“Keep on keepin’ on”
That’s what John Fogerty scrawled onto a note and gave to Mike Watt years ago. This seemingly small gesture meant a lot to Mike at what was a key time in his life.
Mike was just coming off of the death of his band mate and musical brother, D Boon. A traffic crash claimed the talented guitarist/ vocalist and left Minutemen without an essential member. More so, it left Mike with a massive emotional void in his life. D Boon’s mom was the one who got him playing bass in the first place. The well documented kinship between the two is captured beautifully in the documentary, We Jam Econo: The Story of the Minutemen.
Mike Watt came up in an area of arena rock where everyone wanted to do covers. Musicians were more eager to break out the sonic xerox machine than to endeavour to create fresh material themselves. Mike was inspired by UK bassists like Geezer Butler who had a more prominent place in the mix. This was helped by D Boon’s desire to have a more diplomatic handle on Minutemen’s instruments. D Boon began honing a treble heavy guitar tonality that allowed for Watt’s boom stick to pierce through in the mix.
Minutemen guided all of their efforts to getting people to the live show. They established a disciplined practice of handing out flyers to each and every gig for many hours at a time. Putting out records at a torrid pace so as to have new material for the gigs. Fan zines were put out and even Ham radio communications were used to bolster the club crowds back in that late 70’s/ 80’s hardcore punk scene.
After the 80’s hardcore scene died out and SST Records got a little less busy, Watt maintained some relationships from that era which remain to this day. One of those people is influential Black Flag/ Sonic Youth artist Raymond Pettibon. Mike sees Raymond Pettibon as a great teacher in his life. The two collaborated on many film projects and remain good friends. Raymond and Mike also find themselves connecting with one another as people who appreciate pro wrestling. I found this interesting as a pro wrestling fan and enjoyed hearing that Don Muraco was Watt’s favourite. Mike also was a fan of the Funks but pro wrestling was spoiled for him when WWE (then WWF) monopolized the pro wrestling industry. According to Mike, Vince McMahon Jr’s promotional practices of conquering competitors “twisted it up”. Considering Watt’s proclivity for sharing space and resources, it was fitting that this is what soured his enjoyment of the medium.
Mike Watt could have easily rested on his laurels with Minutemen but he was only just beginning. Mike would go on to form Firehose, a bass duo with famed Black Flag bassist Kira Roessler known as Dos, and also began a solo career. The start of his solo career is tied into his love of professional wrestling. Step in the ring with Watt and tangle with the boom stick.
That was the intriguing concept album that began Watt’s solo work. A record where the bassist knew all the songs, laid everything down, and invited other musicians to hop in the studio to fill out the tracks. Ball-Hog or Tugboat? reads like a who’s who of alternative rock greats from the 90’s. Mike welcomed Henry Rollins, Eddie Vedder, Jay Mascis, Dave Grohl, Flea, Kathleen Hanna, Pat Smear, and more into his recording space.
This record shot Watt into the mainstream as he began touring soon after with Eddie Vedder and Dave Grohl as members of his touring band. The touring experience was also unique as it was the first time Watt traveled to shows alone. There was a lot of heavy contemplations and many of the thoughts were captured in journals that anyone can read through the internet today.
Journalling is something that is important to Mike Watt. Mike wants to have a clean recall of his memories and what better way to ensure that than by writing those experiences down? “Fuck Alzheimers” was a sentiment from Mike that I could certainly get into. The brain alters things with memories waning and fading away but Watt refuses to accept that. All of those journals have been published online and act as a wealth of information for lovers of punk and music in general.
All of these experiences helped build Mike’s confidence and got him beyond seeing himself as “just a bass player”. Mike addressed his feelings of worry in relation to stepping out of what he saw as his slot to take the spotlight of band leader. Mike has grown so far beyond this limiting, self imposed musical place that he has since put together multiple operas.
Still though, Watt has a definite love for bass. The art of playing just enough notes is a fascinating aspect of instrument. Watt talked at length about this and his tangible passion came through all the way. Anybody can write a great bass solo but he felt the true art was dropping a memorable bass line. It’s inspiring that such a well regarded bass player still has such an exploratory attitude about, what he playfully calls, the thunder broom. Mike sees bass as the glue. It is the mortar that maintains the structural integrity of the band’s wall of sound. Mike mostly plays finger style, sporadically brings in pick, but appreciates both approaches equally. Mike is one of the most well regarded bassists in all of music. So much so that there will soon be a signature bass in honour of Mike which will be known as the Watt Plower. This instrument is the end result of a meticulous four year collaborative process between Watt and Reverend.
Mike Watt has collaborated with people on projects in a multitude of ways. Watt has made albums with people he has never met in person. The first Dos album was made through trading four track cassettes in the mail with bandmate Kira Roessler. Mike Watt is constantly jamming, evolving, and getting different ideas from a myriad of players. Mike has done everything from session work with Kelly Clarkson to gaining the coveted bassist spot with Iggy and the Stooges; a band he looked up to for many years. Watt has been all over and continues to journey.
This mindset manifests itself in the physical activities that he enjoys. When I spoke on the phone with Mike, he had just go back from kayaking. Watt credits his regular kayaking routine as a big source of songwriting inspiration. Mike had began riding a bike a few years back but having been born with bad knees, he saw kayaking as more accommodating. Mike’s father was a sailor and his son began navigating the waters in his own way. Watt said as a bassist, there’s an organic quality to the grabbing a paddle. It draws immediate similarities to grabbing a neck and touching a fretboard. Mike loves the momentum that comes with constantly going. Stay the course, remain steady, and you’ll eventually be zooming. Kayaking taps into the unconscious mind similarly to breathing or sweating. This is how Watt describes the experience and he feels it inspires some of his most vital material.
We also connected over our mutual love for radio broadcasting. Mike hosted a show on a pirate station that was eventually shut down. It wasn’t long though before Watt found a great platform in the internet. The Watt from Pedro Show continues to this day and Mike loves talking to other musicians on it. Watt espoused the belief that nobody has the same journey and his show acts as a way to hear out these unique stories.
This also illustrates how Watt’s love for musical expression goes far beyond the punk idiom. Mike has a love of jazz and progressive rock leaning sounds. This has lead to working with Cedric Bixler-Zavala from Mars Volta and Paul Masvidal from Cynic. Another frequent collaborator is fretboard wizard Nels Cline.
Their project Big Walnuts Yonder has recently dropped a single and appears to be the band Watt will focus his attentions on for the near future. Mike is also keeping busy on the touring front. Recent news of Watt getting the Jom and Terry Show to back him on a spring jaunt with The Meat Puppets and Husker Du’s Grant Hart should have music fans clamouring for tickets.
Mike Watt still remains in his stomping grounds of San Pedro, California after all these years. Mike always calls those around him either brother or sister. Mike Watt is a guy who never forgot his roots and he has an enthusiastic warmth to what he does. Watt always wanted to play in bands with people he could get along with. There was never going to be that moment of taking separate limos to and from gigs. It ‘s all about everybody piling in the econo.
Brother Watt continues to fly the flannel and is using the proverbial paddle to navigate that ocean of low end tonalities. The longer you paddle, the faster you go. Keep on keeping on.