Planet P Project is one of the most intriguing art prog rock bands in my opinion. When I received the new album of the band after almost 19 years I was really excited! I was expecting something really good from the band and I wasn’t wrong at all. Tony Carey is a very down to earth musician/singer/composer and always ready to call a spade a spade! The interview below is a very interesting one and I consider myself very lucky to have finally managed to interview one of the “smartest” musicians of art prog rock music...
Hi Tony. First of all, congrats on “1931: Go Out Dancing Part 1”. It’s really an honor talking to a living rock legend like you!!! Can you please tell me why there had been a gap of 19 years between the new and the last Planet P Project album?
T: I’ve done twenty other records in those 19 years, productions, soundtracks, TV stuff and solo albums... (the main thing is to just keep working) – I wanted to do a concept record – (and “Go Out Dancing” will be three records) – and before I thought of a new name for the project, I thought “well, I’ll just usePPP ” – why not? Although strictly speaking the first 2 were science-fiction based, the song writing and lyric form (I don’t know if it’s prog or Floydy or what, but it’s different than the style I use on my TC records) is still “Planet P” to me... now it’s like the “Planet P historical society”, because all three of the “G.O.D.” records will be of an historical nature. The next one, “Levittown”, is in the works now. It’s about America and America’s place in the world since about 1950 – I grew up in the states in the fifties and that was a period of amazing changes which fascinate me.
I believe that 19 years is a very long period for thePPP fans to wait. Do you think that “1931: Go Out Dancing Part 1” will satisfy the old fans of the band and also bring some new ones in the band's camp?
T: That’s hard to say. I don’t really care; either... you can’t think about how people will react to your work. If you do your reacting to some “Them” that probably doesn’t exist... first a record has to satisfy me. Then I try to make it better – I rework and remix songs for years sometimes... when I think something’s as good as it’s likely to get, (meaning I’ve run out of new ideas for it) I’ll release it. I’m always surprised by positive reactions, I never know if anything’s “good” or not – or even what “good” means. It’s always a relief when something that moves me, moves others as well.
Why did you release the album in 2003 through Babyboomer Music and you did not search for a label to release it right away?
T: There was a bootleg of some Planet P demos available – someone stole it from me and was selling it on the Net. This was before “G.O.D.” was a trilogy concept. I was so fucking mad – I almost forgot the whole thing. (it sucks when stuff gets bootlegged that’s not finished). I went ahead and finished “1931”, and basically to make everybody forget the bootleg I released it as a free download over my website, www.tonycarey.com, as a Christmas present Dec. 03rd. I gave away about 7000 free records in 5 weeks, which surprised me... “Babyboomer Music” is a family-owned record company – I do it with my brother Dave – and we’d always planned a start-up but didn’t know when. I released a (cool) version of “1931” on Progrock records, the planning started last summer, and in the fall finally decided to go ahead with Babyboomer with my bro. The first two BBM releases were “1931” with the original euro artwork. And “Island and Deserts”, a “solo” record from me. So, that might be sort of confusing, 2 versions of the same music – but if things go well all my future releases will be through BBM.
Do you think that Prog Rock records was the best choice for Planet P Project?
T: Shawn at Progrock heard of “1931” through the free download and contacted me, and I was happy to work with him on it. I usually hate record companies, and Shawn is cool, I like him personally.
Can you tell us about part 2: “Levittown” and part 3: “Out in the Rain” in brief?
T: “Levittown” as I said before is about America and America’s place in the world since about 1950. “Out in the Rain” refers to almost everybody on the planet... a very few people own almost everything. The record will describe some unbelievably cynical human behavior – and I hope be funny with some hope in it...
Have you composed most of the music and written the lyrics in both albums? When are they going to be released?
T: Most of both records are written. Released? When they’re finished... but not 19 years, I hope. (i.n.: Hehe.. I hope the same too!!!!)
I would appreciate it very much if you could tell us a few things about each one of the songs.
