Of the more than 100 Louisiana artists that released albums in 1994, none had a year like New Orleans guitar-pop trio Deadeye Dick.
In 1994, the lives of Caleb Guillotte, Mark Miller and Billy Landry were forever changed by ten little words. Those words—“she don’t eat meat but she sure likes the bone”—are the punchline to Deadeye Dick’s “New Age Girl.” In the last 12 months, “New Age Girl” has gone from being a local band’s signature song to an out-and-out pop phenomena.
The song’s origins are humble enough. Guillotte first came up with its primary guitar riff while ensconced in that time-honored retreat of creative thinkers everywhere—the bathroom. That moment of inspiration struck over five years ago, but it wasn’t until 1994 that the musicians, their organization, and luck would align to make Deadeye Dick the first New Orleans rock band to land on Billboard‘s Hot 100 singles chart since 1983, when the Red Rockers and Zebra did With “China” and “Who’s Behind the Door,” respectively (and neither of those songs cracked the Top 40, as “New Age Girl” has).
The nature of the runaway success of “New Age Girl”—it is essentially a novelty song, which tend to experience a burst of massive popularity followed by a dramatic tapering off—meant that a band that started 1994 struggling to put a modest crowd in the Howlin’ Wolf could sell out the House of Blues seven months later.
Thus, the 1994 tax returns of Guillotte, 31, Landry, 31, and Miller, 27, will more closely resemble those of solid upper-middle class citizens rather than struggling local musicians (though, as they are quick to emphasize, they are still far from the realm of millionaire rock stars). They once hoped to sell a few hundred cassettes, but have now moved over 200,000 copies of A Different Story, their debut album. Where they once spoke of spending $500 on promotion, their record company talks more in terms of $500,000. Collegiate marching bands play “New Age Girl.” It is on radio playlists in Belgium and the Philippines. It is everywhere.
The last 12 months have been quite a ride for Deadeye Dick as they marched toward pop’s promised land. Here, we chronicle that adventure.
After discovering the guitar in 1979 while attending Jesuit High School, Caleb Guillotte put in time with a string of cover bands before finding an outlet for his original material in Jet Screamer, and later, Misfit Toys. Shows by that band, a staple at the old Howlin’ Wolf in Fat City, usually included a cute little Guillotte number called “New Age Girl.”
When Misfit Toys found itself in need of a bassist, Guillotte recruited Lake Charles native Mark Miller, whom he met while the two of them were both selling women’s shoes (the three members of Deadeye Dick all sold women’s shoes at one point). Misfit Toys went through several players before changing its name to Deadeye Dick in the summer of 1991.
Deadeye Dick played as a four-piece for a short time before the second guitarist and original drummer both left. Enter Billy Landry, a journeyman drummer who had played everything from punk to country. On the recommendation of Cowboy Mouth drummer Fred LeBlanc, he offered his services to Deadeye Dick.
Landry came on board in October of 1992. After one rehearsal, says Guillotte, “we went on the road and became a grown-up band.” They worked the Texas-to-Atlanta circuit. “We were a subsistence-level band for the first year that Billy was in the band,” says Guillotte, “and the only reason we were that was because Cowboy Mouth set us up with some pretty decent little towns where we could go [open for the Mouth] and at least make enough money to survive.”
Three weeks after Landry joined, Deadeye Dick recorded a dozen tracks at a cost of $2,300, with Fred LeBlanc producing. Five songs ended up on a cassette that the band would sell for the next year, until Fishtone Records, a tiny independent label in Mississippi, offered to release all 12 songs on CD.
Meanwhile, Mark Miller had been booking the band, but hoped to land the services of Stephen Klein, who ran an Atlanta-based booking agency. Klein refused to listen to Deadeye Dick’s demo, or even take Miller’s calls. Then, in the summer of 1993, he happened upon a Deadeye Dick gig at the Howlin’ Wolf. He signed them to a management contract in August of that year.
Klein helped land the band lucrative gigs on college campuses, improving their take on the road. But as the end of 1993 approached, the musicians were concerned that Fishtone had yet to release their CD…
Christmas Eve, 1993
At 5 a.m., Mark Miller is raging up and down St. Charles Avenue in his boxer shorts, clubbing trees and stop signs with a baseball bat. Deadeye Dick’s van has been broken into while parked around the corner from his house, and a box of the band’s gear—small, expensive items like effects pedals, wireless systems, guitar strings, and tools—has been stolen. Some neighbors driving by alerted Miller to the theft-in-progress, and he came charging outside, “yelling for this guy to come out and face me like a man.” But the thief had disappeared, along with the equipment. Not a promising omen for the coming year.
