Rockpile Archives - Downtown Mystic

I decided to make a statement with the release of 21^st Century Rock’n Roll. I’m releasing it the day before my 70^th Birthday…so how’s that for a statement? Being an artist is not what it used to be, or is it? It’s not like it was in the 20^th Century, that’s for sure. More importantly, I wanted to make a statement with regards to the current state of Rock’n Roll.

Right now, as far as the venerable genre goes, the only thing I can see out there are The Rolling Stones, speaking of venerable. I look at this as a good thing because it helps me make a case for 21^st Century Rock’n Roll. The Stones are really the only band keeping RnR alive. Why 21^st Century Rock’n Roll? Well, despite being compared to classic rock artists like Tom Petty and sometimes being classified as classic rock (really?), I don’t think my music could exist at any other time than now. There might have been a few years in the early 80s for a few of the songs, but on the whole I don’t seem to fit in any other time than the 21^st Century.

The truth is I don’t really sound like anyone out there. My shorthand for my influences is Buffalo Springfield meets Rockpile. These are not 2 bands that sound like each other and were certainly not as big in their day, but both were highly influential. From the 60s, Buffalo Springfield spawned Stephen Stills and Neil Young and led to CSN/CSNY. Richie Furay and Jim Messina left to form Country Rock pioneers Poco. All of these artists and groups had a big influence on my playing and writing. In the 80s, Rockpile, formed by Dave Edmunds and Nick Lowe, were at the forefront of New Wave. It was at a Rockpile show in Asbury Park, NJ that inspired me to create DownTown Mystic, albeit years later.

To make my RnR statement on 21^st Century Rock’n Roll, I chose what I would consider to be my most rocking songs. These are not necessarily all my best songs but they are mainly my most rocking ones. Most are up-tempo. I like to think that I probably put out the most up-tempo tracks out there. Up-tempo tracks are generally considered harder to play and require a certain amount of skill from the musicians. Rockpile was an up-tempo kind of band, with great players, which is probably why I favor them. Of course, The Beatles were also a huge influence and I always looked forward to what new up-tempo songs they would record.

The other thing about this release is my chance to honor the late Ben Elliott, who was my engineer for 20 years. He sadly passed away in April 2020 as did his beloved Showplace Studios. Ben’s as much a part of 21^st Century Rock’n Roll because his sound is on display. Our goal was to make records and I know we succeeded with these tracks. Just ask anyone who has tried to write and record Rock’n Roll. It’s not as easy as it looks. It’s all about great sound and getting that sound. Ben was a master at it. It’s definitely the end of an era for me, which is probably the main reason for releasing 21^st Century Rock’n Roll.

To have these tracks that Ben engineered, at this point in time, is truly a blessing. It’s no surprise that Keith Richards name would also come up now. I mean, why wouldn’t Keith Richards name come up when you’re talking about Rock’n Roll? Keith Richards, the architect of The Rolling Stones brand of RnR and myself, have something in common. That something is actually someone, namely Ben Elliott. Keith met Ben at Showplace when Ben was working on Howling Wolf’s guitar man, Hubert Sumlin’s album About Them Shoes. It was sort of a tribute to the guitarist featuring Keith, Eric Clapton and Levon Helm among others.

Ben & Keith (photo courtesy Arnie Goodman Photography)

Ben must have hit it off with the Stone s legend because soon after, Keith hired Ben to be his personal engineer at his Stamford, CT home studio. Ben’s stories about working at Keith’s were hilarious as well as interesting. I think the other thing I have in common with Keith Richards is our love of all things GUITAR. My recordings are all about GUITARS as are Keith’s. The other thing is the SOUND. You can’t have one without the other when it comes to recording them. Keith knows something about sound, as well as guitars, and that’s why he had Ben as his engineer.

To me, Keith Richards is synonymous with RnR. If there was only one photo to have next to the definition of RnR, it would be of Keith’s face. Even before Chuck Berry and that’s saying something! Keith has doled out far more riffs than anybody I can think of that have any meaning. Yes, Chuck is the Father of RnR but it’s the Son who took it further. Keith took it to another level as an artist, particularly as a Recording Artist. That’s also something Ben Elliott gave me. I became a Recording Artist because of Ben and I will always be grateful to him for that.

