LAUNCH:
What's the meaning behind the title? What is a Samadhi and what's the big secret?

EDWARD:
"Samadhi" is a yoga term for a spiritual realization, so it's kind of a general term that's used in a spiritual sense in the Hindu religion. The significance of "secret" samadhi is that it's something that's esoteric or profound; you wouldn't necessarily know by looking at us that we were going through some process or having some sort of realization going on. It relates to the band because the songs that we've written for this record were all designed or manufactured around a realization of a sort. It's not verbal, it's not something you can explain very well, but the feeling of playing these songs and playing this record back-to-back in a show is a very spiritual thing for us. Spirituality and Live have always gone hand in hand, so the "secret" part is pretty important because it is something that you're able to communicate, but it's not necessarily obvious.

CHAD T:
"Samadhi" is a state of realization or your own life's journey. Everybody's is different, everybody's is unique. It's an Indian word that we took totally out of context to use with our band, but the four of us and our lives, and what we've done as a band--is our samadhi. That's what we've been doing. There are certain elements of it that people will never understand, never get to know, never be able to pull out of us--that's our secret. And I think there's lots of elements of that contained within this record; sort of like layers, and as you pull off one layer and you get through it, you become more realized. I think in the spiritual journey of life, that's what it's all about. Writing this was to make ourselves more spiritually aware--it's not religious music, we don't subscribe to that whole genre--all we really want to do is explore our inner selves and hence...samadhi.

CHAD G:
Actually, Ed just came up with it one day and said, "Here, we're going to call it Secret Samadhi, I think." I was like, "Hey, that sounds cool, it's fine by me." It's sort of how we came up with Throwing Copper, too. It was like, "Hey, that sounds cool, just use that." It doesn't really have a set meaning to us, we just like the way the words sound together.

LAUNCH:
Tell us about writing the new album. We heard you headed to Jamaica. That must have been nice.

EDWARD:
It was. We had never picked up our gear and just gone somewhere new and different. We were always writing songs in garages or basements in York [Pa.] and on the road. So we rented this house in Jamaica, and it was this big Georgian mansion--one of those places that a couple of couples would normally go in and rent for a week--and we tore all the furniture out of the main bedroom. It had a veranda onto Montego Bay and it was just really fun. We were there for three weeks. I don't know if you've been to the islands, but there's just a sexiness and an earthiness there that's like--really pervasive. My prediction was:
we'd go down there and write some really mellow songs, because we'd be really relaxed, but we went down there and wrote "Lakini's Juice" and "Unsheathed" and all these really tripped-out, rockin' songs. So it was a paradoxical sort of writing process down there, but it was fun. A lot of fun.

PATRICK:
I'd never been to Jamaica; I'd been to a few places in the Caribbean, but never to Jamaica; it was really an amazing experience. We hadn't really been together in a few months because there was so much down time after the last tour, which ended up being 12 or 14 months--300-some shows. We needed time to decompress and go away, so we all went our own ways. So we had a handful of songs and we decided to go to Jamaica and get back to the old days--just the four of us in a little room--just play and hang out all day for two or three weeks. And it was great! It really felt how it felt early on: full of energy; the vibe was really amazing. It was so productive and a great experience.

LAUNCH:
It must be nice to have the freedom to do something like that. It sounds pretty idyllic.

CHAD T:
We were basically in the middle of winter and somebody suggested: "Hey, lets go to the islands, go someplace with a beach!" and being four young enthusiastic guys--there was no one that could tell us no! It was one of the best experiences I've ever had with the band just because we were isolated and we were really able to focus our energies in the songs that we wrote down there: "Lakini's Juice," "Gas Hed Goes West" just to name a few. They all came out in this certain vibe, this certain "tonal" thing, and that basically makes the record; they are the songs that are the quintessential parts of Secret Samadhi. I'd like to go back to Jamaica someday.

LAUNCH:
After the success of Throwing Copper, were you feeling a lot of pressure to really out-do yourselves on this next album?

