Homesick … but for what?
Via my pal SV’s Facebook page a while back, a recording of the Rambos doing “I’ve Never Been This Homesick.” Take a look and listen and then we’ll regroup on the south side of the clip.
Some more or less random thoughts.
1. I always am excited when I see/hear an old Rambos clip like this (they were long defunct by the time I was old enough to pay attention), but just as inevitably, I come away from it thinking the same thing: I really almost always prefer solid covers of Dottie Rambo’s songs over the Rambos’s own version of her music (you can see fairly different Crabb examples, to take just two, here and here … ftr I prefer the latter over the former, despite the recording quality problems and Jason Crabb’s overindulgence of his inner backwoods preacher).
2.This clip is pretty much a perfect example of why it is almost impossible to really explain southern gospel to an outsider who doesn’t come from the world from which this clip emerged.
3. Susan Sontag in “Notes on Camp”: “Many examples of Camp are things which, from a ’serious’ point of view, are either bad art or kitsch […] I am strongly drawn to Camp, and almost as strongly offended by it. That is why I want to talk about it, and why I can. For no one who wholeheartedly shares in a given sensibility can analyze it. …”
4. Here’s No. 2 and 3 above recast in the form of questions: What is that bust of Beethoven doing there? Why does so much of this feel like community theater in general, and what on earth, in particular, is up with the “wild look,” as SV put it on his FB page, in Reba’s eyes around the 2:02 mark? Why are they in a (faux?) library and/but using a band (track?) behind the piano to accompany a song about heaven imagined as the old home place, which, one assumes, did NOT have a library, a grand piano, or a bust of Beethoven in it? And yet how does the song manage to hold up - for it so clearly does - under the weight of all this cognitive and aesthetic dissonance? I’m actually asking, for the most part.Email this Post