T: “My Radio Talks to Me”: Hate radio started in America with Father Coughllin’s bitter, anti-semitic diatribes in the late 30’s – about the same time that Hitler discovered what an attractive mass-propaganda tool radio can be. The songs takes place in Detroit in 1931 – in Berlin, at the same time, Germans are waiting for Hitler to address them. Hate and bitterness are not unique to Germany in the 30’s, which is what the song is about – and the power of a charismatic leader is not to be underestimated.
“Join the Parade”: A (satiric) call to arms... If you identify an “enemy” – the Jew or the stranger or the Dark Person – it’s easy to focus people’s anger.
“Good Little Soldiers”: This is a soldier in a bombed-out and ruined city, in a hopeless position with nothing to win, finding a picture of The Leader and remembering why 16-year olds are the last bastion defending his lost homeland.
“Work (Will Make You Free)”: “Arbeit Macht Frei” – (work will make you free) was written over the gates of Auschwitz. Listen to the lyric, this is very dark satire.
“The Judge and the Jury”: About the militia racist American assholes who will take it upon themselves to condemn a whole race or class of people with whom they have little or no contact, just a twisted worldview that they get, in turn, from other assholes.
“The Other Side of the Mountain”: About Tim McVeigh and the bombing of the federal building. Listen to the lyrics... it describes American militia idiots playing survival games and waiting for the Final Confrontation with 1) Black People 2) The Government 3) The Jewish Conspiracy 4) The UN or 5) Take your pick.
“Waiting for the Winter”: This describes the Warsaw ghetto uprising in early 1943...
“Believe It”: This is sort of a warning – “ready or not well here they come, just like “1931” refers to the calm-before-the-storm complacency of pre-war Europe.
“The Things They Never Told Me”: Very cynical song about the joys of being a politically-approved Thug – I’m thinking of SA troops in the 30’s – and being absolved of all manner of atrocities because your boss or system is flavor-of-the-month. This guy can’t believe his luck.
“Where Does It Go?”: About skinheads in modern Germany, and remembering that if you don’t know where you come from, you don’t know where you’re going. Do you?
Are all the samples that we hear on the album taken from Hitler’s speeches or there are speeches from other dictators as well?
T: Hitler, Tojo, Mussolini, and my ex-wife. (i.n.: Hahaha… didn’t see that coming!)
Why did you choose to deal with such a tough war/social matter?
T: Why not? I also write love songs... everybody writes about something. I hate clichés.
Do you believe that a “new dictator” has taken over the world or will take it over in the next years?
T: No.
Does history repeat itself after all?
T: Always. But no dictator “took over the world”, and that’s the redemption. The world has gotten so much smaller in the last 50 years, and that trend will continue. Eventually “us and them” thinking will give way to cooperative democracies – I’m certain of that.
“Things that might have happened back in the dark recesses of history can’t happen again. Can they”?
T: What do you think? (i.n.: Why not!)
Do you think that there’s a smash hit like “Why Me?” in the album?
T: No chance.
After all, do smash hits “help” the album sell more? While writing a song can you tell if it can become a smash hit or not? Is it a matter of luck?
T: The whole question of hits is a marketing thing, and has nothing to do with me. I was amazed when “Why Me?” did well on the radio. I don’t believe in luck, but being in the right place at the right time allows one to make his own luck sometimes.
Now allow me to ask you some more personal questions. Did your co-operation with Rainbow help you become more popular and more mature as a musician?
T: More popular, sure. More mature, no. I was just a kid...
What do you remember from those “old” days? How is it to have co-operated with Ritchie and Dio?
T: No comment… (i.n.: What?!!!!)
Why did you choose to leave after “On Stage” album if I’m right? Did you want to work on your personal music stuff or was it something else?
T: This is more of a telephone question – that band had a terrible vibe, though.
Had you imagined that after you left Rainbow a bigger success was waiting for you… when you released “Planet P Project” in 1983?
T: No. I’ve never been interested in success. I only found out what I wanted to do about the time I turned 40...
Are you planning to tour someday or you will go on releasing only studio albums?