CHAD T:
I think the one thing that Live has been able to do time and time again, even before we had a record deal, was just constantly reinvent ourselves: the way that we wrote songs, the way that we interacted as a band; so nothing we ever do is contrived or pre-thought or pre-meditated.

EDWARD:
I think that comes with our shared history and the fact that we're really comfortable together. A year after Throwing Copper was out, we were already beyond it as far as the music we were creating on the road. It never really dawned on me, the pressure thing, because we had so many great songs. I just have a lot of faith in our abilities to recreate ourselves so it never really dawned on me.

CHAD T:
We just want to out-do ourselves, not really on sales, but just on how well we can express the energies and thoughts that are inside ourselves; we basically judge ourselves on the success of each record. I would say that this is, by far, our most successful record because we've done all the writing in such a secluded environment.

LAUNCH:
You made a change in producer for Secret Samadhi and are no longer using Jerry Harrison, the producer you've been working with since Mental Jewelry. Why did you decide to go with Jay Healy? How did the move to a new producer affect the band?

CHAD T:
Jerry had a major influence on our band, particularly on Mental Jewelry. He's a master arranger. He's spent all his life in a rock 'n' roll band, so he just sort of naturally fell into that. When we did Throwing Copper, we really tried to push ourselves sonically to make the record sound better. The arrangement was left to us and I think we just became better songwriters. Just by chance we met up with Jay, who we had worked with years and years ago, and just got into conversations about how he was making records. He was working with all these crazy pop people: Michael Jackson and Mariah Carey--all these like, crazy pop artists, and we were asking him, "Well how do they make records?" We just started talking about the whole experience and "What are they doing?" One thing led to another and the next thing you know we were like, "Well, we don't need someone to help us with the arrangements or the sound, we've kind of got that down on our own now, but the truth is we do need a great engineer." Jay was just there to fill the void, and his influence on us came about in much more subtle ways than Jerry's did. I think he had a big effect on this record.

PATRICK:
As far as a producers go, Jerry Harrison was really amazing. He was more of a motivator, a personal thing. He can tell when everybody is going to hit a slump, or when to get you out of the studio. He knows how to get a good take. He's a great people person and a great organizer in that sense.

EDWARD:
Jerry was more involved with us as a younger band, so he had more of a "coach" effect than Jay did.

PATRICK:
Jay is strictly an engineer, and that's the way he approached this project. We went in, hit the sounds, and he was locked to the board; that was his main concern--to get great sounds and great performances.

CHAD G:
Jay wasn't as good a leader as Jerry, so we really had to discipline ourselves. Plus, Jay had double duty doing engineering and producing. So while at times he should have been maybe organizing us and getting us ready to record, he was setting up the board. I think that's the main difference.

EDWARD:
It was a push of the envelope for us to really go this way. It made things that should've been easy--harder, and harder things--easier. It was just a really tripped-out experience, but we learned a lot from it. We just wanted to change the whole scenery of making this record. We made two records with Jerry, so it's not that we didn't like what we did or appreciate him--we're still really good friends--it's just that we wanted to wipe the slate clean.

LAUNCH:
What is the biggest difference you can cite between Secret Samadhi and Throwing Copper?

EDWARD:
Wow, I'd say the biggest difference between this one and Throwing Copper is the musical maturity of the band. You can't help but get better by touring for a year and a half straight; just get better playing, you get much more comfortable. We had a pretty good chemistry going into it, but just the cauldron of playing every night was an incredible experience, and it also fortified our abilities together to mesh as a band. There's a lot more space--musical space--in this record than there was in Throwing Copper; it just sounds more mature. It just sounds like we got our shit together a little more on this one.

PATRICK:
The difference between this record and others has more to do with sonics and sound. We figured out that we didn't have to play every note and take up every space in a bar, measure and verse. Less is more. Sometimes you say a lot more with one note than you can say with three or four or ten notes.

LAUNCH:
Is there any one track on Secret Samadhi that you think really makes a statement about the new direction of Live?

