James Baldwin’s If Beale Street Could Talk is a powerful novel that resonates deeply with readers even decades after its publication. Beyond its poignant narrative of love and injustice, the book subtly hums with a rich musical undercurrent. Before diving into Baldwin’s masterful storytelling, many might find themselves pondering the significance of “Beale Street.” Is it a real place? And what does it “talk” about? A quick search reveals Beale Streets scattered across America, yet the most iconic, and likely the one Baldwin alludes to, is the legendary Beale Street in Memphis – a cornerstone of blues music history. This connection sparked an exploration into the musical soul of Baldwin’s novel and the playlist it unknowingly inspires.
It turns out, Baldwin’s If Beale Street Could Talk is not just a story; it’s a symphony of unspoken melodies. The title itself is lifted from W.C. Handy’s seminal “Beale Street Blues,” a song that cemented Beale Street’s place in the musical pantheon as the “Home of the Blues.” Handy, known as the “Father of the Blues,” captured the vibrant, and often melancholic, spirit of this Memphis street in his music, a spirit that echoes through Baldwin’s prose.
The first recorded rendition of “Beale Street Blues” dates back to 1917 by Prince’s Band, long before the pop icon Prince graced the stage. Beale Street’s golden era, during the jazz age of the 1920s to 1940s, saw it become a magnet for musicians. Blues and jazz legends like B.B. King, Louis Armstrong, Memphis Minnie, and Muddy Waters honed their craft on Beale Street, birthing the distinctive “Memphis Blues” style. Nat King Cole further immortalized “Beale Street Blues” with his rendition for the 1958 film St. Louis Blues, popularizing the song and, inadvertently, giving Baldwin the evocative title for his novel. It’s highly probable that Baldwin, a keen observer of American culture, was familiar with Cole’s version and its cultural weight.
Within the pages of If Beale Street Could Talk, Baldwin’s musical inclinations surface in subtle yet meaningful ways. A seemingly casual line might evoke a popular song, enriching the emotional texture of the narrative. For instance, when Baldwin writes, “…they called us Romeo and Juliet, though this, was not because they’d read the play…”, it subtly resonates with The Reflections’ hit “(Just Like) Romeo and Juliet.” The neighborhood children might not have been Shakespeare aficionados, but they undoubtedly knew the song’s chorus, “Our love’s gonna be written down in history, a-just like Romeo and Juliet,” weaving a layer of romantic, albeit tragic, irony into Baldwin’s story.
Similarly, a mention of “‘a rose in Spanish Harlem'” immediately brings to mind Ben E. King’s soulful “Spanish Harlem.” These aren’t overt references, but rather whispers of songs that would have been the soundtrack of the characters’ lives, adding depth and authenticity to Baldwin’s portrayal of 1970s Harlem.
Inspired by these subtle musical cues, one can embark on a fascinating exercise: creating a playlist of songs referenced, or strongly implied, within If Beale Street Could Talk. This playlist becomes more than just background music; it’s a curated soundscape that amplifies the novel’s themes of love, struggle, and resilience.
James Baldwin’s Beale Street Inspired Playlist:
Here is a curated playlist, drawing from the original article, aiming to capture the musical essence of If Beale Street Could Talk:
- “Beale Street Blues” – Nat King Cole
- “(Just Like) Romeo and Juliet” – The Reflections
- “Alone In This City” – Ray Charles
- “Spanish Harlem” – Ben E. King
- “Compared to What” – Roberta Flack
- “My Man” – Billie Holiday or Barbra Streisand
- “What’s Going On” – Marvin Gaye
- “Didn’t My Lord Deliver Daniel” – Paul Robeson
- “When Your Lover Has Gone” – Billie Holiday
- “Uncloudy Day” – The Staple Singers
- “We’ll Walk Together” – Dee Dee Sharp
- “My Gal” – The Lovin’ Spoonful
- “(I Can’t Get No) Satisfaction” – The Rolling Stones
- “Drowning in My Tears” – Ray Charles
- “I Can’t Stop Loving You” – Ray Charles
- “Don’t Answer The Door” – B.B. King
- “Twilight Time” – The Platters
- “Baby, I Love You” – Aretha Franklin
- “Until My Change Comes” – Mahalia Jackson
- “This is Dedicated to the One I Love” – The Shirelles
- “+Mary, Mary, What you going to name that pretty little baby?” – Black Nativity Original Cast
- “Troubled About My Soul” – The Willing Four
- “Reflections” – The Supremes
- “Clementine” – Pete Seeger
- “People Call Me Jesus” – Nadirah Shakoor
- “His Name is Jesus” – Rev Gerald Thompson
- “Uncloudy Day” – Willie Nelson
- “My Lord and I” – Luci Campbell
This playlist, while not explicitly dictated by Baldwin, resonates with the era and emotions depicted in If Beale Street Could Talk. It’s a blend of blues, soul, gospel, and early rock and roll, mirroring the diverse soundscape of Black America in the mid-20th century. Songs of love and heartbreak mingle with spirituals and songs of protest, reflecting the complex realities faced by Baldwin’s characters.
Beyond the music, If Beale Street Could Talk delves into profound social commentary. Baldwin masterfully interweaves the personal story of Tish and Fonny with broader themes of racial injustice and systemic oppression. Knowing that Fonny is unjustly incarcerated and Tish is pregnant sets the stage for a narrative that critiques the carceral system and its disproportionate impact on people of color, alongside issues of reproductive rights and societal inequalities.
Baldwin’s work remains strikingly relevant today. His exploration of racism and prejudice compels us “to face it, even taunt it, play with it, dare,” urging us to confront these societal ills with courage and determination. If Beale Street Could Talk, enhanced by its implied soundtrack, offers a powerful and enduring message. Exploring the musical landscape of Baldwin’s novel not only deepens our appreciation for his artistry but also amplifies the emotional and social resonance of this timeless work.
