Rollo - Club Cow Interview (1997)

(Originally taken from - but no longer available there).

Copyright 1997 by Lisa Foley and Paul Dowsley

AS HEARD ON CLUB COW, SATURDAYS 6-10PM, 98.1FM, ECB-FM (which has since changed its callsign to EASTERN FM), MELBOURNE

Aired: June 7, 1997
Recorded: May 23, 1997

The interview transcript is broken into eight segments.

  1. Rollo tells us about his next song, why Sister Bliss and he are no longer an item and how to read secret messages in his music.
  2. How touring Europe has affected his work, what he predicts will be the future of dance music, how artists convince him to remix their track and how many requests for remixes heís sent every week, plus whoís the latest to ask him for remixes.
  3. Rolloís favorite tracks of his own, a secret about what notes he uses in his melodies, how he gets his fans to mosh in a nightclub, how he makes his music sound happy and sad at the same time.
  4. Thoughts of cheey dance music, whoís ripped off his tracks, how he copes with criticism, who he says has pinched his sounds, and the ettiquite of being a remixer.
  5. Why he tries to keep his name off the credits of some songs he works on, what heís worked on, why he wonít remix Kylie, and he reveals the remixer who is credited on his tracks who actually doesnít exist - he added the name because he thought it was funny.
  6. We ask Rollo about his work with Usura, he tells us other tracks he has worked on that you might not know of, some memories of his time living in Australia, why he was in court in Sydney.
  7. He tells us whether he thinks heís good at what he does, who his biggest fan is, what his mum thinks of his music, whether he is spiritual.
  8. Rolloís favorite TV show, his most-used phrase, some things few people know about him, settling the rumors.

Part 1

Rollo: Hi.

Paul: Is that Rollo?

Rollo: Yeah, that it is indeed.

Lisa: Hello how are you?

Rollo: Yeah very well indeed, Iím on a conference call am I?

Paul: Yeah we can both hear you and you can hear both of us.

Rollo: Right, brilliant.

Paul: How you been?

Rollo: Yeah very good thanks very much.

Lisa: Are you in the middle of doing something in the studio at the moment?

Rollo: Yeah we are, as we speak we are just finishing offÖI was supposed to be doing a remix but about five days ago I just got dropped by my girlfriend so instead of doing a remix me and a couple of friends just wrote a song about that so weíre just, as we speak, weíre just finishing that off.

Lisa: That sounds very sad.

Rollo: Yeah it is very sad, and the songís very sad as well so there you go.

Paul: Why did she dump you?

Rollo: I dunno, I think because I didnít give enough or something like that. Iíve no idea, but there you go, Iíll just have to move on and be strong.

Paul: And are you going to release this song?

Rollo: Yeah definitely, God I canít wait.

Paul: Whatís it called? Get Out Of My Life You Fat Cow or something like that? A bit of revenge never went astray I always thought.

Rollo: (Laughing) Now Iím not going to tell you what itís called because youíre making a mockery of my love.

Lisa: Iím not. He might be but Iím not. See Iíve got that feminine touch, we understand these things.

Rollo: Good for you.

Lisa: Are you releasing it under your own name?

Rollo: I thought I might because weíve done a couple of ĎRollo Goesí records and I thought I might call this ĎRollo Goes It Aloneí. But then again I might not.

Paul: Weíre only a minute into the interview and weíre already crying.

Rollo: I know.

Lisa: Is it a big, epic track like your other ĎRollo Goesí tracks?

Rollo: Yeah I think it clocks in at about 11 minutes. So itís quite a big one.

Paul: Has it got vocals?

Rollo: Yeah itís got vocals by a singer called Pauline Taylor. Weíre producing her album anyway which is a totally differentÖshe does folky soul kinda stuff.

Paul: Weíve heard her on stuff like ĎLet This Be A Prayerí.

Rollo: Yeah, thatís right. Yes itís very like that kind of thing, sort of a little spiritual ditty.

Lisa: Do you mention her name (girlfriend) in it at all or is it anonymous?

Rollo: Ah no, itís anonymous because I might meet someone else in the meantime.

Lisa: (Laughing) Oh thatís true.

Rollo: And then I can say to them ĎThis is about you.í

Lisa: Itís like tattooing someoneís name on your arm isnít it? You canít do that.

