Watt's New

Mike Watt has a lot to say. If you dont believe me, try giving him your -mail address & watch helplessly as your inbox is filled with his daily ramblings on life, music and whatever happens to cross his mind. Or read this month's mysterydate, a fine rerun of Watt's 6000 word essay about his knees. If a day goes by with nothing at all eventful taking place, Watt will send you four pages on his feelings about it. Watt is an extremely prolific writer, as well as a tremendously funny and sweet guy.

Oh yes, he's a musician too. Arguably the best bass player out there, a sometime member of Porno for Pyros, leader of the too-frightening for words Madonnabes, and founding member of the legendary punkgroup the Minutemen. After their singer (and Watt's bestest buddy) D. Boon passed away, he was in the awesome and overlooked trio fIREHOSE. His career as a solo artist began with 1995's Ballhog Or Tug-Boat?, which featured guest appearances from all of today's most popular alternative bands (literally all of them, from Eddie Vedder to Thurston Moore to Frank Black, ad nauseum). It's all-star line-up proved to be it's downfall - Watt's own music was overshadowed by all those big names.

So Watt's doing it differently this time out,with his own band that he's dubbed the Black Gang Crew. Contemplating The Engine Room is (I think) the first punk rock-opera, a concept album about his time in the Minutemen, his Dad's Navy years, & his hometown of San Pedro, CA. Watt's unbelievably husky voice glides effortlessly over his own jazzed-out bass lines and a smoking backup band, creating the effect of Frank Zappa with way more testosterone. And Watt's lyrical metaphors create an even more psychedelic vibe than some of Zappa's weirdest stuff. And all respect due Zappa, while he was great, never really rocked. Watt rocks.

Before listening to Contemplating the Engine Room, be sure to turn your bass way down, if you value your speakers. Not only will Watt's Thud-Staff demolish them, the sheer gruff of that voice will do some damage if you don't crank the treble a bit. The opening track, "In The Engine Room", starts with Watt acapella, then a little bit of bass, and boom! The chorus begins, and it's fuckin' rawk! It's precisely this mix of art and balls-out noise that has been missing from popular music for some time now. Lots of bands can do one or the other pretty well, but Watt knows from experience how important it is to get them both right (see: anything by Minutemen or fIREHOSE).

Watt slows down the pace a little for the second cut, "Red Bluff", then lets it all rip for number 3, "The Bluejackets Manual". I'd be lying if I told you I knew what it was about, but it kicks a lot of ass. Mr. Watt explores a lot of different sounds and moods for this one, and along the way tells the story of his life, his musical career, and some real personal stuff about his old man. Some of his lyrics use language that is Watt-specific, but if you listen hard you'll understand what he's saying. It's a little like Ebonics - put it in context and it am do make sense. It's certainly not as hard as Pig-Latin or Esperanto to understand Watt's metaphorical ramblings. And if songs like "The Boilerman" don't move you, you have no soul. Mike has twice as much Wattage live on stage, so try and see him on the road, either promoting this CD or with one of his countless other projects. Talk to the man, he's friendly, you will find it difficult not to bond with him. Just don't give him your e-mail address.

matt@smug.com

in the junk drawer:

October 1997
September 1997
August 1997
July 1997
June 1997
May 1997
April 1997
March 1997
February 1997
January 1997