Apr 192007
 

Only the hat failed to catch on

In rock’s nascent days, lurking not too far in the shadows behind the leather jacket, the DA, the hot rod, and the hot chick, was the motorcycle. Like the leather jacket, the cycle’s iconic power can be traced back to Marlon Brando’s role in The Wild Bunch.

Hot rods remained the vehicle of choice through the years when Chuck Berry was motovatin’, while soul and British Invasion artists of the first half of the ’60s did most of their commuting by foot and train. In the second half of the ’60s, however, thanks to Roger Corman‘s exploitation flicks and hippie-era interest in exploring the wide-open spaces of the United States, the motorcycle came to light as the vehicle of choice for rock ‘n rollers.

The opening images of one of the two most influential movies of my lifetime was accompanied by rock’s finest motorcycle song ever!

For reasons still unclear to me to this day, my parents and the parents of friends of mine from down the block took us all to see a drive-in double feature of Hell’s Angels on Wheels with Easy Rider. I must have been 5 or 6 years old. This was in the days when your could shove 8 people into a station wagon, with kids fighting for the highly valued seats that flipped up and faced looking out the back window. I still recall a bad biker dude in a WWI German helmet and a guy getting shot right between the eyes – shattering his rectangular Granny glasses – to end Hell’s Angels on Wheels. Yes! Then came Easy Rider, with choppers, kick-ass sideburns and facial hair, the leather football helmet, and “Born to Be Wild”. Yes! From that night forward I developed a crystal clear lifetime goal that, to be honest, exists in some form to this day: I wanted to be a hippie.*

*As part of this plan, I wanted to ride a chopper. Over the next couple of years I saved money to buy a mini-bike. My Mom was totally against it, but I kept saving. I was a week away from trying to get my Dad to make the case that I should be allowed to get one when a motocycle-riding neighbor from around the corner flipped his bike and died instantly. Just as fast I decided to cap my hippie accoutrements at big sideburns, a Fu Manchu, and a fringed suede jacket.
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Apr 182007
 

In the introduction to a streaming audio of the new Arthur & Yu album, my good friends at Phawker wrote:

WARNING, ONLY HIT PLAY IF YOU LIKE: The Velvet Underground, Lee Hazlewood & Nancy Sinatra, Margo Guryan, Karen Dalton, Harry Nilsson, The Everly Brothers, Joe Meek, The Hollies, Serge Gainsbourg & Jane Birkin, Them, Bobbi Gentry, Leslie Gore, Velvet Underground, Skip Spence, Silver Apples, United States of America, Donovan, Leonard Cohen, The Soft Machine, Vashti Bunyan, Marianne Faithful, The Vaselines, The Flaming Lips, Neutral Milk Hotel, The Zombies, Nico, Tonight’s the Night, Don’t Look Back, All Things Must Pass — if not, we feel sorry for you.

Now, I know we’re all supposed to feel sorry for Mr. Mod’s goat having been got, but what about mine?

  • Lee Hazlewood & Nancy Sinatra? Proto-Thrifty Music turd!
  • Serge Gainsbourg & Jane Birkin? Merde!
  • Bobbi Gentry? Yeah, I like big, lacquered hair too.
  • Skip Spence? Bargain-bin keeeeee-raaaaaaaa-zzzzzzy!

I could go on, but how much longer do we have to live with having these third-rate, dollar-bin oddities pushed down our throats as serious influences by the Indie Rock Community? It’s like saying you books or movies are influenced by ’50s pulp fiction and kung fu movies. What’s it lead to? Tarrantino! We’ve fostered musical Tarrantinos long enough. Can’t these guys grow up and get into jazz or classical music already? It’s getting so I miss the days when every Tom, Dick, and Harry finally got around to discovering The Kinks’ golden age.

I’ll check out this album and report back. I encourage you to do the same, whether you fit this profile or not.

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Apr 172007
 


Songwriters within the Halls of Rock, have you ever tried to write a prog-rock song? Seriously, even as a joke. I’m curious to hear about your experiences. One of the things that always fascinates me about prog-rock is the mysterious process that must go into writing a 10-minute opus, with 72 changes in tempo, key, etc. Please share, and please feel free to arrange to send me an example of your recorded composition. Perhaps we can develop your experiences into a little songwriting workshop on the art of prog-rock songwriting. Thanks.

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