Genius of Cool: Dan Hicks and the Post-Ego Trip

Michael Stephens

Dan Hicks is to music what Philip K. Dick is to Sci Fi, what R. Crumb is to comics, what The Dude is to bowling: a true original in a world of copies.

+ Interview with Dan Hicks

"I am the only hip person there is".
-- Dan Hicks

Dan Hicks is to music what Philip K. Dick is to Sci Fi, what R. Crumb is to comics, what The Dude is to bowling: a true original in a world of copies. Imagine the sarsaparilla-sipping cosmic drifter in The Big Lebowski as a lounge singer with a musical vision of the whole durned human comedy, a band slick enough to make it happen, and one question on his mind: "where's the money?" If such an act existed, it would have to have been stolen from Dan Hicks and His Hot Licks.

Hicks' music exists in its own space-time continuum . . . Hicksville . . . somewhere you can only reach by train . . . the train sneaks up on you . . . all of a sudden it's there . . . red and shiny . . . bulging brightly . . . and you're rolling . . . down the snakeskin railroad . . . the train is made of music . . . the music is a cartoon...buzzards are circling . . . spinning like the furniture in Poltergeist around a '30s-looking cowpoke crooner who keeps saying, "ladies & gentlemen", and dropping laconic but tricky song intros: "This is an instrumental, but it's got some words to it".

Dan Hicks and His Hot Licks (Sid Page, Naomi Ruth Eisenberg, Jamie Leopold, John Girton and Maryann Price) produced a musical genre, a band concept and a performance style that was unique in 1969. As the psychedelic era crashed in a tangle of feedback, smoking amps and torched guitars, Dan Hicks and His Hot Licks released Original Recordings. The album title and the cover art (a faded, monochrome image of Dan Hicks in a cowboy outfit against a gray background) suggested that this was a re-release of some old-time music from the '30s, rather than a new band's debut album. Original Recordings helped to introduce the whole idea of "retro" into rock and roll. It also suggested acoustic jazz/swing as a possible path out of the feedback jungle. Like the Flying Burrito Brothers, Dan Hicks and His Hot Licks were one of the first true "alternative" bands. Both Hicks and Gram Parsons presented the late '60s/early '70s rock mainstream with separate alternate futures for rock and roll, visions that combined music, style, image, fashion and attitude.

On a recent re-release, The Most of Dan Hicks and His Hot Licks, Epic/Legacy have mixed nine tracks from Original Recordings with seven studio demos of songs that would show up in different versions on later albums. On Original Recordings Dan Hicks often sounded as if he was writing at the edge of his and his band's ability to perform the material. The Hot Licks recorded definitive versions of amazing songs like "I Scare Myself" on later albums, but the early versions are still essential listening. They bear the fresh, authentic energy of a genius-level creative process bursting into action. The Hot Licks' uniquely freaky, acoustic jazz noir thing is most perfectly captured on Where's the Money? (1971), one of the few examples in the last 30 years of a live album that outshines a band's studio releases. Their three studio albums, Original Recordings, Striking It Rich, and Last Train to Hicksville, are all gems in their own right, but the fantasy that Dan Hicks and His Hot Licks generated was of a live act, the resident band in some alternate reality nightclub, where the cocktails are spiked and the music is a dream weave of swing, jazz, folk, blues, country and mescaline. The jaw-dropping vocal arrangements, performed by the Lickettes (Maryann Price and Naomi Eisenberg) and the casual, death-defying, precision of the Hot Licks makes Where's the Money? essential listening for anyone who loves acoustic music.

Dan Hicks and His Hot Licks have been misrepresented by critics who are uncomfortable with music that defies categories. Ralph J. Gleason, a writer who seemed to miss the point of every artist he covered, described Hicks as a "comedian/singer". Gleason might as well have called Beck or Tom Waits "comedian/singers". All these artists use humor as one of the shifting emotional currents in their music, but the presence of humor does not make them "comedians".

If Dan Hicks is a clown, he is also a hipster of a higher order. His humor is both a way of seeing and of deflating the role of seer/songwriter, a role that had grown ponderous by 1969, as it passed through the hands of estimated prophets, sensitive types and would-be supermen from Bob Dylan to David Bowie. Somehow Dan Hicks detached from the modernist idea that the artist is or has a static, knowable, "self" to express, by inventing for himself a larger than life non-identity: an infinitely hip and deadpan personality, composed, in ever-changing proportions, of singing cowboy, Edwardian dandy, upscale hobo and merry prankster.

