COC/Yob/Saviours shred Seattle

Woodroe Weatherman from COC. (All Cat Rose photos)

What more can be said? Corrosion of Conformity, Yob, Saviours at the Crocodile in Seattle .... some heavy shit went down.

Here's some Cat Rose pics:

COC



Reed Mullin

Mike Dean

YOB

Drummer Travis Foster and bassist Aaron Reisberg.

Mike Scheidt



SAVIOURS

Sonny Reinhardt

Scott Batiste

Crowd action during Yob

Don't shoot the messenger -- Megadeth, Channel Three deliveries

By Andy

The music follows you wherever you go.

Once you're in, you can't stop thinking about it, you find yourself relating lyrics to certain scenarios and even thinking that people on the street look like musicians in bands. You do a double-take, and think, "Nah, that's not him," but end up with that band's tunes in your head all day. You've got no choice --- the music's part of you, and that's a good thing.

After graduating from San Jose State University in the winter of 1989, I moved back home to Redondo Beach, Calif., for about eight months and took a job at the Mustang Messenger service to pass the time and earn some cash. My journalism degree wasn't getting any action during this time, but I did try to get on board with record labels as a publicity guy. I got a phone call back from Bryn Bridenthal of Geffen Records and interviewed for an internship with Enigma Records, but those gigs were not meant to be.

So, a-messengering I went and it turned out to be a pretty interesting eight months.

Sure, it sucked that the car went through the wringer during this time with some insane wear-and-tear due to driving all over the Los Angeles and Orange County areas. Most deadlines were met, but at times I had some office manager or dispatcher yelling at me because the job wasn't done on time. Sometimes, it was fucking impossible to unload a car full of packages at the arranged time -- even if the route was "perfectly" planned with a Thomas Guide mapbook -- because you had to deal with traffic, unknown neighborhoods and just general bullshit that comes with driving around the LA/OC areas.

So where does the music come in, you ask?

I got to mentally relive some of the gigs I attended in the early '80s by driving by the Whisky A-Go-Go, Hollywood Palladium and other Sunset Boulevard spots on a regular basis whilst delivering the goods. Once I was on Placentia Avenue in Costa Mesa and drove by the area that housed the old Cuckoo's Nest; once, while in the San Fernando Valley, I delivered something on Vineland Avenue near Godzilla's. Punk-rock memories, you can't beat 'em.

There were a few times, however, when those look-a-like musicians were the real thing.

For instance, I met Kimm Gardener, guitarist for Channel Three, while I was making a delivery to ADP payroll services on Orangethorpe in La Palma, not far from where the band formed in Cerritos. The dispatcher said that I would ask for Kimm, and noted that "she" would meet with me and sign for the package. When I heard the last name, I told the dispatcher that it was a "he" and that I was on my way. I was on Gardener's route a few times and we discussed CH3 and other bands from the old days.



Kimm Gardener. (Cat Rose photo)

Then there was one Friday -- Paychex day -- when I was sent to some practice/office space on Hollywood Boulevard, near the iconic Capitol Records building. Wouldn't you know it that typed on the envelope was the word "Megadeth" -- that's right! Bassist Dave Ellefson greeted me at the front door and I handed him the package. He was excited to get his earnings and strolled off down the hall. Dave Mustaine was nowhere in sight, so I didn't get a tongue-lashing for dropping off the checks a few minutes late.

Dave Ellefson. (Courtesy photo)

On a final note, one other messenger probably didn't know what gem he was carrying when the dispatcher asked him if he had the "Social Distortion album" package on board in his car and was headed to the Sony offices. "Ball and Chain," "Story of My Life" .... would that package have ever arrived at its destination if I was the messenger? We'll never know.

Youth Brigade: Full speed ahead in DC after 31 years

Youth Brigade 2012: From left, Steve Hansgen, Nathan Strejcek, Danny Ingram and Bert Queiroz. Photo was taken on 16th Street NW in DC, across the road from where the original sign stood, pictured on the cover of the band's "Possible" EP. Strejceck is wearing the same leather jacket from the old days. (Sally Ingram photo)

They'll be part of the "Salad Days: The DC Punk Revolution" documentary party in the nation's capitol on Dec. 28-29, playing a short set along with Black Market Baby, Dag Nasty, Kingface, Scream and GI.


