An Interview with Mike Savitkas of Death and TaxesIf you have not had the pleasure of listening to Death and Taxes debut CD "Tattooed Hearts and Broken Promises" you really have missed out on what I believe to be the best local (and possibly national) album of the year in 2007. For those unfamiliar with Death and Taxes their sound is unique, they are doing rock and roll like no one else is right now and I am for once excited about music again. Think gritty rock and roll licks like the Rolling Stones with a gritty, melodious baritone singing lyrics that are as deep and dark as anything put out by Leonard Cohen or Nick Cave. You get a glimpse into life, loss and a bit of triumph in this album and it really grabs you by the balls and says "Listen the fuck up."
One thing that has really struck me about the Death and Taxes debut CD is the musicianship. Upon first listen it is really easy to get lost in the booming vocals and the gritty, yet perfect guitar sounds of Jeff Morris; but to me what really shines about this band is its rhythm section. SteveToland's drumming is perfectly accompanied by the bass of Mike Savitkas who definitely subscribes to the less is more philosophy for the instrument. Boston Knuckleheads was lucky enough to be able to sit down with Mike, someone I have very limited knowledge of his musical history, and talk with him about music, Death and Taxes and 2008.
BKH: Mike, thanks for taking the time to sit down with Boston Knuckleheads. You've had a busy 2007, recording and Tattooed Hearts and Broken Promises with your Death and Taxes band mates Jeff Morris and Steve Toland. Also recording the Compulsive Fuck Up EP as part of the Unloved with Mark Lind and again on the new CD. Another big year planned for 2008?
Mike: Well, first off, Jeff and I contributed to Mark's new upcoming release, "The Truth Can Be Brutal." Neither one of us played on "Compulsive Fuck Up;" that CD was completed just before we first got together to do the now infamous first "Night Before Thanksgiving Fiasco" at TT's in '06. (laughing) Jeff and I did play on three internet only released songs of Mark's that were recorded at 51 Lions in Quincy back over the Summer at some point. Those were "I'll Be Around", "Be Your Man" and an electric version of "On the Outside" which was released acoustically on "CFU". That lineup really turned out to be a lot of fun considering it was originally just a one gig pickup band kind of thing; it was a blast, so we just kept on playing Mark's stuff out. Then Mark offered us the chance to do a CD with him and of course we jumped at the idea. I just recently got a copy of the master for the new Mark Lind & the Unloved CD last night, and I have to tell you I'm very happy with the results. It was quite a thrill for me to be able to have played on that and also on Death & Taxes "Tattooed Hearts & Broken Promises" That recording process (Death & Taxes) was one of the most amazing and gratifying experiences of my life. We all were really "ON" in the studio, and I think the recording really shows that off well. I don't think we left anything on the table with that recording. As for '08, I know we've got a bunch of shows coming up with some great bands. I'm hoping also to work hard at finding an audience for the new D&T material. I really think this stuff has appeal far beyond just the punk audience that has been so great to us thus far. I'm always amazed at the positive reaction we get out there playing.BKH: Indeed, the Death and Taxes music is far reaching. Honestly that Death and Taxes CD is one of the best I've listened to recently. You guys really do your own thing and have separated yourself musically from most of Boston music - if not national music. How do you guys approach songwriting, I know Jeff does the lyrics, but is it a team effort with the music?
Mike: Hmm. Never really thought about this too hard, but Jeff usually hashes out the lyrics and basic chord structures, and then he might throw out some kind of basic idea about what the drum beat should be like and they he just starts playing. Once in a while he'll even let me know what key it is in first (laughing again)
Seriously, he just starts playing, and I try and form something that doesn't sound awful in there somewhere. Hell, a lot of those bass parts were developed on stage at shows. We'd run through a new song twice at practice on Wednesday , and then be playing it at the show that Friday or Saturday night. So yeah, a team effort. Steve comes up with the greatest little nuanced type stuff too. The guy blows my mind sometimes. There's a lot of "throwing bologna at the wall" to see what sticks musically for me while developing a song.
