Joaquin Phoenix, Reese Witherspoon and Ginnifer Goodwin in the James Mangold movie ‘Walk the Line’

Biopic movies have had a place in cinema since I began taking movies serious enough to rank movies. Country musician Johnny Cash received such treatment based in part on his autobiographies Man in Black: His Own Story in His Own Words of 1975 and Cash: The Autobiography, with Patrick Carr, of 1997 plus. Walk the Line (2005) received that plus deeper treatment with additional screenwriting from Gill Dennis and director James Mangold. Friend of the Matt Lynn Digital blog Cobra listed Walk the Line at #16 on his listing of top 20 movies as recently as 2018.

(From left, Reese Witherspoon as June Carter and Joaquin Phoenix as Johnny Cash in the James Mangold movie Walk the Line).

The movie itself begins with scenes of family life for the Johnny Cash from 1944 in Dyess, Arkansas. We meet Johnny Cash‘s mother Carrie, his abusive father Ray, and his brother Jack. Robert Patrick, Shelby Lynne, Lucas Till and Ridge Canipe portrayed Ray, Carrie, Jack and Johnny at this point of the movie, with tragedy befalling Jack and Ray severely resenting Johnny for it. Joaquin Phoenix would go on to portray Johnny Cash as an adult.

(Ginnifer Goodwin as Vivian Cash in the James Mangold movie Walk the Line).

It’s 1950 when Johnny Cash joins the U.S. Air Force. Cash takes a liking to writing songs while stationed in West Germany, developing Folsom Prison Blues before returning to the United States when discharged in 1954. Cash would marry his first wife, Vivian Cash as portrayed by Ginnifer Goodwin, before the couple moved to Memphis, Tennessee. Vivian inspired Cash‘s first hit song I Walk the Line.

(From left, Larry Bagby as Marshall Grant, Joaquin Phoenix as Johnny Cash and Dan John Miller as Luther Perkins in the Larry Mangold movie Walk the Line).

The absence of success as a door-to-door salesman as a means of supporting his family, in part, led Cash to seek an audition with a small band for Sam Phillips, the owner of Sun Records. While Cash, Luther Perkins and Marshall Grant first aimed to play gospel music, it was Folsom Prison Blues that won the trio a contract and financial success. Among others, the three would begin touring with Jerry Lee Lewis, Elvis Presley and Carl Perkins, as portrayed respectively by Waylon Payne, Tyler Hilton and John Holiday. Dallas Roberts portrayed Sam Phillips.

(From left, Robert Patrick as Ray Cash and Shelby Lynne as Carrie Cash in the Larry Mangold movie Walk the Line).

The touring introduces Johnny Cash to June Carter, as portrayed by Reese Witherspoon. The influence Carter has on Johnny Cash is a source of friction for Vivian Cash. Feelings of love develop between the pair, though attempts from Johnny to initiate a romantic relationship with June are initially rebuffed. A large portion of the film is dedicated to this dynamic, the children between the separate marriages for the pair, and the familial drama that remains between Ray and Johnny Cash. The eventual intimacy, drug and alcohol overuse by Johnny, an eventful Thanksgiving on that path, and a dynamic journey to ultimately get there provides depth to the personal story that is told by Walk the Line.

(From left, director James Mangold, actor Joaquin Phoenix and actress Reese Witherspoon in the James Mangold movie Walk the Line).

Walk the Line is well crafted entertainment with a strong underlying narrative. The drama is true to the music style of June Carter and Johnny Cash, with feelings of love and social norms of the larger society factoring into the tale. Learning more about the music and the biography of the early part of Cash’s family and career was worthy of my time, too. I rate Walk the Line as directed by James Mangold at 4.0-stars on a scale of one-to-five.

Matt – Wednesday, September 20, 2023

Sheryl Crow and the album ‘Home for Christmas’

With the joy of late fall weather offering the tokens of the coming winter for some northern climates, I was moved to look into a holiday album released November 26th, 2008. The album Home for Christmas by Sheryl Crow of Kennett, Missouri.

(This image shows the Sheryl Crow album cover for Home for Christmas. The album was first released on November 26th, 2008).

Go Tell It on the Mountain is an African American spiritual dealing with the nativity of Jesus Christ. The compilation of the song is attributed to John Wesley Work Jr., with the singing in Crow‘s version incorporating singers suggesting the song’s origins to the middle of the 19th century.

The Christmas Song offers a distinctly jazz feeling to the song originally written by Mel Tormé of Chicago, Illinois and Robert Wells. Nat King Cole of Montgomery, Alabama is credited with the first and definitive version of the song, having recorded it multiple times through the years. Over time, the song has carried the subtitle Chestnuts Roasting on an Open Fire and Merry Christmas to You since the original recording in 1946.

