Soul Serenade: Rose Royce, “Car Wash”

A little over four years ago I featured the L.A. band Rose Royce in this column. The focus of my story was their Top 5 1978 hit “Love Don’t Live Here Anymore.” But about a year earlier the band, which got their start in Watts under the name Total Concept Unlimited, had an even bigger hit when their debut single was included on the soundtrack album for the hit film Car Wash. The title track wasn’t the only Rose Royce hit from the Car Wash album either. “I Wanna Get Next to You” and “I’m Going Down” were also Top 10 R&B hits. But it was the “Car Wash” single that ascended to the very top of the Billboard Hot 100 as well as the R&B chart.

Car Wash (the film) was directed by Michael Schultz who was also responsible for the 1975 hit Cooley High. Schultz had the good sense to enlist the legendary Motown producer Norman Whitfield to produce the Car Wash soundtrack. Whitfield was hesitant at first but eventually he was swayed by two factors. First of all, the album would provide an opportunity for the new band, Rose Royce, that he had signed to his own label, TCU, in 1975. The other factor? Well, it was pretty apparent that the film and its accompanying soundtrack would be a financial windfall for those who were involved.

Legend has it that Whitfield had trouble coming up with a title track for the film until one day while playing basketball the idea came to him. It is said that he wrote the first draft of the lyrics for “Car Wash” on a paper bag from a fried chicken place. If you’ve seen the film, and who hasn’t, you know that the title song set the tone perfectly for it. Gwen Dickey a.k.a. Rose Norwalt sang lead for Rose Royce and she was ably assisted by guitarist Kenji Brown.

The “Car Wash” single sold two million copies and held down the #1 spot on the Billboard Hot 100 for a week in January 1977. The entire Whitfield-produced album was comprised of Rose Royce songs and also spawned the two other aforementioned hits. That year, the Car Wash soundtrack album won a Grammy Award for Best Score Soundtrack Album.

Rose Royce continued to move forward with hits like “Do Your Dance,” “Ooh Boy,” “Wishing on a Star,” “I’m in Love (and I Love the Feeling),” and “Love Don’t Live Here Anymore” before releasing their final album in 1979. Dickey left the band the following year and it seemed to mark the end of the road for the band but the other members eventually reunited and had some success as a touring act.

Album Review: Sawyer Fredericks, “Hide Your Ghost”

Hide Your Ghost, the sophomore album from singer-songwriter Sawyer Fredericks, sheds the high gloss major label treatment, and plays closer to Fredericks’s honest, stripped down style – a self-described “free range folk”, incorporating elements of blues, roots rock, and jazz with live instrumental arrangements throughout. The album was largely recorded to analog tape in the acoustics of the cathedral hall to the converted 1896 St. John’s Church, now Dreamland Recording Studios in Woodstock, New York.

The 11 songs tell stories of personal, domestic, and social conflict – timely and embodying both the ugliness and beauty of being human. The album of all material is arranged, and produced by (at the time) 18-year-old Fredericks. Although he won season eight of NBC television’s “The Voice”, it shouldn’t put a biased spin on what you hear – although these kinds of shows have, from the very beginning, left a very bad taste in this writer’s mouth, these performances exude a genuineness that render his appearance on the aforementioned program moot.

The album’s title track begins the program with warmly finger-picked guitar; stripped down to just vocal and single guitar until the middle, when the arrangements are filled out with a second guitar and a pulsing bass drum to punctuate the verses; “Should Have Known Better” is a strident, slightly tense piece with some skillful guitar picking and boisterous rhythm and piano to help make this an early standout and “Half A Mind” has a semi-jazz feel, with great accompaniment, which offsets the vitriol of the lyrics – the guitar solo is tasteful and just right.  “Red Memories” is akin to “Hide Your Ghost” – stripped down but more realized with the instrumentation and some nice “heavier” guitar and “Angel’s Skin” is haunting, dirge-y and melancholic.

