5

203: Aretha Franklin & Ray Charles: ‘Spirit in the Dark’

Posted by jeff on Sep 6, 2018 in Personal, Rock, Song Of the week

Aretha Franklin & Ray Charles: ‘Spirit in the Dark’

Aretha Franklin & Ray Charles- February 1971 Fillmore West sheet 909 frame 33aI live in what I like to call the only non-Christian country in the Western world. We’re Jewish here, and we have a looong history of being different. In high school and college, half of my classmates and most of my neighbors were Jewish, but the subject was virtually unmentioned. Unmentionable. Obliquely noted only on a very few holidays, it was not something you talked about. If you weren’t ashamed of it, it was certainly nothing to strut.

Why would you want to be different?

Well, most of my friends chose that route, and they became less different than their parents (first-generation Americans) and grandparents (European-born, speaking English with a Yiddish accent). The Old World was left back there, Hitler obliterated it anyway, we are all Americans. Well, most of us.

24-09-2014 12-21-26Our grandparents had rescued us from Hitler, our parents had couched us comfortably in suburbia. But in the throes of the Vietnam War, the Chicago convention and Kent State, the American Dream was going sour. My entire generation sought meaning elsewhere – Molotov cocktails, drugs, alcohol, feng shui, communes, even dentistry. A perverse few even did a retro backflip into the religion of their forefathers. A substantial number of them – well, us – found ourselves in Israel, embracing and embraced by Zionism, Orthodox Judaism, and 10,000 miles distance from our nagging mothers. I even wrote a song about this very odyssey.

We Jews have our own calendar. The day starts at sundown (yeah, I know, that’s oxymoronic), the month starts with the reappearance of the moon (whew, I was really worried it wouldn’t show this time), the year on Rosh HaShana (Head of the Year), which occurs (according to our half-lunar/half-solar calendar) somewhere between September 5 and October 5 (except after 2089, when it will come no earlier than September 6 – let me tell you, this is one tangled can of worms).

Spirit in the Dark

Spirit in the Dark

The event is proscribed in the Bible (Leviticus 23:24 and Numbers 29:1) as a day of blowing the ram’s horn. Nowadays here in this Jewish country it’s a two-day holiday. Everybody puts on their holiday finery, buys a lot of flowers and newspapers, and gifts for the friends who are hosting them for a holiday meal. This year it begins at sundown Sunday and runs till Tuesday night. So if you start counting from tonight (Friday night, the beginning of Sabbath) and take into account that nobody does anything constructive on Sunday other than cooking for the next two days, that makes this a five-day bacchanalia.

For most folks here, five days of vacation and rest. For those of us who joined OAR (the Observe All the Rules club), it means the Day of Judgment, in which we’re called to account for our behavior during the past year. It’s the beginning of a ten-day period of soul-searching, climaxing in the Yom Kippur fast. In practice, Rosh HaShana is a 48- hour prayer marathon in synagogue, with occasional breaks for (a lot of) eating and (a lot of) sleeping and (a lot of) reading the newspapers. I want to tell you, 48 hours without screens is a very long time. Or, to put it more philosophically, “Life is short, but the days are very long.”

Some people, spiritually more highly evolved than myself, manage to engage the day in all its gravity. I overheard a young security guard at the entrance to the mall saying to a friend, in utter earnest, “It’s so frightening – on Monday we’re all gonna stand before The King in judgment. Scary, man!”

Concert-Fillmore-West-San-Francisco-Aretha-Franklin-Ray-CharlesI won’t tell you how challenging that prayer marathon is for me, because My Better Half reads this and she likes to try to picture me with a gray beard swaying in rapture.