BKH: How long have you been playing with Jeff? Forgive me for not knowing much about your former bands, I know you played the Bruisers' reunion show and also with your Death and Taxes band mates in the Cadillac Hitmen; beyond that what other bands and/or experience do you have?
Mike: Okay, this might get complicated (laughing again) I knew who Jeff was when we were in high school, but we weren't really friends or anything. We ran in different circles, but I knew who he was. Actually, we played on opposing baseball teams when we were much younger than that. I can remember Jeff coming up to bat, as I was a catcher, and Jeff was as good a hitter as I recall. So yeah, a long friggin' time. We actually started to be friends when our girlfriends at the time were friends. This inevitably lead to guitar talk, since we were both guitar players. Both of us had played with Jay Crowley in the past. I had played with Jay between when I was in the seventh grade and my freshman year of high school. Jeff had played with Jay later on during High School. We both had played with a lot of the same guys around town. The Newburyport Music Scene wasn't very big.
Man, this could get long winded.
BKH: Keep going this is interesting stuff.
Mike: Jeff and I started terrorizing guitar stores together; we'd get together and try out amps, and guitars, and stuff like that, due to the fact that our girlfriends were friends. Well, my girlfriend split, and Jeff married his. This is probably in the late 80's. Anyway, we were friends but I had given up playing in bands in high school. I'd go to Bruisers shows sometimes and check out what Jeff was doing. We'd hang out , and Jeff would run these guitar parts past me that eventually evolved into The Cadillac Hitmen.
I'd give those guys a hand with stuff, because I liked being around the music deal, but didn't really feel like playing in a band. I'd get brought up on stage once in a while to play with those guys, and did actually play bass for one show where Tina couldn't make it due to an injury. I helped out with sound, and various other b.s. It was fun stuff.
Then at some point Jay Crowley managed to shame me into playing a set with him with his band; playing guitar that was. Jay's a fantastic player, and an old friend and it was a lot of fun. We hadn't payed together in 12 years at that point, and it felt like not a minute had gone by. It was old hat and fun. Well, Jay managed to convince me to play a few shows with him here and there on guitar, then one day, after not hearing from him in a while, he springs the idea of me playing bass for his "Blues band." It was really down and dirty, authentic sounding stuff. Not that cheesy white boy blues stuff that was so prevalent at the time. I kind of did it reluctantly. Yeah I had a bass, and had played bass in a band back in high school but I was more a guitar player in my mind. I said what the hell, and that got me playing again. That was really one bad ass Blues band and it kind of primed me for what was coming next.
Jeff had a gig with The Hitmen that Robert and Tina couldn't do, so the idea was floated for me to join up with Steve and Jeff, and do a 3 piece instrumental thing. The show was July 4th, and Jeff asked me if I was interested in doing this at 10 p.m. on July 2nd. HA! He emailed me a list of 33 songs to learn by the Fourth. No practice. Baptism by fire as they say. Well, somehow we pulled that deal off, having never really played in that configuration, and it was decided that maybe this would be a fun side project for those guys, and Jay had just moved to California so I was doing nothing.
That lineup became the Zuni Fetish Experiment which pushed the avante guard instrumental thing pretty far out there. It was a lot more improv-based on an existing theme, kind of like the old Jazz guys would do, only in a Power Trio Rock format. I like the Hendrix meets Miles Davis analogy. We did that for a while, and at some point during that Jeff asked me if I could give him a hand with another project.
Enter The Bruisers connection. Jeff asked if I could help out playing bass until they settled in on a lineup for The Bruisers' Reunion show. I went in as a "temp". at some point Al and Jeff asked me if I wanted to stay on because the feel was so good. That was a pretty big deal and I sure as hell wasn't going to turn that down.
That pretty much covers my stuff up until the beginning of D&T. There were quite a few years in there where I wasn't interested in playing in a band. I kind of got dragged back into it again (laughing) I'm glad I was though.
Shit, that was pretty long! Sorry.
