This is a repost in memory of Allen Toussaint passing today.
I was thinking about the Pointer Sisters today—The 1973 Pointer Sisters—and how their first album was one that rarely left my turntable that year. I was a child and mercifully I’ve held on to most of my records from then; curiously, this one’s in pretty good condition—too good I’d say, to have belonged to a kid—which leads me to believe it’s not my original. Back then, I was in the habit of marking all my LP records with a DYMO tape sticker that said DENISE. Just like that, all caps, white letters on orange or green, sometimes red or blue though rarely yellow. But because the DYMO tape or any evidence of having been stuck by DYMO tape is missing (I like typing DYMO), I’m thinking the copy I’m holding of the Pointer Sisters’ self titled album on the Blue Thumb label was at some point reacquisitioned, between 1973 and now.
It’s uncharacteristic of me not to know exactly when I came by a record; that’s just how it is with people who collect records (or if you collect anything, you know what I’m talking about). Obtaining the object is part of its memory, which I find is selective and often obscured by all kinds of clouds and things. But records are the proverbial madeleine that take us back to the land that time (and sometimes I) forgot; songs may come and go, but it’s the record that helps me remember.
Opening the gatefold sleeve today, I recalled a few things: How as a girl, I preferred the portraits on the outer sleeve to the stylized inner sleeve which I bitterly critiqued as “staged.” The outer sleeve was real, or so I thought, not knowing photos were taken at a thing called a photo shoot, set up by a photographer (H.B. Greene according to the sleeve notes) who has an assistant. Preferring the sepia-toned “authentic” 1940s styling on the outer sleeve to the glossy, deco design on the inside, I’d pegged the Pointers as down-to-earth, regular people, not Hollywood types; they were after all local, from Oakland. This is how it should be, them living in a Victorian-styled house like the one pictured on the cover, them dressed in ’40s casual, just as they would everyday. I never talked to a single other kid about The Pointer Sisters first album or what they wore or how they wore it, I just know I’d still give my right arm for a dress just like the one June is wearing in the photo, perfect as it is in every way. Anyone who remembers these things like I do will tell you that baby June, the youngest Pointer, had the style thing completely locked-up. Such a fashion icon she was, it’s a wonder I didn’t take to wearing a turban like she did, though I think I intuited it probably wouldn’t go over very well at school. Where did a child obtain a turban anyway?
As for the music, what can I tell you that you don’t already know? Forty years later, we all know everything about everything and all I’ve got is my stale madeleine from the early ’70s and my Pointer Sisters reverie. The first time I heard the Willie Dixon song, “Wang Dang Doodle,” it was not performed by Etta James; rather, it was right there in my bedroom with the yellow floral wallpaper, at the end of side two of The Pointer Sisters. For sure, that was also the first time I ever saw the name A. Toussaint on a writing credit. Allen Toussaint is of course a legend of New Orleans piano style and the songwriting giant who wrote the album’s opener, “Yes We Can Can.” Why do I waste my breath? You knew that. Heck, even I knew as a small fry that Lee Dorsey was known for doing the song first; he’d been around the prior decade with “Ya Ya.” I knew that one by heart for reasons I can’t possibly relay right now without getting way off course. Put it this way: “It may sound funny but I don’t believe she’s coming home” rung some bells for me. I also liked the smooth vocals in “Jada,” one of the songs the Sisters themselves are partially credited with writing. But really, what I was most concerned with in 1973 wasn’t the music but in getting hold of some old plastic fruit, likely the cherries from the bowl at my great-grandmother’s house, so I could fashion a bunch into a corsage that I could wear on the lapel of my Eisenhower jacket from Lerner’s, to be worn with some wide-bell high-waist pants and platform sandals. Pointer Sisters style, for real.
In closing, I was going to say I don’t remember what we did without You Tube but that would be a big fat lie. I remember perfectly well what we did and that was, we’d watch really bad video tapes that were hard to store and even harder to find on shelves, usually caked with dust. Once we got the tape in the VCR it had to be fast forwarded and rewound so many times, so maybe, just maybe you could find that segment of Soul Train you were looking for but started to regret you ever taped in the first place, since if you hadn’t taped it, you wouldn’t be messing around with a stupid remote control that never worked because the battery was like 10 years old to begin with. Recalling this foolishness, I am wasting my own time and now yours, when all I mean to say is, just try to imagine how I felt when I found this clip of “Yes We Can Can” today, because I can’t possibly describe the feeling of joy, such joy—not in 250 words or less I couldn’t—though I will add this: If there is one song to have had burned into your consciousness, to have been etched onto your soul, and sent with you on your way into the world, this one isn’t a bad one to have to be. Bless you, Mr. Allen Toussaint and Ms. Pointers, Anita, Ruth, Bonnie, and June. Thank you for the record—and for my memories. Great gosh all mighty.
Filed under: Arts and Culture, California, Obituary, Roots of Rock'n'Soul, "Yes We Can Can", Allen Toussaint, Oakland, Pointer Sisters