The Full Wiki

Mike Watt: Wikis

  
  
  
  

Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles.

Encyclopedia

From Wikipedia, the free encyclopedia

Mike Watt

Background information
Birth name Michael David Watt
Born December 20, 1957 (1957-12-20) (age 52)
Portsmouth, Virginia, U.S.
Origin San Pedro, California
Genres Punk rock, alternative rock, art rock, post-punk
Instruments Bass (thudstaff), Vocals (spiel), Guitar
Years active 1979–present
Labels Columbia Records (1991-2005)
SST Records (1980-1990)
New Alliance Records (1981-1990)
Kill Rock Stars (1996-present)
Associated acts The Minutemen
fIREHOSE
Ciccone Youth
Dos
Banyan
The Reactionaries
Hellride
J Mascis and the Fog
The Stooges
Porno for Pyros
The Black Gang
The Secondmen
Unknown Instructors
Funanori
The Clubber Lang Gang
Website Mike Watt's Hoot Page
Mike Watt's MySpace
Mike Watt @ Columbia Records

Michael David Watt (born December 20, 1957 in Portsmouth, Virginia) is an American bass guitarist, singer and songwriter.

He is best-known for co-founding the rock bands Minutemen, dos, and fIREHOSE; as of 2003, he is also the bassist for the reunited Stooges and a member of the art rock/jazz/punk/improv group Banyan as well as many other post-Minutemen projects.

Though Watt has not had much mainstream success or visibility, he is often cited as a key figure in the development of American alternative rock: the Red Hot Chili Peppers dedicated their hugely successful Blood Sugar Sex Magik (1991) to him. The seminal rock writer Richard Meltzer has called Watt "the most important songwriter since Bob Dylan"[1].

On November 1 2008, Watt received the Bass Player Magazine lifetime achievement award, presented by Flea.

Contents

Biography

Early career

When he was young, Watt's family moved to San Pedro, California, where he became good friends with D. Boon. Watt and Boon picked up bass and guitar, respectively. Watt was a fan of T Rex and Blue Öyster Cult, while Boon's exposure to rock music was limited to Creedence Clearwater Revival, another Watt favorite.

Watt and Boon were initially rather ignorant of music; they didn't know bass guitars were different from guitars, and Watt simply removed two strings from a guitar to emulate a bass. When he acquired a bass guitar, he lamented that the instrument was rarely prominent in rock music, but has cited John Entwistle, Jack Bruce, James Jamerson, Geezer Butler, Richard Hell, Larry Graham, Bootsy Collins, Joe Bouchard, Dennis Dunaway, and Gene Simmons as influences.[2]

When he first saw a real bass at 15, he commented that it looked liked a guitar with bridge cables.[3]

Years later, Watt would say that the lack of role models left him free to develop his own approach to playing bass guitar.

The Minutemen

By the mid-1970s, Watt and Boon formed a band called The Reactionaries with drummer George Hurley and vocalist Martin Tamburovich. The band later became The Minutemen with another drummer named Frank Tonche, who only lasted two shows with the group; Hurley, who had been in the short-lived New Wave group Hey Taxi! at the time the Minutemen first formed, rejoined Watt and Boon. After signing with SST Records in 1980, The Minutemen began touring constantly, releasing a number of albums along the way. Their music was based on the speed, brevity and intensity of punk, but included elements of jazz, folk, and funk.

In 1984, Watt met Black Flag bassist Kira Roessler during a Black Flag/Minutemen tour. They soon became romantically involved, and subsequently began collaborating on songs, including material on the Minutemen's final album 3-Way Tie (For Last). They also formed a two-bass duo, Dos, and have since recorded and released three records.

