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 This is the Out of Bounds interview that was in Issue II of Big Time Music Trade Magazine in July of 1997.  Since then Bob Bachand has passed away.   
 
 
OUT OF BOUNDS
 
 
LYNN-ANN CRISCI :  CONGAS
 
BOB BACHAND :        ACOUSTIC GUITAR
 
ROB ROBERTSON :   BASS GUITAR
 
DAVE DOW :               GUITAR
 
MARK HARRIS :       DRUMS ( Absent.)
 
 
Mailing list :  P.O. Box XXX, In care of Out of Bounds, or Sunday Driver, Hallowell Me, 04347
 
 
 
BIG TIME :  Can you explain to our readers why you use tape on your hands while playing?
 
LYNN  :  I highly recommend surgical tape over masking tape.  Duct tape is the cure all for anything when a musician is in a pinch.  The heat created by the drums while playing at speeds with hand drumming drys out the skin.  This happens to the degree that your hands turn white, crack, split at the seams, and blood if you don't tape them.
 
 
BIO :
 
 
LYNN :  I went to school at U.M.A. and took lessons from Al Degatado, for drumming and Margarette Juneaman for vocals.  I got an Associates Degree there in 1991.  My father is a musician, so I studied with him vocally.
 
 
ROB ROBERTSON  :  I went to U.M.A. for two years, didn't gradutate for drums.  I play drums and I play bass in the Out of Bounds band.  I have played drums for the Waiters, Go-Joe and other bands who perform at The Wharf, plus free-lance gigs.  I used to play drums for Fat Alice, The Freeloaders,  The Weasels, Wavebreakers, and this is my first bass band. I teach a little drums right now.  I don't have a spot right now, and I've been going to people's houses and teaching private lessons.  Once I have a space, I will push it more and teach for a couple of days per week.
 
 
LYNN  :  I'm also a teacher, and I teach rhythmic breathing with hand drumming.  I'll be doing a seminar on Sunday during the Common Ground Fair.  It takes place at the end of the summer and it's like the 3rd weekend in September.  I'll be there Sunday from 2 p.m. to 3 p.m. at the whole life tent.  I'll be doing a seminar on rhythmic breathing for a Yoga relaxation technique.
 
 
DAVE  :  I've played in many bands.  A few of them were Route 32, Kayla Shake, The Dow McKenna Band, which was the Terrio brothers.
 
 
BOB   :  Hi, I'm Bob, I drove by U.M.A. once.  (Laughs.)  Actually Dave's doing a really nice job.  Dave's the first guitarist that we've had for a really long time.  We used to go through a bunch of different musicians; we scare everybody away.  We haven't used the same musicians except for the last 6-8 months.  Dave is one of the first ones to last a long time with us.  We just finished a demo tape, which took an awful long time to get done.
 
 
BIG TIME  :  What kind of problems does the band encounter?
 
 
LYNN  : We have four vans between the band, and we still don't have a ride sometimes.  The reason is they've all been gone and broken down at the shop at the same time.  AAA loves us, we get Christmas cards.
 
 
BOB  :  They don't love us that much.  I remember them dumping our other gig mobile into the river.  They said it was an accident.  It unhooked in front of The Wharf, rolled right by and fell into the river.  The first song on the Sunday Driver album, (Lynn and Bob's Duo.)  was Potholes and Speed bumps, and is about that.  It was AAA+.   That was the plus I guess.  It was pretty the way it rolled.  It was in good condition, and it was all lined up and everything.  It rolled a straight line, missed the telephone pole, missed the sign, and fell right into the river; a perfect straight line.  The van wasn't loaded with equipment.  It actually just had a minor problem and it was being towed to get it fixed.
 
 
LYNN  :  I think that's what scared away our guitarists.  You know how Spinal Tap lost their drummers all the time?  We have that with guitarists.  Guitarist after guitarist would just disappear.  They would be there at rehearsal and the next night we had a gig, and they wouldn't be there.


BIG TIME  :  What makes it a challenge to play in this band?
 
 
DAVE  :  the key is to not rehearse.
 
 
ROB  :  If you rehearse, you end up hanging out with people, and then when you do, you start to like them.
 
