I don’t listen to a great deal of rock music since I stopped drinking thirty-eight years ago. Much of it heard with sober sensibilities, filtered through my brittle predispositon and frank prejudice seems merely visceral, hedonistic and superficial — mass enterainment at its most venal. But, that’s just me.
And here I go praising the work of a couple of late, inspired, long-haired souls who wandered about out there in the red clay and neon rain between Macon and L.A..
I refer to keyboardist and vocalist Gregg Allman who died on May 27, 2017 in Richmond Hill, Georgia. He and his slide-guitarist brother Duane (dead in a motorcycle wreck on October 29, 1971 at age 24) formed the core of the Allman Brothers Band and, with their many sidemen, made a real impact on recorded popular music. Their Filmore East recording of “In Memory of Elizabeth Reed” is supurb improvisational, live rock, artful far beyond top 40 or studio-produced album rock fare. I’m only occasionally a fan of their blues/ rock genre but have often marveled at the craft, range, energy and improvisational near genius of these Georgia boys. I speak of “energy,” but that does not properly characterize the lolling Southern, half-staff stasis that was typical of a band, like most country or blues-rock bands, that seemed just to stand in the spotlight and play — and play and play. And that was and forever will be their glory. Just singing and playing. (Duane, by the way, was born exactly a week before me, Gregg the next year. I never knew this until I started to write this of a Sunday night.)
A guy who bought used vintage guitars and called himself a guitarcheologist, once showed me a picture of the stark, unlovely, chain-link-bordered suburban Macon, Georgia intersection where Duane, traveling at a high speed, collided with a flatbed truck and began his journey to death. There was nothing distinct or special about it — just roadside America. But this Allman Brothers fan and rock guitar afficianodo felt the need to photograph it. The band’s bassist Barry Oakley died close by, also on a motorcycle, a week later, drinking heavily and grieving. The world — it seems especially the world of rock music — seems to have its share of these dark, booze and drug-induced tragedies. I recall while in the Army reading of Janis Joplin’s and Jimi Hendrix’s substance-related deaths about a week apart.
Gregg Allman was married seven times, including to Cher ( who was also a serial spouse). It would seem then, that he had difficulty finding true and lasting love. He’s not alone, of course. But perhaps his best song was the love song “Melissa”. His brother Duane thought so. I happened to hear it recently as incidental music on a TV series in which a guy is saying goodbye to his girlfriend — who was not named Melissa. I’d heard it before, of course, but it struck me as sweetly, sadly fetching and so I made a point of calling it up on Youtube and listening to it — and to its elliptical, purposely ambiguous but evocative lyrics, which approach but are not real poetry. Just, as I say…evocative. Isn’t that what the best pop lyrics do? Evoke images and emotions? We don’t listen to most pop music for the chord structure.
And so, Gregg wrote and sang (I pluck phrases here), Crossroads, seem to come and go, yeah…There’s no blanket where he lies…In all his deepest dreams the Gypsy flies…With Sweet Melissa…”
No, not great poetry. Maybe not even a great lyric. Just evocative of some unseen, imagined and absence and longed-for “Sweet ” Melissa…
I’ve read that Gregg Allman wrote the song as early as 1967. He’d apparently tried and failed to write dozens of ballads, and “Melissa” was among the first that, by his measure, made the grade. It is written that the band was staying in a Pensacola motel and that Gregg picked up brother Duane’s guitar” which was tuned to open E and immediately felt inspired by the natural tuning.” The title’s love interest was almost called Delilah. Gregg allegedly settled on Melissa while in a grocery store late one night buying milk. That’s how he tells it in his memoir.
And that title made all the difference to a Youtube commentator writing three years ago under the handle of RoseandRichie. I don’t know if it’s Rose or Richie that says, This song is treaasured by my dad. My sister’s name was Melissa. She died at 26 Yr old. We often listen to it and cry together. Nothing unmanly about it. My dad is a war hero veteran and when he cries, we all cry.
So it is that songs touch us — evoke, remind.
For some on the long Youtube thread following the singing of the song, there are testimonials to its personal impact that seem hyperbolic, exceeding anything I personally could claim for any pop tune, such as when mariazimmerman8639 said five years ago, this song does things to me….brings me back to every wonderful thing in my life…the whole song is just mesmerizing…alweays will be.
You read that and think of Gregg Allman, himself now gone over the horizon into the unknown bourne, simply strumming in a motel room and on a late night errand to buy milk but summoning from within something that will move mariazimmerman years afterward –well, such it is that makes songs such a splendid, eternal form of human inter-communication.
hectorthewonderhalibut6331 (a person, based on his handle, with a playful streak) declares, or, you might say, prays…God I miss the times when this song first came out. Those days and those friends. Damn.
Yeah. Damn indeed. But southerngirl300 goes right over the hedges and declares, one of the greatest songs to ever be recorded in the last century.
Well, for some, probably so. Right up there with Frank Sinatra singing anything by Cole Porter. It’s all a matter of taste. Those cultural/ generational/aesthetic barriers do unavoidably divide usf
As for times when this song came out, it was the early 70s, when romantisizing nostalgia for the 60s was already kicking in. hectorthewonder is obviously a boomer. (And, by the way, the guitar work on the song sounds to me like the work of Duane Allman who would have been dead by the time the song was released, right? One account has “Melissa” being recorded in December of 71, another in February of 71. Duane’s fingers and spirit seems, to my ears, to be on the frets and strings in and between brother Gregg’s third-person choruses of lonely longing (Crossroads, will you ever let him go? No,no,no….I know that he won’t stay without Melissa.
The brothers are gone. Their band with its distinctive sound but a shadow of its former self, lingers on, still touring, even dropping into Madison Square Garden last April.
Meanwhile, maybe for all of this century, moonlighting balladeers in roadside saloons up and down America’s highways will likely be crooning about “sweet Melissa” to slow-dancing embracing couples in dimmed romantic lightiing. No doubt many babies born to Allman Brothers fans, like the lost but not forgotten sibling of Rose or Richie, might be among those shuffling about on the dance floor.
As for weddings and funerals where the bride or deceased happens to be named Melissa…those slow, sad, sweet strains will drift out over church and lawn.
Crossroads seem to come and go….with sweet Melissa.
19 Cent Notebook 