The Minutemen ended tragically on December 22, 1985, when Boon was killed in an automobile accident while driving to Arizona with a girlfriend. Their fifth full-length album, 3-Way Tie (For Last) had already been scheduled for release at the time of the accident. In the documentary film We Jam Econo, Watt mentioned that the last time he saw Boon, he had received lyrics for 10 songs from critic and songwriter Richard Meltzer for a planned collaboration with the Minutemen. The Minutemen were also planning to record a triple album with the working title 3 Dudes, 6 Sides, 3 Studio, 3 Live as way to counteract bootleggers. [4]

fIREHOSE

After Boon's death, Watt was profoundly depressed; he and Hurley initially intended to quit music altogether. Sonic Youth invited Watt to hang out with them in New York in 1986; they recorded a cover of Madonna's "Burnin' Up" (with additional guitars by Greg Ginn) on the first Ciccone Youth EP, and Watt played bass for two songs on the Sonic Youth album Evol. Watt cites this period as critical in inspiring his post-Minutemen career saying, "The first thing I did was Thurston asked me to play bass on Evol. That was a big highlight, man. Like, 'What, you want me to play without D. Boon?'" [2]

Subsequently, Ed Crawford, a Minutemen fan who drove to San Pedro from Ohio, persuaded the Watt/Hurley rhythm section to continue playing music. fIREHOSE was formed soon after. After three releases on SST, fIREHOSE was signed to Columbia Records by A&R man Jim Dunbar. Shortly after the release of 1993's Mr. Machinery Operator, the band decided to call it quits.

Watt and Kira married in 1987, but their marriage fell apart not long after fIREHOSE's break-up. However, both their friendship and Dos have remained intact; they even recorded their third album, Justamente Tres, not long after their divorce.

Solo career

After working with fIREHOSE, Watt began a solo career. His first album, Ball-Hog or Tugboat?, featured appearances from dozens of musicians (many were Watt's peers from the 1980s SST era), including Henry Rollins, Eddie Vedder, J Mascis, Carla Bozulich, Evan Dando, members of Sonic Youth, Red Hot Chili Peppers, Frank Black, Nirvana, Soul Asylum, Jane's Addiction, the Beastie Boys and the Screaming Trees. The album and its supporting tour were Watt's first taste of mainstream fame, when Eddie Vedder and Dave Grohl of Nirvana were part of his touring group. After Vedder returned to his Pearl Jam commitments and Grohl began working with his new band Foo Fighters, Watt formed his only four-piece touring group to date, The Crew Of The Flying Saucer, featuring guitarist Nels Cline and two drummers.

In 1996, Watt contributed bass lines to two songs on Porno for Pyros' second album, Good God's Urge. He subsequently ended up being the bassist for the tour that followed the release of the album, sparking a friendship with lead singer Perry Farrell in the process. (The band's drummer, Stephen Perkins, had already worked with and befriended Watt during the Ball-Hog Or Tugboat? sessions.) In November of that year, he created and established his own official homepage, Mike Watt's Hoot Page, initially using his personal Internet Service Provider's free web space until bandwidth demands spurred him to move the site to its own domain name and server.

In 1997, Watt released Contemplating the Engine Room, a punk rock song cycle using naval life as an extended metaphor for both Watt's family history (the album has a picture of his father in his Navy uniform on the cover) and the Minutemen. The album, which was critically well received, features a trio of musicians including Nels Cline on guitar, and Watt as the only singer.

Watt went on to play in such groups as Banyan (with Stephen Perkins and Nels Cline) and Hellride, a sometime live outfit that plays cover versions of Stooges songs. He also played in The Wylde Ratttz with Sonic Youth's Thurston Moore and The Stooges' Ron Asheton, recording a song for the film Velvet Goldmine. Watt also recorded a bass line to send to the Pennsylvania space-folk band The Clubber Lang Gang for their record Now Here This on the track 'For the Broken People'.

Illness, recovery and The Stooges

In January 2000, Watt fell ill with an infection of his perineum, forcing him into emergency surgery and nine weeks of bedrest in his San Pedro apartment. Initially unable to play his bass, he rebuilt his strength with intense woodshedding and practice as well as live club gigs where he performed sets of Stooges covers with Hellride in California and with J Mascis and Dinosaur Jr. drummer Murph in New York under the name Hellride East.

In 2000, Mascis asked Watt to participate in a world tour behind Mascis' first post-Dinosaur Jr. release, J Mascis and the Fog's More Light. At several of the shows, Asheton joined Mascis and Watt onstage, wherein the group would play entire sets of Stooges songs. Watt and Mascis later joined Asheton and his brother, Stooges drummer Scott Asheton, for a one-time-only performance at a Belgian festival under the name Asheton, Asheton, Mascis & Watt. In 2001, Watt was one of several bassists invited to participate in the sessions for Gov't Mule's The Deep End, partly on the recommendation of Primus' Les Claypool. Watt and Gov't Mule recorded a cover version of Creedence Clearwater Revival's "Effigy" for the album. The sessions were immortalized in the documentary feature film Rising Low.

