{"id":3614,"date":"2015-07-20T12:47:40","date_gmt":"2015-07-20T16:47:40","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=3614"},"modified":"2021-10-27T16:54:00","modified_gmt":"2021-10-27T20:54:00","slug":"x","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/x\/","title":{"rendered":"X"},"content":{"rendered":"

\"X\"<\/a><\/p>\n

Emerging from Los Angeles in the late ’70s, X, along with groups like The Gun Club and The Blasters, infused Americana into three-chord rock to create a unique country-punk hybrid. Steeped in an appreciation for poetry as well as folk music traditions, Exene Cervenka and fellow lyricist John Doe inverted the trope of a shiny, happy city of angels on their debut album, Los Angeles<\/i>, with sordid tales of hope lost in the urban underbelly. Propelled by DJ Bonebrake\u2019s pounding rhythms and the rockabilly-tinged ferocity of guitarist Billy Zoom, whose omnipresent grin has always been as much a hallmark of X\u2019s live shows as Doe and Cervenka\u2019s discordant yet on-the-mark harmonies, the nine tracks\u2019 exploration of sex, drugs, racism, violence, and high-society snobbery remains a critically acclaimed gem, despite having received virtually no airplay upon its release.<\/p>\n

Produced by former Doors keyboardist Ray Manzarek (as were X\u2019s three subsequent records), Los Angeles<\/i> was released in April of 1980 by Slash Records, who also released their follow-up, Wild Gift<\/i>, less than a year later. For its third album, Under the Big Black Sun<\/i>, the band struck a major label deal with Elektra Records. A blistering collection of songs written after Cervenka\u2019s sister Mirielle was killed by a drunk driver on her way to an X show, the album proved the group would not be taming its output for the masses\u2014at least not yet. The latter half of the \u201980s saw X delving deeper into the roots side of its sound, but with commercial success continuing to allude the band, they parted ways after 1993\u2019s Hey Zeus!<\/i> Recording a makeover of The Doors\u2019 \u201cThe Crystal Ship\u201d for The X-Files<\/i> film soundtrack in 1998 resulted in X reuniting. And though they haven\u2019t made any new music since, they\u2019ve continued to tour and play live.<\/p>\n

I caught up with Cervenka two days before the band kicked off its current \u201cHow I Learned My Lesson\u201d tour in Orange County, where they\u2019d play the first four X records in their entirety. They\u2019re finishing off their remaining dates without Zoom, who is currently undergoing treatment for bladder cancer. (Texas guitarist Jesse Dayton, who has worked with artists ranging from Waylon Jennings to The Supersuckers, is standing in.) We had a chance to talk about her estate sale last year, where she unloaded a lifetime collection of her signature vintage clothes, artwork, posters, and collectibles in anticipation of a since-nixed potential move to Austin, as well as the state of the music industry and whether or not X will every cut a new record, among other things.<\/p>\n

I heard you broke your wrist. What happened?<\/strong><\/p>\n

Exene Cervenka:<\/strong> I was walking my dog. I was walking pretty quickly, and I tripped on a little sprinkler that was sticking out. I didn\u2019t recover very good from the falling part, and I mashed my hand on the ground. I sprained my finger and broke a bone beneath my thumb.<\/p>\n

Bummer. The right hand?<\/strong><\/p>\n

EC:<\/strong> Yes, it\u2019s my right hand, my good hand. But you know what? It\u2019s great because when you have to use your left hand for everything, it changes your brain around a little bit, and I think that\u2019s kind of cool. I\u2019m kind of enjoying the changes.<\/p>\n

I read that you were moving to Austin. Are you in Austin now?<\/strong><\/p>\n

EC:<\/strong> No, I was going to about two years ago. I was going to move to Austin, but of course, just like everywhere in the country, anywhere cool has been kind of… I don\u2019t want to say ruined, because Austin will never be ruined, but places like that are becoming so expensive, with so many tech people, and it\u2019s like a certain minority of people have all the money. It\u2019s just impossible to move anywhere, so I\u2019m just going to stay where I am. I live in this\u00a0kind of a historic little town in Orange County, which is kind of a strange little area.<\/p>\n

But you had your estate sale, right?<\/strong><\/p>\n

EC:<\/strong> I sure did and I just realized it\u2019s impossible to move. I always tell people the best move you can make is a lateral move, and by that I mean is you\u2019re moving sideways\u2014you\u2019re not moving up. A lot of places don\u2019t have rent control anymore so you take a chance even moving to a place like that.<\/p>\n

Was there anything you had a hard time letting go of in the estate sale? It sounded like you had some amazing stuff there.<\/strong><\/p>\n

