"Ill Fly Away" - Gillian Welch and David Rawlings (2011)

I first posted this a few years ago. It's such a beautiful performance of the old standard that it deserves to be posted again. I listen to this one often in the car. Sue will have to tell you about me driving over the mountains one foggy and rainy night, singing this song and trusting in the Lord to take us home! She made me stop and get a motel room, which only led me to question her faith; and earning me no points at all....

Gillian Welch is one of the modern gospel singers who, along with guitarist, and real life partner David Rawlings; have been keeping that good old time gospel music alive for the past decade, or so. They are part of an independent music scene that increasingly draws upon the resources of our American past, particularly the so-called Appalachian sound, borne of the poverty and hopelessness of the Great Depression.

The main thing which attracts me to this type of music is that it is easily played by just about anyone with a guitar; including me. With just a few simple chords, the amateur guitarist can soar with the angels. Watch David Rawlings on the solo and see how he is at one with his instrument. That's an old 1936 National guitar and he never plays anything else that I've seen. And his sound and approach to music are as unique as that guitar.

Music is a balm which soothes the soul. And gospel music is one of the main roots to American music in general; even being somewhat of the basis for jazz; and certainly the father of rock and roll. I like playing this song- it relieves me of my troubles and pains. Sometimes music can transport you beyond this world and all of its shortcomings, hinting at a better place. Kind of like Judy Garland and “Somewhere Over the Rainbow.” It’s all about hope. 

"Jerry Lee Lewis" by Rick Bragg (2014)

The first time I ever saw Jerry Lee Lewis was in Virginia Beach. It was about 1980; just after the “Killer” had been stricken with bleeding ulcers. It was at a small venue; a place with tables. I had one only a few feet from the small stage. He did a short set with the band and then dismissed them from the stage and offered to take requests.

I was quick to call out for some Webb Pierce. Just as quickly he looked at me and said, “You’re too young to know Webb Pierce!” It was like an accusation on his part, but then he grew thoughtful; fingers roaming the keys of the piano; and said, “I can’t drink anymore, but I sure do love to sing about it!” Then he launched into a wonderful barrel house piano version of “There Stands the Glass.” When he was through playing it he looked at me and asked, “How’d I do, son?” I do not recall my reply; probably because I was speechless.

Now, author Rick Bragg has written a biography of Mr. Lewis which most likely will serve as his oral autobiography; much in the same way that Merle Miller’s “Plain Speaking” serves as Harry Truman’s. Mr. Bragg spent 2 years with Mr. Lewis while writing this book; sometimes in the entertainer’s bedroom; which is equipped with a locking metal gate. The author doesn’t tell us whether or not the gate is there to keep the imaginary demons out; or the real ones inside. At any rate, this is where Mr. Lewis spends some of his time when not touring. (He was still performing on a limited basis until a year or so ago.)

Along with Jerry Lee’s own story; and the demons which haunt him; Mr. Bragg has given a good history of Ferriday and Louisiana in general. He describes it as a hard place; and as a southern boy himself he recognizes the dichotomy between religion and reality. He understands why Jerry Lee worries that playing rock and roll may exclude him from Heaven. It is only through his strong belief in the forgiveness of Jesus Christ that he manages to hold on these days.  He is; after all is said and done; the cousin of Jimmy Swaggart; an evangelist of note, if not an entertainer in his own right.

The book has a surprising humanity to it, given all that one associates with Jerry Lee Lewis and the Devil’s music. And Rick Bragg is just the right person to put it all done on paper. The conflict he feels with the talent God gave him to play rock and roll; or what just may be “the devils music” after all; worries him. It is plainly apparent that he comes from a place of ghosts, some of which haunt him. But at the same time he makes no apologies for who he has been and what he has done. He would; he believes; have done it differently now, but acknowledges freely that he probably wouldn’t. He’s a walking contradiction.

Rick Bragg does an excellent job in conveying the true essence of Jerry Lee Lewis; the original “bad boy” of rock and roll. He was there at the beginning and is still around today; at a time when most of his colleagues, and rivals, are gone. He is; as they say; the last man standing. He’s had health troubles; women troubles; financial troubles; you name it. He’s buried wives and children; been to the top of the pops and then down to playing cheap bars and clubs; then back up again, several times.

