Category Archives: Rock and Roll

The Set List — Hank Williams, Jr., .R.E.M., and others.

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The Set List


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Hank Williams, Jr.

Hank Williams, Jr.
Though he first appeared on the Grand Ole Opry at age 11, performing his late father’s tunes, Hank Williams, Jr., later chose to rebel against the expectations heaped upon him as the son of the greatest country music singer of all time by cranking up the electric guitars and extolling the virtues of smoking pot while sipping Jim Beam. Never mind that his dad had been shooting up morphine long before Hank, Jr., puffed his first joint. Maybe the real reason he chose to rebel was that his father nicknamed him Bocephus, after a dummy used by a Grand Ole Opry ventriloquist. Regardless, Hank, Sr.’s devout legions didn’t quite know what to make of Junior’s version of a hillbilly, but his undying allegiance to the Confederate flag had them in his corner in no time. Originally viewed as an embarrassment by hardcore country fans, Williams Jr.’s, crass songs were merely caricatures of the plaintive, stark beauty of country music. For the past decade, however, he’s been more or less a saving grace in a world where Shania Twain and Tim McGraw are revered more than Loretta Lynn and George Jones, though he’ll never live down those jingles that promote “Monday Night Football.” (Saturday, September 13, at Oak Mountain Amphitheater, 7:20 p.m.; $10-$39.75. R.S.) —Ed Reynolds

Jay Farrar
It’s been hard times for those who prefer Son Volt to the suddenly-sanctified Wilco. Jay Farrar didn’t even rate a mention in the Wilco documentary I Am Trying to Break Your Heart (despite his long history with Wilco’s Jeff Tweedy in Uncle Tupelo), and then Farrar’s first post-Son Volt project got swamped in the wake of Wilco’s lousy Yankee Hotel Foxtrot. Fortunately, this bought Farrar the time to record ThirdShiftGrottoSlack, an EP on which he finally ditched Americana and started exploring his avant leanings. Now, all of his visions have come together with Terroir Blues, a 23-track collection of gorgeous, quiet compositions augmented by noisy interludes and assorted reprises. Neil Young couldn’t have come up with a better mix of ambitious indulgence and genuine talent. The critics, naturally, aren’t pleased. Farrar probably couldn’t be happier. (Wednesday, September 17, at WorkPlay, 10 p.m. $20.) —J.R. Taylor

Hayseed Dixie/The Kerosene Brothers
Or Bill Dana opening for Jose Jimenez. Hayseed Dixie has been more successful than they could have hoped by playing bluegrass covers of AC/DC and Kiss. Now it’s time for the Kerosene Brothers to tour on Hayseed’s coattails—and those are mighty short coattails since The Kerosene Brothers are Hayseed Dixie in their purest form, before an indulgent side-project kinda took over their careers. Choose Your Own Title shows the Kerosene Brothers bringing that Hayseed energy to their own fun originals, with no hint of any deep insight having been buried by their successful alter-egos. It’s simply one good joke after another, and it’s not their fault if the joke has become more believable than most acts’ sincerity. (Wednesday, September 24, at The Nick.) —J.R.T.

R.E.M./Sparklehorse
They should be calling it the “Sorry About the ’90s” Tour since Michael Stipe can no longer tell the executives at his record label that questions about sales performance are “mean-spirited.” There have even been rumors of advance money being handed back, although that remains unconfirmed.

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R.E.M.

Let’s concede that some people out there are looking forward to buying R.E.M.’s recent best-of compilation, even after hearing the crappy new single. Meanwhile, the vast majority of fans haven’t really cared about anything R.E.M. has recorded since 1992. The fans haven’t missed a thing, either. Pete Buck still drinks and plays too much, Mike Mills remains the only talented member, and none of them know how to produce a rock album. The Michael Stipe co-produced American Movie, however, was a pretty cool film.

Sparklehorse, incidentally, is an R.E.M. tribute band, in that leader Mark Linkous’ rote sound collages—occasionally containing a good melody—are a tribute to how so many lame art-rockers have been able to limp along thanks to R.E.M.’s support over the years. Thankfully, that’s pretty much over, too. (Wednesday, September 24, at Oak Mountain Amphitheatre, 7:30 p.m. $15-$60 R.S.) —J.R.T.

The Polyphonic Spree/Starlight Mints/Corn Mo
Redefining both cult-rock and the cult of Mitch Miller, Tim Delaughter’s (former singer for Tripping Daisy) traveling band of white-robed glee clubbers sounds like an honest big deal on Beginning Stages of the Polyphonic Spree. They also do a fine job of burying the lame Sunshine Pop scene that came skipping out of the 1960s. Unlike their hippie forebears, this 24-piece ensemble plays off orchestral arrangements and fun synth touches to create truly entertaining pop masterpieces.

 

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Corn Mo

There’s also the occasional artistic misfire. But the only real problem is that nobody seems to remember how to actually produce a record by a big choral group nowadays. You have to see the band live to appreciate some of the delicate touches that are wiped away in the album’s traditionalist rock mix.

Starlight Mints are a proudly trippy act in their own right, getting past their dull power-pop roots and now indulging in a lot of privileged quirkiness on Built for Squares. And it’s left to Corn Mo to represent the Great Spirit in his role as the Heavy Metal/Prog-Rockin’ God of the Accordion. (See feature, this issue.) (Thursday, September 25, at WorkPlay, 8 p.m. $15) —J.R.T.

Caitlin Cary/Mimi Holland
College begins, and this former Whiskeytown girl stays on the road, and that’s pretty good news for fans of both country-pop and spoken word. There’s simply no live act that better captures the simple charm of a witty Southern gal—except maybe Rufus Wainwright. And the band plays up the jangle-pop subtext that makes I’m Staying Out such an impressive recovery from Cary’s lousy debut album. (Cary only, Friday, September 12, at Laser’s Edge CDs, 5:30 p.m. Free admission; Cary and Holland, Friday, September 12, at WorkPlay, 9 p.m. $15.) —J.R.T.

Blue Rodeo
Remember how stupid those Brits looked battling it out between Oasis and Blur? Canadians were reduced to taking sides between Blue Rodeo and The Tragically Hip—two interesting, brooding bands that each took their time compiling an album’s worth of decent live material. Blue Rodeo gets some bonus points for being a lot more Canadian, though, slowly compiling an epic farmland rock opera. In the process, they managed a few masterpieces and a lot of pleasant minor tunes. They’re still a big deal back home, but it’s always enjoyable to see Blue Rodeo working small clubs and pulling out greatest hits for an audience that’s never heard of them. (Friday, September 12, at The Nick.) —J.R.T.

