After yesterday’s stop to gaze reverentially heavenward it’s time to turn to more earthly considerations. The Greeks, as you might have expected, had different words to describe the varied forms of love we express and experience. Yesterday we were concerned with Agape – the love of God for man and man for God. Today we will find sings that express Eros – sensuous, sexual love and the appreciation of beauty and Philia – the love expressed in affectionate regard and friendship.
Our first song today is a tremendous southern soul sermon from a master and mentor for the genre, Joe Tex. ‘I’ll Make Everyday Christmas (For My Woman)’ glows bright with Joe’s gently enveloping passion. Joe’s forte was telling stories in song using humour and homespun wisdom so that you felt he was gifting you the hard won lessons of a richly lived life.
Joe had a country preacher’s sense of the hunger in the audience for parables that would make sense of the roadblocks and confusions assailing them in their lives and provide a route map for the way ahead.
They knew that Joe didn’t pretend that he had never been a rounder and a rogue as well as a true romantic and love disciple. We often, rightly, pay more attention to the testimony of someone who admits to failure and frailty than those in their whited sepulchres who are quick to admonish our every fault.
Joe sings the song with a steadily growing intensity almost as if the promise he was making was as much to his own better self as to the woman it was made to. When the record finishes its hard not to say, ‘Amen! Brother, Amen!’ and vow to make sure you too take care to make everyday Christmas for your own woman or man.
Next, the delightfully cool Miss June Christy with, ‘Christmas Heart’. June was a veteran big band vocalist who followed Anita O’Day as the singer with Stan Kenton. As a solo artist she made a magnificent album, ‘Something Cool’ which should be on the shelves of anyone with an appreciation of the art of jazz singing.
I have always found something deeply engaging in the understated, wistful tone June Christy brings to a song. It seems she has stripped out all unnecessary flourishes so that we hear the essence of the song as she steers us gently to understanding through her embrace of the melody and lyric. The lack of hectoring or self regard in, ‘Christmas Heart’ makes its dreamlike plea for Christmas to be a day when all the wounded find rest and balm all the more affecting. You never really need to ask who is your neighbour – just look around you.
Today’s poem is, ‘Carol For The Last Christmas Eve’ by a favourite poet of mine, Norman Nicholson from Millom in England’s rural Cumbria. Never fashionable NIcholson’s work will endure.
‘The first night, the first night,
The night that Christ was born,
His mother looked in his eyes and saw
Her maker in her son.
The twelfth night, the twelfth night,
After Christ was born, the Wise Men found the child and knew
Their search had just begun.
…
But the last night, the last night,
Since ever Christ was born,
What his mother knew will be known again,
And what was found by the Three Wise Men,
And the sun will rise and so will we,
Umpteen hundred and eternity’.
Today’s music comes from two countries: Russia and Ireland which share a reverence for poets and prophets, visionaries, bards and shamans. Both have produced more than their fair share of saints, scholars and wayward genuises.
In both lands a sense of the numinous pervades the air and prayers ascend unceasingly heavenward – even in the increasingly secular modern age.
Of course, both countries are filled with a hundred times the number of would be writers to actual page blackening writers and both have to deal with the drunken consequences of frustrated spirituality encountering the demon drink.
Still, veil-piercing poetry and song are central to the cultural life and achievements of Ireland and Russia. Both peoples love to carouse until they are stupefied yet both are capable of being stilled to silence and tears by a simple lyric or an exquisite slow air.
My first choice today is, ‘The Wexford Carol’ performed by the veritable custodians of Ireland’s traditional music, The Chieftains (here accompanied by a Texas rose, Nanci Griffith).
The Wexford Carol may well date back to the twelfth century though it’s widespread popularity is due to the work of William Gratton Flood, who was musical director of Enniscorthy Cathedral in the late 19th century.
The Chieftains play with an authority born of thousands of hours of perfecting their craft as traditional musicians – always respectful of the source material while being alert to each other’s role in bringing a tune to shimmering life. The Chieftains, led by Piper Paddy Moloney, who has proved to be a natural born networker, have recorded many inspired collaborations with leading artists in many musical genres (though their greatest collaboration is probably with an artist from their own island – Van Morrison).
Here, Nanci Griffith sings the carol with a beguiling gravity befitting the immensity of the events portrayed. Listening I feel as I were marching in a torchlit devotional procession with the same moon that shone over Bethlehem above the sentinel trees of the forest around me.
Next, from a powerhouse of Otthodox Russian monasticism, ‘The Song Of The Magi’. The choir is from the Trinity Lavra (monastery/hermitage) of St Sergius in Sergiyev Posad some 50 miles from Moscow. This has to be the sound of the breath of the Russian soul. Russian Othodox services provide doorways to contemplate the divine – an opportunity in stillness to be lifted into a different realm of being. Giving ourselves over to such an experience can be profoundly uplifting and over time transformative.
Russian spirituality opens itself to mystery and awe accepting that grace cannot be willed but only gratefully accepted. The Magi travelled long miles in search of a new kind of King and gave their gifts to a babe in a manger. Perhaps, listening to this work we could learn to give the gift of an attentive soul.
The poem today, ‘A Christmas Childhood’ is provided by one of the great figures of 20th Century Irish Literature, the sage of Iniskeen, Patrick Kavanagh.
‘Cassioepeia was over
Cassidy’s hanging hill,
I looked and three whin bushes rode across
The horizon – the Three Wise Kings.
