BILLY PUTZ

photo by Bambi Guthrie

BILLY PUTZ

What are your earliest memories of loving music? When did you start to have favorite songs and bands - and what were they?

Growing up, I was exposed almost exclusively to classic rock, which never really resonated with me; I didn’t care about any of the topics they were singing about or how talented they professed to be; it was all just noise to me. It wasn’t until I was thirteen and I started noticing bands like The Offspring, Blink-182, and Green Day were regularly appearing on the radio and television. Up until then, I’d never really heard anything like it; it was fun, it was fast, but it also wasn’t overly serious…at all, and I adored it. Not long after that, my friend Nick introduced me to Screeching Weasel and The Queers, which obviously just seemed like a raw, more natural, less polished versions of those other bands, and that was it, I was hooked; I just wanted to listen to fast, fun, goofy, irreverent, catchy punk rock songs forever.

At what point did you begin to associate music with your identity, and when did you first pick up an instrument?

I first picked up a guitar, with the intention to play it, when I was fourteen, when we first started threatening to start a band (I was going to play rhythm in our theoretical band since I had no formal training). Tyler showed me how to make a bar chord and told me I could do that anywhere on the guitar and it would be music. It was that easy. My mind was blown. But it was when we decided to actually follow through with the idea of starting a band, and I bought my first bass guitar (our original bass player moved to California so it was decided that I would learn to play the bass instead), that I really began associating music with my identity. Once I got that bass, it was like something clicked into place, right and natural, and it has never occurred to me, nor have I ever considered the idea, that playing music and writing songs would not be a part of my life.

You're around my age, so I imagine the 90s era of punk rock was very influential. Were there specific albums or bands that inspired you to begin writing songs?

Absolutely! Love Songs for the Retarded by The Queers, Storm the Streets by Riverdales, and Shit Out of Luck by The Lillingtons were the probably the three specific albums that made me want to write songs. Each of those albums, in their own way, are both simple and complex, serious and silly, melodic and snotty, and, maybe more importantly, they are all accessible, relatable, and energetic. Each song on those albums made me think, “that’s brilliant, why didn’t I think of that?!” So that’s what I did, I set out to write relatable, accessible, and energetic songs.

Your songs have a very "complete" and traditional feel - how did you develop your songwriting chops? Were you using other songs or styles as templates for your own?

I basically learned how to write and structure a song from teaching myself to play along with every Queers, Riverdales, Screeching Weasel, Mr. T. Experience, Groovie Ghoulies, and Lillingtons song I could, so…that probably explains the traditional feel. However, I never intentionally tried to mimic any of those songs; from the melody to the chord structure, if I noticed or someone else pointed out that a song sounded similar to another song, then I’d make every effort to change it and make it my own or, if that didn’t work, just scrap the song completely and move on. Ultimately, I think learning all of those songs not only taught me how to write a song, but how to do it in a way that was uniquely my own, always aiming for similar but different, refreshing not repetitious, honoring the history of the genre while also making my own contributions.

How did The Putz form? What were your goals and aspirations at the beginning?

The Putz formed because one day in our freshman year of high school, my friend Nick suggested we start a band; he was going to play bass and sing, Tyler was going to play lead guitar, and I was going to play rhythm guitar (despite never having played an instrument before, and the drummer…well, we’d figure that out later. He’d already picked the name, informing me that it originated form the Queers song Born to Do Dishes, I told him what it meant, we had a good laugh, and that was that. Unfortunately, Nick moved to California that summer before his idea was able to come to fruition. Not long after that though, Tyler and I resolved to keep the dream alive and actually got together and had our first practice, writing a bunch of really, really bad songs, which are documented on a single cassette that I keep under lock and key, never to see the light of day.

Long story short, we kept the band together until our senior year, when we broke up for one reason or another. Then, four years later (I think this was 2008), I ran into Tyler one night, we got to talking, both agreed it was time to give it another shot, and The Putz, in all its glory, reformed. Our only goal at the time was to have an excuse to hang out, get drunk, and play silly songs.

"Hole in One" is a great album that seemed to fly under the radar when it was released. What was that recording experience like? Did you already know Mass since you live in Indiana?

