Over the course of a career thats spanned three decades, more than a dozen albums and hundreds of songs, Marshall Crenshaw’s musical output has maintained a consistent fidelity to the qualities of melody, craftsmanship and passion, and his efforts have been rewarded with the devotion of a broad and remarkably loyal fan base.
Along the way, Crenshaw’s compositions have been successfully covered by a broad array of performers, including Bette Midler, Kelly Willis, Robert Gordon, Ronnie Spector, Marti Jones and the Gin Blossoms, with whom Crenshaw co-wrote the Top 10 single "Til I Hear It From You." He’s also provided music for several film soundtracks, appeared in the films La Bamba (as Buddy Holly) and Peggy Sue Got Married, and was nominated for a Grammy and a Golden Globe award for penning the title track for the film comedy Walk Hard: The Dewey Cox Story. Crenshaw also wrote a book about rock movies entitled Hollywood Rock ‘n’ Roll, and has assembled compilation albums of the music of Scott Walker and the Louvin Brothers, as well as the acclaimed country-and-western collection Hillbilly Music… Thank God! Since 2011, he has also hosted his own radio show, The Bottomless Pit, on New York’s WFUV, Saturday nights at 10 p.m. ET.
But it’s writing songs and making records that remain at the center of Marshall Crenshaw’s creative life.
THE BOTTLE ROCKETS:
When The Bottle Rockets hit the scene in the mid ’90s, the world wasn’t quite sure what to do with them. With their punk-rock pedigrees and arena-rock energy, their tougher-than-Springsteen storytelling and their romantic hearts sewn bare on their denim sleeves, the pride of Festus, MO confounded musical generalities as they laid waste to clubs across the Midwest and then, soon enough, the nation.
Back in a time when the critical language and resulting idioms for mixing underground rock with country was in its infancy, The Bottle Rockets were fearlessly – and quite loudly – playing rootsy weepers alongside howling rave ups, with singer/guitarist Brian Henneman leading the charge as some sort of Roger Miller of the indie set. It’s a sound propped up (and hopped up) just as much on the pillars of Leslie West & Mountain as it was on those of the Ramones and the Clash.