KIM SHATTUCK

photo by Cat Rose

KIM SHATTUCK

What was your first exposure to rock music? Did you and your sister share a love of music early on? What prompted you to pick up a guitar, and how did you approach learning the instrument as a teenager? Were there any specific songs or bands that inspired you to begin writing songs?

I heard rock music when I was a kid but it was lame mid 70s hard rock stuff that I considered to be hippy music. I became obsessed with music after I realized you could have melodic stuff with loud guitars. Eventually I picked up on the Beatles and the Kinks and then the Bangles EP when I decided to write songs!  

In an interview you described your experiences in The Pandoras as an opportunity to observe and allow your own songwriting to develop. Were you intent on doing your own thing early into that experience? Were there people who encouraged you and helped you develop your songcraft? At what point did you begin to feel confident in the songs you were writing?

I had written some shitty songs in 1985. I was rookie for sure.  I had started a band with people who went to college with me, we all took art, and I had illusions of grandeur. I didn't know the first thing about how to get a show or even how to end a song. And my drummer asked me if I could sound more like Siouxie Sioux.Then I got into the Pandoras and Paula Pierce made it known that she was the only songwriter for the Pandoras. I had mixed feelings about it but I wanted to be in a real band so I swallowed my ambitions until later.

I worked on my songs secretly, without any help. I went with my heart, eventually getting confidence in my songs secretly. I would record demos on my four track but I don't think I was impressed with my songs until I wrote Everywhere I Go in 1989.

The chord progressions you use have always struck me as being unique in that they stray from the 1-4-5 formula but still carry very melodic, poppy melodies. You also tend to structure your songs such that the arrangements don't have the typical cycles of chords and but still feel very neatly wrapped up and traditional in a sense. How did you develop that style of songwriting?

I dunno! I like melodies and really disliked most bands at the time. I thought that if I could sound sing songy with burly guitars I'd be my own favorite band. I love twenties chords and noticed the Beatles did it too. Maybe my early upbringing singing crazy harmonies  as a child and asking my mom what chords were what while poking around on the family piano. I've always been creative.

Your guitar playing has always been relatable but it's clear that you have developed your own style of playing - notably your solos and the chords you choose. Even the guitars you choose to play lend themselves to the aesthetic you've created - how did your guitar-playing evolve, and what are your favorite types of guitars to play?

I always liked wooden looking guitars, ie not flashy. When I was learning how to play guitar I would get so frustrated I would throw the guitar across the room. Eventually a friend showed me some jazz chords and I had a guitar breakthrough. I have a tendency to get the chords pretty simple and the melody weaves through and picks up the jazz chord bits.

There's something timeless in your songs but also an edge and bite that gives even your sweetest songs a bit of a dangerous feel. When you compose, do you try to convey a combination of feelings? To what extent to you write songs as a form of personal therapy?

Thanks. I don't think at all when I start to write lyrics, but I do think when I start writing verse two. I write lyrics fast as a result and when I reread them later they are always about something I was going through. 

You've always come across as a friendly and considerate person but also one who isn't afraid to risk some weird humor and fun - have you had to build up any "tolerance" for dealing with people who may approach you awkwardly as fans or perhaps people who may just be looking for bragging rights by talking to you?

I love sincerity and can smell a phony a mile away. Luckily most fans are extremely sweet. And drunk fans are always annoying.

Regarding your songwriting process, you've mentioned that you tend to begin with a song and then build on that success - and that subsequent songs often come out better than the one before. Are you able to just sit down with the intent to write and then go for it? How often do song ideas come to you at random times? When that occurs, do you have a process for recording/demoing/cataloging the ideas so you don't forget?

I do get ideas while meandering through the my day. Just ditties. My old way of recording it was a cassette recorder, then a micro cassette. Finally the iPhone voice memos. It's easy for me once I decide to sit down with my guitar and a recording device and a notebook to get something going. The challenge is mostly to not get in my own way.

The Beards was an interesting project in that it combined well-known musicians and songwriters. Was that experience difficult? It seems to me that combining two distinct yet different songwriting personalities in a band might create some tension. Is it more comfortable for you to be at the helm in a band rather than inviting other cooks into the kitchen?

At the point where I was asked to do that I was going through a crisis of confidence so I was going with the flow more than usual. I didn't want to contribute more than three songs and I found it fun to perform the Lisa Marr songs because I really admire her. It was supposed to be what it turned out to be. A fun one off.

Did you ever find that fans and people around you were drawn to you romantically as a result of being exposed to your music? Was it necessary for you to take a cautious position with respect to fans due to the fact that many people (especially guys) can come across as assholes both intentionally and unintentionally. 

The thing I said about drunk fans has a lot to do with this attitude. But usually people are pretty nice. There are definitely people who act like they want to have a romance with me, but it usually takes on a cute, crush type of schoolboy or schoolgirl quality.

At what point did photography enter the picture, so to speak? You also directed some music videos? "All of This Pain" by Lisa Marr Experiment turned out great - do you see a connection between songwriting and photography/videography/editing?

I did a handful of videos partnering up with my sister Kristen Shattuck. We had so much for fun doing it. She was the director of photography and I was the editor and we both weighed into every decision. I think all creativity rules.

You sang on the NOFX song "Lori Meyers" - a small accomplishment in the context of your career but still one that people tend to reference (including wikipedia). What do you think of Fat Mike's songwriting? Both of you seem to have found a unique sound that have inspired many but can't quite be matched by anyone else. Has he ever given you specific songwriting feedback?

I can't for the life of me ever remember how Lori Meyers goes. It is not melodic or catchy. We were on Fat Wreck for our Alert Today Alive Tomorrow album and the only advice Fat Mike gave me about this batch of songs was after we turned them in, he said, where are all the fast songs?!

Who are the songwriters who you admire the most? Were there any who you tried to emulate in the beginning as you were finding your sound? Since your music pre-dates the "pop punk" phenomenon, I imagine you weren't as excited about that scene as people in my generation (I'm 38). How did you feel about the rise of the "skate punk" sound and the sudden marketability of bands like Green Day and The Offspring?

