Signaler un abus

par contre toi tu as exprimé ton admiration pour un fan du KKK

Dickey, ton idole ! tu ne veux pas nous en parler ?

vous allez le coller dix fois ??? je vous ai dit 3 fois déjà que vous n’avez même pas vu PIRE encore : Charlie Daniels : alors que vient donc faire cette attaque ici ? Elle est débile : vous pouvez aussi me traîter de Sataniste, puisque c’est le cas de Jimmy Page : ça rime à quoi ??? 

d’autre part, il semble bien que vous faites une sérieuse confusion : 

http://www.ocweekly.com/2005-07-21/music/revenge-of-the-rednecks/

Southern rockers were at first countercultural ; they clearly rejected old-time, Deep South values. The Allmans’ music—as down-home as a reeking outhouse and as ethereally psychedelic as a tab of Owsley’s Orange Sunshine—was targeted directly at the same drug-gobbling, anarchist freaks who embraced the Grateful Dead. Self-proclaimed « Long Haired Country Boy » Charlie Daniels’ first hit, « Uneasy Rider, » found him running just ahead of hippie-lynching rednecks in Mississippi, although his music was rooted in the honky-tonk tradition of his tormentors. 

Daniels, though, was the first to switch gears. He pulled a commercially expedient political 180 at the dawn of the Reagan era, becoming a spokesman for just the sort of murderous peckerwoods he’d castigated in song only a few years before. Retarded jingoism, violently hateful gay-bashing, unclever Arab-baiting : Daniels’ material became so extreme as to make former KKK politico David Duke blush in mortification. And his record sales soared. There’s a market in hate, and Daniels remains somewhere to the right of Kim Jong Il, but the hits ceased long ago. Though I’m loath to admit it, his music is still magnificent ; just don’t listen to the lyrics. 

That seemed to be the advice of Dickey Betts, former Allman Brothers guitarist/current front man of Great Southern. When I spoke to him recently, Betts said Daniels « is frightening, and I didn’t even know Doug Gray had gotten involved in that stuff. But they don’t represent all us players from down South. I enjoy playing with ’em, but let’s just leave it at that. Bob Dylan can take care of the political stuff. » 

The positive legacy of Southern rock endures to this day, albeit largely uncredited. While the Grateful Dead seem to serve as official avatars of the modern jam-band scene, most contemporary jam bands owe a larger musical and spiritual debt to the greasier, bluesier and tighter Allman Brothers, forever godfathers of the sphere they fashioned back in the late ’60s. Modern Allman devotees include Gov’t Mule and the Derek Trucks Band (both groups actually feature current ABB guitarists), Robert Randolph & the Family Band (think ABB-meets-P-Funk), North Mississippi Allstars (ABB-meets-the-Ramones), Blues Traveler,Widespread Panic, and even such non-jam-band kindred souls as White Stripes and Black Keys—tell me Jack White hasn’t worshiped at Duane Allman’s altar, and I’ll tell you grits ain’t grocery, eggs ain’t poultry and Mona Lisa was a man. 

Interested in the modern groups above but never heard the old-timers ? Check out early releases by the Allman, Daniels and Tucker crews, and I guarantee you’ll be hooked, even if the music comes as a guilty pleasure in light of subsequent political reversals. When you see Marshall Tucker in concert tonight, tell Doug Gray the Dixie Chicks sent you.