What is conscience? What does an oath truly entail? What does silence in a matter indicate within a system undergoing rapid change? These questions more are ripe for thoughtful examination in Robert Bolt's 1960 play "A Man For All Seasons." Bolt's lifelong admiration of Sir Thomas More grants him the best chance to reflect on the loss of clear-cut logic in the middle of a political maelstrom.
First, a cautionary note. History is too often not correctly recorded. So, authors in their research and inspiration find ways to change it - so to speak. Modern writing about More, following his sainthood by the Catholic Church, attempts to frame him as less empathetic to those around him and more tolerant of abuse and torture. While these charges are not proven, Bolt still manages to have More object to his daughter's Lutheran suitor Will as a "heretic." His lack of candor with Will changes, of course. However, one of the most important aspects of "A Man For All Seasons" is consistently seeing More as a humanist.
In Bolt's preface, he even questions the direction of his work. As he asks for the reader's understanding, the framework of this fundamental issue takes shape. To More, an oath is a contract between a human and God. Therefore, it is the most sacred promise one can make and keep. As he beautifully says to his daughter Margaret visiting him in the dreaded Tower of London,
When a man takes an oath, Meg, he's holding his own self in his hands. Like water. (He cups his hands.) And if he opens his fingers then - he needn't hope to find himself again.
More's words are powerful in this matter. Yet in Bolt's play, he is mostly humble and carries himself with grace. As an exemplar of devotion to the highest power, More stands by his beliefs even when everything disappears from his grasp. In theatre, literature, and film, we regularly see this process of breaking down a human to get what another human wants. More wilts but never breaks down.
At the beginning of the play, as More succeeds the weak Cardinal Wolsey as Lord Chancellor of England, the King's declaration refers to him as a "saint." King Henry VIII comes to visit his home in Chelsea. The young King immediately displays power, but he soon cools and seems filled with genuine admiration for More despite his intransigence.
Henry's brother was set to marry Spain's Catherine of Aragon and unite two burgeoning empires. However, his brother died and the marrying task moved to the new King. Further, the King already asked the Pope to approve the marriage - which was granted thanks to its involvement with Spain. Verbally sparring with More, Henry reveals that this marriage has been "sinful" and further that Catherine has been unable to provide him with a male heir. More is receptive to the King, but ultimately knows that the real reason is that they would be forced to petition the Pope for divorce - and he would be less likely to grant it because it provides no benefit to Spain.
This is a tense moment. The King wields his power, but More resists both saying anything leading in either direction or registering any hint of an opinion as if he were the church (a provision of taking this position was that he would not be asked this question.) Surprisingly, the King becomes more friendly and honest.
Because you are honest. What's more to the purpose, you're known to be honest...There are those like Norfolk who follow me because I wear the crown, and there are those like Master Cromwell who follow me because they are jackals with sharp teeth and I am their lion, and there is a mass that follow me because it follows anything that moves - and there is you.
The King does not separate More from the rest of the coterie because he wants him to feel exclusive. He does it because he is smart enough to see where this is going. For the first time, we see the effect that More has upon power. The King admires him even saying that respect is "water in the desert" and as an "artist" may love praise, they love truth more.
In the play, Bolt asks numerous questions of conscience. After visiting Cardinal Wolsey (Cromwell perches himself outside to eavesdrop,) More is forced to walk by all of the petitioners hoping to have their cases or appeals heard. More accepts them stone-faced including a silver goblet. In Fred Zinnemann's 1966 Academy Award-winning film adaptation (whose screenplay was written by Bolt fresh from co-writing "Lawrence of Arabia.") More chunks it into the river on the boat ride back to Chelsea. Only to have the boatman save it and give it back. Can he take this as a gift? After all, it was thrust upon him, and he does not want to appear rude. In addition, now that the boatman has saved it - he cannot get rid of it again. Bolt's new solution to this issue: give it to the too-eager Richard Rush who is waiting in hopes of being given a civil service post to begin his ascent in politics. We now know this was a bribe, and it will haunt him.