Leon Redbone
It’s funny how quickly Leon Redbone has been forgotten in the midst of the continual O’ Brother mania, despite his having a long-standing set list that could’ve passed for a rough version of the film’s soundtrack. He’s certainly contributed to his own low profile, too. A night at the local public library seems like a step up from touring kiddie shows, but at least it’s one less tax dollar being spent on a professional storyteller. And though his Panama Jack routine was thoroughly tired by the ’80s, he’s spent his old age priming himself as a blues guitar god capable of replicating lost artists. Redbone’s death will be like losing Tiny Tim, taking a good section of the Great American Songbook with him. (Friday and Saturday, September 12 and 13, at the Hoover Public Library, 8 p.m. $15.) —J.R.T. &


To Hell with the Grand Ole Opry

To Hell with the Grand Ole Opry

A visit to a Montgomery memorial for Hank Williams, Sr., yields an encounter with the guitarist who backed Williams in the 1940s.


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“Well, Hank, we hope you’re gonna be around with us for a long, long time,” quipped singer Red Foley as he introduced Hank Williams at the Grand Ole Opry in 1949. “Well, it looks like I’ll be doing just that, Red,” replied the singer with weary confidence. Three years later the Opry grew tired of Williams’ unpredictable no-shows and drunken performances, so they fired him. Within a year his lifeless, 29-year-old, morphine-addicted body was discovered in the backseat of his baby blue Cadillac by Charles Carr, who was driving Williams to a New Year’s Day show in Canton, Ohio.

Fifty years after Williams’ death, Carr stands beside the singer’s big, gaudy tombstone in a Montgomery, Alabama, cemetery on a cold, windy New Year’s Day. The former chauffeur autographs miniature replicas of the Cadillac, lending an eerie touch of the commercial as a hundred fans gather to commemorate the anniversary of Williams’ passing. Carr recalls that fateful trip, his first driving Williams out of state to a show. “I was home for Christmas holidays. My dad and Hank’s dad were friends-that’s how I got the job. I can’t tell you much about Hank’s life, but I’m an expert on his death ’cause I was the only person there.” He dismisses rumors that Williams died of a drug overdose: “Falstaff and a half-pint of liquor were the only things involved.” Next to Williams’ grave stands the equally ostentatious tomb of first wife Audrey. Red roses adorn Hank’s grave, yellow grace Audrey’s. Between the two lies a small marble slab erected by Williams, Jr., after recent vandalism of the family plot. It reads: Please do not desecrate this sacred site.

A couple of miles from the cemetery the gathering reconvenes at the Hank Williams Museum, a morbid shrine that features Williams’ legendary Cadillac and the clothes he was wearing when he died. The automobile is on loan from Hank Williams, Jr., who drove it around Nashville during his high school years (Dolly Parton reportedly offered Williams, Jr., $100,000 a year to exhibit the automobile in Dollywood, but he lets the museum display it at no charge.) Country Music Television’s new documentary about Williams, portraying him as a drunkard and a junkie, is screened at the museum. Those close to Williams are not pleased with the film. Jimmy Porter, Hank’s original pedal-steel guitarist, registers his disgust. “Why do they have to paint the dark side? Is that where the money is? I never saw Hank ever take a drink.”

Two nights later, one-time Opry star Stonewall Jackson (a direct descendent of the Confederate general) plays the Guest House Hotel in Montgomery to conclude three days of Williams tributes. Only 30 or so fans bother to attend. Jackson spends more time talking than singing as he recalls starting at the Grand Ole Opry in 1955 “when I was too broke to pay attention.” The beefy singer has seen his Opry appearances dwindle to very few, and he doesn’t hesitate to voice displeasure. “If I owned the Opry, I’d start firing people,” he mumbles. He reflects on Williams’ influence in his life. “If it hadn’t been for him, I’d still be in south Georgia somewhere, pickin’ cotton. Hank was more of a poet to me than anything else.” Backing up Jackson is Williams’ main pedal-steel guitarist, Don Helms (1943 to 1953). At one point, Jackson turns to Helms and says, “I wish we had some of those pills with a smiley face on it. I think George Morgan [the Opry star who had a hit with 'Candy Kisses' and father of current Opry member Lorrie Morgan] always had some of those.”

Don Helms’ regular gig for the past decade has been playing pedal-steel guitar for Williams’ long-lost daughter Jett, who had to fight Hank Williams, Jr., for her share of the Williams’ fortune after discovering who her father was in the early 1990s. Helms was asked to play the Opry with Jett on the same Friday night he usually works with Stonewall Jackson. He skipped the Opry to be part of Williams’ 50th anniversary tribute in Montgomery. The 75-year-old Helms sits down on a plush couch in the Guest House lobby late that evening after his set with Jackson to reflect on his decade working with the greatest country music performer of all time.

B&W: So are you going to be in trouble for not playing with Jett tonight at the Grand Ole Opry?

Don Helms: I didn’t know she was going to play until the past week. When I worked with Jett last, which was a couple of weeks ago, we said good-byes and we were off till February. So I told Cecil (Jackson, head of the Hank Williams Museum) I’d come down here. I said, “I’ve celebrated the observance of Hank Williams’ funeral for 49 years in some other city. I’ve always been somewhere else. And this is the 50th anniversary, and I want to come to Montgomery.” I said I’d pay my own expenses and I’d come down there and if you’ve got anything you would like for me to do or be a part of, you have it lined up when I get there.

B&W: Jett does a lot of her dad’s music, doesn’t she?

Helms: Yeah, but she won’t sing “Cold Cold Heart” ’cause that was Hank’s favorite. She, being a woman, I have to play every one of Hank’s songs in a different key than he did-(Suddenly Stonewall Jackson walks by on his way to his hotel room.) Stonewall, I enjoyed it, brother. It was good to see you again. (Helms turns to me and grins.) I always used to call him “Gallstone.”

B&W: I wanted to ask you about a song Hank did called “No, No Joe.”

Helms: He didn’t record that in Nashville, and I didn’t record it with him. But what the song was about was Joseph Stalin, the Russian leader. I don’t even remember what the problem was, but it was some kind of political thing he was trying to do. He was trying to shaft the United States and this song was written about that. I’ve never played it far as I know, ’cause it’s not something he featured on stage. And, too, when the political problem was over, it was out of touch anyway. All those situations. Once the problem’s solved, you ain’t got no need to play it (laughs).”

B&W: Was Hank political at all?

Helms: No, I mean, like we all gripe about elections, and if your man don’t win, you bitch . . . I mean gripe (laughing). . . . An entertainer is a fool to declare in public his preference in religion or his politics. Because the first thing you do, whether you mean to or not, is divide your audience right down the middle, at best.

B&W: Was the Opry a fun place to play in the old days?

Helms: Well, there was always some kind of bull goin’ on, some guy tellin’ jokes, playin’ tricks. It was just a fun place to be. . . . It was a happy place to be. It’s not quite like that anymore. It’s a little more subdued. The camaraderie’s shot to hell. I don’t think anybody has any fun at the Grand Ole Opry anymore. Maybe the audience does. And I don’t work there anymore, so I can say what I please.