I really like Ray Davies, Lennon McCartney, more than that but I'm drawing a blank. I never willfully paid homage to anyone on purpose but I did accidentally I'm sure. I totally like Green Day, but the Offspring ain't my cup of tea.

The Muffs seem to have had a successful career so far without changing up the sound or style significantly. You've had the major label experience, movie soundtracks, and have enjoyed different eras of success over the years - is there a standout moment when you felt particularly proud of your songs or what you've accomplished with The Muffs?

I don't know how to sum up my career in a few sentences. I am most proud of how my songs have progressed. I'm happiest when I'm making shit up so there's that.

Your scream is well-known and many have asked about it in interviews. My feeling is that you could've just as easily fronted a metal band if you were into it - how do you feel about heavy metal music as a style?

I hate heavy metal with every ounce of my being.

How does songwriting fit into your current life, and how do you feel about the impact of the most recent Muffs album? It seemed to get great reviews, but is that good enough? Are you still motivated to continue touring and recording albums? Has any other outlet emerged in your recent life as something that's more of a focus now than music?

I can't think about the future.

B.A.

B.A.

You seem to have deep roots in rock n' roll - when did you first fall in love with it? Which bands were most influential to you, and inspirational in terms of trying to write your own songs? Did you have projects and bands prior to Sloppy Seconds?

I guess we first started getting heavy into music when we were in junior high.  It was Kiss, Queen, Aerosmith, Alice Cooper, Cheap Trick, and Bowie to start with.  The Sex Pistols, Ramones and Devo we started hearing about in high school - articles in Creem, seeing the album jackets in record stores.  You could tell bands like the Dolls, the Runaways and the Dictators were gonna be cool before you even dropped the needle on their records - they just had that killer presence and style.  As far as influence...we get tagged as "Ramones-influenced" a lot, and I don't mind that.  But musically, I think the Heartbreakers were a huge influence.  Lyrically, the Dickies, Redd Kross and Replacements were a factor in all the funny, teenage trash-culture references.  One thing that's kind of unique about us is that we weren't individuals who sought each other out to form a band.  We were just a close group of friends who got real loaded at a party one night and picked up instruments.  Danny had played guitar before, but Sloppy Seconds was our first and only band.

You're the front man and singer of the band, but also the songwriter - do you typically write on an acoustic guitar? How did you learn to compose and structure songs? Your style is very traditional in a sense but there's plenty of attitude and personality there. How did you develop your style as a songwriter?

I can't play any instrument - I've never bothered to learn.  And I'd make a distinction:  I'm a lyricist, and many times I come up with the tunes, but I don't know that that makes me the songwriter.  The fact that I can't play guitar forces us to take a really bass-ackward approach to songwriting.  Basically, I write a song in my head and sing it to one or more of the others.  Then they figure out the chord progression to fit the tune I sing them.  There are exceptions. The other guys sometimes have riffs or song themes they want to build on, and I'll flesh out the words.  Or they'll hear my ideas and say, "That sounds too much like that song from the last album.  Why don't we try going to this chord instead or change the key?" and that will result in the melody or structure changing.  But a good chunk of the songs don't change much from the first time I hum them to myself.  It's odd...I don't know if any other bands take that approach.  

Everyone in Sloppy Seconds seems to have similarly deep roots in rock - to the effect of making Sloppy seem much less a pop punk band and more a rock n' roll band in the truest sense. How do you feel about that association? Do you identify much with other punk rock songwriters, or does your inspiration come from a more classic source? Who are other punk/pop punk songwriters that you admire?

In our mind, it's rock 'n' roll.  Most punk is - at least the good stuff.  What we play certainly falls under the umbrella of punk.  On the other hand, we have some fans who are mostly into hard rock and metal.  Pop-punk fans like our songs for the hooks, but I couldn't sing that Billy Joe style if my life depended on it.  To me, a great band is all about great songs, so I'm a big fan of quality songwriting.  Dr. Frank's songs are brilliant.  The Descendents have always written great songs, and everyone contributes.  The Dickies are obviously great writers.  The Vandals have an amazing body of songs - very witty and with excellent musicianship. The Misfits - jeez, how many of their early songs WEREN'T classics?  Joey and Dee Dee were both fantastic songwriters - that's like having your Lennon and McCartney in one band.  And I really admire D.O.A.'s songs - political stuff is not easy to pull off with style, and they are the best at it, hands down. 

Your lyrics, like your melodies and structures, are concise and effective. You use wordplay and clever/funny lyrics to great effect - what is your lyric-writing process? Do you typically come up with a topic and write lyrics based on a melody? Also, what is your feeling about being a band with brains? It's an interesting juxtaposition - the "Junk Rock" aesthetic and the cleverness of your songwriting that many may overlook.

I feel like I might be talking too much about the songwriting, but okay.  As far as the process - it usually starts with a line that suggests the theme a song will explore.  Parodies of other songs or cultural touchstones can be inspiring.  "Come Back, Traci" was written starting with the line, "I met her at the video store."  Well, of course, that's a take-off on "Leader of the Pack," with "I met him at the candy store."   Then, if you look at "You Can't Kill Joey Ramone," the last verse is a paraphrasing of the old baseball poem, "Casey at the Bat."  I doubt anyone noticed, but that was the source.  One thing I do pride myself on - and maybe this was a reaction to hardcore, which was the big thing when we started - is I try to conceive clever rhymes.  Interior rhymes, multi-syllable rhymes, thematic rhymes...anything to keep the song interesting.  A really good rhyme can make a lyric soar, in my opinion.  "Human Waste" is a good example of that, and so is "Lonely Christmas."  I guess Elvis Costello and Squeeze were really influential in that regard.  I can write dumb lyrics, too, and I have on many occasions.  But when I do I think it usually comes across with a nudge and a wink.  "Achy Breaky Skull" is one of those; I don't think anyone really thinks we're misogynist.  If they do, then we have way too many female fans!  I'm usually reluctant to dumb-down the words or go for the cheap gut laugh if there's still a clever angle to exploit.  I just think I'd be cheating the band and everyone else if I didn't use all the tools I find in my belt.   

