Blogger Spotlight

Blogger Spotlight: Thom at “The Immortal Jukebox”

  At the risk of kicking things off with a cliché, music truly is a universal language. The right artist with the right song can speak to many cultures and generations. As such, learning more about music, and the stories behind that music, naturally leads to a better understanding of, and communion with, people of all types.

  This is exactly what happens on Thom’s site. He selects artists and songs and then proceeds to weave a story, mixing in video clips and audio snippets and photos and history. (He also throws in personal anecdotes and experiences that are just as compelling as the initial subject.) This results in fascinating mini-journeys into how music was made, and how that making shaped the music yet to come.

  Working with Thom to select a post to highlight, we narrowed it down to two entries, but I couldn’t quite make up my mind. So, in a rare thing for Blogger Spotlight, I’m going to feature two different posts. The first one, which is my personal favorite of the two, is actually going to get slightly less fanfare. Please click here to read about music and Father’s Day. (Brace yourself. It gets quite powerful and moving.)

  I decided to present the second selection in its entirety as it’s a representation of what you’ll typically find on Thom’s site. It shows the careful crafting, the quality research, and the admirable thought process behind the composition. (Even if you are quite familiar with an artist or song, it’s fairly certain that you will learn a new tidbit or two. But really, at least for me, it’s the joy of discovering a new artist that is the bonus plan on Thom’s site.) In this instance, we see how one song can change over the years, and yet still remain essentially the same. Enjoy.

 

Walk Away Renee: The Lost Love That Haunts the Heart

‘One fairer than my love! The all-seeing sun Nee’r saw her
match since first the world begun.’ (Shakespeare Romeo and Juliet)

‘Your name and mine inside a heart upon a wall
Still finds a way to haunt me though they’re so small’ (Michael Brown)

Some guys have all the luck. You know the type. They don’t shuffle and stumble. They stride, stroll and swagger through life. Golden apples and golden girls fall unbidden at their feet.

Most of us alternate between times when the tides of life seems to sweep us happily along and times when they treacherously turns against us. We carry on looking on in wonder at the guys who seem oblivious to those tides. Serenely they surf away from us into a golden sun.

And, some other guys just don’t seem made for these times. Fragile souls who retreat from the clashing, clangourous cacophony all around to the shelter of their rooms.

There in solitude and stillness they tune into tender melodies and celestial harmonies that heal their wounded hearts and near break our own when we are privileged to hear them.

From a veiled place deep inside the lonely tears and deep inside the hidden pain they spin glistening threads of gossamer music which surprisingly turn out to have a lasting tensile strength able to comfort and support us through the emotional crises that inevitably waylay us on our journey through the years.

The ultimate example here is the awesome genius of Brian Wilson. There will be much to say about the blessed Brian here later.

Today, we turn to a songwriter of striking originality, and singular achievement, the late Michael Brown, who in, ‘Walk Away Renee’ wrote a song whose incandescent beauty will never fade.

A song of haunting depth which, as we will see, calls out to be illuminated, imagined time after time by singers who find themselves gripped by the need to find within themselves the way to the heart of a masterpiece.

Let’s begin at the beginning. In 1965 Sixteen (16!) year old Michael Brown fell mythologically in love (as sensitive 16 year old’s will) with Renee Fladen who was unobtainable by virtue of her beauty which struck Michael dumb and the fact that she was the girlfriend of Tim Finn, the bass player in the group they both belonged to, ‘The Left Banke’.

Agonised and tormented Michael retreated to his room and communing with the Muses came up with a song which devastatingly yokes a lyric of heart sore adolescent angst to an endlessly enchanting melody set in a sophisticated and elegant arrangement.

An arrangement that features Brown’s spectral harpsichord, a string quartet helmed by his father, Harry Lookofsky, a distinguished classical and jazz violinist, and a melancholic, autumnal alto flute solo.

All of this underpinning a tender, introspective, emotionally truthful vocal from Steve Martin. This is a record of riveting gentleness which insinuates itself into the deepest chamber of your memory like the perfect sunset of your youth.

It’s not hard to hear the influences of the sun dappled Mamas and Papas and the pastoral, Choristers on a spree, sound of England’s The Zombies whose, ‘She’s Not There’ must surely have been on heavy rotation on Michael’s turntable.

