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Sunday, Nov 8, 2009
Why the Mekons are the only middle-aged band you don't have to be embarrassed about.
Oct 9, 2002 | It's not nostalgia that makes me love the Mekons; it couldn't be. I didn't find them until 19 years after art students Jon Langford and Tom Greenhalgh started their punk band in Leeds. I was clueless then that the legendary Brit-punk class of '77 -- the Sex Pistols, the Buzzcocks, the Damned, Wire, the Jam, X-Ray Spex, Billy Idol, Siouxsie Sioux et al. -- was bursting onto the scene, as the Mekons never would. In 1977 I was 15, and the Ophelia revival tent in my bedroom starred '60s British Invasion bands, Dylan, Patti Smith and anything swaggering: preferably sexual, but martial worked too. I didn't mind that my heroes weren't my d-d-demographic, and neither did my geeky gang of '60s re-enactors: We'd scare ourselves silly spinning the "White Album" backwards, knowing that Paul wasn't dead because we just saw Wings at the Cap Centre.
Twenty-five years later -- who'da thought? -- as many classic rock boomers as punks are on oldies tours. For a few C's, I could watch the Stones twinkle in a logo-draped stadium, playing songs that stopped being about anything around (their) age 30. I'm glad Dylan found his grizzled voice, and wearing that wig and fake beard to Newport was genius, but his songs have narrowed to either nostalgic Americana or curmudgeonly bordering on nihilism. I love that Patti Smith is playing rallies against Bush's fall-winter product line (Manifest Destiny is the new black), but as Jon Langford boozily pontificated at the CBGBs merch table, "she hasn't made a good record in 20 years so she can fuck off."
The Mekons are the only middle-aged band I went to see in 2002 (other than Mission of Burma and that was more to cruise the age-appropriate guys in leather jackets). The 25th-anniversary Mekons tour was spread over three nights in three relatively tiny New York clubs a few weeks ago: 1977-1983 at CBGBs on Thursday; 1985-1992 at Maxwell's in Hoboken, N.J., on Friday; and 1992 to the present at the Mercury Lounge, back in Manhattan, on Saturday. Had the Mekons ever reached an audience beyond the rock press and a few fanatical others, their three-chapter Stroll Through History could have looked grandiose and not like a joke. Surprisingly, though, they sold out all but the CBGBs show. A second Mercury Lounge show was added, "by popular demand," Langford marveled from the stage, "something we're almost completely unfamiliar with."
Unlike most of the touring oldies, the Mekons are peddling a new album utterly unlike its predecessors, the strange and wonderful "OOOH! (Out of Our Heads)." More than any long-timers I can think of (discuss among yourselves), the Mekons' career reflects aging as an evolution rather than just a waning of youth. Instead of plundering trends, like well-preserved chameleons David Bowie and Madonna, they stay relevant by setting songs in the actual world of work and friendship, Thatcher and the Bushes and Tony Blair, military adventuring and corporate ravening, art movements and literature and religion, sex, disillusionment, courage, I can't go on, I must go on. They're working-class intellectuals and very, very funny. I'm surprised to still have such a relationship to a band, but the Mekons help me make sense of my life now the way the classic-rockers helped me assert -- or at least stand up straight -- at 15.
The Mekons' original incarnation, of which only Langford and Tom Greenhalgh remain, were Class Clowns of '77. Their first single, "Never Been in a Riot," made fun of the Clash's "White Riot," and "Where Were You?" used the punk template of breakneck tuneless shouting to ask adorably untough questions of a girl who didn't show up: "I was standing in a queue did you see me? I want to find out about your life do you like me?" Their first album, in 1979, has the best cover of all time, a monkey at a typewriter over the title: "The Quality of Mercy Is Not Strnen" (sic).
Thursday, the Early Years, was my first time ever in punk temple CBGBs, and it was surreal to see an aging band that wasn't the Ramones, Television, Blondie, et al. within those oft-photographed graffiti'd walls. Langford, gray-haired and bullishly stout, did the old punk-rock head-hammer and one-legged lunge like it came from muscle memory; pogoing alongside was his long-ago ex Sally Timms, the sexily weathered, sarcastic heartthrob of many an aging fanboy. They wore tight new CBGBs T-shirts; 50ish accordion player Rico Bell's sartorial nod to the era was a choker of duct tape and a blazer with no shirt.
Further warping time was opening band the Sadies, younger than Rico Bell's kids, performing only Mekons covers, so the history lesson was repeated twice. The Sadies joined the Mekons' encore, and Langford gleefully announced in his r-rolling Welsh burr, "The farrrm team! We're calling up new Mekons." Looking up at the lanky kids, he added, "We got them especially to make us look short. And fat. And old." As he exhorted people to come out to Maxwell's the next night, he babbled, "the Stones will be there, and Marianne Faithfull and Wire, and we're younger than all of them so they can fuck off!"
The punk years were not the band's finest; some say they didn't bloom into true Mekonhood until they added violins and accordion and women. In 1985 the group released its country-experimental-punk masterpiece "Fear and Whiskey," which was my Mekons conversion experience (11 years behind the curve). First a cheery violin, then a cracked English voice (Greenhalgh) slogging through half-remembered shame. The man howls like a pained parody of backup singing -- were these drunk old men in a pub or inept teenagers? -- then a martial drumroll picks him up and dusts him off. He shoulders on. "Fear and Whiskey's" got a bent-arm-swinging protest song for a miners strike, psychosexual spoken-word shit, sputterings-out and in-jokes, torrents of rain, and a Hank Williams song. It's a wobbling glass raised to the nobility of even self-imposed struggle. Widely considered the genesis of alt-country, it sold about 4,000 copies upon release.