On December 1, 2017, UK Label Nub Music (via ADA/Warner Music) released the new DownTown Mystic EP, On E Street featuring Max Weinberg and Garry Tallent for the Holiday season in the UK & Europe. As you probably know, Max and Garry form the Rock’n’Roll Hall of Fame rhythm section for Bruce Springsteen’s legendary E Street Band. Personally, I think the rhythm guitar player should also be included as part of the rhythm section since the bass & drums won’t know what they’re playing to. 🙂

The On E Street EP contains 4 rare recordings with Max on drums and Garry on bass. Rare, because they’re playing with someone other than Bruce. There are only a few times this has happened, despite all of the studio work both men have done separately. As far as I know, other than Bruce, the only artists that Max & Garry have played together in the studio with are Ian Hunter, Gary U.S. Bonds, Ronnie Spector and me—DownTown Mystic. I know, that can’t be right, right?

I went to Columbia High School in Maplewood, NJ, the same as Max, who’s a year older. We had mutual friends and even then he was known as “the drummer”, walking the halls with his drumsticks in his hands. He played in the HS Orchestra and also the best rock band in the school. It was not surprising to me and others that he was playing in an orchestra pit on Broadway after graduation, or when we heard that he had become Springsteen‘s new drummer after auditioning for him.

I met Garry after giving his girlfriend a 45 my band had recorded and that I was handing out at a very “in” club in NYC that we were playing. She gave it to Garry and he dug it and came out to hear us play. He ended up playing bass with us in the studio for a production deal that we got from playing that same club and even did a live gig with us in Asbury Park, NJ. The band eventually broke up and I stayed in touch with him. I contacted Garry and asked him if he wanted to work together to record some songs of mine. He brought in Max to play drums. What are the odds, right?

The 1^st track on the EP, Way to Know, was recently released in the UK as a single for the Rage Against The Brexit Machine project by Nub Music. It’s not the version that I played for Garry. The original demo that I recorded for the song was a bit more mid-tempo and much sparser in the arrangement. It also featured a piano. Garry was the one who changed the tempo and the arrangement, so I have to blame him for this recorded version. lol As I’ve stated previously, the funniest thing I remember about cutting the track was hearing Garry tell Max to “play like Charlie Watts”. 🙂

The 2^nd track, And You Know Why, features a very economical bass line from Garry and one of the most restrained drum tracks from Max that I think he’s ever played. And You Know Why has a great deal of meaning to me personally. It’s a song that came to me at a time when I was burnt out on writing and playing music. I was seriously thinking about giving up music altogether and this little tune would not let me quit. Then to have the good fortune of getting to record it with the E Street rhythm section is really quite a blessing.

The 3^rd track, retro rocker Hard Enough, is an up-tempo number that owes a great deal to the great New Wave band Rockpile, which featured guitarist Dave Edmunds and bassist Nick Lowe. The funny thing about this song is that I was not that thrilled to record it. I had given Garry 2 songs to listen to and decide which one he wanted to record. He picked Hard Enough, which was not the song I favored. Garry said he liked the George Harrison-type riff that I played but I think he picked it for more obvious reasons. When I hear his bass line it reminds me of his bass on Springsteen’s Ramrod from The River album, which is one of my fave songs by Bruce. So what’s not to like, right? 🙂

The last track Sometimes Wrong (Demo) was an idea that I had to rock up the song from the way I originally wrote it. Garry and Max gave it their best shot but I don’t think it really quite meshed the way I had envisioned it. I finally decided to go back to the original version when I recorded the track with Steve Holley and Paul Page (the rhythm section for Ian Hunter’s Rant Band). It leads off DownTown Nashville and I think it’s much better as I wrote it. I did keep most of the guitar parts from this demo version and the guitar solo I play on the end of the song is one of the best off the cuff solos I’ve ever put down on tape. It was a one-shot live take that I was able to pull off. I just wish I could mute the incessant vocal track singing “sometimes wrong” on the fade out! 🙂

I’ve been asked many times what it was like to play with Max & Garry and I always say it was one of the easiest sessions I ever played on. They play so intuitively together. Just a look at each other and they instinctively know what they’re going to play or where to go next. All I had to do was play my guitar. It gave me an appreciation for what Bruce has with these two anchoring his E Street Band. The other thing I get asked is why there are no photos from the studio. There are a couple of reasons. #1, the E Street Band has very strict rules as its own entity. They don’t do endorsements as a band and photos are a bit of a gray area. So #2, I didn’t want to seem like a “fanboy” taking pics and possibly creating a bad vibe in the studio. I think it’s always better to err on the side of caution in these types of situations.

One of the coolest things for me personally from On E Street is that I realized one of my deepest musical ambitions. After my band broke up so many years ago, I made a goal for myself to play with the very best musicians possible, and with On E Street that became a reality. My sincerest gratitude to Garry and Max for truly making that dream come true. 🙂

https://soundcloud.com/shalaman/sets/on-e-street-featuring-max

Downtown Mystic

Vintage yet Modern

Tag Archives: Rockpile

DownTown Blog – 21st Century Rock’n Roll

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