Hazy Eye Music Media is proud to announce the second interview in a series of interviews I’m currently conducting with some of my favorite artists. I’m stepping outside of my comfort zone and have begun picking the brains of some phenomenal musicians. This time I, Andy Jillson, was fortunate enough to interview Chris Connelly. Chris Connelly is a Scottish-born musician and author who is widely known for his work with Ministry, Revolting Cocks, Pigface, and a other highly influence electro-industrial bands during the mid 1980’s and early 1990’s. He has since established himself as respected solo artist and singer-songwriter. To this day, Connelly continues to write new material and has released several poignant solo albums.

In 2008, Connelly published a memoir of his early years in the music industry titled, Concrete, Bulletproof, Invisible, and Fried: My Life As A Revolting Cock. The book is “superbly written, funny, irreverent, and a downright scary memoir” at times. I highly suggest you buy the book and take the trip. Chris Connelly is a unique artist with an interesting career/life. I have been listening to his music since I was about 13. Anyway, check it out!

AJ: Hi Chris. How are you?!? How have you been staying active/keeping yourself busy since coronavirus altered our world?

CC: I’m okay, thanks. I never have a problem staying busy, I write a lot, I am still working, and I have been collaborating musically online. Add that I have 2 children to that as well. Never a dull moment.

AJ: Are you still based in Chicago?

CC: I am.

AJ: What do you like about living in Chicago?

CC: Great question. It has always been good to be a musician here; and as far as cities go, it’s okay.

AJ: Is it true that you were the manager and main record buyer for Reckless Records in Chicago?

CC: Yes, but haven’t been for many years.

AJ: Have you written any new music or worked on any other projects during 2019-2020? Any news you can share about what’s to come from Chris Connelly in the future?

CC: Yes. I started a new album in late 2019 and finished it in March. It should be out on Armalyte Industries in November. Apart from that, I have been working on new Joy Thieves material, and I started writing more solo material about 2 weeks ago.

AJ: For those readers who are unfamiliar, can you talk a little about The Joy Thieves, how that project came to be, and your involvement?

CC: I was asked by Dan Milligan, a few years ago, to contribute vocals to this project and it grew from there. I am just a participant. It’s Dan’s project and I like it a lot. He is a good guy. I’m asked to contribute to things a lot and have done things, like Joy Thieves, that have been quite rewarding.

AJ: Is it true that you were the original vocalist for Pailhead before Ian MacKaye? Did you originally track vocals for songs that later became Pailhead songs?

CC: I wouldn’t say that, but I did vocals on “I Will Refuse” before he did.

AJ: I’m a huge fan of your work w/ Ministry and Revolting Cocks. Can you tell us how you met Al Jourgensen and what it was like to record and perform w/ Ministry and REVCO? What are your best memories from this musical era?

CC: I met Al (and Paul) in London at Southern Studios in 1987, where they were tracking Land of Rape and Honey “rape and honey.” I was at the studio w/ Finitribe. Well…we were a loud, fast, tech-driven, eccentric rock band with a flair for the misanthropic and a dreadful reputation. What could POSSIBLY go right???? I don’t know, it was complicated. Sometimes it was fun, sometimes it was very very dark, but it was certainly an experience.

Stream these Revolting Cocks albums on Spotify: Beers, Steers + Queers & Linger Ficken’ Good…And Other Barnyard Oddities

AJ: I’m also a huge fan of your work w/ Pigface, Murder Inc., and The Damage Manual. Can you tell us how you met Martin Atkins and what it was like playing live w/ Pigface? What are your best memories from this musical era?

CC: Well…you probably know that Martin was on Ministry’s tour in support of The Mind Is A Terrible Thing To Taste …the “mind” tour, and that is where we met. This musical era ran parallel to the other one. It had its good points, but it was also a complete shit storm.

Stream these Pigface albums on Spotify: Gub/Welcome To Mexico…Asshole & Easy Listening

AJ: Some of my friends and I love Whiplash Boychild, Phenobarb Bambalam, and Shipwreck. These albums sound quite different than anything you had previously recorded. Can you tell us a little bit about your early solo work and your transition from being a “revolting cock” to Chris Connelly? How were your solo albums received? What were your musical influences and/or inspirations at that time?

CC: I have always just gone with my gut. Nothing is contrived or preplanned, and at that time I was lucky enough to have support from my label (Wax Trax!). Many fans hated it. Hate mail was delivered, but, you do what you do, right? There was no transition. I think there has always been a conflict in me, which is maybe what makes me interesting? When I was a kid I would listen to Throbbing Gristle and in the same hour listen to Leonard Cohen. And, by the way, so would Throbbing Gristle! They used to list their fave albums in their news letter, Industrial News, and it was through that that I discovered a love for Leonard Cohen, Frank Zappa, Nico, Pearls Before Swine etc. Also, if you listen to an album like White Light/White Heat by The Velvet Underground, there is the absolute COLOSSUS of noise in “Sister Ray” and the understated beauty of “Here She Comes Now”…nothing has to be one shade.

AJ: What band are you most proud to say you were a part of and why?

CC: The Finitribe, because we were the fucking best!

