Osmond Brothers: One Bad Apple

Continuing the “Top 40” music alluded to in the novel The Ten Weeks is the Osmond Brothers’ “One Bad Apple.”

The Osmond Brothers were certainly the main “competitors” to the Jackson 5 at the time.  It’s interesting to note that, while the Osmonds were (and are) Mormons, the Jackson 5 were Jehovah’s Witnesses, and that makes an interesting “head to head.”

Gordon Lightfoot: If You Could Read My Mind

The trip through the music alluded to in the novel The Ten Weeks will take a mellow turn this week with Gordon Lightfoot’s “If You Could Read My Mind.”  Lightfoot is the only Canadian represented in this list.

This is a relatively new performance, but this is still a very smooth and beguiling song and performer.

One general observation I’d like to make is that you hear the music from this era piped into malls and shopping centres and reperformed.  The first time I noticed this, I was in Boynton Beach, back in the 1990’s.  I thought, “has WQAM‘s signal bounced back from some far planet?”  But the reality is that this was a very creative era, and not just by really well-known groups such as the Beatles.

Santana: Black Magic Woman, and the Isolation of Academia

This week’s music alluded to in the novel The Ten Weeks is Santana’s “Black Magic Woman,” a song that got a good deal of radio play at the time the novel is set.  But I’d like to digress a bit and use it to illustrate how academics (and I am one, part time at least) can be out of touch with reality.

My wife is an independent music teacher, has been for many years, and is a member of the Tennessee Music Teachers Association.  I usually travel with her to their annual meeting, which allows me to take in the piano recitals and other cultural events.  For the most part, music education in the U.S. (esp. at the collegiate level) is centred around what is improperly called “classical” music, even though that style of music is about 5% of what people actually listen to.

With the cultural events come the feeds.  (I mean the eating feeds, not the RSS ones.)  One year we were at one function where the opening entertainment was done by a member of the jazz faculty of the local university.  That was a nice treat, but at the end of the performance he had to excuse himself because he wanted to take his son to hear Carlos Santana.

One of my wife’s college faculty colleagues turned to me and asked, “Who’s Carlos Santana?”

The video below should explain it all…

Smokey Robinson: Tears of a Clown, and a Tribute to a Great Broadcaster

I’m taking my series of videos of music alluded to in the novel The Ten Weeks in a different direction this week with Smokey Robinson’s “Tears of a Clown,” a television performance that is very much from the time the song was released (and the setting for the novel too.)

But it brings up something I’ve wanted to do for a long time: a tribute to radio personality Paul Roberts.

I’ve lived in South-east Tennessee for over thirty years now, but as regulars to this site know I was raised mostly in South Florida.  One day I was driving around these hills listening to WGOW, our premier talk radio station in the area, and I heard a very mellifluous announcer named Paul Roberts reading the news.  I got one of those “déja-vu all over again” moments: where have I heard this guy before?  I racked my brain: maybe on another station here, or even maybe when my family first moved to Chattanooga in the early 1960’s.  Media personalities in this area tend to have longevity, so I thought I had heard him on another station here.

But not so: one day Roberts and some of his colleagues at the station were talking about the “old days,” which for Roberts went back further than others at the station.  Roberts was talking about his days in Miami, and then it hit me: I had heard him on the radio back home, and specifically on WQAM, which was one of America’s great “Top 40” stations in the 1960’s and 1970’s.  (I know that a “great Top 40 station” is an oxymoron for many of us, but WQAM fit the bill.  That’s Paul at the left from his WQAM days, when he didn’t have to be the “old guy” at the station.)

It’s not very often that a living reminder of the “old country” comes my way, and a good one at that.  Paul Roberts was one of the most professional newscasters out there in any market, and Chattanooga was privileged to have him.

For those of us who heard him–either in the land “where the animals are tame and the people run wild” or here in the hills–it’s easy to say that now.  I was blessed to have  the chance to meet him and to tell him that personally.  Roberts continued to be on the radio almost up to the time of his death in April 2006, and this posting and the next few video postings that follow are in his memory.

Rolling Stones: You Can’t Always Get What You Want

This week’s video relating to music alluded to in the novel The Ten Weeks is the Rolling Stones’ “You Can’t Always Get What You Want.”  In this case, the performance comes from their 1997-8 “Bridges to Babylon” tour, so they had come a long way from their heyday and the era of the novel.

But “Bridges to Babylon” is a good way to describe a lot of what was going on in the late 1960’s and early 1970’s, and some of the characters in the novel were busy building bridges of such a kind.

Note: YouTube video was removed.

Grand Funk Railroad: Closer to Home

This week’s video relating to music alluded to in the novel The Ten Weeks is Grand Funk Railroad’s “Closer to Home.”  It’s their performance of this classic in Shea Stadium, New York, on 9 July 1971.

On the album with the same name, the song ends with a very effective fade out.  Unfortunately, that couldn’t be replicated in concert.

In the novel, it’s mentioned right at the end of the book, but I’m not going to do a spoiler here.

Kevin Ayers: May I?

