here’s part of an interview with rey washem, who did drums for house of the mole and the tour afterwards i think…
it’s kinda al bashing, shit we know, so i guess i’m moving to australia
the link is http://www.markprindle.com/washam-i.htm
Yeah. Does it annoy you that drummers so rarely get co-credit for writing the songs? I mean, you’re obviously doing a pretty important - I mean, the song is more than just the melody.
Yeah. Yeah, it bugs me. But what are you going to do? I mean, I respect bands that write a song. Unless somebody comes in and has written a whole song – you know, here’s the whole chord progression, here’s the whole rhythm, here’s the vocal line, just play the drums to this – that’s a different story. But when you’re coming in, you’re sitting down, and you’re like, “OK, let’s write something,” and everybody’s working and throwing in ideas and stuff like that, yeah, that should be… You know, well that’s what fucking - That was the deal with that last Ministry record. I sat down there with…AL…hashing out ideas, working on stuff, blah blah blah, “This works, let’s try this, we’ll do this, here’s this one part, here’s this,” then the fucking guy didn’t even give me credit on the record. You better believe I was pissed about that. And I tracked all the drum parts. Anyway, I don’t want to get into that crap.
And then he said when I interviewed him that he was responsible for like 99 percent of Ministry’s music, something like that.
Let me tell you something here. I’m not going to mention names, but there was a person, there was a person that was in the band Ministry that is the biggest fucking liar and is so full of shit. You don’t have to print that stuff, but I’ll say one thing about Al. This is not derogatory. He knows how to hire good people to play on his records. He’s very good at that. He can see somebody play stuff and he can pick it out and go, “Yeah, I want to use that and I want to use that.” But is he responsible for writing that shit? Fuck no. He’s good at putting it all together, but… Ministry weren’t the very best at compensating the musicians who were working on those records. That’s all I’ve got to say about that.
Can anyone else verify if Washam did work on HOTM?
So if he did, what, Al didn’t like his stuff so he hired Baker? I’ve a feeling work was started on HOTM while Barker was still there then when he left (and maybe Washam left at this time too) it went down the route it did. Brody probably stayed around longer.
I’ve always wondered if Paul saw or heard what Al wanted to do with HOTM and said “I’m getting the hell out” or else this compounded the reason he gave (his dad dying and just wanting something different, which is totally ok.)
In saying this I very much respect Paul and some others decision to stay relatively silent on things Ministry 2004+. No bitching so they don’t let themselves down. They can talk about it when they’re auld lads.
I am not sure if Rey worked on HOTM or not, but here’s an interview with Al that the same guy did. Be sure to read the “insightful” comments posted at the bottom.
Seems it’s always been the case with Al, I recall Connelly mentioning who did what’s on TMIATTTT on this forum somewhere,
I’m honestly amazed noone has been as blatant as Rey, let alone been as blatant as going after Al, because I sure as hell know that if I was to cop that sort of treatment I wouldn’t be putting up with it.
Giving credit here and there is one thing, I guess one could assume ‘well, you were part of Ministry, it all comes under the banner of ‘Ministry’’, but Al has blatantly remarked that ‘Ministry is just him’ and that other members were ‘just employees’ or ‘just a (insert instrument of choice)’.
rey’s deserving credit.
he was axed by al’s wife #2.
(and then he–rey-- proceeded to get no credit).
NICE.
this treatment has a life of it’s own.
good luck to those who disrespect, rey or mikey or anyone else.
good luck.
Well said ed, well said. These guys deserve the utmost respect. Paul, Bill, Chris, Mikey, Rey, and Jeff will always be a big part of why Ministry and the side projects were great.
Rey was the perfect drummer for Ministry after Bill left, he didn’t try to copy what had come before, and brought his own style into play. Those ‘Clinton Era’ albums definitely benefited from his input.
Hello Prong-dudes and dudettes… long time no seen of me here.
I always tought of Al as some kind of a… well… idol… that was before I got the information-(lost)highway called internet at my disposal. So… when reading stuff from other members of the band, ministry, I’m more and more starting to dislike the dude.
I’m glad I got to see Minsitry with paul onboard at 2003… with 2 drummers also (brody)
I think Al was ok up until about 1997 - when he realised that there was alot more money to be made by copying the people who have been copying you for years.
That was also around the time he cancelled his subscription to Readers Digest.
I think there are legal definitions of what constitutes songwriting, and drum parts don’t count. But you may want to look that up before you quote me.
Also, I"m going to find out what happens if I click the little icon that looks like a mug.
I think there are legal definitions of what constitutes songwriting, and drum parts don’t count. But you may want to look that up before you quote me.
Also, I"m going to find out what happens if I click the little icon that looks like a mug.
if I, for example, have already written and recorded a song and call a drummer in to play a beat over the recorded part that is one thing. But to have two people with their instruments in a room tossing ideas back and forth and “jamming” or whatever is a different thing (songwriting)
Prolly can, but it’s prolly a lost cause. HOTM wasn’t too successful, and i’m under the impression that if only wrote a few drum parts, then it’s kinda pointless. Considering Al or Brody probably contributed drum programming as well, the royalties/backpay would prolly be someone less. You get more based on percentage of how much you contribute and then some. Or so i’m under the impression.
if you’re part of a rhythm section, and/or create the basics for the song’s structure, unless you sign something to the contrary–YOU’RE PART OF THE SONGWRITING TEAM. this ain’t burt bacharach era, clearly delineated who does what.
sampling gets into a whole different thing, but consider that somebody created the sounds, rhythms whatever they did.
rey did some groundwork for which he shoulda been paid and credited.
when Max did an interview for this site, that was the thing that kind of threw me. for example, he basically stated that the music that Rey is credited on - on Animositisomina - he drummed on, but is credited to Rey because Rey did the original beats. something along the lines of, Rey played the beats on demos, and Max played along to them through these demos on a shitty boombox or something. i didn’t quite understand it, because why would Rey be credited for something Max played?
that’s a high level of professionalism, to basically say that Rey did the drums for it when it wasn’t even him physically in the room. he still got credit, at least in print…Max’s a good guy
(brody)