marc moscato

The Kingsmen play the FBI’s favorite song at the Oregon Historical Society. Credit: Kelsey M Curtis.

“Ladies and gentlemen, our national anthem,” proclaimed Kingsmen singer Dick Peterson as Thursday afternoon’s version of Portland’s legendary garage band exploded into the riff that launched a zillion dance moves of questionable sobriety. The band’s hit version of “Louie Louie” was recorded almost half a century ago a few blocks from the Oregon Historical Society’s Oregon History Museum, where this concert kicked off Oregon Rocks!, a retrospective exhibit surveying the history of the city’s music scene. The group for this performance included Phil Volk, of Paul Revere & the Raiders, who also recorded “Louie Louie” in the same Portland studio around the same time.The Kingsmen’s set was preceded by a deliciously lively and smooth performance by veteran Portland R&B singer Ural Thomas, who glided around the mike stand in OHS’s plaza under the afternoon sun like a musician a third his age. His voice sounded every bit as clear as it must have four decades ago when he was opening for the likes of Otis Redding and James Brown at Harlem’s legendary Apollo Theater, or before that with his 1950s Portland group, the Montereys.

Although I did get to hear Portland Mayor Sam Adams read a proclamation about Portland music, I had to miss later sets by Quasi and Pierced Arrows. But Thomas and the Kingsmen’s performances alone were worth the admission price, especially considering that the latter had no doubt played the rock standards (“Little Latin Lupe Lu,” “Money,” “Twist and Shout” etc.) in this set hundreds of times, and the drummer was apparently a last minute fill-in who had to make a quick duct tape repair of his drum head. The rockers delivered familiar chords with real enthusiasm and punch, and the crowd smiled appreciatively.

One of the broadest smiles adorned the visage of filmmaker Marc Moscato, the 35-year-old visionary behind Portland’s Dill Pickle Club, which spearheaded this tribute concert. I hereby nominate Moscato for honors in the Civic History category of the mythical Most Valuable Portlander Awards I think should be given out each year. (Admittedly, competition is stiff in that particular slot: the Architectural Heritage Foundation, writers Randy Gragg and Brian Libby, et al.)

Over the last couple years, Portland’s DPC has sponsored tours about Works Progress Administration-era art in Portland, where our food comes from, how the city works, the history of Old Town/Chinatown (in partnership with Friends of Portland Chinatown), where power comes from, and more. DPC has also created Oregon History Comics, published books (including Northwest Passage: 50 Years of Independent Music from the Rose City), started the PDX Re Print lecture series that celebrates out-of-print books about the city, and partnered with Portland public schools. The tours and events I’ve attended attracted participants across the age spectrum, with most probably in their 20s and 30s.

DPC and OHS deserve kudos for focusing this time on Oregon’s arts scene. And it underlines the importance of preserving, celebrating, and reactivating that history. Thanks to this event, I would pay money to hear Ural Thomas, who I missed during his Jumptown glory days, sing again, but history lives on even when its protagonists don’t. The extinct bands and performers showcased in OHS’s Oregon Rocks! deserve to be recognized because they brought joy and contemplation and pathos and dancing and so much more to thousands of Oregonians.

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