The Knockoffs and their place in Sacramento’s punk rock history

Country licks with a traditional punk-rock style. Twenty years of street cred earned within the ever-fluctuating Sacramento music scene. Not to mention the immeasurable amount of respect from bands such as 7Seconds, the Groovie Ghoulies, festival organizers and promoters alike. That old school, independent, do-it-yourself mentality all in the spirit of punk rock is still essential for members of The Knockoffs after all this time.

The days when flyers were handed out at shows and littered the walls of bedrooms instead of sidewalks. The times before the Internet was a main tool of promotion, when actual footwork and word of mouth were the standard codes of conduct for bands. These forgotten practices continue to resonate for these four men and after a three-year pause, they’re back and ready to play as loud as they can at this year’s second annual Punch and Pie Fest on Aug. 24, 2013 at Old Ironsides.

“They’re kind of like the elder statesmen of our community. I think that they’re a really important part of Sacramento’s punk rock history. They have been around for 20 years and they have been a great influence on the punk rock community,” says Punch and Pie Fest organizer and Bastards of Young bassist Sean Hills. “I have a lot of respect for them, and I think they are a great example of how to be in a band for that long without killing each other. They’ve been doing it right.”

It’s a roundtable meeting of sorts within the living room of vocalist and guitar player Tom Hutchison, or as his mates like to call him, “Little Tom.” On this Sunday afternoon Danny Secretion, Tom Amberson (aka “Big Tom”) and Bobby Jordan gather around a coffee table, television muted, to speak with Submerge about their love for punk rock music, keeping the scene healthy by ways of encouraging young talent and laughing so hard during practices until their muscles ache and eyes water.

“It’s like we’re in the eighth grade and someone’s parents are gone,” says bassist Jordan of the band’s camaraderie. “It’s one of the fibers of my life.”

Forming in the early ’90s, The Knockoffs have had their fair share of lineup changes. At times, certain members would even jump from guitar to bass and then back to guitar just to keep the process moving. Eventually, the guys found what worked and ultimately solidified their lineup.

Each person comes with their own unique set of experiences or outlooks complete with a list of either a second or third punk rock band they’re also heavily involved in. Like Secretions’ longtime run with The Moans, The Shitty Ramones and The Secretions; or Bobby Jordan doubling up with The Mr. T Experience. Hell, Amberson credits The Knockoffs giving him the opportunity to sit behind the drum kit and learn a completely new instrument by simply joining the ranks. All of these elements are finished with a traditional punk and rock ’n’ roll-style of vocals with just the right amount of gruff, thanks to Hutchison, especially heard within the playful lyrics during songs such as “You Make Me Sit Funny” from The Knockoffs’ second full-length album Sell the Move.

Yet, after all the changes, instrument shuffles and years tacked behind them, their chemistry works. And their time spent performing and practicing as The Knockoffs means more to each member than just another punk rock band they’re a part of. In the end, all members say they genuinely enjoy one another and have witnessed each go through life changes ranging from marriage to welcoming Jordan’s new baby girl to the family.

“Having a baby has made me want to do this even more,” says Jordan. “I want music to be around her while some people retreat in music with babies and families.”

Encouraging music within a younger audience is a duty each member of the band adopts with no questions asked; to them it’s necessary to keep the tight-knit punk rock community healthy. Both Secretion and Jordan recall bands like 7Seconds and the Groovie Ghoulies mentoring them, by means of showing them the unspoken codes of ethics, respect and even honesty when it comes to door money.

“We were really lucky that we had those bands take us under their wing,” remembers Secretion. “The thing that I notice is that the older bands kind of groom the younger ones. When you see bands like Mad Judy or Abandoned Generation, these kids are too young to even get into the shows we’re playing, but seeing them and the younger generation of punk rock, I know it’s going to be OK in Sacramento.”

These four men remember performing shows at Old Ironsides 20 years ago for five bucks. Fast forward a couple decades later and the guys are still playing shows at that price—and happily, which Jordan says is a testament to The Knockoffs, genuine love for the music alone. And they aren’t planning on closing their guitar cases or retiring their drum sticks ever—they’re all here to stay.