If there’s one thing I’m not entirely onboard with is his vocals.  They’re a little too sharp; too abrasive for the kind of material its paired with.  I don’t know if it’s an over-projection of passion and earnestness, but they don’t feel quite right for the understated nature of most of the songs.  However, he’s still progressing and I’m sure will find the right balance, given time.

Hide Your Ghost is currently available

https://www.sawyerfredericks.com

How About That?: Trying to Understand the Cult of “Rocky Horror”

The fandom behind The Rocky Horror Picture Show is something I have never really understood. I’ve tried to, because for more than forty years, Rocky Horror has been the yardstick by which other cult films are measured. It’s certainly a unique film that explores themes and tropes that are still dangerous for most studios. If I don’t understand the appeal, then I feel like I’m forever doomed to a diet of bland movies.

The Rocky Horror Picture Show is something that tries to combine the sexual revolution with classic Hollywood in the same way Kenneth Anger did when he published Hollywood Babylon. The point of the film is to show all the sexual undertones that were present in the original genre pictures the Post War audience absorbed during their “science fiction double features.”

But the film doesn’t work. I like the ideas, but they join together in a coherent whole. The songs do nothing to contribute to the narrative, the structure is nonsensical, the film doesn’t end so much as stop, and the film doesn’t seem nearly as shocking as it once did. You mean there are men that sometimes put on women’s clothing? Surely not!

But maybe that’s how it still finds its audience. Rocky Horror has basically swung around to be the sort of thing that it was once parodying. People who watch Rocky Horror aren’t expecting to be shocked.

But then, why does it persist? According to the official website, as of this writing, there are still 90 showings of Rocky Horror somewhere in theaters. And luckily, one of them happens to be near me. Better still, I personally know the host of the show and saw her perform Rocky Horror hosting duties at this year’s Dragon*Con.

So, I sat down with Lips Down on Dixie’s Shadowcast director and Master of Ceremonies Candace Weslosky to try to learn what, exactly, Rocky Horror has meant to people for the past 43 years. Lips Down on Dixie currently hosts the largest annual Rocky Horror screening in the world. If anyone can explain it to me, it’s her.

Weslosky, an Ophthalmic Technician in her civilian life, has been with Lips Down on Dixie since it started 18 years ago.

Candace Weslosky
Photo Courtesy of Lips Down on Dixie.

“There were originally three groups,” she explains. “Lips Down on Dixie, LTP, and N9. All the members had a different view on how it should be done. Should it be serious? Should it be jokey? So, we had a theater in Marietta, GA and would alternate weekends. Those other two groups are defunct.”

Where did the Lips Down on Dixie name come from? “I actually voted against it,” Weslosky said. “Historically, names are taken from a quote in the movie. I wanted to call us the Rich Weirdos. I thought Lips Down on Dixie was blasphemous. But the name is a sexual innuendo, it explains Rocky, and it explains our demographic.”

“The people who voted for the name have since left the group,” she added with a laugh.

So, what about the audience who comes to the show week after week? To an outsider like me, the only way that something like Rocky Horror can survive is if there are new people who are discovering it and that, as more people grow up, they view the show as a coming of age ritual. But that’s not always the case, according to Weslosky. There is a generational gap, as people bring their younger siblings or even their sons and daughters to the screenings, but the people who come to the shows slowly become an extended family.

As Weslosky explained, “A divorced dad, the cool dad, would bring his teenage daughter to the show. It was the special show they could do. I remember seeing her growing up. Unfortunately, her dad passed away. She called me and said, ‘one of my favorite memories is going to Rocky Horror every other week.’ I was asked to do his eulogy. It was one of the most moving things I’ve ever been asked to be a part of. I realized, ‘this is the moment when you touch people’s lives.’ You’re helping them grow up.”

That story reminded me of something about films. Sometimes, the quality of the film is irrelevant compared to the memories people grow to associate with them. It doesn’t matter if the film you went to on your first date was a bad movie. People will remember what their date was wearing and still regret that dumb joke they made before the lights went down. It’s the experience that’s attracting the audience, not necessarily the film.

