46Todd: That’s why we’re here, sitting in yourhouse.Al: That’s why I pretty much don’t do phonersunless there’s no chance in hell that I’ll seethem any time soon. I interviewed Gary Floydfrom The Dicks over the phone a couple ofyears ago and it was a fantastic interviewbecause he lived on the west coast and I’m notgoing to see him.Sean: What do you get, personally, out ofinterviews? What’s your self-interest?Al: I need to fill out all of those pages somehow.I suppose I follow a standard format ofrunning interviews, record reviews, all that. Iknow that’s not the most original or creativeway, but that’s how I know how to do a zine. Iguess I used to approach interviews as more ofan obligation, but the last several years, I’vetried to do my homework on them. I want tointerview bands that I’m into, that have donesomething to inspire me, and I want people tofind out about. That’s the whole idea of doingthe whole zine – turn people on to music that Ithink is really good. People always ask, “Whydo you do Suburban Voice?” That’s still themain reason. And what do I hope to get out ofit? I suppose, to make a personal connection toa band that I really like. I want to get to knowthese people and get to see if there’s any commonality.To me, music is a very personalthing. The whole great thing about the punkand hardcore scene is that there aren’t as manybarriers – to use a bad cliché – it’s people justlike you playing music. This whole communitarianelement to it. Just meeting people on thatlevel.Sean: So, what do you think the key to a goodinterview is?Al: Preparation. Going in, having a good ideaahead of time about which direction you wantto go in. Try to get beyond the surface questions:“Gee, how long have you been together?Gee, what are your influences?” Yeah, I’ll tryto get a history of the band because I’m nevergoing to assume that the people reading theinterviews are going to know who the band is.Sometimes I’ll have a bigger name, but somepeople may not be aware. I want to know whoyou play with, how long you’ve been together,all that shit. That’s important, but have a goodlist of questions. Another thing is to make it asconversational as possible. Try to create a flow.I write down guidelines for questions, but if Ifeel like it’s going in a different direction, I’lldeviate from the script and just try to get itgoing conversationally and not blather on endlessly,like I’m doing right now.Todd: So, why have you been accused ofbeing, I quote, an “emo pussy”?Al: Davey Tiltwheel started that. I have nofucking idea. Pussy, maybe. Emo? I don’t evenknow how Davey came up with that. Did heever tell you?Todd: Nah. I think he did just did it to haveexactly what’s happening right now. Just to getyou pissed off.Al: I didn’t get pissed off. Coming fromDavey, it was a supreme compliment.Todd: Are there any bands considered emoright now that you would endorse?Al: Hot Water Music, although I didn’t liketheir last album (A Flight and a Crash) quite asmuch. I still like them. I’d would even considerTiltwheel almost kinda veering into that atiny bit. [speaking loudly, directly into therecorder] Yeah, Davey, you guys have emo elements.Admit it.Just as long as it has energy to it, good, beefyguitar sounds, and vocals that don’t sound allwhiny, that’s all right. But, a lot of the stuff thatthey’re calling emo right now is second-rateSmiths knockoffs, and they don’t have TheSmiths songwriting skill or a singer as good asMorrissey. Yeah, I like some Smiths stuff. Iadmit it. That’s kind of a lame thing. I will saythis: I think that the stuff they call emo rightnow has ruined indie rock as much as REMwrecked college radio in the ‘80s.Sean: You’re always quick to defend some ofyour non-punk music tastes, especially in yourHit List column. What’s the importance ofbroadening it out like that?Al: I think a lot of that is me acting like agrumpy old man, going, “Ah, you kids don’tknow what the fuck you’re talking about.” It’sjust the curmudgeonly side of me coming out,‘cause I grew up listening to that stuff andthat’s the music that was the cornerstone of mypathetic adolescence spent in my room devouringrock reference books, playing with mybaseball cards, and listening to my music. Thatwas a very important part of my formativeyears. Of course I’m going to defend it. I thinkit’s great music. I’ve always liked timelessrock’n’roll. The stuff I grew up listening to hadthat quality. Even today, these so-called garagepunk bands or punk’n’roll bands, I hear elementsin those bands of the stuff I grew up listeningto, so that’s why it appeals to me.Somebody’s got to fly the flag for that music.Sean: Let me see if you still stand besidesomething you wrote about ten years ago.Al: All right.Sean: “Joe Satriani is a guitar god.”Al: [deep, exhaling breath] He is, but I don’tlisten to him any more. I’m not interested. Mypast keeps coming back to haunt me. I keeptelling people, Suburban Voice, the grungeyears and the Satriani years, they should ignoreit. Pretend it never happened.Sean: But there was a Fugazi interview in that<strong>issue</strong>, too.Al: I was working in retail and hearing a lotmore stuff and maybe I was more open to that.I don’t know. There are times I can’t explain. Istill have one Joe Satriani record in my collection.I don’t think I’ve put it on in eight or nineyears. [emphatically] And that’s the truth. Hedid, however, send out personal Christmasgreetings to people who worked in retail.That’s definitely a treasured thing in my collection.That’s kinda neat, that Joe could taketime out of his busy schedule to do that.Todd: Talking about retail, you ran a recordstore with a guy who was in Boston – not thecity, but the band. How the fuck?Al: Good god. Totally true. Yep.Todd: So the question that arises, how do you,a mild-manner hardcore kid, come into contactwith the rock god from Boston?Al: Very simple. We were neighbors when Igrew up in Swampscott. Sib Hashian movedinto my neighborhood when I was seventeen orso. This was after the first album sold six millioncopies or whatever (it’s now at 16 million).He bought the house two doors up fromwhere I lived. I used to mow his lawn and heused to bitch about what a shitty job I didmowing his lawn. He paid me eight dollars tomow his fucking lawn. Sonofabitch was a