EDWARD:
I think "Lakini's Juice" is that statement. When I first heard Chad Taylor play that riff for me, he said, "Here's something I wrote last night. I was ripped off my ass and I was really out of it, I don't know what you'll make of it." He gave me this tape and I thought it was the coolest thing he'd ever done, as far as handing just me an idea. I had no idea what I was going to sing to "Lakini's Juice," I hadn't a clue, but the melody just came out of somewhere down in Jamaica. We really collaborated as a band; it's a really a totally alive thing. A lot of the songs that have made us popular were things that I've written as a structured song idea, and then everybody put their five cents in and we made it a "Live thing." This came differently: Chad wrote the guitar part, I wrote the vocal, Patrick put his bassline on, Chad did his drums; it was a really a cohesive band thing. I see "Lakini's Juice" as the future of Live because of that--because it was such a communal writing experience. So hopefully, more of that will come.

LAUNCH:
What's up with that "Lakini's Juice" video? It's pretty wild.

EDWARD:
We approached the "Lakini's Juice" video the same way we went at the song: no agenda, no set plan for a plot and no narrative. It was more like, find a director that's really good and go for something nonverbal and nonlinear so it's a really surreal video. It's in a place and there's this guy handing out pieces of lard to couples who are joining on a bed. I had been waiting to read a treatment that would throw me something like the song throws me, sort of gets under your skin a little bit, gets behind your brain a little bit, a little more cerebral. I think it's our best video yet. "Lightning Crashes" was pretty good from Throwing Copper; we were really thrilled with that one, but this one is definitely--as far as one of our rockin' songs--this is the best video we've ever made.

LAUNCH:
Meanwhile, you guys also employed an orchestra on this album. That's risky, isn't it? I mean, an orchestra-type setting can make an album seem a lot fuller, but it's a big departure from what Live fans will expect. Do you think this detracts from Live's impact as a four-piece rock 'n' roll band?

			"Lakini's Juice"
			"Ghost"
			"Lightning Crashes"

CHAD T:
One of the influences that Jerry Harrison had on the first two records was that he really, really wanted us to be a four piece rock 'n' roll band because of the fact that we could play live. We could play together well, so he thought that we should establish our ground as being "Live: The Four Piece Rock 'n' Roll Group." With the success of Throwing Copper and the touring that we had done for both Mental Jewelry and Throwing Copper, we just knew that most people accepted us as being a four-piece band and we were ready to move beyond that. This was one of those albums that we didn't want to hold back; we wanted to make every song the best song that we could make it, from the arrangements and performance to the overall orchestration, whether it be just organs, sitars or something like that. We basically went all out for this record and I think it turned out great. I don't think it detracts from the four piece rock 'n' roll band.

EDWARD:
We actually grew up listening to bands that branched out on their third and fourth albums and used different instruments or got strings involved. So we consciously held back on those ideas on our first two records. We, thank God, found a really great guy named Doug Katsaros who arranged the strings and got the players together. He had worked with Sinead O'Connor on that record she did with the big band music and the whole orchestrated music-thing, so we really dug that. He was really cool; he didn't approach it in a Frank Sinatra kind of way, it was more like really quirky and fit the song. He was really creative. Branching out into it was really fun, it was a total blast because the songs were already great. We really loved the way they were on tape as just the four of us, but bringing in the 20-piece string section--we were a little bit afraid of the whole Aerosmith kind of vibe--but somehow the way we recorded it and the way we did it, it really worked.

PATRICK:
"Through My Head," which is a good song with a major string part, could have been really schmaltzy, way over the top and awkward, but it turned out really tasteful. I'm glad we did it. It came off in a way that the song could be with or without the string parts; the song still stands true without it.

LAUNCH:
How do you feel when rock critics describe you as "angst rockers?" Is that an accurate description of your music?

CHAD T:
Boy, do I hate that word! Let me tell you what, there's a little piece of grunge right here in Lancaster right up the street called Cafe Angst; a little piece of Seattle right here in Lancaster. Regarding angst, I don't think I really truly understand that word. I think that all of us guys, we're all in a struggle to find our spiritual self. I don't think we're really dealing with tangible things in life, and I think a lot of that music is written around whether I broke up with my girlfriend or I don't have a job or whatever it needs to be. I just don't think we deal with life on that level in our music. Certainly we're doing it personally, but what we want to give the world is just maybe a couple of seconds of a glimmer of hope or make things a little bit better. I don't understand that angst stuff.

