WHITE MANSIONS

White Mansions - A Tale From The American Civil War 1861-1865 was a concept album released in 1978. In this article I will look back at the making and release of the album.

I must point out that this article in no way condones slavery or the wrong-minded and horrific realities of the Civil War or the pre-war South. It is just an album I found interesting, well put together and an enjoyable listen, musically, and one that tackles the story head on with its stories of the various Southern archetypes of the time.

White Mansions, a musical portrait of the American Civil War, was the idea of Paul Kennerley, who was not from the southern states or anywhere in America but born in Cheshire, England in 1948 and the son of a company director based in Liverpool. Following school he became an apprentice at the design studios of a Liverpool advertising agency. He spent part of 1969 in New York at an agency before returning to London where he was employed as a layout artist.

A career change was soon on the horizon. He had a passion for music and in the early seventies managed a London 'Pub Rock' band. Leaving the world of advertising in 1974 to pursue a career as a songwriter he soon discovered country music and in particular Waylon Jennings and his recording, Let's All Help The Cowboys Sing The Blues, which appeared on Jennings 1975 album Dreaming My Dreams. In an interview he recalled, "It really excited me and led me to discover many other artists and an entire genre I had never listened to before."

He only wanted to write country songs but his lack of experience of rural American life and culture seemed inauthentic. This, and his interest in the Civil War, led to his decision to write songs that were set in an historical setting and would become White Mansions, his first major project. 

His songs have been recorded by a wide range of artists including Johnny Cash, Brenda Lee, The Everley Brothers, Dave Edmunds, Kenny Rogers, Martina McBride, Marty Stuart and Emmylou Harris, who he married in 1985 and divorced in 1991. He co-wrote most of the songs on Harris' 1986 concept album Ballad Of Sally Rose which was loosely based on her relationship with Gram Parsons.

He has also had songs featured in movies... I Don't Want To Love You (But I Do) (Thelma and Louise), Crazy Old Soldier (The Lost Boys) and Born To Run (Wild Rose).

White Mansions was produced by Glyn Johns, the English record producer who has worked with many of the famous rock artists and groups including The Rolling Stones, The Beatles, Bob Dylan, Eric Clapton, The Ozark Mountain Daredevils and The Eagles.

In his autobiography he talked about the project, "I have always loved the chemistry part of my job, mixing up musicians who have not played together before, particularly Americans and British."

Kennerley had approached Johns who he felt would be the ideal producer to help with the project. He sent him the lyrics and demos with a covering letter. Johns took the idea to Jerry Moss at A&M Records who didn't delay in signing Kennerley to a record and publishing deal.

With the story of Southern Pride from the point of view of four white Southerners during the American Civil War meant selling the idea wouldn't be easy. However, it was offset with the story being told from an outsiders perspective.

Chosen to play the various roles in the story were Waylon Jennings, Jessi Colter, John Dillon and Steve Cash, the latter two were members of the Ozark Mountain Daredevils, and Rodena Preston's 'Voices of Deliverance.' 

Musicians appearing on the album included, John Dillon (acoustic guitars, piano, electric piano, dulcimer and fiddle), Bernie Leadon (acoustic & electric guitars, banjo, mandolin dobro and pedal steel guitar), Waylon Jennings (electric & acoustic guitars), Dave Markee (bass guitar and string double bass), Henry Spinetti (drums), Steve Cash (harmonica) and Tim Hinkley (piano & organ). Strings were arranged by Brian Rogers.

Eric Clapton also appears on several tracks on the album playing electric slide guitar and dobro. 

Backing vocalists throughout the album were Bernie Leadon, John Dillon, Steve Cash and Paul Kennerley.

Although details about the recordings are not known, information about the songs featuring Waylon Jennings is available in the excellent Waylon Discography compiled by John L. Smith.

