The Beat Goes On NEW YORK

The Beat Goes On NEW YORK

DEPARTMENTS

Survival Research Laboratories is perhaps the most devastating performance statement known to mankind. Beyond rock, beyond art, Mark Pauline and his horde of evil geniuses combine firearms, heavy machinery and psychological warfare under the guise of artistic expression. Far too dangerous and disturbing for general consumption, Survival Research Laboratories has gained a tremendous cult following during their decade of organized mayhem.

Survival Research Laboratories' performances are shockingly graphic parodies of accepted forms of cultural violence, sort of like Roller Derby—mock battles of epic proportions. Their massive machines, often weighing thousands of pounds and standing 30-40 feet tall, create outdoor spectacles of ritualized destruction. Since 1978 these San Franciscans have lived out their Road Warrior fantasies, scavenging the city for usable 'goods' by collecting heavy machinery from firms that were going out of business and by looting factories.

Because of their use of heavy artillery and monster machinery, and the large amount of space necessary for this orchestrated destruction, Pauline's San Francisco crew had never been able to land a New York appearance. Too much bureaucracy was in the way of the realization of their 'metal' dream; obviously no one wanted to deal with the lofty liability insurance rates and/or the potential dead bodies. Finally, on May 17th, in coordination with art-state establishments The Kitchen, Creative Time and The New Museum, Survival Research Laboratories were permitted to unwind in the parking lot of Shea Stadium, home of the Mets, in distant Flushing, Queens.

The press was huge. Village Voice, New York Times, Daily News—you name it; they covered Survival Research Laboratories' arrival in the Big Apple. And tickets sold fast, very fast. But when showtime came Tuesday the weather was not permitting. All week long, the rain just would not stop. With an announced rain date of Thursday May 19, it still rained all of Wednesday and Thursday. When Thursday did roll around, the rain had not subsided; in fact, it got much worse. But the word from Shea was—The Show Must Go On!

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The amazing fact that 3,200 + people braved bone-soaking cold drizzle to observe Survival Research Laboratories' east coast debut is a testament to their fervent cult following and near-legendary status. Even though it was one of the ugliest days of the year and the show began hours late, no one left. The drenched crowd of onlookers were a wild assortment of audience—a combination of hip downtown Manhattanites, confused artistes and suburban Long Island Satan teens, truly a mix of art and rock culture.

Along with the seemingly endless delay, the rain caused a computer failure in Survival Research Laboratories' machines. One of the supposed highlights of this performance was that the machines were to be computercontrolled, seeing that we're 'on the threshold of a new computer age.' So, due to the elements, Survival Research's tools of horror had to be operated by the SRL members running around with remote controls. It was a battle against nature that had to be won, at any cost.

The theme of this spectacle was 'The Misfortunes of Desire (Acted Out At An Imaginary Location Symbolizing Everything Worth Having).' The performance area, which depicted a mechanical man-made paradise, was strewn with mechanical 'animals' and 'forest' as well as a 'wheel of fortune,' reiterating the vast confusion representative of societal overload. Clearly the idea behind this performance was to project complete sensory overload—all part of the ultimate destruction of this 'utopia'. Survival Research Laboratories' 'noise machine' was a mobile unit packed with explosive which, when detonated, let off a frightening bang so loud that people probably heard and felt it back at the hip nightspots in Manhattan. There were glass houses that exploded, supposedly 'blown out by sound.' And although the crowd was separated from the mechanical monsters they were not immune from feeling the effects of Survival Research Laboratories. (Note: SRL were severly hampered by/pissed off with city officials who threatened to cancel the show if the audience wasn't kept far away from the set. Therefore, many details of the show were barely—if at all—visible to the majority of the crowd). Still, a giant vibrating device caused the bleachers to shake uncontrollably. A 300-horsepower flame thrower shot at close range, destroying its targets. The device was so intense that audience members 30-40 yards away felt the searing heat. Then a gigantic machine with 'jaws' (purposely) knocked over the video tent where press were filming the event. The machine also crashed into the audience, proving that nobody is safe from the maniacal minds of Mark Pauline and company.

