A Conversation With Michael Des Barres – Part 3

Posted on June 4, 2013 by Michael Cavacini

Michael Des Barres and I hanging out before his concert in NYC.

Below is the conclusion to my three-part interview with Michael Des Barres. Make sure to read part one and part two.

There are two videos at the end of this post: One is a live clip from Michael Des Barres’ concert in New York City on March 7, 2013 at the Bowery Electric, and the other is Michael’s music video for his terrific new single, “Life Is Always Right.”

When it comes to how to distribute your music, how do you decide what works best for you?

Well, what works best for me is ownership. Autonomy is everything. As you can imagine, I’ve been owned for 40 years as a recording artist. And I don’t like that. I didn’t like it then, and I don’t like it now…so I don’t do it. I’m in the position where I can sit down and figure out how I want to get my music out to people and bandcamp is fantastic. iTunes and Amazon clearly have an infrastructure that works, and I have my own infrastructure. We do our own artwork. Photographers, for some reason, like to take my picture, so I have an enormous amount of content to turn into the graphics required.

People enjoy working with me because I’m enthusiastic and it’s fun for them. It brings the best out in them. Half of this endeavor is being able to inspire others to do great stuff. And I don’t mean great in the sense of being better than anybody else. I mean just great, fun work that they enjoy doing.

And in terms of distribution, there are a particular ways to go. You have iTunes and Amazon, and then it becomes about building a fan base. I fully accept the notion that music is free. And I have no problem with that; I think it should be free. Then it becomes about selling other things, t-shirts and merchandising or licensing songs for TV shows or movies – whatever it is to make a living out of it. But let’s not forget, I am 65 years old, I’ve got 45 movies, 100 hours of American television and I’ve sold a lot of songs to people. I am not struggling in the back of a van. I have autonomy, in that I can do whatever I want. What a great place to be.

With your rich body of work in acting and music, I think of you as a Renaissance Man. You’re just an artist at heart, right?

Yeah, I just want to express myself. The trick about self-expression is knowing who the self is that’s doing the expressing. So, you have to work on who you are to be an authentic artist. You can be anything. You can be a sculptor, a painter, a photographer, a choreographer, a rock and roll star, whatever. What do you want to express, and who is doing the expressing? If I’m coming from an inauthentic place and I’m trying to be somebody else and I’m writing songs for an audience, or through a persona I’ve invented, it’s inauthentic. The audience doesn’t know why it’s inauthentic, but they know that there’s something wrong. So, half of the work as an artist is figuring out who the fuck you are – who’s doing the expressing. That’s why they say a writer “has a voice.” A writer has a voice because it’s true; it’s a true voice. Whether it be Hemingway or Voltaire, they had their own form of expression. They knew what they wanted to say – a point of view, about art and life and the human condition. And if you feel that way, you’ve got a shot at other people feeling the same way. If’ it’s authentic then it will reach the authentic part of the audience and you’ll have a career.

That’s why Hollywood is such a tainted place. The houses and cars are leased. It’s a land of fantasy, smoke and mirrors and illusion. And that’s why the movies suck and the majority of the music sucks – because they’re trying to figure out what the people want, rather than creating what they love. And I’m not interested in mainstream success. I was never interested in the mainstream. I drown in the mainstream. I have no desire to be there, none whatsoever. And yet I continue to do the TV shows, and I’ve got a couple movies in the can coming out. Of course I do…because I’ve got to fund the work that I love.

If you could collaborate with any musician, living or dead, who would it be?

It would be Booker T & the M.G.’s. I would sit with them and write songs. These were the guys who were responsible for Wilson Pickett records and Otis Redding records. I would love to play with them: “Duck” Dunn, Steve Jordan and Al Jackson. And the other band I would have loved to play with is Muddy Waters and Little Walter Jacobs’ band. I would have loved to have played with them.

Do you have a favorite new band?

I don’t know if you’ve heard of them, but I love Vintage Trouble. They’ll drive you crazy, they’re so good. They’re a young black singer and three white rockers, and they’re fantastic. Their influences are clearly the blues, and it’s exactly what I’m talking about on my radio show. And when they really get it right, it’s beautiful.

Poison, god bless them, was a parody of the New York Dolls, as were most 80s’ hairnet, Aquanet hairspray bands. They had catchy little songs with the same riffs since time began. My favorite band of them all was Motley Crue – I thought they were fantastic. I’m very generous with this stuff. I can honestly say that I admire anybody that plugs in because it’s so dreadful. You’re putting yourself, literally, in an execution firing line – they can shoot you. It’s very brave to get up and play, so I never put anybody down. God bless anybody giving it a go. Having the balls to to stand up and say, “Look, this is what I do!” That’s great. Do I have preferences? Yes. And I’ll get on the bike in the gym and listen to Motley Crue. Sure, why not?

