From Black Flag to Spoken Word: Henry Rollins

Transmission 075: Interview with Henry Rollins

Henry Rollins is a multifaceted American artist known for his work as a vocalist, author, orator, thespian, and media personality. His career in music began with the hardcore punk group Black Flag, where he served as lead singer. Following the group’s dissolution, Rollins established his own musical project, the Rollins Band, and ventured into solo performances that incorporated spoken word elements. Rollins’s talents extend beyond music into various media forms.

He has been the voice behind radio programs, including a recurring slot on KCRW, and has appeared on both small and big screens as a host and actor. His screen appearances span multiple productions, among them the series “Sons of Anarchy” and the animated show “The Legend of Korra.” As a wordsmith, Rollins has penned several books and regularly contributes articles to publications such as Rolling Stone Australia. Rollins also dedicates time to advocacy, lending his support to various causes including LGBTQ+ rights and efforts to combat hunger.

Featured image by Ross Halfin

What initially drew you to the punk rock scene, and who were your earliest influences?

The music was like the soundtrack I’d been waiting my entire life to hear. I’ve never recovered. I saw the Clash, the Cramps, the Damned, the Bad Brains, Gang Of Four and Buzzcocks in a short period of time. Our local DC scene started happening and those bands were great. I like all those bands more now than I did back then. The older I get, the better the music sounds. As far as influences, as to how a band should hit it, for me, the Bad Brains and Black Flag.

Can you describe the atmosphere of the early punk scene in Washington, D.C.?

It was really cool. Very egalitarian. DC types are usually well read, intelligent, perhaps slightly cynical, considering how close to the White House they live. People were great to each other. I still see some of these people to this day.

What inspired you to form State of Alert, and how did you go about assembling the band?

The band was already in existence. Their singer, Lyle Preslar, left to be the guitarist in some band called Minor Threat. They needed a singer and I said I’d try it and that was it. I wanted to try being in a band and I went for it.

How did you get introduced to the members of Black Flag, and what was your initial impression of them?

I met the band when they stayed at Ian MacKaye‘s house in the spring of 1981. They played in town and stayed over night. I kept in touch with the bass player and eventually, I auditioned to be in the band in July of that year. I thought they were very committed to being in the band. I’d been around local bands who played now and then when they could but not a national touring band like Black Flag. They were 100% committed.

What memories stand out from your first live performance with Black Flag?

I remember walking up to the front of the stage and looking down at the audience. There were no barricades at the venue. A young man with no hair and a head band looked up at me and said, “You better be good, faggot” which was indicative of the scene in those days. On that show, I was prepared from many hours of practice and what the guy said didn’t mean anything to me.  

How did you cope with the physical and emotional intensity of Black Flag’s performances and tours?

It was a growing/learning experience. I thought I understood hard work from my years at minimum wage jobs but it was nothing compared to what was required to be in Black Flag. These guys were on a completely different level and I was, by comparison, quite soft. I did the best I could to pull myself up to their altitude. The fact of the frequency and the physical requirements of the shows, as it’s said—you either hack it or pack it. What we did was so immersive, it wasn’t a thing you were doing, it was your life, so after awhile, what some might consider extreme, for us was just another day. It’s pretty amazing what someone can get used to. I’m not trying to imply it was a bad time, just that it was far more demanding than anything I’d ever taken on before.

How did the Rollins Band form, and what was your initial vision for the group?

Black Flag had broken up in later summer 1986. I wanted to get a band happening as soon as I could. I made some calls and by February of 1987, I had the personnel in place. We were in rehearsal and song writing by April, on tour by May and went until November, right into the recording sessions for the Lifetime album. The idea for the band was based on Black Flag in that we would play hard, all the time, all over the place, write songs and record. None of this is unique. I wanted us to be a precise, hard working unit. I think we achieved that.

What’s the story behind “Liar” – both lyrically and in terms of its intense video?

We were on our first day of songwriting. We’d rented Michael Gira‘s practice place for the summer. As the guys were just making noise, I started talking into the mic, basically making a joke about a love affair being perfect because one of the people in the relationship is telling the other exactly what they want to hear and why was everything so good, because I’m a liar. Everyone laughed. It was the first song we made. It took a few minutes to write. Only when we recorded it did we make a final arrangement. The video was a combination of my ideas and that of the video’s director. The idea was to portray images of “trusted” people and the truth is, they lie too.

What was it like working with William Shatner on his album “Has Been”?

Bill is one of the most interesting people I’ve ever met. I’ve spent a lot of time with him over the decades. I don’t know where he gets his energy from but he’s always doing a few things at once. He’s not on drugs, he’s just got this incredible metabolism and he comes from the old school of entertainment, the 0330 hrs. starts, very long hours, never stop, etc. The track we did for that album was an interesting bit of work. I flew from Afghanistan, to Kyrgyzstan to Turkey, to England to Newark to Nashville to make the session. I was pretty wiped out but okay. Bill and I did the track with a drummer. Bill told the producer, Ben Folds, he wanted a guitar on the track. Ben gets on the phone. An hour later Adrian Belew walks in. I had no idea this was going to happen. I’ve been a fan of his for many years. It was one of the more eclectic recording experiences I’ve ever been a part of. It was fun to work with both of them, of course but Bill is really cut from a different bolt of cloth. It was a very cool experience.

How did you transition from being a musician to becoming a spoken word artist?

At some point in 1983, I was offered 10 dollars to speak for 10 minutes, with a lot of other people at a small club in Hollywood. That was a lot of money. I read something I wrote and told a story and my time was up. The audience seemed to like it. The promoter gave me another show with a longer stage time. Soon after I was doing shows with people opening for me. By 1985, I was touring coast to coast in the USA, by 1987, across Europe and it went from there. I just finished 261 talking shows in 28 countries. I’ve always felt strangely “okay” on stage. I don’t know why. I’ve never been nervous about “getting out there,” quite the opposite is true. I really like being with an audience. I have genuine affection for them.

What are the main differences between these two arts?

For me, not much. It’s preparation, focus, discipline, tenacity and dedication. The talking shows are far more difficult than being with a band.

What inspired you to start your own record label and publishing company, 2.13.61?

What I learned from being around the Dischord and SST record labels. I wanted to do my own thing and I’d learned from the best. I wanted to do what I wanted to do without asking permission. That’s basically it.

What is your favorite piece of equipment or instrument, and why?

The only one I use is a microphone. I prefer the Shure 58.

What was the creative process like for writing and recording the Rollins Band’s album “Weight”?

Band songwriting sessions, 5 days a week at Michael Gira’s space in the Lower East Side of Manhattan NYC. Just grinding it out. Working through ideas, trying things out. Nothing extraordinary, just showing up and putting the time in.

Can you share any behind-the-scenes stories from your time hosting “The Henry Rollins Show”?

That was the most basic of production work. Many meetings to make lists of names of guests we wanted, a lot of writing for all the parts, coming up with interesting ideas for interviews in an effort to make them interesting. No matter what the show is, it’s a lot of work. You just put the time in. There was nothing out of the ordinary. One of the cooler moments for me was I wanted the great Gore Vidal on the show. I was able to obtain a phone number for him. I called it. It was him. I kind of staggered through my pitch. He listened and just said, “Okay” and that was it, he was on our studio a few days later.

What are your thoughts on the current state of punk rock and hardcore music?

I think it’s great. This kind of music perfectly taps into youthful anger, uncertainty and truth and that’s why it will always be around.

What future projects are you currently working on, both musically and in other mediums?

My main occupation is writing these days. I always have a book or three in the works. 

Henry Rollins’ official website
Photo courtesy of Henry Rollins

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others