Chris Staebler : How and when did you meet the Vegas brothers ?
Pete DePoe : We met 1968 in Los Angeles. In a house in the Hollywood hills. I went to their house because I wanted to play with them. Lolly and Tony and myself where jamming. And Pat came to the door and waited outsite at the door to listen. And then he came in and pointed at me and said that's him. That's the one that I want. That's the one we need. So I was the last one to make the band compleet. We changed the name of the band that was "Crazy cajun cake walk band" to "Redbone". This was probably the best band I ever played with in my life. They where the best musicians.

CS : When Redbone started, were you all aware that you would represent a symbol for all the Indian Nation ?
PDP : No that was my suggestions. I said we all look like indians so lets act like indians and be like indians.
CS : I'd like to know how Redbone is received amongst the Indian Community and also if they feel they brought something to the Indian culture and how it is seen from the outside.
PDP : Redbone as a whole, was received very well in all the indian nations. We gave them something to be proud of as for the culture, we made them proud of who they are, and that is native american. Not just another third world bunch of people, with no future as it was seen from the outside. It made us come together as one. Even for a short time. To be truthful with you I think all in all we played made them proud of who and what they were : native americans…

CS : What about the polemic around the indian origins of all the members of the band ? From what tribes are you from ?
PDP : I was the only real indian in the band the rest was from Mexican descent. They are Yaqie. I am from Northern Cheyenne, Chippawa, Arapoho, Siletz, Roack River, Tututeny, Ireqois and French and German.

CS : The first album is really "roots", you went then to a more "commercial" direction. Was that a natural way or something done on purpose ? Has it something to do with the change of drummer ?
PDP : It has nothing to do with the change of drummer. I played on all the albums. Exept for the last one and a part of Wovoka. I played on all the big hits like Maggie, The Witch Queen, Come and Get Your Love, Wounded Knee etc. The brothers and the producers thought it was better to change to a more commercial direction. I had nothing to say in this. They cut me from five tracks down to three tracks.
CS : On what album was that and what are the tracks you are on ?
PDP : I played on part of Already here. All of wounded knee. And none of beaded dreams.. The other members of the band were pretty mad at me for leaving the band… The first two I had five tracks on the rest three. Tracks meaning having to do with the sound of the album. That's why the sound from the first albums to Message from a drum sounds different. There was nothing I could do to change their minds. Thats when the trouble started.

CS : What do you think of the song "We Were All Wounded At Wounded Knee" ? Do you think it had an influence in the fact the band wasn't mediatized as much afterwards ? Was there a kind of censorship involved ?
PDP : Yes it was censored : it wasn't released in the USA. CBS would not release that in the USA or Canada, cause Wounded Knee was happening at that time in the USA. The government wouldn't allow that.
I have a cousin who is in prison till this day. His name is Leonord Peltier. He's still in prison for a crime he didn't commit. So the song was very political.
CBS couldn't release it in the USA but they could in Europe so they did.
CS : What I felt about that is that it stopped the whole career of the band. That the censorship was not only for that specific song but "killed" the band for whole it's future… Do you agree with that ?
PDP : It did kill our future, when ever you go up against the goverment you can't win. The U.S. Government that is.

CS : How comes that there are no live recordings to find from Redbone.
PDP : Cause we did only make studio recordings. The Vegas brothers didn't want to make live recordings, so it dind't happen.
CS : Strangely I don't find any bootlegs either. That's what I feel a mess.

CS : Can you explain what makes your specificity as a drummer ?
PDP : I knew I was going to be a drummer when I was 4 years old. Living a the Neah Bay reservation.
I started playing when I was 11 and started practicing until I was 19. And the beats I made up was The King Kong Beat. I was the first drummer that played a 16th note rythm pattern on the high hat and snare drums that was ever recorded by anny other drummer. And that is on the first Redbone album. If you listen, you will hear. Listen to Things go better, Jambone and Sweet Mode. And you will hear the beat that I play.

CS : What were you doing in the last 30 years ? Is there a discography existing ?
PDP : I moved back to Seattle and played arround there. And sometimes go to Los Angeles and play there with Tony Bellamy. I do not have a discography from those years listed yet. David Garribaldi gave me the credit of inventing the King Kong Beat in his book "The fucky Beat".

CS : What made you come to live in Europe ? How do you feel the differences between the two continents ?
PDP : I did what Jim Pepper did. I came to Europe, because I couldn't find any work in the USA. And I would like to stay in Europe and never go back to the USA if I can find some serious musicians that want to play. I don't know the differents yet I have been here to short time. But the Dutch language is very hard. And I think I'll be never be able to speak it. And don't try to learn to speak French either couse I will not be be able to learn that either (Joke).

CS : What kind of music or band would you be interested to play with ?
PDP : Just good players, good musicians. They can contact me on my email.

CS : Thank you so much Pete, for answering all those questions with great sincerity…