You mentioned the two movies “in the can.” Can you reveal any details about these projects?

One has just come out. It’s called California Solo with Robert Carlyle, which is just fantastic. He’s the actor in Trainspotting and he’s on ABC’s Once Upon a Time. Wiry Scottish actor, you’d recognize him. Fantastic movie – very fun to make. Grab a DVD and watch it with your girlfriend. It’s really one of the good movies about rock and roll. I play his manager and it’s all very sinister. And there’s this movie I just finished that’s being edited. It stars Gina Gershon, Jennifer Jason Leigh, Molly Ringwald, and myself, and it’s called Me. And it’s improvised. It was incredible to work with those 80s’ ladies. It’s going to be a hell of a movie. Very sexy, very troubling – very much about what’s going on today. It’s about a guy who thinks he’s in a reality show. I can’t tell you anymore about the story, but it’s going to blow your mind and it’s called Me.

How do your various acting opportunities come about?

I have to audition like every other actor, and if you get it, you get it. For NCIS, I believe they called me in, but they want to see you. They don’t know if you’re 300 pounds or if you’re a junkie. They want to speak to you, and that’s fine; I’ll go in. If there’s something really cool and it has the potential to reach a lot of people, I’ll stand in a parking lot naked to get it. If it’s something I don’t want to do, I simply don’t go in on it. That’s the bureaucratic side of it. Then, there are friends that I’ve worked with and if they think there’s something right for me, they’ll get in touch. That’s usually followed by the sentence, “There’s no money in it.” (laughs) But you do it anyway because it’s challenging and a labor of love and lust.

The way I discovered you was through MacGyver. When you were on the screen you brought gravitas to the scenes.

I’m so glad you said that, and I’m so happy when someone says, “Hey, Murdoc!” It happens every day. I’m in Trader Joe’s with my girlfriend and there’s a guy shaking with item in his hand and I said, “What’s going on? Are you OK?” And he said, “You’re Murdoc!” I said to myself, oh god, that’s so great, and I gave him a hug and an autograph – signed the Trader Joe’s bag and moved on. I loved that character, it was great. And people still dig it to this day. How fabulous is that?

Were you able to make it your own, or was the role of Murdoc already defined for you?

Oh, fuck no! What happened was I just came off The Power Station tour, and I remember I had this big vintage white Rolls Royce and drove onto the set at Paramount for the audition to play Murdoc, a killer in one episode. And the producers were all smoking outside the MacGyver offices and I pull up in my Rolls Royce. I, to this day, know that I got that job because of that entrance. (laughs) They saw me getting out of a white Rolls, all dressed in black and said, “There’s our guy!” And I did it for the next few years, as you know.

Did you have a good working relationship with Richard Dean Anderson?

Oh, I loved him! Sweet, soulful, generous dude. And it was a hard job – being in a TV series. Wow! Hard work. 16 or 17-hour days, especially if you’re the star. You have to know about pacing, and he did. He paced himself well for such a physical role, and he did a fantastic job. And it was a huge show for many years. It wasn’t an under-the-radar show. It wasn’t a pop culture Twin Peaks, water cooler show. But it had a steadfast audience and I was very grateful for the opportunity.

A Conversation With Michael Des Barres – Part 2

Posted on May 27, 2013 by Michael Cavacini

Below is part two of my interview with Michael Des Barres. You can read part one here. Stay tuned for part three, and check out the live clips at the end of this post from Michael Des Barres’ concert in New York City on March 7, 2013 at the Bowery Electric.

So, the song “Obsession” came out of your experiences with drugs?

It came out of drug use, yeah. But I turned and mutated that, in a literary sense, into a romance about a man who was determined to get this woman. But it could be donuts, or Prada, or guitars, or whatever you collect, man. It could be whatever you want. It will collect and capture you. It’s about ownership, taking something hostage – obsession.

How was it working with Holly Knight on the song?

Oh, she’s brilliant! Just an extraordinary writer. She’s a classically trained pianist. I must have written that lyric in 10 minutes. I’ve found all the best stuff comes that way. It just flows, there it is and you don’t touch it. When you start tinkering with it – at least for me – that’s when it loses its potency. It was a great experience working with Holly.

