I have many fond memories of Dio; he was very influential at the beginning of our career. He was one of the first artists we toured with
Geoff Tate: Hi, this is Geoff.
Wikimetal: Hi Geoff, this is Nando from Wikimetal.
GT: Hi, how are you?
W: Well, how are you?
GT: I'm doing well.
W: Well, first of all, let me introduce us. We are the number one hard rock and heavy metal podcast in Brazil, it's an honor to have you on our show, thank you for your time.
GT: Of course, the pleasure is mine!
W: I'll start by asking, back then, what would you consider the biggest influences Queensrÿche had in creating such a different sound at the time? And who were the main vocalists that made you choose to be a vocalist in a rock band?
GT: Well, the '60s and '70s were my real formative years when it comes to music, and I was influenced by a large number of artists and bands from those decades, which I consider to be an incredible time for music. And I think the reason it was such a good time was that there wasn't this industry control over the artists. Bands and artists were free to create practically anything they dreamed of, without having to conform to genres to sell records. Furthermore, the record industry was still strong, so people were paid for what they did, for the work they did. There was a system that really worked well, a healthy industry. Now, of course, we see the decline of that, with the internet and piracy. The situation is very different now. But I was influenced by many different artists, musically. I can't name a specific artist, or anything of that genre, but everyone who was involved with rock at that time was an inspiration to me. I grew a lot learning to play their songs. So when I started singing and playing in bands, I brought all these different influences with me, which helped shape the music of Queensrÿche.
W: Is it true that some of Queensÿche's songs, some from the early albums, were originally from your previous band, Myth? Can you give some examples of songs that came from Myth?
GT: Let me think. Yes, there were songs that ended up on our first LP, "The Warning," songs like "Take Hold of the Flame" and "No Sanctuary or Before the Storm." I had written those songs when I was in Myth, before Queensrÿche became a band.
W: You've probably answered this question many times already, and I apologize in advance, but honestly, we don't know the answer, perhaps because our native language is Portuguese. But could you explain to our listeners why there's a diaeresis above the Y in the name Queensrÿche?
GT: Oh yeah, it doesn't make sense, actually. I think the umlaut above the Y was added without a real understanding of what it meant in that language. So it's incorrect. It doesn't have any grammatical sense, it just looked cool.
I received a call, kind of out of the blue, from the production company that was making the film, saying they wanted me to be a part of it.”
W: We really love all your albums, especially the “Operation: Mincrime” saga. But I remember when “Rage for Order” was released and it sounded so different and modern at the time, almost like music that came from the future. Can you share any memories from that time and how you arrived at this unique type of music?
GT: Ah, yes. That kind of correlates with the other question, about musical influences. We were trying to create our own version of music, from things we heard in our heads. What we were trying to do was not sound like others. We wanted to create something that was ours. We tried to do that by incorporating many different kinds of influences, and visualizing different sounds created, not using standard sounds that everyone else was using. We also wrote about themes that weren't typical in rock at the time.
W: Changing the subject, unfortunately we Brazilians haven't had the opportunity to see a concert like the one where you played "Operation: Mindcrime" live, parts I and II, in their entirety, as can be seen on the DVD "Mindcrime at the Moore". Do you think it will ever be possible to bring this show to Brazil, without the theatrical performances, with the actors, etc.? I know it's a sold-out tour, would it be possible for it to happen again?
GT: Yes, I think it would be possible, but it would require a lot to do. It's very expensive to go to South America and do a tour, for any band. So it has to be planned economically, of course. And that's the biggest obstacle for any touring band, trying to book dates that make sense from a business point of view, so you can survive, you know? But we've seen Brazil become a strong market for rock over the years. It's been getting bigger and bigger, which makes it a more feasible place to tour. I would say it's a possibility.
W: One of the highlights of the DVD is the participation of Ronnie James Dio, with whom you also had the opportunity to participate in the “Hear'n Aid” project in the 80s, which was organized by Dio. What do you remember about that project, which we loved, and could you share some memories of Dio?
