[6] Interested in poetry from an early age, Watt had begun composing his own poems, influenced by such authors as "...Keats, Shakespeare, and the old anonymous ballads",[8] rather than by the Beat Generation poets so in vogue at the time.

Watt published intermittently throughout the early and mid-1970s in independent Philadelphia magazines and literary journals such as CONTACT, where his work appeared alongside that of Ted Berrigan, Tom Pickard and Otis Brown.

Initially in his native Philadelphia, but later in Washington and New York, Watt built a steady following and drew strong reviews for shows which challenged audience expectations as to what a “poetry reading” was.

To call it a poetry reading would be like calling King Kong a nature film.”[11] His performances displayed an interest in stagecraft seldom seen in the conventional poetry reading- sound effects, lighting effects, specially built sets, props, costume design,[12] as well as the occasional use of backup “singers”[2][13]-all used in accompaniment to Watt's recital from memory,[6] sometimes delivered rapidfire, other times resembling the apparent loose spontaneity of a stand-up comedian.

Part of New York's “no wave” school, and influenced by Jamaican “dub-style” reggae vocalists,[2] the band was fronted by Watt and included an evolving series of musicians, (among them Paul Dugan, Hank Ransome, and Chris Larkin).