Music
is a way of life, a funnelling of cosmic status and simply ensures a
smile on your face when things are looming over you like a tsunami in
a Walmart. When perfected, it is an extension of the heart and soul,
gently reminding us why without certain players in the game, the rock
would not roll.
Put
yourself in the mood of 1986-87, generator blasting away and the
sonic explosion is one dripping with so many wonderful influences
that your mind is taking meticulous notes of the playlist. Cerebrally
overflowing with joy as the best of punk, rock, Height Ashbury scene
(Grateful Dead) and the guitar feed backed drench of Neil Young
simmer in a pot of delicious musicality. Ladies and gentleman insert
Yawning Man. Low and behold the Godfathers of Desert Rock.
Mario
Lalli, Gary Arce, Larry Lalli and Alfredo Hernandez, the four
founding members of this monumental influential quartet that changed
the way people listened and approached the art of writing and
presenting music. Simply put, it categorically re-arranged the
approach taken when the needle hit the record.
Flash
to 1994, the place is Rhythm and Brews, the nightclub of Mario and
Tony Lalli. These 2 had already been legends of the scene, just
happened to grab for my vote one of the most sinister backbeats in
the universe of one Tony Tornay. These three for my buck brought the
best of Mountain, Neil Young, the SST bands and the snarl of old
school blues to a whole different level. If Mississippi Queen and
Cortez the Killer had a child, the name is Fatso Jetson.
By
the grace of the Sludgelord, I was able to be humbled in my existence
and spend a few hours talking to:
Gary
Arce, hands down a six string gun slinger of undeniable proportion in
any domain of music, driving the echo and sustain in Yawning Man.
Mario
Lalli, bass player, guitarist, vocalist, artist, you name it, he has
done it and done it well my friends and has done it to a T with
Yawning Man and Fatso Jetson.
Also,
the man that leaves the four on the floor and just coming off the
road with Brant Bjork, Fatso Jetson percussionist Tony Tornay.
We
spoke regarding the tour that will be happening in February and the
recording process that they have taken and our taking to give their
loyal fans a new taste of ambient, Yawning Man and a delicious
helping of straight up groove via Jetson.
If
you are lucky enough to catch one of these acts you are smiling,
throw in the two of them, excuse me is this thing on, that is right
amigos, both in the same venue. You do not have to drive across town,
fighting traffic, weaving the perils of rotary bullshit; you grab a
cocktail, a smoke, a Fresca, whatever gets your shang tanged.
Simply
said your auditory system is in for musical sangria. Excuse me Flo
that was scrumptious, can I get another? If you are in overseas in
February then yes you may. Sit
back and enjoy as I get a lesson in the art of real musicianship by
musicians that still do it for all the right reasons.
Gaff-
Thanks so much for sitting down and speaking with me.
Gary
- No problem
Tony
- My pleasure
Mario
- Thank you for taking the time
Yawning Man
Gaff
- Can you bring me back to starting Yawning Man in the late 80’s
Gary
- Mario, Alfredo and I were playing in a band called the Breed before
Yawning Man. high school days, hard core punk rock. I ended up moving
away to San Diego for a year or so and Mario, Alfredo & Scott
moved to L.A. They started playing shows as Across the River and
eventually moved back home to the desert. Mario’s family had a
house in La Quinta that they all moved into and converted the garage
into a studio space.
Larry
Lalli eventually moved in shortly before I moved back home from S.D.
and into the house as well. Across the River was winding down at this
point. Scott Reeder had been offered a tour and album with The
Obsessed (Wino) and moved out to L/A to peruse that. Mario, Larry and
Alfredo were messing around with some jams but not doing much,
playing once in a while. When I moved in, Alfredo and I started
jamming and when Mario and Larry got home from work we would all just
jam all night. Our sound grew out of this free flowing jamming.
