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Rock’n’Roll Heart, by Martha Thomases (with special guest Pennie Ruchman) – Brilliant Disguise

May 7, 2011 Martha Thomases 16 Comments

Counting on our fingers and toes, we have determined that we’ve been friends for 36 years. Nearly four decades. That’s longer than we’ve known our various spouses. That’s longer than many of you have been alive.

We’re friends for too many reasons to count, but one of those reasons is that we both found ourselves in rock and roll. Dylan and Springsteen, Janis and Joni, we both find solace in rhythm and harmony. And a back beat, you can’t lose it.

Rock and roll is supposed to be music for outsiders. It’s what dweeby kids do while the popular crowd plays football or cheerleads for the football team. Popular kids don’t need to pour out their deepest feelings in rhymes and chords (and if they do, they don’t tell anyone, because then they wouldn’t be popular). Popular kids don’t need to scream in frustration or flail around with their bodies.

We weren’t popular.

When we first met, in the fall of 1975, disco topped the charts, but glitter made the magazines. David Bowie, Lou Reed, Mott the Hoople, Roxy Music, the New York Dolls – it was gender-bending glam, fueled by feminism, gay pride and a disgust for convention. If you read CREEM or CRAWDADDY, or the music section of the VILLAGE VOICE, these were the bands you had to hear.

We were in college in Ohio, right outside of Cleveland. Then, as now, Cleveland was a great city for rock and roll, blue-collar and industrial. The Agora was the place to go to hear the bubbling-under bands we read about. Martha heard Patti Smith there and it changed her life.

Our tastes weren’t – and aren’t – the identical. Pennie loves the Grateful Dead, while Martha only likes them sometimes. Martha loves Rufus Wainwright, Pennie not so much. Because Pennie plays guitar, she pays more attention to those skills, while Martha tends more towards sensitive singer-songwriter types. We both love Bruce and Hendrix, and more than we can count.

(Here comes the bridge)

Martha came to visit this week. When I was driving to pick up Martha, what comes on the radio? “My City in Ruins.” My head awash in memories. This of all weeks when THAT man met his fate. I spun backwards. It was 5 am, my time. September 11, 2011. I was in Las Vegas working. Martha was living in New York not far from the twin towers. Someone at work told me to turn on the TV in my office.

My father was on the 36th floor of one of the towers. Martha’s son Arthur was in high school not far from the scene. I called Martha. We were both frantic. She hit the streets looking for Arthur and my father. Arthur was home by noon, walking up the West Side Highway. My father, no sign.

I spent the next eight hours anxiously hoping. When I talked to my father, it was with waves of relief. And it was that song, this week and Martha that brought all this home. The song that followed: “The Ties That Bind.”

Funny but in the ten years since, my father has broken those ties. But, Martha has remained a constant reminder of the power of unconditional love and acceptance. Isn’t that what some of our favorite music is about?

Do kids today feel the same way? Looking at it from the outside, today’s charts seem too fragmented, too manufactured. Someone who becomes a star from a reality show may be a skilled performer, but isn’t using original material. Rap and hip-hop (at least what us old folks here) could just as easily come from the marketing department as from the artists who started the movements. Rock bands (again, from our old fart perspective) seem to be jumbles of influences, not original sounds.

But old farts aren’t supposed to get it. Each generation has to find art forms that piss off the parents. We’re cool with that.

We don’t have to like the same things to be friends. We don’t have to believe in the same things to be friends. Instead, we’ve lived very different lives but learned parallel lessons: that our various experiences make us more interesting and valuable to each other.

Any old way you choose it.

Media Goddess Martha Thomases is visiting her pal in Battle Creek, Michigan. Some things never change.

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Comments

  1. pennie
    May 7, 2011 - 2:22 pm

    Typos: “2011” after the bridge is supposed to be 2001.
    (old folks “here”) should be “hear”
    Honest folks; we wrote this fast and sent it in. We were overcome with joy. Please forgive the gramma…

  2. JosephW
    May 9, 2011 - 1:15 am

    “Someone who becomes a star from a reality show may be a skilled performer, but isn’t using original material.”

    As I understand it, this season on American Idol, the contestants are supposed to be writing at least one original song on their own. (Just what the world’s waiting for–we all know the truly original, innovative material won’t be palatable enough for AI audiences while the “songs” that score the highest will sound like just like the dreck that each year’s final two or three perform.)

    Anyhoo………I honestly have never understood what the big deal is about artists “using original material.” Some performers seem to understand their strength does not lie in songwriting while many great songwriters should really stay away from singing. What’s the point in hearing great singers perform their sub-par originals or hearing what could be a great song being performed by the songwriter who either can’t carry a tune or sounds like a frog in a blender?