An old man passing said:
‘Can’t he make it talk –
The melodian’. I hid in the doorway
And tightened the belt of my box-pleated coat.
I nicked six nicks on the door-post
With my penknife’s big blade –
There was a little one for cutting tobacco.
And I was six Christmases of age.
My father played the melodeon,
My mother milked the cows,
And I had a prayer like a white rose pinned
On the Virgin Mary’s blouse’.
This post dedicated to the deceased members of The Chieftains:
Fiddler Martin Fay, Tin Whistle and Bodhran player Sean Potts and the mystical doyen of the Irish Harp, Derek Bell.
Well our Sleigh has travelled more than halfway now on our journey to celebrate ChristmasTide. Yesterday’s choices put me in something of a wistful contemplative mood and led to today’s selections by Chris Isaak and John Prine. Christmas is a time when we often turn our minds to reflection on the health of our relationships. Relationships with our parents, our siblings, our children and our spouses or partners.
And, we remember bitterly or with rueful affection the relationships of old which are now part of our history – part of the person staring back at us in the mirror. Christmas can be a healing and nurturing time for relationships it can also be the occasion for exhausting, tearful sunderings which will sully the season for years or decades to come. As in all things some will say you get the Christmas your life through the preceding year has mapped out for you.
First up a ballad of loss and longing from the golden boy out of Stockton, California – Chris Isaak. It’s not his fault that he looks like a matinee idol and that the microphone loves him almost as much as the camera. ‘Christmas On TV’ tells the sorry tale which Isaak sings without over emoting of a bereft husband with his nose pressed to the window glass watching the Christmas celebrations of his ex-wife and her well heeled new beau. Though he’s only across the street from the happy pair (or so they seem to him) he might as well be a million miles away. It’s so easy to be all alone in the midst of the crowd as the carols play and the lights twinkle. Sometimes only fortitude, a good whiskey and a ballad in blue will get you through.
Merry Christmas to the lost and the lonely, the abandoned, the abused and the outcasts.
Next John Prine who sits at the top table of American songwriters leaning back in his chair with either a rueful smile or a goofy grin depending on the circumstances of the day. Prine has a glorious gift for examining the human heart and it’s myriad joys and travails with a the precision of a tender surgeon. It seems as if he has watched carefully and listened closely as he has moved through life – building up a store of experiences he can hone into humorous shaggy dog stories, touching love songs or heartbreaking tales of misspent or misshapen lives.
John Prine has wisdom which he wears lightly – we can all learn a lot from leaning in when he speaks.
Very few songwriters could match the songwriting carpentry Prine demonstrates in, Christmas In Prison’. I remember my intake of appreciative berth when I first heard the lines: ‘I dream of her always even when I don’t dream – her name’s on my tongue and her blood’s in my stream’.
The Big House searchlight spotlights the snowflakes like dust in the sun and the prisoners aching for those they love outside the walls make do with Turkey and pistols carved out of wood. They’re all homesick waiting for eternity to release them. In the meantime nothing to do but sing up and hope the homesick blues fade away for one night at least. John Prine has a heart as big as any goddamn jail and if I’m ever in Prison it’s his songs I would sing as the doors clanged shut each night.
Today’s poem, ‘The Carol Of The Poor Children’ is by Richard Middleton.
‘Are we naked, mother, and are we starving-poor
Oh, see what gifts the kings have brought outside the stable door
Are we cold, mother, the ass will give his hay
To make the manger warm and keep the cruel winds away
We are the poor children, but not so poor who sing Our Carols with our voiceless hearts to greet the new-born king
On this night of all nights, when in the frosty sky A new star, a kind star is shining on high!’.
Our Sleigh has been travelling for 6 days now rushing towards its destination on Christmas Eve. So, for today’s post we will apply the breaks to give ourselves and our willing reindeers a much needed rest.
Sometimes the preparations for Christmas can overwhelm us as we worry about all we have to do in such a short time. We can be in danger of falling into the trap of speeding through the season without stopping to savour its true joys and meaning.
Perhaps we should remember that at the heart of this event is a birth. A birth much awaited and anticipated by the contemporary family at the centre of the story and by the wider human family of time past, time present and time future. At this birth time and eternity merged to create a new beginning of hope and promise for all of mankind.
Mothers have to learn to be still and patient as they wait (especially for their first birth) for the great day, the great moment, to arrive when they will no longer be a mother-to-be but a mother. There comes a miraculous moment, a moment, when after all the waiting and worry that the baby, her child! who has been knit together in the safety of their womb emerges into the world as a unique new creation. This is a moment for stillness and awe and for gratitude.
The first recording featured today is achingly filled with stillness and awe. The Unthank Sisters from God haunted Northumberland perform Christina Rosetti’s, ‘In The Bleak ‘Midwinter’ with startling calm and grace allowing the song to breathe and bloom into something truly marvellous. I imagine we all hold our breath throughout this performance as we are held in the spell of the poet’s striking images and the heart piercing intensity of the siblings vocals.
Next, a recording by one of my favourite 50s vocal groups The Larks. The sound here is hushed, seemingly suspended in time. Listening to, ‘All I Want For Christmas Is You’ I feel as if I were a snowflake caressed by gentle drafts and surrounded by millions of other snowflakes falling slowly, slowly, slowly to the earth below.
It would be perverse today to showcase any other poem but Christina Rosetti’s masterpiece, ‘In The Bleak Midwinter’.
