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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (Nov. 13, 1985)
BY DON WALLER n one finger, the whole “roots-rock re vival” is simply a predictable, pendu lum-like reaction to the slick, videoge nic acts that currently rule the upper reaches of the pop music charts. On the other, it’s a measure of how fragmented the audience for pop music has become that even the purist rock n ’ roll band these days requires clarification by hyphenation Hence the term “roots rock,” which is as strangely, eerily close to redundancy as any two pair of words can get. B sides, how can rock ’n’ roll be revived when it never died? Nevertheless, what is true—and germane— is that a loose group of musicians, led by Bruce Springsteen and former Cretdence Clearwater Revival mainman John Fogerty, most of whom had been playing the exact same music for years, has captured America’s orbs ’n ears of late. Coasidering most of you reading this are college stdents and therefore don't have anything better to do until Letterman comes on, take 60 sec onds out of your lives and subject Bruce Springsteen’s music to some SERIOUS historical analysis... Time's up! Blue books in! Now, what have you gtx? Jr Walker and the All Stars’ “Shotgun”? Gary ‘U.S.’ Bonds’ “Quarter to Three”? Bob Dylan’s “Like a Rolling Stone”? Trashy white bands from Mitch Ry der and the Detroit Wheels to the Young Rascals on down the Jersey shore? Just about every guitarorient ed British Invasion band of ’64 '65? And, of course, the spectre of Phil hanging over the entire linguini with-Valvoline, dying Northeastern industrial base mess around? Yes, as you can tell, 1 was an En glish major. But right now, Ah'm old and tired. Been interviewin’ rock n’ roll hands for elebenty sebben years. So, when my future grandchillen climb up on my knee and say, "\b, Rippa, I\>ppa Straighten us to the Great Roots Rock Revival of 1985," what am I gonna say? ‘Go away, kids, you bother me,' that's what Whereupon, they will threaten to use all my web Kip Checker records for Frisbees, so I 'll smile the slowest of slow sad smiles, bum a forbidden cigarette and regale the tiny mon sters with this do wah diddy " Fails are irrelevant. They change every three months. In the end, only the underlying restlessness matters.” That was Nik Cohn, circa 1969, in his .457 magnum opus, "Rock: Prom the Beginning. Wiit a minute Talk about your contradictions; I wish you could see mine. First, I tell you that this roots rock music isn't a lad, that it's been around as long as rock 'n' roll itself Then, I say that It’s only a fad ami therefore not to take it too seriously. Well, welcome to America Where, as I write it is July 4, 1985 Indepen dence Day. Fireworks Bruce Spring steen on the radio at the 7 11, sing ing "Born in the USA,” which the Iranian clerk behind the counter doesn’t notice His grandchildren, however, will grow up to be musi clans. What'll they he playing? Why, roots rock, of course. What we re taking so long to say here is that a whole lotta these kool kats walking around in pearl but toned shirts n’ toting vintage Tele casters were playing in a synth pop hairstyle combo two years ago, in a skinny tie "new wave" band five years ago and in a disco lounge act three years before that. Anyway, here’s the sanctified low down on the roots rock sound that's going round. So open your mind, clean up your face, buy a few of these records or better yet - go see these bands when they hii your college town and decide for yourself if they're jivin' or jammin’. r \ Along with Springsteen and Ho gerty the rtxxs rock arts with the most impact have been Los Lobos and The Blasters law Utbos. the more successful «mi record, came to Hollywixid as Blxsters proteges, hav ing played everything from authentic acoustic Mexican folk music to RttB to SO's rtxk n' roll in front of multi generational crowds in Hast HI lay for the past ten years. The Utbos may Uxtk like they just got ctff work at the body shop, but they capture the ambience rtf a small time border town dance lull on a Sat unlay nite litis is partyin' music. Neither do The Blxsters. who've been recording what they like to call "American Music” for the Ixst six years Blues. c<hiiitry. rtxk, gospel it's all grist for these steel mill union leader's sons: Phil ("the Man of 1,000 Mtices") Alvin and Dave, his penman/gil tar pickin' brother As far back xs the mid '60's, the largest, most loyal audience for any single style of American roots music hxs always been the exalted brttther hood of blues fans And then- are an amazing number of good blues I lands around: AOR guitar heroes Stevie Ray VUughan, a Texan who mates the bluesy side- of Jimi Hen drix with the rtxkin' side ttf Buddy Guy and George Thorogottd, a l)ela ware slide specialist who worships at the shrine of St Hlmorc (.Janies), are the current commercial cham|ts They are followed by the fabulous Thunderhirds, who play amplified country blues ii la Slim llar|to and s|totliglu Stevie's big brother Jimmy Vaughan, Roomful of Blues, a Rhode Island based, multi horned Jump, jive and jazz outfit, and L A ’s crimi nally underrated James Harman band, whose duel guitars of Kid Ra mos and Hollywood Hats enable them to whip ass on just about any Itxal blues band in the land While the blues is such a tradition al element of rock n' roll xs to have been transformed into heavy met al think about it the recent ground-swell of country oriented roots rinker-s represents a more slg nificaiu shift in rock 'n' role models. Led by ex-punk rockers, brothers Tony and Chip Kinman, Rank And File got there first. Mixing Kverly Brothers harmonies with Lefty Friz /ell’s roadhouse rhythms let! by the Lively and talented Ma rta McKee, Lone Justice has I x-i-n the most bsllyhooed, although It s even money whether this bourbon n’ branchwater voiced thoroughbred wouldn't lx* better off doing pure country material rather than the cor |>orate rock she's saddled with My money, racing fans, is on the long Ryders, who take off from such second generation country rtxk acts as the Flying Hurrito Brothers, the Gram Parsons era Byrds, the Buffalo Springfield and the Band And, if that ain't rexk n' roll, or roots rtx k, or whatever you wanna call it, what is? And. if it isn't, then whaddya call /axi York City's Fleshtones, other than "the wildest band this side of Birdland?" Or how 'bout the Ban gles, the Del FUegos, Three O'Clock, the Rain 1‘arade, the Del Lords, the Droogs, True West or the Pandoras, all of which can be lumped with vary ing accuracy under the generic head ingof '60 s Influenced, semi psyche delic, boom-boom revivalists? And what about R.F..M , drawing on the Velvet Underground and Byrds for inspiration, anil winding up the most successful act working this particular side of the street? After all, who would've thought that the biggest bands to come out of the "punk-rock revolution of '77" would lx* the Bilice and the Talking Heads? Only those hip enough to trap the rap of that great rock n' roller, Heraclitus, who said, "You can't step in the same river twice." Which means that guesstimating which of the aforementioned acts' songs will still be bar band standards in the year 2010 is a task better left to those with crystal balls. Or, let me put it to you another way.. If Bob Seger came out with his debut album this year and it sounded exactly like his 1976 "Night Music,” would people hail it as "a triumph of hauntingly accessible roots rock?” In the words of that ancient Greek philosopher, Lou Reed. "Despite all the complications, You could still dance to a rock 'n' roil station." And it was all right... ♦ DISCOGRAPHY 10 Hot Historical Tracks You won't knd£MeP»est«y, or even Muddy Wtolers. here Ratherthwircxaxknguptheusuaitelof seminal roots'ockere (line Richard. Chut*. Jerry tee) or smpfy rehashing the past gtones ot such household names at Har*.Wliems ant) 8 6 Kiig, what tolowsis a putposefudy mated tp, shot* ip set ol »des that l turn even me normesl ot dorms mto the hppest room n loam * The Jackie Wkaon Story Jackie Wdson (tp*X8S 2 Vbis) Arguably the greatest vocatst ol hs generation the late Wdson it also among the most underacpreoated This package omits the sap with whch hs producers often sadrked Wdson n lavoi of Ns more— shal we say. uptown'’ —performances gospel, btues. RS8. soU. smash hits Ike lonely teardrops" Thai