Slide guitar maestro, Bryn Haworth, tells his remarkable story

Bryn Haworth is an outstanding slide guitarist and songwriter from the UK who has been making records and performing for the past 50 years. He’s appeared on the BBC’s Old Grey Whistle Test and the John Peel show, was a major figure in the explosion of Jesus Rock in the 1970s and ’80s, and been the guest guitarist on many albums by rock and folk artists.

During the 1970s I nearly wore out my turntable needle playing his Sunny Side of the Street and Grand Arrival albums, and to my delight, I recently discovered a 2006 album called Keep the Faith, which I’ve been playing almost non-stop.

So, it was a particular pleasure to chat to Bryn about the blues, his remarkable journey into faith when he was a successful musician in California in the ‘70s, the important work he’s been doing in prisons over many years and how we need to care for the environment.

I asked him first of all how he would describe the sort of music he makes.

Bryn Well the word I’d use is eclectic really. Because it’s because I was brought up in a house back in the ’50s where all kind of music was played and loved. My mum was the one who bought the records, these old 78 records, and she would buy Elvis, Elgar, Little Richard. She’d buy the Kingston Trio. And it was a big thing when we got a gramophone in the front room. It would be a big deal when you bought a new record, you’d sit down and play it and you’d have your fish and chips and stuff in the room, listening to these records and appreciating them and just enjoying them. So, for me all styles of music are good and to be enjoyed, and I just carried on like that in my writing and playing. So…eclectic, I like all kinds of music. It may not be commercial but I enjoy the freedom!

Gary But a lot of your music has always sounded a bit bluesy to me and you’ve got that lovely slide guitar work. So tell me how you feel about blues music.

Bryn Blues music to me is honest music. It’s people expressing their sorrow, their pain, their loneliness, their disconnectedness, their questions or anger about things we all feel. So you know for me it’s natural to express these things. It’s honest…honest to God music, really. I mean life is hard isn’t it? You know we’ve all been hurt, we’ve all been damaged, or we all hurt others knowingly or unknowingly. And there’s just this whole thing of, you know, unanswered questions – in our hearts this feeling – Where do I belong? Where’s home?  And that’s all in the DNA of every one of us. And so, it’s great when music is expressed like that in a simple fashion. So that’s how I feel about blues.

And then look at how many musicians there are in the Bible, like Jeremiah and Habakkuk and David and Job, and you start to see the blues in what they’re saying. There’s so much blues in there. You know in Job 30. 31, it says “my harp is tuned to mourning, my flute to the sound of wailing.” The Message translation says “my fiddle plays nothing but the blues and my mouth harp is wailing.” Job was a musician. And then you got David – “Why is this happening? How long? Where are you God? You know, just real people interacting with a real God, real full on honest to God stuff. Psalm 69 – I love that one: “I’m up to my neck in trouble.” And then Psalm 88 – the last verse “darkness is my closest friend.” And that’s the end of the song.

Gary Although it’s quite interesting, Bryn, when you look at a lot of the Psalms, they’re quite like some of the blue songs, in that they start off really, really dark. You know “Why have you forsaken me” and then by the end of the song, the Psalmist has sort of worked himself through the blues and he’s in a better place. And actually a lot of the blues songs are a bit like that – I think of that old standard Trouble in Mind – I’m gonna lay down my head on some railroad iron and then by the end of the song, it’s you know, the sun’s gonna shine on my back yard some day. Things are gonna get better and there’s a kind of a parallel to the way some of the Psalms work.

Bryn Yeah, yeah, There’s one song of mine from the Rebel Man album called Why Don’t You Love Me Like You Used to Do, and it’s really just reading the Prophets where God says, why don’t you love me like you used to, and now you’ve gone off and stuff like that. So that’s a classic blues theme, isn’t it? The reality is that God feels the pain of rejection. God grieves and feels pain – Genesis 6 says the Lord was grieved that he’d made man and his heart was filled with pain, and then you see Jesus, he was rejected and despised. I mean, blues? Is that not blues?

Gary Absolutely right. It’s right there.

And looking back, who are the artists that have influenced you, that have meant something to you along the way, blues or otherwise?

Bryn Well in the blues I like the Johnsons – Robert Johnson and Blind Willie Johnson. I like Elmore James because of the slide. I’m always fascinated by how these guys play. It’s just stunning. And I like the finger-pickers, I like Mississippi John Hurt – I hear a lot of Mississippi John Hurt in Eric Bibb. I just love listening to John Hurt you know, because his spirit is really gentle. He’s not aggressive.

And I also like harmonica players. Little Walter. Because harmonica players like Little Walter are great to copy for slide players. You know, if you’re a slide player and you want to play blues, then you get a lot of your basic blues shapes and patterns from listening to, and trying to emulate and copy, good blues harmonica players. They work within a tight range of notes.  So, I’ve always been attracted to them and my ear pricks up to play like that.

And it’s the same with sax players. There are some really good players like King Curtis, black R&B sax player, who played on a lot of the old Arista Records. Like Respect and a lot of the old Motown stuff. And then there’s Junior Walker and the Allstars. If you’re a slide player, they’re great players to just try and copy because they come at it from a different point of view than your Ry Cooders and your Duane Allmans and people like that. You’re really into a different thing and it’s really interesting to learn from them. And there’s a guy called Darrell Mansfield that I really like, a Californian harmonica player. We toured together in Europe quite a bit. I liked him and of course Paul Jones is a great harmonica player.