In 2002, Watt, along with Pete Yorn and members of The Hives, backed Iggy Pop for a short set of Stooges songs at that year's Shortlist Music Prize ceremony. The performance, along with Watt's past performance history with the Asheton brothers and a successful recording session for Pop's Skull Ring album, led to Watt's being enlisted to fill the bass slot in the reunited Stooges lineup in 2003. The reunited Stooges played their first show in almost 20 years at the Coachella Valley Music and Arts Festival in May 2003. In 2002, Watt was invited by pop punk band Good Charlotte to make a cameo appearance in their music video for "Lifestyles Of The Rich And Famous". He has a small speaking part as a jury foreman.

In 2003, Watt's first book, Spiels Of A Minuteman, was released by the Quebec, Canada book publisher L'Oie De Cravan. The book, printed in both English and French, contains all of Watt's song lyrics from the Minutemen era as well as the tour journal he wrote during the Minutemen's only European tour with Black Flag, essays by former SST co-owner Joe Carducci, Sonic Youth's Thurston Moore, and Blue Öyster Cult lyricist and longtime Watt hero Richard Meltzer, and illustrations by Raymond Pettibon that had been used in all of the Minutemen's album artwork.

Also in 2003, Watt made his second music video appearance in as many years, appearing in the video for Cobra Verde's song "Riot Industry" (along with Rudy Ray Moore and George Wendt). Watt himself would describe his part in the video as such:

I play an "Idle American" and end up doing a "Fred Sanford" when I can't get what I want on the television - I collapse to the deck with a heart attack!

The Secondman's Middle Stand

Watt's third solo album The Secondman's Middle Stand, inspired by both his 2000 illness and one of his favorite books, Dante's The Divine Comedy, was released in 2004; one reviewer writes that the album is a "harrowing, funny, and genuinely moving stuff from a true American original." [5]. For the first time since the Minutemen, Watt recorded the album with an "all-Pedro band", Mike Watt & The Secondmen, consisting of organist Pete Mazich and drummer Jerry Trebotic, along with former that dog. vocalist Petra Haden.

While promoting and touring behind The Secondman's Middle Stand, Watt announced plans for future recordings, stating that he intended to record as frequently as he did in the Minutemen days for as long as he could.[6]

Watt would part amicably with Columbia/Sony BMG in 2005, after 14 years as both a solo artist and as one-third of fIREHOSE.

The Unknown Instructors

In 2005, another side project featuring Watt came to light with the announced September 20 release of The Way Things Work, an album of improvised music under the group name, the Unknown Instructors with George Hurley, Saccharine Trust's Joe Baiza and Jack Brewer, and poet/saxophonist Dan McGuire. A month after the album's release, the Unknown Instructors recorded a second album, The Master's Voice, with Pere Ubu frontman David Thomas and artist Raymond Pettibon joining the core quartet of Watt, Hurley, McGuire and Baiza.

Watt would further his interest in improvised music by forming a trio, Los Pumpkinheads, with former Beastie Boys keyboardist Money Mark.

On December 14, 2005, the McNally-Smith College of Music in Saint Paul, Minnesota announced the formation of the Mike Watt Bass Guitar Scholarship, which is to be awarded annually to a bass major starting in the Fall of 2006.[7]

In March 2006, Watt took part in the performance at Disney Hall, Los Angeles, of Glenn Branca's "Hallucination City" Symphony #13.

The Weirdness

In October 2006, Watt joined the rest of The Stooges at producer Steve Albini's Electrical Audio Studio in Chicago, Illinois to record The Weirdness, the first Stooges studio album since 1973's Raw Power. The album was released on March 6, 2007, and much of Watt's 2007 was devoted to Stooges duties, including the band's first full-length U.S. tour since the band's reformation.[8]

Also in October 2006, Watt contributed a 'spiel' for Irish band Estel's latest album The bones of something....

