ANTHEM is coming, chapter 13

ANTHEM, Book 3 of the Sixties Trilogy, publishes on October 1. Each of the book's 47 chapters begins with a song from the Sixties to set the tone, mood, and scene. Every day between now and October 1, come have a listen and read a snippet from each chapter.
 
This is Chapter 13 (day 35):

SPINNING WHEEL
Written by David Clayton Thomas
Performed by Blood, Sweat & Tears
Recorded at Columbia Recording Studios, NY, NY 1968
Drummer: Bobby Colomby

MOLLY:

I don't know what possessed me. I know I say that a lot now, at least to myself, but honestly, I don't know what possessed me, running all over Atlanta streets with strangers, pretending to feel something -- singing in public! -- not me at all, not me to behave in such an unladylike fashion.

I'm a careful girl, but then I'm not, because if I were truly careful, I wouldn't be here in Atlanta by myself, now would I? Yes, Norman's here, but Norman doesn't count. He wants to be here. Suddenly, the boy who didn't want to leave home is having the time of his life. He's probably forgotten all about Barry, but I haven't. When I opened my suitcase this morning, out fluttered Barry's letter: Order to Report.

 

Molly can't make up her mind, which is where the lyrics to "Spinning Wheel" come in: "Did you find the directing sign on the straight-and-narrow highway?//Would you mind a reflecting sign?// Just let it shine within your mind, and show you the colors that are real..."

"Spinning Wheel" was such an exciting song, with its brass beginning, wailing trumpet solo (more jazz influence), its insistent beat, and that voice -- David Clayton Thomas singing with that gravelly full-throated delivery. We'd heard nothing like it. 

This song was a precursor to the music of the Chicago Transit Authority which was close on its heels. You'll find them in a future chapter. Meanwhile, give a listen to "Spinning Wheel" and you'll have an audio peek into Molly's mind at this point in the story. 

You could easily find yourself down a David Clayton Thomas/BS&T wormhole, listening also to the frantic (written by Laura Nyro) “When I Die,” the jazzy/bluesy arrangement to “God Bless the Child,” and the straight-ahead love song “You Made Me So Very Happy.”

I loved their arrangements, their musicality (the piano, the organ, the brass, the cowbell, the recorder, hahaha — lots going on), and the fact that not every song they wrote was about love. We had a lot of love songs back then… don’t we always? But it was good to listen to some that were about… something else.  Chapter 13.