When first I was asked to write a bio of Stuntman, I asked frontman Scott Schmaljohn if he took a different approach to songwriting for Stuntman as opposed to for his previous band, also my previous band, the band he and I, Pat ‘Brown’ Schmaljohn and Doug Martsch co-founded; Treepeople. As is fitting of Scott, he replied (via text) with a succinct, to-the-point reply that made me slap my forehead and say, “Of course,” realizing my foolish assumption; “I have always written songs the same way. There is no difference in the band.” In other words, a Scott Schmaljohn song is a Scott Schmaljohn song. Period.

Scott's songwriting is born from a steady heartbeat, whether it's a slow or more upbeat tune, and is much like his clear way of speaking; you don't have to guess where he is coming from. He is one of the most unique guitarists/songwriters around, and his style embodies the word 'electric’ in ‘electric guitar’; notes bend and stretch like live electric wires, throwing you, because the playing is so non-traditional and original, similar to (though sounding very different from) the way Greg Ginn of Black Flag plays (and since Black Flag were early heroes of ours, it makes sense).

Scott and I met Stuntman co-guitarist/songwriter John Polle when we were still in Treepeople together, in about ‘88, when Polle fronted the excellent Pullman, Washington band, Ignatius. Polle formed a band with Stuntman bassist Sean Lennon after Ignatius broke up called Thin Section and one of the Stuntman songs on this record was carried over (‘The Devil’). Thin Section gigged with Treepeople a lot and that is how Polle really got to know Scott, who eventually asked him to join Treepeople. The first Stuntman set was made up of half Treepeople songs from their final lp, ‘Actual Reenactment’ and half Thin Section songs.

Why ‘Stuntman’? The band name history is interesting. Per Scott, “...We struggled with a name and our first working title was "Dry Socket". I had gotten wisdom teeth pulled and I thought it was kinda cool. Glad we changed it [the band played a few shows under this name, as well as the name ‘Blanket Party’]. I always liked the name Stuntman because of the ‘70s reference (I always wanted to be a stuntman growing up). I also thought the Stuntman title was appropriate since you have to get up on stage and throw yourself into the music. You beat yourself up on tour and keep going every night…”

Polle’s songwriting is more poppy than Scott’s, but also darker in a playful way, like Pixies meets the Seattle band Pure Joy (pioneers of pop punk in Seattle, along with The Purdins). Some of the breakdowns in Scott’s songs come off with a Fugazi flavor and the contrast is great. Polle’s and Scott’s playing were locked from playing together in Treepeople, and thus a bit of that ‘jigsaw guitar puzzle’ approach comes through, though in Stuntman, the guitars are locked in a more traditional, rock n roll way, and there is more room to experiment, which works well.

The band made a home base in Boise, picked up a solid local drummer there named Mike Rundle from a band called Dirt Boy, gigged there and did some touring. Lennon and Rundle were solid as bedrock in their support of the two songwriters, handling all that Polle and Schmaljohn throw at them deftly.

Scott was entering into new territory in his personal life when Stuntman formed; That of husband and father; “...We did some tours, but I was so burnt out and had my first child Alex. Touring so hard with Treepeople made me burnt on the whole music thing. I wanted to be with Alex and settle down, focus on my career, and be more domestic [while cranking out phenomenal songs like ‘Bleed’!]. I kinda let the guys down, but I needed a break. I think we did some great music, and I loved playing with all of those guys….Stuntman was a great band with great musicians. We were fuck ups and blew a lot of opportunities given to us. We had a morning meeting with Mercury records and we overslept missed the meeting, pissed off [Stuntman’s manager] and ruined a lucrative record contract...Wasn't meant to be I guess. We seemed to do this often, as our manager finally said "you guys are fucks!" and left us. John Polle one time asked the bartender at a show in Eugene if he could have a pint glass of scotch. The bartender laughed and said "Um, I don't think so." I think you get the picture…” A stuntman must be prepared for anything; whether he’s tearing it up on stage or changing diapers, he’s goin’ in.

Stuntman was a band from 1994 until 1997, releasing two full albums, three 7" records, and three split 7" records, as well as appearing on a few comp records.

Wayne R. Flower, 5/26/17