 (55:18):
Right on now We're going to rely on you guys.
Now you're the curators, so you know, you keep your
gluing it all together. There's going to be a premise
museum or something in Frankie's house. He's going to have.
Speaker 1 (55:28):
Yes, Yes, he's working on it. He's actively working on
it right now. The drywall goes up tomorrow, I think. Man, Yeah, Tim,
really cool to speak with you. Thank you for being game.
It's it's always great to talk to anybody who is
who has been in and around Primus. And of course
(55:51):
you played a pivotal role in the band gaining traction
and you know, get moving along on its way, and
you know, if you weren't a part of it, I
might not know who they are at this point. So
thanks man, Thank you bro.
Speaker 2 (56:07):
That's a nice thing to say, right on Frankie. Nice
meeting YouTube, Sir,
It's Josh Freaky with a couple of dump shits. Hello Primates, Nope,
(00:20):
Hello Primates, you found Primus tracks. Congratulations. Today we speak
with Tim curveball Wright, who drummed for Primus between nineteen
eighty six and nineteen eighty eight and appears on The
Sucking Song's demo. Tim manned the drums' Primus slowly gained
momentum in the Bay Area, but also started gigging throughout California.
(00:42):
We delve into that time period, his interactions with numerous
familiar names and bands, and the origins of his nickname
and his own band that has a quite colorful history.
Thanks again to Tim for speaking with us.
Speaker 2 (00:55):
And enjoy the talk back and back in those days.
Speaker 1 (01:05):
Yep, oh damn, So you screened that one. That's excellent.
Speaker 2 (01:08):
If it's one of the homemade eighties things, yep, yeah,
it's two colors. It's sure looks familiar, Yeah, it does.
It looks familiar like.
Speaker 1 (01:16):
I know that nice man that was. It's held up too.
Whoever previously owned it took good care of it. But
just like all those other T shirts in the eighties,
it's labeled as a larger, an extra larger something and
it's pretty small now.
Speaker 2 (01:33):
So I'm intrigued that you guys are fascinated by primus
early days, eighties.
Speaker 3 (01:38):
I think we are so into primordial primus. You have
no idea?
Speaker 2 (01:42):
Yeah, I don't. I don't have any idea. I mean
I have, but that's pretty cool. So you guys are
going to be the keepers of the history, like it's
all in one place. You're gonna you're gonna get it
all in one place and chronologically organized it so so
I get it the right people to like to contribute to.
That's what I think.
Speaker 1 (02:03):
Thank you, Oh thanks man. That's what we're trying to do.
Make this living document, put it out there for people.
Speaker 2 (02:09):
Did you guys reach out to me A couple of
years ago some people from Europe said, Hey, would you
like to do our podcast? I'm like, you guys don't
want to hear what I have to say. I hope
I wasn't shining you guys. Was I shining you guys?
Speaker 1 (02:20):
On?
Speaker 3 (02:20):
No?
Speaker 1 (02:20):
That wasn't us.
Speaker 2 (02:21):
Okay, cool, all right, all right, I'll let it fly.
I'll tell every I'll tell the whole thing.
Speaker 1 (02:28):
Excellent. So what we'll do is, yeah, if if your game,
we'll just throw some questions at you, and because there's
there's some history out there and maybe you can confirm
some information that we have or think we have. Let
it go, man, tell us what you know, which is
probably a lot, because you've been around You were around
the scene for a while.
Speaker 2 (02:48):
So Les and I were friends before I was in Premise,
and then we were roommates. We lived in a couple
different places, and he was starting this band Primate, and
before that well, so he lived in El Sobrani. He goes, hey, oh,
I wasn't curveball at the time. Okay, I haven'tn't quite
curveball yet. I got this drum machine when you come over.
(03:10):
I had had a Len drum, so I knew how
to use it. Sowing up with so BRONI and he
had this little four track thing gone and he was
trying to program some drum beats. So I go, yeah,
you just go like this and you put the high
head in. So I did two to five and some
other early whatever the fuck's on his drum machine. And
then so we had met from a guy I worked
(03:32):
with Trows and I worked together. Okay, yeah, this is
like nineteen eighty two or three. And then Lesson Trous
came to the came from from Elsab and less came
into the world. He was playing in a band with
these still friends of mine today Nicky Strawns and Tom
Dryde and Tommy Dryden and they were playing in this
(03:53):
band with Peter or Peter when was in and out
of it. Before there was Primus had they had a
rehearsal space at every warehouse. So Less and I became roommates.
And then Les goes, hey, you should go play with
h you should go play with Nicki blah blah blah. Okay,
So I got in this band with Nikki and then
(04:15):
Less than Primus. It was Primate and then it was
Primus shared the room, but we were roommates at the time,
and he was playing another band and Peter was in
the room and some other bean was playing with him
for a bit playing in the other band, and then
Peter was out. So there's other stories. Let's see a
couple that was probably a couple of years with Peter
(04:37):
and we would go see Primus and Peter sounded good.
He's playing They were playing Tommy the Cat and he
was playing some other cool shit. He was like eleven,
Less and I were on the porch at the house.
He goes, kerbal, how do you count this?
Speaker 1 (04:51):
What is this?
Speaker 2 (04:52):
And he's playing this crazy bass part. I go, hold,
I'll go slower. Yeah, I think that's eleven. So that's
a pretty cool. So they were doing that in the
Peter Libby era, those songs that I remember, And we
were so as roommates and playing music and being down
at the rehearsal space. You know, we're we're around each
(05:13):
other a lot. And so then hey, you want to
complay with prime as blah blah blah. Sure, so we played. Dude,
you don't know how much work we did. We rehearsed
three nights a week. We were gigging one year, we
gigged fifty shows that year. Nice and build our own
grassroots thing, and so this is part of this is
(05:36):
part of the history. So during that era, Bill Graham
had locked up on the Bay Area that scene. If
you were not one of his artists, you couldn't attract
a record deal. And we tried, and we tried, and
we made demo tapes and we shopped them and we
shove them on our own and we're not going to
get any help. So we're going to have to create
(05:56):
our own grassroots things. So we made our own flyers
and mailers, and we mailed our little demo tapes that
we recorded to all the college radio stations, and we'd
get on these tours and we would do our own
self promotion. We call the radio station, Hey, you want
to give away some primes tickets to a show or
(06:16):
coming to your town, and we'd get in the van
and we would go. We would go to La, or
we would go up north, a whole bunch of going
to LA. And now the Red Hot, Chili Peppers and
Fishbone were our peers and face no more, and none
of us had record deals, so we could we could
fill a local club and they'd come up to the
(06:39):
Bay Area and play with us. And these guys were
young and raw and like you're like, whoa these guys rip.