B&W: When I watch old Opry clips, I’m always drawn to the interaction between Hank and June Carter. Anything special about their duets that you recall?

Helms: June Carter was that way with everybody. She was just a vibrant, silly little girl that everybody loved. She wasn’t necessarily that way in person, but on the stage she would come across as the lovable little girl with pigtails that could kick her shoes off and make you laugh. There was a certain magnetism . . . Hank was much more attracted to Anita Carter than he was June. So was I. . . . We worked a lot of tours with the Carter Family when they first came to the Opry.

B&W: What did Hank think about people like Tony Bennett making pop versions of his songs?

Helms: He thought that was the greatest thing in the world, for anybody to do his songs. He aspired to be a writer, not a singer. Even up to his death, he would rather listen to somebody else’s record of his song than he would his own record. He aspired to be a writer . . . and I think he made it. &

One Night With Elvis — Fans from across the globe visit Graceland to pay their respects.

One Night With Elvis

Fans from across the globe visit Graceland to pay their respects.

Elvis Presley Boulevard in Memphis is a bizarre slice of civilization strewn with dilapidated barbecue shacks, check-cashing pawn shops, liquor stores, car washes (one doubles as a burger joint that serves a “Murder Burger”), and umbrella-toting prostitutes winking at passersby in the pre-dawn rain. It’s hard to believe that this neighborhood is the eternal resting place for a star of Elvis Presley’s magnitude. A few thousand feet from Graceland, cheap Screen Shot 2017-08-16 at 3.37.17 PMautomobiles are available in a dismal looking car lot called Heaven-Sent Used Cars. Nearby looms one of the city’s several massive billboards that proclaim: “Johnny Cochran — America’s Lawyer,” a huge, imposing photo of the famous attorney accompanying his telephone number. Another billboard advertises “Dr. Nick’s Memories of Elvis” at a local casino, featuring Dr. George Nichopoulos himself, Elvis’ legendary prescription writer.

On the weekend of August 16, more than 30,000 worshippers solemnly filed past Elvis’ grave, each clutching a candle lit from another candle that was lit by the eternal flame at Presley’s tombstone on the mansion’s front lawn. Colored lights bathed trees in various hues as Graceland’s lawn stereo oozed Presley hymns and ballads around-the-clock, the only sound evident as several thousand worshippers patiently stood in a hushed, snail-paced line beginning at 5 a.m. on Friday to pay respects and proffer gifts at the grave of the King. Offerings included teddy bears, long-stemmed roses, poems, and assorted brands of pork rinds. In the middle of Presley Boulevard, devotees abandoned burning candles in parting tribute, creating an oasis of melting candlewax altars where flames sizzled as raindrops fell.

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Welcome Elvis Fans: Feeding throngs of fans proved too exhausting for this vendor.

“I stood in line for six hours,” said Becky Baker, a 55-year-old Detroit woman who credits Presley with putting an end to her suicide attempts. “I had no desire to live ’til I heard Elvis sing,” she sobbed uncontrollably to a middle-aged man with sideburns, a pompadour, and a white Elvis suit and who claimed to be Elvis Presley, Jr. “My mother was Bonnie,” the man explained with a shrug, “one of Elvis’ early girlfriends. I was conceived when they were both 14.” He admitted to harboring lingering resentment at Lisa Marie’s refusal to recognize him as her brother. The crying woman from Detroit rubbed his hand, nodded her head, and sighed, “I knew there had to be more children, ’cause Elvis had so many girlfriends.”

A disheveled woman with unkempt gray hair aimlessly wandered back and forth on the sidewalk in front of Graceland’s graffiti-covered stone wall. She babbled incessantly to herself while dragging a worn yellow suitcase with a Greyhound luggage tag dangling from the handle. Identifying herself as “Mary from Kansas City,” she explained that she had walked several miles from the downtown Memphis bus station to reach Graceland. She distributed photocopies of tabloid headlines about recent Elvis sightings in the Midwest. The woman ventured a theory that Elvis could have been abducted by curious aliens 25 years ago. Most of the mourners simply ignored her.

The annual Elvis Candlelight Vigil held each summer to commemorate Presley’s death is a world-class freak show that would have made the late Colonel Tom Parker proud. Nowhere else would this collection of oddities be afforded such dignity and respect. A midget Elvis posed for pictures with a group of Japanese tourists. A balding Canadian man with scraggly red sideburns said it was his third trip to the vigil. He moonlights as an Elvis and Roy Orbison impersonator in his native British Columbia, crooning a verse of “Love Me Tender” to convince all who doubted him.

The most notable curiosities, however, labeled themselves Presley’s closest confidants and assembled at a University of Memphis symposium. Framed by a backdrop of velvet Elvis paintings, the informal group recounted favorite stories about how much he had meant to each of their lives, offering nothing less than complete reverence and respect as they praised the man who at one time had most of them on his payroll.

Al De Goren, the man who coined the phrase “Elvis has left the building,” recalled Presley’s generosity. Julie Parish, Elvis’ costar in Paradise, Hawaiian Style, claimed that one afternoon the entire right side of her body had gone numb “after too many diet pills.” Presley laid his hands over her in a healing manner right there on the movie set. Elvis’ dentist remembered the day Presley refused painkillers before oral surgery. “Elvis hypnotized himself,” said the dentist, obviously still in awe. “He never blinked and he never moved. It was amazing.”

Charlie Hodge, the man responsible for handing Presley his scarves and glasses of water on stage, told of the evening Elvis and the Colonel purchased 150 seats behind the stage for a group of blind fans — except no one told Elvis they were blind. Each time Presley tossed the group one of his scarves, it would simply flutter to the ground as if no one cared to catch it. Elvis almost became unglued during the performance, convinced that he had lost his ability to mesmerize an audience.

Struggling with English in a thick Korean accent, Master Kang Rhee, Presley’s long-time karate instructor, remembered that Elvis often didn’t know his own strength when using bodyguard Red West as a practice dummy. Rhee used to applaud enthusiastically as Elvis smashed up hotel furniture with hand chops and flying kicks. “Master Tiger [Elvis] deserve all kind of black belt,” Rhee noted, praising the star’s martial arts prowess. At the end of his talk, Kang Rhee, dressed in a black business suit, removed his shoes and socks to give a karate demonstration, complete with grunts and the classic air punches that became a staple of Presley’s Las Vegas act.