T: I’m playing in Europe all the time. Tour? That’s very expensive; I don’t really know if I could sell enough tickets... I’m not really a household name, although your presumption is flattering.
Now, I want you to tell me something that has been bothering me for many years. Why did you name the band Planet P Project?
T: “Planet L” sounded stupid. Just a name, really. (i.n.: So, simple huh?!)
What is you advice to young people who dream of becoming Rock Stars or deal with music in general?
T: I don’t give advice – I have a hard enough time with my own life, thanks... But 1) music made to make money doesn’t make money – money is a by-product of someone being fascinated with a vision that you have and somehow transfer to record – there is so little real emotion out there that real stuff has a chance.
Which is the worst decision that you have ever taken?
T: Aside from this interview?? No, that’s private… (i.n.: Ooops!!!)
And which is the best decision as well?
T: To have children.
If you had the chance to do some things again what would you do first?
T: These are questions that I can’t relate to. Time is a wheel... every decision you make influences every other thing that you do – there’s no going back – I’m much more of a realist to wonder bout “what if?” stuff.
T: I’ve done twenty other records in those 19 years, productions, soundtracks, TV stuff and solo albums... (the main thing is to just keep working) – I wanted to do a concept record – (and “Go Out Dancing” will be three records) – and before I thought of a new name for the project, I thought “well, I’ll just use
I believe that 19 years is a very long period for the
T: That’s hard to say. I don’t really care; either... you can’t think about how people will react to your work. If you do your reacting to some “Them” that probably doesn’t exist... first a record has to satisfy me. Then I try to make it better – I rework and remix songs for years sometimes... when I think something’s as good as it’s likely to get, (meaning I’ve run out of new ideas for it) I’ll release it. I’m always surprised by positive reactions, I never know if anything’s “good” or not – or even what “good” means. It’s always a relief when something that moves me, moves others as well.
Why did you release the album in 2003 through Babyboomer Music and you did not search for a label to release it right away?
T: There was a bootleg of some Planet P demos available – someone stole it from me and was selling it on the Net. This was before “G.O.D.” was a trilogy concept. I was so fucking mad – I almost forgot the whole thing. (it sucks when stuff gets bootlegged that’s not finished). I went ahead and finished “1931”, and basically to make everybody forget the bootleg I released it as a free download over my website, www.tonycarey.com, as a Christmas present Dec. 03rd. I gave away about 7000 free records in 5 weeks, which surprised me... “Babyboomer Music” is a family-owned record company – I do it with my brother Dave – and we’d always planned a start-up but didn’t know when. I released a (cool) version of “1931” on Progrock records, the planning started last summer, and in the fall finally decided to go ahead with Babyboomer with my bro. The first two BBM releases were “1931” with the original euro artwork. And “Island and Deserts”, a “solo” record from me. So, that might be sort of confusing, 2 versions of the same music – but if things go well all my future releases will be through BBM.
Do you think that Prog Rock records was the best choice for Planet P Project?
T: Shawn at Progrock heard of “1931” through the free download and contacted me, and I was happy to work with him on it. I usually hate record companies, and Shawn is cool, I like him personally.
Can you tell us about part 2: “Levittown” and part 3: “Out in the Rain” in brief?
T: “Levittown” as I said before is about America and America’s place in the world since about 1950. “Out in the Rain” refers to almost everybody on the planet... a very few people own almost everything. The record will describe some unbelievably cynical human behavior – and I hope be funny with some hope in it...
Have you composed most of the music and written the lyrics in both albums? When are they going to be released?
T: Most of both records are written. Released? When they’re finished... but not 19 years, I hope. (i.n.: Hehe.. I hope the same too!!!!)
I would appreciate it very much if you could tell us a few things about each one of the songs.
T: “My Radio Talks to Me”: Hate radio started in America with Father Coughllin’s bitter, anti-semitic diatribes in the late 30’s – about the same time that Hitler discovered what an attractive mass-propaganda tool radio can be. The songs takes place in Detroit in 1931 – in Berlin, at the same time, Germans are waiting for Hitler to address them. Hate and bitterness are not unique to Germany in the 30’s, which is what the song is about – and the power of a charismatic leader is not to be underestimated.