The main influence I think when I first started playing electric guitar was when I got Soul Dressing by Booker T and the MGs.  And I just thought Steve Cropper was the bee’s knees! I thought he was incredible and I learned every solo of his on that album. I just wanted that sound you know. I didn’t really know what he was playing, but in the 60s I thought I’d like to be a psychedelic version of Steve Cropper! But then you see you had Eric Clapton and then you got Hendrix, and I love George Harrison. Willie Nelson, I love. I love his guitar playing, I love Lonnie Mack’s playing. I do like guitar players and I like the ones that are brave.

Gary So looking back over your career, Bryn, you have been described as a pioneer of Jesus music and you were part of the explosion of Christian music in the 70s and 80s. And your Christian faith has continued to be a major emphasis in your work over the years. How do you do you see your music: as Christian music, or do you see it as having a wider appeal?

Bryn Well, you know, I’ve never really gone for a label because first of all I’m a musician. I see myself as a musician who has discovered that there is a God and that he loves me. And I found that great news. And it’s that because I’ve found this for myself, I found a new way of living and a new way of loving and being loved. And Jesus has made all this possible. So yes, I want to communicate this – by the way that I live, and also my work and in writing and communicating. I mean, the thing is, that everybody wants to communicate. And everybody is communicating something. And when you find life like this you just get energized by it and you get captivated by it, and you want to let other people know that He’s real and that His love for them is tangible.

And some of the music and the songs I play like this resonate with a wider audience and that’s just fantastic. But not all my songs are about Jesus, about my faith – I write generally about the whole of life. So, I wouldn’t consider myself just as a Christian musician doing one thing, because I do like to try to write about, and play about, many other things. And hopefully in the future I’ll be get better at it in expressing where people are at, and identifying with them on that basis.

Gary So would you tell us about how you came to faith and why has it continued to be important to you.

Bryn For me it was quite dramatic. There’s a great verse in Isaiah 65 verse one where God says, “I reveal myself to those who did not ask for me and I was found by those who did not seek me” – and this was really me, because I was not interested in, not looking for God. I didn’t know anybody who knew anything about God. It just wasn’t on my radar. I was in a really good band in California and I was making good money and we had a good life. Smoking dope, you know, no crisis, no interest in anything!

And then one night I go to bed and have this really long dream, a very powerful dream where a lot of my old painful memories surfaced. And a lot of hurt and fear and anger came, and all I knew is when I woke up was that I had to come back to England and get right with my dad. I didn’t like him, he didn’t like me and we didn’t talk. I hadn’t thought about him for years. Anyway, that week I got a ticket and went home and ended up living in North Wales. It was the early seventies and if you were kind of a hippie, that’s where you went – North Wales. You got a cottage and chilled. So I came out of that life in California and I had a time out. I had time to look at my life and asking questions like, why do I drink so much, why do I do so many drugs, why am I so angry and fearful, and why am I so driven and insecure?  I would never have thought about myself or looked at my own life when I was in California, but when you’re on your own, you’ve got time to think – about your direction and what’s happening to you.

And that’s when I started asking questions about who am I, what am I doing here, and is there a God?  I’d never thought about that before and I just started going out for long walks and asking, “God are you there? If you are, then you got to let me know.” That’s how the whole thing started. It wasn’t something that I had been seeking or searching.

So I was kind of woken up by that dream, and I started to examine my life. And then about three years later, we went out for a drive one day. And in the corner of this field was a circus tent. Now for the first time I had started painting, and during that week I had painted a circus tent with red and white stripes. So, in the corner of this field that week was this circus tent, so I said “Hey let’s go to see the circus.” We drove in and it was a gospel meeting. I’d never been to anything like that in my life, and so we stood at the back so we had a quick escape if we didn’t like it. But I was kind of riveted by the whole thing. I didn’t understand what the preacher was talking about – the language he was using was alien to me, but there was this banner over the front of the stage with some of Jesus’s words on it: “I am the way, the truth and the life; no one comes to the Father except through me.” And I thought, “Well, I’ve lived my way for 26 years and it ain’t working.” All my questions hadn’t been answered, but I was thinking, if God is ever going to be real to me I’m going to have to take a step of faith tonight and so, that’s what I did.

I just said, “Jesus if you’re are the way to life I choose to believe you.” And I went forward and I was prayed for. I came out of that tent and I felt like I was home, that I belonged and that God was real. And that was really the beginning of the whole journey of finding out who God really is, rather than how I imagined him. And so that’s how it all happened.

Gary That’s a remarkable story.

Bryn It really it is. There have been lots of other kinds of interventions along the way, things you can’t really explain but you just get the sense that God is drawing us to him through the circumstances of our lives, that through the pain and the difficulties, the damage and the suffering that we struggle with every day, that he’s drawing us to himself and he wants us to call out to him. And that’s all I did. I just called out to him. And that’s how it all started.

And I just found that he wants this friendship. He wants a relationship; he wants to restore and heal and make us new. And I didn’t know anything about that until I made that step of faith in that tent.

Gary Well that’s fantastic. And Bryn, when you’re talking there about people being broken and hard times and so on, that’s something that you have come face to face with in the work that you’ve done over the years in prisons. Would you like to tell us a little bit about that?

Bryn Along with my wife I’ve been involved in prison work for 30 years now. And again, it wasn’t something that I sought to do.  I would say that I was called to do it – I was just reading through the gospels and God really spoke to me, and I was eventually given an opportunity to go into prison and I took it. I was kind of cornered, because for about three years I’d be going, Oh I’d love to do that, to go into prison, but I thought, well what would I do? I’m just a musician and I don’t know anybody in prison, and how do you get into prison and so I talked myself out of it. And then suddenly someone said to me, can you do this? So we went in to Wandsworth Prison and the chaplain there – out of all the prisons, he was the only chaplain who said, “Yeah you can come in” – David Cairns was his name – and he let us see what happened in prisons. They have Chaplain’s Hour meetings and then as we were coming out again, he turned round to me and said, “Right, you do it next week!” So that’s how it started.

