19659007] was Jack Arnold Beam. Meanwhile, as a child grew up in Indianapolis, Beam was exposed to rock & roll,…
19659007] was Jack Arnold Beam. Meanwhile, as a child grew up in Indianapolis, Beam was exposed to rock & roll, gospel and R & B; He started piano lessons at the age of nine and later learned the guitar in the high school. His parents, Jack and Rhevenia Beam, were among the early followers of an iconoclastic young sermon called Jim Jones, which founded the temple in the mid-1950s. “My grandmother was the one who went to one of his meetings,” says Beam, now in the mid-seventies Rolling Stone, “and then she told my people about it. That’s when they stopped meeting him. I was too young for the choir, but I would sing. “
In his youth, Beam held rock & roll dreams, even as his parents were hostile members in Jones Church. After completing high school, Beam chose to stay in Indianapolis while the rest of the family traveled with Jones to perform missionary work in Brazil. Beam himself went to nightclubs where he saw bands playing. “I was completely buried in it,” he says about his interest in music at that time. “That was what I wanted to do.”
After their return from Brazil in 1962, Beam’s family later moved to Jones and other temple members from Indianapolis to the Redwood Valley-Ukiah area of northern California. Shortly thereafter, Beam and his high school friend moved to California to work in the music industry. There Beam joined a series of rock groups, including one called Stark Naked and Car Thieves. He regularly played at night clubs, hotels and casinos along the west coast, but he wanted to become more involved in the production side of music. “I was just tired of playing clubs and casinos,” he explains. “I really wanted to get into the creation of the music. I had a lot of experience living and knowing what music is about. But I just wanted to learn the technical part of it for my own purposes and write something and add productions that would be competitive with the market. “
Beam considered going to school to study music. Along the way he received a phone call from his mother who told him that the temple of the people would pay for his college study. In 1969, he moved to Ukiah, where the temple was founded and participated in Santa Rosa Junior College. In a paper he wrote years later, Beam claimed that he visited his first temple meeting with his long hair, sideburns, mustache and leather jacket, surrounded by the more clasped members of the church. “He was the kind of hero figure: Badass rock star made all the amazing things I wish I could do,” reminds of former Beethoven member Bryce Wood (who preferred not to use his real name for this story) by Beam. 19659002] One day, Jones Beam approached to help Loretta Cordell, the church’s bookkeeper and keyboardist, reorganize the choir and the band. What Beam had in front of him was a large group of about 40 to 50 people of different ages and levels of musical talent that he had to form in a coherent unit. “The leader songs had a lot of experience,” he says, but a lot of the people in the choir did not. You could not throw them out. You had to suffer it until they got it. “
Beam, a guitarist and bassist in the band, was expanding the song repertoire and introducing new material. He played his part seriously because the band and the drivers, most of whom had other commitments outside of the temple, were to practice later in the nice hours. “Jack was a real martinette,” said Wood. “We were there [at rehearsals] for almost four or five hours. He had a really great way to learn the songs. He would go through each part and like hum or strum it until you got it. And then we put everything together. “
” Jack Arnold was a big band and choir leader, “said Don Beck, who supervised the temple’s children‘s choir.” He was a perfectionist and demanded the same-the temple band and the record is an example of what he produced. To get the choir in shape they worked late for many nights. But people saw what was happening and were very proud. “
Aside from Jim Jones’s oratorical skills and charisma, music played an important role in the temple.” The very first to get started was the music when people were sitting “reminds Laura Johnston Kohl, a former temple crossmember” We sang a few songs and had soles. During his sermon he would stop and make people sing and perform. Whether he needed a break or felt he needed people to sing and stand up, he would have the choir or band to participate again. “Wagner-Wilson, who was in the teens as she walked into the temple, saw how the music of the temple service lifted and electrified the parishes.” The choir was a powerful piece, “she remembers.” It was a wonderful experience. The choir could move people, and it did. “
The music performed on the service generally consisted of hymns, although there were some modern pop songs cast even though the text changed to reflect the temple own ideals and messages. “We would do things like” Something Gotta Me “- songs that were really popular in black churches and white churches,” Kohl says. “All songs that sang in the temple, whether it was” Walk a Mile in My Shoes “or Negro spiritualsna, was wonderful and full of life and message.”