In November 2006, Watt revealed to Pitchfork Media that he contributed his bass skills to six tracks on My December, the third album by American Idol singer Kelly Clarkson, a studio assignment that he took at the invitation of his "old friend", producer/engineer David Kahne.[9]

Watt also worked on two other projects during this time period: Funanori, a musical collaboration with Kaori Tsuchida, guitarist of The Go! Team, on shamisen [10] and other instruments, and Pelicanman (named after the closing track on The Secondman's Middle Stand) with Petra Haden.[11] The first three songs recorded by Watt and Tsuchida as Funanori were released on a split EP with Tokyo band LITE in the summer of 2007 by Transduction Records. Watt also contributed a cover of Blue Öyster Cult's "Burning For You", recorded with Haden, Nels Cline, Money Mark Nishita, and Red Hot Chili Peppers drummer Chad Smith, to the all-star compilation album Guilt by Association, released in August by the independent label Engine Room Recordings.

On June 9, 2007, Watt was the live narrator for the silent movie Brand on the Brain at the Egyptian Theatre in Hollywood, California.

Post-Columbia solo work

Basic tracks have also been recorded in New York in May 2009 during a planned break in Watt's Spring 2009 tour, for Watt's first recorded work with The Missingmen. The album, Hypnenated-Man, will consist of thirty short songs inspired by the paintings of Hieronymus Bosch[6].

The Watt from Pedro Show

When he is not on tour, Watt hosts a regular internet radio show, The Watt from Pedro Show, a continuation of a program Watt had first done on a low-power FM station in the late 1990s. The program became so popular with Watt's fans that the website's host temporarily forced the show offline on weekdays until a sponsor or other solution could be found. On January 10, 2006, The Watt from Pedro Show became available as a podcast.

Watt's Post-fIREHOSE Bands

In all of these groups, Watt is the band leader and handles vocals and bass.

Watt's most frequent collaborators

These individuals have collaborated with Watt the most, both live and in the studio.

Equipment

Basses

Watt has vaulted primarily between Gibson and Fender basses for most of his career. He does not do compensated endorsements for any particular guitar brand as of November 2005, usually preferring to buy used basses that he discovers in instrument stores, pawn shops or via classified ads. Watt frequently modifies his basses by adding active electronics, and for luck and inspiration he likes to put pictures of favorite people and/or things on his basses.

He initially started with a mid-60's Gibson EB-3 bass; he switched to a Fender Precision Bass in 1982, feeling that the Gibson was causing him to play too many notes at the time; his first Fender P-Bass was purchased from former Fear bassist Derf Scratch; the bass, which Scratch used on Fear's classic debut album The Record, would also end up being heard on the second Minutemen album, What Makes a Man Start Fires?.

Around 1984 he found a Fender Telecaster Bass, which became his main bass for the last two years of the Minutemen's existence as well as much of fIREHOSE's; the bass had pictures of Kira and of Watt's favorite singer, Madonna, on the instrument. Close to the end of fIREHOSE's collective life he started using a late 60's Gibson Thunderbird bass; this ended up being his main bass after the white Telecaster was stolen from his apartment sometime in 1995.

Watt semi-retired the Thunderbird (he did use it again for his first ever gig with the Stooges at the 2003 Coachella Valley Music and Arts Festival and in his sessions with Kelly Clarkson and The Black Gang), and switched back to his 1965 Gibson EB-3 bass, citing the short scale as being easier on his hands after not touching a bass for the entire time he recovered from surgery; he decorated the bass with photographs of his deceased best friend and Minutemen bandmate D. Boon, jazz legend and longtime hero John Coltrane, a picture of a friend's compass tattoo, and a sticker from one of Watt's favorite current bands, Sistas in the Pit. This has been his primary bass for live performances but he has also used the bass to record his contributions with Gov't Mule and on J Mascis' December 2000 John Peel radio session, as well as all of his recordings as a member of the Stooges to date. Watt feared that he would have to temporarily shelve the bass in July 2005 when a crack was discovered in its headstock during a 2005 Stooges European tour; He was able to have the instrument repaired in time for the next leg of the tour. The instrument, along with the rest of the Stooges' equipment and the band's truck, were stolen outside their Montreal, Canada hotel on August 4, 2008.[12]. Two days later, a fan drove up to the Stooges' next scheduled concert in Toronto and surprised Watt with a replacement bass, a 1969 Gibson EB-3 that Watt would dub the "Andy Bass" after the name of the fan who presented it to him[13]. A second fan named Dan also gave Watt a 1965 Gibson EB-0 after a show in San Diego, CA later in 2008; This bass, dubbed the Dan Bass (for obvious reasons), would later be christened with a picture of Stooges guitarist Ron Asheton after his passing in January of 2009, and is the bass Watt is playing on his "Prac'n the Third Opera" Spring 2009 tour[14].

