Tag Archives: Credence

T.G.I.F. – Ten Roots Rockers

Last night I saw two great sets from the pride of Festus, Missouri – The Bottle Rockets. Great albums and an even better band live, and it’s nights like that which make me thankful that there are still some great bands making the rounds these days playing Great American Music.

Of course, radio isn’t exactly following suit…roots rock, Americana and good old country soul rock’n’roll doesn’t market to the tweens. That’s the target audience with the most disposable income, the highest sheep mentality and the most easily swayed loyalty. And since no one is trying to cultivate careers anymore, it’s all about the quick hit and the cash grab, because tomorrow is someone else’s marketing bonanza.

Well, there are great bands out there plugging in and rocking out, and despite the ambivalence of the media, they’ve managed to carve out a career and a loyal audience. It’s not likely that they’ll play the Enormodome anytime soon, but who wants to watch a band through binoculars, anyway? Give me the honest sweat and pulse of a great club show any day.

The Bottle Rockets are such a band – they play with passion and heart and write songs about real people and real lives. They’ll plug in and blast off just as hard for fifty people as they will for fifteen hundred or fifteen thousand. So in their honor, here are ten artists that your neighbor might not know the name of, but their mission was to carry the torch for Great American Rock’n’Roll.

All deserve to be household names, and in my world, they are.

01) The Bottle Rockets: “I’ll Be Comin’ Around

02) Jason and the Scorchers: “White Lies

03) Webb Wilder: “Tough It Out

04) The Del Lords: “Burning In The Flame Of Love

05) Terry Anderson: “You Know Me

06) Dan Baird: “I Love You Period

07) The Jayhawks: “Save It For a Rainy Day

08) Lucero: “She’s Just That Kinda Girl

09) Drive-By Truckers: “This Fucking Job

10) The Beat Farmers: “Hollywood Hills

Of course, it’s just ten songs, not the canon. From Credence to The Replacements, from Walk The West to The Bo Deans, from The Blasters to The Gaslight Anthem, there’s a wealth of timeless music beyond that radio dial. Enjoy these ten, and go find yourself some more.

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T.G.I.F. – Ten from 1969

"Set the Wayback Machine for 1969, Sherman..."

If the concept of how quickly time passes hadn’t already stunned me three days ago – realizing that it’s been almost thirty years since John Lennon was killed – an email from my friend Siege would have packed a bigger wallop. But looking at his list of albums that were released in 1969 made me think (1) “holy shit, that was forty years ago” and (2) “wow…that was a great year for music”. 

It was another transitional year for me – less AM and more FM, less singles and more albums, Woodstock, etc. Several artists’ debuts made an immediate impact – CSN and The Allman Brothers along with some on my list below. Some 60’s artists were soon to depart but left great statements like Abbey Road and Turtle Soup. Credence released three albums that year, and The Monkees were already up to Instant Replay. Others like Johnny Cash, Marvin Gaye and The Kinks were shifting their priorities from singles to more thematic works. Bob Dylan released Nashville Skyline

Some artists who would become lifelong favorites were just getting started – Alice Cooper and Pretties For You, Fleetwood Mac with Then Play On, debuts from Yes and Warren Zevon and Mott the Hoople (which would soon see serious turntable time over the next couple of years from this soon-to-be disc jockey). The Moody Blues released two classics; supergroups were forming…I own or owned seventy-two titles on that list, and there are very few that I wouldn’t pull out and play right now. 

Any year in music is a pretty easy topic to research, and certainly the few years on either side of 1969 would also reveal a robust list of favorites and classics. But I took a trip through Siege’s tally and picked out ten that had particular impact on me then and still resonate now. I could easily shift the list on another day – great music being a subjective decision, after all – and your mileage may vary as well. 