Under the direction of Beam, the temple’s choir became a professional musical outfit that included talented singers like Shirley Smith, Deanna Wilkinson and Sister Shirley and Marthea Hicks. “They really lifted up the caliber of everything,” Kohl says. “We had many people who did solo solo that were just amazing. It was an idea.”
“We were so good,” adds Wood, “that we were invited around the state to perform. We went everywhere to perform, but Jim always conditioned it on his ability to give his own message after we sang. “
Beam later had the idea of recording an album that would not only show the choir of the temple but would also generate revenue for the church. “I went to Jones and those guys,” he says. “I told him,” Man, we have enough material here. Let’s make an album and we could sell them to $ 10 at the meetings to collect money. “And then they said,” Yes, a good idea. “”
The Templarship Leader booked studio time at the Producer’s workshop in Hollywood, which he first heard during his time in Stark Naked and Car Thieves. (By this time, the people’s temple had expanded to San Francisco and Los Angeles, it is estimated that membership was numbered around 7,500 during this period.) One night at the end of 1972, after a meeting in the Los Angeles Temple, the musicians traveled on buses and arrived at the workshop for its first recording session. “None of the players and leading singers ever made any recordings,” says Beam. “And so to them it was really loud.”
Workshops sessions took place on several weekend evenings. Wood describes its time in the studio as a phenomenal experience as well as a escape from the demanding aspects of the temple’s life. “These were really low budget things,” he says about the studio. “There was not a lot of creative amenities in the old place, but the equipment was right up to date. It was like going on the Starship Enterprise -” Hey, this is just amazing. “”
Beam organized the recording in separate parts, starting with the band for the instrumental tracks, followed by the choir – only about 30 members participated considering the limited studio space – then the junior driver and finally leading vocalist. “We were waiting in a room while they were recording another room,” Kohl says. “We filled the place like little ants wherever you could find a place to sit or relax, all sorts of plopped down. We hung up and we spent time waiting. It took a long time. It was a really positive experience and fun to know that we recorded the music. “
Similar music from temple services was the track record for the album Able a mixture of traditional and contemporary songs. Beamlocked songs that were not only the strongest in the repertoire but also had commercial appeal, such as Joe South’s “Walk a Mile in My Shoes”, which was covered by Elvis Presley. “I watched the message, apart from the kind musically,” says Beam. “The reason that something like” Walk a Mile in My Shoes “would be [chosen was] because it was popular. Youngsters could identify more with it and also the message of the song.”
A few Beams original compositions were recorded for the album, including the gentle ballads “Set Them Free” and “Because of Him,” the Soul “Keep on the Brother” and the ebullient “Will You.” The complementary traditional works like the title song and “Something’s gotten a hold of me”. Jones wife Marceline sang lead on lullaby “Black Baby”, a remake of “Brown Baby”, previously performed by Nina Simone. The album featured some strong performances by Deanna Wilkinson, widely regarded as the best singer of the temple. “Deanna Wilkinson’s voice had such an interval and depth,” Kohl says. “Personally, she’s just even more amazing than the album. I just loved her voice, and I love Shirley Smith on” He’s Able. “All the songs really moved home.”
One of the memorable tracks recorded for the album was the happy old-fashioned “Welcome!” performed by the temple’s children’s choir. “We worked late and many children fell asleep,” says Beck about the recording. “We would wake them up when we sang. Lots of rocking, as you probably can not hear on the record.”
Jim Jones himself performed on the record, sang lead on the hymn “Down From His Glory”, a reworking of the Neapolitan song “O Sole Mio.” “He came in with a couple of his guards who were with him,” Beam reminds of the special session with Jones. “Everyone in the recording studio who worked there looked at this guy and went,” Whoa, what’s up with this? “He had his sunglasses at 12 at night. Loretta was playing with him [on the organ] while doing it. It was a little weird for the people who worked there.” Wood says there was a hidden subtext for why Jones recorded the special song. “If you listen carefully, Jim really says,” I am God and I came down from my glory.
