Chuck Prophet
With Mark Mallman

His emails are all aptly signed with the Mark Twain quote, "As soon as you realize it's all insane, it all makes sense". In an industry filled with heroin-shaped prima donnas and blood-leeching businessmen, Chuck Prophet is a thorn tree. He's a thorn tree in the gardens of a game that he's played and that's played him; ultimately refusing to give up on what makes him breathe: rock and roll.

Chuck Prophet's career in music began much like the careers of others. He was a kid with a guitar. Here's the difference: by the time he was fifteen years old he could do more with it than most would be able to do in a lifetime. Legendary producer and musician Jim Dickinson (The Rolling Stones, The Replacements, Big Star, Bob Dylan) was once asked how this kid could pull off the stuff he did. Dickinson simply replied, "What do you expect from somebody who got his cherry popped at the funny farm when he was fourteen?" His first endeavor away from his sleepy hometown of Whittier, California was straight to the absurdity that is San Francisco. He almost immediately joined the seminal cosmic country rock band Green On Red and spent 8 years and as many albums playing and touring with them. He wasn't yet 21 years old. Hell, he wasn't even 20. He was still a teenager. Once called by the New York Times "By far one of the best bands in the United States for almost an entire decade", he spent his youth touring Europe and the US; watching himself grow up on the road. He became a teenage junkie. Trial by fire? Horse shit. He was a kid; a kid who could play and sing and write like a musical time bomb and he kept himself alive long enough to find crack cocaine, the drug that finally brought him to his knees ten years ago. He's been clean ever since. They say 'cleanliness is next to godliness' but one can't be so sure when measuring Chuck's manic activities. He was saved from addiction but he's far from being saved from himself.

You want stories? They're everywhere. Chuck, over ten years ago, once jumped from one San Francisco rooftop onto another and fell three stories through a skylight onto the cement floor of a mechanics' garage; all in an attempt to impress a girl and get into his apartment (that he had locked himself out of). He was high. The stories are endless. His long-suffering wife and musical partner Stephanie Finch can assure any disbeliever of that. You get clean and you cut it out, right? Nah. Chuck simply tells me, "I don't want to embarrass my parents anymore than I already have." The recording of Chuck's latest record has incurred him a smashed car windshield and, at last count, 27 parking tickets. He can't get it right. Chuck, in his Green On Red days was often called, in quotation marks, Billy The Kid. He signed to New West records in 2002 and was promptly dropped in 2005. How does Chuck feel about it? Who knows? He's no Ryan Adams. Mike Lembo, Chuck's manager from 1995 through 2000 stole all of Chuck's publishing rights from underneath him. To add nothing but insult to injury Lembo threw away all of Chuck's master recordings. Chuck eventually got his publishing rights back. How does he feel about the whole thing? Broken glass and cement floors hurt much worse. So what did hurt? Mike made Chuck lie about his age, forever keeping him several years younger for the sake of press. In talking to Chuck you can tell it's not the "making" him do it that bothered him so much, it's that he went along with it. Chuck Prophet is 43 years old. There, now you know. But he's still a fucking kid. A kid with a guitar and some songs.

Chuck's encyclopedic knowledge of rock and roll and The American Songbook at large is weighty and impressive. He's not a student, though. He tells me he doesn't "understand why people are so down on Dylan's eighties records" with heart. He's not drawn to the stories and music because of any intellectual need to know; he's drawn to it like a moth to flame, like a razor to the vein. He can't live without it and has never quite figured out how to live within it. He does, though. He wrestles the demons that have pursued him since he was a kid and he brilliantly strangles his guitar in protest, sings his own repentances, and writes like a man who, like William Faulkner suggested, should "only seek to outdo (himself)". His fans within the music community are vast. Lucinda Williams, after hearing his 1999 release "No Other Love" immediately looked at Peter Jespersen and asked, "Can I take him on tour with me?" He went on that tour, riding behind Lucinda's bus in a 1988 Dodge Ram with over 250k miles on it. He played to audiences of between 10 and 15 thousand people for two months. On one fateful night he was served papers. He was served papers onstage. He means so well, but he can't help but embarrass his folks a bit. He's written songs with Dan Penn and innumerable others, has been recently writing with Alejandro Escovedo, produced the most recent Kelly Willis record (who once said "If I could sing like anybody I'd like to sing like Chuck Prophet" - in response Chuck almost blushingly says "I'll have to straighten her out on that one"), and has had his songs recorded by the likes of Solomon Burke, Kim Richey, Jim Dickinson, and even Heart. He's played on the recordings of Warren Zevon, Jonathan Richman, Cake, Bob Neuwirth, Penelope Houston, Kelly Willis, and many others. In writing on what he was currently listening to in 2004, Stephen King (that's right, Stephen King), wrote of Chuck's tune "Rise": "What does this song mean? I have no idea. But it's lovely, incantatory and mysterious. God bless Chuck Prophet." Yes sir, God bless him indeed.

