‘Billy Preston: That’s the Way God Planned It’ Review: Eye-Opening Look at the Organ Prodigy Who Fused with the Beatles and Helped to Forge Funk

As I watched this heart-wrenching tale unfold, I found myself deeply moved by the extraordinary life and tragic demise of Billy Preston. Growing up with the Beatles, jamming with Jimi Hendrix, and being hailed as the “Fifth Beatle” – these are accomplishments that most musicians can only dream about. Yet, despite his undeniable talent and fame, Billy’s life was shrouded in darkness, a testament to the fact that success doesn’t always equate to happiness or fulfillment.

Initially, I encountered Billy Preston in the movie “Let It Be,” where his captivating electric-keyboard improvisations served as the melodious core for songs like “Don’t Let Me Down” and “Get Back.” However, it wasn’t until George Harrison’s groundbreaking rock concert film from 1972, “The Concert for Bangla Desh,” that I truly recognized Billy Preston. During most of that Madison Square Garden charity event, he seemed to be in the background, gracefully playing his electric piano. But then, introduced by Harrison, he performed the song he’d recorded for Apple Records in 1969, “That’s the Way God Planned It.” This performance stood out just as dramatically and magnificently as Sly Stone’s rendition of “I Want to Take You Higher” at Woodstock.

The sound of a holy organ rang out, and the camera zoomed in on a stylish-looking man in a big wool cap and a Billy Dee Williams mustache, with a handsome gap-toothed grin and a gleam of reverence. He began to sing (“Why can’t we be humble, like the good lord said…”), and it sounded like a hymn, which is just what it was: a rock ‘n’ roll hymn. The lyrics lifted you up, and Preston caressed each cadence as if he were leading a gospel choir. In 1971, how many pop songs could you name that had “God” in the title? (There was “God Only Knows” and…that’s about it.)

As he belted out the chorus, the melody softening with intricate descending notes while the bassline mirrored its path until the peak, at which point it seemed to develop a life of its own, the tune began to climb. With Preston swaying and nodding ecstatically, his voice emitting soulful tones reminiscent of golden sunlight trickling through leaves, he was the sole Black artist on that stage, delivering a message that, within the realm of rock music, was groundbreaking: God’s presence was real. As the tempo increased in the spirit of gospel, driven by the emotion he summoned, Preston, overcome by the divine energy he invoked, rose from his keyboard and began to dance, his limbs shaking uncontrollably, his legs hovering above the ground. This was a dance of pure joy, one that seemed to burst forth spontaneously, as if he could not contain it.

Paris Barclay’s enlightening documentary “Billy Preston: That’s the Way God Planned It” starts off with a powerful scene, and it’s emotionally stirring to witness it once more. The concert known as “The Concert for Bangla Desh” had three unforgettable moments: Bob Dylan’s exceptional performance, George Harrison casually exiting the stage during the climax of the song “Bangla Desh,” which seemed like one of the coolest things I’d ever seen at 13; and Billy Preston’s electrifying act. Watching it left me wondering, “Who is this man?” and desiring to see more.

However, the documentary sheds light on Billy Preston’s enigmatic persona – vibrant and present one moment, elusive and shrouded in mystery the next. His career mirrored this duality as well. He was a prodigious session musician, having collaborated with artists such as Little Richard, Ray Charles, Aretha Franklin, Sly Stone, the Rolling Stones, and of course, the Beatles. Remarkably, during the “Get Back” sessions, he was not just a guest but essentially became a part of the Beatles, which was unprecedented. (Early in the film, there’s a scrapbook montage featuring a magazine headline that reads, “The Fifth Beatle Is a Brother.”)

Through the ’70s, Billy Preston released several beloved pop-funk tunes such as “Will It Go Round in Circles” and “Nothing from Nothing”. He debuted these on the inaugural episode of “Saturday Night Live”, donning a large Afro wig that matched his stature. Despite being a keyboard prodigy with a potent soul voice, an exceptional dancer, and a master of catchy hooks, Preston didn’t quite achieve superstardom. So who was he as an artist? I went into the documentary somewhat hazy on this question, but emerged feeling like I truly understood him.

It’s important to understand that Preston, much like others around him eventually realized, was hiding his sexual orientation. Was he grappling with internal turmoil, similar to the struggle Little Richard appeared to have? Little Richard, who toured with Preston in the early ’60s, was one of the most flamboyant closeted figures in rock history…until he left music for religion…then re-entered the pop scene and openly declared his sexuality…only to deny it again and speak against homosexuality…and so on. In a nutshell, that’s a complex individual.