As you've moved through the decades into today's music scene, what are the most significant changes that you've found to be challenging? Do you feel that Sloppy Seconds' longevity has to do with the fact that the songs have a timeless feel? Do you feel that certain styles of punk (including the "Nitro records sound" that you may have been associated with when you were signed to that label) sound dated today? Also, how did you become connected with Dexter Holland back then? What do you think of his songwriting? I think he's pretty damn good!

The fact that we don't rigidly conform to a particular punk style has given the band staying power, for sure.  But I definitely wouldn't say the "Nitro Sound" is dated at all.  If you want to talk about Dexter's songwriting, I think it really defines the sound that allowed punk crossover on alternative rock stations.  "Self Esteem" is mammoth; you have to put it in the same strata as the Nirvana or Soundgarden hits from that era.  We were very happy to be hitched to Nitro's wagon at that time.  We were brought to Dexter's attention by Jason McLean, who was a big fan of ours and a friend of Dexter.  He was also the guy who uttered the cholo hookline "You gotta keep 'em separated" on The Offspring's "Come Out and Play."  We wanted to thank Jason for making the connection that led to our Nitro signing, so we had him do a guest spot on "Smashed Again" from our first Nitro disc.     

What are the daily challenges of remaining motivated and productive as a musician? Do you find it increasingly difficult to balance work and adult life with the band? How have your goals changed since the early success of Destroyed?

We always hoped we would reach more people with our releases, but I think we've established our little niche in the punk rock world.  People know exactly what they're going to get from Sloppy Seconds, and we enjoy giving them what they want.  We have to pay rent, like anybody else, but who cares what our lives are like offstage and off the road?  If I thought our fans would have any interest in when I mow the grass, our songs would suck out loud.   It would be cool to play more often, but a lot of bands can't keep a lineup together because they totally burn out on each other.  I don't ever want that to happen, so I'm happy that we're still able to play together and enjoy it as much as we do. 

Sloppy Seconds has always had somewhat crass and un-PC lyrics, but you've somehow managed to avoid the Internet witch hunts that some of your contemporaries have fallen victim to. Is this something that concerns you at all? Do you think it's more risky to be in a punk rock band in this era where any slip up can instantly become a pubic spectacle/scandal that ultimately ruins careers?

Well, I've done some things in the past that I'm not too proud of, onstage and off.  Everybody has.  I think most of our fans realize that a lot of the sentiments in our songs are very tongue-in-cheek and that we're basically a pretty decent group of guys.  You know, "I Don't Wanna Be a Homosexual" has gotten played in a number of gay bars, and plenty of queer guys have told us how much they dig it.  So if gay guys know it's not homophobic, then we know we're on target.   When the song first came out, we did get a threatening letter from ACT-UP, so I don't expect everyone to share our sense of humor.  Ironically, a song I figured would get us in lots of trouble is a real fan favorite - "Black Roses."  It takes such a skewed view of pregnancy and abortion, but our female fans seem to love it most of all.  Crazy...  But I remember how Leonard Graves Phillips got burned last year.  The Dickies have been putting on the same act for forty years, and they shouldn't have to worry about anybody's "safe space" when they're trying to entertain their fans.  But like they say in the NBA, it's always your retaliatory punch that the refs see.   So he got caught on camera trashing this woman.   Didn't handle the moment well, maybe, but I thought their public statement a few days later was great.  We've played with the Dickies in the past, so I know they're nice enough guys.   

You guys have always been associated with the "classic" style of pop punk that was associated with labels like Lookout! Records - but of you were never really affiliated with that scene as far as I know. While that was going on, and as some of those band really started to take off (Screeching Weasel and Green Day in particular), what were your thoughts on all that? It seems that Sloppy Seconds always kind of kept its own counsel and did things according to their own set of rules.

I think we mostly get that association because of the era when we emerged.  Because we really don't sound anything like most of the Lookout bands.  Pop-punk fans appreciate the catchiness of our songs, and we catch a good bit of overflow from that audience.  But I've always thought we were more in line with earlier bands like the Dictators, Angry Samoans, Heartbreakers and the Anti-Nowhere League.  Well, and the Ramones, for sure.  We're more cartoon-ish as personalities.  Could you imagine any Lookout or Fat Wreck Chords bands with me as the front man?  Don't get me wrong - we'd love to cash the checks bands like Green Day and Blink 182 get.  But we kind of addressed that in songs like "Forced to Suck" and "D.I.Y. Till We Die":   I can't wait to sell out - but it's hard to sell your soul when nobody wants to buy.  We know there's a glass ceiling to our popularity.  So if we'll never be mall punk, we may as well be the gold standard for junk rock.  

Sloppy Seconds has released many albums, but not to the point of being noted as especially prolific. Do you think it's important to let your songs marinate before releasing them? Do you tend to write songs quickly or no? As a band, what's the typical time line for coming up with enough new material for a full-length album? Also, what's your personal favorite Sloppy Seconds album?

You're being very kind.  Not many punk bands go five to ten years between releases without breaking up and re-uniting.  And we know it's frustrating for our fans.  That's really been sort of our M.O. from the start, though.  While we released a few singles and compilation tracks early on, our first album, "Destroyed," wasn't released until the band had been around for about five years.  But we made it worth the wait - that record is a desert island album for a lot of fans, and it's because we didn't waste any of the tracks.  There's no filler on that album, and we've tried hard to maintain that standard in the years that followed.  We could put out a new album every year, and there are plenty of bands that do.  But how many songs hold up from those records?  Three or four per disc?   We've always waited until we felt we could deliver a solid album of material.  If our debut album was made up of the first thirteen songs we wrote, forget it - nobody would be talking about that record today.  We've had a few real hot streaks of songwriting over the years.  We laid down eight demos for "Destroyed" one day, then we came back to the practice room after recording and came up with "Blackmail" and "Time Bomb" in half an hour.  "Destroyed" is definitely our best album, but I think they all hold up pretty well.  "Endless Bummer" was really well-received after a long hiatus; the general response was that Sloppy Seconds are still doing what they do best twenty years on.      

Something admirable about Sloppy Seconds is the line-up has remained consistent throughout the years (with the exception of Danny Roadkill leaving). How have you been able to accomplish this? Also, do you guys hang out on a regular basis? What's the key to maintaining harmony in a band?

