And Mitch Ryder ain't doing so bad himself...
I must start off with the disclaimer that I am a huge fan of Mitch Ryder‘s music. I’ve written enough pieces here and elsewhere touting the underappreciated master of gritty, soulful, Dee-troit rock’n’roll, mostly complaining that the general public is largely unaware that he didn’t hang ’em up after a few blazing years with the Detroit Wheels. Ask most people about Mitch Ryder today and they’ll shrug their shoulders; most will only remember the 60’s, and a few might remember the comeback album John Mellencamp produced…in 1983. Only the most devout of fans is even aware that there’s been a steady output of albums in Germany where he has been a superstar since establishing residency a generation ago. He remains an important, vital artist.
I held off on publishing this review for months because I was hoping to release it when it would have done the most good; coinciding with whatever concerted effort was in play to promote the first American album in over a quarter-century from a bonafide legend. But it’s now months later, and…nothing. Apparently I’m too close to the flame and in the vast minority , but either this album was criminally underpromoted, or no one gives a shit about Mitch Ryder anymore. I sure hope it’s the former.
Here’s my review from the current Bucketfull of Brains:
Subtitled The Promise, Detroit Ain’t Dead Yet is the first American studio album for Mitch Ryder in over twenty-five years. It’s really, really good, and I sure hope you have the chance to hear it because like the tree that fell in that forest, when it fell there was no one around…and whatever sound it made wasn’t heard. This album has been out for months, and were I not a Mitch Ryder lifer, I wouldn’t have known about it.
With old Detroit buddy Don Was on hand to twirl knobs, Ryder’s newest finds him bringing the funk as well as singing the blues and rocking out. The greasy, kinetic and keyboard-churning “Junkie Love” not only channels vintage James Brown, but is among the finest tracks Mitch has ever recorded. “Everybody Looses” (sic) scores with the Eric Burdon blueprint, and like Burdon, Ryder has found a new depth to his soulful voice in his post-golden years. Listen to his pipes on “Get Real” as he bends and plies notes with as much power and rasp as he did in his youth. Most of his contemporaries are scaling down arrangements to hide their limitations while Ryder seems to be expanding his to new horizons.
“My Heart Belongs to Me” might steal a riff from “I’ll Take You There” (the Staple Singers classic) but is the perfect vehicle for Ryder’s gruff soul; lyrically witty and timeless in its appeal. Ditto “If My Baby Don’t Stop Cryin'”, a funky urban ramble that could have easily been a roadhouse jukebox hit in his prime. And a live cover of the Jimmy Ruffin classic “What Becomes of the Broken Hearted” (oddly placed within the studio tracks) trumps anything Rod Stewart has attempted to do in his last five albums of interpretations. Less appealing are “Lets Keep Dancing” and the Dylan-esque “The Way We Were”, but two clunkers out of twelve is a batting average I’ll take any day.
Oddly enough, for an artist who wants the American audience to realize that he is creating new and vital music, the packaging of the album signals apathy in that regard. The cover is a cut-and-paste of a photo of a twenty-ish Mitch, not the sixty-plus visage of his current self. The liner notes, preceded by a quick note of “Hello England” (?) are merely a reprint of an old bio from 2003 focusing upon Mitch’s early days and how a great career got derailed. At the tail end of the essay there’s a quick note about the Mellencamp project happening after a couple of European solo albums. And lastly – ironically – a statement that “it would be a mistake to consign Mitch Ryder to the past“.
Fair enough, Mitch. But if that’s the case, why is there no mention of all those albums you’ve made since 1983? How about the events that led to this new stab at an American career? Most of America has no idea that you’ve made any music at all since Never Kick a Sleeping Dog, so why would you issue an album of new music in packaging that screams repackaged oldies? Fire your publicist/manager – or hire one – but don’t blame your audience for ignoring your new music if you can’t even muster the energy to acknowledge it yourself. I’m not certain if this excellent album would fly or fail in such fickle times, but to have it die in the womb because of poor marketing is inexcusable.
Still rocking at 65
I grew up in New York City, and when I first heard Mitch Ryder – and most of the magical music of the 60’s – it was on a transistor radio whose dial constantly spun back and forth between WMCA and WABC. Long before the power of Al Gore’s Internet and the availability of magazines from Creem to Mojo, AM radio was it, unless you had the stones to buy a magazine aimed at teenage girls (“Win a date with Paul McCartney!”) to get your rock and roll fix. (I did – Gloria Stavers‘ trailblazing 16 Magazine was my guilty pleasure and my salvation). When I was growing up, those DJ’s were stars, and one of those legendary voices leading the charge was silenced by a heart attack today. Ron Lundy, you took that musical journey with me…R.I.P., my friend. Seventy-seven, W-A-B-C!
And R.I.P. Peter Graves, who would have been eighty-four this Thursday. Mission Impossible was cool as hell, but like Leslie Nielsen, you knew not to take yourself that seriously and are legend thanks to Airplane. Now you’re really under, Ouver!
Has it really been thirty years since Airplane??