Of course, like many, he will have spent untold hours beguiled by the melodic and harmonic genius of Brian Wilson though he will have been one of the very few able to turn admiration into true emulation.

Now when I was seventeen going on eighteen I would have told you that sixteen year olds could know nothing of love. And, when I was over the crest of 20, 30 and 40 I would have said the same.

Now that I have crested further summits I’m not so sure. Not so sure. Perhaps sixteen year olds know every bit as much about love as their seniors. Love is love is love and who dares to think they can truly sound the depths of another’s heart?

Michael Brown writing, ‘Walk Away Renee’ at 16 perfectly captured the sweet ache of young love and lost love. We are all eternally in his debt.

The Left Banke original was issued on the Smash label in July 1966 and ascended to Number 5 on the Billboard Chart. It became a touchstone of its times and and came to serve as the very definition of, ‘Baroque Pop’.

The special quality of the song was recognised at Motown and assigned to the ever reliable, Four Tops who recorded it for their 1967, ‘Reach Out’ album. Issued as a 45 in January 1968 it was top 20 in the US and top 5 in Canada, Ireland and the UK.

Here’s a wonderful example of how the collaborative power of the galaxy of talent at Motown could produce records that simply take your breathe away! So many elements of musical brilliance seamlessly integrated. Much of the credit must go to one of the greatest songwriting/production teams of the era – brothers Brian and Eddie Holland and Lamont Dozier.

They were able to draw on the resources of the stellar team of musicians at Motown to create a record which has subtle detail and immense emotional punch.

From the opening brass flourish we are aware that this is not a record you can turn away from. Benny Benjamin on the drums near matches Levi Stubbs vocal for dramatic effect (near matches for Levi at full throttle is surely unmatchable!).

There’s a delightful rhythm guitar part from Eddie Willis and little remarked upon but beautifully articulated backing vocals from one of Motown’s secret weapons, The Andantes.

In the instrumental break there’s a wonderful confection of softened brass and Woodwinds that shows the refined palette of the storied production team.

And then there’s the always in the pocket vocals of Lawrence Payton, Duke Fakir and Renaldo Benson supporting and encouraging lead singer Levi Stubbs.

Levi Stubbs! Levi Stubbs!

When it comes to describing the singing of Levi Stubbs even the word heroic is inadequate. Perhaps only by overhearing mighty Thor singing the warriors home to Valhalla could we find an apposite correlative for the majesty and power Levi brings to, ‘Walk Away Renee’.

This, in contrast to the swooningly affecting adolescent Left Banke original is a 100% proof adult version with Levi adding layers of inured pain and bruised authority to the song. It’s a wind down the windows and put the pedal to the floor performance that never fails to quicken the pulse.

The next take on Renee I’d like to feature comes from the mercurial RIckie Lee Jones. It’s a track from her arresting EP from 1983, ‘Girl at Her Volcano’ where you can also find alluring versions of, ‘My Funny Valentine’ and, ‘Under the Boardwalk’.

When she’s on form RIckie can take any song – one of her own or one from the classic repertoire – and through a combination of the bohemian off kilter charm of her vocals and piano entirely seduce us.

RIckie doesn’t come at the song head on. Rather, she shines a woozy light on its facets illuminating further beauties within. She takes us by the hand and leads us into a dream world where time is bent and stretched. Where past and present merge. A land where we would not be surprised to see the ghosts of past loves floating, just out of reach, before us.

There’s a touch of shamanistic ritual in Rickie’s version or searching for a literary reference you might call it magic realism. Either way it’s wholly Rickie Lee. The boldness of her imaginative invention is testament to her artistic prowess and a lovely tribute to Michael Brown’s great song.

Now for some blue collar New Jersey soul. No, not The Boss. Here’s a characteristically impassioned version by an artist you can always rely on to give his all to a song – Southside Johnny. I must admit to having punched the air many times when I’ve been to see Johnny in concert.

He has always had the gift of communing with his audience to engage them as conspirators in the enterprise of making a song yield up it’s emotional heart.

This version is the heartfelt confession of a man who’s been around the romantic block more than a few times and has the scars to prove it. But not a man who has given up on love or life.

Finally a lovely, lyrical lullaby version courtesy of Linda Ronstadt and Cajun Queen Ann Savoy. It can be found on their fine album, ‘Adieu False Heart’.