The
band played alot, especially in the garage & generator jams, we
did record a couple things on 4 track cassette “The Birth of Sol”
1987-88. It was way different back then. None of us had jobs or were
in school so we had time and being from a small town there really was
not much else to do but play music and drink beers. We had the time
to be creative and being from the desert, we were not affected by the
happenings in LA at that time. Looking back, it really helped us to
come up with our own sound.
We
did not fall for any of the trends or the flavor of the months that
were occurring in LA. The band morphed into “the Sort of Quartet”
around 89 with the same line up we played alot more live and recorded
4 LPs, The first three for SST records and the last was on Crippled
Dick Hot Wax. Yawning Man flame kept alive though and the flowing jam
and spacious vibe brought us back to basics again. Myself, Mario &
Alfredo began writing new material to be recorded in 2005.
After
that the band got some offers to tour as the desert scene had become
better known through Kyuss and QOTSA. The first tour, actually Mario
was not able to perform with us. There has been a few bass players in
and out (Billy Cordel, Zachary) but mostly Mario, myself, Alferdo
then Bill Stinson. I met Bill through Gregg Ginn. We collaborated on
projects such as Ten East, Dark Tooth Encounter, Perfect Rat. So it
was a natural fit with Mario and I.
Mario
- I grew up with all these guys Gary, Alfredo, my cousin Larry we
lived in the same house together for 10 years and we kicked out a lot
of music together in the late 80s early 90s. I love playing with Gary
and am really excited to tour and record with Yawning Man. I am doing
both bands and really love doing it. We were into so-many different
things musically from Latin Jazz, to Black Flag. We loved radical
musicianship by musicians that could split skulls. There was never a
thought of looking or sounding a certain way, it was always about the
music and also the art that surrounded our music.
We
had this whole re discovery of music as we listened to as kids. Zep,
Mountain, Sabbath, Blue Cheer, Frank Marino, Jeff Beck, the
Yardbirds, and Hendrix. Then, the natural progression was into punk
rock, up the dosage. We obsessed over the SST bands like Black Flag,
Minute Men, Saccharine Trust, Blind Idiot God, Meat Puppets, The
Ramones for me were huge, Dead Boys, Richard Hell, Lou Reed, Velvet
Underground, Germs, Adolescents, and Butthole Surfers. Then we got
into collecting more obscure psychedelic stuff and as we got older we
wanted to play and write from instinct, feeling dynamics, volume,
time, we jammed endlessly. A lot of it was noise and a lot was
fucking insane, which eventually became songs and parts that would
roll into each other.
We
discovered Jazz, Bebop and really loved the improvisational quality
of music. Got into the experimental guitar players such as Marc
Ribot, John Abercrombie, Nels Kline, Sonny Sharrock and realized that
Yawning Man could play whatever we wanted.
Fatso Jetson
Gaff
- So in terms of being in Jetson since in 94, looking back, are you
in awe of where the musical scene has taken you?
Tony
-
Starting in the desert it was just something you did for fun, you
never thought it would be a career, just getting out of the garage
was a sort of like a triumph. Let alone starting to play shows
regionally, nationally and then internationally. The idea of
recording a record was insurmountable, let alone just doing anything.
For me, I am glad I have been able to make a bit of a career out of
this.
Mario
- When it came time for Fatso Jetson, I wanted to play stuff that
made me feel like when I first listened to ZZ top. I didn’t want to
do math albums on the fret board. Now we have math, but the writing
was from your balls, like early Neil Young, whom I have always loved
and admired.
Gaff
- I always thought that the Jetson stuff had a backbeat like Neil
Young and the alpha maleness of Mountain.
Mario
- I played those Mountain albums out. I saw Lesley West a few years
ago and he was playing a Steinberger guitar and gone was the reverb
drenched vibe, the guy that championed dumble amps, I wanted to hug
him and tell him everything will be ok. That first album, the double
bass, cow bell, that riff, it was like a heard of buffalo. The tone
knob completely rolled off, what tone.
