"He's got an inner intensity that comes through," says Greg Shaw, the owner of Los Angeles indie Bomp! Records, which released the Brian Jonestown Massacre's first six records in rapid succession. "That's his greatest strength and his greatest downfall, because he's not in control of it."
The group's infamous Viper Room showcase in late '97 is a good example. The band had just moved from San Francisco to L.A. and decided to lure a club full of music-industry people to one of their shows in a stab at getting signed to a major. (This was after years of living in the Bay Area and churning out demo tapes and under-the-radar indie records on the retro-friendly Bomp! in conjunction with Newcombe's Tangible label.) The showcase quickly devolved into an old-fashioned barroom brawl involving band and patrons alike. Finally, club bouncers pounced on members of the Massacre, ejecting them and making it clear that they should never, ever darken Johnny Depp's doorstep again -- and those words were punctuated with the bouncers' fists. So much for that major-label deal.
"I just got pissed," says Newcombe, "but I'm trying to get past that dysfunctionality. . . . My girlfriend says I'm an emotional basket case. I'm really kind of a sensitive person. That's why I'm blessed to have the arts -- so I don't have to go out on a rampage with my firearms."
Newcombe is sitting on the patio of his Laurel Canyon home, two boxlike, brick-colored buildings packed with religious iconography, ranging from Menorahs to bright illustrations of Hindu gods and a '70s-looking wood-and-lacquer photo of Robert Redford. The complex is perched at the end of a secluded dirt road and has no driveway, but that's fine because Newcombe has no car. The house sits directly across the street from the Houdini mansion, and visitors can peer across the pavement to the surreal minicaverns revealed by the mansion's renovators, which gape disturbingly like hundreds of open-ended questions.
What actually happened that night sounds farcical, and Newcombe explains it in such a serious way that he almost seems to be kidding. But he's not, which is typical of him and his band. It all began, he says, when band member Joel Gion's tambourine broke. Gion threw it at the crowd in pissed-off frustration; it hit a woman on the head and promptly knocked her out. Her boyfriend was not pleased. Then all hell broke loose.
"That was one of my goals in moving to L.A., just to be right in everyone's face. That night I had guns on me, too," says Newcombe. (A cheering thought for anyone in the crowd.) "Looking back on the videotape from that show, I was an asshole. I try to learn from my mistakes, and I don't want to be an asshole. I've just about terrified everybody in the music business." But Newcombe also says that phase of the band is over, and that after shaking it up at conferences and showcases across the country, he's sick and tired of being pegged the biggest "here comes trouble" band in recent memory.
"People are so focused on our dysfunctionality, the talk of drugs and emotional problems," Newcombe says. "Everybody wants to make it a big soap opera. They want to show up and find a riot going on. I just want people to be into the music. I want to move on from that type of thing."
One of the most seductive things about the Massacre is that fans never know what to expect from the band -- which is revolutionary in this age of media-savvy punk rockers and vile, prepackaged pop stars. There's a freak element to the band that works, partly because it's not as intentional as it looks. Gion, the tambourine player, takes center stage at shows, lording over the crowd, with his immense sideburns, like an imperialist ruler. Newcombe, the true leader, who can play every instrument (and often does on record), plays and sings on the sidelines.