INTERVIEWS
New Yorker in Old Yorkshire

Jesse Malin chats to Ross Halewood


Sitting on the couch of the Cockpit's dressing room, Jesse Malin and myself are being filmed by one of his entourage.

"Hey, come on in, man," calls the New Yorker to his tour manager, who is standing by the door, "We're making a porno! Wanna join us?" Grinning, the man politely declines and walks away.

Of course, Jesse's only kidding. The cameraman is filming the interview as part of an on-the-road video diary or something to that effect. Intimidating, this all may sound, but Malin has a relaxed, down-to-earth quality that half-an-hour in his company is more akin to sinking a few beers with a friend than a questions and answers interrogation.

At thirty-six, some will assume Queen's born Jesse Malin is a late-starter. Truth is, he's been in the crazy world of rock since he was twelve when he joined Heart Attack. During the nineties, Malin fronted sleaze punks, D-Generation, who were hotly tipped by the rock and metal press upon the release of their debut album in 1994. Despite a huge New York following, a support slot with Kiss at Madison Square Garden, and the approval of Joey Ramone, D-Generation were largely ignored by an industry stuck in a post-Nirvana slump. In 1999, after three albums and two record deals, D-Generation disbanded.

With the help of his friend, Ryan Adams, Jesse Malin went solo in 2002 releasing his debut album, 'The Fine Art Of Self Destruction', that was succeeded, earlier this year, by an excellent sophomore set, 'The Heat'. Musically, his punk roots have taken a back seat, acknowledging much wider influences such as the Beatles, Neil Young and celebrity fan Bruce Springsteen, though it's clear the spirit and attitude burns brighter than ever before.

How do you feel about being labelled a 'singer-songwriter'?

It's just a shoebox to put you in. To me, it's always been about the songs, the melodies, the lyrics, and the attitude behind it, whether it's the Rolling Stones, Nirvana, Jim Croce or whoever. I don't look at myself so much as a 'singer-songwriter', more a rock n' roll singer who happens to write songs.

You place great emphasis on your punk rock roots. Was it that what made you want to pursue a career in music?

I wanted to play music ever since I was a little kid when I got into things like Elton John, Kiss and Led Zeppelin. I was also influenced by the romance and chord progressions behind my parent's collection of fifties and sixties pop songs. When punk came along, it gave me the confidence to learn some chords, write a song, and play a show. I didn't have to wait until I was as good as Yngwie Malmsteen or Eddie Van Halen. When I dropped out of school, bands like the Clash and the Dead Kennedy's gave me a lot of information beyond four chords about different music, politics, culture, books and films.

What was it like to be involved in the early days of the New York hardcore scene with your first band, Heart Attack?

For a while, it was a really exciting time. I missed out on 1977 but hardcore was just starting up in the early eighties and there was a real sense of community about that scene. Heart Attack played with bands such as Dead Kennedy's, Black Flag and Bad Brains, but like everything else, hardcore eventually became a cliché. People started to dance the same and dress the same; it became another conformist hierarchy within the punk scene. If you didn't have the right spiked belt, shaved head or chain, the punk police would come after you and judge you as a poseur.

Was there ever a sense of frustration whilst you were in D-Generation that you didn't break on a larger scale and did that contribute to the band's break-up?

I'm sure it did. We were quite frustrated a lot of the time with the label, management and ourselves. We were a very close band and we made a lot of money, though I don't know where it all went! Looking back, we could have done it a lot better, though I try not to blame other people, rather focus on where I messed up and improve on that. I'm grateful to have been given a second chance and be able to reinvent myself, so to speak. I'm just progressing as an artist. You can't make the same record over and over again; you've gotta progress. I still keep to the original vibe, yet put in some new ingredients. The Clash, the Stones, the Beatles; they were able to do that and that's why they are now seen as classic.

Why did you decide to go solo after spending your entire career as part of a band?

It's great being in a band because you're like a gang. There was a lot of input, energy and friendship in D-Generation, but there was a downside, in that we'd fight over what photo to use, etc. That was a drag. But you can move at your own speed as a solo artist, as well as have a lot more freedom. I'm grateful to have been given a second shot, make this record and produce it myself, but I always want more. You can't stay hungry forever.

You seem very politicised. With the election drawing ever closer, what are your current feelings on the presidential race? Do you think Bush will scrape another four years in the White House?

I'm starting to get that feeling, man, and I shouldn't because it's not very positive. In New York, we've just had the Republican convention and Bush came off pretty good. There's this horrible feeling that he might just win and that we're gonna be stuck in this war for years. I think Bush is a buffoon and a goofball. I wish Kerry were stronger - I hope he comes through in the debates and that he will bring around a lot more voters. Another four years of Bush would be miserably depressing and scary. We're all here together on this planet, yet Bush doesn't seem to get that. He seems isolated in this American superpower imperialist bullshit.

I read about your recent New York show and how you paid tribute to the victims of September 11 and the Iraq war by getting the crowd to lie down on the floor, whilst singing Neil Young's 'Helpless'. Why that song and what made you pay tribute in this way?

I wanted to pay tribute because we were in New York and it was September 11. I thought it was a weird night to play a show, but it was three years later, so I figured you gotta keep going and just play the show. I chose that song because it's appropriate in two ways; in just letting go and accepting the loss and pain and the current feeling of frustration in America, but also to keep on fighting that feeling and not give up. Getting everyone to lie down was something I just thought of. I like to go out into the crowd and interact so I did that and told everyone to get down on the floor. We've done that for a few nights now, though I've learned some of the floors can be very dirty!

Your lyrics have a strong New York flavour, similar to those of, say, Lou Reed or Paul Simon.

There's a dark, poetic romance about New York. I've always liked cities; the mix of people and different cultures all thrown together. Though it's changed over the years and become more commercialised with people like Giuliani, New York provides a good backdrop for my songs - you walk out your door and songs just happen. People from outside, like Shane MacGowan, REM and U2, get that poetry of New York in their music.

On the other hand, I try to write songs that work on a human level. It should be something anyone can relate to, whether you're from New York, England, Germany or Iraq. It's like, I've never surfed or lived in Southern California, but I can relate to (gestures at my T-shirt) the Beach Boys. I don't write exclusively for the cool elite in downtown New York.