Now
in Fatso Jetson we have trimmed the band down to a power trio as my
son and I are both playing guitar and bass. Tony has an interesting
role playing with father and son. We are both pedal freaks so the
songs I write guitar on, I play guitar on it. Dino and I have a very
similar way of playing bass and guitar. We have a cool A/B set up so
we just trade instruments when it is time and it will be great. I am
truly blessed to be able to play with my son and do this tour with
both bands. Dino is 18, but sounds 40, ha. He gets along great with
the guys so it will be fun to play and clear the room with one of our
long jam sessions at the end. We will bring guys from each band up.
Gaff
- How was it starting off, working with Gregg Ginn of SST
Gary
-
Yawning Man played a lot with Gregg’s bands and I have played with
Gregg over the years.
Tony
- That was a weird, we literally played our first show opening for
Gregg, and after we played he came up to us and asked if we wanted to
do a record. WE said sure, most of the stuff we loved as kids came
out on SST. We did 2 records on SST.
Gaff-
speaking of recording are you a player that likes the recording
process or live.
Tony
- yeah, over the years, when I was younger, I hated the recording
studio, there is a weird finality to it, what you do is what everyone
hears, you get no second chance. The thing I love about playing love,
if someone fucks up, 30 seconds later you have redeemed yourself. So,
I love them both but for completely different reasons.
Gaff-
Are you a technical guy or just like to sit down and play.
Gary
- I do not know how to read music, I play with my fingers. I like
dark and dissonant chords and equate major chords as being happy and
minor as being sad. I think we as a band are unorthodox and never
wanted anything to be boring. We like to jam, maybe play one riff for
an hour, really into liking the way certain things sound
Gaff
- Mario, I have to say thank you as you penned my favorite Queens
tune, Millionaire, so really being able to chat with the three of you
is an absolute mind blowing experience.
Mario
-
Thank you so much, that really means a lot to me.
Tony
- Somewhere in between, I am not the type of guy who will obsess over
thing, I do want it to sound good, so I will take the necessary steps
to get the sounds we are looking for.
Gaff-
in terms of recording are you more of a tape or pro tools guy or
does that not bother you.
Tony
- Well, I mean I am much more a fan of tape, but you know the best
analogy I can use, I am a bigger fan of vinyl but listen to my IPod
all the time.
Gaff
- so obviously you have the Fatso Jetso thing, but you played on
Brant Bjork’s Black Flower, how was that experience, as I think it
was one of the best albums of the year.
Tony
- The recording and touring was great. We laid down a bunch of songs;
it really was a good experience
Gaff
- So 2014 was crazy busy for you, how is 2015 looking?
Mario
- Touring with both bands and recording. I have to remember that
sometimes when playing with Dino, I have to separate that I can’t
get mad at him for not taking out the garbage and that we are
bandmates.
Gary
- Playing a lot of music, touring will be great and also a lot of
recording.
Tony
- Hopefully even busier. The plan for us when we get back from this
tour is to record a record and spend the rest of the year touring.
Gaff-
Are you guys going to be touring the states and overseas?
Tony
- that is the plan, we just got a great booking agent here in the
states and we are very hopeful.
Mario
- I have never really toured much in the states. I did the tour with
Kyuss and a tour with Queens when I was filling in for Dave
Catching’s. It was when Queens was opening up for Smashing
Pumpkins. In terms of touring, I love handling logistics and am in it
fully. Europe is so different. I am definitely blessed as there is a
special place right now for where we are from. I am truly blessed to
be a part of it.
Really
the hard work gave us a chance to play. I am so grateful for guys
like Josh, Brant, Chris Goss, Queens, Kyuss. We are playing rock n
roll and those guys would come to see us play when they were like 13
years old. It was there work, playing out beyond the desert that made
it a reality. We never knew how to book a show, call a club. We were
happy to play at the local Mexican cafe in Indio or play in someone’s
garage. We are now spoiled. I never dreamed of playing Europe, this
will always be a big deal for me.