Larry Geller, Elvis’ hairdresser and spiritual adviser, called Presley “an Adonis and modern-day Robin Hood” who had hair “so fine that it needed lots of hairspray.” The hair stylist has previously claimed that Elvis was reading a book about Jesus the moment he died, a book the barber had given him five days before his death. Geller at one time had been ostracized by Colonel Parker and the Memphis Mafia, who blamed him for Presley’s fascination with different religions. At one point, Colonel Tom refused to let him be alone with Presley, limiting barber sessions to a half hour with a chaperon. The Colonel eventually confiscated all spiritual books Geller had given the singer, which Priscilla convinced Elvis to burn one night at Graceland.

Red West was the unexpected guest. West and his brother Sonny had written a tell-all book entitled Elvis, What Happened? after being fired from their bodyguard roles. Presley contemplated having the pair killed after the book came out but failed to carry through with the scheme. Years later, a tearful West has nothing but kind words for his former boss, and recollections about various attempts to break the monotony of life with Elvis in Las Vegas. For one prank, the Memphis Mafia staged an assassination attempt on Elvis, loading everyone’s guns with blanks in an afternoon shoot-out where Presley played dead as those not in on the joke jumped on his body to protect him from the imaginary bullets.

Leave it to Sam Phillips, founder of Sun Records and the man who discovered Elvis, to be the one speaker willing to toss a few irreverent barbs in everyone’s direction. Phillips is widely regarded as the man who unleashed rock ‘n’ roll with the release of “Rocket ’88′” by Jackie Brentson. In the early 1950s, Phillips had discovered a black singing group known as the Prisonaires incarcerated at the Tennessee State Penitentiary in Nashville. Impressed, Phillips began soliciting tapes of songs from other convicts, including one who sounded an awful lot like the Presley kid that had made acetate recordings 10 months earlier at Phillips’ Memphis Recording Service. Phillips was forced to give Presley a second listen, eventually hooking him up with guitarist Scotty Moore’s group, the Starlite Wranglers. Moore was initially impressed more with the singer’s name than voice because he thought the name “Elvis Presley” sounded like it came from a science fiction movie. Two years later, Phillips sold Presley’s contract to Colonel Tom Parker for $35,000.

Admitting that “anybody this damn old ought to be dead,” Phillips opened his address expressing admiration for the RCA microphone before him. He praised its aluminum strip and magnetic poles as he noted, “You make the performer feel like he owns that microphone,” the excitement rising in his voice. Admitting that he had more tolerance for Red than Red’s brother Sonny, Phillips praised West for being “exactly what Elvis needed in a bodyguard.” He said the brothers’ tell-all book wasn’t written to make money, but rather “to help Presley straighten his life out.” Phillips spoke in a stream of consciousness delivery that veered off on various tangents before suddenly returning to the topic at hand as he forgave West for writing the book.

Sam Phillips has claimed to have had no regrets about selling Elvis to the Colonel, whom he called “a fat boy with a long tongue and fat mouth.” But he can’t hide his disdain for the man who once had a carnival sideshow featuring dancing chickens on a plugged-in hot plate. “I’ll never say anything against Tom Parker . . . I wish he were still alive — then I would!” Phillips then turned his sarcasm towards Charlie Hodge: “It ain’t easy passin’ a glass of water to Elvis Presley. Forget the scarves.” He finally got around to exalting Presley, lauding him as a man of his word. “Elvis wouldn’t break a damn contract, even if it cost him his lower anatomy. He was the most important personality of the 20th and 21st centuries . . . I loved him because I wanted to kiss him and never got to.” As the audience laughed nervously at Phillips’ peculiar anecdotes, the legendary record producer concluded with a philosophical flurry of words that put a perspective on the two-day Memphis spectacle that few in the throng of 30,000 Graceland mourners would dare acknowledge. “We’re not talkin’ about no damn deities, and we don’t need another pope,” Phillips said quietly of the man who drew revelers from all corners of the globe on the 25th anniversary of his death. “No use in kidding ourselves. Elvis Presley got himself in the mess he made, and you know he did.” &

Elvis Summer Heats Up

Elvis Summer Heats Up

 

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As the 25th anniversary of Elvis Presley’s August 16 death approaches, the late singer currently has a number one hit in Europe with “A Little Less Conversation.” The chart-topper fulfills Colonel Tom Parker’s prophecy that Presley would be worth more to the manager dead than alive. His 1977 passing also opened the door for a new form of entertainment — the Elvis impersonator.

No one is more shocked by his chosen profession than impersonator David Lee. “It’s beyond my belief,” Lee observes about life portraying the greatest American icon of all time. “I don’t think anybody sets out to make a career being an Elvis impersonator.” The singer is revered as one of the top Elvis performers in North America, currently holding the champion’s title after having won the Canadian Elvis Fest 2001. He also placed third in the number one Elvis contest in the world, Images of the King 2001, which is held each August in Memphis in observance of Presley’s 1977 death.

 

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Lee didn’t start out as an Elvis fan. “My best friend had Elvis playing all the time, and I thought, ‘Man, this guy’s a little strange.’” But he soon became a convert, and began impersonating Presley in 1995 after being told he sounded a lot like him. “Deep down, I’m just a big Elvis fan, but I took it to another level.” He presently owns nine Elvis jumpsuits, including the American Eagle costume (from Presley’s legendary 1973 “Aloha from Hawaii” concert), the Peacock outfit, and the white fringe suit. Lee focuses on the more obscure Presley tunes. “You go to the contests and you hear ‘Suspicious Minds’ and ‘Jailhouse Rock’ 3,000 times. I try to look for songs that people don’t do.

“I try to give the people an accurate account of what it might be like to see Elvis,” Lee says. “Of course, there was only one Elvis . . . So if you can give ‘em just a touch of it, you’ve done your job.”

David Lee will perform at the BJCC Theatre August 9 with the Promised Land band. Showtime is 8 p.m. He will also be at the Birmingham International Raceway August 10 with the Muddy King Orchestra. For tickets or information, call 205-266-3030 or visit www.elvis4u.com.

Immaculate Deception

Immaculate Deception


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An Elvis impersonator sings “G.I. Blues” to adoring fans.

Decades after Elvis Presley’s twin brother Jesse died at birth, and years before scientists began work on human cloning, an odd strain of human known as the “Elvis impersonator” karate-chopped its way into the belly of 20th century world culture. Long live the King.

Twenty Elvis impersonators invaded Birmingham June 15 and 16 for the second Annual Elvis in Dixieland contest. Memphis-native William Styles, who vomited on Presley as an infant (his parents were pals of Elvis), was crowned champ after his mighty fine version of Elvis’ rendition of “Walk a Mile in My Shoes.” Styles, who bears an alarming resemblance to Kurt Russell’s Hollywood portrayal of Elvis, won $1,000 and the opportunity to compete in the world-wide “Images of the King” contest in Memphis in August during the 25th anniversary vigil of Elvis’ death.

