Born Paul Revere Dick, as keyboardist, hustler, entrepreneur and visionary, he ended up leading the most successful “garage” band in the history of rock and roll. It was right that they were the most successful, seeing as how they were the best and had basically helped invent the notion (he was already fronting a local band when he got together with lead singer Mark Lindsay in 1958…they had their first hit in 1961 and recorded their version of “Louie, Louie,” the same week as the Kingsmen and in the same studio, a sequence of events I wrote about here, on the eve of the British Invasion).
The revolutionary war costumes they wore were, of course, a play on his name–and a way to stand out from the crowd (not the mention the crown, as the Brits were certainly coming). Little Steven Van Zandt has repeatedly said on his great radio show Little Steven’s Underground Garage that those costumes–so redolent of dread Show Biz–are the main reason the Raiders have never been nominated for induction into the Rock and Roll Hall of Fame.
Since Little Steven’s on the nominating committee, I’ll assume he knows of whence he speaks.
So maybe, on the occasion of his passing, it’s worth remembering that Paul Revere was a conscientious objector–in 1959. (His assignment to help out on the psych ward at a mental hospital strikes a chord as it sounds very much along the lines of what happened to my father when he tried to register as a C.O. in World War II, though dad got to spend a few years fighting forest fires and a few months being a psych ward test subject first–at least that’s the way he told it some of the time).
That made Revere one of the very few sixties-era musicians who ever walked the walk, and probably the only one who did so long before it was cool to even talk the talk.
And maybe it’s also worth remembering that, however many very temporary diversions there were along the way, the bands he led for nearly sixty of his 76 years (he left the road only a few months before his death) had a single mission from first to last.
And the mission was…Aw, you know what the mission was.
Mojo Workout Paul Revere and the Raiders (Recorded 1964, Released 2000)
This two-disc set was released by Sundazed in 2000. Basically, it sets out to demonstrate that, before they were the Ultimate Garage Band Made Good, Paul Revere and the Raiders (who came out of the Ultimate Garage Band Scene in the Pacific Northwest) were, well, the Ultimate Garage Band.
Most of Disc 2 is studio material from their early days on Columbia Records (where they were the first rock and roll band signed to the high-falutin’ home of folk, blues, jazz and other “adult” forms). I’d heard most of it before, and the repackaging is just fine–especially nice hearing all the gutbucket stuff in one handy, hard-hitting place.
But the real ear-opener is Disc 1, which captures a show the label arranged for the band to perform in front of a teenage audience in Columbia’s own studio.
According to the liner notes, this came about because, after an initial dry run–made dry in part because famous ass-dragger Mitch Miller (whose sing-a-longs were, of course, the contemporary standard of “maturity”) had scotched proper promotion of the band’s version of “Louie, Louie” which was subsequently stomped by the Kingsmen–some of the honchos were having a hard time remembering exactly why they had signed the band in the first place.
I don’t know if the resulting explosion of atomic level noise and energy made the suits any happier. I can bet it didn’t make Miller any happier and, certainly, little of the show saw the light of day at the time (though the band did soon thereafter proceed with its glorious near-decade run of hit singles).
But, however it came to pass, it now stands as a true signifier of the garage-band ethos as it has come down to us in the present day. It’s a kind of pure (or impure) reminder that “garage” bands–so called because there was a perception, which, to my knowledge has never been proved or dispoved, rather like the existence of the Deity, that many of them had formed in garages–were a phenomenon that could only have been produced by a Land of Garages, i.e., a culture that was just beginning to glimpse the possible end of its five hundred year winning streak.
To that end, it’s a joyful noise, reveling in its complete and utter abandon (to steal a phrase and turn it into a paraphrase) to an extent that can only be achieved by not giving a rip about winning streaks, cultural or otherwise. The Raiders came from a place that epitomized an attitude that wasn’t so much committed to either stealing or honoring black music as stomping all over it. Whether the object was to replace one America with another (and whether the new America would be whiter or blacker), or simply level it all into a great fruited plain shared by all is unknowable. There may have been some up-and-comers in the scenes the Raiders both participated in and inspired who contemplated such questions, but this particular band became Ultimate by leaving all of that to one side most of the time and most especially here.
Heck, by the time they break into “Crisco Party” (all the boys on one side, all the girls on the other side, now everybody….disrobe) they even manage to make orgies sound like something they are inherently not.
Baby that was one version of Rock and Roll that has gone the way of the dodo and taken democratic America right along with it.
And, while, they may or may not have been honoring the spirit that made the streak possible (stomping on things was certainly part of that spirit), I doubt they were threatening its continuance nearly as much as the purely cynical decisions being taken concurrently in the Corridors of Power regarding troop movements in South Viet Nam (to be announced immediately after the forthcoming election…still a few months hence when this was recorded!)
True Romance, 1993
Tony Scott (Ridley’s hackier brother) directed. That he did so with a little more distinction than usual was probably due to Quentin Tarantino’s script, which has plenty wrong with it, but also has some promising, non-nihilistic aspects which, aside from the anomalous Jackie Brown, (based on an Elmore Leonard story that, like this one, has a likable and unlikely couple emerging from the mayhem) his own directing career has never come close to realizing.
Yeah, the I’m-so-racist-I-can’t-possibly-be-an-actual-racist-because-no-actual-racist-would-think-he-could-get-away-with-this-hee-hee attitude is there, as is the cartoon violence masquerading as some kind of arty “statement” (or, more likely, the dread non-statement statement which is such a close cousin of the political world’s style of non-apology apology that emerged around the same time) and the mind-numbing ethnic/racial/regional stereotypes.
But there was still a lot to like. Yeah, Patricia Arquette is playing a Hollywood Southerner, and, because the script has her being from Tallahassee–a place I know something about–it was more than usually annoying to note that she did not remotely remind me of anyone I’ve ever known in my forty years of hanging about the place. That plus she’s called Alabama. Which, believe me, she wouldn’t be. Not if she was from around here. The only place you would be less likely to find somebody called Alabama than Tallahassee is Alabama.
Then again, she’s Patricia Arquette, so after a few minutes I didn’t care. Whatever comes in that package, I’ll gladly buy.
That, plus Christian Slater in his all-to-brief likeable phase, a few pretty good sub-Donald-Westlake plot twists and a handful of effective music interludes (something Tarantino became famous for elsewhere, though, except for Nancy Sinatra at the beginning of one of the Kill Bill movies, I’ve never for the life of me understood why–good Lord, the man muffed Santa Esmerelda’s version of “Don’t Let Me Be Misunderstood,” which, until I saw/heard it with my own eyes/ears, I would have deemed beyond mere human capacity–I mean, with that playing, ten minutes of black screen should have been mesmerizing) kept the whole thing chugging along pretty well until the ending, which has a couple of genuinely clever and touching moments.
I’m not making any claims for it being a great movie or anything, but, if I’d seen it when it came out, I would have tagged the writer as having some genuine promise (I think I would have known Tony Scott wasn’t responsible for very much). And genuine promise he had, even after Pulp Fiction.
Shame he squandered it.
Bigger shame we rewarded him for not living up to his potential.
But you know what they say. All winning streaks–large and small–gotta end some time.