American Band Rock: Roger Clyne & the Peacemakers' Americano

It’s apparent that Roger Clyne is aiming for that south of the border rock, yet the Alarm are the first comparison to come to mind, that American Band Rock sound popularized in the 80’s. (Yes, I know the Alarm aren’t American, but they more comfortably fit in that part of the Spectrum than in the British influenced side). The American Band Rock of the Alarm sound rocks, but there’s space in it—clean drum lines, clipped guitar riffs, room for acoustic guitar, and the vocals on top of the mix.

On Americano, Roger Clyne & the Peacemakers dip the Alarm sound in the Rio Grande, coming up with just a hint of lime and chili. It takes guest musicians Skip Edwards and Miguel Collazo on accordion, and Lee Thornberg on trumpet to bring out that Tejano flavor. Then with Clyne throwing in Mexican words here and there, you’re headed for the border. Not surprisingly, though, much of the album was recorded in Burbank, California, a world far away from the border even while it strives to recreate those far away worlds.

The renegade world that Clyne writes about is stylized like the Young Guns movies—rock ‘n’ roll, Hollywood, paperback novel, pop song crooks. There’s not the grittiness of the music Robert Rodriguez uses for his Mariachi film trilogy. That said, I really enjoy the Young Guns movies, getting caught up in liking a hooligan like Billy the Kid without worrying over his complexities and contradictions. In this same way, you can enjoy Americano as long as you don’t expect music with full renegade ferocity or music about Mexicans seen through Mexican perspectives.

The Alarm’s “Blaze of Glory” has that south of the border, Young Guns theme which is the song that most easily connects to Roger Clyne & the Peacemakers’ sound. They create safe rebellion, even while calling your attention to the fights and movements outside of your own world.


Stop right there, though. Watch the bonus DVD.

Directed by Jason Boots, Leave an Open Door: A Look Inside Americano really fleshes out the band and the songs. This DVD that comes with the CD gives you such a great insight into the band’s vision, and the writing, recording, and touring processes. Boots intersperses interviews, conversations, and outtakes, with excellent live performances from early dates supporting Americano!. The songs take on a whole new life and dramatically more energy, just as guitarist Steve Larson talks about on the DVD, saying he prefers to not tour upfront but rather play the songs live after the album has come out. Here his theory proves true—the album definitely doesn’t shine as much as the live performances.

Seeing the DVD also brought to mind another comparison: the BoDeans. From a different section of the Spectrum, strains of the BoDeans’ brand of Country-influenced Rock can be heard in Clyne and the boys’ songs and delivery. Add to that, the fact that the crowds appear to be just as dedicated, an extended family feeling that you get from a BoDeans show as all of the assembled sing along all night.

In interview segments, Clyne talks intelligently and passionately about their music which makes it a lot harder to dismiss the band as a “Spring Break Mexico” party band, as was my initial impression. There’s still a sense that these songs came out of Clyne’s experience in Mexico’s resort communities, sheltered perhaps from the more gritty realities, even as the DVD shows him on a porch overlooking a beach area and playing live to white college students in Mexico.

However, Clyne is not some college party band guy, oblivious to the real world, only knowing Mexico for its cerveza. Clyne has a real vision of rocking the world through peace and love, telling stories in his music to alter our course. The DVD shows the band and the crowds throwing down the beer, but you can’t help but think that all involved are taking the lyrics to heart.

I’m going back to the album now, hearing it again, much like the Ignatian Method used for Scripture meditation, in which you read a Bible passage from the different perspectives of the people in the narrative. Applying St. Ignatius’ Spiritual Exercises to Americano, I’m hearing Danny White’s intelligent bass work, Larson’s efforts of complementing while shining through the guitar, P.H. Naffah’s pushing and stretching the envelope to escape the trap of lackluster rhythm drumming, and Clyne’s heartfelt, visionary, storytelling songs. When you realize that these are musicians who love to take their music to the people, then the album comes signed and dedicated to you, the listener. Now I can hear what Roger Clyne & the Peacemakers are trying to do.


Finally, given the recent expiration of the assault weapons ban here in the United States, there’s not a more appropriate song than “God Gave Me a Gun,” which cranks up the border rock in order to really poke holes in the National Rifle Association, “I’ve got a right to protect myself,” quasi-militia, hyperactive imagination, American gun owners dream. Cloaked in the language of a distorted view of God, there’s a real danger in the “made me in his image/bade me do some damage” rhetoric that I hear coming from certain NRA members. Cue up the CD to “God Gave Me a Gun,” call the White House or your congressperson, and let the snare/guitar staccato roar, calling out for a renewal of the assault weapons ban!

Thanks to Roger Clyne & the Peacemakers and EmmaJava Recordings for the review CD/DVD.