January 3, 1994
A full house of college kids fills the Sundown club in Ruston, Louisiana for a Deadeye Dick show. An aggressive money collector at the door wrings $ 700 from the audience—funds that will go toward replacing the stolen equipment.
The band holds a record release party at the Howlin’ Wolf for the album they are calling Tabitha—but unfortunately, embarrassingly, they have no records to sell. Fishtone had not gotten the album pressed as promised.
The band’s frustration level is at an all-time high. “We were very, very pissed off,” says Miller. “At that point, we were really concerned about our credibility, because we had been telling all of our friends for sixth months that this album was coming out.”
Pop bands Beggarman Thief, the Bagdaddies and Deadeye Dick and a contemporary gospel group called The Elect make the finals of WWL’s Jazz Search contest, at Audubon Zoo; the winner earns a slot at the Jazz Fest. The Elect triumph, but, says Miller, “It was a very positive thing. We had a great show that night [at Tipitina’s], our biggest crowd to date. That was the turning point as far as crowds—we started to draw well from that point on.”
Deadeye Dick tours constantly, achieving a level of financial stability, if not profitability. But Tabitha is still not out.
Manager Stephen Klein convinces an independent record promoter to accept the Dick’s unreleased album as a project. The promoter will pitch the record to influential radio stations, and try to scare up some press on the band. Five hundred promotional CDs of Tabitha (which cannot be sold) are pressed and distributed to radio stations.
These efforts stretch the band’s meager resources to the limit. “I think we all owed everyone we knew money,” says Miller. “I had borrowed from my girlfriend, my sister, my mom and dad. And we were painting houses, doing everything possible in the three days a week [the band wasn’t touring]—it was a very stressful time.”
New Orleans’ modern rock station, The Zephyr (106.1 FM), promotes “New Age Girl,” one of the cuts on the promo CD, from its Sunday morning local music show to regular rotation. It becomes a top request.
Deadeye Dick does not play Jazz Fest, but backs country singer Kim Carson during her set, along with members of Cowboy Mouth, Big Sun, and the Swingin’ Haymakers. Unofficially, they call themselves Big Swingin’ Cowboy Dick.
Deadeye Dick faces a bleak summer of touring, now that colleges are on summer break.
“New Age Girl” has been added to the play list of WNNX-FM (99X), a major modern rock station in Atlanta, and suddenly becomes the station’s most-requested song.
“To be honest, I wasn’t really in touch with what was going on,” says Landry. “I don’t think any of us knew the song was doing that well.”
“We didn’t realize 99X is a major force,” says Miller. “Then suddenly all this attention started, and we were like, ‘Oh shit.’ It started to register that it meant something.”
A Monday. Although Deadeye Dick isn’t scheduled to play in Atlanta until that Friday, manager Klein implores the band to leave for Atlanta the next day, as “New Age Girl” is still the most-requested song on 99X. The musicians are unsure if their road-weary van can make the journey.
The band arrives in Atlanta and is informed that Klein is fielding big-money offers from Geffen, Arista, Atlantic and other major record companies. Most of these labels’ people have never seen Deadeye Dick perform live—their interest is based primarily on the budding success of “New Age Girl” on the few stations that are playing it.
Klein is leaning toward Atlanta-based independent Ichiban Records. The company has demonstrated its ability to work a hit for all it’s worth—Ichiban scored big in 1993 with 95 South’s “Whoot, There It Is.”
And Klein likes that Ichiban has promised to make Deadeye Dick a priority, and to spend a million dollars promoting the band. Also, he knows they must move quickly to capitalize on the momentum of “New Age Girl”—99X has threatened to yank the song from its play list unless an album is made available soon for listeners to purchase. “Ichiban said they would have the record in the stores in under two weeks—a phenomenal feat,” says Klein. “The majors said it would take at least two months, maybe eight.”
That night, Deadeye Dick plays a sorority party in Athens, Georgia. Their old friends and benefactors, Cowboy Mouth, are gigging up the street at the 40 Watt Club. “Between set breaks, Billy and I ran down to the 40 Watt and told them [that Deadeye Dick was on the verge of signing a deal],” says Miller. “We were all jumping up and down.”
At high noon on a Friday, the band members sign a five-album deal with Ichiban Records. The company’s staff immediately gets to work on artwork for Deadeye Dick’s debut, which must be completed by Monday to meet the kamikaze production schedule.
