Anniv. of Civil War’s Start: Elvis’s American Trilogy

Fort SumterOn April 12, 1861, the first shots of the American Civil War were fired. In the early morning hours at 4:30 a.m., Confederate soldiers opened fire on the Federal Government’s Fort Sumter in Charleston Bay, South Carolina.

The state of South Carolina had seceded from the United States in December 1860 soon after Abraham Lincoln was elected president. By the time he took office in March, the situation at Fort Sumter was nearing a crisis and seven states had seceded.

Once the bombardment of Fort Sumter began on the morning of this date, it continued for 34 hours. And, on April 13 U.S. Major Robert Anderson surrendered the fort to Confederate General P.G.T. Beauregard.

According to David Herbert Donald in the book Lincoln (1995), during the weeks between Pres. Lincoln’s inauguration and the first shots at Fort Sumter, the president was physically exhausted by stress. But there was some relief after this date. Because the first shots were fired by the Confederates, the rebels now had the burden of starting the war, not the North.

And after the first shots of the Civil War, Lincoln’s choices became clearer. Two days later, Pres. Lincoln issued a proclamation calling for volunteer soldiers. Within a week, Virginia voted to secede, and more states followed. The war would rage for the next four years.

Perhaps no song in recent history has attempted to encapsulate the Civil War era like “An American Trilogy,” a song that Elvis Presley performed regularly in concert toward the end of his life. The song was actually three popular American songs arranged by Mickey Newbury. It begins with the unofficial Confederate anthem “Dixie,” followed by the African-American spiritual, “All My Trials,” and closes with “The Battle Hymn of the Republic,” the Yankee marching song.

What is the meaning of “An American Trilogy”? Paul Simpson’s The Rough Guide to Elvis notes that Mickey Newbury’s original intent is unclear, as the combination could have been about America’s lack of innocence or been intended ironically in reference to Pres. Nixon and the Viet Nam War.

For Elvis, “An American Trilogy” might have been about patriotism. But Charles Reagan Wilson wrote in Judgment and Faith in Dixie (1997) that Elvis’s “slow, reflective, melancholy” performances of the song in the 1970s “suggested an emotional awareness of the complex past of regional conflict and Southern trauma.”

In his excellent book Mystery Train (1975), critic Greil Marcus considered “An American Trilogy” to be Elvis’s attempt to combine all aspects of America and bring everyone together in a fantasy of freedom. But Marcus believed that Elvis’s song failed in that goal because the lack of complexity in the song creates “a throwaway America where nothing is at stake.” (p. 124.) For example, Marcus claimed, “There is no John Brown in his ‘Battle Hymn,’ no romance in his ‘Dixie,’ no blood in his slave song.”

Maybe Marcus wants too much out of a four-minute song. Yes, the song is gaudy in its performance, and Elvis’s jumpsuit is a long way from the soldiers and slaves. But as discussed in another Chimesfreedom post, John Brown is inherent in “Battle Hymn,” just as the romance is inherent in “Dixie,” and as blood is inherent in the dying in “All My Trials.”

There is another layer of confusion regarding the meaning of the song today because Elvis sings it. And Elvis, especially since his death, has become a complex American icon, as some consider him a revolutionary, some call him a thief, and some see him as a fat man steeped in excess. Yet perhaps the contradictions of Elvis, like the contradictions of the song, are the only way you can try to sum up the Civil War, in particular, and the complexity of America in general.

Finally, one additional complication is that what Newbury and Presley apparently thought was an African-American spiritual, was not. Many today believe that the center of the trilogy, “All My Trials,” which is also sometimes called “All My Sorrows,” has somewhat muddled origins. Many current scholars believe that the song was assembled from fragments of existing songs in the 1950s and set to the music of a lullaby from the Bahamas to make it sound like a traditional spiritual.

Newbury and Presley were not the only ones who thought it was an actual slave spiritual. In the 1950s, music critic Nat Hentoff wrote that it came from an African-American song, and in the 1960s, Joan Baez and others referred to the song as a slave spiritual.

