David Rhodes Interview (

All credits to Steven Ward who set the whole thing up with David Rhodes' management on behalf of a small band of dedicated Random Hold fans worldwide. The actual interview was conducted by e mail, a number of questions were submitted by Steven to which DR replied as follows.

For the last 18 years or so, you have been most closely associated with Peter Gabriel's band as a guitarist, co-writer and studio producer. Do fans ever approach you about Random Hold?

"Strictly speaking, I'm not sure I've been given a credit by Peter that says 'studio producer,' however I think I've had credits for 'production ideas' or 'feedback.' Production credits are hard to come by. Very occasionally, people mention RH, and I do my best to steer them off the subject, which leads to the second question."

Do you look back to RH with fond memories? There have been reports of band in-fighting with you and David Ferguson on one side and Bill MacCormick and original singer Simon Ainley on the other?

"My memories of the band are mixed. Some work was fun, and some wasn't. I think we lost the initial impetus that got us going. In-fighting sounds rather strong. David and I perhaps felt that the band was going soft, and sounding too normal. Simon was presenting material that we thought wasn't suitable. He had to go."

Tell us about the origins of the band at Dulwich College. Is it true that a Melody Maker piece on an unknown band led to a bidding war between record companies? Also, there's a story about you and Ferguson attending a Phil Manzanera/801 concert and deciding right there and then to form a band.

"The band did not exist at Dulwich, though I remember all of the characters from there. It was some years after that, that it came about. David and I met at an 801 show, as we were walking out. It seemed that everyone had loved the show except us, so over a drunken curry, we resolved that we should try to achieve something bolder than that which we had witnessed. My girlfriend of the time, made me ring David, and arrange a time to work on some ideas. This lead to some experimental pieces which were based around building up loops, 'sound on sound.' In the first piece we resolved not to make any musical sounds, so we built up a cacophany of bass and guitar scrapes. David cracked, he was the first to play a note. This was called, "One Bone Alone Achieves Nothing.' We built up a catalogue of peculiar noise peieces which we performed with a slide show, and later with a puppet theatre. We were not called RH then, and very few people came to see us. Because of the small audiences we decided we should write songs, so that's what we did. We wanted to play to more people. After some time, writing, rehearsing and doing small shows, a Melody Maker journalist did write an article, which lead to some company interest, and the signing of the band, (whilst Simon was still involved)."

At the time of the band's forming, what or who were your primary musical influences and what were the goals of the band at the time?

"With David I listened to Can, Magma, Stockhausen, Steve Reich, Phillp Glass, Eno, Bowie, Keith Jarrett, Ralph Towner, Pere Ubu...I can't recall what else. The goal or aim of each performance, was to try to move one person in the audience. We regarded that as a triumph."

How would you decribe RH's sound? We sometimes refer to it as "nighttime music."

"We always wanted it to be emotional music."

How did you formulate your distinctive, minimal guitar sound? Was it something that started out as a technicial limitation but evolved into a certain style?

"When I began to work with David, we embraced the philosophy that it doesn't matter if you can't play, as long as you have ideas. I still believe that, and also that music is just noise. Noise first, notes second!"

We've heard that RH opened for XTC and Peter Gabriel. Were there other bands RH toured with and which ones were favorites of the RH members?

"We didn't tour with any other artists. XTC were very funny, and a pleasure to meet."

What's the story with behind Simon Ainley's departure? We've heard that you and Ferguson were a bit more serious about music making and art while Ainley just wanted to "rock and roll all night and party every day."

"Simon had to go because the music was becoming more dilute, and less oblique. I think that David and I felt that he wasn't bringing strong enough ideas to the band."

Why did the band stop? It seemed like RH was at its creative zenith at the time.

"David has reminded me that I wanted to work on my own. I think it was also because nothing had really taken off in the way that we had hoped. We had missed the only opportunity that we would get."

Bill MacCormick has said that he was unhappy with Peter Hammill's production. Were you happy with it and how did the band hook up with him?

"David has again reminded me that Bill wasn't keen on Peter Hammill's production, I would regard the flawed nature of the record as our fault. Though with hindsight perhaps a different direction may have yielded different results. However, we were not a pleasure to work with. We were intransigent, and I was insecure. I had many fears. Hammill was managed by the same manager as Gabriel and ourselves, so we fell into the relationship. Peter Hammill is a fine artist whom I still regard as a good friend."

Let's clear this up. How many RH albums were there and what years did they come out? Also, what are your favorite RH songs?

"We released a single album, 'The View From Here,' but I can't remember when precisely, 1980? However the record was conceived as a double album and recorded as such. I think David later found a company who put it out in its entirety as, 'Avalanche.' I've lost my copy of that. Favourite songs would be, 'People Out of Love,' Dolphin Logic,' and 'Precarious Timbers.' Again, I don't remember the rest."

Tell us the story about how Gabriel's manager summoned the band to work on his third solo album. What were those sessions like and how did that lead you to joining PG's band?

"Peter came to see us playing a small show in London, on the recommendation of an artist friend of his, Graham Dean. He saw the show and spoke to David afterwards. Peter's manager was there too. (Gail Colson) Some weeks passed, and we became clients of Peter's manager. We lost Simon and our drummer and we were asked to play with Peter, developing ideas. From that, I was asked to play on the recording sessions."

Connected to the above question, did David Ferguson play keyboards on "Biko" or not? He's listed on the credits of the "Shaking the Tree" greatest hits but not the third solo album.

"David did not play any keyboards on 'Biko.' He did however make the high pitched screaming sound at the beginning of the song."

Is there any chance at all that any of RH's music will ever be released on CD?

"I don't know who has the masters. I would think it very unlikely."

What's it like working with Gabriel?

"Very enjoyable!"

Can you give us any hints about the release date or sound of the new PG
album, "Up?"

"You would do better asking him. My guess would be that the earliest it could appear would be autumn 2000. It sounds like Peter, no real surprises there then!"