Look at how heavy they are there. They're loud and
fast and hard, Fishbone and fucking so fish is the drummer,
and Fishbone and Jack Irons and them and Chili's they
and we're all kind of galv and ieing our identity
(07:01):
and our sound and these songs in these earlier years,
right and faith, themore pops in, so like the Chilis
were the first one after a couple of years to
get a record deal. But of course the record didn't
do anything for like a year. It didn't do anything,
and Primus couldn't man couldn't get a record deal. So
like I remember the day Smiley walks in.
Speaker 4 (07:23):
Hey, you got to speak some help, you know, like, yeah,
well you lick these stamps and here's how you fill
out this envelope and you put this name on and
you call you make a listen, you call him next
week and blah blah blah.
Speaker 2 (07:36):
So there was a lot of tours in a van
with those bands and all these numerous shows that had
a number of things to talk about, like going to
La I didn't know who Rick Rubin was, but Smiley did, Yeah,
I gotta play this show. Now, it's a pretty big
local show. It's pretty big. It had like seven thousand kids.
(07:57):
And I don't know who Rick Reuben is or why
it's important, but we got to wait to go on
because he's not there yet. So Smiley pulls his whole
charade bla blah blah blah. That's one of the many stories.
Or here's a really really epic story one tour in LA.
We're playing a punk rock club called Al's Bar. And
(08:18):
this club is so punk rock that it has two microphones,
one for the singer and one you gotta decide is
it going on? The kick drum or the snare drum? Oh?
One fare, light bulb and then it's a Sunday matinee
with Faith No More. So I'm like, wow, this is crazy. Well,
thousands and thousands of kids are coming to this venue.
(08:39):
Right it's getting overrun in the outside. Down the block
for as far as you can.
Speaker 1 (08:45):
See, it's packed with these kids.
Speaker 2 (08:47):
Now, I'm like, wow, this is crazy heavy out, so
i gotta get some air. It's too many people in
the street. The manhole cover lifts off and fifty kid
urchins climb out of the sewer system of La. Like,
look at this, guys, you won't believe this shit. Did
you see this shit? Unbelievable? So we Primus tries to play.
(09:10):
When the fire department shows up and it's trying to
it's a fire hazard. You've got a vacery, so we're
not gonna stop. So they turned the power off to
the club. I'm like, well, I still can play, So
I'm still trying to play trials and clem are running
around trying to plug shit in, trying to find a
way to get power going again. It was like, Wow,
this is some this is out, This shit is out
(09:33):
and Pumpy after the show, So Puffy sitting backstage, and
do you guys know who that is? Mike Bordon, Mike Bordon,
Faith No More? Ye legend, Yeah, he's a legend. So
he just can sit there his hands and every finger
is taped up with his white tape is all the
way taped and his fingers were all swollen. He's just
staring in his hands while all this chaos is going
to complete chaos and Mayhem sitting there staring at his
(09:55):
fingers like I gotta play tomorrow. Fuck.
Speaker 1 (09:59):
That was where Faith No More? That was a headlining
gig for them at this place or yeah, shit.
Speaker 2 (10:05):
I don't remember, dude. It might have been low headline.
It could we were lucky to I think Faith No
More came after Primis, so I don't know who had
more draw. They didn't have a record deal. I don't think,
of course, I don't remember it. It had to be
nineteen eighty seven, wow.
Speaker 1 (10:20):
Because you guys, yeah, because less of course, in the
in the book and all the different pieces of history
talks about how he was playing to nobody essentially as primate.
But I think around around the time you joined the band. Yeah,
there you go, so he's he's playing to very few people.
When you joined the band. It seems like the some
(10:42):
momentum starts to build, but it certainly wasn't luck or anything.
You guys were working your asses off as I'm curious.
Speaker 3 (10:52):
I'm curious about the tapes. Tim. You mentioned the demo tape,
so we know that you are on Sucking Songs, which
has the Baby on the cover featuring Tommy the Kats,
Argent Baker, Temporary Face and eleven. But there's a subsequent
tape after that which has his Keeter on the artwork.
(11:13):
Do you feature on that ape as well?
Speaker 2 (11:15):
Dude, you know this history better than I do. I
can't remember, but there was like there was a Berkeley
Square show tape that popped up from somewhere and it
had all those songs. Early shit. Lauren Miller was our
sound guy. He's a bad dude. Yeah called him Dragon
(11:36):
lest did call him Dragon Breath. He's a bad dude.
And he recorded the board tapes he was one of
the best engineers ever. So there's a whole Berkeley Square
show and Lessons singing.
Speaker 1 (11:45):
Really desert.
Speaker 2 (11:49):
Shit like that. Do you know that? One? Crazy?
Speaker 1 (11:53):
Wow? So I am curious how you got into the scene,
got into the drumming and uh and you you talked
about how you met less Uh what got you into
a drumming yourself?
Speaker 2 (12:07):
I have been I started drumming at eight because I
saw Peterskin play and I became a like freaked out
and climbed up on the stage and leaned against his
kick drum. I was eight. So then he joined weather
Report and I'm I'm gonna grow up and be the
drummer and weather Report and then yeah, I've been studying
drums since I was a little little guy. So Lesson
(12:28):
I met when I was like twenty three or something,
twenty yeah, two three, something like that. So I've been playing.
I played, I was played, I had a room to
play in. That's all. Played in a lot of different
a lot of different bands and stuff. So brain. So
so let's talk about meeting those guys. So, yeah, you
know playing these shows, and this group of guys came
(12:52):
to one of the shows, and and and they all
and they introduced themselves and they all had these crazy names.
It was Brain Mervyn House. Like, you guys have weird
names too, that's crazy. So we met these guys and
hung out with them. And the first time we went
(13:13):
to one of the Limbos. So that's the Limbo Maniacs, right, Yeah,
that's where we met Brain. We went down to their
house down in the South Bay. Talk about out. It
was like a skate punk thing going on. Somebody was
riding a motocross bike through the living room and Brain
was lighting posters on the wall like on fire, Like
what's going on? These guys are really out. I like
(13:36):
these guys. They're fun. That's how we met the Limbos.
And then of course do we play? Did the Limbos
and Primus play a lot? A little? They were new,
so they were later Primus got our foothold playing with
the Chilis and Fishbone. Primarily we we've kind of that bill.
