David Bowie "Live Santa Monica '72"

David Bowie
"Live Santa Monica '72" (Virgin)
by
DC Larson


An unexpected visitor turned up in my Monday mail.

Due for July 8 issuance (as a limited edition CD and double vinyl LP, including show photos and a related Robert Hilburn/Los Angeles Times review), this release presents David Bowie's first live US radio appearance: a broadcast of his Ziggy Stardust tour's Santa Monica Civic Auditorium show.

Bowie was never severely innovative (which would necessarily have been counterproductive to making cash registers ring out); only enough so to seem swirled when most around was vanilla. If anything, his knack was the hallowed one of the shrewd vendor, intuiting market tolerances.

More narratively ambitious and stylistically diverse works were to issue from the under-appreciated Sensational Alex Harvey Band ("Vambo," "Next," "Cheek to Cheek," "Tale of the Giant Stone-Eater," "Tomahawk Kid"). And the proposition of theatrics on the rock'n'roll stage would in short order be given the boot by the rip-and-stitch punk rock class of '77. (Though the phenomena did endure -- witness KISS and GWAR.)

Such naysaying having been committed to the page, though, there is cause to recommend this work. "Hang On To Yourself" and "Suffragette City" compel as much now as then by validating the conceit that rock'n'roll's veteran fires can indeed singe Now listeners. The songs are brash and they rocket in headlong extreme.

"Ziggy Stardust" illustrates why even preening narcissism couldn't strangle dominative riffing and the power of the bar chord. "Width of a Circle" merits notice for its wise accomodation of guitar master Mick Ronson's sparks-shooting exploits. In an extended bit of leg-stretching, he articulates intelligently and in soaring spectacle. His efforts unfurl and extend the geography of the electrified six string within the era's rock'n'roll.

It is, in point of fact, Ronson whose resources most raise these proceedings from the dustbin of pop culture history, there being no statute of limitations on unstilted instrumental fervor.

And in turn, much contributive reason for his own triumphs can be laid at the doorsteps of band mates Trevor Bolder (bass), Mick Woodmansey (drums) and Mike Garson (piano). An agile and vigorous company, they and Ronson made Bowie the affected-show biz-construct palatable to 1972 concert-goers more attuned to rocking out than posturing up.

All of which is, on reflection, quite a bit to find in the mailbox.



END

NAZI ROCKERS -- FUCK OFF!
by
DC Larson

"Punk ain't no religious cult,
Punk means thinking for yourself
You ain't hardcore 'cause you spike your hair,
While a jock still lives inside your head"
- "Nazi Punks Fuck Off," Dead Kennedys, 1981

The infiltration into various 1970s/80s rockabilly and punk scenes of incongruous racist and homophobic ideologies served to despoil those interests and threatened to destroy them. And while similar noxious perspectives are in the drastic minority in current communities, that they exist to any degree is cause for concern.

In 1970s England, the punk scene was partially hijacked by the facists of that country's neo-Nazi National Front. Nazi skinheads also attached themselves to the social phenomenon that was not their own. (Effective opposition was mounted by non-racist punks and Skins.)

Similar elements plagued in 1980s California punk and international rockabilly circles.
To the extent that bigoted thinking may lurk in some quarters of the current rockabilly scene, it is not at all consistent with the subculture but flatly oppositional to its defining spirit of defiance and freedom.

Examining the meaning of rockabilly's 1950s's origin points up the style's innate foreigness from divisive hate agendas. And it underscores those philosophies's ill-fit in contemporary neo-roots musics communities.

Rock'n'roll was born from a multiplicity of racial and cultural idioms including r&b, hillbilly country, blues, bluegrass and gospel. Proudly embracing that taboo diversity, it thrust its middle finger into the aghast mug of stilted, button-down propriety. (I speak here of the raw, original item, and not subsequent, commercially-cultivated replicas.)

It acted as a socially-unifying component of the growing Civil Rights movement, and brought people together on the dance floor just as others would unite at polling places.

Not to paint too rosy a picture. It wasn't the entire solution but it did help spark the crucial process. And its service in helping to usher away racial segregation should not be forgotten.

Remember, too, that among the rhetorical brickbats hurled at the burgeoning form by Officialdom were non-veiled racial ones like "jungle music." Rock'n'Roll History Online observes that the late 50s/early 60s White Citizens Council in Birmingham decried the "race-mixing" potential of the upstart sound's "raw, savage tone."

Unfortunately, humanity being at times illogical, some golden-era rank-and-file fans probably clung to existing prejudices. And it is not impossible that this or that original rocker might have held regrettable racial views.

But the law of probability can be applied positively, too: Given numerical quality, there surely were gay 1950s rockers (even if pressures in that day precluded openness.). With increased social acceptance, gay rockers are today visible in the scene, Blues shouter Candye Kane being just one example.