Rollo: (Laughing) Yeah exactly. Iíll tell you what you can do on a record if you ever have the privilege to be able to make your own record. When youíre cutting the record, you can actually get a little pen knife and you can scratch in any message you want right where the sleeve thing is and every record thatís printed after that will have the same message on it.

Lisa: There you go.

Rollo: And in fact, on some of our early records there are various messages to each other and stuff like that.

Lisa: What are they? Let us in on it.

Rollo: I canít remember. You can actually read them if youíve got 12-inch records I imagine theyíll be on them. I canít remember which ones we did though.

Paul: Yeah weíve got a couple of them here actually, weíll just grabÖ

Rollo: There might be one. Sister Bliss did a song called ĎBad ManíÖ no, on ĎLifeís A Bitchí, I think thereís one to this man who then she dropped.

Paul: Oh yes, we actually have got one here. Itís ĎHold That Sucker Downí and engraved in the space between the end of the track and the label on the record it says ĎCheck X12004Öí

Lisa: (Laughing) Itís very cryptic.

Paul: Wait for it, Ďdash A1í.

Rollo: (Laughing) See I told you, we leave loving messages.

Paul: (Laughing) Itís coded. Only aliens can understand it.

Rollo: Iíve been in love with R2-D2 for a long time.

Part 2

Lisa: You spend so much time in the studio. Do you have much time for anything apart from dance music?

Rollo: Apart from get dropped by girls, no not really. I think thatís probably why I was dropped. I kinda work four days a week in the studio and then I generally have to do one day of business running around. I still get my weekends off like the rest of the world.

Lisa: Youíve had a very hectic schedule with Faithless doing a lot of touring and performing. Has that taken up your time?

Rollo: Yeah thatís been amazing. The bad thing about it is that it keeps me away from making records. The good thing is that in the last four weeks Iíve been to South Africa, New York, L.A., Holland, Germany, back through France to here. Itís all been paid for and all Iíve had to do generally is sit down, answer a few questions, turn up at a gig, get drunk, you know. Itís a brilliant life.

Lisa: What a life, yeah.

Paul: It sounds pretty much like an average Saturday night with this radio show. The drunk bit, at least. Because of the way music works and you have to record a track months and months before it is actually released, you would have to try and stay ahead, of the sound of dance music as it will be six months or a year down the track. What do you the future sounds are in dance?

Rollo: Ah, wow. I think itís still expanding in the sense that itís getting less one category and you know you can only make music in one style and stuff like that. To me, definitely whatís exciting is things like tempo changes in records, using live instruments and I think people, in this country anyway, are more educated to dance music now, so you can be a little more subtle.

Lisa: So those tempo changes mean that the DJs have to be more and more clever to beat mix it.

Rollo: Yeah, exactly. To get on the case, yeah.

Paul: So when somebody has a track that they want Rollo to remix, what do they do? They obviously ring up Cheeky, which is your record label there in the UK, and beg.

Rollo: Yeah yeah. They do that, and then they go to the bank and get a big bank loan.

Paul: (Laughing) No, they rob the bank.

Rollo: (Laughing) And then they send the tape over basically. And then we have a listen down this end.

Paul: Do you ever really reveal how much you normally charge for a remix?

Rollo: No, but it is different for different things. If a little label sent in something you really want to work on, then youíll do it for virtually nothing. If itís a big major label, then youíre talking lots and lots of thousands (of pounds).

Paul: Take them for all theyíre worth.

Lisa: Are you a millionaire these days?

Rollo: I wish I was. I couldnít tell you how much I have. Not a million, though.

Lisa: You could have been a millionaire and available. That would have been good news for our listeners.

Rollo: Exactly, that would be good. Iíll put an ad inÖ Thatís what Iíll do.

Paul: Broadcast it on this station now if you like.

Rollo: Yeah. Hello Australia!

Paul: How many remixes do you get a month and how many do you have to knock back?

Rollo: I would say we get one a day at least.

Paul: For you personally?

Rollo: Yeah, totally. I once started doing a list just to see what we get sent but I gave up. This week weíve been sent Tin Tin Out, Apollo 440, a Bjork thing and Moby. Thatís this weekís offering so far. And what day is it? Thursday.