As far as recording goes…that particular session was a little crazy, we’d never been to a studio before, professional or otherwise, and to hit the ground running at the Sonic Iguana was both exhilarating and intimidating, especially trying to cram 16 tracks into three days. We pulled it off…well, with an additional day for touch up, and in the process learned a lot, not just about the recording process, but, and arguably more importantly, what we were capable of as a band, specifically in terms of creating and executing what I consider our now signature harmonies.

I’d met both Mass and Phillip (Hill) before, but only at Squirtgun and/or Teen Idols shows, which I think actually helped add to the magic of the experience. We took every suggestion very seriously as these were our heroes, each with multiple releases under their belts, both performing and recording, and who had helped shape the sound for an entire genre. It was awesome.

Regarding your songwriting method, do you have a routine or disciplined approach that you typically use?

My method is not too terribly structured; no shades drawn, rob donned, incense burning, sacrifices to the Ancient Ones. Now that I’m forced to think about it though, I will say that I almost exclusively write songs while standing up, playing my bass. Oh, and I never write anything down, which has backfired on more than one occasion, but, for the most part, everything starts and stays in my head. I almost always start with the chorus just because it would be incredibly disappointing to craft a bunch of verses and never be able to concoct a suitable hook or catchy chorus. I will add, some songs have started in my head while driving, which is stressful because I’m not always sure that I’m going to be able to get the music to match what I’m hearing, but every now and then I get lucky.

One thing that really stands out in your songwriting is your knack for composing verses that have cadences and syllables that resolve in a very pleasing way before the chorus. Do you end up revising a lot or are your songs usually completed all at once?

Originally, and I think this is true of everything up to and including Hole In One, most, if not all of my songs were written in one sitting, with little to no revision. After recording and sequencing an album however, that approach mutated as I realized I wasn’t just writing single, standalone songs, I was constructing albums. That’s when I really started revisiting songs and (over)analyzing every little detail, making sure repeated rhymes were limited, that keys from song to song varied, and that every song had its own unique identifier by means of a bridge, a breakdown, a lead or a solo, an outro versus and abrupt stop, claps, tambourine, etc.

You're a proud father, husband, career man - all things to prioritize and value in life while attempting to make time for music and our creative goals. Has this been challenging for you? I recall your former guitarist leaving in order to focus more on family. 

Definitely, it is a constant struggle to find time for everything, and there have definitely been sacrifices along the way. It involves a lot of time management, remembering to update and maintain multiple shared calendars, not to mention the almost constant need to apologize (for missing a deadline, not responding to a request, delivering a lackluster performance, over scheduling, logistics issues, forgetting an event or prior commitment). But after almost a decade though, I’ve learned to embraced the hectic, cacophonous nature of my life, making it a point to make the most of the time in between commitments, taking advantage of obligation free nights and weekends, scheduling every activity as far as out as conceivably possible, accepting that spontaneity will forever remain one of life’s little mysteries. It’ll always be a bummer thinking back on all of the things I used to enjoy doing that have, consciously or inadvertently, gone by the way side, but as long as I’m enjoying what I’m doing and maintaining that incredibly delicate balance, then I’m confident, or at least incredibly hopeful, I won’t have too many regrets when all is said and done.

Your personal style is very low key and simple but you seem to have a deep appreciation for traditional aesthetics. Does pop punk appeal to you in part because of this? Have you ever considered doing projects or songs that are in a different, perhaps looser style?

I’ve always said that punk rock appeals to me because at its core it’s just a group of three to five individuals getting together doing the best they can with they have, writing and playing songs they hope will stand on their own without much in the way of a gimmick. I really appreciate that pop punk, on the whole, is a genre rooted in the idea that the songs should be able to speak for themselves, that most of the tunes I grew up admiring and be inspired by were written by some other dude wearing jeans, a t-shirt, sneakers, and a ball cap. This concept is part of what makes the genre so accessible, there are no barriers to entry, you can just show up, be yourself, and be accepted.

I have honestly never thought about branching out and attempting to do anything in any other style, specifically because I don’t know that I have the skill set to or understanding to do so. I almost exclusively listen to pop punk rock, and at this point, I’m extremely comfortable with how it works and what’s expected. I’ve always considered myself a songwriter first and a musician second, so it is my perception that it would take a great deal of technical learning and exposure to another genre before I would even have a vague idea of what I should I be doing. Plus, punk rock has always felt so natural, so obvious, that doing anything else would feel like trying, forced, awkward, and ultimately uncomfortable for me, and then I probably wouldn’t end up enjoying myself anyway.

