Written and Unread*

A vision:

I am reading words written by a dead person. Nothing unusual about this; it’s practically the story of my life. In this case, however, the person who was still living when these words were written is my mother. Words not intended for my eyes, I know.

Or are they?

All these words, something to which my mother could devote her attention; all that available time that required killing to make it pass more quickly—to make it pass, period. All those hours to fill, especially in the days when we did not have five hundred channels to choose from or electronic access to a wide, webbed world. All that boredom, all that solitude, alone with her thoughts, alone with herself. All the unappealing emotions we are better equipped to avoid when we have peace, or at least perspective. All the feelings that ultimately find their way out the only way they can: awkwardly, unabashedly, irrevocably. All those sad songs of uncultivated passions, unexplored options, hours and hours of isolation that turn into tiny eternities. All those entreaties to an indifferent world: equal parts confession and accusation, settling old scores and soliciting understanding—or at least empathy—from people that could never be reached, or were no longer around or who never existed in the first place. All the other people who were busy living while she was busy trying not to die. The dread of nothingness and eventually, the suspicion that a thing which could be so awful was still ending too suddenly.

Who will remember us?

This is the question implicit in all these words, addressed to God, or Nobody or anybody who might be willing to listen. This is the question that cannot be answered except by words and deeds and memories that will occur after you are gone. This is the origin of our primordial impulse to connect and believe we stay associated, somehow, some way, after we are no longer able to interact on human terms. This, perhaps, is what ran through her mind once her eyes closed and she stayed asleep, already in another place, still hoping to apprehend some of the miracles she had or had not happened to miss during her life. This is the final question that, scrubbed of its universal and spiritual covering, asks explicitly and directly: Who will remember me?

***

Starting in the fifth grade, encouraged by a teacher, I began to keep a journal. This practice, initially an assignment, became a compulsion that continued on and off for the next two decades. I seldom feel an urge to revisit these hand-scribbled artifacts, equal parts lack of interest and the likelihood of embarrassment that such necessarily solipsistic exercises would induce. But more importantly, I don’t need to read the words since I remember writing them and can readily recall the circumstances that inspired them.

Journals, as I see them—and utilized them—function as adult versions of diaries, where the purpose is less a regurgitation of events and more a one-way conversation with oneself and, by extension, the world. The act of trying to make sense of life and, by extension, myself, in writing was never intended for other eyes. It served as a self-fulfilling sort of therapy before I even knew what that word meant.

I was not aware, until after she’d died, that my mother kept journals of her own. Knowing her as intimately as I did, I am neither surprised nor am I unable to imagine what themes and concerns inexorably resurface throughout her personal narrative. The catalyst to write, whether it is rooted in an effort to justify or interrogate, is primarily an attempt to get whatever it is on record. Certainly the longing to relate, on a human level, permits us to unburden ourselves, whether this interaction involves friends, spouses or therapists. I know my mother frequently utilized all of these outlets and some of the time it helped. (I’d like to think it was most of the time but I can’t know and I won’t kid myself.) Regardless, she was still compelled to document her hopes, fears and disappointments on paper, and that fact is its own commentary on how reliable she found her various support systems.

I am not especially inclined to read these words. They were not addressed to me, and I am aware that they were intended for an outlet that could not adequately quall her discomfort, then, and no longer exists for her, now. My sister found some of these journals and could not resist the temptation to read them. She was not looking for them; her discovery occurred as part of the aftermath, during the process of going through items my mother left behind. My sister, at that time, wanted a piece of everything my mother had touched, anything she could put her hands on. Predictably, she was unnerved by the experience of reading my mother’s words, an experience that is destined to disappoint because all possibility of responding is eliminated.

I asked my sister the same question I ask myself: Why would you want to read about her fights with us, or our father, her friends, or herself, or the ways she could never quite ameliorate the misgivings she had regarding all those usual suspects: her weight, her career—or lack thereof—the people who disappointed her or the fulfillment that eluded her, or her ongoing, ultimately unsuccessful attempt to reconcile the early loss of her mother, et cetera?

I don’t need to read about those things in part because I saw so much of them as they unfolded in real time. I remain grateful that I was able, as I slouched toward maturity, to be an open ear and ally. Instead of requiring support the way only a child understands, I had the opportunity to reciprocate; to encourage her and listen as often and best as I could. I told her the hard work had already been done, and her efforts and dedication were beyond reproach. All you need to do now, I’d say, is focus on the rest of your life: be a grandmother, develop some new hobbies, and enjoy the peace you’ve struggled to earn. This was, as is the case with most of us—particularly homemakers whose children have left home—a work in progress. Progress was being made, and then cancer came calling.

*Excerpted from a work-in-progress entitled Please Talk About Me When I’m Gone

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Progressive Rock With a Capital P: Traffic’s ‘John Barleycorn Must Die’

One difficulty with talking intelligently about much of the amazing music made in the ‘70s is that it is so often lazily lumped together. Classic Rock, Progressive Rock, Freedom Rock, etc.