I will confess that my two regular synagogue buddies and I occasionally exchange during breaks in the prayer a word or two (or a few trillion) about such spiritually lofty subjects as the new officially released boxed set of Dylan’s Basement Tapes. Z and D and I grew up with Lesley West’s Mountain more prominent in our landscape than Mount Sinai, and we all made a similar journey to the same pew in the same synagogue saying the same prayers for 72 hours that our great-grandfathers did in Eastern Europe. That’s a very gratifying concept, but great-grandpa was hardwired in a way that we’re not. Our attitude to spirituality is somewhat wry, to put it mildly. So it’s at times like this, with Divine Judgment hanging over our mortal souls, that Z and D and I and our like reach into the bag of cultural resources on which we were raised for a booster.

1208449-Aretha-Franklin-Jim-MarshallAnd there’s nothing more boostful than Aretha Franklin and Ray Charles’ rendition of her ‘Spirit in the Dark’ as performed at the Fillmore West on March 6, 1971. The folks up on the stage grew up singing their hearts out in churches in Detroit and rural Florida. The kids in the audience occasionally visited Temple Beth Israel in Squirrel Hill or Shaker Heights.

The 3-night gig was a big one for Aretha, her commercial popularity burgeoning. Jerry Wexler put her on stage in front of a white audience singing popular white songs (Beatles, Paul Simon, Stephen Stills) mixed with pop soul (‘Respect’, ‘Dr Feelgood). He replaced her road band with A-level studio musicians King Curtis and his band The Kingpins (featuring Billy Preston) and The Memphis Horns, with Aretha’s regular backup singers.

On the second night, she spontaneously brought Ray Charles on stage to duet with her on ‘Spirit in the Dark’, a quasi-spiritual she’d written and had a hit with a couple of years previously. She sings the song, then disappears off-stage, then returns with The Genius: “I discovered Ray Charles”, she quips, a reference to Flip Wilson’s Christopher Columbus 1967 skit in which “Queen Isabel Johnson” tells Chris that he can have “all the money you all the money you want, honey — You go find Ray Charles!” And shouting/testifying (drunk) from the dock, “Chris gonna find Ray Charles!”

God

God

We’ve written before about Aretha and about Ray. As Ray said, “There are singers, then there is Aretha.” She calls him “The Right Reverend Ray”.

The gig was documented in the album “Aretha Live at Fillmore West”, not one of her big hits, but gaining respect over the years. It includes a recording of part of the second night’s version of ‘Spirit in the Dark’ with surprise guest Ray. “I actually saw Ray a week or so earlier and told him what I was doing at the Fillmore but I didn’t think too much about it – until the night and there he was in the crowd. The next thing I knew he was up onstage and we were singing ‘Spirit.’ It was really a fantastic show and one that I’ll always remember.”

In 2005, Rhino Records released a 4-CD box set, “Don’t Fight The Feeling: The Complete Aretha Franklin & King Curtis Live At Fillmore West”, but the version of ‘Spirit in the Dark’ there is from the first night.

The entire duet with Ray is recorded in video, all 25 minutes of it. Technically, the quality is low. Musically, it’s sublime. Do yourself a favor, watch it all. Then watch it again. Watch it just before Rosh HaShana. Watch it just before Christmas and before Aid al-Fitr. Watch it before Martin Luther King’s birthday. Watch it before your own birthday. Watch it on your cat’s birthday. Just watch it.

Judgment

Judgment

It’s magic. It’s inspired. Know what? It’s spiritual.

Aretha is ostensibly singing about God, but it’s one very gritty God: Are you gettin’ the spirit in the dark?/People movin’ oh and they groovin’/Just gettin’ the spirit in the dark/Tell me sister how do ya feel?/Tell me my brother, how do you feel?/Do you feel like dancin?/Get up and let’s start dancin’/Start gettin’ the spirit in the dark./Riiiiide Sally ride/Put your hand on your hips/Cover your eyes/And move with the spirit.

Ray may be singing a church tune, but he’s doing it across the street in a honkey-tonk: Every time you get a girl singing with you, can you feel it deep inside?/When my woman wake me up in the morning, she give me the spirit/I gotta find me a woman tonight, ‘cause I feel the spirit.

