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'Across the Evening Sky': the Late Voices of Sandy Denny, Judy Collins

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'Across the Evening Sky': the Late Voices of Sandy Denny, Judy Collins © Copyrighted Material Chapter 9 ‘Across the Evening Sky’: The Late Voices of Sandy Denny, Judy Collins and Nina Simone Richard Elliott In 2006, shortly before her 67th birthday, the American singer-songwriter Judy Collins undertook a tour of Australia and New Zealand, her first visit to the region in forty years. A number of press features and interviews accompanied Collins’s visit, several of which were still featured at the top of the ‘Press’ section of the artist’s website at the time of writing this chapter. One of the features, entitled ‘Who Knows Where the Time Goes?’ after one of Collins’s 1960s hits, presented a reflection on the artist’s career alongside observations on age and assertions of continued vitality.1 Another, entitled ‘Gem of a Voice Shines On’, described some of Collins’s most successful performances, including her recording of Joni Mitchell’s ‘Both Sides Now’. ‘Its harpsichord tinkling has dated’, wrote the journalist, ‘but Collins’ voice, warm and wise beyond its years, renders the song timeless.’2 I use these examples because they provide a foretaste of the themes of age, time and experience with which I wish to engage in this chapter, as well as a reference to the song upon which I will base my observations. The first aspect to note is the way in which an artist of Collins’s longevity can afford to leave her website out of date in terms of publicity; the fact that the featured stories are seven years old at the time of access matters little when considering an artist whose performing career spans more than five decades. Second is the way in which age has become a factor in how Collins is discussed and promoted in the twenty-first century; it is both a calling card and a potential obstacle to overcome (seemingly not a problem for the age-affirming Collins). Third, and most important for this chapter, is the reference to the experiential mode of performing that the young Joni Mitchell tapped into in ‘Both Sides Now’, and which the ‘wise beyond her years’ 1 Guy Blackman, ‘Who Knows Where the Time Goes?’, The Age online edition, 2 April 2006, accessed 5 August 2013, http://www.theage.com.au/news/music/who-knows- where-the-times-go/2006/03/30/1143441271278.html. 2 ‘Gem of a Voice Shines On’, The Age online edition, 25 March 2006, accessed 5 August 2013, http://www.theage.com.au/news/music/gem-of-a-voice-shines-on/2006/03 /24/1143083990392.html.www.ashgate.com www.ashgate.com www.ashgate.com www.ashgate.com www.ashgate.com www.ashgate.com www.ashgate.com www.ashgate. © Copyrighted Material © Catherine Haworth, Lisa Colton and the contributors (2015) From Catherine Haworth and Lisa Colton (eds), Gender, Age and Musical Creativity, published by Ashgate Publishing. See: http://www.ashgate.com/isbn/9781472430854 142 Gender, Age and Musical Creativity © Copyrighted Material Collins introduced to the listening public in 1967. The ‘timeless’ song performed an early sense of lateness, an anticipation of experience normally associated with older people but surprisingly common among young songwriters. Perhaps it shouldn’t be so surprising to encounter such early lateness. As Kathleen Woodward observes, ‘Age is a subtle continuum, but we organize this continuum into “polar opposites”’, creating unhelpful distinctions between young and old, innocence and experience.3 Imaginations, actual experiences and representations of age and ageing bodies get folded into each other through public discourse and popular culture. As Andrew Blaikie notes, there may be no denying the irreversibility of time and age, yet ‘“Maturity” itself is a term capable of many and varied definitions and the biological is but one of these.’4 Such observations are useful when considering the possibility for, and even prevalence of, anticipated lateness in popular songwriting and singing, where strategies for dealing with age, time and experience are a constant (as they are in life), allowing multiple stages of reflection and multiple opportunities to feel ‘late’. Popular music artists, as performers in the public eye, offer a privileged site for the witnessing and analysis of ageing and its mediation, providing listeners with ‘sounded experience’, a term intended to describe how music reflects upon and helps to mediate life experience over extended periods of time.5 Added to this is the fact that sound recording provides a rich space for exploring issues of memory, time, lateness and afterlife; in the brief examples cited above, it is the continued presence of Collins’s recordings that allows for the stitching together of the artist’s life narrative and the ‘subtle continuum’ of her public persona. This chapter engages the concept of anticipated lateness via discussion of the work of three female musicians whose work offers valuable insights into the interplay of history, biography and memory: Sandy Denny, Judy Collins and Nina Simone. It focuses