Wagner-Wilson looks back with love to attend He is Able. “We took it to an entirely professional level,” she says. “It was exciting. You have the headphones on, you hear the other parts of the choir, and then you sing your part.” I felt honored to be a part of it. It was such a sense of friendship and that we really did something which would benefit Father, as we called [Jones] in the temple. “
During the Brothers Records moniker, the self-distributed he Able was released in 1973. (The group name printed on the cover was” People’s Temple Run ” from the sense-apostrophe style favored by the temple of the people at large.) “I thought, it was pretty good, Säger Beam,” on what we planned, what we had to work with and everything. There was a big deal in it. I still have my original copy. “He estimates that about 40,000 copies of the album were pressed and thousands of these copies were sold on the services – along with other things like pictures of Jim Jones, key chains and sacred oil were clearly dirted by the minister himself.” There were very few things the church did which did not make a lot of money, “says Wood.
” It was amazing and I still think it’s amazing, “says Beck about the album” especially “Walk a Mile in My Shoes” and Marcies let [“Black Baby”] just for to hear her beautiful voice. Each song had a message, but also had every single singer one.
How much farther than He is Able the temple choirs may have never been under Beam’s leadership will never really be known . It was because in 1976 Beam dropped from while it was known locally in San Francisco for its philanthropic and progressive deeds, the Church was also under review by former members and the media. In turn, Jones saw reviewers of the temple as enemies and church robbers as traitors.
“I saw years of paranoid tyrannical personality behavior that built up in Jim and decided that I would not be associated with it anymore, “Beam says about his reasons to leave.” Over the years, I saw what had begun as a major humanitarian effort turning into a living nightmare. “Beam did not even have a chance to say goodbye to his parents who stayed with the church at the end.” I’m sure it’s upset for them, “he says.” I could not I keep in touch, because when I called, [the Temple] would not let me talk to them. “
After their departure, the choir continued through efforts by members like Loretta Cordell, Deanna Wilkinson and Anita Ijames. But that was not the same, according to Wood. “I do not put Anita here,” he says. “She just was not Jack, she did not have the dynamic Jack had. She could carry it a little, but she did not have the creative insight or charisma to really pull it off. There was no more real creativity.”
Summer In 1977, a temple function was published about the temple, which contained statements from former church members about false drugs, financial irregularities and physical abuse. Soon after the article, Jones and his followers were published in Guyana, called the Peoples Temple Agricultural Project (called Jonestown), which was built a few years earlier. In the midst of the incredible work and repressive conditions of the Jonestown settlers – not to mention Jones’ increasingly bizarre and irregular behavior – there was still music, with the permission of the Temple House band called Jonestown Express. As documented later, the band performed pop songs of such acts as Beatles, O & # 39; Jays, Jackson 5, George Benson and Stylistics.
Music gave rise to the difficulties of living in Jonestown, according to Wagner-Wilson, who was there at the time. “You can only play so many dominoes and cards,” she says. “So they let us have a party. We always had music in the form of cassettes. I think it helped keep the truth. I remember we would sing Brothers Johnson back to the camp. We would sing while we went or worked. “
Jonestown Express played on the night of November 17, 1978, when California congress leader Leo Ryan and several journalists arrived at Jonestown to investigate allegations from related relatives to temple members that their Love was held by Jones against their will. Archival recordings recorded the special evening act Deanna Wilkinson performs a stirring rendering of the earth, the wind and the fire’s “It’s the Way of the World”. The next day more than 900 followers of the temple were killed, most of whom drew cyanide-laden fruit puffs on orders of Jones. Hours before suicide, Ryan and four other people were killed by people’s temple assassins at an airport in Port Kaituma after Ryan left Jonestown with a group of defects. Jim Jones was later found dead with a shotwind in his head.
Some of those who were in the temple choir and appeared on He is Able albums – including Deanna Wilkinson, Ruth Coleman, Shirley Smith and Loretta Cordell – but also in the tragedy. “There were so many talented people in the temple of the people,” said Wagner-Wilson, who fled from Jonestown with his child and several other people in the morning before the suicide. “Deanna had definitely made an album. They sounded good.”
