Rubber City Review

Let me start by saying Dr. John’s new album, “Locked Down,” is one of the most satisfying listens I’ve come across in the last few years. But I’ll also admit I can’t be very objective about the project, given my familial connection with the album’s producer, Dan Auerbach.

So rather than review it and raise further questions about my razor-thin credibility, I decided to pull Dan aside during a recent outing in NYC and have him break it down for us track-by-track.

Let’s start with a little background… “Locked Down” was recorded at Dan’s Easy Eye Sound Studio in Nashville and engineered by Collin Dupuis. Along with Dan, it features:

• Leon Michels on keyboards, percussion, woodwinds, background vocals (a Daptone Records session guy; Menahan Street Band, among others)
• Nick Movshon on bass, percussion, background vocals (another Daptone regular; Antibalas, etc.)… Both Nick and Leon toured with The Black Keys
• Brian Olive on guitar, percussion, woodwinds, background vocals (The Greenhornes, The Soledad Brothers)
• Max Weissenfeldt on drums, percussion and background vocals (Poets of Rhythm)
• The McCrary Sisters on background vocals

TQ: Dr. John is none too pleased about the sad state of current affairs (BP was an obvious target of his wrath following the Gulf oil spill). Locked Down is one of several songs that express his anger. You kind of pushed him a little into this more personal approach with his songwriting, right?

DQA: I tried to get him to do more personal stuff… When I went to meet with him in New Orleans he had conspiracy theory magazines and he had a lot of poetry he’d written. A lot of that stuff ended up in there, and I thought that was really great. And I wanted to mix some of that with more personal stuff. Locked Down

TQ: He also sings with more conviction than I’ve heard from him in a while. Are these first-take vocals?

DQA: Sometimes they were easy and sometimes they were difficult. It was weird – there was no rhyme or reason. I couldn’t quite figure out why one song was easy to sing and one wasn’t. But it was like that.

TQ: Great left-field keyboard solo on Revolution.

DQA: Yeah, that was all Mac (Rebennack, Dr. John’s real name). That was first take. That was a Farfisa. I pushed him… I say pushed, but I really didn’t have to push him into doing it. It was just, “Mac, play that Farfisa.” (Dan imitating Mac) “Alright.” “Play that Wurlitzer man.” “Alright, whatever.” Revolution

TQ: Big shot – that’s the closest thing on the album to a traditional New Orleans tune. What song did you sample up front and at the end?

DQA: That’s the Optigan (OPTIcal orGAN). It was made by Mattel in the ‘70s – a kid’s toy. And it uses optical discs… you just push buttons, and it’s got pre-recorded loops. It’s running throughout the song, mixed in. You can hear it more in the choruses. Great horn lines, and a lot of times they’d record West Coast session guys doing little parts. And it’s all free to use – public domain samples. Yeah, they’re strange little machines, finicky… speed up and slow down. We had to play that along with the Optigan. That took us forever. Max the drummer had on headphones listening real intently. So he had to keep that groove and that swing but play along to this pre-recorded loop. I can’t believe it works, but it’s one of my favorites. Big Shot

TQ: Ice Age is one of a couple tunes that sound very African to me. Did Nick have a hand in that?

DQA: I think we all… Max especially. Max is the kind of guy who’d get on an airplane headed to Africa with just a pair of drumsticks (laughs). The whole crew is way into that stuff. Ice Age

TQ: Great “fooler” opening on Getaway. You’re expecting sort of vintage, mid-tempo Dr. John, but it ends up sounding like it wouldn’t be out of place on a Black Keys album…

DQA: Yeah, that’s our rocker on the record. Getaway (opening)

TQ: Your solo is searing. What were you after there?

DQA: That was a live solo… that was on the floor. Just went for it, really. Definitely the best I’ve ever recorded. Getaway (guitar solo)

TQ: Kingdom of Izzness is very funky. Where the hell did those gospel singers come from?

DQA: They are the McCrary Sisters from Nashville TN. Their dad was in the Fairfield Four. Mac said he remembered seeing their dad playing New Orleans… Curtis Mayfield opened for them. The Fairfield Four with some gospel group Curtis was in. They’re awesome. Alfreda, Regina and Ann. Kingdom of Izzness

The McCrary Sisters

TQ: You Lie has a deep, soulful opening riff with a heavy African influence. Your solos sound wonderfully skewed, like you’re playing in a different key than the rest of the band.

DQA: We made it up… just winged it, really. I was playing an open G on that song. That’s like the John Lee Hooker tuning. Mac started playing some crazy piano chords. They were like weird Sun Ra chords on top of this African thing we were doing (laughs). So much fun. I mean, the whole record was like that. You get guys that good in the same room… It was just “on.” You Lie

TQ: Eleggua… explain.

DQA: In the spirit kingdom, he’s the trickster. Mac knows a lot about him. The song is all about Eleggua – calling upon him to help him out. You know those candles you get at the Mexican grocery store? Spirit kingdom candles? He would light those before he sang, while we were writing. He’d position them around the room at various points for the proper… voodoo. Eleggua

TQ: My Children My Angels… Love this tune, especially Dr. John’s keyboard solo.

DQA: That’s Mac. That’s just him… he just does that without any thought, you know? It just pours right out of him, that kind of playing. My Children, My Angels

TQ: You convinced him to play more electric stuff on the album, right?

DQA: Yeah, I wanted him to play Wurly, Farfisa. When I went down to New Orleans, I was playing music for him. That was the stuff we both gravitated toward. Ethiopian funk (Mulatu Astatke). African stuff… weird Farfisa, weird keyboard sounds. We just really liked that.

TQ: God’s Sure Good… Sounds like classic soul. What’s behind that guitar riff?

DQA: I was definitely thinking Lonnie Mack… some old soul songs, some gospel. Leon had the chord changes for the verses. Leon’s a genius too (laughs). Hanging out with a bunch of geniuses on this record. I don’t think you can get a better rhythm section than Nick and Max… I don’t think it exists, anywhere. All those guys are so talented. They get it. I was trying to make it, not necessarily old… just kind of timeless. I didn’t want it to sound like a time capsule. I just wanted the production to be “out of the way.” I didn’t want to overdo anything, like reverb or anything like that. I wanted the kick drum to be modern and hit like a hip-hop record, but just be kind of natural-sounding. God’s So Good

Dr. John, Dan and band will be performing songs from “Locked Down” at the Brooklyn Academy of Music, April 5-7.

Here’s a little peek inside Easy Eye as Dr. John and friends record the title track… I especially like the cameo by Dan’s dog, Bella.

Saturday Noon: Arrive at LaGuardia with wife, daughter and friend to spend a few days in NYC with other family members. Agenda includes The Black Keys’ sold-out show at Madison Square Garden. Guest list has grown to include 20+ Quines, Auerbachs and friends. Earn spot on road manager’s permanent shitlist.

12:30: Fight off limo drivers to get to cab stand at airport. Head off to big city. Let the games begin: Run Right Back

1 pm: Arrive at apartment in Chelsea. Rep from online rental service tells us to avoid contact with other tenants. If anyone asks, we’re friends of “Bob and Heather” (names changed to protect Dirk and Althea).

2 pm: Buy beer, wine and cereal at Whole Foods Market. Get yelled at by customer for not understanding color-coded checkout system.

2:30 pm: Pick up sandwich and spicy pickle at Murray’s Bagels (essential stop during stay). Head back to apartment and start drinking.

Mary Auerbach

7 pm: Meet other family members at hotel in East Village (only the deranged try to pull off family reunions in Manhattan). Miraculously find restaurant that can accommodate 16 people on a Saturday night: Congee Village. The fact that their food is edible seems like a bonus. Annoy piss out of wait staff.

9 pm: Walk into empty bar on Bowery looking for nice, quiet place where we can chat. Get thrown out because daughter and friend are under 21. On way out, we let bartender know she’s leaving lots of money on table by strictly enforcing NYC’s antiquated drinking laws. She seems glad to see the last of us.

9:30 pm: Plan B – Stop at liquor store, pick up bottle of Bourbon and head over to nephew Geoff Auerbach’s apartment on St. Marks Place. Spend next two hours looking at photos of strange tattoos.

11:30 pm: Make annual pilgrimage to Lakeside Lounge, home of world’s greatest jukebox (including some selections by our friend The Hound). Despite several hours of steady drinking, we’re still too sober to cram into photo booth.

1:45 am: Find cab.

2 am: Provide final instructions to driver re: destination.

Chuck Auerbach

Sunday 10 am: Head over to nearby Starbucks. Spend 10 minutes behind two nimrods who seem to be dumping Scarface-sized lines of Equal into their coffees. Finally elbow my way through, only to find empty pitcher of Half and Half.

10:30 am: Head back to apartment to microwave coffee.

Noon: Begin walking High Line with orderly mob of New Yorkers and tourists. Truly remarkable public space created on former elevated rail line. Wife abandons plan to jog it after slamming into several oversized strollers.

2 pm: Visit Chelsea Market. Load up on espresso in anticipation of long night.

3 pm: Head back to apartment. Lapse into zombie-like state – somewhere between fully awake and comatose.

5 pm: Get carry-out paella (a term you’ll never hear in Akron).

8 pm: Head down to private party for The Black Keys, hosted by Warner Brothers and Nonesuch Records. Specialty drink: the “El Camino” (tequila, hot sauce, ginger, dash of used motor oil). Get usual warm greetings from Pat Carney and his brother Michael. This is a sarcasm-free statement – I love all the Carneys (including ones I haven’t met). Great DJ, dude named Edan. Plays old-school funk like this tune: Sexy Coffee Pot …and even a little boogaloo.

8:30 pm: Daughter’s friend is clearly overserved. Gain new appreciation for NYC’s antiquated drinking laws. Dad leaps into action by grabbing both girls, dragging them to cab, taking them back to apartment, locking several deadbolts on the door and returning to party.

10 pm: Decibel level has tripled. Run into Russell Simmons. Have nothing to say, so I give him deep, soulful head-nod. I’m sure this still haunts him.

11 pm: Head back to Dan’s hotel lobby, where I sit down with his dad, Chuck, and surly road manager. Latter warms up considerably when I describe my own first trip to NYC, during which Chuck takes me to peep show on 42^nd St. I was 15 at the time. Fortunately, Chuck is protected by statute of limitations.

1 am: Call it a night.

Dan's back

Monday, 12:30 pm: Head down to meet Dan, Chuck, Ned Pollack (Chuck’s cousin, proprietor of Ned’s Southside Kitchen in St. Augustine) and Tandy Wilson (owner of City House, one of Nashville’s finest) for lunch at Famous Foods in East Village. Walk about 10 blocks to get there. It amazes me that, although every cab in NYC is showing the Keys’ March Madness video, no one recognizes Dan. Ah, the vagaries of life in big city. Dishes at restaurant are to die for, especially lamb sandwich and salad. Culinary highlight of trip.

2 pm: Catch ride with band back to apartment, since Chelsea is on way to MSG. My rock star moment.

6 pm: Order pizza and begin preparations for concert (e.g. buy six-pack).

8 pm: Walk eight blocks to MSG. Find meeting spot where sister (and Dan’s mom) Mary Auerbach is corralling everyone for trip backstage. We’re in!

8:30 pm: Backstage is practically empty, except for several stagehands who look like they just left central casting for a Martin Scorsese movie. Bartender is surprisingly excited to see us. Obviously, she has no idea what’s in store for her. Party continues.

9:15 pm: Grab seats off to side. Keys’ set kicks in with Howlin’ for You and never lets up. Songs from El Camino sound even more revved-up live. Great show… much love from NYC faithful. Mirror ball during encore seals the deal.

10:45 pm: Return to backstage area, where I run into my new BFF, CBS correspondent Anthony Mason. He wisely chooses not to introduce us to his stunningly attractive wife. We eat pizza while various camera-wielding strangers take pictures of us making spectacles of ourselves.

11:15 pm: With looks of great disdain, burly stagehands inform us it’s time to vacate MSG. We leave without hesitation.

Geoff Auerbach, patrolling backstage area

11:30 pm: Head down to after-party at The Spotted Pig in West Village. Sidle up next to Kings of Leon drummer Nathan Followill at bar. This time I work up enough nerve to introduce myself and wife, who is a huge fan. Ask him if he’s enjoying the evening. He responds that he’s just trying “not to throw up.” I applaud him for his initiative.

12:15 am: Run into Brian Burton aka Danger Mouse as I’m choking down hors d’oeuvre. Introduce myself as I gasp for air. He smiles in a withering sort of way as I sulk back to little-kids table. Is it rude to refer to supermodels as “accessories”?

1 am: My daughter meets Aziz Ansari, star of hit show Parks and Recreation. She asks him if he thinks her friend looks just like Amy Poehler. He says “yeah, I see it. You’re both white.” Best line of trip.

2:30 am: With flight back to Ohio approaching, we flag cab back to apartment.

Tuesday, 9:30 am: Time to blow this popstand. I say goodbye to tenant next door, noting that Bob is in recovery and Heather has run off with several circus freaks. We beat hasty retreat back to Akron.

Some photos (the good ones) by James Quine.

A gaggle of Quines (and significant others), backstage at MSG

Steph & Dan, no doubt admiring photo above

I haven’t had much contact with my famous nephew since The Black Keys conquered the world. Just the occasional text about someone I should check out, like Michael Kiwanuka or Bombino. So, like anyone who takes a few minutes out of the day to live vicariously through someone else, I’ll do the occasional google search to see what the boys are up to.

That led me to a brief interview in the Boston Phoenix in which Dan reveals his undying love of Link Wray:

“He was a huge influence… I still have all of my guitar amps turned sideways because when I saw him play he turned his guitar amps sideways, because it was so loud, and you would hear the ambient sound of the amp and not just the direct speaker sound. I thought that made a lot of sense. Plus, the amps aren’t blasting the audience in the face, which I think is really good, too. When I saw him, it was one of the greatest shows I ever saw in my life. There was a vocal mic and he didn’t say one word; he got onstage and started ripping through songs, and 40 minutes later he was done. Everybody was screaming for an encore, and he never came back — it was amazing.”