In late 2004 he acquired a second EB-3 bass as an alternate instrument for live gigs. He initiated the bass during Dos' annual Christmas benefit show, and first used it extensively during a brief six-date spin on the 2005 Vans Warped Tour.

Over the past few years, he has also started to acquire some custom-made instruments, including basses made by guitar craftsmen Tim Thelen, Mark Garza and Darrin Huff. On The Secondman's Middle Stand Watt initially recorded the basic tracks with a Telecaster-style bass built by Tim Thelen, but later recut the basslines with a Moon Larry Graham model bass, which he also used on a 1998 European tour. A yellow Telecaster-style shortscale bass built by Garza and nicknamed "The Bananaplower" can be seen in the "Tied A Reed 'Round My Waist" video and heard on Banyan's Live At Perkins' Palace CD.

Two of his many basses feature autographs: a budget-line Alembic bass he acquired during the early fIREHOSE days and later had spray-painted green features the autograph of Los Angeles Lakers star basketball player James Worthy, and a mid-70's hollow body Gibson Les Paul Signature Bass features, appropriately, Les Paul's signature with the salutation, "Keep on pickin'".

Amplification

Not much is known about what amplification Watt preferred in the Minutemen days. Pictures (including those in Double Nickels On The Dime's gatefold sleeve) have him using Ampeg SVT amps. In 1985 Watt switched to a Gallien-Krueger amplifier driving Cerwin-Vega speaker cabinets; a photo of this rig can be seen on the back cover of fIREHOSE's Ragin' Full-On.

During his time with J Mascis and The Fog, Watt played through Marshall amps at the direction of Mascis.

For his solo works, with Banyan, and on the current Stooges tour, Watt uses Eden amplification, for which he is an endorsing artist. When he performed with the Stooges in the past, he usually played through gear rented by the promoter according to the band's contract rider - usually two Ampeg SVT amplifiers and cabinets, although for one round of dates in 2006 Watt used Marshalls borrowed from ex-Stone Roses/Primal Scream bassist Gary 'Mani' Mounfield.

Accessories

Watt uses and endorses D'Addario strings. He previously endorsed them during his early solo career, and mentioned being a Rotosound user in a fIREHOSE newsletter around the time of Flyin' The Flannel. During his stint with J Mascis and The Fog he used Dean Markley strings on occasion since Mascis was an endorser of that brand and thus could obtain bass strings for Watt free of charge.

Watt rarely uses effect pedals in the studio (two notable instances pre-2004 were a Digitech Whammy pedal on Dos' "'Till The Blood Ran" (Justamente Tres) and an envelope filter on "Tell 'Em Boy" (Ball-Hog or Tugboat?), and until 2004 never used them in live performance. On The Secondman's Middle Stand he used the Whammy Pedal and a variety of distortion units and other stompbox effects to help illustrate the album's storyline. For the tours in 2004 and 2005 behind The Secondman's Middle Stand Watt used a Boss pedal board with four different effects and a Korg stompbox tuner.

Computers

Watt has been a longtime Apple Computer user, Apple evangelist, and outspoken critic of Microsoft products. Newsletters he used to publish during the fIREHOSE days were done on an early Macintosh; he currently uses a self-upgraded 2008 Mac Pro at home and a MacBook Pro when on tour[15], both to maintain contacts with friends and fans and maintain the Hoot Page. With the digital recording software Pro Tools installed, the Mac Pro (as well as Watt's prior home machine, a Power Mac G4) also doubles as Watt's home studio for recording song demos as well as Dos' fourth, as yet untitled album. He has also used both computers on occasion to record segments or whole installments of The Watt from Pedro Show.

