When The King Of Rock And
Roll Held Forth In The Acre Section Of North Adamsville -In Honor Of The
Generation Of ’68-Or Those Who Graced Wild Child Part Of It -The Moment Bobby
Blue “Blues Hour” Blew The Lip Off The Po’ White Corner Boy Night-Damn
Right
By Zack James
[Zack James has been on an
assignment covering the various 50th anniversary commemorations of
the year 1968 (and a few in 1967 and for the future 1969 which is to his mind
something of a watershed year rather than his brother Alex and friends
“generation of ‘68” designation they have wrapped themselves around) and therefore
has not graced these pages for a while. Going through his paces on those
assignments Zack realized that he was out of joint with his own generation,
having been born in 1958 and therefore too young to have been present at the
creation of what is now called, at least in the demographical-etched
commercials, the classic age of rock and roll. Too young too for any sense of
what a jailbreak that time was and a shortly later period which Seth Garth who
was deep into the genre has called the ‘folk minute breeze” that ran rampart
through the land say in the early 1960s. Too young as well to have been “washed
clean,” not my term but Si Lannon’s since I am also too young to have been
aware of the import by the second wave of rock, the acid rock period. Hell, this
is enough of an introduction to re-introducing the legendary writer here. Lets’
leave it as Zack is back and let him go through his paces. Greg Green, site
manager]
Alex James was the king of
rock and roll. Of course he was not really the king, the king being Elvis and
no last name needed at least for the bulk of those who will read what I call a
“think piece,” a piece about what all the commemorations of events a million
years ago, or it like a million years ago even mentioning 50 or 60 year anniversaries,
mean. What Alex was though was the conduit for my own musical experiences which
have left me as a stepchild to five
important musical moments, the birth of rock and roll in the 1950s, the
quick prairie fire called the “folk minute of the early 1960s and the
resurgence with a vengeance of rock in the mid-1960s which for brevity’s sake
call “acid” rock, along the way and intersecting that big three came a closeted
“country outlaw moment” initiated by father time Hank Williams and carried
through with vengeance by singers like Willie Nelson, Townes Van Zandt, and
Waylon Jennings, and Muddy Waters and friends blues as the glue that bound what
others who write here, Sam Lowell, in particular calls the Generation of ’68- a
seminal year in many ways which I have been exploring for this and other
publications. I am well placed to do since I was over a decade too young to
have been washed over by the movements. But that step-child still sticks and
one Alex James is the reason why.
This needs a short explanation.
As should be apparent Alex James is my brother, my oldest brother, born in 1946
which means a lot in the chronology of what follows. My oldest brother as well
in a family with seven children, five boys and two twin girls, me being the
youngest of all born in 1958. As importantly this clan grew up in the dirt-
poor working- class Acre, as in local lore Hell’s Acre, section of North
Adamsville where my mother, under better circumstances, grew up and remained
after marrying her World War II Marine my father from dirt poor Appalachia
which will also become somewhat important later. To say we lacked for many of
the things that others in that now seen “golden age” of American prosperity
would be an understatement and forms the backdrop of how Alex kept himself
somewhat sane with music although we didn’t even have a record player (the now
ancient although retro revival way to hear music then) and he was forced when
at home to “fight” for the family radio to get in touch with what was going on,
what the late Pete Markin his best friend back then called “the great
jailbreak.”
A little about Alex’s
trajectory is important too. He was a charter member along with the late
Markin, Si Lannon, Sam Lowell, Seth Garth and Allan Jackson, the later four
connected with this publication in various ways since its hard copy start in
the 1970s, of the Tonio Pizza Parlor corner boys. These guys, and maybe it
reflected their time and milieu, hung out at Tonio’s for the simple reason they
never had money, or not enough, and while they were not above various acts of
larceny and burglary mostly they hung around there to listen to the music
coming out of Tonio’s to die for jukebox. That jukebox came alive in maybe
1955, 1956 when they first heard Elvis (and maybe others as well but Alex
always insisted that he was the first to “discover” Elvis in his crowd.)
Quickly that formed the backdrop of what Alex listened to for a few years until
the genre spent a few years sagging with vanilla songs and beats. That same
Markin, who the guys here have written about and I won’t, was the guy who
turned Alex on to folk music via his desperate trips to Harvard Square up in
Cambridge when he needed to get out of the hellish family household he dwelled
in. The third prong of the musical triad was also initiated by Markin who made
what everybody claims was a fatal mistake dropping out of Boston University in
his sophomore year in 1967 to follow his dream, to “find” himself, to go west
to San Francisco for what would be called the Summer of Love where he learned
about the emerging acid rock scene (drugs, sex and rock and roll being one
mantra). He dragged everybody, including Alex if you can believe this since he
would subsequently come back and go to law school and become the staid
successful lawyer he is today, out there with him for varying periods of time.