We did a lot of that, and so all right,
(13:58):
so I got another story. This story, this is the
this is a famous story. So why did they So
people say, hey, why did they call you Curveball? And
I go always go, well, that's a long story. And
then there's a weird look on their face or something.
So that story of that goes. So when Less and
I are roommates, you know, there's always like college girl
neighbors around or something like that. And so I'm taking
(14:20):
a shower and the shower curtain peels back unless it's
got like four or five of the girl's next door
standing there. He's see I told you, I tell you
it's Dick's curves. The left got a curve cock his Yeah,
I tell you, I tell you. He's freaking out. I'm like,
what is going on? Less? So of course I didn't
like that. And the more you don't like it, the
more it becomes super glue. Right, it really gets become
(14:44):
super glue about your this some nickname that Less coined.
So of course at the gig on stage, you know
we're really laid back, Less stops the show and he's
had him out. Hey curvedcag you know, why don't you
show him the curve? So the crowd starts chanting, show
them the shows the curve, shows the curve. Diamond there
here's I met a I met a I met a crux?
(15:05):
Like do I brush it off? And like turn around,
and ignore this, or am I punk rock?
Speaker 1 (15:12):
Like?
Speaker 2 (15:12):
Fuck it? So I stripped naked. Fuck it, I'm naked
or in my BBDs or some shit, and I'm playing
drums like that. So that became like a thing, and
so Less is so though this is Less's wit. He
goes the song adds or whatever the fucking he goes
rack out. It's your cag out. So the Chilis are
probably watching this, and I think they ran with that
(15:32):
whole stick for the rest of their days. Rock out
with your cockod became a redhot Chili Peppers thing. Then
they put the tube socks on their dicks. They're like
these Bay Area guys, they're fucking heavy. We gotta keep
up with these guys. That's a pretty good story.
Speaker 1 (15:47):
So we can trace uh that imagery back to you,
uh stripping down well.
Speaker 2 (15:55):
Less causing this hole? What is causing this whole scene about? Yeah,
oh so there it is. It becomes super glued, you know,
like so he pointed flap and trows and smiling and
curveball and yeah, that is the thread.
Speaker 1 (16:08):
Because we talked to Dave Libby and he said, yeah,
the you know, the more you fight it, the more
the more it sticks. To you, and and the Trough's
nickname is is well known as far as how we
applied it to Chris Quavis, who didn't appreciate it all
that much, especially the song.
Speaker 2 (16:26):
That went with it about flaps ears. Flap sears used
to stick out that's from up ship let's come, but
now left flap is cool with it.
Speaker 1 (16:33):
Yeah, yeah, nowadays we would call that body shaming.
Speaker 2 (16:37):
Yes, that's all right.
Speaker 1 (16:41):
When we we we got started here, he said that
was fascinating that we were interested in primordial primus and
eighties primus. These are some of the reasons why, because
there are so many things that are left to mystery,
and it's really great to talk to venerable gents such
as yourself who lived it, who can shed some light
on just what the hell was going on back then,
(17:02):
because details have been slim for so long and they're
just like they're just now starting to make their way
out for I guess public consumption, you know, including even
these demo tapes, like we're hearing these older or original
versions of these tunes and they're they're fascinating, you know,
forty years later or what happened?
Speaker 2 (17:24):
Okay? Cool?
Speaker 1 (17:25):
Yeah, yeah, And so there was there was always mystery
around you. And I'm talking like in the nineties when
I'm a teenager, you know, just first getting on the
internet and reading as much as I can about Primus.
This is like ninety five. There was this name Curveball,
so I didn't you know, I knew that there was
this guy named Curveball who drummed for Primus for a while.
Didn't hear a lick of him playing drums until many,
(17:48):
many years later, you know, and a lot of really
lousy quality recordings. So but but it's there, and you
had a really cool style and approach to playing with
Less that most subsequent drummers. Every The cool thing is
every drummer did something different. And so when I heard
(18:09):
your recordings with the band, I was like, damn, this
is really different and really cool. What was your do
you recall it all? Your approach to working with Less
given that he is a pretty busy bass player.
Speaker 2 (18:23):
Oh, that's a key, that's a key question, that's hat on,
that's a crazy question. So less Less comes in with
these one line. He's been working on a line, it's
been stuck in his head. So he plays this line
and we were in this rehearsal space three nights a
week and jam and some stuff. And now it's not
hard for me to think of some accompaniment or or
(18:45):
vice versa. Like I can remember trying to play like
Puffy and like Puffy was beating the shit out of
the toms and I was trying I was playing a
thing like that, and that became Sergeant Baker yeah and
blah blah blah. So these song ideas during that, you know,
like they're not completed. A song needs an intro and
a bridge and an ending, and so we you know,
(19:06):
we developed so the songs that I remember being part
of were like you like it, Sergeant Baker, frizzle, Uh,
what do you call that one? At Barrington? What do
we call that song?
Speaker 1 (19:22):
O frizzle fry?
Speaker 2 (19:22):
Yeah, tell you that one, because I'll tell you about
Barrington Groundhog's Day. Some those are the so over two
years that I remember, it was two years. I really
can't remember, you guys, but we collect we wrote these songs.
Let's doesn't finish a song, but he'll go home like
well jam and then and Todd is over in the
other side of the room like noodling on the neck
(19:45):
of his fucking guitar. He doesn't even join in, and
so me and lesktt a thing going and everybody had
a cassette player and you go home and think about
it some more. It's like Todd. It's like Todd was
playing to another band in another rehearsal room, and then
he'd come in. He'd come back with this thing. You're like,
oh wow, look at Todd.
Speaker 1 (20:05):
Go yeah, because he had some out there stuff and
it's it's fascinating to hear his approach and he he
had some really creative lines, but I agree, they sound
like they might have been for a for a different
band or a different a different song. But it works.
Speaker 2 (20:24):
Oh man, he is a unique genius. His he actually
his brain works like that. He walks through the world
like a different guy. He's a genius and a really warm, sweet,
sweet guy.
Speaker 3 (20:35):
So yeah, it is. Yeah.
Speaker 1 (20:37):
Yeah, we had a great time talk to him and
then and then of course listening to Porch, which is
pure Todd Houth. You you really understand how his mind works.
Speaker 2 (20:47):
I'd like to I'll have to go home and listen
to that. That's cool.
Speaker 1 (20:50):
Yeah, great talk with Todd.
Speaker 2 (20:52):
That's a good guy.
Speaker 1 (20:53):
Yeah for sure. Uh So it's It's interesting to know
that tunes like July Kid, Frizzle Fry and groundhow started
with you, because I don't think as far as we know, uh,
Frizzle and a Groundhog didn't make it to tape until
the Sausage demo that we know of once again, Yeah.