(The ‘definitive’ version of The Christmas Song as performed by Nat King Cole was released in 1961).

White Christmas presents with uplifting horns, guitars and drums that brings a light and fun experience. The uplifting tempo is as catchy as any offering on the album. Original writing credits for the song belong to Irving Berlin, born in the Russian Empire of the 19th century.

I’ll Be Home for Christmas offers an unexpectedly older fashion instrumentation that would land favorably long ago. This is a welcome addition to this album in the offering of what becomes so many distinctive musical presentations throughout the album. The original presentation in 1943 by lyricist Kim Gannon of Brooklyn, New York and composer Walter Kent New York City, New York included the singing of Bing Crosby, of Tacoma, Washington, with John Scott Trotter & His Orchestra playing the instruments.

(Bing Crosby sang the first released version of I’ll Be Home for Christmas in 1943).

Merry Christmas Baby brings a clear pop sensibility to a studio recording featuring keyboard play that gives the song a fusion rhythm and blues and jazz flavor. The original writing credits belong to Johnny Moore of Selma, Alabama and Lou Baxter.

The Bells of St. Mary’s includes music written by A. Emmett Adams with lyrics by Douglas Furber, dating back to 1917. The sound is very modern, with a vocal range offered by Sheryl Crow that brings a pleasing effect open to continued listening.

The Blue Christmas as presented here offers a distinctly jazzy and gospel fusion to a song most famously performed by Elvis Presley, originally of Tupelo, Mississippi. Writing credits rest with Billy Hayes and Jay W. Johnson.

(Blue Christmas as performed by Elvis Presley made the song as popular as ever in the United States).

O Holy Night opens with a partial singing of It Came Upon a Midnight Clear, with the latter accounting for nearly 1-minute and 10-seconds of the 3-minute and 39-second performance. Distinct production differences points to what feels like performances intended to have been separate. The singing proves inspired and moving, making for a rewarding experience.

As written by Sheryl Crow, the song There Is a Star That Shines Tonight has perhaps the most authentically true song on the album. Strongly piano based with stringed instrument accompaniment, the quiet sweetness invokes celestial inspiration, missing one’s loved ones and the inspiration of the newborn spiritual king.

Hello My Friend, Hello offers a gentle meditation of friendship and winter’s regeneration. The accompanying instrumentation offers a sweet accompaniment to Crow‘s singing. Bill Botrell is credited with writing this song.

(Sheryl Crow‘s album Home for Christmas was first released on November 26th, 2008).

The final song for the 2008 release of the Home for Christmas album is All Through the Night, a sleepy meditation of a song with seemingly Welsh origins under the name Ar Hyd Y Nos. As noted here, the song “is still sung in Welsh, especially by male voice choirs, [although] it is better known by its English title “All Through The Night.”

Matt – Saturday, November 26, 2022

Rod Stewart and the album ‘Merry Christmas, Baby’

Music that supports the holidays has been a staple for as long as I can remember. New contributions that capture the popular imagination of those interested can be tricky. Today we aim to offer you stylings from this decade with the 2012 album Merry Christmas, Baby by Rod Stewart.

(The album cover for the 2012 album Merry Christmas, Baby by Rod Stewart).

Have Yourself a Merry Little Christmas opens the album with an intimate studio production with dignity. This is a nice song to listen to while snuggling with a loved one, a glass of cheer, and a loved one.

Santa Claus is Coming to Town offers a similar sweetness to the album opener with a nice mixture of supporting band underpinning the distinctive Rod Stewart voice. The big band sound with supporting vocals slightly past the song’s midpoint is a nice touch.

On Winter Wonderland, Michael Bublé and Rod Stewart take turns leading the singing for this song, keeping a distinctly soft jazz feeling flowing to the mood as the fondness for the season as expressed through a festive landscape is invoked.

(Rod Stewart performing the song Merry Christmas, Baby from the album with the same name).

White Christmas slows the tempo for the contemplative, drowsy feeling not unlike one might get while in the bustle of the season after a particularly energetic day.

CeeLo Green and Troy “Trombone Shorty” Andrews join Rod Stewart for the album’s namesake song, Merry Christmas, Baby. The curious and uplifting mix of this trio enjoys a classic if slightly understated treatment with the strongest sense of enthusiasm within the song not coming until roughly two-minutes into the song. Playing Auld Lang Syne from later in this album as a lead into the song Merry Christmas, Baby did my heart good in appreciating this tune.

Let It Snow! Let It Snow! Let It Snow! offers a stronger sense of the best experience I take from the album of an almost introspective feel. Dave Koz joins accompanies in the song with subtle hints to the song Baby It’s Cold Outside mixed in.