(The fateful mistake on the part of Markin stemming from him dropping out at
the wrong time, the escalation of the war in Vietnam subjecting him later to
the draft and hell-hole Vietnam service while more than the others unhinged him
and his dream.) The blues part came as mentioned as a component of the folk
minute, part of the new wave rock revival and on its own. The country outlaw
connections bears separate mention these days.
That’s Alex’s story-line.
My intersection with Alex’s musical trip was that one day after he had come
back from a hard night at law school (he lived at home, worked during the day
at some law firm as some kind of lacky, and went to law school nights
studying the rest of the time) he went to his room and began playing a whole
bunch of music starting I think with Bill Haley and the Comet’s Rock Around The Clock and kept playing
stuff for a long time. Loudly. Too loudly for me to get to sleep and I went and
knocked on his door to get him quiet down. When he opened the door he had on
his record player Jerry Lee Lewis’s High School Confidential. I flipped out.
I know I must have heard Alex playing this stuff earlier, but it was kind of a
blank before. Background music just like Mother’s listening to 1940s stuff on
her precious ancient RCA radio in the kitchen. What happened then, what got me
mesmerized as a twelve- year old was that this music “spoke” to me, spoke to my
own unformed and unarticulated alienation. I had not been particularly
interested in music, music mostly heard and sung in the obligatory junior high
school music class, but this was different, this got my hormonal horrors in
gear. I stayed in Alex’s room listening half the night as he told me above when
he had first heard such and such a song.
Although the age gap
between Alex and I was formidable, he was out the door originally even before I
knew him since at that point we were the only two in the house all the others
in college or on their own he became something of a mentor to me on the ins and
out of rock and roll once I showed an interest. From that night on it was not
just a question of say, why Jailhouse
Rock should be in the big American Songbook but would tell me about who or
what had influenced rock and roll. He was the first to tell me about what had
happened in Memphis with a guy named Sam Phillips and his Sun Record label
which minted an extraordinary number of hits by guys like Elvis, Warren Smith,
Chuck Berry and Jerry Lee. When I became curious about how the sound got going,
why my hands got clammy when I heard the music and I would start tapping my
toes he went chapter and verse on me. Like some god-awful preacher quoting how
Ike Turner, under a different name, may really have been the granddaddy of rock
with his Rocket 88 and how obscure
guys like Louis Jordan, Big Joe Turner and Willie Lomax and their big bop
rhythm and blues was one key element. Another stuff from guys like Hack Devine,
Warren Smith and Lenny Larson who took the country flavor and melted it down to
its essence. Got rid of the shlock. Alex though did surprise me with the thing
he thought got our toes tapping-these guys, Elvis, Chuck, Jerry Lee, Buddy
Holly and a whole slew of what I would later call good old boys took their
country roots not the Grand Ole Opry stuff but the stuff they played at the red
barn dances down in the hills and hollows come Saturday night and mixed it with
some good old fashion religion stuff learned through bare-foot Baptists or from
the black churches and created their “jailbreak” music.
I have already mentioned
that night Alex startled me while we were listening to an old Louvain Brothers
song, I forget which one maybe Every
Times You Leave, when he said “daddy’s music” meaning that our father who
had come from down in deep down in the mud Appalachia had put the hillbilly
mountain music stuff in our genes. It took me a long time, too long to do our
father any good but I finally figured
out a few years ago that DNA stuff, why of late I see, really see where the
hillbilly good old boy hills and hollows
Saturday night local hooch courage red barn dance fit in on the long arch of
classic rock and roll as it passed through the likes of Elvis, Carl Perkins,
Lenny Ladd, Jerry Lee, Old Slim Fanon, Texas Mac Devlin, Warren Smith and a
whole list of guys and a couple of gals like Belinda Wales and Sara Webb. What
the hell did I know then when stuff like that hillbilly mountain had plenty to
do with estrangements from distance father, righteous hillbilly from down in
the muds or not.
