Latest Poetry

Driving down the highway

West 80 towards San Francisco

& I'm going to Berkeley

to see a 70's punk band, the Avengers

& how surreal is this?

for a Boston boy

who might've done this 30 years ago

if he wasn't 3000 miles away

But tonight

I sail in the darkness

& the flickering lights

of the houses and restaurants

along the highway

reflecting

lives that have mostly lived here

for decades

& I'm coasting through

on one of my first visits

on unknown stretches of road

like I don't belong, I'm intruding

like it's some kind of dream somewhere

I feel I'm not supposed to be here

but felt that many times back home

it's just a strange experience

but a good one

& I just smile

at this crazed feeling of freedom

as I glide into the night

& the unknown

Poetry

She's got a little backpack

and a frame that's not quite a woman, maybe 15

he's got black hair and died blond locks, ( same age as her)

hanging straight in his eyes

& a perpetual grin

trying to signify, irony and awareness

but it really conceals

akwardnesss and shyness, I sense

She dances and jumps up and down

as the sound system plays techno/punk music

he grins and nods, and then it's the Buzzcocks

She jumps some more

he's still grinning and nodding

She has Doc Marten like shoes and dark hair dyed a reddish tint

& eyes that are beautiful

as only a womans or girls eyes can be

They're nerds and outcasts

trying to turn their unpopularity

into a private crusade

He doesn't say anything

& she jumps a little more

& they'd never believe

How perfect I see them

or how perfect

they are now

or that they'll ever be

Latest CD Review

Bryan McPherson - "Fourteen Stories"






There is a pervasive sadness to these 15 songs about life, loss and the pursuit of some semblance of happiness. Bryan gives small glimpses into a past life that most suburban punk would glorify for the sake of street cred. Not Bryan. These are obviously stories of someone who really has experienced the worst in life, but there is also a glimmer of incredible hope. Do yourself a favor and check out Bryan's album Fourteen Stories.

http://www.bryanmcpherson.com/

CD Review

Moros Eros - Jealous Me Was Killed By Curiosity (Victory)

I had been waiting for this follow up CD from Moros Eros ever since I got into their first Victory release in 2006 (I saw the devil last night and now the sun shines bright). When I got word that the new album had been released, I excitedly ran out to the store only to find out nobody had it. I ended up buying it on i-tunes and missed out on the liner notes and lyrics etc. but after three months of looking for it in my local shops, I was happy just to hear it.

The new disc lived up to my expectations. Zach Tiptons voice is the first thing that draws me to this band. I love singers who can naturally hit high notes that I could never dream of hitting, (then again I can't sing for shit anyways so its even funnier for me to sing along to this disc).

Part Cedric Bixler and part Robert Smith at times, Tipton delivers his stories, questions, assumptions, and fears about what the afterlife holds for us with an obviously instinctive emotion of a young man. Its all him, no faking or mimicking anyone else. And this emotion only adds to the color of the words. "I'm a sinner, you're a saint, in gods eyes, we're both the same" or "See the angels in the sky, they'll take you home when you die". He's afraid to upset a god which he's not sure even exists and the whole cd pretty much rides on this theme. While listening you find yourself wondering the same things he's wondering.

Musically, the production was stepped up a notch from their first release. They're right up there with the complexity and break downs you'd hear from At The Drive-In, with the occasional electronic gadgetry that comes out of nowhere but fits just fine. Song 3, "Chokes" is my current fave on the the disc, and it has a cool Sabbath meets Mars Volta feel about it.

Moros, by the way is Greek for impending doom, and Eros means God of Love. It all makes sense now. I hope this band finds success because I'm guessing one or two more releases that can't be found in stores will lead them to oblivion or impending doom.

