I had always wondered if Gene McDaniels the singer and Eugene McDaniels the songwriter were the same person- turns out they are!
Gene hit the top 10 several times during his hit run as a singer, but his only number 1 hit was as a songwriter. In 1974, Roberta Flack took his song "Feel Like Makin' Love" to the top; on her classic '70s albums, he wrote the most pieces.
I came to this backwards. I thought Headless Heroes was kind of a polemic debut. I didn't know it was 10 years into his career or that he was a prolific, successful songwriter. The lyrics seemed to me to be facile in their directness - I see now this is a deliberate tactic. I'll have to spin Headless Heroes again this Easter morning and give it a re-listen.
The lyrics take a bit to get to get used to but do think they fit with what McDaniels was trying to do which was to make you feel outrage and, especially if you are a white person listening to it, uncomfortable.
I’m Eugene’s widow, KT. To your point about the lyrics with “Headless”, the subtlety of his message on “Outlaw” went over the heads of almost everyone that his message was directed at. As a result his lyrics to “Headless Heroes of the Apocalypse” were deliberately facile and literal. If you compare “Unspoken Dreams of Light” with “The Parasite”, both about colonialism and genocide, the message in “Unspoken Dreams” is about whiteness and its genocidal impact, Light = white for Eugene (full disclosure, I’m so-called white). I thought this song was so important, the lyrics so astounding (not to mention its proto-rap delivery) that I included them on the website I designed for him. But, for most people the song went over their heads (and still does I might add) hence “The Parasite”, so literal you can’t miss the message. You could say this for virtually every song on in each album. Eugene was not a literal man, at all, and rather disdained literalism tbh (not the people, just the concept), but he learned that the people he was trying to reach often were. And despite the literalism, if you go deeper with the album “Headless” you’ll hear a lot of subtle references that you may not have heard on first listen. These album are meant to be really listened to, over and over, and more is revealed if one cares to go deeper.
I could go on, as this is a subject near and dear to me, but I will leave it there.
Reading this piece and listening to the clips documenting the evolution of Eugene McDaniels has been wonderfully enlightening. As usual, you provide the cultural context for the artist's statement and transformation. I was less familiar with Headless Heroes than the other pieces here, but I will be listening to those remarkably relevant lyrics much more. Bravo and thanks, Robert!
This essay gave me goosebumps, not just because it captures the urgency and singularity of the Rev. McD's musings and music, but also the vitality. I was bracing for how you'd handle The Parasite and was delighted that it evoked the same chills as the source material. It's a great essay about a great album.
Thanks so much - I appreciate the kind words. I remember buying the album in 2011 and the shock of the sudden turn of 'The Parasite,' which while it's not expected still sends chills, both in anticipating it and then when it is underway.
Nice piece on a phenomenal album. The cover art and liner notes alone on 'Outlaw' speak volumes about the change of direction in Mr. McDaniels' focus.
But, I also have to extend love and praise for his follow-up, 'Natural Juices,' which is often overlooked in favor of both 'Outlaw' and 'Headless Heroes.' Whilst coming from an entirely different direction (love and sex), he delivers a fantastic album of soulful funk that is every bit as good as the previous LPs (just not as dangerously political or angry). For me, these three albums are essential.
I had always wondered if Gene McDaniels the singer and Eugene McDaniels the songwriter were the same person- turns out they are!
Gene hit the top 10 several times during his hit run as a singer, but his only number 1 hit was as a songwriter. In 1974, Roberta Flack took his song "Feel Like Makin' Love" to the top; on her classic '70s albums, he wrote the most pieces.
Yes, McDaniels is all over those early Roberta Flack albums. I really like his 'River Song' from 'Killing Me Softly.' That one grooves!
Joe Simon also did a nice version of that.
Oh - I'll have to check it out.
I came to this backwards. I thought Headless Heroes was kind of a polemic debut. I didn't know it was 10 years into his career or that he was a prolific, successful songwriter. The lyrics seemed to me to be facile in their directness - I see now this is a deliberate tactic. I'll have to spin Headless Heroes again this Easter morning and give it a re-listen.
The lyrics take a bit to get to get used to but do think they fit with what McDaniels was trying to do which was to make you feel outrage and, especially if you are a white person listening to it, uncomfortable.
I’m Eugene’s widow, KT. To your point about the lyrics with “Headless”, the subtlety of his message on “Outlaw” went over the heads of almost everyone that his message was directed at. As a result his lyrics to “Headless Heroes of the Apocalypse” were deliberately facile and literal. If you compare “Unspoken Dreams of Light” with “The Parasite”, both about colonialism and genocide, the message in “Unspoken Dreams” is about whiteness and its genocidal impact, Light = white for Eugene (full disclosure, I’m so-called white). I thought this song was so important, the lyrics so astounding (not to mention its proto-rap delivery) that I included them on the website I designed for him. But, for most people the song went over their heads (and still does I might add) hence “The Parasite”, so literal you can’t miss the message. You could say this for virtually every song on in each album. Eugene was not a literal man, at all, and rather disdained literalism tbh (not the people, just the concept), but he learned that the people he was trying to reach often were. And despite the literalism, if you go deeper with the album “Headless” you’ll hear a lot of subtle references that you may not have heard on first listen. These album are meant to be really listened to, over and over, and more is revealed if one cares to go deeper.
I could go on, as this is a subject near and dear to me, but I will leave it there.
Thanks for your reply, and your recommendation. This is really fascinating. I'll check out Outlaw as you recommend, and compare it with Headless.
Reading this piece and listening to the clips documenting the evolution of Eugene McDaniels has been wonderfully enlightening. As usual, you provide the cultural context for the artist's statement and transformation. I was less familiar with Headless Heroes than the other pieces here, but I will be listening to those remarkably relevant lyrics much more. Bravo and thanks, Robert!
As always, it's my pleasure and I am so appreciative of your comment. Thank you!
This essay gave me goosebumps, not just because it captures the urgency and singularity of the Rev. McD's musings and music, but also the vitality. I was bracing for how you'd handle The Parasite and was delighted that it evoked the same chills as the source material. It's a great essay about a great album.
Thanks so much - I appreciate the kind words. I remember buying the album in 2011 and the shock of the sudden turn of 'The Parasite,' which while it's not expected still sends chills, both in anticipating it and then when it is underway.
Great review Robert. Timely then and maybe more timely now.
Thank you, Marco - I appreciate the kind words.
McDaniels' music seems well suited for times of societal breakdown.
Nice piece on a phenomenal album. The cover art and liner notes alone on 'Outlaw' speak volumes about the change of direction in Mr. McDaniels' focus.
But, I also have to extend love and praise for his follow-up, 'Natural Juices,' which is often overlooked in favor of both 'Outlaw' and 'Headless Heroes.' Whilst coming from an entirely different direction (love and sex), he delivers a fantastic album of soulful funk that is every bit as good as the previous LPs (just not as dangerously political or angry). For me, these three albums are essential.
I'll have to revisit 'Natural Juices' - been years since I listened to it.
Thanks as well for the kind thoughts about the essay.