And that reminded me of a promise I’d made a couple of years ago to one of RCR’s earliest supporters, Joscha from Germany: At some point, I’ll get off my ass and do a post on Link Wray.

Then I started digging around on the interwebs for some Link-related items and came across a sprawling, six-part tribute by Jimmy McDonough, who first published the piece in the online music magazine Perfect Sound Forever (which also did a great post on Robert Quine, another Link Wray freak). As an interesting aside, the McDonough piece was highly touted at Link Wray’s official website, wrayshack3tracks.com – a site that expired on March 1. Yes, my friends, hundreds of websites dedicated to the Kardashians, and Link Wray’s official site is no longer available (note: looks like it’s back up and running – see comment below). Welcome to America, 2012.

Before I get to the music, I should point out two things about McDonough’s article I found very interesting – mainly because they seem to strengthen the link (sorry, couldn’t resist) between Link and Dan.

Thing 1: “He lived in a dimension of his own and would pretty much remain there – decades later, musicians would tell tales of rehearsing with Link only to have it abruptly end, Wray’s eyes glued to the TV, the guitarist lost in an episode of Batman.” Granted, Dan is far more focused during his own musical projects, but he definitely has a unique way of checking out of the world (and people) around him to follow his own muse.

Thing 2: “Fan and friend Bobby Morris, AKA Widmarc Clark, was amazed at how influence-free Link seemed, despite his awareness of players like Chet Atkins and Merle Travis. ‘Link was an experimenter. I never recall him playin a riff from those guys and sayin’, This is what I learned, because he just had a headful of it himself. He didn’t have a bit of trouble thinkin’ of a chord progression that sounded different and good. That’s just how he was born. Link was gifted.’” So it goes with Dan – born with a gift, restless experimenter, human hook machine. Even on the Junior Kimbrough tribute “Chulahoma,” he’s incapable of slavish imitation. Every song draws from the Hill Country blues tradition but seems fully formed in the here and now.

And now, the music…

Rumble… the song that started it all. That bad, bold and beautiful sound that inspired virtually every rock guitarist who followed (or at least the ones who mattered). And to think that the restless experimenter Link came across that sound by using a pen to poke holes in his amp’s tweeters. One of the great moments in modern music, like when Paul Burlison dropped his amp and broke a tube… or when his bandmate Johnny Burnette first let loose with one of his blood-curdling screams after backing into his guitarist’s lit cigarette. Rumble

Link lost a lung from a bout with tuberculosis, but you wouldn’t know it from the way he manhandles this Jimmy Reed original. I love how he gasps for air right before the chorus – a truly dark and demented touch… which of course is why we keep coming back for more. Ain’t That Lovin’ You Baby

Jack the Ripper – a masterful slice of menace from 1961. This cut worked its way into one of the few Richard Gere films worth watching, Breathless (video below). The song features Wray and his longstanding trio – brother Doug on drums, Brantley “Shorty” Horton on bass – at the peak of their powers. As Horton’s successor, bassist Richie Mitchell, pointed out, “There was somethin’ about the sound of those three guys that nobody could ever get again… You could play the same notes as Shorty played, but it was just somethin’ about the chemistry between those three people. They had an early original rock sound that was all theirs.” (McDonough, Perfect Sound Forever.) Jack The Ripper

Link did have a lighter, more playful side, and you can hear it on this cut from “’They’re Outta Here,’ Says Archie” – a collection of tracks that were shelved in the late ‘50s by Archie Bleyer, president of Cadence Records. Bleyer scored a hit with Wray’s Rumble, but decided that the rest of the songs intended for a Cadence LP would have a corrupting influence on teenage youth. Maybe the song Patricia was an attempt to meet Bleyer halfway… but apparently it still had just enough sleaze in it to scare off the label’s dipshit boss. Patricia

Here’s a grinding, blues-based tune that Dan covered during his 2009 solo tour, when he was backed by the great Texas band Hacienda. In the show I saw in Cleveland, Hidden Charms was the closest Dan came to playing an honest-to-god, four-on-the-floor blues number. And he was clearly inspired by the filth and fury of Link’s original. Hidden Charms

If you’re looking for a truly depraved example of Link at work, go no further than this stunning number from ’62. It was released under the name Ray Vernon & the Raymen (a nod to his brother Vernon, an aspiring pop singer who chucked it all to play a more essential role as Link’s producer and engineer). There’s absolutely nothing respectable about this song – from the drunken jackhammer rhythm to Link’s completely unhinged guitar. Maybe Bleyer was right… At the very least, wait until Junior’s voice changes before you expose him to this one. Big City After Dark

When it came to his music career, Link almost consistently made bad decisions – from signing with unsupportive labels to turning all his finances over to his brother Ray (Vernon), whose daughter Sherry inherited Link’s publishing company after Ray took his own life. At least Link could count on auteurs like Quentin Tarantino, John Waters, Robert Rodriguez and Breathless director Jim McBride to keep his music in front of the masses. But I still can’t figure out why the blazing instrumental Ace of Spades didn’t show up on the soundtrack to Tarantino’s Pulp Fiction. Even when Link seemingly caught a break, he couldn’t make it work to his advantage. Ace of Spades

More than a few of Link’s songs incorporate some exotic touches, including various tributes to his American Indian heritage (his mother, Lillian, was a full-blooded Shawnee) and lounge-flavored numbers like Patricia. This next cut combines a cha cha cha rhythm with a Malaguena-influenced chord progression. Of course it all comes out sounding like Link Wray music, which is a very good thing. Pancho Villa

One of Dan’s favorite albums is “Wray’s Three Track Shack” – Link’s “Big Pink” moment. In other words, much like The Band did back in ’68, Wray holed himself up in the country to come up with his own vision of Americana. But don’t cloud this vision with thoughts of guitar-strumming troubadours playing gauzy, sensitive tributes to rural life. Wray’s homespun recordings at the family farm in Accokeek, Maryland, were as rough and ready as his favorite switchblade – including this number covered by The Neville Brothers on their 1990 release “Yellow Moon”: Fire and Brimstone

When I first latched on to Link Wray’s music back in the Seventies, I assumed he was this strange, shady figure from England (he spent his last years in Denmark, so I wasn’t that far off). I actually was shocked to find out he grew up in Dunn, North Carolina, without a pot to piss in… that he was a lifelong teetotaler… and that he was very religious, in a God-fearing, fundamentalist sort of way. Wray kept rockin’ til the end – he toured America in 2005 before passing away that year from heart failure at the age of 76. Here’s a cut he recorded in England when he was 60, sounding like the youngest guy in the room. The Wild One

Link Wray live in England, probably ’96 or ’97, which puts Link in his late-60s… I’m sure there are better-quality live videos out there, but I love the way he prowls the stage like a mad hyena and literally snuggles with the crowd (knocking his guitar out of tune – a minor distraction):

From the movie Breathless… Richard Gere channels Link Wray as he steals a car to pick up his girlfriend.

 In the last issue of Rolling Stone magazine, I was described as the “blues snob uncle” of The Black Keys’ Dan Auerbach. At first, I took great umbrage to this (how’s that for a snobby-ass word?). But then I went back and re-read this piece from two years ago and I thought, guilty as charged. The original post included a nice comment from Dan: “got love if you want it is so amazing… i’m ashamed to say, it took me way too long to get into Excello. i should have just trusted you from the get go tim. always loved lonesome sundown though. besides tav falco, that’s my favorite stage name ever.” Whispering Smith ain’t bad either.

I’m a blues hound… won’t deny it. Love the form’s many sub-genres and permutations. Hate most attempts to slap a little rouge on its cheeks and make it more presentable to the masses. You can have your Jonny Langs and Keb Mos. Give me John Lee Hooker, alone with his guitar – and please find a way to remove all those special guest artists from his final recordings.

On more than one occasion, I’ve run into a distinguished-looking gentleman wearing one of those painfully casual outfits who claims to love blues too. But he’ll offer this information in a very solemn and private way, like he’s confessing he has a family of illegal aliens living in his basement.

Fact is, he’s told me nothing… Did he just see B.B. King at the outdoor amphitheater while getting hammered on cosmos with Buffy, Bif and Lillian? Or does he like to drink bottom-shelf liquor by himself and listen to the stream-of-consciousness blues that Robert Pete Williams recorded in Angola Prison? Doesn’t make much difference to me what he likes… I just think that extra bit of information would be helpful before we continue the conversation.

As Duke Ellington pointed out, “There’s two kinds of music: good and bad.” So it goes with blues – there’s a lot to like and almost as much to avoid. And I try to judge all comers on their own merits. I don’t knock Robert Cray for trying to sound like the second coming of Stax-Volt. Some of his best stuff comes close enough. But don’t bring me any of Clapton’s last 20 or so releases, and if you buy me Buddy Guy’s latest for my birthday, save the gift receipt.

The real reason I stick with the form is the universe of expression within it. You’ve got your city blues and country blues… hard-driving Chicago blues and laid-back Piedmont blues… full horn sections and one guy with a mic… fife and drum bands from the Mississippi hill country… flame-throwing guitar slingers from Texas… piano pounders from New Orleans and Kansas City… shouters… crooners… howlin’ at the mooners… maybe there’s a blues song in there somewhere?

Which brings us in a very roundabout way to one of my favorite sub-genres, swamp blues. Before I came across this mutant form, I thought I had a pretty good understanding of blues. I had faithfully purchased and analyzed the Muddy Waters and Robert Johnson box sets, viewed the “Live at Newport” videos, read the books, even learned a few of the songs myself… Then Slim Harpo came along, openly mocking my earnest attempts to become a blues scholar.

At this point, it’s probably useful to ask, what is swamp blues? First, it’s a form of Louisiana music that should not be confused with the state’s other vital and distinct contributions to American music – including Dixieland, New Orleans R&B, Cajun and Zydeco. Second, it’s largely the product of a small studio in Crowley, Louisiana, where one J.D. “Jay” Miller created regional hits for the Excello label, run by Ernie Young in Nashville. In other words, another one of those haphazard cultural collisions that makes Southern roots music so damn good.

Swamp blues is what you’d expect when a self-taught producer reinvents the dominant Chicago sound in a small Louisiana town – lazy, loping rhythms, casually soulful singing, and a do-it-yourself approach to recording technology (or lack thereof). Check out this cardboard-box rhythm on a tune by Lightnin’ Slim: Mean Old Lonesome Train/Lightnin’ Slim

Many artists made the pilgrimage to Louisiana rice country to record at Miller’s Crowley studio, including a small army of curiously named bluesmen like Mr. Calhoun, Shy Guy Douglas, Whispering Smith, Guitar Gable and Boogie Jake. Miller also launched the careers of several outstanding blues women – most notably the great piano player Katie Webster, who did session work on legendary swamp blues and pop recordings like Phil Phillips’ 1959 hit, “Sea of Love.” Here’s Katie with her own take on the hit… Sea of Love/Katie Webster

Crowley today: "Where Life is Rice and Easy!"

Let me get right to the point, by sharing with you a short list of my favorite swamp blues recordings (samples at the end for your listening pleasure):

Slim Harpo: I Got Love If You Want It. This tune seems to encompass everything that’s right and wonderful about swamp blues. I’m not sure how to describe the rhythm – it’s like the second-grade teacher gave the kids a few shakers and sticks and asked them to play a mambo. Then there’s the harp, which ain’t Little Walter but makes one hell of a statement at the opening. The acoustic-sounding guitar serves only one purpose – to move the song from I to IV to V. And Harpo’s voice brings it all together with his usual, laconic delivery. A blues masterpiece.

Lightnin’ Slim: It’s Mighty Crazy. John Hammond Jr. did a great version of this song back in ’75, but the original can’t be beat. Miller’s Cajun background must’ve led him to suggest the rub-board rhythm. Lazy Lester gives the tune its signature riff. And Slim’s gritty voice adds just enough menace to make you wonder just what he’s rubbin’ on. I think we all know it’s something other than a good scrub in the bathtub.

Lonesome Sundown: My Home is a Prison. Apparently, Miller liked the opening guitar riff to this song – it shows up on several other cuts by Lonesome Sundown (aka Cornelius Green). Sundown played guitar for Zydeco legend Clifton Chenier before joining Miller’s stable of artists in 1956. Released the following year, this tune is about as blue as blue can get… “It’s true I shot my baby, but it’s because she did me wrong. The only thing I got is this lonesome jail I call home.” Maybe Sundown was haunted by the dark muse behind this song… He eventually became a minister in the ecumenically named Lord Jesus Christ of the Apostolic Faith Fellowship Throughout the World Church.

Lazy Lester: I Hear You Knockin’. Not to be confused with the New Orleans nugget by Smiley Lewis that adds the line “but you can’t come in.” This is one of those blues songs with near-universal appeal, easily making the transition to rock and honky tonk (check out Dwight Yoakam’s version from “Buenas Noches from a Lonely Room”). Sounds like the rhythm section consists of that same cardboard box they used on Mean Old Lonesome Train. Legend has it that Lester met Lightnin’ Slim on a bus and talked his way into a recording session at the Crowley studio. We can all be thankful for that conversation.

“Rockin” Tabby Thomas: Hoodoo Party. The New Orleans influence is especially strong on this cut by Tabby Thomas, father of contemporary blues artist Chris Thomas King and former owner of Tabby’s Blues Box and Heritage Hall in Baton Rouge, LA. Great rhythm and horn part, and Tabby’s fine voice is practically swimming in Miller’s patented reverb. Louisiana blues doesn’t get any better than this – a testament to Miller’s genius in the studio.

