This Summer, I drove 4,200 miles by myself across the United States to New Orleans over two weeks. Lots of cigarettes, and lots of music accompanied by grand scenery. The mission: to finally conjure up an appreciation and understanding of jazz. The mission failed. So I stuck with the classics.
I drove through cities like Seattle and San Francisco, both home to tremendous musical revolutions in the last century. The thought occurred to me that, due in part to the internet age, the days of regional music revolutions are all over. As a disenchanted generation RX-er living in the glorified past, I compiled a list of ten time periods in ten places that would be a great time to be a part of for any music lover. The list is not subjective. In fact it is grossly, grossly biased. If you listen to some of the audio files, you might find some old gems that you never knew existed, and you can join me in lamenting the present and dreading the future of music.
Note: I’ve included lots and lots of audio samples in this feature, but I’m having technical difficulties uploading them to NOLAfreepress. If you are interested in hearing them, I created a web page devoted solely to the music of the artists from this list. Check out the songs, because without them, these are just words. I would suggest listening to them loud. Here is the link: spkovach.wordpress.com
#1: Seattle, Washington. 1989-1994
I am biased, because I consider myself to be a native of this town. I have personally experienced the nightmarish depression that comes with day after day of fog and rain. I have spent nights in attics smoking pot and listening to Nirvana, complaining about the emptiness of existence. I still wear flannel regularly.
I credit the Internet with destroying regional musical revolutions, and I believe this was the last true music revolution in our country. And it was a good one.
Clinton was president, the economy was booming, and middle-class white people were extremely angry about having nothing to be angry about. In one year, the city produced four of the most dominating American groups of the decade: Nirvana, Soundgarden, Alice in Chains, and Pearl Jam. Beyond the four heavy hitters were dozens of bands that are still followed in a cultish fashion today. The Melvins, Screaming Trees, Mad Season, Temple of the Dog, and many more. Down South in Oregon, there were the Dandy Warhols and Pavement.
Like any beautiful cultural movement, it was soon exploited by the media and the real rockers either swallowed a 12 gauge shotgun shell, or quit and started bands like the Foo Fighters and Audioslave. What ensued was a nation-wide array of watered down, radio friendly “post-grunge”. What goes up must come down. Kurt Cobain shot himself in 1994, and Layne Staley, the front man for Alice in Chains, was found dead of a heroin overdose in his Seattle apartment. When they went, grunge went with them.
I feel I must give honorable mention to a few groups who should not be excluded from this list purely on the basis that they aren’t from Seattle. #1 being the Smashing Pumpkins out of Chicago. The Pumpkins are my second favorite band of all time and the best band of the 90′s, without question. What was once a great band is now a 43 year old bald man making terrible records, wearing white leather outfits, and dating Jessica Simpson. It is as if the world is trying, literally trying, to crush every ounce of hope that I might have remaining. Still, to leave them out of the list is simply not an option. Also, Sonic Youth, Blind Melon, Janes Addiction, and the Pixies should not be left out.
#2: Manchester, England. 1988-1995
Manchester in the early 90′s was Europe’s answer to Seattle. The city had been home to two of Britain’s most important groups of the 80′s, Joy Division and The Smiths (as well as the Morrissey’s ensuing solo career). At the end of the 80′s, Manchester exploded as the ecstasy capital of England, and quickly earned the nickname “Madchester”. As a general rule, rampant substance abuse directly translates into spectacular art, and Madchester was no exception. Bands like The Stone Roses, Pulp, and the Happy Monday’s dominated, and the scene was centered around the notorious Hacienda night club. New Order, The Charlatans, Inspiral Carpets, and Simply Red were all fixtures of the Madchester scene.
When the ecstasy years of Madchester period came to an end, Manchester switched back to cocaine and produced the biggest band of the decade: Oasis. Oasis was big in the states, but it is nothing compared to their popularity all over Europe. They were accompanied by The
Chemical Brothers, Blur, and the Verve.
A thrilling time for Manchester, the 90′s were a stellar time throughout the rest of the Isle as well. For ten years, skinny white kids with emotional problems ruled the world. “Shoegaze” is an English musical phenomenon that has sadly been annexed by modern hipsters, but it doesn’t mean the music was any less-amazing. Ride, My Bloody Valentine, Chapterhouse, Slowdive, The Jesus and Mary Chain, Lush were the biggest shoegaze groups out of Britain. Why called shoegaze? It was full on drone-rock with heavy screeching guitars and fuzz effects, and got it’s name by the bands spacing out and staring at their shoes onstage. These bands directly influenced the noise rock happening stateside, most notably Sonic Youth.
