The Owen Maercks Interview
Tell me about growing up in Miami, FL. When did you first begin to fall in love with music, more specifically the guitar? Was this something that was relevant around your household growing up? Who were some of your earliest influences in your more formative years?
We moved to South Florida in 1956 when I was two. From babyhood, I had stayed in my older brother’s room. I learned many years later that they listened to R&B and blues radio stations even when I was a baby, so, when I discovered that music as a teen, it resonated way out of proportion for me and pop music in general followed suit. I always listened to AM radio and was enthralled by early garage and rock and roll AM radio. In 1968 my older brother came over and gave me three LPs: Are You Experienced, Spirit and The Velvet Underground and Nico. The world got bigger that day and I immediately switched from WFUN and WQAM to the local underground station. I started going to shows. I rediscovered the blues and then discovered jazz. I heard Ornette, Miles, Beefheart, Zappa and on and on. It was a beautiful time to discover music because it was all changing, exploding and nothing was codified.
When and where did you see your first show and what ultimately inspired you to pursue a life in music? Prior to becoming a solo musician, you participated in groups such as Monster Island and MX-80 Sound. Can you tell me about these projects?
My first live show was Kenny Rogers and the First Edition. I loved Condition and was ready for some fuzz guitar and psychedelic jams. Holy fuck was I disappointed. But soon after, I saw Iron Butterfly and Vanilla Fudge. And then, I started seeing really GREAT stuff. In my high school years I saw Bo Diddley, Canned Heat, Country Joe and the Fish, the Dead, the Who, Little Richard, BB King, Howlin’ Wolf, Muddy Waters, the Doors (yeah, THAT concert), he Mothers, Jethro Tull, Roland Kirk, etc. I saw Roxy Music’s first US tour too! I was utterly enthralled by music, to the dereliction of everything else and soon got a cheap little electric guitar (busted up Gibson SG) and soon discovered I had absolutely no talent. None. Did not stop me. I decided that, in lieu of talent, I was going to have to THINK about music and learn the hard way. That decision formulated everything I did and thought in music. It meant that the Chuck Berry riff every guitarist knows would have to be something I redesigned in my own way. Years later I would play it for other guitarists and they would invariably scratch their heads: “I never thought to play it THAT way!” Monster Island is what happened when I answered an ad on a message board in Harvard Square. It was Henry and we immediately hit it off. We played some weird live shows and recorded the EP. He moved back to California and I thought that was that. But then he called me and wanted me to come out and make and album. I sent him a cassette I recorded of about 20 original songs. He put a band together, chose his favorites and I flew out. We thought we’d send the LP out and somebody would sign me and off we would go. Nobody wanted it; too weird and kind of directionless. I thought it was cool that we could do all different styles; record companies didn’t.
Tell me about writing and recording your debut self-titled, solo effort back in ‘78. What did you ultimately want to achieve and express with this album? What was your experience of writing and would you mind giving some backstory to songs like “Little Black Egg”, “Hands and Eyes”, “60 Cycle Hum” and “Intense Young Man”.
In retrospect, I am really happy with most of the songwriting. “60 Cycle Hum” is based on the idea that, if you live an any area with electricity, you are exposed to a constant low level “60 Cycle Hum” that you never consciously hear (because it is a constant). I find that intriguing. I always loved “Little Black Egg”, the Nightcrawlers were a Florida band and it was a huge hit there. I believe I am the first person to record a cover of it. Taught it to Henry. I rewrote the lyrics to call out my father, though, to my eternal disappointment, he never thought to ask me about it. That’s my psychotic breakdown/Eric Dolphy lead guitar on it. It’s a long story, but it’s one of two things Ric O’Kasek stole from me. He covered it with Bebe Buell; I know he stole it from me because it’s got our arrangement and he USES MY LYRICS. Dude owes me money. (The other thing is the riff from “Sleeping with Art”, which ends up being the riff slowed down for “Nightlife”.)
That following year you released your follow up, “Free Mammals” with bandmates Charles Noyes, Henry Kaiser and Greg Godman. All guys you’ve played with before, how did you approach this material compared to how you went about creating your self-titled? Is there anything else you would like to further share with the readers?
“Free Mammals” was free improvisation, which Charlie and I had been doing regularly for years. I was pleased to be involved, though I am clearly outclassed by all three other players. Visible Records is me. No deal, Charlie was welcome to use the imprint. The MX-80 years have been mutually agreed by me and the band to remain shrouded in mystery. I have severe arthritis in my thumb and have given up playing. I am largely retired, and happy to be an armchair music critic and out of the game. I am happy with the recordings I have done, but I am done.