But what does Weslosky think of the film itself? “I think it’s a fun musical. I used to say it was good, but bad. But I can watch the movie while munching popcorn. I’ve seen some truly impossible films where I say, ‘I can’t watch this movie.”

The Rocky Horror Picture Show still seems like an underground oddity, compared to some other revered cult films like This is Spinal Tap or Night of the Living Dead. Those have been referenced by several other filmmakers. But Rocky, despite multiple revivals of the play and even a remake for prime-time television, feels like it never made that leap. Weslosky thinks that’s because of its genre rather than its perceived transgressions.

“I think the MPAA would rerate it the movie to PG-13 if it were released today. It’s risqué, but I’ve seen more risqué stuff on Adult Swim.” Weslosky said. “I don’t think a musical ever will be mainstream. The most mainstream musical is The Sound of Music. Everyone’s willing to watch a sci-fi movie or a horror film. At its core, Rocky Horror really is a musical. It will always have that challenge. It’s a little jewel that only some of us will know about.”

Whatever the reason, so long as people keep coming, Weslosky will continue with Lips Down on Dixie.

“This is my last year directing. But as long as Lips Down on Dixie is at the plaza, I can see myself do it forever. I want the cast to do well, I want the audience to have a good show, and I want the Plaza to succeed. It’s such a gem and I want to take care of it. And I only need to make sure the show changes one person’s life.”

 

Don’t Tell Others How to Share Their Trauma

I’m going to share something with you. My wife doesn’t even know this story.

When I was 7 or 8 years old, an older boy in my neighborhood tried to force me to suck his dick.

There were these woods adjacent to my back yard. There were tons of bike trails and a giant oak tree that we would climb. There was also this underground bunker-type thing, a dirt cellar of sorts, that was hollowed out over time. That’s where it happened. I was in there, surrounded by his friends, and he’s saying, “Come on, suck my dick.” He’s got it out and everything. I couldn’t run from this.

I was terrified. I was convinced that if I didn’t do what he said, they were going to beat me within an inch of my life. This kid was mean. His whole family was mean. I had no reason to believe that this wasn’t going to end with an ass kicking.

And because of that, I nearly did it.

But at the last minute, I tried to bribe my way out of it with popsicles. If I get you guys a treat, will you let me go?

Amazingly, it worked. And I’m pretty sure I came back with popsicles for all of them.

I never told a soul. Remember, I’m 7 or 8 years old – I’m too young to process this in an adult, nuanced manner. I was fearful of retaliation if I told my mom what had happened. Also, I was ashamed for allowing myself to be in that position in the first place, like I had deserved it somehow.

Now I’m watching Dr. Christine Blasey Ford get eviscerated by people who don’t know her, saying the worst, most unthinkable things about her.

These people accusing Dr. Ford of lying have no idea how hard it was for her to do what she just did. And good for them that they have no idea. It means that they have lived trauma-free lives, which is the dream.

But I know how hard it was.

And to think: I’m one of the lucky ones. I was only threatened with abuse. I wasn’t physically abused at all.

It sure feels like I was, though.

Before writing this, I shared this story with three high school classmates, after one of them shared a meme joking about how Dr. Ford should win an Oscar for Best Actress. (As you might imagine, I was not amused by that.) They wanted to know the name of the person who did this. And at first, I didn’t want to tell them. “Why protect the fucker now?” one of them asked, which, on the surface, is a perfectly fair question. Why am I protecting him now?

The answer to that, of course, is terribly complicated.

After a quick search (Facebook, Google), I’ve learned that he runs a small shop outside of the town in which we grew up. He doesn’t appear to have been in trouble with the law. And with regard to the incident in question, he likely has one of two positions:

1. He doesn’t remember it
2. He remembers it, is deeply ashamed of what he did, and hopes to God that I don’t out him

I suppose there’s a third option.

3. He remembers it, but doesn’t regret it.

Let’s analyze all three possibilities.

He Doesn’t Remember
I’d say there’s a 50% chance this is the case. We were young, after all, and I have no idea how commonplace this sort of thing was in his life. For all I know, that was a normal Tuesday for him, and he let the memory go ages ago.

