Tag Archives: Mike Watt

Live: Tav Falco at the Tip Top Deluxe

What year was it? Must’ve been 93, right? My senior year of college, because Amy and Sarah were already living down there. I still can’t believe we found them. It was Mardi Gras and me and my ridiculous friends drove from Kalamazoo to New Orleans with one phone number and no real plan. Nobody answered the first several times we called and we were all shitfaced on Bourbon Street when we decided we’d try one more payphone before crashing in the car. Thankfully, Sarah answered and gave us their address so we could sleep on the floor. The next morning the girls introduced us to their pals from the Royal Pendletons and we all went to the Zulu Parade together. Later (much later) we ended up in Uptown at a funky little club called Muddy Waters. The headliner was Tav Falco and his glorious Panther Burns. The last thing I remember was “It’s Only Make Believe.” There are photos of me passed out in the back seat of the Pendletons’ Ford Fairlane.

That was a long time ago. But that trip changed my life. I’ve learned a lot more about the history of rock and roll since I was a dopey college kid, and now I appreciate how lucky we were to get to experience that. So when I found out that Tav Falco would be playing a show in my hometown I knew I had to go. And to make it even more irresistible, Mike fucking Watt is now a touring member of the Panther Burns! Watt is a hero. For his ethics and his spiel as well as his mighty musicianship. And last night at the Tip Top Deluxe I got to stand six feet away from him as he worked his bass. And man oh man, what a sight that is!

It might seem like a weird fit, Watt playing in a rockabilly band, but neither Watt nor Falco should be pigeonholed so simply. They’re both far more complex than that. And yet it was pretty crazy to see Watt in a suit playing a violin bass when the band came on to “Green Onions.” But he was awesome.

Tav Falco was not happy with the sound system at the Tip Top. Poor Cliff (or was it Clyde?) the soundman got an earful from the stage. There was horrible feedback and apparently never enough vocals in the monitors. Despite that, Falco was never less than a captivating performer. He is a Southern gentleman and an elegant dancer. He is a survivor of the fucked up 70s Memphis art/music scene that included Alex Chilton, William Eggleston, Jim Dickinson, et al. In fact, the original Panther Burns were a collaboration with Chilton.

The set was mostly pulled from the new album, Command Performance. Lots of great songs, including one that featured a psychedelic Mike Watt bass solo. I was a little disappointed not to hear my faves like “Girl After Girl” and of course “It’s Only Make Believe” but when a guy’s been making music since 1979 you can’t expect to hear everything.

Grand Rapids is a funny little city and the Tip Top is a funny little bar. It’s in the middle of a rundown residential area on the city’s west side, and it feels like you’re hanging out in somebody’s rec room. The stage is a six-inch riser in the corner of the room with barely enough square footage to contain Falco, Watt, drummer Toby Dammit, guitarist Mario Monterosso, and keyboard player Francesco D’Agnolo. I saw Wayne Hancock here a few years ago. Still it felt like a coup for this venue to be able to book a Panther Burns show, and when they first announced this tour back in August, Grand Rapids was the only stop above the Mason-Dixon line. (They ultimately added Detroit and Chicago dates.)

After the set, I was sure to thank Falco for coming to Grand Rapids and he sold me his new CD for $20. Seems like a lot but he signed it for me. I always feel a little awkward approaching musicians after a show. The band had stepped off the little stage and scattered into seats at tables around the club. I know that some touring folks don’t like shaking hands for fear of catching cold on the road, so I asked Mike Watt if I could have a handshake or a hug. He immediately shook my hand and I leaned in to thank him for playing a great set, but as I did he stood up to give me a hug and I accidentally knocked his glasses right off his face! I felt terrible but he was nice about it.

Continue reading Live: Tav Falco at the Tip Top Deluxe

The Chuck Dukowski Sextet – Haunted; OFF! – Off!

The Chuck Dukowski SextetHaunted (Org Music)

OFF!Off! (Vice)

The importance of L.A.’s punk pioneers Black Flag cannot be understated. Even if history only confirms one album, Damaged, as the band’s crowning achievement, you have to consider the band beyond anything committed to magnetic tape. From their grueling tour schedule, to the D.I.Y. ethos of their label SST Records, to their dangerous encounters with the Los Angeles Police Department, Black Flag is a band that could never be duplicated in today’s world. Not that you’d want to, based on their numerous war stories.

Because of this, the members of Black Flag’s continual line-up changes deserve a bit of respect in their post Flag offerings, regardless of how important their career changes were.

For Black Flag’s first vocalist, Keith Morris, that respect was secured with the Circle Jerks, another prominent SoCal punk rock band that continues to inspire and be revered even in the new century.

For Black Flag’s original bassist and occasional wordsmith Chuck Dukowski, the ability to say something nice about his work after Flag becomes a bit of a stretch. After researching and re-listening to Duke’s work in such forgotten SST releases by SWA and October Faction, the best thing that can be said is to leave well enough alone.

It may surprise some that we can now consider both of these alumni as legitimate members of the post-millennium music scene, not just card-carrying SST members looking to cash in on a bit of nostalgia, although both men have participated in at least some kind of reunion effort of their former glories.

Dukowski’s current gig centers around a band that bares his name: the Chuck Dukowski Sextet. The CD6 features Chuck’s wife Lora on vocals, an artist who not only delivers stunning visual pieces (check out the band’s album covers) but also a surprisingly awesome vocal take on the Dukowski penned Flag classic “My War” from the band’s debut album, Eat My Life.