He’s been counted out as many times as Keith Richards; yet he’s always bounced back.  At 79 years of age; his body is ravaged by pain and he can only sit or stand in any one position for a few minutes at a time. But, recently married in 2012 to his longtime friend and recent caregiver; Judith Ann Coghlan; 14 years his junior, he is still rocking his life away.

"Just a Closer Walk with Thee" - Patsy Cline (Live)

For a Jewish kid I sure love gospel. There is nothing like careening down the road; or up one for that matter; on a blind curve singing about Jesus and just feeling good. Like I said, for a Jewish kid this is probably not quite kosher; or normal.

My love for the music comes from 2 places; the transistor radio I constantly had at my side; especially at night; and the history I read about slavery and the Negro Spirituals. Those 2 things are the most to blame for my passion for gospel music. Plus it just makes you feel really good.

Hank Williams took gospel to a whole different level; as did James Brown and Jerry Lee Lewis. It morphed into rhythm and blues and then rock and roll. But it all began with the gospel music. And gospel music came from the African-American Diaspora; which began in Africa when the first slave was either abducted or sold into slavery.

The ancient rhythms and chants of the slaves became the field hollers and spirituals of the Caribbean plantations, and later the pre-Civil War Era. During Reconstruction the music spread up the Mississippi River; with each port adding its own flavor.

But all that has little to do with this song and Patsy Cline. Not sure what year this is from, but it is obviously the audio from a radio show in the late 1950’S. Patsy Cline performed this song a score of times on the radio; and even on television. There was just one hitch; she did it differently each time. Sometimes slow; sometimes fast. Blues; or up tempo. This was her true artistry as an interpreter of songs. And this version is one of my favorite gospel songs.

Just a Closer Walk with Thee

I am weak but Thou art strong

Jesus keep me from all wrong

I'll be satisfied as long

As I walk, let me walk close to Thee

Just a closer walk with Thee

Grant it Jesus, is my plea

Daily walking close to Thee

Let it be dear Lord, let it be

When my feeble life is over

Time for me will be no more

Guide me gently, safely over

To Thy kingdom shore, to Thy shore

Just a closer walk with Thee

Grant it Jesus, is my plea

Daily walking close to Thee

Let it be dear Lord, let it be

"Plastic Jesus" - Cool Hand Luke

Everyone remembers the scene from Cool Hand Luke when Luke comforts himself on his mother’s old banjo after she has passed away. The story behind the song is kind of interesting, so I thought I’d share it with you.

The song is not as old as most people would think. In the film it is portrayed as an old gospel tune, but in reality it was only about 4 years old at the time. It was written as a joke to parody gospel music and came in many variations. The original credit for the song, as far as I can ascertain, is due to a man  named Ernie Marrs, who was born in 1932,  passing away in 1998.

Marrs wrote the song for the magazine “Sing Out” in 1964, and from there it took on a life of its own. But when Luke sang his version in the film “Cool Hand Luke”, the song was taken to be an old gospel tune. From such bits of misinformation, legends are born. Other sources credit Ed Rush and George Cromarty with the initial concept of the parody.

Since it is Sunday, I thought I’d run a bit of pseudo-gospel along with the back story and a whole bunch of the various lyrics which have cropped up over the decades since the song was first conceived. 

Some of the verses were undoubtedly written after consuming a bit of “white lightning” and I bear no responsibility for their content. I imagine that most of these were lyrics sung at the bar with the guys on Saturday night, while the wife was home getting ready for church in the morning.

Plastic Jesus (Variable lyrics)

Well, I don't care if it rains or freezes,

Long as I have my plastic Jesus

Riding on the dashboard of my car

Through all trials and tribulations,

We will travel every nation,

With my plastic Jesus I'll go far.

CHORUS

Plastic Jesus, plastic Jesus

Riding on the dashboard of my car

Through my trials and tribulations,

And my travels thru the nations,

With my plastic Jesus I'll go far.