 
LYNN  :  We never thought about that and Dave.  Wow!  Every other guitarist that left, we had rehearsal.  We never had rehearsal with Dave.  If we did, he would have been out of here.  Dave thinks well enough on his feet.  All the other guitarists that might have been to U.M.A., or driven by it more than once, they had to have the sheet music.  It had to be just written out, "just so," for them or they wouldn't get it.  With Dave we can say:  "Oh, we changed this key last night,"  or, "We just changed this key 5 minutes ago, because, we decided to change it."  We are never the same twice, that's part of our reputation.  You never know what to expect from us.  We never know what to expect.  Dave just takes a look at Bob's guitar and says:  "O.K., that's a G, that's a C, I'm right on it."
 
 
ROB  :  He knows to watch Bob, and not listen to what I have to tell him.  (Laughs.)
 
 
BOB  :  That's because Lynn and I have a 500-600 song list.
 
 
DAVE  :  It's discouraging.  If you go to rehearsal and see a lot of songs and practice them all.  It gets very discouraging.
 
 
BOB  :  Yeah, we would like to rehearse, but we have to have jobs.  You don't get paid that much for playing music.
 
 
LYNN  :  And we really can't afford to lose Dave at this point and risk it.
 
 
BOB  :  No, I don't think... I really don't agree with that.  (Laughs.)  What's been real important in this band is loyalty.  It's people hanging with us for a while and working with it.  We've gone through a bunch of people, and they would al start with us, to then leave us and join another band.  Which is O.K., but we started to feel like training camp.
 
 
LYNN  :  (Laughs,)  The training band.
 
 
ROB  :  Play Mr. Jones in E flat, and you can play with anybody.
 
 
BOB  :  Lynn and I are capable at any point of throwing our something weird; something that nobody knows, from left field.  We do it all the time, we don't mean to, but we just can't help it.
 
 
ROB  :  The key is to turn down when that happens.
 
 
LYNN  :  They cringe when they hear the words on stage:  "Oh, did you have a burning desire..."  and one of us would say :  "Oh I feel like playing this song tonight."  But, none of us have done that song.  (Reassuring and smoothing) Oh it doesn't matter...It doesn't matter.  (Laughs.)
 
 
DAVE  :  I have my own capo in my head.  (Band breaks out laughing.)

BOB  :  We change a lotof keys on songs.  We do this with our own style, our own tempo and our little touch with it.  Often Dave has to convert it on stage in his head.  He has to transpose chords and things like that.
 
 
LYNN  :  Bob can put a capo on his guitar neck.  We say we want to change the key and Bob says:  "O.K., I'll just put on a capo and move it."  Dave doesn't have a capo, so he's transposing in his head trying to figure out all the new chords, as he is playing.
 
 
BOB  :  Yeah mostly guitarists don't use a capo, because they are using the whole neck.
 
 
LYNN  :  We should mention in his absence that Mark Harris is our drummer.  (Group laughing.)  I'm not sure where he is, and we hope this is not another Spinal Tap thing happening.  (Laughs.)  He said he was going to be here.  (Mark did show up at the gig, after the interview was done. -Papa.)
 
 
ROB  :  He drove by U.M.A. and stopped.
 
 
BIG TIME  :  Well he's only 4 credits or 4 classes short of receiving a Bachelors degree.
 
 
LYNN  :  Right.
 
 
ROB  :  I'm just two classes short.  They're just really hard classes.
 
 
BOB  :  Drop-outs.  (Laughs.)
 
 
BIG TIME  :  What was the transition like switching from drums to bass, since they are both rhythmic instruments?
 
 
ROB  :  I did a lot of playing at home, before I ever attempted to play with anyone else, a lot of playing with records.  It's not that far removed from playing drums.  The difference is the notes.  You have to worry about being in the right key, where you don't while playing drums.  It's not as much of a difference as you might think.  My background in drums helped me learn bass faster.   I think playing bass has also helped my drumming.  It's probably more so, than playing drums has helped me play bass.  Knowing what a bass player is capable of, helps my drumming lock into that.  The bass player and drummer should know what the other is going to do at any given moment.  If I play something on drums that the bass player can't rhymically keep up with, and it's going to get all mushy, you don't do that, - as much.  It taught me to play my drums a lot less; not necessarily try to play every note the bass player is playing.  It's just complementing and accenting certain notes that he's playing.
 
 
LYNN  :  I think that's another bottom line too.  That's the key to being spontaneous, everyone else has to listen, really listen to everyone else on the stage at all times.  You can tell immediately when somebody's gone off on the split in their own head and they are not paying attention.  They will be the only person if the groove changes, that's still on the original thing and hasn't changed at all.  The whole song could end, and sometimes, someone is still playing 2 or 3 more notes.

