Sound Advice: Harper Simon | Sing All Kinds | Memphis Flyer

Sound Advice: Harper Simon | Sing All Kinds | Memphis Flyer: "Just the other night, a tidbit in the New Yorker about Harper Simon's self-titled debut caught my eye — mainly because the album was recorded with American Studios session alums Gene Chrisman and Mike Leech. What slipped my attention was the news that Simon was performing at the Hi-Tone Cafe tonight, after a month-long residency at Los Angeles' famed Largo nightclub.

The son of the iconic Paul Simon (and the subject matter of tunes such as 'St. Judy's Comet' and, yes, 'Graceland'), Harper updates Sweethearts of the Rodeo-era Byrds and Dylan's Nashville oeuvre with the help of legendary producer Bob Johnston, who manned the control board for Dylan's Highway 61 Revisited, Nashville Skyline, Blonde on Blonde and John Wesley Harding; the Man in Black's Hello, I'm Johnny Cash; Leonard Cohen's Songs From a Room; and Simon & Garfunkel's Sounds of Silence, Parsley, Sage, Rosemary and Thyme, and Bookends.

Harper also recruited some of the original players, including Leech and Chrisman and Charlie McCoy, Lloyd Green, and Hargus 'Pig' Robbins."

Sir Shambling's Deep Soul Heaven - RUDOLPH TAYLOR

Sir Shambling's Deep Soul Heaven - RUDOLPH TAYLOR: "Memphis artist Rudolph Taylor had a single session with Charles Chalmers which produced this really excellent two sided disc. “Tell Him Tonight” is one of those deep soul ballads that just sound so right – the band includes several of the AGP crew like drummer Gene Chrisman, bassist Tommy Cogbill and Reggie Young on guitar, so the backing (sadly no horns) is quite exemplary – and Taylor, who starts off rather quietly, really gets into the beautifully constructed song after the first verse. His low tone baritone voice is powerful and demonstrative, and he brings some fine gospel nuances to the performance as well. Chalmers also cut William Bollinger on “Tell Him Tonight” using the same rhythm track and leased the result to Chess."

http://sirshambling.com/artists/R/rudolph_taylor.htm

Aquarian

Aquarian: "Congratulations to Gene Chrisman! He received a Grammy recognition certificate for his work on Elvis Presley's 'Suspicious Minds.'"

http://www.aquariandrumheads.com/news/default.asp

YouTube - Memphis Boys at Elvis Week Festivities (August 2009)

Enjoy this YouTube video featuring Chips and the Memphis Boys at the Elvis Week festivities in Memphis (August 2009).

http://www.youtube.com/watch?v=AQDAhbZHYaM

WETS-fm Public Radio for East TN-Southwest VA-Western NC-Americana-Classical-NPR News-ETSU

WETS is pleased to present a one-hour radio special, From Elvis in Memphis, celebrating the 40th anniversary of Elvis Presley's historic American Sound recording sessions that produced 'Suspicious Minds,' 'In The Ghetto,' and the From Elvis in Memphis album. From Elvis in Memphis takes us inside these recording sessions, which many believe to be his finest recordings since leaving Sun Records.

Over a two-week span in early 1969, producer Chips Moman and his "Memphis Boys" studio band backed Elvis on a mix of pop, country, and R&B tunes unlike any other Elvis Presley recordings. These highly productive sessions produced two albums, as well as the singles "Suspicious Minds" and "In The Ghetto" - two of Elvis' three most played songs on radio stations today. Interview subjects include producer Chips Moman and a few of the musicians from these sessions, including Reggie Young, Bobby Wood, Bobby Emmons, Donna Jean Godchaux, and Gene Chrisman. Join us Friday at noon and Saturday at 11 pm for From Elvis in Memphis.

WETS-fm Public Radio for East TN-Southwest VA-Western NC-Americana-Classical-NPR News-ETSU

Forgotten Hits: Remembering Elvis

This site has sound files of writer Mark James's version of Suspicious Minds as well as Elvis's Don't Cry Daddy and Rubberneckin'.

http://forgottenhits60s.blogspot.com/2009/08/remembering-elvis.html

Press Coverage of 40th Anniversary of 1969 Elvis American Sessions

Some recent newspaper stories covering the 40th Anniversary of Elvis's 1969 American Sessions and the re-release of From Elvis in Memphis:

Only memories remain of studio where Elvis cut last hit single, 'Suspicious Minds,' in 1969...

http://www.fox6now.com/entertainment/sns-ap-us-music-elvis-last-hit-studio,0,2041325.story

From Elvis in Memphis put Presley back on top...

http://www.2theadvocate.com/entertainment/music/53178592.html

From Elvis In Memphis: when Elvis Presley found his soul...

http://www.telegraph.co.uk/culture/music/rockandpopfeatures/6016795/From-Elvis-In-Memphis-when-Elvis-Presley-found-his-soul.html

Chips Moman gives a little more conversation on Elvis' 1969 creative rebirth...

http://www.tradingmarkets.com/.site/news/Stock%20News/2479424/

In this undated photo released by Sony Music, American Sound Studio is shown in Nashville, Tenn. Among the recordings that came out of American Sound...

http://uk.news.yahoo.com/19/20090814/img/pen-music-elvis-last-hit-st-95e34451d643.html

Soul of the City

Check out this 1999 article by J.R. Jones from the Chicago Reader. Very insightful commentary on Chips's musical philosophy and approach to recording:

http://www.chicagoreader.com/chicago/soul-of-the-city/Content?oid=899754

Larry Jon Wilson on studio musicians

Enjoyed reading this interview with singer/songwriter Larry Jon Wilson. He talks about how studio musicians are so much more revered in Europe than here in the good 'ole USA. He specifically mentions Reggie who played some very soulful guitar on Larry's 70s era Monument albums.

Here's the link:

http://www.the9513.com/larry-jon-wilson-the-intervie/

A brief excerpt:

LJW: There are so few American record-buying, music-listening people who know who Reggie Young is, and Spooner Oldham, and David Hood, and these people. Reggie is the best guitar player there ever was. I think he’s Clapton’s favorite player. He’s on all my Monument albums. Audiences in Europe know these things. The people in the liner notes aren’t like credits rolling by on a movie to them. If they saw the name of one of my session players in the press there, it would jump out at them like neon, but it would pass by the American’ listener’s eye like the wind. That sounds like I am choosing them above this audience. I’m actually not. But to answer your question, audiences in Europe are more involved in the record. Once they get one, they really digest it. I don’t know that that happens here. I’m sure it does. It’s not as widespread and commonplace here.

YouTube -- Fly Me To The Moon

Check this playlist for Bobby Womack's Fly Me To The Moon album recorded at American and released on the Minit label. Still sounds great! Bobby and Reggie were a great guitar duo on this album!

http://www.youtube.com/view_play_list?p=52A7982222153BA8

Graceland Announces Live Entertainment Events for Elvis Week 2009

From the site:

Two sessions of "Conversations on Elvis" will be held in the morning and afternoon of August 15th. Attendees will hear from Elvis' friends and associates as they share their stories and memories of Elvis. Special host will be Tom Brown of Turner Classic Movies. Session one will feature The Memphis Boys, who will be on stage to celebrate the 40th Anniversary of their historic American Studio session with Elvis that resulted in "Suspicious Minds," "In the Ghetto" and "Kentucky Rain" among many others. To commemorate the anniversary of these recordings, Sony Music will release a deluxe version of From Elvis In Memphis, including all the 32 masters recorded at these sessions. These recordings have been remastered from the original album masters for optimum sound quality.

http://tinyurl.com/naxftl

Anniversary Release of 'From Elvis in Memphis'

http://www.elvisnews.com/news.aspx/tracklisting-in-the-ghetto/11787

Booker T. -- Naming the MGs

Booker T. talks about how the MGs were named:

This was the first single released by Booker T. and the MG's, whose name originally referred to the MG sports car, though it later came to stand for Memphis Group as well.

"The original meaning was a reference to the car, 'cause this guy Chips Moman, who was the engineer for Stax, was driving one: He always had it parked in front, he used to do wheelies in it, and stuff," says Jones. "But back then, we were looking for an endorsement, and they wouldn't even talk to us. So, I thought, 'MG's -- the Memphis Group.' So we named it the Memphis Group."

http://www.nj.com/entertainment/music/index.ssf/2009/04/after_a_lifetime_of_working_wi.html

Dr. House's Ring Tone

In this episode, Dr. House's cell phone rings, and lo and behold, his ring tone is Linda Lyndell's What A Man recorded at American Studios! Hugh Laurie, who plays Dr. House, is a musician -- and a very informed one at that!

But wait, there's more! Download your own "What A Man" ringtone here:

http://www.georgiarhythm.com/what_a_man.mp3

EDITOR'S NOTE: 6/10/09 -- It appears that a retraction is in order. Fellow blogger MizzGrizz has pointed out that there is no concrete proof that any of the Memphis Boys played on "What A Man." As I recall, Dave Crawford, the producer of this record, had often used different rhythm sections for his recordings (STAX, Muscle Shoals, Criteria Sound) and it is possible that he used musicians whose names we may never know. I had always thought it was the Memphis Boys because of the sound of the drums. I have asked Gene Chrisman whether he played on this and he didn't recall doing so. So I guess that's the end of the story. I am on a mission to find out who played on this recording. Stay tuned! - Allen

Travis Wammack's Scratchy (co-written by Gene Chrisman)

Check out this YouTube track of guitarist Travis Wammack's 1962 instrumental Scratchy -- written by Travis, Prentiss McPhail, and Gene Chrisman!

http://www.youtube.com/watch?v=GiHZYDoKI-0

And then check out this video interview with Travis -- it's great! He talks about sharing the writer's credit with Prentiss and Gene.

http://www.youtube.com/watch?v=lFEscWKjaCs&feature=related

Bobby Wood interview featured on "Elvis Presley Legacy Project" website

Today, Elvis Presley Enterprises launched a website set to feature videotaped interviews with people who worked with Elvis or who somehow interacted with him on a career or personal level, as employees, fans or otherwise. The link to that site is:

http://www.elvis.com/legacy/

Featured prominently on the Elvis Presley Legacy Project site is our very own Memphis Boy Bobby Wood, who has shared many touching stories about his time with Elvis... and will share even more with fans later this year in his published memoirs.

From EPE's Legacy Project website:

"Elvis Presley’s life and career made an impact on entertainment and culture that is still being felt today. While millions of individuals have encountered Elvis through his music, movies and photographs, a lucky few were able to meet, work with or have a personal relationship with Elvis himself.

The Archives Department of Elvis Presley Enterprises, Inc. has now started a project that will allow them to gather as many video interviews as possible with those who personally encountered Elvis. These videos will be cataloged and housed in the Graceland archives.

Videos for the Elvis Presley Legacy Project are being collected now through Elvis’ 75th birthday in January 2010."

Speaking on behalf of all fans, we truly hope to see more of the Memphis Boys, the American Studios songwriters - and even producer Chips Moman - sharing their unique insights and perspective so fans can get a glimpse of their interaction with Elvis at American Studios and beyond. Their work with him is most definitely a prominent part of music history, and was unquestionably pivotal to his career.

