Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Related Stories ...

Most Popular

Reader's Picks

Top Recommendations

A short list of Phoenix's most popular hot spots.
user content provided by: LikeMe.net & Phoenix New Times

National Features >

  • City Pages

    Michele Bachmann, Unmuzzled

    You don't need to read Sarah Palin's book to hear the ravings of a mad woman.

    By Matt Snyders

  • Miami New Times

    Pimp Daddy

    The rise and fall of a chubby sex-cult leader.

    By Natalie O'Neill

  • Riverfront Times

    Babe 'n' Arms

    Tom was a hot-tempered cross-dresser with a garage full of guns--and then he became Rachel.

    By Nicholas Phillips

  • Dallas Observer

    The Fight for Texas

    Rick Perry and Kay Bailey Hutchison are locked in a battle over the soul of the GOP. They're also running for governor.

    By Sam Merten

Calvin Johnson

Pre-alt

Share

  • rss

By Niki D'Andrea

Published on December 01, 2005

Seattle, Washington, 1992: The city becomes the music capital of the country with the explosion of grunge, as bands like Nirvana, Soundgarden, Pearl Jam, and Stone Temple Pilots saturate the airwaves.

If that story was on cassette tape, Calvin Johnson would hit "rewind" so everybody could get the full scoop. See, Johnson was spinning knobs and making mix tapes in his Olympia studio, Dub Narcotic, even before he founded K Records in 1982 (six years before Seattle's Sub Pop label appeared and snatched up a fledgling Nirvana). As a producer, he's recorded such innovative acts as Mirah, Thee Headcoats, Modest Mouse, The Gossip, and the Jon Spencer Blues Explosion (which included a song called "Calvin" on its Johnson-produced ACMEalbum). As a performer, Johnson's rocked the mic with acts Beat Happening and Dub Narcotic Sound System; he even made an appearance on Beck's One Foot in the GraveCD. In short, Johnson was "alternative" before the phrase was coined and dropped into the pockets of the music industry. And he remains anti-establishment, referring to the record label he founded as "a library card for the culturally deadpan." Not even Seattle can argue with that.