Mike Keneally Interviews Buckethead
December, 2000
NoneForYouDear.com
By Mike Keneally
Do you know about Buckethead? KFC headgear, raised by chickens? The surface aspects of the
character he presents has resulted in a lot of attention, but there is a phenomenal talent
underneath the bucket. I heard his debut album Bucketheadland
(still only available as an import in the US) back whenever it came out, eight years ago
or so, and I'd never heard anyone play guitar like that. Shredding on a guitar is one
thing (and a fairly mundane thing it had already become by the time Bucket hit the scene),
but Buckethead's arpeggios are more than just jawdroppingly fast, they are severe,
surprising, zigzagging designs in the air, rollercoasting madness which can alternately
terrify you and prompt hysterical laughter. Inspired by theme park rides and monster
movies, his vision of the purpose of guitar music is like none other; he is a unique
figure in the world of modern guitar music. I met him in 1996 when he was a guest
performer at two shows by a band which Henry Kaiser and I were in called The Mistakes.
Before the second show, Buckethead (while not in character) showed me a guitar he was
especially fond of; he was about to use it on a recording project with Shawn Lane and he
was very excited about it. During the show, while in character, Bucket became agitated and
destroyed the guitar. Afterward in the dressing room I saw him regarding the torn and
forlorn instrument as though someone else had performed this dastardly act, slowly shaking
his head and saying "...no...no..." I pretty much knew then that he was a
remarkable person. This email interview was conducted on the occasion of the re-release of
the formerly-unavailable-in-the-US Giant
Robot on the Cyber Octave label. Buckethead has also recently become a member of
Guns 'n' Roses.
KENEALLY: Congratulations on the US release of Giant Robot. Considering you
first released this work six years ago, how do you feel about its introduction to a new
audience now?
BUCKETHEAD: It's exciting to have that wedge come out finally. Now is different,
some of the slabs wouldn't be done now but a lot of the story stuff is good to have out.
MK: What did you intend to convey with Giant Robot, and is it something which
still feels relevant to you now?
B: Stuff about the park and the toy store and the last train ride is very important
now and the park anniversary coming up makes it nice.
MK: Are there plans for CyberOctave to release your debut Bucketheadland in the
US?
B: No, there are no plans for that. There is a lot of building going on at the park
right now though, some new attractions.
MK: Each of your solo albums seems to represent a different facet of your personality.
I'd love to know your feelings about your albums and what they mean to you now.
B: Each slab is fun to look back at, it is like sound diary. They were all fun
rides.
MK: Your musicianship and your spirit run very deep, but you're also very well known
for the surface aspects of your character (ie. the mask and the bucket). How do you think
the nature of your character has affected others' understanding of your work?
B: It goes to the grave. Bury it burn it hack it - it goes to the grave.
MK: What would you like people to know about your music which they may not know now?
B: It is all music made for rides.
MK: The last time I was at Disneyland, the Rocket Rods ride was closed for renovation.
Why?
B: It seems that ride is always breaking down. It is on a burial ground though.
That might have something to do with it. That ride took the place of the people mover.
That was a fun ride where you could take a break and look at Tomorrowland from above and
the Tron sequence was great.
MK: You're amazing; you're the first guitarist I ever heard who does mega-fast,
shredding arpeggios which tell stories rather than just try to impress me. Some of the
stories are scary and some of them are really funny; sometimes I burst out laughing
listening to your solos. Do you?
B: That is nice. It's a grabbag. Lots of times the things that inspire that stuff
is pretty funny.
MK: Most of your lead lines make shapes in the air and a lot of the shapes smell like
factories. If they were real factories, what would be manufactured there?
B: There would be many factories, many. A toy factory where they make life-size
remote control dolls and robots. A factory that makes stuffed cut off heads. A factory to
build the park rides Willy Wedges and the Slaughter Factory. A factory where they build
Giant Robot. Thoses would be some of the factories.
MK: You and I met, and briefly did a little playing together, thanks to our mutual
friend Henry Kaiser, an intensely creative and unique guitarist. I'm curious about your
impressions of Henry's work.
B: He is like Dr Frankenstein in his laboratory making all these crazy things and
putting them together. He plays his personality, that is hard to do.
MK: Do you strive to create a special physical environment in the studio
when recording?
B: To a certain point. Bring a box of stuff, lay it around. Couple dummies, some
chicken feed if it's away. At the coop it is, there is tons of stuff. The video goggles
have changed everything now. Anywhere anytime with the goggles.
MK: If you have a home studio, how do you compare working there to working in a regular
studio environment?
B: The coop is like a blanket. Pull the shades type of deal and when no one's
watching get the bags out and see what's left and what's worth saving. The coop is home
that is preferred.
MK: I think Monsters & Robots is a terrific record. What might people do
while listening to Monsters & Robots which would enhance their listening
experience?
B: Take it to a slaughterhouse in a Walkman. If you dig late at night in the dark
it can be good for accompanying you, with the goggles and saw. 1 steel door scene first
slaughter on loop is good. "Jump Man" on Space Mountain is good.
MK: Colma is a really pretty and relaxed record, obviously a major departure
from your other work. I was happy for you when I heard it. What should people be doing
while listening to it?
B: There are a few things. Colma is a city of cemetaries and on a foggy day a stroll
through that place works well. The more statues the better. The water is good too -- the
best would be a cemetary underwater.
MK: You're in Guns 'n Roses now -- I'm curious to know what led up to this intriguing
development. How did you hook up?
B: There was this Leatherface doll that Spencers-type stores put out, it's pretty
large and puffy, it was on the top of the list. Didn't receive it from the family. Got
invited to Axl's on Christmas night; never met him before. Sad about not getting the doll
but it is ok, but still sad. Get to Axl's, he presents this box wrapped up. The Michael
Myers version has been out for a while, knew it was the same box. Figured it was Michael
Myers and opened it up. There was Leatherface. In the brain joined that second.
MK: Are you enjoying yourself in Guns 'n Roses? Are you contributing music to the
project and generally being encouraged to be yourself?
B: It has been fun like a ride never been ridden. Every turn is new, it will be
interesting to see where this ride goes.
MK: I now have a series of questions which were contributed by a guy named Bib Odorall
from Danden, Ohio... first of all, what does your fascination with robots and sci-fi stem
from?
B: It goes way back to the coop and checking out movies at the drive-in theater
located behind the farm, you could see it through the cracks in the coop fence.
MK: Do you have a ridiculous video collection, and what kind of stuff is in it?
B: Yea it's pretty massive. Lots of gonner stuff.
MK: And Bib's final question: are you into really strange guitars? Weird, uncommon
instruments?
B: Not so much, just shuvels, saws, the sledge, stuff like that.
MK: What's the best music ever?
B: Disneyland's Haunted Mansion ride music.
MK: Happy?
B: Not totally but getting happier.... It is an honor to be asked these questions from
you Mike Keneally, you are such a talented person and it means a lot coming from you.
special thanks to Collin Rae at
Higher Octave
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