I think the new recording of “Obsession” is the definitive version. Do you prefer it to the others?

I love the new one. I think that it’s very relaxed, and I love singing in that Bowie-esque baritone. And I love the girl singer, she’s fantastic – Teal; she’s a great singer from Austin. We just got lucky with it. I played it on acoustic guitar, we sang it and turned it over to a new mixer, Kyle Moorman, who turned it into what you hear, which I think is terrific. It’s a movie almost. It’s got a great story with a good chorus.

You recently hinted that a live album is in the works. Do you have a sense of when it will be released?

It’s done and ready to go, I just have to pull the trigger whenever I want. But first I wanted “Obsession” to come out so people could see what I wanted it to be in the first place. I’m following no rules here. I’m off to do this radio show now, and I’m going to put out the live album within the next several months. It’s all ready to go. It’s called Hot ‘n Sticky.

When I saw you live, you did a few cover songs. In addition to music from Carnaby Street, what covers are going to be featured on the live album?

It’s a rocking record. It starts with a medley of “Little Latin Lover,” “My Baby Saved My Ass,” “I Don’t Need No Doctor,” “Get It On,” and “Long Tall Sally.” It was so rockin’ and so satisfying. You’re gonna’ love it!

Did you have to spend a lot of time in the studio on the live album, making sure everything sounded just right?

No, I didn’t change a fucking thing on it. I just went in and heard it. I did take out some of my conversation with the audience in between the songs because that had a lot to do with what was happening in the room at the moment. But other than that, I didn’t touch it.

Many bands – KISS, for example – go into the studio and heavily tinker with live recordings, and sometimes fans are upset by this. Is this something you were trying to avoid?

Most of the time bands will do some audio tuning or one of the musicians missed a chord. But to me, that’s rock and roll! When you do fuck up and the microphone falls over, I like it. When I was a kid and I would listen to a recording and a tambourine would hit the floor it made me feel like I was there. It puts you in that room, it puts you in that club, it makes you part of it. If everything is so perfect, there’s no soul to it. I think that the greatest things that have ever happened to me have been by mistake. I turned a corner, bumped into somebody and my life changed. It’s the same thing with rock and roll.

When you’re writing music, do you first think of a lyric or does a melody come to you while strumming the guitar?

The way it happens is I get a title and I see how it goes and where it fits. I love up-tempo rock and roll and I love ballads. I don’t know what’s going to happen, really. But I write so much every day that lines pop in and pop out. I’ll sit around and watch the news or hang out with my friends and somebody will say something and I’ll grab it, I’ll just grab it out of the air. I’ll say it and write it down. And the next morning I get up at dawn, drink a gallon of coffee, I go to the gym, I come back, I pick up my Les Paul, I plug in, and I write.

Musically, you’ve done quite a bit. But as of right now, what would you say is your proudest accomplishment?

My proudest accomplishment has nothing to do with having any band members in the room or music. The highlight of my life is talking to you right now … because this is all I’ve got right now. Today is what’s important to me. There’s an immediacy to what I do. People sense it. It’s intense and it’s urgent, and it’s what keeps you alive. Enthusiasm is what’s important. I just don’t want to go backwards. I don’t even want to go forwards. I just want to go! (laughs)

Is it true that it only took you 10 days to record the Carnaby Street album?

Yeah, I recorded it in one week, and I mixed it in three days. Everything you’re hearing on that album was done in no more than two takes. And I fixed nothing, vocally. We went in and did some backups here and there and maybe added a tambourine. There were no solos that were put on there, not one. Mixed it. Put it out. And people went crazy for it. I played it in the clubs – Atlanta, Austin, you name it, LA. Came back, we were red hot, we went in and cut it. Everybody’s laughing and we’re looking at each other. We were all in one room, with the earphones on – just smiling and enjoying each other’s work, if you can call it work. We enjoyed each other’s taste and execution. Took a smoke in between songs and set up the next tune.

Do you have a favorite song from that album or does it change for you all the time?

I don’t have a favorite. Lyrically, I think “Carnaby Street” because it’s an autobiographical narrative. But “Please Stay,” I think, is the most accomplished song. I just got lucky one day and wrote that thing. And it says everything I mean to say about heartache. You can’t have a blues-based information pool from which to choose and not write these soulful ballads. That would be like no wearing trousers on your first date. (laughs) There’s nothing on that album that I don’t like playing. I love “Route 69,” all of it.

Were any tracks left off the album?