Discography

Solo albums

All solo albums were released on Columbia:

Non-solo recorded appearances

  • Sonic Youth
    • 1986 EVOL (SST, reissued 1994 by DGC) - Watt plays bass on "In The Kingdom #19" and "Bubblegum".
    • 1988 Daydream Nation (Blast First Records, reissued 1994 by DGC and in a 2-CD deluxe edition in 2007 by Chronicles/Geffen) - Watt, via a message left on Thurston Moore's answering machine, appears on "Providence".
    • 1988 The Whitey Album (Blast First, reissued 1994 by DGC), as Ciccone Youth - Watt's home demo recording of his version of Madonna's "Burning Up" appears on the record; he also contributes the liner notes to the DGC reissue.
    • 2004 Corporate Ghost: The Videos: 1990-2002 (Chronicles/Geffen/Universal Home Video) - Watt appears in the videos for "My Friend Goo" and "100%" and provides commentary for both of those videos as well as "Scooter & Jinx", plus appears on the disc's bonus documentary.
  • Saccharine Trust
    • 1985 Worldbroken (SST) - Watt substitutes for Sachharine Trust's original bassist, who chickened out at the last minute, on this improvised live recording. An outtake from this session appears on the compilation The Blasting Concept, Vol. II (SST, 1986)
  • The Doers
    • 2004 I Can Enjoy Almost Anything (Red Cat Records)
  • ESTEL
    • 2006 The bones of something... (Little plastic tapes), sings/spiels on one track
    • 2009 Untitled (Little plastic Tapes / The Richter Collective)Collaborative album
  • The Book of Knots
    • 2007 Traineater (ANTI- Records), appears on "Pedro To Cleveland"
  • Funanori
    • 2007 a tiny twofer (Transduction Records), split EP with LITE
  • Removal
    • 2007 vocals on "all saints day in someone else's town" with Canadian Prog Punk band Removal

Promotional Videos

  • As a solo artist
    • 1995 "Big Train" - directed by Spike Jonze
    • 1995 "Piss-Bottle Man" - directed by Roman Coppola
    • 1997 "Liberty Calls" - directed by Spike Jonze
    • 2004 "Tied A Reed 'Round My Waist" - directed by Lance Bangs
    • 2004 "Drove up from Pedro" - directed by [Mike Muscarella]
    • 2004 "Beltsandedman" - directed by Mike Muscarella
    • 2004 "Burstedman" - directed by Mike Muscarella
    • 2004 "Pelicanman" - directed by Mike Muscarella
  • with Sonic Youth
    • 1990 "My Friend Goo" - cameo appearance
    • 1991 "100%" - brief cameo appearance
  • with Sublime
    • 1996 "Wrong Way" - Watt portrays a convenience store clerk
  • with Good Charlotte
  • with Cobra Verde
    • 2003 "Riot Industry" - Watt as "The Man In The Flannel Bathrobe".

See also

Footnotes

References

  • Tour journals and interview links from Mike Watt's Hoot Page
  • Michael Azerrad, Our Band Could Be Your Life
  • Mike Watt, Spiels Of A Minuteman' , L'Oie de Cravan, ISBN 2-922399-20-6
  • Various, All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul, ISBN 0-87930-653-X
  • Rough Guides, The Rough Guide to Rock (pg. 374), ISBN 1-84353-105-4

External links


Quotes

Up to date as of January 14, 2010

From Wikiquote

I'm still proud to be called a punk. I didn't say, "Oh, that's just a stage of my childhood and I grew out of that" — I just became a little older, that's all!

Mike Watt, born Michael David Watt (20 December 1957) is a Punk rock musician and songwriter with The Minutemen, fIREHOSE, and Iggy Pop & The Stooges.

Contents

Sourced

  • hurts I have are my fault but I'm sure gonna learn from it and hopefully anyone reading this will too. the lesson: stay aware on a bicycle and look up the road in front of you at all times to make sure you can deal w/what's coming and the condition of the road you're gonna be rolling down!

watt bio (2005)

