A History of Rock Music in 500 Songs: PLEDGE WEEK Episode on “Dark End of the Street” by James Carr
Host: Andrew Hickey
Release Date: July 13, 2024
Introduction
In this special episode of A History of Rock Music in 500 Songs, host Andrew Hickey delves into the life and legacy of James Carr, a soul music luminary often hailed as the genre's greatest singer. As part of Pledge Week 2024, Hickey shares exclusive Patreon content, offering listeners a deeper understanding of Carr's profound impact on soul music despite his tragic and tumultuous life.
Beatin Rhythm: The Crucial Record Shop
Hickey begins by reminiscing about Beatin Rhythm, a Manchester city center record shop that played a pivotal role in his musical education. Although the shop later relocated to a less accessible suburb, it remained a sanctuary for serious music aficionados. Specializing in classic soul, sunshine pop, psychedelia, and freakbeat, Beatin Rhythm was instrumental in expanding Hickey's musical horizons during a time when online access to music was limited.
“It was the kind of place where I'd pick up collections by people I've mentioned in the podcast...Keith Colley. That kind of record shop is used to people coming in and picking up weird and obscure records.” (00:00)
The store's atmosphere, catering to passionate collectors rather than casual listeners, allowed Hickey to discover influential and obscure artists alike. His frequent visits, particularly to explore James Carr's limited discography, set the stage for this episode's focus.
James Carr: The World's Greatest Soul Singer
James Carr, though not as widely recognized as peers like Otis Redding or Aretha Franklin, holds a revered position among enthusiasts of 1960s soul music. Known as “the world's greatest soul singer”, Carr's vocal prowess was unmatched, even if his live performances lacked the dynamic energy typical of other soul artists.
“He was not someone who could do intense dance moves or would fall to his knees dripping with sweat. He was, just, as far as anyone who heard him was concerned, the best soul singer in the world.” (00:00)
Carr's reputation within the soul community was profound, despite limited mainstream success and a scarcity of detailed biographical information.
Early Life and Musical Beginnings
Carr's early life remains largely shrouded in mystery, with conflicting accounts about his involvement in gospel groups. While some sources attribute him to the Soul Stirrers, evidence suggests this claim was fabricated by his manager, Roosevelt Jamieson. More plausible is his association with one of the Harmony Echoes groups, particularly through his collaboration with OV Wright.
“He seems to have sung with various gospel groups as a young man, but nobody seems sure on which ones.” (03:51)
His introduction to Jameson and Wright marked the beginning of his professional music career. Jameson, a medical technician at a blood bank on Beale Street, became Carr’s manager, facilitating collaborations that would eventually lead to his signing with Gold Wax Records.
Struggles and Early Recordings
Carr's initial forays into the music industry were fraught with challenges. His first single, “You Don't Want Me”, failed to capture the essence of his vocal abilities, blending influences from Ray Charles and early James Brown in a sound that felt outdated by 1964.
“It was the kind of record that would have been a massive hit in 1958 or 1959, but sounded outdated in 1964.” (08:23)
Over the next two years, Carr released several singles that struggled to find commercial success. It wasn't until his collaboration with country songwriter Obie McClinton that Carr began to develop his distinctive style, blending soul with country influences.
Collaboration with Obie McClinton
Obie McClinton, a talented yet struggling country songwriter, played a crucial role in shaping Carr's sound. Their partnership led to Carr recording country-flavored soul classics, characterized by heartfelt lyrics and powerful emotional delivery.
“McClinton was a superb country songwriter and Carr started recording country songs written by McClinton.” (09:56)
This fusion genre, sometimes referred to as cosmic American music, predated but aligned with Grant Parsons' later conceptualization. Carr's rendition of McClinton's “You’ve Got My Mind Messed Up” became his first significant hit, reaching number seven on the R&B charts.
