Interview with Scuzz Twittly

What got you into music, and if you had not gotten into music what would you be doing today? 

I came out of the womb into music. By the time I was three or four, I was already recording myself singing to records on the Zenith hi-fi. I always loved it. I never thought of it as a career, though—not until well into my thirties—but I was always making comedy shorts, skits, and playing guitar along the way. If I weren’t in music, I’d still be in the entertainment industry, just behind the camera in production and writing. I write, shoot, and direct everything I do, so I have those skills to rely on as well.

What do you like to do when you are not playing music and how does that influence your creativity?

When I’m not playing music, I’m writing, designing, or building something—whether it’s the next set for a music video, a piece of furniture, or tinkering with my 1969 Ford F-250. I also ride my bike a lot to clear my head and spark new ideas. All of it feeds into whatever project I’m developing at the time.

For example, I’ve been working on a new song called “Milf City,” which has a surf-themed, Beach Boys vibe. A few weeks ago, I was riding past a dumpster and—lo and behold—spotted an old surfboard. I strapped it to the bike (not easy) and lugged it home. It was pretty beat up and the tip was busted, but I knew it would be perfect for the video. So I patched it, sanded it down, and gave it a fresh paint job. Sometimes things just fall into place and end up elevating the whole project by sheer luck.

I’ve also worked a lot of handyman jobs over the years, so I know how to make a silk purse out of a sow’s ear.

How long have you been making music?

I’ve been making music since I was teeny weenie. The trumpet was my first instrument—and I still play it—but guitar was my true love. I came to it a bit later than most and didn’t start playing seriously until my twenties. That’s when I wrote my first songs and recorded them on an old 4-track cassette. So all in all, I’ve been making music for about 30 years.

Where are you based and how did that influence your music?

I’m based in Los Angeles now, but like Johnny Cash sings it, I’ve been everywhere, man. I grew up on a farm in very rural America, and I’ve lived in or traveled to almost every state in this big, beautiful country. That definitely influences my music—whether it’s Mississippi Delta blues, Texas twang, Detroit funk, Western swing and Americana, or Cali hip-hop… you name it, I dig it all. Living in L.A. allows me to see the best artists in the world across every genre, and I go to a ton of shows. Each one gives me a little more inspiration to make new music. And I see everything from Beethoven to Billy Gibbons.

Tell me about your most memorable shows, if you haven’t played live what is your vision for a live show?

I haven’t played many live shows, but I used to have an annual gig in Mesquite, Nevada at an old-school casino called The Casablanca. We played Super Bowl weekend, and it was a blast! The owner was a huge fan and contacted me, so I put a band together and we rocked the joint. It started small—with one dancer—but expanded to four dancers, with two workin’ the poles. The stage was big, and we filled it, plus we had a projector screen where I would play comedy sketches between songs. It’s a wild, raunchy, sexy, hilarious, beer-soaked variety show—and the crowd really gets nuts!

What is your favorite venue to play at, and do you have any places you want to play that you have not already?

The Casablanca was a great venue, and they treated me like Frank Sinatra—but like everything else these days, some corporate entity bought it, and that all ended. I’d love to play some of the classic spots like the Whisky or the Troubadour here in L.A., or a place like Antone’s in Austin. But my real drive and focus is on constantly writing and producing music and videos. The studio is my happy place.

If you could play any show with any lineup, who would be on the ticket?

If I could play any show or lineup, I’d go old school with Elvis, Buddy Holly, Johnny Cash, Jerry Lee Lewis, Little Richard, and the great Chuck Berry. That’s my dream team—they’re the reason I do what I do. Present day, I’d give my left nut to open for ZZ Top.

What is some advice that you would give to someone who is just getting into making music and some advice that you would give to your younger self?

The advice I’d give someone just starting out in music is: don’t expect to get rich. Don’t be afraid to suck—because you will suck. And don’t listen to people who tell you you suck. Just keep practicing. If you love it, none of that will matter. Your chances of making a living in music these days are smaller than ever, no matter how good you are, so do it for the love of it. Do it for that moment when the hairs on the back of your neck stand up—when you settle into the perfect groove and the magic happens.