Paul: Which track of Mobyís? ĎOilí?

Rollo: No, heís done a new one for the new James Bond film, apparently. Itís the title tune for the new James Bond film.

Lisa: Let us in on a secret. Whatís Mobyís track like?

Rollo: Iíll tell you the truth. I havenít listened to the Moby one yet. Weíve been working all day. Generally, when I get up in the morning I just bung on whatever tapes have come around.

Lisa: What percentage of those tracks you receive would you say that you remix?

Rollo: About one in 50 maybe. Maybe less.

Part 3

Lisa: Youíve worked on dozens of tracks, if you were to rank your favourites, what would be the best?

Rollo: Best I would say are Felix, Gloworm.

Paul: Hang on, Felixís ĎDonít You Want Meí?

Rollo: Yeah ĎDonít You Want Meí. Gloworm. Thereís quite a few I like. Give me a best number, do you know what I mean?

Paul: Top three.

Rollo: Okay. Top three would have be Kristine W ĎFeel What You Wantí.

Paul: Is there a particular mix of that?

Rollo: The Our Tribe Mix. Ah, ĎSalva Meaí Faithless, the Epic Mix of that and also I reckon Felix ĎDonít You Want Meí.

Lisa: Those tracks have the ability to change your mood. Theyíre almost like taking drugs without taking drugs. How do you do that? How do you do music that makes people feel that way?

Rollo: (Smiling) I donít know, God. Itís a very nice thing to say though. It is down to the chords a lot of the time and Iíd like to think itís down to trying to be true to myself in the music I make. Without being too serious about it, Iím not one for compromise in any sense. Not in the sense I wonít work with people but if I want this like this then thatís how I want it and Iím not interested if it sells. I want people to like it but itís most important that I like it a lot. So I would like to think that plays a bit of a part, that at least your music has a sense of honesty and heart about it and people can really feel that. But musically that comes through the chords we choose. I donít think Iíve ever done a record in a major key, ever. Theyíre all in minor keys which is always to me the sadder and more meaningful key.

Lisa: And what emotions do you feel when you hear your own tracks?

Rollo: It depends. We just did a gig in Germany in front of 30,000 people and hearing ĎInsomniaí and just seeing 30,000 people - and theyíre not dancing like they dance in a club, theyíre doing that sort of rock stadium dancing. You know, just pounding up and down like we weíre Nirvana or something.

Lisa: Not moshing?

Rollo: What?

Paul: Moshing.

Rollo: Yeah, whatever itís called. Yeah that horrible kindaÖ That was an amazing experience. That was truly amazing. In the right context, hearing your own music is brilliant, but also Iíve just been to America on whatís called a Promo Tour where you just have to shake peopleís hands. So youíre going to all these meetings and everywhere, in these horrible office buildings, in the background your music is playing. Thereís nothing to turn you off your own album quicker than hearing it in that context, do you know what I mean?

Paul: Yes, like if you got into a lift and you heard it there.

Rollo: Exactly. All day, every day.

Lisa: (Laughing) Itíll be a real pain when they start doing flute versions and pan pipe versions of ĎInsomniaí.

Rollo: (Laughing) Totally. Iíll be committed by then.

Paul: (Laughing) So will we. Try, if you can, to capture that emotion and describe what your music sounds like. We read one review that said for instance, that Faithless ĎCanít be categorised and wonít be categorisedí.

Rollo: Someone once said to me ĎHow can you make records that are both happy and sad at the same time?í And that is kind of what the core of our music is about. Itís about that mixture of well, sad mood but thereís something uplifting about it or meaningful. And even whatever tempo weíre doing, the slower stuff on the ĎReverenceí album or doing dance mixes, the thing Iím always going for is a sense of space and the sense that you can get lost in it a bit, in the texture and stuff. The fundamental bottom line of our music is that it has a central core of sadness. And I also think itís a little bit shabby as well. Itís like a faded carpet that your grandma died on, do you know what I mean?

Lisa: (Laughing) A comfortable pair of slippers?

Rollo: (Laughing) Yeah, exactly.

Paul: (Laughing) Hey Iíve just realised you got out earlier of telling us what you though were your less that outstanding remixes.