‘Angels and archangels
May have gathered there,
Cherubim and seraphim
Thronged the air-
But only His mother
In her maiden bliss
Worshipped the Beloved
With a kiss
What can I give Him?
Poor as I am?
If I were a shepherd
I would bring a lamb;
If I were a wise man
I would do my part;
Yet what I can, I give Him-
Give my heart’
Our Sleigh is picking up a very special passenger today. He’s here to sing and play on a Christmas song, ‘Zat You, Santa Claus?’ that has the effervescence of a fine champagne. Of course, I’m talking about Louis Armstrong.
If they ever get round to carving four heads into a mountain to celebrate musicians in the way that Presidents are celebrated at Mount Rushmore there can be no argument among men and women of reason that the first head to be carved must be that of Louis Armstrong.
I could set out an exhaustive list of his astounding achievements as the preeminent musician of the 20th century with special reference to his role as the pioneer genius who transformed a past time into an art form and who influenced everyone with open ears who ever had the good fortune to hear him play. But, others far better qualified than I have written major scholarly tomes on the subject.
So, I will limit myself to a few remarks on the effect hearing the great man has had on me. When I hear Louis play (at every period of his career) I hear the sound of a master musician revelling in the sheer joy of making music. It was as if he lived and breathed through playing his horn – singing a song of exultation; using without reserve the wondrous gifts of imagination and creative daring yoked to technical brilliance that made him a such a unique musician.
Add to that his personal warmth and ebullience and you have a musician and a man who simply made everyone who encountered him feel better, more human and more glad to be alive. Isn’t what Santa Claus is supposed to do too?
Zat You, Santa? Zat You, Louis?
Next a singer, Kay Starr, who knew how to swing and who the chops to share a bandstand with the finest musicians of her era. Born on a reservation in Oklahoma with an Iroquois father and an Irish/Native American mother she was as American as you can be. Maybe that’s how she could sing the hell out of any song in any genre of American popular music.
Kay had an inbuilt sense of rhythm and the ability to musically inhabit and sell a lyric. Listen here to how she brings out the drive and the humour of, ‘Everybody’s Waitin’ For The Man With The Bag’. One of the co-writers of the song was Dudley Brooks who featured earlier in the list featuring Elvis Presley.
I can’t honestly say I have done everything I should this year (extra special good) but I can recognise an extra special good singer when I hear one and Kay Starr must be one of the best and merriest we ever did have!
Today’s poem is, ‘Advent: A Carol’ by Patric Dickinson a writer who revered and translated the Clasical poets while looking at the world himself with a sharply individual measured intelligence.
‘What did you hear?
Said stone to echo:
All that you told me
Said echo to stone.
Tidings, said echo,
Tidings, said stone,
Tidings of wonder
Said echo to stone.
Who then shall hear them?
Said stone to echo:
All people on earth,
Said echo to stone.
Turned into one,
Echo and stone,
The world for all coming
Turned into one.’
Our Sleigh cuts a deep track through the falling snow as it’s carrying a whole heap of presents for all the good boys and girls all around the world (the list has been checked twice and we surely know who has been naughty and who has been nice).
Our first song is, ‘Old Toy Trains’ by the one and only Roger Miller. He wrote a hatful of hit songs, was a multiple Grammy winner and admitted to the Country Music Hall Of Fame. In addition he also had a theatrical Tony Award in his trophy cabinet for his score for the hit Broadway musical, ‘Big River’ which he based on the writings of Mark Twain.
Despite all the above he has always seemed to be to be under rated with many damning him with the faint praise of describing him as a writer of, ‘Novelty Songs’. Certainly there is humour in his songs but as anyone who is any kind of honest writer will tell you it is much harder to write comedy than it is to write tragedy.
The key to understanding Miller’s very real eminence as a songwriter lies in the sharpness of his observations expressed in language that is simple in nature but complex in impact. Roger Miller had a poor upbringing but as he said words became his toys and you can feel that in the playfulness and delight with which he uses the resources of the American language as spoken by the everyday working man and woman. Roger Miller liked people and liked telling stories that would resonate with their common experiences. Listening to him you do feel spoken to by a ruminative and intelligent man who has seen enough of life to be slow to judge and quick to smile – there’s often a metaphorical raised eyebrow in the tone of his language and vocals but never a raised fist.
‘Old Toy Trains’ is a simple song that catches the magic of Christmas Eve – a magic that it is easy to lose or forget as we grow in supposed sophistication. Miller taps into the time- suspended feeling as we approach a great event and the hope we all have that all will be calm and all will be well. Most of us will look back on a present we received when we were young children and reflect that no later gift has ever so perfectly matched our dreams than the toy train, drum, doll (or in my case) a cowboy outfit we received and cherished all those years ago.
Next, Billy Eckstine with the luxuriantly romantic, ‘Christmas Eve’. Mr B was a pure class act. A handsome dandy who knew how very good he was as a singer and a bandleader. Billy’s rich, burnished voice lent dignity and drama to every song he ever recorded.
Listening to Billy here you are swept into a world where the brandy is five star and the Christmas lights twinkle all night on your perfect tree as you and your loved one dreamily dance by the flickering firelight. I love the slow motion control of Eckstine’s vocal and the intoxicating musical arrangement curtesy of Lionel Newman. Time to take the top off your favourite bottle and lean back to sink deep into this one.