Preston maintained a softer disposition, and it’s uncertain if the hidden relationships he presented as being with his ‘nephew’ on private planes caused him any internal tension. Growing up under the care of his single mother and within the church, he remained a devout figure who struggled to openly acknowledge his identity. In the documentary, Billy Porter discusses this topic, stating that it wasn’t just the choir director who was part of the LGBTQ+ community in churches, but rather a more widespread occurrence that was often left unspoken.

Preston had an exceptional musical connection with the Black church that stood out significantly within the realm of rock music, possessing a raw, instinctive quality. He was proficient in playing various instruments, notably the Hammond B3 organ, a complex device with numerous layers, and the Fender Rhodes. There’s a compelling narrative waiting to be shared or captured about the utilization of the organ in popular music (such as “A Whiter Shade of Pale,” “Like a Rolling Stone,” “Green Onions,” “Let’s Go Crazy,” “In-A-Gadda-Da-Vida,” Boston’s “Foreplay,” Blondie’s “11:59”), and Billy Preston was the undisputed master of this instrument. Born in 1946, he started playing it in church as a young child, but his talent quickly transcended religious boundaries. An awe-inspiring video clip exists from “The Nat King Cole Show” in 1957, where he performs a song he wrote called “Billy’s Boogie,” and his youthful self-assurance is truly remarkable to watch.

But here’s what’s amazing. Starting in 1963, Preston put out a series of three albums built around his organ playing. The third of them, “Wildest Organ in Town!” (1966), was a collaboration between Preston and Sly Stone, who arranged the songs but didn’t write them. One of the tracks, “Advice,” is the clear forerunner to “I Want to Take You Higher.” The inventor of funk was James Brown, and the form’s two mythical inheritor-innovators were Sly Stone and George Clinton. But the documentary makes the case that Billy Preston forged a heady chunk of the funk DNA. His influence is clear from his 1971 single “Outa-Space,” which became the prototype for a certain clavinet-driven ’70s jam (the Commodores’ song “Machine Gun,” featured in “Boogie Nights,” is just about a remake of it).

Preston tasted victory and savored its rewards, such as his equestrian estate in Topanga Canyon. He was idolized by figures like Mick Jagger, who featured him onstage – not many get to dance alongside Mick Jagger, after all – during the Rolling Stones’ 1975 tour. It seems evident that if he had managed his career differently, Preston might have been a more widely recognized artist, perhaps even leading a band as renowned as the Commodores or Kool and the Gang.

I can see how his connections within the mainstream rock scene might have posed challenges for him, as it potentially clouded his identity as a Black artist during a period when racial classifications were strictly defined by the culture. This ambiguity was similar to the criticisms faced by Whitney Houston. Additionally, Preston’s tendency to shy away from the spotlight, which stemmed from his discretion about his sexuality, further muddied his status as a star. To truly shine brightly and reach stardom, one must be willing to boldly pursue it. However, there was an aspect of Preston that preferred remaining in the background, which may have hindered his journey to becoming a full-fledged star.

Initially, you might assume this movie is all about cheerful pop music stories, but the troubling aspects of Billy Preston’s life suddenly surface. And boy, they are deep-rooted. The documentary hints that Preston lost his youthful innocence during the 1962 tour with Little Richard, when he was merely 16 years old. This is when Preston reportedly spent time with the Beatles at the Star-Club in Hamburg. However, as per David Ritz, a renowned rock biographer who was close to Preston, he never disclosed details about his childhood. There seems to be a possibility of some incident involving him and Little Richard, as suggested by the film.

It’s not difficult to guess that the traumatic experiences Preston faced as a church-raised teenager traveling with corrupt rock musicians must have played a role in his later struggles with alcohol and cocaine addiction. This part of his story suddenly appears, but once it does, his downward spiral becomes heartbreakingly sad.

Billy Preston struggled with addiction to cocaine and later crack, accumulating massive debts and owing millions in taxes. His career hit rock bottom in the late ’70s as disco music evolved beyond his funk-based grooves. He lacked a stable family life that could have provided support, instead becoming the band leader for David Brenner’s brief talk show. A cringe-worthy moment from this period is a clip featuring Howard Stern, a guest on the show, who noticed liquor on Preston’s breath and called him out. This was the man who once played with the Beatles. Tragically, Preston passed away in 2006 at the age of 59, following a long battle with kidney disease worsened by his drug use. However, he left behind many admirers who continue to appreciate his immense talent and the enchanting aura he brought to his performances, suggesting that God never intended for Billy Preston’s decline and fall to be his destiny.

2024-11-22 06:47

‘Billy Preston: That’s the Way God Planned It’ Review: Eye-Opening Look at the Organ Prodigy Who Fused with the Beatles and Helped to Forge Funk

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