The Witzard Interview: Scott Reynolds On Just Being A Chihuahua In Buffalo (Ex-ALL, Goodbye Harry, The Pavers)
New York-based artist Scott Reynolds has become something of a legend amongst underground Punk/Hardcore die-hards. Reynolds is widely known and beloved for his grizzled tone, acrobatic-like vocal abilities, and short time spent with Descendents' off-shoot ALL from 1989-93. Scott "Ratchet" Reynolds has intermittently performed and/or recorded with the likes of The Bonesaw Romance, Fastgato, Goodbye Harry, The Pavers, Scott Reynolds & The Steaming Beast, Three Car Pile-up, TonyALL, and, most recently, cover band Wuttin Tarnation with members of Just Like Them & Fuzzy Dustmite. For his latest solo effort, Chihuahua In Buffalo, worked with his former ALL bandmate Bill Stevenson, who produced and engineered the album, along with Andrew Berlin & Jason Livermore, at his own The Blasting Room. It's the first time Reynolds & Stevenson have worked together on an album since Fastgato's widely unreleased 2003 album, Feral, with Greg Ginn & Dale Nixon. Scott Reynolds' Chihuahua In Buffalo is now available on Nonexistant Records.
I. When writing and demo'ing songs, such as these, how do you decide whether they fit best for one of your bands or solo records?
Scott Reynolds: Well, honestly, I don't think too much about it. I write stuff pretty much constantly. So, whatever band or project I'm currently involved with, usually, gets my newest tunes. The songs on Chihuahua [In Buffalo] are both brand new and stuff from my older records played the way I wrote them; just me and my guitar.
II. What were your typical writing, recording, creation, etc. processes like while creating Chihuahua In Buffalo?
Reynolds: I always write songs the same way: I come up with both a riff and basic melody at the same time. Then, I start trying to figure out where the music should go from there. Maybe, I'll feel something that makes sense and give it a go; or, maybe, I'll remember an old unused riff or part that might fit in and I'll give that try. And, then, maybe, I'll look for a bridge (again: music + melody.) Then, when I think I have enough parts to make a complete song, I try to arrange it into a complete idea. Usually, something like: verse / verse / chorus / verse / chorus / bridge / verse / chorus / chorus. Then, when I have a complete arrangement, I turn the melody into words. I hate writing lyrics. I'm REALLY picky about them; so, it can be sooooo maddening. I always put that off for a long time. I have songs that are literally decades old that I've never finished [the] lyrics for.
III. What was it like reuniting with your one-time ALL bandmate, Bill Stevenson, who co-produced Chihuahua In Buffalo at The Blasting Room?
Reynolds: We had a "Blast." Bill & I always have fun when we hang out. We think a lot of the same thoughts and have a lot of the same problems. So, it was stupid fun.
IV. How are you feeling since your unexpected stroke and hospital stay back in 2020? How did this effect the eventual album roll-out and release?
Reynolds: I'm doing well. There's a spot, in the upper right quadrant of my visual field, that's blurry and weird, but other than that, I'm fine. It really had no effect on the record. It was already recorded when I had the stroke. I was just trying to figure out how to release it at the time.
V. How did you end up getting together with Nonexistant Records, who ultimately ended up releasing Chihuahua In Buffalo?
Reynolds: Well, after the record was finished, I, actually, had no idea how I was gonna release it because I don't understand the music business anymore. So, the recording was "in the bag" for an entire year before it, actually, came out. At the time, I was completely at a loss for what to do. Then, I remembered that my friend, Mike Fridmann, the guy who runs Nonexistant Records (yes, it's spelled that way!) had offered to put something out for me, if I ever wanted. He's a good friend and a cool guy. And he's young and understands the modern world. I was, originally, friends with his parents. I've known them for lots of years and have known him since he was a little kid. So, I trust him implicitly. Plus, he lives about five blocks from me. Seemed like the perfect situation. It's pretty great.
VI. So, I have to ask: how in the world did you end up coming up with some of the cleverly zany song titles on Chihuahua In Buffalo? (Example: "Gillian Anderson Should Go On A Date with Me.")
Reynolds: The name Chihuahua In Buffalo came from my dog (pictured on the cover.) He's a four-pound, virtually hairless Chihuahua dog living in a part of the world that's bitterly cold about six months a year. So, he's out of his element here. He was born in Texas and lived there for the first six years of his life, but now he lives in frigid Western New York. I see his predicament as a pretty reasonable metaphor for my situation in the music world; I'm an ex-Punker guy, who now plays Jazzy tunes on a nylon string guitar. I don't feel like I really "fit in" anywhere these days. So, with regard to the music world, I'm pretty much "a Chihuahua in Buffalo." As far as the Gillian Anderson song goes; right after I got a divorce, I decided to write a song about Gillian Anderson (who I've had a crush on since the early 90's) to let her know I wanted to go out on a date with her. Then, I posted a video on YouTube, hoping she'd see it. Never heard from her... but I like the song. So, I put it on the record.
VII. So, is closing track "Dot" a cover of "Dot" from ALL's 1992 album, Percolater? If so, what inspired you to re-visit this one again?
Reynolds: Well, I don't really know if you can call it a "cover," since I wrote it and the version I did on Chihuahua [In Buffalo] is pretty much identical to the version I showed the guys in ALL way back when. I put it on this record because people like it and the other songs span the entirety of my musical history. There's a Goodbye Harry song, some Steaming Beast songs, some stuff from my other solo record ( Stupid World,) and some new stuff. I saved The Pavers stuff because we're still a band and can play them ourselves. So, an ALL song belonged in the mix, as well.