If you worked with Elvis, met or somehow interacted with him, EPE invites you to submit your story for inclusion in this project by visiting this link: http://www.elvis.com/legacy/submit.asp

An aside: It is quite refreshing to see renewed efforts to place Elvis' musical contributions and accomplishments at the forefront by EPE, who has for quite some time now placed a hyper-drive focus on merchandising, embracing a rather myopic approach solely on crass commercialism and revenue-generating pursuits... while neglecting or outright discontinuing projects and initiatives that once kept fans educated and informed about Elvis' career.

Any artist - living or deceased - deserves the respect due any human being. It is time EPE recognized that, although they have long been the arbiters of Elvis' legacy, they have managed within what can be measured in mere months to turn his memory and people's perception of him into a dehumanized caricature devoid of a soul. It is wise for this company to align itself with the many talented people whose vast knowledge and unique insight has remained untapped for much too long... and to make it worth their while to record their stories of the many historical moments they played a tremendous part in.

There is no better way to promote a legacy than to ensure the preservation of stories from the people who were actually there. Tribute artists and plastic ducks are certainly not a successful strategy, and add nothing of value to the perception of "outsiders" to the world of Elvis fans and music lovers. In fact, such bizarre curios and extraneous bric-a-brac serve only to diminish, detract and distract from the legacy.

With each passing day, we grow closer to losing more of the key players not just in Elvis history, but in music history as a whole. And sadly, when these beloved and revered figures pass from this walk of life, so goes their treasured, invaluable stories... if we do not make a move to appreciate and document them now while there is still the time to do so.

"The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made" Book Review

In my online book searches, I found a 1999 release that concisely ranks (someone’s opinion of) "the greatest singles of all time." From what I scanned, I personally wouldn’t consider this an end-all, be-all list, nor would I say that the songs are in any definitive order. But we are reminded that the author, as if due some degree of veneration, was Creem co-founder and Rolling Stone magazine associate/contributing editor Dave Marsh. Deemed a “veteran Rock critic,” he was paid to sit back and dispense his opinion about music. Aren’t critics mostly negative... hence the word “critic?” Hmmm… I’d much rather just enjoy the music – which is what it was meant for.

The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made (Author: Dave Marsh – 1999)

The book summary describes it as a “polemic” guide. In my lifetime of writing, I can’t recall having ever bumped into the term “polemic.” I wasn't sure if that meant that I needed to put on gloves or make sure my shots were up-to-date before reading it. But, a quick search tells me it pertains to “an aggressive attack on or refutation of the opinions or principles of another.” OK; I’ll accept that. The book is an interesting read (not to be confused with the term “good”) in most cases, barring some key facts that Ol’ Dave botched (or, perhaps he even vitiated). For a “veteran Rock critic” with ties to Creem and Rolling Stone, you’d think he’d have boundless facts at his disposal – and a stable of editors double-checking them.

For instance, “Do Right Woman, Do Right Man” was recorded at Muscle Shoals’ FAME Studios at 603 East Avalon Avenue on January 24, 1967 (with overdubs in New York) – and NOT at Stax as our pal Dave states on page 336. Perhaps he’s never heard about the infamous post-session debacle with Ted White at the hotel later that evening. But what truly matters is what was accomplished at the session – which included Chips Moman, Dan Penn (co-writers of the aforementioned song), Tommy Cogbill, Gene Chrisman, Spooner Oldham and other Muscle Shoals regulars (and some not-so-regulars).

Seems everyone on the planet – except for Dave – has read the many different variations of what actually happened that night at the Downtowner Motor Inn in Florence, which was truly an unfortunate event. But what really matters is the great music that came from that magical session with the “young queen,” as she was described. It is electrifying to read what the players have shared about their angle on the amazing vibe in the studio that day (and how they were in awe of Aretha) – as well as their utter confusion when they returned the following day to find that the session was cancelled. Dan, Chips, Spooner, Tommy and Aretha were still at the studios working on “Do Right Woman” when the fracas went down, one account states.

The other song from Aretha’s all too brief visit to Muscle Shoals was "I Never Loved a Man" – Franklin's first million-seller, which hit #1 on the R&B charts (on Aretha’s 25th birthday on March 25) and #9 on the Pop charts. It’s funny to hear Dan Penn talk about writing the bridge for the hit’s soulful flip side, “Do Right Woman,” in the closet with Jerry Wexler and Aretha sticking their heads in to contribute lines.

I just have to add this observation… At about the 2:02 mark on “Never Loved a Man,” there is a nasty, funky little guitar that comes in and weaves its way through the remainder of the song. Can’t tell you how many times I’ve rewound the song to that point just to hear it. Hmmm… Who IS that guitar player? Could it be the guitarist Wexler described as the best, most underappreciated guitarist in the South?

The book summary states:

“In The Heart of Rock & Soul, veteran Rock critic Dave Marsh offers a polemical guide to the 1,001 greatest rock and soul singles ever made, encompassing Rock, Metal, R&B, Disco, Folk, Funk, Punk, Reggae, Rap, Soul, Country and any other music that has made a difference over the past 50 years. The illuminating essays – complete with music history, social commentary, and personal evaluations – double as a mini-history of popular music. Here you will find singles by artists as wide-ranging as Aretha Franklin, George Jones, Roy Orbison, the Sex Pistols, Madonna, Run DMC, and Van Halen. Featuring a new preface that covers the hits – and misses – of the '90s, The Heart of Rock & Soul remains as provocative, passionate, and timeless as the music it praises.”

Below are a few synopses culled from Dave’s book about songs that bear the Chips Moman and/or the American Studios team’s touch. Not only did the author get some pretty rudimentary facts garbled, but also perhaps in sensing a need to live up to his title as “critic,” he’s just unnecessarily scathing on some accounts.

Making Love (At the Dark End of the Street) – Clarence Carter – Page 44
Written by Chips Moman and Dan Penn
However, the four-minute spoken intro added to the five-minute song was by Clarence Carter himself (during which he reminds those of us who’ve never sat down to think about it that hosses and cows and mosquitoes like to make love too… And it don’t make no dif’rence where they at when they get ready!). This pontification and philosophizing about making love was definitely a Carter trademark – and so much a part of why we love him.

Soul Deep – Box Tops – Page 236
Produced by Chips Moman and Tommy Cogbill; written by Wayne Carson Thompson; horn arrangements by Glenn Spreen and Mike Leech
I thoroughly disagree with Dave’s observations about Alex Chilton. Here, he seems to come off as the self-appointed 'Lord of Rock Critics' with his seething, salty negativity. And contrary to what the author says, I’d bet the producers would give much more credit to the young singer and the musicians who made this song.

Dark End of the Street – James Carr – Page 268
Written by Chips Moman and Dan Penn

Suspicious Minds – Elvis Presley – Page 280
Produced by Chips Moman; written by Mark James

Do Right Woman, Do Right Man – Aretha Franklin – Page 336
Written by Dan Penn and Chips Moman

The book essentially gives no credit to the session musicians. But then, isn’t that pretty much par for the course? I like what Garth Brooks said at the inaugural Musicians Hall of Fame induction: "There's very few records an artist makes, but there are a hell of a lot of records MUSICIANS make."

It’s past time for us to broaden our focus when it comes to music – and to properly recognize the talented folks who write the lyrics, do the arrangements and play the instruments. In this American Idol/assembly line/pre-fab garbage age we’re in, people amazingly forget that THESE UNSUNG HEROES ARE THE FOLKS WHO MAKE THE MUSIC!

Bobby Womack among 2009 Rock and Roll Hall of Fame inductees

Congratulations to Bobby Womack for his upcoming induction into the Rock and Roll Hall of Fame!

Womack was “one of the guys” at American Studios, working on many sessions (the Box Tops, Joe Tex, et al) as a guitarist. First of all, it was our very own Chips Moman who brought Womack to Memphis (and Muscle Shoals) – and who produced Bobby's first sides in 1967 for Minit. He recorded a string of albums and hit singles at American, including 1968's gritty "What Is This" (his first chart hit), "It's Gonna Rain" and "More Than I Can Stand." One of the last albums to be recorded at American was 1972’s Understanding. Then in 1986, Chips met back up with Bobby in Memphis to produce his album Womagic, which received excellent reviews.

From his bio at:
http://www.rockhall.com/inductee/bobby-womack

Bobby Womack
(Robert Dwayne Womack)

Induction Category: Performer
Vocals, Guitar
Born March 4, 1944

Bobby Womack is a stalwart Soul and Gospel figurehead whose resume includes significant contributions across the decades as a singer, songwriter and guitarist. The son of a steelworker, he was born in Cleveland where he and his siblings formed a gospel group at a young age. While touring with the Soul Stirrers, the Womack Brothers met that group’s lead singer, Sam Cooke. After Cooke’s move from gospel to soul, he contacted the Womacks and asked them to move to California. Bobby Womack was only 16 years old at the time, and he dropped out of school. Under Cooke’s tutelage, they crossed the bridge from sacred to secular music, recording for his SAR label as the Valentinos.

As the Valentinos, the Womack brothers cut two R&B classics: “Looking for a Love” (later covered by the J. Geils Band) and “It’s All Over Now” (a song that became the Rolling Stones’ first U.S. hit). Womack also played guitar in Cooke’s band. In the wake of Cooke’s deaths, the Valentinos broke up, and Womack turned to songwriting, guitar playing and a solo career. He has written songs recorded by Wilson Pickett (“I’m a Midnight Mover”), George Benson (“Breezin’”), Janis Joplin (“Trust Me”) and many others. Pickett alone recorded 17 of Womack’s compositions. A solid instrumentalist, Womack also played guitar on sessions for Pickett, Aretha Franklin, Ray Charles, Joe Tex, King Curtis, Dusty Springfield and other Atlantic Records artists during a period in Memphis. He recorded an album with jazz guitarist Gabor Szabo, too.

As a solo artist, Womack scored a few minor hits (“Fly Me to the Moon,” “How I Miss You Baby”) at the tail end of the Sixties. However, he made his greatest mark in the Seventies and Eighties, racking up 33 charting singles, including the Top 10 R&B hits “That’s the Way I Feel About Cha,” “Woman’s Gotta Have It,” “Check It Out” and “If You Think You’re Lonely Now.” His first gold single was “Harry Hippie,” a meditation on wasted lifestyles written specifically about his brother and more generally about the counterculture. Womack topped the R&B chart in 1974 with his contemporary remake of “Lookin’ for a Love” and reached Number Two in 1973 with his interpretation of the blues standard “Nobody Knows You When You’re Down and Out.” A duet with Patti Labelle, “Love Has Finally Come at Last,” reached Number Three in 1984. He performed a duet with Mick Jagger on “Going Back to Memphis,” from the Rolling Stones’ Dirty Work album.

In addition to his success as a singles artist, Womack recorded a series of albums whose thematic depth moved soul music forward much like the work of Stevie Wonder and Marvin Gaye. These include The Poet, The Poet II, Communication, Understanding and Someday We’ll All Be Free. In 1994, after an extended absence from the music scene, Womack returned to form with Resurrection, which appeared on the Slide label, launched by Ron Wood of the Rolling Stones. (Womack had previously produced and played on Wood’s second solo album, 1975’s Look Now.) Later in the decade, he kept a promise he made to his late father by cutting a gospel album, Back to My Roots.

Womack is a music business survivor, elder statesman and champion of old-school Soul. “The whole thing is to make music feel real,” he told Craig Warner in a 1998 Goldmine profile. “You’ve got two or three minutes to connect, and it’s important that you have a story, a good hook line. It’s always gonna go back to that.”

Congratulations to this American Studios brother-in-arms for this honor!

