Weight of the World: An interview with Good Riddance
We talk to Russ Rankin about these new ballads from the revolution
The influence of Santa Cruz's Good Riddance is a far-reaching one. Their music of hope, loss, frustration, and anger packed into their hard-hitting brand of melodic hardcore has traveled far since the release of their acclaimed 1995 debut For God and Country. Their music was the gateway to socio-political punk for many, leaving an indelible mark on listeners across the globe. One of those was a young, wide-eyed kid who, having grown up in the dictatorial landscape of Indonesia's pre-democratic society, yearned to hear and learn about something new. That kid was me, and while my story is one of many, it began with Good Riddance's seminal 1996 album A Comprehensive Guide to Moderne Rebellion. That album sang of about inequality, human despair, and the complicated and fragile systems in which we live in- and it was the perfect tonic for living under a military dictatorship. There was hope in the messages they sang about; that whenever there is the struggle, there are those willing to fight for better.
More than 20 years since, Good Riddance are still fighting strong, fresh off the release of their brand new album Thoughts and Prayers. The record, their ninth studio album, is just as explosive, fire-breathing as anything they've released- a record as timely as it is encompassing of relatable issues no matter where you live.
It was daunting to talk to vocalist and songwriter Russ Rankin about the music he's written. Not just because their influence was such an important part of who I was and who I am, but because I was nervous about not sounding like a buffoon while trying to carry some weight and importance to the questions I asked. The truth is, part of this was a thank you, and part of this was finally getting a chance to get insight into the music that has played a vital part in influencing many punks across the globe.
I really enjoyed the new album- how do you guys feel two albums back after some time away?
Rankin: It feels like we are back in the swing of things, as far as having the mindset of continuing to create new material. When we first began playing again, we were focused mostly on playing older songs that us and our fans wanted to hear. We still love those songs, and we enjoy playing them live, and it also feels really good to be creating new music as well.
When did you guys start the writing process for Thoughts and Prayers? Was this album any different, easier, more difficult to write than any other?
Rankin: I started working on this material in late 2016. I basically forced myself to pick up the guitar every day, and, for whatever reason, I was inspired a lot, and the bulk of this material came together rather quickly. I used Logic Pro to put demos together, which I then sent to the other guys. When we had enough songs, that everyone agreed on, we started scheduling practice time.
Thoughts and Prayers
And the title, it’s very timely, but also a potent title that speaks on many levels. When/how did you know this was the right title?
Rankin: I had thought for a long time that it would be a good title. As an American who doesn’t believe that thoughts and prayers are a sufficient answer to the scourge of gun violence in my country, I thought it would be a good reminder about the tepid responses given by the people we send to Washington, D.C. to shape policy for us. It fits as an album title and is also symbolic of the social and political detente we find ourselves in.
I’ve always loved GR album titles- not just because they feel significant, but because they’re also poetic in a way. Do the titles come way after all the songs are done and you see how the songs come together as one?
Rankin: Oddly, I can’t really remember the timelines, as far as which came first historically. I mentioned my idea for this title to Chuck as we were boarding a flight home from Las Vegas, Nevada on January 1, 2018. By that time, a lot of material had already been written. I have always enjoyed taken phrases or word groupings which have a traditionally patriotic flavor and turning them on their heads, using them out of context.
I grew up in Indonesia, and when I first came across A Comprehensive Guide to Moderne Rebellion, I was immediately intrigued. Because it felt important, rebellious, and eye-opening. At the time, true democracy (in Indonesia) was at its infancy and most of my childhood was spent living under a military dictatorship. I know you recently spoke about the influence and effect of your music, that at the very least it has opened minds. How important is that to you- that your music spoke to people, not just in the US, but around the globe?
Rankin: I think I had always approached music with the hope that it could inspire people, but I’m sure I had no idea the extent of it. Even with our modest success, the number of people who have reached out to me personally, either at shows, on the street, by mail, and, these days, via social media, to tell me about the tremendous, positive, impact our music has had on their lives, is incredibly humbling and gratifying. I was inspired and, to a degree, radicalized, by the bands I grew up listening to, so I know exactly how that feels.
Do global issues shape your writing? Or at the very least, do you write so that some kid in Indonesia for instance, can connect to your music?
Rankin: I think that global issues shape everything I do, as far as the ways I interact with the world. As an American who has had the opportunity to travel, I can’t help but see how interconnected we all really are, and how my country could learn a lot by taking a step back and observing the ways other countries approach things. Americans are fond of self-aggrandizing, and shameless chest-beating, but we are falling well short of achieving a truly just society.