    Granted, there is a risk in using non-original material. Some songs wind up being overused because some artist “discovers” the song and suddenly it seems like everyone else feels the need to record it. OTOH, it seems a bit unnecessary to inflict some incredibly inane piece of tripe on the world merely for the sake of having an “original” song.

    I really enjoy listening to an interpreter–whether a vocalist or an instrumentalist. Barbra Streisand or Miles Davis. Manhattan Transfer or Joshua Bell. It doesn’t mean I don’t like artists doing their own material but all artists should know their own strengths and weaknesses, and singers shouldn’t rely on some absurd notion that they should write their own material and songwriters shouldn’t rely on the notion that they should record their own works.

  3. Martha Thomases
    May 9, 2011 - 4:51 am

    @JosephW: I like an intelligent cover. John Cale doing Leonard Cohen’s “Hallelujah” (which,, these days, is covered by all sorts of assholes). Television doing Dylan’s “Knocking on Heaven’s Door.” Springsteen doing an album of Pete Seeger. Matthew Sweet and Susannah Hoff’s two albums, “Under the Covers.”

    That said, there’s something great about hearing the person who wrote the song perform it. It’s primal and authentic in a particular way (which even the best covers aren’t. They may be primal and authentic in a different way).

    Also, this was a hippie thing. Even by the time of punk, an intelligent cover was a mark of good taste.

  4. Howard Cruse
    May 9, 2011 - 8:34 am

    I remember watching Bock and Harnick performing songs from Fiddler on the Roof on the Today Show when that musical was preparing to open many years ago. The accompaniment was a simple piano and the voices were nothing special, but the creators’ personal connection to the songs made the performances rich and heartfelt. When the world moved on to singer-songwriters in pop and rock, there was a similar gratification without the overlay of Broadway excitement.

    That said, the down side of that mode was that listening to the old songs reminds me that an awful lot more rockers were putting words to their own songs than their native writing talent could justify.

  5. Mike Gold
    May 9, 2011 - 4:33 pm

    “But old farts aren’t supposed to get it. Each generation has to find art forms that piss off the parents. We’re cool with that.” If that’s still true (“Don’t try to d-d-dig what we all say” was written in 1965), then the post-baby boom generations have failed. Personally, when it comes to “their” music I think they’re trying to bore us, not piss us off. But clearly they get just as bored with much of their own music, as they keep on buying our old stuff.

    I’m not one of those craggy old guys who thinks little has happened since the Psychedelic Era. That’s simply not true. I’m one of those craggy old guys who thinks little has happened since the Punk Rock Era, R. Kelly and Steve Earle notwithstanding.

    Hard to imagine Pennie not liking Rufus Wainwright. Their sense of outrageousness overlaps nicely. Pennie, how do you feel about the rest of the family? Loudin’s got an impossible box set just out from Rhino (or Shout; same founders).

  6. pennie
    May 9, 2011 - 4:48 pm

    Mike, it’s not that I think nothing good has come down the pike since the golden roads of the ’60s and 70’s. Just not a whole lot that I embrace nearly as much.

    Years ago, Martha sent me two Rufus W discs. I liked Loudon (and Kate McG) more at first. Rufus has grown on me bit since that initial reaction and I do find Rufus’ edginess interesting. Maybe I need to listen harder, more. People I care for care about him. That makes me sit up.

  7. Martha Thomases
    May 9, 2011 - 4:48 pm

    @Mike: not to sound vain, but I like Martha, too.

  8. Mike Gold
    May 9, 2011 - 5:29 pm

    Martha, that one took an extra beat. I like the whole family — a lot — and I eagerly look forward to a Donny & Marie type tour.

    I play Loudon a lot. Even when I misspell his name. I even like his three episodes of MASH, where he playing the singing Captain Spaulding. Not the dancing and singing one, although I wouldn’t put it past him.

  9. pennie
    May 10, 2011 - 3:30 am

    Martha and Mike: Count me in with the liking Martha and family thing as well.

    Since the Thomases/Tebbel tour swept through BC and thinking about these important matters…

    I work with people of all ages at a very popular casino. When I was younger, so much younger than today–younger than yesterday–nearly everyone I knew talked incessantly about music. In fact, it was rare to have a conversation with some reference to a band, song or concert.
    Want to eat? What kind of music do they have at that place?
    Sex? What was on, before, during and after?
    Music was vital. It was the heartbeat of our generation.

    Motown–who do you like better–Smokey and the Miracles? Little Stevie? The Temps? The Tops?
    SF–the Dead, Quicksilver, Big Brother and Janis? Blue Cheer?
    Dan Hicks and His Hot Licks? The Airplane? Moby Grape?
    LA–the Byrds? Doors? Buffalo Springfield? Beach Boys?
    Stones or Beatles?
    NY–Rascals? Mountain? Springsteen?
    Soul–JB? Otis? Ray?
    On and on…

    I don’t hear that same chatter today from the kids at work. I hear a lot of sub-woofers in the parking lots and driving around. That’s a heartbeat. But, is it keeping a body alive with the same ingrained passion?