Rollo: Thatís a good one. Okay yeah. ĎOh What A Worldí, that Sister Bliss single. I didnít like that very much. What ones havenít been successful? I did a Sunscreem one which didnít really work.

Paul: ĎExodusí?

Rollo: Yeah thatís right. I didnít quite get the mix right on that. And then I did the last Moby one ĎWhen I Reach For My Revolverí. And I did that, and itís funny, I didnít think it was brilliant. I didnít get it right between the vocals and I didnít marry them up with the backing track. But now theyíve just offered me this new one so maybe they werenít so unhappy. Right in the early days, I donít know if you know, I did a Captain Hollywood record.

Lisa: Oh really?

Paul: No, I didnít know that.

Rollo: Yeah, ĎOnly Youí I think, I did a remix on that. Itís one of the very early ones which I probably shouldnít have done. When you start out, youíll remix anything that moves. Itís like cash, you know. And as you get on a bit you get a bit fussier.

Part 4

Paul: What are your thoughts on so-called Ďcheesyí dance?

Rollo: I hate dance music that doesnít seem to have any meaning there where you can tell people are chasing in or theyíre just making records for the sake of making records - theyíve got nothing particular to say or anything. And I think generally, to me, that is what cheesy dance music is - when you can just tell itís as hollow as it sounds. Itís just made, basically, for someoneís money or ego or something like that. I think when people start making music, people who really want to make music, you do want to express yourself, you do have something to say, however silly or banal it would be. So I think thatís how I would define the difference between cheesy house music and sort of normal house music. Obviously what happens with a lot of our stuff because itís quite euphoric and big, itís called handbag, which I always find relatively insulting in the sense it sounds like we gave it no thought. Do you know what I mean? Like we just plonked it down. What I find with criticism or defining things or whatever, you just do your own music and you just keep doing it and keep plugging away, and fundamentally, if people like it, you go a bit beyond the definitions of what you are. Youíre able to surprise people and stuff.

Paul: See it depends, if it was called handbag in the sense of a glow-mesh handbag, then you could be upset.

Rollo: Thatís very different. Now I understand.

Paul: But if it was a leather handbag, that would be more of a compliment. Itís the styles of handbag, I think.

Rollo: (Smiling) Yeah, exactly. And if itís a Gucci handbag, then you know youíre dealing with class.

Paul: This is right. So your music would be a Gucci handbag.

Rollo: (Laughing) Yeah, exactly.

Lisa: Or would it be just a good vinyl handbag.

Rollo: (Smiling) Yeah, exactly.

Lisa: Pardon the pun there.

Paul: Have you got any examples of what you would call the worse cheesy dance? Folk who are just cashing in on that sound?

Rollo: DJ Quicksilver, ĎBellissimaí.

Paul: Truly?

Rollo: Yeah, absolutely. How he made that record was that he got sent the samples to remix ĎSalva Meaí by the German record company. All our sounds. And then four weeks later, heíd done that record. I think that is cashing in. I mean, I donít mindÖ being copied is brilliant. Something like that Sash! record ĎEncore En Foisí, which weíre getting publishing offÖ

Paul: You getting some royalties for that because it sounds so much like yours?

Rollo: Yeah, itís in negotiation at the moment with the lawyers from the two publishing companies. But the point I want to make about that record is it is a blatant copy, but when I first heard it I did actually like it. Do you know what I mean? Itís great innovating things and letting other people copy you. What was the original question? It was about cheesy records, wasnít it? Yeah, it was nothing to do withÖ

Paul: No, but weíve got onto something very interesting.

Rollo: There are a huge amount of dance records I hate, in fact. There are far more dance records I hate than like. Just in the sense that they don't move me at all. The ones I remember are the ones I like.

Paul: Are you in a legal battle, if you like, with DJ Quicksilver as well?

Rollo: No, not with him.

Paul: Why wouldnít you pick that up, when he has used the samples of ĎSalva Meaí?

Rollo: Because you canít prove it. You know what I mean? He can say ĎI never had the DAT (Digital Audio Tape)í. Itís not worth it after a while. I donít know if it is illegal to use someoneís samples.

Paul: You canít tell me that youíve never done that, can you?

