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For our third podcast I wanted to showcase an extended or unused interview that was entertaining and worthwhile, but just didn’t fit into the movie. The thing that came to my mind was my horrific first interview with The Dirtbombs. Let me put it in a little context for you.

It was September of 2002 and the scene was arguably at its highest point. I had been filming the movie since and January and had made some pretty good connections around town. I was invited by Pat Pantano to come to a Dirtbombs practice at Jim Diamond’s studio, Ghetto Recorders. For me, this was my first big interview. They also happened to be my favorite band, so I was extra geeked when I stepped foot into the already legendary studio.

I was alone at the time. Sarah hadn’t started helping me with the film (we’d only just met in late May of that year) and my friend Matt Hyland must have been busy. I had no lights, and only a boom mic for audio, which I mounted to the top of the camera. The band was just getting to the studio while I was setting up. They were going to practice first, which I was aloud to tape, and then I would do the interview. As I prepared the camera I soon realized that all my batteries were dead and that I had left my charger at my dad’s house in Troy (about 25 minutes away). Embarrassed, humiliated, and frustrated with myself, I apologized and ran as fast as I could to my car and then back home. By the time I returned the band was putting their instruments away and were ready to leave. I could tell they felt bad for me, and decided to stay a little longer for my interview. They huddled around on a couch in the middle of the rehearsal space and just chatted with themselves for about ten minutes. Letting them settle down a little, I attempted to ask my first question from a list I had prepared earlier.

The band lineup at the time is what I like to refer to as “Dirtbombs Classic”, which consisted of Mick Collins, Pat Pantano, Ben Blackwell, Jim Diamond, and Tom Potter. Any one of these men alone had a very opinionated and colorful personality, and when they were sitting altogether, it was exactly like what makes a Dirtbombs show so exciting: uncontrolled chaos. To be honest, I didn’t stand a chance. I tried asking my textbook questions such as, “why have two drummers and two bass players” and was answered with an analogy to pedophilia. Of course, it was hilarious, but I couldn’t use it in the documentary, especially with everyone talking over them selves the entire time. You can see in the clips, that Ben is visibly upset about the way the interview is going. Mick and Jim both mention it as well. But I think while it may not be the most honest and informative interview I’ve ever done, it’s a great example of the character and dynamic of this amazing group of guys.

The only part of the interview that made it into the final cut, is actually the opening line: “There are more good bands in Detroit than any other major mother-fucking city in the United States of America” by Tom Potter. Even though Jim is talking over him when he says it, I still couldn’t find one other statement that summed up the attitude and theme of the entire movie so perfectly.

Enjoy!
-James

Whenever you make a film like this, inventively you’re going to have to cut something that you love because of time. For our second ICFD Podcast we have our first “deleted scene” from the finished documentary. If you saw the rough cut at the DFT last year, this is the Soledad Brothers section.

Even thought they’re not technically from Detroit, The Soledad Brothers have earned their place among the pantheon of the bands in the garage scene. The reason the section was ultimately cut was simply do to timing and the fact that it was at a place in the movie where there were alot of band profiles right in a row. It pained me to do it. The Soledad Brothers are good friends and I’ve directed two music videos for them. So this is my tribute to them. I hope you enjoy it!

-James

PS: The band is not gone from the film completely, a longer performance of the “Handle Song” is now in the Magic Stick section of the film!

Here’s a little piece I’ve been working on for a while. The theme is “haunting nostalgia”.

Enjoy!
-James

One of staples of the Detroit garage rock scene has always been the Detroit Cobras. The femme fatal combo of Rachel Nagy on vocals and Mary Ramirez on guitar have been rocking the scene with a regular rotating cast of Detroit players since at least 1995. The band was founded by Steve Shaw (The Fondas) and Jeff Meir (Rocket 455) as a cover band to play forgotten rare R&B hits cherry picked from their extensive record collection. At some point the band broke up and reformed later without the founding members, but the original formula stuck and the band has just gotten better and better since.

This particular song, “Bad Girl” is a cover of The Oblivions’ tune “Bad Boy” with the obvious lyric change. I have to admit that it took me a lot of Cobras shows to get one that both looked and sounded this good. Their live shows that I witnessed from 2001-2006 in Detroit seemed to be hit or miss depending on Rachel’s mood that night or the particular line up. This show was just perfect on both accounts featuring Steve Nawara (Electric Six, Rocket 455) on bass, Kenny Tudrick (Rocket 455) on drums, and Joe Mazzola on lead guitar. Rachel seems like she genuinely wants to be there and puts on a great show, proving to us why she earns her diva status.

I could have done without the strobe light, which Mary brought that night. I give them credit for trying something new, but it ended up just messing with my auto focus. Antal Zambo was on second camera near the mixing board on a tripod. The room was so loud that the camera shook a lot if he wasn’t holding it down. I managed to cut around it, though. I hope you enjoy the first of a series of great videos taken from our ICFD archive.

James