Here is a look at Bobby Womack's discography:

http://www.amazon.com/Bobby-Womack/e/B000APECOU

Memphis Boy Bobby Wood To Publish Memoir

Memphis Boy keyboard player Bobby Wood has shared the news that he is working on his memoir. A firm date has not been set as of yet for its publishing, but it is expected sometime later this year as the finishing touches are presently being worked out. A background article on Bobby Wood can be found here: "From Elvis to Garth"

Among key facts not mentioned in the article on the Elvis fan website: Bobby’s work with Elvis Presley is featured on other albums – namely, January 1972’s Elvis Now (which actually featured songs from some three years earlier), as well as albums from his Stax Studios sessions in Memphis, including October 1973’s Raised On Rock (recorded July 1973) and March 1974’s Good Times (recorded December 1973).

Also, Elvis told Bobby many times that he was his favorite piano player, and he even asked him on several occasions to join him on tour. Bobby felt conflicted because of his admiration for Elvis, but he had a busy studio schedule that he felt he needed to concentrate on.

While he recalls his work with Elvis with great fondness, he is also very proud to have played on the career bests of some other notables. He worked on Willie Nelson’s “Always On My Mind” (written by Wayne Carson and American/Press Music Co. staff writers Johnny Christopher and Mark James), which was honored with Grammys for 1982’s Song of the Year and Best Country Song (and Nelson also won for Best Male Country Vocal Performance).

He played on a song that, although George Jones was initially reluctant to record, has been named the greatest Country Music song of all time – “He Stopped Loving Her Today.” Released in 1980, it was Jones' first #1 in six years and a true career triumph for "The Possum." (I have a humorous recollection of visiting The Buccaneer Lounge in Memphis in Autumn 2007 when a garage/punk band suddenly launched into the song. A rowdy audience member yelled "Shut that &^%$ up!" – only to be run out of the place by the eclectic group of Chuck Taylor-wearing devoted music purists... and among them, my daughter and me. There is nowhere else on earth like Memphis!) Bobby also worked on some of Merle Haggard’s greatest hits, including the album Pancho and Lefty and many others.

The list of albums and songs that bear Bobby Wood’s credits is just immense: http://music.msn.com/music/artist-credits/bobby-wood/?ipp=25&sb=2&startingItem=1&flt=1

We'll be waiting for that book from Bobby – which will be highlighted with touching tributes from many of the artists and luminaries with whom he has worked... and in the meantime, we'll be hoping that he can talk the other guys into following suit in penning their memoirs as well.

Dan Penn and Bobby Emmons at Upcoming Eighth Annual Ponderosa Stomp in New Orleans - April 2009

Dan Penn and Bobby Emmons (and an unflattering post-surgery shot of me

between them) at Ft. Payne, Alabama's Boom Days Festival in Sept. 2008

New Orleans' Eighth Annual Ponderosa Stomp, celebrating the unsung heroes of American Music, boasts among its many featured performers in this year’s vast and varied lineup Memphis Boy keyboardist Bobby Emmons and American Studios songwriter/producer and R&B master Dan Penn. This year’s Stomp is set for April 28-29.

Bobby Emmons backed Elvis 40 years ago during his 1969 American Studios sessions, but his musical contributions go so much deeper as not only a member of the legendary Memphis Boys, but also as a successful songwriter. The Corinth, Mississippi native is a Hammond organ virtuoso and his unforgettable work on “Kentucky Rain” evokes for the listener a certain chill of striding in the cold rain right alongside Elvis. In addition to playing on some 122 hits generated under American Studios' roof from 1967 to 1971, he was also a member of the Bill Black Combo.

Emmons continued to excel in Nashville beginning in the early 1970s as a session player and lyricist, working with a parade of Country Music royalty. Among his many songwriting triumphs are "Help Me Make It To My Rockin' Chair" by B.J. Thomas, "Luckenbach, Texas" and "Wurlitzer Prize" by Waylon Jennings – both songs co-written with American Studios producer Lincoln “Chips” Moman, "Love Me Like You Used To" by Tanya Tucker, "So Much Like My Dad" by George Strait and a host of others. In the late 1990’s, he co-wrote Scotty Moore and D.J. Fontana’s “Goin’ Back to Memphis” with fellow Bill Black Combo member and Memphis Boy guitarist Reggie Young.

“Luckenbach, Texas” became the signature song of Jennings’ career and a monster hit with six weeks at #1 on the Country charts – and garnering a Grammy nom for 1977’s Country Song of the Year. In all, Emmons’ work to date has received two nominations for Song of the Year, earned him three Grammy noms, six Citations of Achievement and three Millionaire Awards from Broadcast Music Inc. for radio airplay, and Nashville Songwriters Association honored him for his "creative genius in words and music."

He is slated to perform at this year’s Stomp with fellow American Studios veteran and songwriter/producer Dan Penn. Vernon, Alabama native Penn is nationally renowned as an R&B songwriter whose tunes have been recorded by Percy Sledge, Otis Redding, Aretha Franklin, James Carr, Solomon Burke, the Box Tops and hundreds of others. More information about Dan and his albums "Junkyard Junky" and “Blue Nite Lounge” are below.

Several other artists with Memphis connections and a slate of architects of early Rock & Roll and Rockabilly are scheduled on three stages for two big nights in late April.

Also concurrent with the festival is the Second Annual Ponderosa Stomp Music Conference, featuring intimate conversations with musicians, historians and music business giants who will discuss secrets from behind the scenes of Rockabilly, Rock & Roll and R&B history. Among the list of panelists is Dan Penn, who is a master storyteller with a wealth of information to delight music lovers. The event will be April 27–29 at Louisiana State Museum at the Cabildo in New Orleans.

For a complete list of performers and conference speakers at the 2009 Ponderosa Stomp, visit the following website:

http://www.ponderosastomp.com/ponderosa_stomp_8.php

What: Eighth Annual Ponderosa Stomp & Music Conference 2009
When: April 27-29 (conference); April 28 & 29, 2009 (festival)
Where: House of Blues and the Parish, New Orleans, Louisiana (conference held at Louisiana State Museum at the Cabildo)

Related Links:

http://bobbyemmons.com

http://www.danpenn.com

Spooner Oldham among 2009 class of Rock and Roll Hall of Fame inductees

Congratulations to American Studios/Press Music Co. alum Spooner Oldham for his upcoming induction into the Rock and Roll Hall of Fame!

From his bio at:
http://www.rockhall.com/inductee/spooner-oldham

Spooner Oldham

Keyboards, Vocals
Born: June 14, 1943

Dewey Lyndon “Spooner” Oldham is a linchpin of the Southern Soul Music sound. The Alabama-born (Center Star in Lauderdale County) musician was part of the crew that made records at FAME Studios and Muscle Shoals Sound Studios in the northwest corner of the state. Oldham played keyboards on such seminal soul songs as Percy Sledge’s “When a Man Loves a Woman,” Wilson Pickett’s “Mustang Sally,” Arthur Alexander’s “You Better Move On” and Aretha Franklin’s “I Never Loved a Man (The Way I Love You).” He was a co-founder of the Muscle Shoals Rhythm Section, which also included guitarist Jimmy Johnson, bassist David Hood and drummer Roger Hawkins. When Oldham moved to Memphis, he brought in his own replacement, keyboardist Barry Beckett.

In Memphis, Oldham struck up a songwriting partnership with singer/guitarist Dan Penn at Chips Moman’s American Sound Studios. Oldham has written a brace of Soul classics with Penn, including James and Bobby Purify’s “I’m Your Puppet,” James Carr’s “The Dark End of the Street,” the Box Tops’ “Cry Like a Baby” and Janis Joplin’s “A Woman Left Lonely.” Since 1967, the duo estimate that they’ve written between 400 and 500 songs.

A subsequent move to Los Angeles found Oldham recording with a variety of artists across the stylistic spectrum, including Jackson Browne, Linda Ronstadt, Gene Clark, Ry Cooder, the Flying Burrito Brothers and many others. He played on Bob Dylan’s Saved album and added his churchy, soulful keyboards to Dylan’s Saved and Shot of Love tours. He has also recorded with Neil Young in a relationship that dates back more than a quarter century. He backed up Crosby, Stills, Nash and Young on the 2006 tour at which the foursome performed Young’s Freedom of Speech album in its entirety.

In 1994, Spooner Oldham and Dan Penn came together as a duo for some live shows, following the release of Penn’s solo album, Do Right Man. They have occasionally toured as a duo since then, performing highlights from their vast catalog of Southern Soul classics. More recently, Oldham has recorded or toured with such contemporary artists as the Drive-By Truckers, Frank Black, Bushwalla and Cat Power.

Center Star, Alabama is beaming with pride... as is the rest of the state! Spooner will join other folks with Memphis ties (the late Bill Black and D.J. Fontana) as well as Muscle Shoals and Memphis/American Studios connections (Bobby Womack) in the class of 2009 inductees. Memphis has plenty of reason to be proud as well.

A Memphis Melody

On September 20, 2008, I had the pleasure of hearing former American Studios/Press Music Co. staff writer Dan Penn and Memphis Boy keyboardist Bobby Emmons perform at Fort Payne, Alabama’s Boom Days First Federal Songwriters’ Showcase. The show had the feel and tone of a roomful of old friends listening to a couple of old friends playing their favorite songs… An intimate setting and a night I’ll never forget.

After being moved to tears, “whoo”-ing, cheering – essentially making a fool of myself throughout the whole show, I had the honor of meeting these gentlemen after the set. As a 37-year-old who started out 17 years ago as a DJ spinning their songs on vinyl (a job I couldn’t believe someone would actually pay me money to do), these guys are iconic legends to me. Just getting to shake their hands – as I stammered and trembled – and pose for a picture was overwhelming.

As a fellow Alabamian, Dan Penn is one of the many musicians who hail from my home state who make me so very proud. A native of Vernon (in Lamar County – where I also have scads of family), Dan cut his teeth on the R&B he heard on his little green radio, listening to Nashville’s WLAC late at night when he was supposed to be in bed. He was still in high school when he wrote “Is a Bluebird Blue,” recorded in 1960 (# 35, b/w “She's Mine”) by Friar’s Point, Mississippi-born Harold Lloyd Jenkins (née Conway Twitty).

Energized by the triumph of that hit, Penn trekked northward on Highway 17 to Florence to form “Dan Penn and the Pallbearers,” a band that traveled to gigs throughout the Southeast in a hearse. I can just imagine that sight! But the guys did know how to market themselves, no? Among their ranks emerged the first FAME Studios rhythm section, playing on historic Arthur Alexander records such as "You Better Move On" and "A Shot of Rhythm and Blues.” Penn’s FAME duties would include songwriting, engineering and cutting an occasional side of his own.

Over the years, many kindred spirits weaned on that same R&B gold beaming through crackling transistor radios joined forces in Florence and then Muscle Shoals, once heralded as “the hit recording capital of the world.” Though some 150 miles apart, Muscle Shoals and Memphis were sister cities joined at the soul musically – and it was a natural move for the songwriters and musicians to commute between the two in practicing their craft. Penn met up with fellow Alabamian Dewey Lyndon “Spooner” Oldham, with whom he quickly formed a bond that stands to this day. This dynamic Bama duo estimates they’ve written between 400 and 500 songs since 1967! In the late 1960’s, they found themselves as staff writers at American Studios as part of Press Music Co. Hundreds of artists have recorded their gems, much to our enjoyment.