God bless Chuck Prophet. He has released seven previous solo records, his last being the brilliant "Age Of Miracles" in 2004. His new album, titled "Soap and Water", is objectively his best. Of course, your not supposed "objectively" make claims such as this, but it is. Why? Because, like Seth Morgan writes, Chuck's been jailin'. He's learned to sleep when others couldn't and in the process has written what others can't. In "Would You Love Me?", he sings "Sittin' in a movie and I'm starring at a screen, they're dragging Jesus from the town, it don't look good to me, well if I had a bucket, or better yet a spoon, I go down to that river baby, I'd bring that river home to you." In "Happy Ending", he cries, "I memorized my favorite scenes, all the lines come right to me, and now the tears are really mine, the moon is just another lie, winners lose, heroes fall, it don't make no sense at all."
Chuck has said that in many ways this album pays homage to Alex Chilton. Once at a concert before performing a Chilton song, Chuck said, "When I first heard Alex Chilton I wanted to BE Alex Chilton. No, fuck that, I wanted to make it with him". Alex has found and lost himself repeatedly over the years, but he's never stopped being Alex Chilton. Neither has Chuck, and in his own words Chuck says of "Soap and Water", "People start making records to flatter themselves. I've got nothing to lose. I'm just now getting good." He's right and at the same time so terribly wrong. He's always been good, but he's never been this brilliant. This is a record of redemption and soul; it's got the heart of a lion and the scars of the saints. It's filed with uneasy salvation and, ultimately, the thorny blood of Chuck Prophet.
--John Murry, San Francisco, California, June 2007

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Mark Mallman studied jazz piano at The Milwaukee Conservatory of Music then moved to Minneapolis, Minnesota in 1991. In 1995, at age 21, Mallman earned a Bachelor of Fine Arts from Minneapolis College of Art and Design where he studied painting and performance art. Following a near death experience in a Seattle, Washington motorcycle accident, Mallman abandoned the visual arts to focus on songwriting.

Mallman riding his keyboard during a performance at First Avenue in Minneapolis, MNHis CD, "The Tourist" was released in 1998. A follow up "How I Lost My Life And Lived To Tell About It" was released in 2000. A clinical diagnosis with Dysthymic Disorder prohibited any form of long term touring, and he stayed in Minneapolis building a cult following of glam loving fans. Among his nicknames - "Mr. Serious," "Mallkill," and "The Fastest Piano in the Midwest."

His first musical marathon put the national spotlight on him. 2002 found Mallman's "The Red Bedroom" album to be released on Minneapolis indie punk label Guilt Ridden Pop. He took a short break after its release to focus on his mental health. A year later, the depression that once kept him homebound had cleared enough for him to start playing on the road.

Mallman signed with Badman Recording Company in 2003. In 2004, his first national release Mr. Serious was praised by critics, but largely ignored by the majority of American and European media. All Music Guide called him "criminally underappreciated."

Mallman has toured across America opening for Guided by Voices, Cat Power, Donovan, Tegan and Sara, Ozomatli, Everlast, Eagles of Death Metal, Exene Cervenka, Howie Day, Cracker, Beth Orton, Linda Ronstadt, and many others. Along with numerous tours of the United States, Mallman completed his first extensive tour of the United Kingdom with friend and mentor Chuck Prophet in spring of 2005.

That summer he would begin writing what critics would soon call "the essential Mallman record" — Between the Devil and Middle C. It would be his most extensive songwriting session in 10 years — a 9-month session where Mark wrote "enough material for 3 albums." The final product was recorded in Minneapolis and Louisville, KY, and released in the US on September 5, 2006.

Mallman is well-known for his shows Marathon 1 and Marathon 2. Marathon 1 was the nonstop 26.2-hour performance of a single song in 1999 at the Turf Club in St. Paul, Minnesota. Marathon 2 was the nonstop 52.4-hour performance of a single song, double the length of Marathon 1, reportedly comprising more than 600 pages of lyrics. It started on September 4, 2004, at the Turf Club and ended at 10:24 p.m. CST September 6.

Marathon 2 was considered for the Guinness Book of Records longest pop song. However, the record was denied, citing the subjective nature of judging what a song is.

Mallwolf, Mallman's alter ego is Mallwolf who occasionally makes appearances at Mallman's performances.

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