Article

BKH sits down with Mark Lind and discusses the past, present and future... Mark Lind is well on his way of becoming an institution in Boston music. A "Spirit of '96" relic whose musical career started in a church basement and has outlasted more Boston bands than I care to count. On his 13th year of song writing and entertaining the Boston punks and now the Boston adults Mark has another CD planned for 2008 after his 2007 self-released Compulsive Fuck Up EP. Boston Knuckleheads has had the pleasure of sitting down with Mark to discuss music past, present and future; politics; life and happiness. We also got a chance to preview his new song "Familiar Face" off his upcoming CD "The Truth Can Be Brutal" (please visit www.mark-lind.com to hear Familiar Face as well as some of Mark's other material). Familiar Face, to me is the saddest pop song I've ever heard. My ears and heart say the song was strongly influenced by Paul Westerberg. The harmonies (sung by Far From Finished's Marc Canata) are a melodic answer to gang vocals. The song is so well written that many can or could relate to it. I can't tell if the heart breaking 'familiar face' is the protagonist's own or the girl within grasp but beyond reach. BKH: What are your thoughts and feelings on this song Mark? And before you start, congratulations this is truly some of your best work yet. Mark Lind: Thanks. I’m pretty psyched on the new record. Jeff, Jay, Mike and Marc all really helped lay down some of the best performances I’ve ever been a part of. And they really helped make this record exactly as I wanted it to be. It goes without saying that Jim played a huge role in this as well. That particular song - Familiar Face - was chosen to be released early because it was mixed early on in the process and also because it has a lot of hooks in it. I wanted to show people that this record isn’t going to be sparse and bare like the last EP. Personally I don’t think it’s the best song on the record but some people may choose to disagree. As for the message behind the song, I’ll let people interpret it as they see fit. But its really only a sad song if you proceed from the assumption that the “familiar face” and “restless feeling” is unpleasant. Sometimes we can ache over a good thing. So there’s a lot of ways to interpret that song. I can tell you that the “she” referenced in the “she keeps on coming back” line is not about a woman. Its about an emotion that keeps coming back. And through a little manipulation of words it opened up the door for more people to relate to the song. BKH: So what can you tell us about your upcoming CD "The Truth Can Be Brutal"? Is there a common theme to the album and are we in store for more sensible pop sounds like "Familiar Face" or do you explore other styles on the CD? Mark: It’s eleven songs. It sounds really good both because of the musicians that played on it and also because of the studio that it was recorded at (The Outpost). We spent a lot of time on it and I think it’s the best record I’ve ever been a part of. At least until we start working on the next one. It doesn’t really have a solid theme. It just so happened that I amassed about 50 songs to choose from. This helps make the album the best it can be from a song stand point but it also means that I was choosing songs from an extended period of time so they don’t all run together thematically. As opposed to a situation like in the past when I only had 12 songs to work with and those were the ones that were recorded. The past 18 to 20 months of my life have been sort of a rut or a funk for me so that theme comes up a lot but there have also been some good people along the road with me for that time and those people are celebrated on the record. I also feel like there is a lot of stuff on there that anyone can relate to. Heart ache, longing, loneliness, joy, sadness, fear… we can all relate to these sorts of things. BKH: Will this CD be another self-released album or have you shopped it to a label or labels? I know that you said self-releasing the CFU EP was a bit of an experiment to allow you to observe the state of the music industry today, care to elaborate on any of the information and experience you've gathered from that experiment? Mark: This one will hopefully be coming out on a label. I’ve received a few offers but I haven’t signed anything yet. No record labels have heard the record yet. I’m hoping that once they do then more offers will come in. As for the CFU ep, I released it myself because I was sure at the time that my audience was relatively small in numbers but dedicated. Sailor’s Grave/Thorp had just gone into hiatus mode and I didn’t feel like releasing the EP with another label. Plus I’ve always wanted to release records. So I did it myself. With no distribution and no advertising. It was all either word of mouth or free advertising thanks to some of the kind folks at Interpunk, Newbury Comics or Punknews.org. It has served its purpose and I’m almost out of the pressing. I don’t plan to repress it. Once its gone then it will be available through iTunes only until I eventually get around to packaging a bunch of rarities on one CD. Most of the advertising I’ve done for that EP was done through MySpace bulletins. If there is anyone that doubts the impact MySpace has had on pop culture then I can testify to the fact that it reaches people. BKH: Let's go back a little. The Ducky Boys, are they done recording and only relegated to semi-annual live shows? Any chance some configuration of their lineup may come back? And what was your favorite line up of the band? Musically, and no offense meant to anyone in the band past or present, I think the three piece of you, Doug and Jay was my favorite and I do understand that line up was a more mature collection than previous line ups. From a music standpoint and from a life changing standpoint what are the most important Ducky Boys line ups? Mark: I’ve played with a lot of people in Ducky Boys over the years. Some great friends have joined in on the fun or have helped me out. But the only line-up that really strikes me as being the true face of Ducky Boys was when it was me, Jay and Douglas. Those were the years when we got motivated, had a common mission and saw it through to its logical conclusion. We also made the two