Probably the best part of the night was Survival Research Laboratories' 12-foot cannon that shot out money —'real' counterfeit money. In fact, the counterfeiting job on these bills was so legit that certain attendees used the 'money' for cab fare home and even some vendors used it when giving change. Pauline and the boys were merry pranksters of the highest order. They must have had fun with that one.

When it was all over, I got the idea that a lot of people were disappointed. Indeed if you're going to have to sit all night in the pouring rain, it better be good. Most of the people at this performance had never seen Survival Research Laboratories before, and probably expected the fast-paced action of their popular videotaped performances (available from Target Video). These tapes are heavily edited, so that the action is non-stop. In fact, the few events described above were about all that really happened in this hour-long performance Full Metal Jacket it wasn't, but for a highflying and thought-provoking look at the battle between man and machine, nobody does it better than Suvival Research Laboratories.

Steven Blush

NASHVILLE

It haDDens once a year in Nashville, when the Winnebagos roll of I-40 onto Demon-brewin' Street like so many Battlebus Gallatici. They cruise up Ego Row, dotted with, such hot stops as The Barbara Mandrell Museum, The Conway Twitty Record Shop, The George Jones Antique Car Museum and The Loretta Lynn Country Store, on their way to the only place that really matters: the Tennessee State Fairgrounds, home of the annual Fan Fair Celebration.

They come 25,000 strong to show their support for the artists they love, artists like Lee Greenwood, T.G. (it stands for The Good') Sheppard and all three Mandrell sisters. They attend fan club gatherings, special concerts, tapings of Hee Haw, but mostly, they roam from booth to booth, glassy-eyed and looking for autographs.

Fan Fair, an event that's been described alternately as 'a county fair with country stars on exhibit instead of livestock' and 'a bunch of inbreds winning the lottery and coming to Nashville,' has become one of country music's best loved traditions. Not only does the event allow the big stars to commune with the little people, it's also an excellent chance for the wanna-be's of country musicpeople like Dr. Jim Mathews, the Singing Surgeon, Hillbilly Jim, James 'Rebel O'Leary and a battalion of little girls with satin cowgirl outfits and corkscrew curls—to press the flesh and believe they are somebody, because these fans are so starved for autographs, anyone will do!

And then there are the special cases. Artists like Randy Travis and George Strait, whose fans began lining up hours before he ever got near the grounds let alone inside a booth, find out just how staggering their popularity is. This year's lines prompted one staffer from Travis's label to proclaim, 'If Elvis were here, I don't think he'd be signing any more autographs than this!'

But the lines aren't just for young 'uns like Travis and the Judds. When Kitty Wells was in her booth, you could hardly move through the building for the crowd. And you could see the waves rising from the friction of all those size 18-bodies in size 14 polyester pants rubbing against each other at such a frenzied pace.

It wasn't all beehives and leisure suits, though. This year actually saw some of the black-is-our-favorite-color fringe element seeping in, getting off on the kitsch of it all and checking out scorching performances by kd lang, Foster and Lloyd and the big voiced Patty Loveless—a true throwback to Patsy Cline. Or getting autographs from artists like Marshall Chapman, a pregnant, yet-oh-so-affable Rosanne Cash or Dwight Yoakam.

Indeed, the under-35s were out in full force, as evidenced by the Miss Texas something (we'll never know what fell beneath the shelf that was her chest) who asked an obliging Darden Smith if he'd 'make a picture with me?' The normally sensitive young songwriter slapped on a smile and leaned over that shelf, satisfying yet another country music fan.

If it sounds like something conjured from the acid-drenched psyche of John Waters, you might be right. But it's unlikely that even Waters could come up with something like The All-American Country Games, where, yes, real live country stars like Gary Morris, Irlene Mandrell and The Oak Ridge Boys compete in sweaty sporting events for love of—forgive me—country.