Gaff-
Do you like playing anywhere special
Tony
- no, I just love to play
Gaff
- What else is going on musically?
Gary
- I just did 2 albums. One is with ZUN. I would go in and lay down
loops, the engineer was a huge Yawning Man fan and Harper would make
songs out of the loops. I sent John Garcia some songs and he sang on
half of the record and Sera Beth Timms sang on the other half. It
will be coming out in March on Smallstone Records.
Gaff
- Your style has been emulated by many people, who are the guys that
you get off on?
Gary
- I like the Grateful Dead a lot. We are not deadheads at all. I also
loved Bad Brains, DOA, Gang Green, loved the anger of punk. We just
liked hanging with our buds, listening to music, we were freaks. The
thing about the Grateful Dead was that it was so open and free, what
the dead did was punk rock, what is more punk than keeping it open,
letting it happen. Yawning Man embraced the punk and dead scene and
put it into one big jar and out it came. I am also a really big fan
of Bauhaus and try to bring in the drums of Bauhaus into Yawning Man.
It is like Gothic Grateful Dead. Also, heavy into African music like
Fela Kuti. He was the African James Brown, very political lyricist.
Also, Miles Davis and Marvin Gaye. Marvin has such heaviness to his
music, not like a metal heaviness but certain darkness a sadness to
it, draws you in.
Mario
-
Jazz, rock punk, also the Grateful Dead. So many different musical
influences.
Tony
- now I really dig Red Fang, the newest Earth record is so good. A
lot of old Neurosis and I have always been a huge PJ Harvey fan.
Gaff
- Are you someone that when playing on someone else’s album, are
you given the freedom to do what you think is best.
Tony
-
the way I feel about playing on other peoples albums is that Fatso
Jetson is my home but I love to go on vacation. It is always good to
play with other people and see what they are doing.
Gaff
- Well you have had some good vacations.
Tony
- ha, I know
Gaff-
So you have been able to play with Jetson and other people, looking
back on the scene, from generator parties to where you are now, what
are your thoughts as to where things are now and what they have
become
Tony
- As far as our local, I am really proud, when you realize that we
pulled it off, it is kind of awesome. We didn’t know what was going
on elsewhere so all I had to go on is what we were doing.
Gary
- The desert has certain energy, you can see the mountains, and it is
really different than LA. We were all friends and that really had a
lot to do with how things were. We would be in Europe and see guys
from our hometown and it was a great. It was like a little homecoming
to see each other on the road. Coming from the middle of nowhere, and
not being affected by what was going on in other areas, it really has
a good feel being from here.
Gaff
- When you all started, who were the first few bands you played with,
obviously Kyuss.
Gary
- St Vitus and a lot of SST bands.
Tony
-
Yeah Kyuus and regional bands like Fu Manchu and bands form the
desert that no one has heard of.
Gaff
- Do you still enjoy seeing bands form that era.
Tony
- yeah, when I was on tour with Brant we did a festival with Fu
Manchu and they are still kicking ass, it was so great to see them.
We bump into each other once in a while so it is a lot of high fives
and good times when we see each other.
Gaff
- It seems like there is not a lot of competitiveness with you all
Tony
- I was never into the competitiveness thing at all. If I throw a
party I want a bunch of people to come, I do not the same thing with
the same 3 people to come.
Gaff
- So you guys started off as friends, would you say that has been a
key to having a a long and gratifying career.
Mario
- Because where we grew up was so small and tiny and really not much
happening, something people were doing really turned us on. Kyuss was
the ground breaker, they had elements of punk rock, a thunderous
sound and an accessibility that punk had. When you looked at DOA or
Black Flag, you did not see fantasy or mythical creatures. You saw
bros that lived down the block from you. These were people that you
could identify with, not record labels, not trends, but people that
were your friends and on top of it all, they fucking rocked.
Gary
- Yeah that has totally helped.