Maybe Brother Ray can find The Spirit in a honkey-tonk or at the Fillmore West, but me and Z and D, we’re going to be in our neighborhood synagogue, and if we do any singing it’s gonna be a whole lot more bowdlerized than Ray’s. What can I tell you? We didn’t grow up in Rev. Franklin’s church. Well, we didn’t grow up in Grandpa’s shtiebel either, but each of us decided that those are the roots we choose to embrace. Not drugs, not Moonyism, not Fillmorism. We’re gonna sit in shul for three days and be bored out of our minds and try real hard to reconnect with where we came from and seriously ponder our destiny for the coming year. And maybe here and there we’ll even sneak in a little schmooze about Aretha and Ray’s ‘Spirit in the Dark’.

Tags: , , ,

 
4

288: Accent, ‘With a Little Help from My Friends’ (Vocalmente 2018)

Posted by jeff on Aug 31, 2018 in A Cappella, Song Of the week

Accent — ‘With a Little Help from My Friends’ (live at Vocalmente)

Accent — ‘With a Little Help from My Friends’ (virtual version)

Accent — ‘Keep the Faith’

Accent — ‘Into You’

Accent — ‘Ki Lo Ta’azov’ (live Vocalmente snippet)

Accent — ‘Ki Lo Ta’zaov’ (virtual version)

Accent — ‘Marrakesh Express’ (virtual)

I’ve just returned from Vocalmente 2018, my seventh European a cappella festival in ten years. My vacation and musical-spiritual retreat of choice. We come together, we devotees and practitioners of forward-looking close harmony vocal music, in Fossano Italy or Aarhus Denmark or Västerås Sweden or London England to hear concerts, attend lectures, participate in workshops, sing some very cool music conducted by Peder Karlsson and Merel Martens, record with Bill Hare, drink beer, and socialize.

The afterparty socialization is of course the main attraction. There’s no distinction between the stars and the commonfolk, everyone hangs together, because that’s part of the ethos that defines our little cult–unaffected love of the music and each other. You meet someone who’s become an old friend over the past ten years. You meet someone you chatted with briefly a couple of times, have lunch and get close. You meet new people from exotic places like Paraguay or New Zealand or Portland.  You meet people, amateurs and professionals, who know your music from back home (in my case the rock choir Vocalocity) and whose music you have been following for years now (like the Finnish Rajaton or the Italian Cluster).

It’s a tribal gathering, members young and old drawn together by love for this thing called ‘modern a cappella’ or ‘contemporary a cappella’ or ‘rhythm choirs’ or whatever. In the five days since it ended, social media have been choked with participants’ overwhelming love, photos and videos, and post-partum depression. There was a whole world of palpable love generated there. So thanks to Erik Bosio and the whole team and warm, beautiful Fossano for a great, great job, and to Tobia Hug for starting the whole thing.

So you’re sitting after the concert, drinking beer with some great Dane, and at the next table are sitting the six members of the rising start vocal group Accent, singing of summer in full-throated ease. Just for the fun of it.

Erik Bosio

Way back in 2011, some kids met while hanging around on the street corners of the YouTube channels of old vocal jazz groups. One was from the US, two from Canada, one from the UK, one from France, one from Sweden, all musicians, all freakishly good singers. These 20somethings shared a rare love for a special kind of old close harmony music. Here’s their version of how they met.

They checked each other out, found that they were kindred spirits separated only by distance. Being millenials, they knew how to do things on the interweb that elude or mystify the rest of us analog-bred humans–like forming a vocal group without bothering to meet physically. They started by making clips like “Get Away, Jordan”, a cover of the American gospel-jazz group Take 6; or ‘Too Close for Comfort’, in the style of The Hi-Lo’s and Singers Unlimited, American vocal jazz groups of the 1950s and 1960s respectively, both led by Gene Puerling.

