I read in the "New York Times" that Mariah Carey’s "We Belong Together" was
the song of the summer.

The only time I heard it was at the MTV Movie Awards.  She sang the shit out
of it.  But it’s not my definition of a summer song.  And it’s not MY summer
song.  MY summer song is Bryan Adams’ "Open Road".

I’m sittin’ at the wheel
I got a green light
I’m not afraid of nothin’ cuz heart and soul
I’m built for life

So let the engine roar
Push the pedal down
I want the white lines on the highway
To lead me out of town

That’s a summer song.  One that you crank up loud as you let loose on the
highway, one of the few freedoms left in this country, one available to all over
the age of sixteen.

That’s what I remember.  Cruising in my mother’s Country Squire to the beach,
the Beatles’ "Get Back" pouring out of the one speaker in the dash, punching
the pedal to the line about California grass.  Driving my 2002 just outside of
St. Louis as the traffic broke, the sky finally cleared and "Sweet Home
Alabama" started pouring out of the speakers in the rear deck.

I heard a Fat Joe song on XM last night.  I got it.  It had hooks galore. 
Made you want to move your body.  But it wasn’t rock and roll.

This Fat Joe song was made in the studio.  Probably like most hip-hop the
beats, the groove, the music was created by a producer working almost solo in a
dark room, with Mr. Joe appearing later to tell a tale atop this other person’s
work.

That’s not rock and roll.

Rock and roll is something played on guitars.  Something that loses control. 
Something that’s played like it means EVERYTHING!

It doesn’t matter how good you are.  Take the Ramones.  It was the energy,
the changes.

But somewhere along the line rock and roll mutated.  In 1970, Led Zeppelin
was considered heavy metal, Black Sabbath was derided for being too far out
there.  Today almost all rock purveyed is way out there.  Its edginess is its
badge of honor.  The fact that parents don’t like it is what makes it good.  Or
does it?  Is this music good?  Can’t be TOO good, because its sales pale in
comparison to those of hip-hop.

In an era when old rockers like Rod Stewart cut standards, playing regular
rock and roll is declasse, deemed irrelevant.

But it’s this sound, the one the media ignores, that drives the heartland. 
It’s this sound that Creed and Three Doors Down rode to success, chastised all
the way, as the press extolled music with attitude but few hooks like the
songs of the Strokes.  Attitude trumped changes.  Whereas just the way you strum
your guitar can display attitude.  If you know how to do it, if you feel it.

Bryan Adams is not bitter, he’s just frustrated.  Well, more like flummoxed. 
"Room Service" sold over a million copies worldwide, but he just can’t get
traction on American radio.  And this doesn’t square with the reaction he
garners when he hits the boards.  Because when he plays "Open Road",
when he gives it his all, the crowd goes wild.

Not that I knew all this until I caught up with him backstage in St. Paul.

I was worried he didn’t recognize me.  He was doing a meet and greet with
some Best Buy people outside his bus.  I didn’t want to miss him.  I knew he’d
hit the stage soon.  I went up and interrupted.  I figured I was entitled.

But I didn’t get quite the reaction I expected.  I got the big smile, the
firm handshake of a friend that most musicians will not give for fear of
negatively affecting their livelihood, but there was not much of an exchange, Bryan
went back to signing autographs.

I was a bit creeped out.

I expected a bit of a reaction from the stage, a nod to me in the wings.

But that was not forthcoming either.

And then I realized I was wearing a hat.  And sunglasses.  Maybe Bryan didn’t
RECOGNIZE ME!

I figured I’d get one more shot when he left the stage.

But he exited on the other side.

So, on instinct, I left my little sister behind.  Her husband.  I ran down
the gangplank.  I got right up alongside Bryan and introduced myself.

I KNOW WHO YOU ARE!

It was funny.  Kind of like connecting with a buddy from summer camp, someone
you went to college with, someone you haven’t seen for a long time but you
know so well, who you instantly click with when you reengage.

And if you’re in this business.  If you’ve been backstage.  You know when the
gig is over, when the band is leaving the stage, they’re in a trance.  It’s
like talking to a prizefighter between rounds.  Their head’s STILL IN THE GAME!

But I wanted to make the connection.  I didn’t want to leave on a bad note.

So now we’re walking.  Talking.

And that’s when I told Bryan "Open Road" was my song of the summer.

He was kind of shocked.  Which surprised me.  Usually stars are used to being
complimented, they think EVERYTHING they do is great.

But I meant it.  I only say what I mean.  That’s my rule backstage.  Like a
well-bred child, if I’ve got nothing good to say, I keep my mouth shut.

I started telling Bryan how I listened to "Open Road" on my iPod, as I was
doing my back exercises, as I was hiking in the mountains.  How it was the very
first song I played on my Sonos system.

And then I told him how I downloaded ACOUSTIC versions from the Web.  Which
is kind of weird if you think about it, telling an artist you’re stealing his
music.

But I wanted to make my point.  I REALLY REALLY liked "Open Road".

So Bryan turned, jaw dropped, looked into my eyes, and told me he’d send me a
new mix.

I said I’d send it to my people.  If that was fine with him.  I wanted
everyone to hear "Open Road".

And like the savvy businessman he is, Bryan said NO PROBLEM!  He owned the
song, the copyright, the track, not to even discuss it with Bruce, just to send
it.

I was under the illusion that Bryan was going to send a studio remix.  But
what I received in e-mail is a live take, from Lisbon, recorded earlier this
year.

It’s hard to discover music, to GET INTO IT, when you’re exposed to it live. 
It doesn’t have the studio tricks, it’s not polished.

Then again, live there’s an energy that studio music just doesn’t have.  Live
you’ve got to deliver.  You can’t roll back tape.  If you don’t nail it, the
audience starts making noise, they head for the bathrooms.  You’ve got to give
it your all, you’ve got to NAIL IT!

Unlike so many of today’s acts, Bryan Adams has no problem hitting the notes.
You’ll hear it here.

And there are no synths.  No computers.  No recordings.

Just a band.  Like the one you used to play in in your garage, but BETTER!

Throw off your A&R hat.  Throw off your commercial hat.  Throw off your
preconceptions of Bryan Adams.  Just listen.  You’ll hear rock and roll.  That
straight-ahead music that probably got you into this business to begin with.