“We’re like an old, wore out, stinky pair of shoes,” jokes Jordan, sitting next to Hutchison and directly sending the rest of the guys into laughter.

“I’m looking forward to just playing my guitar as loud as possible and looking over my left shoulder and seeing these guys play their asses off,” says Secretion. “That’s going to mean so much. You ain’t seen the last of us.”

Photo by Allyson Seconds

Punch and Pie Fest 2 will heat up Sacramento Aug. 21–25, 2013 at The Press Club, Old Ironsides, Midtown Barfly and Luigi’s Fungarden. The Knockoffs will perform at Old Ironsides on Aug. 24, 2013 with Dr. Frank, Bright Faces and Arts and Leisure. For a full Punch and Pie Fest schedule, go to Punchandpiefest.com or go to Facebook.com/punchandpieproductions.

Hanover Saints release a new album, look to cement their legacy in their hometown
Words by Butch Ivory

For nearly 20 years, Brian Hanover has been devouring the sights, sounds and chaos of Sacramento punk rock. The Hanover Saints have spent the most crucial chunk of that time writing, recording and improving their place in its history.

In the following interview, with a renewed sense of purpose and a brand new release in the can, Brian Hanover discusses and argues about what drives him and the band to once again climb back into the blood-stained ring of Sacramento’s underground.

After several lineup changes and a solid new record, Murdertown, The Hanover Saints seemed to vanish. Why the comeback? Why now?
I never really wanted to put it on hold. But at the time we went on hiatus I was going through a lot mentally, business- and family-wise, and just wanted to see things from a non-band perspective. I always hoped to one day get back, when it was right for me… I think at some point I was missing something inside myself that I needed to tap into and stepping away seemed to be the most honest thing to do. I started playing solo and fell in love with not having to rely on other people to make music, but it allowed me to challenge everything I was about.

How has your solo experience affected the Hanover Saints?
I needed to shake my core, and playing live by myself channeled a lot of those feelings, beliefs, and not compromising. So three years went by and Wy [Harrell], our drummer, played on some solo stuff and we always talked about it. He has stayed loyal through it all, and when asked to play a show last June, I called the three guys up. So much time had passed, and we missed being around each other and wanted to play. It was just time. The music business side has changed so much that we knew we had to do this all ourselves, and it was the truest place for us so we moved forward. The solo thing has really helped me be more focused when writing and allowed me to take more risks… I just write and what comes out just comes out. Hanover Saints material was coming out in my writing at home, and it came at a perfect time to start playing together again. Maybe not financially, but that never has been a deciding factor, but it has its challenges with releasing music these days. Anything goes in that area now. We are really enjoying the freedom of music and how creative it can be, which is making Hanover Saints a healthier situation for all of us.

Lyrically, you seem to focus more on the personal than the political. Is this a conscious decision? Or is it a reflection of the type of songwriters you most identify with?
On this EP, I left it more open-ended. We had a solid fellow produce us at a certain point, and we had a meeting to talk about the record. He said, “When I listen to your past songs, I don’t feel like I know you, but I do know you, and I know your personal story. I challenge you to dig deep.” I think at that moment it clicked for me. I hid a lot from my past because of the pain and just wanted to bury it and forget it happened. Those things have a way of resurfacing, and it helped me to become a more honest, well-rounded songwriter instead of a topical one. There are some political leanings on “Nailed to the Letter” that have to do with right-wing conservative politicians, which is so cliché. But coming from someone who believes in the Lord and can’t relate to one word they say, it puts me back into the “I don’t belong anywhere” category… I am not down with blind hatred and when a movement becomes more important than human beings.