Today’s poem extract comes from, ‘Christmas Day’ by Christopher Smart – an 18th Century English poet who pursued his vocation steadfastly despite spells in an asylum and prison.
‘Spinks and ouzles sing sublimely,
We too have a saviour born,
Whiter blossoms burst untimely
On the blest Mosaic thorn
God all-bounteous, all-creative,
Whom no ills from good dissuade,
Is incarnate and a native
Of the very world he made.’
Onward! Onward our Sleigh proceeds cutting its way through the Christmas snow. Travel with me back in time now to Radio Recorders studios in Hollywood on September 7 1957. A small group of men assemble to cut an album of Christmas songs. From Gadsden Tennessee the modestly brilliant guitarist Scotty Moore, from Memphis Tennessee the ever reliable bass player Bill Black and from Shreveport Louisiana the sprung-floor drummer D J Fontana. Huddled together Gordon Stoker, Neal Matthews, Hoyt Hawkins and Hugh Jarrett – collectively the Jordanaires, a gospel quartet filled with the spirit. Today on piano sits Dudley Brooks.
Tuning up and swapping musicians banter they all look in the direction of a quietly spoken, respectful, hooded eyed, devestatingly handsome 22 year old from Tupelo Mississippi who has in the last few years recorded a series of records that seem to have shifted the axis of the planet. In addition through his live shows and TV appearances he has set an entire generation ablaze to the marked discomfort of, ‘sensible’ folks who can’t bring themselves to approve of the shaky-legged, swivel-hipped singer who bears the ridiculous name of Elvis Aaron Presley.
As usual the group will warm up by accompanying Elvis as he runs through some of the gospel songs that have surrounded him through his youth and adolescence. If there’s one thing Elvis believes in and knows through his own bodily experience it’s the power of music to raise, thrill and sustain the spirit.
Neither he nor anyone else could have guessed when he started out that he would possess an almost unique capacity to supercharge a song, to sing with such relaxed intensity and charisma that the listener felt lifted up and transported whether the song was secular or sacred. Given a half decent song Elvis always sang his heart out and on many occasions the results were and remain nothing short of miraculous.
Like the Beatles and Bob Dylan the best of Elvis’ records are if anything under rated for all the millions of copies they have sold. I really don’t have a fixed position on many of the great political and cultural issues of our times though I’m happy to debate with anyone. What I am certain of and will jump up on any table anywhere, anytime, to proclaim before any audience is that Elvis was, is, and will always remain the King!
Elvis’ Christmas album was a massive success and continues to sell today. The cut featured above, ‘Santa Claus Is Back In Town’ was written by the whip smart pairing of Jerry Leiber and Mike Stoller who couldn’t have write a lifeless song if they had tried. Here they provide Elvis with an opportunity to demonstrate his charm, his rhythm and blues chops and the sheer swaggering physical presence his vocals could embody. I love the tip of the hat to Elvis’ love of the Cadillac and the erotic promise of the whole song incarnated in the line, ‘Hang up your pretty stockings, turn off the light …. ‘. Christmas brings many forms of celebration not least the chance for lovers to share some quality time together. And, I can think of no one better to serenade such times than Elvis.
We move now from a lover’s serenade to a mother’s lullaby. ‘A la Nanita Nana’ is a traditional song from Mexico sung here with characteristic tenderness and care by Tish Hinojosa. Tish (short for Leticia) grew up, the thirteenth child, in a crowded household in San Antonio, Texas. Through her brothers and sisters and the crowded radio waves she absorbed and was inspired by music from her native Mexican culture and the folk, country and rock ‘n’ roll traditions which suffice the very air of Texas. I recommend her CDs, ‘Culture Swing’ and, ‘Frontejas’ for those of you inclined to further listening.
The historical facts of Jesus’ birth remain shrouded in the mysteries of antiquity. However, I think we can be sure mothers nursing their new born child have always sung songs to soothe the babe just exposed to the blooming buzzing confusion of this world of ours. The first sound we hear as we grow in our mother’s womb is the beating of her heart and hers is the first face we come to recognise in those initial hours and days of life.
Similarly, our first sense of the musicality of language comes from the sound of our mother reassuring us that we are loved and all is well. If we are lucky we will carry this message with us throughout the whole of our lives. I have no doubt that Mary, though she had much to ponder in her heart, will have sung to her precious babe a song that could we but hear it would sound very like, ‘A la Nanita Nana’.
Today’s poem is, ‘Christmas’ by John Betjeman a poet who managed to combine popularity with real poetic achievement.
‘ And is it true? And is it true?
This most tremendous tale of all,
Seen in a stained-glass Window’s hue,
The Maker of the stars and sea
Become a child on earth for me?
… No carolling in the frosty air,
Nor all the steeping-shaking bells
Can with this simple truth compare –
That God was Man in Palestine
And lives today in Bread and Wine.’
The last train is long gone and the night bus isn’t going your way.
The streets glisten with the remains of last nights rain and a sheen of the incoming dawn’s dew.
There’s a cold moon lighting up a cold clear sky. It’s going to be a long walk home.
But you don’t care!
However hard the pavement beneath your feet it might as well be a deep pile carpet. Because you have been dancing for hours and hours in the club to the sounds of Memphis, Detroit, Philadelphia and Miami.
You are floating, floating – almost flying home.
As you pace out the miles you relive the sounds of the records that held you enthralled; that lifted your heart and spirits so that a dark dank tubercular winter evening in England became a glimpse of Eden.