David Lee, billed as “Birmingham’s Favorite Elvis Entertainer,” served as master of ceremonies. The reigning Canadian Grand Champion Elvis impersonator, Lee placed third during last year’s Memphis celebration. He introduced an assortment of contenders that aped every Elvis move imaginable — karate kicks, fists punching the air, and hips quivering uncontrollably. Grown women squealed like teenagers as they rushed the stage for kisses and scarves from performers in between endless versions of “Suspicious Minds” and the proverbial Elvis catch-phrase: “Thank you, thank you very much.”

Impersonator Michael Ratcliffe, a member of Virginia’s “Touched By Elvis” fan club, struggled to stay on pitch, but that didn’t stop him from belting out an emotional, off-key version of “My Way.” Danny Dale, an overweight Las Vegas Elvis from Louisville, Kentucky, mingled in the hallway with other contestants after his performance, sweat glistening off his chest as he explained his motivation for imitating the King. “It’s like doing aerobics. I try to mimic [his] moves. I started like most of the impersonators did, doing karaoke. Eventually, I rented a suit and started doing parties.” Beside him stood his 18-year-old son, “Little D,” who waited his turn to present a 1950s Elvis act.

“This is for my country and my Savior,” said a Presley imitator in a sparkling rhinestone-studded blue jumpsuit as he introduced “Dixie.” A gospel Elvis said he got his start impersonating the King at “rodeos, churches, and nursing homes.” Bragging that his Church of God rearing was every bit as religious as Presley’s youth, he opened his set by announcing, “I’d like to put in a plug for the two kings — King Jesus and King Elvis.”

Sex, Drugs, and Rock ‘n’ Roll

Sex, Drugs, and Rock ‘n’ Roll


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Nashville Rebel: Waylon Jennings, 1937-2002.

Waylon Jennings was addicted, no question about it. Skipping meals and going for days without a bath, Jennings spent hours wallowing in self-absorbed, hedonistic pleasure as bells rang and colors flashed before his eyes. Life was getting out of hand. He’d drive all night after a show in Louisiana just so he could wrap his fingers around his favorite Nashville pinball machine. His habit eventually reached $35,000 a year — in quarters.

Jennings’ childhood in Texas epitomized the drama of country songs. He picked cotton from dusk to dawn, his mother openly wept every time she heard Roy Acuff sing “Wreck on the Highway,” and an alcoholic uncle regularly consumed grapefruit juice with brake fluid. Jennings was an outlaw long before his music was literally marketed as such. Refusing to conform to ideals defined by the Nashville music establishment, Jennings grew his hair long and boycotted the Grand Ole Opry for 10 years because the show did not allow performers to use a full set of drums. His disdain for the music industry took root in his teens when he played with his Texas pal Buddy Holly. Jennings gave up his seat on the doomed airplane that killed Holly, J. P. Richardson [the Big Bopper], and Richie Valens. Holly had teased Jennings about being afraid to fly to the next show 400 miles away, laughing that he hoped the bus Jennings and others were traveling on would freeze. Jennings replied, “Well, I hope your ol’ plane crashes.” Guilt and remorse about the remark haunted him for years.

The promoter found a local teen who had won a talent show to fill in for Buddy Holly the night of his death. Jennings was convinced to play the show with assurance that he would be flown home to Texas the next day for Holly’s funeral. The flight home never materialized, and the tour proceeded for another three months across the Midwest. At tour’s end, Jennings received only half of what he had agreed to play for; promoters had short-changed the musicians since the stars had been unable to appear.

Jennings revolutionized music, creating an irreverent blend of country and rock ‘n’ roll that introduced a generation of drug-addled hippies to a warped version of 1950s cowboy singers Roy Rogers and Tex Ritter. Music critics branded the sound “Outlaw.” A string of duets with Willie Nelson, including “Good-Hearted Woman,” “Luckenbach, Texas,” and “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” drew an audience that Nashville had failed to snare with its marketing of “folk-country.” In truth, Jennings had never set foot in Luckenbach, and absolutely detested the song because he thought it sounded too much like “Good Time Charlie’s Got the Blues.”

“I left all my ex-wives. They didn’t leave me,” Jennings bragged in his autobiography. “I went through my marriages like Grant went through Richmond.” The singer boasted that all of Hank Williams, Sr.’s, ex-wives had hit on him, and claimed to have often had several women in one night, hiding them on different floors of the same hotel. Jennings even tried to pick up newscaster Jane Pauley when she interviewed him on NBC’s “Today Show.”

Getting high became a way of life for Waylon Jennings. The Telecaster Cowboy, as he often referred to himself, ate a couple dozen amphetamines a day for 15 years, citing Johnny Cash, Roger Miller, and himself as “world champion pill-takers.” Loretta Lynn used to walk Jennings around the dressing room when he got too high before a show. A friend finally convinced him to take up cocaine to kick the pills. Over the next decade, Jennings spent $1,500 a day feeding his cocaine habit. He ignored a White House meeting with President Jimmy Carter to do drugs with a Washington Redskins football hero, and he shared his cocaine with members of the Oakland Raiders at halftime while the Raiders were trailing the Chiefs 6-0 during the Kenny Stabler years. The Raiders scored 54 points in the second half to win. Jennings played poker and drank beer with Mother Maybelle Carter, introduced Nashville to the 12-string electric guitar, narrated The Dukes of Hazzard (“I aimed the narration at children and it made it work”), and once had a run-in with Grace Slick while filming a television special, calling her a communist for her criticism of America.

In 1984, he took his fourth wife, Jessi Colter, to Arizona, where the couple leased a house in the desert so that Jennings could end his years of cocaine addiction. Jennings, forever the outlaw, kicked the drug his own unique way. Stashing $20,000 worth of coke on his tour bus parked in the driveway of his temporary desert home in case the cocaine urge got too strong, Jennings quit cold turkey. One of his favorite anti-drug quotes was from former boss Chet Atkins at RCA, Jennings’ record company for over 20 years. “You’ve only got so many beats in your heart. Why shorten the number?” &

For Insomniacs Only

For Insomniacs Only


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Peter Noone (far left), the one-time lead singer for Herman’s Hermits, opens the holiday shopping season at The Galleria on November 23.

Patience may be a Christmas lesson drilled into wide-eyed kids yearning daily for Santa, but for salivating holiday shoppers, it’s merely an old-fashioned term at which they scoff. Christmas bells officially begin ringing at the ungodly hour of 1 a.m. on Friday, November 23, at the Riverchase Galleria. So much for the long winter’s nap. Thanksgiving leftovers won’t even be cold by then.

The only thing remotely old-fashioned about this yuletide shopping spree is the presence of Peter Noone, more famously known as Herman, one-time lead singer for the 1960s hit-makers Herman’s Hermits. With 23 Top 10 hits and 52 million records sold, the band was among the monarchy of the British invasion that included The Beatles, The Rolling Stones, The Dave Clark Five, and a host of other limeys.