For many of us who have followed The Hanover Saints for several years, we have witnessed an evolution of sorts, from a “Christian punk” band to a band that has members who are Christian but play to the masses and not just to the converted, so to speak. Please explain what led you personally and the band to this decision?
It’s never been a conscious decision per se. I think it’s easy for anyone to label what they are passionate about, whether it’s straight edge, or Rasta, or whatever it may be. I just felt like our actions and music spoke for themselves. I have never denied my faith and have had record offers pulled from the table because of what I believe, but I didn’t grow up in the church, and honestly still don’t fit in most so-called churches. I honestly believe with every ounce of my being that the American church is so tied up in the political power agenda that it misses everything Jesus said. But to get back on point, I hate labels. With my life and my struggles, and believe me I am a troubled human being, I need peace in my life otherwise I flip out. But I have never wanted to alienate a person who doesn’t “believe”… All I ever wanted to do is just write real songs and maybe I am longwinded, but I’m super passionate about songwriting, and it’s a gift that I don’t take for granted. I am hoping one day I can sing better though [laughs].

It is a gift, but at some point wasn’t there a decision to be made about playing with certain bands and on certain bills that made you aware of the labels that people on all sides of the coin want to place on you?
All I ever wanted to do is play music, as far back as I can remember, and when I discovered punk in late 1984/early 1985 and picked up a guitar, I never worried about what people thought. Not till I got into my mid-20s when Hanover Saints started did I see these labels define a scene. I have always played wherever to whomever, and if these certain people want to label me, so be it. I heard people’s rhetoric from stage and then I would be hanging out with them later and helping them or they would be helping us, so sometimes the whole idea of it just seems to blur the lines, and it comes from both sides. But, being misconstrued from both sides has never stopped me. I am a really caring person inside, and the thought of someone not liking us for playing with this band or that band could eat you up inside by trying to figure it out. Music is supposed to be creative, freeing, uplifting and life-changing, and if someone is worried about what I do and where I play and who I hang out with, they are missing the best part about music. I just finally recently found a huge amount of peace knowing I am never going to fit in and it’s OK.

How has being a father changed your music, your attitude, and your desire to continue to make punk rock?
Being a father has made me a better person. More patient, more forgiving, but also making music since my son was born has made me way more focused just on the fact that he comes first and all else comes later. He is a great kid. He loves me playing music and we play tunes together. It’s a part of our family. I have to be wiser about money, but we all love punk in this house. He loves everything from Madball to Kepi Ghoulie, from Youth of Today to The Clash. He likes what he likes. I remember one day a CD ejected from the car, and it turned to classic rock. It was Skynyrd, and he said, “Dad put on some real rock ‘n’ roll, this sucks.” So I said “Give me a second, I am trying to put another CD in,” but he has no time for what he doesn’t like. But he loves all the music I play. He is my biggest fan and punk will be around forever in this household.

Regarding the future, you have a new EP, Bitter Pills, coming out this month on Revolution Ink records.
We have our first release since our record Murdertown. I am releasing it on my label, Revolution Ink Records, digitally and on CD, and a local label Pleasant Screams Cassettes is doing a limited run on cassette. Hopefully we’ll have it on vinyl early next year. Money has been super tight, and we don’t play a lot, so basically we had $500 to record our EP and I am pressing it. The rest of our money has gone to rehearsal space rent. So we are excited to get back and playing live and writing even more songs.

The new songs seem to reflect a more soulful singing style. The songs still have the aggression of Murdertown but seem to have a more Iggy and the Stooges vibe in spots. What do you credit with your growth as a singer and as a songwriter?
I always feel uncomfortable singing, but I have always had this pent-up aggression within me. I just wanted to capture that with more soulful melody, but that’s always just hanging on the edge where at any moment it can just fall apart. During this session, which was five hours of vocals, I literally was grabbing the wall and just shaking and taking myself out. I found this spot where I trusted myself with being on the edge of it falling apart. But I think since the hiatus I have written about 40 songs in various styles, like Motown, straight folk almost Pete Seeger, Woody Guthrie style, to Creedence sounding tunes. What I was realizing was how much of a music lover I am, and how much different stuff I listen to from Joy Division, 4 skins, Swervedriver, to Joan Baez, The Damned, to the Australian band The Saints, so I just felt free to be free and that I had nothing to lose.