Sessions held at Olympic Studios in London during January 1978 resulted in the five songs featuring Waylon Jennings with one also featuring Jessi Colter. The songs recorded were, Dixie, Hold On, The Union Mare And The Confederate Grey (with Jessie Colter), The Southland's Bleeding, They Laid Waste To Our Land and Dixie, Now You're Done.

While no exact details are known it is more than likely that the remaining tracks on the album were recorded around the same time at both Olympic Studios and at Sunset Sound Studios in Hollywood.

In the liner notes, Kennerley wrote, "White Mansions is a portrayal of life in the Confederate States of America 1861-1865. The high hopes and deep sorrows of the Southern people are reflected in the experiences of the four characters whose combined words tell the tale of the American Civil War."

The main characters in the story are...

Matthew J. Fuller (John Dillon) is the twenty-three year old son of a wealthy Georgian cotton plantation owner and typical of the young aristocracy of the South. Brought up on a plantation that was worked by four hundred slaves he attended college, military academy and was dedicated to preserving the lifestyle of 'Old Dixie'. When war breaks out he enlists in the Confederate Army as a Captain.

Polly Ann Stafford (Jessi Colter) plays the love interest in the story as Matthew's sweetheart. The daughter of a nearby landowner she lives an opulent life and after the outbreak of war she does her bit to help the war effort by working in a disease-ridden hospital attending to the dying and wounded soldiers.

Caleb Stone (Steve Cash) portrays and epitomises 'white trash', a class of poor Southerners who lack any professional skills, land or property. Finding work wherever and whenever he can, often overseeing and keeping order among the negro field hands.

He resents the power and status of those who own the plantations but, despite this, has a loyalty to the South. One of his reasons for joining the fight is to preserve his superiority over the blacks.

The Drifter (Waylon Jennings) acts as the narrator of the story. He is descended from good Southern stock and unable to fight following injuries received fighting for Texas during the Mexican War. Roaming from town to town he is not involved in any fighting during the Civil War. He views both sides clearly speaking with a gentle strength and wisdom. 

The Slaves (Rodena Preston's 'Voices of Deliverance') represent the freed slaves of the South. The war was fought because of them and despite representing over a third of the population of the south their voices were seldom heard.

All the songs were written by Paul Kennerley with the exception of White Trash which was co-written with Bernie Leadon.

Part One opens with A Story To Tell, performed by Polly Ann Stafford, and sets the scene for the rest of the story and album. She has a premonition in which she sees the collapse and destuction of the 'Old South' reflected in the face of a white-haired plantation owner.

In Dixie, Hold On The Drifter warns of the pressures on the South by the 'civilised' North. Although at first advising caution and debate, due to the concerns that the United States will be split in two and destroy the strength of America, his good sense finally withers under the strain of his Southern spirit. The song ends with him offering up fighting talk.

Join Around The Flag finds Matthew, like many young men, caught up in the excitement that flowed through the South following the surrender of Fort Sumter, the last Union post in the newly formed Confederacy.

With his enthusiasm for the South and President Jefferson Davis he urges everybody to join the adventure and support the secession of the Southern states from the Union.

Caleb Stone makes his first appearance on the album with White Trash. Living a life little better than the slaves, he was tolerated and frowned upon by the upper and middle class. This was until they needed him to fight. He joins the 4th Texas Volunteers, under the command of Colonel J. Hood, and will find action during various battles including Gaine's Mill, Gettysburg and Chickamauga.

The Last Dance & The Kentucky Racehorse tells of the farewell ball at the luxurious home of Matthew's father where he says his goodbyes to Polly before riding off to join General Beauregard's army in Virginia.

With the war raging Caleb relates the early successes of the Confederacy during the opening year in Southern Boys and the overconfident feelings that success would soon be theirs.

Up till now the approach to war had been amateurish on both sides but was now giving way to bitter relentless fighting at places like Antietam and Fredericksburg. In The Union Mare & The Confederate Grey The Drifter begins to grasp the terrible horror of what was happening and regrets their initial desire to fight their arguments with weapons rather than with words. Polly joins him on a song that tries to put the point across that how much happier they would all be if they acted the way of the Union Mare and the Confederate Grey. The song closes Part One.