With the deal signed and advance checks in hand, the financial outlook for Miller, Guillotte and Landry changes drastically. “We knew that our worries about paying rent, [and Mark having] to scrape together every piece of change that he had so he could buy a salad at La Madeleine—we knew that those days were over, for the time being,” says Guillotte.
“First thing I did was I went and bought new boxer shorts, cause mine were full of holes and the waistbands were ripped apart,” says Miller. “And everything the three of us owned was covered in paint. That’s what we did for an entire summer, to pay off the album and the promotion and the van—we painted three houses. I threw out a box of shitty t-shirts and jeans.”
After their show that night, the members of Deadeye Dick race across town to meet up with Cowboy Mouth, who were also playing in Atlanta. “We walked in, and every song was dedicated to us,” says Miller. The crowd roars its approval when the Mouth calls the Dick up onstage to help out with “Drummer Man.”
Driving home to New Orleans from Atlanta, the Deadeye Dick van breaks down in Utaw, Alabama. Indicative of the band’s new-found good fortune, however, another motorist has stopped nearby with a blown engine, and lo and behold, his vehicle has the same starter as the Deadeye Dick van. He sells them his starter, the musicians install it, and they are on their way.
The band takes delivery of part of its signing bonus from Ichiban: a brand-new, deluxe stretch Ford van.
Deadeye Dick’s album arrives in stores. The name has been changed to A Different Story, because, says Guillotte, Ichiban was concerned that consumers might have trouble determining if “Tabitha” was the name of the band or the album.
A gig at the Music Farm in Charleston, South Carolina demonstrates what a hit single can do. Though Deadeye Dick has never played in Charleston before, almost 700 enthusiastic fans turn out for the show.
A video for “New Age Girl” is shot in Atlanta. Several dozen women audition to portray the song’s title character.
The Atlanta record release party for A Different Story breaks the attendance record at the Cotton Club, with 1300 people inside and another 200 outside. “It was so strange,” says Miller. “I’ve gone to see so many bands where I wondered, ‘What must it feel like, getting ready to go on and the place is sold out?’ You anticipate what it must feel like, but you’re not even close.”
Remembers Landry, “Stephen Klein was backstage, and they had one-way glass overlooking the crowd. He looks at me and goes, ‘We’re doing it, man! Can you believe we’re doing it? This fucking place is sold out, and they’re here to see you!'”
Deadeye Dick’s second attempt at a New Orleans record release party for Tabitha/A Different Story, at Tipitina’s, is considerably more successful than the first. For starters, the record they are celebrating actually exists. And the crowd of 800 doubles the largest local audience Deadeye Dick had played to previously. “That was the first time that I’ve ever gone to Tipitina’s when I was playing and had a hard time finding a parking spot,” says Landry. “I had to park five blocks away.”
Deadeye Dick opens for the B-52s at a jam-packed House of Blues in New Orleans. Teri Hatcher, the co-star of ABC-TV’s Lois and Clark, will later tell a TV interviewer that she first saw her new favorite band, Deadeye Dick, at this show.
Billboard, the music industry’s unofficial Bible, runs a major feature on Deadeye Dick, describing how the band and its manager turned down numerous big-money offers from major record labels to go with Ichiban.
Deadeye Dick performs in front of 16,000 people at “Zephyrfest,” the modern rock station’s music festival in City Park, on a bill with the Smithereens, Lemonheads, and Offspring. A roar greets “New Age Girl”; pubescent girls wander through the crowd while absentmindedly mouthing the lyrics.
No one in Deadeye Dick has ever performed in front of such an enormous throng (except, cracks Landry, “when I was playing with the Who”), but they are surprisingly calm. “The size of the crowd works inversely to what you would think,” says Miller. “When we walked onstage, I didn’t have any nervous energy at all. In fact, that was the easiest walk on the stage I remember having. And then we played Buffalo, New York where there was 50 people, and you’re like, these people came to see you, it’s very personal. You’re going to have to try harder.”
Backstage at Zephyrfest, Miller urinates alongside alterna-hunk Evan Dando. Another highlight—being interviewed by WWL-TV’s “adorable” Susan Roberts for a feature that runs on the evening news.
The members of Deadeye Dick sell one quarter of their newly-formed music publishing company, “New Age Girl Publishing,” to Polygram Music for a reported $100,000.