#3: New York, New York. 1990-1995.

As a pre-pubescent punk living in Seattle, I pledged I would be a Rock and Roller until the day I died, and was quick to dismiss any other mainstream genre as “conformist”, particularly when it came to the hip hop that dominated MTV. Then came the day where hip hop hit me like a freight train and changed me forever. From 88′ to 94′, all five boroughs exploded and invented the musical expression that still dominates today. Just like what was going on in Seattle at the same time, it is hard to believe that so much incredible music came out of one city. I don’t think anyone can clearly define what makes “good” hip hop and what makes bad hip hop. For me, it’s all about the feeling you get when it hits. I do know that a lot of the rap coming out of New York in the 90′s was good, because when I listen to it, it makes me want to kill myself. It’s that good.
KRS-one, Run DMC, MC Shan all paved the way in the 80′s, but hip hop, for me at least, didn’t really hit it’s stride until 1990 with rappers like Nas, A Tribe Called Quest, Kool G Rap, De La Soul, Pete Rock, Wu Tang Clan…. the list goes on forever. It certainly would have been cool to be a part of the New York scene. Most of the early rappers were killed or sold out, but the grittiness of their early raps lives on.
#4: San Francisco, California. 1965-1969.
Before San Francisco turned into a overpriced yuppie waste-land full of wine & cheese shops, it spawned (arguably) one of the most important cult
ural revolutions of our country’s history. And I’m not just talking about the music. There was also lots of sex and drugs. And some political stuff too, I guess.
A day in the life of a Frisco kid 1966: take LSD in Golden Gate Park and watch the Grateful Dead and Jefferson Airplane play four-hour jazz fusion jams, and then walk down to City Lights Bookstore and hang out with Burroughs and Ginsberg. The city was home to one of the greatest festivals of the 60′s, the Monterey Pop festival which featured a glorious scene in which Jimi Hendrix lit his guitar on fire in front of half a million spectators.
The city also held a free concert which, to me, would personify the end of the 60′s; the Rolling Stones at Altamont Speedway. The show ended when a group of Hells Angel’s, whom the Stones hired as security, murdered two members of the crowd. Smack dab in the middle of “Sympathy for the Devil”.
If you go to the Haight Ashbury neighborhood today, it’s just depressing. Balding hippies lamenting the present, stuck in the 60′s with acid fried minds. But for a few years in the 60′s, San Francisco was perhaps the coolest place on the planet.
#5: London, England. 1964-1974.
Notice it is London. Not Liverpool. That’s right. Amurrica invented Rock and Roll, and if anyone says otherwise it is within your divine right

to punch them in the face. But the Brits took something we started and put their own spin on it, and the results were none less than astounding.
The English carried out the long-standing tradition of stealing the work of poor black men and making millions off it, particularly from bluesmen like Robert Johnson, Howlin’ Wolf, and Muddy Waters. The Stones, The Yardbirds, Eric Clapton, Led Zeppelin, Cream, and The Animals were all guilty of this; but I think we’ve forgiven them
.
In the mid 60′s we had the British Invasion, featuring groups like the Kinks, The Beatles, The Faces, and so on. But English rock didn’t end with the invasion; some might say it got even better. Towards the end of the decade, psychedelic rock hit it’s stride with bands like Pink Floyd, Donovan (an English version of Bob Dylan), Status Quo, and Traffic. Around 1970, glam rockers like David Bowie found the spot light. If you can’t find anything else to give the Brits credit, at least show some respect for David Bowie.
#6: Detroit, Michigan. 1955-1965.
Pretty obvious, yes. This list is labeled as ten great places and times to be alive to hear great music. This one might be an exception, because any one who has be
en to Detroit knows that there are far better places to be. Maybe the music coming out of Motor town was a result of the harsh and unforgiving economic and cultural climate.