I don't care if it rains or freezes

As long as I've got my Plastic Jesus

Glued to the dashboard of my car,

You can buy Him phosphorescent

Glows in the dark, He's Pink and Pleasant,

Take Him with you when you're travelling far

I don't care if it's dark or scary

Long as I have magnetic Mary

Ridin' on the dashboard of my car

I feel I'm protected amply

I've got the whole damn Holy Family

Riding on the dashboard of my car

You can buy a Sweet Madonna

Dressed in rhinestones sitting on a

Pedestal of abalone shell

Goin' ninety, I'm not wary

'Cause I've got my Virgin Mary

Guaranteeing I won't go to Hell

I don't care if it bumps or jostles

Long as I got the Twelve Apostles

Bolted to the dashboard of my car

Don't I have a pious mess

Such a crowd of holiness

Strung across the dashboard of my car

ALT CHORUS

No, I don't care if it rains or freezes

Long as I have my plastic Jesus

Riding on the dashboard of my car

But I think he'll have to go

His magnet ruins my radio

And if we have a wreck he'll leave a scar

Riding through the thoroughfare

With his nose up in the air

A wreck may be ahead, but he don't mind

Trouble coming, he don't see

He just keeps his eyes on me

And any other thing that lies behind

ALT CHORUS

Plastic Jesus, Plastic Jesus

Riding on the dashboard of my car

Though the sun shines on his back

Makes him peel, chip, and crack

A little patching keeps him up to par

When pedestrians try to cross

I let them know who's boss

I never blow my horn or give them warning

I ride all over town

Trying to run them down

And it's seldom that they live to see the morning

 ALT CHORUS

Plastic Jesus, Plastic Jesus

Riding on the dashboard of my car

His halo fits just right

And I use it as a sight

And they'll scatter or they'll splatter near and far

When I'm in a traffic jam

He don't care if I say Damn

I can let all sorts of curses roll

Plastic Jesus doesn't hear

For he has a plastic ear

The man who invented plastic saved my soul

ALT CHORUS

Plastic Jesus, Plastic Jesus

Riding on the dashboard of my car

Once his robe was snowy white

Now it isn't quite so bright

Stained by the smoke of my cigar

God made Christ a Holy Jew

God made Him a Christian too

Paradoxes populate my car

Joseph beams with a feigned elan

From the shaggy dash of my furlined van

Famous cuckold in the master plan

Naughty Mary, smug and smiling

Jesus dainty and beguiling

Knee-deep in the piling of my van

His message clear by night or day

My phosphorescent plastic Gay

Simpering from the dashboard of my van

When I'm goin' fornicatin

I got my ceramic Satan

Sinnin' on the dashboard of my Winnebago Motor Home

The women know I'm on the level

Thanks to the wild-eyed stoneware devil

Ridin' on the dashboard of my Winnebago Motor Home

Sneerin' from the dashboard of my Winnebago Motor Home

Leering from the dashboard of my van

If I weave around at night

And the police think I'm tight

They'll never find my bottle, though they ask

Plastic Jesus shelters me

For His head comes off, you see

He's hollow, and I use Him for a flask

ALT CHORUS

Plastic Jesus, plastic Jesus

Riding on the dashboard of my car

Ride with me and have a dram

Of the blood of the Lamb

Plastic Jesus is a holy bar

There is nothin that is cuter

than a smilin Jolly Buddha,

Ridin on the dashboard of my car,

I don't have no idol cuter,

comes in plastic, bronze and pewter,

Take him with me when I go afar.

Jolly Buddha, fat and squattin,

on a pad of aspirin cotton,

He's with me wherever I may roam,

When it's late and I start to hurry,

I know he ain't gonna worry,

He looks at me and all he says is, "Oooommmmmmm."

There is nothing that is gaucher

Than eatin food that isn't kosher,

Right in front of my smilin Moses' face,

I'm afraid that he'll awaken

When I'm eatin ham or bacon,

And throw them Ten Commandments in my face.

I don't care if I'm broke or starvin'

As long as I've got a fish named Darwin

Glued to the trunklid of my car

God, I'm feeling so evolved

Drivin' with my problems solved

Proclaiming what I think of what we are

Riding home one foggy night,

With my honey cuddled tight,

I missed a curve and off the road we veered.

My windshield got smashed-up good,

And my darling graced the hood.

Plastic Jesus, He had disappeared.

Plastic Jesus! Plastic Jesus,

No longer chides me with His holy grin.