The band plays an afternoon acoustic set at the Barnes & Noble bookstore in the Buckhead section of Atlanta, to cross-market the band and its namesake, a Kurt Vonnegut novel. Buy the album, get a free copy of the novel! Buy the novel, and receive a copy of “New Age Girl”!
Early to mid August
The Dick works new markets in Missouri, Iowa, Minnesota, central Florida and Tennessee. Most shows go well; others, like the one in front of an unresponsive audience in Chapel Hill, North Carolina, do not.
In Minneapolis, the members of Deadeye Dick get an inkling of their rapidly escalating stature when they once again share a bill with the Smithereens. “Pat DiNizio of the Smithereens actually recognizes us now, which is very strange,” says Miller. “Now we’ll walk up to him and it’s like, ‘How’ve you been?’ instead of ‘Hi, I’m Mark.'”
The band travels to southern Germany, to play a “damn glad to meet you, thanks for the deal” show for employees of EMI Intercord, who have signed Deadeye Dick to an international distribution deal.
The day after the gig, the musicians endure a multi-hour photo shoot (“We did some in a pasture with the biggest cows I’ve ever seen,” recalls Landry). Later, they will be amused to discover that Mark Miller’s underarm hair has been airbrushed out of some of the posters.
On August 27, “New Age Girl” debuts at number 89 on the Billboard Hot 100 chart.
Videos for “Marguerite” and “Perfect Family” are shot in New Orleans at the Lafayette Cemetery and Blaine Kern’s Mardi Gras float warehouse, respectively.
The night of the 2nd, Deadeye Dick headlines—and sells out—the House of Blues.
The three musicians scatter for a brief vacation; Guillotte heads to New York, Miller to the Bahamas, Landry to Colorado. “We had been on the road, basically, for two years without a serious vacation,” says Miller. “That was our first real paid vacation, because we actually were starting to make money at this point.”
Deadeye Dick covers territory from Cocoa Beach, Florida (where they share a bill with Cheap Trick) to Ohio.
On the 17th, “New Age Girl” hits No. 64 on the Hot 100.
September 25-0ctober 8
The boys travel back to Europe to lip sync “New Age Girl” for a television show in Belgium. While relaxing in a bar in Belgium, “New Age Girl” comes over the PA system; the locals break into the “Ruh!” refrain.
The musicians spend five days off in Paris, then play a handful of dates in Germany, including two on a bill with prog-rock dinosaur Asia.
Meanwhile, a deal is inked with ICM, one of the world’s largest booking agencies. The band that was being booked by its bassist a year ago is now handled by the same agency that sets up tours for Green Day, Bryan Adams, Rush, and Robert Plant/Jimmy Page.
Ichiban Executive Vice President Nina Easton fires off a missive to MTV programming chief John Canelli “to express the disappointment and frustration lchiban Records has encountered while working the Deadeye Dick ‘New Age Girl’ video to MTV.” MTV is apparently unmoved, as the clip still does not air.
In the issue of Rolling Stone dated September 22, A Different Story is awarded a lukewarm two-and-a-half star review: “A New Orleans trio promoted as alternative but gifted with old-school chops, Deadeye Dick careen from power pop to Average White Band-style funk to ballads. But an over-reliance on smug irony obscures their better efforts. ‘Different Story’ and ‘Lucky One’ are exceptions—they deliver something deeper than laffs.”
A lucrative deal is inked with Sony Merchandising. The company will take over the production and marketing of Deadeye Dick T-shirts, boxer shorts, caps, etc. Coming soon: Deadeye Dick condoms.
“New Age Girl” reaches number 57 on the Hot 100 Singles chart.
One system that tracks radio airplay estimates that “New Age Girl” has been played 1,749 times, exposing it to over 11 million listeners.
In New York, the members of Deadeye Dick stay at The Paramount, aka “star central”; among their fellow guests at the hotel is Eric Clapton.
“We walked out, and literally bumped into him,” says Miller.
While in New York, Guillotte, Miller and Landry sit for a round of interviews with various papers and radio stations. “Mostly they ask the same questions, and you sort of get into this auto-pilot, where you have prepared answers,” says Landry.
“We usually try to move past ‘New Age Girl,'” says Miller. “Obviously, the first thing they’ll say is, ‘You know, this song has been kickin’ ass.’ ‘Yes, it is, and it’s wonderful, but look at tracks 2, 3, 4.'”
In Europe, many interviewers asked the members of Deadeye Dick about the Bosnian conflict and other political issues. “I think it’s unfortunate,” says Guillotte, “that people think that what an entertainer says has any more weight than what a political analyst who does this for a living says.”