Opening Part Two is No One Would Believe A Summer Could Be So Cold, in which Matthew, disillusioned and fearing there will be no Confederate victory, writes to Polly about the woes of war. Robert E. Lee's loss at Gettysburg was catastrophic with Lee losing over 28,000 men while support from Britain and France was dashed. There was no doubt the tide was turning.

The Southland's Bleeding finds The Drifter realising that, despite some victories, the South is crumbling. The pride of the South, J.E.B. Stuart's cavalry, had been smashed, the Shenandoah Valley had been devastated by Sheridan and it wouldn't be long before Atlanta fell. It was time to quit and give up the fight but it would rage on for another year... as The Drifter sang, "It's Just Southern Pride, It's Just Southern Blindness."

By March 1865 it was all but over. Lee's army were badly armed, lacked provisions and shattered. The Confederates had abandoned Richmond and the Union Army had driven through Georgia and South Carolina, bringing Dixie to its knees. Before a surrender at Appamattox Court House on 9 April Matthew hopelessly orders up the twelve-pounders in a vain attempt to hold on. In Bring Up The Twelve Pounders we find him ordering for the guns but the only reply is from the ghosts of the Confederate dead. The war was over but the cost had yet to be counted.

They Laid Waste To Our Land finds Matthew, Caleb and The Drifter return home and find the devastation that was bought to the area by Sherman's 'March To The Sea.' A few days after the surrender Abraham Lincoln was assasinated by Southern fanatic John Wilkes Booth. Lincoln was a loss to the defeated Confederates as he had planned the reconstruction of the Union with 'malice towards none' and 'charity for all'. Instead the Federal government treated the surrendered 'rebels' harshly and with bitterness.

Praise The Lord is the only song performed by The Slaves. Although freed on 1 January 1863 by a proclamation made by Abraham Lincoln it was ignored by the Confederacy. It wasnt until the war ended that they were finally free, although many were disillusioned and several stayed loyal to their former masters while over three million headed North. However, many were no better off and in some cases their conditions were worse as they were no longer fed and cared for by their masters. But bondage is the worst state for a human being and although the road to freedom was rocky it was a worthwhile journey.

At the end of the war, and sickened by what he had seen and his own callous attitude to life, Caleb turns to the scriptures. The King Has Called Me Home finds Caleb with a new interest in the teachings of the Lord. He goes from town to town preaching 'fire and brimstone' sermons. His drinking habits though remained.

The penultimate track is Bad Man in which Matthew returns home, only to find his former plantation home has been raised to the ground, members of his family had fled to avoid persecution and, worst of all, his sweetheart Polly had died from an epidemic disease that had killed many thousands. Dixie was in turmoil, greed and corruption were rife and it was hard for Matthew who had lived a privileged life. The laws were often unfair and driven by hate Matthew lived outside of them.

The Drifter brings the album to a close with Dixie, Now You're Done. A simple message... the story is over.

White Mansions (A&M SP-6004) was released in a gatefold sleeve with the album housed in an inner sleeve featuring a needlepoint flag with all the participants, made by Gwen Morris, on one side and comprehensive credits on the other side. The album cover had an old image of a 13-year old Confederate drummer boy centred on the front, characters and songs listed on the reverse while the middle spread was another period image from the 1860s.

There was also an accompanying 24-page booklet, written by Paul Kennerley and visually conceived by Ethan Russell, which told the story of White Mansions with lyrics to all the songs. There was also an opening section which gave an historical background to the American Civil War.

There was a mix of black & white images, some original period photos from the Library of Congress while several others were re-enactments taken by Ethan Russell who, along with Michael Ross, was credited for the art direction.

Among the re-enactments were some featuring the Southern Skirmish Association (London) and were taken at Dodington House, Park and Carriage Museum, Chipping Sodbury, Bristol.