Remember, they had never been in the same room. It’s a new world, Suzy Creamcheese.

Then in 2014 they were invited to a music festival in Sweden, where they met, rehearsed, and performed their first gig. If you think we live in a post-miracle world, just watch the clip. Their first gig.

Since then, their reputation has been growing. They continue to meet at gigs, rehearsing for a few days in hotel rooms each time, currently a couple of times a year.

Accent were at Vocalmente, performing on the final night of the festival. Stars, for the meantime within our community; soon, I assume, worldwide. Because they’re so good. And cool. And cute. And fun. And they sing like six gravity-defying supermen, precise as laser surgeons, enthusiastic as eleven year-olds on a roller coaster.

Old Friends

Friday night at the afterparty, I’m schmoozing with my Grammy-winning buddy Bill Hare, and they’re sitting at the next table singing. Accent, these guys we’ve all been watching for hours on YouTube, our jaws dragging on the floor, sitting at the next table, singing for fun. Then Saturday night at the afterparty, they just picked up mikes and started singing in the courtyard of the early XIVc castle for the fun of it. Because they can. For the pure joy of being young and ridiculously talented and good-looking and together with your buddies and making mind-bogglingly good music. This is how good they sounded and looked.

And this is how good their performance on stage was.

But just as much fun was watching them jumping around and whooping and hollering and leading a parade of dancing kids to the front of the stage where The Real Group are performing.

The Real Group — ‘Nature Boy’ (live Vocalmente snippet)

The Real Group — ‘Nature Boy’ (live studio recording)

The Real Group — ‘Monica Vals’ (‘Waltz for Debby) (live Vocalocity snippet)

The Real Group — ‘Monica Vals’ (‘Waltz for Debby) (live 2005)

The Real Group are a Swedish quintet who jumpstarted this community back in the mid-1980s. They are our heroes, as well as our friends. This is what they looked like back when; this is what they look like today.

So one night Accent is dancing (in the rain) with abandon at the feet of their role models, The Real Group. And the very next night, The Real Group is gazing from the audience at these young ‘uns on stage – perhaps not jumping in the air like 25-year olds (except for Peder Karlsson, of course), but gaping speechlessly like the rest of us.

Anders Edenroth, last of the original TRG members still singing with the group, said with pride that Accent had invited him to their hotel room for their rehearsal that afternoon,” a VIP perk”. Accent said with awe that their legendary hero had graced them with his presence at their rehearsal. The passing of the torch, generation touching generation, live and in person in Fossano, Italy.

I’m still floating from the experience. I know that all my a cappella buddies who were there are still floating as well, each back in his own home territory. But we’ll keep in contact through Facebook and YouTube till next time—the Aarhus (Denmark) A Cappella Vocal Festival, AAVF, May 2019, where many of us will meet up again, hug and sing and listen to remarkable new music. And again we will generate a whole lot of unadulterated love, and feel lucky to be part of this wonderful, unique community.

Here are some more postings on related topics (for extra credit):

228: Roger Treece, Achinoam Nini (Noa)/Gil Dor, Vocalocity — ‘Zeh Po, Zeh Mugan’

The Origins of The Real Group and Modern A Cappella — Interview with Peder Karlsson

208: Vocalocity, ‘Is Your Love Big Enough?’

209: The Real Group: ‘Monica Vals’ (‘Waltz for Debby’)

173: The Real Group, ‘Nature Boy’

Aarhus Vocal Festival, 2013

 

Tags: , ,

 
9

160: Smokey Robinson & Aretha Franklin, ‘Ooh Baby, Baby’ (Live)

Posted by jeff on Aug 16, 2018 in Rock, Rock and Roll, Song Of the week

Smokey Robinson & Aretha Franklin, ‘Ooh Baby, Baby’ (Live)

Last week I talked about Smokey Robinson and the Miracles’ ‘Ooh Baby, Baby’ from a very personal angle. But the song just wouldn’t leave me alone (yes, it’s infectious as the bubonic plague), so I did some snooping, and discovered a few things.