Jerry “Boogie” McCain: She’s Tough. Jerry’s girl is so hot, she walks through campus and “professor lose his mind.” But she can’t hold a match to McCain’s blazing harp, which sounds like it could burn the whole place to the ground. McCain obviously inspired the Fabulous Thunderbirds, who included this song on their 1979 debut. And the pride of Gadsden, Alabama, is still playing the blues today. You can check him out at the city’s annual Jerry McCain Broad Street Blues Bash (now that’s how you honor a blues legend!). I Got Love If You Want It It’s Mighty Crazy My Home Is A Prison I Hear You Knockin’ Hoodoo Party She’s Tough

I should’ve included this in the first post… great clip of The Rolling Stones playing Slim Harpo’s Shake Your Hips (but without Mick on harp). Filmed live inside the Rialto Theater in Montreux, Switzerland – May 21, 1972, right after the release of the Stones’ classic “Exile on Main St.”:

“A lot of people think the blues is depressing, but that’s not the blues I’m singing. When I’m singing blues, I’m singing life. People that can’t stand to listen to the blues, they’ve got to be phonies.” RIP, Etta James (check here for a great blues cut by Etta).

Caroline, Dan and Mary at the Grammys

My sister Mary Auerbach, French teacher at Woodridge High School and mother of The Black Keys’ Dan, gives us a blow-by-blow of her recent trip to the Grammys, where the Keys picked up a little hardware for the trophy case.

So, not being a tweeter or much of a social networker, I’ve decided to use my brother’s blog to respond to all the wonderful Akronites who’ve asked, what’s it like to be at the Grammys? (The “GRAMMY Grammys,” as my friend Julie put it.)

Let’s begin in the middle – and if you want to really hear about all my lame preparations in anticipation of attending this year’s Grammy ceremonies, you can catch that on my facebook page.

When our son Dan and his bandmate Patrick of The Black Keys were nominated for four Grammys this year, my half of Dan’s parental unit decided it might be a nice idea to actually attend the ceremony in Los Angeles. My husband Chuck opted out of the garish event, deciding to remain true to the alternative roots of our son’s band, even though the doting dad had predicted a Grammy eight years ago. I decided to attend with my sister Caroline and her two girls, Hazel and Pearl.  A girls’ weekend for a mom who has four brothers and two sons. Yippee!

Hazel and Pearl, Grammy-bound

Preparations aside, let’s just say that after two months of gearing up, I found myself with two days off my teaching job, flying to 80-degree LA on the day before the Grammys, fresh from the slushy streets of Akron and the crunchy ice that’s been underfoot for seemingly a lifetime. I was immediately blinded by the intensity of… what do they call it? Oh yes. The sun. I was literally blinded. So much so that this seasoned international traveler found herself immediately at the wrong baggage carousel – and in the wrong terminal! None of the airport staff could help me, but my younger sister (from Boulder CO) not only found me but picked me up in her rental car and ferried me to the proper place. My lone bag was sitting in the “found luggage” room and god knows how I had found it. Welcome to LA.

I got a Grammy schedule from Dan’s manager, and we GPS’d our way to the boutique hotel in West Hollywood where Dan had reserved a suite for us. “What suite?” they asked. “Oh, for today, not tomorrow?” Four hours later we moved into our rooms, and god knows how they found a suite at the last minute on Grammy weekend. “God knows how” became the catch-phrase for our stay.

We proceeded (very fortunately, it turns out) to front-load ourselves with food. And where was Dan? Meeting with a “megastore” – the first of many business-related responsibilities he had warned me about. Our post-arrival lunch spot, just around the corner, was chosen by Dan’s very foody wife Steph, in an effort to get us off to a good start in LA. But the charming little cafe was so jammed with customers and fast-moving, tray-laden waiters that we literally cowered against the walls (for an hour, with a three-year-old in tow) and opted for take-out. Then we hoofed it back to the hotel in time to gobble it down in our rooms just before leaving for – early dinner. My capable sister had set up reservations in the only nearby restaurant that was offering them, at the only time available. We met up with my younger son Geoff (renamed “Thank God for Geoff” after the weekend) and his girl Katie, who cruised over in a convertible they had rented. We had arrived. We had eaten. We were ready for Grammy day. Possibly the longest day of my life.

Geoff and Katie

The front-loading ended with room-service breakfast on Sunday. Dan and daughter joined us. Then it was time for “hair and make-up” for Dan and Steph. We girls did our own hair and make-up, in which I had been diligently tutored by fashion-minded friends in Akron. My hippie sister winged it, and her girls needed no help whatsoever. We carved aside an entire hour to get dolled up, and then set off at noon for the three-hour pre-show, which would be immediately followed by the three-hour telecast. That’s more than six hours of interminable self-congratulation and waiting around! We brought our books and of course several pairs of shoes, jammed into a giant bag. My friend Ann had advised, “Don’t you dare wear flats. Just bring a bottle of 800 mg. ibuprofen!” I also threw in a bag of almonds… We were ready for a long day.

As you all know by now, Grammy night is all about spectacle. A two-man band from Akron is not exactly spectacle. The event organizers decided to shave off as many awards from the telecast as possible in the search for continually higher ratings. Gaga! Bieber! Mick! Bring ‘em on. In the meantime, the four categories for which the Keys were nominated would be dealt with at the “pre-show,” held next door to the Staples Center. We were hoping, though, that perhaps the Alternative Rock Album award might find some broadcast time. In fact, at one point during the handing out of 98 Grammys at the pre-show, Dan’s publicist excitedly told me that award had been moved to the telecast. No such luck.

Instead of paying $60 for a taxi, we took our rental car to the LA Convention Center, where the parking lot required a permit. So of course we started to whine as we searched for side-street parking within high-heel range of the center. Caroline soldiered on, making a U-turn into a place marked “Barney’s Warehouse Sale Parking.” It was a practically empty parking garage under the far side of the center. We were almost afraid to ask if we could park there for the Grammys, but the attendant sheepishly waved us in. He knew the $100 parking lot on the other side was a total rip-off. He just forgot to tell us we needed to be back by 8 p.m.

We hiked through the Center – several football fields’ worth of hiking – to the back door of the pre-show theater. “Thank God for Geoff” met us there with tickets in hand and bullied the five idle scanner guys into getting us in the back door. “Look at all those shoes,” one of them said.

Brothers

Arriving late at the pre-show, we found a grinning and daffy Mike Carney, who had just won a Grammy for the design of Keys’ “Brothers” album. He had endured the podium acceptance and the media room grilling and was still somewhere on a cloud. He needed a hug. I fulfilled my duty as a surrogate parent.

Our entourage was seated quite far in the back of a very dark room. We weren’t allowed to bring a camera… curses! Dan and Pat showed up in tuxedos, and their young ladies were stunningly beautiful. Steph was over six feet tall in high heels. Brother Geoff wore his tie in a “Merovingian” knot – like the evil twins in the Matrix, he said. Keys’ management was hovering. Would Mike win a Grammy, and not the guys whose album he’d designed? But they won two – and we cheered wildly as they went up to the podium, reminding me of the many graduation ceremonies I’d attended where that sort of thing was frowned upon. Other band entourages stomped out. Wildly dressed people swarmed about. Country singers with guitars brocaded on their tuxedos stood out. I met the great bluegrass musician Del McCoury, who Dan had performed with on Friday night at the Troubadour. And my heart went out to Neil Young, who was there to pick up his first music Grammy. Unbelievable.

But where was the food? Water bottles everywhere, but nothing to eat. And my feet were starting to hurt. I decided to stick with the flats (sorry, Ann) for the trip to the Staples Center for the telecast.

My God, the Staples Center. Hazel and Pearl took off to explore and peek at outfits, and Geoff and Katie left for a brief drink with friends. We all badly needed a break and couldn’t attend the red carpet at 4. Caroline and I stood around outside, wondering why the doormen (and women) were so insistently herding people indoors. Were they taking their duties too seriously? Bizarre outfits, seas of long dresses, even kimonos flowed past us. Rappers in massive suits, someone in five-inch platform tennis shoes. Still, no food in sight.

Del McCoury, Grammy nominee

Caroline and I had taken the more expensive tickets and left the rafter seats to the others. Our special seats had a special entrance, but it took us awhile to get there through the crowd. The auditorium was gasp-out-loud huge. It was packed with people hurrying to their seats. Huge screens with moving graphics only made us feel dizzier. Where were Geoff and the girls? The doors were closing! We were being locked in the Center with no food! No one could leave and return, and no one else could enter. But the rest of our group made it in at the last second. It was 4:45 and the telecast was about to begin, hence the herding. I reached for my bag of almonds while watching the people in the box seats eat all the food they could handle.

Dan, Pat and Mike were dragged to do some red carpeting, but their luscious ladies were barred. What up with that? Dan especially liked Jimmy Kimmel. His Mexican waiter interviewer (a Kimmel show regular) was about to ask a question when he saw Kim Kardashian. He ran off after her, leaving the boys staring at an empty mic. Ah, the Grammys.

I must say I was nicely distracted by the spectacle, and we were never bored – annoyed at times (Bieber, anyone?), but not bored. I don’t tweet, but I texted almost continuously to give my Akron family and friends one degree of separation from the Grammys. Brother Tim was having a viewing party with Chuck, and I sent him a few photos taken by my lame phone camera (which he of course tweeted right away). The light show was astounding – and, as reported, almost seizure-inducing for the band Arcade Fire. Cindy Lauper made her way to Dan’s row just before a performance started. She was forced to crouch down, so Dan briefly offered her his seat. And that’s how Steph appeared on the telecast, clapping with Lauper after one of the acts. I hope it wasn’t Bieber.

Screen shot of Steph, Cindy Lauper and Ray Lamontagne on TV

The stage production was amazing, and from farther back it was really magical. Hundreds of people would scurry backstage to set up during commercials, with never a hitch. Megastars who typically don’t take orders from anyone arrived exactly where and when they were needed. Despite a few minor screwups – like Christina Aguilera almost falling off the stage and the Avett Brothers mic stand falling over – the whole event had a Cirque du Soleil-like precision and flair.

Sheer screens, flames, people hoisted into the air, Lady Gaga’s egg thingy… It was all pretty astounding. My favorite act was the intense Eminem, with Rihanna flowing gently on a film screen above him. But the most amazing thing was the sound. Not even the best home theater could possibly capture the effect of being that enveloped in sound. The place was huge and it literally vibrated, but without killing your ears.

We stuck it out until the very end, then remembered how hungry we were. Dan was long gone, and Geoff left shortly after him (probably had a nose bleed) but made sure we were on the guest list for the Warner Records party.

The next hour was spent trying to find a street entrance to our parking lot (the upper entrances were locked shut after 8 p.m.). So we were late for the after-party and, at that point, close to starving. Some celebrities, having fulfilled their record company obligations, were already leaving. Thankfully, someone met us at the door with sliders and a fizzy wine drink. I scarfed down the burger (in my elegant dress and high heels) before I even got to the party room, where we were greeted by even more trays of food. I took off my shoes and chowed down, leaving the celebrity search to the young ‘uns. Geoff saw Juliette Lewis, Beyonce/Jay Z, Lenny Kravitz, Jane Lynch (“We loved you as Constance in “Party Down,” Geoff told her, to her utter delight) and Jeffrey Ross. But the highlight was when long red-haired Pearl met snowboarding celeb Shaun White. “I have red hair. You have red hair. We should be friends.” We took a picture, and they look like twins.

Pearl and Shaun White, twins

Dan was there for a little while, but soon left for the hotel with Steph. They flew to Vegas the next morning, and the show goes on. The flight home was all sunshine and clear skies – with the pilot tilting the plane each way after takeoff to give us a better view. I loved seeing the LA skyline… behind us, of course.

Thanks to Ann, Jenn, Amy and Laura and Meg for the shoes, make-up, hair and jewelry contributions. Thanks to my work friends, who had me walk a 12-inch paper “red carpet” as a going-away touch. Thanks to Chuck for staying home and letting me do my Grammy thing, and for his premonitions…to Dan for winning, to Geoff and Jeny for helping, and to Katie, Steph and Sadie for the fun times.

Thanks most of all to the “girls” for a great fun time, especially that Buddhist wannabe and master of competence, my sister Caroline (aka Keena).

For those of you who missed the Keys accepting one of their Grammys (in other words, virtually everyone who didn’t attend the Grammy pre-show):

Let’s revisit a couple of albums that had a big impact on yours truly, Brother James and Nephew Dan – basically, the vast majority of RCR’s global workforce.

Marc Ribot (pronounced ree-bow) is one of those wonderfully eclectic guitarists who can’t be pinned down by any simple category. Descriptions based on genres seem useless, since he’s dedicated most of his career to blurring the lines between them. With Ribot, I usually resort to adjectives – urgent, edgy, soulful, searching, honest…

He draws from a rich musical background – taught by Haitian classical guitarist and composer Frantz Casseus and schooled as a sideman for American icons including Chuck Berry, Wilson Pickett, Solomon Burke and Memphis’ first family of soul, Rufus and Carla Thomas. You can hear Ribot play fairly conventional chitlin’ circuit guitar on Burke’s classic album “Soul Alive!” (recorded live in D.C. in ’83), then defy virtually every convention on 2005’s “Spiritual Unity,” a tribute to free jazz pioneer Albert Ayler. Much like his old friend and musical soulmate, the late Robert Quine, Ribot is a restless spirit who always seems to raise the temperature of any project he embraces.

“Marc Ribot y Los Cubanos Postizos” was no exception. As the name suggests (prosthetic, or “fake,” Cubans), the project started out as a bit of a lark. But even though Ribot is often associated with New York City’s highly ironic downtown music scene, he’s probably incapable of playing anything that one could describe as jokey or insincere. In short order, the group’s eponymous debut (released in 1998 on Atlantic Records) became a heartfelt tribute to the great Cuban composer and tres player Arsenio Rodriguez.