I’m continuing my series of videos of songs that pop up in the novel The Ten Weeks.  This time it’s Kevin Ayers’ “May I?” which appeared on his 1970 album Shooting at the Moon.  This rendition (I think) appeared on Spanish television in 1972.

Kevin Ayers is someone most Americans are totally unfamiliar with.  And it’s a pity; some of his material is charming in an offhanded way.  The son of a British colonial official, he grew up in Malaysia.  The exposure to the tropical climate and the non-European culture were mind-altering experiences, and his music reflects that.  (I can partially relate to that!)

Shooting at the Moon is special in that it features Mike Oldfield, who of course would go on to fame with albums such as Tubular Bells and the incomparable Hergest Ridge.

Blood, Sweat and Tears: Sometimes in Winter

This is the second is a series of videos of songs which find their way into the novel The Ten Weeks.

It’s Blood Sweat and Tears’ “Sometimes in Winter,” from their eponymous album.

Although it’s a very reflective and contemplative piece, music of the era sometimes inspired unpredictable reactions, and that’s what happened here.  You can get a hint of what that was all about here.

This performance was in Stockholm, Sweden in 1971.

Ten Years After, Love Like a Man

I’m taking a leaf from legendary Anglican blogger Baby Blue’s notebook and posting the first of what (hopefully) will be several videos of character-defining videos from my novel The Ten Weeks.

The first is Ten Weeks After’s “Love Like a Man,” the defining song of novel vamp Denise Kendall.  Long before the devil wore Prada, Denise terrorised her enemies in whatever she wore (or didn’t.)

This video comes from a live performance in Switzerland in 1997.

Both YouTube videos have been deleted or made private.

For more information on The Ten Weeks, click here

Emmanuel

Emmanuel was the name of two groups who composed, performed and led worship music in the Catholic Charismatic Renewal during the late 1970’s and early 1980’s. In the course of events, the two groups (one in Ohio, the other New Mexico) “came together” and their music, to some extent, merged.

This page features four albums between the two Emmanuels. As with much of the legacy of the Charismatic Renewal, it deserves to be remembered and disseminated, and we are pleased to do so.

Notes:

  1. More music by Jim Cowan and John Flaherty (both of whom are featured on this page) can be obtained from International Liturgy Publications, and my thanks to Vince Ambrosetti for letting me know.
  2. This page has taken something of  “life of its own” since it was first posted.  The Steubenville covenant community which produced most of these albums ended up in the “Sword of the Spirit” group until a 1991 episcopal visitation put an end to it.  Some from this community discuss these times in the Facebook group Covenant Community: The Good, the Bad, and the Ugly.  My heartfelt thanks to John Flaherty for his support of this page and his work in forwarding the discussion concerning this part of modern Pentecost.

God, You Are My Refuge (EM001) 1977

People who attended any of the conferences (youth and leaders) at the Catholic Charismatic (and Franciscan) University of Steubenville in the late 1970’s and early 1980’s will remember the group Emmanuel, the music ministry of the Servants of God’s Love community. God, You Are My Refuge was their first album.

John Flaherty, a guitarist on all of the Ohio group’s albums, tells us the following:

I attended the College of Steubenville from 1974 to 1978. I played with the original Emmanuel group at the Thursday night prayer meetings in the chapel. We also played the first Steubenville Conference in 1975 for the Priests and Deacons.

The songs are as follows:

  • Come Praise Him
  • Song of Thanksgiving
  • He Is Our God
  • Lord, You Know Me
  • God, You Are My Refuge
  • Medley: Eyes of Jesus/Jesus, I Love You/Psalm 23
  • My Child
  • Bless Your Holy Name
  • Healing of Nations

Below: Emmanuel, at the time of God You Are My Refuge.

Back row standing:  Bob and Mary Ledyard, Tony Corasanitti, Tim Slowiack, John Flaherty
Middle row: Mark Koslick, Cindy Teynor, Barbara Venhaus, Betty Jo Thompson
Front row: Mary Crlenjak, Michael Clark.

Emmanuel was always a “cut above” many of their Catholic Charismatic counterparts. They used their own compositions, many of which have artistic value (especially the “Eyes of Jesus” medley) and made a deep impact on those who attended their conferences.


Yahweh in the Morning (EM002) 1979

This was their second album. The people involved were as follows:

  • Emmanuel Members
    • Mike Clark
    • Tom Cramer
    • Mary Crlenjak
    • Dave Fatula
    • John and Barbara Flaherty
    • Julia Norton
    • Cincy Teynor
    • Betty Jo Thompson
  • Producer: Martin Leifeld
  • Director: Elsie Luke
  • Recording Engineer: Henry Root

The songs:

  • Our God is Our King
  • Come Praise the Lord
  • Great is the Glory of the Lord
  • He Lives
  • Spirit
  • Yahweh in the Morning
  • Praise to You Lord Jesus Christ
  • Jesus, You are the Way
  • Clap Your Hands
  • Only You Are God
  • You Will Find Your Life in Mine

John Flaherty explains this album as follows:

I have to point out that YAHWEH IN THE MORNING was mostly organized and created by Betty Jo Thompson (later Gilloon.) Betty Jo created what I consider to be the unique, crisp and rhythmic “Steubenville Strum.” Her style of leadership was such that she allowed all members to contribute in a fair and impartial manner. Her guitar and song-writing abilities made her the natural leader of the group, but she never attempted to exert that control. It was always fun to play with Betty Jo as a guitarist. It was fun to be a part of Emmanuel as a whole.