    As to the singer-not-the-song thread above, I get the sense that when the pop singer wannabees are covering songs on the various televised talent contests, they are over-the-top emoting to impress purported fans and judges. They’re reading the words, but…When the Stones covered Muddy, Chuck, Little Walter, and Wolf, they were singing as if their lives were hanging on getting every nuance right. They wanted to belong as well as pay homage. You know they flew to Chicago just to record there at the same studio as their heroes.

    Mike, it is plain as day how important music is to you. Any mystery we are about the same age? You can’t fake this stuff.
    Just like with Martha. Who I like more than good gumbo. 36-year-old gumbo is not like vintage wine. Like the song, our friendship is getting better all the time.

  10. Mike Gold
    May 10, 2011 - 6:20 am

    Did you ever see Blue Cheer live? Here’s an easier question: do you still have your hearing?

    I’ve got a great story to tell you about Mountain, but I can’t post it in public. We’ll have to get together soon.

    And I was very tight with the guy who ran the Chess studios in, like, 1971. The 2120 S. Michigan location is now a blues museum, at the foot of Chicago’s blues trail in Grant Park. Beautiful tribute to the glue of the spheres.

    For those who do not know, “Old Red Wine” was Pete Townshend’s tribute to the recently deceased John Entwistle. A beautiful song. Can’t believe that was nine years ago.

  11. John Tebbel
    May 10, 2011 - 9:04 am

    As I look back on it, one of my favorite parts of tour Pennie refers to was the time in the car when Arthur and I could listen to the other’s road mix. I now love Girl Talk and got to listen to the Kanye West album all the way through in one sitting played on a modern car’s superstereo.
    Good times.
    Also got to pimp Ozzie Nelson’s production on Fools Rush In.

  12. John Tebbel
    May 10, 2011 - 9:05 am

    Or you can go with that.

  13. pennie
    May 10, 2011 - 2:36 pm

    Mike, I had the happenstance to devolve at a Blue Cheer concert. I would have seen them but for a sampling of Nyro’s Sweet Blindness hanging with ASO III and friends

    ((((((WHAAAAAT)))))))

    You knew Leonard Chess?!!!!!! Damn!
    To be a fly on the wall there all those years.
    Damn.

    Townshend…Entwistle…Boris the Spider…
    I was at the LV Hard Rock, rockin’ the Casbah the night John died there. Strange Days have found us.

  14. pennie
    May 10, 2011 - 2:37 pm

    John, your Magical Mystery Tour was so well appreciated. Let’s play two!

  15. Mike Gold
    May 10, 2011 - 4:02 pm

    I met Leonard several times, but he and his brother Phil were pretty much gone from the label, focusing on their radio stations. In addition to giving the world Muddy Waters, Bo Diddley and Howlin’ Wolf, they gave us broadcasters like Linda Ellerbee and Yvonne Daniels. I knew Marshall better; we had a common friend in Tony DeMaria, who ran Terr-Mar studios and was a record producer and a nice guy.

    Funny thing — Just before I read this I was editing down a somewhat obscure and EXTREMELY threatening version of “Who Are You” as performed by Townshend, for my Weird Scenes Inside The Gold Mind tomorrow. It’s about privacy and cell phones and people getting over themselves.

    John, as you know without Ozzie and Harriet Nelson the world of rock and roll would be QUITE different… if it had made it out of the 50s at all. Ozzie was just about the only big band leader who “got” rock, let alone not run away from it. And Mama Harriet told the mothers of the 1950s that rock’n’roll was not something to worry about, let alone be threatened by. Of course, we didn’t exactly see Chuck Berry or Little Richard on their teevee show, but hell, it WAS the 1950s.

    Not me, though. If I got over myself, I’d be out of a job.

  16. Whitney
    May 12, 2011 - 10:14 am

    Martha, pennie, et al –

    The war between the authentic and the pretenders (not Chrissie et al, who I LOOOVVVEEE) is an eternal battle that is a good fight to be in. Even the genuine articles need to fight against being derivative of themselves. And the structure of the music biz machine is always trying to hold the real craftsman hostage to its diabolic purposes.

    From a math point of view, it’s a smart business move albeit immoral: If you don’t own the oil fields or water wells, at least fool the owners into giving you control. Otherwise, you have no leverage.

    To be derivative means that you are replicable. That’s what every power broker in every media platform tries to accomplish when they seek to disentagle the content from the creators. They try to distill the essence and put it on an assembly line. Ultimately, however, there is no fuel left in the tank for an epic road trip.

    Against this, it’s GO TIME!

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