Happy? I'm chuffing delirious! ;). As we were mixing it I was thinking; "This is bloody good, but will anyone agree with me?" Now the reaction has been ecstatic. Everyone is saying it's our best yet and the reviews have been magnificent.
That has made me very happy to say the least.
With it being your third album release in five years it’s not been a case of there being too long between new material coming out.
Do you find the process easy?
Yes and no. The writing process seems quite long winded. Being in a modern independent band means you have to do everything yourself because there's no record company to help. So, there's not just rehearsing and playing gigs although that takes a lot of time. There's also booking gigs and the whole process of marketing and releasing records, Facebook, Twitter, Instagram, Bandcamp, the website ......... and so on.
The band has consistently been Sophie and you, but other members appear to slip in and out as required.
Is this something that you are comfortable with?
Not that there is ever a quality issue, but maybe more so on a personal level.
Wouldn’t a solid band all committed to the one aim, of being a Big Head, be better?
Actually the last four years has been a quest to create a stable line up.
I'm not commenting on whether that is right or wrong politically, it just seems likely to me. Like in the US and Australia, work visas always cost thousands of pounds so that will be the end of playing abroad.
With it being your third album release in five years it’s not been a case of there being too long between new material coming out.
Do you find the process easy?
Yes and no. The writing process seems quite long winded. Being in a modern independent band means you have to do everything yourself because there's no record company to help. So, there's not just rehearsing and playing gigs although that takes a lot of time. There's also booking gigs and the whole process of marketing and releasing records, Facebook, Twitter, Instagram, Bandcamp, the website ......... and so on.
It seems to take up all my time so that no "headspace" is left for writing songs.
I don't mind because I enjoy all of it but it takes longer to write songs than it would have done way back when.
Recording is the easy part!
Could you release more than that though? If the solo workload was not so time consuming? I ask because often there are others factors that sometimes people don’t consider.
For instance Nick Cave once said that he could release albums more frequently, but Mute, his label, wouldn’t.
That would be a business decision. For others it is financial?
No. As I said before, it's all determined by how quickly I can write. As soon as I feel I have enough good songs for an album we push the button.
You have a firm control over your career. You currently self release, self promote and even book.
As you experienced the other side of that when in The Boys what is preferable?
Obviously one is less work, but also less autonomy?
One of the benefits of having a few years under the belt is experience.
Recording is the easy part!
Could you release more than that though? If the solo workload was not so time consuming? I ask because often there are others factors that sometimes people don’t consider.
For instance Nick Cave once said that he could release albums more frequently, but Mute, his label, wouldn’t.
That would be a business decision. For others it is financial?
No. As I said before, it's all determined by how quickly I can write. As soon as I feel I have enough good songs for an album we push the button.
You have a firm control over your career. You currently self release, self promote and even book.
As you experienced the other side of that when in The Boys what is preferable?
Obviously one is less work, but also less autonomy?
One of the benefits of having a few years under the belt is experience.
Someone once said of the film business; "no one knows anything". That's not strictly true of the music business, but I have a lot of experience and my opinion is as valid as anyone's.
So, that is a preamble to saying that the best would be to keep control but be able to direct people to help.
For instance, you can always tell when bands have digital marketing agencies who take over their Facebook, twitter etc. The output is totally bland and characterless.
For instance, you can always tell when bands have digital marketing agencies who take over their Facebook, twitter etc. The output is totally bland and characterless.
I saw a tweet by a superstar from the punk days just recently which just said: "Retweet if you are coming to our gig at X venue on Y date" with a photo of the poster.
How boring and corporate is that!
You have to express your personality as much as you do with your songs. That isn't difficult if you are just being yourself. It is difficult if an office is doing it all as part of a roster of clients.
But with help there would be more time for writing.
Another example. Young bands on major labels who have a little success are pressured into coming up with another album after nine months or, they are told, new bands will come along and they will be forgotten.
But with help there would be more time for writing.