By Andy

Our tall, friendly mailman sporting a pith helmet was sometimes a savior --- often an enemy.

During the early '80s, I religiously ordered records from Dischord, Touch and Go and other crucial labels that shipped the hardcore tunes I craved to my Redondo Beach, Calif., doorstep from the East Coast and Midwest. When I got home from school, I'd painfully wait for that mailman to arrive and hope that he had what I wanted in his sack of packages and letters. I was a stalker of sorts, peeking out the window or around the corner looking for that guy.

On the days he came empty handed of the precious vinyl, I was bummed. On one dreary weekday, I remember thinking: "That fucking Dischord package with my Youth Brigade, Government Issue and Necros 7-inches should have been here by now." I'd heard of these bands, but I needed to hear them. Now!

And then one day, a light must have shone down from above as the records finally arrived. The mail guy was smiling --- as he always did, but this time I accepted his toothy greeting, grabbed the records and bolted inside to my stereo.

Youth Brigade 1981: From left, Tom Clinton, Strejcek, Ingram and Queiroz. EP front cover.



EP back cover.

As Bert Queiroz's distorted bass line kicked off the Youth Brigade "Possible" EP, I knew something killer was on its way. Danny Ingram clicked in with his drum sticks and then barking frontman Nathan Strejcek and guitarist Tom Clinton jumped in simultaneously to bring the opening cut, "It's About Time That We Had a Change," to life.

"I'm sick of things the way they are ---- It's about time that we had a change!" That's the stuff, I thought.

One after another, the tunes kept coming: "Full Speed Ahead," "Point of View," "Barbed Wire," "Pay No Attention," "Wrong Decision" and "No Song" --- eight minutes and 50 seconds of raw, raging punk anthems that I still hold in high regard today, 31 years later. (There's also "No Song II" --- Nathan just screams, "No!!!," but it's something my brother, Ed, and I  always had a fun time imitating.)

The other night, I listened to the the "Possible" EP on Spotify because I was too lazy to walk downstairs and spin that original vinyl 7-inch. Times have changed--- and it's about time, right? ha ha....

Following is an e-mail interview with Ingram, whom I befriended on the Dag Nasty Web site. He touches upon Youth Brigade's past and present and his time in the DC punk scene and beyond, including a stint playing drums for Swervedriver. Cat and I saw him play with them once at the Warfield Theater in San Francisco ---- and when I was up front, I yelled out "Full Speed Ahead" in between songs; he probably didn't hear me, but I felt I did my Youth Brigade duty by giving it a shot.
(Oh, and those Government Issue and Necros 45's were solid, too.)

Youth Brigade 2012 practice: View from behind Ingram's drum kit-- from left, Strejcek, Queiroz and Hansgen.
(Sam Ingram photo)

**Just some personal info to start: age; family info -- married, kids?; still live in DC?; do you play in any bands?

I turned 51 last June.  My wife, Sally, and I have been married for 15 years and we have two incredible boys: Sam (10) and Noah (6). Both are aspiring musicians!  I still live in the DC area, and have done most of my life…aside from living in London for a year while I was drumming with Swervedriver (back in '92/'93). 

Right now I’m drumming in a band called Dot Dash. We have two CDs out on The Beautiful Music –- a small label based in Ottawa, Ontario.  The band is most often compared to the Jam, Buzzcocks and early UK pop/punk…and has former members of Julie Ocean, Weatherhead, the Saturday People and Modest Proposal. And me -– who was in DC bands like the Untouchables, Youth Brigade, Emma Peel (with John Stabb and Steve Hansgen) and many more. We play out regularly in the DC area and actually have had some great press over our one-and-a-half-year existence.

I also play occasionally with a band called King Mixer. It consists of old bandmates of mine from Radio Blue and Ultra Cherry Violet. It’s kind of a shoe-gaze thing…brooding and such. But we don’t really play out more than once a year, if that. It’s like the punk equivalent of the monthly poker game. Guys get together, play some music, have dinner and drinks…and catch up with each other.  My kids usually tag along with me for those practices and we typically end our rehearsals playing Who songs, or Weezer songs so that my boys can sing along. My 10-year-old actually played drums on “Hash Pipe” last night! His first time sitting behind the kit for a full song. And he was pretty good, if I say so myself.