EC:<\/strong> I had this fur stole, and it was really kind of big on me. I\u2019m not a fur person, but someone gave it to me and I thought it was kind of cool. It was really, really old. I\u2019m not one of those people that has to throw blood on people if I disagree with them, so I was just like, that\u2019s cool, it\u2019s a historical kind of thing, whatever. So, I sewed some patches on it to make it more cool. I sewed an L7 patch on it and some kind of B-2 bomber patch. Anyway, it never fit me, and I didn\u2019t really want to wear fur. Later I was at an L7 concert and someone turned to me and said, \u201cOh my god, I bought your jacket with the L7 patch on it!\u201d And I said, \u201cI sold that?\u201d<\/p>\n

It was a fur coat?<\/strong><\/p>\n

EC:<\/strong> No, it was a fur stole. There\u2019s a huge difference between a fur coat and a cheap, little fur stole made of whatever. And it was really, really old so it\u2019s not like I went out and bought a fur stole, of course. Nowadays, in the age of this ridiculous amount of insane political correctness and censorship where no one\u2019s allowed to say anything anymore, you have to be so careful because it\u2019s pretty much like every minute of every day is like a witch hunt, you know? It\u2019s not like I\u2019m a bad person or anything, but even the most careful and nicest people in the world are accused of so much weirdness these days\u2014it\u2019s just difficult. I was afraid, and when you\u2019ve got to be afraid to go out of your house wearing something, that\u2019s pretty bad. But that\u2019s the way it is.<\/p>\n

So you guys have four shows coming up in Orange County where you\u2019re going to play the first four records in succession. Which of those X records is your favorite to play live?<\/strong><\/p>\n

EC:<\/strong> I\u2019ve never really thought about those records being \u201cthis is this record and this is that record and this is the order they\u2019re in.\u201d I think of them as songs that we play. There are songs that I like to play more than others because to me they are more powerful, either musically or lyrically or emotionally. The ones that emotionally I like\u2014those are my favorite.<\/p>\n

You were, as I think you described in another interview, a \u201ckid\u201d when you wrote a lot of those songs, new to Los Angeles. Which ones are your favorites?<\/strong><\/p>\n

EC:<\/strong> Sometimes I just like singing the songs that feature John because I love to just zero in on the harmonies and focus on adding on to what he\u2019s doing. Other times I really love like \u201cWorld\u2019s a Mess\u201d because I can really sing like crazy. And then there are other songs where because of what Billy plays I\u2019m just so happy to be there and I\u2019m not really thinking of anything else except how lucky I am to be in that band.<\/p>\n

I think it\u2019s tough for me to pick a favorite. I think I feel the same way\u2014there\u2019s definitely different elements that you home in on with each song.<\/strong><\/p>\n

EC:<\/strong> I guess I really like the songs. Now that I\u2019m really much more of a singer than I once was, I really like the songs we can really sing on like \u201cUnheard Music\u201d and \u201cBlue Spark,\u201d where you\u2019re really creating this mood in the manner of a traditional kind of performer\/singer. It\u2019s just beautiful if everything comes together the right way.<\/p>\n

I was reading in another interview from about five years ago that you had designed a tattoo for a fan. I thought that was pretty cool. Does that happen often?<\/strong><\/p>\n

EC:<\/strong> Designed a tattoo or did they say \u201cwrite your name on my arm?\u201d<\/p>\n

It said that you had drawn something on the fly for the person and given some recommendations for how the tattoo artist could finish it, in Seattle about five years ago.<\/strong><\/p>\n

EC:<\/strong> Did I say that?<\/p>\n

The writer said that.<\/strong><\/p>\n

EC:<\/strong> I did not do that. You have to understand that does not sound anything like me at all. First of all, if someone came up to me and said \u201cI want to get a tattoo,\u201d the first thing I\u2019d say is \u201cAre you sure?\u201d I don\u2019t want to be the one who draws something and then you get a tattoo and later you don\u2019t like it or you stop liking the band. I don\u2019t want that responsibility. I will draw something for you, but I\u2019m not saying anything about getting a tattoo done. I would never even offer recommendations on how to get a tattoo, unless I was really, really drunk and it was someone who was really drunk and we were just goofing off.<\/p>\n

What\u2019s the nicest thing you\u2019ve ever heard from a fan?<\/strong><\/p>\n

EC:<\/strong> I would have to say my entire career. After all these millions of years of us still being together and playing, I can\u2019t think of anything better than the cumulative experience of being in a band like this and so many people appreciating what we do, not just musically but emotionally. There\u2019s just so many people that say they relate to the song \u201cCome Back to Me\u201d or to the songs about when my sister died because they lost a sibling or a mate.<\/p>\n

You mentioned the songs about death and loss really resonating. I rewatched X: The Unheard Music<\/i> last night. \u201cCome Back to Me\u201d is the most emotionally affecting part of that documentary. The way they set that up, the story\u2019s told very beautifully.<\/strong><\/p>\n

