LOUISIANA CONTENT
Our city is entering an era in which the new mayor plans to encourage business and remove many of the hurdles reputedly placed in the way of those wishing to establish enterprises in New Orleans.
In this spirit I’ve been asked informally by members of the Committee for Economic Development what steps should further be taken for this city (and its musicians) to benefit from our unique musical heritage.
There have been a variety of meetings and workshops over the past 10-15 years here to rally music people to a cause. Many have said we need more of the industry here.
It is my belief that the power and money in the music industry are happy where they are, in Los Angeles, New York, and Nashville. Economic forces, of their own accord, tend to concentrate and consolidate, not disperse and share.
The three important pillars of the music business are radio, record companies, and music publishers. They work hand in hand to create, sell, and collect the royalties of most of the music the public consumes. These companies, for the most part, are clustered in the aforementioned cities. I’ve heard it said that the music business brings in roughly as much money as the video game industry. That’s not too impressive, and the folks that have it want to keep it.
I propose that Louisiana pass legislation similar to that of Canada, which is referred to as “Canadian Content.” The laws of Canada demand that all radio, TV, and movies broadcast there have a certain percentage-per-hour of material with some sort of origination by, or participation of Canadians. They claim it is to protect cultural uniqueness, and in fact the statute creates a larger cushion of wealth for their artists.
I’ve known a number of Canadian songwriters whose careers have been nurtured by this system. It puts the publishing, radio, performance, and record royalties into the pockets of their own people, and becomes a springboard for larger world-wide deals.
Louisiana’s broad and unique musical heritage makes an ongoing contribution to the culture of America. We also have talented bands and songwriters and producers and studios who can fill any format existing on the radio, not just Dixieland and R&B. The average listener would likely enjoy this enhancement to their favorite playlist or format, and many royalties and benefits would truly begin to flow in Louisiana.
It has been said that this would be a case of the state tampering with federal jurisdiction, but so what? Let’s encourage our legislators to try. I’ve heard that Louisiana shouldn’t have been entitled to oil revenues, but our leaders fought for and won that huge benefit for us.
A law would enable the Louisiana music business to build its own pillars of the industry, truly make New Orleans another “music city,” and bring clean environmentally friendly dollars into the state economy.
—Armand St. Martin, Composer/Performer, New Orleans, LA
PLAN A
Thanks for Jeff Hannusch’s memories of Rockin’ Sidney in the July issue.
Our first-ever trip to New Orleans was for Jazz Fest 1985. We never heard of “Toot Toot” before we got to the Fair Grounds, but by the end of the first weekend we’d heard at least 20 different versions of the song.
Rockin’ Sidney (who we’d also never heard of before then) was a star on the big front stage that year. I remember him asking the huge crowd how many people bought his record of “Toot Toot,” and how many people bought Jean Knight’s version. And I can still see Sidney, in his bright red suit, driving all over the Infield in a golf cart, waving his record in the air.
People who weren’t around in the mid-1980s don’t have a clue how huge “Toot Toot” was, and what a boost it gave zydeco music. Floyd Soileau, who put out the original album, said at the time, “That one song shed a lot of light on the zydeco and Cajun music scene. Before then the zydeco music had not crossed the Atchafalaya River. That really put zydeco on the map. Even I hadn’t really done a whole lot with zydeco up until ‘Toot Toot,’ but it started to snowball after that.”
Even the staid purist Chris Strachwitz of Arhoolie Records grudgingly added, “Some people say it’s a terrible song, but it’s what people want to hear. The musicians who stay in the business, they play that ‘Toot Toot’ three times a night.” (Still, I remember Marc Savoy of the Savoy-Doucet Band telling us at a dance, “We’d love to play requests. We’ll play any request you have, except ‘Toot Toot.’”)
One correction to Jeff Hannusch’s article. Sidney did not record “Toot Toot” on the MIDI. He did the entire song, playing all the instruments (except the drum machine), on a little Teac four-track cassette recorder, the cheap one that every singer-songwriter in the country owned at the time.
Finally, I think it was Jeff Hannusch himself who interviewed producer Huey Meaux at the time, when Huey said, “‘My Toot Toot’ whipped ’em all. I laughed and laughed when I was promoting that record. I’d walk in this place where they had a million or two million dollars tied up in equipment, nine people to run the board ’cause it’s so long, and you walk in there with a $1.95 session that’s beating them to death. You can push everything to the extreme but you always have to come back to Plan A: the song and the simple sounds, brother.”
Thanks again for your great magazine. Once a month, I am reminded that we have to get back to New Orleans one of these days.
—Bear Kamoroff (“Sam Leandro”) Willits, CA
CHUBBY AND SIDNEY
I never knew the full story on Rockin’ Sidney, but I do know a small part of it from seeing him at Street Scene in Winston-Salem, North Carolina, probably in Fall, 1984, not long after “Toot Toot” had reached its peaks. Coincidentally, Chubby Checker (mentioned in your article in relation to the phenomenon of his recording of “The Twist”) appeared at the same street fair.