AJ: Any bands and/or musical projects you regret lending your talents to?

CC: It’s pointless to have regrets. You can’t undo them, but I am certainly not enthused about everything I have done.

AJ: When and where was your last live show? What do you remember about it? Anything particularly interesting about your most recent live performance?

CC: With Sons of the Silent Age in January 2020. We played all of Bowie’s Ziggy Stardust and Station to Station. It was a wonderful night.

AJ: I mainly cover shows in DC, MD, and VA; and most of my readers attend shows in the DMV. Any particular shows and/or venues in this area that you’re fond of?

CC: I have fond, if vague, memories of the 9:30 Club.

AJ: What have you been listening to? Any particular artists and/or albums you’ve recently discovered or rediscovered?

CC: I have been listening to tons of stuff because I have had the time. I have these badass headphones that I can wear around the house…they sound amazing. I have been especially excited about Lou Reed recently. Listening to his album Rock ‘n’ Roll Animal (in particular). Listening to Berlin too.

AJ: What are a couple of the most loved/valued albums in your personal record collection?

CC: School Days by Alice Cooper (2LP UK 1973) and Trout Mask Replica by Captain Beefheart. I don’t know…that’s a couple.

AJ: Can you talk a little about your autobiographical book (Concrete, Bulletproof, Invisible & Fried: My Life as a Revolting Cock) and what the writing process was like for you? What inspired you to write an autobiography?

CC: I was inspired to write it after I read a book about a little known singer called Brett Smiley. It was an interesting story with a lot of failure. I also wanted to try to use humor to describe what was often a dark and dismal period.

AJ: Has being a parent changed the way you write, play, and/or interpret music?

CC: Of course. It changed the shape of everything, but it wasn’t something I had to plan for. When my son was born (he’s 13) I cut back on live performances, but at that time I had slowed that process down anyway. I think maybe 2 years prior (maybe 3), I was playing shows and touring to play to people who only gave a (slight) fuck about what I had done decades before. It got to the point where it made no sense to play or tour, so I became selective. As far as writing goes, I have always been good at finding corners of time to do it. I slowed down slightly on music and wrote 2 books back to back when my son was an infant. Now both my kids are older and I have a lot more freedom to write and play, but it was never frustrating to me. If you are a writer, you will write. You will find the time. My wife is a writer as well and we are both very sympathetic to that need, and the need for solitude. My kids as well. They also get it.

AJ: You have worked w/ so many great artists over through the years. Any musicians you’d like to collaborate with if you could?

CC: I would love to work with Brian Eno!!! In a studio with tons of toys and about a month to record.

AJ: A friend of mine has never heard Chris Connelly. Which album would you recommend and why?

CC: Bloodhounds, because it’s recent and it is probably the best expression of what I am now I suppose.

AJ: What are some of your best memories/proudest moments of being a musician?

CC: I have had notes from people who told me that my music has helped them. That is everything to me.

AJ: What are your most embarrassing and/or awkward moments playing live?

CC: Where to start??? All our gear breaking down one at a show one New Years Eve. That was the Revolting Cocks. It was a nightmare.

AJ: Do you remember the year and venue it was when the Revolting Cocks gear broke down? Do you remember anything else about the show? Did the band recover or was the whole gig ruined?

CC: It was at Medusa’s in Chicago 1987, I think. We just bolted after the “show.” I am SURE everyone in the band will have a conflicting story.

AJ: Any songs you wish you wrote?

CC: There are no songs I wish I had written apart from mine. I like mine the best or I wouldn’t bother, innit?

Stream Chris Connelly’s newest album on Spotify: Sleeping Partner

AJ: I am so sorry to hear about the passing of your friend and musical collaborator Bill Rieflin. Can you tell us a little about Bill, his impact on you, and your musical collaborations w/ him?

CC: That story has been well documented. He was my musical mentor and he changed my life for the better in so many ways. It is just awful not having him here.

AJ: I am equally sorry to hear about the passing of Genesis P-Orridge. I’m not sure how much contact the two of you had, but can you talk a little bit about Throbbing Gristle, how you met Genesis, musical impact Genesis had on you, best memories, and best philosophy or life lesson learned from Genesis?

CC: I first knew Gen through correspondence starting in 1978. I had heard “Hamburger Lady” by Throbbing Gristle on the late night John Peel radio show, and it chilled me to the bone; starting a lifelong obsession with TG. Their approach and aesthetic resonated with me. They took the DIY ethic even further than punk and opened my eyes to experimentation, tape loops, extreme sound etc. They, in so many ways, were just taking normal, day to day life and turning it into sound pieces like “What A Day” and “Five Knuckle Shuffle”; summing up the boredom and hopelessness of the UK in the late 70’s.

AJ: Thanks Chris! I have lots of other questions, but I’ll leave it at that. I truly respect what you do. Looking forward to hearing new material! Fin.

Much gratitude and respect for Mr. Connelly. Hazy Eye Music Media appreciates his willingness and openness. Stream these other albums by Chris Connelly:

https://open.spotify.com/album/3b2yMH7n61pXtsUQLdvA3v

https://open.spotify.com/album/7s7dPdTxrgO3b0U96N2Vhp