More Than Just the Music: The Different Sides of the Swingin’ Utters

By Jake Corbin

Every kid that picks up the guitar, smacks a snare drum or thumps their first bass line fantasizes about playing on stage to the cheers of adoring fans. Stumbling through a three-chord Ramones riff in your bedroom is fun, but not quite the same as jumping in a van, hitting the road and cranking it up to 11 night after night.

But what the next Joe Strummers of the world are not aware of is the monotony of the touring musician. Playing the same set list day in and day out gets boring; especially when your mind is bursting with new song ideas, some of which don’t quite capture the sound your band is looking for.

Just ask the members of the Swingin’ Utters.

The San Francisco punkers – who have been a driving force in the Bay Area scene for 20 years now – have eight bands between the group’s five members, each distinctly different from the other.

Of all the bands, the Filthy Thieving Bastards are the biggest departure in sound from the Utters’ brand of punk rock. Heavily influenced by both folk and country music, the group was created out of necessity for guitarist/vocalist Darius Koski to unleash the material he had building up.

“I had a lot of acoustic stuff, more countryish kind of stuff, that I put on Swingin’ Utters records here and there,” said Koski. “But it got kind of frustrating, because I had so much stuff.  So I talked to Johnny [“Peebucks” Bonnel, lead singer] about it and said, ‘we should start another band.’”

Bonnel jumped onboard as lead vocalist for the Filthy Thieving Bastards, adding his familiar rough-around-the-edges rasp to the new band’s lighter sound. The group has since released three full-length albums, including their most recent “I’m a Son of a Gun,” on BYO Records.

While side projects like this are great for allowing creativity to grow, expressing different musical interests isn’t the only reason record collectors have been blessed with a plethora of Swingin’ Utters-spawned bands; changes in the band members’ personal lives has been a major contributor as well.

With each passing year, “there’s the creeping dread of responsibility,” said Spike Slawson, bassist for both the Swingin’ Utters and the Filthy Thieving Bastards. Slawson, who was married a year-and-a-half ago, is starting to feel the financial pressures that come with it. After all, punk rock offers no 401k plan.

“If we can stay busy [playing shows], that’s all we can think about,” said Slawson. “It can get stressful. It didn’t used to be that way, though.” 

Although the Swingin’ Utters have been immensely popular over the years, the band – who call independent label Fat Wreck Chords home – is not bringing in Led Zeppelin-style dollars.  Playing in several bands, and collecting checks from the gigs that come along with that, helps to alleviate some of the worries that come with paying the bills.

Koski and his wife of 11 years have the added pressure of caring for their two young boys, ages nine and six. With the extra expense of having little ones, Koski supplements his income between tours working as a plumber; a reality the guitar player continues to grapple with.

“I never really felt we’ve succeeded; we haven’t or I wouldn’t be working,” said Koski.  “If it was a complete success story, I would be a musician for a living.”

Koski previously worked for years as a butcher, but switched to plumbing because the hours are more flexible with his touring schedule. “I don’t have much to fall back on,” said Koski. “It’s kind of an insecure reality.”

Family responsibilities and money issues aside, the Swingin’ Utters are continuing to do what they love.

A B-sides album of rare tracks is slated to drop on Fat Wreck Chords towards the end of 2008, as well as a new album in “a year or so,” said Koski. The Utters – who have always been known for their energetic live shows – are planning to start touring again as well, trekking across the country a few weeks at a time.

“I like playing shows,” said Slawson. “It all kind of boils down to that.”

Originally published online in Wonka Vision Magazine September 2008

 

Let’s Do It Again

Breaking up can’t keep Kepi Ghoulie down

By Jake Corbin

“I like to play. I always have and I always will.” – Kepi Ghoulie

In times of difficulty, two choices usually present themselves before a person: should I give up, or should I keep going? In May 2007, Sacramento punk legend Kepi Ghoulie faced this dilemma. After globetrotting for more than 15 years as a band and releasing numerous albums, the Groovie Ghoulies decided to hang up their guitars for good.

