The last time I spoke with Ian McCulloch, leader of Echo & the Bunnymen, he was typically humble. "I've got the best voice in the history of time," he said. "That's how people know my music is real, that I'm not lying to them. I'm not singing for the sake of it. I've got one of those voices that tells you it's the truth."
Echo & the Bunnymen features his dark, brooding and now a bit croaky Jim Morrison-ish voice plus the often wild and tortured sounds Will Sergeant wrings out of guitars.
The two modern-rock collaborators regrouped in 1994 after a sizzling spat and now have been together longer than the first go-round from '78 to '88. Now they return this week with one of those album concerts -- playing the entirety of their first two, "Crocodiles" (1980) and "Heaven Up Here" (1981).
During this chat from his home in Liverpool, McCulloch was just as modest and more reflective ...
ECHO & THE BUNNYMEN
performing "Crocodiles" and "Heaven Up Here"
with Kelley Stoltz
• 7:30 p.m. May 17
• Vic Theatre, 3159 N. Sheffield
• Tickets: $30, (800) 514-ETIX, jamusa.com
Q. We spoke last year when you were touring "The Fountain," which you said was the best record you and Will had made since "Ocean Rain." Does that opinion still stand?
A. "What Are You Going to Do With Your Life?" (1999) is also up there as a great Bunnymen-sounding record. That isn't to discount "Siberia" (2005). "Flowers" (2000) is not me favorite.
Q. What makes "a great Bunnymen-sounding record"?
A. The ingredients that made "Crocodiles," "Porcupine," "Ocean Rain." The lyrics and melody and sound of this band, combined. Time helps. Time can give you that insight into what you're about. Doing these "Crocodiles" shows we see, ah, these songs really are as good as we thought and a lot of people thought. The gigs are a master class in rock 'n' roll.
Q. They must be long, too.
A. 30 songs. We're approaching Springsteen territory.
Q. Time has improved the songs, you say, but how has it changed them?
A. Well, it doesn't seem that long ago. It's mad to think that between whatever demos John Lennon did in 1960 to 1970, this is three times that amount of time. Some of these songs -- it's the first time we've played them since we played with the drum machine. They sound like we've just written them. We tried not to make records with clichéd sounds of the time. Synthesizers sound horrible.
Q. So why start at the beginning with these two albums?
A. We thought of this before we did the "Ocean Rain" shows [in Britain]. Some of it was to throw down the gauntlet and say, "Which of the bands out there could play their first two records and they'd still ring true?" ... We'll have to wait 20 years to do "Siberia" and "The Fountain" when people realize how great they are.
Q. So what are you getting out of this experience?
A. An extensive "I told you so," as much as anything. Of course, we're preaching to the converted.
Q. Do you find that you're carrying yourself in some way that is different?
A. They're very intense gigs. There's not a lot of "Howdy, folks." It reminds me how I used to be on stage -- that important thing of attitude.
Q. Will you tour other albums?
A. Maybe. We could do "Porcupine." Tough one, that. The best way to do that one is with headphones on loud and very much in the dark.
Q. What about the final, self-titled album? It always gets a bad rap.
A. I'm pleased that it looks like it at least got out there a bit, but a lot of it I couldn't listen to. In some ways, it's the one type of Bunnymen with "The Game," but in others, with "Lips Like Sugar," there are so many songs that don't feel like us. A ot of people bought it and loved it. I have mixed feelings. Obviously, it's the one that made me think we should call it a day.
Q. When you write new songs, do you try to reach back to whatever well you drew these early ones from?
A. Whatever inspiration for "The Killing Moon" is also there on "The Fountain" in "The Idolness of Gods." If anything, I've gotten much better. I'm still trying to find that best-ever song. People say "The Killing Moon" is the best we song we've written. Nothing lasts forever, and as important as that song is to us, I try to always think of that next song that strips another veil away. It doesn't weigh on me mind. Every day I've got a head full of tunes.