They included the cover on a split 7” they did with Mike Watt’s Missingmen project last Spring. The effort was released on their new record label Org Records as a way to remind listeners of Dukowski’s lineage, a promotional tactic that must have worked since it certainly put the CD6 on my radar.

Keith Morris’ latest band, OFF!, also took flight after a bit of reminiscing and the subsequent falling out between band members trying to revisit old tunes while trying to ignore old personality clashes.

When Morris’ Circle Jerks decided to give it another go, the members found a huge gulf between the idea to make the band just another nostalgia act or to take things a step further by incorporating new songs into the mix. When some members were unable to devote the time necessary to work on new material and when some voiced concern over producer Dimitri Coats’ own work demands, Morris put the Circle Jerks on hiatus and continued to work on the songs that he and Coats had started.

Off! just released their debut album over the summer, and it’s hard to find fault with Morris’ decision or with Coats work ethic and guitar work either.

Off! screams by at barely a quarter-hour, with every second sounding like it’s the most important thing in the world, even when the subject matter obviously isn’t.

Don’t think that Off! is riddled with greasy kid stuff, but there are moments where Morris is able to channel his younger angst. Most notable is “I Got News For You” where the Keith takes a haymaker towards Black Flag and SST founder Greg Ginn. Ginn is pretty notorious for questionable payment practices, and Morris may be the first SST alumni to publicly call him out via a 45-second song, even one that hijacks a line or two from Flag’s “You Bet I’ve Got Something Against You.” “We trudged through sludge and piss/Were never paid for this!” he screams, while Coats does an incredible job of being able to alternate between Ginn’s free jazz chaos and punchy Stooge riffs.

Haunted is the latest offering from the Chuck Dukowski Sextet, and while it’s nowhere near the intensity level of Off’s pace, it’s closer to SST Record’s spirit with its unpredictable tangents.

As with the band’s previous records, the weakest link is vocalist Lora Norton who struggles with pitch, delivery, and a general sense of identity. Usually, she remains in a comfort range of a slow burn stoner, somewhat resembling Opal’s Kendra Smith, without the mystery or consistency.

It’s a family affair for the CD6, and thankfully Norton’s son Milo Gonzalez has shaped up to be a pretty passionate guitarist, giving Haunted its moments of much needed power. With a bit more work and a bit more attention at figuring out exactly what kind of band they want to be, the CD6 remain in this weird purgatory of notable potential with some members clearly dragging their feet on the band’s overall forward movement.

Gonzalez seems stifled with his mother on board as he conjures up visions of Witch Mountain with his axe and wah-wah pedal while Nora plays passive/aggressive with her delivery, stubbornly  keeping Haunted tethered to the ground while the kid sounds like he’s ready to take off.

The worst offender is the eight-minute (that’s half of Off’s entire total time, if you’re keeping track) “A Thing,” which drags on and on like it’s trying to compete as some weak V.U. cover, complete with the obligatory drone violin.

For now, the CD6’s best work remains confined to that out-of-this world “My War” cover, which is unfortunately ironic as the band is clearly trying to branch out from Dukowski’s own past.

And maybe that’s the problem: the CD6 are simply thinking too hard at trying to find themselves, when all they need to do is to try and find the same kind of passion that Morris was clearly able to conjure up in short order with Off!

Audio: Chuck Dukowski Sextet — “All Is One”

Video: OFF! – “Wiped Out”

MP3: OFF! – “King Kong Brigade” (via Magnet)

Mike Watt Does Good Bass for Stooges

Mike Watt at Lollapalooza, 2007I love Mike Watt‘s writing. He such an obviously great guy. Anyway, Watt has kicked off his most recent tour diary for his current trek with Iggy and the Stooges, and it’s as awesome as ever:

I’m playing ronnie’s bass lines now – I better get it together and ig helps me w/that. all the guys in the band do that – I wanna do everything I can for them, I truly do. I can think of no higher calling for someone like me. hell, there would be no punk scene w/out the stooges in my opinion, none – it would’ve never existed and cuz of that me and d. boon would’ve probably only tried copying songs off of records in his bedroom, I swear to god. I seriously owe these gentlemen everything. I meana, d. boon too but they’re right up there. I also just LOVE this music, love it. it is a total mindblow to me I get to be learning from them… damn, it’s been ‘pert-near seven years now – april 27, 2003 was our first time together, at the coachella festival out in the desert… fuck, it’s hard to believe – any of it/all of it. about stooges playing these days even though I am up w/them, I’m thinking very much none of it is really about me except for being responsible to play their music the best I can and do nothing but help and in no way hinder. they have incredible legacy but they are also here in the now and doing it for motherfucking real. I don’t to be doing any badge-buffing at their expense, truly. I wanna do good bass for stooges – nothing else matters to me.

Hard to believe Watt’s been playing with the Stooges since 2003; that’s pretty much as long as the band was together in its original incarnations (1967-74).

The Stooges: iTunes, Amazon, Insound, wiki

Mike Watt: iTunes, Amazon, Insound, wiki

Photo by AMP from Lollapalooza, 2007. See more.

Mike Watt’s Stooges Recording Diary

This is great. Legendary punk bassist Mike Watt is keeping a rehearsal/recording diary, or as he calls it, “a word’s-eye view from mike watt of the stooges recording their first full studio album in thrityfour years!” They’re recording with Steve Albini at Electrical here in Chicago.

It’s wild how anxious and insecure Watt is about working with his heroes: “I’m really looking to all these guys for direction cuz I don’t wanna fuck up and know in my mind I want it to be all about them w/me as far as removed as ego could be. obviously it’s about me be insecure but I also want ron to know I’ll play anything he wants to.”

Via Billboard.