Herman’s Hermits’ classics such as “I’m Into Something Good,” “Mrs. Brown You’ve Got a Lovely Daughter,” and the frivolous “I’m Henry the VIII” glued a generation of teens to AM radio and television shows such as “Hullabaloo” and “Shindig.” Along with their repertoire of irresistibly catchy pop hits, Herman’s Hermits were renowned for being one of the few British acts that sang in a heavy British dialect. “You had to have your own sound back then. You couldn’t sound like The Beatles or The Dave Clark Five. That’s why we did the first English accents on rock ‘n’ roll records,” Noone explains on his website.

Noone was 15 years old when Herman’s Hermits began topping the record charts. The squeaky clean Hermits image that alienated more serious, worldly teenagers was apparently no put-on, according to Noone in a 1999 interview with the Globe Correspondent. An admitted innocent, Noone recalls, “I hung out with the guys that knew what was going on, like The Beatles and The Stones. They were much more fun than the guys in my band.”

Peter Noone’s last show in Birmingham was 10 years ago at the Alabama State Fair, with local players enlisted as Hermits for the evening. Noone was every bit as enthusiastic and endearing as his showbiz persona, though the choirboy image took a couple of blows. Local drummer Leif Bondarenko recalls that Noone personally delivered a case of beer to the band before the show. Don Tinsley played bass that night, and recalls Noone’s penchant for cursing. “A very good-natured cuss word every other word,” Tinsley laughs.

12-String King

12-String King


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The Byrds in 1965: (left to right) Michael Clarke, David Crosby, Chris Hillman, Roger McGuinn, and Gene Clarke.

Through his widely influential band the Byrds, Roger McGuinn inspired a generation of rockers with his often-imitated 12-string electric guitar. A dedicated folk music addict, McGuinn turned up the volume and added an irrepressible backbeat to the storytelling genre perpetuated by folk pioneers Pete Seeger and Bob Gibson, among many others.

After seeing the Beatles’ A Hard Days Night, the Byrds ditched their acoustic act and borrowed $5,000 to purchase electric guitars, amplifiers, a drum kit, and matching black suits with velvet collars. John Lennon prompted McGuinn to adopt the Rickenbacker guitar, but it was McGuinn who got Lennon hooked on sporting tiny sunglasses. The rest is rock ’n’ roll history.

Black & White: Tell me what started the Folk Den you offer on your web site.

Roger McGuinn: There were a lot of folk music songs getting lost in the shuffle. And in the commercial music scene there wasn’t a lot of interest in traditional folk music anymore. The old folk singers are gettin’ kinda old, and I wondered what would happen in a few years when they’re not around anymore. So I thought I’d do my bit to keep those songs alive by recording them and putting them on the site (www.rogermcguinn.com) — one a month. And I’ve been doing that every month for six years. Folk had experienced tremendous popularity in the middle ’60s, and I think that it had become overly commercialized at that point. Rock ’n’ roll came along, the Beatles. We didn’t help folk much by mixing it up with rock ’n’ roll in the Byrds. Gradually people kinda forgot about it to the point where now they don’t even know what it is. If you say “folk,” they immediately think of some kid with an acoustic guitar who’s playing their own songs that they just wrote last night. They don’t know what you’re talking about when you say “traditional songs.”

B&W: Was being a fan of [early folk pioneer] Bob Gibson what got you interested in folk music as a kid?

McGuinn: That’s right. I was in high school, and I was into rock ’n’ roll at the time. Elvis Presley, Gene Vincent, Carl Perkins, that whole rockabilly sound out of Memphis. I hadn’t listened to folk music at all. Maybe I’d heard a little bit of Burl Ives when I was a kid but I didn’t pay much attention to it. Bob Gibson came to our high school and did a 45-minute set on a five-string banjo. Blew me away. I just loved it. I couldn’t believe it. It was so energetic and he’s doing all these fancy picking things on the banjo. These great melodies and stories and songs. I went, “What’s that?” I asked my music teacher, and she says, “That’s folk music. There’s a school that just opened up in Chicago. You ought to check it out. It’s a folk music school.” So I went over there to Old Town School of Folk Music and enrolled. I studied there for three years before I got my first job as accompanist for the Limelighters.

B&W: How did you and Tom Petty get to be pals?

McGuinn: When I first heard Tom Petty I was looking for songs for an album I was gonna be doing. And Tom was just coming out with his first album. I didn’t know who he was. My manager was playing me songs from different writers. One of them was [Petty’s] “American Girl.” And it sounded so much like me, I kidded my manager and asked, “When did I record that?” And he said, “It isn’t you. It’s this new kid Tom Petty.” So I said I wanted to meet him, because I loved what he was doing. And he came over the next day to the house. We got to be friends, and we’ve been friends all these years.

B&W: Tell me about your years working with Bobby Darin.

McGuinn: That was cool. Bobby was a very talented guy. He was very multi-dimensional. He could play the vibes and dance and play piano and guitar and sing and tell jokes. He was an old school kind of showbiz guy. Almost a Vaudevillian. One of the things he did was incorporate a folk music segment into his act. He was scouting around looking for somebody to back him up on that. He was in California at the Crescendo Club to see Lenny Bruce. I was with the Chad Mitchell Trio at the time, and we were opening up for Lenny Bruce. So he saw me and offered me a job and I took it, ’cause it was better money.

B&W: That must have been an experience, opening for Lenny Bruce.

McGuinn: Yes it was. Lenny was so amazing. I’d say the guy was a genius. He was very bright. You never knew what he was gonna do. He was kind of coming off the top of his head all the time. And there was always this mystique that he was kind of stoned or something (laughs). He was really amazing. We looked upon him with a great deal of amusement. It’s funny, he was actually put in jail for some of the stuff he said on stage.

B&W: I didn’t realize that you wrote songs with the Brill Building crowd (legendary New York songwriting group that included Carole King, Neil Sedaka, and Neil Diamond, among others).

McGuinn: Yes. Bobby (Darin) had rheumatic fever when he was a kid, and his heart wasn’t very good. At one point, performing became difficult for him, so he decided to concentrate on his other business, which was a publishing company he’d bought into. We all moved to New York, and he hired me as a songwriter at the Brill Building. My job was to go to work everyday, like a nine to five thing, and write songs.

B&W: Are the descriptions of life in the Brill Building pretty accurate — the cubicles with a piano in each?

McGuinn: Absolutely. That’s what it was. A cubicle about 12 feet by six feet. Almost a jail cell with a piano in it (laughs). Barely enough room for an upright piano and a couple of chairs. You’d sit in there with another guy, he’d work on piano, I’d play guitar, and knock out songs all day.