Listening, as loud as you dare, to those records later you can almost recapture that feeling.
But, for the full effect you need to dance and dance and dance until you are lost in the music, lost to yourself and lost to all the workaday world and it’s shabby cares.
Buried in your pocket there’s a girl’s name and number on a sodden scrap of paper with the ink fading to indecipherability.
But, you have always been good with names and numbers : when you want to remember, you remember.
The Marvellettes, ‘Beechwood 4-5789′, Toots And The Maytals, ’54-56 Was My Number’, The Wicked Mr Wilson Pickett, ’99 And A Half Won’t Do’.
Victoria, that’s it – 0198 978 9999 – you’ll call her tomorrow.
Mr Pickett was right.
A Ninety-Nine and a half life won’t do.
And, when you’re listening to and dancing to those great soul records which glow with passion your life dial hits the 100! So you keep returning to experience an intensity of feeling nothing else you have yet known can provide.
Somehow these songwriters, singers, musicians and arrangers have found a way to gloriously dramatise the dreams and stumbling realities of romantic lives in a way that’s completely convincing and captivating.
You will carry these songs of your youth in your heart through all the joys and sorrows of your adult life. Simply recalling them in your memory will warm the chilliest situation.
Three songs from those long ago nights sung by young women with thrilling verve, panache and a sassy,’Don’t mess with me Brother’ attitude never seem far from the forefront of your mind.
First up, from 1971, a million seller from a seventeen year old veteran of the music business, Betty Wright, laying down with a preachers passion some seriously good advice to her sisters on how to manage their love lives. Never make it easy for the, ‘Clean Up Woman’!
Betty had been singing on record since she was a toddler and clocking up countless performing hours with her family gospel group, ‘The Echoes of Joy’ in Miami.
So, when she came to Clarence Reid and Willie Clarke’s tasty song while still a teenager she was able to lean into the lyric and drive the song along with a knowing poise that seems astonishing in one so young.
The interlocking groove provided by the bubbling bass, the sometimes stabbing and sometimes liquid rippling guitar played by the brilliant Willie Hale (otherwise known as Little Beaver) and the humidifying horns creates an addictive soundscape that cries out for immediate repetition.
I love the way the sashaying tempo carries you along while Betty addresses her audience with relaxed rhythmic authority.
Don’t put your man on the shelf! Take care or that tough old Clean Up Woman really will clean up.
So, if you want to hold on to the love you’ve got take a tip girls (and boys!) you better get hip to the Clean Up Woman!
Some names just don’t cut it in the entertainment world – I think we can all agree that for a debonair movie icon the name Cary Grant was perfect for the hallowed above the title spot on the film posters. Archibald Leach, his original monicker, would never have suited his screen image.
Similarly, Mildred Pulliam doesn’t trip off the tongue promising excitement and allure.
So the next record on deck, ‘Short Stopping’ was issued in 1973, courtesy of a brainstorming session at Stax Records, by the artist who would forever after be known as Veda Brown.
Veda, originally from Missouri, grew up singing gospel at her father’s church.
Arriving at Stax she had made demos of two songs, (‘If Loving You is Wrong) I Don’t Want To Be Right’ and, I’ll Be Your Shelter (In Time Of Storm) that would go on to be huge successes for Luther Ingram before she hit paydirt with her third Stax single written by Bobby Manuel (who also engineered and played guitar) and Bettye Crutcher..
Short Stopping opens with a ‘listen to this’ right now blast from the horns before the rhythm section and the insistent guitar make sure we all get on our good foot for some serious dance floor action.
Veda tells her straying man straight from the shoulder that things can’t go on as they are.
She refuses to turn a demure blind eye to his failings – she won’t put up with his short stopping. She needs and demands to be his sole concern.
Veda’s vocal has a charm and gliding power worthy of the patented Stax steamy and driving musicianship that surrounds her.
Finally, an absolute belter from 1971 from Jean Knight the properly admonitiary, ‘Mr Big Stuff’. Though the record was issues on Stax and has become one of that label’s biggest ever sellers it was not recorded at Stax. Instead, it came to Stax via the Malaco studios in Jackson Mississippi.
It was actually recorded on the same day as another funky floor filler, ‘Groove Me’ by King Floyd. Jean and King Floyd had both travelled in a school bus from New Orleans in search of a hit.
Both records feature superlative arrangements by one of the unsung masters of Soul and Rhythm and Blues Music, Wardell Quezergue.
Wardell, an alumni of the great Dave Bartholomew band, as well as playing the supporting organ parts marshals Jerry Puckett (guitar), Vernie Robbins (Bass), James Stroud (Drums) and Brass Players Hugh Garraway and Perry Lomax to produce a swelling soul tsunami of a record.
Jean Knight imperiously, no doubt with a knowing wink to her girlfriends, puts the so-called Mr Big Stuff firmly in his place (the doghouse!).
Mr Big Stuff features a lovely two bar off beat bass line that grips you from the get go and propels you onwards throughout the song.
It’s easy to hear why this song became such a massive seller and why it is regularly used in adverts and movies. You feel Jean deserved a round of applause and righteous Amens from her colleagues in the studio when she completed her vocal.
Those Amens should be taken up again by us as conspiratorial listeners as she turns the tables on her errant lover.
Jean certainly showed on this record that she had the,’Right Stuff’ that marks out a true artist.
What all these records share is a relaxed drive and rhythmic impetus. The producers and arrangers have had the confidence to let the musicians and singers keep some power in reserve.