Rollo: No. I bloody canít. But then on the other hand, when we were asked to remix BBE (ĎSeven Days And One Weekí), so we get all the sounds for BBE, we donít the next week go and put all those great sounds from BBE into a new record. Weíve got the sounds and maybe in a couple of years weíll use them or something. But thereís sort of an etiquette to being a remixer.

Lisa: Yeah, youíve got to have a bit of integrity about you.

Rollo: Exactly.

Lisa: There are heaps of rip-offs being done of your tracks at the moment. Are you going to take all of them to court?

Rollo: No, not at all. Only the onesÖ no, not at all.

Paul: Because then you would be a millionaire.

Rollo: (Laughing) Yeah. Maybe I will then.

Part 5

Lisa: We want to ask you about some identification issues. Rumour has it that you and Sister Bliss are Huff and Puff. Is that true?

Rollo: No, but me and another guy. Me and a guy called Ben.

Paul: Ben is Puff?

Rollo: No, well yeah. No I think heís become Huff now. Yeah, no I think Iím Puff.

Paul: Youíre Puff?

Rollo: Yeah, I canít remember which one I was, actually. I wanted to be Huff, I think. But I think Iím Puff.

Lisa: (Laughing) Are you a magic dragon?

Rollo: (Laughing) Yeah.

Paul: Did you try and keep that under wraps - that that was you?

Rollo: Yeah. Most people in Britain donít know. They really donít. And that was what was so satisfying about that record. Itís just getting re-released over here in about three or four weeks. When it got played here, thereís an important dance show - Pete Tongís mix show every week on Radio One. He has something called the essential new tune which is the record of the week. And so when it got made record of the week on that, and no-one knew it was us at all, so it was just good because we hadnít had to use our name to still have a big record.

Paul: Even Pete Tong didnít know it was you?

Rollo: No-one knew for the first month-or-so because we literally did these white labels.

Lisa: Itís been released under a different label than Cheeky altogether.

Rollo: Yeah totally. The whole point was we didnít want the trail to come back to us. I thought itís a really moody down-beat record and I love it, you know, itís one of my favourite things I made last year, so I just thought ĎI wonder if we just let it go out in this world on its own with no remixerís name, nothing like that. Put it out and see what happens.í

Lisa: You can do that. I mean, youíve produced stuff under so many different names that people have loved. The OT Quartet, Felix, even Usura. Youíve done so much stuff and itís all you. Itís amazing.

Rollo: Thank you. (Laughs)

Paul: Continuing with some identification things. Are you one-half of Felix with Red Jerry?

Rollo: No, thereís three of us. Itís me, a guy called Felix and Red Jerry.

Paul: And who is Felix?

Rollo: Felix was then a tax inspector and now he remixes under the name Party Crashers.

Lisa: Yourself and Rob D are widely credited as being Our Tribe and the OT Quartet, but occasionally there appears a name ĎP. Trolloppeí. Who is that?

Rollo: No, that.. see that.. no, no P. Trolloppe doesnít exist. I canít even go into that.

Paul: (Laughing) Oh my. Do you understand why people are so confused about things youíve done?

Rollo: (Laughing) Yeah. We just thought it was a funny name. P. Trolloppe. So we put it on there.

Lisa: (Laughing) Itís kind of embarrassing to say it, isnít it?

Rollo: Who would dare call themselves P. Trolloppe? Paul: So then Our Tribe is just you and Rob D.? Rob Dougan?

Rollo: Yeah. And Collette sung it as well. Rob D. is Australian, you might or might not know.

Paul: No.

Rollo: I met Rob in Australia in 1990. We actually got a record deal with a record company over there called Roo Art. We never had anything released or anything. In fact, I took the little money they gave us and got homesick, so I came back to England and then Rob got chucked out of NIDA, if you know what NIDA isÖ

Paul: The acting academy.

Rollo: Yeah, for overacting or something. So he had nothing better to do, so he came over to the UK and he lived with me and we carried on making music together except this time we got some stuff released and that kind of thing.

Paul: Maybe he should have, with his overacting skills, joined 'Neighbours'.

Rollo: Yeah, exactly. Itís funny you should say that because he is at this very moment producing Kylie Minogue.

Lisa: Really?

Rollo: So there you go.

Paul: Her new album?

Rollo: Yeah.

Paul: Have you heard any of it?