GT: Yes, I have many memories of Ronnie; he was very influential at the beginning of our career. He was one of the first artists we toured with when we were starting out, and he was very supportive of our band and our music. He gave us a lot of perspective on how to operate, how to treat people, that kind of thing. He was a gentleman, civilized, and liked by everyone. He had a great personality, very open. I think he was really instrumental in setting a positive example for us young people who were just starting out. He was a great influence, not only musically, but on a personal level.
W: And what about "Hear N' Aid"? I think your participation is legendary, it's one of the most important parts of the song. I imagine you cherish that memory with great pride.
GT: Yes, at the time the song was made I was just starting out as a singer, and Ronnie, of course, was super supportive and gave me a lot of positive influence on the performance. He was producing the song, so he was super involved in the construction, the writing, and the performances that everyone did. His judgment was the final one, on what would go into the song, from all those different performances, he judged what was good and what was bad. I was happy that he liked what I did, and I worked hard to give him what he was looking for. I've always been a collaborative person when it comes to music, and very open to other people's ideas. I'm very respectful of other perspectives, really. For me it was a really stressful situation, because, for example, I would go into the performance room where we recorded, and everything was set up. And they would tell me, "Here are the lyrics and your headphones." And I was there, alone, and I looked at the control booth, and there he was with the engineers and about twenty other people, all legendary characters. Ted Nugent was there, and Rob Halford and the guys from Blue Oyster Cult, all these artists that I really respect were watching me. It was very stressful for me, performing in front of all those people I respected so much. On top of that, being new to it, I was very nervous. But Ronnie really helped calm me down and coached me during the song, so it all turned out fine in the end.
W: Everything alright? Everything's fine for you, but for us it was unbelievable. We have a classic question on our show that we ask everyone we interview. Just imagine you're listening to music in a kind of random way, maybe on your iPod in shuffle mode, or a rock radio station. Then, a song comes on that, no matter where you are, makes you start headbanging immediately. What song would that be, so we can play it here on our show?
GT: Oh, wow. You know, I have a lot of records. I have something like eight thousand records on my iPod. I have a deep interest in all kinds of music. I'd have to say, for headbanging, it would have to be AC/DC. I love their music. We toured together in the mid-80s. It was an incredible experience for me to witness their performance and the energy they give on stage. It was an inspiration for me to tour with those guys. They were also incredibly generous with us, treated us very well, which served as a great example for us in terms of how to treat our opening acts.
W: And what AC/DC song would you like to hear?
GT: Back in Black!
W: In our opinion, Operation: Mindcrime is one of the greatest stories ever told on a metal or hard rock album. Is there a chance this story could become a movie? We heard there's already a script written, is that true?
GT: Yes, yes. In fact, it's being adapted right now to become a movie.
W: Although there have been some changes, like the place that was originally Chris deGarmo's, I'd like to know what the secret is to keeping a band – you, Michael Wilton, Eddie Jackson and Scott – together for so long? What's the secret to keeping the same people together for so long?
GT: I think any functional organization should have a very open mind regarding the needs and desires of everyone involved, and communication is a big part of that. There should be constant communication with everyone, and assurance that everyone is on the same page and moving in the same direction. This demands constant vigilance. That's really the secret; it's simple, in the sense that there should always be communication between everyone.
I think Rob, Bruce, and Geoff should do a project, and we could call it The Three Tremors. That would be fun.”
W: Changing the subject again, could you tell our listeners about your experience as an actor and narrator in the film "The Burningmoore Incident"? You also composed a song for the film, right?