The musicians set out for another round of touring, accompanied for the first time by a two-man road crew. The first gig, in Philadelphia, is a disappointment—only a few dozen people show up at a venue that can hold several hundred.
A deal is struck with RCA Records for “New Age Girl” to be the lead single on the soundtrack of the forthcoming Jim Carrey movie, Dumb and Dumber.
Late October to Mid November
Continuous road work…Buffalo, New Haven, New York City, Detroit, Madison, Minneapolis. While in Ames, Iowa, a new video for “New Age Girl” is shot, to coincide with its release on the Dumb and Dumber soundtrack.
At a show in Ames, four bras are tossed onstage by audience members. “It had never happened [before], and I don’t think it will ever happen again,” says Guillotte.
After Ames, the band visits Missouri, Kansas, Nebraska, Illinois, the Carolinas, and Virginia.
The new issue of Details magazine features the key lines from “New Age Girl” as the “Lyric of the Month.”
By way of introducing “New Age Girl,” the number 23 song on “Casey’s Top 40,” Casey Kasem describes how Deadeye Dick turned down the big boys to sign with Ichiban. “The band may have had stars in their eyes,” oozes the most famous voice in radio, “but they didn’t have their heads in the clouds.”
“New Age Girl” reaches number 42 on the Hot 100.
The band is running 90 minutes late for an autograph session at a Greenville, South Carolina record store, yet 150 fans opt to wait. En route, the musicians listen to reports of their impending arrival on the radio: Deadeye Dick just called! They’re about five miles down the road! They’re on their way!
Extra, NBC-TV’s entertainment magazine, airs clips from the “New Age Girl” video during a segment on Dumb and Dumber.
The soundtrack to Dumb and Dumber is released by RCA Records. A promotional CD-single contains two versions of “New Age Girl”; on the “boneless mix,” the offending word is electronically scrambled, apparently to disguise the chorus’ phallic implications.
The University of Georgia marching band plays “New Age Girl” during halftime of the Georgia-Georgia Tech football game.
That night, after weeks of travel, Deadeye Dick returns home to play Tipitina’s, to 450 people. Prior to the show, the three musicians autograph a stack of photos that Klein will send out in response to fan mail (he estimates the band has received close to a thousand pieces of mail).
During the show, the tables are turned—Fred LeBlanc is called onstage to join Deadeye Dick, rather than vice versa. During the “Fred show,” the drummer/producer leads Deadeye Dick through a characteristically robust version of Cowboy Mouth’s “Light It On Fire.” Guillotte and company decide they better follow that with “New Age Girl.”
November 26 & 27
Entertainment Tonight runs part of the “New Age Girl” video during the show’s closing credits.
Technically a day off at home, but Guillotte visits the Egyptian Room Studio in downtown New Orleans to rattle off a couple dozen “drops” for European radio stations, which will be used as introductions when the stations play “New Age Girl.” Hi, this is Caleb from Deadeye Dick. You’re listening to the Voice, in Copenhagen. Here’s our new single.
Also, he records responses to questions written out on a sheet of paper, leaving a few seconds of silence between answers so radio “interviewers” at different stations can dub in the questions in their own voices:
What is a new age girl? “Actually, I don’t know what a new age girl is. When we wrote the song, it was just a convenient set of lines, and we thought the music was pretty good, and we put them together. To this day, I don’t think I’ve really met a true new age girl.”
How did you write the song? “I hate to say it, but the song came to me in a bathroom. As is usually the case, I wrote the music first, and then we put together the lyrics. And like I said, the lyrics didn’t have any particular inspiration.”
What’s it like playing “New Age Girl”? “Playing ‘New Age Girl’ to a crowd, particularly a new crowd, is always a kick, because while we consider ourselves a really good live band, and we usually have the crowd won over by the time we play that song, it never fails to get even more of a reaction. Some people ask us if we get bored playing that same song all the time, but the audience gets so excited that we just find it really, really fun.”
Guillotte pauses before responding to “the worst question in the world”: Tell us about Deadeye Dick. The question provokes sarcasm:
“Deadeye Dick is a carefully planned mass-marketing project conceived by the japanese to eventually insinuate itself into every fiber of American culture. Ichiban Number 1!”
“New Age Girl” is at number 36 on a Canadian radio chart, and on the playlists of the national radio stations in Singapore and the Philippines—meaning citizens of the Far East can now ponder the meaning of “she don’t eat meat but she sure likes the bone.”