For many, that could have been the end; after all, breaking up is hard to do. But Kepi, who is still trying to decide if he will keep the Ghoulie moniker attached to his name, decided to take a page out of Johnny Thunders’ book and go acoustic.

Armed with nothing but a guitar and a deep catalogue of songs, Kepi’s familiar Mick Jagger-meets-Joey Ramone voice has been filling independent coffee shops and bars in the Sacramento area ever since.

One spot in particular, the Javalounge, has become a residency of sorts for the musician, resurrecting a dying breed in the process: the all-ages show. On the evening of St. Patrick’s Day, Kepi took the stage flanked by a sea of teenagers — some sitting on the floor, others slouching in the cushy orange sofas aligned neatly in the shop — all sharing laughs and a bit of St. Patrick’s Day spirit. One fan brought a mint-colored cake to share, and Kepi, midway through his set, stopped to toss candy out to everyone with a green shirt on. It felt like some kind of punk rock clubhouse.

“I like the attitude of the younger crowd, and there’s more energy,” said Kepi, a smile growing across his face. “I really like all-ages shows; they’re fun. Anyone can go…you have the kids and the drinkers. There are [fewer] rules.”

The solo shows might not include the familiar crunch of electric guitars and pounding drums of Groovie Ghoulie concerts past, but the DIY aesthetic continues to drive Kepi’s playing. The shows have a familiar feel of many of the basement shows that sparked several punk bands in the 1980s. Crowd participation is constant. Audience members are urged to sing along after making requests, virtually driving Kepi’s set list for the night; the barrier between audience and performer is not only being taken down, it’s being shattered. 

Longtime friend and fellow Sacramento punk rocker Danny Secretion was devastated when the Groovie Ghoulies broke up, but is clearly excited about Kepi’s current endeavors. 

“He still makes Sacramento punks proud. I think his acoustic sets are a great treat for fans of his music and a wonderful sneak peak at what’s going to be hitting your CD shelves and MP3 players soon,” said Secretion. “Don’t ever count Kepi out.”

Kepi’s acoustic fans, however, shouldn’t be the only ones salivating over a new album. Asian Man Records is simultaneously releasing both a rock record (Hanging Out) and an unplugged one (American Gothic) on May 6.

The double album release has earned Kepi a spot on the 2008 Asian Man Records tour, where he’s taking his solo act out on the road with labelmates the Queers, Lemuria, Bomb The Music Industry, and Andrew Jackson Jihad.

Between what seems like an endless schedule of acoustic dates, Kepi has managed to add one more item to his musical resume: drummer. The veteran punker has taken a back seat and is playing the backbeat for the Little Medusa’s. Bassist DinoGirl and singer/guitar player Whitless were regulars at Groovie Ghoulie shows and, after teaching themselves to play, recorded a demo and tossed it Kepi’s way. 

“They needed a drummer and I loved their songs,” said Kepi with a smile.

The trio has since played shows as far away as Germany and Denmark and recently finished their second recording session.

Whether it’s playing shows with the Little Medusa’s or strumming his guitar for the next generation of Sacramento punks, Kepi continues his rein at the top of the same music scene he jumped into over a decade ago.

“There is no such thing as a stay-at-home Kepi,” said Secretion. “He is the Energizer Bunny of Do-It-Yourself punk. He just never lets up.”

Originally posted online in Verbicide Magazine July 2008

Indie stores are alive and spinning

By Jake Corbin

The experience of combing through stacks of records, searching for that one vinyl treasure sandwiched between decades of forgotten music, may soon be a thing of the past.

As more and more consumers turn to their computers for new music – both legally and illegally – even the rhythmic sound of plastic CD covers being shuffled is disappearing.

Big-box retailers like Best Buy and Wal-Mart have taken a hit, but it’s the independent music stores that are being driven to the brink of extinction.

The “indies,” however, are not going down without a fight.

This Saturday marks the first ever “Record Store Day,” an event that will unite hundreds of independently owned record stores across the country, all joining to celebrate their love of music and giving back to the community.