The '60s/'70s singer-songwriter figure developed in the Romantic image of the artist as a heroic individualist, engaged in an art of "self-expression". James Taylor, Paul Simon, Jackson Browne, Joni Mitchell, and all the purveyors of what Lester Bangs called "I-Rock", evolved from this elite artistic ideal, an ideal that bore little relation to expressions of identity in early American folk music and popular culture. From Dock Boggs and Muddy Waters to Little Richard and Jerry Lee Lewis, the early American folk and rock and roll musicians were characters and showmen whose artistic personalities developed from the extroverted performance contexts of popular entertainment: the street corner, the juke-joint, the fairground, the hayride, the carnival, and early radio music shows. For Jimmy Rogers, "the Singing Brakeman", Peetie Wheatstraw, "the Devil's Only Son In Law", Ma Rainey, Howling Wolf, Screaming Jay Hawkins and Elvis Presley, artistic identity was a performance statement, not an introspective quest.

'60s and '70s singer-songwriters, however, rejected the showbiz "phoniness" of their predecessors in favor of a more natural pose: patched jeans, intense introspection and "telling it like it is". The singer-songwriter embodied the ideal of frank self-expression, as opposed to the performers of the '50s, who were seen as over-dressed puppets, mouthing the words of tin-pan-alley hacks. LSD simultaneously opened up the vistas of inner space and, as the quest for self-knowledge entered the rock and roll thematic, the singer-songwriter became a combination of soul-barer, electronic best friend and guru. The pose of naturalness and the simulation of a personal connection between singer-songwriter and listener are represented on the cover art and intimate musical style of singer-songwriters from James Taylor to Elliott Smith. The relationship between singer-songwriter and audience soon proved to be as fake and media-manipulated as the relationship between teen idol and fan, but the singer-songwriter's role as pensive, self-fixated, poet-philosopher remains pervasive.

Dan Hicks was unique among psychedelic-influenced singer songwriters in formulating a musical identity that combined the extroverted masks of the early folk and popular musicians with the psychic masquerade of the Acid Tests. Before forming the Hot Licks, Dan played drums in The Charlatans, a pre-Grateful Dead and Jefferson Airplane San Francisco conglomerate, who were one of the original psychedelic bands. The Charlatans performed their first audition in 1965 at the Red Dog Saloon so dosed on LSD that the lead guitarist had to sit down on stage to observe the room pulsating. It was in this ego-shattering atmosphere that Dan Hicks developed his musical identity. A few years later he quit the drums, wrote some inspired and very unusual songs and formed the Hot Licks to play them.

Rather than using music to express himself, Dan Hicks created a self to express his music. Anyone who has seen him live knows they have witnessed one of the most subtly humorous stage performers of any time. Yet there is nothing showbiz about Dan Hicks, and in this sense he is much closer to folk artists like Dock Boggs and Uncle Dave Macon than he is to modern rock performers. At the same time, there is always a slippery, psychedelic underpinning to his musical personality, his lyrics and his deadpan onstage raps. This unlikely combination of folk trickster and psychedelic prankster is Dan Hicks' unique contribution to the art of musical self-presentation. Unlike David Bowie's play with creakily theatrical "personae", the personality known as "Dan Hicks" is both utterly real and utterly unreal. Who, for example, could actually say, "I am the only hip person there is", and get away with it unscathed? Hicks can make such an un-cool boast without losing his cool because the "I" making this statement is no ego on a trip, but the trip that dissolves ego, the prankster spirit calling us out of our heavy selves onto the dance floor.

If Dan Hicks has left his mark on modern music, it is not on a musical genre, but on certain artists, each as unique as Hicks himself. On Beating the Heat (2000), Dan is joined by friends and admirers, including Tom Waits, Brian Setzer, Rickie Lee Jones and Elvis Costello. These artists appear to have little in common at first, but when placed in the context of a mutual admiration for Dan Hicks, there are some interesting similarities. All share a retro attitude to music, image and style. All have a marked affinity for jazz and/or swing. Most interestingly, perhaps, all have, in their own ways, escaped the self-obsessing, naval-gazing, role of the "singer/songwriter" by presenting themselves as highly stylized, musical characters whose identity expresses their music rather than vice versa: Tom Waits, the barfly beat-poet/singer; Brian Setzer the '50s greaser hepcat; Rickie Lee Jones the boho jazzer; Elvis Costello the punk Buddy Holly. This post-ego approach to musical identity is one of the hipper facets of Dan Hicks' impeccably hip musical legacy.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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