Holly Gleason

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THE ASHGROVE 30 YEAR REUNION CELEBRATION

THE BYRDS—FLY HIGH AGAIN

LOS ANGELES

'On his way out of the club one night, Mick Jagger, a frequent visitor to the Ash Grove, shook Pearl's hand in gratitude. He simply wanted to thank Pearl for all the entertainment—and no doubt musical education—the club had given him. It's a gesture a lot of us should make. The Ash Grove's contribution to this city's musical heritage was invaluable. ''

—Robert Hilburn The Los Angeles Times December 15, 1973

'The old Ash Grove was much, much more than a coffee house or nightclub, and the new Ash Grove could be much more than the old one was. It's enough to make 1988 something worth looking forward to. '

—Dr. Demento The L.A. Weekly December 11-17, 1987

You don't need to know the history of rock 'n' roll to enjoy it—but if you really love it you should. It would probably be good to know that Led Zeppelin and Aerosmith didn't invent rock, that the Rolling Stones began as only a second rate white blues band—imitation being the greatest form of flattery; and that neither Bruce Springsteen, the Sex Pistols or the Beastie Boys have been the future of rock 'n' roll any more than, say, Bob Seger, Iggy and the Stooges, or for that matter, the Grateful Dead. All have been mere spokes in a giant wheel that began rolling in some smoky Rhythm and Blues roadhouse sometime in the 1940's.

Like Stations of the Cross, there are certain periods of time, places and people in the history of rock that have significantly left a mark on the music or led it in a completely new direction. Like a young Elvis Presley haunting the steamy blues clubs of Memphis's Beale Street, trying to gain the courage to walk thru the door of the Sun Record Company—while on the other side of the door, Sun was looking for a white country boy who could sing the blues. The impact of that moment was felt just a few years later, thousands of miles across the Atlantic in Liverpool, England, by four teenagers in leather jackets who eventually became the Beatles. That same kind of magic happened in Los Angeles in 1958, when 21-year-old Ed Pearl first opened the doors of the Ash Grove. For the next 15 years, the club became a focal point where several generations of young musicians would hone their craft and absorb the influences of the living legends of folk, blues, country, gospel, bluegrass and jazz at close range.

Looking at just a partial list of performers who played at the original Ash Grove is staggering to the imagination of any music lover—Muddy Waters, Bob Dylan, Howlin' Wolf, Joan Baez, Mississippi John Hurt, Flatt and Scruggs, Phil Ochs, Lightnin' Hopkins, Lenny Bruce, Bill Monroe, Son House, Johnny Cash, Miriam Makeba, Pete Seeger, Elizabeth Cotton, Doc Watson, Clifton Chenier, Ramblin' Jack Elliot, Willie Dixon, the Limelighters, Gil Scott-Heron, Jackson Browne, Ry Cooder, Taj Mahal, Arlo Guthrie, Jerry Garcia, the Chambers Brothers, Jim Croce, the San Francisco Mime Troupe, Linda Ronstadt, Canned Heat, Bonnie Raitt, David Lindley, Joan Armatrading and the Byrds. Many of these artists actually began their professional careers there. Sadly, after several fires, the Ash Grove closed its doors in 1973, ending an era.

On a happy note though, the story doesn't end there. The New Ash Grove is offering music and other activities at the First Unitarian Church (2936 W. 8th St., L.A.), until a site can be found to house the dream of a 400-seat concert room and restaurant, plus an art gallery, record shop, music school and community meeting room. To kick-off the club's rebirth, two special concert celebrations were held at the Wiltern Theatre on June 17th and 19th. The first night featured Sabia, the Richard Greene String Quartet, Rosie Fiores, David Lindley, A Bluegrass Reunion, Roger McGuinn, David Crosby, and Chris Hillman and the Desert Rose Band. During the 15 minute intermission that followed the Bluegrass Reunion, anticipation ran high about the second half of the show, with three-fifths of the original Byrds line-up scheduled as solo performers—the opportunity was ripe for yet another reunion to take place.

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I wasn't the only one there with a premonition—members of Tom Petty's Heartbreakers, the Long Ryders, Elvis Costello, the Blasters and Gene Clark were in the audience.