CHAD G:
I think people confuse angst with seriousness. We're very serious about our music and are very into it, but we're definitely not angst-driven. We're not mad at the world or anything, we're very happy people, generally.

PATRICK:
Angst! I don't--who the hell--I don't think any of us are angst-ridden. On the first record there was an attitude; we just wanted to be in your face, but it wasn't really angst. Gene Simmons had a comment about us in the L.A. Times, he said: "I love this band Live, but I'm tired of this middle-class, suburban P.O.'ed angst-ridden kid." And I'm thinking, "I'm kind of lower than middle class, kind of happy and I'm 25." That's three strikes, Gene.

LAUNCH:
But, hey, unhappiness is a motivating force when it comes to creativity, right?

EDWARD:
I think we've drawn a lot of our energy from a discontentedness with the way things are, spiritually, socially or whatever. This record is much more personal in that sense; it comes from a really deep, personal place. It's still a discontent, but it's a more subtle expression of it. I think our fans are really going to get a lot out of it. It's not a first listen, a second listen, it's really a third listen. It's even that way for me. I wouldn't have been able to play this music three years ago; it's a totally different place. It's more like: "Come discover this music with us," rather than, "Hah! Here we are," ya know?

LAUNCH:
How do you respond when critics try to label your music? What are some of the tags that have been attached to Live?

CHAD T:
Being that we've been a band now for 12 years, we've been tagged with every label there could be. When we first started out I think we were a modern rock band, or no--I'm sorry, I have to go back--we were a new wave band and then we were a modern rock band. I think now we're probably called alternative rock; somebody probably called us grunge for awhile, too. I think labels are one of those funny things on music; I think anything that involves a drum set, a bass player, a guitar player, and a singer is rock 'n' roll period. Its foundation is rock 'n' roll music, and that's what we do. What we play is based in the blues. My favorite form of music is the blues, that's what I love. I still think I'm a blues guitar player, whether I play in Live or not--that's where my heart and soul is. I realize that people want to stereotype and pigeonhole bands, but the truth is, we're just a rock 'n' roll band.

LAUNCH:
What are some of the bands you've been compared to? Does any of it bother you?

CHAD T:
I love it all, I've heard everything. I remember years ago reading CMJ music magazine and it was talking about Pearl Jam. Pearl Jam had just released their first record and CMJ said they sounded just like Live--I thought that was really funny. At the time, I had no idea who Pearl Jam was and I bought the record intentionally because of that. In later years, the success--the way it sort of ran up the scale for the guys of Pearl Jam--it was just amazing to read reviews of us and hear them say that we sound like Pearl Jam or R.E.M. Personally, I was probably more influenced by U2 than I was by any of the stuff that was going on in America--U2 and the blues, strictly there. I don't mind when people compare us to other bands because it's going to get done anyway, and if somebody compares you to R.E.M., why complain?

EDWARD:
I don't know, I don't give it too much thought. Critics in general kind of bother me, even when we get praised, too. It's so not what we do it for. As far as comparisons go, the Pearl Jam comparison gets me all befuddled. We were a band for five years before they even got together. So I was like, "I just don't get it." Comparisons, I don't give them too much energy.

LAUNCH:
So some comparisons are good, while others kind of bother you.

CHAD G:
It's always flattering to hear U2. We don't really sound like U2, but I think we have the same intensity and drive as they--well, I don't know if they still do, but used to when they were doing "Sunday Bloody Sunday" and all those great songs; Joshua Tree and that kind of stuff. Some of the bands that might gall me are like, Pearl Jam. We're not grunge, we never were grunge, we're not trying to be grunge. It's just one of the bands I really don't like to hear as an influence or something because we were playing together well before anyone even knew who Pearl Jam was... whatever!

