Why does Van Gogh Smile?

Rick Gallego is the mastermind behind the L.A. band Cloud Eleven. The fine psychedelic-tinged Soft-Pop of his second album Orange and Green and Yellow and Near places him in the same league as The Wondermints, Linus of Hollywood or Splitsville (Pet Soul).

In the interview Ricks talks about confusing titles, psychedelic moments, not looking like your music sounds and weird sixties records.

Robert Pally: Your second album offers beside other elements also is a touch psychedelic. What was the most psychedelic moment during writing / recording the album?

Rick Gallego: Maybe when I came on to the window pane I dropped during the backward fuzz guitar solo on "Smolder"? No seriously, I'm not sure. One has many psychedelic moments in the process of creating, but most of the time it's hard to remember them.

RP: What is the idea behind the rather confusing title of the album?

RG: Someone once asked a Byrds fan to describe what they dug about the band, and they answered " they're orange and green and yellow and near." I thought it would make an interesting title for an album, but also it's sort of what California means to me. Orange is the color of our state flower the poppy, green rolling hills abound, plenty of yellow sunshine, and always near.

RP: Van Gogh did probably not smile a lot. Why does he smile in your song "Van Gogh Smiles"?

RG: That's the irony of it. He didn't smile alot, but maybe in some absinthe-fueled hallucinatory dream he did. The song is sort of a hallucination as seen through his eyes. I always thought of him as the first truly psychedelic painter. Just stare at Self-Portrait with Felt Hat for awhile and you'll see what I mean.

RP: You have split the album into 2 halves like a vinyl album. Are you a hopeless anachronist?

RG: I don't think so. I just heard the album sequenced in two parts. They can be listened to separately or together and still flow quite nicely. I do like the idea of a vinyl album having two sides though. The little pause that happens while turning a record over sets you up for the next half of the listening experience.

RP: Name me the 3 weirdest and obscure 60s psych records you own and why you like them!

RG: I'd have to say We Are Ever So Clean by Blossom Toes, S.F. Sorrow by the Pretty Things and the first Tomorrow album. I like them because they are weird and obscure, but mostly because they are genius.

RP: With whom would you have liked to work on your album that you could not?

RG: Oh I don't know, Syd Barrett?

RP: Compared to your first album from 1999 Orange and Green and Yellow and Near sounds more refined and meloncholy. What is for you the most important change?

RG: Most importantly I didn't want to record the same album twice, so this album was the next logical step for me. I think it's a more honest, personal and sophisticated approach than the last one. It shows some growth and maturity.

RP: In one way you are a bit like Steve Stanley (The Now People). From looking at you one would never guess that you are making this kind of music. Is this just a side that you are living out?

RG: What does one look like that would make this kind of music? I don't think it really matters how a person appears on the outside as long as they're true to their sound.
By the way, Steve Stanley is a friend of mine and I think his sound matches his hair style quite nicely.

RP: What is the main reason for you to work alone, apart from some guest musicians?

RG: It's just easier for me since I can play what I hear, rather than teaching someone else to play it. This time around I did work closely with drummer Nelson Bragg. It's more of a band approach than I've attempted in the past. His playing adds alot to the sound of the album.

RP: The vocals on your new album sound especially careful recorded. What did you do to make them sound so clear and majestic?

RG: It's probably the studio I recorded in. It has great microphones and pre-amps. Plus I recorded more vocal tracks this time than I did when I was recording in my home studio. They were lush before but now they're even more so.

RP: Which singer had an impact on you?

RG: There's alot of singers that affected me early on, but I'd have to say Paul McCartney, Harry Nilsson, Colin Blunstone and Todd Rundgren had the most impact.

RP: Your new album comes out on your own label. How did you finance it?

RG: Just like every other musician who's basically broke...credit cards.

RP: What do you do for a living?

RG: I work in the graphics field as a printing production manager. It pays the bills.

RP: What is your favorite surrounding for writing songs?

RG: I'm quite happy with the four walls that surround my living room. I can get ideas anywhere, jot things down or sing them into a little cassette recorder, but most
of the time I'm putting everything together in the living room. Okay, sometimes the car. Shower too.

You can contact Rick and purchase his music at www.cloudeleven.com

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