Rollo: Ah, no. He wonít play it to me. In fact, he was too embarrassed to even tell me he was doing it.

Paul: Youíre not serious. Is there still a cringe around Kylie?

Rollo: I think so. I donít think thereís much around her at all at the moment apart from sheís a little goddess.

Paul: (Smiling) Would you remix Kylie Minogue, a track of hers?

Rollo: No we were asked to write with her and we said no.

Paul: The reason was purely because of time?

Rollo: (Laughing) Ah, yeah, totally. The thing about writing songs is that itís great to give them to singers who can express them. Do you know what I mean? And we write quite, sort of, impassioned songs. Kylie isnít great at expressingÖ (Smiling) I like Kylie, I donít have a problem with Kylie. Why are you hassling me? (Laughing) I just didnít want to write a song with her.

Paul: See, for Kylie maybe youíd have to write lyrics like ĎGet up and dance, wave your hands in the air like you just donít careí.

Rollo: (Smiling) ĎI should be so happy, happy, I should be so happyí.

Part 6

Paul: Weíve linked you to several tracks of Usuraís, but not ĎOpen Your Mindí. Did you actually do any work on their biggest hit, ĎOpen Your Mindí?

Rollo: No, I didnít do ĎOpen Your Mindí, which was by far the best one. No. I met them after theyíd done that. They asked me to produce and write some of the tracks on an album they did, for which Iíve never actually received a penny of royalties.

Paul: Have you been involved in any other tracks that youíre not credited on like Huff and Puffís track?

Rollo: Thereís one, I might be credited on it though. Thereís one by a band called Diss Cuss, called ĎPissed Apacheí and thereís a track by Hyper Go Go called ĎHighí as well. They were both done in my studio.

Paul: We have tracked down lists on the internet, for instance, that do have you linked to both of those. So someoneís done their investigative work.

Rollo: Bloody Hell. (Laughing)

Paul: No escaping them.

Lisa: Have you not looked at the internet sites about yourself?

Rollo: The only one I saw, ícause I donít have a computer like that, but Jamie Catto, heís one of the members of Faithless, photocopied one off and all it was a track listing of all my records with all the credits. And I thought, Ďwhat poor sod bothered to sit down and do thatí, do you know what I mean? Itís very, sort of, gratifying but you also think (smiling) Ďwhat a loser, get a lifeí. Itís brilliant, love my music but, donítÖanyway, what the hell.

Lisa: Now, back to your time spent in Australia, can you tell us where you were living and what your memories are of being here?

Rollo: I arrived in Sydney and I lived in Newtown, Glebe and then finally moved up a bit and ended up in Paddo (Paddington). And I was there for about a year and a half. Two weeks after Iíd arrived I was in court up for assault, (Laughing) which was really unfortunate since I generally wouldnít hurt a fly, so that was quite a beginning.

Paul: So who did you deck?

Rollo: This guy, this horrible guy, and if heís out there listening, Lindsay, Iím pleased I did it.

Paul: (Laughing) Hang on, youíre not getting out of it that easy, why did you knock him out?

Rollo: ĎCause heís a psycho. (Laughing) I donít even want to go into it.

Paul: (Laughing) Just tell us this, did you do him good?

Rollo: (Laughing) Yeah, bloody hell did I do him good.

Paul: (Laughing) Very good. And then, you were saying, after your brush with the lawÖ

Rollo: I worked in the Valhalla cinema up in Glebe. I got sacked from five bars. I came to Melbourne for three days but it rained for all three days, so I thought 'Iím going home'.

Paul: Thatís funny. You must have, by terrible coincidence, been here on the three days a year that it does rain. Maybe itís three days a year that it doesnít rain. I canít remember. You were actually in Australia at the end of last year, with Sister Bliss.

Rollo: Yeah, with Sister Bliss. That was quite amazing actually because we did a club called Decadence in Sydney on New Yearís. We did one in Melbourne as well. It was just fun to be the other side of the world for New Yearís Eve, which was really good. And we went to Thailand the week before. It wasnít quite how I remembered it, Australia. When I was there like five years ago, probably nearly six now, maybe because I was younger I just thought it was all much bigger and cleaner and more amazing. I got there and Sydney was a bit dirtier than I remembered it. íCause I was determined that when I went over there I was going to persuade Sister Bliss that when we retired weíd come and live on a little farm in the middle of the outback. íCause I had such a brilliant time the first time, you know, when I lived there for a year and a half. Amazing.