Tony
- I would say that is a huge part of it. I mean Mario and I hung out
yesterday afternoon, we will probably go to a show together. When we
play together it is awesome because there isn’t any
competitiveness, there is no hey, check out this is better than what
you did, we can create as friends together and be on the same tour is
like going on vacation with your best friends.
Gaff -
It's so great that you are guys are friends as it appears now a days
a lot of guys hire players to be a part of their band, such touring
with hired guns.
Tony
- I know a lot of bands that do it and I trip out on that. It is like
being in The Monkees. I like to vibe and grow with a band.
Gaff
- I think it shows on stage, as there is not the spontaneity as
seeing someone like you guys. It is almost harder than being married
and the fact that you guys have been doing it so long is incredible.
Mario
- I take things one day at a time, keep the vibes good and the music
will happen. I find that we are shitting songs right now as it is
becoming super easy. We can nail songs now in rehearsal.
Tony
- We have been doing it a long time so thank you.
Gaff-
So going back all those years, were you friendly with a lot of the
guys in your scene.
Tony
-
Josh and I have known each other since we were 5 years old. We all
went to grade and high school together. It is weird that all these
years later we are still connected.
Gaff-
So in your area, the amount of musicians in your area is crazy, is
that due to you all loving music?
Tony
- Yeah, we all music lovers and also it was really fucking hot in the
summer, you did not go outside, you sat in your room and played
because you had nothing else to do.
Gaff
- Do you still get home often.
My
parents are still there and my wife's family is there, we went to
school together so we go back for holidays.
Gary
-
I still live in the area.
Gaff
- So talking about music and recording, as your groove is pretty
infectious, are you someone that lays back and feels what the song
needs
Tony
-
yeah, I was working on a song with Mario, he thought I should lay
back and he was right. Obviously I have my own opinions but I
definitely do what is best for the song, and Mario was totally right.
Gaff
- So Gary, can you talk to me about your use of pedals, type of
guitars you are playing and amps.
Gary
-
I play Ayers guitars. They are made by David Ayers in Arizona and
they are beautiful. The guitar I am playing now is a cross between an
SG and a Strat. It is hollowed out and gets a great Neil Young type
of feedback. For amps I am using my Music Man and also a Zinky combo.
I love pedals, I go through different pedals often but my main sound
is part reverb boss delay and an overdrive. Right now I am using a
Joyo overdrive but just played the other day a Brad Davis overdrive
that I really liked. I told Brad what I was thinking and he nailed
it. I have a problem cutting through at times because of the volume
we play. Sometimes Mario and I will be in the same frequency so I
need a pedal that will help cut through. I was also looking at a
Hovercraft amp and talked to them about a Falcon. Don’t you use a
Hovercraft?
Gaff
- Yes, I love mine, great amp by a genius of a builder, Nial.
Gary-
yeah he was a very nice guy. I am hoping after tour to maybe get one.
The thing about pedals is that I have about 10 overdrive pedals. You
start going on forums and looking at web chats, it can be an
addiction.
Gaff -
I know, you are at home sweating, I need to get that pedal.
Gary
- yes, I know exactly how you fell. I had a great pedal that I went
on tour with and lost it in Europe. I would go on eBay and look for
it, come back and it would be gone. You go crazy over them, ha.
Gaff -
Are you still playing your tele?
Mario
- I am. I have bought so many guitars, Gretch, American made tele,
Jazzmasters and I have sold them all. I traded a Charvel for that
tele.
Gaff -
Was the Charvel from your Ratt cover band?
Mario
- Ha, you know I bought a Vineyard 335 knockoff. It is creamsicle
orange, I bought it for my son and he did not want to play it. So I
started playing the thing and it sounds amazing. Has such a mojo,
sounds like Crazy Horse. When I play me tele it feels like a 2x4. My
tele is more refined, scooped mids. This thing is vomiting distortion
and is hard to control but I am bringing it to Europe. I also just
got a Jazzmaster to use from Davis Ayers and it is beautiful. It is
chambered, purple. I might be leaving the tele behind on this tour
Gaff -
Tony, one thing I have gotten from your playing, it seems that some
of your playing is a bit behind the beat, like Neil Young’s
Harvest, it sits back but holds the song, where you a friend of songs
like Out on the weekend.