B&W: From reading your statements on your web site, you seem to always be up on the latest technology. Were you ever involved with developing guitar gadgets?

McGuinn: Not really. The only thing I ever did with that was use after-market stuff and kind of build it into my guitar. I would take the VOX treble booster — it came in a chrome package — and I took the electronics out of that and installed it into my Rickenbacker. I did kind of develop what later became the pig-nose amplifier [a small practice guitar amp]. I had one of those back in ’65; I’d just make them for my friends and give away.

B&W: Tell me about the Rock Bottom Remainders.

McGuinn: I met Carl Hiason. He wrote a book called Sick Puppy, and named the dog McGuinn — after me! I went to a book-signing of his because I wanted to meet him. We got to know each other a little bit. He mentioned that he sometimes played with this band with [columnist] Dave Barry and Stephen King, and asked would I like to do that sometime. And I said, “Yeah, that sounds like a ball.” So he lined it up and then we all did it. I was going to do it this year, but I got too busy with Judy Collins going on the road.

B&W: How did you come to testify at the Senate hearings regarding MP3.com?

McGuinn: MP3.com was an outfit that I hooked up with a couple of years ago. They saw my Folk Den and said, “Why don’t you bring some of this stuff over here, make some CDs, and we’ll pay you 50 percent on ‘em.” So I said, “Good deal,” because record companies never pay more than 10 percent or something like that. When all this lawsuit stuff came out and the hearings and everything, like Napster and that whole furor about that, the record companies got a vigilante mentality, and they were going after everybody that had the word MP3 in it. So I went to the Senate to defend MP3.com because I thought they were the good guys ’cause they were paying royalties to the artists.

B&W: How long have you been doing solo shows?

McGuinn: Oh, since ’81. Ramblin’ Jack Elliot got me into it. I was on the Rolling Thunder Revue tour with Bob Dylan, Ramblin’ Jack, and Joan Baez. One time Ramblin’ and I were hanging out, and he said, “You know Roger, the best fun I ever had was when I’d just throw the guitar in the back of the Land Rover and hit the road and play all these little places, and it’s so much fun.” And I was in a band situation where you got trucks and all these logistics of people and you got to worry about the drummer being drunk and stuff like that. So I was looking to get out of that. It was too much trouble and it wasn’t as much fun as I wanted to have on the road. I wanted to take my wife with me and do it like Ramblin’ Jack said. It’s my favorite way to tour.

Roger McGuinn will perform on Saturday, October 20, at the Kentuck Festival in Northport (Tuscaloosa) Alabama. Call 205-758-1257 for details.

Glorious Results of a Misspent Youth

Glorious Results of a Misspent Youth

By Ed Reynolds

Commander Cody

Commander Cody

Adored by hippies and despised by the American establishment, Commander Cody and His Lost Planet Airmen introduced the world to a lethal combination of piano-pounding rock ‘n’ roll, electrified Texas swing, and truck-driving country and western. As the defiant idealism of the ’60s melted into the revolutionary decadence of the ’70s, the band, led by Commander Cody (George Frayne) from behind his piano, scored a Top Ten hit in 1971 with the irrepressible “Hot Rod Lincoln.”A noon phone call to Frayne’s Saratoga Springs, New York, residence was greeted with some reluctance by the Commander. “Give me your first question, and I’ll tell you if I’m going to do this.” He scoffed at the first query regarding the trucker aspect of the band. “I think we ought to straighten something out. I’m not the truck drivin’ guy, that’s [original Lost Planet Airmen guitarist] Bill Kirchen. I do two truckin’ songs per night.” Frayne agreed to field a few more questions, and soon was laughing through anecdotes about Communists, the FBI, and Hunter S. Thompson.


Black & White:
Tell me about the first Commander Cody gig, when you were maced by police during a Berkeley riot.

Commander Cody: (Slightly irritated) Where did you get that from?


B&W:
Your bio on your web site.

Cody:
That was not our first . . . (Long pause) Actually, that is correct (laughs). It was a freebie for Cody’s Bookstore. And the only reason the guy hired us was because he saw my truck that said “Cody” on the side, so he figured he should give us a gig. It was July 4, 1969. They [students] started demonstrating, and moved down the street. The kids were coming with a wall of cops behind them. It was inevitable that the giant cloud of gas got to us sooner or later. It’s nice to know there’s still something correct in the bio.


B&W:
I read that the band created quite a stir when you played a country-and-western convention in Nashville in 1973.

Cody:
Yeah, we were the first hippies that actually went down there to play. We got a lot of “Get a haircut” stuff. They didn’t like us very much.

B&W:
And you played the Communist Party festival in Paris that same year?

Cody:
Yeah, it’s funny. The only way to get started was to play free things for everybody. There would be a free concert almost everyday in Berkeley. We did benefits for everybody we could. We did Black Panthers, we did White Panthers, we did Gray Panthers. So the actual Communist Party invited us; we were the only American act. The Communists had read in the Berkeley Barb, this hippie rag, that we were these revolutionary Commies from the United States (laughs). The American Indian Movement–the Russell Means guys–later took over Alcatraz, and they invited us out there. I don’t know why, cowboys and Indians or something. We stayed out there, met all the Indian guys, came back the next day, and the FBI was on my case from that point on.

B&W:
Did Castro really invite the band to play Cuba?

Cody:
(Surprised) Well, yes they did! The Cubans invited us to come down because they were trying to make contact with some kind of American group. Or anybody. Like the Communists finally got ahold of Jane Fonda to go do their shit for them, but I wasn’t exactly up for that. We were radical in the way that we were different from everything else, but so was everybody different from everything else at that time. And to put us in that quote/unquote “bag,” to use the nomenclature of the time, of being actual card-carrying Commies was a whole other deal.


B&W:
Tell me about David Letterman kicking you off his show because you were drunk.

Cody:
Yeah, I was drunk on the “Letterman Show.” I was on the show three times because they couldn’t get anybody to be on in 1983 when they were first starting up. So I would go (laughs). The last time, I was supposed to be on Monday but wasn’t. So I went out and found a bunch of friends of mine, and we partied. I was supposed to be there on Tuesday, but they wouldn’t put me on. Finally they put me on Wednesday, and by that time I had been partying for three days. Letterman at that time was a 12-stepper [Alcoholics Anonymous], and 12-steppers and me don’t get along very well.

B&W:
What about Hunter S. Thompson throwing bombs at you in a Florida hotel room?