Motown played an important role in the racial integration of pop music, as it was the first record label owned by an African American to primarily feature black artists who achieved substantial success. In the 1960s, Motown and its soul-based subsidiaries were the most successful proponents of what came to be known as The Motown Sound, a style of soul music with a distinct pop influence.
The laundry list of spectacular artists to come out of Detroit is flat-out astonishing. Stevie Wonder, Marvin Gaye, Diana Ross and the Supremes, the Jackson Five, The Temptations, The Four Tops…. the list goes on forever.
#7: The Mississippi Delta. 1940-1960.

Just like Detroit, in reality, the Delta actually would not be a great place to be young and in love with music, as the title of this list suggests. The music to come out of the delta was a result of complete poverty, racism, and just a poor quality of life all together. But a few of the poor men living here played their guitars in a way that would single-handedly usher in Rock and Roll as we know it. We owe Rock and Roll to them. We owe contemporary blues to them. We owe soul and hip hop to them. These guys paved the path for everything great in American music. It makes me proud to live in New Orleans, which is a city that allowed these musicians to show off their talents in a place where people of all races would listen.
#8: New Orleans, Atlanta, Houston. 1996-2002.
When the legitimacy of New York Hip Hop came to an end (thank you, Puff Daddy), all
ears went out west to L.A. I am of the opinion that L.A hip hop is trash, but I won’t get into it here as I fear arousing another coastal rap feud, of which I would definitely end up inside a mattress. The exception is 2pac, who is resting in crazy peace, no doubt.
There were a lot of hip hop fans who were so disappointed with purity of hip hop plummeting, and they all started underground
groups around the country. These underground rappers were of the opinion that is okay for the music to lack balls and passion, so long as they used large words and constantly rapped about how intellectual they are. This all disgusted me. I found solace in down South dirty rap. There’s always something to be said for music that comes from the heart, from those who speak only what they know and try to be nothing else. The legends of the South like UGK and Juvenile did this in spades.
Standard underground verse:
“I am really smart, listen to the clever words that I use, and pay attention to the complex layered rhyme scheme. I’m definitely way smarter than the whack MC’s. Do you see how smart I am? I am now going to make an obscure biblical reference to give my rhymes some depth”.
Standard dirty south verse:
“When I am not snorting cocaine and smoking weed in my wood-wheel Cadillac, I am f***ing many women. I also enjoy shooting people. I just kill so many people.”
I also have to admit, that part of the reason I like that really, I mean really dirty South rap is because it’s just so ridiculous that it’s funny. Ying Yang twins are an example of a group that falls into this category.
#9: The Heartland. 1970-1980.
Not a lot of logic went in to this one. Based on hundreds of “Dazed and Confused” viewings, I can only assume that to be in High School in Middle America in the mid 70′s is the greatest thing ever. Nothing really was going on politically, and people seemed to have all the time in the world to get high and listen to Aerosmith. So #9 is devoted to the music that rocked the Heartland in the 70′s. Lots of Rock and Roll sung by mustached men, and lots of folk sung by Canadians named Neil.
#10: Memphis, Tennessee. 1957-1967.
In hindsight, this should be moved much higher on the list. Like New York hip hop, the soul music coming out of Memphis created that same feeling where I wanted to kill myself (in a good way) when listenin
g to it. The Memphis scene took off with the start of Stax Records. The Memphis sound was that of Soul and R&B, in contrast to the Motown coming out of Detroit. There was Elvis, of course, and some country singers, but the rest of the Memphis scene was all about Soul. The list, like Motown, is just ridiculous. Otis Redding, Sam and Dave, Booker T and the MG’s, Wison Picket, and so on. There is one underrated person involved in the Memphis scene who, in my opinion, made it great. Steve Cropper, the guitarist from B
ooker T and the MG’s, is one of the greatest guitar players that ever lived, and played on the majority of Stax singles. I’m a guitar player myself, and he was the person who inspired me to first pick up a Fender Telecaster.
Sometimes when musicians die in a tragic way, they reach a degree of fame that, well, they maybe don’t deserve. Think Kurt Cobain. One exception to this is Otis Redding; Otis deserves every ounce of credit he gets, and then some. I’ve never heard anyone with such a soulful voice in my life. A great example of this, cliche as it is, is 1:25 minutes into “Dock of the Bay”; his voice cracks in the most magnificent way that it makes your loins quiver with ecstasy. It’s just that good.