VIII. In addition to Bill "Billy Idol" Stevenson and yourself, of course, who else was involved in the making-of and behind-the-scenes workings related to Chihuahua In Buffalo?
Reynolds: Andrew Berlin helped engineer the recording. Then, he mixed it. He did an amazing job; especially, when you consider what a piece of sh*t my guitar is. He's a very talented guy. Jason Livermore mastered it. He's a mastering machine, so I'm extremely lucky to have his help. Again, extremely talented. And Janet Schwerk designed the cover and took the picture of my dog. She's absurdly creative and beyond stubborn. She doesn't half-a$$ anything. Plus, she's my girlfriend. So, once again, I lucked out enormously.
IX. Are these still the conditions that would need to be in place for you to record new material with ALL: "people want to hear new music, you feel the need to create, and the "bro" factor between the bandmates needs to be there?"
Reynolds: Wow! That's an old reference! I don't know... I kinda feel like, if we were gonna do a record together, we would have done it by now. I mean, it's been almost 30 years since we last recorded together. Plus, Chad [Price] is their singer, not me. I don't know, if those guys are planning anything, but there isn't any talk about a Scott/ALL record, at the moment. I suppose you never know, but I wouldn't hold my breath.
X. We recently started doing an recurring column called We've Got A Flyer On You chronicling mixed bill/genre shows and their corresponding flyers. What's the craziest mixed bill show you ever personally played or attended? What sort of memories do you have of said show(s)?
Reynolds: Oh, that's an easy one. [ALL] played a show at The Stone in San Francisco with Living Colour. Remember them? It was a Sunday night. The Stone was a little too big [of] a venue for us. We couldn't fill it. So, they gave us a Sunday, rather than one of their "premium" nights. At the time, Living Colour had just [broken] and were becoming very popular. So, their Saturday show (the night before) had sold out really quickly and the booker at The Stone wanted to give them a second night. He asked us, if we'd mind opening for them, so they could have a Sunday show, too. We were like, "sure! What the f**k? Why not? More people will see us. Might be fun!" So, they got added on. The place was packed when we went on stage. Carlos Santana was even there.
We opened with [Descendents'] "I Wanna Be A Bear" and immediately, the crowd turned on us. They hated us soooooo much! Some were even throwing ice. It was hilarious! The more angry they got, the tighter we played. Probably, our best, most brutal set ever! At one point, I said to everyone, "think of this as a dentist appointment! Just hang in there. It'll be over soon!" We played our entire set. We didn't cut one song. May even have done an encore. We were like, "f**k these people. They're gonna get it with both barrels now. And the couple hundred people who, actually, came to see us are gonna get their f**king money's worth!" After our set was over and all our gear was loaded out, we went backstage to get our personal sh*t and guitars.
We figured we'd watch a little of their set, then, head out. But Living Colour's security or crew or whatever (or, maybe, it was the bouncers from The Stone) wouldn't let us go to our dressing room. The band was getting ready to play and "didn't want to be bothered." They had sound checked the night before, so they didn't need to show up until it was time for them to play. They weren't there for our set and didn't meet any of us. I guess, not knowing anything about us, they were afraid we'd try to talk to them or something. So, security told us we'd have to wait 'til after the band was gone before we could get our stuff. I was like, "please, just let me get my bag. I promise I won't talk to anyone. I've never even heard of these guys" (which was, actually, true, at the time.) They said, "nope! You can't come back. You'll have to wait."
It was ridiculous. So, I went out into the crowd and watched them play. Not my cup of tea (to say the least,) but whatever floats your boat, I guess. While they were playing, all the ice-throwing jock sh*theads and their ridiculously fancy girlfriends were having org*sms all over each other. It was so obnoxious, lame, and hilarious. I'm sorta glad I got to see it. Anyway, eventually, after a handful of songs, they let us get our sh*t and leave. Outside: our old white cargo van was parked in front of their great big bus. It looked pretty friggin' funny. Before we pulled out, Bug Phace (super-roadie) jumped out and stuck an ALL sticker on their bumper. I'm sure the bus driver scraped it off immediately after we pulled out hahaha!
XI. So, are any of your additional past projects, such as The Bonesaw Romance, TonyALL, The Pavers, Goodbye Harry, Scott Reynolds & The Steaming Beast, and Fastgato still active?
Reynolds: The Pavers are working on new stuff. I love The Pavers, so I'm REALLY excited about it! Keep your eyes open for it! I'll keep you posted!
XII. Now that Chihuahua In Buffalo has been released into the terribly unsuspecting world, what else are you currently working on or prepping for release?
Reynolds: I've got a really cool thing in-the-works that I can't talk about. I'll tell everyone about it soon. And, as I said, The Pavers are working on new stuff, which friggin' rules! AND there is a documentary in the works about me and my music; tons of live songs played by me on my nylon string guitar (Chihuahua [In Buffalo]-style) and lots of interviews with super-cool people. Matt Riggle (writer/co-director of [Filmage: The Story of Descendents/ALL]) is working on it as we speak. He's friggin' brilliant and very fun. So, it's gonna be WAY cool! I'm very excited! Again, I will keep everyone posted!