After the show last September, I picked up Dan’s albums, Junkyard Junky and Blue Nite Lounge. It’s difficult to pick a favorite among all these great, soul-stirring songs (that I’ve listened to over and over). They are all sincere, soulful, melodic and just outstanding. But I just have to mention the haunting "Holding On To God," which has an interesting story of being recorded in a 173-year-old church with a 140-year-old pipe organ – and ends with the comforting sound of a rainstorm. Now, how did he know I love listening to rain on a tin roof? Any soul reared in the country has a special affinity for that sound... All that great music, plus the ambient sounds of a spring shower that made me feel like I was there on that fishing trip with them. It took me back to my youth.

Also, for pretty obvious reasons, “Down Around Birmingham” was one I wanted to hear – and its snappy tune and bright lyrics had me up dancing. That was quite a feat considering I was still recovering from surgery. Only Dan Penn could get me on my feet ("see you later, gator.. down around Birmingham!") Then with the reverent reminiscences of “A Memphis Melody,” I found myself wiping away tears. Dan takes us on a musical tour of the town that all these guys still carry with them in their hearts. Mine too. I could envision those streets in my mind's eye. When he sang the line, “Hello, Mr. Chips… Where you been? Ain’t it great to be American?” – well, that was it. It sets the tears flowing like a faucet everytime I hear it. Hey Dan… you left the water running! I wonder what Mr. Chips thinks of that song – and if he knows how much he's truly appreciated?

Dan has a great website – and his albums can be found here:

http://www.danpenn.com/bluenite.htm

There is so much more to say about the work of Dan Penn... the unassuming, Liberty overall-clad Southern R&B master, but I’ll share these links that capture some of his contributions rather nicely. This NPR interview is excellent… and we need more pieces such as this to remind everyone just what greats these guys are. They all deserve so much credit!

http://www.npr.org/templates/story/story.php?storyId=5638465

This is a great Rolling Stone article (although Vernon isn’t in south Alabama; it’s in northwest Alabama):

http://www.rollingstone.com/news/story/5932264/dan_penns_demo_legacy

I’ll have more on Dan and Bobby at this year’s Eighth Annual Ponderosa Stomp in New Orleans… The Big Easy is in for a real treat with these two.

Article on 40th Anniversary of Elvis at American

Great article by journalist Pam Decker celebrating the 40th anniversary of Elvis's 1969 American recordings...

http://www.elvisnews.com/Presentation/Functional/Page/articles.aspx?command=show&item=1327

The Memphis Boys -- Live from Randers, Denmark

Live from Randers, Denmark, 2005 with The Memphis Boys, featuring Gene Chrisman, Reggie Young, Mike Leech, Bobby Wood, and Bobby Emmons.

http://www.youtube.com/watch?v=gjOSlP8-Wb8



Here's the 1969 studio version with Elvis...

http://www.youtube.com/watch?v=VCaCO4_jKPc

Chips and Dan Penn

Nice article that covers Muscle Shoals, Memphis, and the writing and recording partnership of Chips Moman and Dan Penn:

http://www.americansongwriter.com/2006/03/meccas-of-southern-soul-memphis-muscle-shoals/

BJ Thomas Interview

BJ recalls his time in Memphis in the 60s recording with Chips and the American Rhythm section:

http://www.gomemphis.com/news/2008/sep/19/memphis-nurtured-thomas-top-60s-pop/

All Music Guide's Neil Diamond Profile

The All Music Guide's profile of Neil Diamond has this to say about Neil's 60s recording sessions at American:

Professionally, Diamond tried to stem the tide of his career decline by recording at American Sound Studio in Memphis, beginning on January 8, 1969. Working with producers Tommy Cogbill and Chips Moman, he took more of a gospel-tinged, country-rock approach, starting with the single "Brother Love's Travelling Salvation Show," quickly released as a single, which peaked at number 22 in April, his best chart showing in 18 months. (The song didn't attract many cover versions, although Peggy Lee put it on her Is That All There Is? album later in the year. But it became very familiar to Diamond fans as his traditional concert closer.) He quickly returned to Memphis and cut an album also called Brother Love's Travelling Salvation Show that was released in April and peaked at number 82. Among the album's songs was "And the Grass Won't Pay No Mind," which Elvis Presley cut for his From Memphis to Vegas/From Vegas to Memphis LP later in 1969, after which Mark Lindsay recorded it for a single that reached number 44 in 1970. But the song that sealed Diamond's commercial comeback was his next single, "Sweet Caroline (Good Times Never Seemed So Good)," a catchy tune that peaked at number four in August, the same month it earned a gold record certification for sales of one million singles. (Starting in February 1971, Uni added the track to issues of Brother Love's Travelling Salvation Show, which eventually earned its own gold record certification for sales of 500,000 LPs.) It also became Diamond's first single to place on Billboard's Easy Listening (later Adult Contemporary or AC) chart, where it peaked at number three. Eventually, it earned a platinum record certification for sales of two million singles. (The song was widely covered by other artists. In 1970, Anthony Armstrong took it into the Top 40 of the country charts. In 1972, Bobby Womack took it into the Top 20 of the R&B charts. And it has appeared on chart albums by Andy Williams, Bobby Goldsboro, Elvis Presley, the Ventures, Ray Conniff, Boots Randolph, Frank Sinatra, and Waylon Jennings.)

http://www.allmusic.com/cg/amg.dll

Goldmine profiles Elvis's Memphis Sessions

This is Gillian Garr's 4-part article on Elvis's 1969 Memphis sessions at American:

http://www.goldminemag.com/article/In_session_Elvis_1969_revival_part_I/

Video of Reggie at the Country Music Hall of Fame

I posted several months back about Reggie's salute from the Country Music Hall of Fame Museum:

http://soulfulmusic.blogspot.com/2008/04/reggie-young-saluted-at-country-music.html

Now the video of the Nashville Cats program is available here:

http://www.countrymusichalloffame.com/site/experience-museum-programs-archive-detail.aspx?cid=2419

Reggie Riffs

Reggie demonstrates some of his distinctive guitar intros...

http://www.youtube.com/watch?v=9EEkHO6jxjc

Reggie's new CD with his wife Jenny can be found here:

http://cdbaby.com/cd/rjlyoung

A new web site from Reggie (still under construction):

http://www.reggieyoungmusic.com/

Meet the Memphis Boys During the Annual Elvis Insiders Birthday Celebration

Meet the Memphis Boys During the Annual Elvis Insiders Birthday Celebration:

http://www.elvis.com/news/full_story.asp?id=1604

Download tunes from the Memphis Boys CD

Download tunes from the Memphis Boys CD here:

http://www.airplaydirect.com/music/bands/19346/index.php

Cool Article from the Arkansas Times

Cool article on Dan Penn (who, as posted below, is playing at Hendrix College in Conway with Bobby Emmons on Sept 16 08) -- along with a podcast of Dan's interview and a selection of Dan's tunes -- get it while you can!

http://www.arktimes.com/blogs/rockcandy/2008/09/tuesday_mustdo_dan_penn.aspx

Dan Penn in concert -- Conway, Arkansas

Nice article about Dan Penn and Bobby Emmons -- they're appearing at Hendrix College in Conway Arkansas on Tuesday, Sept 16 08:

http://www.nwanews.com/adg/Style/237373/

http://www.hendrix.edu/eventsnews/eventsnews.aspx?id=21698


“ I usually bring along a keyboardist,” Penn says, and longtime friend and writing partner Bobby Emmons fills the role on the current tour. “He’s one of the greatest session players ever, and one of the greatest keyboard players ever, also. We’ve been going out and around for two years now and I’ve been enjoying it very much. He’s got a keyboard that makes all kinds of sounds and I play an acoustic, an old Martin guitar. I’m not that great a player, and every once in a while, I’ll miss a chord, and Bobby will be right there.”

Ft. Payne Alabama 'Boom Days'

Dan Penn and Bobby Emmons are appearing at 'Boom Days' in Fort Payne, AL on September 20th. Here's info on their appearance (quoted from the Ft. Payne Times-Journal newspaper):

At 6:30 p.m. on Sept. 20, the activities will move indoors. The City Auditorium will be the site of the First Federal Songwriters’ Showcase, where Memphis/Nashville music business giants Dan Penn and Bobby Emmons will demonstrate their talents by performing many of the great tunes that they have written, played on or produced. Vernon native Penn is nationally renowned as an rhythm and blues writer, whose tunes have been recorded by Percy Sledge, Otis Redding, Aretha Franklin, James Carr, Solomon Burke, the Box Tops and hundreds of others.

Emmons began playing with the legendary Bill Black Combo in 1960. He has played keyboards on recordings at virtually every major studio in Memphis and Nashville. He was one of the Memphis Boys, Elvis’ recording band. George Strait, Nora Jones, B. J. Thomas, Tanya Tucker and many others have performed his songs, and he has worked extensively with Willie Nelson, Waylon Jennings, Johnny Cash and Kris Kristofferson.

“Boom Days will be a rare opportunity to see these two skilled masters perform together,” Kirby said.

Another Sad Loss for the Music Industry

Another sad loss this week with the passing of Jerry Wexler. Jerry made so many great contributions to R&B/soul music -- not to mention other genres. He played a vital role in the music that came out of Stax, Muscle Shoals, and American Studios.

http://www.nytimes.com/2008/08/16/arts/music/16wexler.html?partner=rssnyt&emc=rss

Sad News about Isaac Hayes

In Isaac Hayes, we've lost a great musician, songwriter, and singer. Here is a nice article on him -- note that Chips Moman (while at Stax) produced Isaac's first record in 1962 -- "Laura, We're On Our Last Go-Round."

http://www.independent.co.uk/news/obituaries/isaac-hayes-
seventies-soul-superstar-who-won-an-oscar-for-theme-from-shaft-891448.html

Dan Penn New CD -- Bobby Emmons on Keyboards

Dan Penn has a new CD -- Bobby Emmons is featured on keyboards. Read about it here:

http://www.prweb.com/releases/2008/7/prweb1159754.htm

Listen to 30 second samples here:

http://www.danpenn.com/bluenite.htm

Chips Moman Profile

This profile of Chips Moman appeared in the Sunday, July 13, 2008, edition of the Memphis Commercial-Appeal:

http://www.georgiarhythm.com/UnsungChipsMoman.pdf

Recent Interviews with Reggie

Guitar Player Magazine speaks to Reggie:

http://www.guitarplayer.com/article/reggie-young/jun-08/36159

Branson Herrmuth interviews Reggie -- listen to the MP3s here:

http://www.bronsonsmusic.com/reggie_young_1.mp3
http://www.bronsonsmusic.com/reggie_young_2.mp3

Or read the text here:

http://www.musesmuse.com/col-bronson-reggieyoung.html

Kentucky Rain [unreleased takes 6 and 7]

Long Black Limousine (Takes 1,2,4,7,8,6)

http://www.youtube.com/watch?v=mDUbymCLflA&feature=user

Dionne Warwick Do Right Woman Do Right Man 1969

Editor's Note: This video was removed from You Tube sometime in late 2008. Sorry! Maybe it'll reappear someday...it was basically a sound file of the song with accompanying pictures...

Memphis Boys Site Jukebox

To hear a great collection of 10-15 second excerpts of Memphis Boys' recordings go to http://memphisboys.com/ and scroll down to the lower leftmost portion of the page. Then click on "Launch the Jukebox" to hear approximately 50 tunes excerpted...wonderful stuff!

