‘The American lives … for his goals, for the future. Life for him is always becoming .. ‘ (Albert Einstein)
‘ To be an American is to imagine a destiny rather than to inherit one; since we have always been, in so far as we are Americans at all, inhabitants of myth rather than history.’ (Leslie Fielder)
‘Well she was an American Girl raised on promises – she couldn’t help thinking there was a little more to life somewhere else’ (Tom Petty)
Americans are always on the move. The road, the river and the very sky above all offer up territory to be travelled through in search of a new life – a fuller, truer life than the life you just happened to be born in.
American lives, at least in the imagination, can always be started again, reborn and remade in a new place in the new world. And, what else but the Promised Land would a bible drenched culture call this fabled home away from home?
Songs about moving on, moving away, moving up and moving forward are a constant theme within the tradition of American song.
Many American songwriters like Bruce Springsten and John Fogerty are virtual voyageurs and cartographers of the American spirit sending back enticing reports from the road detailing the wonders and discoveries to be found somewhere beyond the narrow confines of a childhood home’s city limits.
No songwriter in popular music has excelled Chuck Berry in converying a sense of physical and imaginative movement in the very fabric of his compositions.
A Chuck Berry song usually leaps into life like a Coupe de Ville accelerating powerfully, smoothly and thrillingly away from a stop light onto a beckoning open road.
Chuck will take one glance at his rear view mirror but his heart, his mind and his imagination are engaged with the seemingly unlimited promises of the highway over the hill.
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One aspect of his songwriting genius is the way he rhythmicallly marries his words and his melodies so that the songs glide and flow carrying the listeners attention all the while.
A Chuck Berry song always tells a story, often in the great American tradition a tall story, that instantly grabs your attention even as you fasten your seatbelt for the exciting ride ahead.
His songs are filed with acute journalistic observations of American life and culture expressed with an artists airy zest and élan.
They are almost immediately memorable and musicians know that played with attack they offer guaranteed approval from any audience, anywhere.
If you don’t love Chuck Berry’s songs you ain’t no rock ‘n’ roller!
Promised Land, one of his last great songs, was written during his unfortunate prison experience in the early 1960s.
It seems he needed to borrow an atlas from the prison library to plot the, ‘Poor Boy ‘s’ epic journey across a continent in search of freedom and a better life (a life no doubt mirrored in Chuck’s imagination as the doors clanged shut each prison evening).
The artful use of the atlas is clearly reflected in the mellifluous use of the place names sprinkled throughout the song. The song gleams with life giving detail; the (Grey)hound stranding them in Birminghmam, the Poor Boy sitting pretty above Alberquerque in his Houston bought silk suit, the thirteen minutes waiting time before the jet would arrive at the terminal gate.
We feel we could take over the call back to Tidewater 4109 and tell the folks back home all about Poor Boy’s adventures.
I’ve chosen Johnny Allen’s 1971 deliriously driving Swamp Pop take on the song to play here because it’s a magnificent version and because I love the sound of the accordion (played here by Cajun hero Belton Richard) in overdrive.
This is a version of the song that makes me feel three floors drunk even when I’ve been drinking water all day!
I also feel sure, at least for the duration of the song, that my dancing would surely burn up the hardwood floor of any South Louisiana Honky Tonk lucky enough to have me visiting.
As a special treat I’ m also sharing a storming live version from The Dave Edmunds Band featuring the cream of British Rock n Roll musicians including Andy Fairweather Low and the magnificent Geraint Watkins on accordion.
Geraint, the Celtic Cajun, had been in Johnnie Allen’s band when he toured Britain in the early 1980s and here he brings a wonderful woozy swagger to the song that makes me want to hit replay every time I hear it.
I wonder whether California, the Poor Boy’s Promised Land, really did turn out to be flowing with milk and honey.
For wherever you go you travel with the baggage of your own history. You can change your name and your Zipcode with ease but changing yourself?
But that’s a story and a song theme for another day on the Jukebox.