best records in the band’s catalog. And I will only play with the two of them in the future under that name. There have been times over the years when Ducky Boys got pulled out of the moth balls for the semi-annual show. Those times weren’t happy ones for me. I’ll only continue to do it here and there if there is some forward momentum to it. It might take a while longer to annoy me because I have The Unloved and the solo/acoustic thing as an outlet but there will come a time when it will be time to make a new record or put it to rest until the time is right. I would say its likely - not definite - that there will be more music in the future. But I’m not rushing. BKH: So I have to ask any chance of getting Doug and Jay to get together, re-arrange and re-record No Gettin' Out? Mark: We had toyed with idea at one point. But if I’m gonna take a bunch of money and spend a lot of time in a studio and practice space with Jay and Douglas then it will be for the purposes of new music, not touching up the old stuff. BKH: You've had the opportunity to work with your brother Rob in Sinners and Saints and Jeff Morris with The Unloved, both whom you've referenced as having significant impacts on your music. Who do you/did you enjoy working with more, and which one has had a more profound influence on your songwriting to date? Mark: They’re different people so I approach them differently and I don’t really compare them or pick favorites. They work in very different ways. Jeff is a one take kind of guy. Rob is more of a recording artist than a live rock n’ roll guy. Don’t get me wrong, he can plug in and play like a motherfucker too but he’s more like the Beatles during their Sgt Pepper days where Jeff is more like how they were when they were rocking Shea Stadium. Put it this way, Rob took about 9 months to make Ramallah’s “Kill A Celebrity” while Jeff made “Tattooed Hearts and Broken Promises” in less than 12 hours. They’re very different types of players and songwriters. As for who I’d prefer to work with, I guess I’d choose Jeff because he is more on the same playing field as I am. Jeff has many features to his personality; he is a father, a husband, a businessman, a musician, a songwriter etc. Rob is always Rob. Ha. Plus I don’t have the patience to work in the way Rob does. He is a perfectionist and he moves very slowly. I prefer to see results. BKH: And since I mentioned Rob...any chance of a Sinners and Saints CD or show on the horizon? If there is I may have to diet so I can fit back into my S&S shirt...although I have heard you've begun selling your own merchandise on your web page, is that right? Mark: Definitely nothing on the horizon as far as a show goes. Rob has to tend to his personal life. A CD is not out of the question but I think Rob has other plans for his first batch of songs back. I’m not saying never but it would take a lot of planning and I know that would fall on my shoulders to plan and right now I’m pursuing this record with The Unloved. We are selling shirts. There are shirts by Sinners & Saints, Ducky Boys and The Unloved all on sale at www.myspace.com/marklind . And they’re selling well. BKH: Last year around this time you purchased the First Act Westerberg Edition guitar, how do you like it? And because it's becoming a tradition for me, what was your first guitar and what is your favorite guitar? Mark: That First Act guitar is a piece of shit. It won’t stay in tune. They told me they set it up to be played ½ step down but I think they lied to me. Because of that I haven’t played it often. One of these days I may get around to setting it up again. Maybe I will now that you reminded me I have it. As for music gear, I haven’t got a clue about that sort of stuff. You’d have to ask Jeff or Mike that sort of question. I just play whatever I have. BKH: So how do you approach songwriting? Do you find the melody first or the words, or a little of both and find a hook and build from it? Mark: Back in the old days of Ducky Boys… when we sucked…. I used to make up music and then fit words in there. The kids certainly didn’t seem to mind but, looking back on it, it was very unnatural. These days it sort of all comes together at once - usually. Most times I just pick up the guitar and the whole thing comes out in one Peter North style blast. If its any good then I grab the tape recorder that I keep next to my guitar and roll tape. Sometimes I’ll go right to the 8-track recorder and sometimes I’ll let it sit for a while. I keep a list taped to my wall with all of the songs I’m working on that haven’t been demoed and I cross them off as I finish them up. Usually the words I come up with in the first couple of passes get nixed but there will be a line or two that really stands out and I’ll follow that path for the remainder of the song. Simple as can be… not too much thought. One thing I will never do is ask “what will people think about it?” when I’m working on a song. If you do that then you are only going through the motions and pumping out crap for the sake of pumping out crap. Once the songs are all done from a creative perspective then I might go back and hammer them out. Structure them appropriately and then ask “do I like this?”, “would I listen to this?” or “will people listen to this?” but that’s at the phase of the song when the heart and soul of it is already completed so that it can‘t be compromised. BKH: On your debut solo CD, Death or Jail, the song For Frank eulogizes your, at that time, recently deceased grandfather. Was that a difficult song for you to write? What song for you has been the most difficult for you to write over the past 13 years and do you like how it came out or do you want another shot at it? Mark: There are no songs that have been particularly hard to come up with. I don’t mind laying all the cards on the table. The only times I’ve flinched is when I’ve been unsure how someone else might like me writing about them. But in the end if you’re a girl that is gonna get involved with a guy in a rock band with a platform then you’re gonna have to deal with that. Or even worse, if you’re a dude that tries to fuck over the guy in the band with a platform then you gotta expect to get flamed. There is one song on the new record called “So She Says” which was originally called “(Girl’s name