Previously I speculated that Henry Rollins did not view the Mother Superior years of Rollins Band to be canonical because he did not discuss them during the Rollins Band episode of his podcast, “Henry & Heidi.” Boy, was I wrong: in April Henry and his bubbly co-host recorded a follow-up specifically to talk about the Mother Superior stretch of RB and how that time span was actually his favorite writing and performing experience (ever).
I listened to this ep last night and of course it spurred me to revisit Get Some Go Again, the 2000 debut from Rollins and Mother Superior (released under the Rollins Band moniker at the behest of Dreamworks executives, according to Hank). They sure sound like they’re having a blast. Still too derivative and underwhelming for me to put it in regular rotation, but it has its moments. The title track, specifically, and the bit in “Hotter & Hotter” where Hank says he “got no time for front porchin'” (my new catchphrase).
Further down the rabbit hole: the video for “Love’s So Heavy.” Is this Rollins being tongue in cheek or is he living out his David Lee Roth fantasies? Or both? Either way, have mercy, Rollins. Have mercy!
– this post is largely a reaction to episode three of the “Henry & Heidi” podcast wherein the titular Henry (Rollins) talks through the history of Rollins Band, a welcome discussion considering how often this group is neglected
– Rollins Band is a great example of how working hard and sticking to your guns always pays off in the long run, by which I mean you can play dissonant funk metal in your boxers and if you’re honest and don’t cop out eventually they’ll put you on MTV and the Grammys and Dennis Miller’s talk show
– during this oral recap Henry does not even give passing mention to the handful of years at the tail end of Rollins Band where Mother Superior was his backing group; this must mean the two albums from that period, Get Some Go Again and Nice, are to be considered non-canon
– re-evaluating the entire RB discography, End Of Silence has my favorite textures and moods, and overall it’s one of the most solid rock albums of its era, but when the urge to hear this unit strikes me the gut reaction is to reach for Drive By Shooting b/c it’s looser, darker, more “out there” (in filmspeak: Reservoir Dogs is masterful but the slapdash of Pulp Fiction is more fun)
– interesting to learn about the heavy stuff going on circa Come In And Burn; you’d never know it from their 1997 “SNL” appearance, which belongs in the pile of that show’s legendary musical performances; first time I saw them rip through “Starve” in 8H I thought they were gonna melt the studio’s walls
– surprise: Rollins Band didn’t even want to record “Liar,” their biggest hit; it was just some goof song they did at practices until some industry person heard it and said, “That’s your next single!”
– when I saw Rollins Band in ’02 they were in a period where they weren’t playing “Liar,” which bummed me out, but they did encore with a handful of Ramones songs; if you think Rollins is intense normally you should see the guy doing “Blitzkrieg Bop” (Henry’s preamble to “BB”: “If I’m ever elected president, this will be the new national anthem”)
– trigger warning: if you listen to the podcast ep linked above, before you hear anything about Rollins Band you’re gonna hafta endure a somewhat gross story about Rollins having a hernia and not realizing it