No, I just went in with the set that we worked on and shuffled around live and recorded the songs that we knew. There’s many more that I wrote and rehearsed. I just wanted a collection of songs that worked as a whole. But I always have 10 or 20 songs completed and ready to go – the others were just not right for what I wanted for that album. And I could only find that out in rehearsal, singing them live. And those were the ones I liked singing the best – the ones that wound up on Carnaby Street.

Do you have any new songs coming out soon?

Yeah, I’m always creating new music. For my radio show for the David Lynch Foundation, I provided them with “Life Is Always Right.” It’s a beautiful acoustic ballad that came out of the slew of songs I wrote during my time in Texas, including “My Baby Saved My Ass” and “From Cloud 9 To Heartache.” While many of these songs weren’t included on Carnaby Street, they will see the light of day.

A Conversation With Michael Des Barres – Part 1

Posted on May 21, 2013 by Michael Cavacini

I recently had the opportunity to speak with one of my favorite musicians and actors, Michael Des Barres. Many of you may know him for his role as the sinister Murdoc on the TV show MacGyver. Others may know him from his tenure as lead singer of Silverhead, Detective and The Power Station. While music is Des Barres’ main priority, he still makes time for acting, including his recent role in the wonderful film California Solo.

Below is part one of the interview. Stay tuned for parts two and three. And at the end of each part I’m including live clips from Michael Des Barres’ concert in New York City on March 7, 2013 at the Bowery Electric. I was in attendance, and it was an awesome show. Enjoy!

Hello, Michael. You recently announced your new radio show, Roots and Branches. How did this come about?

I had a relationship with David Lynch because I had done Mulholland Drive with him when it was a TV show. And what happened was he cast me to play the bad guy in the pilot for a TV show for ABC but ABC passed on it because it was incomprehensibly Lynchian, ya know? (laughs) So, a couple years go by and he invites me to the premiere and I realize I’ve been absolutely cut out of it and replaced by these two chicks fucking. And I thought, oh man, this is very exciting, but where the hell’s my footage? (laughs) So, we’ve had a relationship for a while.

But he’s got this amazing TM (transcendental meditation) movement going, and he just created this network, Transcend Radio, and he’s contacted people and asked them to produce some content for that and it ended up my door. And I came up with a show called Roots and Branches, which is essentially about influences, where lots of musicians got their influences and passed it on to the next generation, and the next generation. I deal mainly in American blues music and also the edginess of Manhattan rock and roll, heroin rock and roll, I call it – the psychosis of rock and roll. So I do various genres. I play a song and then I play a song that was obviously influenced by that song or artist, hence the title Roots and Branches, because it’s very important for me. And I do it in the vein of Stevie Van Zandt, who flies the flag of the lineage of rock and roll, the history of rock and roll, soul, pop, and rockabilly, and all of the wonderful music that is, in a sense, threatened by extinction today because of the advent of technology.

If you can see relationships between artists, you can go deep into it and that’s what I want to create: A sort of atmosphere of research, ya know? You start at Zeppelin, then you back to the blues and where that came from. You listen to Jack White and then who influenced him, and equally groundbreaking musicians that inspired them. And it becomes this enormous organism, and hopefully an enormous orgasm (laughs).

I recently read Rod Stewart’s autobiography, and in it he talks about how his music as well as other artists’ music, including The Rolling Stones, Eric Clapton and Jeff Beck, was influenced by the blues. What was it like during this time period?

I was in the clubs at the time you’re describing with Mitch Mitchell saying to me, “Why don’t you come see me play with this black bloke?” And I did, and it was Jimi Hendrix. I was there in London at the birth of the skinny rock and roll dudes being inspired by the blues. It was a phenomenal hybrid, which I’ll explore deeply in my show. It’s why working working class English boys and girls would turn to the oppressed black slave music that came out of oppression – out of Chicago and the Delta. Why would that be? I think it’s because it’s almost the same today: You get out of the ghetto by being a rapper or a sports figure. It’s the same man, you know?

Yeah, Jeff Beck was heavy. But there were a lot of people that were plugging in and turning up because rock and roll was blues real loud, essentially. And if Chuck Berry hadn’t existed, there wouldn’t be a Mick Jagger or Keith Richards. I mean imagine a world without Chuck Berry in it. What a horrible thought. (laughs). But they were smart enough to marry that with the poetry of Arthur Rimbaud and the style of Oscar Wilde. It was this pop-hybrid of Muddy Waters, Oscar Wilde and Lord Byron with a slide guitar. It was this incredible cocktail of stuff.