While going through the booklet it is sometimes difficult to tell which images are original and which are re-enactments, so good is the attention to detail by the Southern Skirmish Association.

Very few reviews can be found from the time although one, from the UK music paper Melody Maker was not that impressed. In their review they said, "A dilemma - on the one hand we have some exceptionally good music; on the other, a project of doubtful worth." Reading this it makes you think the reviewer missed the point of the album. However, the reviewer did concede that, "... the songs are outstanding," and that the album was in line with the 'outlaw' style rather than middle of the road country.

Meanwhile, The Guardian described White Mansions as the first and perhaps best outlaw country rock Civil War concept album ever recorded!

The album is a gem in country music but chartwise the album didn't create much interest only reaching #181 on the Billboard Album Chart. However, it fared much better on the Billboard Country Album Chart peaking at #38.

Some of the albums lack of chart success can be put down to the problems associated with promotion. A&M were limited in the amount of publicity they could create especially with all the artists being signed to different labels.

Despite limited radio play and the lack of success on the charts the album did gain a cult appreciation in the years following its release. It is definitely an underrated album and deserves to reach a much wider audience.

Waylon Jennings, in his autobiography, wrote, "White Mansions is a lovely record, and it touched me in a deeply personal way, as a man whose house is built on a Civil War battlefield and a Southerner. Though it probably went over the heads of its intended audience, making the album was one of my most enjoyable experiences."

A couple of years later Kennerley turned to another slice of American history with the concept album The Legend Of Jesse James. For this album he bought together another great line-up of country music artists including Johnny Cash, Charlie Daniels, Levon Helm, Emmylou Harris, Rosanne Cash, Rodney Crowell and Albert Lee.

In 1999 both albums were issued on CD in a two-for-one package given the title Confederate Tales.

Earlier I mentioned that Kennerley had sent demos to Glyn Johns and it is a shame that nobody has seen it worthwhile to re-issue the album as an expanded/deluxe edition with the original album, demos, alternate/unreleased songs with the booklet reproduced and expanded on. With 2028 being the 50th anniversary of the albums release it would be a good time to re-visit this excellent album.

In a future blog article I hope to look back at The Legend Of Jesse James album.

EUSTON UNDERGROUND: THE LOST TUNNELS

I have recently booked my fourth Hidden London Tour, Moorgate: Metropolitan Maze, which follows my previous tours, Euston Underground: The Lost Tunnels, Dover Street: Alight Here For Green Park and Aldwych: The End Of The Line.

In this article I will look back at my first tour, Euston Underground: The Lost Tunnels, which I went on back in 2023. I will also include a brief history of Euston Mainline Station and Euston Underground along with photos I took during the tour.

Euston Station opened in July 1837 as the terminus of the London and Birmingham Railway (L&BR). The original station was demolished in the 1960s and replaced with the modern style new building. During this work the original Euston Arch was also demolished, although the two original Portland Stone lodges still stand on the original site as a reminder of times past.

The demolition was described by the Royal Institute of British Architects as, "one of the greatest acts of Post-War architectural vandalism in Britain."

The replacement building has been described as a,"dingy, grey, horizontal nothingness" and lacked any of the sense of adventure that the original Victorian building gave to the traveller.

Richard Morrison, writing in The Times, felt that even by the bleak standards of 1960s architecture Euston was, "One of the nastiest concrete boxes in London, devoid of any decorative merit and a blight on surrounding streets." He went on to say, "The design should never have left the drawing board - if, indeed, it was ever on a drawing board. It gives the impression of being scribbled on the back of a paper bag!"

Back in 2009 the Euston Arch Trust revealed plans to rebuild the arch in front of the station but so far it just remains a topic of discussion.

Over the years the station and railway, the gateway from London to the West Midlands, North West England, North Wales and Scotland, has been operated by a number of companies. Between 1837 and 1846 it was owned by the London and Birmingham Railway (L&BR) and from 1846 to 1923 The London and North Western Railway (LNWR). Other companies to operate from Euston were, The London, Midland and Scottish Railway (LMS) (1923-1948), British Railways (1948-1994), Railtrack (1994-2002) and currently by Network Rail.