Well, as I said we were friends first - Steve, Bo'Ba and I have known each other since we were in second grade.  We met Danny when we were in high school, and he was hanging out and partying with us long before we ever played music together.  I think the fact that we shaped our style and image together gives us a sense of purpose as a group.  We wondered if we would be able to survive as a band when Danny left, because it's such a personal thing with us.  Ace was a real godsend in that sense.  We had lots of guys auditioning who were straight out of the Screeching Weasel school.  And I love SW, but you know that style doesn't suit us at all.  So Ace comes in talking about his rig and his gear, and we just have our old beat-up equipment.  But we found out right away that his main influences were Cheap Trick and AC/DC, which was perfect.  The first time we ran through some songs, it just clicked immediately.  There's a lot of hard rock influence in our style, which is essential because that was the music we heard first.  We're kind of a dysfunctional family that need each other.  You definitely don't want to kick an old friend out of your band, so you really have no choice but to work through your issues.  We decide things as a group, because we know each of us is key to the band dynamic.  I could never front three other guys and call it Sloppy Seconds, and I would never want to; our identity is one of our biggest assets.  So we've stuck together for the right reasons.  If we can't hang out, we always stay in touch by phone.

I know you love rock, but how about metal? Is heavy metal something that ever interested you in particular? Have you ever/would you ever try writing in that style? I can picture some Dio or Twisted Sister sounding tunes - what do you think? Also, what do you think about metal as a scene - can you relate to it at all? Do you have any favorite metal songs or albums?

Yeah, I like some metal stuff.  I think Steve and Ace probably absorbed more metal than I did in the 80's.  I didn't really experience the presence of Metallica, not even in the way a lot of punks did.   I don't think it impacted Bo'Ba much either.  I never liked Dio or Iron Maiden, but I have friends who do.  But I am a fan of Judas Priest and early Motley Crue, and the first Faster Pussycat album is great, if you call that metal.    We fucking love Motorhead, although Lemmy didn't consider them a metal band.  Slayer, Venom and Pantera I know next to nothing about.  (I'm probably destroying all my street cred here.)  Twisted Sister was fun, but again - are they metal?  I dunno.  As far as our stuff, you can definitely hear some metal influence in certain songs.  I always thought of "Killing Myself" as kind of a hybrid of Twisted Sister and G.G. Allin.  And "Den Mother" is a total Motorhead cop - quite intentionally. 

Sloppy always comes across as having a great sense of humor and fun, and yet the band isn't a "smiley" kind of happy go-lucky group. In fact you guys are rarely smiling in photos, which gives the band a sort of dead-pan humor effect at times. To what extent did you guys settle on a particular image for Sloppy Seconds? Do you just sort of let your own personalities shine? How did the Sloppy aesthetic and "Junk Rock" ethos develop?

That's an interesting question.  I'm pretty outgoing onstage, and people usually find me very approachable; some of the other guys are not as easy to engage.  I guess it just comes down to personalities.  The way we present our image as a band makes me think back to something I read about a Saturday Night Live sketch.  It might have been advice Dana Carvey got from Lorne Michaels.  Anyway, he was told that you can play this scene broadly for laughs, but you'll find there's more humor in playing it smart.  I agree with that.  Even though our songs might be amusing, we still have to commit to them seriously.  I think each of us has a recognizable stage presence, even if it's not a conscious effort.  Ace is a great showman on guitar, and Bo'Ba is all intensity onstage.  Steve talks to the crowd a lot to leave me a little shred of detachment.  Otherwise I'd probably come off like a stand-up comic. 

Has Ace Hardware ever showed up to practice or a show with a guitar that looked TOO ridiculous? Also has he or any of you guys had the opportunity to meet Rick Nielsen? Can you recall a time when you received praise or direct support from a songwriter or musician who your really admired?

Nah, we love it when Ace comes up with a fun stage gimmick.  He's the most serious-minded musician in the band, and that Froot Loops guitar has become his trademark.  I don't know if he's actually met Rick or not, but I know he's seen play a lot.  I've probably seen them seven or eight times, but not nearly as much as Ace has.  Recognition from somebody we admire?  A little, I guess, from some of the bands we toured with.  Marky Ramone thought we were good, and we've remained friends with him over the years.  Joey Keithley has always been really cool and likes our stuff.  Some of the older Brits from the Social Chaos tour complimented us, like Knox, Gene October and Beki Bondage.  Mike McGrann from Channel Three sent us a really nice message before we ever met, which was cool - I had no idea he even knew of our existence, and I'd always loved his band.

What are your future goals as a songwriter, and what are your future goals as a band? Do you ever communicate with Mr. Roadkill? He still performs and posts catchy tunes on Facebook. Finally, do you have any advice for aspiring songwriters and musicians?

It would be cool to put out at least one more record.  We've got some solid material we could cultivate; it's just a problem of logistics.  It's more difficult for us to gather in one place these days, and we try to hit the road whenever the opportunity presents itself.  Danny (Roadkill) still lives here in Indianapolis - just a few blocks from me, actually, and we see each other from time to time.  There was a long estrangement after he left the group, but the bitterness is behind us.  It's like a divorce - you try to just remember the good times, and there were plenty of them.  I used to always tell aspiring bands if we can do it, anyone can.  Sadly, I don't think that's the case anymore.  I don't know if a band could establish itself and build a following in the same way we did.  The whole underground D.I.Y. thing isn't what it used to be.  They could become a YouTube sensation, maybe.  I hope it's still possible; I always keep my eyes and ears open.

BRAD MARINO

BRAD MARINO

Let's take it back to the beginning - how did you first come to understand that you had a love for music, and when did you begin playing music? What was your first instrument, and how did you learn to play? When did you begin writing songs, and how did you approach songwriting early on?

It seems funny now but I would say that MTV in the mid - late 90’s is what peaked my interest in music. I was really into some of the bands at the time, Green Day of course, The Offspring and some of the other contemporaries like Blink 182, Lit, Oasis or even Smash Mouth. It seemed like a big deal to be in a band back then and that was when they still played music videos and there was some good ones back then whatever you thought of the song at the time. That was probably the last period of time -sadly possibly ever-that it was cool to play guitar and sing and be in an actual band and some of the most popular bands were of the ‘punk’ variety too. 

