In the Hold Steady song "Celebrated Summer," Craig Finn sings, "raise a toast to St. Joe Strummer, I think he might've been our only decent teacher." A worthy subject, of course, but I think Finn's list is rather incomplete. Look no further than to Mike Watt for proof.

Over the course of a 30-year music career, Watt has evolved into an improbable leader. He can't really sing, he plays an instrument typically relegated to support status and is more interested in "jamming econo" than turning a buck. Despite it all, I defy anyone to find me an artist who has been involved with more interesting music that consistently over that length of time. All that with more integrity than you'll find in almost any artist.

He came to prominence as part of the trio the Minutemen. The group formed in 1980 and disbanded in December 1985 after the death of guitarist and singer D. Boon. In that short time, they recorded four albums and eight EPs, each better and more accomplished than the last. After Boon's death, Watt and drummer George Hurley formed fIREHOSE with guitarist Ed "from Ohio" Crawford. A major-label contract gave the band, and Watt, considerable visibility. It was a contract he kept until 2005, after the release of his third solo album, The Secondman's Middle Stand.

Since fIREHOSE split in 1993, Watt has kept busy with an increasing number of projects. In addition to the bass duo Dos that he's had for years with (now) ex-wife Kira, he has performed with Unknown Instructors, the Stooges, J Mascis, Porno for Pyros, Funanori and Banyan, among others.

The most recent of these is his work with Unknown Instructors. The group -- former Saccharine Trust guitarist Joe Baiza, Watt, Hurley, poet Dan McGuire, Pere Ubu singer David Thomas and artist Raymond Pettibon. The music is odd, with with the trio of Baiza, Watt and Hurley improvising jazz-tinged rock that heads in unexpected directions. McGuire, Thomas and Pettibon (and occasionally Watt himself) then offer spoken word over top . It's an offbeat but terribly arresting combination. The most recent disc of three from the combo, Funland, is the best yet.

Watt doesn't often look back, but in this case it's worthy: He'll participate in a July 25th event in New York that celebrates the 25th anniversary of the Minutemen's Double Nickels on the Dime, perhaps the greatest album Watt has been a part of.

TIRBD: It has been said that you and George Hurley considered continuing the Minutemen with Joe Baiza. Is that true? What might the past 20 years have been like if that had been the case, and what is it like now to play with him on a regular basis?

MW: Me and George have always dug playing with Joe Baiza. I tried out for his (and Jack Brewer's) Saccharine Trust band before we started the Minutemen. The Minutemen though ended when D. Boon was killed. It would be different than Minutemen playing with Joe, it's only natural. That's why us playing with Edward was called fIREHOSE. So we did do some jams, but then Edward came from Ohio and we pursued that. Playing with Joe Baiza now is very interesting cuz I love the style he's developed and try to do my best bass for him, same w/George – two very singular musicians I really appreciate, they really bring their own personalities to our collaborations.

You seem like a natural for something like Unknown Instructors because of the "spiels" you put on records. When do you decide that it's better to speak something rather than sing it, and why don't more people use that tactic?

Well, I've always thought of the words part of the Unknown Instructors was Dan McGuire and so was taking my cue from him there. I have done spiels with other music though, yes. It seems to fit the mood of the piece of music I put it to, just like using different types of bass lines to anchor a tune. To me it's kind of like a "thinking out loud" kind of texture to a tune. It's hard for me to say why others don't use it but then some of my bass isn't that conventional either. I learned from being in the Minutemen to try and wrestle your angle on expression in music – it was something D. Boon was never afraid to try.

You mention in the press material for the record that the process was about “putting me into contexts that take risks, which is scary, but being scared can be exciting.” I was surprised to read that, because it seems as if your career has largely been about putting yourself into such risky situations. What made this more so?

You are right, I have done a lot of that, but whole albums made of flying by the seat of your pants with free-form jamming can be a little intimidating still with all the years of whatever kind of experience music has given me. I try and think of this in a positive light though so I don't coward out in the first place and then attempt some kind of growth by engaging in it, but at the same time, trying to do good for the cats I'm playing with. So I think there's some kind of responsibility mixed into the idea or attempt to ignite some type of "abandon" from a life of infinite "re-runs" like endless repeats of the "I Love Lucy Show" or something.

In the past few years, it seems as if you're starting a new group every month or so. Why this restlessness? Do you ever fear stretching yourself too thin?

New groups are about new musical situations, new places to learn from. I think it helps me keep relevant somehow, keeps the bass from being just a machine and a means to help me keep learning. The different musical situations are like different "classrooms" and I sincerely believe everyone has something to teach me. I'm trying to cram as much as I can in the amount of life I have left. It just drives me, I feel driven by opportunity to try different musical things. Some situations are very stable though – like the band dos me and Kira have had for 24 years. Some though, like this gig I got with Devin Hoff next week in San Francisco, last just one performance! Who knows though; we've been talking about taking things further – sometimes that's how it works, and then sometimes I think up the whole concept before choosing the people... sometimes I'm chosen by someone, right out of the blue! I think about my life... I think, "I'm here to learn!" So it's OK.

You have played with a lot of musicians from different eras -- from the Stooges to David Thomas in the Unknown Instructors to younger musicians in your various recent projects. What differences and similarities do you see in their approaches, and particularly their mindset about music as a career?

Yeah, everyone has their own personal take on this whole music trip, believe me. It's OK though, cuz different perspectives can bring me something I can learn from. I have learned to maybe not make big judgments on folks and their choices on how they work their angle on music and try to act like the bass in a band, sort of like being grout to set tiles. Everyone has something special about themselves I believe. That can help me be a little special along with them – that's what I try for. Music is a trippy kind of field where people can transcend age, I think. I've been very very lucky to play with folks pretty open-minded, whether they've played for a little while or a long time. I try to go with those situations – the technical abilities are kind of secondary to the spirit they bring. To think of music as a career is pretty scary! I was just asked by a dear friend about how to do music for life. Very difficult question! I could only suggest developing a musical identity that's reflective of the inner voice music lets you express and keep pushing, push! If you stumble – get back up and keep pushing!

Your hootpage is a goldmine of information about your life and music in general. You published a short book a few years back with a French press that gathered some writing, but it seems like you have a memoir in you. Ever have any thoughts about ever doing something like that?

That was published in Quebec where French is spoken lots, by l'oie de craven It's a book of my Minutemen lyrics plus a short little tour diary from 1983 I did – my first one. I do tour diaries all the time, for the last 10 years, and have them up on my hootpage where anyone can read them. I am a big fan of literature though, it inspires me much to write music. I really need inspiration – lots of times it's books, lots of time it's people... without inspiration, music for is too mechanical. I have great respect for writing and yes, it's something I wish I could do better myself.

How does technology affect the way that you record, distribute and listen to music now compared to when you started playing? Is it better or worse?

The challenge of trying to be creative has never been solved, and I think maybe it should never be. However, it is more econo to record and there's tools in the recording themselves that can act now like instruments – not just for capturing performances but kind of like "playing" them on another level... sort of like how making films developed. It's easier now to communicate and all collaborate by using the Internet, same with getting the finished works out there. A lot of projects I do now could not happen in the old days, just couldn't, so I'm grateful for lots of the new developments. The idea of finished works changed forms somewhat, but they still are works. It’s easier now to share them w/more folks and quicker. I think this is a good thing cuz maybe folks might wanna see you perform live if they have the chance.

Labels: Monday Interview, music