By Christian Schaeffer
By Daniel Hill
By Joseph Hess
By Joseph Hess
By Allison Babka
By Gina Tron
By Kelsey McClure
By Roy Kasten
Editor's note: Steve Almond is the author of the story collections My Life in Heavy Metal and The Evil B.B. Chow, the novel Which Brings Me to You (with Julianna Baggott), and the nonfiction books Candyfreak and (Not That You Asked). The following is an excerpt from his new book, Rock and Roll Will Save Your Life, which Random House will publish next month. The entire chapter about Bob Schneider is available online on our music blog, via http://blogs.riverfronttimes.com/atoz/steve_almond/. For more information about Steve Almond, visit www.stevenalmond.com.
Nobody wants that.
So let me start by noting that every Fanatic is entitled to at least one homoerotic crush, which means, for gay Fanatics, a heteroerotic crush, the point being that there's some musician out there whose talents and manner and physical presence completely jam our normal sexual circuitry.
This all started back in 2002 when I went to see Bob play for the first time. I expected ragged versions of the catchy stuff from his new album, Lonelyland. But Bob utterly destroyed the template. He thrashed his prettiest ditties into punk screamers. He segued from bluegrass to cabaret to drugged-out dub and made everything seem effortless. At one point — this was during a mambo — Bob swung his guitar behind his back and sped the time signature. His bandmates followed suit, including the keyboard player, who hoisted a very heavy-seeming electric piano onto the back of his neck. The song became a sweet torrent — and nobody missed a note.
When it was time for an encore, his guitarist ripped off a Frampton talkbox solo circa 1978, which somehow led to a four-part harmony of "Mercedes Benz" only with guitar riff lifted from "Sweet Home Alabama," though at a certain indefinable point you realized they were playing "(You Make Me Feel Like) A Natural Woman" and none of this, not one note, came off as glib. On the contrary, these covers were entirely devout. Bob was saying to the crowd: Here's where my music comes from. And here. And here.
Though in fact, Bob spoke very little to the crowd. He didn't jump around. He didn't need to jump around. He had his chops to recommend him and his physical magnetism, which was that of a leading man — Tom Hanks, say, if you drained off the goofiness and retained only the required assets: the jaw, the penetrating gaze, the husky baritone. He knew there was a row of hotties camped beneath him in pushup bras and fellatio dreams. He could hear the frat boys hooting. He recognized the desires and pleasures of the crowd as a condition of his being. I'd never seen such poise.
I had no idea who I was dealing with at that point. I didn't know Bob had spent a decade fronting the two most raucous party bands in Austin's hallowed party band tradition, that he appeared to know every song ever written, and to have written half of them himself, that he was (in short) not just a hunky troubadour but a variety of musical savant, the most charismatic and prolific songwriter of our proximate generation, the most fearless and versatile, and certainly the filthiest.
That's not what happened, obviously. The next time I saw Bob, he was hidden behind a thick beard and he played a suite of songs so sad they could only have been the result of dashed love, meaning he and Sandra were splitsville. (Us Weekly had the deets.) Lonelyland had yielded one minor radio hit. The six months he'd spent in the studio trying to produce a commercial follow-up had nearly driven him mad.
How did I know all this? Because it was my job as a Drooling Fanatic to acquire such details. I also did some minor stalking. This is how I discovered, a few shows later, that Bob had gotten married and had a son. I spotted him and his wife pushing a stroller down Commonwealth Avenue several hours before his gig. I startled them by handing Bob a copy of one of my books, which I'd inscribed just in case I saw him.