Both Tosches and Robert Palmer, author of another current Jerry Lee Lewis bio, have taken a different route to the rockbook in the past: the pop text. Not surprisingly, neither elected to cover rock and roll per se — unless you count Sound Effects. Nik Cohn’s Rock from the Beginning, a history published more than half the music’s lifetime ago, remains the only honorable attempt at that Sisyphean undertaking ever essayed by an individual acting alone. Tosches’s 1977 Country: The Biggest Music in America is pure gonzo scholarship, so outrageous that I felt let down when jacket copy that began
“If you’re looking for a cogent, comprehensive history of America’s most popular music…” didn’t continue “…then steal Bill C. Malone from the library, sucker.”
Alternating garish anecdotes, many apocryphal and several completely made up, with the kind of catalogue-number fanaticism only record collectors can read without artificial stimulants, Country attempts to prove that America’s most conservative popular music is in fact its most radical. Where Marxist George Lipsitz makes a similar case by doggedly documenting the music’s class origins and consciousness, Tosches’s book is all fucking and fighting and getting high. As history, it’s partial and absurdly distorted. But as vision, it’s hilarious and instructive, a perfect rockbook combo; it’s not the key to country music, but it breaks down some doors.
Palmer’s Deep Blues, published in 1981 and just out in paper from Penguin, is something else entirely — the best book available on a subject that’s always inspired passionate erudition. Although I’m not enough of a blues scholar to attest unequivocally to its originality or accuracy, I guarantee its scope, coherence, and grace. Tracing the blues back to Will Dockery’s plantation in northwestern Mississippi, where in the 1890s guitarist Henry Sloane (teacher of Charley Patton, student of ??????) was heard to play something damn similar, Palmer follows the tradition to its international present with an admirable sense of proportion (except when he overplays his good source Robert Junior Lockwood).
Because Delta blues is his subject, he barely touches on the East Texas strain, but that’s regrettable only because he would have made such a good job of it. He completes his self-appointed task superbly, especially the stopover in Chicago with Muddy Waters and his numerous nephews. This is a pop text, yes, but it’s also where to start exploring the source of all rock and roll. A rockbook and then some.
Palmer’s critical virtues have always been on the ethnomusicological side — he appreciates madness, style, and sleaze, but he’s never shown any inclination to incorporate them into his writing. So for the same reason that the star lecturer isn’t always the life of the faculty party, it’s no surprise that Palmer brings off a history with more pizzazz than a quickie.
His Jerry Lee Lewis Rocks! began its life in 1980 as a memorable Rolling Stone profile, but stretched out for the rockstar bio people at Delilah, it’s little more than the usual excuse for photographs (many of which are wonderful). Sure the facts are here, as well as a lot of historical background and a few authorial reminiscences that Bangs always made a specialty — Palmer grew up in Little Rock and had his life changed, he says, by “Whole Lot of Shakin’ Going On.” But he doesn’t seem to put a whole lot of thought, or heart, into his thesis that “maybe rock and roll can save souls as well as destroy them.” And while in Deep Blues he applies his musical expertise to one of the key enterprises of all rock criticism — establishing the technical brilliance of inspired primitives — he never does the same for Jerry Lee’s pumping piano, surely one of the great instrumental signatures.
Too bad — I would have liked him to parse those boogie rolls.
Hellfire feels like it was written fast, too — but not ground out like a quickie, really written, in what I envision as a month or two of icy lyric fury. Even at the end, when what begins as heroic narrative breaks down into a string of clipped little items that might just as well have been lifted whole from the trades, the police blotter, and the secret diary of Oral Roberts Jr., the book has the kind of trance-like coherence that has overtaken every writer at the dawn of a specially blessed all-nighter. Basically the tale of the archetypal Southern backslider, it’s been described as Biblical and Faulknerian, and it should be. But Tosches, who has lots of just-the-facts hack in him, sustains a page-turning pace that intensifies its of-a-pieceness. And his tone partakes of the grand, inexorable distance of a genuine epic as well.
Such things cannot be, of course — the epic is of the past. All the oral tradition south of the Mason-Dixon line can’t bring it back unspoiled, and anybody who thinks different is ignorant, pretentious, or both. So Hellfire can only succeed as some kind of mock epic, the chronicle of a would-be hero in an antiheroic age. And indeed, Tosches does cut King James’s English with journalese; he does mix straight reporting and bent faction with the stuff of legend; he does disfigure his story with the mean details of Lewis’s vanity, cruelty, and crazed sense of humor. But Hellfire isn’t mock anything. Without hewing foolishly to the usages of a dead form or trying to write like someone he isn’t, and without presenting Lewis’s excesses as merely cool, colorful, or semi-divine, Tosches limns the life of a doomed hero as if that hero deserved our respect, and his. As a dedicated classicist who is also a former snake hunter and a contributing editor to Penthouse, he rejects the notion that there’s something debased or devalued about the mongrel rhetoric he exploits. It’s just there, with all it’s peculiar virtues and drawbacks, and it’s Jerry Lee Lewis’s mother tongue.