Another example. Young bands on major labels who have a little success are pressured into coming up with another album after nine months or, they are told, new bands will come along and they will be forgotten.
Now, you can't write an album that quickly so they are put with the same professional writer/producers as everyone else and so end up sounding the same as everyone else.
As it happens I want to try co-writing more than I have, but in my own time!
On the other hand, record companies have influence. It's taken us years to get onto the festival roster and we have no real mainstream media exposure. Record companies can use the influence of having a bigger artist on the roster to get openings for new ones. "Play this new band and you'll get an exclusive on that big one".
Like life. There are swings and roundabouts.
As it happens I want to try co-writing more than I have, but in my own time!
On the other hand, record companies have influence. It's taken us years to get onto the festival roster and we have no real mainstream media exposure. Record companies can use the influence of having a bigger artist on the roster to get openings for new ones. "Play this new band and you'll get an exclusive on that big one".
Like life. There are swings and roundabouts.
The band has consistently been Sophie and you, but other members appear to slip in and out as required.
Is this something that you are comfortable with?
Not that there is ever a quality issue, but maybe more so on a personal level.
Wouldn’t a solid band all committed to the one aim, of being a Big Head, be better?
Actually the last four years has been a quest to create a stable line up.
It has just been very hard to achieve but, fingers crossed, I think we are there now. As you say, Sophie has been a constant for a long time now, Karen has been with us for over a year since Ciara became a mum and, although Nick is in a number of bands, he's committed to us.
It's just great to not be changing all the time. Having said that it'll probably splinter again now! ( I hope not). Everyone is so great and the Big Heads is such a good platform they are bound to get offers. I just pray it doesn't take them away.
You do appear to be travelling around outside the UK to play frequently enough. From your point of view what are the pros and cons? What could we learn about promoting shows and hosting them here in the UK from these other countries, and what could they maybe learn from us?
Since the end of last year we are trying to play more in the UK, especially as we've had some great festival offers. There just seems to have been a "tick up" in the level of interest here that is really exciting.
When we play abroad we have to travel light. There's always the stressful fight with BA or EasyJet when they try to insist our guitars go in the hold.
You do appear to be travelling around outside the UK to play frequently enough. From your point of view what are the pros and cons? What could we learn about promoting shows and hosting them here in the UK from these other countries, and what could they maybe learn from us?
Since the end of last year we are trying to play more in the UK, especially as we've had some great festival offers. There just seems to have been a "tick up" in the level of interest here that is really exciting.
When we play abroad we have to travel light. There's always the stressful fight with BA or EasyJet when they try to insist our guitars go in the hold.
They get a mixture of fury, charm and crying from us to prevent the baggage handlers from having the chance to smash our gear up as they always do.
Big Heads meets bureaucracy. So far we've won.
We are just back from Sweden though and will continue to play in Scandinavia, Germany, Holland, Spain, Ireland and, hopefully South America for as long as we are able to.
We are just back from Sweden though and will continue to play in Scandinavia, Germany, Holland, Spain, Ireland and, hopefully South America for as long as we are able to.
We’d love to play the US again but the visas are a killer.
The biggest difference abroad is that you generally get treated better. There will often be food when you arrive for the soundcheck, dinner is laid on, drinks provided and accommodation.
The biggest difference abroad is that you generally get treated better. There will often be food when you arrive for the soundcheck, dinner is laid on, drinks provided and accommodation.
With most promoters in the UK, and you are one of the notable exceptions, you have to fend for yourself. Often you don’t get as much as a single beer. I'm not complaining but the difference in approach is stark.
Other than that, there isn't much difference really. Great promoters are heroes in my opinion. They usually do it based on a love of the music which they are vital to the cause of keeping it alive. Musicians can be difficult as well, especially if they have a sniff of success!
There have been some comments coming from the music industry about the impact on musicians touring. Do you foresee any problems?
There is one major problem already and one potential one on the horizon. Venues are being shut down by complaints from local residents. These residents often live in houses built after a venue has been open for years.