More has a heavy conscience. The burden of facing a higher power upon shuffling off this mortal coil should be enough to persuade any friend or even family member. As the proverbial noose tightens around his neck, his virtuous stance creates problems for those who stand with him. He must violate the unspoken oath of his marriage by not divulging his reasoning to his wife, even placing her hand on a Bible to make his point. He must counter the good stubbornness of his confidant The Duke of Norfolk by putting him down in a fiery friendship-destroying rant. In the most painful perhaps, face off with his beloved daughter Meg whose last gambit to get him out of the dreadful, damp basement of the Tower of London is to tell him "God more regards the thoughts of the heart than the words of the mouth."
It is no wonder that he enters the royal court to answer charges of high treason with nothing to say but to ask for a chair. Even the avenging cross-examination of Cromwell can only turn to the issue of silence. When Cromwell threatens upon this front, More returns to life knowing that he must now even defend words which he cannot rightfully say.
The law is not a "light" for you or any man to man to see by; the law is not an instrument of any kind. The law is a causeway upon which, so long as he keeps to it, a citizen may walk safely...Is it my place to say "good" to the State's sickness? Can I help my King by giving him lies when he asks for truth? Will you help England by populating her with liars?
Resilient in the face of adversity and knowing that the hardest truth of all is at hand, More wins over the gallery in court even while losing his life. Condemned and knowing his fate, More "discharges his mind" and takes a different oath. Even facing death, More summons fire through the truth and stays human to the very end - "I do none harm, I say none harm, I think none harm."
—
Mik Davis is the record store manager at T-Bones Records & Cafe in Hattiesburg.
NEW YEAR - NEW REISSUES! by Mik Davis at T-Bones Records
ZZ TOP - RIO GRANDE MUD [LP](Rhino)
ZZ TOP - TRES HOMBRES [HI-FI LP](Rhino)
ZZ TOP - FANDANGO [LP](Rhino)
ZZ TOP - TEJAS [LP](Rhino)
Four excellent albums tell the story of "That Little Ol' Band From Texas." 1972's "Rio Grande Mud" capitalized on the Blues/Rock amalgam they forged with their debut album. "Rio Grande" shows improvements in songwriting ("Just Got Paid" and "Chevrolet" are still unstoppable) and writing stompers ("Bar-B-Q") and boogie numbers ("Apologies To Pearly") that showcase their skills. The commercial breakthrough followed on the classic 1973 "Tres Hombres" where the trio hits on all cylinders. "Waitin' For The Bus/Jesus Just Left Chicago," "Beer Drinkers & Hell Raisers," and their chart hit "La Grange" are the classics that show both Billy and Dusty as great singers. However, it is the deep cuts like the complex groove of "Master of Sparks" and the slow boil of "Hot, Blue, and Righteous" that keep you comin' back.
With a few hits and a live show that earned them an opening spot for the Rolling Stones, 1975's "Fandango" is half live (recorded at The Warehouse in New Orleans) and half studio. An amphetamine-speed run through "Thunderbird" demonstrates their raw power, while the "Backdoor Medley" is a stick of aural dynamite. The real prizes are tucked away on side two as "Tush" becomes their first true hit single and the locomotive strength "Heard It On The X" is an essential blast. Between all the tours and excitement, 1976's "Tejas" is commonly seen as a lateral move. In hindsight, "Tejas" is the trio molding their best riffs into Bluesy/Rock/Countryfied jams. "Arrested For Driving While Blind" and the midtempo strut of "It's Only Love" should have been hits. The pulsating "Snappy Kakkie," and the growling "Enjoy and Get It On" may seem slight in their composition, but this is Top slimming down their licks to fit into single-length songs like the standout "Pan Am Highway Blues" which speeds up and slows down just like your car on freedom-loving road trip down a mystery road.
