She adds: “There were quite a few people at that
audition. Two or three people were after the same job
at the same time, and they even videoed us while we
were playing. Melanie wasn't actually there, but she
looked through the footage and really liked my vibe: I
probably looked the part. I was joking around and getting
on with everyone, and of course in the session world,
it's really important that you can get on with different
temperaments. I think she just liked my style!”
Were there any experiences that Grog was able to
bring back and apply to Die So Fluid's advantage? “Yes,
definitely,” she nods. “You have to rein in the ego, that's
for sure. You have to know when to step back, and I
think that's quite difficult for some people to manage. I
was able to do it.
.. just about! But we got on very well.
Melanie allowed me to have a bit more of the spotlight
in one of the songs, where I was singing with her. It was
great to be appreciated.”
Grog continues: “I was using money from session
work to fund the Die So Fluid album and the band,
so after Melanie C, I went to play for Kelly Osbourne,
which was a three-month European tour supporting
Robbie Williams along with the Darkness and Moby,
playing in stadiums, which was a great experience. The
tour was quite extensive and included the Knebworth
shows when Robbie was at his peak, so there were lots
of support bands: big events. After that, I needed to get
really focused on Die So Fluid but I still got asked to do
bits and pieces. There was a Blur offshoot band called
the Ailerons with Blur's drummer Dave Rowntree
and the MD from Gorillaz. I'm always open to trying
different musical things.”
Rumour has it that Grog was once lined up to
join Kylie Minogue's band but was unable to
take up the opportunity. What was the story
behind that? “I was actually on tour with
Die So Fluid at the time when the
auditions were held and I don't
think it would have gone down
too well at the time, so I had
to be professional about it,” she
says. “I'm a very lucky person to be
offered jobs like that, but I couldn't
do it - and I'd always vowed that Die So
Fluid would come first. It's my first love.”
“I also more recently attracted the
attention of a film director called Tom DiCillo,
with whom I've been collaborating on side
projects. We released an album of material under
the name The Black & Blue Orkestre and now
we're developing more ideas. He's inspirational
to work with. His amazing documentary film
about the Doors called
When You're Strange
both Emmy and Grammy nominated, and he gave
me a copy, saying 'They should have had you on
bass'. That blew my mind!”
m y
f i r s t
l o v e
Let's talk bass, we suggest. “I've had my G&L
endorsement for a while now,” Grog tells us. “I've used
them for eight years at least. I used to use Charvel
Surfcasters but the G&L basses are great. The distributor
in England saw photos of me playing and spoke to Drew
[DSF guitarist] about me and offered me a trade deal. Once
I moved to the US, the guys in the office there invited
me to look around the factory: I saw Leo Fender's office,
which is in the same state as he left it. I'm really excited
about my deal with them. They've given me a gloss black
L2000 which I toured with this year in the US.”
Now based in the States, Grog obviously faces the
difficulty of writing with her bandmates over long
distance, although the internet reduces the effects
of such constraints. Does the band have to plan their
writing and touring activities a long way ahead or is
it still business as usual? “We try to plan ahead,” she
replies. “I'll try to come over to the UK early if we have
a tour coming up, or vice versa, and we'll do blocks of
rehearsing which is a very focused way of working. The
writing has taken on a different process. Since I moved
to LA, I've forced myself to learn and use Sonar [home
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