Local H

A conversation with Scott Lucas

(August 2004)

Interview by Adam McKibbin

(Note:  As this interview was conducted right at the height of another uproar over decency in the media, some profanity was replaced with the word "FCC." )

Since I'm out in L.A., I have to talk about "California Songs" - it's one of my favorites on the album.  But where are all these songs about people loving L.A.?  Living out here, it seems like everybody since about 1970 hates L.A., especially musicians.

Yeah, but there's constantly songs since The Beach Boys and the Mamas and the Papas.  You've got "California Dreamin," you've got "I Love L.A."  In the last few years, you've got a ton of songs - from Red Hot Chili Peppers to Phantom Planet to friends of mine's bands.

It seems like when I talk to bands from L.A. they talk about how L.A. sucks and the scene here sucks, but when I talk to bands from New York, they usually talk about how New York is the greatest place on earth and home to the best music being made.

Well, that's New York.  They think they're the center of the world.  To me, the thing is that there's a lot of land between L.A. and New York and there are a lot of people who have things to say and that's what I've always responded to over the years - the regional rock scenes that spring up out of Minneapolis or D.C. or Seattle.

And like what Saddle Creek did down in Omaha.

Exactly.  That's a perfect example.  That's when you get a sense of what people are really thinking because it seems to me that in L.A. and New York there are so many labels and magazines that it's sort of a weird, magnified sense of what's going on - it's not really real.  I never really had a lot of connection with bands from L.A.  There was Van Halen, but that was about it.

Yeah.  I've talked to some bands out of here - Rilo Kiley comes to mind, speaking of Saddle Creek - who have said that it's hard to find bands to share bills with because the focus is always on showcasing.

Exactly.  I was just going to FCCing say that.  See, nobody plays shows, they showcase.  Nobody makes records, they make projects.  It's that kind of double-speak that really drives me insane, but it also lets you know where these people are coming from.  It's like, "Oh, really, did you play a showcase?  Alright, well FCC off."

When Local H was at its commercial peak, did you get that pressure we always about, that "We have to build on this, we need a reprise of the hit single?"

Not really.  I think everyone felt the material was really strong and everyone was really excited about that record.  I was super proud of it because the whole thing was made so all the songs go into each other and fit together like a puzzle and I was so into that, but you could also take each song and have it be strong on its own with hooks and melodies. So everyone was terrifically excited and then the label got sold and then there was turmoil. You can’t really blame those people for being worried about how they’re going to bring home money to support their family and what’s going to happen to their job. Your band becomes secondary, and it sucks, but you can see why. People are human and they’ve got to eat.

Right.  I got screened recently for some panel on "mainstream music versus indie music" and I didn't make the cut because I think they really wanted a bulldog from the indie camp who would go out and say, "FCC these labels, everything they do is FCCed."  I said, "Well, it's a business and they have to pay the bills," and they were like, "Alright, later."

No, you're absolutely right.  The majority of questions I get lately are like "How is it recording for indies as opposed to majors?"  And they want me to go, "Oh, the majors are FCCed.  But everyone is FCCed.  There are great records that come out on majors and there are crap records that come out on majors.  The same thing for indies.  There are really honest people and dishonest people on majors and that's the same thing for indies.  Why would Paul Westerberg throw his masters into the river?  So Twin/Tone couldn't put them out because they wouldn't pay him.  Everyone is at fault.  (pause)  Oh, having said all of that:  FCC the majors.

What were your thoughts on the Pixies reunion?  You guys did a track on their tribute album and I know you're a fan.

I'm mixed.  I love the Pixies, but also I certainly didn't mind The Breeders and I didn't mind Frank Black's solo stuff.  If a new record came out of this, I'd be super surprised.  But you can't count them out - they are probably the most original American band that I can think of since...since bands started.  They don't really sound like anybody.  That's pretty impossible to do.

It even seems like other bands have a hard time aping them.  A lot of bands are influenced by them, but there aren't a lot of FCCy bands that sound like they're trying to be the Pixies.

The best Pixies ape I ever heard is on the Electric Six record.  Have you heard that?  There's a song called "Getting Into The Jam" and it sounds like something that could have been on Trompe La Monde and it is just unbelievable.

The other half of Local H, Brian St. Clair - one website called him one of the greatest drummers of all time.  If someone wants to become one of the greatest drummers of all time, is it technique or passion that's the key to getting over the top?

It's definitely passion.  Technique leaves me so cold.  There's something about seeing a Neanderthal behind the drumset just demolish the thing--that's rock and roll!  You look at that old stuff of Bonham on the Zeppelin DVD... of course he can play, no one is going to deny that, but, man, look at that beast.  Those are the drummers that always get me.  You can have Neil Peart and Stewart Copeland, as great as they are, they just don't get my blood pumping.