withheld) Says” and I changed it to a nonspecific ‘she’ to spare her having to deal with it. On the other hand it is far and away the best song on the record - and possibly the best song I’ve ever come up with - so she would have been immortalized with street punk fans forever. Ha. As for songs that I’d re-do, hindsight is 20/20 as we all know. There are some songs on “Dark Days” that I’d like to have another shot at knowing what I know now but they are what they are and it was a popular record in its day. Sometimes I make this comment and people think I’m putting the record down. They gotta understand that I’m only saying I could do better. I’m really putting myself down when I put down one of my records. I’m not trying to take the joy out of it for them. There are no plans to touch any of those songs again but I’d like another shot at the song called “A Better Life”. If I could do it all over again then I would have dropped that one from the record and tackled it with Dirty Water in 2002. Maybe one day The Unloved can try that one out. BKH: I'm not going to lie, we are both anxious guys and not the most socially ept. Do you think this trait has hurt or helped your songwriting? Also has it helped or hurt your musical career? Mark: It definitely makes me who I am. And my music is a result of who I am so I guess it has helped it. One of the comments that I hate most is when someone says to me “Hey! At least you got some good songs out of it” when discussing a particularly painful experience. That comment might hold water if I was getting paid the type of money Tom Petty is making but I’m not. While I think my social and emotional shortcomings have helped me make some memorable moments on tape, I’d trade it all in for a chance to be happy and calm. BKH: Boston music is still big nationally thanks to bands like the DKM, Street Dogs and the Explosion. Two separate questions - what Boston band(s) do you think SHOULD be a national success and which ones do you think WILL be a success. For example both Far From Finished and Death and Taxes are two of the best bands in Boston today - both should be huge - FFF is more likely to be successful because they have the ability to tour more aggressively than a band like D&T. Mark: You just named my two favorite bands in town. I absolutely love both Death & Taxes and Far From Finished. Their songwriters, Jeff Morris and Marc Cannata, definitely speak for me in ways that I can’t express myself. And in a just world that sort of talent would be rewarded handsomely. Both of those bands should be famous and all over the charts. But as for what WILL be popular I don’t know. One of my claims to fame is the fact that I called Ken Casey the day after he gave me his demo in 1996 and said “if this is really your band then you will be on Epitaph Records within a year”. And they were. But since then it has been impossible to predict. Every Tom, Dick and Harry from Boston that sees Dropkick Murphys seems to think they are gonna put together a band and go for the big time but there are a lot of factors in there that most bands miss. Most importantly, its about a lot more than fashion and sound. There needs to be substance, honesty and timing. People aren’t stupid and they eventually see through dishonesty even if it takes a while. I’ve seen so many bands head out on the road in search of fame and fortune only to come home broke, broken and with their tail between their legs. In fact, I was in one of those bands - though we went for it about 2 years before every schmuck started chasing it. But there have been more failures than successes. If I were to guess on a next big thing then it would be a metal band like Diecast since that stuff has a hell of a lot more mass appeal than dudes in scally caps. But it would be nice of Death & Taxes or Far From Finished could do something to reach as many people as possible. Both of those bands deserve everything they could hope to have. They’re both very honest bands and write from the heart. BKH: I've been told that politics and music don't mix on other interviews, but I have to ask, you don't hide that you support(ed) Joe Biden, now that he is out who is your guy (or gal) and what one issue represented by that candidate is most important to you? Mark: Politics is just a part of life. People that try to skirt that topic are usually just afraid of offending someone. I was supporting Biden though I knew he couldn’t win. He’s done so much good in his career as a Senator that he really deserved to be taken more seriously. We’ve had to deal with these hacks like Bush and Giulliani but we can’t give a guy a chance that has already chaired the Senate Judiciary Committee or the Senate Foreign Relations Committee? With him out of the running then I’m backing Obama. He’s probably the only candidate that can pull off the angle of wiping out the old Washington insiders since he is such new blood. I really hope he surrounds himself with the right people. He’d make a great face man but he’s gonna need someone like Biden in his cabinet to be successful. BKH: I understand you have a show coming up at TT's on January 10th, who are you playing with? Mark: That show was kind of a last minute addition. We’re gonna be playing with the Kickbacks, Jason Bennett & The Resistance and Varsity Drag. BKH: Care to plug any other shows or add anything else before wrapping this up? Mark: I guess the other one to mention will be the St. Valentine’s Day Massacre show with The Men and The Deadly Sins at the Middle East in February. They’re both doing two nights. We’re gonna be playing the Friday night show. The first night. BKH: In 2007 you said that you were going to do some shows outside of New England in support of your solo album(s). To my knowledge it didn't happen - are you willing to name a city outside of New England and play a show there in 2008? Mark: Yeah. That is the sort of thing that happens when you’re managing yourself. I got caught up in making this new record and going to school so it didn’t really happen. But I am definitely heading out on weekends in the Spring of 2008. I’m already working on shows in Richmond, Atlanta, Baltimore, DC, NYC and New Orleans. They will be solo/acoustic but I enjoy doing that and I think that vibe will translate to anyone that may choose to attend.