(A pressing of the compact disc of for the 2012 album Merry Christmas, Baby by Rod Stewart).

Ella Fitzgerald and Chris Botti accompany on What Are You Doing New Year’s Eve? in a surprising and wonderfully old-fashioned sounding take on the new year classic. I could listen to this song over and over again with my affection increasing.

Blue Christmas offers us the return of Rod Stewart performing in solo with a rendering of the song that hints to the gospel and bluegrass underpinnings present in the Elvis Presley sentiment if not the sound of that earlier take. I am quite fond and proud of the newer, fresher approach to the song by Stewart.

Red-Suited Super Man sees a return of Troy “Trombone Shorty” Andrews with a stronger sense of rhythm and blues felt more strongly here than perhaps anywhere else on the Merry Christmas, Baby album.

(A close-up of Rod Stewart from the album cover of Merry Christmas, Baby).

Rod Stewart takes a risk in approaching the Disney song When You Wish Upon a Star as orchestrated and sung originally here by the character Jiminy Cricket (voiced by Cliff Edwards). I appreciate Stewart‘s treating the production with reverence in offering a more contemporary sensibility. Have a listen.

In joining with Mary J. Blige on We Three Kings, Rod Stewart achieves something unique and unexpected. The vocal mix in coupling these two offers a beautiful, uplifting mixture of a song arguably as thematically spiritual as any I’ve heard Stewart due in his career. I appreciate this interpretation immensely.

Silent Night with the understated instrumentation works beautifully for the second spiritual of the Merry Christmas, Baby album. The singing of children through the second movement of the song works, yet this song works for me less than the collaboration with Mary J. Blige on We Three Kings.

Auld Lang Syne ends the Merry Christmas, Baby album with an affectionate musical toast both uplifting and sweet. The uplifting production with pretty instrumentation and chorus is a warm blanket of appreciation from Stewart that strikes me in a sweet spot of joy to bring about the end to an enjoyable album.

Matt – Saturday, December 5, 2020

Depeche Mode and the album ‘Violator’

Depeche Mode is due induction into the Rock & Roll Hall of Fame on November 7th, 2020. The 1990 album Violator is perhaps the most artistically complete of the bands albums, which prompts us to bring you the listening pleasure of including the album with links for your enjoyment all here in one place. Listen to the songs of Martin GoreDave Gahan, Andy Fletcher and Alan Wilder as we introduce you to Violator.

Violator 2(This is the album cover for the Violator album by Depeche Mode).

World in My Eyes opens the Violater album for the English electronic band Depeche Mode. The clearly expresses a physical encounter, metaphorically communicating feelings that the initiator hopes to convey to the partner.

Sweetest Perfection offers insight into a longing for fulfillment, belonging, and a strong connection that is taken through sometimes artificial means. The realization that others recognize the artificial quality is realized yet problematic.

Priscilla Presley‘s book Elvis and Me: The True Story of the Love Between Priscilla Presley and the King of Rock N’ Roll supposedly inspired the song Personal Jesus. Elvis Presley would be Priscilla‘s husband in this case. As Martin Gore reportedly said as recounted by SongFacts, the song is “about being a Jesus for somebody else, someone to give you hope and care.”

Halo mixes a sense of gloominess with a brightness found in love, regardless of the circumstances of surrender that seemingly enables it.

Violator 3 - From left are Depeche Mode members Martin Gore, Dave Gahan, Alan Wilder, and Andrew Fletcher in Berlin in July 1984. Michael Putland image(From left are Depeche Mode members Martin Gore, Dave Gahan, Alan Wilder, and Andrew Fletcher).

Waiting for the Night takes a bit of a tranquil feeling. Whether the tranquility is literally night, the onset of a traumatic awareness-dulling calamity, or the throws of death, the escape of the otherness offers relief from a burden that feels painful.

Enjoy the Silence is perhaps the most evocative and provocative song on the album. Is this song an answer to question of calamity from Waiting for the Night? Is this advocating for more thinking and feeling within a physical, romantic relationship? Is this a defense against external pressures of a world that won’t understand the love of two men, thus making insults harmful? My instinct is that the last is less the point than internal pressures within the relationship.

Policy of Truth offers the listener the notion that speaking truthfully, candidly, as decided from a point in childhood causes more pain than multiple shades of untruth between fully truthful and fiction. The pain forthcoming from an inability to change this policy, despite feedback to a sworn path towards change, isn’t forthcoming.

The straightforward meaning of Blue Dress is bringing a man simple release through control. It isn’t high end jewelry, flashy clothing, or expensive accessories that attracts him. The narrator of Blue Dress, in other words, seeks a lifestyle for his woman that many women would not accept or prefer.

