"I think it was hearing Elliot Smith that made me want to play music."
So said a friend of mine in the bar tonight. I was having a beer with him, discussing musicians, bands and labels from our past and present. He is always telling me that he wants to rock, and I have to explain to him that these days I have been putting most of my musical energy into...my banjo. Old-time music, folk, bluegrass. Not rock. The thougt catches me for a moment, and causes me to shed a single tear into my beer. I then turn to a more immediate and importabnt matter - who was it that caused me to want to rock in the first place?
I did, shortly, realize who it was that had that all so familiar and great affect on me, the planting of that desire to rock. And I told him. I just have to say that I am listening to probably number one on the list (of course it was a joint effort) right now - and I am going to give you a quote from the song I am currently hearing
"Get into the groove for you've got to prove your love to me."
No. Not Madonna. Actually, I still don't really like Madonna.
First I said Neil Young. (The funny thing, actually, is that he didn't actually ask me to tell him who caused me to want to rock, I just felt that I had to...). Then I remembered that I didn't really get into Neil Young until after I moved to San Francisco. I wasn't into Neil Young in college. Oh, man, did I have a lot to learn back then.
But no, truth be told, it wasn't Neil that started it all.
I think it was a band called Sonic Youth.
Dirty.
One hundred percent, swimsuit issue, nic fit, chapel hill,
drunken butterfly. That might of been the start of it all. I mean, really though, credit has to be given where credit is due - SY was not at all alone. The Velvet Underground, Yo La Tengo, Superchunk, Sebadoh. Neil eventually made it in there. But to hear the wall of guitars, the alternate tunings, the sonic ambient wallpaper of Lee Ranaldo's background behind a cutting Thurston Moore out of tune solo. To fall back into the depth of the howling backdrop, to climb out on the simple innocent girl lyrics of Kim Gordon, and to relish in the comfort of Steve Shelley's constant, dependable beat.
People talk about punk rock - anger, angst, energy, enigmas, enemas, stage stunts, more anger, bottles breaking, screaming, distortion, fast beats. Or maybe that's just how I hear it. Punk, it's urban grit, it's intent to demolish and rebuild, it's no holds barred assault on the norm. To me Sonic Youth took the essence of punk and put it inside of a container. They have different sized holes on the container taht they can open, for different lengths of times. SOme of the holes have filters on them. Actually, I guess maybe their guitars are the switches.
It's not punk, it is punk, it was punk. It was a parallel to punk. This rock that calmed, soothed, built, demolished, surfed, wrecked, had immaculate orgasms of sound while causing the biggest headaches almost immediately before or after, it was a key to me, a template on which to hear everything else. It has been more than 10 years since I first heard Dirty. After which I heard Daydream Nation, Goo, Experimental Jet Set Trash and No Star, Washing Machine, then I got into Daydream Nation again, then I heard Sister, Evol, Screaming Fielsd of Sonic Love, NYC Ghosts and Flowers, A Thousand Leaves, thoses really experimental EPs from a recording session in Europe...seems to me their gear had been stolen shortly before at a festival in Southern Califronia.
"We're gonna kill, the California girls..."
(the song - I named a beer after this song, Expressway to Your Skull - just started)
Lee Ranaldo - From Here to Infinity
Sonic Youth Live (at some high school in Maine?)
and at some point, I got their really early, 1987 (was it their first maybe?) self-titled album. Steve Shelley had not yet joined the band - their first drummer was a guy named Richard Edson. Who later went on to star in a Jim Jarmusch movie - I want to say Strangers in Paradise, but it might have been Down by Law.
Does anyone else out there feel their life significantly changed when they learned that during the take of Sister Ray that was released on White Light White Heat John Cale and Lou Reed were turning their amps up as far as they could go to try and rock more than the other guy? I don't know...when I read about that, when I listened to some of the songs that the Velvet Underground did...I shivered. The grit of that band gets you in your soul. It's amazing, though. I can't think of anyone, I guess I don't know of anyone, any band, historically, that did what they did. The VU took simple songs like Heroin and added intent to them. Filled them out with emotion and lyrical depth. It seems like they laid the groundwork for performance in pop, that they crafted an art of storytelling that went along with their music, that was their music. Their songs create a place, and put you there - sonically and lyrically. The Velvet Underground was a band that could lead you from the dark side of an alley, a shadowy basement, to a sunlit field of daisies, up the brownstone, into a room, late at night, somewhere in the midwest, with a radio playing rock and roll, and you're young and you're hearing it for the first time and you don't, dear God, want your parents to find out. They painted thoughts of the color of a lovers eyes, they spoke of desire, deep addiction, relief from the hit, the future, the past, the postal service and long distance desire. When I got my copy of the banana box set, in college, I had just started doing a radio show at the college radio station. I had a 4-7 am time slot. I played just about every song on it for a specialty show I did during the semi-annual fundraiser. I didn't get any calls, but I had a great time. For a long time, whenever I needed to feel anything, to think at all, I listened to the Velvet Underground.
When I was in high school, an older friend of mine asked me about a hat I had on. "Is that a Superchunk hat?" She was a year or two older than me, and much cooler. She was an art student, a friend of a friend who was a grade ahead of me and often drove my friends and I into Baltimore for the first Thursdays free open art galleries night. In this friends' car was where I first heard Nevermind. These people meant a lot to me. It's funny to think back, to wonder if any of the talented artists I knew back then became artists, or should I say remained artists, if they settled into classic American family life, or maybe became investment bankers. But, that night, this particular girl asked me about my hat. It wasn't a Superchunk hat, I told her. I had to admit, kind of ashamedly, that I didn't know who Superchunk was. I was wearing a hat that I had gotten at a Matthew Sweet concert. It had been a kick ass show, on the Superdeformed tour - that's what the hat said "Superdeformed". This was the days of the Girlfriend album, and I have to say, that album and the guitar playing on it certainly came close to causing me to really want to rock. It made a small contribution to my rock nature.
