In 1977 a New Yorker named Gary Wilson self-released an album entitled
You Think You Really Know Me. It may have been looked back upon as a
minor event in rock history (if even at all), but this little-record-that-could
foreshadowed synth-pop, awkward/confessional Indie Rock
singer/songwriters like Lou Barlow, and the one man funk of Prince. Wilson’s
DIY sensibilities proved to be inspiring as well, helping to set the stage for
college rock radio and the Indie Rock movement. Not bad for a record that
was limited to just 600 copies. The songs themselves spoke of loneliness,
doomed relationships, and obsession for members of the opposite sex, who
Wilson often singled out in his songs, using real names. Some tunes were
funky and upbeat, while others were creepy and stalker-like. The artwork
was equally jarring, showing a near-nude Wilson draped in recording tape
and power chords lying on a dirty floor of newspapers. Wilson’s live show,
with his backing band The Blind Dates, was even more outrageous,
shocking jaded New York City audiences with a stage show that included
cellophane, duck tape, bed sheets, fake blood, flour, and milk.
You Think You Really Know Me. It may have been looked back upon as a
minor event in rock history (if even at all), but this little-record-that-could
foreshadowed synth-pop, awkward/confessional Indie Rock
singer/songwriters like Lou Barlow, and the one man funk of Prince. Wilson’s
DIY sensibilities proved to be inspiring as well, helping to set the stage for
college rock radio and the Indie Rock movement. Not bad for a record that
was limited to just 600 copies. The songs themselves spoke of loneliness,
doomed relationships, and obsession for members of the opposite sex, who
Wilson often singled out in his songs, using real names. Some tunes were
funky and upbeat, while others were creepy and stalker-like. The artwork
was equally jarring, showing a near-nude Wilson draped in recording tape
and power chords lying on a dirty floor of newspapers. Wilson’s live show,
with his backing band The Blind Dates, was even more outrageous,
shocking jaded New York City audiences with a stage show that included
cellophane, duck tape, bed sheets, fake blood, flour, and milk.
Gary Wilson put out a few more limited singles and EPs, but stopped
releasing his material in the early ‘80s, though he continued recording and
performing live. You Think You Really Know Me earned a great deal of
praise when it made its CD debut in 2002, dumbfounding and delighting
both critics and newcomers alike, who, hearing it for the first time, couldn’t
believe their ears (and eyes—many archival photos were included). A year
later the label responsible for its’ resurrection, Motel Records, put out a
compilation of even scarcer and stranger tracks called Forgotten Lovers,
but the company suddenly disappeared, temporarily stalling Wilson’s
rebirth. He quickly rebounded, releasing a brand new recording, Mary Had
Brown Hair, in 2004 on the influential hip-hop label, Stones Throw Records.
His latest release is the 12-inch single, Newark Valley. Wilson is currently
releasing his material in the early ‘80s, though he continued recording and
performing live. You Think You Really Know Me earned a great deal of
praise when it made its CD debut in 2002, dumbfounding and delighting
both critics and newcomers alike, who, hearing it for the first time, couldn’t
believe their ears (and eyes—many archival photos were included). A year
later the label responsible for its’ resurrection, Motel Records, put out a
compilation of even scarcer and stranger tracks called Forgotten Lovers,
but the company suddenly disappeared, temporarily stalling Wilson’s
rebirth. He quickly rebounded, releasing a brand new recording, Mary Had
Brown Hair, in 2004 on the influential hip-hop label, Stones Throw Records.
His latest release is the 12-inch single, Newark Valley. Wilson is currently
Drastic Plastic Press: How old were you when you started writing and performing music?
Gary Wilson: When I was very young, about 10 years old, my idols were
Dion, Bobby Rydell and Fabian. I joined the Dion fan club when I was in 4th
grade. I wrote my first set of songs when I went into the 5th grade. My
mother would wake up in the morning and put the curling iron on the stove
and then curl the front of my hair. I was trying to look like Dion and Fabian.
My father was a musician, so we had numerous instruments and tape
recorders lying around the house. When I was 12 years old, I joined various
local garage bands, playing Farfisa organ. I ended up in the band called,
Lord Fuzz. We were very good. We played every weekend at local teen
centers (there were more places for teen bands to play back then). Our
parents would drive us to the gigs. Lord Fuzz cut a record when we were 13
years old. I wrote the songs. When the lead singer left, I took over the band.
The band became experimental and avant-garde. During all my school
years, I was playing cello and string bass with the local youth symphony and
school orchestra. I had an interest in experimental classical music and art.