My first instrument was an Ibanez Stratocaster knock off. No one in my family was musically inclined and I’m sure my parents would rather have had me stick with sports but my grandfather was a really cool guy and knew how bad I wanted a guitar. One day we were driving and he said “ Something is rattling around in the trunk” he pulled over and we looked and there it was my first guitar and my life was changed forever!

At first I took lessons, probably 3 or 4 but my grades kind of stunk. I was in middle school maybe 7th or 8th grade and my parents weren’t as cool as my grandfather was so I had to call the guitar teacher and say I couldn’t go anymore. Luckily a few months later I discovered a band that would ultimately change my life forever, The Ramones! 

As far as the early stages of writing for me that was a couple years later when I was about a sophomore in High School, I started tooling around with some ideas. Heavily influenced by The Queers , another band that blew my mind at the time. The sophomoric lyrics and catchy melodies really hit a nerve with me at that age (14 or so )and they seemed to love The Ramones as much as I did. I don’t think the songs were any good but I remember the guys in my band liking them at the time and getting random compliments from people around the school.

Were The Rydells your first band? What were the songwriting goals for that band, and how involved were you in that process? Denny seemed like an interesting character - I recall you saying that he "was Johnny Ramone" not just in looks but also in personality. What was that experience like? 

Actually my first band was called “No Remorse” the aforementioned high school band. Basically playing random punk covers and my handful of originals. I was the singer and guitarist. At the time I joined the Rydells in 2004, Way to Go!, my other old band was just starting out and I would always mess about with the drums at practices and realized I could play and pretty well for someone with zero experience. Denny asked Rich from WTG if he knew anybody and Rich said I could probably do it. Thats how I joined.  It was awkward at first. I knew nothing about drums as far as setting them up or any proper technique but I could do that Ramones sound quite well. When I joined the first album “Go Mental” had been written already so I don’t know much about the writing of that one. I believe Denny wrote the majority of it and also Chris Lamy who had played with GG Allin and The Jabbers also wrote 2 or 3 songs for that. The best song “M.I.A” was written by a bass player, Colin was his name. He played the first couple shows I did with the band and he bailed on the recording session and we never saw him again. The second album “RnR is the Answer” ( 2008) I was more involved in the writing process. Everyone wrote for that one. Andy the new bass player wrote a lot for that one, Denny wrote a couple, and I wrote a couple too, “Toledo” and “ Three Bullets” just kinda “Meh” Songs. Once again Lamy wrote a bunch for the record too. Denny was an interesting cat to be sure. I definitely admired him because he was older than me, he looked like Johnny Ramone, and he was extremely knowledgable about music. He turned me on to a lot of great bands. 

The band Way to Go! was a great one, but didn't seem to last long or get a chance to make the kind of impact I felt it deserved to make. Also the style of music was different - a more traditional pop punk style but still with Ramones roots. You also sang and played bass in that band? How was that different than being the drummer of The Rydells? What are some of your most memorable experiences with that band? Got any more of those cd's laying around you could send me?

Way to Go! Was a mess of a band. Rich Masta was the songwriter for that band, he really could crank em out. Funny, witty, interesting take on ‘pop punk’. I really liked his songs. Denny hated that I had another band, there is that “Johnny” coming out again. I felt more comfortable in WTG because I was singing again and I really didn’t like being behind the kit as much. I liked being front and center and interacting with the crowd and most of all singing. Like the drums I wasn’t really a bassist but picked up and rolled with it. The big problem for WTG was Rich. Great songwriter but I think he almost enjoyed ruining things and not getting the band to a larger audience. It was frustrating to be sure. When we did the one real “official” release “1,2,3 Bored!” We were really tight. I loved the songs and the production of that album. The label wanted to do a vinyl pressing and Rich said “no”. I also think some labels were interested besides the one we ended up on and Rich probably blew em off or something. “Bored” came out after we broke up, I think Rich wanted it that way for some reason. It was stupid but what could I do? I also was sick of pop punk at that point. I really hadn’t been listening to it for years by this point  in 2009. 

How did The Connection first form, and what were the goals from the outset? Obviously this was a musical departure for all involved, taking it back to the pure rock n' roll roots of punk. How did you guys develop that sound? Was there some analysis or songwriting study involved? How did you manage to create such an authentic vibe without sounding cliche or unoriginal?

So in 2010 I moved to Portsmouth, NH and really through Geoff’s girlfriend, Jackie, I started hanging out with Geoff. We were both really into the same kind of music. We’d hang out, pass around a guitar, drink some beers and just listen to all kinds of records and music. Geoff also turned me on to a lot of cool stuff but it was our interest in ROCK N ROLL that bonded us. Dave Edmunds, Nick Lowe, Stones, Beatles, Chesterfield Kings, all kinds of random Power Pop. It was a lot of fun. I really wasn’t a songwriter until The Connection. I don’t know where it came from but I think when I started digging into rock/pop music more it opened me up to a different approach to writing. I started writing “All you Gotta Do” and “I want you” just trying to do a 63 Beatles thing and one day I was at Geoff’s and he was working on songs with Drew Brown from his current band, Geoff Useless Band. Geoff went to relieve himself and handed me the guitar and I just started playing what I had for those couple tunes. Geoff returned and was like “What’s That!?” He really dug the ideas. Drew left, I stayed and the rest is history- he helped me finish those and we took off writing more. It wasn’t for a couple weeks after we had “Stop Talking” and one or two more that we decided we had to start a band. Geoff was already a well established songwriter so I think that helped push me to continue to write and just try different ideas like I’d never done before. It was definitely different for Geoff and I. We went from playing punk to playing more of a garage rock/power pop thing, We wore the old Beatles suites and skinny ties for the first 6 months or so of the band. The original purpose was to be like a garage lo fi power pop type band but we ditched that eventually and just started playing a mix of everything. I think that’s what it keeps it from being cliché. We mix elements of all kinds of music into The Connection, and I think the best thing we did was allow that punk rock background to start seeping in.