Youth Brigade from the past. (Paul Nee photo)

** With the DC punk documentary "Salad Days: The DC Punk Revolution" on the horizon, how did Youth Brigade get hooked into the upcoming gigs? How are things going to prepare for your first gig in 31 years?

Scott Crawford interviewed me for the movie a while back. It rekindled some fond feelings about that era. I’m typically not one to do the nostalgia trip, but talking about it at length with Scott reminded me of how great the scene was back in the early days (1978-1982). 

Anyway, Scott contacted me to see if we would be up to doing the Salad Days show. By this point in time, my position on doing a reunion had softened. I’d rejected previous inquiries about doing it –- but this seemed like the right place and the right time.  Three of the original members (Nathan Strejcek, Bert Queiroz and I) will be in the line-up for the show.  Steve Hansgen (former Minor Threat, GI and a million other bands) will be filling in on guitar, as Tom Clinton can’t escape his work and family obligations out in California. Besides, I think Tom is still grounded for stealing his family’s van for Youth Brigade’s one and only (aborted) U.S. tour!!

Nathan and I are still in the area, but Bert is in Brooklyn…so Hunter Bennett (the bassist from Dot Dash) has filled in for the first two practices.  Amazingly, things sound pretty good, considering that none of us have played that “fast” for quite some time.  And I don’t think Nathan has sung in a band since Youth Brigade (though he has played bass in a few unreleased bands, such as Mr. Id and Dear Season). Bert will be coming down for two rehearsals prior to the show…hopefully that will be enough to get us up to speed.

** I still dig the Youth Brigage "Possible" EP after all these years ... what are your thoughts on the record? Do those songs still hold up over time?

It’s funny. I’ve not really listened to the single for nearly 30 years…but I’ve enjoyed revisiting the songs in the last few weeks.  They are better than I remembered…but it’s not really for me to say whether they’ve held up over time. J Mascis, however, did give us a nice shout-out in a recent issue of MOJO. That made my day.

From the "Banned in DC" book. (Susie Josephson photos)

 ** What were the highlights of playing in Youth Brigade?

I don’t remember too many specific highlights. Getting shows back in those days was difficult…but we managed to play a handful. I think the highlight was getting released on Dischord and helping to document the nascent DC punk scene. The aborted tour was funny –- we got as far as Ohio, I think, and had to turn back. I think we ambitiously aspired to heading west…but it turned out that Tom didn’t really have permission to use the van for an extended road trip!  Still, we made friends along the way…and got to play with the Necros and others.

** You were part of the early DC punk scene... How did you get involved with it and what was the scene like back then?

Music has always been an integral part of my life –- so when the punk scene exploded in NY and London in 1976/77, I was on it. It was something that resonated with me -– and has stuck with me my whole life. Nathan and I were two of the first kids in DC to embrace the whole punk culture…which wasn’t easy at the time, since it was not readily understood by parents, friends and such.

Anyway, I saw loads of bands back then and I was buying every record and music publication I could get my hands on. Oddly enough, the thing that got me off the sidelines and into a band was going to see the Clash at the Ontario Theater in Washington in February '79. I hung out with the band after the show and spent quite a while talking with Joe, Mick and Paul about music and such. Joe asked if I was in a band –- and I said no, but that my best friend (Nathan) was. He admonished me to get off the sidelines and get in a band: “You’ve got to do something, create something!”  When someone you admire gives you advice like that, you have to act on it. So I did.

Shortly thereafter, the Untouchables lost their drummer to college life…so I quickly offered to fill in…never having really played the drums.  A few weeks later we were doing our first show together. I played with the Untouchables for about six months or so…and then started Youth Brigade with Nathan in 1980 or so, after the demise of the Teen Idles. 

Back then, the scene was very youthful. Full of energy, rage, curiosity…and a bit of innocence.  It is, by far, my favorite era of the DC harDCore scene.



Some Touch & Go magazine photos.