The timing was right, given renewed interest in all things Cuban following the huge success of “Buena Vista Social Club,” which was released the previous year. But Ribot’s album seemed like the flip side to the Buena Vista coin – far less stately and mannered than Ry Cooder’s Grammy-winning project. One reviewer described Los Cubanos Postizos as Cuban music for the post-punk crowd. Although I don’t really buy that tag, Ribot’s band clearly approaches the Cuban tradition – and Rodriguez’s music in particular – with a far more visceral and contemporary sound than that heard in Buena Vista.

But first, a little background on the project’s inspiration, Rodriguez… Born in Cuba’s Matanzas Province, Rodriguez was blinded as a youth when a horse kicked him in the head. But that didn’t stop him from becoming a virtuoso on the tres and, eventually, one of Cuba’s most popular composers and bandleaders.

Street scene in the town of Julio Reyes, Matanzas Province (photo by James Quine).

You could argue that Rodriguez was one of the great genre-benders of all time, combining traditional Cuban music and African rhythms to create the son montuno – the backbone of modern Latin music. Consider that the driving rhythms of son begat mambo which begat salsa and all the related forms that followed, and you start to get a sense of what many contemporary Latin artists owe Rodriguez and his musical innovations.

A year ago, we used a great song by Rodriguez to add a little extra spice to one of James’ photo essays of Cuba. Here’s a departure from the traditional, trumpet-heavy “conjunto” sound that influenced Rodriguez and much of the island’s music in the previous century. Released in 1963 on Epic Records, “Quindembo Afro-Magic/La Magia de Arsenio Rodriguez” features a sax player and especially strong African rhythms. The album later was released under the title “Legends” and has long been out of print. If you can find it, pick it up… it’s a remarkable outing from this essential artist: Compay Cimarron/Arsenio Rodriguez

Back to Ribot… On “Los Cubanos Postizos,” he and his core band – Brad Jones on bass, EJ Rodriguez on percussion and Robert J. Rodriguez on drums and percussion (both unrelated to Arsenio) – tackle seven songs written or recorded by the Cuban master from the 1930s until his death in 1972. But this isn’t an exercise in faithfully recreating the original versions. The band stakes out its own turf with stark, insistent rhythms and playful accents on organ and mellotron provided by special guests John Medeski and Anthony Coleman. And the main voice throughout is Ribot, either caressing or thrashing his razor-sharp electric guitar. Not your standard tribute album, but I doubt Arsenio would’ve objected… Postizo

Actually, things are fairly sedate up to that point. The first tune is a slow, minor-key rumba that builds beautifully with Ribot’s lyrical guitar. And the second number, with its loping, mid-tempo beat, doesn’t sound like it would be out of place on an album by War – if the band had hired jazz guitarist Kenny Burrell as a guest artist: Aqui Como Alla

Ribot being Ribot, the album isn’t without a few oddball flourishes. You almost have to be a fan to appreciate the way he wraps some spoken wordplay around this fiery solo: La Vida Es un Sueno

Los Cubanos Postizos released a second album in 1980, and I’d argue it’s even better than the first (word has it the band was signed by Atlantic after playing only three gigs together). “Muy Divertido! (Very Entertaining!)” gets off to a strong start with Dame Un Cachito Pa’Huele, another composition by Rodriguez. This one includes a fine vocal by Eszter Balint as well as Steve Nieve on organ: Dame Un Chachito Pa’Huele

Ribot throws three originals into the mix, including another spoken-word number. This one extolls the virtues of New Jersey’s verdant, rolling hills. In a recent NPR Fresh Air interview, Ribot said he’d been listening to a lot of classic Cuban records, and “there’s a lot about distance and exile and wanting to return home – the lost home… Well, I’ll write a ‘long-lost home song’ about not being able to go back to New Jersey for some mysterious reason.” So what does the Jersey native write about? A neighborhood near the Holland Tunnel that sits on top of a former garbage dump. Maybe the post-punk label works just fine: Las Lomas de New Jersey

This next instrumental is one of a handful of songs that take me to a specific place – in this case, the beach… any beach. Sun beating down, sailboats on the horizon, hot woman to my left (wife, of course), cold beer on my right… The song’s title is appropriate given my fair complexion – not to mention the slow burn that Ribot and band create with this one: El Gaucho Rojo

But the strongest number on the album isn’t penned by either Ribot or Rodriguez. It’s a composition by Pedro Flores, a Puerto Rican bandleader in the 1930s and early ‘40s. And once again, Ribot and band do the unexpected – turning Flores’ bolero into a quirky carnival funhouse that would make Tom Waits proud: Obsesion

With the two Cuban-influenced albums under his belt, Ribot quickly moved on to other projects – including the Ayler tribute and, most recently, “Silent Movies,” in which Ribot re-imagines himself as a musical accompanist at a theater that only features long-lost classics.

He also remains a very in-demand session guitarist. Over the years, he’s recorded with a long and diverse list of artists that include Waits, Alan Toussaint, Medeski Martin & Wood, McCoy Tyner, Marianne Faithful, T-Bone Burnett, Elvis Costello, Madeline Peyroux… and The Black Keys. Largely based on Dan’s enthusiasm for the two “Cubanos” albums, the Keys brought Ribot in to play on their 2008 release, “Attack & Release.” As you can tell from Ribot’s searing solo on this next cut, Dan’s instincts were right on the money (nasty tone on this one… and Dan isn’t divulging any trade secrets): So He Won’t Break/The Black Keys

Virtually everything Ribot has recorded demands my respect, but I keep going back to those two records of convoluted Cuban music – and it’s nice to know he hasn’t completely abandoned the concept. Here’s a video of Ribot performing with a new lineup of Cubanos Postizos last year at The Oval in Stuyvesant Town, New York City. Muy divertido de veras!

We now have a twitter account, which means we need to do something drastic to promote it. So we’re giving away 2 free tickets to The Black Keys’ sold-out New Year’s Eve Show at the historic Aragon Ballroom in Chicago. Here’s how you can earn a chance to win:

1. Follow Rubber City Review on twitter (link at right)
2. Tweet a 140-character (max) essay telling us why you need to go
3. Include the following hashtag: #rcrtix (OK, now you have 7 fewer characters to work with!)

Deadline for entries is midnight, December 4, and our team of editors from around the globe (our Russian judge is shown squatting at right) will pick the winner the following week. And don’t forget to check back for more goodies down the road.

Speaking of the Keys… You know Dan has turned into a Nashville Cat when he starts sending me videos of pedal steel players – as opposed to, say, Freddie King or Magic Sam.

Here’s a couple of his latest finds – Alvino Rey and Pete Drake. And once you get past the corn (Lawrence Welk, faux farm setting), this stuff is pretty damn tasty.

Born in 1908, Rey grew up in Cleveland and has been called the father of the pedal steel guitar. Unlike the much-younger Drake, he honed his chops outside of country music, playing mostly big-band swing. But both Rey and Drake were early pioneers of “talkbox” technology later made famous by another northeast Ohioan, Joe Walsh (Rocky Mountain High), the ubiquitous Peter Frampton (who now hides out in Cincinnati) and funkmeister Roger Troutman (Zapp), who hailed from nearby Hamilton, OH. So blame the Buckeyes for one of the more notable gimmicks of the Seventies.

In this next cut, Rey joins the Lawrence Welk Orchestra – don’t laugh: its alumni include more than a few red-hot jazzbos – on a blazing workout of the exotic Hindustan, a tune originally written in the ‘30s for the theater organ but later given the full swing treatment by Artie Shaw. No talkbox on this tune, but I love how Rey gets a very respectable wah-wah effect by manipulating his volume control (long before Danny Gatton twisted the knobs on his first Telly). Also interesting to note that Rey’s first talkbox experiments involved having his wife Luise hide behind a curtain and sing along to his pedal steel, using a specially rigged microphone.

Drake was a long-time mainstay on the Nashville music scene – “first-chair” pedal steel player for Tammy Wynette (Stand By Your Man), Charlie Rich (Behind Closed Doors), Don Gibson, Marty Robbins and a long list of other country music stars. He even played steel on Bob Dylan’s groundbreaking Nashville sessions, adding some legitimacy to the hit Lay Lady Lay, as well as on George Harrison’s “All Things Must Pass.”

For the purposes of setting up the next video (and tying it in with the previous one), I’ll add that Drake played on the first international hit involving a talkbox. He recorded Forever back in ’64 – at least a decade before Frampton came alive and Zapp got more bounce to the ounce:

One more nod to the Keys… I know this video has shown up on their main website and myspace page, but I’ll post it here in case some of you missed it. It takes you inside the legendary Muscle Shoals Sound Studio as Dan and Pat re-imagine deep southern soul in the place that practically invented it. “We got a little trashed the night before and asked our manager for a harpsichord,” Dan said. “It showed up at the studio the next morning.”

Oh, and here’s a little taste of Roger Troutman, who scared the piss out of Muffy, Bif, Scooter and the rest of the student body at Miami University in the mid ’70s with his mighty band Roger and The Human Body… More Bounce to the Ounce/Zapp with Roger Troutman

Article first published as Book Review: Composed: A Memoir by Rosanne Cash on Blogcritics.

Our last post on living, breathing artists led me to another crisis in confidence. Just what is this blog all about? Why keep blathering on about music that, with the possible exception of The Black Keys, most humans simply don’t care about?

Then I came across a passage in Rosanne Cash’s new book, “Composed: A Memoir,” that also could serve as RCR’s mission statement:

“We all need art and music like we need blood and oxygen. The more exploitative, numbing, and assaulting popular culture becomes, the more we need the truth of a beautifully phrased song, dredged from a real person’s depth of experience, delivered in an honest voice; the more we need the simplicity of paint on canvas, or the arc of a lonely body in the air, or the photographer’s unflinching eye. Art, in the larger sense, is the lifeline to which I cling in a confusing, unfair, sometimes dehumanizing world.”

I’ve been a fan of Cash’s ever since “King’s Record Shop” was released back in 1987. And I have to admit, her music doesn’t sit comfortably next to a lot of stuff I listen to. Nor would anyone confuse the writing on this site with the kind of intense, deeply reflective, almost painstakingly eloquent language found in “Composed.” Let me put it this way: Rosanne Cash will not be appearing at a chuckle-hut near you.

But she’s had a long-standing gig at my house. I may have been raised on the Stones, but my daughters were raised on Rosanne Cash – along with other alt-country favorites like Steve Earle, Lucinda Williams, Dwight Yoakam and Gillian Welch (for some reason, my girls didn’t take to Howlin’ Wolf… although Meghan loves Taj Mahal). Rosanne’s highly literate songs provided the soundtrack to many of our trips south. And even though my youngest eventually moved on to hip-hop and rap, I’m sure she still has a soft spot for Cash’s “The Wheel.” Fire of the Newly Alive

Cash brings the same sensitive touch to “Composed.” And her descriptions of growing up in a musical family especially resonated with me. We’re sort of the Cash family in reverse. Although my brothers and sister remain active and performing musicians (and I’m considering a return to service), all of the fame and notoriety has landed on the next generation as nephew Dan Auerbach – and his musical soulmate in the Keys, Pat Carney – continue their march toward world domination. Granted, they may never be as recognized and beloved as Johnny Cash, but there’s still plenty of time.

Much of “Composed” is about the many ways that fame can change those who enter the celebrity funhouse, either voluntarily (friends and second spouses, for example) or otherwise (immediate family). I enjoyed Rosanne’s stories of the time she spent in London, working in a low-level artists relations job for CBS Records simply because she happened to be Johnny Cash’s daughter. She had no illusions about the experience, perfectly understanding why some people treated her with great deference, and appreciating it when others didn’t. She was determined to make the best of the situation – and her father’s patronage – as she partied her way through a pleasant yet frivolous assignment.

Of course, there are larger themes to “Composed” – including death, motherhood and the challenge of struggling with addictive personalities (a theme that Cash felt was grossly overblown in the movie “Walk the Line”). Another big theme involves sacrifice. What does it take to really make your way in the world as an artist; to build your entire life around creating art, and doing it on your own terms?

Cash is philosophical in describing her own journey from Nashville hit-maker to a well-respected singer-songwriter with her dignity intact. In earnest and artful language, she takes us through the process of starting over again – of leaving behind a certain level of success and comfort to head into the great unknown, with only your creative instincts to guide you. But the true meaning of sacrifice is often revealed in the most mundane details, like the way Cash describes the simple act of flying:

“I have been in planes that have been struck by lightning, surrounded by tornadoes, diverted to new and even more miserably inconvenient destinations; planes whose landing gear failed to descend, engines conked out, wings clipped the ground and spewed rivets across the runway, takeoffs and landings have been aborted in snow and ice storms and violent winds and rain; planes that dropped so fast and so far that people literally hit the ceiling; and once, on a nearly empty late-night flight into Nashville, the pilot sent an attendant back just after the landing to ask me if I knew where Gate 4 was, since he thought I had probably landed at this particular airport more than he had. And I had.”

On more than one occasion, I’ve stared at an opportunity as a full-time traveling musician, and then looked away – mainly because I knew deep down that I couldn’t handle life on the road, especially in a third-tier band. But even a steady string of local gigs can take their toll (especially before the indoor smoking ban took effect). As my wife points out, we were tossed off more than a few social calendars because of my busy playing schedule. And after moving back to town in ’91, I went 10 consecutive years playing shitty (but well-paying) gigs on New Year’s Eve while my wife stayed home to entertain our daughters. Someday I’ll figure out how to make it up to her.

But all this pales in comparison to the act of ripping yourself away from home and family for huge chunks of the year to make money on the road. And touring income has become even more essential for bands today as CD sales are eclipsed by file-sharing and other acts of digital thievery (I confess, I’m not without sin).

