-Caveat Lector-
THE ROCK DREAMTEAM MAKES LEGENDS COME PLASTIC TRUE
ABR, Judith. 2004. "The Rock Dreamteam Makes Legends
Come Plastic True." Internet: CTRL, MFHR.
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The question is not whether these people exist,
because it is evident they do. It is more about the
breadth of their work - who and what they have done,
going how far back that is the focus of this essay.
Rest easy, rock dreamteam, as my evidence is largely
theoretical. But, rock fans, listen up because this
might shock you.
I first noticed something was wrong when I sat down to
write an interpretive article about The Who’s rock
opera Tommy in 1998. I attempted to explain, in very
real terms what Townsend meant by these lyrics and the
album’s amazing surreal graphic depictions in
paintings. Deep down I realized Townsend could not
have accomplished this fantastic compilation without
some equally fantastic assistance. What I really
realized was they Townsend didn’t write it or conceive
of it and I was positive about this. It was simple
really, Townsend did not appear to be that amazingly
bright in other lyrics, nor did his style of music fit
Tommy, nor did I feel at his young age did he have the
breadth of knowledge, blues, and music arranging to
have accomplished this pivotal, masterwork. Initially
I wrote this off as an album solely written and
arranged by Sonny Boy Williamson, a very well known,
touted original Black blues man. I figured he fed
Townsend the info and somehow this album was born. Now
I think even Williamson, as well versed as he was
about the dark side, did not have the knowledge to
come up with all of this. My curiosity now peaked.
Then it was on to Dylan’s Blood on the Tracks album, a
great departure from his usual balladeer style and
instrumentation. And such resonance. It was the lyrics
though that got me because they sounded so much like
an old Hippie romantic liaison I had adored, his
poetry was so much like Dylan’s lyrics and included
lines which sounded like my recent history, having
traveled recently to Europe and then to Tangier,
Morocco to see him ("You See Her Say Hello" has a
reference to Tangier). How would my lover have run
into Dylan? He did have connections to people in the
rock business, even high up, at Rolling Stone Magazine
in the mid 1970s.
Then I began considering a lot of other rock albums of
this era. I knew one thing about it all, whomever was
involved behind the scenes in these legendary rock
musicians’ work was a powerhouse and absolute masters
beyond none at the amplification equipment being used.
I also felt confident that I knew what equipment they
were using and I believed they were guarding this
stuff with their lives because it really does put
forth fantastico sound which many Hippie musicians
knew about throughout the 60s and 70s. Many of us
owned some of this equipment in our apartments, the
stuff was so amazing it kept people sane, organized
their lives. But this equipment also got vandalized
quickly and fast by the 1980s, and many of us learned
it was really complex stuff and very difficult to
repair that we gave up on it. In the 1980s some newer
Japanese electronics firms, like Sanyo, began to
produce similar equipment but it was hard to find.
It wasn’t until recently that I put more of the real
story together. Once I began comparing all these
fantastic rock albums that literally made these men
legends, I began to realize the threads lead to there
being a super genius group behind these legends who
were probably living double lives and underground. In
envisioned them unable to get air and survive, they
sold their genius’ off to all the great super stars
one superb album at a time. They picked and chose
their groups however and album recording became a
science of clandestine work. In order to guard their
identities they recorded the albums in unknown places,
brought all their own equipment in from the outside
and every album was recorded in a new location.
People’s names on the covers were bogus and often star
musicians falsely claimed writership and playmanship.
The rock dream team really did all the recording
workmanship. When they stepped into each new location,
they commanded the scene from top to bottom. Even the
greatest of legends followed all orders, top to
bottom. Everything was organized to a tee, rocks stars
simply showed up to lay in vocal tracks and learn the
riffs. What really gave this scene away to me was the
similarity in style and lyric quality (superb) for a
great many classic albums. At first I figured out
three or four, but after a few days of considering it
all, I began to believe it was dozens of albums made
after 1969.
