Hamilton Beach Manuals

The return of Dirk Hamilton

Back in the mid 1970s, it was apparent to anyone who saw and heard Hamilton perform that he was headed for big things. He was a tall, rangy, handsome kid with a soul singer’s voice and an exuberant musicality that fairly burst from the stage and left audiences agape. What was more is that Hamilton could write. His early work drew comparisons to Dylan and Van Morrison that were not hyperbolic – he possessed true poetic gifts, a rollicking sense of word rhythm that marked him as a rare and potentially large magnitude artist. 

Hamilton was a staple of the South Bay music scene in the Halcyon days of a venue called Sweetwater Café in Redondo Beach, where artists such as Vince Gil and Linda Ronstadt were regulars. It was a time and place where the stars had aligned and the music was flowing. 

“We were all kids and our heads were all in the same place,” Hamilton recalled in an interview this week. “We all loved music and wanted to change the world and have as much fun as possible. So everything was cool.” 

So it came as little surprise when Hamilton began his ascension. He signed a series of record deals, first with ABC Records and then with the Elektra, which seemed to be the perfect place for his launch into stardom. The label was home to such artists as the Eagles, Jackson Browne, Joni Mitchell, and Warren Zevon. Hamilton was poised to be the next big thing. 

And then he disappeared. He got off the bus, or to be more accurate, he jumped off after receiving a shove – from none other than Zevon. 

Hamilton had released an album called Meet Me at the Crux in 1978 that the music press raved about –Rolling Stone called it a “hidden gem” – and that he considered his masterpiece. Elektra was less enthusiastic, didn’t give the record a huge push, and sales were disappointing. So when Hamilton subsequently went out on tour with Zevon, he knew his place at the label was at stake. 

On the third night of the tour, Hamilton went to bed early to take care of his voice, as did Zevon. But their bands stayed up drinking together. Somewhere in the hazy wee hours, Hamilton’s lead guitar player and road manager got a little too honest. They noted that Zevon’s show was a little…well, theatrical. His act had a lot of choreographed wildness; he ripped off his shirt, for example, at the same point every night. They thought it was kind of funny. Show business, gorilla suits, and rock ‘n roll.

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