SEARCHING FOR SOUL

http://en.zicos.com/proaudio/i30579478-SEARCHING-FOR-SOUL.html

From the site:

“This is Elvis Presley’s original band called the Memphis Boys. We cut four tracks with the Memphis Boys and they were amazing. They’re all in their seventies or eighties and play live. We have a little bit of instruction beforehand — you know, here’s what we’re doing, this is what we’re looking for — and that’s it. These guys are so good you had to make sure you get the take before they know the song so well they kinda get bored with it. They still have to be looking a little bit themselves.”

Kevin recalled semi-sarcastically requesting “an iconic guitar riff at the start of this bit” from Memphis Boys’ guitarist Reggie Young, who promptly answered with a guitar riff that delivered the goods.

“This is an old classic songwriter. Michael Rhodes, my favourite bass player who played bass on the album, came and said to me, “You know, Dan Penn is my neighbour.” I’m like, “I don’t know Dan Penn.” Anyway Dan came into the studio that day, he’s a big guy with overalls, truck hat and a toothpick in his mouth. We cut Dark End Of The Street, and he says, ‘Hey, I wrote that song.’ Then I said, “Ok guys, let’s cut another song, let’s do Rainbow Road.” Dan’s sitting in the corner and he says, ‘I wrote that song too.’ We were all like, what? Anyway we have a bite to eat, then there was a song I had found called Mercy Mercy. I played it to them and Dan says, ‘I wrote that song too.’ My hairs all stood on end. So we cut three Dan Penn songs and he was there for it all.”

“That’s Reggie Young’s Stratocaster, and he got B. B. King to sign it. That’s his main Strat so it’s kind of notorious and famous for that signature. His guitar sounds unbelievably amazing.”

“That’s Gene Chrisman, Elvis’s original drummer. He’s become like a modern drummer now so he wants to cut everything with a click track, while of course they didn’t back then. So we cut Suspicious Minds, because who doesn’t want to cut Suspicious Minds with the band that originally played the song.
“It comes to the middle section where it breaks down, and Gene’s worked out if he keeps the tempo the same but plays it halftime it kinda has that feel — but it didn’t feel quite right. Then Bobby yells out, ‘We never did that half time, we just followed Elvis down.’ You’re sitting there listening to these guys talking like Elvis was the other artist. It was fantastic.”

Bass Players to Know: Tommy Cogbill

 

http://www.notreble.com/buzz/2016/09/16/bass-players-to-know-tommy-cogbill/

From the site:

Who is Tommy Cogbill?

A native of Johnson Grove, Tennessee, Cogbill took to the guitar at a young age and eventually made his way toward the electric bass. In the mid 1960’s, he began picking up sessions in Memphis with a group including Gene Chrisman on drums, Chips Moman and Reggie Young on guitar, and Bobby Emmons on keys. Often hired by Jerry Wexler for artists on Atlantic records, the group traveled between the hubs of soul music — Muscle Shoals, Memphis, Nashville, and New York. While he frequently recorded at American Sound Studios (owned by Chips Moman), he’s one of the few bass players from that era who regularly bounced around to different cities and studios. By the late 1960’s, he had recorded with artists including Wilson Pickett, Aretha Franklin, Dusty Springfield, and Elvis Presley, among others.

Cogbill soon began stretching his muscles as a producer, working with Neil Diamond (producing the song “Sweet Caroline”), The Box Tops, and Arthur Alexander. In addition to producing, he continued his career as a bass player throughout the 1970s and recorded with country artists and singer songwriters including Kris Kristofferson, J.J. Cale, Bob Seger, Jimmy Buffett, and Townes Van Zandt. Cogbill passed away in 1982 at the age of 50 due to a stroke.