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Check Your Heroes' Credentials With 'The Secret History Of Rock.'
By Fred Mills
EVERYBODY LOVES AN underdog, and nowhere is that maxim
applied with more obsessive gusto than in rock and roll.
Noted music critic Roni Sarig, a contributor to Spin, Rolling
Stone and numerous alternative weeklies (including the one
you're holding), clearly roots for underdogs. He even subtitles
his new book "The Most Influential Bands You've Never Heard."
And he's got a theory, too.
"In commerce as in war," writes Sarig, "history
is written by the winners. So it shouldn't be a surprise to anyone
that it's the big sellers--the Rolling Stones, Led Zeppelin, the
Eagles, Bruce Springsteen, the Police, Talking Heads, U2, R.E.M.--who
have found their way into the annals of popular culture...But
it's also crucial to note that people inspired enough to make
their own music are usually the same people most motivated to
dig beneath the surface in their own listening habits and absorb
the influence of lesser-known groups...There is a significant
segment of rock history made up of groups that were little known
in their time, but nevertheless have helped define in some measure
the music we listen to today."
To support this theory, Sarig made a list of about 250 artists
he felt wielded a nebulous-but-quantifiable combination of obscurity
and influence (what pundits call "the Velvet Underground
effect"; i.e., though a poor-selling group, everybody who
did buy a Velvets-album formed a band); and who represented a
broad enough cross-section of genres to ensure his theory's application
in today's anything-goes musical climate.
He then polled some 120 critically acclaimed contemporary musicians,
all of whom could be considered influential in their own right
as we approach the end of the '90s, about those artists on his
list: Who influenced you, and elaborate on what you learned
from them, stylistically or philosophically. (Sarig: "Many
of the commentators were able to elucidate their influences in
very precise terms--even in some cases to an embarrassing degree,
where it seemed they were deflating their own contributions. And
a few seemed quite certain they were entirely original.")
Those interviewed range from electronic auteurs like Aphex Twin,
Moby and Alex Paterson of The Orb, to cutting-edge rockers such
as Stereolab's Tim Gane, Sonic Youth's Thurston Moore and Tortoise's
John McEntire, to hip-hop provocateurs like DJ Spooky, Ice-T and
Michael Franti of Spearhead.
Finally, after trimming his original list of 250 influential
artists down to 80, Sarig composed brief histories for each and
wove his respondents' testimonials into the text, oral-history
style; each entry was rounded out with a consumer guide discography.
Rather than assemble his book alphabetically or chronologically,
Sarig groups artists by rough genre demarcations. For example,
"20th-Century Composers" includes Satie, Glass, Branca,
Cage and Raymond Scott; "British Post-Punk" takes Swell
Maps, Gang of Four, The Fall, Buzzcocks, Wire and P.I.L.; "Sound
Sculptors" include King Tubby, Lee Perry, Brian Eno and Adrian
Sherwood; "Psychotic Reactions And Garage Rock" lends
itself to MC5, Stooges, Roky Erickson, Silver Apples and Syd Barrett.
(Nice tip o' the backwards ball cap there to the late critic Lester
Bangs.) Much of the information presented won't be new to seasoned
underdog handicappers, and armchair quarterbacks will no doubt
have much to say about the author's positioning of this or that
artist.
For my part, I fear that the "Krautrock" chapter focuses
too exclusively on Germany's experimental wing (Kraftwerk, Can,
etc.) at the expense of psychedelia (Amon Duul II, Guru Guru);
plus, I can't see wasting a couple of trees discussing schizophrenic
Chia Pet Daniel Johnston's so-called "Naive Rock."
Sarig's real triumph, then, is to breathe necessary new life
into the art of rock biography: By jettisoning the standard background/career
format and instead focusing on what the artists mean to those
who've followed in their footsteps, Sarig parts the curtains and
makes us privy to a wealth of insights and, by implication, new
contexts within which to appreciate our heroes.
Here's Soul Coughing's Mark De Gli Antoni on composer Erik Satie:
"A big, big influence philosophically. The way Satie stuck
a typewriter in the middle of Parade. Take a Soul Coughing
song like 'Sugar Free Jazz': I was like, 'Why can't a seagull
become a lead guitar?' (The sample) still sounds like a seagull,
but if I place it where traditionally some other lead instrument
would speak, will you for a moment stop thinking it's seagulls
and accept it as the lead melodic element, in a traditional song
way?"
Or Husker Du's Bob Mould trying to pin down what made avant-rockers
Pere Ubu so compelling: "Their music sort of scared me the
first time I heard it. It's really ominous and different. Pere
Ubu seemed to really capture what it would be like to live in
an industrial city. Their music was like industrial soundscapes...It
wasn't punk rock, but it was really energetic."
And who would have dreamed that techno king Moby was a fan of
roots-punks the Gun Club? But when he cites that band's Americanness
("showing how perverse and corrupt--and at the same time
wonderful and emotional--mainstream American culture could be"),
and when you realize that those are also themes central to all
of Moby's work, another one of those hidden connections within
this "secret history" is revealed.
Interestingly, another excellent book on cult artists, Unknown
Legends of Rock 'n' Roll, by former Option editor Richie
Unterberger, recently appeared in bookstores. As Sarig himself
points out, establishing criteria for such a volume depends to
a great degree on the subjectivity wrought by subculture, region,
nationality and what he calls "a lifelong series of chance
encounters." No doubt some scribe is at this very minute
plotting his own interpretation of rock and roll's checkered history.
Which is, of course, as things should be. There are many more
underdogs whose tales beg to be told.
Roni Sarig is music editor for Creative Loafing
in Atlanta, Georgia. His book The Secret History Of Rock
(Billboard Books, $19) is available from local booksellers.
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