Cash doesn’t try to gain our sympathy for millionaire artists. Whether she’s making somber observations about the creative process or describing a major fuck-up at the airport, she’s simply sharing the basic realities of life as a working musician. And, to her credit, she doesn’t make much of a distinction between that pursuit and the art of everyday living – like her late mother’s gardening. It’s just that when you play on a bigger stage, you usually give up a lot more to get there. Thankfully, modern-day road dogs like Cash and The Black Keys still find a way to make it work, so their inspiring shows can help us feel just a little bit better about life on planet earth.

A number of years ago, I read a newspaper column by some Big Gulp-swilling soccer mom that really rubbed me the wrong way. I’ll paraphrase: “Music really mattered when we were kids… Then we grew up, bought houses, had kids of our own, raised families and came to realize music really isn’t that important at all. Now we revel in the music of life.” Or some such drivel.

What I wanted to say to this nitwit was, surely there’s a form of art – movies, painting, gardening, woodworking – that still feeds your soul, no matter how much it’s shrunk over the years. For some of us, that form of art is music. And despite Rubber City Review’s best (and worst) attempts to keep it light, we’re dead serious about the music and artists we love and write about.

Rosanne Cash’s touch is far from light. But I blasted right through the fussiest language in her book – because at its core, “Composed” is all about the serious business of passing rich musical traditions from one generation to the next.

The List… Musical inheritance doesn’t get more real than this: Alarmed by his daughter’s lack of knowledge about American roots music (Rosanne had a good excuse – she grew up in Southern California), Johnny Cash jotted down a list he called “100 Essential Country Songs.” But as Rosanne Cash points out in the liner notes to her latest release, “The List,” “he could have called it ’100 Essential American Songs,’ because he included history songs, protest songs, early folk songs, Delta Blues, gospel, Texas swing, and standards that simply defy genre.” Thirty-five years went by before Rosanne got up the nerve to reinterpret a few of these tunes on record, and the results are a little mixed. The requisite guest artists don’t add much (with the exception of Bruce Springsteen, who brings a wonderful harmony voice to Sea of Heartbreak). But Rosanne’s cover of Motherless Children, by the always popular “Public Domain,” is one of the best versions I’ve heard of a song that has suffered many indignities over the years. And it’s all in the voice – no gospelly histrionics; just an honest, heartfelt read of an American classic: Motherless Children

Other Rubber City Review posts that have appeared on Blogcritics:
o Juliet, Naked… with the Fat Man in the Bathtub (Editors’ Pick)
o The World’s Greatest Advertising Jingle (Editors’ Pick)
o Guns, Drugs, Money and Vinyl… Welcome to School Kids

Nephew Dan is a busy man – touring the world and all – but he wanted us to check out this awesome clip of Otis Rush in his prime, playing in front of a polite but reverent audience of well-dressed white folk…

After viewing this performance (and, unlike most of the audience members, regaining my composure), I had a few important questions: Had Otis and band stumbled onto the set of a TV game show? Did someone pay him to wear the white sweater? And what the hell was this all about?

Turns out this was one of several performances from the fifth year of the American Folk Blues Festival, which toured Europe almost annually from 1962 to 1972. Five additional festivals were held from 1980 to 1985, but these earlier tours were notable for two important reasons. First, they had a powerful influence on the British blues movement of the early ’60s – especially artists like Mick Jagger, Steve Winwood and Eric Clapton. And second, they provided rare opportunities to capture American blues artists like Sonny Boy Williamson, Howlin’ Wolf, Muddy Waters, Skip James, Son House, Big Mama Thornton, Bukka White and many others, using some of the best studio and video equipment of the era.

For these and other reasons, we have several people to thank – including German jazz publicist Joachim-Ernst Berendt, who first came up with the idea, and promoters Horst Lippmann and Fritz Rau, who followed through on it.

This particular performance was shot at a small TV studio in Germany, October 1966. And of course, I had to find a few other clips from the same show. Here’s one with Otis and band (Fred Below on drums… not sure who’s playing bass… maybe Sunnyland Slim on piano?) backing up the great Junior Wells.

I’m sure you gearheads know what kind of mic he’s singing and playing through… I need me one of them.

It’s easy to get lost on youtube watching all of these jaw-dropping AFBF shows… I’ll just share a couple more and then tell you where to buy all this stuff on DVD. The first features blues legends Sonny Boy Williamson and Otis Spann playing a very laid-back version of Nine Below Zero. Sonny Boy is far from his peak, but his delivery is the very definition of deep blues – about as soulful as you can get…

Then we get to Howlin’ Wolf, the Taildragger… where the soul of man never dies. Smokestack Lighting – from a 1964 performance in England with Sunnyland Slim, Willie Dixon on bass and Wolf’s long-time musical foil Hubert Sumlin on guitar. The Brits seem far more excitable than the Germans… Joscha, would you like to weigh in on this?

These and many other performance are available on four volumes of DVDs from Reelin’ In The Years Productions… They’re listed below for your shopping convenience. And remember, a small fraction of each purchase goes toward ensuring I have the meds needed to write these posts at 3 a.m.

Dressed up to get messed up… Good friend and photog Rick Zaidan took this shot of Junior Wells in the mid-’80s at the former Palomino Lounge in Cleveland:

“Junior was touring with Buddy Guy,” Rick said. “We got there about four hours before the show to get a table up front. (Rick’s friend) John had my Buddy Guy Checkerboard Lounge T-shirt on, and Buddy noticed it during a sound check. Buddy came up to us and said, ‘where the hell did you get that shirt?’ I told him I ordered it from a catalog. Buddy said, ‘shit man, I’m not makin’ any money off that shirt… I’m going to have to talk to those motherfuckers.’ He was pissed but autographed the shirt anyway… At one point during the show, Buddy did the requisite walk-around solo using a 200-foot guitar cord. Most of the crowd followed Buddy outside while he soloed in the middle of Lorain Ave. Good times.”

For you photo buffs out there: Rick took the shot with an “ancient” Leica M3 rangefinder, “because it was a very quiet camera… I got some good shots but still didn’t have anything great. With my last three frames I just walked up to Junior and snapped this shot. One of my all-time favorites.”

RCR correspondent, guitarist, plumber and Numbers runner Kevin Swan returns with a tribute to the blues legend who did not play no rock and roll, Mississippi Fred McDowell…

Alan Lomax pulled into a dusty gas station outside Como, Mississippi, in 1959 and met a man working there who played guitar, in a style native to his Hill Country, just east of and rising above the Delta. Lomax, an ethnomusicologist, and his assistant Shirley Collins captured on their reel-to-reel the middle-aged sharecropper and pump jockey playing and singing What’s The Matter Now. These were the first recordings of the man who would come to be known as “Mississippi Fred” McDowell: What’s The Matter Now/Mississippi Fred McDowell

A dozen years later, I was in Cheap Thrills Records in Akron’s Spicertown scrounging for blues records. The store manager asked if I liked the blues. Well, yeah, who didn’t? That fella sitting over there, he said, that’s Fred McDowell. We’re playing together this weekend in Kent… you ought to stop by and hear us. (Thrilled with the invitation, I think I forgot to mention I was only 14 and wasn’t allowed in bars either by law or by my parents.)

Bob Kidney, the manager, had just started his band 15-60-75 a year earlier. Named for the numbers gambling racket from the Harlem streets, 15-60-75 morphed into The Numbers Band. Their signature sound – a growling, repetitive blues – stems from and pays homage to the hills of North Mississippi and McDowell’s thumping thumb-bass, searing slide guitar style: Jimmy Bell/The Numbers Band

The folk and blues revival of the Sixties brought many forgotten or under-appreciated artists back to the stage and studio. British rock bands gobbled up as many old blues songs as they could, regurgitating them back to a hungry public. I and many others heard our first McDowell song on The Rolling Stones album “Sticky Fingers,” and their cover of You Got To Move. Their version re-makes the droning one-note bass foundation into a more easily digestible 12-bar I-IV-V blues; the original carries more gospel certainty with its dirge-like, repeating low note: You Got To Move/Mississippi Fred McDowell

Through a family friend I was able to spend that night in Kent and weaseled my way into The Kove to see the Numbers Band for the first time. After their set, Bob sat down with McDowell for their performance as a duo. Bob told me earlier this year that McDowell preferred to play alone and rarely played with a backing band. The loosely structured, no-chord blues of North Mississippi does seem better-suited to the solo guitar, as in Goin’ Down To The River:

Playing a lead section on open-tuned guitar that mimics the vocal part is another McDowell trademark. He said, “When I play, if you pay attention, what I sing the guitar sings, too. And what the guitar say, I say.” On Big Joe Williams’ Baby Please Don’t Go, McDowell slides the melody on guitar under his own vocal work: Baby Please Don’t Go/Mississippi Fred McDowell

RCR contributor and amateur ethnomusicologist Dan Auerbach – another Fred McDowell admirer – presents his own guitar/vocal doubling on the Black Keys’ seminal Stack Shot Billy: Stack Shot Billy/The Black Keys

Yet another folk and blues pilgrim made his way to Fred McDowell’s door in the early Sixties. Arhoolie Records owner Chris Strachwitz released Volumes I and II of Fred McDowell, presenting a lifetime of music previously only available at Friday fish fries or Sunday church picnics. Even after his fame spread around the world – between performing at the Newport Folk Festival and touring Europe – McDowell returned to his Mississippi home, working at his gas station (bought with music royalties) and playing on Friday nights for his family and friends.

A young Bonnie Raitt sat down with McDowell to learn bottleneck playing and voicings, here evident in a snippet of the early McDowell song, Write Me A Few Lines (and before you blues purists start to scoff, know that Bonnie paid for Fred’s grave stone when the first one had his name misspelled):

While it would appear that re-working a one-chord song into more standard twelve-bar blues (as Raitt and so many others did) would create more of a challenge, the subtlety of the Hill Country, North Mississippi style can actually be a far more unpredictable, complex and challenging feat to pull off.

“Mississippi Fred” McDowell passed from cancer in 1972, aged anywhere from 64 to 68, depending on which historian you believe. He was in his forties before he owned a guitar, was well into his fifties the first time he saw the inside of a recording studio and never became a full-time musician. Yet his unique talent and serene – if at times haunting – vocal talent remains instantly recognizable. Perhaps fame coming later in life afforded him a unique measure of inner peace.

The Stanley Brothers: Ralph and Carter

I come from a big family of harmony singers. Myself, I can barely sing in unison… with Autotune. When my sister Caroline and I accidentally ended up at the same college for a year, she sat me down for hours on end and tried to teach me the harmonies to what seemed like the entire Emmylou Harris songbook. I failed miserably.

When we got together for family gatherings, my brothers and sisters would work out intricate harmonies to popular bluegrass songs. One tune in particular, Fox on the Run, required an extra voice… it had one of those staggered, layered harmonies, just like the Three Stooges used to do (“hello, hello, hello… goodbye”!). I’d always bring everything to a screeching halt by screwing up my big moment – I think it was the fourth “like a fox.” Many laughs at my expense.

But I rolled with it… mainly because we didn’t try to tackle that song until later in the evening, when just getting up from the couch qualified as an amusing activity. Besides, I’m perfectly happy sitting back and listening – because there are few things more sublime than the sound of clear, natural voices, locked together in harmony.

I think most of this need to sing came from my Dad’s side of the family and particularly his mother Sarah (Jahant). In his autobiography “The Time of My Life,” the late philosopher Willard Van Orman Quine – my Dad’s first cousin and guitarist Robert Quine’s uncle – describes what it was like to hang with his relatives who grew up in the shadows of Akron’s rubber factories:

“Our two subfamilies converged just once a year, after Christmas, midway at my grandfather’s house. With Grandpa and Aunt Bess we made twelve. Aunt Sarah would play the old treadle organ and Uncle Harry and my cousins would sing. I thought it admirable, and still do. There was no singing at our house. My mother played the piano occasionally and my brother and I were given lessons in the violin and mandolin respectively, but somehow it was embarrassing to sing.” Oddly enough, W.V. loved the harmonies of The Everly Brothers and at one party made my brothers Jack and James serenade him with a few of the Everlys’ hits.

There’s no mystery to why so much great harmony singing comes from the bluegrass tradition. Is there any other form of music as communal and democratic as bluegrass? OK, maybe African drumming, or the barbershop quartet. But let’s keep the focus on the human voice in its natural state (my apologies to you glee-clubbers and straw-hatters out there). And as much as I love gospel music, it approaches harmony more from the blending of big vocal sections, as opposed to two- or three-part singing.

Of course, the iconic bluegrass image is four or five musicians, straining to sing into the same mic, often with their instruments at their sides. So I guess we can thank technological limitations – or maybe a reluctance to spend a few precious bucks on an extra mic or two – for all the hard work that these musicians put into creating amazing harmonies with strong, distinct and soulful voices.

I’ve asked my brothers and sisters to give us a few of their favorite examples of harmony vocals. But first, a few thoughts on what it means to sing in harmony…

“When singing harmony, I think it’s helpful to narrow your voice a little to help it blend and, if you have a vibrato, lose it,” says James. “There are a lot of great harmony singers you wouldn’t necessarily want to listen to all night if they were singing alone. Also, a little dissonance is a beautiful thing.” Here’s one of James’ favorites – Tragic Romance, by The Stanley Brothers: Tragic Romance/The Stanley Brothers

“Great two-part harmonies can stand on their own as melodies,” says Caroline. “Uninspired harmonies tend to hang out on the thirds or fifths and follow the melody around like a shadow. Melodic harmonies, on the other hand, will stay close, open up, come back — interweave with the melody.” A good example is Doc Watson’s Your Long Journey (covered by Robert Plant and Alison Krauss on their Grammy-winning album “Raising Sand”): Your Long Journey/The Doc Watson Family

Jack offers some basic, straightforward advice: “Hit the note and make it ring… and pay attention to the phrasing – which was something that acts like Simon and Garfunkel and Crosby, Stills, Nash & Young obviously worked very hard at.”