You've done several themed releases (Beach Bound, Mad Monster Party, One and Only, etc.) and I wonder if that's something you will continue to do? Is there a thematic focus or lyrical theme that you want to explore in the future?

It’s definitely something The Putz will continue to do; I love the themed releases because it’s provides an opportunity to explore an idea or a concept without giving off the impression that band has reinvented itself from the last release. Sure, we did Beach Bound, but we’re not a surf-punk band now; Mad Monster Party was a blast, but we’re not horror-punk all of a sudden. I think also prevents a perceived staleness from settling in and stops people form going, “Yep, that’s Putz album, I get it.” Additionally, it’s an opportunity to tackle some material that might ultimately feel out of place amidst the usual Putz fare.

As far as future themes…on the surface, I’ve always wanted to do either a covers or tribute album just because I think the selections and execution can speak volumes about the history and influence of band and ultimately be very insightful. I’ve also been threatening to some sort of larger scale holiday-themed release in one fashion or another. Honestly, the previous themed releases only came about because I realized I had too many songs about one topic…so I guess we’ll see what I get hung up on going forward and see where that goes.

The Putz has always delivered high-quality production on each release - is this something that is crucial to your process? Do you prioritize having that tight sound, and do you think the songs benefit from that specific feature?

In the months following the reformation of the band, we were a mess, sloppy drunks, playing without practicing, that whole shtick. So the decision to record Hole In One at Sonic Iguana was in no way a conscious effort to create a well-produced, pristine sounding album, we just thought it would be a fun experience. After we heard the initial mixes from that session, however, we started to reevaluate what we were doing, and how we were doing it - did we keep goofing off, playing open mic nights until the charm of it fizzled out? Or did we maybe, just maybe, start to take it a little more seriously. We opted for the latter, and there is not a doubt in my mind that having those recordings to provide to venues and promoters made getting shows a lot easier. Everybody’s first reaction was pretty much, “Wow, these sound great!,” not, “Wow, these are great songs!”

We recorded Hole In One in 2009, which was, in my opinion, the peak of the self-production era, when anyone with a computer considered themselves a professional production engineer, so it wasn’t difficult to realize that having a high-quality production was the equivalent of having a professional certification; it was what set us apart, made us stand out in a sea of do-it-yourselfers. So we worked diligently to incorporate the quality of our first recording into our live set, in order to circumvent misleading anyone kind enough to book us on a show. Nowadays, we still strive to deliver both quality releases and performances, with varying results, but it definitely is a constant consideration, and I do think that the songs benefit from those efforts, if for other reason than people are willing to give them a chance simply because they sound professional, like they’re real deal.

The overall vibe of The Putz from my point of view includes being relatable, not taking things too seriously, but still taking steps to present yourselves in a way that reflects the effort, passion, and commitment it takes to keep a band going. Do you ever get feedback to that effect? How do you see yourself as a musician from the point of view of a fan or listener?

The number one comment we get when we’re out in the wild is a resounding and genuine, “Wow, that was a lot of fun!” The further we get from home, the more appreciative of the effort people are. It’s especially rewarding when people start telling you how far they drove one way just to see us for the first time. It’s also very satisfying to have someone comment regarding how professional our merch table looks. So, even if they don’t just walk right up to us and say, “Hey, good effort, much appreciated,” it’s pretty easy to infer from all of the other comments and interactions that there are definitely people out there who get what we’re doing, why we’re doing it, and what all it takes to get it done. Additionally, anyone kind or supportive enough to review one of our releases will often directly mention that while the songs are silly and lighthearted, the quality and execution speak for themselves.

I’ve always wanted to be able to stumble across The Putz while attending some other show, having left the house with no knowledge or preconceived notions whatsoever. Obviously, I’ve accepted that I will never know what my unbiased opinion about my own band would be, but I really want to believe that it would make my head turn and I’d gravitate toward the stage, maybe peruse the merch table afterward and strike up a conversation. That aside, I like to think that, as a fan or a listener, I am perceived as an approachable, relatable guy wearing a blue ball cap who just so happens to have a knack for composing catchy punk rock songs.

The scene that we're both a part of to me represents a kind of renaissance for the genre of traditional pop punk. Enthusiastic fans, great labels, talented bands, it all seems very alive and well these days. Were there/are there times when you feel like this kind of music could lose its impact or relevance?

