Growing Pains

After 11 albums, Berkeley's Mr. T Experience is starting to abandon the punk-pop sound it pioneered

It's not surprising that the band named after a larger-than-life icon representing the overstimulated pop culture of the '80s would aim to mimic the cocaine-fueled power-pop of that era. But what may surprise new listeners and seasoned fans alike is the Mr. T Experience's (relatively) mature songwriting and unconventional recording techniques utilized on its 11th album, Alcatraz. Deliberately seeking out the sonically claustrophobic atmosphere of such '80s favorites as Elvis Costello's Armed Forces and Joe Jackson's I'm the Man, the album achieves a level of nearly paranoid musicianship, rife with extemporaneous fills and exceedingly tight instrumental interplay. While the sounds and performances remain hyperactive, the songs show a more expressive and traditional pop music structure than the buzz-saw guitars and punky pop heard on the group's 10 previous efforts. In other words, the band's gone soft -- but in a creative and interesting way.

On the telephone from England, where he's vacationing, vocalist/guitarist Dr. Frank speaks with a bubbly camp-counselor demeanor as he describes the motivation behind the group's escape from its own pop-punk prison to the musical freedom found on Alcatraz. "We selected some songs that I think in the past we might have been afraid to do," he explains, "and we forced ourselves to not let pre-emptive embarrassment cross anything off our list."

On the album, the endearingly nerdy singing of Dr. Frank (he's not a real doctor) certainly remains as perky as ever, but he's given more room for expression without the wry snarl and backing fuzz that the Mr. T Experience and its Berkeley contemporaries Green Day and Operation Ivy helped define in the late '80s. Along the way, all three bands and a slew of others have turned the small, local independent Lookout Records into one of the world's most successful indie labels. Lookout has launched a number of alternative heavyweights -- the Donnas, Rancid, Green Day, Operation Ivy, Screeching Weasel, Pansy Division, etc. -- and almost single-handedly defined the happy-go-punky genre in its brief 11-year existence.

"We're Not No One": The Mr. T Experience, from left, Dr. Frank, Jym and Joel Reader.
Jennifer Juniper Stratford
"We're Not No One": The Mr. T Experience, from left, Dr. Frank, Jym and Joel Reader.

Dr. Frank -- or, as his doctor knows him, Frank Portman -- is a 35-year-old UC-Berkeley graduate whose educational credentials certify him as a perpetually deferred Harvard graduate student several credits short of a doctorate. The Mr. T Experience is built around the airtight rhythm section of bassist Joel Reader and drummer Jym (who refuses to divulge his last name), both of whom joined in the mid-'90s, after a series of disastrous tours and releases on failing indie labels drove Dr. Frank's former band members off to such other local Bay Area outfits as Samiam and the Rip-Offs.

Unfazed by such setbacks, Dr. Frank and the group's newly revamped lineup rallied for a 1996 return on their fourth full-length on Lookout (which has since reissued the entire MTX back catalogue), Love Is Dead, which proved to be the band's best-selling album. While it didn't touch the commercial cash-in caliber of Green Day or Rancid, Love Is Dead has endowed MTX with considerable credibility in the now-commercially viable pop-punk genre. It's an uncharacteristic success for the Mr. T Experience, which is probably why Dr. Frank now potentially may sabotage his group's growing popularity.

"Love Is Dead was a landmark for us," Dr. Frank admits. "That's the one that everybody likes the best, and I know why. It takes the singer/songwriter kind of song and gives it a pop-punk-style treatment. I think it's about the best that kind of thing can be. A lot of people would like to see us record Love Is Dead every year until the end of time." But he no longer feels compelled to explore those possibilities; he's written pop-punk out of his system. "If you go for years and years recording the same record over and over," he suggests, "you're going to bore everybody and yourself to tears.

"I remember when I was talking to Chris [Appelgren, label president] at Lookout about my initial plan," he adds. "I said, 'I just want to warn you that the new MTX album isn't going to have any generic pop-punk songs on it.' So his reaction was, 'Okay, we respect that that is what you want to do: make a less-commercial record.'" Retelling the story, Dr. Frank laughs at the irony he now faces. "That's not what I was thinking at all. . . . I was surprised at that reaction, because I was talking about including some ballads and including some more modern sounds, like a traditionally commercial record. But he was absolutely right. There are some people that would think [Alcatraz] is not the product that is expected and advertised."

It's a paradox that when MTX released its 1986 debut, Everyone's Entitled to Their Own Opinion, the East Bay's bastard children of the Ramones and Buzzcocks never would have been considered the vanguard of the "next big thing." And yet, today, the rough-hewn, cultivated amateurism of pop-punk is a better guarantee of commercial success than the more traditionally popular power-pop sound heard on Alcatraz. Dr. Frank explains, "The real irony is that the rock music which is commercially accessible right now is 'the harsher, the rougher, the better.'"

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