07/29/2024
Mr. Rikk Agnew!
Back when I was writing for Deep Red Magazine in England, I received the assignment to do an interview with Rikk Agnew of Adolescents, D.I., Christian Death and Social Distortion. This piece was published on September 8, 2016:
Whether you’re talking about Southern California Punk Rock, Huntington Beach Punk, Orange County Punk, or even Death Rock, there is only one name that has influenced all those genres: Rikk Agnew.
If you only know Rikk from his groundbreaking music on the Adolescents debut album, well, it’s a damn good place to start. Rikk has played with, almost, every important L.A. punk band around, and after 30-plus years, he’s not slowing down. Over two interview sessions (2010 and 2011), I asked Rikk, about every question I could think of. Always funny, and always clever. Ladies and Gentlemen — Mr. Agnew:
1. First off, thank you for agreeing to do this interview. I’ve been a huge fan for years. First off, I wanted to ask you about your involvement in Social Distortion. All your little bio’s on the web list you with them in 1979. Did you record with them, write any songs?
I played bass with ‘em in late 78 till late 79. Besides two ghetto blast rehearsal tapes, nothing recorded of any real significance.
2. I remember the big rumor in the early part of the 80s was that Social Distortion took the music you wrote for Amoeba, and used it for their single 1945, any truth to this?
The truth is the original Amoeba was written by Casey (text) and Ness (music). When Casey and I went one direction (Detours/Adolescents) and Ness kept the SD machine running, Mike kept his music and put his own text (1945), and I wrote new music for Casey’s text.
3. Who were, and are your influences, musical and personal?
Everything and everybody influences me, that’s always a hard one to answer without writing a novel — Hmm.
4. Back in a time where most of the music being produced was amateurish, you were very polished, and professional, what was your training?
Do you think? I always considered myself, and still, do, to be a music fan that enjoys playing, and making up s**t. No training, just a great and clear connection to the universe. I can’t read and have no clue of “theory”; I translate and perform it.
5. I remember reading, in Flipside, that your original break from the Adolescents (when Pat Smear stepped in for 5 minutes) was over creative differences, is this true? What were the differences at the time?
The whole fiasco was destroying me, I had a meltdown. My bandmates, being friends first, saw this and felt the right thing was to get me out of there. A part of said meltdown, however, was conflicting interests: I always wanted to be successful, and famous as possible, and it seemed they were out to sabotage it at all lengths, thinking it was the “punk” thing to do.
6. Another story circulating at the time was that your first solo project, All By Myself was supposed to be the next Adolescents album, is this accurate?
Pretty much. At least my part - input. A lot of the songs were either already written from the Detours days or rough ideas, others were made up in the studio there and then, which became more, and more my solo method.
7. I hope this isn’t too far out, here’s a bit of self-analysis. Many of the bands you played with or recorded with never had the same success or fan-base as they did when you were with them. Dozens of Christian Death releases are floating around online, but the only one people are buying is the Theatre of Pain album, so the question is what does Rikk Agnew bring to a band?
MAGICK.
8. Of all the many bands you played with (The Adolescents; Christian Death; Social Distortion, 45 Grave, Voodoo Church, The Detours, D.I., who did you most enjoy playing with?
All of them.
9. Of all the recording you’ve done in your career what slab of vinyl (or CD for the younger fans) are you most proud of or best represents your skills?
Once again, I would have to say all of them. No more “most” questions, please!
10. Twenty-nine years have passed and the bulk of your early work is still in print. Does your influence on this younger generation of “punks” surprise you?
It is most elating and flattering, the passion and adoration I give to My influences, to be on the other end is as good as it gets. I embrace it with joy and handle it with responsibility and accountability.
11. I was driving with my Nephew a couple of years ago, playing the first Adolescents album and out of nowhere he asks me to forward to Kids of The Black Hole, I asked him how he knew this song (he was 14 at the time), and he said it was in one of his favorite video games, how did you end up as a video game composer?
It’s a licensing thing. BUG MUSIC handles my catalog. Amoeba was licensed to Gameboy’s Tony Hawk’s Pro Skater 3 at Tony’s personal request. Once again, I was flattered and elated, influencing skaters and other walks of life as well as YGOP* (see Q #10) bands and musicians.
12. You are one of the few musicians from that time that recorded more than once for the same label, Frontier (The Adolescents – Blue Album, Christian Death – Only Theatre of Pain, Rikk Agnew – All By Myself, The Adolescents - Complete Demos 1980-1986). How was/is your experience with Lisa Fancher?
All Great. She has always had my back. She has always believed in me and my music. She’s 4FUKKINREAL! We still have to go on our “date” though! ;-}
13. A lot has been made of recording for Posh Boy, and Robbie Fields himself. There were stories about The Adolescents recording the first Rodney On The ROQ album in 1980. Tony Cadena said in a few interviews that he was locked out of the studio, unable to supervise the mix down of his vocals, any similar experiences?
There were reasons. Robbie Fields is another person who has always been there for me and has schooled me in the business beyond the call of duty. I can honestly say that anyone who feels they got reamed by Him wasn’t doing their homework, didn’t listen to advice from others in the know including Robbie Himself. Bottom line, it’s a BUSINESS. That’s why They (Frontier, Posh Boy, etc.) are called record COMPANIES.
14. How did Christian Death 1334 come about?
A sort of tribute presentation of the OTOP Christian Death, which is basically a whole other animal than the VALOR Christian Death. As far as the “Battle” of this whole fiasco, It’s all dick. He did keep the ball rolling, it just sucked when He tried to get all legal on Our ass with the 1334 thing, but karma has a way of dealing with things, so You let it and keep Your hands clean. Valor’s kids are great people and His ex Gitane is one of the most lovely and sweetest Ladies You could ever meet. Hell, I never met the Man so how can I pass any kind of personal judgment on Him? My beef with Him is solely professional.
