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!
Bootleg
Stew: The Rolling Stones ‘REHEARSAL SESSIONS ’72 TOUR’ :CBM 3690 &
‘BRIGHT LIGHTS BIG CITY’ :RS 541*71075*K&S 040 / ‘SMOOTH’ :TMOQ
73025 / ‘Bring it back alive’ :IMP 1113*K&S 003
CBM: Comet, Instant Analysis, King Kong, Shalom, Idle Mind Productions, The Rolling Stones, TMOQ (orig. pig)
“The Montreux source is a TV broadcast from the German “Beat Club” [The Rolling Stones (taped at the Rialto Theatre, Montreux on 18-May-1972 – some sources say May 21) – Shake Your Hips and Tumbling Dice – aired May 27 ’72 and Jam & Loving Cup -playback with live vocals- on June 24th. In the UK, “Old Gray Whistle Test broadcast the program on July 11 ’72]”.
Videos also circulate of this performance, including two different announcer takes. Missing from [these] LP’s is Loving Cup with an alternate mix studio backing track and live vocal.” -- rollingstonesnet.com
Broadcast/available material was:
01 Shake Your Hips – 4’25 02 Tumbling Dice (Part 1) – 4’21 03 Tumbling Dice (Part 2) – 4’42 04 Bluesberry Jam – 3’31 03 John’s Jam (aka Gimme a drink) – 4’40 06 Loving Cup (playback track) – 5’44
ca. 15th - 19th May: Montreux, Switzerland, Rialto Theater.
Rehearsals for the upcoming US-tour. The Stones rehearsed about 45
different songs. Line-up: see below. Ian Stewart on piano on Bluesberry
Jam aka Jammin’ With Stu.
May 26, onwards, 1972: Los Angeles,
Santa Monica Boulevard, unidentified small backroom and Bel Air,
California, The Pink Palace. First set-rehearsals for the upcoming US
tour.
Late May, 1972: Burbank, California,Warner Brothers Studios. Set-rehearsals for the upcoming US tour.
June
3 (Vancouver, Canada) - July 26 (New York City, USA), 1972: 1972 North
American Tour. Line-up: Mick Jagger (voc, harm)/Keith Richards (gtr,
voc)/Mick Taylor (gtr)/Bill Wyman (bass)/Charlie Watts (dr)/Nicky
Hopkins (p)/Bobby Keys (sax)/Jim Price (tp, tb). Special guests: Stevie
Wonder and Wonderlove on 'Uptight/Satisfaction'.
“Between “Bright Lights Big City” Matrix : RS 541-A/B, and “Smooth” [TMQ 73025] the Montreux tracks can be found on TMoQ discs of the same time period, but not in the contiguous format presented by CBM.”
K&S version was limited to 200 copies. Disc shown below.
It’s funny that on the otherwise impeccable dbboots.com website it states for Smooth – detail shown above – “Released: Probable 1971.” for an album containing material from 1972. The CBM and the orig. TMoQ LP B.L.B.C. were released in 1973 and I would peg Smooth with a 1974 date.
“It should also be noted that the title “Bluesberry” Jam was first given to this song by Trade Mark of Quality on “Bright Lights Big City”, and that the title of the song “John’s” Jam was given by the folks at CBM [see first image]. There is no TMoQ insert with the “John’s” Jam title listed, this includes both insert cover variations of the “Smooth” LP.”
What would been nice to have is a quality comparison of the shared tracks between the three LPs.
Above: Track list detail from the insert of Bright Lights Big City.
CBM 3690 was the first release for the Charlotte, North Carolina, 1972 audience source. A more complete version of this performance was later released on the LP Bring It Back Alive – Matrix: IMP1112-1 “IN MEMORY OF BRIAN” // IMP-1112-2 “THE GREATEST R&R GROUP ON EARTH” on the Idle Mind Productions (IMP) label in 1976. This title was also reissued by K&S Records on red splash vinyl with a very rare insert variation (seen below).
Side 1: Rocks Off [04:06] / Gimme Shelter [05:15] / Happy [03:30] / Tumbling Dice [04:22] / Sweet Virginia [04:52] Side 2: You Can’t Always Get What You Want [07:36] / All Down The Line [04:44] / Band intro [01:10] / Bye Bye Johnny [03:20] / Rip This Joint [02:20] / Jumping Jack Flash [03:51]
The stamp shown here on the front insert was typically applied to the back.
***
The K&S incarnation: “150 pressed in ’78 on blue vinyl with ‘Collector’s Edition’ stamped in red ink on the insert. Vgm. ” states Hot Wacks. Sounds like someone got mixed up.
The Charlotte, NC audience recording is rated “Vgm” for both the CBM and the Idle Mind LP in HW.
***
Collectorsmusic.com writes: “The Rolling Stones’ Charlotte concert from the 1972 tour has been in circulation since soon after the actual concert. It is a very good and clear audience recording which some argue is the best sounding amateur tape from the entire tour. The first vinyl appearance of this tape can be found on Rehearsal Sessions ‘72 Tour (Contra Band Music 3690-A/B). The first side contains the Rialto Theater rehearsal sessions from Switzerland on May 21, and side two contains “Love In Vain,” “Sweet Virginia,” “You Can’t Always Get What You Want,” and “All Down The Line” from this concert.
Other vinyl issues of this show include American Tour In L.A. 1972, Live In Detroit (OB81 KYOTO), and Rocks Off In Charlotte (Phoenix Records D357076). Drippin’ Honey (Concert Series 7672) is missing “Brown Sugar,” “Bitch,” “Rocks Off,” “Gimme Shelter,” “You Can’t Always Get What You Want,” and “Midnight Rambler,” Bring It Back Alive (Idle Mind Production IMP 1112 1-2) is missing “Brown Sugar,” “Bitch,” “Love In Vain,” “Midnight Rambler,” and “Street Fighting Man,” and Bring It Back Alive (K&S 003) is missing “Brown Sugar,” “Bitch,” “Love In Vain,” “Midnight Rambler,” and “Street Fighting Man.” “
