Stooges Gear Stolen In Canada

This is a post from Watts Hoot Page.

if anyone has information, ANY INFORMATION!
please, please, PLEASE as soon as possible contact
Eric Fischer at:
cell phone: +1 646 932 1907


all equipment was in a rented penske 15 foot yellow truck
with u.s. (michigan) license plate number AC46493
parked immediately outside the hotel, the theft had
to have happened in the morning, between 6:30 and
7:30 am – truck and all gear stolen

pictures of some of the stolen stuff

Item      Country of Origin   Serial Number

Red roadcase containing:
      Red Gibson 1963 EB-3 bass (this is mike watt’s bass!)   USA   No serial number

Black roadcase containing:r
      Reverend Flying V guitar – Volcano black   USA   #08001

Black roadcase containing:
      Reverend Orange guitar   USA   03416 ZSL7

Black fibre case containg:
      Gibson red SG short scale bass   USA   No serial number

Black roadcase containing:
      Marshall Vintage/Modern Amplifier   UK   M-2007-07-0926-2 RoHS

Black roadcase containing:
      Marshall Vintage/Modern Amplifier   UK   M-2007-07-0927-2 RoHS

4x Marshall 4×12 Cabinets (with Tuki cover)      UK   #1 Slant: M-2007-05-0149-0

4x Marshall 4×12 Cabinets (with Tuki cover)      UK   #2 Straight: M-2006-49-0380-0

4x Marshall 4×12 Cabinets (with Tuki cover)      UK   #3 Slant: M-2007-05-0150-0

4x Marshall 4×12 Cabinets (with Tuki cover)      UK   #4 Straight: M-2006-49-0381-0

Orange Calzone road case containing:         
      Guitar pedal board and pedals   USA/Japan   No serial number
      Assorted leads    USA/UK   No serial number
      2x mic stands   Germany   No serial number
      Assorted strings and spares   USA   No serial number
      2x Boss TU2 Chromatic Tuner
      Boss CH1 Super Chorus
      Fulltone OCD Overdrive
      Crybaby Wah
      Peterson Strobo-Stomp Tuner Pedal
      Whirlwind A/B Boxes
      Whirlwind Cable Tester
      and many many istrument cables
      various tools ( screwdrivers, soldering iron, pliers, etc… )
      tambourine and maracas

Cardboard box containing:         
      Assorted replacement drum heads   USA   No serial number

Gretsch Silver Sparkle Catalina drum kit      USA   No serial number
      26″ Kick Drum      No serial number
      13″ Rack Tom      No serial number
      18″ Floor Tom      No serial number
      4x Cymbal Stands      No serial number
      1x Snare Stand      No serial number
      1x Hi Hat Stand      No serial number
      1x Drum Throne      No serial number

Eden D810 Bass cabinet      USA   D810RP4 0703E5001

Eden D810 Bass cabinet      USA   D810RP4 0703E5002

Cardboard box containg:         
      Eden VT300 Bass amplifier   USA   0601E5115

Cardboard box containg:         
      Eden VT300 Bass amplifier   USA   0507E5033

Floor Fan      CHINA   No serial number

Floor Fan      CHINA   No serial number

Green clamshell suitcase containing:         
      Yamaha snare drum   JAPAN   No serial number
      Yahama kick pedal   JAPAN   No serial number
      Zildjian Mega Bell cymbal   USA   No serial number
      Zildjian 15″ Hi-Hats   USA   No serial number
      3x Zildjian 18″ 19″ 20″ crash medium cymbals   USA   No serial number

Brown Epiphone guitar case:         
      Black Epiphone EB3 short scale bass   KOREA   F300503