15. Tell us about some of your more recent projects, 45 Grave, P**p, and The Detours.
45 Grave was a lot of fun and a dream come true. I have known and loved the band since its creation, did a lot of shows with ‘em back in the day. Paul Cutler is one of my guitar heroes, a f**kin’ madman He is! P**P started basically as a ‘tribute’ band to Scott Hoogland’s (still My favorite singer/frontman EVER) main band ‘The Mechanics’ (Who are THE Mother of all that is OC Punk). Over the years we have grown ever so slowly (17 years!) into our own, with a revolving door/alumni list as plethora as say The Dickies or Ozzy. They will always be my extended family. The Detours were my first punk band ever that played a lot of my “hits” before any of the other more popular and successful bands I’ve been in. I presently no longer play with any of them - 4 now: You never know with me ; -}
16. When you did your first solo album, what made you decide to do all the music and vocals “all by yourself”? Coming from a family of musicians, I’m sure you could’ve had plenty of help.
Sibling rival rejection? Stubbornness? Superegoselfishkunt? Actually, the hardest part was finding 4 other dudes with the same name I have!
17. Other than your solo efforts any plans to sing?
Oh Yeah, for more solo recordings and performances. I ain’t done with me yet and I don’t need those other 4 guys anymore, 3 of Them fukkstikkz changed Their names anyways (Kold Dikk, Kirk Wagen, and Richie Rhythm ). As well as In the shower, driving alone, Watering the lawn and many other side projects.
18. How much of a part did you play in the visual direction of the bands you played in and the overall art direction?
Some more than others. I was mainly into musical direction mainly arrangement of the songs themselves and the order they were placed on the LP’s/CDs. All other aspects I always felt were a team effort and individual ideas as far as representing or expression of themselves.
19. Other than being in the incredible bands you were in, give us some of your greatest memories of being the punk scene back in the 1980s.
Read the RIKKRONIKULZ paperback series, there are just too many to pick from and would be cheating everyone unless I went into a long, detailed recall.
Sorry!
20. I remember reading back in the ‘90’s that you were asked to join several prominent L.A. bands including Suicidal Tendencies, Circle Jerks, Black Flag, and 45 Grave (who you played with years later). What prompted your decision to decline, and can you give examples of the “sales pitch” you were given?
I kind of went on a bohemian street-person stumblarti mode for a few and hung out in L.A. with Ge**er for a bit, other punk ‘manors’ and the ‘Church’ (SST). While in South Bay I ran into Luigi, the OG bassist of S.T., and he propositioned me to take Grant Estes’ position, Keith ‘courted’ me a couple of nights at the Starwood (man, there were awesome shows nightly then!) to be a second guitarist, but Greg didn’t like the idea. Black Flag wanted me to drum, but I was still green, OK a p***y, as far as hardcore dedication (live @ the Church on $5 a day allowance, and talk of non-stop touring).
With 45 Grave, I was - still am, and always will be - blown away by the complex madness of their material, & Paul Cutler’s playing/writing.
To be honest with you, when I did finally play with (still a feeling of pride for me) them, I still kind of fudged a lot of the parts.
21. At one point or another, every singer and/or guitarist gets an inkling to make a solo album, Pat Smear, Joey Sh****ad, Greg Graffin, and more recently Tim Armstrong. Why do you think your first solo project has remained as popular as it has? It is viewed as the benchmark of punk solo projects.
The cover photo! Arararrr I used good curing properties. A family secret. Payola. A sleeper that slowly awakens as if a-- turtle?
22. How did you come to play guitar in P**P with singer Scott Hoogland, of the legendary O.C. band the mechanics? Rumor is that Social Distortion used the mechanics as their blueprint, dual guitar, garage mechanic look, etc.
I asked him. Scott has, and always will be my ideal front man, my singer in shining sweat. I roadied for them, pretty much, their entire existence. I was at, pretty much, every show and rehearsal. My ‘sound’ is basically my version of the mechanics (Scott, Tim Race, Dennis Catron, and Sandy Hanson). To me, they will always the best band ever. P**P is basically a ‘mechanics tribute’ band, which has grown tentacles from the various participants: Scott, Perry Giordano, Steve Guevara, myself & Jod of Adolescents, Chaotic Stature, and ‘Mad Bomber’, which was Scott, Perry, Steve G., Jod, and various drummers including myself for a bit.
As far as the mechanics/Social Distortion ‘blueprint rumor’, I don’t think it was a premeditated contrived plan as much as just subconscious and/or inspirational honor.
23. Our last question, rather than complain about the current state of punk rock, my question to you is: do you find it strange, or amusing how accepted punk is now?
Strange? No. If you’re talking about $punk$, it was bound to eat itself, commercialize or perish.
Amusing? Definitely. I remember when “punk” was a baby, along with the invention of the automobile, and the telephone, I would daydream of a world of Punks, 1,0000,000 punks rule, the day the world would turn Day-Glo (remember Day-Glo classmates?). Arararrrr -- it is cute. Awwww -- but if we are talking “punk” -- it was an ill-coined term that defined freedom of choice, individuality, diversity, and most importantly, chilling out, and having fun, to live, and let live, not judge but enjoy-celebrate-unwad the frickin’ panties. “Punk” is a philosophy of life, a fire that lives in the heart, mind, and spirit forever. It was the feed-back-lash of the hippie movement, the Flipside (pun intended) of the subculture movement. As a good friend of mine once told me ‘if you were then, and aren’t now, you never were --’ and to that, I add -- and never will be.’ Ah f**k it, who am I to say? I’m some half-senile fat old Mick-spick who lives the key of life: fun!
