Robbie Fulks @ Off Broadway 9/22/01
Sometime around the birth of Uncle Tupelo in Belleville, an evil critic coined a term that makes every knowledgeable music fan groan. It caught on and has been used to limit established acts and to discriminate newcomers for the last 10 years.
Alternative-country is a derogatory and- disrepresentative term, used to describe the resurgence of familiar, country-tinged music. It burdens current musicians who record a note of twang while still relying on rock `n’ roll. It’s an insidious and convenient marketing compromise.
If you have to coin a phrase, Americana should be used instead of alt-country. It’s at least a bit more respectful. After all, a band like Uncle Tupelo was really a celebration of great American music. They combined elements of rock, country, folk and blues into a nice package, but some idiots decided to diminish their brilliance by placing emphasis on their sideburns, flannel shirts and southern fried image.
Critics called new bands like the Jayhawks and Blue Mountain tributes to the Flying Burrito Brothers, even though bands of their ilk had been around for ages. Those who used the term alternative-country must have forgotten about songs like “Honky Tonk Woman” by The Rolling Stones and “The Ballad of John and Yoko” by the Beatles. The Stones relied heavily on music from the South, but are justly considered a great rock `n’ roll band and not a great alt-country act.
The story of Americana’s misrepresentation among the media and the music-buying public has been well documented. Consequently, as with any genre of music that is given excessive ink space, it has become quite stale. The alt-country tag has encouraged a plethora of kids to put on a straw hat, study their Johnny Cash records, name themselves after a haystack and see what happens. In a sense, it’s become the new indie rock because the market has been flooded with imposters. (If anyone can write to the paper, and explain why the Old 97’s are immensely popular, it would be greatly appreciated.)
Thankfully, the best Americana acts are defining the times and defying categorization by exploring possibilities outside of their roots. Put simply, they are shedding that alt-country stereotype. Wilco’s last effort, Summer Teeth, was an immaculate, orchestrated pop record that didn’t have a note of twang on it.
Their forthcoming Yankee Hotel Foxtrot features collaborations with Jim O’Rourke. Ex-Whiskeytown singer Ryan Adams has released two introspective singer/songwriter albums that should be highly regarded. His recent live shows have included stunning covers, including a breathtaking “Wonderwall,” while his forthcoming record with the Pinkhearts delves into classic rock territory.
Somehow, this brings us to Robbie Fulks. He’s another victim of the alt-country moniker, and a perfect example of a musician that is entertaining possibilities.
He is a self-described “obscure country singer,” although that really doesn’t do him justice. Much of his traditional country is combined with straightforward pop rock. His records are heavy on George Jones-type songs, although the occasional surprise seems likely to surface at any moment. His new record, Couples In Trouble, even features four minutes of electronic noise.
He’s got underground credibility as well. Steve Albini, who often produces Fulks, has chosen him to play alongside the Fall, the Breeders and Low at next year’s “All Tomorrow’s Parties” festival.
A quirky personality and elastic vocal delivery is what makes Fulks refreshing. These points are best illustrated and appreciated when you see Fulks in a live setting. On Saturday at Off Broadway, Fulks and his band put on a charming and 140-minute marathon. The initial reaction after the show was one of surprise. He was so much better than one would have thought, as an enthusiastic attitude and an emphasis on entertainment helped Fulks succeed.
All the country rockers were played with fervor, including “You Break It, You Pay” and “I Told Her Lies.” Fulks made “Roots Rock Weirdos” especially interesting with both Vaudeville type-antics and intense screaming.
Great pop songs were showcased as well, like the title track from Let’s Kill Saturday Night. It brought the house down with its infectious, sing-a-long chorus. “That Bangle Girl” was a ridiculous and inviting tribute to the Bangles lead singer, Susanna Hoffs.
From the stage, Fulks joked about the three Bea Arthur shows at the Pageant over the weekend, even attempting an impression of the Maude character. When taking requests, someone shouted out the theme to the Golden Girls. When he didn’t know it, Fulks invited a brave audience member onstage to butcher a few lines. Fulks and the band, which included Dave Alvin’s keyboard player, Joe Terry, seemed quite intrigued. Don’t be surprised if they play the song next time they are in town.
Keeping with the karaoke spirit, the band showcased tongue-in-cheek, truncated versions of “Sharing the Night Together” and “The Humpty Dance,” providing some much needed lunacy.
Fulks said they love to frequent karaoke bars on tour and were eager to show what they had picked up. It seemed contrived, but it was funny as hell.
The sincere covers were amazing. A nasty take on PJ Harvey’s “This Is Love” had Fulks shouting, “I can’t believe life’s so complex/When I just wanna sit here and watch you undress.” By audience request, a spirited version of Abba’s “Dancing Queen” was thrilling.
By the time the night ended, Fulks covered the Jackson Five and danced with members of the audience.
He’s an impressive performer whose personality helps him rise above categorization. His records continue to shift left of the middle, while his live shows are even more eclectic. Robbie Fulks is something of a pioneer, and he’s just what we need to get rid of t?his alt-country business.