Article

Death and Taxes Interview 2: Jeff Morris

This is the last and final interview with the members of Death and Taxes, in Part One we spoke with Mike Savitkas (bass) and now have the pleasure of speaking with Jeff Morris (guitar/vocals).

BKH: I'll omit the part where I blow smoke up your ass telling you how great the new CD is (for those who want my opinion please read the first interview). Simply, I think the CD is great, everyone I know who has taken the time to listen to it thinks it is great. How about you Jeff, are you proud of this CD? Where does it rank for you personally out of all the albums you've played on in the past?

Jeff Morris: Thanks, we’ve had some great feedback on this and we’re very encouraged by the way it’s being received so far. Haven’t seen a lot of reviews yet, but we’ve had some great comments from friends.

When we decided to make a recording we didn’t have any idea who would be releasing it, or whether we’d even be just releasing it ourselves. We had to pay for everything ourselves and we could have gone a couple different ways. We had the option of going local, maybe saving money and being comfortable with the surroundings or bucking up, spending real money and working with the best. We decided we didn’t want any regrets so we did the latter and contacted Jim Siegel at the Outpost. We went in there and came out with the best sounding recording possible and for that I am proud. People can decide whether they like the songwriting or the performances on their own merit, but the sound quality can’t be questioned. That was utmost in my mind when we decided to go with Jim.

Where does it rank? It’s a new chapter for me personally, the first time I’ve tried singing in a band. It’s also the first time I’ve been back in the Boston scene since I left the Bruisers in 1996, so it was never assumed that we’d be accepted. With ten years since being a part of the scene in the city I had no idea what to expect. Most of the people I knew aren’t around anymore, and the ones who are still around probably had no idea what to make of the new stuff when we started playing out. I guess what I’m saying is that, in my mind this was a completely new endeavor with no expectations other than to hopefully play some shows and not fall flat on our faces. The fact that we’ve managed to keep at it for a couple years now, record our own cd and release it on a bona fide label is all very gratifying and in all honesty it was never expected and will never be taken for granted.

This is the twentieth recording I’ve released since starting with the Bruisers in 1988 and I look at it as a new chapter. There have been musical and personal benchmarks for me over the years and this is right up there with most of them. I remember how great it felt when we released our first full length cd in 1993, “Cruisin’ for a Bruisin”. It was like we had finally legitimized ourselves, putting out a complete and full release to stake our claim to being a real band, capable of writing and recording something that will stand the test of time. I guess that’s how I feel about this new cd too, it feels good to know we were able to work hard, put in our time playing tons of shows, working out the new material over the course of months to see what works and what doesn’t and finally coming up with a solid release that will hopefully be the benchmark for us as a band to move forward for many years.