1 x Wheeled Black Pelican case (50cm x 28cm x 20cm) containing :
A selection of microphones and microphone accessories, most of which are in separately labeled black pouches. All of the microphones are of Shure manufacture, also a BSS DI box. Inside the Pelican case there is also a Ferrari pencil case containing an iPod, iPod accessories, various small cables and adaptors, a Leatherman Charge, a Stooges AAA tour laminate, some pain killers, some sharpies, some electrical tape, some business cards (Mr Rik Hart). Within the case there is also a big pair of Sony headphones (model MDR7506) with a long curly cable and three very long XLR to XLR mic cables. Here’s a more specific list of the microphones :
2 x SM91
5 x SM98
2 x B98
2 x SM81
2 x KSM32
1 x KSM27
2 x B52
3 x SM57
8 x SM58
1 x BSS AR-133 DI Box
(all manufactured by shure)

mike watt’s hoot page

Made Out of Babies: An Interview w/ Julie Xmas


Made Out of Babies are the kind of band that continue to get better with each subsequent release and how stoked was I to hear their latest song “Cooker” from their forthcoming album, The Ruiner, out June 24! I think the fact they keep getting weirder and more complex in their sound is what fascinates me. Vocalist Julie Xmas seems to be utilizing her considerable talents in more ways than just saying words–using her voice to add another element of suspense to the juggernaut rhythm section of bassist Cooper and drummer Matt, while Brendan’s buzz saw and effects laden guitar dances around the chaos.

I’ve been anxiously awaiting a new release from MOOB and so I decided to send Julie some Q’s in advance of their release date. If you haven’t seen this band live, do yourself a favor and go check it out


Who is producing the new MOOB record?

The record would not have become what it is without the help of Andrew Schneider of Translator Audio in Brooklyn. Andrew is amazing. For anyone who isn’t too familiar with how records are made, the producer is as important as any member of the band, and Andrew is definitely a rising star in the audio engineering world.


Do you have a title for it yet?

The Ruiner.


You had mentioned in our interview a while back that your writing process as a singer you often think of the words last and use sounds more than actual lyrics, but Coward seemed more focused lyrically than Trophy did (as a result the vocals sounded more passionate, subject matter was more overt). Is that still the case?

Thanks for saying the vocals sound more passionate with more highly developed subject matter. I can’t tell if I’m more lyrically focused. Sometimes the words do seem to be coming to me faster, but other times it’s like squeezing blood from a stone. I think the key is always the music. If the music is really “for me”, I can usually respond to it fluidly without too many tears and grunts. Abstract vocals are very easy to hide behind. Then again, maybe I haven’t changed at all and it’s you has changed as a listener.


Has your process changed since you started MOOB? Do you utilize different writing/vocal techniques when working with different people like Battle of Mice and do you ‘save’ some things for your main project MOOB?

I respond to different music in different ways. I’m not a good saver. Every time I scream till I almost black out, I know I shouldn’t be doing it. I am weak that way. I tend to do whatever I want despite the cost. Saving ideas has recently come into play with my own solo work, because the music is generally not originating from other people.


How have things been working with your new label The End? What was the reason to work with them and not Neurot for your forthcoming 3rd album?

 Neurot is great, but we wanted to try a new partnership for this record. The End is a growing label with great ideas and we have high hopes for working with them – they seem really driven to make things work and they are committed to the new record, which is by far our best work.


What like-minded loonies are you working with in 08′?

My other personality, My lovely men from Made Out of Babies, the guys from Mouth Of the Architect, the guys from Spylacopa (Greg from Dillinger Escape Plan, Jeff from Isis and John from Candiria), A French Director and French Producer David Blin and Renaud Behar (I’m scoring their first feature length film), Andrew Schneider, Mel Liederman from Victory at Sea/Thalia Zadek, and a few other special surprises that I can’t name at the moment. It is a very busy time!


What can you tell me about the solo record and can what folks can expect? will it be heavy, electronic, ambient, combination of both, anyone producing? is if full band? is it just you and an acoustic guitar?

I would never try to play an instrument and sing. I have great musicians helping me out. The music is big and open, songs I want to sing or have always wanted to sing that most people probably will not like too much. I don’t think I could finish an entire album without expressing very dark feelings, but I also express a sense of hope and amazement at small things in the world.