This was in the early days of portable consumer video cameras—in retrospect—I’d have to say that neither performers, promoters, nor fans actually knew what the appropriate protocol would be related to them. I was probably one of two or three in an audience of up to several thousand who was carrying one that day.
I was taking a little footage of Chubby Checker when I realized he was talking about me—from the stage—equating my taking the pictures of him to following him into the bathroom and taking pictures there and imploring the audience to take the camera and smash it. I always wished I’d had the presence of mind to let the tape run, instead, I lost interest in the performer and the performance and left that area.
Heading out, I caught Rockin’ Sidney’s set. I’m not certain I even took any video, but someone in the audience did, and I have a distinct recollection of his graciously “playing” to the camera briefly, and putting on a dynamite performance in general. “Toot Toot”? “Catchy” indeed! I heard and bought Jean Knight’s version first, but there was no doubting the original as good as her version was.
Thanks for the consistently interesting and well done magazine.
—Stephen C. Leverton, Beaufort, South Carolina
THE WOP BOP
I heard about Harold Dejan’s passing while getting together for a gig tonight. As I tried to compose myself I thought of something, (everything’s lovely). A smile came to my lips, and I will do the wop bop for him tonight. Friends For Life.
—Les Getrex, New Orleans, LA
BACK TO SQUARE ONE
This is a “Letter to the Editor,” in response to a review that was done of the Belfry Bats CD, Tall Tales of the Future World Primitive. While the band appreciates that you took the time to forward their press kit to a “writer,” they do not appreciate that this “writer” did not review the album. This writer, Alex Rawls, instead wrote three sentences of assumptions that he made about the band that are unfounded. For the time being, he has damaged the musical reputation of this band, by not reviewing the album, but reviewing the title and the production of the album.
First of all, he lumped them in with “heavy” artists, such as heavy metal and hardcore punk rock. The Belfry Bats have never claimed to be heavy or menacing, which is what he assumed the band was trying to get across. It’s a shame that he is not familiar with original music. Second, the guitar is not supposed to be heavy. It is a twangy, rockabilly style. Third, the Belfry Bats are an original hard rock band, that does not fall into a commercial category. But because Mr. Rawls is not capable of thinking outside the box, or maybe he just didn’t have the time, he stuck the band in a “heavy” section of OffBeat. New Orleans is already pretty close-minded about original hard rock that is not pop, metal or punk oriented, so please let him know how much the Belfry Bats appreciate him knocking them back to square one.
As for the title, too bad if he doesn’t like it. He may have understood it, if he took the time to listen to, or read the lyrics, or the bio that accompanied it, to understand where the band was coming from. As far as production, it’s too bad that he didn’t like that, either, but it was not done by a formula, so he doesn’t understand it.
And it looks like the Belfry Bats will be adding yet one more group (OffBeat) to their list of non-supporters in New Orleans.
—Kristin Bybee, The Belfry Bats, New Orleans, LA
A GENUINE CAJUN
I read Christopher Blagg’s review of Tab’s new CD from Telarc, Wetlands, and I was not surprised to see an apology. Anyone who has talked with and listened to Tab would understand that he is a genuine Cajun artist who sings and plays roots music the way he hears it AND the way he feels it. Just like Stevie Ray Vaughan played the roots music he grew up with in Texas, so does Tab sing and play roots music that he grew up with in South Louisiana.
Tab sings and plays about being a Cajun in good times and bad. Tab sings and plays “from the heart” as is very evident in Wetlands. If you want to understand how lonely it is to be on the road and away from loved ones year round then, listen to his rendition of Otis Redding’s “These Arms of Mine” and you will understand.
The temptation to compare Tab to SRV is understandable. A southern white guitar player wailing the blues on electric guitar with a killer tone and soulful vocals who also pays homage to the “older blues cats” who inspired him…until you LISTEN to the artist and understand what he is all about. Tab is all about Louisiana Blues.
I’ve been away from Lafayette since April of ’88. If I get lonesome and miss the swamps of Butte LaRose or Henderson, I just boil a sack of crawfish, ice down some beer, put on some Tab Benoit , take a deep breath and “it’s all good!”
—AJ Dauphin, Cedar Park, TX
THREE STANDING OVATIONS
Twelve years ago I discovered Jazz Fest and OffBeat. I haven’t missed one of either since! I wait anxiously every month to see what is happening in the musical world of NOLA. I make six to eight journeys to the city each year to get my “fix.” That is not much experience compared to the locals, but it should give me a little credence. I want to say that I know it would have been in OffBeat except that it was so early in the morning that your writers were still asleep. What I am talking about was the most magical set of the entire 2002 Fest—Johnny Sansone! At 11:15 on the first Sunday morning, you are not expecting this kind of happening. The band started the set with a fair crowd, but at the end the tent was full and surrounded by one of the most excited audiences of the year! Crazy as the Blues Tent is with seats, the crowd gave Johnny three standing ovations! No words could describe this other than to say it was magic. I have long been a fan of this under-appreciated artist, but never have I seen him so sharp, so focused, and simply brilliant. Johnny took the entire crowd to those places you can only go with fellow music lovers listening to the highest quality live music. Had this set been later in the day, it would have put Johnny Sansone’s name in every music publication imaginable. Quint Davis came by briefly, let’s hope he will give this act a later start time next year!
