Big Chief

Not so much aligned with grunge's prevailing mood as they were fervent high-energy players, and not exactly funk-rock practitioners even as they openly celebrated their devotion to early Funkadelic, Ann Arbor, Michigan's Big Chief found themselves positioned slightly ahead of prevailing trends on multiple fronts. Having emerged from hardcore punk backgrounds, the group refreshed the Detroit '69 sonic approach well before the early '90s grunge explosion, while steadily weaving in their fascination with funk and Blaxploitation films years ahead of wider cultural rediscoveries. Numerous later acts that pursued similar stylistic fusions during the mid- to late '90s likely remained unaware of the band that had refined this hybrid several years earlier. Big Chief lacked true originality yet maintained a clear lead over the platinum-level acts and critical favorites that arrived afterward. Timing issues, ineffective promotional efforts, an absence of striking visual presentation, and their Michigan location all contributed to their failure to attract broader attention.

Prior to settling on a name, vocalist Barry Henssler (Necros), drummer Mike Danner (Laughing Hyenas), bassist Matt O'Brien (McDonalds), and guitarists Mark Dancey (Born Without a Face) and Phil Dürr (Dharma Bums, Mötörhöme, Tom Gemp) received interest from both major labels and independent imprints, with the latter approaching after the former. Although a major deal was immediately available, Big Chief chose to honor their working-class principles by developing their reputation gradually, issuing their first recording in 1989 with "Brake Torque" backed by a cover of Funkadelic's "Super Stupid." Sub Pop's Bruce Pavitt, familiar with the musicians' earlier projects and recognizing their authentic Motor City origins as fitting for a label defined by Stooges- and MC5-inspired acts, extended an offer sufficient to fund a single for the imprint's singles club.

Big Chief accepted the Sub Pop funds and managed them prudently, completing the contracted tracks while allocating the balance toward additional singles for smaller labels. These raw sessions, encompassing both sides of the Sub Pop 7", were gathered into Drive It Off, issued in 1991 on the independent Get Hip. The aggressive style persisted on the band's first full-length album, the somewhat more polished Face, released in Germany later that year and in the U.S. via Sub Pop the following May. The record missed the momentum generated by Nirvana's Nevermind, whose mainstream success rescued Sub Pop and encouraged new listeners to explore the band's earlier Sub Pop release Bleach. Because Big Chief hailed from outside Seattle, unlike the label and many of its roster, they received none of the geographic spotlight that media outlets emphasized. Touring as openers for Beastie Boys, who were themselves revisiting hardcore punk origins while embracing vintage funk in a manner Big Chief had adopted organically, exposed them to fresh audiences across the West Coast and Southwest.

Recognizing that Nirvana imitators would soon saturate radio and retail, Big Chief expanded their approach for the successor to Face. This deliberate broadening proved an astute creative choice, moving them beyond perceptions as merely a guitar-driven outfit. Although the band had previously incorporated sampled dialogue from Blaxploitation films, Mack Avenue Skullgame was constructed explicitly as a tribute to the genre, drawing simultaneous inspiration from true-crime writer Lowell Cauffiel's Masquerade. Merging incisive parody with sincere appreciation, the album represented their strongest achievement, skillfully integrating multiple strands of rock and R&B. Commercial circumstances remained unfavorable, however, and label backing, particularly regarding distribution, proved inadequate.

Mounting frustrations led Big Chief to sign with major-label Capitol for 1994's Platinum Jive, another eclectic and accomplished collection that heightened the satirical element by presenting itself as a hits anthology covering three decades. While placement in stores such as those in Omaha became simpler, a change in Capitol's leadership shortly after the deal created obstacles greater than any prior difficulties.

Content with three substantial albums yet weary of industry dynamics, the band disbanded, though members continued performing and recording with Thornetta Davis, a vocalist featured on their releases from the debut onward. Dancey, Dürr, and Henssler also formed half of 36D, which released Endomorphic Joy in 1995. Through the remainder of the '90s, the musicians sustained their shared work on Motorbooty, the irregularly issued fanzine they had begun the previous decade, predating Beastie Boys' launch of Grand Royal. Dancey, whose artwork had defined Big Chief's output, every Motorbooty issue, and various other projects, persisted as an artist recognized in publications and galleries. Danner entered venue management, assisting with Detroit's Saint Andrew's Hall. O'Brien joined the Numbers. Henssler moved to Chicago, where he performed as DJ Chamberweed and ran a label. Dürr remained the most active musically, performing with multiple groups including Five Horse Johnson, Variac, Giant Brain, and Luder. The guitarist died in 2019 following a heart attack.