BKH: The songwriting is amazing. I have said it before and will say it again the lyrics are as deep and dark and full of meaning as anything done by Leonard Cohen or Nick Cave. Are you influenced by those songwriters or any songwriters in general?

Jeff: I’ve never heard Cohen, to be honest so I can’t say anything about him. My exposure to Nick Cave is limited to the “Murder Ballads” cd which is great, but I haven’t dug any deeper into his recordings.

Influences for me are probably less direct and more subtle or subconscious than pointing the finger at one songwriter and saying I want to be like that guy. I have always been a student of songwriting, I can find the good in almost anything. Some examples off the top of my head…70’s AM Gold like 10CC, Gordon Lightfoot and Gerry Rafferty who’s sense of melody and the ability to hook the listener in from the 1^st note is remarkable. The dark imagery and Morrison-esque vocal stylings of some of the first Joe Wood-era TSOL albums like “Change Today” and “Revenge” are some of my personal favorites. The Doors and Morrison with some of the most dynamic arrangements you’ll ever hear including some really heavy subjects in songs like “The End”, “Unknown Soldier” and even the dreamy beauty of songs like “Moonlight Drive”. The Jam with an intelligent take on the plight of the average man in songs like “Corner Shop” and “Smithers-Jones” and especially “To Be Someone” that links in perfectly with the incredibly powerful stories of the British working class ethos in stories such as “Keep The Aspidistra Flying” and “Coming up for Air” by Orwell which have influenced my writing since songs I wrote back in the late 80’s for the Bruisers. Dave Alvin has always struck me as one of the most capable of conveying human emotions in his writing without being syrupy or cliché. Tom Waits, with the way he uses his voice like an instrument to really infuse a song with feeling… Steve Earle, the way he speaks in the “everyman” voice, keeping things simple and never talking over a subject. Husker Du albums like “New Day Rising” where both Mould and Hart started dropping real heavy lyrics into intense music. Replacements and Westerberg were a big part of my teen years like most of us at this age. Paul’s ability to be ironic, intelligent and emotional while retaining his “cool-factor” has always intrigued me. I can remember summertime in the 70’s when I was in grade school, I’d be out in the yard blowing up army men in the dirt and my mother would have the stereo speakers facing out the window while she dug in her flower boxes. I’d fight epic battles to the soundtrack of Johnny Cash live at San Quentin, Freddy Fender, Jim Nabors, Marty Robbins “Gunfighter Ballads”, Glenn Campbell and more as the record player kept dropping one platter after the other from the pile she’d put on the multi-stacker in our old console machine. Driving in the back seat of my parents 1970’s Chevy Kingswood station wagon listening to The Carpenters, Linda Ronstadt, David Gates and Bread, America, Badfinger, Captain and Tenile, Elton John, Carole King, you name it… those put fingerprints on your brain (like it or not). So I guess my point is that it’s all a wash. I don’t pattern my songs after anything in particular. I am nothing more or less than a kid of the 70’s and 80’s and all the influences that come with it.

On this record the songs are all culled from notebooks I keep. Some of them are from older entries, like “Love Letters on Skin” and “Orange Line” which are both about the same girl I met in 1987 and who made a strong impression on me. Others like the title track are really about many people I’ve known. Each verse is a different person with the chorus tying it all together. I don’t do well when I try to sit down and write a song about a “topic” per se. I am only successful when I feel compelled to write something down, usually about something that has happened to me or someone close to me. So in that regard, most or all of what I write is autobiographical I guess. “Hold On” is one that may not be anyone’s favorite due to the fact that it’s a pretty laid back song musically, but for me it’s one of the most personal on the record. It’s the first song I’ve publicly released that was directly written for and about my relationship of 20 years with my incredibly patient, understanding and loyal wife, Jodi.

