Angel of the Morning - P.P. Arnold
In 1967, when I was twelve, my distorted perspective on modern romance and the much celebrated sexual freedom of the sixties was reflected in my mis-hearing of "Angel of the Morning".
The song, written by songwriter Chip Taylor, was originally turned down by Connie Francis who did indeed consider it too "liberated" and therefore risqué for her audience. The singer of the song is saying that it's her choice to stay over and she'll take the risk that it may turn into just a one night stand,
"There'll be no strings to bind your hands,
not if my love can't bind your heart,
and there's no need to take the stand,
for it was I who chose to start.
I see no need to take me home -
I'm old enough to face the dawn....."
although it is implicit that she's hoping it will turn into something more. Although the sentiments expressed could come across like a brazen flirtation, the delicacy of the tune and sensitivity of the song's rendition has the opposite effect, instead highlighting the vulnerability of someone whose feelings are so strong they are prepared to chance an outcome of casual rejection after a night of passion.
"Will You Still Love Me Tomorrow?" seven years on, in the age of free love and women's lib.
There were many versions of "Angel of the Morning". The American hit was by Merilee Rush and the Turnabouts, as it turned out their only chart entry, while British success went to American soul singer P.P. Arnold. who has spent much of her life resident in the UK. Between the two, there is much debate as to which is the best: Rush is more tender and humble, the lead vocal counterpointed with exquisite, nunnish, echoing backing harmonies plus folky instrumentation and even a country pedal guitar; Arnold's is a bigger production, more soul-orientated and more rocky. A straw poll of my yuletide household had Rush's version coming out on top, but my vote goes with P.P. Arnold - I just love her impassioned vocal especially at the song's climax.
Arnold recorded on the British record label Immediate Records whose owners had ambitions to create their own "sound", recording tracks with their "house band" like the American house bands of Stax, Motown, Phillies and Muscle Shoals. Immediate featured session musicians such as Jimmy Page and John Paul Jones and members of their signed groups such as the Small Faces, Fleetwood Mac, and Amen Corner. "Angel of the Morning" is a good example of this. Could that be producer John Paul Jones on harpsichord, and Blue Weaver on piano (?) and that's surely Kenney Jones on drums. (Among other Immediate artists were a pre-Faces Rod Stewart, Fleetwood Mac, John Mayall, Chris Farlowe, Nico, Humble Pie and the Nice.)
Like many well-intentioned idealist dreams of the sixties, Immediate disintegrated in a flurry of accusations of fraud, embezzlement and unpaid musicians.
A bit like my mis-hearing of the lyrics of "Angel of the Morning", a sad dose of cynical realism when confronted by love and beauty: I thought, instead of
"just touch my cheek before you leave me", it was "just touch my feet before you leave", in a sort of reversed "after" version of the poster for the film "The Graduate" of the same year.
In my version, the tragedy is much sadder. Whichever way you hear it, it's a great song.
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