So, there are more questions in “An American Trilogy” than answers. But on a day that started the deadliest war in our nation’s history, I prefer the people with questions over the armed generals who think they have the answers.

Bonus American Trilogy Version: For you Celebrity Apprentice fans, here is Meat Loaf singing “American Trilogy” at a 1987 tribute to Elvis Presley.

What do you think is the meaning of “American Trilogy”? Leave a comment.

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    American Idol & the Curse of “River Deep, Mountain High”

    Ike and Tina Turner, River Deep Mountain HighLast week’s American Idol shocked viewers when Pia Toscano went home in ninth place. There are various theories about why the audience did not vote for the excellent singer, who reportedly will come out okay with a new record contract anyway. Perhaps voters felt confident that Toscano would advance and so did not vote for her. Some have argued that this season’s judges — without Simon Cowell — are praising everyone to the same degree, so the judges do not help viewers distinguish the wheat from the chaff. There is another possibility: Maybe Toscano lost because of her divisive song, “River Deep, Mountain High.”

    “River Deep, Mountain High,” originally by Ike and Tina Turner with a Phil Spector production, is both loved and hated. Some see it as one of Phil Spector’s last great songs, while others see it as overblown crap. Rolling Stone magazine recently listed it as number 33 on the “500 Greatest Songs of All-Time,” as ranked by people in the music industry and updated last year. But in The Heart of Rock & Soul (1989), critic Dave Marsh did not even list the song among the top 1001 singles every made. He explained that the song is not on his list “because it sounds to me like a muddle, an album’s worth of sounds jammed onto one side of a 45, with a little girl lyric that completely contradicts Tina Turner’s true persona as the Queen of R&B Sleaze.” (p. 545.)

    When “River Deep, Mountain High” was released in 1966, critics gave it mixed reviews. The song went to number 5 in the U.K., but on the other side of the pond, it flopped and only went to number 88 in the United States. As one critic later reasoned, “The general consensus in America was that the record was too black for white radio stations to play, and too white for the black stations to play.”

    Even the recording of the song was divisive. Tina Turner noted that working on the song was like “carving furniture.” One of the songwriters threw the finished acetate across the room in disgust. In her autobiography, singer Darlene Love described the sessions as “a miserable experience,” adding that only Phil Spector was happy with the results. The now-incarcerated Phil Spector later explained that “River Deep, Mountain High” “was like my farewell. I was just saying goodbye, and just wanted to go crazy, you know, for a few minutes—four minutes on wax, that’s all it was. I loved it, and enjoyed making it, but I didn’t think there was anything for the public.” After the disappointing public reaction to the song, Spector went into early retirement and into his decline with personal demons.

    So maybe when Pia Toscano sang the song on American Idol, the haunted song was too much for the public. Or maybe some viewers did not like her singing a song unfortunately associated with men like Phil Spector and Ike Turner. I do not know if the song choice had anything to do with the American Idol elimination. I just know I am in the camp that loves the music. Every time I hear it, it gets stronger in every way.

    Bonus “River Deep, Mountain High” Versions: Although Ike Turner is listed with his wife on the original recording, Darlene Love later recounted that he had nothing to do with the sessions for the song. Tina Turner later recorded another version of “River Deep, Mountain High.” In addition to the American Idol Pia Toscano version, there is a recent Glee television show version. Both do a good job, and it is great to see the song still appearing in mainstream performances, but neither rivals the original Tina Turner version. As far as I can tell, the song only appeared on American Idol once before. Amanda Avila sang it when she was in the top 16 during Season 4 (2005). The judges did not love her performance. And, like Pia Toscano, she was eliminated after her performance of the cursed song.

    [May 2012 Update: During the 2012 season, Hollie Cavanaugh sang “River Deep, Mountain High” when she was among the five finalists. Perhaps she broke the curse, as Skylar Laine, not Hollie, was sent home after that show. Hollie was in next-to-last place.]