Part of the celebration includes merchandise that will be sold only at participating stores, including 7″ releases from newcomers Vampire Weekend and blues-rockers the Black Keys. R.E.M., Death Cab for Cutie, Built to Spill and Stephen Malkmus and the Jicks are also releasing limited edition discs.

The other part of the celebration involves live, in-store performances and tons of free giveaways.

“I think they should just come in and get the free stuff,” said Dilyn Radakovitz, sales coordinator for Dimple Records. “Everybody will get the T-shirts and samplers; it’s going to be really cool.”

All six Dimple Records locations are participating in “Record Store Day,” with each planning to hand out a plethora of goodies – ranging from magazines to CD box sets. Each store is also having a “Guess how many broken records” contest; winners will be awarded a $100 gift certificate.

Dimple isn’t the only local shop getting in on the action.

R5 Records, owned by Russ Solomon of Tower Records fame, is planning a day full of events, including a rock ‘n’ roll garage sale in the parking lot, a record swap, free baked goods, live music and free goodie bags. Sacramento artist Paul Imagine will also be selling limited edition T-shirts.

While free swag and rare music is great, KSSU Station Manager and DJ Robert Young sees a larger issue at hand.

“The music industry, and art in general, thrives in free thought and independence,” said Young. “You don’t really get to see that with mainstream stores, because the music there is streamlined; it’s limited.”

Young says local indie stores are the place to go to break away from what the radio is playing and tap into different types of music. He is excited “that every independent store in the nation gets to showcase that” by participating in “Record Store Day.”

“Independent record stores have stuff you can’t find at regular music outlets,” said Young. “When you go to a record store, it’s like hitting a gold mine.”

Radakovitz also sees local record stores as a convenient place to fulfill one’s music shopping needs.

“Indies are on top of new things that are coming out and they have the information for customers,” Radakovitz said. “I think people are going to find more in their local store just because they aren’t going to find it on the radio. You could find it on your computer, but you may not know where to check.”

Helping people realize the musical possibilities they are missing out on is one goal “Record Store Day” is hoping to accomplish; for Rob Fauble, however, he’s hoping to catch the eye of the record labels.

“We would love not only the public to enjoy the physical product of the music, but to get the attention of record companies to show them this is what we should be doing,” said Fauble, owner of The Beat in downtown Sacramento.

He admits record sales have been down in the last couple years, but he is growing tired of being written off by the major record labels.

“(Selling records) is our livelihood,” said Fauble. “Most of us got into this not to make money, but for the love of music.”

Fauble’s plans for “Record Store Day” are “pretty low key,” but “if you want to go to one of the best record stores in town, we’re going to be here.”

Major label politics aside, “Record Store Day” participants are hoping the day’s events will help consumers recapture the special feeling they once got at record stores; that feeling of wandering around, aisle after aisle, until they stumbled upon their new favorite CD.

“Everyone needs some fun,” Dimple’s Radakovitz said. “That’s what record stores do.”

Originally published in the State Hornet April 16, 2008

News flash: MTV forgot about music

By Jake Corbin

Believe it or not, MTV used to care about music. Laugh all you want, but it’s true.

It wasn’t that long ago either. It was a time when Run DMC was tougher than leather, Michael Jackson proved who was bad and Nirvana smelled of adolescent sweat.

MTV actually stood for Music Television. It featured rock musicians, rappers and pop artists alike. Even Paula Abdul got airtime; she showed how “Opposites Attract” by dancing around with an animated cat. (That video won a Grammy, too. Go figure.)

The cable channel showcased it all – one music video at a time.

Then “The Real World” came along and ruined the station forever.

Sure, the first few seasons were fun. I still say the San Francisco “Real World” was the best. Pedro brought real-life drama to the show; you couldn’t help but feel sorry for Judd and, well, there was Puck.

But once the suits caught wind of the popularity surrounding “reality” TV – and all the dollar signs that came with it – music suddenly didn’t matter so much.