But you’re here, so indulge me. Break one or more of these out and savor them; maybe you will relive some great moments of your own. And if you’re young enough to not have experienced these albums, take a plunge. Hell, I gave Death Cab For Cutie a shot, you owe me

So in no particular order… 

40 Years old and still kicking ass

In The Court of the Crimson King (King Crimson) — Still kicking today although they’ve been three or four totally different groups over the years. The album cover was only a mild tipoff compared to the psychedelic prog within; I’ve long argued that Ian McDonald was the MVP of this version of the band. An aural acid trip, an album truly worthy of adjectives like majestic and classic

Blind Faith  (Blind Faith) — Two thirds of Cream adds the bass player from Family and secret weapon Steve Winwood for a one-shot effort. Short and incomplete, its high points are timeless; great songwriting from Winwood and Eric Clapton, especially “Presence of the Lord” and “Can’t Find My Way Home”. 

Let It Bleed (Rolling Stones) — As the Stones weaned their way from Brian Jones and their blues based gameplan, as drugs and Jagger’s control-freak antics started to splinter a band into The Glimmer Twins and the other guys, as the music industry tripped headlong from pop singles into stranger days, the Stones might have fired their best shot across the bow. The bookend tracks (“Gimme Shelter” and “You Can’t Always Get What You Want”) are career-defining moments, and they didn’t even put their hit single (“Honky Tonk Women”) on it. 

Odessa (Bee Gees) — In which a pop band – already firmly established with a few hit singles – decides to experiment and challenge themselves to move on to the next step. Oh, how I wish they would have stayed this course instead of donning those ice cream suits a few years later. I expound in detail here

Everybody Knows This is Nowhere (Neil Young) — Consider this a club sandwich, with the opening, closing and middle tracks – three stone cold classics – the bread supporting the tasty filling. Hot on the heels of his debut, this first dalliance with Crazy Horse still resonates, soon to be followed up by After The Gold Rush to form one of the best opening trifectas any artist ever managed. Name another song where a one-note guitar solo (“Cinnamon Girl”) is even half as thrilling. 

Dusty in Memphis (Dusty Springfield) — I’ll admit it, I would have been perfectly satisfied with “Son of a Preacher Man” had I not read a review that piqued my interest and sent me in search of the album. Oozing soul (and yes, sex) this was a great marriage of voice, performers and material. (That English bird? Really? Yep.) 

Hot Rats (Frank Zappa) — Little did I know at the time that my initial Frank Zappa fascination would be even stronger forty years later and sixteen years (!) past his death. Because I was a fan of The Mothers of Invention, I was willing to open my eyes to the jazz and fusion I experienced here, although I can’t imagine anyone not loving “Peaches en Regalia”. Timeless majesty. 

The Stooges (The Stooges) — I’ll credit one of my older friends – as well as Creem Magazine, most likely – for making me give this more than one listen. Stereos were getting more sophisticated and progressive rock bands were flaunting daredevil instrumental virtuosity, but the Stooges were salmon swimming upstream. The Stooges first seemed like demonic sludge; the sound made when someone opened the gates of Hell and gave them a broken megaphone to broadcast with. Of course, after the initial shock, I was converted…and remain so. 

Tommy (The Who) — An opera about a deaf, dumb and blind pinball player. Sure Pete – have another toke. But although others (The Kinks, The Pretty Things) already had done it, The Who get credit for creating the first rock opera. Forget the semantics; this remains an incredible musical statement, from hit singles (“Pinball Wizard”) to underrated killers (“Sensation”); even the instrumental breaks and transitions are glorious. Skip the theatre and film musicals and slap on a pair of headphones for the original “Amazing Journey” 

Led Zeppelin (Led Zeppelin) — I know now that they ripped off old blues riffs and repurposed them; I know now that the band was really just the last version of The Yardbirds with Jimmy Page taking control, and I know that a few years later they would get so self-indulgent that I would sell the vinyl at a used store out of anger. (Ah, the folly of youth). But this first record was a kick in the nuts – this band really hit the ground running and killed on every track. (Rock perfection:  the percussive instrumental “Black Mountain Side” lulling you into a trance and then “Communication Breakdown” interrupting the haze and ripping your jugular apart. Plant’s scream before Page’s solo still makes the hair stand up on every pore in my body.) 

Rock me baby.

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