Monthly Archives: April 2014

Rescue – Anita Shreve

Good friends of ours have done it – remaining together till this day and raising three fine lads to adulthood to boot. A beautiful work colleague has done it as well, tying the knot to Rod Stewart’s rendition of ‘Have I told You Lately’. And Anita Shreve has done it too – married a childhood sweetheart, but after a convoluted journey.

She met John Osborn at a summer camp when she was a mere 13 years old. During this period of time in their relationship they merely held hands – didn’t even kiss. When they went their separate ways at the end of summer the tyranny of distance intervened and they lost touch. In 1991 Shreve published her second novel, ‘Strange Fits of Passion’. John espied it in a bookshop, recognised the name and on a whim, wrote to Shreve’s publisher. The author by this stage had two marriages behind her and was in another relationship when her editor handed her the letter. ‘Did she remember him?’ the letter-writer had queried. She did. She had thought of him many times down through the decades, wondering. She initiated a correspondence between them that lasted for several months before they eventually met. It wasn’t long before they knew – the chemistry they first discerned as children hadn’t abated. They had to disentangle themselves from their partners, but eventually they too wed childhood sweethearts.

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Anita’s own romantic story would make good fodder for one of her own novels. Her life experience is perhaps one of the reasons she has been so successful for such a long time. She knows the heights and pitfalls of love so well. Sometimes it just simply has to be that convoluted journey before the right one is found or, as with her, comes back into one’s life. Sometimes it is just simply there forever.

It is essentially romantic fiction she writes – both historical and contemporary. She has the knack of producing page-turners with just the right amount of literary merit so as not to make them merely disposable as, say, Nicholas Sparks. She is perhaps the US equivalent to somebody like Joanna Trollope. She can build a sense of place exceedingly well, particularly if it is in her own north-east corner of the States – and even more so if the magic ingredient of the sea is included. ‘The Weight of Water’ and ‘Fortune’s Rocks’ are two fine examples of the latter. Her work is often pigeon-holed as women’s fiction as she writes of her own gender with such vivacity and knowingness.

Rescue-cover

With ‘Rescue’ she breaks the mould somewhat as it is a paramedic, in John Webster, who takes centre stage. There is not much of the sea, either, involved here, although it does have a Vermont setting. Webster falls for one of his rescuees in the wild-child Sheila – choc-full of spunk and demons. For a while our hero tames her and together they produce a female child, Rowan. But it all becomes too much, this small town life. Sheila drowns her post-natal blues in grog, to the extent that hubby is forced to give her her marching orders for the sake of the baby girl. He takes on the onerous task of single dad-dom, making a fair fist of it, But oh, those dreaded teenage years! Darling daughter begins to display, during these, the same symptoms that wrecked her mother’s life. Who should her father call on for assistance when eventually he reaches his wits’ end? You can probably guess that.

Throughout the story there are vignettes about the pointy end of a paramedic’s life. There is as much interest in these as there is in how the main narrative will pan out – all to Shreve’s credit. A highlight is the black humour found in a failed suicide attempt.

Shreve is in fine form here with ‘Rescue’ being up there with her accessible best – with ‘Testimony’, ‘A Wedding in December’, ‘All He Ever Wanted’ and ‘Resistance’. Occasionally, she does get a little too heavy handed with literary pretensions which provide roadblocks to the enjoyment of some of her oeuvre, but not so here. This is just darn good, straight forward storytelling, ideal for a beach holiday, that long flight or as a salve between weightier tomes. In it John Webster’s love unravels – but will he be able to make it whole again? It is worth reading to find out.

Anita Shreve’s website = http://www.anitashreve.com/

You Don't Know Me

You give your hand to me
Then you say hello
I can hardly speak
My heart is beating so
And anyone can tell
You think you know me well
But you don’t know me

cindy walker

Look at her picture. It’s of its time, but there’s no doubt the dame is one beautiful lady – and talented to boot. She gave up the above lyrics to the world, to be recorded by hundreds of singers planet wide. You name them, they’ve done it – Willie, Ray Charles, Michael Bublé – the list is endless. Down though the years it will be added to. It’s just one of those songs. If one classic wasn’t enough, there are her other offerings – five hundred or so that have been recorded, including such timeless ditties as ‘Distant Drums’, Dream Baby’ and ‘In the Misty Moonlight’. She was inducted into the Country Music Hall of Fame in 1997 and in 2006 Willie released a tribute album of her songs – just nine days before she passed away.

Of course we know the facts about CindyWalker’s public career, but precious little of her private world. In 1918 a Texan farm saw her birth. By the 1930s, as a young girl, she was already writing songs about Dustbowl America. By decade’s end Cindy was also a popular chanteuse in her local area. In 1940 she was so determined to further her career she took the long drive to LA, straight to Bing Central, hopped out of her car and demanded that Crosby himself listen to her latest tunes. He didn’t, but somebody did and soon ‘Lone Star Trail’ made it to the great crooner. He was impressed, recorded it and she was on her way, Walker soon had a gig on Gene Autry’s show with such luminaries as Bob Wills, Webb Pierce and Eddy Arnold having her songs on the airwaves. In later times came Elvis, The Byrds, Chet Atkins, Jim Reeves, Roy Orbison and more.

