In the first Superbowl after the 9/11 attacks, the Patriots vanquished the Rams—a nauseatingly fitting outcome. The Patriots were treated like America’s team, their hideous, red, white and blue hatted mascot our new figurehead. It was as if that victory, in that game, somehow symbolized America’s strength, resolve and destiny to win the newly minted War on Terror.
Life sometimes has a way of extending metaphors, so perhaps the news that the Patriots are now apologizing for spying on an opposing team’s coaching staff should be no surprise. Also fitting is the revelation that Patriots coach, Bill Belichick had interpreted the rules as saying the spying was A-OK, presumably there is a signing statement somewhere explaining it all.
In honor of the Patriots black spot, I offer three great classic rock songs—oft played in very pro-American settings–which really have nothing nice to say about America:
1. American Woman – The Guess Who
Probably the most rocking single from Canada’s most rocking band, regardless of what Lenny Kravitz did with the song. Lines like “I don’t need your war machine” make this anything but a flag-waver–well, maybe a maple leaf flag-waver.
2. Glory Days – Bruce Springsteen
The Boss is at his best when he’s singing brash rock ‘n’ roll about losers. The days when Born in the USA was blared unashamed by millions too lazy to listen to the verses may have waned, but Classic Rock stations still play Glory Days without blushing. Whereas the hero of Born in the USA at least made it into the Army and the Vietnam War, the characters that populate Glory Days don’t seem to have made it much past the liquor store since leaving high school. Some people get knocked out of the race by a false start; others don’t even make it to the starting block. They sit around getting drunk and reliving teenage triumphs.
3. Free Fallin’ – Tom Petty
Classic Rock radio clearly loves Tom Petty. He may be the only musician capable of releasing instant classic rock (that is, new singles that are played on Classic Rock stations immediately). Whether Petty loves Classic Rock radio may be a harder question to answer. He has taken to touring without corporate sponsorship, and not-too-long ago sang “there goes the last DJ/who plays what we wants to play” not a resounding endorsement of the industry.
Free Fallin’ makes the list, while not disparaging America or Americanness directly, because the hero has such a blasé attitude about being a “bad boy” and breaking the heart of the All-American, Elvis, Jesus and horse-loving girl. His sheer delight in corrupting such an image of wholesomeness is what this list is all about.
Honorable Mention: Turn the Page – Bob Seger
Sure, he sang Like a Rock, the theme song of tobacco-chewing, Chevy-driving, bald eagles everywhere, but Bob Seger also gave us this dark ballad about prejudice and alienation across America. It’s not hard to see why rockers would be wary of America when, in Seger’s words “you always seem outnumbered”.
Sharon Jones and Daptone Records
Back in December, while doing the annual holiday shopping, I picked up Sharon Jones and the Dap-Kings most recent album, 100 Days, 100 Nights. Sharon Jones is the elder-stateswoman at Daptone Records, a small Brooklyn label specializing in Soul, Funk, Gospel and Afro-beat (their words). Most of Daptone’s output appears to be vinyl LPs and 45s, adding to the label’s old-school feel.
100 Days, 100 Nights is truly late-60′s era soul, free of the 80′s and 90′s guitar and synth sounds ever-present in Neo-Soul. The writing sticks to the battle of the sexes school, with Jones’ full, emotive voice lending credence to the words. The band is a hefty 8-piece, who’ve worked with Amy Winehouse, and apparently been sampled by Kanye West and Lily Allen, provide a solid backing for Jone’s voice. With tight, in-the-pocket beats and shuddering brass harmonies.
My CD included a second disc, Binky Griptite’s GhettoFunkPowerHour, a mix hosted by one of the Dap-Kings’ guitarists, that showcased many of their label-mates along with two bonus, Scion-sponsored, Daptone samplers–one disc of remixes and one of original recordings, all-in-all, over 2 hours of additional music. While I could do without the remix disc, the extras served to further stoke my fire for Daptone’s excellent offerings.