A Sunday Conversation with Tommy Victor of Prong

Not much need be said when it comes to this weeks guest, but I'll introduce him nonetheless. Tommy Victor was a soundman for CBGB's in the 80's, stepped out and formed the industrial tinged metal soundings of Prong, and subsequently changed the way that I personally listen to music. Before heading out for a European tour, Tommy took a few minutes to crash on the interview couch and answer a few questions.

When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, Johnny Mathis, Perry Como, and Simon & Garfunkel, the first time I ever hear Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphanies since then, when you come across a band that just brings something new and revolutionary to your ears.What have been your musical epiphany moments?

That's funny because I had the similar background. I mean my Dad thought the Beatles was "jungle music". The only "rock" group he could stomach were the Carpenters. Seriously, he would say they had really "nice songs ".

Deep Purple's "Smoke On The Water". I heard that on AM Radio back in '72 when was a kid and I lost my mind.
Later on I heard Killing Joke's "Change" at the Mud Club in NY and that impressed me a lot.
The Chrome album "Third From The Sun" really change a lot for me as well.

Do you get a sense of accomplishment when you hear that newer, up and coming bands refer to Prong as one of their greater influences?

What bands do that? Tell them to send me a check then I'll think about it.

What is you musical intention? What are you trying to express or get your audience to feel?

That changes. At one time I was a bit of a communist. I lived on the Lower East Side in squalor and that was what I stood for. The lyrics on the first three Prong records show the disgust for mainstream ideas. But one grows out of rebel rock. "Cleansing" had a lot of songs about what I thought was truth. "Another Worldly Device" sets the tone for that record. If there is a message it involves abstinence from the trappings of society. When I got to California and lived here for awhile, I changed a lot. The message wasn't a message. Much of it was selfish, personal and reflective. "Dark Signs" on our record "Rude Awakening" is different than the title track, which falls into that last description. That song is a warning. That one repeats the same mistakes through desire. Now my lyrics have a mixture of both mentalities. "The Banishment" is almost an anthem for the homeless. It could be political like "Beg To Differ" as well, where you leave society as a choice, not through force. "Worst Of It" is classically misanthropic. It's another "Don’t be bothered, relationships are a waste of time" song.

Looking back over your twenty plus year career with Prong, any regrets? Conversely, what’s your proudest accomplishment?

I'm asked this question a lot, in one form or another. I laugh to myself. Any regrets? Try like a good 400 page book worth. On the other hand I don't feel very accomplished. I'm sorry that's just honest. It's just the way I am. I think I could have chosen a more useful career than this.

In songwriting, how do you bring the song together? What do you look for in terms of complexity? Simplicity? Time changes?

This isn't American Idol music. There are no formulas. Its all gut feeling If another part is needed, one has to figure it out. If the vocal isn't cutting it, you dump the song. A great drummer like a Ted Parsons or an Aaron Rossi helps. A mediocre drummer can really make a song mediocre. Of course, good riffs are important. But it's not totally necessary. A lot of bands have these worn out heard it before riffs but good songs. Other bands have amazing riffs and guitar calisthenics but their songs are weak. Time changes work, but not too often for Prong. Some songs maintain a groove and just keep pounding and it works.

The business of music is a brutal place. Changes in technology have made it easier than ever for bands to get their music out, but harder than ever to make a living? What are your plans to move the band forward? How do you stay motivated in this brutal business?

Asking the tough questions, huh? It's scary. There's not a day that goes by that I don't think about "what am I gonna do?" I don't know. You bust your ass to maintain a career in your art and it's tough to keep it alive. You want to keep going mostly because of all you invested in it. But time will tell when to hang it up. I still have a job. It's like the US automotive industry. I's dying. Eventually it will be over. Unless you are Justin Timberlake, Brittany Spears or Metallica, whatever.

Do you pattern any of your writing style after that of your "heroes”?

No. I know a lot of people who do. Actually most do. They study their heroes. Copy the whole thing. Most people don't realize nor know, so who cares right? That's writing for a purely commercial reason, or marketing potency. I don't know if that's artistry. But in the end all be all, who really cares?


When you write a piece of music, do you consciously write from the mind set of being different than what's out there now?

I'm ahead of the game. I don't know what's out there now. It doesn't interest me that much. Sure if I see a band live that blows me away like Meshuggah, it's influential. But I listen to liquid Metal and I yawn. It seems like I've heard it all.

What’s your best “Spinal Tap” moment?

The Swap Meet soundstage in Bakersfield on the last Prong US tour was pretty lousy. It was a Mexican swap meet in a dilapidated out of business Walmart. The stage was next to a taco stand. The worst. You KNOW you've made some mistakes when you hit places like this at my age.

Vinyl, CD, or digital? What's your format of choice?

radio