There is something of the polished parlour about this performance which glows in the mind the more you hear it (and I’m sure you’ll want to hear it often).

Walk Away Renee is a song you can’t forget. It speaks to you wherever you may find yourself in the deep woods of life.

You may recall it as you emerge, wet eyed and blinking after struggle, into sunny uplands or you may find yourself singing it softly, softly, as the rain beats down again on your weary eyes.

Few songs can make such a claim. God bless you Michael Brown.

Notes:

Michael Brown after Renee: The recorded legacy of The Left Banke was best captured on the 1982 compilation, ‘There’s Gonna Be a Storm: The Complete Recordings 1966-1969’ on the Mercury label. It includes their 2 albums, ‘Walk Away Renee/Pretty Ballerina’ and,’Left Banke Too’ with an added handful of tracks. Sixteen of the 26 tracks were written by Michael Brown. It is a marvellous record.

On the strength of Renee and the wonderful, ‘Pretty Ballerina’ alone Michael Brown deserves entry into the top echelon of pop songwriters.

Two albums was all Michael managed with Left Banke before he fell out with his bandmates. His later work was with Montage (look out for, ‘She’s Alone’), Stories and The Beckies.

Michael died of heart disease in March 2015.

And Renee?

Renee Fladen-Kamm is now a distinguished singer and vocal coach often working with choirs specialising in medieval music.

More versions of Renee to listen to:

Billy Bragg

Cyndi Lauper

Marshall Crenshaw

Terry Reid

Jimmy Lafave

Elliot Smith

Buddy Miller

 

You can peruse more of Thom’s work by clicking here. If you have comments specifically for Thom, please be gracious enough to make them on the original post found here so Thom can be assured of receiving your feedback.

 

14 replies »

  1. I follow Thom as well, but I hadn’t seen his Father’s Day post. Thank you for steering me there. My gosh, I haven’t heard Paul Simon’s “Maybe I think too much” in forever, and now I can’t rest until I get a CD of Hearts and Bones, as my album – yes, ALBUM – is long gone.
    That’s what’s so great about Thom’s site. I’m either — OMG, I remember that song! or, “How did I miss this one?! This is GREAT!”

    Liked by 1 person

    • His site is a treasure. My usual protocol is to read through his post, and then enjoy all of the audio while I’m running through the list of other sites that I visit regularly. (And yes, the “Father’s Day” piece is phenomenal. It was hard for me to not full-feature that one.) Speaking of albums, there’s no shame in vinyl. We recently discovered a record store in Grand Prairie that has thousands of “new” record albums, many of them having been discontinued for years or decades. It is a HOOT flipping through the stacks.

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  2. While musicological forensics are not my thing, this was an interesting read. I save words like genius for the likes of Beethoven, but that’s just me. However, any reference to this era’s songwriting whether hitting the surf rods and babe driven Beach Boys and Jan and Dean et al, the Zombies, the Mamas and Poppas one should not fail to call out Sloan / Barri. I would push that to include King and Geffen and Holland / Dozier / Holland because those guys right there were what the Americans AND the Brits were trying to hit. Sexy, blues based R&B with our old friends the four chords of Rock n Roll. History and insight into the roots of a great song, though, are always priceless nuggets. Like Herbie Hancock said. “If you don’t know the story, you don’t know the music.” Thanks!

    Liked by 1 person

    • Exactly. Everything’s better with Blues Bonnet history on it. (I know, terrible paraphrase. It was just in me and I had to let it out.) I agree with your assessment of the era, but it does get me wondering, in the form of potentially useless trivia: If you had to pick one song that is representative (not necessarily your favorite) of great songwriting during this time, what would it be? Could you even narrow it down? Is it possible to narrow it down without qualifiers?

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  3. You’re good at this conversion! I think I clicked ‘follow’ immediately after reading the ‘Dad’ piece. This is glorious too, I appreciate the passion shared. And this made me giggle: “I must admit to having punched the air many times when I’ve been to see Johnny in concert.” That’s some serious concert involvement!

    Liked by 1 person

    • I love going to his site, because I know that I am going to learn something new and hear some great music. I’m a little selfish in that I wish he would post more often, but I also understand that the research he puts into his posts takes a lot of time and I have tremendous respect for that…

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