at carnegie hall (1959) - harry belafonte: rca records, LSO-6006

I originally bought this album back in 1989 after the movie Beetlejuice, when Belafonte suddenly enjoyed a resurgence in kitschy appeal.  I had known about him from before (songs like Day O and Matilda), but only in passing as one of those previous generation crooners who seemed to specialize in non-threatening, slightly tropical music - sort of like Don Ho.  One of those square singers that somehow managed to break out and grab a hook into the younger crowd by occupying a groovy niche.  Besides, anyone associated with beaches, palm trees and an island lifestyle had to be cool.

The thing is, as I was reminded by listening to this album again,  despite being a favorite of the squares, Belafonte was and is absolutely not non-threatening.  He threatens the hell out of things.  The calmness and soothing nature of his music is completely incongruous with his social and political message and it's clear that Belafonte is unafraid to speak his mind and accuse the system (which he continues to do today).  And when one considers that this album was recorded and released during the paranoia and red-baiting of the Eisenhower-Nixon years, it isn't much of a stretch to call him a hardcore revolutionary.

Anyway, I only listened to this album a couple of times before I stored it away for about 25 years, and when you consider that I've also had that same 25 years go by, dusting this off and putting it on the turntable was essentially like listening to it for the very first time.  

Side 1: Intro / Darlin' Cora Sylvie Cotton Fields John Henry Take My Mother Home
Side 2: The Marching Saints Day O Jamaica Farewell Man Piaba All My Trials
Side 3: Mama Look A Boo Boo Come Back Liza Man Smart (Woman Smarter) Hava Nageela Danny Boy Merci Bon Dieu
Side 4: Cu Cu Ru Cu Cu Paloma Shenandoah Matilda

Woah - a live double album. So songs, much Belafonte!

But more than that, this could conceivably be considered a "concept" album because as described in the gatefold liner notes, the concert at which this was recorded was constructed by Belafonte to be an act in three parts:

1. Moods of the American Negro (Darlin' Cora through The Marching Saints)
2. In the Caribbean (Day O through Man Smart)
3. Round the World (Hava Nageela through Matilda)

See a pattern?  I didn't when I first got this album - but then again I was young and unaware back then.  I just figured this was an innocent collection of songs meant to please a tuxedo-wearing, martini-sipping audience.

Boy, was I wrong. This is a subversive act.

As it turns out, Belafonte put in considerable depth and commentary on this album, using music to explore ethnic, economic, and cultural oppression and resistance.  Pretty heady stuff, if you think about it.

Beginning the concert with songs describing the Moods of the American Negro is a bold move, and immediately challenges the listener to confront the societal and personal racism in the United States.  It's clear that the American Negro is in a bad mood when the opening song isn't something safe, like Ol' Man River, but Darlin' Cora, with scathing lyrics like:

I ain't a man to be played with / I ain't nobody's toy
Been working for my pay for a long, long time / How come he still calls me boy 
 
Well I'd rather drink muddy water / And sleep in a hollowed out log
Than to hang around in this old town / And be treated like a dirty dog 
 
Well I whopped that man darlin' Cora / And he fell down where he stood
Don't know if I was wrong darlin' Cora / But Lord it sure felt good

Can you dig that?

Act II turns from racism to the more hidden burden of economic oppression found In the Caribbean, and though the songs are much lighter in musical style, they deal with people working and never getting ahead.  Despite their cheery facade, songs like Day O, and Jamaica Farewell carry some seriously bad vibes.

Things lighten up with Man Piaba, Mama Look A Boo Boo, and Man Smart, but soon go back to form with Act III, bringing songs of oppression from Round the World.  It's not surprising that the songs come from the Irish (Danny Boy), Jews (Hava Nageela), and Haiti (Merci Bon Dieu) - cultures who've suffered some intense historic oppression.

After a fresh listen, I've come to appreciate this album quite a bit more than I ever did, if for no other reason than simply for the huevos Belafonte needed in order to do it.  Let's face it. it takes some sand to have the audacity to throw racism and oppression into the face of 1959 America and to force an audience of entitled white folks to confront their culpability in it. But even with that and Harry's silky voice, ultimately this is an album that probably will remain among my most seldom and contextually listened.  The truth is, kitsch, talent, and agitation aside, I just don't dig crooner music all that much.  But Harry?  Yeah, I dig him. That dude is straight OG.

Up next: We begin the "B"s with an album signalling the start of the biggest end in music