As an example of great harmony singing, Sister Mary points to alternative country favorites Buddy and Julie Miller: “The thing about Julie Miller is the timbre of her voice, which is really extraordinary. She makes the normal country harmonies seem special.” Music critic Thom Jurek calls them “the most important duet in country-rock since Gram Parsons and Emmylou Harris.” Here’s the more rockin’ side of Buddy and Julie: You Make My Heart Beat Too Fast/Buddy and Julie Miller

Speaking of Emmylou and Gram, Caroline loves virtually everything they sang together, but especially this one from 1973’s “Grievous Angel.” In fact, all of us picked at least one song featuring Emmylou, which places her in the newly formed RCR Harmony Hall of Fame. Emmylou went on to a successful solo career post-Gram, staying true to their legacy by recording with great vocalists like Jonathan Edwards and Ricky Skaggs… Love Hurts/Gram Parsons and Emmylou Harris

Jack has a weakness for bluegrass gospel – which probably offers more outstanding examples of harmony singing than any other sub-genre of music. The Stanley Brothers, The Louvin Brothers, Bill Monroe, Jim & Jesse, The Osborne Brothers… They all drew from a big repertoire of gospel songs that they would play at gigs that didn’t involve honky tonks and heavy drinking. Jack can sing and play just about all of them, usually with James, Mary and Caroline adding some well-placed harmonies. Here’s one of Jack’s favorites – Lord Protect My Soul, by Bill Monroe and his Bluegrass Boys. “Monroe’s vocal on this one defines the ‘high lonesome sound,’” Jack adds… Lord Protect My Soul/Bill Monroe & His Bluegrass Boys

Just to show that it ain’t all bluegrass, James singles out Bring It On Home To Me – a soul classic that blends the incomparable voices of Sam Cooke and Lou Rawls. The Rock and Roll Hall of Fame named it one of “500 Songs that Shaped Rock and Roll.” This song gets back to Caroline’s point: Both parts would clearly stand on their own as great melodies. And the contrast between Cooke’s silky soul and Rawl’s deep, rich voice only makes it better. Bring It On Home To Me/Sam Cooke with Lou Rawls

In rock, the gold standard remains The Beatles, followed closely by The Beach Boys. But since I live in a landlocked community devoid of sunlight for much of the year, I’ll stick with The Beatles. We could argue endlessly about which song best captures the harmonic convergence of John and Paul. I’ll just throw this one in so we can move on… It proves that harmonies sound cool even when one person (in this case, Paul) only sings one note: Please Please Me/The Beatles

Former hippie that she is, Mary can’t resist the intricate harmonies on Helplessly Hoping by Crosby, Stills and Nash. And, getting back to Jack’s comment, the phrasing in this song is just as essential as the harmonies. You don’t hear this kind of singing anymore. Hell, Crosby, Stills and Nash don’t even sing like this anymore. Time to bring back the bold scent of patchouli mixed with bad weed… Helplessly Hoping/Crosby, Stills & Nash

As Caroline and I talked about great harmonies outside of the bluegrass tradition, we both honed right in on one of our favorite musical acts – Dan Hicks & His Hot Licks. Part cowgirl, part Andrews Sisters, and certainly a product of the Sixties underground aesthetic, the Hot Licks’ harmonies are simply timeless. I’ve worn out several copies of “Striking It Rich” over the years… When is some enterprising music exec going to step up and give Dan Hicks’ early Blue Thumb recordings the “deluxe remastered” treatment they deserve? You Got To Believe/Dan Hicks & His Hot Licks

Jack believes no discussion of harmony is complete without mention of Charlie and Ira Louvin. “A lot of bluegrass, country and pop artists were inspired by the Louvins, including The Everly Brothers,” Jack said. Gram Parsons, Emmylou Harris, The Byrds, Simon & Garfunkel and a whole slew of contemporary country performers owe a huge debt to the masters of “close harmony.” Here’s a good example, a country hit for the Louvins in 1956: You’re Running Wild/The Louvin Brothers

Obviously, Mary’s son Dan Auerbach grew up surrounded by a lot of bluegrass and harmony singing. Although he’s better known for some of the heaviest riffs in modern rock, he remains a big fan of family duets – especially The Stanley Brothers and The Everly Brothers.  Like the rest of us, Dan also loves the harmony singing of Gillian Welch and her long-time musical foil, David Rawlings.

Although she grew up in West L.A., Welch couldn’t get enough of traditional family acts like The Stanley Brothers and The Carter Family. And you couldn’t find better accompaniment for her stunning, unadorned voice than Rawlings, who seems to take harmony singing – and guitar playing – to a whole new level. Here’s the gorgeous number that opened her 1996 debut, “Revival.” Orphan Girl/Gillian Welch with David Rawlings

Nephew Dan and Brother James put on a clinic… Dan and James keep the family harmony tradition alive – from Dan’s solo album “Keep It Hid.” This was filmed at Dan’s home studio in Akron, Easy Eye.

In my recent post on guitarist Robert Quine, I pulled together a few personal stories while carefully sidestepping any attempt to define his musical legacy. That’s better left to those who can speak with a lot more authority on all of the disparate influences that came together in downtown NYC in the mid-‘70s – punk, new wave, no wave, avant garde… I’m sure someone will argue that I’m already using the wrong terms here.

Art Garfunkel, The Boxer

I can’t even lay claim to my favorite Rob story. According to his friend The Hound (whose blog is listed at right), Rob was once punched in the face by Art Garfunkel when Rob told him that his act with Paul Simon was “for people too dumb for Bob Dylan.” So my cousin may have been the only person on the planet (other than Simon, maybe) who could say he was sucker-punched by Art Garfunkel.

My post on Rob certainly gave me a greater appreciation of the size, scope and reach of his output over 35 years as a working musician. And sometimes it takes an unexpected source to really drive it home – like the jolt of hearing Rob’s jagged guitar closing an episode of HBO’s fine new series, “How To Make It In America.”

Now that CD box sets are going the way of the cathode-ray tube TV and, well, the CD, it seems unfortunate that Rob’s career never got the full box treatment. I mean, the German Bear Family label delivers a 12-CD set of the “Singing Ranger” Hank Snow, and we got bupkis on Quine? OK, maybe that’s not a good example – I’m just the kind of nutball who would plow through 12 CDs of Snow.

But a stray comment following one of The Hound’s posts on Rob got me thinking, what would even the most basic compilation of his stuff sound like? Just a quick look at Rob’s discography would scare away even the most disciplined producer. Recordings with Lou Reed, Tom Waits, Richard Hell, Lydia Lunch, John Zorn, Marianne Faithfull, Brian Eno, They Might Be Giants, Lloyd Cole, Matthew Sweet… full-bore rockers, experimental soundtracks, atmospheric instrumentals, catchy pop songs, off-kilter blues and R&B… How could anyone create a seamless, cohesive listening experience out of this body of work?

Maybe that’s not the point. You could certainly separate the pop/rock stuff from the soundtracks and instrumentals, but you’d still be jarred by sudden shifts – from low-fi to high-quality production; from gentle, airy soundscapes to angry squalls of distorted guitar. But why should listening to a Quine compilation be any different from a conversation with a guy who could go from Link Wray to Miles Davis in 10 seconds flat?

I won’t even try to offer the definitive list of Rob’s essential recordings. But I have a few favorites that should be part of any meaningful attempt to capture the high points of Rob’s career, and I’ve included samples to get the argument started.

Most worthwhile box sets start with those early, formative recordings – think The Band (aka The Hawks) with Ronnie Hawkins. And we now have a few good ones featuring Rob, courtesy of his old friend and bandmate, Barry Silverblatt, and posted by The Hound here. Back in the Sixties, Rob and Barry played together in a band called Bruce’s Farm. This solo from a cover of the Kinks’ Where Have All The Good Times Gone offers ample evidence that Rob already had his chops together before he hit NYC (excuse the sound on this one). Where Have All The Good Times Gone/Robert Quine solo (Bruce’s Farm)

Recorded in 1977, Blank Generation by Richard Hell and the Voidoids is an undeniably great record. And it underscores a comment Rob made to The Black Keys’ Dan Auerbach (another cousin): “Everything I do is just a variation on Chuck Berry.” He was only half-kidding. In some of his rock ‘n roll solos, Rob seems to take the same basic licks that Berry used to great effect on his classic hits and turn them inside-out, almost beyond recognition. Almost.

The next sample starts with Chuck Berry’s solo on Thirty Days and moves to Rob’s playing on Love Comes In Spurts. Is it just me, or does Rob sound like Berry trying to play one of his signature solos while getting zapped by a bad amp? Thirty Days/Chuck Berry + Love Comes In Spurts/Richard Hell and the Voidoids

Most of the critical praise is heaped on Rob’s recordings with Lou Reed, and that probably has as much to do with Reed as it does with Rob. I sampled two favorites in my last post – Betrayed (“Live in Italy”), because Rob’s convoluted country solo seems to be a tip of the shades to ace string-bender James Burton, and Waiting For My Man (“A Night With Lou Reed”), from a filmed performance at the Bottom Line in 1983. Rob’s playing on the latter is as potent as anything I’ve heard from any guitarist… simply brilliant. In the video at the end of “Encounters,” Rob’s first solo starts at around 2:00, and he comes back in at 3:40. Here’s another standout cut from the Lou Reed era, The Gun from “The Blue Mask.” The lyrics set the dark mood, but the tension builds with Rob’s sinister fills. A lesson in how to serve the song… The Gun/Lou Reed with Robert Quine

Move to 1984… I’ve always liked this number from Rob’s collaboration with drummer Fred Maher, “Basic.” I’m not exactly sure what he’s doing here, but it’s a fairly unusual chord progression – maybe something that rubbed off when he took jazz guitar lessons from the great Jimmy Raney. And he’s adding a little dissonance with a few well-placed overdubs. So it’s one of those “something doesn’t sound quite right, so it must be right” numbers. The programmed drums come across as a bit dated, but not heavy handed. Is he re-imagining the Sixties from a more cynical time and place? Maybe, but it sounds heartfelt to me. ’65/Robert Quine and Fred Maher

The next year, Rob teamed up with Rolling Stone Keith Richards, fellow Akronite Ralph Carney and others to record “Rain Dogs” with Tom Waits. Rob only appears on two cuts – Blind Love, featuring some fine interplay between Rob and Richards, and Downtown Train, which eventually became a monster hit for Rod “The Bod” Stewart. Rob’s contributions on the two songs are fairly minimal, but his insistent rhythm on Downtown Train was picked up on the remake by Stewart’s guitarist, Jeff Golub – another Akron native. This is starting to get complicated… Downtown Train/Tom Waits with Robert Quine

Now we get to Rob’s first and only appearance on a bona fide hit – as guitarist on Matthew Sweet’s Girlfriend, a Top 10 single in 1991. I’d argue it features some of the most dangerous guitar playing ever heard on hit radio. But I’m family… you be the judge: Girlfriend/Matthew Sweet with Robert Quine

Rob had finally rubbed up against some mainstream success and recognition. So what did he do next? Play even more obscure and challenging music, of course – including an ongoing collaboration with avant-garde composer and saxophonist John Zorn. Here’s a 1995 duet with fellow NYC guitarist Jody Harris (who Rob described as “tragically underrated”) from a compilation titled “Come Together: A Guitar Tribute to the Beatles” – Rob’s guitar is the dominant voice on this sample: Yes It Is/Jody Harris and Robert Quine

Rob had an especially productive year in 1997. He contributed to a few albums by Zorn, worked with Marc Ribot on Ikue Mori’s “Painted Desert” (sampled on my previous post) and took part in what he described as his most positive experience in the studio – “Valdun: Voices of Rumantsch” by Corin Curschellas. Rumantsch is a rare language spoken by only a few thousand people in the Alpine valleys of Switzerland. But Corin’s music approaches almost mainstream pop, which makes this an unusual outing for Rob. I like his relaxed, expansive playing on this number from “Valdun”: Al Mar/Corin Curschellas with Robert Quine

I’ll close with a recording Rob did in 2001 with legendary R&B showman and pulp author Andre Williams. After he burned his way through this one, Rob reportedly said, “Now I’ve worked with two geniuses, Lou Reed and Andre Williams.” Head First/Andre Williams with Robert Quine

So those are just a few of my favorite Rob moments… and they’re certainly not based on an encyclopedic knowledge of his recorded oeuvre, as the Times might say. I’ll also fully admit that I came across a few cuts that didn’t move me at all.

I’m just a guy who plays broke-dick guitar, paying tribute to a true master – an underrated one at that. And just a single-disc compilation from an enterprising label (Nonesuch, are you listening?) would help right that wrong.

Robert Quine with Matthew Sweet on the Dennis Miller show – 1992… workin’ that whammy bar. Former Gang of Four bassist Sara Lee is on the other side of the stage. You’ll have to suffer through about 30 seconds of Miller being a dipshit (turn up the volume on this one).

From the same show – Sweet’s I’ve Been Waiting. Rob was a huge fan of The Byrds, so this was like tossing raw meat to a junkyard dog.

Big week for The Black Keys – “Brothers” is the Number 1 new rock album in the country (Soundscan)… Number 3 overall if you count “Glee” – which is exactly what you’d expect if you brought a high school glee club into a studio to cover hoary rock hits – and “Exile on Main Street,” which the Stones spent a small fortune promoting. So congratulations, Dan and Pat… an amazing achievement that may have missed the attention of the local press, but now is gaining notice throughout the RCR blogosphere (mainly, those of you who didn’t get the email from Dan’s mom).

Oh, they also played the Letterman and Jimmy Fallon shows. Here’s the Letterman performance of Tighten Up, followed up by the “official” video of the song, which is easily one of the funniest music videos I’ve ever seen:

LeBron, post-LeBacle

The Cavs crashed and burned, the team’s fragile chemistry in ruins. LeBron’s making noise about leaving town. The Indians can’t hold a lead, and Asdrubal Cabrera broke his arm diving for a ball. Meanwhile, in my mom’s hometown of Milledgeville, GA, world-class whackjob Ben Roethlisberger is doing his best General Sherman as he cuts a wide swath of destruction through the countryside.