—Sonny Barksdale, Montgomery, AL
MOURNING
I mourn the passing of Blues Access but I am delighted to make your acquaintance!
—Eric Barthel, Carmel, CA
TOWERING MEGALITHS
The big-biz chain record stores in New Orleans do a huge disservice to local bands! I visited New Orleans not long ago and tried to find CDs by some of the rock groups mentioned in your magazine. When I go to a distant city, I like to sample stuff I’d never see elsewhere. The bands might not always be the best, but it’s fun to find uncommon artists.
Unfortunately, the two towering megaliths on the riverside have a skank selection of indie stuff. They’ve got ghettos for major-label-sanctioned artists in approved regional genres such as zydeco and jazz. One can always find the Rads and other established rockers. But up-and-comers such as Radionation and Electric Swamp Gas? N.O. way! It’s all decided by some product manager in New York or London.
Every town used to have smaller stores that would give up-and-comers shelf space. But the behemoths seem to have stomped them into the mud. Aside from Magic Bus in the Quarter and Mushroom across town (I didn’t rent a car, and had no easy way to get out there from my hotel), there’s little chance of buying from the small guys. How are new New Orleans bands going to survive if no one sells their sound?
For a town that prides itself on music and individuality, the Big Easy record scene sure seems like Corporate Clone America to me.
Let me also add that it’s damned hard to find OffBeat or any of the other local music-scene magazines in New Orleans, too. I looked all over for anything that could guide me to bands/hotspots aside from the Bourbon Street beer halls. All I found was a waterlogged used copy of OffBeat on a doorstep. Every other major town I go to, entertainment rags literally litter the street. How come N.O. is so slack in that regard?
—Rick Buck, Port Charlotte, FL
Both Tower and Virgin have special sections devoted to Louisiana artists. Perhaps you overlooked them. The next time you’re in New Orleans,we suggest you also visit the Louisiana Music Factory, directly across the street from House of Blues. The Factory stocks thousands of Louisiana releases. OffBeat is available from over 450 outlets in the New Orleans area. There is no other local publication solely devoted to music.—Ed.
THE THINGS YOU FIND ON DIRTY AIRPLANES
Hello from Cleveland, Ohio! A copy of your magazine was passed on to me by a co-worker (we clean airplanes) and have since subscribed. In your latest issue, Bunny Matthews reviews Ronnie Magri and the Shim Sham Revue. Now I want to get the CD. Could you please tell me where I can purchase it? Thanks for your time and for a great magazine.
—Phil Fried, Cleveland, OH
See response above.—Ed.
FANS FROM NEW ZEALAND
I join with your other readers in congratulating you on the superb CD OffBeat Festival 2001 It has something for all lovers of Louisiana music. For me it is the James Booker, Irma Thomas, Nathan Williams, Buckwheat Zydeco, ReBirth Brass and the Johnny Adams/Aaron Neville numbers. I’m looking forward to receiving the third CD in the series, OffBea Best of the Beat 2002. Best wishes from New Zealand.
—John Smith, Nelson, New Zealand
Greetings from Aotearoa, New Zealand. We have just received the April issue of OffBeat. Greatly enjoyed the article on Danny Barker. In fact we have enjoyed the whole series. Keep it up. We hope to back for French Quarter Festival next year.
—John Smith & Lyn Dawson, Christ Church, New Zealand
FAMILY AFFAIR
I saw the Savoy Family PLUS last night (Saturday, May 11) at the Fort Lauderdale Festival. Wilson Savoy was a revelation on the piano, which he managed to blend into the traditional Cajun tunes with ease and without drowning out the fiddle of Joel, the accordion of Marc or Anne’s guitar. If D.L. Menard is the Cajun Hank Williams, Wilson must be the “Cajun Jerry Lee Lewis.” Joel has grown in stature, confidence and independence since I last saw him two years ago.
An album by the family featuring Wilson on piano must be produced! The family seemed to bring out the best in each other with Pop visibly striving for perfection on stage. His kids didn’t let him down.
Please pass on this suggestion to Ann/Marc.
—Phil Stevens, Leeds UK
ERRORHEAD
I have detected several errors in your June [2002] issue:
On page 63, in Geraldine Wyckoff’s “The African Cowboy Returns”, Johnny Vidacovich was identified as playing drums on Earl Turbinton’s Jazz Tent set. I was sitting in the front row, and Johnny V. was definitely not playing drums. According to James Singleton, Herman Lebeau was the drummer on that set.
On page 42, in the obituary for Clarence Samuels, the last sentence ends with “… where Ornette was introduced to drummmer James Blackwell.” That should be Ed Blackwell. What an intriguing recombinant DNA synthesis: James Black + Ed Blackwell = The mythical James Blackwell!
—Bruce H. Ward, Duke of Tchoupitoulas, New Orleans, LA