Speaker 2 (21:11):
And Harold of the Rocks. But it's on that Berkeley
Square thing. You guys would have heard versions of those
songs probably in eighty six or seven.
Speaker 1 (21:20):
I think those are floating around.
Speaker 2 (21:21):
Yeah, I'll send you a link. Some kids me a
link to the Berkeley Square tape. Blah blah blah.
Speaker 1 (21:28):
Oh great, yeah, like.
Speaker 2 (21:31):
Who has this tape? Where does this come from? Yeah?
Speaker 1 (21:33):
That's the other thing is where where the world did
these things surface from?
Speaker 2 (21:37):
That's always so Lauren would record with the board tape.
Speaker 5 (21:41):
Yeah, yeah, have you have you watched the Primordial Sergeant
Baker performance that is featured us an Easter Egg in
the animals should not try to act like people DVD
that came out back in two thousand and three.
Speaker 2 (21:58):
So that was recorded. My buddy had the first video camera,
like the first high dev video camera, and that was
a commotion and so he goes, hey, I'll shoot your
show for you. So he recorded that I'm wearing like
a flannel shirt and shit, and we what year was that?
That was like the first VHS machine, you guys, I'm
telling you right now. And his name is Mike Nolan,
(22:18):
Big Mike. So he and somebody the original I have
a version of that on VHS that the full show. Yeah,
oh yep, I have that and Trow's and Amy so
are crew. They're in the video on the side, like
they're running around moving people or gear and ship in
the video. And you've talked about commotion and you know
(22:42):
a little bit about that. That was the Looters, Big Cities,
co Op Community Space blah blah blah. Cool cool, cool cool.
Speaker 6 (22:51):
There's there's still going back to the tapes to him.
There's still a lot of mystery shrousing this artifact. Do
you recall how much traction they generated back in the
day when you guys were recording them and sending them
out to radio stations and selling them at shows, Like
(23:13):
how much noise did these tapes actually make back when
they were made?
Speaker 2 (23:17):
Were they actually no one ever got the video? We
didn't have the money to reduce copies of a VHS
tape I'm not sure what we like. We had to
make more money to do something.
Speaker 3 (23:27):
Oh no, no, I mean I mean the demo tapes.
Speaker 2 (23:30):
So the demo tapes.
Speaker 1 (23:31):
Yeah, well so that's see.
Speaker 2 (23:34):
Momentum is a is an invisible, mysterious thing. So you
show up and you play and you think nothing's happening.
And so here's how I see the timeline. So what
so we we kind of broke up. Blessed I and
Todd were like, our second is shit. We have killed ourselves.
It's been like eight years. Less is gone. It's like,
(23:54):
I'm just gonna quit, no more primise. I go, well,
at least keep the name of the band. So we're
all going to go our separate ways. And then Jay
played a few shows for six months, he auditioned musicians
and two months later recorded with Tim and Lure and
that sold one hundred and ten thousand. So the momentum
(24:16):
to build that had to be percolating. Now, those guys,
of course played really great and it was a great recording,
and all of that plays into it, but there had
to be momentum behind the scene. Even before I joined
the band, they had a little local following and it
was a thing already. It wasn't like we had to
start from scratch. Peter and Todd and Less had already
(24:37):
put in some work and wrote sets of songs and
got comfortable on stage and got an identity. So it's
all momentum. It all has part you know what I mean?
Speaker 3 (24:50):
What songs did you enjoy playing the most? Which songs
do you have recollection of playing a lot?
Speaker 2 (24:57):
I don't know, shit like that.
Speaker 1 (25:00):
You you certainly had a sense of groove then, for sure?
And is uh did that did you see that through
in subsequent subsequent drumming gigs? Like is that was that
kind of your signature style?
Speaker 2 (25:14):
Maybe? Maybe? Sure? Shit, I don't know.
Speaker 1 (25:20):
It's all right not to know. Uh. I didn't want
to ask because there's this great uh there was this
website in the nineties. It's still active. It's a legacy
website run by a guy named Ram who put together
a primus family tree with the help of guys like
Smiley and House and all that mess.
Speaker 2 (25:41):
It's nearly accurate. It's almost accurate. Pretty good.
Speaker 1 (25:43):
Yeah, Yeah, I was curious about that because there's a
lot of info about your your band Curveball, and a
lot of the guys that that you played with. And
they're all really familiar names like Jeff Comes and I think, uh,
I think Pete Scaturo is in there somewhere. Uh So,
(26:04):
a lot of these guys in keyho so and brain
of course, So a lot of these guys whose names
we know and who we've talked to. Uh you were
working with them. Uh So tell can you tell us
about the band Curveball?
Speaker 2 (26:17):
Okay? The short Okay, yeah, sure, I'll try to make
it short. So after primus, I'm like, I got it.
We have to do something. So I got a rehearsal
space and.
Speaker 1 (26:27):
I go kyo so key, and I was supposed to start.
Speaker 2 (26:29):
A band together. So for like a year, we go
to a rehearsal room and we just fucking drink beer
and fucking hold our dick. Nothing's happening. Come on, Brian,
so so, because nothing has happened for a year, and
I'm paying he could rent. I book a gig, I
book a gig, I go hey, we got a gig there.
All of a sudden, they get sober. Oh shit, we
(26:51):
better learn something, we better do something. So what do
we gotta call it? Brian's like, we got what are
we gonna call it this is funny. I go, how
about he came up with fatty like poma. I'm like, fine,
that's whatever. That's punk rock. And then he goes, no,
wait a minute, they'll think it's a boil on my ass,
so fucking let's call it curveball. I'm like, I don't care,
so so we do. I'm the drummer. The singer from
(27:13):
the smoking section, really talented guy, was supposed to sing,
and we're gonna play covers because that's all we could
get together. We're gonna play covers. Okay, the singer doesn't
show up to the gig, I'm like fuck and we
got a couple hundred people at the night break, so
I'm like, fuck it, I'll sing and play drums. I
didn't think it was a big deal. Some we got
(27:34):
to put on a show because people came all the
way out to see. So then the next show. So
I'm like, well, it's so much easier to get a
drummer than a singer, so I called Ja. So Jay's
like sure, So Jay comes and plays and I'm going
to sing. It's just supposed to be punk rock. It's
supposed to be funny and silly and I'm wearing a
slice stone like costume. Well, you know, things change and
(27:58):
move along. And then it's to keep busy. It's to
keep out there and playing. That's all it really was.