Roger McGuinn began the second half of the show with a set that stood out in stark relief, when compared to the homespun acoustic flavor of the performances that proceeded him. The spotlight hit a solitary figure on stage holding an electric twelve-strong Rickenbacker guitar. The familiar opening chords of 'My Back Pages' send an awed hush through the audience that served as a reminder of McGuinn's underrated and unique style of playing that has influenced a whole new generation of groups, from the Pretenders and R.E.M. to the Church and Robyn Hitchcock. His set climaxed with an inspiring version of 'Chestnut Mare.'

Next, David Crosby played an amazing set that highlighted not only his sensitive yet powerful voice, but his wit and newfound wisdom. A touching rendition of 'Guinnevere,' a humorous 'Almost Cut My Hair' and two brand new songs proved Crosby was back like he had never been away!

Chris Hillman and the Desert Rose Band just rocked, plain and simple, as they romped and stomped through a handful of tunes from their debut album on Curb/MCA Records. 'One Step Forward' and Hillman's Byrds-era classic, 'Time Between,' topped off their set. See this band, even if you don't like country-rock—they will change your mind!

The house lights went down, the stage crew placed four mikes across the front of the stage, as Ed Pearl announced that he had a special surprise for everyone— no one in the audience moved a muscle—'Please give a warm welcome to McGuinn-Crosby-Hillman!' The audience stood and applauded, as the Byrds patented jingle-jangle intro to 'Mr. Tambourine Man' filled the Wiltern with a sparkling swirl of sound. The brilliant harmonies that sent this song to number one in 1965 were still intact, if not stronger than they were then. Like running into a friend from the past—a little older, but better. David Crosby said that Gene Clark was there, but recovering from surgery, and unable to sing that night. Also missing on stage was drummer Michael Clarke. Their shoes were amply filled by John Jorgenson on guitar and Steve Duncan behind the drum kit, both on loan from the Desert Rose Band. The original warmth of 'Turn, Turn, Turn' was rekindled by the group, who also recaptured the soaring progressiveness of 'Eight Miles High' in a wonderfully kinetic, extended jam. The words to 'So You Want To Be A Rock 'N' Roll Star' seemed doubly ironic, considering the various paths the individual Byrds have taken to the present. They all traded humorous yet knowing glances at each other as they sang—delighted to be pulling it off once again. They closed the set to a standing ovation.

Following the concert, a reception was held. Folk legend and good friend of Woody Guthrie, Ramblin' Jack Elliot played while performers past and present chatted with the guests. A mental picture of Elvis Costello hanging out with Roger McGuinn leads me to speculate about the possibilities—stranger collaborations have happened, and this would be an interesting one.

On Sunday, June 19th, the Ash Grove continued its reunion celebration with a Blues and Gospel theme, featuring the Chambers Brothers, Willie Dixon and Cash McCall, the Bernie Pearl Blues Band, Barbara Dane, the Antja Mimes and Peter Case. An 'L.A. Blues Reunion' featured an all-star line-up including Richard Berry, Harmonica Fats, Lowell Fulson and Eddie 'Cleanhead' Vinson along with other notable players from the Los Angeles area. The evenings show was M.C.'d by Dr. Demento and Harry Shearer.

Ed Pearl and the many folks who have helped him over the years, both past and present, are to be applauded for their undying efforts. They are the caretakers of Roots music in all its many forms and traditions. Pearl's ambitious plans for the New Ash Grove include not only books and videos, but a record label that will preserve and make available to the public the many historic live performances recorded during the Ash Grove's first golden era. Here's to the club's second! Remember, good music is timeless, regardless of who makes it— and regardless of trends that constantly fall in and out of favor. After all, when you get to the root of it all, everything is folk music, and you will find it at the New Ash Grove!