One is that Smokey really does have an uncommonly beautiful voice. I knew that was true, but somehow I always wind up absorbed by the gestalt of his recordings, not him as a vocalist per se.

Another is that he’s abused ‘Ooh Baby, Baby’ horribly in a slew of embarrassing glam celeb duets that I very strongly recommend you not listen to: with Lucy Lawless (lawless indeed, there really should be a law against such demeaning appearances); with Ashanti (her plastic singing oudone by her affected hand gestures and ludicrous slinky walk); with Darryl Hall (all forced joviality, carrot-up-the-ass smiles); and even with Linda Ronstadt (whose schlocky 1978 cover of the song made us swoon for years. But neither she nor her treatment have worn well – here her floozy appearance is rivaled in bad judgment only by the stage set, with both Smokey and Linda concentrating more on avoiding tripping and stepping on each other’s toes than on singing the song).

But the discovery that’s been haunting me for days is this one, a spontaneous, honest homeboy and girl moment.  Aretha Franklin (b. 1942) Smokey (b. 1940) grew up in the same Detroit ‘hood, knew each other since forever. Here she’s the featured guest on a TV show called Soul Train, and Smokey’s a guest of the guest. Watch the banter, the comfort and immense mutual admiration. Watch the emcee challenge Aretha live on camera to come up with a Smokey song. Look at the total focus with which she engages the task, bestowing on it both gravitas and the most serious of fun.

Listen to these two remarkable voices, velvet and steel. A magical meeting in a magical song.  It’s not chemistry, it’s alchemy. Their emotion is palpable. As has been mine for these several days now. So will yours.

No matter that they botch the harmony at the end of the second verse. No matter that they omit the third verse entirely. At the beginning of the second verse (3’00” in the clip), Smokey takes the solo in the most transcendent, celestial voice produced by an earthbound human; then Aretha graces it with her blue note ‘mmm-hmm’, and it’s as miraculous as the rising of the sun.

Unrehearsed, glitzless. Watch it and say a little prayer of thanks for being present at the creation.

 

If you enjoyed this post, you may also like:

152: Sam Cooke, ‘A Change is Gonna Come’
116: Van Morrison, ‘Tupelo Honey’
088: Lizz Wright, ‘Old Man’

 
6

120: Sam Cooke, ‘Shake, Rattle and Roll’

Posted by jeff on Aug 9, 2018 in Rock and Roll, Song Of the week

There are a number of artists I admire who to my taste lack a definitive record. I’d like to listen to them, but I just can’t find a really satisfying album that invites repeated visits. Thelonious Monk, whom I admire greatly. Neil Young, whom I begrudgingly admit as being spottily interesting. And this week’s SoTW artist, the great Sam Cooke.

A while back I wrote a SoTW about Cooke’s 1962 Rhythm and Blues classic, ‘Bring It on Home to Me.’ I wrote there about how he’s universally acknowledged  as one of the great singers of popular music. In terms of oeuvre, though, I’ve always been a bit stuck. He has a dozen great pop hits, but how frequently can you listen to them? His gospel music is somewhat beyond my ken. But I’ve often wanted to listen to him more, if I only had something fresh and interesting. Well, folks, I found it. It’s the fine, fine album “Night Beat”, from 1963.

Way you wear those dresses, the sun comes shinin’ through/ I can’t believe my eyes, all that mess belongs to you.

All Music Guide writes: “Saddled with soaring strings and vocal choruses for maximum crossover potential, Sam Cooke’s solo material often masked the most important part of his genius — his glorious voice — so this odd small-group date earns a special recommendation in his discography.” Or as John Sebastian put it so eloquently (as is his wont) in the Lovin’ Spoonful’s “Good Time Music”:

I don’t want no cryin’violins, no sax, no slide trombones

I don’t want no screaming ya-ya girls, and no honkin’English horns

I don’t want no symphony orchestra with the Mormon Tabernacle Choir

All I want is a guitar, a harp and drum just to set my soul on fire.

