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Once a week I host a writer who uses music as part of their creative process – perhaps to open a secret channel to understand a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s guest is musician, playwright, performer and award-winning novelist Nathan Singer @nathansinger1
My music and my fiction are often so inextricably linked there is very little separating the two. The music that I write for my bands is fairly ‘literary’ I suppose … and sometimes I just rip off my own novels for lyrics (gotta do whatcha gotta, and so on). Each of my novels corresponds to a different musical genre: A Prayer for Dawn is a thrash novel, In The Light of You is a punk novel etc. As such I often write — and occasionally record — my own soundtracks for my books to get a sense of tone first and foremost. Today I will be talking through the sounds that inspired/created/were created by my blues novel Chasing the Wolf, my only novel to date whose original soundtrack album was officially released, originally as part of a special limited edition of the book, but now for all to have on its own. So here is the (free) full soundtrack album that I wrote and recorded to accompany Chasing the Wolf called On Through the Night. It’s best to listen along while you’re reading the book.
Beyond my own original music, though, many masters of the form make direct (and indirect) cameos within the novel, and their music was playing constantly throughout the writing of the book. Let’s dive in, shall we?
Part One – Midnight Creepin’
The song quote that starts Part One is from a song by Rev. Robert Wilkins called That’s No Way to Get Along. It captures the deep well of the main character’s sorrow (as does the Blind Willie song below), and it’s also foreshadowing of what’s to come in the story.
The plot of Chasing the Wolf, in a nutshell, is this; a young white artist named Eli Cooper is living in NYC in the early 2000s with his beautiful African American wife Jessie. Jessie is a dancer. They are an ultra-hip couple. All is going just swell, until Jessie is killed in a tragic backstage accident. Overcome with grief, Eli attempts to commit suicide. He runs off into the night in a bind frenzy, passes out in Central Park … and wakes up in Mississippi 1938. Cue Dark Was The Night, by Blind Willie Johnson.
Once Eli accepts that he is not dreaming, he sets out through the dark of the night to try and make sense of what has happened.
Part Two – Dry Long So
Eli muses that one of his favorite blues legends Robert Johnson would by murdered at a juke house soon. He ponders how cool it would be to go witness it when he realizes that a mysterious young black man he had met some time ago back in NYC was actually the one and only (and long deceased) Howlin’ Wolf (the ‘Wolf’ of the title). He decides he needs to find Howlin’ Wolf in order to get back home. What Eli does not yet know, however, is that both he and Howlin’ Wolf are being followed by group of men in fancy, pinstriped suits that are likely not men at all. They are the hellhounds on your trail that Robert Johnson sang about. (Robert Johnson makes a brief but important cameo in the novel as well, but Eli never meets him.)
(Here I am channeling Robert to the best of my abilities at Morgan Freeman’s blues club Ground Zero in Clarksdale, Mississippi.)
Part Three – In Devilment
Even though Skip James only gets a passing mention in this novel, his music informed the entire vibe of the novel and I played him constantly during the writing. His music is just so sinister and otherworldly, it provided the perfect ambiance.
In his search for The Wolf, Eli takes up lodging at a boarding house near West Point, Mississippi. To his shock he discovers a beautiful young widow working there named Ella Brown. Ella Brown looks, talks, and by all appearances is his late wife Jessie, even though she doesn’t know Eli at all, and is a bit frightened of him (much to his heartbreak).
Unbeknownst to Eli, Ella and another maid from the boarding house slip out of the house to a juke joint one night to see Howlin’ Wolf. After the show Wolf comes up to Ella and says, desperately:
You gots to tell him come find me, Miss Jessie.
Ella has no idea who ‘Jessie’ is. Out behind the juke house, Ella catches Wolf ‘killing’ a white man (actually one of the hellhounds).
When I’m upset, blood leaks from my head. When I’m over the edge my gums bust open and my nose bleeds and my eyes get little red polka dots on them.
You’ll have to read the novel to find out why.
Part Five – Lonely One in this Town
Eventually Eli catches up to Wolf. For a moment Eli thinks he sees a way out of his situation and con maybe even get Jessie to come with him. But, as Mr LeRoy Carr says in How Long Blues, the train seems to be gone. Here I am reading/ performing the scene – enjoy!
Nathan Singer is a novelist, playwright, composer, and experimental performing artist from Cincinnati, Ohio. He is the author of the critically acclaimed novels published by Bleak House Books A Prayer for Dawn, Chasing the Wolf, In the Light of You and the forthcoming sequel to A Prayer for Dawn, Blackchurch Furnace. He is also the lead vocalist, lead guitarist and principal songwriter for the bands Starshaker and The Whiskey Shambles. He is currently at work on two new plays, an opera, and three albums of original music, plus probably some other stuff. His website is here, connect with him on Facebook, or Twitter @nathansinger1.
1930s, authors, bereavement, Blind Willie Johnson, blues, contemporary fiction, Desert Island Discs, drama, entertainment, Howlin’ Wolf, LeRoy Carr, literary fiction, literary novels, male writers, Mississippi Sheiks, music, music for writers, music for writing, musicians, My Memories of a Future Life, Nail Your Novel, Nathan Singer, noir, playlist for writers, Robert Johnson, Robert Wilkins, Roz Morris, Skip James, spiritual possession, The Undercover Soundtrack, time travel, undercover soundtrack, writers, writing, writing to music
- The Undercover Soundtrack is a series where writers - and occasionally other arty folk - reveal how music shapes their work.
- It began as a companion to my first novel, My Memories of a Future Life, and now thrives as a creative salon in its own right. Pull on your headphones and join us.
- If you're curious about the novel that started it all, click the image below.
Kobo featured book, London Book Fair 2013
Seal of Excellence for Outstanding Independent Fiction, Awesome Indies 2013
Underground Book Reviews Top Summer Read 2012
League of Extraordinary Authors Top 10 Indie Elite 2012
Multi-Story Pick of the Month March and October 2012
Alliance of Independent Authors Book of the Month, January 2013
Email merozmorriswriter at gmail dot com
- All content copyright Roz Morris 2011-2017. Nothing may be reproduced without my express permission in writing beforehand. Photography: Bonnie Schupp Photography, gcg2009 and Roz Morris
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What is The Undercover Soundtrack?Sleeve notes here
For the soundtrack of My Memories of a Future Life, you'll need Chopin's Sonata in B Minor, Rachmaninov preludes, lashings of Grieg's piano concerto in A minor and The Clash's Rock the Kasbah (they go together well).
You'll also need Samuel Barber's Dover Beach on piano, although that doesn't actually exist so do the best you can.
And the novel's undercover pieces. You can find them here
- What's on their soundtracks? Zip down to the footer and you can search by artiste or composer. See who shares your taste in inspirational music
Find something unforgettable
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- ‘A dead soul, a journalist in a dystopian Scotland, and painful family memories’ – The Undercover Soundtrack, Philip Miller
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- 'My Memories of a Future Life is a poignant story steeped with melancholy, edged with a desperate hope, and twisted throughout with darkness and humor'
- 'Some of the sharpest writing I've read in a long while'
- 'The feel of a modern-day witch trial with a tense romance'
- 'Clever when you think about it afterwards; haunting and engrossing while you're reading'