Dan Penn and Bobby Emmons

Dan and Bobby to appear at Hendrix College -- Conway, Arkansas.

Tuesday, Sept. 16, 2008 Dan Penn and Bobby Emmons Concert, 7:30 p.m., Cabe Theatre.

http://www.hendrix.edu/eventsnews/eventsnews.aspx?id=21698

Great Bio of the Wood Family

Check out this site for a recent bio of the Wood family -- Bobby Wood's roots in gospel music are reviewed:

http://newalbanynews-exchange.com/

Or go here if the headline at the New Albany News isn't about Bobby!

http://www.georgiarhythm.com/wood050328.pdf

Warren Zanes' Book -- Dusty in Memphis

Browse excerpts from Warren Zanes' book Dusty in Memphis here:

http://www.amazon.com/Dusty-Springfields-Memphis-Thirty-Three/dp/0826414923

Review of Reggie's Country Music Hall of Fame Appearance

Here's a review of Reggie's appearance at the Country Music Hall of Fame's Nashville Cats program (Saturday May 3 2008).

http://karlkunkel.livejournal.com/68428.html

Linda Lyndell's MySpace Page

Not sure if this page was posted by Linda herself or by a fan. But you can hear the complete version of "What A Man" here!

http://www.myspace.com/lindalyndell

Dusty on Ed Sullivan Show -- 1968

Here's a nice video of Dusty singing 'Son of a Preacher Man' -- this just drives home the fact that this was/is a perfect record.

http://www.metacafe.com/watch/206681/dusty_springfield/

Here's a video featuring Jerry Wexler discussing the recording of "Dusty in Memphis":

http://www.youtube.com/watch?v=1TcRNj_Sy3I

Son of a Preacher Man -- Reggie Young & Stephen Housden

This is a great video of Reggie & Stephen Housden playing and discussing "Son of a Preacher Man" -- it's a clip from Vision 4 Music's DVD series entitled "Top of the Fret."

http://www.youtube.com/watch?v=nRxdixMc5nI

http://www.vision4music.com/store/product_info.php?cPath=21&products_id=39

Reissue of Memphis Boys Recording

The 1990 release entitled "The Memphis Boys" has just been re-issued. Read about it here...(and listen to samples!)...

http://www.virtualmusicmarket.com/Memphis%20Boys%20Download%20Page.htm

Bobby Womack talks about his Memphis Years

http://www.commercialappeal.com/news/2008/apr/18/soul-man-gets-it-right/

Reggie Young saluted at Country Music Hall of Fame Museum

http://www.countrymusichalloffame.com/site/news_detail.aspx?cid=2442http://www.countrymusichalloffame.com/site/news_detail.aspx?cid=2442

http://www.nashvillecitypaper.com/news.php?viewStory=59899

Video Footage of Elvis at Memphis

Check out this little gem -- it's only 46 seconds long but shows the American guys with Elvis around the time of Elvis's Memphis Recordings (1969). Cogbill, Chrisman, Emmons, and Young are in there -- though very briefly.

http://www.youtube.com/watch?v=L_WzVZZthBU

Great Posts on Red Kelly Blog

I've linked to Red Kelly's blog in the past, but I wanted to draw your attention to two recent posts covering Chips Moman and the history of American Studio. Red is a great writer and a true music scholar. This is another must read for fans of American and/or Chips Moman. A fabulous job Red!

http://redkelly.blogspot.com/2008/01/
elvis-presley-any-day-now-rca-9741.html

http://redkelly.blogspot.com/2008/
01/triumphs-raw-dough-volt-100.html

Home Movies of the Hall of Fame Induction Ceremony

Several home movies of the Hall of Fame Induction Ceremony -- featuring a video of Dan Penn singing!

http://www.myspace.com/youngguitar

Reggie's acceptance speech also posted on YouTube:

http://www.youtube.com/watch?v=R-UqEKUrESY

[UPDATE 5/17/08: This video has been removed from YouTube's site]

Additional Post about the Hall of Fame Induction Ceremony

That's Garth singing -- Reggie is pictured on the right...


http://www.cmt.com/artists
/news/1575159/20071127/wynette_tammy.jhtml

Photo of Memphis Boys at Induction Ceremony

Waylon Pays Tribute to Reggie

Check this out -- Waylon has nice words to say about Reggie -- then the band performs "Drift Away" complete with all Reggie's licks from the Dobie Gray version...

http://www.youtube.com/watch?v=YeLZMHqS27g

[UPDATE 5/17/08: This video has apparently been removed from YouTube -- the following message is displayed: "This video has been removed due to terms of use violation."]

Update 8/15/09 -- the same video mentioned above is now here:

http://www.youtube.com/watch?v=4m5GLU-zEuI

Updated Info on Musician's Hall of Fame Concert

The Musicians Hall Of Fame And Museum is the one and only museum in the world that honors the talented musicians who actually played on the greatest recordings of all time. On this special evening they will host the first annual Musicians Hall of Fame Award Show. The 2007 Inductees, who will also be performing, are: The Blue Moon Boys, The Funk Brothers, The Memphis Boys, The Nashville A-Team, The Tennessee Two and The Wrecking Crew. In addition to the inductees, the following musicians will be performing: Garth Brooks, Rodney Crowell, Vince Gill, Amy Grant, Peter Frampton, John Carter Cash, Roger McGuinn and B.J. Thomas. Presented by Creed Bratton (The Office) and Brenda Lee.

http://www.nashvillesymphony.org/main.taf?p=1,1,3,1,4,3&PerfNo=1389

More Pictures and Posts from the Germantown Concert

http://seattlesusieq.blogspot.com/2007/
08/memphis-sessions-boys-concert.html

Photos from Germantown Concert -- August 07

http://entertainment.webshots.com/album/560337251TmMtVU

Memphis Boys Inducted into Musician's Hall of Fame

Great news! Memphis Boys inducted into Musicians Hall of Fame:

Here's a quote from the CMT website:

The first Musicians Hall of Fame Awards show will be held Nov. 26 at Schermerhorn Symphony Center in downtown Nashville. The inductees include the Nashville A-Team, Blue Moon Boys, Funk Brothers, Memphis Boys, Tennessee Two and Wrecking Crew. Special guest vocalists for the ceremony will be announced soon. The voting process involved recording professionals from all genres and areas of the music industry. The ballots were distributed last year to determine the nominees, and then an advisory board comprised of music industry professionals determined the inductees.

http://www.cmt.com/news/articles
/1572894/20071026/id_0.jhtml

Elvis's American Studio Sessions by Stephen Rudko

Stephen Rudko's article from www.furious.com -- nice account of Elvis's American Studio sessions.

http://www.furious.com/PERFECT/elvis69.html

More Pics from American Sound Show

Here are more pictures from the Elvis American Sound Show in Soest, Germany -- held in March 07.

http://www.elvis-presley-gesellschaft.de
/html/AmericanSoundShow_Bericht.htm

More Pictures of American Studio

A few more photos of American can be found here:

http://www.elvis-records.de/html/memories.html

Photos from April 2007 Planet Hollywood Concert

Check this out -- photos of all the Memphis Boys taken in Paris during the Planet Hollywood concert (April 2007).

http://highwayfm.free.fr/ELVIS-PLANET-HOLLYWOOD/index.html

Memphis Boys Soest / Germany Performance Live on CD

[UPDATE 5/17/08: This item is no longer on EBay]

http://cgi.ebay.co.uk/Elvis-American-Sound-Show
-2CD-NEW-2007-Live-The-King_W0QQitemZ120155916630QQcmdZViewItem

Elvis in Memphis -- from 'Boogie Woogie Flu'

Listen to Elvis in Memphis cuts from 'Boogie Woogie Flu' blog:

http://boogiewoogieflu.blogspot.com/2007/08/elvis-1969.html

Premier Guitar Interview with Reggie Young

From the September '07 issue of Premier Guitar magazine:

http://magazine.premierguitar.com/Magazine
/Issue/2007/Sep/Forever_Young_Reggie_Young.aspx

Reggie with friends:

Mike Leech Music

Mike's web page is here:

http://mywebpages.comcast.net/bassolo/

Google Books

This is way cool!! Go to Google Books and get viewable excerpts from books. A search on Chips Moman gave 158 hits. American Sound Studio gave 9 hits. A search on Gene Chrisman gave 17 hits, but not all of them were 'our' Gene. Have fun with this site...but don't believe everything you read! And don't forget to use quotes around your search terms - this cuts out all the extraneous stuff.

http://books.google.com/

Dark End of the Street

Good blog post about the writing and recording of James Carr's Dark End of the Street:

http://testifyse15.blogspot.com/search?q=moman

Chips Moman Encyclopedia Article

The Georgia Encyclopedia's entry on LaGrange native Chips Moman:

http://www.georgiaencyclopedia.org/nge/Article.jsp?id=h-1721

American Studio Discography

Good discography site featuring (among many others) the output of the Goldwax (James Carr), Mala (Box Tops, Bobby Wood), and Bell (James & Bobby Purify and Oscar Toney, Jr) labels. These were some of American's earliest recordings from 1966-1968 (all the above appear under the Bell Label heading):

http://www.bsnpubs.com/discoga-c.html

Then go here for listings on the Scepter label featuring BJ Thomas and Dionne Warwick's American recordings:

http://www.bsnpubs.com/discogs-z.html

Or go here for the Minit Label (Bobby Womack's American Recordings):

http://www.bsnpubs.com/discogl-r.html

Lots more here -- worth the effort!

Memphis Boys CD

Here's a picture of the cover art from the CD that the Memphis Boys recorded in '92...

Elvis's American Studio Recordings

A bunch of information is available at this site regarding Elvis's studio recordings. Click on the link below and then scroll till you get to January 13, 1969, which is the date of the first session Elvis recorded at American.

http://www.elvisrecordings.com/master2c.htm

All Memphis Music

Great radio site that features ALL Memphis music:

http://www.allmemphismusic.com/

You can play the station using Windows Media Player or download the Live365 player.

BJ Thomas and the Memphis Boys Live in Memphis -- August 2007

The link below has detailed information about the concert:

http://tinyurl.com/yotdx3

More Highwaymen Videos

For more Highwaymen (i.e. Cash, Nelson, Kristofferson, Jennings) videos go to this link:

http://www.youtube.com/user/Slasheri

Most of the Highwaymen videos listed feature the backing of the Memphis Boys. Enjoy!

Thomas Street History

Preston over at the MemphisSound blog had a cool post about the history of Thomas Street -- also known as New Chicago. Some great history here -- check it out!

http://memphissound.blogspot.com/2007/06/
curries-club-tropicana.html

Rhino Records' Guide To Memphis

See the blurb about American in the 'Ghost Hunting' section -- here's a quote:

Ghost hunting: American Recording Studio 827 Thomas St. (at Chelsea). The only Memphis studio which truly ever rivaled Stax or Sun for importance, American—founded by Memphis music legend "Chips" Moman—attracted Wilson Pickett, the Box Tops, Dusty Springfield, Neil Diamond, and yes, Elvis, who made some of his best post-Sun music here.

http://www.rhino.com/rzine/StoryKeeper.lasso?StoryID=934

This link provides an excellent all-around guide to Memphis' music-related sites.