“Change is inevitable … nothing is going to stay the same,” said Fab 5 Freddy, the original host of “Yo! MTV Raps.” “It would be great to have great and interesting videos, but I guess MTV’s business model changed; they had to grow up and move on into directions they felt were better for them.”

What makes me sad is MTV decided that producing ultra trash like “The Hills” was the right direction to head in.

I realize change is inevitable. I understand not every show is going to be as groundbreaking as “Yo! MTV Raps” or as interesting as “MTV Unplugged.” But to sell-out every ounce of integrity it built as a television station dedicated to music isn’t a change – it’s a complete transformation.

What was once a cocoon of potential has malformed into a “reality”-show-excreting beast. “Rob and Big,” “My Super Sweet 16″ and “Parental Control” are only a few examples.

The part that really grinds my gears is that the potential MTV has as a platform for music and the artists involved. Imagine a world in which MTV played music videos, interviewed artists and reviewed new music from bands spanning the globe – a place where your favorite local band could submit its video to be played alongside the most veteran acts.

Simply put, MTV could be amazing. The cable station could help breathe life into a music industry that some are predicting is on its deathbed. MTV, however, could care less.

Videos may have killed the radio star, but reality shows are killing music television.

Originally published in the State Hornet April 16, 2008

Lindsay Lohan, indecent exposure

By Jake Corbin

I hate celebrity “news” more than just about anyone, but something has to be said: Lindsay Lohan, what in God’s name are you thinking?

After resurfacing from her longest rehab stint to date, Lohan decided to pose nude in a series of photographs for New York Magazine.

The shots – which have made a big splash on the Web – were a faithful recreation of Marilyn Monroe’s last photo shoot. Not only that, but original photographer Bert Stern was the one taking the explicit shots all over again.

Stern told New York Magazine in the article that accompanied the photos that, “he was interested in Lohan because he suspected ‘she had a lot more depth to her’ than one might assume from ‘those teenage movies.’”

If by “depth” Stern meant “cleavage,” then he might have an argument.

What level of sophistication and emotional depth can possibly be expressed from posing nude in a mass-distributed magazine?

Where are the public relations people telling Lohan – scratch that, screaming – this isn’t a good idea?

“Obviously you can see her breasts are real,” said Leslie Sloane Zelnik, Lohan’s longtime publicist, to Radar magazine.

Really? This is the response from her publicist? Guess Lohan’s not getting any help from her “people” on this one.

“It was very tastefully done,” said Dina Lohan to People magazine. “I respect the photographer as an artist … for him to call Lindsay 46 years later and to say can you recreate these photos is an honor.”

Seriously? It’s no wonder Lohan continues to make one mistake after another when her own mother is calling the exploitation of her body “an honor.”

Lohan herself also makes an odd comment at the end of the New York Magazine article, saying that Monroe, after “giving herself to the public,” took “control back” by taking the series of naked pictures.

Does Lohan really see this as a power grab? After being harassed in the media for her much-publicized drinking binges, I don’t see how posing nude will help her gain any control.

“It really appears like a cry for attention,” said Molly Dugan, assistant professor of communications and journalism. “Posing nude as an actress of her caliber – she really has had some good roles – it’s a step down for her. It could be a symbol of her downfall, not her empowerment.”

Dugan did point out, however, that posing nude isn’t necessarily a bad thing – Demi Moore pulled it off spectacularly while being pregnant.

The big difference here is that Moore posed while at the peak of her career with a ton of credibility to back her up, something Lohan can’t claim.

“She’s basically a teenager coming out of rehab,” said Dugan.

So what is the solution?

Maybe it’s time for Lohan to start focusing on her movie career instead of the spotlight (especially after tying HERSELF for worst actress at this year’s Razzie Awards).

Drop the bad girl act and bring back the young woman we grew to like in “Mean Girls,” the woman critics predicted would turn out good movies, not get turned out on booze and drugs.

Originally published in the State Hornet March 5, 2008