… apparently an ode to an MX nuclear-tipped cruise missile.
[Interviewer: B. Pinnell 1988]
BP: That's great. You mentioned, um, Dogs of War. On your solo album of, of four years ago you wrote a song called Cruise, which was your fear of a nuclear confrontation.
DG: Mmm.
BP: Do you still occasionally ponder on things like that? Is Dogs of War again a, another thought you might of had about the possibility something like that occurring?
DG: Um, yeah. I mean I think about those things all the time, you know, there are two on that solo album, Out of the Blue and Cruise are both about that sort thing from slightly different angles. Dogs of War is more a, you know, it's more about, it's, it's really mostly about um, I should think, political mercenaries really. You know, er, the Oliver Norths of this world and stuff like that I think is what it came out of mostly.
BP: There's a great bluesy feel on the instrumental part that, that's a, a really enjoyable passage for me, because it sees you going back to, I suppose, to your roots and having Hammond organ in there was great, 'cause Hammond organ isn't used that much these days is it?
DG: No, no. But we, ah, I think it's still one of the great instruments, the Hammond organ.
… apparently an ode to an MX nuclear-tipped cruise missile.
[Interviewer: B. Pinnell 1988]
BP: That's great. You mentioned, um, Dogs of War. On your solo album of, of four years ago you wrote a song called Cruise, which was your fear of a nuclear confrontation.
DG: Mmm.
BP: Do you still occasionally ponder on things like that? Is Dogs of War again a, another thought you might of had about the possibility something like that occurring?
DG: Um, yeah. I mean I think about those things all the time, you know, there are two on that solo album, Out of the Blue and Cruise are both about that sort thing from slightly different angles. Dogs of War is more a, you know, it's more about, it's, it's really mostly about um, I should think, political mercenaries really. You know, er, the Oliver Norths of this world and stuff like that I think is what it came out of mostly.
BP: There's a great bluesy feel on the instrumental part that, that's a, a really enjoyable passage for me, because it sees you going back to, I suppose, to your roots and having Hammond organ in there was great, 'cause Hammond organ isn't used that much these days is it?
DG: No, no. But we, ah, I think it's still one of the great instruments, the Hammond organ.