samd at the end ol Wilson s rencktion ot 'Oomy Boy n ahum he wnngs ?4~court 'em -notes out ot the saxje sytable tor.' s your jaw tsttng the Door ► Uve el the Harlem Square Club 1963, Sam Cooke (RCA) The. previously ixveteased due IP captured Cooke at his most sooltu Playing a smal Miami nrtespot, Cooke reworks hit thencurrent hits with a gospel drenched mtensity that sacnkcas none ol the nch lone Ik*! phrasing and caCUalnrky casual attitude that nspsnd later nvtatois Irom Otis Reddng lo Rod Stew ■-r art Finger popping SOU never sounded belter ■ft v*-1 / b Groanin' the Btuem Otis Rush (RynghtEngkshtnport) tndustn J al stierglh guitar blues from the beginning ol this snger/nttslinger's ' V, A * starred cateer Hear where Jmmy ftege learned T Can't Oat You. 1 ' ^ Baby' He* where Enc Clapton teamed Al Your Love' Hear Rush LOU Rood take solos so tough you'd have to shave 'em with a blowtorch Hear b Chicken Shack Boogie Amos Mtxim (Pathe/French import) The rampn stompr title track dates beck to '49 and ought to conclusively prove once and lor al that rock n' rd tkd not sporty forth tram Ekrs Presley s ducktal Ike Minerva from the brow ol Jove 'Oown the Road /^sece' (nespkcabty not included here) goes back even lurther 16 1946 vrften pranrst/vocakst Mkxm bossed tho Wtesl Coast Mhp blues scene, wheren smal. handover combos boogwd then woogws around such adjt topics as reckless eyebakng and reckless hrghbakng ► V.U. The Vblvet Underground (Wygram) Alter sitting n the vaUts tor 15 years, the recently released ■turn stt sounds ahead of 4s tone Urmtiates wi tmd that thrs tost. soU conscious band ol ait rock primitives was not only capable ol a wider range ol styles than s commonly thought, but also that leader Lou Reed once swig as 4 he—or al least the character he portrayed ready meant al the tension, mystery and stark beauty packed into these grooves Often mtated. never duptcated b Nuggets, Vol 1 Various Artists (Rhno) This kodection ol klassick garagerock hits ol the 60 s bats 10 for 13. it you kanbeteve the klwmsol the kkHwvMiownt the bier notes It energy, launch, suburban punk postumgs and veiled references to taking lea with Mary Jane make you wanna tune n, turn on and drop out, then |om the Standots, the Leaves, the Seeds, the Count five. Muse Machine. Chocolate Watch Band and many more n Wonderful Wig City. |ust over the Shadowtoie from Anywherevdte, U S A ► The Johnny Burnette Rock 'n' Ron Trto The Johnny Burnette Tno (Chatty/English. 2 LP import) The widest, hairiest. slobberm gest, most mane rockabiy ever recorded Dig guitarist Paul Burnle son's accidental lur/tone on The Tram Kept A Rodin " (The Ytod beds and Aerosimth del) Cok* these rednecked, white hot and blue Memphis peckervyoods gone. REAL gone b Rockin' UnH MtdmghL Roftn' Until Dawn. Don & Dewey (Specialty) This dyname duo ot soil scream ers taught Sam & Dave—not to mention the Righteous Brothers—everytheig they know The aural equivalent ot a bw tight, this lipped dec nonetheless contans the ongmal- they wrote 'em—versions ol such oftdovered classics as Justne.' Big Boy (tele." Koko Joe,' 'Farmer John' and "Leaving It Al Up to You Whaow1 b Louiarans Blues and Zydeco Cbtton Chereei (Aihooke) You can substitute just about any ot the acconkanetCyvocalisI s several atoums tor frits 60 s effort Whether smgng m French pators or American yve playing swrtng R&B or snappy two steps this legend has been the undeputed king ol rydeco. a taghfy rhythmic toim ol indigenous Amencan tat* music, since the 50 s Bon Ion roulet b The Wild Tchoupitchoulas The Wdd Tchoupitchoulas (Antides) In honor ol Inckan tribes that helped runaway slaves escape, it's a Mardi Gras tradition that certain tamdies ol Afro Amencan men dress up as Native Amencan wamore They have songs-more accurately, chants—that have been handed down from generation to generation to go along with the spectacle Pulsating with potyihythmc power and-agan-a urequety Amencan expression, this music, is tho perfect antidote lot a hot summei's day You don' have to know that the Nevte Brothers are members ol the title to bedeve that when the Wdd Tchoupitchoulas brag they re gonna stomp some rump." Jack, they back then wax Clifton Chenier
