If you’re reading this article, chances are you’ve heard at least one song Jean Beauvoir wrote, recorded, or contributed to in your lifetime. Beauvoir was the bassist for Plasmatics during their classic early 80s era. On top of a critically acclaimed solo career, he’s collaborated with *deep breath* KISS, Ramones, Doro, The Pretenders, Lionel Richie, John Waite, Little Steven Van Zandt…I’d continue this list, but chances are we’d be here until 2021. We had the honor of sitting down with Jean to discuss those salad days with Plasmatics, as well as the rest of his storied career.
Greetings Jean! Welcome to Defenders of the Faith and thank you for taking the time to do this interview.
Jean Beauvoir: You are very welcome. It’s my pleasure!
First, I’d like to touch upon your time with Plasmatics. Despite playing with them for roughly two years, you were involved in what was perhaps their most pivotal era. In those two years, you played on their first two full lengths, New Hope for the Wretched and Beyond the Valley of 1984. Do you prefer one album over the other? If so, why?
JB: Yes, I agree. I think a lot of people missed the point of The Plasmatics and 1980 to 81, with that lineup, was what The Plasmatics actually were all about. We represented each one of us, different people who felt incubated and had nothing to believe in, besides people who like an amazing, exciting show. “Beyond the Valley” is my favorite album. I just feel it was more refined than “New Hope”. I really enjoyed playing bass on that record and watching the songs morph into what they became. We were heading towards something.
Beyond the Valley of 1984 has, without a doubt, some of the greatest album art of all time. I can stare at that cover and its accompanying gatefold for hours. There’s so many questions I have. Where was this photo session, what are your memories of that day, and how did those horses react when the car exploded?
JB: It was a very exciting time actually! One of the craziest covers and shoots you could imagine. You’ll have to get my book when it comes out to get all the details, but it was shot and filmed in the Superstition Mountains, Arizona. We all had to take horseback riding lessons, so that we wouldn’t “die” when the horses took off from the numerous explosions!!! I’ll never forget it.
Back in January 1981, Plasmatics played an infamous show in Milwaukee, Wisconsin. The story goes Wendy O. Williams was arrested mid show and brutalized by the Milwaukee police. What is your first hand account of that evening?
JB: We were arrested after the show. The vice squad or detectives came into the dressing room and harassed Wendy, which led to her reacting and two detectives punching her and throwing her down to the ground, doing the same to me as I was trying to help her. Then the manager came from the inside of the club and he got hit as well. We were all arrested, thrown in a paddy wagon and taken to jail.
You’ve said that one of the reasons you left Plasmatics was due to their transition to a more metal direction. Would you have stayed in the band had they stuck with their early metalpunk sound, or was the writing on the wall?
JB: I think the writing was on the wall, though perhaps I would have, but I felt we were nearing our end, because of all the expectations which were put forth from the beginning. People get bored very quickly! I thought the excitement would fade as it did. My goal was always to be a solo artist and I just took this as a great experience and something that actually formed me into who I became.
Also, I feel that the band didn’t really understand and realize what its purpose was and what it represented, what we are going through right now in the country. The Plasmatics were ahead of their time. I was the first black guy with a blonde mohawk, Richie was 6 foot 7 wearing tutus and ballet outfits, and Wendy was doing everything against the status quo, but we represented individuality. “New Hope for the Wretched”, self-expression, which if you look around the country now, though it took years, step by step our influence in that pivotal time period changed how people dress, how they color their hair, how far they’ll go. Not just rock ‘n’ rollers, it’s in everything: sports, sales girls, fashion, everyday people, etc.
From there, did you keep in touch or remain friends with any of the members? When was the last time you spoke to Wendy?
JB: Yes, I remained friends with Richie and Stu mainly, but we all left on good terms. For Wendy, I know I saw her once after I left the band during her solo career, I just don’t remember where to be honest.
You wrote and appeared on KISS’s 1985 album, Asylum. Specifically, “Uh! All Night” and my favorite KISS song of all time, “Who Wants to Be Lonely”. How did you first meet Paul Stanley and what was it like writing with him?
JB: Well thank you!!! Paul and I actually met in a dance club in New York. A hang out for rockers, actors, and others in the show biz clique. We randomly walked over to each other, introduced ourselves and became friends. We didn’t start to write till about a year later randomly and the first song was “Thrills in the Night” from Animalize.
Your debut album, and subsequent solo career, was radically different from your earlier work. Was there a conscious effort to play more melodic oriented rock or did it happen naturally?
JB: It really came naturally. I had certain songs in my mind already for quite some time and from the build up of all this time waiting for the opportunity to put your thoughts on vinyl, you are pretty full of ideas!
Your debut single, “Feel the Heat”, was featured in the Sylvester Stallone movie, Cobra. Was that song commissioned by Stallone like Survivor’s “Eye of the Tiger” or had it already been written for Drums Along the Mohawk?
JB: The song was already written for Drums Along the Mohawk. It was a coincidence that Sylvester Stallone was editing Cobra in the same building where the “Feel The Heat” video was being edited. He saw it on accident, contacted us immediately and we started the campaign.
Upon revisiting Drums Along the Mohawk, one song that really stuck out to me was “This is Our House”. Are those lyrics based on a true story?
JB: In some ways yes. It talks about history and for different people it might’ve been a different experience, but at the time, I was reflecting on people who were persecuted and taken out of their homes. How a child would react from his or her perspective. Whether it be the Jews in Germany or any other such situations. I at times have my own definitions to my songs, but I prefer to let people imagine what they believe the story is to them. Many times my songs are a reflection of what I see around me.
In 2015, you released a great album with Shalamar’s Micki Free entitled American Trash. Are there any plans for more collaboration with Micki?
JB: I think there are some really good songs on that album. I don’t know. You never know!
Following up on the previous question, are there any artists you haven’t collaborated with yet that you’d like to?
JB: There will always be more to fulfill my appetite; there are some really great artists in the world. I added Lita Ford and Lordi this year so far, there will probably be more upcoming. The Rolling Stones would be fun! Paul McCartney, U2, Guns N’ Roses and definitely others…
This last question may come off as cliche. However, with your longtime history in the music industry, I must ask. What is your biggest piece of advice for young aspiring artists?
JB: Get a different job!!! LOL!
I don’t think you choose music, it’s chooses you, at least that was my experience. If it’s in your heart and the gift is given to you, it’s there for a reason, so you need to follow your heart. It’s funny how you get lead to where, whoever or whatever up there wants you to go. Do everything you can to use whatever talent was given to you to its fullest potential. Perfect your art, be sure you look and sound like you’re worth the ticket price you feel people would pay to come see you! Try to always have fun, enjoy it. Music is a beautiful thing.
Thank you again Jean!
JB: My very best, keep on rockin!