If it sucks, it sucks, but I love these songs. It is just a new chapter for me. I always go into Hanover Saints recordings as the band’s biggest fan. I ask myself would I listen to this and what do I want from us?

Can we expect The Hanover Saints to disappear again after this record or are you guys back for a while?
I hope we are around for a while, but I like not ever knowing. I want it as raw and close to the edge as possible. I am hoping for more time. I don’t think it’s done!

 
 

7Seconds, Youth Brigade, Pressure Point, Boats!, The Knockoffs
Shire Road Club “¢ Friday, Jan. 29, 2010
Words & Photos by Anthony Giannotti

When I heard about this show I was really excited for several reasons: First, I hadn’t seen some of the bands in almost 10 years; second, it showcased a wide cross-section of Sacramento punk rock talent; and third, it gave me a reason to get out of the grid and check out a new all-ages venue. So I made the trip all the way out to The Shire Road Club.

The Knockoffs

First up were The Knockoffs. The band consists of guys from other great Sacramento punk bands The Secretions and The No-Goodniks and Berkeley, Calif.’s Mr. T Experience. Right out of the gate these hometown heroes hit us with three-chord punk that would do The Ramones proud—songs chock-full of sing-alongs, power hooks and quirky choruses about girls. I found the drummer of this band to be very interesting; in fact I couldn’t take my eyes off him. Imagine if The Rock stopped taking steroids and played with the exact facial expression/drumming style of Ringo Starr circa 1964.

Next up was the pop punk trio Boats! The set started out with some equipment malfunction that caused the guitar player to miss some notes and forget chord changes. Anyone that has played in a touring band understands every show can’t be the best one you’ve ever played; you just move on and play better next time. These guys did have some catchy tunes. Similar to something you might hear on a late ’90s Screeching Weasel album, fun goofy three-chord punk. The bass player David blew me away, honestly one of the best young punk bass players I’ve seen in a long time.

The third band, and arguably the best band on the bill, was Pressure Point. I really don’t know what else to say about these guys, they are just fantastic New York style hardcore punk. Apparently I was not the only person who felt this way because the previously motionless, expressionless crowd burst into a wild circle pit, fist-flying singing along to all the songs. These guys brought a little more musical complexity to the night, more than five chords per song and some flashy lead guitar. Pressure Point brought out an interesting observation; punks, skinheads and hardcore kids attended this show. Not a lot of other cities can boast such unity.

Youth Brigade

As soon as Youth Brigade hit the stage I was immediately unimpressed. Yeah I know, punk legends, been around forever, whatever. For some reason Shawn Stern (lead singer) had a problem with the majority of the audience not being born before his band started. He seemed to imply that we weren’t there so we don’t “get it.” This is the equivalent of Boss Hogg telling me I don’t “get” Dukes of Hazard because I wasn’t born in the south. I don’t see this in any other genre of music but for some reason some old punk rockers are ageists. Sorry for being younger than you. I don’t know what you want me to do about it. If you’ve seen the classic punk documentary Another State of Mind, you’ve seen modern day Youth Brigade. They still play teeth grinding aggressive ’80s style barking hardcore punk. Shawn is still singing about politics and playing the same power chords, I didn’t get the impression that he wanted to be there. He acted as if he was going through the motions, to get paid.

7Seconds

7Seconds was the last band to take the stage, they immediately kicked down the doors and tore the roof off. They played fast, loud, and hard. I was surprised Bobby didn’t break a string the way he slammed on that guitar. Steve Youth played about as complicated of a bass line as you can fit into a blazing fast punk song. I loved Kevin’s vocals, that distinct higher range is one of the things that has made 7Seconds so recognizable over there career. What an extraordinary band, they are celebrating there 30th anniversary so get out and see them!

All said and done it was a good night with very talented bands. It was a good reminder of what I love about punk rock. I hope Shire Road Club has more of these shows in store for us.