Dion, Bobby Rydell and Fabian. I joined the Dion fan club when I was in 4th
grade. I wrote my first set of songs when I went into the 5th grade. My
mother would wake up in the morning and put the curling iron on the stove
and then curl the front of my hair. I was trying to look like Dion and Fabian.
My father was a musician, so we had numerous instruments and tape
recorders lying around the house. When I was 12 years old, I joined various
local garage bands, playing Farfisa organ. I ended up in the band called,
Lord Fuzz. We were very good. We played every weekend at local teen
centers (there were more places for teen bands to play back then). Our
parents would drive us to the gigs. Lord Fuzz cut a record when we were 13
years old. I wrote the songs. When the lead singer left, I took over the band.
The band became experimental and avant-garde. During all my school
years, I was playing cello and string bass with the local youth symphony and
school orchestra. I had an interest in experimental classical music and art.
John Cage was my hero. This interest in avant-garde music and art entered into my rock music. When the
band started showing up all covered in flour and milk, fights would break out. The music was very
experimental.
band started showing up all covered in flour and milk, fights would break out. The music was very
experimental.
DPP: You've been credited with helping to inspire people to release their own records. What
was your initial drive to do it yourself?
was your initial drive to do it yourself?
GW: I have always been interested in making my own records. When we were children, my parents would
often take us to amusement parks. In those days, many of the amusement parks had booths where you
could record a record for a couple of bucks. As I grew older (12 years old), I began to acquire recording
equipment and started making tapes in my parent’s basement. I remember at 13 and 14 years old, taking
these tapes to New York City and dropping them off at various record labels. I would often go to ESP
Records. I always had an interest in recording my own music. If I couldn't get any interest from the record
labels, I would release the records myself. Originally I went to Bearsville Studios near Woodstock, New
York to record You Think You Really Know Me in 1976. I had sent a demo to Harris Goldberg in
Woodstock and he gave it to Robbie Dupree and Bearsville engineer Tom Mark. Robbie and Mark invited
me to Bearsville studios and we recorded “6.4=Make Out,” “Chromium Bitch,” “Groovy Girls,” and “I Want
To Lose Control.” We had the drummer from the band Orleans (“Still The One”) playing drums. I still say
that Bearsville Studios was the best studio I've recorded in. Tom and Robbie did a beautiful job with the
recording. Robbie Dupree went on to record a number of records (“Steal Away,” “Hot Rod Nights”).
Anyway, Robbie Dupree had his own recording career going so we never finished the project. At that
point I decided to record the album You Think You Really Know Mein my basement. Perhaps in the future
the Gary Wilson Woodstock Tapes will come out.
often take us to amusement parks. In those days, many of the amusement parks had booths where you
could record a record for a couple of bucks. As I grew older (12 years old), I began to acquire recording
equipment and started making tapes in my parent’s basement. I remember at 13 and 14 years old, taking
these tapes to New York City and dropping them off at various record labels. I would often go to ESP
Records. I always had an interest in recording my own music. If I couldn't get any interest from the record
labels, I would release the records myself. Originally I went to Bearsville Studios near Woodstock, New
York to record You Think You Really Know Me in 1976. I had sent a demo to Harris Goldberg in
Woodstock and he gave it to Robbie Dupree and Bearsville engineer Tom Mark. Robbie and Mark invited
me to Bearsville studios and we recorded “6.4=Make Out,” “Chromium Bitch,” “Groovy Girls,” and “I Want
To Lose Control.” We had the drummer from the band Orleans (“Still The One”) playing drums. I still say
that Bearsville Studios was the best studio I've recorded in. Tom and Robbie did a beautiful job with the
recording. Robbie Dupree went on to record a number of records (“Steal Away,” “Hot Rod Nights”).
Anyway, Robbie Dupree had his own recording career going so we never finished the project. At that
point I decided to record the album You Think You Really Know Mein my basement. Perhaps in the future
the Gary Wilson Woodstock Tapes will come out.
DPP: When did you first become aware that You Think You Really Know Me was being played on
college radio?
college radio?
GW: The original You Think You Really Know Me was self released in 1977.
I sent copies to various radio stations and magazines. Also JCOA New Music
Distribution Service originally offered to distribute my first album, Another
Galaxy in 1974. JCOA had albums by Anthony Braxton, Pharaoh Sanders,
Charlie Haden, etc. Very off beat, avant-garde jazz. When YTYRKM came
out JCOA offered to distribute that record, too. JCOA was sending many of
their albums to college radio. Some of the stations were picking my record
(YTYRKM) for their play lists. I really appreciate that college radio embraced
me as they did. I did the CMJ [College Music Journal] Festival last October
in New York.
