Bishop: Musings on Labors of Music & the Rhythm & Roots Festival

Brian Bishop, GoLocalProv Guest MINDSETTER™

Bishop: Musings on Labors of Music & the Rhythm & Roots Festival

Girls, Guns & Glory
The cellphone rang, if that’s what you can call that tinny annoying sound, while I enjoyed the leisurely pace of the ferry lumbering to Bristol from Prudence Island - to bring its inhabitants back to the real world. It was a voice from the past, yet one more RISD student who had spent a couple years on our painting crew working in the vein of those great impressionists, Sherwin Williams and Benjamin Moore.

“I know I haven’t called in a while,” he said, “but we’re putting together a Honky-Tonk band. Imagine me singing Merle Haggard and Waylon Jennings”. The ghosts – mostly living – of the Talking Heads and the Young Adults, RISD’s contribution to new wave and no wave, are turning over in the band graveyard. But this call certainly reflects a wave of its own as Honky-Tonk music has a tsunami of resurgence for good reason: it’s good music. It wasn’t so strange to get that call because people have a habit of telling me they have a band since I’ve taken to cajoling honky tonks into presenting, you know, Honky-Tonk.

Rhythm Roots

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For many of us, who’s first experience of something outside the pop come psychedelic rock sphere was the backbeat of Cajun and Zydeco music, the gathering of the tribe will be this weekend at the Rhythm and Roots Festival in Charlestown, the descendant of the original Cajun Bluegrass festival at Stepping Stone Ranch in Escoheag. And producer Chuck Wentworth early noticed that the backbeat in the bayous wasn’t that much different from the backbeat in New Orleans or the backbeat in Austin or the backbeat of the Grateful Dead for that matter, who were singing in Cajun rhythm about Cajun rhythms before rock audiences knew what they were talking about.

Backbeat is the emphasis on the 2nd and 4th beat of the measure in 4/4 time that picks you up out of your seat and moves your feet. It’s often hit on the snare drum whose high pitch carries distinctly, although in combos without percussion you can find it on the guitar, the mandolin, a wind instrument, almost anywhere. Or, if the audience is on their game they pick it up with a clap. Wherever it comes from, the human response is to dance.

For most of my contemporaries, this began as shaking about near someone of the opposite sex.  So, imagine my surprise back in 91, when trying to shuffle around a dance floor in the ‘people barn’ at Stepping Stone, actually holding the woman I was dancing with, and Dewey Balfa singing in French with some kid, Steve Riley, sitting in, that these are the Cajun rhythms the Dead were talking about!

Donna Debut

And apropos of the Dead and the departed Balfa’s creole contemporary Preston Frank, Rhythm and Roots this weekend at Ninigret Park in Charlestown features nothing short of the jam band in the Zydeco tradition: Donna the Buffalo. They are at the festival grounds Friday and Saturday but also strike an intimate pose TONIGHT at the festival opening party at the famous Knickerbocker Café in Westerly (Thursday, Aug 30th). DTB will be joined by an alt. Connecticut band the Carleans from New London who tour the eastern half of the country but call the Knickerbocker home court.

The first appearance of Donna the Buffalo in Rhode Island was at Stepping Stone back in the late 90s and it actually heralded a moment in time back when the festival was in transition from its Cajun and Creole roots to including the broader spectrum of American roots.  And they boil it all down to good country music.

For those who want the real Cajun fix TONIGHT you can catch Steve Riley and the Mamou Playboys in their annual appearance at the Towers in Narragansett as another warm up for Rhythm and Roots, or catch them Saturday and Sunday at the festival grounds. And if you’re planning to drive to South County this weekend for the festival but prefer to stay closer to home in Providence, the Doc Martin of Honky-Tonk, a savant of the genre, Wayne Hancock brings his band to Askew in Providence TONIGHT. Perhaps not as many Connecticut readers although there will be a boatload of Nutmeggers at the festival. But they don’t have to leave the state for great music TONIGHT with favorite son Vince Thompson and the Next Fun Thing lighting up Sneekers Café in Groton.