Euston Station was not served well in the early days of the London Underground Network. The closest underground station was on The Metropolitan Line, around five to ten minutes walk away, in Gower Street.

It would be 1907 before a permanent connection was made to the mainline station when, in May,  The City & South London Railway (C&SLR) opened the extension from Moorgate on what was known as the Bank Branch of the Northern Line.

The entrance to the station was on the corner of Seymour Street (now Eversholt Street) and Dorie Way. Designed by Sidney Smith it was Morrocan in style and covered in white tiles. The building was demolished in 1934 and a new one built, Euston House, which was the head offices of the British Railways Board. 

The following month The Charing Cross, Euston & Hampstead Railway (CCE&HR) opened an adjacent station. This was on the Charing Cross branch of the Northern Line.

Situated to the west of the mainline station, on Melton Street, it was a Leslie Green style building with the familiar ox blood tiles and arched windows.

A deep-level passageway ran between the two stations with lift shafts taking passengers up to the mainline station. There was also an interchange ticket office situated in the passageway, the only one on the whole of the London Underground Network. In the early days of the London Underground the various companies only sold tickets to stations on their own lines.

This meant that passengers travelling on the City & South London Railway (C&SLR) who needed to transfer to the Charing Cross, Euston & Hampstead Railway (CCE&HR) to continue their journey would have to purchase another ticket. Having a ticket window between the two stations would save passengers having to exit to the mainline station to purchase a ticket.

New lifts were also installed which surfaced in the main station. However, it soon became clear that running three different entrances to the underground was unnecessary and both the Melton Street and Seymour Street buildings were closed leaving just the one entrance to the underground situated inside Euston Station.

Meanwhile, in 1909, with the recent construction of the two new underground stations, Gower Street Underground Station was renamed Euston Square.

In September 1968 the first section of the new Victoria Line, the first new underground line in more than fifty years, was opened and ran between Walthamstow Central and Highbury & Islington. 

The next section to open was between Highbury & Islington and Warren Street on 1 December 1968. The Victoria Line was officially opened by H. R. H. Queen Elizabeth II on 7 May 1969.

The new line was designed to provide the maximum amount of connections to the existing services, both underground and mainline, and to relieve the pressure which was becoming a major issue on other lines. It would give an alternative route through the centre of London.

With the construction of the Victoria Line, which passed through both Euston and Kings Cross/St Pancras Mainline Stations, it was necessary to expand and remodel the existing Euston Underground Station. This work included new platforms, cross-platform interchanges, a new ticket hall and new escalators.

During this work many of the old passages were closed off with some subways retained for ventilation shafts.

This brings us to my visit to the Lost Tunnels of Euston Underground. In the advertising London Transport describe the tour... 'This exclusive guided tour takes you into the labyrinths of secret passageways that are hidden within Euston Tube station. You’ll uncover time-capsules that haven’t been seen by passengers in decades, but which still stand as witnesses to the changes that were made to London’s transport infrastructure over the years.'

They go on to say, 'Explore secret parts of Euston Tube station, including two former passenger galleries that have remained frozen in time since their last commuters passed through in 1962 and 1967. Uncover the vintage advertising posters that still adorn the walls, experience the atmosphere of a bygone age, and spot adverts for famous film productions of that era.'

The 90-minute tour started outside Euston Square Underground Station where we were met by staff from London Transport. Following safety information the guides gave us a short talk on the history and layout of the stations and how they were all linked together. We then took the short walk to the site of The Charing Cross, Euston & Hampstead Railway building on Melton Street, a few yards from Euston Mainline Station.

Although now due for demolition, due to the construction of HS2, and with work being carried out in the area, we couldn't enter the old building. It is such a shame that the station, a Leslie Green design with the ox blood tiles, will be, or already is, gone forever and the photo earlier in this article was taken by me a few years before I did the tour.