Picture of Bobby Wood's Wurlitzer Piano

Go here for blurbs (and pictures) of Bobby Wood's Wurlitzer electric piano. Tip: scroll about 2/3 of the way down...this is from the Nashville Musician's Hall of Fame and Museum. Also has pictures of Reggie's guitars as well as instruments from many other studio greats.

http://www.scottymoore.net/mhofm.html

Reggie Young on MySpace

http://www.myspace.com/youngguitar
http://www.myspace.com/reggieyoungguitar

Rediscovered R&B Classic

Read about the Dynamics First Landing LP recorded at American in 1969 and recently re-released:

http://somevelvetblog.blogspot.com/2007/06/
rediscovered-lost-classic-of-r.html

Bobby Womack on his experience at American

this is extracted from the Eddie Hankins article on the Memphis Boys...link to the entire article is in an earlier post (see below)...

Check out this Blog

I came across this blog recently and thoroughly enjoyed it. The author is a Memphis-based journalist who's done some great articles about the local music scene.

http://memphissound.blogspot.com

Read the entries -- several talk about the early days of Stax when Chips Moman was in residence. I also enjoyed the post about Hi Session man Howard Grimes.

www.chipsmoman.com

Chips Moman had a great web site in 2001 and 2002...there's still a site out there by that name (www.chipsmoman.com) but there's no content to view...however, you can see some of the content from the archives of the old site by clicking here.

Or for a more thorough look go here:

http://web.archive.org/web/*sr_1nr_10/http://chipsmoman.com/*

Elvis Australia Interview with Reggie Young

Really good interview but quite a few misspellings...probably transcribed from tape...well worth reading.

http://www.elvis.com.au/presley/
interview_reggie_young.shtml

Memphis Boys @ 1967 Oscar Toney Jr. Session

This is a rare find. You won't see this on E-Bay :) It's a scanned image of the Oscar Toney For Your Precious Love album.

Bobby Wood did not play on this particular session (he hadn't officially joined American yet), but he generously signed the album anyway.

Check out the letter of congratulations from Otis Redding!

Waylon Jennings - Trouble Man

This is great--Waylon Jennings singing "Trouble Man" backed by the Memphis Boys. The video is from the Highwaymen tour (Waylon, Willie Nelson, Johnny Cash, and Kris Kristofferson). You can see Gene on drums and Bobby W. and E. on keyboards at about 2:00 minutes into the video--Reggie Y. is seen throughout. I believe that's Mike Leech standing to the left of Gene--but he's hard to identify.

Johnny Cash -- The Man in Black

Here's a wonderful site from Peter Lewry that pays tribute to Johnny Cash. Features interviews with numerous people who worked with him over the years -- including Reggie Young.

http://www.johnnycashfanzine.com/reggieyoung.html

Planet Hollywood (Paris, France)

Info on the Planet Hollywood concert in Paris, France (April 1, 2007) is here:

http://www.elvismyhappiness.com/index.php?option=com_content&task=view&id=857&Itemid=64

Link to the Stadthalle (Soest, Germany)

Here's a link to the Stadthalle in Soest, Germany -- where the Memphis Boys are playing on March 31, 2007.

http://www.stadthallesoest.de

Memphis Boys European Tour Dates

The Memphis Boys are playing two shows in Europe on March 31st and April 1st, 2007.

On Saturday, March 31st, they play in Soest, Germany (near the city of Dortmund) at the "Stadthalle", Dasselwall 1, Soest, Germany. Doors open at 6:00 PM and the show is at 8:00 PM.

On Sunday, April 1st, they play in Paris, France at the "Planet Hollywood" venue on the Champs Elysees. Doors open at 1:30 PM and the show is at 3:30 PM.

Stay tuned for more -- and thanks to Gene C. for the info!

I Wish I Knew -- Solomon Burke

You've got to go here and listen to this sound file.

This is from Red Kelly's blog and he's posting about the fabulous Solomon Burke (who's still singing great!). There's a link to a sound file of "Save It" (just underneath the image of the 45), which was recorded at American (in 1968) and included on the album "I Wish I Knew."

http://redkelly.blogspot.com/2007/03/solomon-burke-save-it-atlantic-2527.html

I love the way Gene's drumming propels the whole track and keeps the intensity level high. But Gene does that on a daily basis.

Just listen and see for yourself!

American Studio Site -- February 7, 2007

Here's a photo taken at Chelsea and Thomas Street in Memphis -- where American once stood. This is not the original building.

This building was a day care center at one time ("Children's Palace Learning Academy"). The address is 831 Thomas Street.

Photo taken on Wednesday, February 7, 2007.

It appears that I'm not the only one who's photographed the former American site:

http://travel.webshots.com/photo/2737295830099855274aFeBey

Messick High School

Here's a picture of Messick High School in Memphis, Tennessee.

Question:

Name three famous Memphis musicians who are Messick alumni.

Answer:

Reggie Young, Steve Cropper, and Duck Dunn. . .

I wish I'd gone to school there.     :)

Sound Samples "From Elvis in Memphis"

Sound samples of "From Elvis in Memphis" CD. . .lots more good stuff here -- sounds as good as the day it was recorded. . .in 1969!

http://www.cduniverse.com/productinfo.asp?pid=1112070&BAB=Y

Wilson Pickett Sound Samples

Here are links to sound samples from two of my favorite Wilson Pickett albums from the mid-sixties. These were done at American and the guys are just fantastic on all these cuts. Just give a listen:



http://www.cduniverse.com/productinfo.asp?pid=6998917&BAB=E




http://www.cduniverse.com/productinfo.asp?pid=4865034&BAB=E

Interesting post about James Carr sessions

This post talks about the James Carr sessions -- recorded at Hi because American's board was being repaired. Several posts by Colin Dilnot, who is an expert in this area, and also a post from Neil Rushton, who interviewed Dan Penn for UK's Manifesto magazine.


http://www.soul-source.co.uk/forum/lofiversion/index.php/t15128.html

Google Earth view of 827 Thomas Street as it looks today...

Interview with Mike Leech

Here's a 2005 interview with Mike Leech, which appeared in an Italian webzine....

http://www.ilmarchiodelleidee.com/readinter.php?ID=19

Bobby Emmons' Web Site

Click on the biography to learn more about Bobby:

http://bobbyemmons.com/

Bobby Wood Interview

Bobby Wood talks about recording with Elvis. Reprinted by Elvis Australia web site from the archives of www.elvisworld-japan.com.

http://www.elvis.com.au/presley/interview_bobby_wood.shtml

Papa Don Schroeder Interview

A must-read interview with Papa Don Schroeder. Papa Don was, among other things, a disc jockey in Pensacola, Florida. His show was called "the Papa Ding-Dong Diddley Daddy Debatably Daring Dig’in Out Dash’n Dip Dig’in Don Schroeder Show." Gotta love it! In the mid-sixties, Papa Don brought Oscar Toney and James & Bobby Purify to American Studios. Read about it here:

http://www.sundazed.com/scene
/exclusives/papa_don_exclusive.html

827 Thomas Street Band -- LaGrange GA -- 2001

2001 Photo taken at Chips Moman's studio in LaGrange GA. Courtesy of Paul Cochran's web site.

Vintage Guitar Interview with Reggie Young

Comprehensive interview with Reggie from September 2001 issue of Vintage Guitar magazine.

http://www.vintageguitar.com/features/artists/details.asp?AID=2082

Bass Player Magazine Article on Tommy Cogbill

Great article by session bassist Michael Rhodes -- wonderful tribute to Tommy Cogbill.

http://www.bassplayer.com/story.asp?storyCode=13259

Tommy Cogbill’s Complete Bass Line
Dusty Springfield’s ‘Son Of A Preacher Man’

By Chris Jisi | February, 2006

Top Nashville session bassist Michael Rhodes discusses the masters of his craft, and a personal mentor, with a gleam in his eye. “There are plenty of correlations between James Jamerson and Tommy Cogbill, including their jazz backgrounds and their parallel careers. Like James, Tommy was a take-charge guy in the studio; he would stand up and count off the songs, and basically run the session. He had such a strong presence in the music he played that there was a sort of natural deference by the rest of the band.” Of course, Jamerson’s prowess and genius have since been well documented in books, on CDs, and on film; Cogbill is still relatively unknown by name, although not by bass line. His trademark busy-yet-unimposing parts graced Wilson Pickett’s “Funky Broadway,” Elvis Presley’s “Kentucky Rain” and “In the Ghetto,” the Box Tops’ “Cry Like a Baby,” and Aretha Franklin’s “(You Make Me Feel Like a) Natural Woman,” “Chain of Fools,” and “Respect” [see April ’99].

Born on April 8, 1932, in Johnson Grove, Tennessee, Cogbill started on guitar at age six and picked up electric bass—among other stringed instruments—along the way. Settling into a regular rhythm section with guitarists Reggie Young and Chips Moman, keyboardist Bobby Emmons, and drummer Gene Chrisman, the team became in demand in Memphis, Nashville, New York, and at Fame Studio in Muscle Shoals, Alabama. In 1967, Moman bought American Sound Studios in Memphis, and artists came from far and wide to work with the quintet. Cogbill eventually added producing to his skills, most notably behind the board for Neil Diamond’s Sweet Caroline. On December 7, 1982, at age 50, he succumbed to a stroke.

Two years earlier, in Nashville, Cogbill met newcomer Rhodes on a session and took him under his wing. Says Michael, “Tommy taught me everything from studio demeanor to the role of the bass player. He innately knew how to approach a track and make it work. He was a soft-spoken, laid-back guy, but with a bass in his hands he had the intuitive ability to create forward motion through a song that enabled everyone else to surf in the wake. There’s probably no better example of that than ‘Son of a Preacher Man.’” The 1969 Top Ten hit came from British pop/soul singer Dusty Springfield’s album Dusty in Memphis [Mercury]; it’s considered her masterpiece, although it was her last major hit. Rhodes, who spoke to Reggie Young and bassist Mike Leech (who was at the session), gathered some interesting background info on the late-1968 date at American Sound:

“There probably weren’t a lot of takes done, because [producer] Jerry Wexler, [engineer/arranger/ co-producer] Tom Dowd, and [songwriter] John Hurley were present, so there was a better degree of direction. The rhythm section [Cogbill, Young, Chrisman, and Emmons and Bobby Wood on keyboards] recorded live to a scratch vocal by Dusty, who—being somewhat out of her element—was reportedly as nervous as a cat in a room full of rocking chairs. The band came up with their own parts, including Tommy, who consequently drove the whole track in typical fashion.” Rhodes continues, “Gear-wise, Tommy used Chip Moman’s 1959 P-Bass, which had a rosewood neck and flatwound strings. It was the American Studios bass; Mike Leech has it now [see photo, page 82]. Mike said Tommy also kept a jar of Vaseline on hand, and he would stick his right fingers into it to help facilitate his technique. Reggie remembers there being a bass amp at the session, and with Dowd present there was probably a direct as well as a miked amp signal. Interestingly, Leech recalled that on the earlier American Studios stuff, Tommy’s bass was recorded through an old Fender Twin Reverb that had one of its two 12" speakers busted and disconnected. They would place a mic, probably a Shure SM57, off axis of the single speaker and keep the amp at a low volume.”