GT: Yes, that was a really interesting experience. I got a call, kind of out of the blue, from the production company making the film, saying they wanted me to be a part of it. I said I hadn't acted before. They said, "Okay, let's do a screen test and see how it goes." So I did the test, they liked it, and we started working together. It was a great experience learning how it's all done. Something I'd like to do more of in the future. I think acting is almost like an extension of what I do on stage, anyway. So it's not really something distant, but it's really difficult. Good actors make it look easy, just like good musicians. But there's a lot of detail involved, a lot of reflection, and it all demands a lot of preparation. You have to know the rules, and know the character you're playing. You spend a lot of time thinking, "What would this character do?" or "What physical characteristics should this character have?", "What would he do in this situation?" or "How would he react?" You have to keep all of that in mind when it's time to film. For me, I almost lived and breathed the rules. The filming was in New York, a super tiring environment, and I wore the same clothes for a week and a half. I really got into the character I was playing. For me, that really worked. I'm not the type of person who can just "switch on" and "switch off," I think I had to convert to the character to get a believable performance. That's how I dealt with it, breathing and living the character the entire time I was working on the film.
W: Speaking of Brazil, your relationship with Brazil, I heard a message on your cell phone from… Was it João Gilberto?
GT: Oh, yes, yes! He's one of my favorite artists.
W: Great! So, I'd like to talk about your relationship with Brazil, the memories you have of the Queensrÿche show at Rock in Rio in '91. I was there, so I'd like to ask what memories you have and what fans can expect from the show you'll be doing in São Paulo?
GT: Well, that show at Rock in Rio was my first experience in Brazil, and it was truly amazing, how big the show was, something like 225,000 people, it was a huge show. And everything around was huge, from the hotel we stayed in to how we got to the show. It was very hectic and exciting, with so many people, so many people involved backstage. The stage itself was enormous, the biggest stage I had ever been on up to that point. It was truly breathtaking. Also, a different culture, unlike anything we knew. I got to know some people there very well, people who worked with us, with whom we still keep in touch, years and years later. We still maintain contact and relationships with these people. So it was really a time of building bonds. The whole thing was incredible, and we've returned several times since then, doing different shows, and it's always been a good experience. So we're super excited to go back to Brazil.
W: Could you choose a Queensrÿche song that you're very proud of having written so we can play it on our show now?
GT: Let me see. What can I choose? How about something from "Mindcrime"? I love "Revolution Calling".
W: Is it true that a few years ago there was an idea to bring you, Rob Halford, and Bruce Dickinson together on a project called Trinity? Yes, it is, and why didn't it happen?
GT: I get this question a lot, and I think Bruce and Rob must get it quite a bit too. We toured together many years ago in America. We had a day off, so we all went out to dinner at an Italian restaurant. We were having a great time, eating and drinking a lot, and there was opera playing in the restaurant. Then Iron Maiden's manager, Rod Smallwood, asked the waiter what was playing. The waiter replied that it was the Three Tenors album. For some reason, Rod found this very funny, raised his glass of wine and said, “I'd like to make a toast. I think Rob, Bruce and Geoff should do a project, and we'll call it The Three Tremors. It would be fun.” We all laughed and toasted, and that was it. It was just dinner conversation, but someone said something to the press and we've been answering this question ever since.
W: I apologize for that! But anyway, it would be fantastic to see that. And that sounds a lot like Rod, we know him, and I can imagine him doing that in the restaurant. What would you say to a kid who's thinking about starting a career as a singer?
GT: Well, I'd say… Follow your heart. Immerse yourself in the music completely. Don't worry about fame and fortune and that kind of thing. That comes later, and it depends on how committed you are to your music. Put everything you have into it, and keep an open mind when working with other people. Develop a collaborative perspective on music creation and always follow your heart.
W: Would you leave one last message, inviting our listeners to the show on April 14th in São Paulo?
GT: Hi, this is Geoff Tate from Queensrÿche, we're excited to go to Brazil and play our music in São Paulo for everyone. We look forward to seeing you all at the show on April 14th!
W: Excellent, Geoff. I'd really like to thank you for your time and for being such a great guest on our show. We truly think you have one of the best voices, not just in hard rock, but in any kind of music. We're fans of your work and we'll be here to support anything Queensrÿche or Geoff Tate do. So thank you again for your time and we'll definitely be there on April 14th in São Paulo.
GT: Okay, then, thank you very much for that and for the interview. I really appreciate it and I'm looking forward to going to São Paulo.
W: Excellent, thank you very much, Geoff.
GT: Okay, bye!
W: All the best.
