Wayne Kramer is a bona fide rock ‘n’ roll legend. As guitarist for
Detroit’s MC5, Kramer was part of an anarchic, creative band that was a
major inspiration for both the late ‘70s punk revolution and the early ‘90s
alternative rock movement. Kramer’s four late ‘90s solo albums recorded for
the independent Epitaph label with members of bands like Bad Religion, The
Melvins, and Claw Hammer only added to his already considerable musical
legacy.
The guitarist also recorded albums with Johnny Thunders
(Gang War), British rock legend Mick Farren (Death Tongue), Brian James of the Damned (Mad About the Racket), and former MC5 manager John Sinclair (Full
Circle), among others. Perhaps the most exciting album that Kramer recorded aside
from the MC5 was the 1996 Dodge Main
album, a sort of Motor City “homecoming” with Kramer, Deniz Tek of Radio
Birdman, and Scott Morgan of the Rationals and Sonic’s Rendezvous Band.
Kramer
passed away this week at the age of 75 after a brief fight with pancreatic
cancer. This phone interview was published in 1997 in my R Squared music zine.
It has become somewhat of a cliché,
but in practice, Wayne Kramer is usually referred to as a “legend.” It would
be much more accurate, perhaps, to label him as a survivor. As guitarist for
Detroit’s notorious and influential MC5 – musical mouthpiece for the
revolutionary White Panther Party – Kramer made it through the tumultuous ‘60s
alive, if not unscathed. He’s lived through poverty, drugs, and prison to
emerge from the other end of despair. Picking up the guitar again during the
‘80s for a series of musical collaborations with folks like Johnny Thunders
and Mick Farren, it wasn’t until Kramer’s mid-‘90s emergence as a significant
solo artist that he’d begun to forge his own identity and earn the critical
respect he’s always deserved.
“For me, I didn’t really have a
choice,” Kramer says of his chosen career path, “this is what I have to do.
I’ve been confused about a great many things in my life, but I’ve never been
confused about my reason to exist. It’s always been to do this work, to play
this music. In the end, to hopefully share something with other people like
they have shared with me...the things that I’ve gotten from great music, from
great art. That sense that maybe I’m not alone, maybe I can spread that idea
to someone else, that maybe they’re not alone, hopefully to leave the place a
little nicer than I found it.”
After stints in New York and Nashville, Kramer ended up in Los Angeles, writing
the songs that would eventually become 1995’s
The Hard Stuff, his first
album of three so far for Epitaph Records and the one that many consider his
comeback effort. With backing from the L.A. band Claw Hammer and guest
performances from a literal “who’s who” of punk rock (including inspired liner
notes by Henry Rollins),
The Hard Stuff is an excellent album, brimming
with energy and lyrically exciting songs. Kramer quickly followed up with
Dangerous Minds in 1996. The powerful
Citizen Wayne is this year’s
model, a stripped-down, hard-rocking, saber-rattling menace of an album.
Lyrically,
Citizen Wayne covers everything from Kramer’s MC5 days, the
‘60s and prison, to the struggle for human dignity and economic justice.
Musically, it features a potent brew of hard rock, metal, punk, and free-form
jazz that few artists have the talent to even attempt, much less make it work
like Kramer is able to.
As one of the few icons of the ‘60s still
standing, what are Kramer’s memories of the era? “They were exciting and
romantic, but they were dangerous. You never knew when something bad was going
to happen. You never knew what direction it was going to come from. If it wasn’t
the police, it was the right wing – the ‘America, love it or leave it,’ John
Birch Society – you add to that mix the volatile passions of the day, the
militant rhetoric, and the fact that most everybody was high on acid most of the
time, it was a time that was unique. That’s one of the things that I tried to do
with
Citizen Wayne, to try and grab a snapshot of what it was like. Songs
like “Down On the Ground” or “Back When Dogs Could Talk,” that sense of
limitless possibilities, that we could change the world, that there could be a
new kind of politics, a new kind of music.”
The Motor City seems a strange place to grow musical legends like the MC5 or
Iggy and the Stooges. What was it about Detroit that allowed for this kind of
musical phenomena? “I think it was that there were jobs there,” says Kramer.
“There was work, and there was kind of a boomtown atmosphere, a sense that we
could do anything in Detroit. If you wanted it built, manufactured, fabricated,
we could do it in Detroit. People worked hard for their money and they wanted
their bands to work hard. We carried that work ethic to the band and in the kind
of music that we liked. It was what we called ‘high energy’ music. It was a
visceral music, it was not a pretty, delicate music; it was a hard music. It was
the music of James Brown, the avant-garde free jazz movement, Chuck Berry, and
the rhythm section at Motown. Later, it was the music of the Who and the
Yardbirds, that was experimental and pushed things.”
In many of the
songs on
Citizen Wayne, as well as his previous solo work, Kramer treads
on political ground that is anathema to rock artists these days. With a
perspective every bit as radical today as it was in 1969, Kramer is not afraid
to take an artistic stand. “The wage and wealth gap is the human rights issue of
today,” he says. “We don’t have the war in Vietnam now; we don’t have the
generation gap. What we have is the difference between wealthy people and all
the rest of us. I don’t believe that any thinking person can be an optimist
today. I do believe that we are prisoners of hope. One sign that I see as really
hopeful is that the unions are coming back.”
After touring throughout 1997 to support
Citizen Wayne, Kramer will begin
work on writing the soundtrack album for a proposed movie version of Legs
McNeil’s history of New York punk,
Please Kill Me. Afterwards, Kramer’s
future is wide open. “My plan is to do an album a year for the next ten years,
do a tour every year,” he says. “Music is not the kind of thing that is tied to
being young. It’s something that you can continue to do through your thirties,
your forties, your fifties...and continue to do it with meaning and passion. For
me, my plan is to ‘do the work.’ That’s what living is all about. Push this
music and sound into a more pure sonic dimension and try to write some good
songs, tell some of the stories of what it’s like to be alive in this time and
this place.” Like the true survivor that he is, Kramer works to create something
that will live on beyond his brief time here. “Ultimately,” he says, “maybe I
can become a blip on the horizon of our day.”
Also on That Devil Music:
Wayne Kramer’s Citizen Wayne CD review
Wayne Kramer’s The Hard Stuff CD review