I was in a church called the Vineyard at that time, a Californian church – the first church plant they did was in Putney where we were in South London. I was on staff at that time. And so I took in a few members of that team and we did an hour long meeting and we’ve been going on like that, and it’s been wonderful. My wife and I love going into prisons. We’ve seen some wonderful things happen. God’s done some wonderful things – we’ve seen people’s lives turned around, changed from the inside out. We’ve seen dramatic physical healings, we’ve seen people emotionally healed. It’s a prisoner’s right to have an hour a week of a religious service. And so, we go in on that basis in the morning, say, and do an hour’s service. I’ll do some worship songs, some of my own songs, I do a short talk from part of the Bible and some prayers, and pray for them at the end. Or in some prisons we do a concert. I’ll go in and do an afternoon concert for the whole prison. And that’s really good.

But generally, when I go in. I always feel out of my depth – even now. I always think this could have been me, because I’ve done things in my life, but the only difference is I just didn’t get caught. It could have been me!

But it is a very creative environment for songwriting as well, because you’ll be standing there in front of these guys and you go, “I need a song that says this,” and I haven’t got one. And so, you go away and write something. And it’s also very creative because different styles of music are really helpful – if you can play reggae, rock, pop, blues, country. Because you’re reaching all different tastes in music. And so it stretches you to see if you can write something that will appeal to them and draw them. But I know from my own experience that people can be transformed and learn to live differently and be a blessing to the earth.

Gary Well that’s fantastic. And is that something that you’re still doing Bryn?

Bryn Yes. I would say the majority of the year I do it. I still do concert work as well. But we do it because we love doing it. Funny enough, we just feel quite at home in prison! It’s not everybody’s cup of tea.  But for us, we love it.

Gary Now, you released a song earlier this year called Enough is Enough. Can you tell us about that?

Bryn Well where we live, developers want to cut this 200, 300 year old wood behind the houses where we live. They want to come into the wood and knock all these trees down and build eleven new city style houses. It’s pretty brutal what it will do to the street and to the neighbourhood. So my wife and I found ourselves default leaders of a campaign to stop it, because people can be quite apathetic and they don’t know how to fight. But you got to fight these things, you can’t let people roll over you. And you know this kind of thing is happening all over the country, the indiscriminate felling of trees to build roads and houses and railway lines and stuff like that. But we’re losing so much, so many of the mature trees in this country and we’re the least forested place in Europe. And the trees are our lungs. We need them. And so, I got up one morning and I was just so upset about this whole thing I sat down and wrote this song. Enough is Enough came in about 20 or 30 minutes. I just got the whole thing. And I thought, Fantastic, we can use this as part of our campaign. So I recorded it really quickly. And then I had a friend who works for the BBC and does National Geographic magazine, he said “Oh I love this song, can I will make a make a video of it?” He did it for free and we got a really good video out of it. So, it all came together very quickly and so we’re trying to get that used and played on the radio and on TV. But that’s the story behind it. It’s a protest song!

Gary So is getting involved in that sort of thing, Bryn, integral to your Christian faith?

Bryn Well, you obviously don’t have to be a Christian to feel upset about your planet going down. But, as a Christian, as a believer, I look in Genesis 2 and our original job description when we were put here was to look after this place. To let it grow, let it develop – we were put here as caretakers, or gardeners. So I think that we still have that remit, just to be looking after what God has made and make sure that the next generation when we’re dead and gone has got something to look at, you know.

I like Joni Mitchell’s Big Yellow Taxi. “They took all the trees and put them in a tree museum and charged all the people a dollar and a half just to see ’em.”

Gary Yeah, that just about sums it up, doesn’t it?

Bryn Yeah it does. But you know, we have been given responsibility for the care of this planet and particularly your own locality. And you can do it. You can actually do something about this. We were put here to look after it the planet look after and help it to flourish.

Gary Very good. Well let me ask you this, Bryn. Recently I’ve spoken to a few musicians who are in and around the 70 years of age mark. Chris Smither and Rory Block were a couple of them. They’re both going strong, performing, recording. Chris Smither seemed to be definitely thinking about the aging process. But when I talked to Rory Block, she said she felt like she was just getting started! She was fantastic, really refreshing actually. What about you? Do you still feel inspired to keep going? What’s the motivation at this stage of your life?

Bryn The big one – you’ve only got so much time left. You better get on with it. [laughs]. I guess that’s the one you think about. But I can still stand up to play! The one good thing about playing blues is you can sit down to play and still look cool! When your legs don’t work anymore you can do a B.B. King! So, you’ve got a long career if you can play blues!  But yeah, I think it’s the wear and tear. I think if you travel like we’ve done – that’s the hard thing now, the actual travel to gigs and being tired because the roads are so much worse. It seems to take a longer time to get here. There’s also the physical side – your finger joints – I’m 70 – and they suffer from wear and tear. Repetitive strain, basically on your fingers and the joints. There’s one finger that doesn’t work properly anymore, it doesn’t close so you’ve got to figure out different ways of playing chords. But then you see Django Reinhardt with two fingers, so you think, well it must be possible! There are physical things that happen to a lot of guitar players’ hands from just playing so much, especially if you’re an acoustic guitar player.

But I think for me it’s that everybody wants to communicate. You still want to communicate when you have something that’s this good, and you want to communicate life to people and blessing. You want them to know that they’re loved and they’re not alone, that they belong and that they’re connected. You have incredible amounts of energy to keep going out and doing that and seeing these things. And it’s interesting, as you get older, you’re more relaxed, there’s nothing to prove. You just have to keep working hard at what you do and trying to make it sound good, and just keep your standards up.

