The Dream Syndicate are back, but what took them so long?
Almost three decades since their last album, how did the Dream guys find themselves recording again?
Select the newsletters you’d like to receive. Then, add your email to sign up.
You are now subscribed
Your newsletter sign-up was successful
Want to add more newsletters?
Every Friday
Louder
Louder’s weekly newsletter is jam-packed with the team’s personal highlights from the last seven days, including features, breaking news, reviews and tons of juicy exclusives from the world of alternative music.
Every Friday
Classic Rock
The Classic Rock newsletter is an essential read for the discerning rock fan. Every week we bring you the news, reviews and the very best features and interviews from our extensive archive. Written by rock fans for rock fans.
Every Friday
Metal Hammer
For the last four decades Metal Hammer has been the world’s greatest metal magazine. Created by metalheads for metalheads, ‘Hammer takes you behind the scenes, closer to the action, and nearer to the bands that you love the most.
Every Friday
Prog
The Prog newsletter brings you the very best of Prog Magazine and our website, every Friday. We'll deliver you the very latest news from the Prog universe, informative features and archive material from Prog’s impressive vault.
When Steve Wynn called a halt to his band in 1989, he thought he would stop hearing the words ‘of the Dream Syndicate’ after his name within a year. That didn’t happen. No matter that he made solo records, recorded with Green On Red’s Dan Stuart as Danny & Dusty and with his all-star sports-themed group the Baseball Project, he was always Steve Wynn ‘of the Dream Syndicate’. That’s because the Dream Syndicate were one of the unforgettable groups of the 1980s: an outfit who mixed psychedelia, classic rock and a jam-band looseness in songs that defined LA’s Paisley Underground scene.
In 2012 he reunited the group to play live, and now they’ve made their first album in 29 years, How Did I Find Myself Here?. So what kept them?
How come the Dream Syndicate are back? Have you had enough of writing songs about baseball?
There are more baseball songs to be written, but that’s just one of the things I do. I’ve enjoyed playing the shows with the Dream Syndicate, without trying to slavishly imitate what we did before. Four years after we reunited, we felt it was time to make a record and if it excited us, we would finish it and put it out. If it didn’t, we’d just forget about it. The new album, to me, feels like if we had made [debut album] The Days Of Wine And Roses now. It doesn’t sound like it, but it has the same motivations behind it.
Do you feel like you have to deliver what the old fans expect?
We like the long songs – I got excited we had a new song that we could stretch out. We recorded it with no road map, and it’s really a pop song surrounded by a lot of stuff. I love sprawling, epic, free-form, lightning-in-a-jar stuff. That and John Coltrane Stereo Blues will be the whole live show [laughs].
For a while you were the buzziest band around. Was it difficult to adjust when that stopped?
Sign up below to get the latest from Classic Rock, plus exclusive special offers, direct to your inbox!
It’s a weird feeling when that happens. For that first year, I would go to a newsstand in Hollywood and flick through the magazines. Every one I picked up had something about the band, and after a while I took it for granted: that’s how life’s going to be. But then other things come along and other bands get the attention. But eventually you realise that’s how it is for every band.
You’re a Los Angeleno who supports the New York Yankees – the most hated team in baseball. How could you do that?
I come from LA but I’ve always loved New York. So when I moved there I wanted to be a fan of a New York team, but it had to be a team in the other league from the LA Dodgers so there wouldn’t be a conflict. And as time went on I began to feel like a New Yorker, so the Yankees became my team. I still like the Dodgers, though.
Would you swap places with Steve Wynn the casino tycoon? You’d be extremely rich, but you wouldn’t have had a musical career.
Not a chance! I love my life.
How Did I Find Myself Here? is released on September 8 via Anti-.
Michael Hann writes for titles including the Guardian, the Financial Times, The Independent, The Economist, Spectator and The Quietus. He was formerly music editor of the Guardian and editor of FourFourTwo. The first band he saw was Samson (opening for Whitesnake), and he is the author of Denim and Leather: The Rise and Fall of the New Wave of British Heavy Metal.