Clean closes the Violator album with a euphemism for dying at one’s own hands. The album’s beginning in aiming to convince a partner how to see the world through the narrator’s eyes then asks a similar question now, yet with a starkly different physical tone and outcome for said narrator. The pain in the Policy of Truth, perhaps as applied in Blue Dress, is a grand total of self-imposed, confidence lost, cleanliness as death analogy.

This is scary territory should this read be true. If the album Violator ends the way Clean is laid out above, perhaps the album title is precisely what Depeche Mode told us with the title concerning self-compassion. Violator is an interesting album for sure.

Matt – Saturday, June 27, 2020

Little Richard and the album ‘Here’s Little Richard’

It was with great sadness that I learned that 1986 inductee to the Rock & Roll Hall-of-Fame Little Richard died in Tullahoma, Tennessee last week. Looking to remember the man and his influence on rock & roll, today let’s remember the music of Little Richard‘s debut album of March, 1957. That album, presented here with linked clips to the music, is the album Here’s Little Richard.

Here's Little Richard 2(The album Here’s Little Richard was published with Little Richard getting top billing on his initial album release).

Tutti Frutti opens with an opening cry of “A-wop-bop-a-loo-bop-a-wop-bam-boom!” This “verbal rendition of a drum pattern that Little Richard had imagined,” as described in Charles White‘s The Life And Times Of Little Richard. The song itself became the model for future Little Richard songs, in addition to rock and roll itself.

Continuing the distinctive piano and loud vocals is True, Fine Mama, backed with the harmony of accompanying singers and distinctive rhythm and blues.

Can’t Believe You Wanna Leave turns the record from the hope of love to the sadness of losing in love. The distinctive vocals stay while the saxophone takes a much more prominent role.

Here's Little Richard 3 - Little Richard(Richard Penniman, aka Little Richard was a pioneer for rock & roll, with loud singing, distinctive beats, and a model that made for a distinctive sound. This pioneering panache landed Little Richard in the Rock & Roll Hall of Fame in 1986).

Ready Teddy uses the terms rock & roll as well as sock hop in helping to cement an echo of the opening track Tutti Frutti. The notion of dancing without shoes in socks was a distinctly 1950s phenomenon completely in fashion in the 1950s. When Rip It Up was released as a single, Ready Teddy was the B-Side of that single.

The song Baby feels like a song that would be played several songs into a high school dance from the 1950s. Heavy with the saxophone and drums, the distinction between this and the piano heavy Tutti Frutti is clear, though the piano still appears here.

Slippin’ and Slidin’ finishes the front side of Here’s Little Richard with one foot clearly in rhythm and blues and another in rock & roll here. This song was chosen for the B-side of the single which opens the B-Side of Here’s Little Richard, namely Long Tall Sally.

Here's Little Richard 4 - Long Tall Sally(Slippin’ and Slidin’ was a single released by Little Richard prior to the album Here’s Little Richard. The B-Side of the single was Long Tall Sally).

Long Tall Sally currently lands as the 56th song on Rolling Stone magazine‘s 500 Greatest Songs of All Time list. The song has appeared on albums of other popular rock & roll acts, including Elvis Presley and The Beatles.

Miss Ann brings the distinctive singing of Little Richard back to the forefront with slightly less focus on the energy of his sound. The personality of Little Richard and his signing stay front and center through the song. Miss Ann was the B-Side to the single Jenny, Jenny, which appears later on Here’s Little Richard.

Oh Why? is as relevant in today’s world as it was when Here’s Little Richard first appeared in 1957. Dreaming of an arrest with feelings of questionable justice and feelings of inadequate advocacy through the dreamed of prosecution.

Here's Little Richard 5 - Rip It Up(Rip It Up was a single released by Little Richard with Ready Teddy as the B-Side before the album Here’s Little Richard landed in March, 1957).

Rip It Up sings up having a little spending cash, a young lady ready to go to the dance, and a car to get both the singer and his girl to the festivities. The song itself received contemporary play by Little Richard on the single and Here’s Little Richard while also getting played by Bill Haley and the Comets.

Jenny, Jenny has a similar sound to Long Tall Sally in taking notice of a girl named Jenny who dances in a fashion that clearly attracts Little Richard. When Jenny, Jenny was released as a single, the B-Side was Miss Ann.

The energy of She’s Got It frames Here’s Little Richard well in bringing the Little Richard style back to Tutti Frutti while including the saxophone sounds heard through much of the full album. The distinctive singing and piano remain with the charm of the original Tutti Frutti staying with the original song.

Matt – Wednesday, May 13, 2020