RAMONES - TOO TOUGH TO DIE [LP](Rhino)
RAMONES - HALFWAY TO SANITY [LP](Rhino)
RAMONES - BRAIN DRAIN [LP](Rhino)
With the first four albums putting them in the history books as indispensable, Eighties Ramones was a mixed bag of different producers and songs that were trying hard to break through on the singles chart (or MTV.) The playing field had changed (as did their relationships.) 1984's "Too Tough To Die" is the last dose of "classic" Ramones sound thanks to the return of one-time drummer Tommy (Erdelyi) as producer. "Mama's Boy" is thunderous, while the Dee Dee's title cut was also worthy of being a hit. Behind the scenes Richie replaced Marky, and Joey mostly sat writing this one out as he was "not feeling well." While it was their lowest charting album to date, the Ramones were rewarded with a small MTV hit produced by Dave Stewart of the Eurythmics on the anthemic "Howling At The Moon (Sha-La-La)." After enlisting another producer (Jean Beauvoir of The Plasmatics) for the underrated "Animal Boy" in 1986, Daniel Rey took over the production reins for 1987's bleak "Halfway To Sanity." In between more drummer issues (Marky returns after Blondie's Clem Burke moonlights as "Elvis Ramone" on tour,) the band fell further out of balance best reflected on Dee Dee's heartfelt "I Wanna Live" and "Garden of Serenity." Sensing this might be the end of the road, The Ramones brought in Rey, Beauvoir, and Bill Laswell for 1989's "Brain Drain." Needing to capitalize on the startling success of the "Ramonesmania" hits compilation, "Pet Sematary" delivered their first US Alternative hit peaking at #4. It did not prove to be enough as Dee Dee exited unhappily.
FLEETWOOD MAC - LIVE AT THE RECORD PLANT, 12/15/74 [2LP](Rhino)
Entering The Record Plant for the first time (before recording the historic "Rumours" there in 1976), Fleetwood Mac was down to a single guitarist (Bob Welch) and encountered a bit of an identity crisis after signing to Warner Bros. With Welch and McVie as their writers, they brought the full live act to this live radio broadcast. While it seems like the two sides of Mac locking horns (the older cuts like "The Green Manalishi" and "Black Magic Woman" hit different levels of steam,) their stripped-down sleek Seventies California Pop/Rock is taking shape from its hippie roots ("Angel") and bustling Blues ("Bermuda Triangle.") However, the band is at their best and most attentive during the prettier tracks (Christine McVie's "Spare Me A Little") as well chasing grooves (Bob Welch's surprise AOR hit "Hypnotized.") Behind the scenes, Welch was exhausted and hinting at leaving. While checking out Sound City Studios as a location for the next album, engineer Keith Olsen played Mick Fleetwood one of his productions from the duo "Buckingham Nicks." On New Year's Eve 1974, Fleetwood contacted Lindsey Buckingham about replacing Welch, who was departing for a solo career (he would re-record "Sentimental Lady" from this set and hit the Top 10 in 1977.) Buckingham, sensing that joining this well-known act could be beneficial, told Fleetwood that he would join on the condition that his duo partner/girlfriend Stevie Nicks came along too. Buckingham's "package deal" would change everything.
ENGLISH BEAT - SPECIAL BEAT SERVICE [LP](Rhino)
We often talk about "transitional" albums in terms of an artist coping with maturity or (more often than not) trying to capitalize on the first burst of fame. England's now famous second wave of Ska brought us classics from The Specials, Madness, and the (English) Beat. The Beat's first pair of records were frantic and even slightly angular. As they began to tour heavily and garner hits , the Ska undercurrent took on more World-like tentacles. When the Ska bands began falling off, the Beat embraced a sweeping, almost New Romantic sound ("I Confess,") bright staccato horn charts a la Haircut 100 ("Sorry,") and a penchant for Sixties Soul. While continuing their excursion into pure Reggae/Dub (Ranking Roger on "Spar Wid Me,") Dave Wakeling's previously rejected midtempo sway on "Save It For Later" marked not only their breakthrough but a new Modern Rock/Pop sound that would define their last chapter as the group split into a pair of future hitmakers General Public ("Tenderness,") and Fine Young Cannibals ("She Drives Me Crazy.")