It may have gone back as far as the Beatles’ White
Album; included much of the Stone’s work (Let It
Bleed, Sticky Fingers, assorted tracks on many other
albums); Youngbloods (Darkness, Darkness); many of
Dylan’s 70s & 80s albums (Blood on the Tracks, Desire,
Empire Burlesque, Traveling Wilbury’s); Neil Young’s
Landing on Water and Silver and Gold; Patti Smith’s
Easter and Horses; Springsteen’s Born to Run; Kink’s
Everybody’s a Star and State of Confusion, Tom Petty’s
Learning to Fly; Herbie Hancock's Headhunter; John
Lennon’s Woman, Nora Jones’ recent album; and lots,
lots more. Fueling my beliefs were the titles of these
wonderful recordings – many of them catchy adverb
phrases or stick-it-to-you single words. Then I began
to go over the credits looking for similarities in who
was involved. They seemed to have different names on
each album but one Greek name kept reappearing and
special team names appeared. All of this made sense
with my suspicions and shock.
So, what makes this so wrong? It is the plagiarism of
claiming work which is not yours, this is patently
illegal and criminal. It is the fact that the real
genius’ aren’t being acknowledged in publicly or
probably properly paid. It is the fact that the public
may be being mislead and left with false impressions
of legendary master rock musicians. This undermines
the work of all musicians and artists in rock music.
The public has a right to know who the real genius’
are behind these works, especially who really wrote
the lyrics and music. Musical arrangements are the
third most important bit of info. If I am correct in
this theory then none of this is being truthfully
portrayed in the liner notes to all of these great
masterwork albums.
We have a sorry state of affairs with the Rock
Dreamteam. On the one hand I am dying to know who they
are, how their very secretive group operates and how
it has changed over time, why they are living
clandestinely, and wanting to reach out to them to
love them too. On the other hand, I assume that they
are living underground because of good reasons such as
they have endured CIA or Lecher stalking assaults
because they are such fantastic genius’ and they were
driven underground, possibly with suicide raps to
survive. Because this team seemed to first appear
influencing British Invasion groups, I assume that
some of these people had affiliations with these
groups earlier on.
One such person may be Felix Papalardi, a part of the
British rock group Cream (also with Clapton) who went
on to work with and arrange The Youngbloods (Navajo
rock musicians, probably clan related to Neil Young,
circa 1970s) albums in the early 1970s. Papalardi
might have either been involved with the Dreamteam or
threatened to open up this story in May, 1983 when he
reportedly died of a gun shot wound to the neck in his
Manhattan apartment. He might be one of the music
arrangers, managers of the team now. Another
possibility is Jim Capaldi of Traffic, who is
considered a good poet and may be moonlighting on the
sly with the boys. Then I come back to my old Hippie
boyfriend who admits he is living half underground and
half above ground these days, he is still writing
poetry and still has ties to the rock community
legends.
Of one thing I am sure now this team goes back to the
60s, could even include Buddy Holly or people
affiliated with the beat generation (Keroac,
Burroughs, Ginsberg), it probably includes people who
Brian Epstein of the Beatles knew. It is my guess that
Epstein was not involved with the team though. I
suspect the genius’ came not from the gay community
but from Christian, Greek, Italian and even Arab
influences and those that have these bloodlines.
>From the timing, the Dreamteam was developing complex
rock albums early on (Tommy and Everybody’s a Star)
with complete themes, this indicates the team had
mature, complex, vision and direction. Thus the
earliest members of these albums were probably at
least ten older than the bands who recorded the sounds
and very hip. By now these men would be over 70 and
probably some of the deceased. This might account for
why the legendary rock musicians are not producing as
many fine albums at this time.
Disclosing the truth to this story may be dangerous as
many of these legends will defend fiercely their
reputations. This leaves the public with a sorry empty
wallet of grief. In biographies and future writings
perhaps we will be filled in more. Until that time I
grieve for those I never learned about to in ways
thank them for making my life a great deal more
meaningful in their quiet absence.
__________________________________________
Museum for Human Rights URL (mfhr.org) is not
accessible until July 9th, its domain name is
changing.
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