I sent copies to various radio stations and magazines. Also JCOA New Music
Distribution Service originally offered to distribute my first album, Another
Galaxy in 1974. JCOA had albums by Anthony Braxton, Pharaoh Sanders,
Charlie Haden, etc. Very off beat, avant-garde jazz. When YTYRKM came
out JCOA offered to distribute that record, too. JCOA was sending many of
their albums to college radio. Some of the stations were picking my record
(YTYRKM) for their play lists. I really appreciate that college radio embraced
me as they did. I did the CMJ [College Music Journal] Festival last October
in New York.
DPP: Your on-stage performances are the stuff of legend in the
underground music scene.
underground music scene.
GW: I remember before the gigs, the band would meet in my basement, and I would dress the band. I
would use what ever I could find laying around the house. It could be a bed sheet, a pillow duct taped
around my head or a sack of flour with a pair of underwear over my head. Then we would take off for the
gig. Once the band made it to the gig, there would be more flour and milk. I stopped with the milk because
of the electricity. I still never know what I am going to wear or what I will look like until shortly before the gig.
I like the dynamic of grabbing what's available. Maybe grab an old wig and roll around in some flour and
paint. Wrap a plastic bag around my head.
would use what ever I could find laying around the house. It could be a bed sheet, a pillow duct taped
around my head or a sack of flour with a pair of underwear over my head. Then we would take off for the
gig. Once the band made it to the gig, there would be more flour and milk. I stopped with the milk because
of the electricity. I still never know what I am going to wear or what I will look like until shortly before the gig.
I like the dynamic of grabbing what's available. Maybe grab an old wig and roll around in some flour and
paint. Wrap a plastic bag around my head.
DPP: When/why did you stop performing? What got you going again?
GW: I never really stopped performing. It's just that no one (the media) was
paying attention to me. Gigs were getting harder to find and as I often say,
one succumbs to the situation. I was still doing art shows and
performances with my current girlfriend Bernadette Allan. When Motel
re-released You Think You Really Know Me everything changed. In the old
days club owners and the audience would often want to kill us. They would
get so mad at us. Of course we played off of that dynamic and made them
angrier. Often the Blind Dates would need a police escort out of the venue.
Now it's totally changed. The audience knows the words to my songs and I
am often encouraged to be as avant-garde as I want. Recently the owner
of The Bottom of the Hill in San Francisco got mad at me because of the
flour all over the stage after my performance. Some things never change.
paying attention to me. Gigs were getting harder to find and as I often say,
one succumbs to the situation. I was still doing art shows and
performances with my current girlfriend Bernadette Allan. When Motel
re-released You Think You Really Know Me everything changed. In the old
days club owners and the audience would often want to kill us. They would
get so mad at us. Of course we played off of that dynamic and made them
angrier. Often the Blind Dates would need a police escort out of the venue.
Now it's totally changed. The audience knows the words to my songs and I
am often encouraged to be as avant-garde as I want. Recently the owner
of The Bottom of the Hill in San Francisco got mad at me because of the
flour all over the stage after my performance. Some things never change.
DPP: How often do you perform? Are any of the original Blind Dates
involved?
involved?
GW: I perform every now and then. I recently performed in Los Angeles,
San Francisco, San Diego and a music festival in Purchase, New York. I
always include members of the original Blind Dates. That is what's so cool
about this whole thing. I get to hang out with my friends and do a show
together. I recently did a show in San Diego at The Casbah [see photos]. I
put the original Blind Dates together for the show. My best friend Carmen
Putrino came out for the show. He's been performing with me since we
were both in 5th grade. I recently spoke to Peanut Butter Wolf and we are
going to London and Paris for a music festival and a show in early
December. He's bringing some of the Stones Throw crew to the show.
San Francisco, San Diego and a music festival in Purchase, New York. I
always include members of the original Blind Dates. That is what's so cool
about this whole thing. I get to hang out with my friends and do a show
together. I recently did a show in San Diego at The Casbah [see photos]. I
put the original Blind Dates together for the show. My best friend Carmen
Putrino came out for the show. He's been performing with me since we
were both in 5th grade. I recently spoke to Peanut Butter Wolf and we are
going to London and Paris for a music festival and a show in early
December. He's bringing some of the Stones Throw crew to the show.
DPP: How did you end up on Stones Throw, a label primarily known
for its’ hip-hop releases?
for its’ hip-hop releases?
GW: A while back I was on the computer and came across an interview
that Peanut Butter Wolf did for an English magazine or radio program.
Peanut Butter Wolf runs Stones Throw Records. He mentioned that he
that Peanut Butter Wolf did for an English magazine or radio program.
