Viva Las Vegas Rockabilly Summit 6 - april 2003

words and pics by EAK

As “Oh Brother Where Art Thou” was a vehicle for bringing the old-timey strains of bluegrass into the national awareness, the Viva Las Vegas weekend is an analogous platform for showcasing a genre of music that has been preserved as much or more than it has been adapted since its heyday in the 50s and 60s. VLV does this most directly through almost continuous performances on 3 stages over the course of this long weekend, but the compelling sounds of trios with stand up bass, guitar, and stripped down drum kits are enhanced by an informal fashion show,’ jive dance lessons, appearances by stars of stage and screen, and the multimedia backdrop that is the Gold Coast casino/hotel.
Of course, VLV can’t reach out through all the movie screens in the country as Oh Brother did and is limited by the size of the Gold Coast (which may soon be hard pressed to accommodate the annual expansions of the weekend get-together), VLV organizers may be content to serve the existing rockabilly fan base; attendees at the conference seem to truly treasure the lifestyle associated with the music. The guys dress like greasers, motorheads, zoot suiters or cowboy types, while their ladies don gowns, Capri pants, and a variety of outfits worthy of vintage pin-up images, showing an updated version of skin-deep beauty with an abundance of tattoos also based on vintage images that might have come from antique flash sheets.

For the 6th annual confab, Tom and crew perfected the mix of vintage and modern derivatives of the rockabilly, R&B, and doo-wop, including those that have been influenced by rock and punk. The showcase of pioneers included those who have faded from mainstream awareness but who were once household names. Headlining the main stage was Ruth Brown. After running away from home in Portsmouth VA to join a band in 1945, Brown helped the fledgling record label Atlantic ascend to major player status as “the house that Ruth built.” Inspired by jazz singers like Billie Holiday and Sarah Vaughan, Brown produced over 20 R&B chart toppers from 1950 - 1960. Brown left the music business to raise sons soon thereafter but has returned to the music scene as host of “Harlem Hit Parade” and “Blues Stage” on NPR and founder of a foundation to help musicians recover royalties from record companies.
Brown, known for her “seductive vocal delivery,” appeared at VLV6 for her first stage appearance in over 30 years and noted that some of her songs were “racy” when they were first hits. Passionate and punctuated with innuendo, her hits like “Mama He Treats Your Daughter Mean,” “Teardrops from my Eyes” and “Cry, Cry, Cry” may have raised eyebrows in the Cleaver household, but Brown has caught the attention of enamored fans ranging from John Waters to the enthusiastic crowd at VLV. Other performers from back in the day appeared in the Rockabilly Hall of Fame showcase, a revolving roster of musicians whose fame peaked in the 1950s. Performers included Ray Campi, who presaged the punk and indie rock D-I-Y ethic by putting out all his albums on independent labels. Seems little has changed in that respect, as a small number of large record labels still control the industry. Also persistent in the business are the fickle vicissitudes of popular trends; many of the rockabilly old-timers have sustained themselves by touring in Europe for many decades. Other early hit-makers such as Joe Bennet and the Sparkletones, Glen Glenn, Rusty Rainwater, Roman Self, and Sandy Nelson shared songs, quips about being old timers, and autographs with fans at the Showcase.
Rockabilly is old enough to claim several generations, the old-timers preceded middle aged and youngster bands rendering up all the genre conventions with some updated elements blended in. Acts such as Bones Maki and the Sun Dodgers were celebrating a 2nd VLV appearance and await a 2nd CD while Seattle’s Roy Kay Trio recently released a 1st CD and premiered at VLV. Bands like the Paladins have been touring hard, rock hard and giving the Reverend Horton Heat a run for his money when it comes to wrangling mad screaming riffs and strutting jive out of guitar, stand-up bass, and drums. Paladins are a regular at VLV, last year they played under the tent at the car show, this year saw them headline on the main stage. Another VLV and rockabilly mainstay was Big Sandy - last year’s MC. Also familiar from live performance with his regular band the Fly Rite Boys, who have logged on about 6 albums with Sandy, the silver tongued singer leaned more toward the doo-wop sound at VLV by appearing with the smooth Lonely Blue Boys.
The generational link forged through music was perhaps best underscored by the appearance of father and son, John and Graham Tichy for a second year at VLV. John is a founding member of Commander Cody’s Lost Planet Airmen, the seminal 1970s roots troubadours, while Graham has added his searing guitar work to bands such as Rocky Velvet, Bones Maki and the Sun Dodgers, and the Lustre Kings of Albany NY. The pair appeared together for the second year as Professor Johnny and the Rhythm Scholars, a suitable sobriquet for the older Tichy who also chairs a university engineering department. In addition to representing multiple generations, VLV rooted out the roots rockers in many countries with bands such as Hot Boogie Chillun of Germany, Rimshots of the UK, Sweden’s Go Getters, and Japan’s Rizlas.

Fans celebrated other early 20th century traditions now making a comeback, most popularly with VLV’s first-ever burlesque contest. Competitors were chosen via balloting at the VLV Website (www.vivalasvegas.net) and all were accomplished at bump and grind and coy flirtatiousness with a bawdy wink. Tied for first were LA’s Red Gypsy with a flair for pantomiming the devious coquette and Bella Beretta, who showed how the touring burlesque troupe she founded, the Gun St. Girls, earned the tag-line “we aim to please, shoot to kill.” Beretta observed her troupe’s tradition of mixing traditional rock and blues standards with modern punk when her grind kicked into high gear to strains of the LA punk pioneers X as she stripped her blonde wig to reveal a green streaked blue-black mane. Dance wasn’t the only other medium sharing the stage with music in Vegas. The skateboard artist, turned tiki bar and coffee table book maestro, Shag signed limited edition posters in one of several vending areas that proffered vintage and repro merch while Bo Hopkins and Candy Clark the co-stars of George Lucas’ much loved American Graffiti represented the celluloid set.
I’ve spent the past two years observing the spectacle that VLV is in the neon and moonlight backdrop of Las Vegas trying to decide what was better in the Cold War era than in the oil war era. The old cars win hands down while music today is more eclectic if not a little more technically proficient. Fashion probably had more formal pageantry then with better fabrics now. Whichever era you favor, check out VLV - you’re sure to note a common thread running through the decades. A well-produced showcase combined with a crowd dedicated to its culture makes for a rockin’ good weekend. -EAK