INTERVIEW: Mandatory Fun With Weird Al’s LongTime Guitarist, Jim “Kimo” West
Photo by Mariana Schultze
“Every time we did an album, there'd be another young crop of fans popping up. So now the audiences are multi-generational.”
The relationship between a band leader and their lead guitarist often mirrors the complex dynamics found in friendships, family, and romantic partnerships. For better or worse, in sickness and in health, surviving over 40 years in the music industry is nothing short of a miracle.
While I didn’t expect the relationship between Weird Al Yankovic and his bandmates to be fraught with antipathy (despite the playful portrayal in the biopic Weird), one cannot help but marvel at their nearly half-century long partnership. It speaks volumes about the skill, professionalism, and personalities of everyone involved.
“He’s very loyal,” says Jim “Kimo” West, Yankovic’s longtime guitarist. “Also, we never expected it to last this long.”
Toronto-born West moved to Tampa at the age of nine and began playing guitar. By 16, he had landed his first paying gig. Feeling he had outgrown the local music scene, he decided to move out west. “I really needed to go to New York or Los Angeles pre-Internet days; I decided on Los Angeles because it was warmer. Also a bigger scene. It wasn't long after I came to LA that I met Al.”
At that time, Yankovic had just secured his first record deal and needed musicians for local gigs. West, who was playing in multiple bands to make ends meet, was initially skeptical about the accordion-wielding musician, but recognized the potential in Yankovic's growing bookings. After auditioning, he was hired, and the rest is history.
They began touring, opening for Dr. Demento, and recorded In 3D, which featured the hit “Eat It,” a parody of Michael Jackson’s “Beat It.” That, along with some music videos on the brand-new MTV, propelled the act to success in the nerd-soaked, mid ‘80s zeitgeist.
More than 40 years later, West reflects on the group's enduring popularity with a degree of surprise. He attributes their success to the timely parodies Yankovic chooses—engaging anew with each album by tapping into current trends.
“Every time we did an album, there'd be another young crop of fans popping up. So now the audiences are multi-generational.”
Unlike typical artists, Yankovic and his band don’t need to have an album to support a tour, nor do they need to tour to support an album. Operating independently from a label, Yankovic has cultivated a loyal and dedicated fanbase that comes out regardless of whether there’s new music. They haven’t released a studio album since 2014’s Mandatory Fun, and their last tour focused on lesser-known hits, whereas the current tour promises nothing but the classics. It seems Yankovic, much like his music, operates by his own rules.
West appreciates not having a busy touring schedule with Yankovic, allowing him the freedom to pursue other projects. After a summer tour in 1985 supporting the Dare to Be Stupid album, a crew member invited West to visit a friend in Maui, leading them to the secluded town of Hana. The trip required flying from Los Angeles to Maui, then taking a small plane to reach the isolated destination. Hana is notably remote, requiring a two-and-a-half-hour drive from the main airport along winding roads.
“I fell in love with the place and decided I wanted to be there as much as I could,” West says. “I still maintained a place in LA and had a studio there. When I was busy, I'd be in LA; otherwise I'd be in Hana.”
Photo by Shane Tegarden
Life in Hana posed its own challenges; at the time, the town had only one gas station and two small stores, with significant shopping requiring a full-day trip. Yet these same challenges made Hana appealing. Unlike typical resort areas, Hana was rural, inhabited mostly by locals, horses, and chickens, with minimal tourist presence. The volcanic landscape of the Hawaiian Islands gave rise to mountains at their centers, with trade winds from the northeast bringing rain. Nestled on the wetter side, Hana boasted dramatic cliffs, lush jungles, heavy rainfall, and beautiful waterfalls, contrasting with the dry, resort-laden leeward sides. For those who appreciate vibrant, rain-fed landscapes, Hana's natural beauty was extraordinarily captivating, even inspiring West to embark on his own, non-parodic, solo career which focuses largely on slack key guitar, a traditional Hawaiian fingerstyle technique characterized by open tunings and a unique picking style. It predates the blues and has influenced the development of steel guitar, which later became integral to Western swing and country music. He hadn’t known much about this style before moving to Hana, only discovering its enchanting resonance through Hawaiian records played by local hosts.
Initially, he engaged in listening and creating mixtapes for road trips. The turning point came after a close friend passed away, prompting him to compose a Hawaiian Slack Key song in tribute. Encouraged by friends, he began writing and recording original pieces, eventually producing a CD with help from an artist friend and a local record label. As news of his music spread, he was invited to play at events like the Maui Slack Key Festival, and gained acceptance into the local music scene. The transition from being part of a band to becoming a solo performer was intense but ultimately rewarding, as his music garnered international fans, particularly in Japan and Europe.
“It's something I did for the love of it. I really didn't intend it to be any kind of commercial thing, but now it kind of keeps me going. I have a lot of streams on the networks and it kind of pays all my bills,” he says.
Recently, West contributed to “Sounds of Kumbh,” a global project that blends slack key stylings with Indian ragas, recorded during the massive Kumbh gathering. He also has multiple collaborative albums scheduled for release this year, including Travelogue with David Vito Grigoli and Two Shores with keyboardist Michael Whelan. Occasionally, he even tours with International Guitar Night, a concert series featuring guitarists from around the world. After completing tours in North America and Europe, he is set to host another North American tour in 2027, performing in major concert halls and blending Hawaiian slack key with diverse musical traditions.
Even at 71, West shows no signs of slowing down. He eagerly anticipates whatever projects come his way, whether through his solo ventures or alongside Yankovic.
“There's some talk about touring again next year and maybe trying to go to Europe and Australia, which we've done before. It might be a challenge because this is a much bigger tour, and those are smaller markets, but we'll see what happens. I would say at the very least, we will probably do another North America tour next year.”
As West continues to explore new musical endeavors and embrace life in his beloved Hana, one thing remains clear: the bond he shares with Yankovic has not only withstood the test of time but has also evolved into a testament of friendship and artistry, destined to create joy and laughter for decades to come. With each new project, whether solo or alongside Weird Al, West exemplifies the spirit of a true musician—passionate, dedicated, and ever willing to push boundaries. As the sounds of slack key guitar weave through the air and the legacy of parodies continues to resonate with audiences across generations, West’s journey reminds us all of the power of music to connect us, inspire us, and transcend the years.
Find out more about West’s projects by visiting jimkimowest.com. He will also be alongside Weird Al Yankovic at Saratoga Performing Arts Center this Thursday night at 8PM. Dare to be stupid.