As a listener and a dancer you are energised by their tempos – you finish the song elated but not exhausted – ready to dance again.
Betty Wright, Veda Brown and Jean Knight speak out as confident, assertive young women demanding the right to be heard and heeded stating their case with ready wit.
Time to cue them up again!
Notes:
Betty Wright – Her best single album is, ‘Danger High Voltage’ and there are several fine compilations available. Look out for fine tracks like, ‘Baby Sitter’, ‘Where Is The Love’, ‘Tonight Is The Night’ and especially the wonderful, ‘Shoorah! Shoorah!’ which will have you singing lustily along first time out and smiling crazily as you dance wherever you are. Betty is a show business trouper who has continued to record and perform up to the present day.
Veda Brown – Veda’s essential career highlights are nicely captured on, ‘The Stax Solo Recordings’ on the UK Kent label where she is twinned with the excellent Judy Clay. I would point you in the direction of the tracks, ‘True Love Don’t Grow On Trees’ and, ‘That’s The Way Love Is’.
Jean Knight – Mr Big Stuff was a once in a lifetime record selling over 3 million copies to date and winning Jean a Grammy nomination. Further notable tracks at Stax to look out for are, Carry On’ and, ‘Do Me’. Post Stax highlights include, ‘You Got The Papers (But I Got The Man) and a fine version of, ‘Toot Toot’. Jean is a fine performer who has often triumphed at the New Orleans Jazz and Heritage Festival.
Little Beaver – A magnificent guitarist with his own subtle style. Everyone should own his signature track, ‘Party Down’ and his series of 70s albums are a compendium of top class musicianly grooves illuminating the blues, soul and funk traditions. They have accompanied me on many long late night drives and made the miles pass easily.
Wardell Quezergue – Was a renaissance man of the recording industry with real talent as a songwriter, musician, band leader, producer and arranger. He worked with virtually all of the major figures in the New Orleans Soul and Rhythm and Blues world. He is associated with stellar hit records such as Robert Parker’s, ‘Barefootin’ and Dorothy Moore’s, ‘Misty Blue’.
As sharp a judge as Motown supremo Berry Gordy recognised his facility and recruited him to work up stage arrangements for Stevie Wonder and other Hitsville stars.
His collaboration with Dr John produces the lovely Grammy winning album, ‘Goin’ Back To New Orleans’ and he showed his mentoring abilities when promoting the career of Will Porter. Great name, great musician.
‘ I was much too far out all my life – And not waving but drowning’ (Stevie Smith)
‘Looking at the moon all col and wite and oansome. Lorna said to me, ‘You know Riddley there’s something in us it don’t have no name …. It’s looking out thru our eye hoals .. It’s all 1 girt thing bigger nor the worl and loan and oansome, Tremmering it is and feart.’ (Russell Hoban – ‘Riddley Walker’).
‘Life is just like that sometimes’. (Tom T Hall)
Armoured and fast in our self-absorption it is remarkably easy to walk through our lives in this world not seeing, not hearing, not feeling almost everything that’s happening all around us.
We all have our own particular set of philosophical, cultural and emotional blinkers that help keep out or shield us from those elements of life we would rather not have to confront.
I would contend that none of us is immune from the struggle to recognise, accept and face our primal aloneness as we pass through our fears, our pains and our sorrows.
Each life is like an iceberg with only a fraction of its totality visible to ourselves and any outsider. And the iceberg floats above the waterline of a consciousness which descends to fathomless deeps.
One of the reasons we tell and read stories, why we write, listen to and sing songs is to experience a sense of fellow feeling – as you read, as you listen you think to yourself: ‘That’s happened to me’, ‘That rings so true’, ‘I believe that one’.
The subject of this post the great songwriter Tom T Hall has brought those expressions to my lips more that any other artist I can think of.
Tom T may just be the best observer of life and shaper of the stories it reveals that American song writing has ever produced.
Throughout his life – in his small town youth, in his army service, in college and as a working musician he seems always to have sat quietly in a corner somewhere with a sharp pencil and a notebook ever alert for the next glimpse of life he can translate into a song.
I think glimpse is the key word here – Tom T is an observer with wonderfully acute peripheral vision noticing the small details that give colour, vitality and veracity to the expression of a tale.
Tom T does not place himself at the centre of the stories he records even when he is their subject.
One of his greatest gifts and the mark of a rare artist is to present these vignettes of life without intrusive commentary or direction. Instead, using artfully chosen spare colloquial language he opens a door to his life and other lives.
He has the courage and talent as a songwriter and performer to let the stories stand alone – in his best songs like the magnificently bleak, ‘It Sure Gets Cold In Des Moines’ above there are no easy resolutions to the situations it describes – no chorus that ties everything together and tells you what to think about the subject of the song.
The great virtue of this open ended approach is that as you listen to a song like this you become a kind of co-composer with Tom T – fleshing out the many stories spinning off from this single story; continuing and adding to the tale from your own unique experience and imagination.
In, ‘It Sure Gets Cold In Des Moines’ Tom T paints a word picture that brings before us a chilling snapshot of life and loneliness in the air conditioned bubble of a hotel.
Sheltering from the bone deep cold of the city Tom T reveals in six short verses that the emotional temperature inside the hotel may be even colder than that the radio recounts for the streets outside (14 below).