EC:<\/strong> We\u2019ve been playing that song live, which we never did until last year. We\u2019ve also been playing \u201cI Must Not Think Bad Thoughts\u201d and like three or four other songs we never ever played live, and the saxophones and vibes live are pretty cool. You know, we\u2019re just trying to give everything we have left.<\/p>\n

One of the big themes of the documentary, which is marking its 30th anniversary next year, is the struggle of your band getting radio play in an era when bands you\u2019d now hear on classic rock radio, like the Eagles, were the only thing anyone would spin. With so many different distribution channels today, what do you think a band like X\u2026
\n<\/strong><\/p>\n

EC:<\/strong> There is no distribution. Music is free now thanks to Pandora and all those streaming things. When people come up to me and say, \u201cOh, I heard you guys on Pandora or I\u2019ve been playing you,\u201d I say, \u201cThanks a lot, why don\u2019t you just watch MTV? They pay the same amount!\u201d I think Pandora is a penny more. We\u2019ve always only made our money playing live shows and selling t-shirts. That\u2019s the only way we make a living. We\u2019ve never made royalties. We signed really stupid contracts with Slash, Elektra, and Warner Bros. back then. Now everyone\u2019s getting the rights to their stuff back because people realized those \u201cin perpetuity\u201d contracts, where record companies say, \u201cHere sign this and we\u2019ll give you 10% of everything you make for the rest of your life, but we own it forever,\u201d are illegal. They\u2019re called odious contracts, just like what happened with Greece\u2014that\u2019s an odious debt. It\u2019s a legal term for \u201creally fucked up and unfair.\u201d<\/p>\n

So in a year or so we\u2019ll start getting all our stuff back, but we\u2019ve never really made royalties. I mean, you get a check for $400, that\u2019s not really going to help you out much. For all the records we\u2019ve sold, Los Angeles<\/i> still hasn\u2019t been given a gold record, and I think that\u2019s because when Slash started the bookkeeping there was no ledger. Then it went to Warner Bros. and then it went to this and then it went to that, and every time it\u2019s like they\u2019d start over. So the last that I heard we sold 300,000 or 350,000 copies of Los Angeles<\/i> in all these years. We know that\u2019s not true. Anyway, we get a pittance, and it\u2019s really hard to even get that, so the way we make a living is only through playing. If people don\u2019t see us, we don\u2019t pay our bills.<\/p>\n

The problem, though, is people say, \u201cWhy don\u2019t you make a new record?\u201d If we were going to make a record or even put out a song and it\u2019s on live streaming, you\u2019re only going to get 10 cents every 10,000 times it plays. It\u2019s basically free to the public, so why would we go out of pocket to make a record only for it to be given away? People make records to promote their tours\u2014that\u2019s what the big artists do\u2014but now the big artists aren\u2019t selling records anymore either. So they\u2019re touring more and a small festival that we used to be able to co-headline will put us down on the bottom or not book us at all because big bands are playing all the festivals. So now we\u2019re playing festivals with bands like No Doubt and stuff like that. Nothing against them\u2014they\u2019ve got to make a living\u2014but pretty soon we won\u2019t get those. It\u2019s difficult at best. The music business has always been a racket. It\u2019s like war. I guess it always will be. If you can write your own ticket, you\u2019re good, and if you can\u2019t, you\u2019re screwed.<\/p>\n

Has X discussed recording new music?<\/strong><\/p>\n

EC:<\/strong> We have, but we realize there is no point.<\/p>\n

Certainly fans would love to hear it.<\/strong><\/p>\n

EC:<\/strong> You know, what\u2019s the point? It goes up on live streaming and then it\u2019s over. If they want to pay $20,000 for us to go in the studio so they can get it for free, that\u2019s fine, but we can\u2019t. We don\u2019t have money to just go make a record and then give it away to the public.<\/p>\n

What about Kickstarter? I\u2019ve seen bands do that.<\/strong><\/p>\n

EC:<\/strong> Well, then you go out hat in hand, \u201cPlease give us some money so we can make a record.\u201d Then you do it and then it\u2019s free and then it\u2019s over. It\u2019s a lot of work for us, and I don\u2019t think we\u2019re compelled to write songs right now. However, I would love to do some new songs live and then sell them at the show or on a 45. But it\u2019s difficult for us right now to do that. If it comes around that we can, we will, but I don\u2019t see it happening.<\/p>\n

Makes sense. It\u2019s certainly a different era than when you guys started.<\/strong><\/p>\n

EC:<\/strong> Even if we just wrote a couple of new songs and played them live, people would videotape them and put it on YouTube. You know, the media thing and the tech thing\u2014it\u2019s in the hands of the public. Controlling the means of production, it\u2019s a great concept, in an old-fashioned kind of socialist sense. You just have to embrace the fact that if everything\u2019s free, everything\u2019s free. That\u2019s just the way it is.<\/p>\n