Quotes of Watt from "watt bio" by Karen Schoemer (October 2005) at hootpage
  • Navy housing is like tract homes. ... All the houses look the same. Everybody's pop was the same rank. There's a lot of negative to the military — like, most of it. But one good thing was I lived with all kinds of people, as far as ethnic background or whatever. Because the navy was integrated. That was kind of neat. And with everybody's pop being chiefs, you could see that no one was above or below anyone else. You know how neighborhoods get all caught up in different things? Well, in the military you're not like that. You're all together. So I will say that was one positive thing that came out of it.
    • On his childhood experiences of living on military bases.
  • The 'minute' meant more like minute … Like we were small compared to a big arena rock band. And the other reason for the name — I had a bunch of names on a paper, and D. Boon picked that one. He liked it because there was some right-wing group who used the name. We thought, we'll call ourselves the same thing — there goes their power! It'll dilute it and confuse things.
  • What's obvious to me isn't always obvious to other people.
  • If it's some style, especially some shrink-wrapped thing hanging on a wall at Toys 'R' Us, then it won't live, it won't be dynamic … It becomes exactly what the marketing people want — a genre, something to make their job easier. But if it's something like, "Everybody's telling me the wall's over there, but I'm going to push against it and see if it's really there" — to me, that's what punk is. An idealistic attitude.

Unsourced

  • Growing up the way we did, (Minutemen lead singer/guitarist) D. Boon and I never heard jazz until we heard punk, and then we thought it was the same thing, because the jazz we were hearing really wasn't Stan Getz, it was the fuckin' John Coltrane, Albert Ayler, Eric Dolphy, Ornette Coleman, it was wild and it made us crazy! We thought it was the same thing, just in an earlier time! For us, not being sophisticated and not knowing the chronologies and coming from Alice Cooper and Blue Oyster Cult, we really didn't understand this. The passion and all of that, we thought it was the same! We didn't see the color lines or whatever in the music, to us it was the same vibe!
  • I never gave a damn 'bout the meter man, 'til i was the man who had to read the meters, man
  • I actually do think that these kids are smarter than we were in the '70s. It's funny how people call them lame or slackers or whatever, but I don't think so. They know they're getting hustled, they feel it in their gut. But they don't know how to articulate it. And that problem is the reason why punk came into being the first place.
  • I have a little name. That's why people can remember it.
  • I have to say in some ways that we were really reactionaries, especially with the rock-and-rollers. They really hated us! We couldn't go in their studios or play their clubs, the whole deal. They just did not like punk rockers in those days, Jesus Christ! Them and the cops were the worst enemies; they were not open-minded about anything we were trying to do!
  • I think punk rock, especially for me, was a big middle finger to this whole talent thing. You're talking jazz fusion, that was the big music in 1976 when I graduated — you know the more notes and the faster solos and all this — and then here comes these guys who never really played before! They're writing their own songs, and I had to confront myself and say, 'Why do you like it?' And I had to look at myself in the mirror and say, 'Well, maybe I just do! I'll decide upon why later, but this has got me fired up to write a lot of songs.'
  • I'm really lucky that I've got open-minded people out there who listen and come check out my gig. I wish the people in the audience would realize that they have so much more power than they think they have. They think it's just lights and smoke hypnotizing everybody, but really, the guy on that stage doesn't have the world by the balls or the tail — he's there by the audience's whim, they have the power. They put him there, they can take him out. I wish they'd realize that they have a low esteem, confidence problem about that. They think its all being run by marionette people — but only if they let that happen.
  • I'm still proud to be called a punk. I didn't say, "Oh, that's just a stage of my childhood and I grew out of that" — I just became a little older, that's all!
  • Making a record for Columbia is kind of like using a phone from AT&T — as long as they don't jump on the line and tell me what to say, I won't hang up.
  • Punk is not really a style of music. It was more like a state of mind. So there are punk painters like Raymond Pettibon. It’s anybody who doesn’t feel embraced by the big herd so they set up their own little world outside of that. If people think it sucks, then so fucking what? You're going to keep going.
  • When we started the idea was to have one big song and it would have little parts. We kinda got the idea from Wire. And we were trying to purge the Blue Oyster Cult and Creedence so we wouldn’t be derivative. We felt tainted because a lot of these punk rockers had just started playing and wrote their songs immediately; they didn’t have the years in the bedroom copying records like us. And then there were the punk rockers singing their songs and it dawned on us that they were trying to tell us something that was on their minds. We grew up during the ’60s, although our teen years were all in the ’70s, and I think part of the ’60s was that this is a country born out of protest, so it’s traditional to embrace the idea that things might not be working out so right, and ask what does it all mean? So a lot of times the songs are kind of little weird summaries of the discussions we had with each other.

External links

Wikipedia
Wikipedia has an article about:







Got something to say? Make a comment.
Your name
Your email address
Message