    What do you think of “River Deep, Mountain High”? Was Pia Toscano’s elimination the most surprising ever on American Idol? Leave a comment.

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    Best Gospel Songs By Pop Singers (Part 1): Nearer & Pressing

    Bob Dylan Slow Train Coming It has been awhile since I spent a Sunday in church, and the last time I visited, the preacher spent more time talking about politics than about faith. But I do love to hear beautiful gospel songs. You do not need to be religious to open yourself up to these songs, which at the heart, are really love songs. In this three-part series, we are discussing the Best Gospel Songs by Pop Singers. We start off with songs by Sam Cooke and Bob Dylan.

    Nearer to Thee, Sam Cooke

    Yes, I’m cheating. The Soul Stirrers were a gospel group.  But this song is featured because their lead singer Sam Cooke, who is one of my favorite singers, went on to popular secular success on his own.

    The song builds gradually with the hypnotic background vocals and Cooke’s fantastic voice. On this recording you can hear Cooke gradually working up the crowd, slowly, slowly, building . . . building . . . building . . . toward release and salvation. Beautiful.

    Although Cooke recorded many great popular songs as a secular artist, few reached the intensity of “Nearer to Thee.” The one secular song that reaches a similar frenzy is his live version of “Bring It On Home to Me,” available on One Night Stand: Live at the Harlem Square Club 63.

    Pressing On, Bob Dylan

    I was too young to notice when Bob Dylan first became a phenomenon, but I do remember when everyone was surprised that he became a born-again Christian in the late 1970s. His music from this period includes a number of outstanding original gospel songs, including “Gotta Serve Somebody.”

    One song from this period that is less well-known than some others is “Pressing On.” As Sam Cooke did in “Nearer to Thee,” Dylan effectively uses repetition. He repeats “I’m pressing on” throughout the song to provide a hypnotic quality not unlike a moving church service.

    Here is the version of “Pressing On” by John Doe that was featured in the very good movie “about” Bob Dylan, I’m Not There (2007). Doe, founder of the punk bank X, does an excellent cover.

    In this scene, Christian Bale does a great job of playing the singing Dylan and capturing the hypnotic nature of the song. Critic Greil Marcus wrote that the Doe-Bale combination is the place where the song found its voice. (“Themes from a Summer Place,” New West, July 28, 1980).

    Another great gospel song by Bob Dylan, and perhaps his greatest, is “Every Grain of Sand.” For other great gospel songs by popular artists, check out upcoming posts in this series of Best Gospel Songs by Pop Singers. ..

    What are your favorite gospel recordings by popular artists? Leave a comment.

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    MLK Shot This Morning, er. . . Evening

    U2’s powerful song “Pride (In the Name of Love)” commemorates this date in 1968 when Dr. Martin Luther King Jr. was shot and killed on a balcony outside his room at the Lorraine Motel in Memphis, Tennessee. Dr. King was in town to support striking sanitation workers, and the day before he had given his famous “I’ve Been to the Mountaintop” speech.

    U2’s song, which was from The Unforgettable Fire (1984) album, recounts the assassination:
    U2 Unforgettable Fire
    Early morning, April 4
    Shot rings out in the Memphis sky
    Free at last, they took your life
    They could not take your pride

    The shooting occurred at around 6:01 p.m. on this date, so why does “Pride (In the Name of Love)” refer to “early morning”? I have seen various explanations.

    Some wondered whether at the time of the shooting, the band was in Dublin.  In that city, the time is six hours later than Tennessee time, making it just after midnight and “early morning” in Ireland. But then the date for them would have been April 5, and the song still has the correct Tennessee date of April 4.

    The time change could have been poetic license, but most likely it was an error.  Perhaps the error occurred due to Bono’s memory of when he heard the news.