After we recorded Hole In One, I remember having the not-a-lot-of-people-are-doing-this-right-now conversation, hoping that would play into favor. As we all know, the punk rock pendulum of relevance continues to swing, and of course, at that time, punk rock wasn’t dead, but it definitely felt like it was hibernating. More than anything, I remember thinking we’d be well positioned if/when the pendulum swung back. Now, like you said, it appears to be alive and well, and I hope it stays that way for a while, hopefully finding some sort for middle ground between punk-is-so-cool-that-everyone’s-into-it and everyone walking around saying punk’s dead. But the phases make sense, at least to me; I mean, I’m over here singing about sneaking out, annoying girlfriends, stupid bosses, and I’ve lost track of how many of my songs start with those three magical words: mom and dad. So if someone grows out it, when they no longer have to sneak out, or have an annoying girlfriend, or a stupid boss, it’s not too surprising since it will have lost its relevance and its relatability. But there will always be a new generation growing into and developing similar trials and tribulations, and there will always be those of us that will put off growing up for as long as we can. So, while its relevance may be lost or reduced on an individual level, I firmly believe, on a larger, social scale, there will always be someone out there impacted by this very specific type of music and the scene that comes with it.

Do you feel that you’ve met most of your goals as a musician? What goals remain? What is your definition of success with respect to The Putz and songwriting specifically?

I think it’s safe to say that I’ve accomplished everything I set out to do as a musician and then some. Originally, learning to play an instrument and writing songs was just an excuse to hang out with my friends. Of course, new goals and aspirations developed and mutated over time as means of keeping it interesting and exciting, preventing stagnation or a sense staleness. But I’ve always just kind of set one goal at a time, determined the best way to achieve it, and put a plan in motion to execute it (almost always with the help of my dedicated bandmates), and once it was accomplished ask what’s next. All of this starting with recording at Sonic Iguana, leading into playing a Punk Rock Night show at The Melody Inn, then working with Joe Queer on one project or another, joining the Eccentric Pop Records family, going out a real tour, opening for bands I grew up listening to, etc. As far as what remains, there are a few individuals I’d like to work with in one capacity or another, so we’ll see how that goes.

I defined success with respect to The Putz as the moment Eccentric Pop Records offered to release Knock It Off. I say this because, it meant someone out there thought the band and apparently the songs themselves had potential in some fashion or another, enough to warrant an investment of their time, energy, and resources. It was an enormous honor, and it meant transitioning from passion project to…something more, being part of something bigger. It was huge for me on both a personal and band level.

You come across as a pretty even-keeled guy – does music contribute to your overall mental and emotional well-being? I imagine your life is very busy and challenging at times – what keeps you positive and hopeful?

I love writing songs and playing music, and it can be such a comfort to just pick up a guitar when I’m stressed or annoyed and play through those feelings and emotions, but, as an elaborate hobby, playing music can contribute just as much stress, trying to find time to write, practice, record, perform, etc.

Being productive, not just busy, while a constant juggling act, is something that brings me a great deal of joy. I don’t really know how to just sit back, relax, and be doing absolutely nothing; it’s a strange and bizarre concept. Instead, I relish feeling as though I’ve accomplished something, like writing, demoing, recording, and performing, even if it’s ultimately just an insignificant blip on the map that goes unnoticed, I still derive an immense amount of satisfaction knowing I made the effort and gave it my all.

What should aspiring songwriters be doing, in your opinion, to create their best and most meaningful work?

They should be writing songs that they want to hear and seeing each and every song through to the end. If they focus on something they’re genuinely passionate about, or a topic that really excites them the songs will flow and feel more natural, the sincerity with be evident and listeners will gravitate toward that authenticity. I think it’s equally important to not just give up and scrap every idea that isn’t quite working out. Of all of my songs, “Knock It Off” went through the most revisions (four), ultimately ending up completely unrecognizable from the initial attempt, but seven years later, it’s still one of the ones I’m the most proud of. I mean, I could tell as I was writing the first few versions that they weren’t what I wanted the song to be, but persevered, telling myself I was at least eliminating undesirable options, if nothing else, but piece by piece it came together, consisting of a little bit each version. So, even if a song never gets recorded or played live, there’s always the possibility that a lyric, a rhyme, a progression, or some other seemingly insignificant element could someday be repurposed into a newer song, creating something more meaningful overall, something with a history, unintentionally constructed months, even years, apart.