He Regrets It
I can only hope that this is the right answer, that at some point in adulthood, he took an honest assessment of his life and thought, “Wow, that was a shitty thing to do.” I would like to think that, if we crossed paths, he would pull me aside and apologize profusely for that day.

He Doesn’t Regret It
I’d put this one at about a 1% likelihood, because that would mean he’s a psychopath, and therefore far more likely to have a criminal record which, again, he doesn’t appear to have. (You’ll understand if I didn’t spend a lot of time, and no money, researching his life. I want to know as little as I possibly can.)

So, to summarize, low-profile dude did unspeakably awful thing to me when we were kids. And I’m going to keep it to myself.

HOWEVER…

If I discover that he’s seeking a position of authority, and can use the law to rule over vulnerable members of society, I will speak up. Up to now, he’s only hurt me (that I know of). If he ascends to a position that would allow him to hurt others, I cannot remain silent while that happens, even though it would be devastating for me. Like Dr. Ford, I would be called partisan and a liar (and worse). It would also be incredibly easy for someone to discredit me, too. “Were you 7, or were you 8? If you’re unsure about that, what else are you unsure about?” My story is basically impossible to prove. But that doesn’t make it any less real.

The bottom line is this: there are a number of reasons why someone might wait years or even decades to tell a traumatic story, and they have absolutely nothing to do with you. It doesn’t matter, one bit, whether you agree with the timing of when the story is told. When they tell their story, listen to them, and know that they are dying on the inside while telling it.

Lastly, thank your lucky fucking stars that you don’t have a similar story to share.

Popdose Exclusive Song Premiere: Ryan Auffenberg, “Daisy Chain”

Popdose is pleased to bring you the title track from the new album by Bay Area singer songwriter Ryan Auffenberg, “Daisy Chain”.  It’s a return to making solo records for Auffenberg after two outings of his Halsted project, 2010’s Life Underwater and 2014’s High Wire & A Heart Of Gold. Prior to that, he had released two solo albums Golden Gate Park and Marigolds.

Since recording High Wire & A Heart Of Gold, Auffenberg and his wife have had two sons and established a nice little scene for themselves, just over the bridge from San Francisco. His home studio in the East Bay allowed Auffenberg to juggle domestic responsibilities with the creative urges that never left him, regardless of the shift in his daily priorities. Over the course of a few years, he built a gentle, meticulous Americana gem; the sort of song cycle that sounds great any time of day.

Another thing he had in mind when setting out to design Daisy Chain was handling all aspects of the record: producing, engineering, and playing every instrument (as with his last few records, it’s also being released on his own Ashbury Records). Auffenberg used the skills he learned while making his previous solo albums at San Francisco’s now-defunct Closer Recording with Dylan Magierek (Mark Kozelek) and the late Tim Mooney (of American Music Club fame).

Flying solo this time around has created a bit of a musical daisy chain for Auffenberg himself, and the process of circling back to where it all started has only emboldened his commitment to the craft. Sure, he’s a family man with a day job and a much stronger sense of self these days, but Daisy Chain proves that when you get down to it, great music is all about the song.

We think you’ll like what you hear – and we’ve included an album trailer video as well.  See/hear what you think!

Daisy Chain will be released on Friday, October 19th, 2018.

www.ryanauffenberg.com


Dizzy Heights #49: Days of the Week, Vol. I

“Sunday Sunday, here again, a walk in the park…”
“Monday, I could wait ’til Tuesday, if I make up my mind, Wednesday would be fine…”

I’ve been toying with this one for months. So many choices! Most in the titles, but some in the lyrics. Everyone likes referencing days of the week, although Thursday needs to fire its publicist, because virtually no one sings about Thursday.

Artists making their Dizzy Heights debut: Bay City Rollers, The Easybeats, Kenna, Morphine, The Pogues, and Soulwax.

Thank you, as always, for listening.