Gary So from what you were saying earlier, you’re still you’re still performing and you’ve got a performance schedule for the rest of the year.

Bryn I haven’t really gone after gigs really for a long time. I’ve more tended to let them come in and so I don’t do that many. Because the prison work is quite absorbing and interesting. But I still like doing concerts because of the variety of music as compared to a prison. And it’s great if you can get a whole evening – having a first half and a second half to play to people. It’s quite a luxury now to be able to do that. And it’s a good test of whether your chops are still up to it and you can still play and communicate.

Gary So have you plans for a new album at some stage do you think?

Bryn Well I got a title which is good! So, I’m trying to gather ideas around that. I think that’s about as much as I got really. I’m a writer, and you have put your hat on as a writer – roadwork takes a lot of time, so I need to take time off to do it.

Gary Well, we’ll look out for that. Bryn. We’d look forward to doing a review at Down at the Crossroads when that project is completed. Thanks for taking the time to talk to us. It’s been great.

Aretha Franklin: The Miracle of Amazing Grace

“It’s an act of cinematic resurrection if ever there was one. You might even call it a miracle.” (Washington post)

I watched the movie Amazing Grace last night, which shows the creation of the 29-year-old Aretha Franklin’s gospel album, Amazing Grace, recorded over two nights in 1972 in front of a live congregation and accompanied by the Southern California Community Choir in the New Temple Missionary Baptist Church in Watts, Los Angeles. The album was hugely successful, winning the 1973 Grammy Award for Best Soul Gospel Performance, selling over 2m copies in the US alone and effectively re-inserting black gospel into the American mainstream.

The film was never released because of difficulties syncing the audio with the video. The film was relegated to the vault at Warner Bros. and despite producer Elliott successfully syncing it and paring it down to 87 minutes in length, Franklin resisted it being released. It was only after her death in 2018, that her family agreed to release the film.

Quite simply the movie is extraordinary – riveting, inspirational and deeply emotional. I felt like I was right there, transported back nearly five decades, mesmerized by the power of the gospel music, the musical talent of James Cleveland, the musical director and pianist, and the young choir director, Alexander Hamilton and the fabulous choir – and, of course, by the wonder of Aretha Franklin’s singing. Jon Landau at the time described her singing as “a virtuoso display of imagination.”

But it wasn’t just her voice – it was the evident feeling she had for the music and the lyrics. Her father, invited to say a few words, related an incident when he took some clothes into the laundry, when someone he met commented on how glad she was to hear his daughter was going back to the church to sing. By this stage, the 29 year-old Aretha had had a string of hits, won multiple Grammys, and was a household name. “Truth is,” he said, “she never left the church.” So much was clear by the passion with which she sang Carole King’s You’ve Got a Friend, now amended to refer to Jesus, which then ran seamlessly into Precious Lord, Take My Hand. Introduced by Rev. James Cleveland, intoning, “And Jesus said, call my name, I’ll be there,” Aretha begins to sing slowly, with a sparse organ and piano accompaniment, encouraging the congregation to “close your eyes…and meditate on him.” As the piano chords segue into Precious Lord, and the choir launches in, it really is the most spine-tingling experience. I admit to the tears slipping down my cheeks at this point.

And then there is the scene toward the end of the movie, where, after a stirring performance of Never Grow Old with Aretha accompanying herself on piano, and a short follow up sermonette by Cleveland, Aretha asks for the microphone and, in a startling moment, launches into an unaccompanied I’m Glad I Got Religion, singing a verse, before proceeding to urge the choir into action and then, in an electrifying turn, sings directly toward the choir, with her back to the congregation. It looked entirely unrehearsed, as if Franklin was truly feeling at home, back in the church, and feeling the Spirit move her.

Atlantic engineer, Gene Paul, who worked on Amazing Grace, said he saw producer Jerry Wexler “looking at her like she was really in her place.”

Franklin herself didn’t seem to think she’d moved away from the church. A year after she’d begun singing in nightclubs in 1961, she had written in a black newspaper, “I don’t think that in any manner I did the Lord a disservice when I made up my mind…to switch over.” She went on to say, “After all, the blues is a music born out of the slavery day sufferings of my people. Every song in the blues vein has a story to tell…I think that because true democracy hasn’t overtaken us here that we as a people find the original blues songs still have meaning for us.”

One song, a particular favourite of mine on the album, which didn’t make it into the movie, is Robert Fryson’s Give Yourself to Jesus. The song was the first single after the release of the album. It closes the first side of the original LP and wasn’t one of the traditional gospel songs Franklin grew up with – it’s got a more modern gospel feel to it, more akin to an Andre Crouch song. It’s an incredibly moving piece, with Franklin reciting the words of the 23^rd Psalm in the middle of the song, as the choir “oohs” in harmony behind her. As you listen to this, it’s impossible to think of Franklin without faith in the words.

The interplay between Franklin and the choir throughout Amazing Grace is a thing of wonder. James Cleveland was the musical director and for some considerable time had been the preeminent name in the production of gospel music. He was a hugely talented musician, a wonderful pianist, soulful singer who could rock churches wherever he went. and had produced a prodigious number of successful gospel albums. Cleveland’s piano playing, much in evidence in the concert, is truly virtuosic, tugging at people’s emotions and undergirding and interplaying with Franklin’s vocals. For Amazing Grace, he worked with the youthful Alexander Hamilton, one of his circle of talented musicians, who prepared the choir with intensive drills. Hamilton had written musical scores at the age of six, studied classical music and accompanied Mahalia Jackson. Along with a group of outstanding backing musicians, the foundations were laid for the precision and musicality needed to underpin Aretha Franklin’s singing.