Doctors in the X-ray room

Found Him in my darling's womb.

Someday, He'll be born again!

I don't care if it rains or freezes

Long as I got my plastic Jesus

Riding on the dashboard of my car

He's the dude with the rusty nails,

Walks on water, don't need no sails

Riding on the dashboard of me car

I don't care if the night is scary

As long as I got the Virgin Mary

Sittin' on the dashboard of my car.

She don't slip and she don't slide

Cuz her butt is magnetized

Sittin' on the dashboard of my car.

Now I'm feeling quite contrary,

cos I got the Virgin Mary

Sitting on the dashboard of my car

There's no room for imperfection,

in my Catholic collection

Which sits upon the dashboard of my car

Jesus, Mary and St. Patrick,

now I've got the holy hat-trick

Sitting on the dashboard of my car

One more statue I've got to get

is the plastic Bernadette

Sitting on the dashboard of my car

Plastic Jesus, you've got to go,

your magnet's burst my radio

Sitting on the dashboard of my car

But I, won't lose faith and I won't lose hope

cos, now I've got a pope on a rope

Swinging from the dashboard of my car

Once as I drove to Knock,

at a petrol station I got a shock

at the special offers that they had for me

20 more points and I can barter for a Jesus with stigmata

to sit upon the dashboard of my car.

Reverend Dorsey - Father of Gospel Music

Tommy always loved music. Born in 1899, he displayed an early and keen interest in the songs he heard played in church, and even at home. Eventually he would make it to Chicago and study at the Chicago College of Composition and Arranging, but before that he was playing piano in a vaudeville act. After his graduation from the College, he became a fairly well known jazz pianist, playing under the name of Georgia Tom. This was prior to the 1920’s, when Tommy gave his life to Jesus. He was 22 years old at the time.

Leaving the jazz clubs behind him, he began his career as a composer, writing gospel songs. He also became a director of church music, meaning that he wielded great influence over which gospel songs were disseminated to the many churches across the country.

By the 1930’s; whether by design or co-incidence, Tommy had become the Reverend Dorsey; leading a flock of his own. It was during a service in 1932 when his life took a tragic turn. While preaching to the congregation he was approached in the pulpit by a church member who handed him a telegram informing the Reverend that his wife had died in childbirth. Within 24 hours he would also lose his newborn child. He began to doubt his faith in God and fell into a deep depression, vowing to never write another gospel song. But someone had other plans for Reverend Tommy.

Within a week of the events described above, the Reverend was seated at a friend’s piano, and realizing that he was now all alone in the world, wrote the song that would change his life, and influence gospel music in such a way that Tommy would someday become known as the “father” of modern gospel music. Finding his place on the keyboard, he began the familiar chords of an 1844 hymn by George N. Allen, titled “Maitland”. This melody would become the basis for the words of the song he was about to write.

Enveloped by what he would later term a “perfect peace”, he wrote the lyrics in a matter of minutes; with the words coming to him all at once. That song would become the iconic gospel hit “Precious Lord, Take My Hand”, which has been published in 40 languages and become a staple of the gospel music scene. It has been recorded by everyone from Mahalia Jackson, B.B. King, Little Jimmie Dickens, Al Green, Ike and Tina Turner, Merle Haggard, Elvis, and even Jimmy Durante. The song has also been featured in films such as “Cool Hand Luke.”

The song not only restored  the Reverends faith in God;  but it also prompted him to write many more gospel songs, including “Peace in the Valley”, which was recorded by the Sunshine Boys in 1951 and became the first gospel song to sell over one million copies.  

Precious Lord Take My Hand by Reverend Thomas A. Dorsey  (1932)

Precious Lord, take my hand,

Lead me on, let me stand,

I am tired, I am weak, I am worn;

Through the storm, through the night,

Lead me on to the light:

Take my hand, precious Lord,

Lead me home.

When my way grows drear,

Precious Lord, linger near,

When my life is almost gone,

Hear my cry, hear my call,

Hold my hand lest I fall:

When the darkness appears

And the night draws near,

And the day is past and gone,

At the river I stand,

Guide my feet, hold my hand.