BOB  :  We can get subtle all of a sudden, or drop down, pick up, and do a lot of medley things, where stuff changes.  It's not easy stuff and like Lynn said, you have to be real communicative, as much as you possible can on stage.  That's real hard because people are on the end of the stage and your trying to find something to throw at them to get their attention.  It's noisy, it's smoky, and it's hard to communicate.  You have to be open, flexible and not have a big ego.  You can't have a big Ego and be in a band, because your going to flow right over each other.  It's real important, because lead guitarist's tend to be flashy, and Dave's not flashy at all.
 
 
DAVE  :  I think guitar has become very passe.  Where flashy guitar is sort of like what Disco music was during the early '80's.  No one want to hear someone put their foot on the monitor and play a thousand notes.
 
 
BIG TIME  :  Do you think the local music scene has changed to the point, that in, possibly 5 years this area might be on the map of the music industry?
 
 
ROB  :  This area has been underrated.  From my experience, this area has more talent per-capita musically, than anywhere else I've been.  I lived in Portland for quite a while and Portland has been heralded as this amazing music scene.  Yeah, there are some really good bands and there are some really good players.  There are also ten times as many bad players and really bad bands.  It's just a lot of people are down there.  There aren't a lot of people up here and the majority of the people that play, can play really well.
 
 
LYNN  :  Right, what we got is the cream of the crop.
 
 
ROB  :  I don't know if Hallowell will ever be a music Mecca.  I don't think it's the next Seattle.  I hope it's not the next Seattle.
 
 
LYNN  :  The Wharf is home to a lot of good musicians.
 
 
ROB  :  I would like to see local bands get their dues, as far as, the Boneheads should have their own record deal.  If that happens, I don't want this town to change.  I don't want 500 more musicians to move into this town.  You know, I need gigs.
 
 
LYNN  :  Yeah, you know right now it's so comfortable here.  They know whoever is playing at the Wharf, because everyone plays with everyone and changes the name of the "new bands," that play that night.  They know, they can walk in, walk up to the stage and sit in with who-ever is playing.  They know it's cool.  Nobody is stepping on anybody's toes and it's one big family.  I think if it expanded too much, that you wouldn't have that close-knit security.  I think it would be a lot looser ties, than it is now.
 
 
ROB  :  I also think that there is a little bit of a problem, that it takes you a while to get your foot in the door.  It's kind of a clique, and maybe it is, but I think it's just Maine.  It's a small town in Maine and people are a little "stand-offish."  I think if all kinds of people moved in from the city, the musicians might not be welcomed with open arms.  You have to prove yourself a little bit.  You have to earn it and maybe that is not fair.
 
 
LYNN  :  You're right, it's a hard thing to break into.  I'm not originally from here.  When I first went to school, I didn't know anybody, I didn't feel comfortable with anybody; and I didn't feel comfortable with anybody at that time holding our their hand saying:  "Oh come play with me."  It was because I was an outsider.  It's not until you meet some of the people who're inside the loop and get introduced around, then your welcomed.  Before that, you're on the outside looking in, to the Grandfathers like Kenny Cox.
 
 
ROB  :  You also got to just do it.  You got to come to the jam on Monday night and you got to say, "I play."  Get up there and play.  You might get a little critiqued by the people, but if you got the chops...
 
 
LYNN  :  I think that feeds back to what you were saying before, that's true.  You were saying Portland may have more musicians, but as much as they might have a lot of great musicians, they have a lot of bad musicians too.  Here, I think they critique a lot more than there.  I think that's why the musicians are as good as they are.  Everyone knows that when you get up on that stage to play, everyone is giving you all their attention.  They are listening, they are not just having their drink, playing darts, and ignoring you.  they know every note you are playing and every word you sing.  I don't think people who haven't practiced their parts, get time in, get up to play.

BOB  :  I would think it's not that unusual for clubs to go through some sort of thing to get in the door somehow.  It's just that the Wharf is still here.  I mean Lynn and I have worked on some clubs for 6 months and by the time we got through to book a show, they're closing, or they changed their format, or they've gone to Karaoke.
 
 
DAVE  :  You can come on some Mondays and see the best players you've even seen.  I played here one night and there was Roger Sampson who plays with the Boneheads.  He probably is one f the best guitar players in Maine or anywhere I've seen.  I play guitar left handed, He plays my guitar better than I do.  He can turn my guitar around and play good.  That guy is very good.
 
 
ROB  :  I think I would be hard pressed to find someone better.
 
 
DAVE  :  And there's more than that one guy around.
 