When you joined The Connection, did you already feel pretty capable as a guitarist? How was the experience of singing and playing guitar in the beginning? It seems that you've change roles significantly with each band leading up to the current era where you're stepping out as more of a songwriter who just happens to play everything.

I had sort of stopped honing my craft as a guitarist because what I knew was enough to get by in a punk rock band. Plus I hadn’t been a guitarist in a band in  years and years. I was a drummer and a bass player even though I always fancied myself a guitarist first I really wasn’t. So it was like re learning the guitar.I really put a focus on learning and practicing and it’s paid off. I’ve gotten considerably better than I was back in the early days of The Connection. I was sort of thrown into being the lead singer of The Connection, I thought at first maybe we’d both sing or Geoff would sing but he wanted me too. I think he saw that I could be a good frontman but it took a while to loosen up a bit and really fall into the role and embrace it. My singing has improved greatly as well. The Connection has definitely made me a much better musician than ever before and I think that’s why I’m able to play everything or do a solo thing here and there. I think I wasn’t passionate about being a ‘musician’ until The Connection. 

When did you begin to notice The Connection was making an impact? How did it feel to step away from the pop punk scene and be welcomed into a new scene with some heavy hitters like Little Steven? Did you and the rest of the guys feel that you had evolved beyond pop punk as a musical style and scene? How do you feel about pop punk now compared to the earlier days?

The impact was almost immediate actually. It was a very exciting time. It was definitely refreshing to join a scene that was much more inclusive than maybe the pop punk thing. I think I first noticed when we released “New Englands Newest Hitmakers” our first album it got great reviews and a bunch of blogs and review sites were giving it a lot of praise. We pressed up 100 Copies on White Vinyl and they sold out within a couple weeks. Then we had offers to press it from labels in Spain and Japan so it got off to a fast start almost from the beginning. I think a lot of that was due to Geoff’s connections (no pun intended) through fans and friends he had met touring with The Guts and Kurt Baker in Europe. Like any genre there is a scene out there for Rock n Roll/Power Pop and there are a lot of great bands doing it. Frankly most of them also came from a punk rock background, its sort of a natural progression I think in a way. Especially when you realize all the punk bands were influenced by early Rock n Roll. At least the good ones. I honestly was never big into keeping up with the “pop punk scene” I just sort of played in bands and we weren’t really big enough to get involved in it. I do think around the turn of the decade it took a turn for the worse. Musically and attitude wise. Pop Punk just became a bunch of snobs in their mom’s basement  talking shit and the music was just awful frankly, it lost the fun and pop sensibilities and became something that was totally different than I was into when I was younger. 

You've established yourself now as a connoisseur of classic rock music - but was this always the case? When did you start to become well-versed in bands such as The Rolling Stones, for example? Was there a moment when you realized, "Wow, this old stuff is actually great!"?

Not long after I started really digging into the Ramones I’d say. It started out as just liking bands that sounded like The Ramones but that quickly got tired and so I started digging into the music the Ramones listened to and were influenced by. And that is all the “classic” stuff. Classic Rock sounds dirty to me, I don’t like that term as much. Some of it is per se but I’m not really into The Who or Led Zeppelin that stuff is “dad/classic rock” to me. The Stones as you mention, they are the greatest rock n roll band to ever exist. Sure, they have “classic songs” but it’s easy to forget with how long they’ve been around that they were truly a dangerous band in the 60’s and most of the 70’s. In my opinion they were the first punk rock band and also were a bigger influence than the Beatles to a lot of the 60’s garage punk. The Ramones were just 50’s and early 60’s music sped up and stripped down a bit. The NY Dolls, The Stooges, MC5, they were just copying a lot of what The Stones were doing. It’s all relative and once you realize that you realize the greatness of the early stuff 50/60/70’s stuff. The album that got me into the Stones fanatic I am now was “Aftermath” the lyrics were totally relatable, it came out in 66 they were all 22 year old punks living in a shitty flat in England writing songs about girls, and being poor and on your own. Very relatable stuff, a lot different than the billionaires they’ve become but that doesn’t change the greatness of their first 2 decades.

When you made the "switch" from playing in punk rock bands to a band like The Connection which has cross-generational appeal, did you notice any significant age difference in the fans or show-goers? Does your family relate more to what you're doing now compared to the punk stuff? How supportive are they of your music in general?

The audience definitely trends older which at first is sort of weird but they were all 22 in 1978 when all the great music was happening, they got to see The original Ramones or Cheap Trick or Dead Boys, Johnny Thunders. I mean you name it and they got to experience it when it was happening. We have some younger fans but mostly in other countries. Id say a lot of our audience is people in their 50’s or so. Once in a while you get some young punks who get it but unfortunately a lot of punks are dumb and don’t get Rock n Roll. My parent’s like The Connection a lot more than Way to Go! haha.. they’re definitely happy with the success I’ve had but they aren’t really the hippest of the hip. Sadly like I said most of our fans are my parents age but if they dig it and buy stuff and enjoy it then whatever. 

You've recently stepped out along with some of your comrades in The Connection as a confident and capable solo artist/songwriter. What inspired this decision? Do you record all of the parts on the singles you've released so far under your name? What has been the process? Has your songwriting been significantly different this time around?

It was something I’d thought of for a while. I’ve really been writing a lot of songs over the past couple years and they were/are starting to build up. There are 6 of mine on the new Connection and I felt that with some of the others it would be a good time to just release them on my own as a solo thing. I played all the instruments and did all the vocals, its a 100% solo effort which was challenging and fun to do and makes it a little unique. My buddy, Michael Chaney, who is a big RnR fan and lives in Los Angeles kind of helped facilitate it and he contributed 2 songs to the project. He wrote all the songs for The New Trocaderos which was a band with Geoff, Me and Kurt Baker and also for Tommy and the Rockets a great project I played drums on as well. It’s very exciting to have solo stuff on the side now, The Connection is still number 1 priority but releasing new music more often is fun. A cool label in Sweden, Beluga Records, is pressing it up on vinyl which I’m excited about, you can get it at bradmarino.bandcamp.com

Now that you have a more versatile rock n' roll background, has your process for composing melodies and song structures evolved significantly, and if so in what ways? You still seem to prefer concise songs as opposed to long ones - is this a nod back to your punk roots? Have you spent much time developing your guitar soloing skills - and is this something that's important to you as a songwriter?

