Dean Garcia

Dean Garcia is credited for playing Bass Guitar and being part of the Eurythmics Live Band. Most recognised as one half of rock/electronic crossover group Curve, Dean along with Toni Halliday who originally met through David Stewart of Eurythmics, whom Toni has known since she was a teenager. Dean played on two Eurythmics albums, Touch and Be Yourself Tonight. The two played together in the unsuccessful 80s band, State Of Play, and parted on acrimonious terms. However, they resolved their differences and formed Curve in 1991.

dean garcia:headcase as one half of curve and a former eurythmic, dean garcia has probably had every headache that the music industry has to offer. but as headcase, he's been exploring the possibilities of true technological independence. with the internet acting as publicist and distributor, dean is enjoying himself like never before· How does the writing process differ between Curve, wherein you are part of a creative partnership, and Headcase? "The process is more or less the same. Get into a recording situation and see what happens. For me it's the only way to do it. It's scary when you get a run of utter bollocks day after day, but that's to do with trying too hard thinking too much and listening to people asking you to write a hit record. On a good day in the studio with Curve one thing triggers another and you have a happening track. When you work completely on your own this can be a problem. But it's healthy to be working on more than one thing. One thing feeds the other. Working with Curve is always exciting and unpredictable. Headcase and the Mushi-Mushi label is something new for me." With Curve you've always seemed to make records either on your own terms or not at all, which is a notoriously difficult thing to do when you're dealing with record companies and the like. Obviously, this isn't an issue with Headcase. "No. Perfect. I like this not an issue stuff a great deal. Music available now, not a year after you have recorded it bullshit." Do you think the Internet can be utilised to give a true platform to this kind of independence? Because you already have a fanbase through Curve, isn't it possible that for unknown artists the web doesn't really hold any real advantages? "All I know is that it's better there than not. The Internet has massive possibilities. Any outlet for uncensored communication is a good thing. It opens up doors and allows like minded people to connect, which is what I'm interested in. It's interesting to link up anyone... got a mad piece of art..." When did you realise that you had to be a musician? Was there a moment, or a specific record that made it clear to you? "Setting up a stall on the market at 5.30am on a cold winter's day in Southall. The record stall down the way played "Come Together" by you know who. Coolest bass, yes please. James Brown's voice. Nice beats. Captain Beefheart. Knowing that anything is possible. Setting the drums up after school at my mate's house who had a very cool mum. Smashing the shit out of them then taking acid for the first (and last) time. Going bonkers and recording it on quarter inch tape." How valuable was the experience of being a session musician? Did you learn things that maybe inform your songwriting now? Hypothetically, do you think Headcase and Curve could still have happened, in a creative sense, without those experiences? "I have only worked with people I like. Once I did this thing with a friend at Trident Studios and it was for this dreadful French artist, and I couldn't do it. I said I was sorry and left the place. I am not the most diplomatic person in the world. I have a problem with saying what I think. Working with Dave and Annie will always be special to me. They worked in the same way I wanted to. Off the wall, and DIY-very important factor. They made me feel good enough, and without that at that time I don't know what would have happened. As far as it informing what I write now, not really. It has more to do with performing in front of people and travelling. The studio session stuff has played an important part in what I do now, and I feel good if somebody I respect asks me to play on a track. I like the studio, but touring has given me an irrational fear of flying." Some of your music has a very cinematic quality. How important are visuals to the overall effect of the songs? "Really important...this is the boss isn't it? Although I have not done as much as I would like to. With promo videos you have a milli

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