The two-and-half-minute “Preacher Man” begins with intro interplay between Young’s guitar lick on the downbeat and Cogbill’s instantly funky response in the back half of the bars. For the first verse, at letter A, Cogbill remains busy but never gets in Springfield’s way. Rhodes offers, “What strikes me is how sparse and laid back the track is, except for Tommy. He takes up the bulk of real estate and gives the piece a sense of urgency and excitement. You can hear Gene Chrisman and everyone sort of following Tommy because he’s in the zone, right in the middle of the pocket, with an occasional lean.” As the track moves to the first chorus, at B, Cogbill continues his syncopated ways. At times he adds the dominant 7 (D) to the E triad chord change, as well as expressive hammer-ons and slurs. In bars 16 and 17 he breaks down to half-notes, in sync with the vocals, providing the perfect release to the previous rhythmic tension. Notes Rhodes, “The fact that Tommy is playing around the E up at the 7th fret tells me these guys had heard themselves on the radio and knew what translated. If he had played open E it might not have reproduced as well in a car or on a transistor radio. And given that Tommy also played wicked bebop-style guitar, navigating on the upper fingerboard was no sweat.”

Following a re-intro at bars 18 and 19 (in which horns enter and cop Young’s guitar lick), Cogbill continues his percolating part—with subtle variations—through the second verse and chorus (letters C and D). At E, the bridge begins, in what is a clever setup for a modulation a 4th away, to the key of A. Cogbill keeps driving forward, and in bar 33 he issues an ear-catching 5th on the downbeat, followed by a jazzy passing tone. Letter F’s third chorus establishes the new key of A, with Cogbill maintaining motion and adding a cool subtlety: Every time he arrives at the IV chord (D), he outlines a D triad (D-F#-A). His inspired, bluesy fill in bar 41 is a precursor to the out chorus at G. Rhodes assesses, “Tommy felt the final chorus needed to go into another gear, and he knew he had to get right to it before the quick fade. Moving up to a more vocal, conversational register, he plays a linear fill across the bar line from 47 to 48 without worrying about nailing the roots. This happens even more dramatically in bars 51 to 52—you can feel the joy. I would have loved to hear the next eight bars!” Rhodes sums up, “Tommy’s playing was always headed toward something—the next chord change or the next section. In retrospect, his playing was heading toward the future of electric bass.”

Mike Leech On Tommy Cogbill

“Tommy Cogbill’s profile has always been subdued—as he wanted it to be. However, from a historical perspective, he should be listed among the top-five most important popular-music bassists of the last century. He’s the only player I know who was able to use his knowledge on guitar, transpose it to bass, and make it believable. His dynamic interpretation on bass was uncanny; his sense of time was amazing. After a cut, when he had played something outstanding (such as the bass line on “Memphis Soul Stew”) and compliments were paid, he never claimed all the credit. He always passed credit around, usually by saying something like, ‘pretty funky groove, huh?’
“Thomas Clark Cogbill was a father figure to me. During the many hours we sat and talked, bass technique seldom came up; musicianship between us was secondary. When I was down, he had advice to get me back up; if he saw me heading in a bad direction, he would point a finger in my face and order me to either stop or change my direction. Being a musician is not just a career move but a lifestyle, and that is what dictates your abilities. That’s what Tommy taught me—not how to play, but how to live.”

Mike Leech’s resumé ranges from Elvis Presley and Jerry Lee Lewis to Willie Nelson, Merle Haggard, and Johnny Cash, and includes Neil Diamond’s “Sweet Caroline.”

Michael Rhodes

In addition to appearing on recent CDs by Trisha Yearwood, Brooks & Dunn, Gretchen Wilson, Rodney Crowell, Randall Bramblett, and the Vinyl Kings, Nashville session ace Michael Rhodes can be heard on Larry Carlton’s latest, Firewire [Arista], and Vince Gill’s upcoming CD and tour.
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Another picture of American Studio

Here's another picture of the American Studio. Same photo as previously posted but this one has a wider field of view. The building on the left was a restaurant -- in the 60s it was called the Ranch House. The American Studio's offices were on the second floor.

Fabulous!! Solomon Burke -- Meet Me In Church

Go here to listen to the Memphis Boys backing Solomon Burke -- great vocal, great arrangement! What else can I say...

http://redkelly2.blogspot.com/2006/04/solomon-burke-meet-me-in-church.html

Photo and Blog Post about Bobby Emmons

Interesting stuff about Bobby Emmons on the Funky16Corners blog...also photo of Bobby presumably taken in the early 60s...

http://funky16corners.blogspot.com/2006/01/memphis-organs-1965-1969.html

Dusty in Memphis

This is a link to the "Unofficial Homepage of Vocalist Dusty Springfield." Chapter 6 deals with her experience recording in Memphis at American Studios.

http://www.cpinternet.com/mbayly/mem.htm

By the way, the "Dusty in Memphis" recording ranks #89 in Rolling Stone Magazine's 500 Greatest Albums of All Time.

http://www.rollingstone.com/news/story/6598132/89_dusty_in_memphis

Memphis Magazine Article

This article on the American Rhythm Section appeared in Memphis Magazine's September '05 issue. Great job by journalist Eddie Hankins. This article is a must read! Really nice job...

http://www.georgiarhythm.com/American_Way.pdf

Great Music Sample -- Courtesy of Wal-Mart

No kidding -- the folks at Wal-Mart know good music when they hear it! Go here to listen to a 30 second sample of Linda Lyndell's "What A Man".

Info (what little is known) on Linda Lyndell is here.

In 2001, music journalist Robert Bowman did an article on her for Oxford American's annual music issue (not available online).

Linda appeared at the Stax Museum for an Otis Redding Tribute in November 2005. She is now living in her home state of Florida but is not active in the music business.

The Masqueraders -- Very Cool Site

Here's a great site featuring the music of the Masqueraders. There are pictures of the original 45s of tunes they recorded at American in the sixties. Click on the 45 to play the selection. TIP: You have to have Real Audio installed in order to play these tunes. But I don't have Real Audio -- I don't like its very aggressive and intrusive behavior. I have Real Alternative on my computer and it's much more user friendly!

http://solidhitsoul.com/raders.html

You can download Real Alternative here:

http://www.free-codecs.com/download/Real_Alternative.htm

Interview with Chips Moman

I conducted this interview with Chips Moman in the summer of 2001.

http://www.georgiarhythm.com/2008/11/lagrange-native-
chips-moman-talks-about.html

Interview with Dan Penn and Spooner Oldham

Here's a nice
interview with Dan Penn and Spooner Oldham. Joss Hutton conducted the interview for www.furious.com in 1998.

http://www.furious.com/PERFECT/pennoldham.html

Picture of American Sound Studios

Here's a picture of American Sound Studios, which was located at 827 Thomas Street in Memphis, Tennessee. The building has been demolished, and there's a car lot there now (or so it's been said). This is where all that great music was recorded from the mid-sixties to the earlier seventies.

The building was actually at the intersection of Chelsea and Thomas streets. Thomas Boulevard was a truck bypass route and so truckers stopped at the light and then took off in low gear. As a result, obtaining a noise-free recording was sometimes a challenge!

http://elvisland.blogspot.com/2006/01/american-sound-studios.html

My Interview with Gene Chrisman

Here's a link to my interview with Gene Chrisman. Gene is a great drummer and a great guy and has played on a whole bunch of records. You know that dog sitting in front of the gramaphone that was RCA's trademark? Well, that dog was listening to a recording that Gene played on! I'm not kidding! :)

http://www.georgiarhythm.com/chrisman.pdf

Solomon Burke talks about Dan Penn's Writing

Comments from Solomon Burke about Dan Penn's writing...

Burke still gets excited when he talks about the smorgasbord of songwriters who contributed to the project. Dan Penn ("Dark End of the Street," "I'm Your Puppet") wrote the pleading, deep soul title track.

"Dan wrote a song for me 35 years ago, which was a great record in my life," Burke says.

In 1967, Penn and his songwriting partner, Spooner Oldham, wrote "Take Me (Just As I Am)," which Burke recorded at American Studios in Memphis. Burke says, "To come back with a song as hot as 'Don't Give Up on Me,' it touched my soul immediately."

The above was excerpted from an article on www.anti.com (Solomon's current label). Bio of Solomon is here.

Article about Dan Penn & Spooner Oldham

Dan Penn & Spooner Oldham - the legendary partnership that helped shape the entire course of southern soul music – made a live album when they toured the UK as special guests of Nick Lowe in 1998.

That album, called 'Moments From This Theatre' and hailed at the time as "a master class with two great soul men", has long been unavailable. It is, however, now being reissued by Proper Records on Monday 17th April to coincide with Penn & Oldham's tour this summer. The dates - perhaps their last-ever shows in the UK - will be announced in the near future.

The masterfully understated album features soulfully intimate renditions of many of Penn & Oldham's hits, including "I'm Your Puppet," "Sweet Inspiration," "Do Right Woman, Do Right Man," "I Met Her in Church" and "Lonely Women Make Good Lovers" — 14 songs in all, nine of them Penn-Oldham collaborations.

'Moments' gives music lovers the opportunity to hear the hits stripped down to their essentials, with nothing but Penn's deeply soulful vocals and acoustic guitar and Oldham's Wurlitzer and occasional singing. With these two consummate musicians, that turns out to be more than enough to cast a spell.

"You can put me and Spooner in a band and we just disappear, and our songs disappear — within a band," says Penn. "That's why we decided to start playin' some gigs where it was just us, where we could show our songwriting."

A native of Vernon, Alabama, Penn moved to the Florence/Muscle Shoals area while still a teenager and assumed the role of lead vocalist in a local group calling itself the Mark V Combo. When asked what kind of music they played, Penn replies, "R&B, man. There wasn't no such thing as rock. That was somethin' you picked up and throwed." He laughs. "Or threw." It was around this time that he penned his first chart record, Conway Twitty's "Is a Bluebird Blue", and became friends with Oldham, whose given name is Dewey Lindon. During the early '60s, Penn began working with Rick Hall at Fame Studios in Muscle Shoals, first as a songwriter, and then as an artist under the names Lonnie Ray, Danny Lee, and finally Dan Penn.

Around that time, Oldham, who was then going to college in Florence, started cutting classes in order to hang around the studio, and, Hall, recognising the kid's keyboard chops, started hiring him for sessions. Oldham's reputation grew in this musical hotbed, and he worked at other local studios as well, playing the indelible organ part on Percy Sledge's "When a Man Loves a Woman"—not on a Hammond B3, as is generally thought, but on a Farfisa.

"He had it on low growl," Penn quips. "There's one of them settin' right here in my studio, because of that record." As the keyboard player in the Fame house band, working alongside guitarist Jimmy Johnson, bassist Junior Lowe and drummer Roger Hawkins, Spooner played on groundbreaking albums by Wilson Pickett and Aretha Franklin, among others.

While at Fame, Oldham left his imprint on the sound and evolution of southern soul music with his inimitable keyboard playing, but he turned out to be just as skilled and distinctive as a songwriter. In the evenings, after the sessions had ended, Oldham would hole up with Penn, who was engineering at Fame and had the key to the studio, on songwriting sessions, and both immediately became aware of what Penn describes as "some sort of chemical deal together," and that led to effort and inspiration. "We'd write two or three songs a night," says Penn. "We were young. We just wrote and wrote and wrote, and we put the demo down, too." Their early collaborations included "I'm Your Puppet," which became a hit in 1965 for James & Bobby Purify, and "Out of Left Field," performed so memorably by Sledge. These boys had a way with metaphor. Together and separately, the pair also wrote hits for Joe Simon, Jimmy Hughes and Wilson Pickett.