I cannot remember this girl's name. I can remember that we were at a Stranger Than Fiction show, at JHU, and that STF was playing in front of a giant projection screen showing movies, in black and white, of something. Not movies, really, more like images. This was the first of many, many times that I was to see a band doing this, and I have to say it was always cool, as far as I remember. I also recall that the lead singer for Stranger Than Fiction had a giant dreadlock - one dreadlock, that flapped up and down on his face as he sang. I think. I remember thinking they were pretty good, but kind of, it seemed, into themselves. Well, I guess they rocked, so why not? I didn't know a ton about really rocking properly then. I am pretty sure I do now, but I can't say I have yet mastered the art of being really into myself on stage. It's sort of a state of transcendence you have to reach - through lots of practice, I think - that causes you to be able to leave your own body while you are rocking to rock along with yourself. I think when you can hit this point, you can probably master your stage presence, lose yourself, become the rock. And if I remember right, that's kind of what these guys were doing.
It turned out to be a good show. One of many that led me down the alley of distortion, into the basement of darkness and periodically the garden of light. I later learned who Superchunk was. I somehow found them, maybe, I think actually, because of this girl's question about my hat. Driveway to Driveway was my favorite song for years. Slack Motherfucker. Precision Auto. Package Thief. It's funny to think about all the good bands that came off of Merge Records, and how Superchunk was always my favorite. Neutral Milk Hotel? Anyone? I never really got into them. Superchunk. I saw them at Lollapalooza one year. Mac said that the liter bottle of water he was drinking from was actually filled with vodka. I almost believed him. Straightforward rock and roll. Fast, hard, fun, bad asss, sweet. Blend a ballad into a big rock song sound. One of two bands I felt was really talking to me, kind of soundtracking my thoughts and life, for a long time.
I remember sitting on a chair, downstairs from the porch at Kent St, singing "Think: Let Tomorrow Bee", playing it on guitar, knowing the girl I really dug at the time was sitting upstairs on that very porch, probably able to hear everything I sang. Singing, it, without admitting it, really, to her. And damn if Lou Barlow's words didn't hit too close to home.
Nowadays, I listen to bluegrass, old-timey, folk, mostly. I've gone all soft. I don't fall in love with women who I am friends with anymore. Or at least I try not to. It's hard. Hell, you can't get away from heartbreak, musically speakin anyway. To tell the truth my favorite songs these days are about trains, and drinking, and, well, they all seem to be in a minor key. Most of them anyway. So I play the banjo. So I have gotten into fiddle music. I still reserve the right to rock.
Maybe I got old. Shit, I didn't I? When did that happen? But do you know what? The wheel turns, the spokes come around. I was standing on the porch at my friends house recently. Two guys I know and I had just finished playing some music together. Trying to cover a couple of Woody Guthrie songs, maybe a fiddle tune, some folky originals. You know - fiddle banjo and guitar. We got to talking, and for some reason someone mentioned the Melvins.
"Holy shit, you know the Melvins?" "Fuck yeah, man, I totally rock out to the Melvins. They fucking rule." Or something along those lines. All three of us, we had Melvins records that we worshipped for a bit. But something in me, something intuitive, made me want to go deeper. I asked if either of them had heard of Sleep.
"No fucking way." "You listen to sleep?" "Holy shit."
I mean, come on. Sleep. It's where rock evolved for me. The Melvins, Sleep, Electric Wizard, Black Sabbath...we stood on the porch for a good half an hour running through bands who had planted that dark seed in us, or helped it to grow. The deep rock. The badass rock. The 52 minute long song, Jerusalem. What more do you have to play? 52 minutes. Named after the holy city of eternal jihad. Shit.
A guitar player, a banjo player, a fiddle player. What are all three of us doing in Mendocino? Sometimes I ask this question. More often I ask, why doesn't one of us play guitar, one play bass, and one play drums? Why don't we have the time to rock, or the ability? Do we have the ability, actually, if we would just try. One of us rocks by himself, and sometimes with other people. He doesn't really have a day job. I sort of envy him. But I could be rocking right now, with him, if I wanted. I am not.
My friend who never asked me about what music caused me to rock - his band went on later tonight, and I got to hear them play a couple of songs. They followed a blues harmonica band, super tight and amazing, from Louisiana. They played fast, they played hard, they sang about angst. They had interesting changes, distortion. People didn't seem to know what to think, exactly, but they didn't leave either. It was great to see some rock in Mendocino. They were out of practice, the crowd was small, the whole effect was strange. It didn't seem to fit. As I got into my car to drive home I scrolled around on my Ipod looking for some Sonic Youth, something to rock to. I found I hadn't loaded most of the albums I wanted to hear. I was pissed at myself, and I swore to stay up way too late tonight loading some good rock music onto my hard drive. Thanks for joining me in that. I drove away from the Caspar Inn marvelling at the amount of folk I have learned to appreciate, the amount of reggae I tolerate, and the distance I now felt from the rock which was once the center of my musical life.
Rock is Dead. Long Live Rock.
To be continued....