“CROSSED BONES / WILD TONES”

c. 2008 Rod Ice
All rights reserved
(7-08)




Note to Readers: Dual projects made life in the Icehouse Home Office exciting this week. Both were connected to the revival of postwar, pop culture. Each reflected ideas born in a different part of our vast nation. Yet taken together, these twin paths seemed to run parallel to each other. Eventually, I realized that they were lanes of the same creative highway. One could not be considered without the other.

A long-running effort for fans of outlaw guitarist Davie Allan has been to lobby the Fender Musical Instrument Company on his behalf. The upshot here – to convince this notable manufacturer that a signature model of their Jazzmaster guitar should be dedicated to the Chieftain of Fuzz, himself.

Allan retains a compelling history with the model that has continued since the mid-sixties. Like other instrumental performers from that era, he used the Jazzmaster to produce sounds that were unique and powerful. But his individualistic approach brought a new tonal palette into the public consciousness. Fans have long believed that this gave good cause for his official recognition as one who has helped to enhance the image of Jazzmaster players with skillful performances.

To help in the campaign, I sent a letter to Jeff Krause, in their corporate Consumer Relations Department:

To: FENDER MUSICAL INSTRUMENTS CORP.
8860 E. Chaparral Road, Suite 100
Scottsdale, AZ 85250

“Dear Jeff,
I am a writer in the Cleveland, Ohio area. I’ve been privileged to review works by many popular and successful musicians over the past twenty-six years, including the recordings of legendary guitarist Davie Allan.

This skillful player first gained national attention for ‘Blues Theme’ from the 1966 film ‘The Wild Angels’ with Peter Fonda and Nancy Sinatra. Since then he has amassed an impressive catalog of compositions that have helped define the very nature of modern Rock ‘n’ Roll instrumentals.

Davie still resides in southern California, and is active as a performer and recording artist. Fans revere him as ‘King Fuzz’ because of the tonal distortion that comprises much of his recorded history. In addition, he is familiar to listeners because of his signature use of the tremolo (whammy bar) to bend plucked notes into tuneful submission.

I mention all of this because Davie is also notable for one other habit – gigging and recording with a 1965 Fender Jazzmaster. His enduring history with this instrument is touching, and inspirational. One that I believe deserves to be commemorated by the company, itself. Your company, to be specific.

I make this observation as a Fender fanatic myself – owner of three precious Fender guitars and a vintage Fender amplifier. I am very conscious of the legacy that you hold as a manufacturer of great distinction. America reveres your products. And, those who have employed them to bring joyful melodic expressions to the general public.

I invite you to visit www.davieallan.com and consider the enduring career of Davie and The Arrows. You could do no better in seeking an advocate for Fender, and the Jazzmaster guitar. I believe that a DA signature model of this guitar would not only be cherished by musicians and collectors around the world, but indeed, would uplift the overall standing of your company.

Sincere thanks for your kind consideration in this matter!”

Soon afterward, I was gifted with access to the Harley-Davidson media website. This reserve for professional journalists offered a connection to ‘The Motor Company’ that was direct and useful. While searching through the collected news releases and graphic images, I found information about their new ‘Cross Bones’ motorcycle. It made me pause with desire, and reverence. This was a bike that could be authentically described as ‘like no other.’

I had first encountered Milwaukee’s ‘Cross Bones’ in February, while visiting the Greater Cleveland Auto Show. It was a raw, undiluted vision from bygone days of glory. I paced around the machine for several minutes before catching my breath. It constituted a moment of inspiration that continued to glow long after the event was over.

Viewing this custom cycle again, through virtual reality, revived the epiphany. I read and pondered, in awe:

“If riding a Harley-Davidson motorcycle is a timeless experience, then the new FLSTSB Softail Cross Bones almost makes the clock stand still. The dark Cross Bones cuts the profile of an authentic custom bobber, a stripped-down-and-chopped custom with raw finishes. Cross Bones leads with the Gloss Black Springer front end and follows with other post-war styling cues, including a Gloss-Black round air cleaner cover, sprung solo seat, half-moon rider footboards and chopped front fender. The adjustable two-position pan-style saddle rides at a height of 26.6 inches. The rider rolls arm-high gripping Gloss Black mini ape hanger handlebars. The Gloss Black oil tank features a new Willie G. - autographed skull graphic. The bright chrome straight shot exhaust with chrome slash-cut mufflers contrasts with the dark frame and powertrain.”

In my brain, the wild, roller-coaster notes of Allan’s ‘Blues Theme’ were reverberating with each word about the bike. I could feel power-pulses doled out ninety-six cubic inches at a time. And smell hot bursts of exhaust that matched the smoky texture of fuzz wafting from the King’s Jazzmaster:

“As each Harley-Davidson Softail motorcycle declares its styling independence with exclusive components and inspired craftsmanship, the Cross Bones is a bold addition to an already free-spirited family. Many features of the Cross Bones and other Softails are reminiscent of restless riders of the past, whose defiant attitude resonates with those who march to their own beat in any generation.”

It was an imaginary tour indelibly seared into my consciousness.

I had to see the beast, eye-to-eye, once more…

At Western Reserve Harley-Davidson, in Mentor, I again commiserated with the ‘Cold Bones’ model, while my wife browsed through their selection of riding apparel. My own Heritage Softail was a stylish and comfortable ride. Very appropriate for a middle-aged writer, and his family. Yet the two-wheeled ‘Bones’ machine made my pulse quicken. It was a flash of yonder days. A bolt of lightning from the darkness.
Finally, Liz interrupted my cerebral flight with a question.

“I like these clothes,” she said, holding up a purple, lace T-shirt. “But does Harley sell music here? Your friend Davie ought to have his compact discs at the counter. They’d go well with the other collectibles…”

I bowed my head. Her suggestion made good sense.

But now, instead of two projects to finish in the Icehouse Home Office, it would be - three!

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