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Scream Dream Full Description
Painted in contrasting shades of urban blight, suburban boredom and rural decay, Michigan is perfect primitive rock & roll territory: a place where nothin' to do ain't an attitude but a fact. The natives are restive and clannish, expressing themselves in a natural idiom of hostility and shamelessness. Indeed, what links Motown and the MC5 isn't so much the feigned connections between R&B and heavy metal, but the shared assumption that respect isn't something you earn, it's something you seize. None of these guys is much for playing by the rules. I wish Mitch Ryder would remember. At his peak, he was the white Wilson Pickett: i.e., one of the two or three greatest white soul singers ever to stalk the stage. But Ryder is one of those rock & roll characters who got caught by fame in a transitional moment and never realized his due. "Devil with a Blue Dress On/Good Golly, Miss Molly" and "Jenny Take a Ride!" were terrific records, and if they'd been released a year sooner or five years later, Mitch Ryder might have become a superstar. But he got his hits with reworked R&B material at a time when writing one's own songs was obligatory, and he's been trying to live down that stigma ever since. Naked but Not Dead, like last year's How I Spent My Vacation, is an attempt to catch up, to make a personal and artistic statement about serious matters. On How I Spent My Vacation, there was enough rage and self-loathing left in Ryder to render the effort credible, even if his songwriting skills were marginal. This time, without the instrumental firepower of Wayne Gabriel's guitar to add some electricity, he's simply overextended himself. The compositions are clearly cut to fif the lyrics, and the lyrics are usually embarrassing. "Ain't Nobody White" starts out as a tough guy's refusal to believe he can't sing the blues, then descends into a sardonic affirmation of Elvis Costello's brand of racism. "War" is a high-school cliché, while "I Don't Wanna Hear It" is absolutely virulent in its sexism. And so forth. These days, Ryder is trying to substitute words for what's missing in his music. Yet the passion found in his best music wasn't verbal, it was visceral. And Naked but Not Dead is about as visceral as a Gilbert and Sullivan opera. Because the band is continually held in check–always tasteful, never risking silliness–the results are all the more absurd. Say this for Berry Wordy: when he released The Supremes Sing Rodgers and Hart, he never apologized. There's a message for Mitch Ryder there. He should stop yakking about kicking ass and just go out and do it. That's what Ted Nugent does. Nugent has been recording almost as long as Ryder. He went without a hit (much less respect) a hell of a lot longer, but he's never complained, backed down–or matured, for that matter. If anything, he's grown even more free-spirited and less disciplined, without ever trying to elevate himsel
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