Beam lost his parents and younger sister Ellie in Jonestown. He says it took him a few years to get over the tragedy. “I had come to the conclusion that we as individuals and people choose our own situations,” he explains. “You are truly your God, because it is based on the decisions you make about what you get out of it or not. I had to come to terms with it. It was the choice that they had the right to do for their own lives But it did not work for me. It was not what I wanted. There was quite a lot happening. “
After his departure from the church, Beam moved to Ventura, California, and became a real estate field adjuster for AllState Insurance. He also built his recording studio and worked on music at that time. He moved to Florida in 1990 and worked in car sales for the next 27 years. In 1993, a weather event, called “No Name Storm”, damaged his home. Among the many possessions lost in the storm were the original masters of he Able. “It Destroyed All Things,” praises Beam. “It came up in the middle of the night – we did not even know what was coming. I live right on a wide river. We wasted on it.”
During the same year of No Name Storm, an underground British label, called Gray Matter Issued is he Able on CD. There were two major differences between the CD version and the original vinyl LP. First of all, instead of using the cross members in their blue clothes, the front cover of the Gray Matter rescue used a black and white image of dead bodies found in Jonestown, and the backing contained a photograph of a vessel containing poison; In addition, the CD’s inner sleeve contained relics of news articles about the event and an illustration of Jones’s face in a Kool-Aid shaped pot. Secondly, a 40-minute track was taken after the album’s original 12 songs. The title “Massacre”, the track is a disturbing recording (called the “death tape”), made on November 18, 1978, where Jones can be heard urges his followers to commit suicide. As Brian Kevin wrote later: “With the addition of the” death band “as a 13th track, the recorded CD takes all the admiration of He is Able and turns it on his head and crushes through the barbarian barrier to let go in time, irony and sorrow. “
Beam explains that he was never contacted by Gray Matter to post a reallocation of the post. “I had heard of it,” he said about the unauthorized arrangement. “All they needed was to get a copy of it from someone who bought one, copy it and reproduce it. It would not be as sharp as the original press, because you lose an audio generation on it. That was probably what happened. “
The original vinyl version of He is Able is very small, but a single copy of the secondary market can collect more than 100 dollars. Nevertheless, the songs on YouTube are available as free downloads online. Some of the surviving temple members interviewed for this story acknowledge that they did not listen to the record so much, partly because of the tragedy. Kohl says she can not separate the two things. “Knowing that these talented people died, it affects me too much,” she says. “If they had survived, maybe I have a different point of view. But to hear someone sing or perform, and knowing that they died this worthless death, it’s just the heart. I knew them all.”
” It’s really hard to listen to “Welcome” because all these children were dead five years later, Wood said, losing several family members in Jonestown. “I was very happy when I did. It has very nice memories. Sometimes when I listen to it, I get a big kick out of it. But it’s just about it. I have never been someone who lived in the past. “
The desire to move forward is a similar feeling shared by Beam.” It’s part of the review and you continue to the next thing, “he says.” They are all different aspects of different parts of the same. By that time, it was very pleasing and it was a great experience. And then I moved past it. “
At the same time, Beam continues to make music. He is currently working out of his home in Florida and collaborates with a Nashville-based artist called Daryl Keith Norman. At the moment, the new country sounds of interest.” All I’m working for now trying to put together something that can be a hit song, “says Beam.” In the music industry, who’s you know. The challenge of writing and creating competitiveness is very pleasing to me. I’m doing it for the pleasure to do it. I know if you know something well long enough, someone will notice it. “
But Beam still feels a sense of pride in what he had accomplished. He is Able, a sound image of an unforgettable time in his life and others that were part of the temple a few years before the tragedy of 1978 “It was a milestone for me to be part of my entire experience of music during this lifetime,” he says. “I was very proud of it and it met what needed to happen at that time. Today, I still appreciate it.
“And every time I listen to what may be every 20 years, he continues,” I can remember the people, the experiences and all the things I almost mean more than the album. “