Radio City With Jon Grayson & Rob Ross: Episode Eighty-Two

Radio City With Jon Grayson & Rob Ross:  Episode Eighty Two

It’s always a rewarding (and fun) feeling when Jon and Rob complete an episode, only to immediately have news (good or otherwise) that sparks the ideas for the next show!  Thus, the boys opine about Paul McCartney’s entry on the music charts at #1; the smarminess of the Emmys (and all awards shows); how bad can Rob’s beloved sports teams be?; a lengthy appraisal of Jackson Automotive’s debut album (with mentions of the new releases from Paul Weller and Populuxe), plus a hilarious “In Our Heads” and even more – its another show you don’t want to miss!

So as always, we invite you to sit down, have a cup of coffee and listen in – if nothing else, we will entertain you!

Radio City With Jon Grayson & Rob Ross:  Episode Eighty Two


The podcast will be on the site as well as for subscription via iTunes and other podcast aggregators. Subscribe and let people know about Radio City, as well as Popdose’s other great podcasts David Medsker’s Dizzy Heights and In:Sound with Michael Parr and Zack Stiegler.

Exit Lines: “The True”

Sharr White’s The True, now playing at the Pershing Square Signature Center, will have you consulting Wiki or other sources to fill in a few details. Erastus Corning II, the Albany mayor at the center of the show, was the great-grandson of the industrial titan, and the son and nephew of distinguished New York politicians. He is the city’s longest-serving mayor to date, in office from Roosevelt (1942) to Reagan (1983, his death). With him in charge the Albany political machine ran smoothly for Democrats.

But within his bios you won’t find any mention of the power behind the throne, and the center of The True, Dorothea “Polly” Noonan. As incarnated by the great Edie Falco in White’s whip-smart, brash, and witty play, it’s the tart-tongued Noonan who keeps everyone in line, with a literal kitchen cabinet of her, Erastus (Michael McKean), and husband Peter (Peter Scolari) convening for late-night meetings at her house. As the show begins (in Derek McLane’s lived-in set) Polly knits as Erastus frets–it’s 1977, and having won reelection by just a whisker the last time out a new campaign is beginning as the old order dies off. The big change he envisions is a bombshell: Polly is out as his manager. He thinks the rumors percolating about their relationship, gossip Peter has had to learn to live with through their occasionally rocky marriage, may make the difference. So Polly is gone. But this consummate political animal can’t stay gone, and in the course of the production she continues to fix things for Erastus, while tending to her husband. “It’s like a menage a trois, with all the bad parts and none of the good,” she laments.

The sewing and knitting recall the treacherous Madame Defarge of A Tale of Two Cities, but White’s is a multifaceted portrait. White’s best play before this, The Other Place, starred Laurie Metcalf as a scientist trying to maintain her grip on sanity as neurological disorder wore her down. Polly’s place is the jungle of Albany politics, and the play leaves her kitchen for hush-hush meetings with a potential opponent to Erastus, Nolan (Glenn Fitzgerald), and a weight-throwing party bigwig, Charlie (John Pankow, who I didn’t recognize in Clint Ramos’ shambles of costuming for the part). In the one-act play’s best and most incisive scene, staged dexterously by director Scott Elliott (in a return to form for The New Group after a wobbly prior season), Polly courts a young councilman, Bill (Austin McCormick), as a hedge against Nolan and Charlie’s ambitions. To her horror, however, Bill is only interested in dabbling in politics before heading out to L.A. with his fiancée; he is not one of “the true.”

The commitment to party above all else is the emotional thread of The True.  Erastus and Polly did share a moment once, but for Peter that pales besides her devotion to the game. McKean and Scolari, old pros who have seen their careers reactivated by meaty roles on TV and onstage, form the tightest of ensembles with Falco. The trio is a pressurized unit on the brink of explosion, held together by Peter’s whiskey and Polly’s helpings of Irish stew and soda bread. Polly’s smile at the end could signal hard-fought relief, or a benediction for a future where women are in the driver’s seat–her granddaughter, Senator Kirsten Gillibrand, is a force in state politics.