Cody:
I was booked with the Rolling Stone Lecture Bureau through a woman who worked for Cox Cable in 1977, when The Lost Planet Airmen Band had broken up, and I didn’t have anything to do. I did lectures for Rolling Stone, and the subject was “The Function of the Subconscious Mind.” It was about creativity, and I lectured at eight or nine colleges around the country. Hunter Thompson saw me on that last “Letterman Show” we were talking about, and at that time everyone wanted to interview him because they saw how wacky and zany he was. He said he’d do an interview with me, so Cox Cable flies me down to Key West, where Bill Murray and Hunter Thompson are holding forth, doing more drugs and alcohol than you can possibly imagine (laughs). The interview started, and Hunter took out a taser [stun gun] and fired it at the camera man, who immediately packed up and flew back to Washington, D.C., leaving me all alone. There was a woman there who had a giant bag of drugs, and she wound up in my room. Hunter and the owner of the hotel didn’t like me because I had on an F-18 T-shirt, and they were Navy guys and they didn’t figure I had been in the service. So they got in their little boat next to the hotel, and Hunter had taped together a bowling ball-sized object made of taped-together M-80s that he fired through the sliding glass door of my room. Sounded like a bunch of shotgun blasts, broke all the glass, and set the room on fire! The chick grabs her bag of dope and heads out the door, and, of course, Hunter was out there waiting on her (laughs).

B&W:
Living in Michigan in the ’60s, did you know the MC5?

Cody:
Yes, indeed. I was listening to Oscar Peterson, Count Basie, and a lot of those kind of piano players that are really important. But the MC5 I never liked because it reminded me of Ted Nugent and stuff that was too loud and too stupid. I can’t remember what the theme song of the MC5 was.

B&W:
“Kick Out the Jams.”

Cody: Yeah! “Kick out the jams, motherf***er!” That describes the Detroit attitude perfectly: Kick out the jams, motherf***er! So I never got along with that kind of music, because we were serious about playing electrified western swing with a beat. We loved it, and tried to play it modern enough so that people could dig it. And I think in the long term we were successful, because we spawned Asleep at the Wheel, and they went on to be very successful.

B&W:
Did you spend much time with Janis Joplin?

Cody:
I met Janis and hung around her at the same time when Kristofferson met her. She was a wonderful, wonderful person. She had the body of a 14-year-old girl and the face of a 45-year-old woman. And she was, like, 22 at the time. She had a lot of problems with self-confidence and stuff like that. You’d look at her face and go, “Jesus, this is a hardened hag,” but she was not at all. She was actually a sweet kid. She found her own way to get out of it, and blew it.


B &W:
Do you miss the hippie days?

Cody:
Well, yes and no. They [hippies] have their own built-in minority support group, you know what I mean? They started that whole politically correct crap: You gotta be nice to everyone no matter what. So no, I don’t miss the hippies (laughs). I wasn’t really a hippie. I never grew my hair that long. We were just in it for the “crazy chicks” part of the hippie movement. So was everybody else (laughs). Get some of that free love, baby! A lot of us just quit our jobs and said, “What the f***, let’s see what happens.” And we lucked out

 

Commander Cody performs Sunday, September 16, at Spanky’s On Valley. Call 945-1414 for details.

Brian Wilson’s Big Night Out

July 4, 7 p.m., on the TNT cable channel.

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Brian Wilson’s renowned songwriting abilities have ensconced his name among the giants of popular American music. Wilson addressed a generation drunk on the celebration of life but lost in a land of alienation and self-doubt. Appropriately, the former Beach Boy penned stunningly melodic twists on standard three-chord rock ‘n’ roll while revealing through achingly beautiful ballads an unparalleled grasp of loneliness and fear.

On July 4, TNT premieres An All-Star Tribute to Brian Wilson, a concert taped at Radio City Music Hall. Featured in the telecast is an ensemble of performers and actors saluting Wilson through interpretations of his songs and anecdotes about the power of his music on their respective lives.

The tribute opens with the Harlem Boys Choir singing in celestial harmony on “Our Prayer” from the 1968 Beach Boys album 20/20. The show immediately descends into embarrassingly sacrilegious performances of “California Girls” and “Help Me Rhonda” by Ricky Martin, whose shameless mugging and inane gestures make one pine for Mike Love’s endless summer of onstage charades. Paul Simon’s version of “Surfer Girl” is predictably boring. Simon has an uncanny knack for rerouting gorgeous melodies down his own improvisational jazz-influenced alleys.

The Go-Go’s finally coax the sun back onto the stage with a bare-bones, loud guitar rave-up of “Surf City” as singer Belinda Carlisle’s shimmering hips and guitarist Jane Wiedlin’s green hair inject a blast of rock ‘n’ roll that easily obscures the quartet’s penchant for singing flat. David Crosby, songwriting legend Jimmy Webb (“Wichita Lineman,” “By the Time I Get to Phoenix), and an impossibly sexy Carly Simon offer a haunting rendition of “In My Room.”

The big surprise of the evening is Vince Gill, introduced by David Crosby as the “purest and best voice in all of popular music.” Gill’s version of “Warmth of the Sun,” written by Wilson and Mike Love hours after the assassination of JFK, is nothing less than angelic. Billy Joel relates an endearing generation gap story about his teenage daughter Alexa’s discovery of “Don’t Worry Baby.” Dedicating the song to her, his over-blown vocal vibrato proceeds to pummel the delicacy out of Brian Wilson’s Phil Spector-influenced masterpiece. One wonders why Joel didn’t simply let Alexa sing it.

Old film clips of Beach Boys performances and recording studio clowning are disrupted by “candid” studio banter from tapes supposedly representing Wilson’s voice during recording sessions. But the voice is a little too much like David Crosby’s to be believable. Testimonials from Dennis Hopper, Cameron Crowe, and host Chazz Palminteri frequently sound like cue card lines read at the Academy Awards, though famed Beatles producer George Martin offers fascinating insight into the rivalry and mutual influence shared by the Beach Boys and The Beatles.

An emotionless, stoic Brian Wilson finally emerges toward the show’s end to sit at his piano and sing “Heroes and Villains,” offering a dedication loaded with twisted brotherly affection and macabre Beach Boy reality: “I’d like to dedicate this show to my brothers Dennis and Carl, who both died.”

Wilson, who never once smiles, encores on “Wouldn’t It Be Nice” with Elton John, adding hilarious irony to the pair’s history of troubled lives as they sing together, “We could be married. And then we’ll be happy.” As the song concludes, the stage fills up with the entire cast of performers, with everyone joining Wilson, now standing and playing bass though still looking befuddled, for rowdy versions of “Barbara Ann,” “Surfin’ USA,” and “Fun, Fun, Fun.”

As the stage clears, Wilson momentarily discards his robot-like persona and quips, “Now that we’ve broken your eardrums with all that noise, we’ll send you home with a nice little love message.” Backed by the impeccable California band, The Wondermints (whose amazing vocal harmonies and precision playing flawlessly recreated a Beach Boys ambience that made up for some performers’ shortcomings), an orchestra, and the Harlem Boys Choir, Wilson closes the show with an amazing version of “Love and Mercy” from his first solo record, Brian Wilson.