Ichiban’s latest accounting figures to Stephen Klein put sales of A Different Story at 247,710 and the “New Age Girl” single at 285,520.
“New Age Girl” reaches number 40 on the Hot 100 chart, and is still climbing; A Different Story is at number seven on Billboard‘s “Heatseekers” chart, which tracks the sale of albums by “new and developing artists.”
The members of Deadeye Dick pose for OffBeat‘s cover. They had rejected an idea to spoof their newfound good fortune by posing with cigars and champagne bottles in front of a flashy sports car or limousine. But they are more than happy to goof on the phenomena of “New Age Girl” by having Guillotte dress up like one.
Finally, “New Age Girl” makes its debut on MTV. The new version of the video, the one shot in Iowa and intercut with scenes from Dumb and Dumber, has the band playing in a wind-swept Iowa field while people wearing pumpkins on their heads (?) dance around.
“New Age Girl” is cranked during an NBA game between the Houston Rockets and Seattle Supersonics.
The star-studded premiere of Dumb and Dumber is held in Los Angeles. But the members of Deadeye Dick, who were invited, are not present; they are fulfilling an obligation to play a Christmas concert for a radio station in Morgantown, West Virginia.
“New Age Girl” reaches number 31 on the Hot 100. Deadeye Dick is now officially a “Top 40” band.
Dumb and Dumber opens in theaters nationwide, and is the top-grossing film of the weekend.
Almost 50 women from around the country named Mary Moon have inquired about whether “New Age Girl” was written about them.
A morning DJ at KDWB-FM in Minneapolis recorded a parody of “New Age Girl” called “The Warren Moon Song,” in honor of the Minnesota Vikings quarterback (“I don’t know who they’re playin’/or when the game begins/All I know is if he’s startin’/then the Vikes are gonna win/Warren Mo-oo-on … ”
Deadeye Dick has been invited to play the ’95 Jazz Fest, under its own name.
The musicians claim that they have not been overrun by hordes of girls eager to demonstrate the “she sure likes the bone” chorus of “New Age Girl.”
“That,” says Miller, “is something that a lot of friends ask—‘you must get the chicks.’ We spend 30 minutes [after shows] signing autographs and talking to people, and then we’re gone.” (However, at several shows toward the end of the year, women in front of the stage grabbed Miller’s crotch.)
Deadeye departs for their third trip to Europe on January 4. They will perform on the German equivalent of Saturday Night Live, and play shows in Spain, Denmark, Holland and England before flying to Toronto for a concert, and then back to the States on the 21st.
Naturally, a bit of a local backlash has set in, fueled by those who say the boys in Deadeye Dick have let their sudden success go to their heads (though Guillotte, for one, was never accused of being excessively humble even when his band was going nowhere).
The musicians say that they have encountered more positive feedback.
“I think I’ve never had so many sincere compliments about how happy people are for us,” says Miller. “That’s what I appreciate most. Old friends who have seen us struggle for four years. Without sounding pompous, I think we deserve where we’re going—we’ve worked our ass off and people who know us will realize that.”
“New Age Girl” may yet go higher on the charts, if MTV continues to air the video and/or Dumb and Dumber becomes a big hit. And in keeping with its promise to spend a ton of money promoting the band, Ichiban has paid marketing firms thousands of dollars to conduct focus groups to determine what song from A Different Story would work best as a follow-up single.
Everyone involved is well aware that no matter how much is spent, Deadeye Dick may never have another single even remotely as successful as its first. 1994 could prove to be the band’s high water mark.
“Everything could end tomorrow,” says Miller, “and everything would be perfect. My close friends and family, who have believed in it for this long, now realize that what we were doing was for a goal, and we’ve achieved it. We achieved the first goal—the second goal is to get another single out, and do well on that. And sell more albums, and get the music out to the people who want to hear it.”
“People say, ‘Man, you’re there,'” says Guillotte. “We’re happy, we’re doing great, I wouldn’t trade this…but we’re not there. You’re there after maybe your third platinum album. I say Stone Temple Pilots are there now, ’cause their second album is better than their first, and it’s sold better. They’re there.
“The one thing that we’re confident about, is if our talent has anything to do with our career, then we feel we’ve made it, because we know our second album is going to be leaps and bounds better than our first. Not only because there will be a lot of really good songs on it, [but] in some ways [it will be] more cohesive, because the rest of the band is more involved in composition and the shaping of the music. If it’s just a matter of talent, then we’ve made it.
“And we’re all willing to work as long as they want us to work.”