I think I’ve developed because I’m not forcing myself to be in a box. With The Connection Geoff and I write all types of songs. Some are flat out punk songs, like “Don’t Come Back” thats one of mine, Dan Vapid even does the call and response vocals. We do 60’s sounding stuff, hard rocking NY Dolls/Stones stuff, country, power pop we just WRITE and if it’s good it’s good. I still adhere to the 2:30-3:00 minute song mark. That’s a good solid song right there, “Don’t Bore us get to the Chorus”. As for solo’s I’m not virturoso or anything but I can hold my own. My solo style is just Chuck Berry, Johnny Thunders, Keith Richards style. No one likes a show off.

How would you describe your daily life now that you've settled in to a rock n' roll lifestyle that enables you to tour and record often? Do you have a 9-to-5 job? How do you meet the financial challenges involved in releasing high quality recordings? What's the hardest part about being in a touring band in today's musical climate?

I feel I have a lot of balance in my life. I’m happy where I am at. Rock n’ Roll is a big part of my life but unfortunately it alone can’t pay the mortgage. I have a great job that allows me to work at home, and offers a lot of vacation and flex time so there isn’t much I can’t do music wise due to the 9-5 thing. Recording is definitely not cheap. The Connection is lucky to make some money and be able to fund our recording sessions without dipping into our own pockets. We’ve also been fortunate to work with some great labels who help when needed. As for touring, we try to tour smart. Getting in a van and driving around the US playing to 4 people a night isn’t worth it on a lot of levels. We are lucky that we live close to Boston and New York City so that is 2 good markets we can play on the regular. We’ve done several European tours and those are a blast and totally different than anything in America. Touring is a lot of fun especially over there, everything’s paid for, you have a driver, really can be care free. And the audiences are super enthusiastic about the music and show up any night of the week. They also buy stuff so really in my opinion touring in 2018 keep it short and sweet, a week or two in Europe and maybe weekend runs in other spots.

What are you future goals as a musician and songwriter? Do you foresee yourself releasing new material on a regular basis for a long time? Do you have any specific songwriting goals in terms of technique or impact? Any bucket list items for tours or collaborations?

I definitely think I will continue writing and recording for a long time. Probably forever. I think if your a songwriter or whatever you are always cooking up new ideas even if you aren’t sure at the time what band or project it may be for. It’s very satisfying to write a good song and I really enjoy being in the studio. It’s like a playground, and hearing the whole thing come together is very exciting. It’s fun to add different production ideas and such to songs. My goal as far as songwriting is to keep getting better, just keep writing which I always do. You never know when a great idea may pop into your head randomly. I think one goal would be to write song’s for other people. I think that would be cool for sure and a fun challenge.  Tour wise I’d love to go to Japan. I know the fans over there are huge into RnR so that would be something for sure. Collaborations are also fun- I’d work with anyone who wants to work with me.

Finally, which Rolling Stones record could you point me to as a starting place to overcome the sour taste I've always associated with that band as a result of having an asshole stepdad who loved them? I feel I'm finally ready to give them a fair listen, but I need some guidance!

Ok I’ll give you 1 from each era’. The original 60’s Brian Jones era I’d go Aftermath, like I said great songs, instrumentation, Mick and Keith’s vocals are great. Awesome record. From the Mick Taylor era I would go Exile on Main Street. Lots of different styles of music but a lot of great straight up rockers on this one. And a more modern album, Some Girls. This one was their answer to punk rock and it’s one of the best albums of the late 70’s. Ignore the disco song “Miss You” and start on track 2. “Lies” is a great punk rock tune, “Respectable” is an awesome punk rock Chuck Berry style song. You won’t be disappointed!

KEVIN APER

KEVIN APER

When did you begin writing your own songs? What style were you going for at that time? Were your earliest songs for the The Apers, or were their projects/bands before that?

In the early 90s i discovered rock music through bands like Guns N Roses and Nirvana. In the summer of '93 I started my first band with some friends and I wrote my first songs. We didn't really have a style in mind, we just wanted to see the other weirdo kids from our shittown do the pogo. At that time I was a sponge for music, everything with a guitar was pretty cool to me. But around 94/95 it became clear to me that Ramones, Queers and Weasel were really my thing and together with Marien Nicotine and Ivo Backbreaker we started The Apers.

Were you writing songs on the bass or guitar back then? What was your method for songwriting? Did you record home demos? Who were you showing songs to for feedback?

Well, in the beginning I thought Axl Rose was pretty cool, so I asked for a Casio for my birthday. But that didn't last very long. My first band was a 3-piece, and both guitar and drums were already taken, so I picked up the bass. I basically wrote all the songs for the early Apers records on bass. Nowadays I record ideas I have with my phone, but back then I would record them on tapes. Nothing fancy, just so I don't forget it. The Apers would practise 2 to 3 times a week back then, so I would just play them for the other guys. Today my girlfriend has to listen to a 40 y/o dude singing angry songs about pineapples and tofu teriyaki.

When did you begin to feel some recognition as a songwriter? Who are some of the songwriters who influenced your work for The Apers the most?

In '99 we played our first show in Germany, which is actually just 2 hours away from our hometown. But when I noticed people in the audience singing along to some of our songs, i realised it was probably not that horrible. This was before the whole Facespace / Bandcamp thing was puking out 20 new bands a day for you to enjoy. As for the early Apers days, I mainly took my inspiration from Screeching Weasel and The Queers and all that followed. Bands like Chixdiggit, NOFX, Nerf Herder and the Dwarves have influenced my lyrics writing too.

What was the scene like in Rotterdam when you started? Why did you decide to start Monster Zero records? How do you see your role in the European pop punk community?