The music is an advance from their first effort, more consistent in composition and performance.


In The Beauty of His Holiness (Dove JL-01) 1977

Meanwhile, in a Massachusetts studio, another Emmanuel emerged, consisting of Jim and Mary Cowan. Jim, a recent convert to Roman Catholicism, put out what has to rate as one of the most primitively beautiful and moving productions to come out of the Catholic Charismatic Renewal. Its cover, designed by Chip and Kathy Schad and showing two children gazing at the New Jerusalem, pretty much reflects the whole feel of the album.

More of Jim Cowan’s music can be found here.

Its performers are as follows:

  • James Cowan (vocals, guitar, keyboards and synthesiser)
  • Mary Cowan (vocals)
  • Chuck Denison (vocals on “Jesus I Need You,” lead guitar and harmonica)
  • Schuyler Scribner (guitar on “Praise Ye The Lord”, also the recording engineer)

The songs for individual download:

  • Psalm 128
  • Come to Me
  • Root of Jesse
  • Praise Ye the Lord
  • Open the Door
  • Wherever You Go
  • How Lovely is Thy Dwelling
  • God is Coming Back for Me
  • Breathe on Me Breath of God
  • Jesus I Need You
  • Transcendance
  • Receive Our Prayer

Schuyler Scribner, the recording engineer, recalls the production of the album as follows:

I recorded that 1977 album for Jim in a stone chapel in the woods of Hamilton, Mass, while they were attending Gordon College…

After mixing there were a lot of problems with the pressing. I’ve always wished that I could get the master tapes back & remix, as much was lost in the pressing process. That album was recorded on a 4 track Teac 3340, and we used an Octave Cat monophonic synthesizer…one of the first, to get all the orchestral sounds. The guitar track on “Praise Ye the Lord” was played at 1/2 speed, with tape rolling at 1/2 speed as well, much like the Chipmunks do, to get that sound.

The idea of the whole album was to use as much technology as was available at the time (primitive by today’s standards) to make everything sound as natural & orchestral as possible. Jim was a little overwhelmed by the whole thing, but had a lot of faith, and liked what he was hearing. He really is quite a special artist. We all had a lot of fun.


Come to Me (1655) 1983

Back in Steubenville, after a four year hiatus (and a name change of the community to the Servants of Christ the King) Emmanuel produced another effort, the tape Come to Me (I don’t think it was ever in vinyl, thus the lack of cover art.) With Martin Leifeld’s promotion to Director of the Christian Conference Office, Jim Cowan came from the “New Mexico Emmanuel” to become the group’s director and composed most of the music for the tape

Members of the group for this work were as follows:

  • Michael Clark–Vocal, Tambourine
  • Jim Cowan–Vocal, Guitar, Piano
  • John Flaherty–Vocal, Guitar
  • Joe Pino–Vocal
  • Matt Senecal–Vocal, Mandolin
  • Carol Cuomo–Vocal, Cello
  • Charlotte Dausch–Vocal
  • Betty Jo Gilloon–Vocal, Guitar
  • Eileen Hanley–Vocal
  • Pam Minto–Vocal
  • Nancy Schreck–Vocal, Flute

You can download the songs individually:

  • Come to Me
  • Wherever You Go
  • Celebrate (supposed to have been on Yahweh in the Morning)
  • Emmanuel
  • Harden Not Your Hearts
  • Jesus I Need You
  • As For Me And My House
  • Sing A New Song
  • You Alone Are Holy
  • Open the Door
  • Song of Victory

Come to Me‘s compositional quality remained high, but lacks the spontaneity of the three other “Emmanuel” albums. John Flaherty comments on this as follows:

COME TO ME is the first Steubenville product that Jim Cowan was involved in creating. Most of the music was written by him, except CELEBRATE, which was Betty Jo’s and HARDEN NOT YOUR HEARTS which I wrote. Many members of the group were new as, by 1983 we had been assimilated into the Sword of the Spirit. The rigid rules governing men’s and women’s roles had caused some members of Emmanuel to move on and others to retire to “baby making.”

Cowan’s music on this albumn has a folksier feel to it than his later works…But like most music that we’ve been writing in our heads most of our life, when it is finally put to paper in our youth, it is very, very sweet indeed.

In 1985 and 1987 I would work with Jim in producing the O Worship the King series, Vol’s 1 and 3. Jim did a volume 2 mostly on his own.

View Emmanuel on Video

This video was taken on Friday, 29 July 1983, during the opening service of the National Catholic Charismatic Conference of Young People and Youth Ministers at the University of Steubenville, OH. It features Jim Cowan and Emmanuel, for the most part the same group that produced Come to Me.

The video isn’t the best quality, and is taken from the back, but AFAIK it’s the only one I know of around from this era at this conference and of this group.

For more music click here