 
ROB  :  When Lynn and I go out, because we play all over New England, we go to other clubs to check out other bands.  We think some bands with incredible billing were not as good as the Monday night jam at the Wharf.  I do think it's a place where the publicity isn't out and the word's not out.  I also think of the Wharf as a nurturing kind of place.  It's kind of like the Beatles Cavern club.  It's underground, it can get real hot & sweaty and really pumping.  It's also a nurturing kind of place.  It hatches a lot of musicians & groups and sends them out.  The Wharfs' always been dedicated to live music here every night, except when there's floods.  A lot of bands have polished up their stuff here.  A lot of the bands meet here.  I met Lynn here 4 years ago.
 
 
BIG TIME  :  Are there any other changes in the music scene that don't concern the Wharf?
 
 
ROB  :  I think overall  the music scene has become harder.  Like Bob said, clubs don't stick to anything for lone.  They say we're going to do bands for 6 months.  They don't make a million dollars, and they decided to do Karaoke or Joe D.J., with the big smoke show.  It's an investment, they think music is a huge investment.  They don't think a D.J. is a very big investment, even though...
 
 
LYNN  :  The D.J. is getting paid twice as much as the musicians were.  A fallacy is that musicians make a lot of money.  I make now what my dad made as a musician per night.  I make the same now on average.  That's kind of sad.  He used to teach guitar, accordion, and piano when he went to Hart School of Music in Connecticut.
 
 
ROB  :  I've been playing music professionally for 15 years, and I don't see my wages skyrocketing to any new levels.
 
 
DAVE  :  When I first started playing professionally at the age of 18, all my friends who were 21, were going into bars.  Now 10 years later, all friends still go to bars, but, where are all the kids now who are 21?  I don't see them.  It's like it hasn't rolled over to whatever.  Either what we are doing for music doesn't appeal to that crowd, or what have you.

ROB  :  They go to dance clubs with DJ's because they are the MTV generation.  They want it just like the record, they want to watch the video while dancing.  They don't want to watch a bunch of people they don't know, playing songs they might know and different from what they are used to.  I think bars have lost a lot of business just because of the tougher drunk driving laws.
 
 
BOB  :  Live music has been treated too much as though musicians are jukeboxes.  Live music is then treated as something you can turn on and off.  There's a lot more spirit, life, passion, and a heck of a lot more work involved.  I think clubs in their drive to make more money, have treated musicians in that way.  They do this by not spending money for the advertising, not supporting enthusiastically the people who are playing there, and brushing them off as through they are jukeboxes.  I think clubs are going to have to come up with a way to provide transportation for some people.
 
 
LYNN  :  Absolutely!  The Tipsy Taxis.  People have some unrealistic expectations.  The music scene has expanded so much.  50 years ago, there were the musical stars you had, and that was it.  It was a fairly limited thing.  Nowadays, there are hundreds of thousands of musical idols, there are just so many.  People just walk up to the stage on a nightly basis and say:  " Well, don't you know any Joe Maria Smith?  Everyone knows them!"  Well, they could be some cult idol for this person, but you can't know every song by every person.  They just expect you to be a jukebox; put the dollar in, and that's it.  The thing is DJ's can do this.
 
 
BOB  :  Everyone at some point has done the same type of music and you want to get away from that.  I don't want to put Van Morrison down, but too often music starts with Brown eyed girl,  and works backwards from there.  In a sense everyone wants that and Freebird.  That was great, and it's great stuff, but as a band you want to move beyond that.  That becomes part of it too,  ho much you can get away from doing the basic stuff.  I told Don Mc Clean in Camden once that I would never play American Pie, and Lynn and I have refused to do that as a duo.  A few others like Me and Bobby McGee, just because they have been overdone so much.  That's part of what clubs have a responsibility for, is to be somewhat artistic and grow somewhat.  You can do the same 20 songs every night and you'll be fine.  It then becomes a risk to leave that.

LYNN  :  I don't care if it's a live version, it's just not the same as going to see live music.  It's always that element of you never know what's going to happen.  It's like going to see some kind of stunt man, or a magician.  You never know if they are going to pull the trick off.  With Out of Bounds, you never know if we are going to get through the tune or not.  (Laughs Uproariously.)  Or where we are going to end it, because we don't really even know.  (Laughs.)

 
DAVE  :  If you don't have a valley, there is no peak to look up to.  If you stay in the mediocrity, you stay at one level, and you never see a peak.
 
 
BOB  :  I like to ask people to support live music enthusiastically, check it out.  Support those places that support live music.  It's a lot of work, people are putting their heart and soul into it.