Whats the possibility of a Jarboe/Julie Xmas collab?

I’ve never thought about it. I wonder if it would work.


When is the next tour scheduled for MOOB?

Summer 08’, we’ll be in Europe & the US. We’ve been taking time off to write and record.


Will there ever be a followup to the Battle of Mice record?

A BOM split with Jesu is coming out on Robotic Empire in a few months.


Did you guys work with Joel Hamilton again on the new MOOB record?

No, but we love Joel. I think we knew before we started to write that Andrew was the right person for this album. When you hear it, you’ll know why. The best – kept secret in Brooklyn.


Thanks Julie. Happy 08. looking forward to seeing you guys sometime this year.

Thank You! This was fun – thanks so much for thinking of me.  Let me know if you need anything else at all!


Against Me or With me?

It took me 3 months to write this Against Me! feature (posted friday). I had spent some time with Tom and Co. in Austin during SXSW. We ‘hung out’ at the No Idea party where we watched the Draft and Chuck Ragan play. I had made a bet with Warren against James that Chuck and the Draft would join forces and do a Hot Water Music song. James was adamant that it wouldn’t happen, he had that twinkle like he knew but Warren and I were so convinced. Blinded by our love of HWM I guess. James was right. The Draft played their last drunken song, thanked all the other bands but Chuck and got drunkenly off the stage. It was like being at a party with a pair of divorced parents and their new love interests. Tom was friendly, though weary of my journalist swagger I suppose. Hows he supposed to know I’m a super fan? I wasn’t swooning. (visibly)

The reason the feature took me so long was because when I interviewed him I was looking for revelation. Some sort of punk rock reasoning behind all their decisions leading up to that point. He said one thing that conceded all the rhetoric, “We’re a rock band.” Explaining that punk rock in its facile philosophy was binding and didn’t allow for expansion outside the ‘box,’ of expectation. People talk shit about AM! and their politics, screaming sell-out. And MRR, a zine’ I’ve always respected, declares a fatwa, but if you listen to the lyrics of New Wave, the dude is lambasting the system he’s become a part of – isn’t that what punk rock has become? ‘Punk Rock’ ceased to be a social movement dictated by music and fashion in 1982. ‘Punk’ as  a statement, or a genre tag, or something you use to describe something irreverent is still culturally significant. What are punk rock ethics? Is it some sort of instilled integrity from listening to Minor Threat and The Clash? Pointedly away from that nihilism of notables like GG Allen, Sex Pistols and to an extent Iggy and the Stooges?  Somewhere along the line there is something that has informed me. Something that I see as the structure of what punk rock is. There is the DIY aspect of all punk rock before 1990. Before it became easier to be heard across multiple platforms. Those bands from Our Band Could Be Your Life, traveling across the country, where they were basically traveling bums playing instruments. The true spirit of the troubadour.

Against Me! paid their dues the same way. They traveled in a van, played shitty clubs, went hungry, got fucked over by promoters – all those wonderful things that happen on the road. It is easy for armchair punks to criticize a band like AM! which they are really criticizing Tom Gabel. Real punks don’t have a fucking computer, if you want to get technical. Real punks, at least anarchist punks, don’t spend anytime online checking the fucking boards at waiting to bitch about the latest news from AM! Kurtz would all them napalms. Just as easy to understand that AM! is really a Rock band and always has been. It would be financially impossible for a band to maintain their punkness.  You’ll probably cite Fugazi. But you forget that there is only ONE Fugazi. There is only ONE Ian Mackaye. He has been as maligned with things he said in his youthful naivety as Tom.

Tom didn’t offer up any explanation as to his bands past politics and current association with the major label. He was a thoughtful interview and at first I thought he was kind of closed off but he just carefully worded everything. Chalk that up to experience. His word isn’t gospel but with enough weak minded people lionizing celebrity out in the ‘world’ its no wonder he choses every response carefully. Maybe his lyrics are response enough.