Paul: And so when you came back at the end of last year with Sister Bliss did you punch anyone out?

Rollo: Not at all, I had a most peaceful and edifying time, it was really good.

Paul: No one took your fancy?

Rollo: (Laughing) No. You got to see me. If you saw meÖ I donít punch anybody out, Iím the first to run.

Part 7

Lisa: You sound so humble and down to earth. Are you like that and also very confident in a quiet way?

Rollo: Ah no, Iím very loud but not confident. Iím the total opposite of that actually. Iím totally insecure and neurotic and all those kind of horrible things. Which Iíve only just realised actually, since I got dropped five days ago. But then I can have a laugh with the rest of them. But I love being happy. Itís very funny because people say how sad and stuff our music is and then when they meet me I think they kind of want me to be a bit more odd. And then Iím just likeÖ

Lisa: A normal guy.

Rollo: (Laughing) Yeah, Iíve got one head, two legs and I can, you know, crack a joke with the best of them. Yeah, Iím definitely happy but underneath Iím deeply sensitive and insecure and I need some good loving. Lisa: Would you say that youíre good at what you do?

Rollo: Yeah, yeah Iím definitely good at what I do. And Iíd like to find out what else Iím good at. I think itís an accident that IíveÖI donít know how Iíve managed to find out (that Iím good at making music). And I donít think that gives me any special benefit over anyone else because being good at making music is something thatís quite instinctive, and I think, youíre not born with, but itís built into you. Thereís no craft you can really learn for it, do you know what I mean? So you canít really feel arrogant about being good at something that is sort of natural rather than learned.

Lisa: Inherent in you.

Rollo: Yeah. So Iím definitely good at what I do, which is basically putting music together. That is kind of my job.

Lisa: Some people say that youíve got a touch of brilliance, almost genius. What do you say about that?

Rollo: (Smiling) Do they now?

Lisa: (Smiling) Oh they do.

Rollo: (Smiling) Who exactly are those people?

Lisa: (Smiling) Iím not telling!

Rollo: (Smiling) I shall take them to the mountains!

Paul: (Smiling) And punch them out! (Laughing) No seriously, your music, it sounds like it comes from the great mind of an old composer like Mozart or Beethoven, in that sort of genius way. Weíre not joking.

Rollo: (Laughing) Thatís wicked.

Paul: Lisa, for instance, has said to me privately that she wouldnít be surprised - and this is serious, Iím not joking - if you were one of those composers reincarnated.

Rollo: Do you reckon? Yeah, well itís really funny that because my mum, whoís always been my greatest fan right, when she first heard my music she said, ĎRollo, you know what, that sounds like classical music to me.í And sheís really down with her classical music. I definitely like classical music. I definitely think of life in the sense of history, and thatís whatís really important about making music and why I try not to compromise what I do. But I definitely want to, in ten or fifteen years or whenever I stop, have a body of work, like a set of work that develops and hopefully gets better and better, but still sounds like one person has been involved in that.

Lisa: I get a hint from speaking to you and listening to your music that you have a bit of a spiritual edge about you. Would you agree?

Rollo: Yeah I think so. Yeah. Itís very hard ícause Iím kind of not into, or I havenít been into recently, wholistic medicine or rebirthing or anything like that. But I definitely believe in a kind of higher force, in that something is looking after me or there is a definite relationship between me and my surroundings which is more than just me being a human and my surroundings being a tree or this or that or the other. We definitely influence each other. I do fundamentally believe in God, without a doubt. (Smiling) And I donít go to church, and Iím not a virgin.

Paul: (Laughing) Right, well thanks for getting all those things off your chest. So tell us then, what does the lyric in ĎReverenceí, for instance, ĎYou donít need eyes to see, you need visioní mean?

Rollo: I didnít write any of the lyrics on any of the rap.

Paul: That was Maxi Jazz?