“Join the Parade”: A (satiric) call to arms... If you identify an “enemy” – the Jew or the stranger or the Dark Person – it’s easy to focus people’s anger.
“Good Little Soldiers”: This is a soldier in a bombed-out and ruined city, in a hopeless position with nothing to win, finding a picture of The Leader and remembering why 16-year olds are the last bastion defending his lost homeland.
“Work (Will Make You Free)”: “Arbeit Macht Frei” – (work will make you free) was written over the gates of Auschwitz. Listen to the lyric, this is very dark satire.
“The Judge and the Jury”: About the militia racist American assholes who will take it upon themselves to condemn a whole race or class of people with whom they have little or no contact, just a twisted worldview that they get, in turn, from other assholes.
“The Other Side of the Mountain”: About Tim McVeigh and the bombing of the federal building. Listen to the lyrics... it describes American militia idiots playing survival games and waiting for the Final Confrontation with 1) Black People 2) The Government 3) The Jewish Conspiracy 4) The UN or 5) Take your pick.
“Waiting for the Winter”: This describes the Warsaw ghetto uprising in early 1943...
“Believe It”: This is sort of a warning – “ready or not well here they come, just like “1931” refers to the calm-before-the-storm complacency of pre-war Europe.
“The Things They Never Told Me”: Very cynical song about the joys of being a politically-approved Thug – I’m thinking of SA troops in the 30’s – and being absolved of all manner of atrocities because your boss or system is flavor-of-the-month. This guy can’t believe his luck.
“Where Does It Go?”: About skinheads in modern Germany, and remembering that if you don’t know where you come from, you don’t know where you’re going. Do you?
Are all the samples that we hear on the album taken from Hitler’s speeches or there are speeches from other dictators as well?
T: Hitler, Tojo, Mussolini, and my ex-wife. (i.n.: Hahaha… didn’t see that coming!)
Why did you choose to deal with such a tough war/social matter?
T: Why not? I also write love songs... everybody writes about something. I hate clichés.
Do you believe that a “new dictator” has taken over the world or will take it over in the next years?
T: No.
Does history repeat itself after all?
T: Always. But no dictator “took over the world”, and that’s the redemption. The world has gotten so much smaller in the last 50 years, and that trend will continue. Eventually “us and them” thinking will give way to cooperative democracies – I’m certain of that.
“Things that might have happened back in the dark recesses of history can’t happen again. Can they”?
T: What do you think? (i.n.: Why not!)
Do you think that there’s a smash hit like “Why Me?” in the album?
T: No chance.
After all, do smash hits “help” the album sell more? While writing a song can you tell if it can become a smash hit or not? Is it a matter of luck?
T: The whole question of hits is a marketing thing, and has nothing to do with me. I was amazed when “Why Me?” did well on the radio. I don’t believe in luck, but being in the right place at the right time allows one to make his own luck sometimes.
Now allow me to ask you some more personal questions. Did your co-operation with Rainbow help you become more popular and more mature as a musician?
T: More popular, sure. More mature, no. I was just a kid...
What do you remember from those “old” days? How is it to have co-operated with Ritchie and Dio?
T: No comment… (i.n.: What?!!!!)
Why did you choose to leave after “On Stage” album if I’m right? Did you want to work on your personal music stuff or was it something else?
T: This is more of a telephone question – that band had a terrible vibe, though.
Had you imagined that after you left Rainbow a bigger success was waiting for you… when you released “Planet P Project” in 1983?
T: No. I’ve never been interested in success. I only found out what I wanted to do about the time I turned 40...
Are you planning to tour someday or you will go on releasing only studio albums?
T: I’m playing in Europe all the time. Tour? That’s very expensive; I don’t really know if I could sell enough tickets... I’m not really a household name, although your presumption is flattering.
Now, I want you to tell me something that has been bothering me for many years. Why did you name the band Planet P Project?