Honky-Tonk Heaven

And that brings us right back to Honky-Tonk, now seen as epitomized by 1920s white country blues of the ilk of Frank Hutchison (commended to me by departed icon John Crawlin Snake Mac). Hutchison influenced quintessential Honky-Tonker Hank Williams who cemented the current style a score years later. Williams added a rhythm section to the more solo stylings of those early porch players and created a genre in which steel guitar and fiddle were the dominant instrumental voices.

This is ironic for a musical form that began as a piano driven derivative of ragtime but the focus on rhythm remained for Williams and remains today, even if a certain return to melody and harmony and the influence of the electric guitar continue to morph the genre. It is speculated that the phrase Honky-Tonk (first reportedly used in, of all places,  the Peoira Journal in 1874) was inspired by the poor state of repair of pianos in the nation’s dive bars and jook joints. The latter part of that nomenclature may itself have been derived from the upright piano manufacturer William Tonk & Bros or the entire moniker may simply have been an onomatopoeia constructed from the cacophony of this music that prided rhythm over refinement (and piano tuning).

It’s not surprising to see rock and roll influence reflected in Honky-Tonk because it’s role in the creation of rock and roll is grossly understated. Honky-Tonk piano men continued their craft and evolution parallel to the western swing trends inspired by Hank Williams. Fats Domino’s “Fat Man” is perhaps the first widely popular Rock and Roll recording while the name of Bill Doggett’s famous instrumental “Honky Tonk” gives a direct hattip to the origins of Rock and Roll.  The influence of blues on modern rock is well known, but Williams deserved success makes folks think of Honky-Tonk more in the country context and misses that the blues were translated to rock and roll through Honky-Tonk. The Rolling Stones arguably put at least some of this debate to rest with Honky Tonk Woman and the earlier recorded by later released version Country Honk. But RI bassplayer Rory Macleod pointed out to me that the Stones song actually is formed of chord changes more akin to country, and the original version with the fiddle makes clear this influence on the Stones and how Honky-Tonk melded blues and country into a cornerstone of Rock and Roll.

Girls, Guns and Glory

This invitation that so many aspiring musicians of the moment have taken up – to reside in this Honky-Tonk space between modern rock and traditional country – has long existed, if the possibility of popular success from such pursuits was more obscure. This Friday, Rhythm, and Roots will feature a homegrown (Boston) band that was an early adopter and ultimate success, Girls Guns and Glory. It’s a band born of the cowboy code, not a salute to all that is politically incorrect. Singer-songwriter Ward Hayden has remarkably balanced the American roots influences to play original music written and arranged with Honky-Tonk cadence with GGG.

But this will be one of the band’s last performances – not because the band is breaking up, but because they are changing their name to the Outliers. The obsession with Parkland and MeToo that have become litmus tests in our great political divide have poisoned the culture such that their original alliterative appellation embracing cowboy culture seemed an impossible impediment to satisfying audiences of the present generation. So us ole folks will always know them as Girls Guns and Glory, but, as Shakespeare sort of said: “a rose by any other name would sound so sweet”!

Lazy Lester

And speaking of obsessions, it can’t have escaped anyone who has read this far that, in a country obsessed with race, the very real debate about whether our popular music belongs to black or white culture, tends to obscure the answer that turns out to be: both.  This discomfort plagues musical institutions that want to be on the cutting edge but have difficulty when that edge seems to transgress racial boundaries. A glaring example is retold in the NY Times retrospective on the passing of Lazy Lester, who has been a musical resident at Rhythm and Roots in the past and was influential in crafting swamp blues that incorporated Cajun, Zydeco and country. Lester was warned off making country recordings in 1966 by his Excello Records producer Jay Miller because he was “colored”. Lester told the Baton Rouge Advocate 40 years later that this episode “was the hurtingest thing in the world”.