PATRICK:
It gets old, but such is life.

LAUNCH:
Now, how many years has the band been together? 12, 13?

CHAD T:
We started way back when we were 13 years old, or something like that. I'm 26 years old now, so you start putting together the numbers. We've been around for awhile.

EDWARD:
You figure that most of those years were spent in high school in a small town as a cheesy little new wave cover band. You can't really count half of those 12 or so years because we've only been doing it seriously as an original band for the past six years--but we have been together for 12 years. It is a bizarre phenomenon, this thing Live, because we can't explain it either. It's like, what are the chances that four guys from anywhere get together at 14 and get a band together--let alone from someplace like York, Pennsylvania? It's a really firm foundation, so we're not afraid to let it all hang out around each other and totally experiment. We don't have any hidden agendas with each other and it's all pretty up front. The freedom allows us to really push it and that's what I think makes us a great band.

LAUNCH:
Looking back on those small-town roots, would you say it's been to your benefit or your detriment to have started in York?

CHAD G:
I think it was definitely a help. We never really associated with a scene, so we had to develop our own thing. We taught ourselves how to write songs, taught ourselves how to play and all that stuff. I think the downside to it that is that we don't really have any friends that are peers that are in the music business because we never associated with anybody really.

PATRICK:
Coming from York, good or bad, is that it allowed us to develop our own sound. I didn't really see a live band until I was 16, 17, 18 years old--we had no idea what a band sounded like live! We just went to the garage, played some songs, and were like:
"I guess this is the way a band should sound." I think it allowed us to develop our own sound, but there was also a void because there was a lack of a musical community. We had no things to bounce off other people and play with other people, so we couldn't grow and experiment other than among the other three guys in the band. That was a little stifling, but the other aspects outweighed it.

CHAD T:
There was no other music other than what you could get on the radio, and where we grew up it was pretty much hard rock or heavy metal... or top 40. We had to really dig deep down within ourselves and find out what a band should be or what a band should be about. I think that the reason that you don't hear too many "outside things" on our records is because we just never heard anything else; we hadn't seen another band play until we opened up for one in New York City. We just assumed that all live bands sounded like the records, so when we first learned cover tunes, we sounded as close to that as we could; we always strove for perfection. I think in the long term, it made us a much better live band than most other bands actually.

EDWARD:
Half our struggle has been getting out of York--that struggle made Live great; we had to be good or no one would listen to us. And we had nowhere to go back to; York is pretty much a dead zone in terms of culture and art. It was a strength. It gave us a lot of attitude as we were growing up.

LAUNCH:
What's it like now to go back home to York, post-Live fame?

CHAD G:
When Throwing Copper first broke, it was pretty crazy, but now they seem to be getting used to it; most of the people that know who we are already are like:
"Aw, whatever, it's just Live."

EDWARD:
It's bizarre. It's like walking into some weird movie like the Twilight Zone or a David Lynch film when I go back there. It's a really twisted place; it's really content with itself. Somehow that's kind of evil to me, but my family is there. So I love it.

CHAD T:
We're all pretty much still local people, still a lot of family ties; I think it's just important, it keeps us grounded. I tell ya, home is one of those strange things for us. After we've been home for more than two weeks, we'd kill to get out, we can't stand it--we really want to leave. Then once we're gone for about two years--we really want to go back home. It's one of those things where it's the best of both worlds. It's definitely hard for us to go home because it gets harder and harder to be anonymous in the home town. Our parents are mugged and they get mobbed at the markets. It's not even just us, it goes out to your brothers and sisters and all the people that you care about--and they don't necessarily want to be associated with your band.

LAUNCH:
Do any of you remember the one pivotal moment when you looked around and said to yourself, "I think we've finally made it."

CHAD T:
Absolutely the most pivotal moment in our entire career? The first time that we were ever really truly successful was when we were graduating from high school, and we were all supposed to go off to separate colleges but we said that nothing could come between our music and us. To the boos and hisses of our parents and grandparents and peers and friends--whatever it would be--we just united. I know that's the moment that Live became at least an above-average band. That was the pivotal moment. At least for me.