T: “Planet L” sounded stupid. Just a name, really. (i.n.: So, simple huh?!)
What is you advice to young people who dream of becoming Rock Stars or deal with music in general?
T: I don’t give advice – I have a hard enough time with my own life, thanks... But 1) music made to make money doesn’t make money – money is a by-product of someone being fascinated with a vision that you have and somehow transfer to record – there is so little real emotion out there that real stuff has a chance.
Which is the worst decision that you have ever taken?
T: Aside from this interview?? No, that’s private… (i.n.: Ooops!!!)
And which is the best decision as well?
T: To have children.
If you had the chance to do some things again what would you do first?
T: These are questions that I can’t relate to. Time is a wheel... every decision you make influences every other thing that you do – there’s no going back – I’m much more of a realist to wonder bout “what if?” stuff.
What inspires you in order to write so great music?
T: Thanks for the compliment. Nothing inspires me, it’s what I do. I don’t think it’s so great, either, but it’s always the best I can do at a given time... One thing: writer’s write. Waiting for inspiration can be a long wait – the best thing to do is to just start a song, and change it till you like it. In other words, to make a statue of an elephant: simple, just chip away everything that doesn’t look like an elephant. Music is a process, and is about making and sticking to choices as much as anything else. And not giving a shit about what anybody else thinks of it, by the way.
Which band can take a leading part in prog rock music in the future?
T: This will sound funny, but I don’t know any bands...
Which are the top prog rock 5 albums of all time according to you?
T: I’m not sure what prog rock is.... is Planet P prog Rock??? (i.n.: Hell yeah!!!)
What are the biggest life lessons you’ve learned over the course of your career?
T: You’re asking me to write a book. But: 1) Things are never so bad that they can’t get worse and 2) When they do get worse, fuck it. It’s not important in the long run. Oh yes, plus 3) Never say “never”.
Which is the most overrated band today?
T: Probably me. I don’t really pay attention, sorry. (i.n.: OK, but surely you are not an overrated musician… take my word for it!)
Do you believe it is very easy for a band to differ in today’s music industry than in the past? And if yes, what shall it do in order to achieve it?
T: Once again, that’s in industry or business question. I’m the world’s worst and least-interested businessman.
Have you listened to a very good album lately that surprised you?
T: Nora Jones and Mark Knopfler.
And some Weird Questions now, to relax somehow!!! Which are the things that piss you off from today’s music industry?
T: Practically everything. It’s not real – too much plastic and hype. That’s nothing new, it’s the same thing that pisses me off about, oh, the fashion industry, or the potato-chip industry.
Do you consider yourself to be a rock star?
T: You haven't been listening, have you?! (i.n.:
)
Do you prefer the 80’s or the 70’s era of rock music?
T: There is always good music, in any decade, I don’t like to chop history up into such tiny bits as decades. These are distinctions made by people who don’t make the music, but are interested in making a living from it... each era has more to do with the available technology and marketing budgets than with ant “new perspective” in music... a moving piece of music can be a thousand years old, or written yesterday. How it “performs” in the public perception has little or nothing to with its intrinsic “worth” as a moving piece of music. Which is all that ever counted!
What would you tell to someone to convince him to buy your album instead of hundreds of others that are being released every month?
T: I wouldn’t presume to tell him... I would hope that somebody he trusts would recommend it.
If you were a God’s messenger what would you tell Him to do for the best interest of humanity?
T: God doesn’t work for humanity. He is everything and everywhere, and has his own agenda. I mean, maybe war and rectal cancer have a place in things that I can’t fathom... not being god, of course.
If your career was a movie which movie would it be and why?
T: You call this a career?!!! (i.n.: I can’t believe it! You played with Rainbow in the 70s and you released two of the most successful albums in the early 80’s… what am I not getting right here?!)
If you were obliged to give just one album to extraterrestrials which would represent humanity’s music, which album would it be and from which band?
T: “The essential Bob Dylan”, no question.
Do you think that a band can be helped from the internet or there are only problems and no money to get from it?
