First Song of the Month: The Rock*A*Teens were the Best American Rock Band of the 90s

February 1, 2014
Baby, A Little Rain Must Fall
Baby, A Little Rain Must Fall

I often make the outrageous drunken claim that the Rock*A*Teens were the best rock and roll band of the 1990s. It’s sort of ridiculous to say, but as I write this sentence stone sober and drinking a glass of juice, I still kind of believe it. I keep waiting to not believe it, as I very frequently don’t believe all kinds of outrageous claims that I make, but I just cross-referenced with all the other 1990s rock and roll bands in my iTunes (we’re talking bands here, not singer-songwriters – and rock, not hip-hop which I think was way more important than rock in the 90s anyway) and I’m pretty much ready to double down; this disastrously scrappy Atlanta band with their not-very-good-sounding recordings and their name half-swiped from a 50’s rockabilly outfit were…okay, let’s not say the “best,” because I don’t really believe there’s any objective truth when it comes to evaluating music – let’s say they were my favorite.  They had more great records than Nirvana (although no defining masterpiece), were (a tiny bit) smarter and had more at stake than Pavement, were more consistent than Guided By Voices, and had better all-around songs than Galaxie 500. So, though I love all those other bands, I’m going with them.

The thing is, they’re a band that it’s kind of hard to turn people on to or to fully explain the appeal of.  Part of this is that their albums are recorded in a way that make it hard to tell how brilliant of a songwriter and heroic of a singer their frontman Chris Lopez was. Lopez wanted records that evoked the melodramatic garagey slop of 50s teen rock and roll and then went a little further, and that’s what he got, and it’s cool, but the problem is that it’s hard to make out what he’s saying. You just hear this woofy feedback, this reverb splattering all the sounds into abstraction (apparently Lopez did all the singing on one of their records from across a gym), this kind of uncontrolled skronkiness that disguises the craft. Like the Replacements, the Rock*A*Teens deflected their own tendency towards intelligence and thoughtfulness by playing with a drunk, self-sabotaging offhandedess, but the crystal-clear 1980s sheen of those Replacements records gave Paul Westerberg nothing to hide behind, while Lopez had a little more luck in the hiding department. For me that’s part of the appeal – these masterpieces buried in muck – but for the first time listener you sometimes just hear the muck and don’t see the jewels sparkling in it.

What you might hear, though, if you listen closely, was that across their five albums Lopez and his bandmates were secretly laying the blueprint for a lot of what indie rock bands went on to attempt in the 2000’s. For example there’s that reverb wash, which now sounds pretty standard compared to that buzzband you’re listening to as you read this piece. And Lopez’s writing hits pretty much every mark that all the big indie bands that still try to write songs try to hit, just with a lot more confidence, accuracy, humor, and style. To put it in a word that the last decade has probably made you sick of reading, these songs are “anthemic.” There’s an inescapable, relentless forward momentum to them, to their hooky, soaring choruses, with a singer yelping at the very edge of his range, using extremely emotionally charged language.* The best part about this, though, is that Lopez avoids all the excesses we now associate with music like that. There are no strings or glockenspiels or sing-alongs, just muck, and melody, and more muck. It’s very much a little, almost insular rock band, and rarely is anybody else pulled onstage. Where someone else might oil-paint a dramatic vista, the R*A*T’s do a sloppy charcoal sketch, but the view is just as breathtaking. And there’s a streak of intentionally melodramatic gallows humor that means that the Rock*A*Teens are never, ever self-serious. The bandname is great because the word “teens” is key – Lopez gets that there’s something juvenile about getting so worked up, so instead of playing it straight he infuses his lyrics with a campy tone that feels appropriately borrowed from 1950s teen entertainments, touched with a trashy, down-in-the-mouth barroom element. You can see it in the song titles alone: “Don’t Destroy This Night,” “Leave What’s Left of Me,” “Teen Muscle / Teen Hustle,” “Never Really Ever Had It.” There’s a grimy loucheness to the lyrics that makes them feel unwholesome; “Misty Took a Holiday” celebrates the title character on vacation from her meds, on “Ether Sunday” the R*A*Ts sound like a swampy Southern Joy Division as they tell the tale of a weird loner sitting in his house huffing ether while hearing children playing outside, and “Bloodhound” is a sleazy love song in which Lopez describes himself as a police dog snuffling through the mud searching for the scent of his beloved’s skirt.