Not that this avowed Pindar fan doesn’t respect the past — not even that he doesn’t believe there-were-giants-in-those-days. Like most rock critics with a specialty in roots music, he disdains most of today’s pop, and his Jerry Lee is driven by his heritage as “the final wild son” (Tosches’s phrase) of a family with “a big history” (Lewis’s). Nor is Hellfire at all solemn — in fact, it’s very funny indeed. Lewis’s excesses aren’t merely cool or colorful, but they’re at least that — this wild son has done a lot of exorbitant things in his life, and he’s some interview:
“‘I mean Elvis this, Elvis that. What the shit did Elvis do except take dope that I couldn’t git ahold of? That’s very discouraging, anybody that had that much power to git ahold of that much dope.’ ” Furthermore, Tosches does play his story for laughs, often finding punch lines in the grand rhythms of his rhetoric itself: “She caressed Jerry Lee and soon told him that she was pregnant. He told her that it was no seed of his that had rendered her so. They lifted their hands in anger anew.” Nevertheless, Tosches never makes fun. There is a humor not of derision of of delight.
I’m making big claims for Tosches’s complexity of tone, and I’m sure not everyone will read him that way. His elevated periods can be dismissed as rodomontade, his jokes a sarcasm, his compact narrative and penchant for interior monologue as proof that he didn’t do his homework. Then again, you can also dismiss Jerry Lee Lewis as one more unholy roller, or pigeonhole his achievement as a couple of classic rock and roll songs, a piano insignia, and a fling as a country star. But I would argue — having listened long and hard, I would swear — that there’s a lot more there. Lewis’s offhand arrogance, candid insincerity, and unshakable sense of destiny are not qualities commonly found in any artist. He’s very much a modern, set apart not so much by the elementary truth and transcendent power of his singing and playing as by his self-consciousness itself. His distance from his own show of fervor can seem positively eerie upon reflection, yet it in no way diminishes that fervor — if anything, the distance helps the fervor penetrate and endure.
Tosches has absorbed this sensibility if he didn’t share it all along. In Country, he avers (pace Bird and JB) that Jerry Lee Lewis’s mastery of 20th century rhythm is rivaled only by Faulkner’s, but what author has learned from subject hardly stops there, and where it ends is with that same synthesis of distance and fervor. This is why Albert Goldman’s half-truths about rock’s attitudinal roots in “the put-on and the take-off” are so irrelevant — it’s radically unlike “Mad or the routines of Sid Caesar” because its formal roots are in the ecstatic, vernacular music of the American South, just as Tosches, who is touched with the spirit, is radically unlike Goldman, who has all the largess of an unemployed gag-writer.
What Tosches believes is harder to know. I suspect, however, that the source of his own fervor isn’t second-hand — isn’t just his passion for Jerry Lee Lewis. Tosches’s account of Pentecostal fundamentalism maintains an objective if not skeptical tone. But like everything else in this terse, intense book, it never gets theoretical, never socializes, and though nothing else would be formally appropriate I’m left wondering.
Not only does it seem that Tosches envies Lewis the simplicity of his Manichaeism, which is bad enough, but it also seems that in a less literal way he counts himself in thrall to the same dichotomies. Tosches makes no bones about the wages of this belief, always linked so intimately with romantic agony in extremis — he leaves Lewis unloved and without male issue, his career and his IRS account in tatters. His judgement, however, is muted. If Lewis has traded an eternity in hellfire for some great music, you can’t help but feel that Tosches has gotten a fairly great book at similar cost.
As a skeptic in the matter of eternity, I don’t really believe that myself, of course, and Hellfire is fairly great indeed — the finest rockstar bio ever and up with Mystery Train among all rockbooks. But as such it raises philosophical questions, for it reminds us that even the much more reflective Mystery Train is rooted in — and perhaps limited by — the Puritan tradition and/or the Great Awakening, which between them sometimes seem to ground all American culture. Because Nick Tosches, Greil Marcus, and Jerry Lee Lewis each takes this heritage seriously, each creates worth that isn’t mock anything, that connects us with an epic, heroic, deeply felt past. But in escaping modernism’s cul-de-sac they don’t escape modernity, which is why it’s worth remembering that in the end both Hellfire and Mystery Train aren’t epic at all. They’re tragedies of damnation. I’m not lodging a complaint — these aren’t just fine rockbooks, they’re fine books, a lot finer and more durable than most of what passes for literature and criticism these days. But one reason for that is that neither of them is content with such achievements. To the either-or — and beyond!