T: You’re asking the wrong person – ask a lawyer.
Imagine that your wife is selling your whole album-collection just to buy an expensive ring for herself. How would you react?
T: My wife has all the rings she needs – if she needs another one, we’ll get it for her together. That’s what partners do...
OK Tony, those were my questions. Thx very much for taking the time to answer them! Just leave a message to Grande Rock readers if you want to.
T: Thanks for listening, come see me in concert if you can and say hello.
T: Thanks for the compliment. Nothing inspires me, it’s what I do. I don’t think it’s so great, either, but it’s always the best I can do at a given time... One thing: writer’s write. Waiting for inspiration can be a long wait – the best thing to do is to just start a song, and change it till you like it. In other words, to make a statue of an elephant: simple, just chip away everything that doesn’t look like an elephant. Music is a process, and is about making and sticking to choices as much as anything else. And not giving a shit about what anybody else thinks of it, by the way.
Which band can take a leading part in prog rock music in the future?
T: This will sound funny, but I don’t know any bands...
Which are the top prog rock 5 albums of all time according to you?
T: I’m not sure what prog rock is.... is Planet P prog Rock??? (i.n.: Hell yeah!!!)
What are the biggest life lessons you’ve learned over the course of your career?
T: You’re asking me to write a book. But: 1) Things are never so bad that they can’t get worse and 2) When they do get worse, fuck it. It’s not important in the long run. Oh yes, plus 3) Never say “never”.
Which is the most overrated band today?
T: Probably me. I don’t really pay attention, sorry. (i.n.: OK, but surely you are not an overrated musician… take my word for it!)
Do you believe it is very easy for a band to differ in today’s music industry than in the past? And if yes, what shall it do in order to achieve it?
T: Once again, that’s in industry or business question. I’m the world’s worst and least-interested businessman.
Have you listened to a very good album lately that surprised you?
T: Nora Jones and Mark Knopfler.
And some Weird Questions now, to relax somehow!!! Which are the things that piss you off from today’s music industry?
T: Practically everything. It’s not real – too much plastic and hype. That’s nothing new, it’s the same thing that pisses me off about, oh, the fashion industry, or the potato-chip industry.
Do you consider yourself to be a rock star?
T: You haven't been listening, have you?! (i.n.:
)Do you prefer the 80’s or the 70’s era of rock music?
T: There is always good music, in any decade, I don’t like to chop history up into such tiny bits as decades. These are distinctions made by people who don’t make the music, but are interested in making a living from it... each era has more to do with the available technology and marketing budgets than with ant “new perspective” in music... a moving piece of music can be a thousand years old, or written yesterday. How it “performs” in the public perception has little or nothing to with its intrinsic “worth” as a moving piece of music. Which is all that ever counted!
What would you tell to someone to convince him to buy your album instead of hundreds of others that are being released every month?
T: I wouldn’t presume to tell him... I would hope that somebody he trusts would recommend it.
If you were a God’s messenger what would you tell Him to do for the best interest of humanity?
T: God doesn’t work for humanity. He is everything and everywhere, and has his own agenda. I mean, maybe war and rectal cancer have a place in things that I can’t fathom... not being god, of course.
If your career was a movie which movie would it be and why?
T: You call this a career?!!! (i.n.: I can’t believe it! You played with Rainbow in the 70s and you released two of the most successful albums in the early 80’s… what am I not getting right here?!)
If you were obliged to give just one album to extraterrestrials which would represent humanity’s music, which album would it be and from which band?
T: “The essential Bob Dylan”, no question.
Do you think that a band can be helped from the internet or there are only problems and no money to get from it?
T: You’re asking the wrong person – ask a lawyer.
Imagine that your wife is selling your whole album-collection just to buy an expensive ring for herself. How would you react?
T: My wife has all the rings she needs – if she needs another one, we’ll get it for her together. That’s what partners do...
OK Tony, those were my questions. Thx very much for taking the time to answer them! Just leave a message to Grande Rock readers if you want to.
T: Thanks for listening, come see me in concert if you can and say hello.