Deniz Tek (Radio Birdman) interview (english version)

Deniz Tek, Me and Paolo Gironi

There's no better thing for a music fan than to get in touch with his/her music idol. That's what happened to me with Deniz Tek: even if I can't call it friendship, it's something very close. The first time I asked to take a picture with him was after a Deniz Tek Group gig in Rome. I never thought I could become promoter, sound engineer and photographer in his and Scott Morgan's live album Three Assassins (Career records, 2004). Not to mention how much I've played his songs during my radio show. But the thing I like the most is to watch him onstage, just like it happened in Bologna, during the last gig of Radio Birdman's European tour. That night I wondered if I could ask Deniz some questions, and get the chance for an interview. Here it is. Enjoy your reading.

Let’s start from the european tour: 20 gigs, plain success. Is it the proof Europe still needs Radio Birdman?

<<It is proof that many in Europe are still willing to pay for it. But the audience has changed, and this now includes many who are seeing the band for the first time. Will these new, younger people still need RB next year or the year after, and encourage their friends to come and see? That is the bigger question!>>

I know that Italy has a special place in your heart, but can you tell us if there’s any difference with other countries you’ve toured in? What are the differences?

<<The coffee is much better! It is very friendly and welcoming. The Italians love life - they seem to have what the French call “joie de vivre” that is endearing. One cannot have a bad time or a negative attitude in Italy! But I find that people are essentially the same everywhere… well,maybe it is a little more different in Japan, where no one steals>>.

pic by Marianna Sposato

Despite a diffuse skepticism due to Chris Masuak exclusion, I think the one I saw is probably one of the best line ups I’ve ever seen. What did Kettley and Rieth add to the band's sound?

“Exclusion” is one way to describe it - he sort of actually excluded himself, both musically and personally. He is an amazing guitarist, but is clearly on his own path. It became impossible for Radio Birdman to continue with him. Nik Rieth is well known to us. He was in my solo band for about ten years, along with Jim Dickson. He was in the New Christs for awhile too. Nik did a series of gigs with Radio Birdman in 2004, after Ron Keeley left. He brings power, speed and blinding technique, along with accurate and consistent tempos. Dave Kettley brings great technique also, but in a style that integrates well with me and Pip. They both have the ability to play the songs in the way the songs were originally imagined, as a team effort rather than going off on individual trips>>.

We had the chance to see you performing with the new guitar, made with Art Godoy, which alterates the classic r’n’b sound. How much are you satisfied with it?

<<I am very satisfied with the new “Deniz Tek” signature guitar, designed by Art Godoy but created by Steve Salvi, of Salvi Finest Guitars in Adelaide, Australia. It is more or less the same setup as my old Epiphone Crestwood, although it’s a bit heavier. I have been playing the prototype. There were a few minor changes that I asked Steve to make for the production model>>.

Radio Birdman have a 40 years experience on stage. Did you imagine at a time you were going to become a piece of rock’n’roll history?

<<No>>.

Radio Birdman (from web)

Thinking back to those days, what can you tell about you and the other band members? What were your dreams and aspirations?

<<We just wanted to be who we were, create and play our music without compromise, and somehow find the means to do that. We never expected to make money, or become well known. We liked being cool and different, and we accepted the image of being outsiders. The last thing we wanted to be was professional musicians, whom we generally despised. We were usually hungry. We would go to parties, of course expecting to get high and have fun and hoping to meet girls, but also to check out the kitchen for food>>.

You’ve recently issued an amazing box-set collecting works from the first Birdman era (Citadel Records, 2014). What did you think when you found out the old recordings?

<<We didn’t know those tapes still existed. It was an amazing thing to find. There were literally hundreds of tracks. The box set only features what I considered to be the best or most interesting. I was unable to remember recording much of it, but there it was>>.

Were there any particular difficulties in the editing process of the original recordings?

<<More than 20 boxes of tape had to be restored and transferred. Most of it was 24 track 2inch tape, but the live material was 16 track. We had to find a 16 track, 2 inch machine. There were none in Sydney. We found one in Brisbane, and had the recording and playback heads couriered down to us and installed. Wayne Connally engineered the mixes on a vintage Neve desk at Albert Studios, the home of The Easybeats and AC/DC>>.

The sound is surprisingly improved, and the alternate versions made the box set widely appreciated among all fans. What surprised you the most listening to the old recordings?