"Let It Be" - The Beatles (1970)

On January 31, 1969 the Beatles, along with organist Billy Preston, recorded the first complete version of “Let It Be.” Written by Paul McCartney in memory of his mother, who was named Mary, the song is about   her, and her death from cancer in 1956, when McCartney was about 14 years old. 

The song was composed after he had a dream about her; of which he said; "It was great to visit with her again. I felt very blessed to have that dream. So, that got me writing “Let It Be." He had interpreted the dream as being about the problems the Beatles were having as a group and he felt that his mother was telling him that, "It will be all right, just let it be."

The song was first recorded by The Beatles, but was first released by Aretha Franklin in January 1970; one year after it was recorded by the band; but still several months before it would be released on The Beatles own album. The reason for this was that the “Let It Be” album got hung up in legal disputes, resulting in its being released after the band’s last album, “Abbey Road”, which was recorded in the summer of 1969 and released in September. Many people still think that “Let It Be” is The Beatles final album, but that is incorrect.

This song has been recorded by hundreds of artists over the years; including a wonderful rendition by Ray Charles; but this version, with its very personal connection to the singer/songwriter will always ring the truest in my ears.

The song itself is about surrendering to a higher power; one that will help make things right; if you will only have faith and “Let It Be.” And, sometimes, in our lives, when we are confronted by the roiling waters of the rapids that beat all about us, that is all we can do. 

Sunday Music - The Grand Ole Opry (1956)

When I was kid I always heard of this far-away place called Nashville and the Grand Ole Opry. I also had a sense that I was missing out on something that was not only different, but perhaps even better than the more staid variety shows which emanated out of New York, or even Los Angeles.

In this show from the Ryman Auditorium; which was broadcast on April 18, 1956; the cast includes Carl Smith as host, with guests Buddy Ebsen; before Jed Clampett; Chet Atkins, Collins Kids, The Jordanaires; just before the Elvis madness; June Carter; before Johnny Cash; Lester Flatt and the recently departed Earl Scruggs, with comedienne Minnie Pearl, and a few others.

The show may be irritating to some; there are people who will find this show to be annoying. I find it interesting in several ways. It’s a visual record of what was funny to middle America during the 1950’s,; and as such helps to explain the politics and culture of the times. It was; mainly; still an agricultural society, and the entertainment that the people in the rural communities may not have been as sophisticated as that of the slicker network shows; but there is something very personable, and almost noble in these shows.

These were hard working, mainly unschooled folks, who made their own everything; including entertainment. And eventually, as Elvis and Carl and Johnny, along with Jerry Lee Lewis, broke the barriers separating the entertainment business, they became us and we became them. By that I mean that this is where it all began in popular music as we know it today. These are the roots of our modern day culture; even the various reality shows’ and American Idol took something of their formats from these seemingly unsophisticated shows.

I originally was going to post Hank Williams doing “I Saw the Light”, but the powers that control such things made the video not downloadable. It’s too bad for them, and good for me. Because without the inability to show the Hank Williams video, I would never have stumbled across the many other Grand Ole Opry shows  that are downloadable.

I don’t expect that many of my fellow Americans will enjoy this type of show anymore. It will probably get more hits out of Europe, where traditional American music is still revered. 

"I Want to Sing that Rock and Roll" - Gillian Welch and David Rawlings

I’m thinking of making Sunday a day for gospel music; and while I’m thinking about it; I can think of no better representatives of the modern gospel scene than Gillian Welch and David Rawlings, whom I featured here last week singing “I’ll Fly Away”.

Gospel music is often mistaken as simply being songs about Christianity; but, as a Jewish kid from Brooklyn; I can tell you honestly that there is so much more to gospel music once you scratch the surface. Gospel music transcends not only the troubles of this world; promising something better beyond the present; it also bridges the differences between us all with its themes of sorrow, redemption and joy. It’s like listening to Hank Williams “singing” his pain. It lifts you up just hearing him get the pain out. Like the blues.

In this song the emphasis is on wanting what you don’t have, and feeling left out. It speaks of peer pressure, and reluctant change; “everybody’s been making a shout, so big and loud, drowning me out….” The singers want to lay down their old guitars and pick up new electrified instruments. They are weary of trying to be heard above the din. I think we have all felt this way at one time or another when confronted with change. Because sometimes change doesn't feel like progress at all.