What Would John (Davis) Do?

Superdrag blossomed from the mid-90’s Knoxville band The Used (now The Used-To-Be, at the behest of Bert McCracken’s lawyers). Preparing solo material, John Davis concentrated on his deeper influences (classic British rock and shoegazer) and became a talented multi-instrumentalist somewhere along the way.

With Used members (former singer Tom Pappas, now on bass; Brandon Fisher still on guitar and Don Coffey, Jr. debuting on drums) touring behind Davis, the rearranged instrumentation proved a more cohesive fit and newly christened Superdrag became a serious label prospect on the might of their touring and Darla Records The Fabulous 8-Track Sounds of Superdrag, in 1995.

Elektra records won the bidding war and sent the boys to work with Fort Apache’s Tim O’Heir. Wrapping recording sessions in Boston, New York, and Memphis, Regretfully Yours was released in the summer of 1996 and the first single “Sucked Out” hit with the label’s full force. The ultra-cynical pop song made Davis sound like a seasoned veteran of popular commercial routine, yearning to create pop music with truth and artistic. MTV snagged the video for their Buzz Bin concept, and “Sucked Out” gained momentum. The song sat a third of the way through a finely honed power-pop testimonial, alongside the adjoined epic first and second tracks “Slot Machine” and “Phaser” and the second single “Destination Ursa Major”. Ringing tones, pounding rhythms, major-minor progressions and Davis’ often contemptuous lyrical commentaries showed the record was a further shot into the future than most of it’s alternative and grunge contemporaries.

The second record on Elektra, Head Trip in Every Key was an unrestrained experiment into breathtakingly retro-futuristic composition with Davis’ sweet southern drawl carrying lyrics of deeper optimism. Taking incongruous inspirations (eastern music and religion) the record allowed the band to turn a page in their history while still staying close to their favored formula (“Hellbent”, “Bankrupt Vibration”). Offerings like the piano-led “Amphetamine” were not as expected, with slick production, a distractingly dense Wall of Sound-style arrangement, tidal rhythms and Fisher’s brilliantly sparse guitar buffeting Davis’ ballad of young love. This record stood on it’s own pure music merit more than it relied on production value and gloss. John Davis had proven himself a genius in the making (playing guitar, piano, organ, mellotron, sitar, theremin and singing), but as the lead single “Do the Vampire” failed to score a hit, Elektra’s interest waned.

The “one-hit wonder” tag loomed over the band as Elektra diverted their budget into other interests and the band was forced to rely on their touring reputation to make ends meet. After releasing an odds n’ sods collection under their own steam, Elektra resigned them to a 2-record deal. The partnership soon faded as the band grew tired of the commercial demands the split from the pressuring label.

The split lead the band through tough times as Pappas quit and Davis’ drinking became more of a personal problem in the wake of his grandfather’s death. Settling back in Knoxville and adding local hero Sam Powers in Pappas’ place, the group went to work on In the Valley of the Dying Stars almost immediately after the departure of Elektra and Pappas.

Released in 2000 on the Arena Rock Recording Company, the record flaunted the return of the scornful sound in Davis’ lyrics. It was a marked departure from the sprawling scenery of the
last record, and a more round-trip sound of a band returning to their basic element. The doubting introspection of “Keep It Close To Me” and “Gimme Animosity” make side one a harsh statement about their brush with stardom. The b-side jumps with the sanguinity of “Bright Pavilions” but the roaring confrontation of “Some Kinda Tragedy” and “In the Valley of the Dying Stars” showcase a ceaseless desire to lash out at the commercialism that teased them with interest. The lyrics throughout are caustic and biting, damning fame and demanding compensation for honesty and truth in art, despite the eruptive moments of self-doubt. Davis again had the last laugh as “Unprepared”, a majestic piano dirge, eloquently eulogizing his grandfather and displayed the bitter prince was still the same endless source of both brilliance and self-actualized genius - with or without a major label’s grooming. John Davis was everything his own talents made him and nothing more.

Somewhere during this time, Davis came to a meditative stage, settled down and curbed his reliance on alcohol. With college radio on the band’s side and their relentless touring regiment spreading their reputation, Davis and company, some now as father’s, returned to the studio more focused than ever. Shifting songwriting influences as much towards Henley & Frey as Lennon & McCartney, Brian Wilson and Bob Mould, Last Call for Vitriol is the most familial effort in the Superdrag catalog. On record Davis invites Powers, Coffey and new guitarist Mic Harrison into songwriting duties for the first time. He yields to Powers altogether on tunes “Remain Yr Strange” and “Stu”, two of the album’s finer moments. Even on a duet with former drinking/ touring partner and Guided By Voices kingpin, Bob Pollard (“Baby Goes to Eleven”) the group seemed as united as the charm laden harmonies through the seconds second half. Davis himself faced his reckless road life and alcoholism on tracks like “The Staggering Genius” and “Feeling Like I Do” with dignity and courage.

Accepting his slight commercial success despite his fan base, critical adoration and abilities, as well as regulating his thirst for booze, Davis again saw his interests changing towards his higher power. He found his missing peace in the Baptist lifestyle rooted within his Tennessee upbringing. This change of living saw Davis’ grow apart from Superdrag, much like he had sought growth away from The Used, with Davis commenting “My heart just wasn’t in it anymore.” The songs of his youth and malcontent have become milestones on a journey of self-discovery and no longer hold relevance in his reformed religious life. The songs cut from this new cloth still ring with the intensity and focus of Superdrag’s grittiest moments, but lyrically demonstrate his praise and reverence towards his god. With songs titles like “Jesus Gonna Build Me a Home” holding such heavy handed and literal religious meaning, expectations that Davis was recoding sermonizing religious propaganda came almost instantly. However, Davis has found his new purpose and artistic freedom as an inspiration, much like his idol John Lennon did when he parted ways with The Beatles. The new material echoes Lennon (“Have Mercy”), Brian Wilson (“Me and My Girl”) and more and more gospel tinges reminiscent of The Band (“Lay Your Burden Down”), reflecting his maturing sensibilities.

The specter of religion in music frightens people, especially if they don’t subscribe to the same form as the artist. With Davis’ new material, the preachy aspects are easy–going. These are stories of his personal philosophies and his relationship with his god. These stories are no more or less relevant to the listener than anything he had done during his years in Superdrag. More importantly, the fine craft of his music is such that he could sing the phone book you’d be equally charmed. John Davis isn’t looking to reform the world, just show how the world has reformed him.

Check out John Davis' solo recordings, including the fiery "Have Mercy" and a number of others at the official Superdrag website.

You will find "I Guess It's American" more Superdrag mp3s (including covers of Wave of Mutulation and yes, Freebird at Rocking Van, a Superdrag authorized fan site.

John Davis' solo material, including "Jesus Goanna Build Me a Home" , downloaded on his web site.