multi-millionaire, and he paid me eight fuckingdollars. Even in 1977 dollars, this was notgood.Todd: Was it a big lawn?Al: No, it wasn’t a big lawn, but that’s not thepoint. He could afford more. He grew upworking class in Lynn and he was always acheap sonofabitch. All right, so that’s how Igot to know him, and he said, “Hey Al, if youever want me to back you in a business, I’ll doit.” Flash ahead to about 1994. I had recentlybumped into Sib at the post office just beforelosing my job at the record store I’d worked atfor the last eight years. After a few months ofunemployment and realizing there was nothingelse I wanted to do, I thought of his offerand gave him a call to see if he’d be interestedin backing me in a new store. So that’s how ithappened. He backed me in it financially. Bigmistake for a number of reasons. Biggest one(Martt was in Tex and the Horseheads,Thelonious Monster, and Funeral.)Todd: It was a swing band.Al: Fuck swing. That stuff sucks. I neverunderstood that. I’m a punk zine. Why are yousending me swing stuff? Send it to the BennyGoodman Times or something.Todd: Do you know what Bob Mould hasbeen doing the last couple of years?Al: I have no idea. Why do you ask?Todd: He was writing the dramatic sequencesfor the World Wrestling Federation, but sincethey’ve conglomerated the ECW and WCW,I’m not sure if he still has a job there.Al: I heard he quit there.Todd: He also does the sound to The DailyShow.Al: I wish Bob would strap on his guitar andstart playing again because that’s a guy I likedand respected a great deal. Hüsker Dü wereI think that the stuff they call emo right now hasruined indie rock as much as REM wreckedcollege radio in the ‘80s.is that the guy is mentally unstable. There’s alot of other shit, but I don’t really want to gointo because it was a very painful period of mylife. Trust me. Never go into business withwashed-up rockstars. And he has his own website.He sells a CD for $19.95, plus shipping,but it’s autographed, so I suppose that’s whyit’s more. He sells autographed photos of himselffor $10, plus $5 shipping. I’m glad to seethis guy is still a penny-pinching sonofabitchas he’s always been.Sean: Let’s ask you about other people you’vetalked shit about over the years. You alwaysseem to want to take a stab and Zander Schlosswhenever you can.Al: I guess I did take a few pokes at him. Whatshit did I talk about him? Do you have anyquotes there?Sean: I didn’t write it down. Pretty much, hewas filling in on guitar on a lot of albums inthe early ‘90s and every time he popped up…Al: I just didn’t like his style. I know heplayed bass in the Circle Jerks. He did okay inthere. He played on Joe Strummer’s first solotour and I thought he brought that show down.He played guitar in this one really wretchedband with one of the guys from Repo Man,who I saw open for the Red Hot Chili Peppers.What were they called? Too Free Stooges. Itwas around ‘90. I guess he was a punching bagfor me for awhile.Todd: He joined the Circle Jerks, becausewhen they were filming Repo Man, he wasstock boy in the movie. They were looking fora bassist and they found him there. He was insome awful projects like the Sweet and LowOrchestra.Al: That was one of them. Wasn’t it MikeMartt from some hardcore band in that too?definitely one of my favorite bands in the ‘80s.Todd: How many times did you interviewthose guys?Al: I only interviewed them once, around thetime of Metal Circus. I never interviewedthem after that.Todd: But you went to three consecutiveshows?Al: I didn’t go on tour with them. I saw themthree nights in a row in 1984. My crazy weekwith Hüsker Dü, including a small party; 150people at this tiny club, where they playedrequests and that was great. And I played frisbeewith them in western Massachusetts. I wasback at work at eight the next morning eachday. Needless to say, I was a wreck by the endof the week.Todd: Did Bob ever make a pass at you?Al: No… I guess I’m not cute enough. Allthese homophobic assholes go, “Oh, if someguy made a pass at me, I’d be pissed.” Youwant to know something? If some gay guythinks I’m cute, great. I’m totally flattered ifanybody, male or female, thinks that I’mattractive. It means I’ve still got it at my oldage here.Sean: Have you seen the book, AmericanHardcore, yet?Al: Yeah. I think Steve did a pretty good job.There’s some factual errors in there, but that’spar for the course. But as far as the content, thepictures, the flyers, I think he did as good a jobas anyone’s done. It probably – I’d have tothink about it – but I think it’s the most comprehensivetreatment of American hardcoreI’ve seen. I don’t think hardcore necessarilyended in ‘86. I disagree vehemently with thatassessment. I think it may have sucked for along time after that, and I think that hardcore47
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