Uploaded August 2026 | Updated September 2026, 2 weeks ago
Here is unseen footage from a 2005 Zoogz Rift interview. If you enjoy this video, check out Zoogz's music catalog at open.spotify.com/artist/60tXNkCi5JvKMc4pmucGVU?si=CTATHvZxQX-3IhVoXvRaTQ
0:00–1:50 — Moving to California: Zoogz Rift describes the difficult cross-country move to California with his bandmates. He recalls an uncomfortable encounter with locals at a Utah truck stop that felt like a scene from Easy Rider.
1:50–3:46 — Taking control of the band: After arriving in Los Angeles in 1977, Zoogz renamed the group from Zobus to Micro Mastadons and announced that there would be "no more democracy"—he was now in charge. Scott Colby quit over the change, leaving Zoogz and Rich Hass to rebuild the band.
3:52–5:44 — Rebuilding the lineup: The band advertised for musicians in The Recycler. Among those who responded was Captain Beefheart drummer Robert Williams, although he didn't join. Eventually, Eric Williams and Jim Simco became key members of the new lineup.
5:51–6:55 — Recording the first album: The four musicians recorded Idiots on the Miniature Golf Course, originally titled Snowball in Hell. Zoogz explains how the members played multiple instruments so they could create a full-sounding album with just four people.
7:01–8:37 — First attempts to get a record deal: In 1978, Zoogz began shopping the album around Los Angeles, with his wife Laura helping contact record labels. The response was consistently that they liked his music but believed it wasn't commercially viable. Zoogz strongly disagreed, insisting there was an audience for it.
8:37–11:37 — The band repeatedly falls apart: The inability to secure a deal or establish a consistent live lineup led musicians to leave. Zoogz moved with Laura and Rich to the San Francisco Bay Area in 1979, hoping the area would provide more artistically minded musicians, but that attempt also failed. After returning to Los Angeles and struggling with further lineup changes, he eventually disbanded Micro Mastadons around 1980.
11:44–13:59 — Oregon and rediscovering guitar: Zoogz and Laura moved to Grants Pass, Oregon, where they ran a typesetting business. Unable to find musicians, Zoogz resumed playing guitar and practiced for as much as six hours a day. He experimented with open-E tuning and developed an increasingly unconventional musical style, emphasizing dissonance, multiple harmonies and the combination of "pretty and ugly."
14:06–15:24 — Returning to Los Angeles and playing live: Zoogz recruited musicians and moved back to Los Angeles. He realized that avoiding club dates had been a mistake and decided the band needed to establish itself through live performances. Initially, shows attracted very few people.
15:32–17:12 — Building a reputation through the press: Local critics including Bruce Duff and Matt Groening began attending the shows and became supporters. Positive reviews helped the band develop a following and create the perception that Zoogz was an important underground artist.
17:12–19:16 — Zoogz's criticism of music journalism: Zoogz becomes highly cynical about the music press, arguing that reviews are often essentially promotional material and that advertising relationships influence coverage. He claims that bribery and other forms of influence were widespread in the music business.
19:16–21:04 — Connections matter more than talent: Zoogz argues that getting signed isn't primarily about how good a band is. In his view, politics, PR and personal relationships with record-label executives determine who gets attention. He says an unknown band sending in a demo is likely to be ignored, while someone who develops a personal relationship with an A&R executive has a real chance.
21:04–23:40 — Why getting signed isn't necessarily the answer: Zoogz argues that even landing a major-label contract can be a trap. He gives the example of a young band receiving a $25,000 recording advance, only to have its album sit on the shelf because the band hasn't established a following. He stresses that musicians have to tour constantly to build notoriety, potentially sacrificing their private lives in the process.
23:40–25:24 — Amputees in Limbo and another rejection: By 1982, Zoogz says he had become a major figure in the Los Angeles underground. He recorded Amputees in Limbo and once again tried to get it released through a label. Despite the growing recognition surrounding him, labels continued saying his music was too difficult to market.
24:46–25:24 — "Too radical": Zoogz recounts that Enigma told Laura he was "never going to get a record deal" because he was considered too radical and intimidating for the Los Angeles music business. Rather than give up, Zoogz decided to continue pursuing his music.
