By Lauren Wise
By Anthony Sandoval
By New Times Staff
By Chris Parker
By Glenn BurnSilver
By Lauren Wise
By Jason P. Woodbury
By Chase Kamp
The digital age has become a major curse to the major labels: Album sales fell 4 percent in 2005, 4.6 percent in 2006. But for rock 'n' rolling indie entrepreneurs with access to editing gear, digital cameras and life-rights, a brand-new art form has descended upon the industry's carcass the cult-band rockumentary.
Low-budget rock 'n' roll films have been popular since Blackboard Jungle think Cocksucker Blues or A Hard Day's Night in the classic-rock era or, more recently, the Decline of Western Civilization series or Social Distortion's Another State of Mind.
But with the proliferation of digital gadgetry, the quantity of rock docs has shot through the proverbial roof. It seems that any band that was ever spoken of with any reverence and has footage documenting its golden era is now represented. From the 13th Floor Elevators' bipolar front man Roky Erickson, to the '60s weirdoes The Monks, to the comical Upper Crust, as well as better-known but not-quite-mainstream acts like the New York Dolls or MC5, everyone is getting the kind of treatment once reserved for music aristocracy and Behind the Music icons.
And like that tragicomic VH1 series, some of these stories are poignant, some ridiculous and some utterly inexplicable. That virtually none of the acts in this new crop of films ever sold many records only makes the genre more fascinating: Even if you've never heard of the artist at hand, often the subjects' stories, and the filmmaker's narrative skill, carry the movie.
Tommy White, the 48-year-old guitarist from Boston's UnNatural Axe, has spent the better part of the past eight years assembling his group's story, You'll Pay for This (which will be commercially available this year through Shiny Object Digital Video). The quintessential cult act one of their songs was covered by Thurston Moore and Richard Hell's side band, Dim Stars UnNatural Axe supported The Police and Squeeze on tour in the '70s. One might assume their story would be too obscure to attract much of an audience, but White (himself one of the original kids from the '70s TV classic Zoom) was encouraged after becoming Internet-savvy in the '90s.
"I'd Google our name and see that we were everywhere; I could make something to sell," he explains over the phone from his home in West Roxbury, Massachusetts. "I had to finish what I had begun. I had all of these music videos we'd done for our songs years before music television and I didn't want to just put 12 of them in order on a disc. I wanted narration and film from other projects interwoven, to tell the Axe's story.
"Instinctively, from seeing all of these band bootlegs of other garage and punk bands, I knew there was something there."
As White says, digital film technology has finally made it feasible to produce the kind of movie he's always wanted to make. "If you have a story and a good plot line and fascinating players, you can do it," he says. "And besides that, this stuff can't be replicated. From the first wave of punk, unless they invent a time machine, it's the only way to see it."
White says he's spent about $10,000 on the film thus far, and actually expects to recoup his investment.
He should. You'll Pay for This is a hoot and a half. (Full disclosure: The author appears as a 22-year-old misogynist thug in footage culled from The Creeper, an unfinished film from '79.) Interspersed with Axe onstage madness including a performance of their punk tour de force "They Saved Hitler's Brains" are prototypical, cheap rock videos. The video for "Somebody Told Me," a gruesome parody of a slasher flick, has bassist Frank Dehler hacking his paramour to pieces. Best of all are the interviews with the group's droll and dry front man, Richie Parsons: His offhand sincerity and enigmatic worldview are so removed from the typically shallow bravado of a rock musician that he comes across as a sort of red-haired, round-faced Rain Man. In fact, when the film played in L.A. last June at the Don't Knock the Rock fest, MC Michael Des Barres peppered White incessantly about the strange and "savantlike" workings of Parsons' mind.
"It's all about the people and their stories," says White which, in a nutshell, is what makes his rockumentary work. It's also true of the rest of the genre. In a peculiar inversion, the more famous the subjects, the crappier the film tends to be.
Witness Metallica's Some Kind of Monster (2004), the story of the band's recording of St. Anger, and one of the biggest-selling rockumentaries in any era. Because the band members' personas are so deeply ingrained in the public's consciousness, and because those personas are closely based on reality (James Hetfield as tortured songwriter; Lars Ulrich as scheming businessman; Kirk Hammett as peacemaker), the film isn't revelatory except to those who might view the band as a macho monolith.
More important, Metallica's story lacks the main element that makes these smaller films so endearing: Metallica could scarcely be called underdogs, and the pathos of their struggle is tempered by the endless shots of them in their expensive cars and homes, playing with costly toys.
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