 ** Who influenced you as a band? Was there a specific moment when you saw a band playing on stage and wanted to give it a go?

Even though my musical tastes inclined more to the UK punk scene, the band itself was largely influenced by bands emerging from the early California punk scene.  Black flag, the Dils, the Circle Jerks and Dead Kennedys probably shaped us more as a band than any of the UK influences. But in DC, we were really trying to establish a sound of our own.  For me, it was definitely the Clash show at the Ontario theater when things clicked about wanting to get into a band.  Prior to that (1979), I’d been quite happy just going to shows and watching other people play.

** What bands shaped you as teenagers and got you into the punk scene?

Back then, the most influential bands for me were the Stooges, the Clash, Ramones, Buzzcocks, 999, Stranglers, Dead Boys, Heartbreakers, Television and such.  I devoured all of it. I still do.

** How did your experiences with YB shape your life? Do you have good, long-lasting memories from those days?

I don’t think there was anything formative that came from playing in Youth Brigade. My memories of Youth Brigade, whether right or wrong, were always that we were quite raw…and teetering on the edge (musically)…kind of like a toy that has been wound too tightly and the springs are about to snap.  That said, I have some amazing memories of that time…and hope to put them down on paper at some point.  But, to me, the most memorable thing about that time wasn’t the music we made –- it was the friendships that I made…and how they have weathered the punk rock ravages of time.  I guess the one important thing is that, as a father, I will likely be able to support my kids in their musical endeavors and better understand what it is they are trying to do.

Slamming to Youth Brigade. (Sarah Woodell photo)

 ** Are you still in touch with guys from the old days? People like Henry and Ian are regarded as important musical figures ... what's it like seeing them grow from the early DC days to now?

As I mentioned, the most enduring thing for me is the friendships that built up from those days. Nathan and I have remained close friends for nearly 40 years. Getting to play with people like Steve Hansgen and Bert Queiroz is a treat for me. They are both incredible people.  And we are cut from the same cloth: Music is still a driving force in our lives and we all cut our teeth in the early DC punk scene.

I’m still in touch with Ian and quite a few of the other early DC crew.  Facebook, for all its faults, has been great for reconnecting with those who were part of the great harDCore diaspora. As for Ian and Henry? I couldn’t be happier for their success. I always get a kick out of reading about Henry’s globe-trotting adventures…or seeing him on the telly.  These are guys I grew up with –- played football with –- played shows with –- stole girlfriends from!  I think the people who were here during the formative years have a bond that will endure.  And it seems most of the people from that time have aged well…though not all of them have made it. 

Anyway, it will be fun to do the show with GI, Scream, et al -– like a high-school reunion.

'Thxgvng Massacre!'-- Holy Grove, Lopez and friends in Portland

Holy Grove bassist Gregg Emley and singer Andrea Vidal. (All Cat Rose photos)

 

By Cat and Andy

What better way to kick off -- and crank up -- the Thanksgiving holiday than a "Thxgvng Massacre!"?

We normally head to Gresham, Ore., from Seattle on Thanksgiving morning to visit family. But when Cousin Eric informed us that his/our friend Gregg Emley's band Holy Grove was playing the night before at the World Famous Kenton Club in Portland, we were in. Then, when we found out that TSHIT alumnus Lopez was also playing, it was a no-brainer squared.

To add to the stoner rock and punk stylings of Holy Grove and Lopez, respectively, we were treated to some heavy math rock from Duty and instrumental metal from the Fruit of the Legion of Loom.

Who needs turkey and pie when you can feast on this musical massacre?

Here's some of Cat's photos to document the evening:

HOLY GROVE



In order: Vidal, drummer Craig Bradford, guitarist Sam Boggess and Emley.

More Holy Grove pics from Cat Rose: http://www.facebook.com/media/set/?set=a.446030858791001.106242.203462809714475&type=1


LOPEZ

Bassist Tom Glose and singer Joel Ross.

Drummer Mike Jacobson.

Ross and Glose close out the Lopez pics.

FRUIT OF THE LEGION OF LOOM

Top,  Erik Blocker; below, Wendell C. Hammon III.