When we started it pretty much sucked, but when The Apers and Stardumb got involved, it became the best scene ever. Rotterdam in the late 90s / early 2000s was a killer place for poppunk / ramonescore / whatever you wanna call it. Great bands, amazing parties, just a great atmosphere. At first I was involved with Stardumb Records, but I kinda sucked at everything at the time, so Stefan went on by himself. But a few years later I was more ready to do something active again, and I started Monster Zero to release the first Mugwumps album 'Banana Brain' on CD. That was 2008. And now we're 10 years further, and I have just released Monster Zero number 70, a reissue of Punk Rock Confidential by the Queers, which originally came out in '98! As for my role in the community, I don't really think about it, I just love being involved and doing my part. Right now things are great with labels like Brassneck, One Chord Wonder, Striped, Stardumb, Surfin Ki and Round Dog blasting out cool records and parties like Punk Rock Raduno, Rotterdam Riot, Puke Fest, This Is My Fest, Summer In October and The Funhouse offering all bands good audiences.

Do you think the European bands have an approach or style that differs significantly from the American bands? To me it seems that European bands go for a more pure and traditional style of pop songwriting compared to many US bands.

Hard to say, maybe it's a bit true, but if you look at bands like 7 Years Bad Luck or Maladroit, Midrake or Dorkatron that theory sorta doesn't make sense. The other side of poppunk has also reached Europe. On Monster Zero there is place for all good punkrock bands that dig the pop.

Who are your favorite European bands at the moment? What about favorites of all time? Who are the inspirational European songwriters who you've worked with or looked up to over the years?

I absolutely love The Priceduifkes. Without them I would have given up on the whole scene in Europe a long time ago. Their latest record 'Goathorse' is also really good. So they qualify as at the moment and of all time. Manges, Zatopeks and Sonic Dolls are legendary and have really influenced me alot. And as for 'newer' stuff, basically all the bands on Monster Zero, but Neon Bone deserves a special mentioning for being fantastic!

What were the circumstances of you joining Insanity Alert? Have you always been a fan of thrash and metal in general? Do you also contribute songwriting for that band? How does it differ from your role in The Apers?

Insanity Alert started as a joke. Three metal dudes and a punkrocker just hanging out and drinking beer. When I started listening to music, I also liked Pantera, Slayer, Bodycount and Sepultura alot, but until 2010 I didn't really get into the whole genre. That changed when I heard 'The Art Of Partying' by Municipal Waste. So much fun, so much energy. I write 90% of the lyrics for Insanity Alert and come up with an idea for a song or a riff here and there. Apers evolved from a teenage band from a shittown to a 22 y/o machine with over a 1000 shows played. Insanity Alert has been different from the start. Our approach, our scene, our expectations.

In the metal community, how were you received? Are your bandmates and fans aware of your previous band and involvement with the pop punk scene? Do find that metalheads generally appreciate pop punk? I have found that within the pop punk scene there are many who also love metal!

All good so far. Some people come to see us because of the Apers, but most have never heard of them. Simone from Riccobellis booked our first show, supporting Suicidal Tendencies. Ofcourse there's Google, so people that are interested find out about my other musical stuff ofcourse. The metal scene is huge and pretty diverse, but Ramones are appreciated everywhere. Just like Slayer. And Abba.

What is your favorite Municipal Waste album? (For me the choice is Hazardous Mutation - my favorite songs, cover art, and a great era for the band). Have you maintained any contact with Ryan Waste, a fellow songwriter? How has it been meeting and opening for some of the greats in thrash metal?

For me it's The Art Of Partying, Hazardous Mutation being a close second. But TAOP is the perfect crossover record for, only being outranked by S.O.D.'s Speak English Or Die. The vibe, the songs, the production, the lyrics, artwork, it all fits perfectly. It's their Dookie, their Don't Back Down. With Insanity Alert we had the pleasure of playing some shows with them and Iron Reagan, all super dudes. They work hard and tour alot. We have not really discussed songwriting though hahaha.

It seems that your experience in Insanity Alert has allowed you to play on bigger stages and to bigger audiences. Was that something you felt was missing when you toured with The Apers? How does it compare?

I never missed it with the Apers, to be honest. It's a really different world. And a really different scene. Both are great. I love playing with the Apers, cause there's always friends to hang out with or cool bands on the bill. But to see people drive hours and mosh shit up with Insanity Alert is amazing too. Playing a festival like Hellfest is unbelievable. We had a taste of it and we want more.

As a frontman in Insanity Alert, your performance goals must be very different than in The Apers. Do you ever miss getting to sing while playing an instrument? How do is your experience different on stage performing with Insanity Alert versus The Apers?

Playing with the Apers is a walk in the park compared to a 30 minute Insanity Alert set. Physically mainly. Thanks to bass guitar, i sorta remain in one place with the Apers. But to say I miss it, would be exaggerating. I really love both, and I'm lucky to be able to do both.

Jim Callahan aka Barf, who did artwork for the Moshburger album used to live in the same town as me (Charlottesville, Virginia). And of course he has worked with Municipal Waste in the past - how did you connect with him?

I googled him and wrote him, not really expecting anything. But he replied right away, said he liked our sound and wanted to work with us. Before he made the Moshburger cover, he also made a Pizza The Hutt design, which is really great. Super nice guy, with punk rock roots.

Do you feel that Insanity Alert fits into a larger community of "new" thrash bands paying homage to the classic sound? Do you have a lot of contact with current thrash bands, and is there a community similar to the pop punk world? Do you feel that there could be too many bands playing the same style of thrash?

I think we're most definitely part of the new wave of thrash or crossover. And yes, we do keep in mind where the genre started and who the originators are / were. We already played with bands like Nuclear Assault, DRI, Suicidal Tendencies, Sodom, Kreator and Death Angel, and it really works. We also play with many newer bands like Toxic Holocaust, Gama Bomb, Warbringer, Dust Bolt etc. Also get along with them. I recently started a small mailorder called Mosher Zero, cause I've been collecting records from bands we play with, most of them being from Europe. And too many bands, I don't think that will happen. There loads of them now, and it seems to be working fine.

What are you future goals for Monster Zero, The Apers, and Insanity Alert? It seems that you have stayed busy this whole time. What musical goals remain for you?

My main goal is to have fun. And I have fun playing music with friends, drinking beers, travelling and many more things. If I can combine that with making some money to pay the rent and don't starve, it's even better. At this point I'm happy with how things are going but who knows what happens? Maybe I start a jazz combo and get super famous!