This would be okay, or at least tolerable, if these facile generalizations were intended to be laudatory. Too often, they are not, which naturally trivializes the variety and significance of that extended era. More importantly, it shortchanges the historic import of a time when genres and boundaries were, arguably, more fluid and formless (and non-commercial) than ever before or since.

Music and culture were changing at an unprecedented pace as the ‘60s ended, with the margins and mainstream increasingly overlapping. This was when Sly Stone was listening to James Brown (and vice versa), Miles Davis was digging Jimi Hendrix, Ian Anderson invoked Rahsaan Roland Kirk, and Neil Young busied himself creating entirely new categories of music, almost singlehandedly inventing grunge, country-rock and a prototype for the New Depression ethos, all in less than three years.

Perhaps only during this time and in this environment could an album like John Barleycorn Must Die be created. Initially intended to be a solo project, the project wound up ushering in the second reincarnation of Traffic. While the ‘60s albums blended acoustic folk and psychedelia and the ‘70s output featured larger line-ups and sprawling, adventurous compositions, John Barleycorn Must Die is a bit of both, an accidental but brilliant product relaunch.

While he may not have been a household name, Steve Winwood was, circa 1970, at the very top of rock music’s second-tier. Only 18 when he sang the ubiquitous ‘60s single “Gimme Some Lovin’”, his vocals were in the service of the Spencer Davis Group. In his next band, Traffic, he shared the spotlight with Dave Mason. After Traffic splintered, he joined forces with Eric Clapton and Ginger Baker (and Ric Grech) in the uber-supergroup Blind Faith. Perhaps not surprisingly, that collective was a one-and-done affair.

Taking a page out of the Stevie Wonder playbook, Winwood contemplated playing all the instruments himself and making a true “solo” album, tentatively titled Mad Shadows. This would have been impressive for obvious reasons, but in a move shrewd as it was inspired, he turned to two former mates and recruited their services for his new project. Enter drummer Jim Capaldi and multi-reedist Chris Wood and suddenly the second incarnation of Traffic was officially underway.

Six songs, 35 minutes; a short album even by old-school standards, John Barleycorn Must Die manages to pack in plenty of action. There is not a weak song or wasted moment. The first three tunes (Side One for us nostalgic sorts) may not comprise one of the best all-time sides in rock, but certainly one of the most satisfactory. The individual songs are excellent, but the sequence and flow are flawless, with an opening statement, a centerpiece and a reflective, side-closing tour de force.

Album opener “Glad” is an appropriately named jam, jazzy without resorting to noodling, rocking in the right ways and, above all, a showcase for the considerable skills of all involved. Winwood’s (somewhat unheralded) organ playing is supple yet swinging, and Capaldi ably provides a less-is-more panache that is evident throughout the proceedings. The real star (and egregiously unheralded hero of this era) is Chris Wood. His sax work on “Glad” and “Freedom Rider” is as funky and infectious as just about any jazz playing of the time, but his economic style maximizes feeling and eschews any semblance of showboating. When he switches from sax to flute on “Freedom Rider”, his runs are soulful enough to make your head—and ass—shake. This band’s M.O., in short, is very different from the one that made “Dear Mr. Fantasy”. There is a muscular groove that blends rock, R&B and, of course, jazz. The result is an invigorating, effortlessly cool cocktail: progressive rock with a capital P. Nothing else being made at this time sounded anything like this. The album endures due to its unique energy, but mostly because it remains utterly engaging.

The legendary producer Chris Blackwell, who founded Island Records, once described Steve Winwood as “Ray Charles on helium”. While ostensibly amusing, it is also an accurate, possibly even perfect depiction. Considering he was barely into his 20s, it is astonishing how mature, distinctive and convincing Winwood sounds on this set. Take the third song, “Empty Pages”. If slowed down a bit you can almost fancy Ray Charles singing this number. The fact that it’s a diminutive, pasty white Englishman only proves that you can’t judge a bloke by his color. In any event, “Empty Pages” may be Winwood’s finest moment. The organ, the bass lines and, as always, those vocals, melancholy cut with resolve—just a 22-year-old making some of the best music of the new decade.

The second side slows things down a little but the intensity does not abate. Lyrically, “Stranger to Himself” is as relevant today as the hour it was written: “Through his nightmare vision, he sees nothing, only well.” He’s maybe a hippie, perhaps a politician, probably no one in particular, but certainly someone we all know. The title track, a traditional English folksong, is undoubtedly the best known of the bunch—certainly by music fans unfamiliar with Traffic. Winwood’s delivery is somber, and the acoustic guitar and flute flourishes are appropriately stark for this tale of death (and redemption/revenge). The last song, “Every Mother’s Son”, is as ideal a coda as “Glad” is an opening salvo. The organ swells and sharp electronic guitar chords accompany an extremely emotional—and affecting—vocal performance.

