Sex and The Single Lug
225. Iron City Houserockers "Junior's Bar"
After Bruce Springsteen and Bob Seger hit it big in the late 1970's, rough-hewn, literate heartland trad-rock became a hot commodity. The Iron City Houserockers, led by extraordinary vocalist and songwriter Joe Grushecky, were Pittsburgh's entry in the sweepstakes. With astounding songs like "Dance With Me" and "Have A Good Time (But Get Out Alive)", they seemed poised to hit the big time. But it wasn't to be, and that's all of our loss.
Especially with this number, their masterpiece. Produced by E Street Band guitarist Miami Steve Van Zandt (who also contributes extra guitar), this record is the tale of the desperation of an aging working stiff's search for female companionship inthe city bars. Sung over roiling guitars in Grushecky's vulnerable rasp, the lyrics pull no punches whatsoever. After the final verse, with drums that hit home with the force of a slamming door, the background vocals (provided by Ellen Foley and Mick Ronson) come in and somehow sound both consoling and utterly damning. The Springsteen connection is important here, because saometimes it seems Grushecky took two lines form the Boss' "Thunder Road" ('Don't turn me home again/I just can't face myself alone again..') and decided to plumb the dark depths beneath them
After Bruce Springsteen and Bob Seger hit it big in the late 1970's, rough-hewn, literate heartland trad-rock became a hot commodity. The Iron City Houserockers, led by extraordinary vocalist and songwriter Joe Grushecky, were Pittsburgh's entry in the sweepstakes. With astounding songs like "Dance With Me" and "Have A Good Time (But Get Out Alive)", they seemed poised to hit the big time. But it wasn't to be, and that's all of our loss.
Especially with this number, their masterpiece. Produced by E Street Band guitarist Miami Steve Van Zandt (who also contributes extra guitar), this record is the tale of the desperation of an aging working stiff's search for female companionship inthe city bars. Sung over roiling guitars in Grushecky's vulnerable rasp, the lyrics pull no punches whatsoever. After the final verse, with drums that hit home with the force of a slamming door, the background vocals (provided by Ellen Foley and Mick Ronson) come in and somehow sound both consoling and utterly damning. The Springsteen connection is important here, because saometimes it seems Grushecky took two lines form the Boss' "Thunder Road" ('Don't turn me home again/I just can't face myself alone again..') and decided to plumb the dark depths beneath them