<<I find it hard to believe that we spent so much studio time on all those different versions of songs. Like I said, I couldn’t reallyremember doing most of it. A lot of those takes have Rob just doing a guide vocal, which was never meant to be the final take, and so he is singing very casually, maybe having been up all night with whisky and smoke. Many of those throw-away vocals sound fantastic>>.

pic by Marianna Sposato

If you could go back to those years, is there anything you’ll change in the writing of those tracks?

<<No. Those songs still sound OK. It’s best left as it is. I prefer to look ahead, to something else>>.

As I said before, there are a lot of alternative version, such as the acoustic Love kills and different arrangements for Do The Pop and What Gives, but you chose not to insist on a romantic revival?

<<Sorry, I dont quite understand the question… would you please clarify, what is a “romantic revival”??>>

What I meant is: listening to the acoustic version of some of your songs, in particular Love Kills, I gained more consciousness on how it is a love song. That made me think (and this is what I wanted to ask): have you ever thought on writing love songs - perhaps getting to another music genre? Did you stick to punk rock because you started with it, or have there been any moments during Radio Birdman history in which you thought to switch to something else (though I dont' think so)?

<<I have written a few love songs. Non Stop Girls, Breaks My Heart,  these are love songs. Generally I avoid the topic in lyrics because it has already been covered too much. Regarding genre, I have the opposite opinion to you. We play rock and roll music. I have never done punk music, and I don't think that we were ever a punk band, even though we were playing at the time that "punk music" started in the mid 70's. We had an anti-authority attitude, which was adopted by the punk crowd, but our music was never punk. In England the punks hated us in 1978 because we didn't have the look or the sound that they recognised as "punk". And we were quite happy with that. Having said that, I don't feel that I am limited by genre. There are some blues ("Big Accumulator" on Deep Reduction 2 is a good example) and even some vaguely country songs ("Pushin' The Broom") among the 200+ songs in my back catalogue. I have recorded surf instrumentals: check out "Song for Dave", the B side of the Can Of Soup single. I did an entire album of experimental noise / free jazz guitar and electronic music with Dave Weyer called "Glass Insects". We have six more hours of that stuff recorded, waiting to be edited and mixed someday. Still, what I do best is rock and roll, and so that is what the main body of my work will always be. A man should play to his strengths, while recognising his weaknesses>>.

The most powerful part is probably the 1977 live show. What can you tell us about that?

<<It was the last show we played in Australia before we moved to England. The band was hot and the audience, maybe over 1000, went berserk. It was chaos. Things were out of control, there was a lot of damage. We were happy to be leaving. We didn’t want to see anyone killed>>.

A 40-years long career, are you satisfied with the results?

<<I’ve got no regrets. It might have been different for us if the label (Sire) had not collapsed, and if we had toured America with the Ramones as was planned. That was cancelled, and the band broke up. After the reunion in 1996, the people had changed. I think we went on too long with the wrong lineup. The last few tours were not very good.We didn’t want to continue in that way. Now we have the right people on board, and we can move on>>.

Seeing you all so enthusiast on stage we all  thought on a new Radio Birdman album forthcoming. Is there any chance this is going to happen?

<<It’s possible, but we have to be sure that any new material is consistent in quality with the back catalogue. Too many good bands record bad albums late in their career>>.

Does the touring with Radio Birdman slow down your solo work?

<<Yes indeed! We toured Australia last year, did a festival in March, and now spent 4 weeks in Europe. We rehearsed a lot. Wrote and recorded some demos. Radio Birdman is very time consuming. There is work and family also. One cannot do everything at the same time… and yet …>>

You’ve recently issued a couple of records, are you working on anything new after Detroit?

<<Yes, the next solo album is in the works. The basic tracks are all recorded, with Ric Parnell and Bob Brown. Pip might contribute some keyboard parts. It was supposed to be out by now, but with all the Radio Bidman work I put it on hold. Maybe I will finish it now>>.

Besides music, you also express your artistic inclination painting. Are the two things related? How would you define the painter Deniz Tek?

<<Painting and music are essentially the same. Except that I have only been painting about 12 years - just starting. The challenge is finding time to do it. The best way to define a painter is to look at the paintings>>.

You've been painting for twelve years now: how did it start? When did you manage to make it from a hobby to a professional side-activity?

<<My paintings attracted some attention after posting some of them on the web, and I was offered to display them in some art galleries in Australia and in the US. I have sold a few, but it is still more a hobby that a real profession>>.

Is there any chance to host an exposition of your paintings in Italy?

<<I am totally in favour of that. So far I have not had any offers. Any interested galleries are welcome to contact me via www.deniztek.com. I will even play an acoustic set at the opening, to go with the wine and cheese trays!>>