‘A need to hear and tell stories is essential to human beings, second in necessity apparently after nourishment and before love and shelter,’ (Reynolds Price, Novelist of the American South)
‘In the South people talk in rhyme and clap on the offbeat’ (Robbie Robertson)
Growing up in the American South in the post World War Two era a boy with attentive ears and a curious mind would have had access to a rich, loamy diet of inspirational songs and stories. Tall tales, fables and folk tales at the kitchen table and the store. Gossip and rumour outside church and school.
The heavy air all around you was suffused with Hymns and Murder ballads, work songs, cheating songs, songs of exile and songs longing for home. Tuning the radio dial in Georgia you could hear scarifying Black Gospel, parlour songs, train songs, bluegrass breakdowns, bottleneck blues, honky tonk drinking songs, waltzes, polkas and whatever was top of the pop charts.
If you were musically inclined you could start practicing with the guitar your daddy gave at 11 and while still a teenager, if you had the will and the talent, you might find yourself co- writing a hit song with a rock n roll legend and go on to be a master session guitarist, Grammy winning songwriter and singer with a string of classic songs to your name and work with everyone from Bob Dylan to Aretha Franklin and Simon and Garfunkel. You might even have Elvis himself record and perform one of your songs.
You might grow up to be Joe South.
And, if you were Joe South you would write and record in 1969, ‘Games People Play’ one of the most enduringly satisfying and effective songs of the 1960s.
Now that’s a song! An unstoppable hit from the majestic sitar intro and La – Da da da da da da vocalising even before the brilliant straight from the shoulder lyric skewers the phoniness and pretensions of the movers and shakers of the 60s generation (not to mention every generation before and since!).
There is a characteristic magnificent sinewy strength to Joe’s baritone vocal and his guitar/sitar playing. In Games People Play he has turned a great song through superb performance and production into a great record. ‘Games’ features a wonderfully integrated vocal, organ, strings and brass arrangement which swells the sound to anthemic proportions.
Joe South always sang like a man who knew what he was talking about and who wasn’t afraid to tell uncomfortable truths about himself and the world around him.
‘Talking about you and me and the games people play ….’
‘Oh we make one another cry, Break a heart then we say goodbye .. ‘
‘People walking up to you, Singing glory hallelujah, And they try to sock it to you in the name of the Lord…’
‘They’re gonna teach you how to meditate, Read your horoscope, cheat your fate… ‘
‘Look around tell me what you see, God grant me the serenity to remember who I am …’
‘Turned your back on humanity and you don’t give a da, da, da da , da …… ‘
It seems to me that, ‘Games People Play’ is as accurate a summary of life in 2016 as it was in 1969 and as it will be in 2069. Cue it up again!
Joe South was an Atlanta Georgia native. Once he discovered the guitar he became an obsessive practicing round the clock and even setting up his own mini radio station to broadcast his playing.
Through DJ Bill Lowery he got involved with Atlanta’s NRC Record Label and formed musical bonds with Jerry Reed, Pete Drake, Ray Stevens and Billy Joe Royal. In 1958 he co-wrote the novelty hit, ‘The Purple People Eater meets Witch Doctor’ with the larger than life Big Bopper of, ‘Chantilly Lace’ fame (who was to die in the plane crash that took Buddy Holly)
His prowess as a guitarist won him work in Atlanta, Nashville and Muscle Shoals. In 1962 he played the Buddy Holly style guitar on Tommy Roe’s Billboard Number One, ‘Sheila’.
In the same era he had his first mainstream hit with the charming, ‘Untie Me’ by the black vocal group The Tams – a favourite on the Myrtle Beach summer sand scene.
Joe South grew up in a strictly segregated South. But like Tony Joe White, Steve Cropper, Dan Penn and Eddie Hinton his musical taste was never segregated and the influence of Gospel, R&B and Soul music as well as Country is palpable in every note he sang and played.
Joe’s versatility is clear when you consider that in 1965 he was called in by Simon and Garfunkel’s producer Tom Wilson to add electric guitar punch to the ‘Sounds of Silence’ Album in the same year that he was writing and producing a country soul classic for his long time friend Billy Joe Royal with, ‘Down In The Boondocks’ a tale of the travails of love attempting to cross the tracks from the picket fenced lawns to tar papered shack poor side of town.