Other than that, there isn't much difference really. Great promoters are heroes in my opinion. They usually do it based on a love of the music which they are vital to the cause of keeping it alive. Musicians can be difficult as well, especially if they have a sniff of success!
There have been some comments coming from the music industry about the impact on musicians touring. Do you foresee any problems?
There is one major problem already and one potential one on the horizon. Venues are being shut down by complaints from local residents. These residents often live in houses built after a venue has been open for years.
Venues need to be protected. Having fun is noisy. Let's get the balance right.
The potential one is that if, after Brexit, we in the UK require Europeans to have work visas for temporary jobs here then it seems likely that the EU, like in the US, will require musicians to have visas to play in Europe.
I'm not commenting on whether that is right or wrong politically, it just seems likely to me. Like in the US and Australia, work visas always cost thousands of pounds so that will be the end of playing abroad.
A loss of livelihood for us and a little bit of foreign revenue lost to the UK. You could say I'm keeping a keen eye on it.
Looking back over the last five years, the albums and tours, is there anything you think that you would do differently. We all learn from our experiences. What have you learnt that could be good advice for other musicians?
Learn everything you can about how the Internet works.
Looking back over the last five years, the albums and tours, is there anything you think that you would do differently. We all learn from our experiences. What have you learnt that could be good advice for other musicians?
Learn everything you can about how the Internet works.
There is science behind Spotify, Facebook, twitter etc. Go on courses, learn and do it yourself.
Then concentrate on building up a live following by being as good as you can be and playing as much as you can. Spend any money you have on playing live, and making the best records and videos you can afford.
Try to make personal connections with people who have followers like internet radio presenters and help them promote themselves. Help promoters and other bands do what they do.
It's all about helping each other.
Don't waste money on PR companies and record pluggers. In general the mainstream media only want to know about people who are already famous or who once were.
It’s all quite DIY in the original spirit of punk!
Lastly, don't be a prick. Nobody likes a prick and it all comes around.
What’s next for Duncan Reid and the Big Heads?
We carry on not being pricks! We have some great shows coming up.
Don't waste money on PR companies and record pluggers. In general the mainstream media only want to know about people who are already famous or who once were.
It’s all quite DIY in the original spirit of punk!
Lastly, don't be a prick. Nobody likes a prick and it all comes around.
What’s next for Duncan Reid and the Big Heads?
We carry on not being pricks! We have some great shows coming up.
Really looking forward to paying all the people back who lobbied Rebellion to have us there (Saturday afternoon in the Opera House - don't miss it).
Plus a few other great festival dates like Undercover at Margate in September, Skegness in October, Jessheim in Norway in August, Camden Rocks and Wychwood at the beginning of June.
Sorry to all the promoters whose gigs I haven't mentioned. Just too many. Look at duncanreidandthebigheads.com to see everything. The never ending tour goes on!
And of course we have been looking forward to your return to Glasgow. This time in NiceNSleazy so it isn’t far for you to join the patrons upstairs to dance to ABBA. Does Glasgow hold fond memories for you? Playing the Apollo with The Ramones in particular?
It's always great in Glasgow. The last time at Audio was part of the tour where things seemed to turn a corner for us. The reaction was incredible.
It's always great in Glasgow. The last time at Audio was part of the tour where things seemed to turn a corner for us. The reaction was incredible.
I'm really looking forward to NiceNSleazy. Heavy Drapes are great and we are relying on everyone who was at Audio to bring their mates.
As you say, we can pop into the guilty pleasures disco after and bop to Black Sabbath and Sheena Easton. What a combination!
That Ramones tour was mad. Imagine hanging out with Joey Ramone every night! And didn't the Apollo have a sky high stage?
That Ramones tour was mad. Imagine hanging out with Joey Ramone every night! And didn't the Apollo have a sky high stage?
Had to be careful not to go careering toward it at top speed.
We'd been told if Glasgow audiences didn't like you, you wouldn’t get out alive. They loved us so I'm still here all these years later!
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