Then then the limbo guys got on board House and
Brain and and Adrian Isabel and percussion of super Bad Dude.
And it grows and it's kyo still and we have
(28:21):
horns and now there's thirteen members. And then I had
singers and it becomes this huge thing and it gets
better and better. It got more traction, faster, curveball grew rapidly.
It grew to the point where we played with the
rolling stones. It's no joke. Wow, ten years it was
unfucking believable singing and I'm like, I'm not the singer.
(28:43):
I'm a foot I want to play drums. So it
had a run and had killer musicians. It had Oriyan
and Gomes then ripping and Oriyan. So Oriyan is a
savant and he's a really really talented special guy. Still
one of my close friends today. That dude is special.
Do you know who Oryan is from? Fungo the bass
(29:04):
player and Fungo.
Speaker 1 (29:05):
Okay, Fungo, Yes.
Speaker 2 (29:07):
And Gomes was the drummer, so they were Curveball's rhythm
section for a couple of years after the Limbo guys,
and then came a drummer named Michael Orbano from who is.
Speaker 1 (29:19):
He eventually was Spent Poets and Spend Poets and.
Speaker 2 (29:23):
He was reported on Third Eye Blind because so I
so so that was Kerrbal did a lot of shit.
I mean, we played with Eddie Money and Boss Skags
and the Stones. We played this private party for the
Rolling Stones. They hired us to be the entertainment. I'm like, oh,
that's cool. So we played two sets. I gotta tell
you this part stuff. So we take a set break
(29:45):
at the warfield, super super security NDAs and stuff. No
one's supposed to know because the streets would get mobbed
if they knew that Rolling Stones were inside. So there's
a set break and I go up to the bar
up through the aisles of the warfield and there's Nick
Jagger sitting with his like then eighteen year old daughter
(30:05):
in the aisle and she's bumping her dad pointing at me.
There's that singer guy, that senior guy. In my head
nearly exploded. I'm like, your dad is fucking Big Jagger.
You gotta be fucking kidding. Holy shit. So we so
we play another set and then Keith Richards is standing
up against the stage with his lighter going back and forth.
(30:25):
So ron Woods jump jumps on the stage and Keith
Richards and Zig Modalist and all that. You know, they
had They had seven thousand super famous musicians at at
this show private and they were all on stage and
we jammed. We jammed until five in the morning. And
so a jam needs someone to lead it. Yeah, and
so I'm like, well, fuck, i gotta do it. I
(30:48):
gotta like tell it. I'm breaking down like ron Wood
and Wendy from Prince and stuff like that. I'm like,
this shit is way heavy. It was really a thing.
So that was one moment that was a moment, that
was a Curveball moment.
Speaker 1 (31:03):
That's that is a moment for sure.
Speaker 2 (31:05):
Oh okay, the end of the night. So I'm my
twin brother, I'm a twin he's a really great singer
and he was a singer in Curveball. There was three
or four singers. So we're standing there and the curtain
breaks open and there's Wendy Malvione with her sister Susanna
standing there a foot from me and my twin brother,
and you know who these girls are. You know who
they are. Susanna was engaged to Princeton. He wrote the
(31:30):
song nothing Compares to You about Susannah Melvion and her
twin sister, Wendy, who was the guitar player all through
the Revolution. The first Okay, I know Wendy, yes, man,
is she badass? Now I'm starstruck because it's Wendy and
they and they're not saying anything. They're standing there across
(31:50):
from my brother and I foot away at it, and
I go, so, I don't know, I'm being sarcastic. So
I go twins, and I point like we're gonna have
a twin hookup. Wendy got so mad she stormed off.
I was just walking around. I was just easing to
see if she had any sarcasm in her. But I
regret not having the moment to go, no, no, I'm not
just playing around. I admire you so much and your
(32:12):
playing in your career. But that's yeah, was the end
of that story.
Speaker 1 (32:16):
Oops, sometimes you step in it.
Speaker 2 (32:18):
Yeah yeah, yeah, yeah, yeah wow.
Speaker 1 (32:24):
So I was, of course aware of the band Curveball
and many of the members whose names were familiar to
me just from talking to people about the scene back then.
And of course, uh the success of other bands like
Spent Poets and merv and and all these guys didn't
realize you were playing private parties for the Stones and
(32:47):
opening for folks like bos Skag's, which is an eddie money,
which is freaking wild to me. So you guys, you
guys certainly had a good run there. And how long
did that run? How long did you maintain that?
Speaker 2 (32:59):
Ten years?
Speaker 1 (33:00):
Ten years?
Speaker 2 (33:00):
I did that for ten years because it kept the
lights on and the remp paid type shit while playing.
I'll tell you that the other bands. So Brain was
really good to me and a good friend of mine.
He would always like, ah, I can't do it, call Curve.
Or when Brain would leave a gig, he'd have to
go to something else. Curve get Curve to do it.
So he let's see, he got me in a band
(33:21):
with Joe Gore and Robin after him, and we played,
and Joe Gore would get so into his solo as
he fell backwards over all my drunks and then fell
to the ground. And then he got me a tour
in Europe. And then let's see what other bands. Oh,
MCM and the Monster. So he was the drummer in
MCM in the Monster, and then I became the drummer
(33:42):
in MC in the Monster. A couple of years House
and I did that. Now we've made a dope record.
You shal guys should get that record. Super good Convertible Turtle.
I like that record.
Speaker 1 (33:52):
I know the name. Yeah, I haven't hunted that one
down yet. Thank you for that reminder.
Speaker 2 (33:57):
That record's good. It slams, it's like pop punk. It's
it's the original pop punk thing.
Speaker 1 (34:04):
Oh nice. Uh, I didn't know that Brain was that you?
That you and Brain were so hooked in like that.
That's great.
Speaker 2 (34:13):
He's a dude. He's my friend. So we were peers
and friends and we play together like with Jay, you know,
in the community. We're hang and we play on the
same show and we go to clubs and look at
other shows the night. So how did the limbo manias
come about? Like so someone goes like Smiley, Hey, this
band from DC's coming. They're playing this shit called Go Go.
(34:33):
We got to go to the ibeam and scene him
and we all, you know, we move as a Posse
and they played Trouble Funk played, and again our heads
came completely off. And the Limbos went and put a
go go band together and they called it the Limbomaniacs,
and so that was the start of that. But so
we're all really old friends. Like Brain used to give
(34:56):
me clothes and drums. I got brains snare drunk. We
were young kids, and you know he'd like to skate
like one Brain story. So Primus, when they Primus got
back together with with Tim and the band, they went
and played in New York City at the New Music Seminars.