DUTY

Bassist "K," according to the band's Reverb Nation page.

A classic gathering with Tom Price and pals / Interview

Tom Price and Joe Kilbourne. (All Cat Rose photos)

By Andy

What do you get when two Gas Huffers, a Derelict and a Lubricated Goat join forces?

Definitely not one hell of a mess ... well that depends on "the ear of the beholder," as The Tom Price Desert Classic guitarist Don Blackstone joked outside of Darrell's Tavern in Shoreline (near Seattle) on Saturday night.

"It took us a while to really solidify (the sound), but now I kind of see it like in the historical
lineage of the Sonics and all those kind of garage bands that come from around this way. It's pretty straight up rock and roll. Nothing weird-- we've all played in weird bands. Nothing weird about this shit," Australian-born drummer Martin Bland added.

"We've known each other for so long, it's just like you're getting together with your best buds--
it's like good therapy, you know?" said bassist Joe Kilbourne. "It's awesome -- I'm totally not worthy."

In order, Blackstone, Bland and Kilbourne.

As for Mr. Price, the band's namesake and singer/songwriter, he's been slashing away on his guitar for more than 30 years and he doesn't see himself pulling the plug anytime soon. He tried once, but that didn't stick for long.

Price, the former U-Men, Gas Huffer and The Monkeywrench man, says he plays in bands out of habit; Blackstone-- another ex-Gas Huffer dude -- quips that they unleash their tuneage for the little people ... "We can't bear to disappoint the fans."

"Once, years ago, in between bands, I thought about getting a real job and not playing music all the time. And I realized that what happens when you do that, is you don't have anybody to hang out with," Price said. "It was a weird two weeks when I was not playing in a band."

Blackstone chimed in again: "It was a lot of soul searching-- and channel surfing. Also, if you've played in a band for any length of time over 10 years, you have no skills that an employer is looking for."

Following Blackstone's booming laugh, Price smiled and continued his spiel on the need to rock: "For some people, I guess it would be like the Friday night poker club."

Bland, who also pounded the skins in Bloodloss, The Monkeywrench and Lubricated Goat, said there's a pretty easy going vibe happening in The Tom Price Desert Classic camp when crafting the tunes that had people bopping on the Darrell's dance floor at Saturday's gig.

"We don't have any drama queens in the band," Bland said. "I don't think we've even had an argument about anything--- maybe we should! There's no weirdos in the band-- I've played with a lot of very strange people in bands."

Former Derelict Kilbourne feels that Price's musical offerings and personality put the classic in The Tom Price Desert Classic.

"He's kind of an enigma, and he's just a really sweet guy and he's just super creative. It's like his twisted vision and I get to be a part of (bringing it into) the world," Kilbourne said.

Added Bland on Price: "He's a fucking amazing guitarist. He's one of these guitarists -- I've only known two or three guys who do this -- who barely move their fingers. It's just this crazy, colorful sound comes out of the guitar."

Following is some Q-and-A banter with Price and Blackstone that displays the humorous side of the band:

WHAT DO YOU GUYS HAVE TO OFFER?

Blackstone: Savoir-faire (ability to do the right thing), je ne sais quoi (unique or attractive qualities), esprit de corps (feeling of pride in belonging to a group).

Price: Some ennui (boredom), some malaise (discomfort).

WHAT ARE SOME LIFE LESSONS ON THE ROCK STAGE?

Price: Don't wear a baseball hat on stage, because a baseball hat is the symbol of egalitarianism,
it makes everybody equal. The purpose of a stage is to make you not equal, it's to make you temporarily special and above. So, if you wear a baseball hat on stage, you negate both the baseball hat and the stage. Nothing against baseball hats.

Blackstone: Especially backwards baseball hats.

WHAT ARE THE DO'S AND DON'TS OF BEING IN THIS BAND?

Blackstone: Don't expect to be paid.

Price: Try to dress sort of nice.

Blackstone: Appearance is important... first impressions.

WHAT ABOUT THE MUSIC?

Price: We've never been quite good enough musicians to figure out how to do it right-- keep everything balanced, clean and clear. There's always something wrong.

ANY CLASSIC MOMENTS ON AND OFF STAGE?