I read a comment you made about how you can\u2019t even use an X song if you want to put up a video of your son or something on YouTube.<\/strong><\/p>\n

EC:<\/strong> You can\u2019t. DJ Bonebrake\u2019s wife put up a video on her YouTube and she used an X song in some kind of family thing. It\u2019s not like she has a bunch of followers, she\u2019s just doing that for her friends. And Warner Bros. swooped in and took it down. That\u2019s all they do. They have more lawyers than they have A&R people. They have more lawyers than they have artists, probably. All they do is \u201cgo get money, go get money.\u201d And then also all the publishing companies, record labels, and newspaper outlets, the free presses that are free in every city\u2014those are all tightly controlled by corporations so you can\u2019t even kind of wiggle around in there anymore.<\/p>\n

Is there anyone over the course of career that you can think of that you were most excited to meet, someone you admired who you actually got to meet in person?<\/strong><\/p>\n

EC:<\/strong> I\u2019m not one of those people. I don\u2019t read biographies. I like songs, I like music, I like stuff like that. I don\u2019t want it ruined by reading every detail of someone\u2019s intimate life, but I liked meeting Willie Nelson because of Farm Aid. We played the first and second Farm Aid (in 1985 and 1986). Those first Farm Aids were amazing because Johnny Cash, Loretta Lynn, and everybody was there. They were right there where we were, and it was insane to see Johnny Paycheck and George Jones on the same stage. I think Willie is everything a human being, an American, and an artist should be. I\u2019ve gotten to know his daughter Amy. She\u2019s in a band with Cathy Guthrie called Folk Uke that plays with us a lot, and they\u2019re the most beautiful people. I\u2019ve met two of his sons, and that family is the nicest family in the world. And he\u2019s the greatest. He\u2019s one of the greatest singers, songwriters, and guitar players of all time. He\u2019s in his early eighties and he\u2019s still touring. He has a roadie who\u2019s like 90 or something and is the world\u2019s first roadie. He\u2019s still working! And what he did with Farm Aid, how he feels about marijuana, and freedom and America\u2014he\u2019s just the greatest person I can think of that I\u2019ve ever run across and had the opportunity to be in a room with.<\/p>\n

That whole country world is what I relate to the most because that\u2019s kind of how I came up as a kid\u2014that real world that people make fun of because they don\u2019t understand it. Except for Merle Haggard and Willie and maybe Dwight, that kind of country no longer exists. I heard some new country in the grocery store the other day, and they were singing about drinking Bud Light. I was thinking, \u201cGet off the radio now!\u201d It\u2019s a corporate cartoon like everything else.<\/p>\n

You said people make fun of country music?<\/strong><\/p>\n

EC:<\/strong> They always have. They say, \u201cOh, you married your cousin and you\u2019ve got a possum in your pickup truck and you\u2019re shooting up signs with your shotgun.\u201d No, it\u2019s about humans. It\u2019s about humans with broken hearts. It\u2019s about humans with issues and struggles and poverty and wanting and yearning and devastation and sorrow and death. It\u2019s not about fucking marrying your cousin. It\u2019s like everything else people love to make fun of: America, Christianity, and everything else. People like to ridicule what they don\u2019t quite comprehend.<\/p>\n

What are you working on? What\u2019s next beyond X?<\/strong><\/p>\n

EC:<\/strong> I had a one-person art exhibit up in Santa Monica, California. That was really great, and I do those periodically in different cities. Everybody has different stuff and different music that they do. John and I do a lot of shows together, which are usually pretty cool. It\u2019s just whatever comes up. We just did a television thing yesterday, X did, on Comedy Central, on a show called Children\u2019s Hospital<\/i>. I don\u2019t watch television, but I\u2019m slightly aware of what\u2019s going on. It\u2019s pretty funny, I\u2019ve got to say. It\u2019s a pretty absurd funny thing, so we did that all day yesterday.<\/p>\n

What was the premise?<\/strong><\/p>\n

EC:<\/strong> It\u2019s about us, kind of. It\u2019s an absurdist kind of take on someone who works at the hospital and us. We played a song. The exciting thing about being an artist is the feast or famine thing. Like if the phone rings, is it a bill collector or is it Hollywood calling? Is it Pearl Jam saying, \u201cHey, you guys want to go to South America?\u201d or is it someone else calling to tell you your tour\u2019s been cancelled? You never know.<\/p>\n","protected":false},"excerpt":{"rendered":"

Emerging from Los Angeles in the late ’70s, X, along with groups like The Gun Club and The Blasters, infused Americana into three-chord rock to create a unique country-punk hybrid. 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