I remember when the last record I wrote for the Bruisers came out in ’96 (Up In Flames) I sat and looked at the lyrics insert in the cd packaging and thought “Wow, I really gave away too much on this one”. I realized then that I was baring so much, probably too much and giving anyone who cares to listen a 20:20 view into my inner workings, self doubts, needs and desires, prurient and otherwise. I regretted it for about 5 minutes before realizing that if I wasn’t completely honest in the lyrics I wrote that I wouldn’t be worth a damn as a songwriter. I swallowed my pride and my need to keep up appearances and just went with it, damn the torpedoes I guess… and that’s what I still try to do. Everything I write is for real, for better or worse. It might be too revealing, it might not even be interesting to anyone else other than me since it is so personal, but it’s what works for me.

BKH: Your songwriting is distinctley "adult" for lack of a better term. I just don't see a 20-something being able to write with such ethos; mainly due to lack of life experience. How is the band doing with the younger crowd? Have you played any all ages shows recently? How was the attendence?

Jeff: We’ve done a few all ages shows, and while we might not have the singalong choruses of some bands we’ve had a great time and sold a lot of cd’s to the younger kids so I guess there is your proof that they’re into it. We had a great night at the Roxy with Street Dogs, Darkbuster and Jason Bennett and sold more cd’s and shirts in one night than we normally do in 10 shows. We just played last weekend with Darkbuster and Far From Finished at another all ages show in Nashua,NH where the kids were crowd surfing to our set. That’s a first for us. So yeah, I would say it’s a work in progress but it’s going well so far.

I remember being a teenager and going to see the Circle Jerks at Brandeis one night. Moving Targets had just released “Burning in Water” and were opening the show. I had only seen their name on flyers to that point but was really taken in by their songs. They were intelligent, rocked hard and had great dynamics. I bought a cassette from Kenny after the show and have been a fan of theirs ever since. That example shows me that young kids can appreciate something different, even if they are at a show to see something they’re familiar with. I guess that’s the whole reason why bands like ours look to get on bills like these in the first place.

BKH: Because this story really blows me away, care to give the readers a little background into "Green River"?

Jeff: Yeah, that’s a song I’ve been trying to write for literally 20 years. I’ve probably said too much elsewhere about the people involved, and I don’t want to open them up to any more pain that I already have by getting into too much of the background, so I’ll just stick to the story of the song itself. Suffice it to say that the girl who is the subject of the story was close to me a long time ago. She had moved out west to Seattle in the late 80’s and we lost track of her. After about 6 months of using a private investigator her only living relative got the news that she had been raped, murdered and left exposed in the Green River. She was not a victim of the notorious “Green River Killer”, but her murderer has never been identified so I can’t say any more about who may or may not have done it.

When we found out what had happened to her I never even considered that it might be a suitable subject for a song, I thought it was too personal and tragic to cheapen by using it that way. But over time I wrote more and more in my own notebooks about her, about my imagined version of that night, of her choices and what could have led her to that ending. I kept going back to it, year after year and eventually realized that it might be alright if I tried to tell her story, to memorialize her I guess. I’m still not completely sure it’s appropriate, that maybe I’m just one more person taking advantage of her. I hope not, I really do.

BKH: There is a lot more to you than the music; you're a family man: husband, father, dog owner. It must be tough to balance music and a family, do you have any plans to tour with Death and Taxes should the right opportunity come along or are you at the stage in life where the music is for you and as long as you get to make it and play it you are happy?

Jeff: We’re at the point as a group where small, targeted tours are necessary and possible. We won’t be out on the road for long stretches of time because frankly we can’t afford it, but we can certainly do a week here or 10 days there.

BKH: Getting back to the music I still have a hard time connecting your Bruisers' guitar playing with the Death and Taxes playing - not that you weren't good with the Bruisers but you are now what I would term "great." When did the change happen or have you even noticed?

Jeff: Great is a strong word. If you look around just the small scene we’re in there is no shortage of what I think of as really talented guitarists. Some right off the top of my head… Chris DeBarge from The Curses and Lenny & The Piss Poor Boys, Steve Confront, JJ from Downbeat 5, Amy from Raging Teens and Darkbuster… I don’t mean to leave anyone out, I’m sure there are more. But those are some of my personal favorites that all take my head off when I see them play. I remember watching DeBarge go back and forth between pedal steel and Tele at a Middle East gig with Lenny and the Piss Poor Boys (RIP Jon) and just being amazed. I had never seen him in that context and was blown away. Same with Steve Confront, we played a really shitty show with them one night and at the end of the night it was garbage time. He gets on stage half in the bag and proceeds to play the most ripping version of Thin Lizzy’s “Cowboy Song” I’ve ever heard outside of the real thing. He nailed every note and I stood there crying in my beer because I couldn’t even begin to do what he did that night.