So we all just let's go to New York. So
the whole posse, Me and Clem and Rock and Trows
(35:16):
and all of us go and support Primus because still
Primus was new and didn't have a caroline. They had
a little bitty deal and Brain and the Limbo guys
were there. We walked through Manhattan for an entire day,
from one end to the other, and Brain wanted to
go in every leather shop. We gotta go find a leather,
I gotta get a leather g string. We gotta go
(35:37):
in here. I heard so this is a leather We
went in a leather bar and the strippers are dancing
on the bar bridge. Where how do I got a
leather g stream? Let's go on shit like that. The
brain story. You wanted to be Baby He wanted to
be Baby Snakes. You know the Zappa record with Bozio
playing the solos in this little That's what he wanted
(35:58):
to be.
Speaker 1 (35:59):
Hey that uh the uh that's great, that's that's that
seems like a brain thing. Uh, based on when we've
talked to him and just some of his uh, some of.
Speaker 2 (36:13):
His antics and Bucket showed up on the scene. He
Bucket was a big Curveball fan because like he loved
Michael Jackson and we used to do I could sing
Michael Jackson. It sounded like Michael Jackson.
Speaker 1 (36:26):
Dang, yeah you were playing. You guys were playing a
lot of funk in R and B.
Speaker 2 (36:29):
Right, yep, all the funk. And I think this inspiration lesson.
I used to talk, let's do a cover band and
play Aisley Brothers songs. Well I went and did it,
you know, because well, gotta do something, got it? Well,
let's so yeah. I then we played James Brown and
the earth Wind in fire and blah blah blah, blah blah.
But I see I could sing like the Jackson five
(36:50):
and that was a big deal. People like their eyes
popped out. Wow, that sounds like Michael Jackson. So bucket
was he was in awe he was. He was a
young guy. Wasn't bucket they had the Deli creeps. He
wasn't really buckethead. He was a young guy, was hanging out,
wanted to hang out and see us guys. Is so
humble and nice, super nice guy.
Speaker 1 (37:09):
Wow. You you've you have said so many great and
unfamiliar names and this and this is it, Like, this
is why I'm so interested at this time because in
nineteen eighty seven, you know, I don't know if there
was any expectation that anybody was actually going to go
anywhere and make a true career out of you know,
(37:32):
music and performance. But you know, you guys were all
young and had boundless energy, and you were going for
it regardless.
Speaker 2 (37:39):
It seemed well there you go, yeah, yeah, you keep
you keep plowing ahead, and then you never know what
could happen, you know what I mean? You never know.
No one knew that Primus would still be relevant forty
years later. You know what I'm saying, Yeah, what if
What if the band was Poison or Quiet Riot and
it was some hair band and it meant everything in
the eighties and now today you're like, ooh, that's kind
(38:02):
of like, I'm glad I'm not related to Poison. I'm saying, I.
Speaker 1 (38:07):
Don't think I'd be doing a Poison podcast if that
were the case.
Speaker 3 (38:10):
Right, Yeah, right, Tim, I was wondering, what is your
opinion about the sausage record riddles are about tonight, which
are essentially re recordings of many songs that you used
to perform when you were in Primus.
Speaker 2 (38:28):
Was that with Tim playing them?
Speaker 3 (38:29):
No, that was with Jay Lane. I'm taught who. It
came out in nineteen ninety four.
Speaker 2 (38:34):
I never heard it. I never listened to it. Really, Yeah,
we share.
Speaker 3 (38:39):
It would be quite a revelation if you heard it.
Speaker 2 (38:41):
Yeah, Jay's the dude.
Speaker 3 (38:43):
Jay is the fucking dude.
Speaker 2 (38:45):
He's another that's a loyal friend. He's a good dude
to me. He's always like super cool. So Jay was
next door is down the hall in this rehearsal room,
and he'd come over and he would show me how
to Hey, I'm playing this Peterson check this out or
seven to seven? Jay showed me how to play seven
seven seven ninety three eleven.
Speaker 1 (39:01):
I'm like, that's wow.
Speaker 2 (39:03):
So yeah, so we all came up together. We grew
up together and supported. The cool thing is there wasn't
weird competition, you know, we all supported each other. There
was no like, hey, I'm better than top Brain or Peter, no,
none of that. We're like, oh, man, that sounds cool.
That sounds great. I like the way you did that.
And so we could all hang and support each other
(39:25):
and share gigs. Man, we share a gig.
Speaker 3 (39:28):
That's really that's really amazing that Jay taught you how
to play that, because he's still doing that nowadays.
Speaker 2 (39:35):
I'm still doing it. I still try to do It's hard.
He showed me the subtleties to seven seven. He goes,
check this, Kirk, check this out.
Speaker 1 (39:45):
And that's still a barometer for for Less. I don't
know if you saw the drum audition videos, but there
were a couple of guys that busted out seven seven seven.
Speaker 2 (39:54):
I like that guy. He's a good drummer.
Speaker 1 (39:56):
I was.
Speaker 2 (39:56):
I was thinking I'd like to see him in Primus
that what's his name, grooveman.
Speaker 1 (40:00):
Oh Grosman. Yes, he was amazing.
Speaker 2 (40:02):
He's good. I really like him.
Speaker 1 (40:04):
Yeah, he was great. That was that episode was hilarious too.
Uh Yeah, that guy can play. Oh my gosh, he's cool.
Speaker 2 (40:14):
Uh.
Speaker 1 (40:14):
So So the this, the that feeling of camaraderie and
that sense of community, uh, certainly comes to life when
you're telling these stories. But also in the the cross
pollination because there were so many different bands, so many
lineups Leftwitz told us about all the rent bands that
the Limbos had. You know, they're playing under different names
(40:36):
at all the same clubs so they can actually play.
Speaker 2 (40:39):
Uh.
Speaker 1 (40:40):
And you know, then there's all these goofball things like
turd Boy that I'm still somewhat unclear on, but there's
there are just all these great, great names uh to
these acts, and it's uh, you know, it's kind of
like a grab bag from all these names just getting
together and doing something fun.
Speaker 2 (40:59):
Uh.
Speaker 1 (40:59):
And I I think that is if I was going
to distill it down to something, it does seem like
it was the camaraderie and the creativity that really made
that a burgeoning scene in the eighties and sent a
bunch of record executives there looking for talent.
Speaker 2 (41:16):
I suppose, Yeah, it was probably a scene like no other.
It really was the most fertile because everybody in another
band would come to Yurgig and support your band just
to see what you were doing, and so the clubs
were half full of other musicians. It was really a supportive,
unbelievable music scene. It was really really great, and it.