Throughout the performance, Aretha Franklin said little – the speaking parts come from Rev. Cleveland and her father. Was it her well-documented shyness, or simply a sense that it was enough to speak through her luminous singing? Franklin at this stage was one of the most popular and influential singers in the world, but was content to collaborate with the choir and the other members of Cleveland’s working band. To be sure, at the end of the movie, when all the words have fallen to the ground, Aretha’s glorious, inspirational singing resonates on.

Franklin’s Amazing Grace album has been frequently overlooked in her back catalogue, despite it being the biggest selling disc in her career. In Mary J. Blige’s tribute in the Rolling Stone issue in 2008 that named Franklin as the greatest singer of the rock era, the album wasn’t mentioned. And only one song from it was included in the 4-disc compilation released in 1992, Queen of Soul: The Atlantic Recordings. This movie surely redresses the balance. Amazing Grace actually was a very important album that “touched on social and political changes far outside” the doors of the church in which it was recorded” (Aaron Cohen). A friend of Franklin’s, poet Nikki Giovanni, suggested that the title track, (some 11 minutes long) tied together Franklin’s personal history, the state of black America at the time and an image of composer John Newton’s change from being a slaver and human trafficker. “Aretha is just so key to everything: she too is saying, “We have to change…It’s time to change. We can no longer do what we did. And she’s going to be the person to reach generations. She’s going back to my mother, my grandmother, and she’s going to go forward.”

Amazing Grace showed a black icon at home in that traditional black home – the church. In a recent New Yorker article, Emily Lordi points out that Franklin’s concert in New Temple Missionary Baptist Church ought to be seen in the context of the 1965 riots/rebellion in Watts and other black cities across America, and the numerous black deaths of previous years, of which Martin Luther King, Jr.’s assassination was the most visible, and that “black people continued to ask whether America could be a home. The black church continued to serve the function it has long served: as an alternative site in which to create one.”

The music – and now the film which draws renewed attention to it – had wide resonance in the black community and beyond, bringing Gospel music into the mainstream, a recognised part of America’s musical heritage, part of the foundation that would eventually give rise to rock ‘n roll. But in watching this movie, there’s more to it than that. Gospel music is both music and lyrics. The chord changes, the musical dynamics, the soaring voices all make it what it is – but so too do the inspirational and faith-filled lyrics. The very word gospel literally means “good news” and that is the essence of gospel songs. “I once was lost, but now am found” – that belonging that Aretha found in the church; “what a friend we have in Jesus, all our sins and griefs to bear;” “Precious Lord take my hand…I am tired, I am weak, I am lone.” These all speak profoundly of the human condition – but more than that, to the fact that we need not be alone, because of the presence of God, and the possibility of redemption. In that lies the enduring power of gospel, of Amazing Grace.

A Song for Good Friday: Lead Belly, Nirvana, The Welcome Wagon

Huddie Ledbetter, better known as “Lead Belly,” survived a life that included desperate poverty and long stretches in prison to become a renowned blues and folk singer. Discovered by the Lomaxes in the early 1930s in the notorious Angola prison in Louisiana where he was serving time for stabbing a white man in a fight, Lead Belly was released to become the “King of the Twelve-String Guitar,” – the most enduring image of Lead Belly is wielding his large Stella twelve-string.

His last recording session was around one year before his death, when he set down as much of his repertoire as he could, from field hollers, blues, and country & western songs to children’s tunes, ballads, autobiographical pieces, and popular hits of the day. There are some spiritual songs in there too, including the poignant He Never Said a Mumbling Word.

The song refers to the Good Friday story of the crucifixion, drawing attention to the Gospel’s account of Christ’s silence before his accusers when on trial – “They led Him to Pilate’s bar,
Not a word, not a word, not a word… He never said a mumblin’ word.” There’s a sense of destiny in all of this, that Jesus willingly gave himself up to his executioners, because he knew it served a great purpose.

In Lead Belly’s rendition of the song, it clips along, almost jauntily, sung unaccompanied and driven by rhythmic clapping. It scarcely seems to do justice to the subject matter, until half way through the song when Lead Belly sings, “He’s coming back again, He’s coming back again for me.”

The song was recorded again in 1989 by Nirvana, in a version that in some ways is not too dissimilar from Lead Belly’s, but driven now by electric guitar. Somehow, though, the rough, rather discordant guitar strumming and the vocals seems to fit the brutality of Christ’s crucifixion. Interestingly, however, the “He’s coming back again,” is missing from Nirvana’s version.

Maybe the best version of the song comes from the Welcome Wagon in 2014. The slow tempo, the banjo, the strings, the slide guitar and the gently sung lyrics carry the sombreness of the story from “Pilate’s bar” to the cries of “crucify” from the mob to the “nailing to a tree.” No second coming in this version either, the artists clearly wanting to focus the attention on the crucifixion.

In St. John’s version of Christ’s trial before Pilate, Jesus is not entirely silent, albeit his answers were, to Pilate’s ears, rather enigmatic. Eventually, though, Pilate asks, maybe cynically, “What is truth?” and receives no answers. “The answer to Pilate’s question, this answer he so desperately seeks in his confusion and emptiness, is standing right in front of him. The one who was the way, the truth, and the life. Christ did not give an answer, because he himself was the answer.” (In All Things).

 

It’s so hard to find one rich man in ten with a satisfied mind.

A Satisfied Mind was written by Joe “Red” Hayes and Jack Rhodes and first recorded by Porter Wagoner in 1955, scoring him a #1 Country hit. Hayes explained the origin of the song in an interview: “The song came from my mother. Everything in the song are things I heard her say over the years. I put a lot of thought into the song before I came up with the title. One day my father-in-law asked me who I thought the richest man in the world was, and I mentioned some names. He said, ‘You’re wrong; it is the man with a satisfied mind.’”