I am not a trained guitarist, I know what I know, but I’m very limited to basic rock and blues scales and my style has been called the “lobster claw” method by some friends of mine who actually realize that the pinky on your fret hand is also available and should be utilized from time to time. Thanks for your comments, though. I try to communicate the melody of the song in my playing, keep it raw and effective without wanking too much. When I can do that I’m happy with what I do.

BKH: I asked Mike this and I'll pose a similar question to you. I know you've used some of the Rondo gear and I bring this up because it proves the point that it is the player not the equipment. What is the first guitar you've owned, the favorite guitar you currently own and the favorite guitar you have ever owned (if different)?

Jeff: First was an Aria Pro II CS250, a Japanese bolt-on SG type guitar I bought in a music store in 1984. Since then I’ve done what most guitarists do, buy everything I can possibly afford and some I can’t. The one guitar I’ve owned the longest is my 1993 Gretsch 6120 re-issue that I’ve been using in bands since buying it. It’s not my main guitar these days, but it’s not going anywhere. These days the one guitar I use most in live shows is a Korean-made Hamer Echotone. It’s basically an ES-335 custom knockoff but I’ve put in some good Gibson P90 pickups and installed all new pots, switches and jack as well as a new master volume on the lower bout like the 6120 has and a Gibson-style vibrola. On the recording I used that guitar for leads with the Gretsch as one rhythm guitar and my 1989 Gibson Chet Atkins Country Gentleman as the other. The Gibson is a really great guitar in its own right, might be the best I own. You can hear that one most on “Green River”. I also have a late 80’s Greco Les Paul Custom made in Japan with new Seymour Duncan P90 replacements that I use on stage from time to time. The acoustic on “Green River” is a newer Martin D16 that is one of the best sounding/playing acoustics I’ve ever had my hands on. I recently bought a new D’Angelico New Yorker that is my “old man” guitar that I bought to force myself to learn new styles. We’ll see how that goes…

BKH: How is the CD selling, if you don't mind the question? Nationally the record companies are hurting, you took the approach of allowing fans to preview high quality cuts of your songs rather than letting them hear them in their entirety in a lower quality format. Where do you see the music industry going?

Jeff: It’s been a month since the cd was released and we’ve sold about 110 copies at shows. I know that Newbury Comics had to reorder already and we were up to #20 on Interpunk so I am encouraged. We have good distro with Koch out of NYC so it is in most stores. We’ve had emails from Japan, Thailand, South America, Europe and all over the states from people who have bought it, so it’s definitely getting good distro. We’ll see what happens, but so far so good.

BKH: It's 2008 - care to get political? Who are you predicting as nominees this election? Do you support any of the candidates? And what one issue that the nation faces currently is the deal breaker for you that align you with a candidate?

Politics and music are like whiskey and car keys.

BKH: The Unloved, are you having fun working with Mark Lind? I know in numerous interviews when the Ducky Boys were starting out he pointed to the Bruisers as a main influence, even joking that "No Getting Out" was made up of rejected Bruisers songs...how do you feel about his new album?

Jeff: Absolutely having a blast playing with Mark, Jay and Mike in the Unloved. I really enjoy being able to be a guitarist without having to step up and front the band. It’s a lot less stressful to be honest, and the new recordings we just made for the upcoming record are easily the best I’ve ever heard out of Mark. We just did a video yesterday for one song, “New Years Day Lament” which is a really personal song from Mark. It was fun making the video and I even got to punch Jay in the face a couple times. I wish it had been Mike instead, but you take what you can get, I guess. I think this recording and the songwriting on it are going to cement him as one of the most talented singer/songwriters around. He’s really broken out of just writing for the punk crowd and I can easily see these new songs on the radio, MTV, whatever. They’re THAT good. Can’t wait to release it and see what people think.

BKH: Thank you Jeff for taking the time to talk to us and for your candid responses to our questions. Is there anything you'd like to add? How about some show plugs?

Jeff: Thanks, Tony for the interview and for your positive comments on the new record. Anyone who might not have heard us yet can check out samples on our MySpace page and see our show schedule while you’re there at www.myspace.com/deathntaxesband

Article

An Interview with Mike Savitkas of Death and Taxes

If 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