While most bluesy hard rock acts of the '70s and '80s hailed from the United States (the south, to be exact), there were several exceptions to the rule, such as Canadian singer/guitarist Pat Travers. Born in Toronto on April 12, 1954, Travers first picked up the guitar just prior to entering his teens, after witnessing a local performance by the great Jimi Hendrix. It wasn't long before Travers was studying the other top rock guitarists of the day (Eric Clapton, Jeff Beck, Jimmy Page, etc.), and paying his dues by playing in bar bands in the Quebec area.
His first true touring gig came his way when he hooked up with '50s rock n' roll vet Ronnie Hawkins (best known for performing with a backing cast that would eventually transform into The Band). But Travers' main love was hard rock, so after a year, he packed up his belongings and headed to London. Shortly after touchdown in the U.K., Travers recorded a demo that would land him a recording deal with Polydor and result in the release of his debut, Pat Travers, during the spring of 1976. A performance at England's annual Reading Festival the same year only peaked interest, which resulted in two more releases in 1977, Makin' Magic and Putting It Straight (both of which featured a pre-Iron Maiden Nicko McBrain on drums), before Travers returned to North America and set his sights on the U.S. rock market.
Hooking up with a fine backing band comprised of drummer Tommy Aldridge, guitarist Pat Thrall, and bassist Mars Cowling, the new Travers band lineup premiered on 1979's Heat in the Street. This led to Travers' most commercially successful period, resulting in a pair of Top 30 releases, 1979's Live! Go For What You Know (considered by many Travers fans to be his finest hour) and 1980's Crash and Burn. But soon after the dawn of the '80s, bluesy hard rock seemed to quickly fall out of favor amongst the U.S. record buying public, in favor of slickly produced arena rock, and later, MTV-approved bands. As a result, each subsequent Travers release sold less, as his last albums to appear on the U.S. album charts included 1981's Radio Active, 1982's Black Pearl, and 1984's Hot Shot.
Unhappy with Polydor, Travers opted to take a break from releasing albums for the remainder of the decade, but continued to tour. Travers' 1990 comeback album, School of Hard Knocks, failed to re-spark interest on the charts, although he continued to issue new studio albums (Blues Tracks, Just a Touch, Blues Magnet, etc.) and archival live sets (King Biscuit Flower Hour, BBC Radio One Live in Concert) throughout the decade.
Travers continues to tour and record regularly (playing alongside the likes of Night Ranger's Jeff Watson, Cinderella's Tom Keifer, and Rick Derringer), and in 2001, performed as part of the 'Voices of Classic Rock' tour. Travers emerged from the recording studio once more in 2003, with P.T. Power Trio, a recording that featured covers by the likes of Cream ("White Room"), Robin Trower ("Day of the Eagle"), and ZZ Top ("Nasty Dogs and Funky Kings"), among others. (Greg Prato - AllMusic Guide)
rockin'
Pat Travers Lyrics
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Down in the ghetto, out on mean street
Or east side Manhatten, everybody your gonna meet
Need some direction, a place to aim...
The further your out of time, nobody's taking
The blame, you gotta be ROCKIN, you gotta be ROCKIN
Ohhh rocking and rolling... all day and all night...
When I need direction, it's ultimately rock and roll...
So it's the pleasure, and a little pain
Oh but it keeps me protecting,
From everyone's going insane,
I got my axe, I gotta grind,
It's the best way I know
A beef that bobbles the mind
I gotta be rocking, I gotta be rocking...
Yeah rocking and rolling
When I need direction
It's ultimately rock and roll...
Pat Travers’s song “Rockin'” is an ode to the power of rock and roll to provide direction and solace to those seeking to navigate the challenges of life in the city. The song’s lyrics paint a picture of life in the underbelly of society, on “mean streets” and in ghettos, where people are lost and desperate for guidance. Travers acknowledges the pain and chaos of this world but suggests that through “rockin'” and “rollin'” one can find stability and purpose.
The opening lines of the song describe the setting as a place where everyone is searching for meaning: “Down in the ghetto, out on mean street/Or east side Manhattan, everybody you're gonna meet/Need some direction, a place to aim.” Travers suggests that being out of sync with society’s norms can make one feel isolated and misunderstood: “The further you're out of time, nobody's taking the blame.”
Through rock and roll, Travers finds the direction he needs to navigate this difficult terrain: “When I need direction, it's ultimately rock and roll…It's the best way I know/A beat that bobbles the mind/I gotta be rockin', I gotta be rockin'.” Rock and roll, for Travers, is not just a form of entertainment but a way of life that provides him with meaning and direction: “So it's the pleasure, and a little pain/Oh but it keeps me protecting/From everyone's going insane/I got my axe, I gotta grind.”
Overall, “Rockin'” is a powerful tribute to the redemptive power of music and the resilience of the human spirit in the face of adversity.
Line by Line Meaning
Yeaaah
Expressing enthusiasm and excitement.
Down in the ghetto, out on mean street
Referring to places with rough and poor living conditions.
Or east side Manhatten, everybody you're gonna meet
Suggesting that the mentioned places have diverse populations.
Need some direction, a place to aim...
Feeling lost and needing guidance.
The further your out of time, nobody's taking the blame
The more one is disconnected from the times, the less accountability people will take for their situation.
You gotta be ROCKIN, you gotta be ROCKIN
One must be energetic and enthusiastic to overcome obstacles.
Ohhh rocking and rolling... all day and all night...
Enjoying music constantly.
When I need direction, it's ultimately rock and roll...
The artist finds motivation and inspiration in music.
So it's the pleasure, and a little pain
Acknowledging that life brings both enjoyment and suffering.
Oh but it keeps me protecting, from everyone's going insane
Music serves as a coping mechanism and keeps the artist sane.
I got my axe, I gotta grind
Referring to the guitar and the need to practice and improve playing skills.
It's the best way I know, a beef that bobbles the mind
Playing guitar is a therapeutic activity for the artist.
I gotta be rocking, I gotta be rocking...
Reiterating the importance of maintaining energy and enthusiasm.
Yeah rocking and rolling
Enthusiastically enjoying music.
When I need direction, it's ultimately rock and roll...
Reiterating that music is a source of guidance for the singer.
Contributed by Camden L. Suggest a correction in the comments below.