Tom T descends the old elevator with the notion to get something to eat though his head and his eyes said, ‘You should have slept more’.
As so often for the weary traveller the restaurant was closed when most needed so Tom T takes refuge in the lounge with the balm of, ‘Two double gins’ and looks round the room, ‘As a tourist would do’.
And, there in the signature, ‘Smoky half-dark’ of a late night lounge he sees the girl in the booth. We never learn what she looks like or how old she is or where she comes from (like all of us she’s a traveller) but all of us would recognise, ‘the silent type crying that tears out your heart’ and most of us have had a suitcase that has seen better days.
In a room full of islanded strangers, ‘Nobody asked her what caused her such pain yet no-one complained’.
The anonymous woman is left to her tears as each of the patrons of the lounge is presumably left to contemplate their own times of tears before they drain their drinks and ascend the old elevator to their rooms heated to keep out the cold outside.
We never know what happens next or the story behind the girl’s silent sobs.
Tom T doesn’t pretend to know but he does sit down in his room and write down the song so that we can share the scenario and become in our own ways part of the ongoing story.
Whether we have been to Des Moines or not by the time the record has finished I’m certain that we would all agree that, ‘It Sure Gets Cold In Des Moines’.
Tom T writes and sings this song like so many of his finest works in the matter of fact tone of a well read and well travelled man who has seen many marvels and wonders and learned not to be too surprised at how well and how badly men and women can behave towards each other and themselves.
He doesn’t imply that his stories will initiate you into the meaning of life.
No, Tom T is much more ambitious than that.
He gives you songs, kaleidoscope reflections, from his observations and imagination which illuminate the essential mystery of life.
In many situations seeing only a fragment of the whole picture, all you can say, all you should say is: Life is just like that sometimes.
Notes:
Tom T Hall has written scores of superb songs.
I would like to point out 5 favourites of mine you might care to seek out if you are not already familiar with them.
‘The Homecoming’ – maybe the best song ever written about the life of travelling musicians and how success in the business can warp the relationships they have with their families and former neighbours. It’s a song about nearness and distance, about loss and longing and about finding and forgetting. The title, ‘Homecoming’ is never used in the body of the song and the last word of the song as the narrator leaves again is, ‘Hello’.
‘Salute To A Switchblade’ – an everyday story of army life overseas including the perils of; striking up conversations with married women not wearing their wedding rings and drinking ten quarts of beer. Good advice is given about the need to always avoid the Military Police and to reflect that death is always closer to you than you think. Also that a near death experience at the hands of a jealous husband shouldn’t blind you to the fact that the country you were based in was full of good soldiers and good people. Oh, and of course not to tell your mother about such an incident.
‘Turn It On, Turn It On, Turn It On!’ – A wholly credible story of the killing of seven souls on the homefront by a man tormented at being accused of cowardice in the final years of World War Two. Told with grim humour and no condemnation of any of the parties involved. Tom T carefully recounts the relish with which the killer eats his last meal, ‘Fried Chicken, cold beans and baby squash’ and his gleeful last words as the electric chair is about to be started up, ‘Turn it on, Turn it on , Turn it on ‘.
‘Trip To Hayden’ – A virtuoso description of a run down mining town in the aftermath of a disaster:
‘Temporary looking’ houses with bashful kids … Another country hillside with some mud holes and some junk … The mines were deadly silent like a rat hole in the wall.’
Thirty nine out of forty miners perished in an explosion that was like, ‘Being right inside of a shotgun’.
The narrator meets an undertaker who, despite his line of work, ‘seemed refreshed’ and finds his new heavy jacket can’t keep out the cold in the dead town.
An old woman opines that, ‘They worth more now than when they’s living’
Tom T, being Tom T, decides that, ”I’ll leave it there ’cause I suppose she told it pretty well’
Finally, ‘Mama Bake A Pie (Daddy Kill A Chicken) – A war veteran returns home no longer needing to spend money on shoes with a bottle underneath his blanket to make his time and his loss of the love of his girl more easy to bear.
He observes that a GI gets a lot of laughs and that some people now say the war was just a waste of time. Still he’s coming home at 11.35 on Wednesday night so Mama better bake a pie and Daddy should kill a chicken.
Stevie Smith – the author of, ‘Not Waving But Drowning’ quoted in the introduction above is always referred to as a ‘Minor Poet’ in the august encyclopaedias of literature. That’s as maybe but all I know is that she was a distinctive writer who wrote some very powerful true poems which is always a rare feat. Her Selected Poems will give you a lifetime’s pleasure.
‘The novel, ‘Riddley Walker’ written by Russell Hoban is a work of genius.
It relates the story of Riddley’s life in a post nuclear holocaust world where language like the material world has been degraded and mutated. It is also about the legend of St Eustace, Punch and Judy shows and the rediscovery of gunpowder. It is a work of tremendous philosophical and spiritual power as well as being a rollicking good thriller.
Do not be put off by the seeming difficulty of the language – you will soon fall into its cadences and be seduced by the linguistic brilliance displayed by Russell Hoban.
If you buy one book for yourself this Christmas make it, ‘Riddley Walker’ – it will leave its imaginative fingerprint on your mind for ever.
‘Be a clown, be a clown, All the world loves a clown,
Act the fool, play the calf, And you’ll always have the last laugh.’ (Cole Porter)
The subject of this post, Wreckless Eric (or as his mother knows him, Eric Goulden) has held a prominent place in my musical affections since I first heard his glorious, signature debut single (I’d Go The) Whole Wide World on the John Peel radio show in early 1977. The song exploded from my transistor radio speakers announcing the arrival of a plain speaking blue collar visionary – the antithesis of the ‘woe is me in forty verses’ singer-songwriter school of the early 1970s.