EDWARD:
When we were younger, Chad and I would sit in our trig class and talk about how big our band would be, and how huge our shows would be; we always had this ability to dream beyond where we were and to have a vision for where we want to go. It's a strong tool, it's what we still use today: "Where haven't we gone? What haven't we done?" It's been a vision, a whole movement. Maybe [the moment occurred during] one of our early shows, back in York somewhere--it was probably a dance we played or something where we really gelled and realized this is what we want to do for the rest of our lives, or at least for the foreseeable future.

CHAD G:
I would say when we put out "Song Of The Drama," the first single from Throwing Copper; everyone really took hold of it. It seemed to be the turning point for us, and it kind of grew from there; "Lightning Crashes" was definitely another step in that direction.

PATRICK:
To me, it was a lot of little things that just fell into place. We did all the goofy TV shows like Saturday Night Live which, when I was 15, I remember staying up late to watch just so I could see the Clash. I kept thinking, "I'm on SNL." Wow, that was cool. There were a lot of things: the gold record, playing the Spectrum in Philadelphia--that was cool. But it never once just smacked me in the head like: "This is it!"

LAUNCH:
What's the best and worst part of being in Live?

PATRICK:
The great thing about it is the simple fact that, if you've got to be on tour locked away for months on end, at least you're with your best friends. But it does get hard and then everyone goes their separate ways. You're kind of sick of each other for awhile. It's like, "I just spent a year on a bus with this guy, do I want to go out for a beer with him?" But being out and about for so long, you lose contact with your other friends. When you roll back in town, it's like, "My good friends--I don't want to see; my friends I left back home--I don't know as well as I should anymore." There's pros and cons, I guess.

CHAD T:
I haven't found a downside. The upside, of course, is the fact that we've all become better friends than we ever expected to be. What we do, as far as the four of us running all around the world, is very romantic. We really appreciate the fact that we're all best friends and we get to run around and see every square part of the world. I don't know, I just can't think of anything negative that goes with our band.

LAUNCH:
You must be happy with album sales. Can money buy happiness?

CHAD T:
No, I don't think so, not at all. Even when I was poor and I was doing the band, I was still happy. But it can buy you all sorts of love. [laughing]

PATRICK:
Money can make you pretty unhappy at times.

CHAD G:
We were happy before we had money and we're happy now. I think maybe money helps to progress your state of mind. Whatever it is: if you're depressed and angry--money seems to make you more that way; if you're happy--it seems to make you a little happier. That's what it's done for me.

LAUNCH:
What kind of music are you guys listening to? Do you remember the last CD you bought?

PATRICK:
I just bought the new Vic Chesnutt record.

CHAD T:
The Wallflowers-- I love Jakob Dylan's voice. It's fantastic! I definitely think they're gonna go places. I actually have their first record too, so I was kind of there a little bit before. Years ago, somebody actually suggested the Wallflowers as an opening band for us and I don't really remember what the circumstances were, but they never did come out, but that's how we got turned onto them. I think they're going to be around for a long time.

CHAD G:
Soundgarden's Down On The Up Side, or whatever it's called, Up On The Down Side... Down On The Upside!

LAUNCH:
What is your favorite record of all time?

CHAD T:
You mean other than Secret Samadhi? That's a really good question... best record I ever heard? It'd have to be a Beatles record. I'd probably say, Sgt. Pepper's, you gotta go there.

PATRICK:
Sticky Fingers is a good record. I'm in a bad Rolling Stones phase right now, that's my problem.

CHAD G:
Hmmm, best overall record...I think for me it would be Joshua Tree. I loved that record when it came out. I still listen to it a lot; it's one of my faves, definitely one of my faves.

LAUNCH:
So now that you're well-known artists in your own right, you've probably been able to meet some of these people who've been making the music you grew up listening to. Who's the coolest performer you've met so far?

CHAD G:
I think the coolest performers I've ever met were Adam Clayton and the Edge from U2. They're one of my favorite bands; it was an honor to meet them.