"I became a staff keyboard player, and then Dan and I became exclusive writers for Fame Publishing Co. for about three years," Oldham remembers. "It was sort of an in-house thing, where artists were comin' and goin', askin' for songs, and there was sort of a built-in opportunity to try to be commercial songwriters, which both of us wanted to be. So, as fate would have it, we were in a good place at a good time. And we enjoyed the process of writing. We'd demo it, just him and I putting it on tape that night — we'd be tired and worn out from our endeavors, and then, the next day, there was a whole band wantin' to play in the studio, and we'd get them to do the demo. So we'd live with those songs a couple days runnin'. And then, if we were lucky, maybe two or three weeks later, somebody might want to record it, and we'd get to play it again.

"We got a song or two on a lot of albums, and I got to play on all that stuff and have fun," Oldham continues. "And Dan was learning to engineer, partly because he had access to the equipment at night, and he and would do our demos. He was a songwriter who wanted to produce and engineer; I was a songwriter who wanted to play keyboards. So we had similar but different sidelines. And he was singin' a lot, and I was not singin' hardly ever. But we had a good rapport, and the piano-and-guitar thing seemed to work well. I liked piano and he liked guitar. He had a great way with words—not that I didn't participate in the words. He and I both participated in words and music, but he was really there from the gitgo with his approach to words. We never knew where it was gonna come from—an idea or him strummin' the guitar or me strummin' the piano. We had a kaleidoscope of approaches. We'd make it all work, it seemed like. Whatever angle it came from, we'd try to connect on the idea of the song or the chord changes. If we weren't interested, we'd just move on to another one real fast. We'd usually come up with a few ideas, sometimes only one, sometimes none. So we've approached it from all kind of ways."

Says Penn of their process: "When me and Spooner are doin' it, I usually write the lyrics down on paper 'cause he's got his hands full with the piano, so we just get one set of lyrics. That's what I use when I sing the demo, and I always sing the demo, which has helped us get a lot of cuts in the past. Not that I sung it properly, but I sung it to where people could understand it.

According to Penn, the reason people hear touches of country in his brand of R&B is "because I'm an old hillbilly myself. Took me about 30 years to find out I was still a hillbilly. But compared to R&B, country is much easier. You ain't got to struggle. Anybody can sing, 'Because you're mine, I walk the line.' Go try to write 'Out of Left Field'; go find all those chords and what all that means. So a hillbilly I am, but in the '60s I was pretty smart to love black music, 'cause there was a lot of it to love. I loved Jimmy Reed, Bobby Bland, Ray Charles, Little Milton, James Brown… I always respected the black singers because they were always there — we was trying to get there. Knowing that the black singers wanted my songs inspired me."

A number of their classics were written for particular singers. "'Sweet Inspiration' was written for the group the Sweet Inspirations, 'Cry Like a Baby' was written for Alex Chilton's first band, The Box Tops, 'Out of Left Field' was written for Percy Sledge," says Penn. "I either was involved in the production or I was real close to the production teams, so when you're in the middle of a clique, you got the power to either do it right, do it wrong or get out of the way and let somebody else do it.

"But you have an opportunity to score, and sometimes we scored. By that I mean comin' up with a song that was good enough to get on the session. And then, if it came out and was a hit, the score was really complete at that point. So first you had to get on the session, and then the big question was, did it come out? And then the next question was, is it the single? At least back then.

"Some of these songs weren't written that way. 'Do Right Woman' wasn't written for Aretha, nor 'Dark End of the Street' for James Carr. Me and Chips Moman just wrote those songs and we didn't have anybody in mind. We worked great together while we were together—we're so lucky to have those two songs—but we didn't stay together."

In 1967, Penn relocated to Memphis and began producing at Chips Moman's American Recording Studios, with Oldham joining him a few months later. While at American, Penn and Moman co-wrote "Do Right Woman, Do Right Man," which Franklin turned into a soul classic, along with "Dark End of the Street," stunningly recorded by James Carr, while Dan and Spooner came up with "Cry Like a Baby" for the Box Tops and later "A Woman Left Lonely," written at Dan's Beautiful Sounds Studio in Memphis, and chosen by Janis Joplin for her classic album Pearl.

When the golden age of southern soul came to an end, Oldham moved to California, where he played with artists like Jackson Browne, the Everly Brothers, Linda Ronstadt and the Flying Burrito Brothers.

Additionally, he played keyboards on a series of acclaimed albums by Neil Young, starting with 'Harvest' in 1972. In 2005, Young tapped Oldham as a linchpin player on his moving new album, 'Prairie Wind'. "He's so soulful and so gospel and so spiritual, he's playing from this special place,' Young says of Oldham. "He's so great, an amazing musician."

Penn and wife Linda relocated to Nashville in the '70s—where he recently co-wrote and produced Bobby Purify's comeback album, Better to Have It, in his basement studio. The session included Oldham on keyboards, naturally; alongside another of Penn's co-writers, Malaco keyboardist Carson Whitsett. The well-received album was released on Proper American in the summer of 2005. Oldham and his wife Karen have been living in Rogersville, Alabama — "close to home," he says—since 1991.

Penn and Oldham have now been friends and cohorts for nearly a half century. And 'Moments From This Theatre' celebrates, with characteristic understatement, this partnership for the ages, providing captivating evidence of their continuing "chemical deal together," which adds up to quiet brilliance.

* * *

Dan Penn talks about some of his hits:

I'm Your Puppet: "We'd done our usual, which was go get a barbecue plate or a burger. Then we came to the studio, and I had just bought a little 12-string guitar that sounded pretty good, so I just started playin' [voices the guitar line from the song], and Spooner just slid in with [he makes the familiar keyboard sound]. Next thing you know, we're into this song. I started writin' stuff down, we cut a little demo on it and me and Rick came up to Nashville and put some strings on it. Actually, it was a record that came out on me, I believe on MGM, but it was called 'The Puppet'—wasn't no 'Your.' My little record didn't do anything, and it went to the demo file. So when producer Don Schroeder brought the Purify brothers in, they went to the demo file and they picked that one out. When they started singin' it, they sang 'I'm your puppet'—they couldn't remember, I guess. And I didn't like it anyway; I thought it was too fast, kind of a rip-off of Sam & Dave, I thought. At least that's what I was thinkin' then. Later on, when it came out and became a hit, I loved it. It was easy to get on board later."

Out of Left Field: "People say it's a baseball metaphor, but I always think it's a farm metaphor, like an old tractor bringin' some hay in. The chords Spooner came up with and the places we went are kinda strange. I just love it 'cause it's a heck of a way to say 'She walked in out of nowhere.'"

Do Right Woman, Do Right Man: In January 1967, Atlantic's Jerry Wexler brought Aretha Franklin to Fame to record "I Never Loved a Man the Way I Love You." In an interview with British journalist Neil Rushton, Penn recalled the scene. "When she walked in she was like a young queen. Most of the guys in the studio pretended not to be paying too much attention to her, but they were looking at her from the corner of their eyes.

She appeared so calm, but I knew she was scared to death. She just sat down at the piano, calmly took a deep breath, lifted her hand up and then just hit the unknown chord! The instant she did that all the guys stopped eating or talking or whatever and just headed for their guitars and drums to play. You just knew history was going to be made that day."

Wexler okayed the recording of "Do Right Woman, Do Right Man' as a perfect b-side, provided that Penn was able to come up with a usable bridge on the spot. A few minutes into the job, Aretha came up to him. "She said, 'Dan, bay-bee, what you got?' I said, 'This is what I've got, Aretha: "They say it's a man's world, but you can't prove that by me,"' and she comes right back and says, 'I've got the next line: "As long as we're together baby, show some respect for me."' And I said, 'Thank you, Aretha.

But Wexler canceled the session the next day, choosing instead to continue cutting the rest of Aretha's album in New York. Since Moman was playing guitar on the sessions, Penn went along with him to New York. "We went to the Atlantic building up in the elevator and Jerry Wexler says, 'Dan, you and Chips come with me. He took us to the Atlantic studio control room and played us what they done to our little song. Aretha had redone the vocals, they had added her sisters (Erma and Carolyn) and I was hearing this big, big sound. It was astonishing, one of the most amazing moments in my life."

The Dark End of the Street: "We tracked at Hi, and a few weeks later we bought James Carr to American and did his vocal overdubs and I did some background vocals," Penn told Rushton. "We thought James was fantastic; he had made some good records before, and we knew we had made a good record. Did we realize it was going to become hailed as a masterpiece? Not really, but I liked the song and the record a lot. What did I think of Aretha's version? There are no other versions, not even mine!"

Now, Penn explains further: "I've heard other people sing it besides James Carr, but they weren't thinkin' about the lyric. I've heard a lot of 'heady' versions of it, a lot of singers that are mentally right up there, but you can tell that they're not thinkin' about those words. Singers shouldn't be thinkin' of anything except what that lyric means to him. And if that lyric don't mean nothin' to him, he shouldn't be cuttin' that song. That's why writers are so good when they sing their own songs—because those words actually meant somethin' to them somewhere along the line. Then you don't have a chance, really, to mess up. If you start thinkin', you're in trouble."

You Left the Water Running: "Otis Redding did a demo for me on 'You Left the Water Running,'" Penn told Rushton. "I got to be around him the day he cut Arthur Conley on 'Sweet Soul Music' at Fame. Otis was the most effective record producer I have ever seen."

Cry Like a Baby: "Everybody thinks I coaxed [Alex Chilton] into doing a lot of vocal tricks, but it's not true—he just had it. The only thing I ever told that young man to do was sing 'aeroplane' instead of 'airplane' on 'The Letter'—I was just tryin' to make it flow better.

"Anyway, we'd had a big hit on 'The Letter' [which Penn produced], and around 'Neon Rainbow,' the record company started talkin' about wantin' 'The Letter #2,' and I'd go, 'No, I don't do sequels.' I was pretty adamant, and still am, about that. But I did know we had to go uptempo. Nobody would send me any songs and nothin' was comin' to me, so I called Spooner and said, 'Spooner, we're gonna have to write this next Box Tops hit.' 'Ok. When do you wanna start?' I said, 'Well, tomorrow night.' 'OK.' We stayed in the studio two or three days, we'd write stuff down, tear it up. We were doin' everything we could to write a song—stayin' up, drinkin' coffee—but nothin' was happenin' and we were dead. So I said, 'Spooner, I guess we just need to go on home and forget about it. We just didn't catch any this time.' 'OK.'

"So we went over across the street to a place called Porky's to have a meal. We were sittin' there lookin' at each other all dejected, and Spooner just laid his head on the table and said, 'I could just cry like a baby.' I said 'That's it!' I'm sure my eyes must've flashed. I said, 'To hell with the food. Here's some money—just keep it.' By the time we got halfway across the street, I was already singin', 'When I think about the good love you gave me, I cry like a baby.' And then the key was in the lock to open the studio back up, and I said, 'Spooner, you run to the organ, piano or whatever you wanna play; I'll get the lights on and the gear runnin' again. So I got the lights on and he was crankin' up the little organ. I had the mike open, I got one of the machines going, I put on a reel of tape, went out into the studio and we wrote it before that reel of tape was done. After we did that, it was just like we'd had eight hours of sleep. Alex was supposed to be there the next morning at 10 o'clock, so my back was against the wall, and it was just like it dropped out of the sky. The pickers came in, I gave it to Alex, everybody loved it and we cut it in a few takes. So there's nothin' like right now. When you try your best, I think the Lord just gives you somethin', you know?" Penn adds, "I was so happy and proud to have produced 'Cry Like a Baby' another million seller."

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