Whole Wide World benefiting from the instrumental and production chops of the ubiquitous Nick Lowe and drummer Steve Goulding is an irresistible anthem of adolescent male romantic fantasy and lust (which are inevitably yoked together in all males up to the age of 90 or so). Some of my favourite lines in all songwriting are in this song:
‘ There’s only one girl in the world for you and she probably lives in Tahiti(!)’
‘And then in a year or or maybe not quite We’ll be sharing the same next of kin’
The song though devastating simple in construction builds and builds through thrilling crescendo choruses until all but the dead must be up and dancing while singing along at the top of their voices. Eric’s vocal manages to be both deadpan and crazed – a trick he pulls off regularly in his career.
Eric got his break in the music business curtesy of Stiff Records which functioned from the late 70s through to the early 80s as a kind of guerilla operation mocking the bloated moribund goliaths of the existing recording industry. Formed by the hyperactive, loquacious Irishman Dave Robinson and the manically ambitious Jake Rivera it was launched through a £500 loan from Dr Feelgood lead singer Lee Brilleaux.
Based in Londons scruffy Bayswater Stiff Records became a big tent filled with a picaresque gallery of rogues, vagabonds and chancers who also happened in some cases to be electric and eccentric talents. Stiff was a mad party always dancing on the cliff of chaos and collapse yet for a few wonderful years somehow always staggering on through pulling another unexpected talent out of the hat.
The roster of artists on Stiff included Ian Dury with his patented Chaucerian wit and vulgarity, Elvis Costello exuding beligerant songwriting brilliance, Nick Lowe – the prince of impure pop for savvy listeners and Madness the custodians of cultural memories for their generation, who between them issued a magical series of instantly memorable hit singles.
Amongst the milling crowd Wreckless Eric stood out as the house clown. Yet as many an observer has noted the clown is the real heart of every circus. They are the ones, falling down and getting back up again and again, who form the deepest relationships with the audience. We may ooh and aah at the daring of trapeze artists and admire the skill of the jugglers but often it is the jack of all trades clown who we remember with most affection when the big top is rolled up at the end of the night.
So while I unreservedly admire the ‘big names’ from Stiff’s glory days it was always Wreckless Eric for me!
Listen to him here on another song no-one else could have written, ‘Reconnez Cherie’ – a deliriously enjoyable plebeian beat ballad which also functions as an an acute sociological survey of working class romantic encounters ‘neath the sodium glare of the city street lights. Also, of course, including some properly woozy saxophone and accordion in honour of the bohemian subject matter!
Though Eric was held in great affection at Stiff no-one saw him as a future star and moneyspinner. He was, ‘encouraged’ to play up his hapless drinking and to collaborate with other more conventional writers. Naturally, this did not go down well with the Wreckless one! His second record for Stiff contains two classics for my money – the beautifully crafted black humoured , ‘Final Taxi’ and the one I present to you below, ‘Take The Cash’ a song beloved by the late Lou Reed (something of a connoisseur of demotic songwriting).
The start of the 80s saw Eric on a downward spiral that threatened his talent and indeed his life. In the following decades I have followed his erratic progress and wished him well through his saga of alcoholism, bankruptcy, nervous breakdown, European exile, slow recovery, a blessed happy marriage to a fellow musician and many, many, musical incarnations. Eric records came out under a bewildering series of sobriquets: The Len Bright Combo, The Captains Of Industry, Le Beat Group Electrique and The Hitsvile House Band.
Yet, throughout all these vicissitudes he has written and recorded highly distinctive songs demonstrating that behind the shambolic appearance lay a sharply intelligent working man writing truthfully about everyday lives as they are lived on the mean streets and wrong side of the tracks in towns and cities all over the whole wide world.
As a maverick talent himself Eric was drawn to the story of the legendary producer Joe Meek who in the pre Beatles era recorded monster hits like, ‘Telstar’ in a ramshackle studio run out of his tiny second floor London flat. Here’s Eric’s heartfelt tribute, ‘Joe Meek’
It was in the wilds of rural France, during the 1990s that Eric got his life back together and began to connect with the world again. He was later fortunate to meet, fall in love with and marry Amy Rigby who shared his astringent and sinewy songwriting ability as shown in her own catalogue of highly recommended records.
If you are lucky you can see them in concert these days performing a very satisfying banquet of their combined oeuvres and some judiciously chosen covers. The clip below is a backstage snapshot complete with swearing and shaggy dog anecdote featuring Eric and Amy’s take on Johnny Cash’s, ‘I Still Miss Someone’.
There’s no sheen or sophistication here but what I see and hear is a togetherness, a truth and a tenderness that is rarely found. It seems that after all his trials and winding trails Wreckless Eric has found the safe harbour we all need if we are to travel bravely to the world beyond.
Long may he run!
Notes:
Eric’s first two records are unreservedly recommended. After that until the joint records with Amy Rigby (which are wonderful) I would urge you to investigate his catalogue through the streaming sites and the video channels to discover which songs appeal.
Eric has written a typically forthright and unforgettable autobiography, ‘ A Dysfunctional Success – The Wreckless Eric Manual’.
The Immortal Jukebox 