CHAD T:
Neil Young, definitely. I was pretty awe-inspired by Buddy Guy; they're both guitar-player types.

PATRICK:
A lot of great people! Flea is an amazing guy and I've always admired him; I got to meet him and hang out a couple times. Michael Stipe is amazing as an artist and a person.

LAUNCH:
Are any of you computer savvy at all? Do you do any surfing on the web, you know, check out any of the Live sites?

EDWARD:
Very computer savvy? If you could see the state of my computer room--I've got a lot of broken equipment and things I've thrown at the wall because I couldn't get it to work. I've had a computer for a long time and I was on the Internet before the web was here, but just farting around on it. Now with the Live web site and the stuff, I've discovered how absolutely powerful it's going to be--it is now! It's such a tool for bands; it allows for interaction with fans that is totally unique to the computer realm. We're looking forward to experimenting with it, but I wouldn't call myself computer savvy.

PATRICK:
I just got a laptop that I goof around on; I surf the web, right? I think that's what the kids call it: "surfing the web." I'm not overly computer literate; my dad tried to teach me, but I just never really caught on.

CHAD T:
Because I'm a guitar player, my roots are grounded in tubes and analog stuff. I fought the computer vibe for a real long time, and then just by chance, I borrowed a friend's laptop; he had a way to get hooked up on the Internet and I went on and I just started looking up all these fascinating pages and information. Right at the palm of your hand! I'm hooked now, I surf the web every night. And I don't even know what I'm looking for most nights. I just start and go from one place to another just like a little adventure. I don't know anything about programming or writing or anything like that, it's just a great information tool.

CHAD G:
I have a computer at home. I don't really go on the Internet, but my wife does just to check out what people are saying. I don't really pay attention to it. I have a friend that is kind of a Mac expert--I have a Mac--so whenever I have a problem, I call her up.

LAUNCH:
What's the weirdest or strangest thing you've seen so far on the Internet?

CHAD T:
The strangest thing I ever saw...I was reading a Tom Clancy book and they kept talking about the N.S.A., the National Security Agency, which keeps track of the FBI and CIA. I just by chance typed in "NSA" and I went on this anti-government page. It gave you the whole N.S.A.'s budget and I was like, man--I thought for sure there'd be like, FBI agents at my door within minutes! That was the craziest thing I ever did see. And I could tell like, "I shouldn't be reading this! "

PATRICK:
Oh, I got to all the obvious porno spots. I just get lost. I sit there for six hours and realize, "What did I just look at?!"

LAUNCH:
If you could go back and change the name of the band, would you keep it "Live"?

CHAD G:
I'd probably keep it Live. When you start to analyze any name, it starts to become stupid. We just found Live--we pulled it out a hat basically and said, "Oh, that's cool" and are now just living with it. Any name is stupid if you think about it for too long.

PATRICK:
The name Free Beer was taken, so we couldn't take that; couldn't put that on a marquee. People at the record label thought we were off on another planet when we called and said, "Yeah, we want to name the band Live." It always looked funny. I remember on our first tour, we went on with PIL, BAD and Blind Melon, and it said Live at the bottom. I remember thinking, "That has no impact. Who the hell?" It's a little different now, I guess.

CHAD T:
Oh yeah, I'd definitely keep Live. It's "evil" spelled backwards... now I scared you all, didn't I?

LAUNCH:
If you ever recorded a live album, what would you call it?

CHAD G:
Hmmm, Live Squared.

CHAD T:
Guns N' Roses.

LAUNCH:
So what's next for Live?

CHAD T:
Tour, and then we're gonna tour, and then we're gonna tour--and then after that--we'll probably do some more touring, and then we'll take off and write another record.

LAUNCH:
Okay. One last, and very silly question: If the two Chads in Live were to arm wrestle, who would win?

CHAD T:
Chad Gracey. Definitely! I'm a wimp, look at that (pointing at his arm)--a guitar player's arms against a drummer's arms? I think he definitely takes me.

CHAD G:
Well, at least he knows!