street sweeper social club

this is clap for the killers, a track from street sweeper social club, which features tom morello and boots riley. it is unfortunate there is nothing to look at above but i wanted you to be able to hear the song so...

i can't help but contrast this record with any of the audioslave records. where audioslave songs had power chords and an arena rock sound, sssc has tom morello's signature innovative guitar so reminiscent of rage against the machine. as much as i like chris cornell, everything he has done since soundgarden has sounded contrived and as if he has been trying to find a certain formula or voice of his own sans his former bandmates.

i bought one of the audioslave records, (as well as cornell's first solo record,) and i enjoyed some of the songs on it. still, for both morello and cornell audioslave was rather pedestrian.

boots riley, (formerly of the coup,) is gifted as rappers go. he has a style that is distinctly his own and he has the ability to make rhyming seem somehow fresh in an age when rappers have blended together and become largely irrelevant.

street sweeper social club further combines the political roots and ethos of both morello and riley with an accessibility heretofore unseen. here in los angeles, sssc can be played on kroq, power 106, kiis fm, 100.3 the sound, klos, kcrw, pacifica and perhaps star or any of several other softer stations on the dial. this gives the idea of their music being the bombs and machine guns of a new revolution all the more authenticity. the mass appeal sssc is capable of could contribute to the further edification of the youth of today.

things are changing and there are many forces at work in the world contributing to this end. consider street sweeper social club yet another one of those forces.

the nightwatchman

tom morello, as the nightwatchman, thumped and rocked the el rey theatre last night like a dogged revolutionary on a quest to bang, beat, funk and groove a spirit of activism deep into the hearts and minds of all who listened. by all accounts it was a welcome assault.

this was not an ordinary rock and roll concert. from the large, black, red and green american flag behind the stage to the iconic image of che guevara draped over an amplifier, this was not going to be about good time songs and sex in the back seat of a chevy. morello, who was backed by a couple of other guitarists and a drummer who he called the freedom fighter orchestra, opened with one man revolution, the title track from his first nightwatchman record and musical proof of his commitment to all things struggle.

on the streets of havana
i got hugged and kissed
at the playboy mansion
i wasn't on the list
on the streets of cape town
shit's ready to blow
i don't know how to get there
but i'm ready to go
'cause i'm a one man
i'm a one man
i'm a one man revolution

that song particularly connects morello with his fans/kindred spirits later when he sings, "if you've come this far mister, maybe we're one in the same."

then again, to say tom morello sings is not quite right. the songs on both of his nightwatchman records are folk songs, perhaps fit moreso for a union rally than a night at the el rey. the songs typically include a call to action and represent populist values of the proletariat. he growls more than sings and at times is reminiscent of leonard cohen, (whose penchant for biblical imagery in his songs he also shares.)

morello's guitars had revolutionary messages scrawled on them: "arm the homeless," and, "whatever it takes." (it may not get more revolutionary than "arm the homeless.") morello also conveyed overt messages such as when he and his band played ac/dc's dirty deeds, (done dirt cheap,) only with altered lyrics about the bush administration. he also mentioned barack obama saying obama not only seemed to steal his bio, (both are half african-american with fathers of kenyan origin and both attended harvard,) but he has graced the cover of rolling stone more times. morello went on to warn the audience not to be so enamored with our new president as to not become individually and responsibly involved. he reminded everyone that an elected official never made the difference in bringing about the major changes the people have yearned for, rather, he expounded, real change has always been the result of grass roots movements.

serj tankian, of system of a down and a partner of morello's in axis of justice, joined the nightwatchman on stage for one song, contrasting morello's gravelly baritone with his own sweet tenor. boots riley, of the coup, also joined the band for a song, which was as reminiscent of morello's former band rage against the machine, as the evening got, (including morello's acoustic version of guerilla radio.)

near the end of the evening the nightwatchman played woody guthrie's this land is your land, mentioned paul robeson who sang it as a means of agitation, and invited the crowd to sing along as if in unison of marxist, socialist spirit. that old folk diddy may never have rocked so hard and as disparate as the crowd was, 20-somethings next to 40-somethings, black, white, and brown, all side by side singing and fist-pumping along, there was a sense of brotherhood and joie de vivre amongst strangers.

from boots riley as the opening act singing about five million ways to kill a ceo and telling of the five things he was put on earth to do, (laugh, love, fuck, drink liquor and speed the revolution,) to tom morello's mother introducing him to open the show, the nightwatchman show was unconventional and offered more than just live rock and roll. it offered practical camaraderie and plenty of hope for a time when people are informed and engaged in the processes that dictate the policies that affect their lives.