And that’s just the bad news in the world of sports. The economy’s still in the crapper… Dan of The Black Keys is thinking about moving to Nashville (Pat’s already in NYC)… Oh, and HBO’s “Treme” still sucks, for the most part – even though the music is first-rate.

I got the blues, baby, and I got ‘em bad.

Of course, the best antidote is more blues – or maybe a little old-school soul or rock ‘n roll. Anything to get my mind off this sad state of affairs here in America’s heartbreak… I mean, heartland.

Now, I won’t weigh in on the many rumors swirling around the Cavs following yet another gut-wrenching postseason in Northeast Ohio. And I have no idea who will show up to play when the team gets back together later this year for training camp. But I can’t help but think that “the plan” LeBron keeps referring to is all about getting a Ring for the King, no matter where he plays. Meanwhile, the goal of bringing the next major sports championship to Cleveland remains as elusive as Lady Ga Ga’s good taste.

Future home of RCR

Lots of theories about where LeBron will end up. I’m guessing Cleveland is now a long shot, even though the Cavs built the Taj Mahal of training facilities only minutes away from LeBron’s Dubai-scale house, which is just down the road from a large architect’s model of Rubber City Review’s new world headquarters (at right: pending stimulus grant approval). One theory has him hooking up with Dwyane Wade and several other A-listers in Chicago, where they could bring back the glory days of Michael Jordan and Scotty Pippen. But I think the great bluesman Jimmy Reed knew all along where LeBron would land – so if you’re from Northeast Ohio, listen and weep… Jimmy Reed

Actually, at this point I’m sort of agnostic when it comes to LeBron and The Black Keys leaving town (in Dan’s case, it gives me another cool place to visit). But I’m also not sure how it would help advance their careers. We live in a world where some punk kid skyping in his bedroom in Duluth can become a global phenomenon. Why would anyone think that someone like LeBron needs a bigger stage to achieve his goal of world domination? Hell, he’s already there. Might as well stick it out in Akron, where livin’ is easy and people pretty much leave you alone. And besides, it’s easier to find a qualified contractor who can maintain a home that’s the size of a shopping mall.

The Tribe? I don’t think I’ve ever gotten over seeing them lose the ’97 Series – in extra innings of Game 7, no less – to this Frankenstein creation of a team from Florida. A team with absolutely no tradition. A team that was systematically dismantled the next year by its owner, like he dumped off a bunch of cats on someone’s farm after they killed all the rodents in his house. I was devastated. But I have to admit, I thought of this next song when I was sitting in a beach house in Captiva, watching Game 1 on TV with the snow falling in Cleveland… Muddy Waters

With Roethlisberger, I could take the easy way out and simply play “The Night They Drove Old Dixie Down,” but there has to be a more appropriate song… one with a lot of big, dumb swagger – preferably by a band with a strong connection to the Deep South. Yeah, I got it right here. Just imagine this tune being reworked by that big-voiced blonde chick from American Idol. Whatever the hell her name is… Lynyrd Skynyrd

I can come up with a whole slew of songs about economic hardship. How Can a Poor Man Stand Such Times and Live, Money Honey, Depression Blues, All My Money Gone, Sidewalks of Chicago, Hard Times Killing Floor Blues… But I get tired of all that bitching about not having two nickels to rub together. In these times of short-selling scam artists and massive ponzi schemes, I want songs of retribution. I want to know that, even though my ill-conceived investments have tanked, some former Wall Street wunderkind is getting passed around federal prison like a joint at a jam-band concert. Time for a sermon from Rev. Scott H. Biram… Scott H. Biram

Then there’s “Treme,” which I already complained about a few posts ago. Fact is, even a half-baked show with great music is better than anything involving real (incredibly annoying) housewives or snotty rich kids from California.

So I’ll try to end on a more hopeful note. Here’s hoping that the Cavs rise from the ashes and the Indians rise above .500 and the South Rises Again and my bank account… well, you get the picture. But when everything seems to be swirling down the drain, the best way to lift my spirits is to play me some funky brass-band music – straight from a city that makes sports heartbreak seem trivial. Funky Liza/New Orleans Nightcrawlers

Everyone’s an expert… Dan and Pat of The Black Keys weigh in on LeBron and the miseries of Cleveland sports (starting at 1:25). Excuse the commercial at the beginning:

Robert Quine backing Richard Hell

My cousin Robert Quine was a bona fide guitar hero (number 80 on Rolling Stone’s list of “The 100 Greatest Guitarists of All Time” – right after Cliff Gallup of Be Bop a Lula fame and before Derek Trucks). But I wasn’t aware of his playing until a couple of years after he blasted his way into New York City’s vibrant punk scene with “Blank Generation” by Richard Hell and the Voidoids: Blank Generation/Richard Hell and the Voidoids with Robert Quine

In the liner notes to “Spurts: The Richard Hell Story,” a very thoughtful Hell had (hath?) this to say about what you just heard: “It sounds to me like the solo is coming from another dimension. I don’t know if it has any relationship to anything in history. Though of course everything does, and that solo specifically refers to certain records Quine liked.”

I was raised on jazz, blues and bluegrass music, so punk rock wasn’t something that I naturally embraced. Then a college buddy took me to CBGB in New York’s seedy Bowery area to see The Dead Boys from Cleveland (even though I could’ve driven a couple of miles from my mom’s house in Akron to see them at the Crypt).

The first thing I noticed when we walked in the club was the disproportionate number of people jammed into the back of the room, by the bar. Meanwhile, a big bouncer separated the “hoi polloi” from the empty VIP section, which was the entire expanse of the club (in other words, about 30 feet) in front of the stage. Must’ve been a showcase gig for a record label. My buddy and I did some quick thinking and convinced the bouncer that we were reporters from some rag back in Ohio, and we grabbed a table up front.

The opening act (name escapes me) made quite an impression when the lead singer tossed his mic over a pipe hanging from the ceiling, pulled the cord back down around his neck, hung himself in the air for a few seconds and then collapsed on stage. That, my friends, is rock ‘n roll! The Dead Boys’ set wasn’t nearly as memorable, although we were invited backstage by a band member’s mom for some birthday cake. I have to say, seeing a middle-aged matron and her friends handing out birthday treats to Stiv Bators and Cheetah Chrome was a surreal experience, especially in that shithole.

But I was glad to visit an American rock shrine, the place where bands like the Voidoids, the Ramones, Patti Smith Group, Television, the Talking Heads and Blondie defined New York City punk and new wave in the late-‘70s.

Robert Quine was probably the least-likely rocker of them all. Born in Akron in 1942, he went to a prep school in the area, eventually earned a law degree (from Washington University in St. Louis), and even passed the Missouri bar, but never practiced law. Rob (his parents called him Rob, so I did too… most everyone else called him Quine, which I didn’t for obvious reasons) probably shared a few stray genes with his famous uncle, Willard Van Orman Quine – a brilliant philosopher whose work in analytics and “semantic holism” remains an essential touchstone for deep thinkers around the world. Just don’t ask me what it all means.

Rob moved to San Francisco in 1969, where he first met Lou Reed while taping a gig by Reed’s influential band The Velvet Underground. Rob was obsessed with the band, and his tapes of several performances in the Bay Area and at Washington University were released in 2001 as a 3-CD set called “Bootleg Series, Vol. 1: The Quine Tapes.”

He landed in New York City in ’71, where he wrote tax law treatises for a publishing company, worked at a film memorabilia shop and eventually fell in with a rag-tag group of downtown musicians, like fellow guitarist Tom Verlaine (Television) and Richard Hell. Then “Blank Generation” set the stage for Rob’s strange musical odyssey, which included studio work for Tom Waits, Marianne Faithfull, Matthew Sweet, avant-gardist John Zorn, R&B legend Andre Williams, and many others.

Richard Hell and the Voidoids

Someone once described him as looking like a “deranged accountant,” which pretty much nailed it. He usually wore a sport jacket and almost always wore shades, even indoors. And he was quite a bit older than most of the folks he played with (although Reed also was born in ’42).

I never saw Rob play live, but I visited with him several times at his parents’ house in West Akron. His dad, Bob, and mom, Rosalie, were good friends of my parents and also were close with my sister Mary and her husband, Chuck, who lived a block away from the Quines. Bob had inherited his father Cloyd’s business, Akron Equipment (mostly tire molds), but he apparently had little enthusiasm for management and especially the brutal realities of labor relations. He retired at the first opportunity and spent the next 30 or so years of his life traveling the world with his charming and colorful wife Rosalie (she grew up in the Coney Island neighborhood of Brooklyn and claimed to have been a card-carrying member of the Communist Party in her younger days, which seems almost quaint today when you consider the horrors of 9/11).

By the time I met Rob, the Voidoids had already imploded and he’d gained greater notice as Lou Reed’s guitarist. Critics fawned over Rob’s solos on “The Blue Mask,” which was widely viewed as a return to form for Reed after years of abusing various substances. Although I can’t say that “Mask” is one of my personal favorites, I’ll admit that anyone who records a solo like this has balls of steel (Rob claimed that Reed annoyed him so much in the studio that he could barely contain himself when they rolled the tape on this one): Waves of Fear/Lou Reed with Robert Quine

Rob recorded two more albums with Reed – “Legendary Hearts” and “Live in Italy” – before he left due to differences that were probably personal as well as musical. He told me the record company sent a test pressing of “Legendary Hearts” to his parents’ house in Akron, and he was so infuriated with the final mix (some of his guitar parts were mixed out altogether) that he grabbed a hammer, walked out on the driveway and smashed the record into little pieces.

Rob would spend a couple weeks in Akron every year, mainly to decompress and get away from the indignities of life in New York’s Lower East Side, back when squatters and drug dealers were taking over empty buildings (he said he was mugged twice just taking out the garbage).

Rob’s social skills were somewhat lacking, to put it kindly. Rosalie would invite us over, but I think Rob would’ve been perfectly content spending his time in Akron without seeing a soul other than his parents. He would barely acknowledge my presence when I first showed up, then when he realized I wasn’t leaving right away, he’d reluctantly engage in a little conversation – mostly quick responses to my questions about his guitar playing and influences.

But once he decided I actually knew what I was talking about, we were off and running. His stories (like the driveway incident) could be hugely entertaining, and he had a wonderful way of describing other artists – his rants about Lou Reed were priceless – and the recordings that really inspired him.

I was surprised to find out he had a jazzman’s sensibility and a deep, heartfelt appreciation of the blues. He actually took a few lessons from the great jazz guitarist Jimmy Raney, whose work with Stan Getz alone was enough to make him a legend. And you can hear a little of that jazz influence in Rob’s later recordings with Zorn, drummer Fred Maher and percussionist Ikue Mori. Here’s a cut from “Painted Desert,” Rob’s 1997 collaboration with Mori: El Dorado/Ikue Mori with Robert Quine

Rob’s first great inspiration, though, was the country-influenced string-bender James Burton, who made Ricky Nelson’s rockabilly sides far more legitimate than they should have been and eventually settled into a comfortable living as Elvis Presley’s main guitarist. Although he seldom played it straight, Rob seems to pay tribute to Burton in this strangled solo from Reed’s “Live in Italy”: Betrayed/Lou Reed with Robert Quine

Rob with The Hound (far left), WFMU studio

Rob told me he had a blues radio show when he was at Earlham College in Richmond, Indiana, and one of his favorites was Clarence “Gatemouth” Brown. He also loved Jimmy Reed – which I also found surprising, given Rob’s shrieking, atonal solos with the Voidoids and the other Reed. On another occasion, he asked me if I’d heard of Ted Hawkins, the former street musician from Venice Beach whose warm, soulful voice seemed to convey a world of sadness. Once again, I was floored… Is this the same guy who shredded his way through Love Comes in Spurts?

During one of Rob’s visits to the Rubber City, my sister Mary and I stopped by and asked him if he wanted to head up to Kent with us to see the legendary 15-60-75 (aka The Numbers Band). I could probably spend the next 12 paragraphs or so trying to describe the Kidney Brothers and their amazing legacy in Northeast Ohio (future post?). But if I had to offer a brief description of their four-decade career, I’d say they play highly original, somewhat eccentric and often frighteningly intense blues-based music – basically street poetry for rubber rats. Here’s a little taste, recorded live in ’75 at the Cleveland Agora when the Numbers opened for Bob Marley during his first American tour: About Leaving Day/15-60-75 The Numbers Band

Back to Rob and our invite… he threw us another curve by agreeing to go. We strolled into the Numbers’ main home, JB’s, which smelled a lot like Marley’s dressing room, and stood near the stage to watch an especially riveting set. I thought their guitarist, Michael Stacey, would recognize Rob – his playing seemed to have that punk-rock edge to it. But Rob went mostly unnoticed. Although he kept glancing over his shoulder (with shades on, of course) in an odd kind of way, like he was expecting some crazed Kent State student to jump on his back and start pummeling him. Just when I thought we should whisk him back to the security of his parents’ house, he admitted that he enjoyed the band and really appreciated us dragging him along.

The last time I saw Rob was after his father passed away – probably around ’99. By then, he’d married a lovely woman named Alice, who was everything socially that Rob wasn’t. She appeared to be his complete support system, which Rob sorely needed given his paranoid nature and darker tendencies. He had just bought the complete Columbia studio recordings of the Miles Davis Quintet, which was playing in the background. “What do you think of this?” he asked. I told him I was working my way through it too and loved virtually everything Miles recorded in the Sixties. He nodded quietly, way beyond the point of being phased by our shared tastes in music.