Speaker 1 (41:33):
Seemed like you guys also were able to move between
groups and genres and what have you really really well,
especially in Primus, but certainly the Limbos and all those guys.
It seems like you could because you could open for
Fishbone and the Peppers, but you, I know, Primus opened
(41:55):
for a lot of thrash bands every once in a while,
and you know, you guys were able to really move
in between scenes, and I think that helped create the diverse.
Following that, a lot of you guys picked up.
Speaker 2 (42:09):
That's probably a good point. I hadn't thought of that.
That's probably very true. But like it used to blow
my mind that they're that they're thrashing to primise. I'm like,
that's dope, because that was a new idea. This guy,
I know, he takes responsibility for teaching people how to
mash in a circle, go in a circcause we would
tell them they're all banging ends. Go on a fucking circle,
you dumb idiot clowns. Go in a circle, You're going
(42:30):
going to bash each other. So this whole idea, man,
because Fishbone could fucking stage dive in mash. They really ripped.
This guy's fucking ripped. So thrash, you know the whole
Do you know that the Bay Area is given they
are given the credit for this genre called thrash because
(42:50):
and there's a really cool documentary on.
Speaker 1 (42:52):
YouTube about it where we have.
Speaker 2 (42:55):
The Barrier invented thrash, metal, thrash funk, and these terms
were coined by a music editor from our paper, like
if you were had to show it had the the
Sunday paper had this music section, so this guy he
would They kind of coined it and we all blended together.
So there's this really cool idea about the Bay Area
was harder, louder, faster, tougher, and the metal guys are
(43:19):
talking about no posers, no no niss's and ship like that.
They get they'd get thrasher if you had weird hair,
if you had fucking hairspray and getting thrashed. That's what.
Speaker 1 (43:29):
Yeah, the Area I remember seeing that in Murder in
the front Row that they even like. The Bay Area
Thrashers got Slayer to take their makeup off because Slayer
just come up from LA and they were kind of
dipping into the glam side of things, and all the
leather jacket guys at Ruthie's turned their backs on Slayer
(43:49):
and then they.
Speaker 2 (43:50):
Wow, that's right there. You go, Yeah, that's really good.
Speaker 1 (43:57):
Yeah, and you've you've tossed out a bunch of venues
that are long gone but certainly legendary and in primus
and Bay Area history. The you know, the I Beam,
the Night Break, the Gosh, Berkeley Square, mabou Hay Gardens
comes up every once in a while, so I know
the names. Obviously never got to go to shows there.
(44:18):
But is it was it as sweaty as it as
it was as it's been told to us over the years.
Speaker 2 (44:26):
Oh really, Now, how many punk rock clubs you've been in?
It smells like old beer and vomit and stuff and
we and cigarette smoked. So yeah, that's a punk rock club.
You know, it fits three hundred in there or something
like that.
Speaker 1 (44:40):
Yeah, So you were living in those for for a while,
essentially playing in somebody kles a year.
Speaker 2 (44:46):
Bro, that's a lot of going at like every night.
So let me tell you about how like the the
night like what Herald of the Rocks or so I
was there like finally trousing them show back up where
the fox Trow's been. He's got this guy green sleeves
and they're in my house like we're hanging out and
sun tanning on the roof. And then Less writes a
(45:08):
song about it about Old of the Rocks. You're like, wow, okay.
Or Barrington Man Barrington is a deep that's a deep
one acid parties bruh. That was acid punch. So in
the basement. So Barrington was this co op at UC Berkeley,
and it looked like a New York City subway thing.
It was graffitied out because they let all the homeless
(45:31):
and weirdos and freaks stay there. There was no like security,
so right, it was like, oh wow, this is like
being in a New York subway crazy town. And there
were and then and you don't know what you're walking into.
We just know that they have these gigs. We're gonna
play in the basement for their punch parties. So I
mean we yeah, sure, we so we were not afraid
(45:52):
of acid or mushrooms or do some stuff like that,
so we don't shy away from that. So we go
there and we're wandering around the whole and these people
are melting on acid and giffing states. One guy's wearing
a psych uniform, like all orange jumpsuit and he has
a ferret running around inside his suit and he's talking
(46:13):
to himself, and it's just it's super packed and crowded
with freaks. So you go play. You get on stairs
and they're serving punch. I probably had the punch, sure,
and then we start playing and the freaks. So acid
is different kinds of acids. So these guys were a
little on the dark side, and they were like melting
(46:34):
and they're trying to come up on stage and take
our instruments from us, and they're going like and they're
telling Todd, no, it's okay, I got this, trying to
pull the guitar out of his hands and shit, and
Trous is like freaking mister bouncing two guys off one
side and three more come on the other side. He's
going bananas, try to keep the freaks off stage. So
(46:54):
we're just trying to play a set and then I
think kids died that night. There was and that was
the end of Barrington because people for whatever reason, I
don't know exactly what happened, and so that but the scene,
so trying to capture the vibe it was. I've described
it as it's like it's like a homeless encampment under
the freeway kind of vibe. You know, everyone was freaking
(47:17):
out in a in a unique dark kind of dark
and scary, mildly scary. It was out. We had to
get the fuck out of there. It's time to go.
We got to load up and get out. Let's go,
Less writes a badass. Less is how witty is Less?
He should write books. That guy has got conturn a phrase,
so he writes, he recaptures that and that's all him.
(47:40):
He came up with all that shit. But musially, I
don't know if we I don't know if we wrote,
if we jammed it and then he put those lyrics
to it, or he came in. Usually yeah, usually we
jammed something and he would put his lyrics to it.
Speaker 1 (47:54):
Okay, Yeah, So it started with the music and then
he's he's adapting lyrics to the music.
Speaker 2 (48:02):
It is Yeah, there's some bassline he's about this week
and developing some technique thing, and then we jam it,
we flesh it out more, give it a bridge, and
then he writes and glue. He writes a whole lyrically
song around it. Pretty good, pretty good about it, Pretty good,
think about Tommy the Cat. So that happened early, that
(48:24):
was before me with Peter. Do you know how difficult
it is to play that line that Austinado on the
base and talk freely. Ye, try, try to play and
have a conversation. It's nearly impossible. So so to divide that,
I'm always impressed by that. Divide your brain in that
(48:45):
kind of way is a real, real unique skill. And
he was doing that early.
Speaker 1 (48:50):
Yeah, Yeah, and it was at it was at a
slower pace than as was recorded on Sailing the Ceazy Cheese,
but got to be hard as hell no matter what
tempo you're playing that app because you have to, as
you said, you have to concentrate on the bass part
and your free verse, your free verse reciting pros.