For me, though, her signature song is ‘You Don’t Know Me’. It could have been about her own self – how she kept her feelings under wraps; how she was notoriously private. Then again, it could be about any of us who like to keep our personal doings closely guarded; who prefer anonymity to notoriety.

The now standard first hit the charts in 1956 with Jerry Vale, but these days it seems that Ray Charles ‘owns’ it. Mickey Gilley had a Number 1 with it in 1981. Meryl Streep sang it in the movies during ‘Post Cards from the Edge’, as did Robert Downey Jr in ‘Two Girls and a Guy’. It featured in ‘Caddyshack’ and recently, Lizzy Caplin trilled it on the small screen in ‘Masters of Sex’.

Ms Walker hid away from public view, particularly when her stage appearances decreased as the royalties for her songs went in the opposite direction. She revealed in later life that she was once married for a short time, but it didn’t suit her. She did not appear to have any other lasting relationships of a romantic nature. She lived with her father, in humble circumstances in small town Texas, for a long time – he helping out with the lyrics to her music. After his demise, in 1991, she further withdrew into herself. No, we didn’t really know her, or who she was referencing, if anybody, in this example of her iconic songsmithery –

No you don’t know the one
Who dreams of you each night
And longs to kiss your lips
And longs to hold you tight
To you I’m just a friend
That’s all I’ve ever been
No you don’t know me
Eddy Arnold was the guy who came up with the idea for the song. Was it the country superstar she had in mind when she added the bones to his notion for this paean to unrequited love? We know Eddy was married to his sweetheart Sally for an incredible sixty-six years. Is there more to know?

eddyarnold6_v_e

To me the version of her tune that moves me the most is that by Charlie Rich. It is the second track on an album entitled ‘Pictures and Paintings’, recorded in 1992 during the twilight of the Silver Fox’s career.. This collection of covers, purchased several decades ago, would have to be the CD that has graced my various music machines the most down through the years, with the Walker contribution the stand out. The whole album is a marked contrast to his mega hits of the early seventies – ‘Behind Closed Doors’, ‘The Most Beautiful Girl’ and ‘A Very Special Love Song’. He hated his music career – country was by no means his first love. By mid-decade he was totally disenchanted with Nashville and what his label did to his songs, increasingly embellishing them with massed strings rather than guitars. Instead of joining Willie, Waylon and others, also similarly pissed off, in becoming ‘outlaws’, he turned to the grog. He embarrassed himself at one awards ceremony when, very drunk, he insulted John Denver, whose music he considered too pop to be country. He came to be regarded as unreliable by those with the power behind the scenes. He struggled on, having a couple more hits, notably ‘Rolling With the Flow’, but alcohol and frustration eventually forced him into semi-retirement. Now Rich was free to turn to the music he loved best – jazz and blues. He became a lounge singer. Eventually a record company agreed to take a chance on him in this style and thus, we have ‘Pictures and Paintings’. This bought him some critical acclaim but only moderate sales – just enough for him to take to the road for the last time. Surprisingly, in this, Tom Waits was his support act. The come-back he’d hoped for didn’t last. He went back to self-imposed obscurity. Travelling to a Freddy Fender concert in 1995, he stopped off at an inn en route and The Silver Fox passed away in his sleep. The year was 1995. He was 62.

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Listening to the album, one can only agree with the inestimable Mr Waits, who made mention of him in his song ‘Putnam County’

The studio’s spitting out Charlie Rich
He sure can sing, that son of a bitch

I wonder if it is still available, this collection I love – certainly no ‘Pictures and Postcards’ were listed on eBay when I checked. It is a beautiful set of tunes without a dud on it. Listening to it you can picture Rich at the piano, his silver mane ascendant; his gnarled, hoary hands coaxing the ivories, surrounded by a smoky fug. He loathed the happy, poppy stuff that dominated the charts throughout most of his Nashville years – now he was in his element. With ‘You Don’t Know Me’ he could almost be giving the Nashville Sound the ‘bird’ for what it tried to turn him into.

pictures and paintings

Back when he started with Sam Phillips, at Sun, in the mid-fifties, the legendary producer loved the jazz infused stuff Rich pitched to him, but told him to go away and get countrified. His style, well it simply would never sell records up against this new fad rock ‘n’ roll or country. Charlie did as he was told, to the degree that Phillips thought he’d have a bigger career than Elvis. Sam Phillips wasn’t wrong very often. Apart from a brief window, Charlie never came close. It wasn’t for lack of talent – it was just that Country Music City neutered him. The real Silver Fox only appeared on this last issue – by then it was all over bar the shouting:-

Afraid and shy
I’ve let my chance go by
The chance that you might
Love me too

Cindy singing ‘You Don’t Know Me’ = https://www.youtube.com/watch?v=TsoQ945fqkY

Charlie singing ‘You Don’t Know Me’ = https://www.youtube.com/watch?v=GRDdz7DS3tI