Apparently Joe had asked Billy to record Boondocks as a demo hoping to pitch it to Gene Pitney. However, the distinctive echoey sound and Billy’s urgent performance was recognised by a savvy someone at CBS and lo! A top 10 hit resulted.
Billy would go on to record several other Joe South songs including the lilting ballad, ‘I Knew You When’ and the irresistible, ‘Hush’ perhaps better known from the hit Deep Purple version.
In late November 1965 and through to March ’66 Joe became involved in the epochal sessions for Bob Dylan’s landmark masterpiece album, ‘Blonde on Blonde’ playing both guitar and bass. He plays bass on the sublime, Visions of Johanna’ which must be one of the defining Himalayan triumphs of Dylan’s career and of the whole rock era.
Joe was as comfortable recording with members of The Band and Nashville luminaries on Blonde on Blonde as he would later be when he played with signature brilliance along with Muscle Shoals finest on Aretha Franklin’s 1967 smash hit, ‘Chain of Fools’
That’s Joe with the E string tuned to a low C providing the spooky, something serious is gonna go down here, intro that sets things up for the majestic Aretha to slay us all. Throughout the song Joe meshes perfectly with Jimmy Johnson, Tommy Cogbill, Spooner Oldham and Roger Hawkins as they keep everything between simmer and boil following Aretha.
When it came to his own recording career Joe would never have as big a hit as, ‘Games’ but he would write and record biting songs that continue to hit home with their humanity, their moral force and their musical power.
My particular favourite is the you just can’t deny it’s true, ‘Walk A Mile In My Shoes’ which became a high point of Elvis Presley’s 1970 stage shows (and there isn’t a songwriter in the world who wouldn’t have whooped at top volume when learning that Elvis had done one of their songs!).
Do look up the King’s version but I have to feature Joe’s testifying version here today. What fantastic guitar too!
We all know, as surefire sinners, that we should keep the stone in our pocket rather than casting it at our neighbour for their sins. Or as Joe puts it with pithy force:
‘Walk a mile in my shoes, walk a mile in my shoes,
Hey before you abuse, criticise and accuse,
Walk a mile in my shoes’
There’s something very cheering about the way Joe South songs come at you so directly presenting a clear eyed, dare to say this isn’t so, critique of our personal and communal hypocrisies and failings .
And, in a way that never has the whiff of pious cant about them. Rather, these are songs filled with life and hard won wisdom which you just have to sing along to. It’s a rare gift to write songs filled with righteous anger that aren’t deadening rants that win allegiance only from those with closed minds and hard hearts.
In October 1970 a song that Joe had originally given to Billy Joe Royal and recorded himself in a lovely ruminative version became a world wide hit for Lynn Anderson.
‘I Never Promised You A Rose Garden’ is the kind of country record that sells to people who say they can’t stand country music.
The kind of pop song that is bought, listened to and remembered by eight year olds and eighty year olds. The kind of record that wins nodding heads of agreement from all us, bruised in Love, when it says, ‘You know what I’m talking about’. So smile for a while and let’s be jolly … Come along and share the good times while we can. While we can.
Joe South’s life and career took a marked turn for the worse in 1971 with the death by suicide of his beloved brother Tommy. That and the pressure he felt trying to match the success of, ‘Games People Play’ seems to have sent him into a spiralling depression (fuelled in part by drugs) which meant that his enormous gifts were in abeyance for many years.
Though he did make later albums which have their moments he was largely content, once he had ceased as he put it, ‘Kicking myself about’ to live a quiet life in his Georgia home. He died there in September 2012 having left a deep and indelible mark on the music of his era.
I’m going to leave you with an elegy he may have unknowingly written for himself. ‘Don’t It Make You Want To Go Home’ must surely have been played by the angels, singing him home to his final rest, as Joe rode in that last limousine. Hank Williams will surely want to swop Whippoorwill references.
Joe South’s songs were built to last and last they surely will.