Speaker 2 (49:11):
Yeah, it's a real that's a unique thing. And when
he did that, I watched Peter and then play it.
I'm like, wow, that is something else that's pretty good,
Like who plays one the way he plays everyone who
tries to play like that? His cuticles used to be
all split up because he thrusts the top of his
fingernails across the strings and then he'd be, ah, my
(49:32):
fucking figure, my cuticles are all bleeding and shit. But
that's that's the thing, Tommy. The kat was a thing?
Speaker 1 (49:37):
Yeah, was that one of Was that a fan favorite
at the time? Was that one that guys some notoriety?
Speaker 2 (49:44):
Are you kidding? Everything? Was a fan favorite? Or we
made it that one? No, I don't have any idea.
Speaker 3 (49:51):
Oh, tim this might be a very long shot. But
do the man with the pinstripe suit, then Arch of
the Leper cons ring any bales for you?
Speaker 2 (50:02):
I don't remember. Truth is, I don't remember. Was March
of the Leper consum early shit?
Speaker 3 (50:06):
Or was that after early very early?
Speaker 2 (50:09):
Was it on his little demo tape that he made
in his house on the Ford Track.
Speaker 3 (50:14):
It might have been, but it's not on the first tape.
Based on our timeline, what we speculate is that it
might have been on a tape that came out in
between the first one from eighty four and Welcome to
this world in eighty five.
Speaker 2 (50:33):
Should I we didn't play it. We did not play
those songs. He parked those.
Speaker 1 (50:41):
That's all right, Todd has him, We know that. Yeah,
one of these days, Frank, he's going to break into
his attic one of these days.
Speaker 2 (50:50):
Yeah, Todd's addic. Yeah, okay, and see what he's got. Yeah,
Todd's an out guy. He's like, I don't know.
Speaker 1 (51:02):
So in twenty twenty five, you know, being so far
removed from this in a time sense, what are some
of your takeaways of that era in the eighties and
moving into the nineties. Clearly lifelong friendships and just rewarding
experiences and some wild experiences. But what are some of
(51:25):
your takeaways that we're building blocks for your life, do
you think?
Speaker 2 (51:29):
Well, so, one takeaway is you never know what is
going to lead to anywhere, so just show up and
do it, throw it on the wall, get behind it,
and don't like the number of guys broke up and
started bands over and over again. They work really hard
and then they quit and they start again. But Primus
has kept it going and built this legacy attraction. Like
(51:52):
one example of just try and shit was was Third
Eye Blind So I get a phone call from a
friend of mine who's a record producer. He says, Kurt,
will you do me a favorite? I got this guy.
I promise i'd help him out. He's got this demo
and can you record some demos with him? And stuff
like that. I go, okay, because this guy's a heavy,
(52:13):
cool guy. So I go meet this dude and he's
got this cassette tape of these fucking songs that sound
like Simon and Garfunkel. It's like airy acoustic guitar shite.
It's just shite. And so I meet in the rehearsal
room and these guys suck. So I go tell you
what all you gotta gotta go. I'm bringing in my
(52:34):
bass player Oryan, and I go, Oryan got we gotta
harden this guy up, turn your shit up maximum. I'm
gonna play as hard as I can. So the guy
has to keep up on the microphone. He's barely ever
held a microphone. Steven Jenkins doesn't know what to do
standing there, So we tuned him up and put on
some We put on some showcases for labels and stuff
(52:56):
like that, and that became Third Eye Blind finished his
songs taught him out a hold a microphone, did the
showcases and look at the debut of Third ay Onne
and the drummer was my friend who played in curveball
at the time. And now this guy, Stephen was a
curveball fan. He was a Primus fan, a Barry guy.
He's around all the time. So there there's just one
(53:16):
example on his debut record. What did that sell? Fucking
a Oh.
Speaker 1 (53:21):
Yeah, that sold a lot. To further that, if I
recall correctly, semi charm kind of life. That there's semi
charm life. That the big tune from that record. The
lyrics were inspired by his experience with his friends doing
method a Primis show.
Speaker 2 (53:37):
Is that right? I never got I'll have to check
that out. I listened to the lyrics closer. I never
even listened to it. I used to play that shit.
We had to turn those into songs. They weren't songs.
They were fucking Simon and Garfunkel. So Ryan, that's a
Ryan again and his genius. He's a bad dude.
Speaker 1 (53:55):
Yeah, just showing up. I appreciate that sentiment because if
you don't, nothing's gonna happen. And so do you still
keep up with a lot of those guys I imagine.
Speaker 2 (54:06):
Well, sure, I mean we kind of grew up. It's
not like we hang We don't hang out and have
dinner together, but we grew up together. So there's a
camaraderie like a family type. Shit like flap and troughs
and less, and we grew up together. So you cut
your teeth. You know, we were young people learning who
we are, what we're about inston. If you after you
(54:27):
were on stage and all these fucking shows you experience,
we experienced a lot of shit out on the streets.
So you shared a lot of experiences like whoa did
you get out of that one alive?
Speaker 4 (54:41):
Ah?
Speaker 1 (54:41):
Man?
Speaker 2 (54:42):
Oh yeah, there's stories too many.
Speaker 1 (54:44):
Yeah, that's a So it's it's can As far as
the connection I can make is you know, seeing my
old college buddies and we just pick up right where
we left off, as if twenty years haven't gone by.
Speaker 2 (54:57):
I think it feels like that.
Speaker 1 (54:58):
Yeah, yeah, that's excellent.
Speaker 3 (55:02):
I just want to say Tim, thank you so much
for making time for us for this chat. It was
really fascinating and it's really incredible to finally speak with
primus history in the flesh, which is you.
Speaker 2 (55:18):
Right on now We're going to rely on you guys.
Now you're the curators, so you know, you keep your
gluing it all together. There's going to be a premise
museum or something in Frankie's house. He's going to have.
Speaker 1 (55:28):
Yes, Yes, he's working on it. He's actively working on
it right now. The drywall goes up tomorrow, I think. Man, Yeah, Tim,
really cool to speak with you. Thank you for being game.
It's it's always great to talk to anybody who is
who has been in and around Primus. And of course
(55:51):
you played a pivotal role in the band gaining traction
and you know, get moving along on its way, and
you know, if you weren't a part of it, I
might not know who they are at this point. So
thanks man, Thank you bro.
Speaker 2 (56:07):
That's a nice thing to say, right on Frankie. Nice
meeting YouTube, Sir,
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