Dennis Loren

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A 3 MINUTE HISTORY OF THE BYRDS

by Dennis Loren

The Byrds began in 1964, when Roger (Jim) McGuinn and Gene Clark started singing together, McGuinn had previously played guitar with the Chad Mitchell Trio, Bobby Darin, and Judy Collins, before embarking on a solo career. Clark had been a member of the popular New Christy Minstrels. Both musicians shared an interest not only in folk music and songwriting, but also in the music of the Beatles. Roger McGuinn told Bud Scoppa in a 1971 interview for his book The Byrds: 'It became like electrified folk music to me. And the Beatles, whether they knew it or not, were doing what I'd always dug in music, but with electric instruments. They were into modal music, like mountain music and banjo picking, bluegrass harmonies, and things like that' They were soon joined by David Crosby, who had sung with Les Baxter's Balladeers, and called their new trio the Jet Set. A single was recorded for Elektra, but released under the name of the Beefeaters, at the suggestion of the record company. The record received little or no airplay, and soon sank without a trace. Under the direction of producer Jim Dickson, it was decided to form a real band. Crosby recruited his friend Michael Clarke to play drums and Dickson suggested Chris Hillman, who had been fronting his own bluegrass group, the Hillmen, as the bass player. Dickson also suggested that they begin augmenting their own songs with those of Bob Dylan and other songwriters. After months of rehearsing and making demo tapes, a deal was made with Columbia Records. It is interesting to note that it was jazz trumpeter Miles Davis who brought the Byrds to the attention of Columbia Records. The groups single 'Mr. Tambourine Man,' streaked to the top of the charts around the world. The Byrds were the first American band, with a new sound they called folk-rock, to penetrate the British Invasion's domination of Top 40 radio in 1965. Others would follow in a similar mold; Barry McGuire, Sonny and Cher, the Turtles, Love, Simon and Garfunkel, the Lovin' Spoonful, the Mamas and the Papas, the Buffalo Springfield, Bob Dylan, the Beau Brummels, the Charlatans and the Jefferson Airplane. The Byrds not only pioneered folk-rock, but they were consistently experimenting with new hybrids of sound—like raga-rock (they introduced the Beatles to the sitar), jazz-rock ('Eight Miles High' was influenced by the improvisations of John Coltrane), space-rock, acid-rock, electronic music (they were one of the first groups to use the Ring-Modulator and Moog Synthesizer), and country-rock.

In 1968, after the departures of Clark, Crosby and Clarke, Hillman and McGuinn re-grouped by adding Gram Parsons, who not only played guitar and keyboards but sang, and Kevin Kelley, who had played drums with Taj Mahal and Ry Cooder in the Rising Sons, and recorded their classic Sweetheart of the Rodeo album. Within a year, both Parsons and Hillman would leave the group and form the Flying Burrito Brothers with former Byrd Michael Clarke. Roger McGuinn would fly again with a brand new line-up of Clarence White on guitar, multi-instrumentalist Gene Parsons on drums, and former Sir Douglas Quintet member John York on bass. This version of the Byrds released two albums—Dr. Byrds and Mr. Hyde '68 and The Ballad of Easy Rider ('69). In 1970, Skip Battin replaced John York on bass. Three more LPs would be released, including the masterful Untitled double album set. One disc was live, recreating many Byrds hits, and the other contained new studio material. The hauntingly beautiful 'Chestnut Mare' single from Untitled would be as high as the Byrds would fly on record again.

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In 1973 Roger McGuinn disbanded the group. During that same year both Clarence White and Gram Parsons died. White was killed by a drunken driver and Parsons from reported heart failure. McGuinn stated in an interview, during this period, that he would never use the Byrds name again unless it was used by ail five original members only. Much to everyone's surprise, before the year was over a new Byrds' album, produced by David Crosby, appeared on Asylum Records—with ali five original members aboard. During the rest of the '70s, and right up to the present, all of the Byrds have continued playing and recording as solo artists, in various combinations and with other groups. The Byrds' musical legacy has influenced countless, groups from the Eagles and Firefall to Tom Petty and R.E.M., not to mention the Flamin' Groovies and Screaming Tribesmen!

1988 has recently seen the release of Never Before on the Re-flyte label, packaged by Murray Hill Records and Columbia Special Products. The album contains seven previously unreleased tracks, plus new stereo mixes of 'Why,' 'I Knew I'd Want You' and 'Mr. Tambourine Man.' Before the year is over Rhino Records promises the release of In The Beginning, the most complete package of pre-Columbia demos, sessions and other early Byrd a/tyfacts to date!