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Barry Reynolds at the Stereo Society:
To Barry Reynolds' interview
To Barry Reynolds' discography
To Sexual Terrorist
To Sprawl album page

You’re often associated with musical mayhem with the high-wire artists you’ve been working with. Is this a conscious direction?

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 You’re also overlooking Joe Cocker, another mild mannered person.

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You speak about working with women a lot, but you work with a particular subsection of women who are extremely intense. You have co-written with a lot of those people. Do you think that madness and intensity leads to a more exciting result?

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You achieved it a few times. What are the fine moments you remember? In addition, how was it possible to catch those fine moments?

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The song Why D'Y a Do It is in many ways the polar opposite of Broken English which is a classic. Broken English is much more objective, much more presented and considered. How did that arise?

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Seems like you’re back to playing more electric now.

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That causes me to question the way a typical Rock ‘n Roll lineup records. When you hear a recording, it’s the singer that’s leading. In practice, the way the style is recorded, the singer is often trailing along behind during the sessions.

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What would you do to correct it?

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You’re speaking as if you  think that music should be a social participation, an event rather than something you listen to on your headphones.

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You are "Establishment" now   like it or not, because you have a large respected body of work with people who are well established, well known and well loved. But what do you think is different now? If somebody was in a position now that you were, say, twenty-five years ago, how do you cope with this wash of music everywhere?

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But you imply that writers are absolutely essential.

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You mentioned earlier about the tricks in songwriting. Does songwriting get easier as you get older?

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It’s so easy with the technology we have now to go and press a button and cut instant canned energy. Do you think this is detrimental to songwriting because the energy void is already partly filled?

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Do you think everybody can detect a totally contrived song?

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Before, you said that knowing too much could lead to writer’s block. How did you get through the writer’s block?

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As professionals, it's hard to find where there's a middle line?

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That brings us back to the original question, and we confirm your answer that a little craziness is necessary.

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Barry Reynolds at the Stereo Society:
To Barry Reynolds' interview
To Barry Reynolds' discography
To Sexual Terrorist
To Sprawl album page

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