BKH: That was great Mike, I'm sure the people who read the Knucklehead blog will love it. Mark Lind recently said of you, "I honestly think Mike is the best bass player I've ever seen or heard. No bullshit. Everything he plays is perfect. Never overdoes it but never leaves a stone unturned. And he isn't playing like a frustrated guitar player EVEN THOUGH he is still 100 times the guitar player I'll ever be and even rivals Maestro on occasion. Lots of taste and that's what makes good bass playing." I have to admit, your playing on Tattooed Hearts is phenomenal. Are you self taught? Lessons? I have heard you can not read tablature but read music, so I am assuming you've had some formal training.
Mike: I have a disclaimer - I can read music but haven't for well over 20 years now. I also never could read music as it applied to guitar or bass. I'll try and explain and be brief.
I started playing music when I could reach the keys on my dad's piano at about age 4ish. I had some formal training with piano and saxophone as a kid. I could read pretty well when it came to sax. I picked up a guitar for the first time around age 8. Started playing seriously around the seventh grade, and got some lessons that taught me the basic chords, and a bunch of songs. All chord stuff, not reading actual written music as it applies to guitar. I got a cheap-o Spiegel Catalog used bass in the eighth grade, and managed to get myself a used Fender Precision around the ninth grade. I am completely self taught at bass and mostly self taught with guitar, beyond the basic chordal stuff. I play by ear. I have no idea what notes are on the fretboard past the E and A stings beyond the seventh fret. I just don't care what they are. I just pick the ones that sound right.
Tab is a mess. It's all upside down and stuff. Makes no sense to me.
BKH: Do you have a favorite bass to play? I know you're a big supporter of Rondo musics' gear.
Mike: Oh yeah, I love Rondo's stuff. A little bit of tweaking and those things can really smoke for short short money. Really well built and with a couple of upgrades can rival stuff that cost many many times more. The blue P-bass copy that I play out most of the time is an SX bass from Rondo. That's kind of my main "workhorse" these days, although I do have a few others. Another SX P bass copy, that I got for $75 with a gig bag used, an Epiphone Jack Cassady Signature bass, and a Bacchus single coil P-style bass. That one (the Bacchus) is a Japan market only, hand-made bass and is awesome. I do play the Blue SX the most though. That thing just rocks like crazy. My favorite will always be "Mary Anne" though. That's the old worn looking Fender Precision that I still will drag out to a show now and then. That one kind of went into semi-retirement after The Bruisers reunion show. That was my main and only bass for a good long time and will always be my favorite. We have a long history together, and she's the one that brought me to the dance so to speak. That's the bass that's on all the studio stuff.
BKH: Do you have a favorite track to play of the new CD?
Mike: Let's see... (thinking)... to play....I guess I like the bass line in "Hold On" . That's a fun one to play. Nothing real fancy. There's just something I like about that one. I love to listen to the tile track "Tattooed Hearts & Broken Promises" but it's my least favorite to play live.
BKH: Mike, I really want to thank you for taking the time to talk with us. Do you have anything you want to add?
Mike: Yes, I should probably go get a hockey helmet, because Jeff is going to smack me upside the head for being so long winded. (Laughing) As my mom would say, "Michael, when someone asks you what time it is, don't tell how to build a watch" Words to live by.
BKH: How about a plug for your next show before you go? I've also heard you'll be on the Hometown Throw Up this year opening for Darkbuster.
Mike: Yup, that one's on the weekend of my birthday. The (edited) anniversary of my 23rd birthday. Can't wait. We're playing with Darkbuster, Far From Finshes , Energy, and the 86'ed in Nashua N.H. tommorow night (Friday January 4th), and I can't remember any of the other ones. I have to go check on line to figure out where I'm supposed to be (laughing agian) Thanks Tony, and everyone else for the interst in the band. It's been great getting out there and playing this stuff.
I can't emphasize enough how impressed I am with Death and Taxes, and strongly encourage anyone who loves music, especially rock and roll, to pick up this CD. Tattooed Hearts and Broken Promises is available through I Scream records online and at Newbury Comics stores. For more information, tour dates and music samples please visit the band's myspace page at :
http://www.myspace.com/deathntaxesband