Tony
- Awesome, I am a huge Neil Young fan
Gaff-
For the amount of riffs, the drums in Jetson appears to have a Levon
Helm, Crazy Horse back beat
Tony
- there is so much craziness in Fatso Jetson that it is my job to
simply hold it together. My approach to things is that it is not the
notes you play but the notes that you do not play.
Gaff
- Yeah, at times it is more moving with space than do something in
seven or some wacky time signature.
Tony
- yeah, there are guys that are great guitar players but they have
never wrote a song that I like. I love the Cure, technically not
great guitar playing but I want to read a book and not do math.
Gaff
- So, in terms of playing looking back, anything that really hits you
as to where you came from and to where you are now?
Tony
- One night I think in 98 Josh and I were on tour in Europe and
everyone else had gone to bed in their bunks, we were having a beer
and we just looked at each other and said who would have thought that
we would be grown up, travelling all over the world and getting paid
to play music. I really trip out on that as it is really more about
friendship because we were able to all do it.
Gaff -
That really hits back to where you guys are from and where you are
now. I gotta say, Thank so much as sonically you get you the A t test
as your groove simply makes you wanna boogie and what you and your
bandmates have done have truly put a smile on the fans face and makes
them wanna boogie.
Tony
- Thank you so much.
Mario
-Thanks so much
Gary
- That means a lot.
Gaff -
So as we wrap it up, what is the recording process when you get back?
Gary
-
We started recording and would put dates and say we will need to get
it done by this time. Music is not our first priority as we all have
jobs and I have 5 kids so things would always pop up, dad remember we
were going to do this today? You cannot say no to your kids, so I
wish it was done, we will play some new songs on tour but will finish
the album when we can. There is no date set for it for now. Maybe we
can set up a tour with your band and ours.
Tony
- Well, we will end up writing and finishing the songs, then we are
gonna do our best and getting to many places as we can and play and
again thank you very much and hope to see you at one of the shows.
Mario
-
When I am an old man and have nothing left but my saggy nuts I can
look at pics of me and my son in Europe. It will be interesting, when
I am sleeping on my son’s couch it will be a different discussion.
I really want great things to happen for us and my son has a great
two piece he is doing, just he and a drummer. I was working a ton and
would we would put dates on the recording process and I would get
home from work and would be so tired I did not want to even think
about the dates we put on ourselves. We will finish the album when we
get back.
Gaff - Mario, you have been blessed to be in 2 bands that really have the
best of both worlds.
Mario
- Thanks so much man, I am really happy to be in both.
During
this chat, I have laughed more than I had in a long time. It is when
you revere bands and find out that the said players in those bands
just happen to be the nicest guys on earth is when the sun, moon, all
things vital are on the axis point and all meet in the middle, the
world is a better place to be in. Anyone can sit down and answer
questions, it is when you can converse and feel as if you are talking
to your buddy over a pop and truly feel on an emotional tip that
people care about art, music and above all rest, being a nice fucking
person.
These
cats paved a way for unbelievable musicians and had nothing but the
utmost respect and sheer joy when discussing their upbringing and the
area that is now known as the home of desert rock. These guys are not
just the Godfathers of the Desert Scene, but the true ambassadors of
a magical place that has spawned rock that rolls and rolls like a
motherfucker.
I
truly want to say Thank you to Mario Lalli, Gary Arce and Tony
Tornay. You all have made a fans day brighter.
Eat
a peach, Gaff.
Thanks
to Mario, Gary and Tony for speaking to Gaff for Sludgelord HQ.
Fatso
Jetson
Yawning
Man