    Sources note that Bono eventually recognized the mistake years later and began singing “early evening” instead of “early morning.” For example, in U2’s performance at the 2009 concert to celebrate the inauguration of Pres. Obama, Bono sang the “early evening” lyrics.  Most recently, on U2’s Songs of Surrender release of new recordings of old songs including “Pride (In the Name of Love),” Bono again used the “early evening” line.

    This energetic Chicago performance also uses the historically accurate time of day starting at around the 2:15 mark:

    John Legend recorded a moving version of “Pride (In the Name of Love)” for King (2008), a series on the History Channel. His version, which also appears on the CD Yes We Can: Voices of a Grassroots Movement, is less bombastic than the U2 version, but it is still powerful.

    Legend replaces the “early morning” line with the words “late afternoon.”  Thus, he gives us a third time option in the lyrics to “Pride (In the Name of Love).” Check it out, with the time of day mentioned at around the 2:20 mark.

    Unfortunately, I listened repeatedly to the U2 albums The Unforgettable Fire (1984) and Rattle and Hum (1988).  So,I always expect to hear “early morning” as in the original music video.

    Either way, it is still a great song about a great man. And, the time of day Martin Luther King, Jr. was killed is much less important than what he accomplished in his life in the name of love.

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    Buddy Miller’s Majestic Silver Strings (CD review)

    Buddy Miller Majestic Silver StringsI love Buddy Miller’s music, and I love Bill Frisell’s jazz guitar playing. So when I heard they were working together, along with guitarists Marc Ribot and Greg Leisz, and singers that included Patty Griffin and Julie Miller, it did not take me long to plop down my money for the CD, Majestic Silver Strings. I own all of Buddy Miller’s eight albums, and I admire his other work too. This new album, released earlier this month, continues his excellence.

    In recent years, as Buddy Miller has worked on producing other artists and backing them up, he has not released as much of his own music as he otherwise might. But he continues to make great music, and this new album is no exception. Majestic Silver Strings differs from his other albums by adding a large number of guests and a more atmospheric sound from the excellent guitarists on board, but it is still great music. While some versions of the songs stay close to their country roots, other versions stray further from traditional country, such as the outstanding reworking of Roger Miller’s “Dang Me” by Chocolate Genius that gives the song new force and power over its humorous roots. The album is full of excellent music, no matter how you label it. But you will not hear this album on most commercial music radio stations, which generally ignore the great work done by both Miller and his wife, Julie Miller.

    Majestic Silver Strings features covers of a number of classic country songs — such as “Cattle Call” and “Bury Me Not On the Lone Prairie” — as well as some originals. While there is an emphasis on the instrumentation, there are also excellent vocals by Buddy Miller along with Patty Griffin, Julie Miller, Shawn Colvin, Emmylou Harris, Lee Ann Womack, and Ann McCrary. Because of the number of guest artists, Majestic Silver Strings is in many ways more like a tribute album than a one-artist album. So like most tribute albums, there are a variety of sounds from song-to-song. Sometimes that works on albums and often it does not, but here the excellent musicians throughout make this album more cohesive than many other multi-artist albums. My favorite tracks on the album include Shawn Colvin singing “That’s the Way Love Goes” and Lee Ann Womack singing “Return to Me,” neither of which would sound out of place on the Grand Ole Opry stage or in a smoky jazz nightclub.

    Conclusion? If you do not mind variety and a little jazz atmosphere mixed in with your music, you will most likely love Majestic Silver Strings. If you are looking for something that sticks closer to great traditional country sounds consistently throughout an album, you might want to start with one of Buddy Miller’s other albums, like the excellent Cruel Moon. You cannot go wrong either way.

    Bonus Bill Frisell Video: If you are not familiar with Bill Frisell’s outstanding guitar work, while his home is in jazz, he often incorporates country music elements into his work. Additionally, he has covered songs by artists that include Bob Dylan and Madonna. Check out his take on the classic song “Shenandoah” from his Good Dog, Happy Man album.

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