For forty years, rock and roll has continued to reinvent itself, to challenge, to upset as well as delight, to break rules and make new ones. Dancing in the Street is a full-scale salute to that turbulent roller-coaster ride and an accompanying guide to the ten-part BBC series.
Well-known American music journalist Robert Palmer illuminates the roots of rock in the fifties and explores its development through to its continuing growth today. In ten key chapters he investigates how the many tributaries - from blues and gospel to reggae, punk and rap - converge and connect.
Dancing in the Street is illustrated with over 150 photographs, and includes new interviews with major artists as well as with often forgotten songwriters, musicians and record producers. Artists as diverse as Bo Diddley, Marvin Gaye, Iggy Pop and the Sex Pistols combine to create an authoritative and engagingly personal history of rock and roll music.
Whole Lotta Shakin', the first episode of Dancing in the Street, begins the BBC's landmark 10-part series on the evolution of rock music with the innovators of the late-1940s and 1950s: renegade musicians, both black and white, whose blending of musical styles made their work impossible to categorize; record producers with the vision to record it anyway, and the colour-blind disk jockeys who spun these records for audiences that couldn't figure out - or didn't care - if the artists were black or white. Longstanding barriers of music, race and class began to buckle to the strains of what Cleveland DJ Alan Freed labeled "rock and roll", a black euphemism for sex.
Be My Baby, the second of 10 hour-long episodes of Dancing in the Street, explores the growing importance of a new genius in rock and roll: the producer.
In the early 1960s, the collision of two powerful forces permanently changed the landscape of rock and roll. The impact of the Beatles and Bob Dylan splintered the music in a thousand directions, smashing its boundaries, and leaving in its wake new ideas about the sound of rock and roll and the expressive power of its lyrics. Out of this confluence flowed folk rock and a new generation of artists who placed greater emphasis on introspection and self-expression.
The combined effect of these two forces and the folk rock explosion that ensued is the subject of So You Want to be a Rock and Roll Star, the third installment of BBC's 10-part Dancing in the Street.
The tone for black music in the 1960s was set by Ray Charles, who combined the music of the church with lyrics about love and romance. This secularized gospel appealed to black and white audiences alike, forming the basis for the sophisticated dance music of Motown and the raw emotion of Southern soul. The joyful, upbeat black music that swept the country during the civil rights movement of the 1960s is the subject of R-E-S-P-E-C-T, the fourth in the 10-part BBC series, Dancing in the Street.
Crossroads, the fifth installment in the BBC's Dancing in the Street, shows how Mississippi blues found its way to England's dance clubs and into the embrace of British teenagers, only to be exported back to America in forms both familiar and totally unexpected.
In Eight Miles High, part six of the BBC's epic 10-part series, Dancing in the Street, the influence of drugs on rock music is explored through the ultimate high of 1960s San Francisco and beyond.
As the 1960s drew to a close, new musicians emerged who would challenge the prevailing optimism of the time, often aggressively. Using the rock stage as a theater, they would adopt and shed onstage personas in an effort to connect with larger and more distant audiences. The result was an astonishing parade of glittering heroes, aliens and demons making music that awed, challenged and infuriated. These personas - and the artists who inhabited them - are the subject of Hang On To Yourself, the seventh in the BBC's 10-part series, Dancing in the Street.
In short, rock and roll was in danger of becoming just another leisure industry; it needed an injection of something new. No Fun, episode eight of the BBC's 10-part series Dancing in the Street, documents how punk rock spit in the face of the bland, commercial music of the 1970s and turned rock and roll back into something anyone could play.
Make It Funky, episode nine in the BBC's 10-part series, Dancing in the Street, begins with James Brown, the undisputed Godfather of Soul and Father of Funk, and traces his legacy through the black music of the 1970s, from the biting social protest of Sly and the Family Stone and Stevie Wonder to George Clinton's outrageous escapist fantasies.
The outrage of punk rock faded during the early 1980s, and mainstream music recovered its composure, filling arenas across the world with classic rock sounds and heavy metal power. But a new, sparse sound with a style all its own was bubbling up from the street, bringing a combination of tough, urban attitude and cool electronic sophistication to rock and roll. Planet Rock, the final episode in BBC's 10-part series Dancing in the Street, traces the development of rap and electrofunk from their roots in the streets of the Bronx to their branches all over the globe.
英国广播公司 BBC 曾制作过两套摇滚乐历史的纪录片。2007年的 7 Ages of Rock「摇滚七章」和1995年的「摇滚街头」Dancing in the Street。後者是一套综述半个世纪前，由美国南部新奥尔良摇滚乐摇篮出发，到大西洋彼岸发动的「英伦入侵」，再90年代回到纽约街头的Hip- Hop。 四十年来，摇滚乐不断的自... 全部专辑信息>>