The song has been recorded by a great many artists over the years, notable by Johnny Cash and Bob Dylan. Cash’s first version was released in 2004 on the Kill Bill: Volume 2 soundtrack, but it later appeared on his posthumous 2010 album American VI: Ain’t No Grave. It was a song Cash had been singing since the 1950s from the time when he didn’t have enough of his own songs and needed covers, but he liked it very much. Like the rest of the songs on American VI, the song is poignant, and sounds like the wisdom of a man who is near to the end and has an urgent message to convey.

Money can’t buy back
Your youth when you’re old
Or a friend when you’re lonely
Or a love that’s grown cold

The wealthiest person
Is a pauper at times
Compared to the man
With a satisfied mind.

Cash doubtless knew his time had “run out,” but the song lyrics seem to very aptly fit the faith that sustained him:

But one thing’s for certain
When it comes my time
I’ll leave this old world
With a satisfied mind.

Bob Dylan recorded A Satisfied Mind twice, first in 1967 on a version that wasn’t released until 2014 on The Bootleg Series Vol. 11: The Basement Tapes Complete, and again for his 1980 Saved. Dylan’s version on this much pilloried album is masterful, all bluesy and gospel at the same time. He begins virtually unaccompanied, with his wonderful gospel singers harmonizing and some sparse piano. The stripped back, emotion-laden approach highlights beautifully the potency of the song’s message in a way that most other versions I’ve heard fail to do. Throughout the song Dylan moans in the manner of an old gospel blues artist, giving us ample time to ponder the question of what really satisfies in life.

On Saved, A Satisfied Mind bleeds into the excitement of the title track, a rocker which provides Dylan’s answer to the opening song’s question. “I was blinded by the devil, born already ruined,” Dylan sings, urgently pointing to his discovery of the reality of a mind unsatisfied by fortune or fame. But now, “by his grace I have been touched, by his word I’ve been healed,” that unsatisfied life saved by his new-found faith.

I got to thinking about this song after reading Charles Duhigg’s article in the New York Times Magazine, Wealthy, Successful and Miserable. Duhigg says that “The upper echelon is hoarding money and privilege to a degree not seen in decades. But that doesn’t make them happy at work.” He recounts attending his 15^th anniversary reunion with his Harvard MBA class and being shocked at how many were just plain miserable. These were people all earning huge salaries and working in prestigious companies, and yet who felt like they were wasting their lives. One person was earning $1.2m a year, hated his work, and yet felt he could not afford to take a pay cut to a mere $600,000 in order to take up an opportunity he really fancied.

As Hayes and Rhodes’s song says,

But little they know
That it’s so hard to find
One rich man in ten
With a satisfied mind.

Upon further research, Duhigg discovered that around 50% of American workers are professionally miserable – and this in a boom economy. There is an underlying sense that what they are doing day by day just isn’t worth the huge effort many of them have to put into it.

Our economics-driven market drives ever greater production and consumption. It’s hard not to buy into it, so pervasive is the advertising industry assailing us at every turn, online or off. You need this, you have to have it, you’re not complete without this. So it goes, relentlessly, every day. We work ceaselessly, we consume, we sleep, we get up and do it again. But, as the old saying goes, who says on their death bed – “I wish I’d spent more time in the office.”

Money can’t buy back
Your youth when you’re old
Or a friend when you’re lonely
Or a love that’s grown cold.

Or as the ancient Psalmist of Israel said, “Do not be overawed when someone gets rich, and lives in ever greater splendour; for they will take nothing with them when they die, their splendour will not descend with them. (Psalm 49:16-17)

Joe Hayes said of his song, “It has been done a lot in churches. I came out of the Opry one night and a church service was going on nearby. The first thing I hear was the congregation singing ‘Satisfied Mind.’ I got down on my knees.”

Good place to start, maybe, to get some perspective and maybe, a satisfied mind.

 

[Some other fine versions of the song include:

Ben Harper and the Blind Boys of Alabama on There Will Be A Light

Jeff Buckley on Sketches

Eric Bibb on Spirit & the Blues

Lucinda Williams on Ramblin’

Skip James, Larkin Poe, Charles Dickens and…Christmas

What have Skip James and Charles Dickens to do with Christmas?

Skip James was a totally original, Delta blues artist who recorded in the early 1930s. He was an accomplished guitarist and pianist, and his music, often in a dark, minor key, was eerie and mysterious, made all the more so by his singular, high-pitched, keening singing style. One of his Paramount 1931 recordings was Hard Time Killing Floor Blues, which reflected the plight of black communities during the Great Depression.

The problems of the Great Depression affected virtually every group of Americans, but it greatly worsened the already bleak economic situation of African Americans. By 1932, approximately half of black Americans were out of work, suffering from an unemployment rate two to three times that of whites. In early public assistance programs African Americans often received substantially less aid than whites, and some charitable organizations even excluded blacks from their soup kitchens. Racial violence again became more common, especially in the South. Lynchings, which had declined to eight in 1932, surged to 28 in 1933.

James’s song Hard Time Killing Floor Blues is a pretty bleak response to the situation he and his community found themselves in, in Mississippi during this period.

Hard time’s is here
An ev’rywhere you go
Times are harder
Than th’ever been befo’

You know that people
They are driftin’ from do’ to do’
But they can’t find no heaven
I don’t care where they go

People, if I ever can get up
Off a-this old hard killin’ flo’
Lord, I’ll never get down
This low no mo’

The song has been covered by a great many artists over the years, including Chris Thomas King, Buddy Guy, Colin Linden, Rory Block, amongst others. A recent one is, to my mind, one of the best – the Lovell sisters, known as Larkin Poe have given us an outstanding version on their album, Venom and Faith.

But what has all the doom and gloom of Skip James’s response to the Great Depression have to do with Christmas? Well, I started thinking about it as I re-read this year Charles Dickens’ Christmas novel, The Chimes. Much better known, of course, is his A Christmas Carol – a fabulous morality tale which is celebrated every Christmas through film, plays and TV shows. Miserly old Scrooge is shown the error of his ways one Christmas Eve and shows generosity and compassion to his beleaguered employee’s family, the Cratchits. (Incidentally, can any version be better than The Muppets Christmas Carol, from 1993?)

While A Christmas Carol points to the benefits of one man’s generosity to another family (and nothing wrong with that), as Tim-Laing Smith pointed out in a recent newspaper article, “nothing much changes in the wider world.”

In The Chimes, another man – this time a poor delivery porter – is granted a vision of the future, which shows his loved ones each falling into destitution and despair, crushed by injustice and a system of inequity. At the time, some thought Dickens was inciting a class war, so potent was the message of the book.

Anyway, it’s quite clear that the inequity of Dickens’ times and of Skip James’s time have not gone away. The U.S. Census Bureau in 2018 said that 39.7m people were living in poverty – over 12% of the population. 20% of the UK population is in poverty.

In 2015, the top 1% of families in the United States made more than 25 times what families in the bottom 99% percent did, according to a paper from the Economic Policy Institute.

This trend is a reversal of what was seen during and after the Great Depression, where the gap between rich and poor narrowed. “Rising inequality affects virtually every part of the country, not just large urban areas or financial centers,” said the report. The gap between the rich and everyone else, has been growing markedly, by every statistical measure, for some 30 years. The UK, likewise, has a very high level of income inequality compared to other developed countries.

Which brings us back to Christmas. Beyond the children’s nativity plays, the Christmas trees, the extraordinary excess of indulgence, and the broad details of the Christmas story is a passage from Luke’s gospel which perhaps is not so well known. Mary, pregnant with Jesus, goes to visit her relative Elizabeth, and the two women rejoice over what they see God doing through their pregnancies. Mary says,

“My soul magnifies the Lord, and my spirit rejoices in God my Savior, for he has looked with favor on the lowliness of his servant. Surely, from now on all generations will call me blessed; for the Mighty One has done great things for me, and holy is his name. His mercy is for those who fear him from generation to generation. He has shown strength with his arm; he has scattered the proud in the thoughts of their hearts. He has brought down the powerful from their thrones, and lifted up the lowly; he has filled the hungry with good things, and sent the rich away empty.”

Here’s where the Christmas story meets Charles Dickens and Skip James. The powerful are to be brought down, the lowly uplifted, the hungry fed and the rich sent empty away. The coming of the Christmas baby is meant to challenge and defeat the inequality the world experiences. Because into the world is unleashed a new power of hope and love in the person of Jesus, where Jesus-followers are to exemplify this new era of equity and justice and to work tirelessly to see the world change. As Tom Wright puts it: Jesus followers are to “pick up the threads of his own public career and live as kingdom-people under his direction, bringing his saving rule to bear in acts of love and mercy, in working for justice and truth…what will make the cacophony of human folly fall silent quicker than anything else is the strong, steady sound of those who love Jesus and celebrate his birthday singing his praises as Saviour, Messiah and Lord, and letting that praise inform and transform our public as well as our private lives. That is what Christmas is all about.”

Hard time’s is here
An ev’rywhere you go
Times are harder
Than th’ever been befo’

That’s the truth for a great many people in the world that we dare not ignore is this season of excess. But Christmas tells us it need not be the last word.

Lonesome Christmas Blues?

How do you like your Christmas songs? Schmalzy soft jazz, White Christmas and all that? Gritty like the Pogues? (please, no!) Or maybe with a tongue firmly in cheek, like the Bare Naked Ladies?

And of course there are the Christmas blues songs. B B King with Merry Christmas Baby; Freddie King’s Christmas Tears; Koko Taylor’s Merry Merry Christmas; Roy Milton’s Christmas Time Blues; Bessie Smith’s At the Christmas Ball Blues; or maybe Joe Bonamassa’s Lonesome Christmas. All on the general theme of – it’s Christmas and my baby done left me / I ain’t got a baby / my baby and me are apart.

But then there’s Victoria Spivey’s Christmas Morning Blues, where she’s lamenting the fact that her man’s in jail; John Lee Hooker’s Blues for Christmas, with the plaintive “I ain’t got a dime;” and Blind Blake’s Lonesome Christmas Blues where he remembers last Christmas when he was in jail, and this Christmas isn’t much better – “I’m sick and I can’t get well.” Tough times don’t stop for Christmas. Just ask the millions living in war torn Syria or Yemen or South Sudan; other those going hungry in East Africa, or the brutalized Rohingya people of Burma. Or even the more than 43m Americans and 14m Britons living in poverty.

Truth is, the world can be a tough place, and none of us are immune from tough times – family problems, health problems, relationship problems. The celebrations of the holiday season don’t make these go away.

It’s hard to find a blues song that taps into the heart of Christmas. And by that I mean hope. G.K. Chesterton, the writer, poet, and philosopher said that “hope means hoping when everything seems hopeless.” So it was with the first Christmas – a family living under the occupation of a brutal, despotic regime; a new baby, brought into the world in the most humble and poor of circumstances; the birth announced to a bunch of rough, uneducated shepherds; the new family becoming refugees, forced to move to a foreign country. Pretty tough circumstances.

And yet the story is shot through with hope – that change and redemption is possible. That things can be different. That the power of love unleashed into the world through the coming of this baby can ultimately be more powerful than all the tyrants and war-mongers and greed-merchants and liars. That justice and fairness can prevail. Instead of despair at the state the world is in, the Christmas story urges us to take courage – see the possibility of redemption and change for ourselves and begin to make a difference in the world around. Hope in a hopeless world.

Hope. New possibilities. Change. It’s what Bethlehem is all about.

Yet in thy dark streets shineth
The everlasting Light
The hopes and fears of all the years
Are met in thee tonight.

The First Guitar Heroine of Rock ‘n’ Roll

Sister Rosetta Tharpe was inducted into the Rock & Roll Hall of Fame during 2018 with an award for “Early Influence.” The Hall of Fame hailed her as one of the essential figures in the history of rock and roll” and said that “if she had not been there as a model and inspiration, Elvis Presley, Little Richard, Johnny Cash, Jerry Lee Lewis and other rock originators would have had different careers.”

“No one deserves more to be in the Rock & Roll Hall of Fame.”

Born in 1915, Rosetta Tharpe was a major star during the 1940s and 50s, sensationally filling arenas. In 1951, Griffith Stadium in Washington D.C. sold out, with 25,000 fans clamouring to attend her on-stage wedding. Her trail-blazing rock ’n’ roll tinged gospel performances, driven by her exceptional electric guitar work, sent audiences wild made her a major celebrity. She inspired the early generation of rock ‘n’ roll artists and Johnny Cash called her his favourite singer and biggest inspiration.

An early musical prodigy, Rosetta’s guitar chops were formidable. Reports from people who saw her play repeatedly used the phrase: “she could make that guitar talk.” She played the guitar with abandon, and yet still maintained control. There was power, excitement, pleasure and emotional release in her playing. Gayle Wild, her biographer, says that for Rosetta, the guitar was “an instrument of ineffable speech, of rapture beyond words.” Etta James was blown away by her playing, saying, “she payed guitar kind of like T-Bone Walker, in a real “bad” groove.” One musical director in New York said,

“She could do runs, sequences, arpeggios, and she could play anything. You could say something and she could make that guitar say it…I mean she could put that guitar behind her and play it: she could sit on the floor and play it, she could lay down and play it. And that made the people just go berserk.”

Rosetta was raised by her mother Katie and grew up immersed in the black Church of God in Christ, where Rosetta began to sing and play from an early age. By the time she was a teenager, she and her mother were touring the gospel circuit in the northern Midwest, where tent and revival meetings shaped her musical techniques, learning how to project over shouting, crying and singing worshippers, and developing a guitar playing style that enabled her to be heard and her playing seen by the congregation. Her trademark style of lyrical improvisation was likewise developed at this time.

After leaving the church for a period of time and making it big in the jazz clubs of New York City during the Swing Era (she became known as the “swinger of spirituals”) and playing with the likes of Duke Ellington, Cab Calloway and Louis Armstrong, Rosetta returned to her sanctified roots as Sister Rosetta Tharpe, developing a successful career that was both career and calling.

Rosetta’s faith was a constant throughout her life, singing her gospel songs like Precious Memories and Didn’t It Rain, right up until her death. At her funeral, the eulogy said that, “she always testified of God’s goodness to her and he undying love for Him. She suffered a lot but she realized that if we suffer with Him we shall also reign with Him.”

No doubt it was that faith that sustained her during the struggles she had during her life, both as an African American and as a woman. She lived and performed during the Jim Crow era in America, where for black artists, pervasive racial discrimination and police harassment was a deeply resented fact of life. As she toured, she could not eat at most restaurants, stay in most hotels or use public toilets. To get around the problem of restaurants not serving black people, she employed a white chauffeur, who, when they had an emergency need for food when travelling, would go into the restaurant and buy food for the whole group. She sings, in her release of “Trouble in Mind” in 1941, “When you see me laughin’, I’m laughin’ just to keep from crying,” poignantly conveying the pain of the black community.

She also suffered a considerable amount of domestic abuse. Her first husband, Tommy Tharpe, was a preacher who benefited greatly from his association with Rosetta, but he was unfaithful to her and beat her. She married Foch Allen, after her divorce to Tharpe in 1943, but he proved to be both unsupportive to her career and abusive, interested only in what he could get out of her. Her third husband, Russell Morrison, whom she married in a fabulous stadium wedding, exploited her financially, insisting on her performing towards the end of her life when she was very ill.

It’s a familiar story with women artists, maybe particularly black women artists – Billy Holliday, Aretha Franklin, Tina Turner, Mariah Carey, Whitney Houston, Rihanna. As Zora Neale Hurston put it in Their Eyes Were Watching God “De n***** woman is de mule uh de world so fur as Ah can see.” Rates of domestic abuse are bad enough generally, but black women suffer from much higher rates of death from domestic violence than others. Unbelievably, the state of Mississippi still refuses to make domestic violence and other abuse grounds for divorce. What a disgrace. Sadly, as music journalist Jim De Rogatis said in a 2013 interview, “Nobody matters less to our society than young black women. Nobody.”

Yet Rosetta had the strength of will and personality to rise above the enormous obstacles and set-backs she faced. Armed with her faith, her huge talent and her charisma, she paved the way, howling and stamping and wielding a mean electric guitar, for the rock ‘n’ roll artists who would follow her and lived a life that continues to reverberate and influence right up to the present.

Read the biography of this remarkable woman: Gayle F. Wald, Shout, Sister Shout: The Untold Story of Rock-and-Roll Trailblazer, Sister Rosetta Sharpe.

 

And for a fine collection of her songs: The Absolutely Essential 3 Cd Collection Box Set

And check out this terrific cover of the Tommy Dorsey song that Rosetta made her own, by Brooks Williams and Hans Theessink.