Peanut Butter Wolf runs Stones Throw Records. He mentioned that he
| Photos from a recent (July 8, 2005) performance at The Casbah in San Diego. |
DPP: Do you know what happened to Motel Records? They just seemed to disappear. This must
have been especially disappointing for you, as they folded not soon after the release of
Forgotten Lovers.
GW: It was sad about Motel Records. They released You Think You Really Know Me in 2002 and then
Forgotten Lovers in 2003. Shortly after the release of Forgotten Lovers, Motel Records went under. It was
very sudden and abrupt. Nobody could reach them (including me) to find out what happened. It was
depressing. I still appreciate all that Motel Records did for me.
DPP: How did the documentary come about?
GW: Michael Wolk started filming the documentary shortly before the re-release of YTYRKM in 2002.
Michael Wolk and Bob Green flew out from New York City to San Diego to begin filming the documentary.
They rode back to New York with me by train. The documentary follows me back to New York City and
then to my hometown of Endicott, New York. I was going back to New York City for my first engagement
(Joe's Pub) in quite some time. I was invited to attend the New York premier of the documentary at Lincoln
Center. The place was sold out. It was quite a moving moment in my life to watch the story of my life unfold
on the big screen. After the showing, the Lincoln Center Film Society threw a big party for me in one of the
rooms. A moment I will remember for the rest of my life. Wonderful. The documentary is currently showing
at various theaters and film festivals but has not been released on DVD for the public yet.
DPP: Are you currently working on new material?
GW: I recently bought new recording equipment and a new album is in the works. I finished recording a
song last night called “Sandy.” I always liked Sandra Dee (check out the movie A Summer Place).
DPP: Do you know what happened to/still keep in touch with any of the women you've sung
about?
GW: It's funny but in the last few months I have been in contact with one of my first girlfriends, Linda. She
recently found out that I was making records and that many of the songs are about her. Many of the girls I
sing about are past girlfriends and they don't know that I have recorded songs about them. It seems to
work best that way. Linda was one of the first girls to break my heart when I was young. It's nice after so
many years to resolve some of the problems Linda and I had.
Gary Wilson's Web Site: http://www.sixpointfour.com
--Bart Bealmear
have been especially disappointing for you, as they folded not soon after the release of
Forgotten Lovers.
GW: It was sad about Motel Records. They released You Think You Really Know Me in 2002 and then
Forgotten Lovers in 2003. Shortly after the release of Forgotten Lovers, Motel Records went under. It was
very sudden and abrupt. Nobody could reach them (including me) to find out what happened. It was
depressing. I still appreciate all that Motel Records did for me.
DPP: How did the documentary come about?
GW: Michael Wolk started filming the documentary shortly before the re-release of YTYRKM in 2002.
Michael Wolk and Bob Green flew out from New York City to San Diego to begin filming the documentary.
They rode back to New York with me by train. The documentary follows me back to New York City and
then to my hometown of Endicott, New York. I was going back to New York City for my first engagement
(Joe's Pub) in quite some time. I was invited to attend the New York premier of the documentary at Lincoln
Center. The place was sold out. It was quite a moving moment in my life to watch the story of my life unfold
on the big screen. After the showing, the Lincoln Center Film Society threw a big party for me in one of the
rooms. A moment I will remember for the rest of my life. Wonderful. The documentary is currently showing
at various theaters and film festivals but has not been released on DVD for the public yet.
DPP: Are you currently working on new material?
GW: I recently bought new recording equipment and a new album is in the works. I finished recording a
song last night called “Sandy.” I always liked Sandra Dee (check out the movie A Summer Place).
DPP: Do you know what happened to/still keep in touch with any of the women you've sung
about?
GW: It's funny but in the last few months I have been in contact with one of my first girlfriends, Linda. She
recently found out that I was making records and that many of the songs are about her. Many of the girls I
sing about are past girlfriends and they don't know that I have recorded songs about them. It seems to
work best that way. Linda was one of the first girls to break my heart when I was young. It's nice after so
many years to resolve some of the problems Linda and I had.
Gary Wilson's Web Site: http://www.sixpointfour.com
--Bart Bealmear
|
working on new material and there’s even a documentary out now, You Think You Really Know Me: The
Gary Wilson Story, bringing Wilson’s strange and fascinating career full-circle.
Gary Wilson Story, bringing Wilson’s strange and fascinating career full-circle.
wanted to re-release You Think You Really Know Me and that Motel Records had beat him to the punch.
I contacted him shortly after Motel Records went out of business. He expressed interest in releasing
something new from me, and thus, Mary Had Brown Hair.
I contacted him shortly after Motel Records went out of business. He expressed interest in releasing
something new from me, and thus, Mary Had Brown Hair.