In 2003, Alice died suddenly at their Soho loft (for an intense account of this event and others involving Rob, check out this piece by The Hound – one of my favorite bloggers and probably Rob’s closest friend when he was living in NYC). Without Alice’s love and support, Rob went into a tailspin, and he died from a heroin overdose less than a year later.

Rob is conspicuously absent from the Rock ‘n Roll Hall of Fame, which probably suits him just fine. But he remains a major influence on younger musicians like my nephew Dan, who once took the short walk to Bob and Rosalie’s with guitars in hand to jam with Rob.

Dan Auerbach on Robert Quine… “Pat (Carney) and I had just formed The Black Keys and signed a deal with Fat Possum. Meanwhile, my dad browbeat Rosalie into letting me stop by to meet Rob, who begrudgingly agreed to do it. I’m sure he was expecting a high school kid with a shredder guitar and a Limp Bizkit CD. Then I showed up with a couple of Japanese Teisco Del Reys and some stuff by Junior Kimbrough and T-Model Ford. He walked out of a really dark study, with his shades on, and complained that he had a hangover and a headache – could’ve been in withdrawal – but once he saw those guitars he took off his shades and his eyes lit up right away.

“I played him ‘All Night Long’ by Junior, who he’d never heard of, and he was completely blown away. Then we talked for a couple of hours about music and even noodled around on guitar together. He told me everything he did was just a variation on Chuck Berry. He also spoke fondly of (guitarist) Marc Ribot… said he was very grateful for all the gigs that Ribot lined up for him. Of course, Pat and I later brought Marc in to play on ‘Attack and Release,’ along with Pat’s uncle Ralph.” Ralph Carney and Robert Quine played together on Tom Waits’ classic album, “Rain Dogs” (along with Keith Richards) – an unusual connection with The Black Keys that’s rarely mentioned.

“Robert used a Peavey solid-state amp [Dan prefers tube amps], which made sense when you consider the sound he became known for at times – so jagged and in your face. A lot of punk-rockers’ guitar playing came across as ‘fake’ aggression… Robert had the ability to be atmospheric and airy or aggressive and edgy but in a ‘real’ way… and in a style that became all his own. Probably all that pent-up rage from getting sent off to prep school by his parents!”

They got together again after that, and Rob encouraged Dan to look him up in New York City. “He said he’d always been in the phone book – spelled ‘Kwine.’” But Dan never had the opportunity. “We had our first sold-out show in New York in 2004, I think it was at the Roseland Ballroom, and I was really looking forward to having him at the show. But he passed away right before we hit town.”

One of the tragic realities of Rob’s passing is that he never had an opportunity to collaborate with Dan in the studio. But Marc Ribot’s biting guitar on Oceans & Streams gives us a sense of what could have been: Oceans & Streams/The Black Keys with Marc Ribot

Robert Quine on video… Nasty guitar solo from a night with Lou Reed, 1983. Lou needs to work on that Clint Eastwood impersonation.

Think of the greats in any musical genre, and you’re usually thinking of a signature sound that gives the artist a distinct presence or personality.

In jazz, it’s the difference between Dexter Gordon’s sly, behind-the-beat phrasing and John Coltrane’s timeless, searching wail.  In blues, T-Bone Walker and Magic Sam shared a common language but still seemed worlds apart, and I’d have a hard time picturing them together on the same stage.

Rare is the artist who dominates two separate genres with two radically different approaches to playing.  Exhibit A: the freakishly talented Miles Davis, who made the transition from peerless balladeer to jazz-funk pioneer.  Exhibit B: Clarence White…

Clarence White?

Yes, White is another one of those criminally ignored figures in music – a former child prodigy who revolutionized bluegrass flatpicking and went on to create a whole new vocabulary for rock guitarists.  This post looks at his unique genius from two different angles.  I’ll let Brother James, who has flatpicked his way through several north Florida bluegrass bands, comment on White’s innovative approach to his acoustic instrument of choice, the Martin D-28.  And the Rubber City’s Dan Auerbach of The Black Keys will talk about White’s other musical legacy – as a rock guitar trailblazer.

For a better appreciation of what Clarence White was able to accomplish, consider an unrivaled virtuoso like Belgian guitarist Django Reinhardt.  As you can hear from this next sample, Reinhardt couldn’t disguise his trademark sound when he made the switch from acoustic to electric guitar.  In fact, he barely altered his touch and delivery.  The sample starts with Django on acoustic and ends with one of his later performances on electric… Night and Day/Django Reinhardt (acoustic/electric)

White, on the other hand, completely transformed his basic style and approach when he moved from acoustic to electric.  In this first sample, a 20-year-old White displays his fully formed mastery of the acoustic guitar… I Am A Pilgrim/The Kentucky Colonels

On this next cut, you’ll hear what sounds like Neil Young’s more proficient cousin rocking out with an amped-up pedal steel… It’s actually White on his “B-Bender” guitar, which was specially rigged with pulleys and levers to bend the B note when he pulled down on the guitar’s neck.  And it’s from a live recording of White with The Byrds, circa 1971: Lover of the Bayou/The Byrds with Clarence White

You can argue about which Clarence you prefer – but there’s no doubt that White advanced the language of his instrument in two very different ways.

A little background… Born in 1944, Clarence White moved with his family from his hometown of Lewiston, Maine, to Burbank, California, when he was 10 years old.  He soon gained a reputation as a jaw-dropping instrumentalist, playing acoustic guitar with his brothers Roland and Eric in a bluegrass outfit called The Three Country Boys.  One early fan was Andy Griffith – that’s right, the Mayberry Man… and the Three Country Boys soon found themselves guesting on one of TV’s highest-rated shows.  Here’s a clip of Clarence and the Boys jamming with Andy:

The Three Country Boys eventually morphed into the Kentucky Colonels, who staked their claim as a groundbreaking and popular act (at least by bluegrass standards… in other words, small clubs filled with 70-80 enthusiastic fans).  The band boasted several top-notch instrumentalists, including the great fiddle player Scotty Stoneman and Clarence’s brother Roland on mandolin.  But aspiring guitar players – bluegrass and otherwise – were completely knocked out by Clarence’s blazing runs on his 1935 Martin D-28.

“The Kentucky Colonels’ ‘Appalachian Swing’ album was already seven years old when I first heard it, and I immediately got obsessed with Clarence’s acoustic style of playing,” James said.  ”It was his idiosyncratic sense of timing that separated him from his mentor, Doc Watson.”

As mandolin legend David Grisman points out (in the liner notes to White’s “33 Acoustic Guitar Instrumentals”): “When we used to do ‘Bury Me Beneath the Willow,’ he would play the guitar part a whole quarter of a measure off.  He was into screwing with time, but in a very accurate way so that you knew what he meant.”

Here’s the tune Grisman is describing… Bury Me Beneath the Willow/Clarence White

Joseph Spence

“One thing that puzzled me about Clarence’s innovation is that it didn’t seem to come from anywhere,” James said.  ”Doc Watson didn’t play like that.  And although it’s often mentioned that he listened to Django Reinhardt, I don’t hear so much of that in his playing.  Then I read a quote from Byrds bassist Chris Hillman saying he ‘probably’ got it from Bahamian guitarist Joseph Spence.  I don’t know if Hillman was speaking from experience, but it makes perfect sense.  Spence’s wildly syncopated playing, with its bizarre, unexpected accents, is very similar to what Clarence was doing.”  Case in point… Don’t Take Everybody To Be Your Friend/Joseph Spence

I think it’s safe to say that Clarence was the very definition of a “musician’s musician.”  In some circles – mainly, bluegrass and alternative country pickers – you can simply say “Clarence” and everyone knows who you’re talking about.  From a performance standpoint, he showed little flash or showmanship.  In fact, his stoic stage presence seemed to say “I’m just the guitar player, here to serve the song.”  And he maintained this stoicism throughout his career, even while playing in front of whacked-out rock fans at the Fillmore.

White began experimenting with the electric guitar during the latter part of his stint with the Kentucky Colonels, and he stuck with it after the band fell apart in 1965.  This led to the next significant stage of Clarence’s career – doing session work for a host of acts that were part of the West Coast’s quickly evolving country music scene.  “Nashville West” was the term used to describe California’s answer to the dominant sound of country music in the early- to mid-Sixties – and it was also the name of a band that White joined to play assorted dives and honky-tonks in El Monte and other towns around Los Angeles.

By then, Bakersfield had become the Western hub of country music – where Merle Haggard and Buck Owens developed a tougher, more visceral alternative to the “countrypolitan” sound that Nashville had perfected.  Owens even made an impression on the Beatles, who covered Act Naturally with a winning vocal by Ringo, and Owens returned the favor by incorporating some Beatle-esque flourishes into his own sound.

White did a fair amount of studio work in Bakersfield, but I wouldn’t mistake him for Roy Nichols – the guitarist of choice for Merle Haggard… If you’re not familiar with the Bakersfield Sound, here’s a textbook example – the biting intro to Merle’s The Bottle Let Me Down (Nichols follows the pedal steel)… The Bottle Let Me Down/Merle Haggard

Although just as far from mid-Sixties Nashville, White’s playing was more open and experimental than Nichols’ hard twang.  This next tune was recorded in 1968 at the El Monte nightclub that gave White’s band its name – it shows just how far outside Clarence was willing to take his sound in a live setting: Ode to Billy Joe/Nashville West

Of course he had to pay the bills, too.  So he logged countless hours doing studio sessions for West Coast artists like Gene Clark and the Gosdin Brothers.  Here’s a number that also was covered by Owens’ guitarist Don Rich… It’s from an uneven but entertaining collection of White’s studio work – ”Tuff and Stringy Sessions: 1966-1968″: Buckaroo/Clarence White

White began playing with The Byrds in 1966, initially in the role of studio mercenary.  In fact, he contributed to three albums – most significantly, adding some fine string-bending to several cuts on the classic “Sweetheart of the Rodeo” – before he was asked to join the band in 1968 following the departure of vocalist Gram Parsons and multi-instrumentalist/original member Chris Hillman (an old friend of White’s).

“For me, it was all about the B-Bender,” said Auerbach.  “No one else had even thought of doing it – taking a Telecaster and making it sound like a pedal steel – until Clarence and Gene Parsons (The Byrds’ drummer) got together.  I think Clarence had the idea and Parsons came up with the functionality, which included using banjo tuners to bend a few other strings.

“At the time, a lot of rockers were moving toward country – and Clarence was already completely immersed in hard country and bluegrass.  He simply took those elements and incorporated them into rock ‘n roll, and it totally blew people’s minds… still does,” Dan added.

“The Byrds Live at the Fillmore West (February 1969)” may not be a favorite among rock critics, but it’s certainly one of Dan’s most treasured discs.  “I could barely listen to studio tracks by The Byrds after hearing ‘Fillmore West,’” Dan says.  “Even Clarence’s studio work sounds too polished compared to the Fillmore stuff.  I think it showcases Clarence’s very best playing on the electric.  Roger McGuinn is basically recycling Dylan on the 12-string – which ain’t bad, because he’s playing solid rhythm.  But Clarence and Parsons are completely locked in and making each other sound better than ever.  Parsons’ playing is muscular, but real country too.  It’s like they were both leading the same revolution, because they came from country but really understood how to play rock ‘n roll.”

Listen to how Clarence plays fills around McGuinn’s vocals in this medley of The Byrds’ hits (first Turn! Turn! Turn!, then Mr. Tamborine Man, then Eight Miles High): Medley: Turn! Turn! Turn/The Byrds with Clarence White

The album moves seamlessly between these rockers and almost hard-core honky tonk, where Clarence and Parsons really get to strut their stuff: Drug Store Truck Drivin’ Man/The Byrds with Clarence White

White played with The Byrds until they broke up in 1973.  But even before he left the band, his playing began to come full circle as he returned to his bluegrass roots.  You can especially hear it in the title song and Bristol Steam Convention Blues from The Byrds’ last album, “Farther Along,” released in 1971.  This next cut shows that White also was no slouch as a singer – he had a distinct and soulful delivery (in a nasal, Dylanesque sort of way) that worked well in harmonies with his bandmates in The Byrds as well as with his brother Roland… Farther Along/The Byrds

Two years later, White recorded a few songs with bluegrass standouts David Grisman (mandolin), Richard Greene (fiddle). Bill Keith (banjo) and Peter Rowan (vocals/guitar).  These recordings, under the name “Muleskinner,” are mostly traditional bluegrass in the Bill Monroe vein.

“I spent a couple of years trying to unlock the secrets of Appalachian Swing when the newly formed Muleskinner band appeared on TV, and I was amazed,” James said.  ”Clarence had refined his style, using a flatpick and two fingers instead of just a flatpick, and playing fewer notes, just the essential ones.  His unique timing was still there, but even more complex and quirky.  It was brilliant… sent me right back to the drawing board.  I can only imagine what he might be doing today.”

James especially likes Clarence’s solo on this straight-ahead bluegrass number from Muleskinner: Dark Hollow/Muleskinner

White left us way too soon.  He was killed by a drunk driver on July 15, 1973, while loading equipment into a van parked outside of a Los Angeles night club.  He’d just finished a reunion gig with his brother Roland and other members of the Kentucky Colonels.

Here’s a little taste of what could have been – a long-lost recording of the White Brothers on tour in Sweden, 1973.  In a way, this mini-tour was a reunion of White’s very first band, The Three Country Boys, as brothers Roland and Eric were part of the lineup billed as “The New Kentucky Colonels” (banjo player Bill Keith made it a quartet).  Full circle indeed… New River Train/The White Brothers: Live in Sweden, 1973

More Clarence on video… Here’s a great artifact from the Sixties – Clarence and The Byrds playing on “Playboy After Dark.”  Dig the black dude boogalooing up front!

And here’s a video from 1969 – from Earl Scruggs’ “Family & Friends Festival of Music” – where Scruggs and his hippie friends eventually get around to playing the same tune: