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.

Advertisements

16 Gospel Blues Songs You Must Hear

Gospel blues has a long history reaching back to the likes of Blind Willie Johnson and Rev Robert Wilkins right through to recent work by Kelly Joe Phelps and Ry Cooder. It’s not surprising, given the close relationship between the spirituals and the blues. It’s a genre rich in musicality, spirituality and inspiration. Here are 16 gospel blues songs that are really worth listening to.

Blind Willie McTell: I’ve Got to Cross the River of Jordan

Nobody can sing the blues like Blind Willie McTell, sang Bob Dylan. True, but McTell also left us a fine collection of gospel blues songs, including River of Jordan, which focuses our attention on the inevitable journey we all must take across Jordan – on our own, facing the consequences of our lives. There’s some fine slide playing on the song and McTell’s vocal performance is strong and compelling. The song is essentially another version of Nobody’s Fault but Mine.

Check out Mark Millers 2010 album, The Gospel Songs of Blind Willie McTell.

Blind Willie Johnson: Dark Was the Night

Arguably Willie Johnson’s masterpiece, it is making its way across the universe as part of the musical offering on the Voyager space craft. Recorded in 1927, it features Johnson’s inspired slide playing which creates an incredible other-worldly, eerie effect and his agonized moaning. You really cannot hear the words of this old spiritual which focuses on Christ’s trial in the Garden of Gethsemane, but Johnson’s vocals and slide work more than evoke this terrible hour. Click here for our more detailed look at this song.

Rev. Robert Wilkins: Prodigal Son

Wilkins’ compelling retelling of the gospel story of the prodigal son was recorded in 1935, six years after he had recorded the same song with secular lyrics. Now, having turned his back on the blues and an ordained minister, he re-recorded the song, and eventually performed it at the Newport Folk Festival in 1964. For more on the song, go to here.

Skip James: My God is Real

The music of Skip James, the most enigmatic of all the Delta blues figures, was ominous, bleak and mysterious, made primarily for his own emotional release. James was an exceptional guitarist, with a trademark E-minor tuning and an eerie falsetto vocal delivery. After making some seminal blues recordings, in 1931 he moved to Dallas, where he served as a minister and led a gospel group. His My God is Real, speaks of a deep, very personal experience of faith.

Josh White: My Soul is Gonna Live with God

White was a prolific blues artist and civil rights activist in the first half of the twentieth century. He took a clear anti-segregationist and international human rights political stance and recorded a number of political protest songs. He also recorded gospel songs under the moniker, The Singing Christian. His 1935 My Soul is Gonna Live with God puts his guitar playing chops and his fine singing on display and focuses on the Christian hope for after death.

Sister Rosetta Tharpe: Rock Me

Rosetta Tharpe was a major star during the 1940s and 50s and was an inspiration to the early generation of rock’n’roll artists. She grew up immersed in the church and her faith was a constant inspiration to her music throughout her life. Rock Me, one of her most loved songs, was written by Tommy Dorsey and first recorded by her in 1938. An instant hit, the song contains various Biblical and hymn references. Isaiah 41 comes to mind: “For I, the Lord your God, hold your right hand; it is I who say to you, “Fear not, I am the one who helps you.” The song was also another of Blind Willie McTell’s gospel recordings, under its original title, Hide Me in Thy Bosom, in 1949.

Find our tribute to Rosetta Tharpe here.

And check out this fine recent version by Brooks Williams, accompanied by Hans Theessink:

Mississippi Fred McDowell: You Got to Move

Fred McDowell’s song was brought to prominence by the Rolling Stones on their Sticky Fingers album. It’s essentially a song about the Christian hope of resurrection – “when the Lord get ready, you got to move!”

For a great recent version, check out Paul Thorn’s take on his Don’t Let the Devil Ride album. Check out our conversation with Paul, including his comments on the song here

Sister Fleeta Mitchell & Rev. Willie Mae Eberhard: Satan Your Kingdom Must Come Down

Most people are more familiar with Robert Plant’s version of this old spiritual, but Fleeta Mitchell and Willie Mae Eberhard’s stripped down version which appears on Art Rosenbaum’s 2007 album of traditional field recordings is well worth checking out. The song is based on Jesus’s words in Luke’s gospel when he said, “I saw Satan fall from heaven like lightning.” For Christians, the power of evil personified by the “Adversary” is under judgement because of the coming of Christ and ultimately we are not to despair, because good will triumph under the Lordship of Jesus.

Mississippi John Hurt: Here Am I, Oh Lord, Send Me (Don’t You Hear My Saviour Calling?)

John Hurt is renown for his blues and his rhythmic, alternating bass guitar style, with fast syncopated melodies. Reputed to be a gentle soul, his music is quite transcendent, whether blues or gospel. Here Am I, Oh Lord Send Me is a fine example of his technique and is based on Jesus’s words in John’s gospel about the fields being ready for harvest. The song has a devotional feel about it, with the singer offering himself for God’s service.

Rev. Gary Davis: I Am the Light of this World

Born blind, black and in the American South, Davis had little going for him, and yet he became a master of the guitar, ending up in New York City where he was recognized for the musical genius he was. Davis stayed faithful to his calling as a minister of the gospel until he died and only in the last decade of his life was he persuaded to sing blues songs publicly. His ragtime, blues and gospel performances are all outstanding. I Am the Light of this World recalls the words of Jesus in St. John’s gospel.

Check out Ian Zack’s riveting biography of Gary Davis – reviewed here.

Larry Norman: Why Should the Devil Have All the Good Music?

Blues-based rock, rather than strictly blues, but this song from Only Visiting this Planet in 1972 puts to rights the misconception that the blues is the devil’s music. Norman, the father of Christian rock, takes up the line from Salvation Army founder William Booth almost a century earlier and then proclaims loudly, “there’s nothing wrong with playing blues licks.”

Read our review of the excellent Larry Norman biography by Gregory Alan Thornbury.

And in a similar vein, check out Lurrie Bell’s The Devil Ain’t Got No Music, from his 2012 album with the same title.

Eric Bibb: I Want Jesus to Walk With Me

Often played by Eric Bibb in his concerts, he captures completely the dual nature of this old spiritual – on the one hand mournful about the trials and tribulations of life, and yet hopeful about the reality of the presence of Jesus in the midst of those trials. As Jesus said, “In this world you will have trouble. But take heart! I have overcome the world.”

Click here for our recent interview with Eric.

Walter Trout: Brother’s Keeper

From the 2012 album, Blues for the Modern Daze, Walter Trout’s dazzling technique, intensity and emotion seizes you, along with the hard-hitting lyrics. The song recalls the story of Cain and Abel in Genesis 4 and calls for more neighbourliness in our relations. Trout reminds us that “Jesus said to feed the hungry, Jesus said to help the poor,” and finishes he song with a searing criticism of modern “so-called Christians” who “don’t believe in that no more.” For more on the song go to here.

And click here for our interview with Walter where he talks about the song.

Ry Cooder: Everybody Ought to Treat a Stranger Right

Ry Cooder has produced one of the best gospel albums ever in Prodigal Son, reviving and updating a number of old gospel songs as well as a couple of his own. We could have picked almost any song from the album for inclusion, but his excellent version of Everybody Ought to Treat a Stranger right is surely a song for our times, with xenophobia at an all time high. Strangers, sojourners and immigrants were all to be treated with care and welcome according to the Hebrew bible – “And if a stranger dwell with you in your land, you shall not mistreat him. The stranger who dwells among you shall be to you as one born among you, and you shall love him as yourself; for you were strangers in the land of Egypt: I am the Lord your God,” (Leviticus 19:33-34). And reflected in the words of Jesus in Matthew 25 – “I was a stranger and you took Me in; I was naked and you clothed Me … When did we see You a stranger and take You in, or naked and clothe You? … Assuredly, I say to you, inasmuch as you did it to one of the least of these My brethren, you did it to Me.”

Find our take on Ry Cooder’s album here

Kelly Joe Phelps: Goodbye to Sorrow

Phelps’s 2012 album, Brother Sinner and the Whale, is arguably the best gospel roots album ever. Phelps’s guitar work and slide playing, as always, is immaculate, and the songs are a remarkable testament to Phelps’s rediscovered faith. They brim with creativity, inspiration and spirituality. His reworking of the old hymn, Guide Me O Thou Great Jehovah is masterful, but we’ve chosen his own Goodbye to Sorrow here, which is simply a wonderful song and packed with theology:

“My God came to earth a humble man
As part of a divine and master plan
When they crucified our Saviour He set the captives free
That death would lose dominion over you and over me

I have said goodbye to sorrow as I lay before the cross.”

Click here for Down at the Crossroads’ comments on this album here.

Blind Boys of Alabama: Nobody’s Fault But Mine

Singing together since 1944, the Blind Boys have been singing blues tinged gospel for an awfully long time and you’d be hard pressed to pick the best of. For a good list, check out Paste’s take here. We’ve gone with this sparse arrangement of another Blind Willie Johnson song, Nobody’s Fault but Mine, which is full of the personal regret and heartache. The plaintive harmonica, the slide guitar and the tight harmonies combine to make this an outstanding version of the song.

Check out our tribute to the Blind Boys of Alabama here and our comment on Nobody’s Fault but Mine here.

If you’re interested to find out more about the relationship between the blues and faith, get yourself a copy of The Gospel According to the Blues, by Gary W Burnett.

 

Bryan Lee: still travelling that old lonesome highway – and loving it.

“Whether he’s wailing a Freddy King inspired blues ballad, stomping out low down and dirty blues, or getting down with a super funky New Orleans groove, Bryan Lee is gonna grab your soul and squeeze it till you scream in blues ecstasy.” – Duke Robillard

BMA Award winner and Grammy Nominee, Bryan Lee, has had a lifetime in the blues. In his mid-seventies, the bluesman, who lost his sight at the age of 8, is still playing consistently and has just released a new album, Sanctuary. His vocal and guitar playing powers are still very much in evidence in a very fine collection of unabashed gospel blues. A long-time resident and performer in New Orleans, with a Chicago blues guitar style which channels Luther Allison, Albert King and Albert Collins, Bryan now resides close to the beach in south Florida, but his musical enthusiasm and passion for the blues is undiminished.

The new album Sanctuary is a top-notch blues album, well produced, recorded and mastered by Steve Hamilton, and, as well as a classy band, features the wonderful, gospel vocals of Deirdre Fellner. There’s a detectable funky, New Orleans feel throughout, from the opener Fight for the Light onward, and Lee’s and Marc Spagone’s guitar work sparkles. Lee lays out his stall pretty early, telling us in Jesus Gave Me the Blues, that the blues is a gift from his saviour – even though he’s “getting low down and dirty.” There’s humour as well – in U-Haul which gets materialism in firmly in his sights, he sings, “I never saw no U-Haul behind a hearse.” You gotta hold on to things lightly. He follows this them again in Mr. Big – where the guy has the big house, fancy car, a Fortune 500 company – “but you ain’t happy.”

The album concludes with two songs recorded with the Adam Douglas band some time ago, but which make a fitting inclusion in Sanctuary. The Lord’s Prayer is as you’ve never heard it before in church – a blues version, but with a distinctive gospel feel, and reverently sung by Lee.

Down at the Crossroads chatted to Bryan about his life in the blues and the new album. He was upbeat, excited about the release of Sanctuary and about life in general.

 

DATC: Bryan, congratulations on the new album. I’ve been listening to it these past few days, and it’s great, catchy tunes, great musicianship and arrangements. We’ll have a chat about it in a minute. But first of all, Bryan, you’ve had a lifetime in the blues. Tell us about how you got started all those years ago – who inspired you?

BL: I guess in the beginning, the early 50s when I was about 10 years old, I started getting into my folks’ music. I heard Chuck Berry and right away, it was like, “if I could play guitar like that!” And then I heard Little Richard, and I was, “man, I wanna sing like that!” And that kind of drew me into the blues a little bit, but the thing that did it completely – I was 17 years old, and we were getting a new drummer into our band, and we went over to his house. And he played Freddie King’s Hideaway, and we were just knocked out! And then we listened to the B side and it was a slow blues called I Love the Woman. I just fell in love with it and I said, “man, that’s where I wanna go.”

So I went down to the record store looking for Freddie King and found a couple of 45s, and the guy working there sold me an album with Hideaway on it. And I really got into that record – that first song…[breaks into song]…man I was hooked. I’ve heard Wolf and BB and all these guys, but Freddie King is the one that connects to me.

Along the way I got to be good friends with Albert King – he was always nice. I recorded an album way back in 1984 that had four Albert King songs on it, and he came to New Orleans, so I went to see him and gave him a copy of the album. And he listened to it and appreciated what I had done with his tunes. That’s really cool.

But through my 20s my shows were getting bluesier and bluesier and I started getting into trouble with the club owners, who only wanted to hear Top 40 music. But then we had that era when the Allman Brothers hit, and it kinda helped for the blues guys to get their foot in the door.

But, you know, I travelled that old lonesome highway, because that’s what I wanted to do. If you love it, man, you do it.

DATC: What is it about this music that has keep you playing it all these years?

BL: As I get more into the music, the blues gets better with age. It’s the understanding of it. It’s not the devil’s music. You can go to, say, Sao Paulo, Brazil, a very large city, and you get 40,000 people answering you with “hey, hey, the blues is all right”…The blues is a universal language. B B King said it’s places, people and things. It goes to our make up in our soul. You can’t just sit there, you gotta move!

And some guys have that knack. I could listen to T-Bone Walker all day. And probably one of my favourite guitar players of all is Matt Guitar Murphy. I got to be friends with him over the last years of his life. I met him back in 1976 when I opened up for the James Cotton Band and Matt was the guitar player. And he was such a gracious guy. Same with James. James and I were really good friends. There’s something in these people, It’s their soul, that’s what it’s about. You gotta feel it, it’s in your soul.

And you can overcome so much in your life with the power of the blues. And that’s why I made this album, to try and make people understand – Jesus gave us the music. It’s pain, it’s sorrow, but it’s also laughter and success. You gotta fight for the light, you can’t just let darkness break you down. God gave you your life and you gotta respect that. To me, music is the thing that will lift you and will bring you to church and will bring you through stuff.

DATC: And of course, Bryan, your new album, Sanctuary, is an album of gospel blues. And you pull no punches – you’re very explicit about your faith. You say in The Gift, “I’m an old bluesman.” And then you say “Jesus has straightened me out.” Tell us a bit about your journey in faith, how this bluesman found faith.

BL: Well, there was a short time in my life, probably about two years, when I rejected organized religion completely. But I was raised as a Catholic, and we were working in a bar in New Orleans in the early 90s, and we’d have a lot of conventions in the city, there were always people in town. And every evening after dinner, they’d be looking for entertainment. So we would fill the house. Anyway, I met this woman one Friday night, and she was from Seattle, Washington. And she said, Bryan, “I’ve been in town since Monday and I discovered you on Tuesday, and have come every night since” – and she told me she was going to go to the St Louis Cathedral on Sunday and she invited me to go with her.

So we went to church and when I walked up to communion, I knew that was where I was meant to be. And I was like, “Jesus, thank you for not forgetting me.” And she and I had dinner and had a wonderful discussion about things, and we became friends. But she was the one that brought me back to church.

But you don’t just be a good person on Sunday. You gotta be a good person 7 days a week, 24/7. But that’s hard to do, with all the trials and tribulations you might have to go through. Even the rich man has got lots of problems.

DATC: You lost your eyesight when you were a boy. How difficult was it for you to get started playing guitar and start performing and then forge a career?

BL: Well…like most young people I was fearless. So, I’d be up on stage, and to me the place was always full, and people looking at me in a funny way, I don’t see it! I had an advantage!

I remember one night I was walking home. And I had a three-piece suit on, with a fancy tie, and I’m walking home, with a cane in my right hand, and all of a sudden, somebody yells at me, “Stop, stop! Blind man, stop!” So I stopped, and this woman comes up to me and says, “Where is your bucket?” I said, “My bucket?” And she said, “Well you’re blind, you have to have a bucket, I want to put something in your bucket.”

So I said, “Ma’am, that’s all right, give it to the Salvation Army, or the church. I don’t need it, as you can see, I’m working, I’m a musician.” And then she was like, “Aw, shucks.” She’d seen this blind man and thought she better do this man a favour. And I got helped across streets I didn’t want to cross, and up steps I didn’t want to go up. But things like this just always used to make me smile. I think now that people are more aware, it’s not so much like that now.

DATC: You’ve a song on this album Don’t Take My Blindness for a Weakness – you don’t downplay the difficulties, but you sound as if you’ve become very strong through it.

BL: Yes. You got it Gary! It might take me a little bit longer than you, but I will get there. I’ve been playing music since I was 13 years old, and I’m 75 now. I’ve travelled all around the world. I got a chance to play the Montreal Jazz Festival this year – 5^th or 6^th time I’ve done it – and oh, it was so much fun! People say at my age you shouldn’t do a lot of travel – but I want to get my message out.

This is what I’ve discovered through the years – if we were all blind, we wouldn’t have all these prejudices, we wouldn’t have all this hatred and stuff. Human beings would have to come together and help each other. So, who’s blind? For me, if I’ve got a choice between eyesight and insight, I’ll take insight every time.

DATC: Bryan, tell us about The Lord’s Prayer. How did that song come about?

BL: I was doing a festival in Norway in an island called Svalbard. This week is their dark season festival, it’s basically a blues festival. It was a 5-day festival, with quite a few bands. On the last day, the woman who organized the festival picked two groups to play in the church to close the festival. So she asked me if I would work with the Adam Douglas group. So we got together, and they were just a killer band – they could take a Michael Jackson song and make it sound like the blues! Well, the night before the rehearsal, I went to bed, fell asleep and had a dream about the Lord’s Prayer, the arrangement, the chords changes and all. And when I got up the next morning, it still was in my head – lot of time, that doesn’t happen – normally you dream a song but when you wake up you don’t remember it. So I went to the rehearsal and they asked me what I wanted to do. So I went through the chord changes with the band and they said, that’s great, let’s do it.

So we did it in the church, and we also did the other one, Jesus is My Lord and Savior, Then after the festival we went back to Oslo and we had about two days, so Adam said to me, “we should record those two songs.” So we went into the recording studio and we did ‘em! And we hugged each other afterwards and said, you know, we’re gonna have to finish this some day. And we all hoped we could get back together somehow in the future – but that never happened.

So in 2017, I just decided that if I don’t record this record, I’ll feel like I cheated the good Lord. Because I had promised him this album, for all the good music he’s put in our soul, and the ability to entertain people and to communicate with an audience. I can rip up an audience, you know! I tell stories, but I don’t think about what I’m going to say. I call the first three tunes and then after that, it’s what happens happens!

DATC: It’s a great album, Bryan – the arrangements and the musicianship are all wonderful.

Bryan: Out of my brain and out of my soul! And I’m not through – I’ve an idea for another album, and another album beyond that. And I used to do 300 dates a year, now, not so many as that. But it’s quality, not quantity!

It’s a day at a time, one step at a time. And Jesus is there – we just need to go to that place of sanctuary, where it’s real still, it’s real quiet, where you can really touch the good Lord and find answers to your problems.

DATC: Thank you Bryan.

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.

40% off The Gospel According to the Blues

The Gospel According to the Blues dares us to read Jesus’s Sermon on the Mount in conversation with Robert Johnson, Son House, and Muddy Waters. It suggests that thinking about the blues–the history, the artists, the songs–provides good stimulation for thinking about the Christian gospel. Both are about a world gone wrong, about injustice, about the human condition, and both are about hope for a better world. In this book, Gary Burnett probes both the gospel and the history of the blues as we find it in the Sermon on the Mount, to help us understand better the nature of the good news which Jesus preached, and its relevance and challenge to us.

“The Gospel According to the Blues is at once a primer in American music, culture, and race and religious history. Gary Burnett moves deftly from lyrics to theory and back again, from Blind Lemon Jefferson to the insights of contemporary scholarship. Highly readable, thoroughly researched, and with deep respect for the art form on every page. For best results, read with scratchy vinyl recordings of the masters as accompaniment.”

Michael J. Gilmour, Providence University College, Otterburne, Manitoba, Canada

Order at: Wipf and Stock quoting LABOR40

 

Ry Cooder’s searing critique of false religion

Ry Cooder has been making music and recording for the past 50 years and his latest album, The Prodigal Son, his first for six years, has been hailed as “destined to become an instant classic” (Daily Telegraph), the produce of a “musical mastermind” (Rolling Stone) and “completely fresh and contemporary” (NPR). MOJO declared it “A career-high.”

It is, indeed, something of a masterpiece – perhaps remarkable, in that it is a collection of gospel songs and the artist himself makes no claim to belief. But this is music that Cooder has always loved. “I’m not religious,” he says, “but I always felt drawn to these songs. There’s some kind of reverence mood that takes hold when you play and sing.” For Cooder reverence means “being a conduit for the feelings and experiences by people from other times, like when you stand in an old church yard and let the lonely tombs talk to you…I think any creative artist has to have a sense of a truth or force beyond the visible.”

These are songs that will speak to anyone, believer or unbeliever. The arrangements, musicianship and feeling – and the songs, what a collection of songs – are spiritually powerful. There’s humanity, decency, inspiration, hope in these songs, that anyone can feel. If you are a person of faith, however, you’ll find an extra dimension of faith, encouragement and challenge here too.

All of this much needed, of course, in these days of political bitterness, disregard for the truth, corporate greed, and desperate social inequality and injustice. So thanks, Ry, for putting the spotlight on the spiritual values that can ground us and help make us human again.

71-year Cooder plays guitar, bass and mandolin in what is mostly a carefully curated selection of blues and gospel from the early 20th Century. There are three Cooder originals, Shrinking Man, Gentrification and Jesus and Woody, the latter bemoaning the current state of the world and imagining Jesus telling Woody Guthrie “Guess I like sinners better than fascists, And I guess that makes me a dreamer too.”

Source: https://rycooder.com

Cooder’s reworking of other songs include Carter Stanley’s Harbour of Love; Blind Roosevelt Graves’ I’ll Be Rested When The Roll Is Called; You Must Unload by Blind Alfred Reed; Straight Street by The Pilgrim Travelers; William L Dawson’s, In His Care; and two songs by Blind Willie Johnson, Nobody’s Fault But Mine and Everybody Ought to Treat  A Stranger Right (“Blind Willie’s music is pure trance, it’s not 12-bar blues or any suchlike…In steel guitar heaven, I felt Willie looked down and saw that was good,” says Cooder. (Mind you I’m not so sure Willie would have been happy about Ry slipping in those couple of lines which adds Buddha to Jesus in Nobody’s Fault But Mine.)).

The choice of songs is masterful, and the treatment of each brings them bang up to date, without losing their original intent or spirit.

One of the most powerful songs on the album us You Must Unload, written by Blind Alfred Reed, who was recorded, along with The Carter Family and Jimmie Rodgers, at the famous 1927 Bristol Sessions (The “Big Bang” of modern country music).

The song mercilessly challenges “fashion-loving, money-loving and power-loving” Christians – arguably broad swathes of self-proclaimed believers in North America and Europe – and tells them they must “unload.” Anyone who has read their New Testament scriptures would recognize the voice of John the Baptist here, with his fiery denunciation of religious self-satisfaction, or indeed, Jesus, with his searing critique of acquisitiveness and love of money. The Old Testament prophets, too, from which John and Jesus took their cue, were unflinching in their lambasting of those who were content with religious observance but yet oppressed the poor, sought power and preferred a nice glass of wine with their feet up to helping their neighbour – go and read the eighth century prophet Amos and you’ll see what I mean.

The song starts with an amusing dig at the fashion conscious whose obsession with “jewellry encrusted high heel shoes” bars them from the joys of heaven. They sure give Ry the blues. And Jesus too.

Then there’s the money loving Christians who don’t pay their way, who think making it in the kingdom of God is easy. Pretty damning of the way a lot of us Western Christians live, isn’t it, indistinguishable from the pushing and shoving and acquisitiveness that is the hallmark of life these days. The urge for more, bigger, better, more choice. And we want it all for ourselves – cut those taxes, let those poor people stand up on their own two feet.

And then the last verse – taking aim at those power-loving Christians. Power is such a seductive thing. As if political power were somehow linked to the Kingdom of God that Jesus talked so much about. But Jesus said his kingdom wasn’t “of this world,” meaning that it wasn’t like the kingdom of Caesar or America or wherever – it isn’t based on violence, the threat of violence, money, or influence. It’s based on love, compassion, generosity. That’s why Christianity was so successful in the first three centuries before it got entangled with government and the trappings of power. Christians lived out the counter-cultural values of love and self-giving service, devoid of political power, and yet ended up attracting huge swathes of the Empire to follow Jesus. Which is what gives the lie to the support for the 45^th President of the United States by so many so-called evangelical Christians. Do they understand the message of the person they purport to follow, if they are prepared to sacrifice values of compassion, love for the stranger, truth, and human decency for the passing gratification of temporary political power? What happened to taking up the cross and following the compassionate, justice-announcing Jesus? Wherein, paradoxically, is to be found the real joy of life.

All of which makes Blind Alfred Reed’s song and Ry Cooder’s fresh interpretation so relevant and compelling right now. It strikes at the heart of a false religion that somehow feels that money and power are compatible with the gospel. They’re not. Thank you Ry for this timely reminder.

The Devil’s Music: How Christians Inspired, Condemned, and Embraced Rock’n’Roll

Randall J. Stephens, The Devil’s Music: How Christians Inspired, Condemned, and Embraced Rock’n’Roll, (Harvard, 2018)

Randall Stephens has given us a riveting account of the way in which rock music impacted the Christian world in the United States, since its emergence in the 1950s. It’s well researched and detailed, and is expansive in its scope, covering the relationship between early rock ’n’ roll and Pentecostalism, the racism inherent in early Christian reactions to the new music, the resistance of conservative religion to the Beatles and other 60s developments, and then the emergence of Jesus rock, morphing into Contemporary Christian Music and the various reactions to that.

The book is well written and never dull, deftly exploring what has been a complicated relationship between rock and fundamentalist and evangelical religion. Along the way we get something of a history of evangelical Christianity in America over the past 60 years, including the distinction between fundamentalists, evangelicals and charismatic/neo-Pentecostals, and the way in which these groups saw themselves over against the prevailing culture in the United States. I liked the quotation from Duke and Notre Dame historian, George Marsden, which Stephens mentions (albeit noting that it doesn’t tell the whole story): “a fundamentalist is an evangelical who is angry about something.”

When rock ’n’ roll first emerged, fusing blues, gospel, rhythm and blues, and country in the 1950s, American Christians viewed it as sinful, deranged, demonic, the “devil’s music.” Yet by the late 60s and early 70s, large numbers of conservative Christians had embraced rock music as a means of evangelism and praise to God. Stephens skilfully tracks this trajectory and is able to demonstrate that “much of what animates evangelical churches in the twenty-first century comes directly from the unlikely fusion of Pentecostal religion, conservative politics, and rock and pop music.”

Sister Rosetta Tharpe

Randall begins by tracing the development of rock ‘n roll from its roots in southern Pentecostalism. The hard-driving, powerful music in the worship of holiness and Pentecostal services gave rise to such popular performers as Sister Rosetta Tharpe, the Godmother of Rock and Roll, with her guitar-fuelled gospel. From a background in Pentecostal religion came major figures like Johnny Cash, Little Richard, Jerry Lee Lewis, and, of course, most importantly of all, Elvis Presley. Presley not only appropriated the rhythms and beat of his white Pentecostal background, but integrated black gospel into his style of singing and performing. Such integration was anathema to white southern evangelicals in the 50s who objected to the “jungle music” and “voodoo rhythms” of rock ‘n roll.

We then have a fascinating chapter entitled “Race, Religion, and Rock ‘n’ Roll,” where Randall explores the racist nature of white southern Christian reactions to the new music that was capturing the hearts of the nation’s youth. Fears about vulgarity, sexual licence, communist plots, and drinking and dancing combined with the worst of racial prejudice to fuel a fundamentalist loathing of rock ‘n’ roll.

The arrival on the scene of the Beatles in the 1960s is the subject of Randall’s next chapter. Long hair, an emergent youth culture, drugs and androgynous clothing, along with the youth hysteria that greeted the Beatles in America drew the ire and condemnation of church leaders. Billy Graham, in 1968, bemoaned the worldwide “moral deterioration,” which was a clear sign of the approaching apocalypse. Randall takes us through the fall-out in the Christian world of John Lennon’s “We’re more popular than Jesus now” remark through to the beginnings of some soul-searching amongst evangelicals about how they needed to relate to a younger generation.

The next phase of the story is the emergence of Jesus rock and its morphing into Contemporary Christian Music, and the various reactions to it. Randall does an excellent job of catching the spirit of the time in the early 70s when some Christians, led by people like Larry Norman, began to express their faith in the medium of rock music. “Why should the devil have all the good music?” Norman asked. Or indeed, long hair and hippie attire. Even Billy Graham began to wear his hair longer, as folk and rock music were increasingly incorporated into church youth events. Professional rock and pop performers flourished, including Norman, Barry Maguire, Phil Keaggy, Chuck Girard and Cliff Richard, and mainstream performers like Johnny Cash, Pat Boone and eventually, at the end of the 70s, Bob Dylan proclaimed the gospel in their songs.

All of this provoked a furious fundamentalist reaction with figures liked Jerry Falwell, Tim LaHaye and Jimmy Swaggert fulminating against “a musical revolution that integrated aggressive music and aggressive sex” which ought never to be mixed with the gospel. Notwithstanding this, by the 1990s, Christian pop music and rock-infused worship music had broadly infiltrated the evangelical church and Contemporary Christian Music made up a respectable share of the total recording market, returning huge revenues to successful bands through sales of recordings and merchandise.

Randall closes this fascinating study with a short review of bands and artists with a Christian outlook which have gained critical and popular acclaim, including some that attempted to crossover from a Christian market to a more general one. He notes the Christian background and motivation of U2, and amusingly recounts the late 1990s foray of crooner Pat Boone into the heavy metal arena.

The Devil’s Music is a highly engaging examination of the struggles of American evangelicalism with the emergence and mainstreaming of rock music that gives us an important insight into the nature of the modern form of this type of Christianity, its values and fears. It’s a remarkable story of shock, opposition, accommodation and finally embrace which anyone interested in both the recent history of the church or that of rock ‘n’ roll will thoroughly enjoy.

[Randall Stephens has included a great Spotify playlist based on the book here]