Of your songs which one means the most to you and why? 

Of all my songs, the one that means the most to me is the next one. When I finish a song, I let it go live its life and move right on to the next. I always see the tune I’m currently working on as the one. I’m like a shark—I have to keep moving forward and exploring new territory.

Which songs are your favorite to play and which get requested the most?

My favorite song to play live is probably “Party Like Charlie Sheen”—it’s also the most popular. I get to tear into a mean slide guitar riff, the crowd’s going nuts, the pole dancers are spinning 20 feet in the air, and we’re kicking ass!

What is your creative process, and what inspires you to write your music?

My creative process is on the random side. Sometimes ideas come from jamming in the studio or hearing another band, but usually they show up in quiet moments—no screens, no cell phones, no earbuds. It happens in the shower, walking uptown, riding my bike, or sitting with a stogie and a bourbon and a notebook in front of me. Inspiration comes from everywhere—a relationship gone bad, a crazy drunken night. It’s standard country music stuff, and most of it’s based on real, funny shit that actually happened—like my songs “A Bitch Named Sue” or “In Cuntry.” I’ve lived through some wild times, so I’ve got plenty of stories to tell.

I also draw from current events—like in “She Spread Like the Covid” or “Party Like Charlie Sheen.” And some songs come from stuff that just bugs the hell out of me, like “I Hate IPA” or “Karen’s Gonna Ruin the BBQ.” Karens ruin everything!

Do you have messages that you like to get across in your music? if so please tell me about them.

The message in most of my music is simple: have a good time. Lighten up, have a beer, and laugh your ass off.

My new song, “The Algo Rhythm,” is a little different, though. It’s about our addiction to the cell phone screen. I see people glued to it like a newborn calf on a teat. They can’t look away—crossing the street, stuck in traffic, walking their dogs, or pushing their kid’s stroller. I’ll see four people at a restaurant, all looking at their phones, not saying a word to each other. It’s nuts.

And if you think music and movies are lousy these days, buckle up. You can’t create—or even think—when you’re scrolling TikTok like a crack addict. I honestly believe it’s killing the imagination of an entire generation. People are turning into Karens and assholes.

And don’t get me started on folks filming concerts. They pay ridiculous prices for good seats, then watch the whole show through a 3-inch screen, blocking everyone else’s view! They’re missing the entire experience—and the point of live music.

And I got news for them: nobody cares about your shaky, crappy-sounding iPhone video, Spielberg. Let the professionals film it. You just enjoy the show like it’s 1988.

Do you have any new singles, videos, or albums out that you would like to tell me and your fans about? 

My newest track is called “Milf City”—a surf-style spoof of middle-aged culture and those 1960s beach movies, like the ones Elvis used to do. “Milf City” will also be the title of the full album, featuring a dozen or so previously released singles like “The Algo Rhythm,” “That’s Funk and Country,” “When Yer Pubes Have Lost Their Curl,” “The Sycamore Strut,” “Rockin’ That Man Bun, Baby,” and more.

The idea for “Milf City” came from cruising around the neighborhood and seeing milfs everywhere. This is L.A., after all—land of the aging babes whose rich husbands have traded them in for younger models. Between Chardonnay brunches and spa days, they keep those bodies tight with pilates and are single, ready to mingle. So this song is a tribute to the ladies with a little mileage on the chassis—but plenty left in the tank.

The video includes some great footage we shot on location in Hawaii, and as Frankie Avalon might say, it should be “a real gas!”

What are your plans for the future, and do you have anything that you want to spotlight that is coming up?

My future projects include a Scuzz Twittly feature film, but that’s probably a little ways down the road because it’s a huge project to tackle. In the meantime, I have a stack of songs ready to record and a whole bunch of comedy shorts coming soon. The best way for folks to keep up with what’s next is to subscribe to my YouTube channel, Over The Line Comedy. It features all of my music videos, podcasts and comedy shorts. It’s “Scuzz Twittly’s Place” where the beer is cold, the chicks are hot and the party never ends!

How can your fans best keep up to date with you, any socials you want people to check out?

Please follow me on Facebook: https://www.facebook.com/scuzztwittly