To use another word critics have flung at some modern indie artists (including me), these songs are (ugh) literary. Which is to say Lopez really cares about language, although he tries to pretend that he doesn’t, and  he doesn’t really care about impressing you. The lyrics in these songs are perfect, spine-tingling, exactly right-on, not too smart and not too dumb. They also feel literary in a very quintessentially Southern way. Again, I’ll cite titles: “Appamatox Panic Attack,” “The Rockabilly Ghetto,” “Across the Piedmont.” And Lopez’s words are wedded to melodies that are always perfect for them, melodies that seem to be saying the same things those words are saying.  Like Bill Callahan, Lopez is really smart with a phrase that feels sturdy and common but that, re-appropriated, seems to be saying so much about people and their emotions. Take “I Could Have Just Died,” which in the context of the R*A*T’s surging eighth-notes sounds like it could be either describing a teen’s gawky embarrassment or a genuine and narrowly-avoided brush with death, with both interpretations given equal emotional weight.

It really pisses me off that the R*A*T’s never got their due, though I can see why. They were a little too sloppy. You couldn’t tell what the guy was saying. Sometimes I think the main and most depressing reason they didn’t get famous is that music critics are too lazy to push the “shift” key twice in order to type their name. Like another band from Northern Georgia who just reunited recently, a lot of indie musicians took what the R*A*T’s did and (wittingly or un-) retooled it for big money, money that the teens themselves never saw. But that just makes their legend more pure.

I’m putting “I Could Have Just Died” down at the bottom of the page, and I’ll also put a song called “Car and Driver” which is not my very favorite R*A*T’s song but has always been a good one for getting people into them. But really there are so many perfect songs by this band it’s hard to choose one. Any of their albums would be a smart buy, but if you want an intro to them you could listen to these songs in his order:

  1. Car and Driver (from Sweet Bird of Youth)
  2. Don’t Destroy This Night (from Baby, A Little Rain Must Fall)
  3. Black Metal Stars (from Golden Time)
  4. N.Y by Helicopter (from Baby, A Little Rain Must Fall)
  5. Your Heart or Your Life (from Cry)
  6. The Rockabilly Ghetto (from Cry)
  7. Across the Piedmont (from Golden Time)
  8. Misty Took a Holiday (from Golden Time)
  9. Black Ice (from Cry)
  10. Ether Sunday (from Baby, A Little Rain Must Fall)
  11. Down with People (from Rock*A*Teens)
  12. Bloodhound (from Baby, A Little Rain Must Fall)
  13. Little Caesar on a Bicycle (from Golden Time)
  14. Make It New Again (from Sweet Bird of Youth)
  15. I Could Have Just Died (from Baby, A Little Rain Must Fall)
  16. Please Don’t Go Downtown Tonight (from Sweet Bird of Youth)
  17. Never Really Ever Had It (from Cry)
  18. If You Only Knew (from Sweet Bird of Youth)


And also, as I mentioned, they’re reuniting this summer for two shows at Atlanta’s legendary venue the Earl on June 6th and 7th. So you should go to that if you’re in the area.

*If you’ve read this far, I’ll confess that our song “All the Time Every Day” was a direct attempt to write a song in the R*A*T’s style.**

**Also, I think Beth is going to be mad at me for writing this article as she considers herself the world’s foremost R*A*T’s fan so Beth I’m sorry.




Exuma and When Friends Turn You On to New Music
Little Beaver and Why Partying is Important
Sparks and Semen and Transcendence
The Baptist Generals and Having a Song to Protect You
No One Can Ever Call George Jones Mr. Fool No More
Van Morrison Does Middle Age Right

Alice Swoboda and By the Way They Actually Can Take Away Your Dignity


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11 Responses to “First Song of the Month: The Rock*A*Teens were the Best American Rock Band of the 90s”

    • Will Sheff

      You’re right on that and I’ve changed it. The weird part is that I know this and in fact the Earl was one of the first out-of-state venues Okkervil ever played – in fact we played there something like 5 times in two years. I think I was thinking the 40 Watt as my hands were typing the words “Athens.” I have played too many places.

