Social organization and sonic connections of “The Sheik of Araby” The Beatles and Kid Clayton
Primarily, the most important components of social organization are who makes the music, who listens to the music and what are the connections between demographics and listening. The unique “jazzy/dixieland” sonic style of “The Shiek of Araby” is glorious.
First of all, “The Sheik of Araby” was recorded on August 21-22 1952 in New Orleans by Kid Clayton. The album is called the “First Kid Clayton Session” and the performers are Jimmy “Kid” Clayton, Albert Burbank, Joe “Kid” Avery, George Guesnon, “Sweet Emma” Barrett, Sylvester Hardy and Alec Bigard. The talent in this group is so great! Everyone is working together to create a wonderful piece of New Orleans musical heritage. The song is brimming with energy–complete with clarinets, trombones, trumpet, banjo and drums. All of the instruments are performing their own seperate “performance”. Each musician is putting forth his own musical skills and talent. This is what makes up musical community and involvement–musical participation!
Listeners can identify this song with 1920′s dixieland/jazz music. It is very easy to dance to this song! In part, Kid Clayton is reminding listeners of the magic of 1920′s dance music by incorporating sounds of instrumental jazz music.
When talking about demographics, anyone can relate to this song because of its celebratory nature. This song is created to preserve the cultural identity of New Orleans!
This song also reminds me of the musical legacy of Louis “Satchmo” Armstrong. He was a master of trumpet improvisation. Mr. Armstrong was also an advocate for civil rights. He was inspired by the fact that his music could “dissolve racial violence”. He once remarked on integration by saying: “I walked on stage and there I saw something I thought I’d never see. I saw thousands of people, colored and white on the main floor. Not segregated in one row of whites and another row of Negroes…These same society people may go around the corner and lynch a Negro. But while they’re listening to our music, they don’t think about trouble. What’s more they’re watching Negro and white musicians play side by side” (Pg. 18).
In addition, music is a healing art form and it can bring the community together to celebrate cultural identity. Jimmy “Kid” Clayton often worked in Mardi Gras bands and marching parades. He was involved with New Orleans society bringing forth the power of music to the people. The “Sheik of Araby” is such an optimistic piece of music!
The 1962 Beatles version is slightly more “rock and roll” influenced. Featured on the Beatles Anthology 1, “The Sheik of Araby” was directed towards teenage listeners. This is a great example of the Beatles early cover songs. George Harrison sings the lead vocal and John Lennon provides the backup vocals. Their version is meant to be a dance song. The Beatles spent most of their early career performing in live clubs such as the Cavern in Liverpool (their birthplace). Most of the early Beatles’s cover tunes are simply catagorized “bubblegum pop”. They are fun little songs that are intended to bring joy to young listeners.
In conclusion, the pure sonic energy of “The Sheik of Araby” is a wonderful example of how music can bring optimism to a community. The energy of both The Beatles and Kid Clayton is amazing! The “Sheik of Araby” is a landmark song that defines communal involvement!
Works Cited
Brothers, Thomas. Louis Armstrong’s New Orleans. New York: W.W. Norton, 2006.
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