specifically on the representation of innocence and experience via the ‘late voice’, a concept which is exemplified by these artists but which extends to a broad range of modern (post-mid-twentieth-century) popular musics and musicians. When referring to ‘lateness’, I have in mind five primary issues: chronology (the stage in an artist’s career), the vocal act (the ability to convincingly portray experience), afterlife (posthumous careers made possible by recorded sound), retrospection (how voices ‘look back’ or anticipate looking back) and the writing of age, experience, lateness and loss into song texts. The song ‘Who Knows Where the Time Goes’, written by Denny and later performed by Collins and Simone, provides a case study for this discussion and is analysed in 3 Kathleen Woodward, Aging and Its Discontents: Freud and Other Fictions (Bloomington and Indianapolis: Indiana University Press, 1991), 6. 4 Andrew Blaikie, Ageing and Popular Culture (Cambridge: Cambridge University Press, 1999), 6. .ashgate.com5 See www.ashgate.comRichard Elliott, www.ashgate.com Fado www.ashgate.com and the Place www.ashgate.com of Longing: www.ashgate.com Loss, www.ashgate.com Memory www.ashgate.com and the City (Farnham:www Ashgate, 2010), 126–30. © Copyrighted Material Copyright material: You are not permitted to transmit this file in any format or media; it may not be resold or reused without prior agreement with Ashgate Publishing and may not be placed on any publicly accessible or commercial servers. ‘Across the Evening Sky’ 143 © Copyrighted Material terms of its representation of time and experience and in relation to the lives and works of its interpreters. Sandy Denny Sandy Denny (born Alexandra Elene Maclean Denny in 1947 in Wimbledon) established herself as a performer in the London folk scene of the mid-1960s. Denny had shown early promise as a singer, though a visit to the Royal College of Music with her mother had led to the verdict that her ‘pretty little voice’ would be best left untrained in order for her to concentrate on singing naturally.6 Denny learned piano and guitar, focusing on the latter instrument as she entered the world of clubs associated with the folk song revival. As she frequented these venues and met other members of the scene, she built up a good knowledge of traditional song from the British Isles and North America and started to incorporate some of it into her own repertoire. Her early performances took place while she was pursuing other vocational possibilities – first as a trainee nurse, later as an art student – but by 1966 she was turning increasingly towards music as a profession and was developing a strong reputation for her singing. Following the standard folk practice of the time, Denny mixed traditional material with contemporary work authored by emerging writers; clear influences on her early style included Joan Baez and Anne Briggs – singers associated with the American and British folk revival respectively – and Bob Dylan, whose self-written songs had galvanised the American and British scenes. From its initial stages, Denny’s songwriting displays a sense of loss, melancholy and experience that suggests an early sense of lateness. Her first documented composition ‘In Memory (The Tender Years)’, written as an elegy for a former classmate who died young, includes references to ‘the sighing of the wind’, ‘a murmur of regret’, ‘running with the dawn’ and ‘trees of green and gold’.7 It features a mournful, elegiac arrangement, with fingerpicked acoustic guitar and fatalistic vocal lines that emphasise the passing of the seasons and of brief human lives and loves. The attachment of nature imagery to memory, nostalgia, longing and the passing of time would become a staple of Denny’s writing, often complemented by allusions to water in the form of rivers, banks, shores or the sea.8 6 Clinton Heylin, No More Sad Refrains: The Life and Times of Sandy Denny (London: Omnibus, 2011), 18; Philip Ward, Sandy Denny: Reflections on Her Music (Kibworth Beauchamp: Matador, 2011), 168. 7 Sandy Denny, ‘In Memory (The Tender Years)’, on The Notes and the Words, CD, Island, 371 246-9 (2012). 8 A number of writers have commented on Denny’s obsession with water imagery, often reading it in gendered terms. Philip Ward, perceiving a particular emphasis on ‘oceanic imagery’ among female artists, supports his claim via reference to the work of Hélène Cwww.ashgate.comixous; see www.ashgate.comWard, Sandy www.ashgate.com Denny, www.ashgate.com60–62, 183–5. www.ashgate.com Simon www.ashgate.comReynolds and www.ashgate.com Joy Press www.ashgate. connect © Copyrighted Material © Catherine Haworth, Lisa Colton and the contributors (2015) From Catherine Haworth and Lisa Colton (eds), Gender, Age and Musical Creativity, published by Ashgate Publishing. See: http://www.ashgate.com/isbn/9781472430854 144 Gender, Age and Musical Creativity © Copyrighted Material Denny’s nature/time imagery would find its most famous setting in ‘Who Knows Where the Time Goes’, an early composition that initially bore the title ‘Ballad of Time’.
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