Blackstone: Geez, I took a nap earlier.
That one time I wore my Depends on the outside of my pants, that was a pretty good time.

Price: We don't have any exciting stories of rock-and-roll debauchery to tell, if that's what you mean.

Sparkplug Threat: Ian MacKaye interview revisited

Thanks to Billy Caldwell of Sparkplug Magazine, our Ian MacKaye interview has found its way into print. Paired with a killer Joe Henderson photo of MacKaye with Embrace, you can't go wrong.

"Don't you understand? I'm a 'punk-rock god'" / A (sarcastic and serious) interview with Channel 3

Mike Magrann, top, and Kimm Gardener of Channel 3. (All Cat Rose photos)

 

By Andy

One particular night at the Cuckoo's Nest in 1981 was a lot more cuckoo than usual when Channel 3 took the stage.

This punk nightclub in Costa Mesa, Calif., was known not only for its raucous gigs, but frequent brawls between the hardcore set and the cowboys/rednecks who frequented the bar, Zubie's, across the parking lot.

There was no violence on this evening, but it's safe to say that CH3 singer Mike Magrann was in a raging mood when the band hit the stage. Fueled by some alcohol and his 21-year-old angst, the lanky, wobbly singer tossed his guitar aside and went full-grip onto the microphone stand during the set. It won't go down in history as one of the band's stellar performances, but I will always remember it well -- I was nearly banged in the head on numerous occasions by the flying mic stand. But that's punk rock for ya … those were dangerous and glorious times at the Nest.

Fast-forward to the present day, and I'm sitting across from Magrann as we discuss the history of CH3 after a razor-sharp and top-notch set at El Corazon in Seattle. The band, which nicely straddles the line between punk and rock, opened with "Best of Intentions" and concluded with "I Got a Gun."

It's nearly 1 a.m. and there are still more beers to be tossed down the hatch for the boys of CH3. Magrann and I have a good, insightful chat before I move on to guitarist Kimm Gardener, who provides another bookend-full of answers to wrap up the CH3 story (as much as I could grasp at 1 a.m. with last call approaching, anyway!).

Cheers to CH3:

Magrann and drummer Alf Silva.

** It's been a long time. I first saw you guys in '81-'82 at Godzilla's and the Cuckoo's Nest (in Southern California). What's changed since then and now? You guys are still doing this... what keeps you rolling?

Mike: It's weird in Southern California, cuz every goddamn band is playing again. I think we're a bit spoiled. I think we learned that punk rock has become almost like the blues, man. I mean, bluesmen, they don't stop. And maybe because it wasn't based on your pretty-boy image or the rock-n-roll lifestyle-- and I think punk rock has become that (blues-like). It's like fuckin' Charlie Harper (of the UK Subs, age 68) out there rockin' away. It's heartening to us-- we can still come out here and play and people show up, you know?

** You still having just as much fun as you did back then?

Mike: We do have actually much more fun nowadays than we used to because back then, it was just like, "search and destroy, we're coming to town, we want every fuckin' drink and drug and fuck every girl." And nowadays, it's like we come into cities and there's people that we've known for 30 years, and it's just like coming and visiting with friends and getting reacquainted with the city and all that. It's amazing how we get... free vacations is basically what we do.

Kimm: If we didn't have fun together, it would be the last thing we do.

** You guys all have wives and kids...

Mike: We do. Full-time jobs, wives and families. The band is kind of like our bowling league. Once a month, we're like, "Hey! You know what? We're going off for the weekend." We're out on Friday morning, we're back by Sunday evening and back at the desk by Monday morning.

** What do your kids think of dad still playing the rock?

Mike: It never fails, and we've talked to every punk-rock dad out there, and the kids are just like, "Dad, you're so lame." (Laughter) And I'm like, "Don't you understand? I'm a 'punk-rock god.'" And they're like, "Dad, come on, your hair is grey." So, you can never win over a teenage girl.

Kimm: My kids are very supportive of it, and they kind of love the rock-n'-roll thing. And you know what? How could you not? I think rock n' roll is such a key thing about life. I grew up in the age and era of KISS and Aerosmith and knowing that that was important stuff... we're small time to that, but it's good to have them know that music makes a difference in life. Music's the soundtrack of life. What you hear affects how you do things. We hope that we're part of it.