Alex, okay King Alex, then completed the third leg
of my classic roots of rock and roll on another night when he had I guess if I
recall correctly had had another tough day grinding up some legal sweat
somebody up the food chain in that sullen law office he worked in while doing
that hard-ass (I will give him that) law school nights got credit for from some
judge whose law clerk actually read the thing and wrote the decision based on
Alex’s work (I am telling no tales out of school everybody these days knows
that the higher up the food chain you are including SCOTUS the less writing of legal
decisions you do which makes that law school education pretty damn expensive
way up on the top for some poor benighted parents who thought they were doing
the right thing). That night he asked me if I ever remember hearing some music
on the radio, the family radio to boot, when our parents were on one of their
rather infrequent nights out meaning when Dad had steady work and Ma was not
afraid going out would break the family bank, that came booming out Chicago,
always at night, usually Saturday or Sunday DJed by Brother Blues out of WAJB.
I had to plead that I
hadn’t until he mentioned a song called Little
Red Rooster which I remember from his Stones collection but which he said
had actually been written by a guy named Willie Dixon who was associated with a
couple of brothers at Chess Records in Chicago who recorded had Howlin’ Wolf
doing it and making a smash hit of it of the R&B charts (fuck it even the
music was segregated by race on those record popularity charts). That is when
Alex told me that he had first heard the song on that Chicago station on a
program called Brother Blues’ Blues Hour
(which was actually two hours each Saturday and Sunday night on nights when it
came in clear enough to hear). Of course the ghost of Peter Paul Markin has to
enter into the lists on this one (that ghost as new site manager Greg Green has
found out during his short tenure and has commented on hovers over everything
including its share of former site manager Allan Jackson’s demise giving Greg
his job). Alex didn’t discover Brother Blues and his show Markin had one night
up in his room on his transistor radio which is the way the young of Markin’s
and Alex’s generation got to listen to the music of their lives without nosey
parents interfering just as today one way kids do is listen to their MP3s or
iPods.
Somehow on Markin’s radio
the winds were just right one Sunday night when he was really trying to get
WMEX the local max daddy rock and roll station and Brother Blues popped up.
Markin went crazy listening to Muddy Waters, Howlin’s Wolf, Jimmy Smith, Mamma
Smith, Memphis Minnie, Big Mama Thornton and a whole raft of other blues
singers whose beat seemed so much like lets’ say where Chuck Berry or Randy
Rhodes was coming from, that R&B-etched back beat that formed over half of
all classic rock. So Alex and Markin would listen whenever the winds were right
(more in winter than summer) and got an education about this branch root of the
blues. Alex made this point blank to me (again via Markin who gave it to him
point blank) when he mentioned the
famous smash hit Elvis made of Hound Dog
(a strange song for a guy who girls, women too, married women, sweated over in
between bouts of swooning but that understanding by me would only come later) and
then played Big Mama Thornton’s version from the early 1950s where she made a
three dollars on her version but ripped the thing apart, had every Tom, Dick
and Harry jumping the jump.
Of course ignorant as I was
at the time Alex had to clue me to the difference between the root roots of the
blues in the country, down in the sweat swamp Delta plantation Saturday night
white lightening brave juke joint no electricity dance (probably no different
except color, the eternal race issue always just below or on the surface at all
times in America) guy with some beat up Sear& Roebuck-ordered guitar making the joint jump. He gave me a whole slew
of names like Robert Johnson, Charly Patton, Son House, Ben Jamison,
Mississippi John Hurt, a few Big Bills, a couple of Slims Memphis and Kansas
City and a lifetime’s interest in that sound. That interest though as important
as it was as the root of the roots of the blues really only hooks up to classic
rock when the blues move north, move up what did Alex call it, oh yeah, moved
up the Mississippi out of the sweated South and had an electric cord to put on
that guitar and blow the place away (the liquor and hooch fight over dames would stay the same).
Names like Muddy Waters, that same Howlin’ Wolf, Ben Attuck, Little Jimmy (and
a ton of other Littles), Junior Wells and the like. Yes Alex, you went by the
numbers and I am going to pass on point blank to the good people reading this
to give the real skinny on the music of your generation, on what caused that
big wave coming down upon the land in your time.
The selection posted here
culled from the merciful YouTube network thus represents one of the key pieces
of music that drove the denizens of the Generation of ’68 and their
stepchildren. And maybe now their grandchildren.
[Alex and I had our ups and
downs over the years and as befits a lawyer and journalist our paths seldom
passed except for occasional political things where we were on the same
wavelength like with the defense of Army whistle-blower Chelsea Manning
(formerly Bradley). Indicative though of our closeness despite distance in 2017
when Alex had a full head of steam up about putting together a collective
corner boy memoir in honor of the late Markin after a business trip to San
Francisco where he went to a museum exhibition featuring the seminal Summer of
Love, 1967 he contacted me for the writing, editing and making sure of the production
values.]