Here is unseen footage from a 2005 Zoogz Rift interview. If you enjoy this video, check out Zoogz's music catalog at open.spotify.com/artist/60tXNkCi5JvKMc4pmucGVU?si=CTATHvZxQX-3IhVoXvRaTQ
0:00–1:50 — Moving to California: Zoogz Rift describes the difficult cross-country move to California with his bandmates. He recalls an uncomfortable encounter with locals at a Utah truck stop that felt like a scene from Easy Rider.
1:50–3:46 — Taking control of the band: After arriving in Los Angeles in 1977, Zoogz renamed the group from Zobus to Micro Mastadons and announced that there would be "no more democracy"—he was now in charge. Scott Colby quit over the change, leaving Zoogz and Rich Hass to rebuild the band.
3:52–5:44 — Rebuilding the lineup: The band advertised for musicians in The Recycler. Among those who responded was Captain Beefheart drummer Robert Williams, although he didn't join. Eventually, Eric Williams and Jim Simco became key members of the new lineup.
5:51–6:55 — Recording the first album: The four musicians recorded Idiots on the Miniature Golf Course, originally titled Snowball in Hell. Zoogz explains how the members played multiple instruments so they could create a full-sounding album with just four people.
7:01–8:37 — First attempts to get a record deal: In 1978, Zoogz began shopping the album around Los Angeles, with his wife Laura helping contact record labels. The response was consistently that they liked his music but believed it wasn't commercially viable. Zoogz strongly disagreed, insisting there was an audience for it.
8:37–11:37 — The band repeatedly falls apart: The inability to secure a deal or establish a consistent live lineup led musicians to leave. Zoogz moved with Laura and Rich to the San Francisco Bay Area in 1979, hoping the area would provide more artistically minded musicians, but that attempt also failed. After returning to Los Angeles and struggling with further lineup changes, he eventually disbanded Micro Mastadons around 1980.
11:44–13:59 — Oregon and rediscovering guitar: Zoogz and Laura moved to Grants Pass, Oregon, where they ran a typesetting business. Unable to find musicians, Zoogz resumed playing guitar and practiced for as much as six hours a day. He experimented with open-E tuning and developed an increasingly unconventional musical style, emphasizing dissonance, multiple harmonies and the combination of "pretty and ugly."
14:06–15:24 — Returning to Los Angeles and playing live: Zoogz recruited musicians and moved back to Los Angeles. He realized that avoiding club dates had been a mistake and decided the band needed to establish itself through live performances. Initially, shows attracted very few people.
15:32–17:12 — Building a reputation through the press: Local critics including Bruce Duff and Matt Groening began attending the shows and became supporters. Positive reviews helped the band develop a following and create the perception that Zoogz was an important underground artist.
17:12–19:16 — Zoogz's criticism of music journalism: Zoogz becomes highly cynical about the music press, arguing that reviews are often essentially promotional material and that advertising relationships influence coverage. He claims that bribery and other forms of influence were widespread in the music business.
19:16–21:04 — Connections matter more than talent: Zoogz argues that getting signed isn't primarily about how good a band is. In his view, politics, PR and personal relationships with record-label executives determine who gets attention. He says an unknown band sending in a demo is likely to be ignored, while someone who develops a personal relationship with an A&R executive has a real chance.
21:04–23:40 — Why getting signed isn't necessarily the answer: Zoogz argues that even landing a major-label contract can be a trap. He gives the example of a young band receiving a $25,000 recording advance, only to have its album sit on the shelf because the band hasn't established a following. He stresses that musicians have to tour constantly to build notoriety, potentially sacrificing their private lives in the process.
23:40–25:24 — Amputees in Limbo and another rejection: By 1982, Zoogz says he had become a major figure in the Los Angeles underground. He recorded Amputees in Limbo and once again tried to get it released through a label. Despite the growing recognition surrounding him, labels continued saying his music was too difficult to market.
24:46–25:24 — "Too radical": Zoogz recounts that Enigma told Laura he was "never going to get a record deal" because he was considered too radical and intimidating for the Los Angeles music business. Rather than give up, Zoogz decided to continue pursuing his music.
