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The Noise, November 2007, Feature cover story and interview

by Nancy Neon

My Own Worst Enemy may have appeared to be under the radar with the releases of Treblemaker in 2000 and No Guarantees in 2003, but their current CD Total Action (release party on 11/2 at the Abbey Lounge) has landed them on the map. Pete Weiss has produced almost all the songs on the band's three CDs and has earned the undying admiration of My Own Worst Enemy. In fact, the band considers Pete their secret weapon, a musician among musicians, and a friend. I met with the members of MOWE, Sue (vocals/ guitar), Steve (guitar/ vocals), and A.J. (drums) in Central Square to get the details of the new radar readings.

Noise: You have along association with Pete Weiss. How did you first decide to work with him?

Steve: At our very first show at O'Brien's in 1998, we opened up for Pete Weiss and the Rock Band. He has given out about five business cards in his entire life. Yet he came up to me, handed us his business card and said, 'When you guys start recording, I want to work with you!' We didn't even have a demo out at that point!

Sue: There was a band called Mishima on the same bill. They were a bassless band, too. They had worked with Pete and gave him very high praise.

Steve: We recorded our demo with Pete and it ended up on Treblemaker in 2000.

Noise: I like that name - very punny!

Steve: It was either that or Treble Yell! [all laugh]

Noise: I had no idea that MOWE had been around that long!

Steve: We were VERY under the radar. Also we'd have a drummer and a burst of activity. Then we'd lose a drummer and not play for a year until we found A.J.

Noise [to A.J.]: How'd you get hooked up with these two?

A.J.: I'm good friends with Pete Weiss's younger brother, Mark. I remember being in 8th grade and Mark would say, 'Check this out!' and it was Pete Weiss & the Rock Band. I said, 'Your brother did this?! That's so cool!' Later, I saw The Weisstronauts.

Noise: Who are the some of the drummers that made you want to play drums?

A.J.: My favorite is Topper Headon from the second Clash album, London Calling - that's my favorite era. I always loved the way that he played on London Calling. His playing had a punk edge but he had so many other influences. I like other drummers too. I like Levon Helms from The Band. He's a fascinating guy. The way he plays drums... his style is so different, just constantly playing the bass drum, but it sounds so right. Of course, there's also Stewart Copeland of The Police.

Sue: Wasn't your dad a drummer, A.J.?

A.J.: Yeah he always told me 'When I was 16, I was playing three nights a week in a polka band!'

Steve: The process of finding the right drummer was not easy. We met a lot of nice people, but when we met A.J. he was the perfect fit musically. A.J. even likes playing in a band without a bass. He has to play more than a drummer in a band with a bass player. He has to have a heavy foot pedal and a heavy tom to give us that frequency. On top of that, A.J. can play harmonica when he drums. Plus he can sing. People can't believe how full that we sound as a three piece but we have a lot going on.

Sue [to Steve]: And you have a special setup, too...

Steve: I play through two amps. I use delay and reverb. So it soaks the bottom end. That has taken years to get just right. We've been recording since 2000, but it has only been the past few years that we have found just the right way to set it up. I use special strings and special guitars to get the right frequency. For example, I love Tellies, but they wouldn't work for what we do because their sound is too bright. It's taken years to refine the formula.

Sue: When Joel Simches interviewed us on WMFO, we played live in the studio and he said, 'You claim to be a bassless, but there is bass all over this record...' and I said 'There's actually not a single note of bass there. It's Steve's setup and Pete's magic.'

Steve: And it is really intentional just to set us apart. I love bass players. I love The Clash. But we have been around Boston long enough to know how hard it is to make yourself stand out from the crowd.

Sue: It evolved naturally because Steve and I started playing together for fun. Steve was in a punk band called Meatsicle. [This classic punk name incites unanimous laughter!] We started playing with our friend, Tony on drums. Before we started playing together, Steve and I visited Seattle. We picked a club at random.

Steve: We chose the Crocodile Cafe on a Thursday night.

Sue: It was Sleater-Kinney - three women, two guitars, and drums. It was amazing! They blew our friggin' minds!

Steve: They were the opening band. Their parents were there. We could really relate to it!

Sue: They did go on to become huge. They did contribute to our going bassless because they proved that it was legitimate.

Steve: A few years later, The White Stripes were opening for them and it was like 'They're doing it, too!'