From here we entered Euston Station and headed for the southbound platform of the Bank Branch of the Northern Line where we would gain access to the disused areas through a door at the end of the platform. I noticed several passengers giving us strange looks and wondering where we were headed. I am sure many were envious and with good reasons.

We walked along what was the interchange tunnel between the two original stations with the blue and white tiles which would not have been updated in many decades. 

After a few steps it was back in time when we came to the old ticket office used by passengers changing between the two different lines. Definitely one of the highlights of the tour and with the window open and surrounded by tiles and the In/Out signs still in place it was a photo opportunity not to be missed!

However, a real journey into the past was waiting for us next and was definitely the highlight of the tour for me.

Covering the walls of the next tunnel was a wealth of old movie and advertising posters from the 1960s. It was incredible to think these had been here for more than sixty years. Yes, some were torn or peeling off the walls and many were covered with other posters but it was still a sight to see. What was interesting to note was how many of them were still colourful and bright, a mark of the 1960s design and print.

There are too many to mention here but these are just a few worthy of mention. Movie posters, blockbusters and some less so, included Spartacus, Terror Of The Tongs, One Born Every Minute, The Errand Boy, Lonely Are The Brave, West Side Story and Hitchcock's Psycho. My love of the 1950s and 1960s 'Kitchen Dramas' was satisfied when I spotted the poster for John Schlesinger's 1962 A Kind Of Loving. The film starred Alan Bates and June Ritchie and portrayed disillusionment and desperation of modern life in the sixties.

There were posters for theatrical productions including  Puss In Boots along with advertising for products like Brushwave (the first permanent wave for colour treated hair), Springbak (a ground-breaking fabric) and even a poster advertising the Theosophical Society, a quasi-religious, esoteric movement founded in 1887 by Russioan Helena Blavatsky! Finally a poster offered The True Story Of Coronation Street, which was only in its first season in December 1960 but would become the world's longest running soap opera.

It wasn't only old movie posters that could be seen. As we approached the corner of another tunnel there were three posters facing you, all of which related to British Rail. The first advertises the Midland Pullman, a first-class express service famous for its luxury that ran between St. Pancras and Manchester in the mid-1960s. In the middle is a poster advertising 'Travel Times Cut!', something many of todays passengers may not totally agree with. 

Lastly is a poster offering 'Bargain Travel' and 'More Miles For Your Money', again something many of today's rail passengers might disagree with. Interestingly on this poster is the British Rail logo designed by Gerry Barney and launched in 1965. The two-way track logo was the new identity for Great Britain's rail network and utilised on trains, advertising and uniforms. The logo has often been ridiculed and referred to as 'Arrows Of Indecision' among other derogatory terms.

Leaving 1960's London behind us we were shown more tunnels and areas that were now being used for storage, ventilation and trunking for the many power cables serving the needs of the station network. Once again you could see the original blue and white tiles.

The next stop was the lift shaft which would have taken passengers up to the mainline Euston Station building. It was impressive looking up and seeing how high it was and the photo I took doesn't do it justice. The lift shafts have been capped and there is no sign of where the original lifts were located when you are inside the current mainline station.

Our final stop on the tour was the ventilation tunnel for the Victoria Line. Built in the 1960s and never intended for passengers to walk along. It was interesting to see that part of the tunnel was built like actual tube tunnels with cast iron segments.

Walking up a slight slope the tour draws to a close with the chance to look down, through the ventilation grills, at passengers waiting on the platforms below and oblivious to us staring down at them from above.

Since going on the tour and whenever I am waiting for a train on the platform, I will look up at the ventilation grills and wonder if there is a group of people looking down at me.

This bought our tour to an end and we returned to Euston Mainline Station where we said our goodbyes and thanks to the wonderful staff and headed home.

The Hidden London Tours are very enjoyable and interesting and I cannot recommend them highly enough. I'm planning on booking more tours and writing about my other tours in future articles.