Rollo: Maxi wrote them himself and thatís why I love Maxi. I just think well that just means a million and one things to me, ĎYou donít need eyes to see, you need visioní. Oh God, thatís why I love his lyrics. I think that whole track ĎReverenceí is like a little message to the world. Itís not pretentious. Itís not overbearing. Itís just telling you a little bit about how you can live your life. And thatís just one of the many brilliant lines in that rap I think, for me. It was amazing meeting him in the sense that the first time I just gave him the title for a track. I said it was called ĎScreamí which turned out to be ĎSalva Meaí. I explained to him it was about frustration and thatís what I wanted it to be about. And I played him the backing track and he came back a week and a half later and he just reeled of this rap and it was just superb. When people can say something better than you can, but something you totally understand and you totally appreciate, thatís an amazing gift.

Part 8

Lisa: Weíve kept the most important question until last. Whatís your favorite TV show?

Rollo: TV show. What is my favourite TV show? ĎFraserí.... ĎFrasierí.

Paul: (Smiling) It must be good. You canít even remember what itís called! And is that because itís set in a radio studio?

Rollo: No itís just because itís so funny. Week in week out, it never lets me down - like an old dog.

Paul: (Laughing) Whatís your most-used phrase?

Rollo: Wicked.

Paul: We always thought that was pronounced Ďwicktí.

Rollo: (Laughing) No. Thatís ĎWhackedí. Wickedís the one, man. I say Ďmaní a lot as well, which is really stupid.

Lisa: (Smiling) Itís very black of you. Whatís one thing that hardly anybody knows about you? Like Iíll just let a couple of secrets away. I believe that youíre a MENSA member. (Mensa is a club for people with extremely high IQs). Is that true?

Rollo: Thatís a lie.

Lisa: Did somebody make that up?

Rollo: Yeah, thatís a lie. Well, I made it up to tell you the truth. (Laughing). I put it in this press release once as a joke. I swear on my life. I didnít think anyone would believe it. And then it went in. Anyway.

Paul: Because weíve actually added it to our own biographies now.

Rollo: Right okay. Way to go.

Paul: And we think we might be able to get away with it, although people just wonít believe it I donít think. Another thing maybe people donít know about you is that you were expelled from Scouts?

Rollo: Yeah, that is really true.

Lisa: Anyone who is expelled from Scouts has got to be cool.

Rollo: Theyíre going to have a good life after, yeah.

Paul: Whyíd you get expelled? Couldnít you tie knots properly or something?

Rollo: Itís a really boring story. Basically itís to do with chocolate biscuits.

Paul: Oh, we donít want to know. And can you write upside-down or was that a joke as well?

Rollo: No, thatís really true and Iíve been asked to prove that on camera at various times. I can totally do that.

Lisa: How did you learn that?

Rollo: I can speak upside down as well, if you want.

Lisa: (Laughing) Okay.

Rollo: (Laughing) Boom boom.

Paul: Do you hate doing interviews?

Rollo: No, not really. Not when Iím as merry as this. Not at all. I have to say that when Iíve been doing this interview there are five people sitting in the studio waiting for me to come in again.

Lisa: Now Rollo, can you just tell me what is your favorite radio show in the whole world?

Rollo: Well itís a tough one. There are a lot of good ones, but without a doubt, I dunno whether youíve heard it, my favorite one is Club Cow. Do you guys know that one at all?

Paul: Well, weíre a little close to that one, yes.

Rollo: Whenever Iím in Melbourne I never miss it. Iíve got my friend in Melbourne who sends me the tape every week and itís fantastic.

Paul: (Laughing) Weíd have to agree.

Rollo: (Laughing) Wicked.

Paul: Rollo, youíre a gentleman, youíre a good man and youíre member of MENSA. Thank you forÖ

Rollo: (Smiling) No, Iím not. Iíve told you Iím not.

Paul: Thank you for talking to us.

Rollo: Thank you for having me.

Lisa: Can you please thank those people in the other studio who have been so patient as to wait for you.

Rollo: I will. Theyíre probably finding various ways to amuse themselves. I wouldnít worry, though.

Paul: And you go in there and punch them out for us.

Rollo: (Laughing) Iíll do that indeed. Thanks a lot then.

Paul: Thank you again.

Rollo: Thanks a lot Paul.

Lisa: Okay, bye.

Rollo: Bye Lisa.

Lisa: Bye.

Phone: Click.