As a listener, I’ve always thought that your music resonated because so many of the songs could be relevant in 1996, 1998- but also now, in 2019. Has that been an important part of your songwriting?
Rankin: It has. As much as I love the Dead Kennedys, so much of their music is about specific events, which tether the material to a singular moment in time, which can lose its relevance to a listener who was perhaps born before that event occurred. I prefer to write about ideologies, dogma, and characteristics of the human condition, which have in the past, and sadly will in the future, contribute to the ongoing struggle for equality and justice. I believe these explosive moments, events, and polarizing figures, are merely symptoms of a greater ill which underlies everything else.
Has this been the most disappointing time you can remember politically in the United States?
Rankin: I was a teenager during the Reagan presidency, and I didn’t think anything could be worse than that. The saddest part of it, to me, is the crippling apathy. Less than 38% of eligible U.S. voters bothered to turn up and be heard in our last election. The white, fascist, nativists will always turn out to vote, so the rest of us had better show up as well, but we don’t. Civics cannot be a spectator sport, at least in my opinion. The loss of a free press is a big part of it. So many people end up feeling marginalized or detached from the whole process, and the culture industry keeps us passive and distracted, chasing artificial wants.
Your music is more than just politics. In your recent conversation with Kerrang, you talk about the songs of Thoughts and Prayers. There are political songs, but also songs about being human, connections, introspection, fragility, hate, love- what are some of your lyrical influences that still influence you to this day? Were they other musicians, books, poets?
Rankin: My biggest influences, as far as songwriting, would be Greg Graffin from Bad Religion, Richard Butler from the Psychedelic Furs, Billy Bragg, and, perhaps more than anybody else, Rhett Miller from the Old 97s.
The lyrics, even from For God And Country, always had an almost poetic tone to them. Did you find that you were a good writer early on, before you started writing music?
Rankin: Writing has always come naturally to me. English classes in school were relatively easy (conversely, math was never my friend). I enjoy writing and have the opportunity to write regular columns, as well as numerous op-eds for magazines and websites.
A few years ago you were speaking to Punknews and were talking about how important and significant you felt Symptoms of a Levelling Spirit was/is to you. Do you still feel the same? Especially now the last two albums after the hiatus.
Rankin: I think there is always an interesting push/pull dynamic, as a band achieves some degree of longevity. How can they continue to progress, and challenge themselves musically, while staying true to the legacy they’ve established, and which their fans expect? For me. Symptoms Of A Leveling Spirit will always hold a special place because it was the first time I felt comfortable and confident as a songwriter. It felt as though I had finally arrived, and was the first time I believed I had found my voice, so to speak. I was also in a really good place in my personal life during that time, so I associate a lot of positive memories with it. It was also the apex of the Good Riddance career, as far as the biggest we ever got. Fat really got behind that album, and there was a tangible push for us that entire year of touring.
Songs about love and relationships have also been important to the GR discography. Do you find writing songs about these connections any different to the more socio-politically driven ones? (“Jeannie” and “Not With Him” are still some of my favorite punk love songs- can I call them love songs, is that accurate at all?)
Rankin: I don’t really make a distinction. I write about my experiences and my observations about the human condition. The Descendents made it okay to write punk songs about love, loss, and heartbreak, and bands like Jawbreaker took it even further. If it’s genuine, I think it can be just as inspiring or comforting as a political song, depending on the listener's experience.
You’ve worked with Bill (Stevenson) and Jason (Livermore) again on the record. What is it about them and the Blasting Room that you guys connect with both as producers and as artists who understand what you guys are looking for sonically?
Rankin: Bill has two aces up his sleeve when it comes to producing us: he comes from and was a seminal figure in, the scene which directly inspires us, and he is also a brilliant sound engineer. Add to that the fact that, over the last 20 years, we have become good friends, and the entire process becomes easier, more relaxed, and a lot of fun. He knows the buttons to push to get the best performances out of us, and he knows which bands and players to reference to help us visualize the aesthetic he is after.
You’re heading to Europe in August, then a few days in Canada- will there be more opportunities to see you guys live at the end of the year and all through next year?
Rankin: Given that this iteration of the band will necessarily tour a lot less (jobs, families, etc) than we did at our height, expect Good Riddance to have a busier year than the last couple of years.
The new Good Riddance album Thoughts and Prayers is out now on Fat Wreck Chords. Good Riddance tour dates and ticket information can be found on the Good Riddance website.