Page 28 - the NOISE August 2014

JOKERMAN
The Plugz are an East Los Angeles band formed in 1977. They were the first Latino punk group in LA. Their two main- stays were drummer Charlie “Chalo” Quintana and singer/ songwriter/guitarist Tito Larriva. The bass position was stabi- lized in 1980 by Tony Marsico.
In the late 1970s, East Los Angeles was foreign territory to the punks until a club called The Vex opened and began book- ing shows. Hollywood had a shortage of punk-friendly venues so The Vex became an important part of the scene, hosting bands like X, Black Flag, Adolescents, Circle Jerks and more.
Any troublemakers among the punk audience chilled out at The Vex, since they were on the turf of East LA’s notoriously violent Chicano gangs. The punks were basically left alone, but gang-related shootings and stabbings were a constant occurrence in the neighborhood.
The Plugz were on the bill at the infamous Saint Paddy’s Day Massacre, a landmark event in the Los Angeles under- ground. On March 17, 1979, a punk show was held at the Elks Lodge in MacArthur Park, headlined by X. The Plugz had just begun their set (preceded by the Go-Go’s) when the LAPD, in full riot gear, invaded the peaceful gathering and started busting heads. Dozens of youths were seriously injured and/ or hauled off to jail.
Shortly after Black Flag guitarist Greg Ginn founded SST Records, The Plugz started their own label. They self-released two LPs, Electrify Me (1979) and Better Luck (1981). The former contained a cheeky thrashing of Richie Valens’ “La Bamba,” eight years before Los Lobos’ more reverent version.
By the end of 1983, The Plugz were at a crossroads. The years of gigs had made them solid musicians, and Tito Larriva had developed into a first class songwriter and frontman. They out- grew punk. By their second album, they had honed a unique blend of R&B, ska and traditional Mexican music. Their live dates were attracting big-name crowds. Success beckoned.
It wasn’t inconceivable; their contemporaries were getting no- ticed. In 1982, X signed with Elektra & The Go-Go’s surprised ev- eryone when their debut LP hit #1 and sold over 2 million copies.
The Plugz climbed that ladder slowly and hopefully. Their music was being used in an upcoming movie called Repo Man. The soundtrack prominently featured three of their songs. The band tried to stay level headed and kept playing.
And then, The Plugz got a plug from a completely
unexpected direction.
** *
The early 1980s were rough on Bob Dylan. After his come- back LPs Blood On The Tracks (1975) and Desire (1976), and triumphant tours with The Band and The Rolling Thunder Revue, Dylan found his ten-year marriage to Sara Lownds falling apart. Once the divorce was finalized, Bob discov- ered Jesus and wanted to spread the Good Word to the masses. Slow Train Coming (1979) was well-received and earned Dylan his first Grammy for “Gotta Serve Somebody.”
However, the subsequent tour challenged even his most ardent fans. Every show was three hours of nothing but re- ligious material. In between songs, Dylan scolded the crowd for smoking pot and drinking alcohol and reminded them that Jesus was the only way to true enlightenment, not drugs.
Even Self Portrait had not alienated this much of his audi- ence. His next LP, Saved (1980) was preachy and self-righteous and so was the tour. Dylan’s popularity took a serious nose dive. People stayed away from his concerts in droves. Several shows had to be canceled due to low ticket sales. Bob was used to selling out every venue he played since 1963 and be- gan to rethink his hard-line approach.
1981’s Shot Of Love contained several secular songs, as well as the gorgeous “Every Grain Of Sand,” but it didn’t sell. There was a glimmer of hope: a b-side from the sessions, “The Groom’s Still Waiting At The Altar,” was a successful melding of Bob’s Christian message with a stomping blues/gospel groove that proved he still knew how to rock.
Within the space of twelve months, Dylan lost three friends: former guitarist Mike Bloomfield, filmmaker Howard Alk (both to heroin), and Beatle bud John Lennon. At a June 1981 concert in Avignon, France, two audience members were ac- cidentally killed. Bob was deeply shaken and decided to take a break from being an icon. He had just turned 40.
The sabbatical lasted almost two years. He spent time with his four adolescent children. His sons were fans of new wave and punk, and they took their father to shows like The Clash, X, Squeeze and Elvis Costello. Bob got a real kick from the bombardment of new high-energy music and was inspired to create again.
The result was Infidels, released in October 1983. Bible ref- erences were still replete, but wrapped in some classic Dylan imagery and wordsmithing. A few songs were even pretty de- cent rock and roll. The LP spawned Dylan’s first music videos, exposing his craggy aging face to the MTV generation. The man was back (again).
While at an LA club with his sons, Bob caught a blistering set from The Plugz and was impressed, specifically with Chalo Quintana. He introduced himself after the show and asked if the drummer wanted to jam. Quintana wasn’t familiar with much of Dylan’s music, but sensed he was someone important.
Dylan had also lassooed JJ Holiday, a young guitarist who worshipped the blues and The Rolling Stones. Holiday & Quin- tana, along with Plugz bassist Tony Marsico, drove up to Dylan’s sprawling estate north of Malibu not knowing what to expect.
For the next few months, the quartet woodshedded. Bob was respectful and generous and open (to a point) with the men half his age. Dylan had a vast knowledge of old R&B and folk and country and they ran through dozens of songs. The young players were unsure at first which were covers and which were originals, a sentiment echoed by The Band dur- ing the Basement Tapes sessions.
The musicians got a peek into Dylan’s songwriting process. Bob would try out different words, arrangements, and tem- pos until he found ones that worked. A select few tunes were shaping up and the band felt like it was all leading to some- thing. Dylan mentioned a South American tour, but for a trial run there would be a television appearance.
Late Night With David Letterman had only been on the air since 1982 but was fast becoming a hit with the youth market. Letterman’s acerbic wit and abstract comedy bits offered a fresh alternative to Johnny Carson’s increasingly stodgy To- night Show. Having a guest the stature of Bob Dylan would be quite a coup for the fledgling program.
After months of negotiations, the details were hammered
28 • AUGUST 2014 • the NOISE arts & news • thenoise.us