“It's essentially a rewrite of 'That's How Strong My Love Is,' became Carr's first and biggest hit, making number seven on the R&B charts.” (10:45)
Rise with Gold Wax Records
Jameson introduced Carr to Quinton Claunch, a former associate of Sam Phillips and founder of Gold Wax Records. Claunch signed Carr, recognizing his unparalleled vocal talent. Under Gold Wax, Carr released a series of soulful tracks that solidified his status in the soul music scene.
His second hit, “Dark End of the Street,” written by Dan Penn and Chips Moman, became a soul classic, covered by numerous artists across genres. Hickey highlights the song's enduring legacy, noting René Penn's preference for Carr's original version.
“Dan Penn...as if there were any version other than James Carr's.” (14:59)
Despite critical acclaim, Carr's success remained confined to the R&B charts, with limited crossover into the mainstream pop scene. Nevertheless, his work during this period established him as a cornerstone of Southern soul music.
Mental Health Struggles and Career Decline
Tragically, Carr's burgeoning career was overshadowed by severe mental health issues and substance abuse. Introduced to cannabis, Carr experienced a profound decline, exhibiting symptoms consistent with bipolar disorder. His mental instability made him vulnerable to manipulation, complicating his professional relationships and career trajectory.
“He had always been an introverted, quiet person, but after he was introduced to cannabis, he became severely mentally ill.” (15:45)
By 1969, Carr's performances suffered as he grappled with his condition, leading to erratic studio sessions and inconsistent releases. Despite his struggles, his vocal talent remained evident, as showcased in his rendition of the Bee Gees' “To Love Somebody.”
Later Life and Legacy
After Gold Wax Records folded, Carr signed briefly with Atlantic Records but only released a single before his career stalled entirely. The 1970s saw him in and out of mental hospitals, with sporadic attempts to return to music, including a failed tour of Japan where he failed to perform.
Despite these personal challenges, Carr's legacy endured through posthumous recognition. Compilation albums and scholarly works by authors like Peter Guralnick and Barney Hoskins reestablished Carr as a seminal figure in soul music. However, his later recordings on the relaunched Gold Wax label were marred by poor production quality, though his remarkable voice remained intact.
“Carr had a heartbreakingly sad life, one that was even sadder than the protagonists of the songs he sang so well.” (18:23)
Towards the end of his life, Carr's health further deteriorated due to lung cancer, leading to his hospitalization and eventual transfer to a nursing home, where he passed away in 2001. His story underscores the tragic intersection of immense artistic talent and personal vulnerability.
Conclusion: An Untouchable Legacy
James Carr's story is one of unparalleled vocal genius overshadowed by personal turmoil and systemic neglect. Despite a limited discography, his recordings from 1964 to 1970 left an indelible mark on soul music, inspiring countless artists and earning him the title of the genre's greatest singer among aficionados.
“But in the songs he recorded between 1964 and 1970, he left behind an untouchable legacy, one that's unforgettable to those who have heard it at all.” (20:15)
Andrew Hickey's exploration of Carr's life not only honors his musical contributions but also serves as a poignant reminder of the fragile humanity behind legendary artistry.
Selected Quotes
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Andrew Hickey (03:22): "He's not someone who comes up in discussions the way that people like Otis Redding or Aretha Franklin do, but among people who are interested in the soul music of the 60s, he is considered peerless and gets spoken about with awe the way few others do."
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James Carr (05:45): "Sweet and we are so near. I'm sure if I..."
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Obie McClinton (09:26): "Trading Stamped was this cat's creation, and, man, has he got them in circulation."
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James Carr (12:13): "A man needs a woman."
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Andrew Hickey (17:24): "James Carr had a heartbreakingly sad life, one that was even sadder than the protagonists of the songs he sang so well."
Timestamp References:
This summary captures the essence of Andrew Hickey's exploration of James Carr's life and music, providing listeners with a comprehensive understanding of Carr's artistic brilliance and the profound challenges he faced.