Together with the booming Latino rockabilly fan base, that bespeaks increasing progress toward demographic diversity. All good news.

Still, despite manifest reasons against it, there may yet breathe some degree of intolerance in some sectors of today's rockabilly scene.

One wonders if individuals who today indulge racial and sexual bigotries -- all the while thinking themselves as "of the rockin' scene" -- understand that they are reflecting rock'n'roll's early critics, and not its true pioneers.

CMT.com recalls the 1960s touring travails faced by legendary singer Wanda Jackson, whose band included pianist/vocalist Big Al Downing. Despite sometimes hostile, racist accomodations managers, they creditably rocked on.

And one does wish people would stop adorning neo-rockabilly items with the Confederate/
Slavery South Stars and Bars -- it predated the music's birth by about 100 years, and is the natural symbol of choice of some distinctly foul and un-rock'n'roll racist interests.

"You think Swastikas look cool,
The real Nazis run your school
They're coaches, businessmen, and cops,
In a real Fourth Reich, you'll be the first to go"

The racially-segregated world longed for by the Stars and Bars Confederacy would inhibit the multi-racial development of rock'n'roll. Real rockabillies were the enemies of that order. They acted in rebellion against then-prevailing strictures.

The phenomenon of the individual daring to think for her or himself and rebelling against imposed values undergirds today's authentic rockabilly community, just as it fired the original.

By the way: The caution to exercise intellectual independence and not uncritically accept proffered viewpoints? It also applies to the piece you've just read.

end

CD REVIEWS November/December 2006
by DC Larson

(All reviews copyright (c) Rockabilly Magazine, reprinted with permission)

Three Blue Teardrops
"Rust Belt Trio" (self)

Returning to the studio 14 years subsequent to sterling
debut "Poised To Hate," the 2006 Teardrops evince
all of their salad days's rambunctiousness, now with
matured assurance. Come for the playing, stay for the
songwriting.

Recommended Tracks "I'm Still Standin' Here,"
"Damage Control"

threeblueteardrops.com


Restless
"Rock'n'Roll Train, Best of the Madhouse Years" (Raucous)

Since the 1980s, England's Restless has enjoyed due
reverence as master neo-rockabilly icons. Their superb
efforts unionize careening drive and artfully variegated
construction. That singer Mark Harman is as well a deft
guitarslinger and enabled by fierce partisans (including
brother Paul) further enriches.

Recommended Tracks "The Face," "Mo Mama More"

rockabillyhall.com/restless.html
myspace.com/betternotvanish
raucousrecords.com


Truly Lover Trio
"Dance" (Twinkletone)

Were only the clever crafting of such trippingly attractive
pop/rock'n'roll material as easy as multi-instrumentalist
Marcel Riesco makes it seem. Indigenous, appealing
hooks abound in this steamy-hot record date. Know too
that sparkling, fun-forward personality is a cheering
constant.

Recommended Tracks "Baby Come On," "Spring Fever"

trulylovertrio.com


Shaun Kama and the Kings of the Wild Frontier
"Dear Scarecrow" (Boston Crown)

To call this simply an exuberant exercise in rambling,
country-grounded narrative weaving would be to
neglect the chilling psychobilly factor. Big, loud and
darkly-rendered. Ominous visitors include members
of Three Bad Jacks, Fishbone and Demented Are Go.

Recommended Tracks "Lost Lonely Road,"
"Ghost of the Twilight Storm"

kingsofthewildfrontier.com


Resurex
"Beyond the Grave" (Fiend Force/Cargo)

The outrageous soundtrack demanded by singer /
guitarist Daniel DeLeon's psycho diatribes and
ghastly eroticisms comes from a crew including
former Tiger Army and Nekromantix perpetrators.
"She's a laser-whipping creature and a one-eyed
beast / dancing in the graveyard, makes me weak
in the knees." Who the Hell left the gate open?

Recommended Tracks "Devil Woman From Outer Space"
"Zombie Girl"

resurex.com


P. Paul Fenech
"The 'F' Word" (People Like You)

Other psychos handily tailor that style's orthodox cut,
but UK idiom pater familias Fenech reimagines it.
Thus, Spanish guitar, Dee Dee Ramone outsider poetry
and metallic manifestos collide center-stage in force -
fit fashion. Others may be Fenech's peers. No one is
his superior.

Recommended Tracks "Aggarondo La Guittara Del El Diablo,"
"Angel Song"

kingsofpsychobilly.com


Los Creepers
"City Streets" (self)

In 1967, a clerical popular culture-scold hyperventilated,
"Rock'n'roll music is part of man's attempt to drive from
his mind the consequences of his evil living." To such a stiff,
full-on punk/psychobilly this potent surely promises particular
brimstone. The rest of us have a lot of fun living to do.