  1. Lefort

    Thanks Will! An obscurist’s dream band. Your appreciation is understandable given the similarities between you and Lopez musically/vocally. Down the rabbit hole I go. Bravo!

  2. John R

    I’m listening to these songs for the first time just imagining how explosive their shows must have been. I’m heading south from Chicago to attend the Shaky Knees festival this May in Atlanta. Really wish these shows would’ve aligned.

  3. redgerton

    so glad they are re-formed but so sad that i have to wait until August to see them. Plus, never saw them on the first go-round…

  4. David

    I’m not ashamed to say that I only found out about this band from this article and have since purchased “Cry” and “Baby,a Little Rain Must Fall” and just listening to these records’s gives me that special “man this is great now but I can’t wait for in a month when it’s grown like a mold all over me” but one little thing is both bugging and perversely alluring me; I can’t find their lyrics anywhere. Don’t get me wrong; a part of me loves sitting down and deciphering lyrics on my own but these are poems that I wish to know the full nature of, they are strong enough that I’d rather have the true story than my own perception of it. Anybody have any of their lyrics written out? Xo

  5. bEN from France

    I’m just discovering R*A*T… and “Please Don’t Go Downtown Tonight” really sounds like an Okkervil River hidden track song… or vice versa?!? Thanks for sharing 🙂

  6. Thom V

    My favorite southern rock band! I also have tried (often in vain) many times over the years to turn friends, acquaintances, and total strangers on to them. Their records tick all the boxes of what I want in a rock band: they’re quite noir, but rather than the seedy underbelly of NYC or LA, their deal is of a swampy, backwoods variety – laying the reverb on as thick as molasses, and with trashy atmospherics careening all over the place, and a heavy southern gothic thing going on with the lyrics. You can hear Cramps, Birthday Party, and Bad Seeds, along with classic 50s/60s pop and garage rock.. Chris Lopez’s vocals even bring Echo and the Bunnymen to mind.. There’s just a whole bunch of great stuff all mixed up in there!

    With that said, I can think of one reason they never reached the popularity of other 90s indie rock bands of lesser quality.. I forget who said that if only the Pixies had been prettier, they would’ve been Nirvana, but I think that if the Rock*A*Teens had been prettier, they would’ve been Pavement – or at least the Jon Spencer Blues Explosion..

    I first saw the Rock*A*Teens back in 1997, upstairs at the Middle East in Cambridge, MA. And just a few nights ago, I saw them for the second time, at the very same venue. Both times they seemed to have a naïve charm about them – a bit like Jonathan Richman and the Modern Lovers or something, but their ramshackle grandeur missed the mark. I think their material and the style and vibe they have going begs for a deadly charismatic frontman – a Jeffrey Lee Pierce or a Nick Cave, for instance. But Lopez and the rest of his band come off very much like regular folks – like ones you might find working at the post office or the library or the grocery store, rather than touring across the country in a great rock and roll band. Rather than the explosive urgency you’d expect, they had a careless casualness on stage that seemed to undermine the power of the music. This last time around, I was struck by Chris Lopez’s decision to play an acoustic guitar for the whole show, plugged into an amp rather than going direct into the PA, so that the entire set was plagued by woofy, howling feedback. I was also surprised when the lead guitar player thanked the opening band for letting him use their equipment. I understand that traveling light and borrowing other people’s gear makes things easier on the road, but the blown out swampy tremolo sound of their records was conspicuously absent.

    Yikes, didn’t mean to write a novel here.. Sorry if I seem harsh! I LOVE LOVE LOVE that band, but I can understand why they didn’t have a wider appeal.

  7. Kev

    Awesome to see them get some respect. And as others have said here, I had the same experience of loving a band that I couldn’t convince other like-minds to get into. So, I was left going to see them at the Star Community Bar and the EARL by my lonesome.

    I loved all their stuff, but the first couple albums with Kelly Hogan (and before they discovered a bass) were my favorite.

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