"Lord, Have Mercy on My Soul": Sin, Salvation, and Southern Rock

Abstract

In 1971 the five-member rock-and-roll group Black Oak released their debut album. songs on the record illuminated themes addressed by Black Oak and the larger Most southern lyrics glorified such stereotypically male values as fighting, gambling, and sexual conquests. Two other songs, The Hills of Arkansas and When Electricity Came to revealed a love of state and region that also permeated southern lyrics. Yet the most lyrically intriguing song on Black Oak was dried on My Soul. Although most Black Oak songs were anything but serious, Have Mercy began the deep, solemn voice of lead singer Jim Dandy Mangrum accompanied only by a church organ. spoken introduction recited the story that Mangrum eventually sang. In a somber tone, Mangrum vividly described how he recently walked through the halls of Karma and shook hands both the devil and God, whom he respected and had run with throughout his life. While the devil possessed his body and God possessed his mind, he explained, his soul currently belonged to both. Mangrum recalled that as they considered his eventual fate, the devil became excited while the Lord expressed sympathy. At the thought of facing God on judgment day, Mangrum begged, Lord, please have mercy on my soul. (1) constant repetition of this line at the song's end conveyed the sincere concern the band felt for their spiritual salvation. preoccupation damnation and salvation in on My Soul is no aberration in the southern movement. In fact, bands that belonged to the often expressed a seemingly earnest preoccupation religious matters. song lyrics and personal lives of southern rockers demonstrate a constant struggle between sin and salvation. At first glance, it appears that southern totally rebelled against the evangelical ethos that so heavily influences southern culture. use of evangelical vocabulary and images stands in stark contrast to the debauchery often promoted by southern bands in their songs. Drug use, violent brawling, distance from family members, and sleeping every female possible are not characteristics usually associated strong religious values. There is little doubt that southern bands were proud of their sinful ways, embodied in their excessive drinking and drug habits, but the musicians did frequently attempt to reconcile sinful lifestyles the religious fundamentalism that characterizes much of the South. Music has always served as an essential form of southern religious expression. Popular fascination native musical forms like the blues and, more recently, bluegrass confirms the importance of southern music in the nation's cultural heritage. Some historians, most notably Bill Malone, have even recognized the intellectual value of southern music in its multiple forms. Southern rock, however, is one form of the region's music that has received relatively little popular or academic attention. But what really is southern rock, and who are the hands that are affiliated the movement? former question is more difficult than the latter, as the movement means a variety of things to fans, record companies, and the bands themselves. Record producer Phil Walden more or less began the southern in 1969 by recording and marketing a distinctive style of regional rock-and-roll for his Capricorn Records in Macon, Georgia. Many of the bands Walden signed were made up of native southerners who had been playing a unique blend of rock, blues, and country music on regional circuits for years. Members of different groups often knew each other well and even traded musicians on occasion. Fans and critics soon gave the new sound produced by Capricorn (and other companies) the vague rock label. Five critically, commercially, and regionally successful bands of the also built a significant national following: the Allman Brothers Band, Black Oak Arkansas, Lynyrd Skynyrd, the Marshall Tucker Band, and Wet Willie. …