In some ways, it was the worst decision to make, having been so unfavourably connected to Nirvana "Jerusalem was probably a bigger influence than the band Television! It’s just in there, in my DNA.īush in 1996 (from L-R): Rossdale, guitarist Nigel Pulsford, bassist Dave Parsons and drummer Robin Goodridge (Image credit: Mick Hutson/Redferns/Getty Images) I really think that’s the only place I would’ve heard that, and is why I have any sense of melody. You’d feel terrible the night before, but you’d hear all these hymns and these natural cadences. I don’t know, maybe it was all the reluctant years going to f**cking church every morning for school before assembly, where you’d just sing hymns. I was pretty rubbish at first, but I had a knack. I didn’t know anything, but I didn't want to be told anything, so I just forced my way through. "It’s really good to be 18 or 19 because you’re so dumb, but you’re just so sure that you’re not. I was pretty rubbish at first, but I had a knack Even more ignorantly, there was no concept of the potential of the song. I had toiled for many years and nothing had worked, so there was no guarantee. "I mainly remember writing that song in maybe one or two goes and mainly being struck by the fear that I had nicked somebody else’s song! Again, I’ve got to tell you that these songs were not written with a view to any degree of success. Do you recall what your influences or inspirations were for that track? Glycerine, from that same album had quite a different sound - a lot sparser and raw in a different way. So, walking out into a sold out crowd at CBGB, was when I realised my life had a different, new sense of momentum. Everyone seemed like they were part of the scene. "Everyone looked cooler than the next person: there were biker dudes and tattooed chicks and everything was happening. Then, when I went on tour and played CBGB in ‘95, that was the first song where people would know it at my shows. They’ve fallen in love with it.’ I didn’t know what KROQ was and I didn’t know what that meant. They called me up and said, ‘Everything Zen has been picked up by KROQ-FM. I was just painting some offices near Selfridges in London. We made the record and then we lost the distribution deal, so I went back to work. The record got rejected by the distributor. I was just a sort of angry young man making rock music in my bedroom. I didn’t agree with that so I wrote, ‘There’s no sex in your violence.’ Then there’s the Elvis thing. ‘Sex Is Violent’ was the Jane’s Addiction line. "I was just ranting in that song and there are so many references in there - like to the David Bowie interview on how much he loved Suede. I was going this anti-commercial route, making rock music for the Mean Fiddler or for Dingwalls or wherever else we would play back in London. I wrote that song and I felt this weird frustration while everyone was fawning over Britpop. Britpop was really massive and I was just trying to break into the pub circuit in Camden. When I wrote that song, I was pretty unemployed. "For me, writing songs - still, even up to yesterday - are ways for me to apply my self-learning and to learn music. When I wrote that song, I was pretty unemployed What kinds of recollections do you have about that time and the excitement surrounding this particular song? ‘Everything Zen’ is the track that kicks off Loaded and it kicked off your career too, especially in terms of getting you noticed in the US.
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