Noise: In my mind, Dexter Romwebber's Flat Duo Jets were the originals. Changing subjects, MOWE's influences are so subtlely integrated into your own sound that it is difficult to pinpoint what bands inspired you to begin playing music?

Steve: I have to say that it is just the Boston music scene. I remember taping 'BCN's Boston Emissions in the early '80s, listening to these great bands knowing that there is this amazing scene just an hour north of where I am in East Bridgewater. It was like London '77 to me. Boston was the place to be. I remember 'Til Tuesday and The Cars. I knew that I wanted to be part of that somehow. I didn't know then how I was going to get there. I played in crappy cover bands in college. We played The Paradise on a Monday night. These were all tiny steps toward my ultimate goal. Meeting Sue, who had the same love for the Boston music scene, was completely amazing! In the mid-'90s, that is, when a lot of the bands were getting signed - The Lemonheads, Buffalo Tom, Fuzzy, and The Dambuilders. It was a fascinating time musically. I had saved Jim Sullivan's columns about the Boston music scene in an envelope in my parent's closet. I was the DJ of a local college music show called Local Anesthesia with two hours of local music from Boston and Providence. It was always in my head - the goal was not to be a rock star but to be a Boston musician! This was '88 - '90. It was cool having Buffalo Tom and The Peasants live in the studio.

Sue: For me, I grew up in Fitchburg. In the early to mid-'80s, my sister Laura, who was about a year older, started getting into bands like U2 and REM. Laura became friends with people in bands and I met the people that she was friends with. She got into Husker Du and The Replacements.

Noise: I adore the 'Mats on record and live. Check out Red Invasion's live version of their 'Can't Hardly Wait.' Speaking of versions, it takes chutzpa to cover Patti Smith's 'Redondo Beach.' You got my very dear friend, Robert Barry Francos, dancing and that's not happened in decades.

Sue: Yes, Laura turned me on to Patti, too. It was cool because it was so different from what my friends were into like .38 Special. I started getting into the local music scene in the mid - to - late '80s, bands like Scruffy the Cat. Then The Feelies came to town - that is still one of my favorite fucking shows!

Noise: Other than Scruffy the Cat, what are some other local bands that turned you on?

Sue: I went to college with Lee Harrington's little sister, Amy, and she said, 'Do you want to see my brother's band?' I had no clue about The Neighborhoods! There were The Zulus, Pixies - it was all happening. Then I got into punk. But my roots were folk like Joni Mitchell, Dylan, etc. I went to Catholic school and played for the folk mass.

Noise: What is it like when a complete stranger comes up to you totally digging MOWE and 'getting' you from the start?

Sue: It's the best! I would not give up or underestimate our core following who have been there and stuck by us because they are invaluable for sure. Yet when you have a complete stranger who just happens to be at a show and they like it and they understand where you are coming from, they come up to you or send you an e-mail. It validates what you are doing. Last night, I was talking to Chick, the singer from Scarce. He has heard some of our MySpace songs. He says that he likes our songs and wants to do gigs with us. I was gushing over his band. That's so cool when people that you admire let you know that they admire you. Like Brett Milano - we used to be afraid to talk to him. Now he's a friend. When we meet a total stranger and they 'get' our music - that sustains us. Whether it's a Robert or Chick or you. That is the best thing about being in a band. It's the friendships that make it all worthwhile. I feel like in ten years, we'll still be able to have a Guiness together.

Noise: One last thing: how did the band choose the name?

Sue: Naming the band - what a royal pain! We were throwing around all sorts of ideas - phrases from books, poems, and lyrics and we wanted it to be a unanimous band decision. In the song, 'Living In Exile' from Sleater - Kinney's record, The Hot Rock, we found 'I know my head is my worst enemy/ Swallowed too much of it and started to believe/ I know my heart is my worst enemy.' Right away, that 'my worst enemy' phrase hit us and made us think of the expression 'I'm my own worst enemy.' It seemed to fit too perfectly, essentially describing our experience of the band naming process itself. Add to that our having initially picked a terrible name, sticking to our guns (and getting shit) about being a bassless band, not to mention any personal daily neuroses - we truly were our own worst enemies. And so that was it. We had our name.

© 2011 my own worst enemy/pristine indigo. file under moonlight.