Your modern music seems to harken back to that classic three-chord rock and roll.

Yes, because what happens is, as an artist in the beginning it’s all about passion. Then you learn how to do it and you learn the chords that are complicated, and to keep yourself interested you start experimenting. And you lose sight of why you did it in the first place. Rock and roll is a synonym for having sex. It’s not a synonym for meditation. So you’ve gotta roll with it. And, for me, I went on all sorts of tangents because I was thinking too much. But when I got back to it three years ago, when I was in Texas recovering from an accident, I broke a lot of bones, I had time to reflect on what I really wanted to do, so I started to write. I couldn’t write with my right arm because it was smashed, so I wrote with my left hand these social media updates and people started to respond. So I took those ideas and put them to simple chords, blues-based music and I wrote “My Baby Saved My Ass,” (laughs) which sounds funny and cute but it’s true. It’s a redemptive song about the redemption of love transcending a drug addict’s downward spiral.

Stephen King once stated that, “The idea that creative endeavor and mind-altering substances are entwined is one of the great pop-intellectual myths of our time.” Like King, you’ve overcome drugs and alcohol. Do you agree that these substances don’t enhance an artist’s creative work?

He and I are the only ones that have said that. I mean, I’ve been saying that for 30 years. The myth of the self-destructive genius is bullshit. And I can give you one and only one example: Jim Morrison did not write the “Great American Novel” … and he could have. And it’s as simple as that. Genius is divine; it’s a talent you’re given by the universe. It’s like being born beautiful and you fuck yourself up.

I always think of Chet Baker and his beautiful face and how ravaged it was at the end of his life when he fell out of a hotel room window and smashed his skull because of heroin. So, I’m with Stephen King. It is a myth, and I’m 100% more creative with clarity than I am in a fog. I might think I’m a genius, but I’m not.

What made you stop using drugs?

I looked in the mirror and I looked like a monster. And I’m way too narcissistic and vain to look like that. I can honestly say vanity got me through it (laughs). I felt like a fool, and there’s nothing worse for me than feeling foolish. And being a slave to something? Good lord! I can’t be owned by a bag of white powder…unless it’s foundation. It’s absurd; it’s childlike. Unfortunately many of our greatest artists capitulated to it and died, and that’s a shame.

To answer your question, I’m not being glib when I say I looked in the mirror and didn’t like what I saw. It was absolute vanity. But once I got into that spiritual groove, I woke up from the trance of drugs. And I wrote “Obsession” within the first few weeks of being sober. Everybody around me was saying “I’m obsessed with this” and “I’m obsessed with that.” Is it an obsession? Yes. So I thought, OK, and I wrote that song, which was a worldwide hit because people could relate to the thing.

Roots and Branches with Michael Des Barres

Posted on May 17, 2013 by Michael Cavacini

The always-wonderful Michael Des Barres has a brand-new weekly radio show, and the first half-hour episode debuted tonight. It’s called Roots and Branches and it airs on Tuesdays and Fridays at 4:30 p.m. PST (7:30 p.m. EST) on the online radio station Transcend Radio. You can listen from your computer or smartphone on the Transcend Radio website or on Live365.

The goal of the aptly named Roots and Branches is “finding peace in a violent world through exploration of the lineage and history of rock and roll.” This rock and roll safari, lead by Michael, explores how musicians are connected to and influence one other. And each episode has its own theme.

The first show’s theme was “Peace in Action.” After a rousing acoustic rendition of “Hot ‘n Sticky,” Michael played songs by Bob Dylan and John Lennon and explained how they were connected and how their ultimate message was peace. “I believe in peace, but I don’t believe in peace on your couch, eating Cheetos. Peace is not a passive stance, it is action. It’s like a pebble in a lake, and the ripples will grow,” said Michael.

He went on to play songs by Chuck Berry, The Rolling Stones and a live Patti Smith bootleg. In between songs, Michael provided interesting commentary and information about the songs and artists. And he closed out the show with his terrific new single, “Life Is Always Right.” This song is available on iTunes, and I highly recommend you buy it. I’ve been listening to it all day. It’s sounds gorgeous, the lyrics are beautiful and Michael’s vocal is mesmerizing.

I look forward to future episodes of Roots and Branches. It’s a terrific concept, carried out by one of the most captivating musical personalities on the planet. Make sure to tune in – you won’t be disappointed.

On a related note, I had the pleasure of recently interviewing Michael. It was an extensive discussion that resulted in a ton of great content. Keep an open eye out for part one of that interview next week.