I get over the hill and way down underneath

The arrangements on “Night Beat” are perfectly perspicuous – tasteful, enhancing, serving the vocalist, but  unobtrusive. They provide a perfect backdrop for a truly remarkable singer.

Nobody Knows the Trouble I’ve Seen’ (which he completely transforms from the hackneyed spiritual to a spot-on, moving personal statement); ‘Lost and Lookin’’, a virtuoso showcase with only a bass for accompaniment; ‘Please Don’t Drive Me Away’; ‘Get Yourself Another Fool’, utterly restrained, utterly passionate, a perfect example of the degree to which Sam Cooke invented the genre of Soul; ‘Trouble Blues’; ‘Fool’s Paradise’, three years after the Mose Allison version; ‘Little Red Rooster’, a hilarious, sexy blues showcasing the organ of 16-year old Billy Preston. Every single cut breathes with presence, immediacy, conviction. They’re just a pleasure to listen to, each and every one.

Big Joe Turner

But the show-stealer, by a whole bushel of black-eyed peas, is good old ‘Shake, Rattle and Roll’. I can see your reaction – sure, Jeff, another old singer from the early 1960s doing another version of that humdrum antique I’ve been bored by hundreds of times already. Okay, I’ll stake my reputation on this one. You listen to this and tell me you weren’t shaking your shaker, bopping your boppers, grinning from ear to ear. I dare you! It’s sparkling, ebullient, irresistible. It’ll make you shake, rattle and roll.

Listen to his Whoa!!! At 2:33. It’s as signature and irresistible as the moptop Beatles shaking their hair and smirking their ‘Yeah yeah yeah’.

Bill Haley

‘Shake, Rattle and Roll’ was originally recorded by Big Joe Turner in February, 1954 (“Everybody was singing slow blues when I was young, and I thought I’d put a beat to it and sing it up-tempo.”), with Jerry Wexler and Ahmet Ertegün singing the response chorus!! The lyrics (and the performance) were too blatantly sexual for White Top 40 air play, so Bill Haley sanitized it for his July, 1954 recording (three weeks after Turner’s version topped the R&B charts). His version is credited as being the first rock and roll song. Well, that’s a slippery slope, but it’s certainly got its bona fides.

One-eyed cat peepin’ in a seafood store–Copyright Alfred Wertheimer

Elvis Presley recorded the song in 1955 (for Sun) and 1956 (for RCA) with the bowdlerized lyrics. Here he is singing the whole shebang, dirty words and all, in about 1956. I’m going to give y’all enough credit as mature adults and not explicate the secret, hidden risqué meanings in the original. But only on condition that you let Sam Cooke get your buns bouncing.

Get outta that bed, wash your face and hands
Well, you get in that kitchen, make some noise with the pots ‘n pans.

 Way you wear those dresses, the sun comes shinin’ through
I can’t believe my eyes, all that mess belongs to you.

I believe to the soul you’re the devil and now I know
Well, the more I work, the faster my money goes.

I said shake, rattle and roll,
Well, you won’t do right to save your doggone soul.

I’m like a one-eyed cat peepin’ in a seafood store
Well I can look at you till you ain’t no child no more.

I get over the hill and way down underneath
You make me roll my eyes, even make me grit my teeth.

If you enjoyed this post, you may also enjoy:

023: Tommy Edwards, ‘It’s All In the Game’

028: Smokey Robinson & The Miracles, ‘The Tracks of My Tears’

048 Sam Cooke ‘Bring It On Home To Me’

 

 

 

Tags: , , , , , ,

Copyright © 2018 Jeff Meshel's World. All Rights Reserved.