**  You and Kimm have known each other since grade school (second grade). What keeps you guys together and having such a good camaraderie still? You guys on stage are making jokes, smiling at each other.

Mike: In any band, I think the personal chemistry is much more important than any type of musicianship or business relationship. We're just best friends, so if we weren't doing this, we'd probably be on the same softball team or something else. Throughout the years, we've had session guys come in and out of the band, and if you don't click, it doesn't work. So, this lineup of the band, we can all travel together and just hang out-- everybody's on the same level. It's so crucial for a band to be able to do that. (Drummer Alf Silva and bassist Anthony Thompson round out the band, which has a stellar new single and EP, "Land of the Free," out on Hostage Records.)

(Kimm and I) We kind of look over at each other and it's like, "Can you believe we're doing this at 50 years old, man?" It's great.

Kimm: It's uncanny, because we're still best friends-- we don't talk every day, but we e-mail every day. We hang out with each other and our families. When we tour with the four of us, we have two hotel rooms (and Mike and I share a room) because we know each other so well -- it's like brothers.
We've had many, many brawls over the years, and like any good relationship, you have to be ready for the good and the bad that comes out of it.

Bassist Anthony Thompson

 

**  You guys have gone through a lot of changes. Obviously starting out in the early '80s as a hardcore band and then you went with the hair and the cowboy boots and wrote some rock songs. Do you still embrace every phase of Channel 3? Are you proud of everything?

Mike: You see that tonight we played everything, and we love every phase of it. I know a lot of bands who kind of shy away from their "sellout years," but for us, we had a blast in those (mid-'80s) years. People say, "Oh, you guys were metal" or something, but we really (weren't). The look changed a little bit and we tried to expand, but we always wrote songs...

** Good songs, the whole way, I think. I was on board with you guys the whole way. I loved it.

Mike: Production really changed things, you're like, "Oh, this isn't a punk song, this is a rock-n'-roll song." The producers would try to polish it up a little but, but we play 'em live -- we play "The Last Time I Drank" (and "Indian Summer") ... they're just Channel 3 songs to us.

We're suckers for Cheap Trick, Aerosmith, all those bands. Eventually, you write a song that's more poppy and then there's people saying, "Oh, you know what? Maybe you guys are more than a thrash band. Maybe we can do this, why don't you guys grow your hair out?" ...that kind of shit. But it always comes down to, we're all the same four dudes in the garage writing those same songs, gettin' drunk, just hanging out with each other.

** I know that you're an English major from Long Beach State -- and obviously, lyrics are crucial. Where do you get your inspiration for that? A lot of straight-forward things, a lot of tongue in cheek in there at times...

Mike: When you're a college kid in school, it's like, "Oh man, I've got such important things to say." Punk rockers in general, they tend to feel more and inspect things more, and back then I had the English-major curse of saying, "I wanna be profound." Probably since then, I've backed off a bit. If you're gonna write a song, you might as well put something that might catch somebody out there. And through the years, it's flattering and heartening that people write letters and they send e-mails and go, "That song just spoke to me." Wow -- that's the biggest compliment I could ever have.

**  I noticed that you were wearing your Bukowski shirt earlier... the Bukowski Tavern out of Boston. My wife and have been there, as well. There was a Bukowski reference in one of the songs on the last album. How did he come into play?

Mike: Bukowski's an easy reference now, and we almost had to back off when all the hipsters got onto Bukowski, but I've been reading Bukowski for years. Actually the Bukowski reference was in the "Jim Harrison song," (who is) one of my favorite writers, and so it's always great when somebody catches that stuff (the line is "Save me Chinaski!"). But Bukowski represents the punk rocker. That's the man.

** The legacy of Channel 3, how would you like to best be remembered as?

Mike: It's the songs that are gonna have to exist and speak for us. (From vinyl to CD to digital and online) We started thinking, "My god, it's just gonna live forever." For better or worse, we're gonna have a body of work out there that people will look at and we hope that it just comes through. We're just a couple of kids that fuckin' had a blast.