Well, the world has gotten to be a more accepting place despite the script we are fed by the mainstream media which confuses heartland resistance to government enforced multiculturalism with a hostility to the melting pot. Somehow they missed the memo that government-imposed integration is nothing but the B-side of government imposed segregation. And this progress isn’t marked just by the token advances of Darius Rucker’s invitation to the Grand Ole Oprey. The real thing has been happening even before that in the jook joints of Louisiana’s bayous where traditional Creole accordion player Geno Delafose has been know to substitute for his white Cajun counterparts at the traditionally homogenous community dances.

No Brown vs. Board of Education here, and yet a tectonic shift in attitudes brought about by the reality that musicians have a comradeship of their own that can outstrip the strong and useful bonds of traditional community that nurture comfort with those who are most like ourselves. Delafose told me in a radio interview a decade ago that the first night felt much like the reverse of the scene from Animal House where the troublesome Deltas found themselves in trouble after wandering into a black bar. But what resolved the tension for Delafose was the playing. No, not everyone is a changed person, and old habits die hard; but, for those who are n’t preoccupied with race, music has become something we have in common rather than something that divides us.

Americana Adventures

And bringing us together once more, Rhythm and Roots, while sporting Cajun and Zydeco music as usual, will be loaded down with these Honky-Tonk sounds as well – enduring a few snide comments from those who have a narrower view of tradition. This festival is a collection of Americana talent that rivals the names at the Newport Folk and Jazz festivals. Dustbowl Revival comes from Venice Beach, CA to our Atlantic beaches. This unpredictable eight piece combo that is influenced as much by funk as by bluegrass are happily stuck at the Honky-Tonk crossroads. They so charmed Dick Van Dyke that he invited them over to make a video.

And Girls Guns and Glory alum Chris Hersch and his new partner in musical crime, Celia Woodsmith, spend this Friday and Saturday at Ninigret with their Honky-Tonk combo Say Darling – in that link performing Lowell George’s anthemic “Willin” that I first heard performed by the least known proto-roots and most adventurously crossover rock band Seatrain who Cajun fiddler David Greeley once recalled from his youth as beckoning the fiddle back into popular music. Greeley will appear at this year’s Rhythm and Roots with former Mamou Playboy bandmate Sam Broussard and legendary east coat bluesman gone Texas, Johnny Nicholas, in their project Golden Triangle. All of that and I haven’t even mentioned the headliners, Steve Earle and the Dukes , Asleep at the Wheel, Leftover Salmon, Hot Rize and the Taj Mahal Trio.

The basic message here is that, regardless of what color you are, or whether white is a color, you need a pretty good excuse signed by your doctor not to show up at Rhythm and Roots this weekend. But if you should miss any of it, you can rest assured for a state that so often finishes last at everything, Rhode Island is simply no slouch at producing its own music scene.  Although the redevelopers of Providence have tried their best to stamp out this rowdy Honky-Tonk, you can still find it if you look, because what do we do the other 51 weekends of the year?

The Western Stars light up the Parlour on North Main Street early on Friday, September 7th (and the first Friday of every month). Biscuit City visits the quintessential dive bar Nickanees on Friday, September 14th. And Fall River essentially counts as Rhode Island anyway and the fabulous Narrows Center has a free festival Sunday, September 9th featuring the incomparable Iguanas. A month later, during Columbus Day week, another early entrant in the national touring scene playing original music centered in this traditional genre, Gal Holiday and the Honky Tonk Review, will drive into town from Louisana, appearing at the Burren in Somerville on Oct. 9th and the Knickerbocker Café in Westerly on Oct 10th. And our adopted favorite sons and daughters, Cowboy and Lady, pop up with house concerts in Providence and visits to the Taproom at the Knickerbocker in Westerly. And you

There will be no shortage of Honky-Tonk anytime soon but Rhythm and Roots will be gone, gone too soon, so don’t miss it.

 

Brian Bishop is on the board of OSTPA and has spent 20 years of activism protecting property rights, over-regulation and perverse incentives in tax policy.

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