Today let’s just turn up the dial and revel in the journey :
‘Left my home in Norfolk Virginia …
Johnnie was christened John Allen Guillot in Rayne Louisiana in 1938.
He was a Cajun farm boy with Spanish and French genes and a distinguished musical heritage in that a great uncle was the great accordionist and pioneer recording artist Joseph Falcon (check out his wonderful, ‘Allons a Lafayette’ to transport yourself back to the late 1920s).
He was gigging from his earliest teenage years and proving himself to be an affecting singer. With his band the Krazy Kats from the late 1950s he proved a master of the delicious musical confection called, Swamp Pop’ which built on the Cajun base with seasonings of rock ‘n’ roll, rockabilly, country and rhythm and blues music.
His, ‘Lonely Days and Lonely Nights’ from 1958 is a staple of South Louisiana culture. Throughout the 1960s he pursued his music career while developing a distinguished career in education.
He combines his love and expertise in music and education as the author of two excellent books on Cajun culture :
‘Memories: A Pictorial History of South Louisiana Music’ and, ‘Born To Be A Loser’ a fascinating portrait of the troubled life of the singer and songwriter Jimmy Donley.
Johnnie has proved to be a marvellous advocate for his native culture.
There is an excellent compilation of his recording history entitled, ‘Promised Land’ on the British Ace label.
Floyd Soileau is one of the regional independent producers whose musical and commercial awareness were crucial to the rich development of American musical life in the post second world war period.
Operating out of Ville Platte as a DJ and record shop owner he had a keen eye for talent and soon his Swallow and Jin labels were producing outstanding traditional French language Cajun records as well as Swamp Pop sides.
Take the time to listen to complications of these labels and you’ll enjoy a hugely enjoyable eduction in Louisiana’s musical culture featuring a roster of legendary talent.
Promised Land – The history of a hit:
Promised Land, Chuck Berry’s song from 1964, was recorded by Johnnie Allen in 1971 and was a regional favourite.
In 1974 the ever alert British DJ and author Charlie Gillett issued it in the UK on his Oval label as the lead single on his magnificent compilation of South Louisiana music, ‘Another Saturday Night’ (now available on the Ace label).
Amazingly some 8000 sides were sold enough to approach the outskirts of the singles charts. In 1980 it was reissued through the punk/pub rock label Stiff and again sold well.
1982 saw it issued again as a single and as part of the compilation. Johnnie Allen toured Britain and showed himself to be a winning and dynamic performer.
Finally it was included on a catch all Virgin collection called, ‘Country Legends” in 2006. It has now been awarded a gold disc for achieving sales of over a million copies as a single and as part of collections.
Geraint is a musician I seem to have been watching ever since I discovered the joys of live music in the early 1970s.
He is a hugely talented singer, accordionist and keyboard player good enough to play with Paul McCartney, Van Morrison and Nick Lowe.
His solo work is filed with deeply felt and beautifully played songs. In particular look out for the incandescent, ‘Only A Rose’ from his superlative CD, ‘In A Bad Mood’.
For all his distinguished service with the music world’s top table artists a part of me will always remember with most affection his time with bar band maestros The Balham Alligators who dispensed crazy Cajun delights week after week in a London music pub I used to frequent, ‘The Hare And Hounds’.
Frequently both the band and audience were very well ‘refreshed’ and evenings phased in a blur of delirious delight. I will never forget and always treasure the sight of Geraint, dressed in shorts and unmatched socks with a sleeping dog at his feet, launching into his own brilliant, ‘Marie Marie’ with the audience roaring him along.
This post is dedicated to the memory of the late Charlie Gillett.
He was a pioneering popular music historian, a gifted writer and a marvellous radio broadcaster. He was generous in sharing his deep though lightly worn knowledge and he was a ceaseless advocate for the best music whether it was from Tennessee or Timbuktu.
He is the Patron Saint of The Immortal Jukebox and the best teacher and mentor I’ve ever known.
I got to listen to it eventually!
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Lordy, I loved ‘Love Sculpture’… before they transmogrified into Dave Edmunds…
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Thanks. More Dave later. Regards Thom