This deluxe edition boasts some bonus tracks, which should satisfy completists. The real draw, for aficionados, will be the second disc’s live set, recorded at The Fillmore East in late 1970. The band is certainly locked in, doing these tunes justice before an appreciative crowd, but these versions (inevitably?) are looser and less focused. They are worthwhile, but not nearly as memorable as the original material. The sound quality is sufficiently impressive that anyone who didn’t already pick up the original remaster from 1999 is advised to make the upgrade from the somewhat muffled original pressing.

Winwood was already on a roll. He would carry this momentum into the first part of the decade, and Traffic would follow up John Barleycorn Must Die with another near masterpiece, The Low Spark of High Heeled Boys. As noted, Winwood will never be mentioned in the same sentence as former bandmate Eric Clapton (unless it is to mention that they once worked in the same band), but the fact of the matter is this lesser-known legend was making better music than just about anyone during the earliest days of the prog-rock revolution. He makes a compelling case for his legacy when, in “Empty Pages”, he sings, “I’ve been thinking I’m working too hard / But I’ve got something to show”. He has indeed, and it shines on.

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Freedom Riders

ON THIS DAY

On May 20, 1961, a white mob attacked a busload of “Freedom Riders” in Montgomery, Ala., prompting the federal government to send in United States marshals to restore order.

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Like Ray Charles on Helium…

One of the blogs I take great pleasure in linking to is my man Mark’s delectably named Trotsky’s Cranium, here. There are always worthwhile and insightful nuggets to glean over there (what else would you expect with a name like that?) but I give him major props for posting a piece I would have otherwise missed. Interview Magazine has an amazing interview with Chris Blackwell here. Who is Chris Blackwell, you ask? The founder of Island Records, obviously. Who was associated with Island Records, you ask?  Oh, just a few moderately successful and impactful artists like Steve Winwood (Traffic), Bob Marley and U2. Have I got your attention now? Good.

The interview is great, and Blackwell very obviously is a living encyclopedia of the music scene (British, Jamaican and U.S.): he was on the front lines at the time it was all going down. He was the front lines. And just because the Mighty Upsetter, Lee “Scratch” Perry famously called Blackwell a vampire because of his aggressive (and better funded) business acumen, attention still must be paid to the man who discovered, and promoted, some acts who significantly altered the musical landscape.

There are a couple of indispensable quotes from the article, touching on two of the more beloved musicians Blackwell mentored, Steve Winwood and Bob Marley. Of the former, he has this to say:

BLACKWELL: It was the voice of Steve Winwood—because I loved Ray Charles, and Steve Winwood was like Ray Charles on helium. Because it was the same phrasing, the same drive—it was like blues chords, but there was also just this incredible voice and musicianship. So I signed The Spencer Davis Group. And, at that time, we pretty much managed everyone that we signed, so we managed them. The rock scene was just sort of exploding at the time, with The Beatles and, after that, The Kinks, The Rolling Stones, and The Who. It all just changed. It was like the lights went on in England in the early ’60s, because up until then, nobody you heard on the radio had anything other than a BBC-type voice or accent. It was impossible for anybody with a Cockney accent or a Liverpool accent or a Manchester accent to get on the radio, much less have a decent job. But then, with those bands, that all started to change.

Like Ray Charles on Helium. That is perfect, and by far the best description I’ve ever heard of the diminutive blue-eyed boy wonder. The work he did with Traffic is largely overlooked these days, and it shouldn’t be. John Barleycorn Must Die is one of the great early ’70s rock albums and is, for my money, Winwood’s best work.

Moving on the Marley, this is where the real import of Blackwell’s involvement comes into clear focus. Indeed, it would not be an exaggeration to say that his destiny was to be the prime mover in terms of parlaying Marley’s raw genius into a more accessible vehicle. It took a while to take off, but the perfection of Catch A Fire (Marley’s first real exposure outside of Jamaica) simply was impossible to overlook. The album’s title was certainly prophetic, and one envies Blackwell’s mere involvement with the incendiary proceedings:

So they came around and picked me up and took me to the studio and played me some of the songs. The first one I heard was “Slave Driver,” and I remember it particularly because, firstly, I was excited that they had recorded anything. So I was really encouraged. It had this great kind of bass line. The second line of the song says “catch a fire,” and, you know, I remember thinking right there, Wow, if this record is good, then that’s the title of the album.

Blackwell does not have much to say about U2; he signed them (and that speaks volumes) but he admits he had little to do with their success. Rather he focuses on the one act he hoped, and expected, to break through: the amazing Jacob Miller:

First of all, after Bob, somebody who I felt could have been a big star was Jacob Miller. Bob basically became a rock star in Jamaican music, and Jacob, I felt, could have done the same. He was a big guy, but an incredible personality. Incredible. I mean, I have a picture of Bob and Jacob and myself standing in front of a plane, and you look at it, and you would say that Jacob is the biggest star there without any question. He just had that presence. But then he was killed in a car crash, and things ended before they began.

There is more where that came from.

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