Recommended Tracks "Devil vs. the Mooks," "Bandidos"

myspace.com/loscreepers


Roy Orbison
"King of Hearts" (Virgin)

The Wink troubador's legendary status was long-since assured
by the time of this largely pacific CD's 1987 issuance, but his
inimitable operatic range and infallible instinct for stirring country
pop majesty remained as pristine as when in their Sun youth.
Sympathetic strings, elegant saxophone and busy guitars collude
on common territory. The listener believes.

Recommended Tracks "Heartbreak Radio," "Careless Heart"

royorbison.musiccitynetworks.com
virginrecords.com

GREATNESS AT THE MARGIN
by
DC Larson

A guitar is buried in Marshalltown, Iowa. This is why.

A flash point is possible in grassroots-level live music. An organic, vital moment in which emotional and sensory phenomena coalesce in a connected soloist's muse articulation. The spark surges through the crowd, electrifying the atmosphere and leaving listeners viscerally touched.

Skin crawls. Grins erupt. Shouts ring out. And all is right with the world. At least for that moment.

Marshalltown's Rick Larson found his way into that magical moment of greatness -- more than once, if truth be told -- as had so many unsung beat champions before him.

My brother, he knew his life's purpose from an early age. He got his first guitar when 12, and devoted himself to single-minded pursuit of earthly calling.

The demands of post-teen life typically compel would-be players to pursue 9-to-5 careers, relegating live music to weekend sideline status, if even that. But Rick never stopped.

Because he and music were of a piece. And to him, no other pursuits mattered.

He never cut an album, shot a video or graced a magazine cover. What he did was infinitely more important. A veteran of the bar band culture, he helped to keep blues and rock and roll alive before average people every night.

For them, plagued by trials throughout the work week, the release and revelry offered by live bands is positively salvational. A person can be put down by a boss during the day, but they can be ten feet tall on the midnight dance floor.

Songs to which grassroots, blue collar crowds today shout and thrill have roots in America's rich cultural mosaic and wonderfully diverse heritage. Tempos, melodic inclinations, and engaging rhythms from a score of shores met here and became new and as one.

American songs derive from the Appalachian Mountain country, and humming streets of Chicago. They hail from the highways that crisscross the land, and from the farmlands. From the cities, swamps, and suburbs. And they are born from common experiences, telling of human struggles, aspirations, pains, and triumphs.

It is through the efforts of anonymous players that folk stories and voices survive from generation to generation. A country's music serves as both popular record and expression of singular character.

Rick was professionally active in Central Iowa from the 70s through the mid-90s। Indeed, the area live music circuit was richer for his indefatigable participation.

He co-founded numerous Central Iowa groups: Amo, Armed and Dangerous, Party House, Ice Age, the Vipers, Commotion. And too many more to mention. Accompanying players came and went, too, though singer/harp player Mark Goodman and drummer Frank McDowell were usually in the mix.

Of course, sometimes, formal names or line-ups were not even needed। If a sudden gig opened up or a last-minute party jam presented itself, Rick would be there. Guitar in hand, amplifier on.

No prisoner of stylistic convention, he was as likely to rock the house as finesse a melody. He made all the right stops, from red-hot jumpin' to cool-blue orating. His intoxicating soloing interpreted heartache, passion and kick-out-the-jams exuberance. Lesser players were made conscious of their limitations.

Stevie Ray Vaughn, Keith Richard, Chuck Berry, Buddy Guy - these were his influences. He played the music that spoke to him, and it became important to his audiences.

Rick had something crucial to worthwhile musicianship: an absolute and unfeigned direct line between his heart and his art. He believed in each note he touched.

True, a few of the better chart songs sometimes crept into the late night sets. But only the better ones. For Rick, ignoring his instincts and selling out his musical integrity were simply not options. The gold ring mattered less than the music. The moment.

Devoted grassroots musicians like Rick who realize that all-important moment are infinitely more significant to real world listeners than is the trendy WRIT LARGE corporate music-product industry that takes them for granted.

For every transient and fabricated chart sensation, there are innumerable unsung authentics. And greatness belongs to them, too. Probably most of all.

For, it is indeed possible to reach greatness in isolation from the 'big picture,' without the whole world's being aware.

Rick did।

His guitar fell silent in 1998. We laid to earth with him the cherry wood-grain, Gibson SG Standard that had been his earliest performing guitar. It was only right that they remain together into perpetuity. Together, they had realized the moment.

That is how I know that greatness can indeed flourish at the margin.

And that is why a guitar is buried in Marshalltown, Iowa.
END