From Elvis in Memphis

I referred to this radio show in a previous post, but I did not know whether it was currently available online. After free registration on this site, you can listen to this one hour documentary about Elvis's experience recording at American. All five Memphis Boys participated and share their stories! Great stuff!

http://www.prx.org/pieces/38599-from-elvis-in-memphis

Aretha Franklin's 'Respect' Celebrates 40th Birthday : NPR

Listen to Charles Chalmers' recollections about the Aretha Franklin Respect sessions with Tommy Cogbill and Chips Moman.

http://www.npr.org/templates/player/mediaPlayer.html?action=1&t=1&islist=false&id=11070888&m=11070889

The Elvis Presley Legacy Project

In this video, Bobby Emmons talks about recording with Elvis:

http://www.elvis.com/LEGACY/default.asp?id=13

In the Ghetto

Mac Davis reminisces about the writing of In the Ghetto. Interesting to learn that the guitar lick Reggie plays in the intro (which he acknowledges was taken from Mac's demo) actually originated from country singer Freddy Weller!

http://www.acecollins.com/Books/elvis.html

Reggie Young | NAMM.org

NAMM's Oral History project featured this interview with Reggie Young:

http://www.namm.org/library/oral-history/reggie-young

American Sound Studio - Wikipedia

Wikipedia's article on American Sound Studio:

http://en.wikipedia.org/wiki/American_Sound_Studio

I Can Help

Interesting post about the recording of Billy Swan's I Can Help, which featured Reggie, Mike, Bobby Wood, and Bobby Emmons.

http://www.soundonsound.com/sos/nov07/articles/classictracks_1107.htm

Willie Mitchell

So sorry to hear about Willie Mitchell's passing. His personal web site has links to many news stories and tributes to him (see the Facebook page for example):

http://www.williemitchell.com/

I really love this NPR interview with Willie and Al Green -- the link shows us some of Willie's genius in working with Al for months until he got the sound he was looking for. A truly gifted and giving man!

http://www.npr.org/templates/story/story.php?storyId=1075008

Nice Articles from American Songwriter Magazine

Here are several links to good articles from American Songwriter Magazine:

BEHIND THE SONG: Dark End of the Street

http://www.americansongwriter.com/2009/07/behind-the-song-the-dark-end-of-the-street/

WRITING FOR THE KING

http://www.americansongwriter.com/2007/07/writing-for-the-king-the-songs-that-rocked-the-world-and-the-writers-behind-them/

Meccas of Southern Soul: Memphis & Muscle Shoals

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

Santa's On His Way

In the holiday spirit, we offer this song co-written by Bobby Wood for Canadian singer George Canyon:

http://blog.georgiamusic.info/Santas%20On%20His%20Way.mp3

Gene Chrisman | Pro-Mark Drumsticks, The World's Finest Sticks™

Gene's self-penned (and impressive) resume is here at the Pro-Mark website.

http://www.promark.com/community/profile/3783/

Roben Jones Interview

Fans of the Memphis Boys have much to be excited about with the upcoming publication of Memphis Boys: The Story of American Studios by author and poet Roben Jones. We were very fortunate to obtain an interview with Roben, who is also an occasional contributor to this blog. This book is a must read -- I've reserved my copy!

Here's the description from Amazon's site:

Memphis Boys chronicles the story of the rhythm section at Chips Moman's American studios from 1964, when the group began working together, until 1972, when Moman shut down the studio and moved the entire operation to Atlanta. Using extensive interviews with Moman and the group, as well as additional comments from the songwriters, sound engineers, and office staff, author Roben Jones creates a collective biography combined with a business history and a critical analysis of important recordings. She reveals how the personalities of the core group meshed, how they regarded newcomers, and how their personal and musical philosophies blended with Moman's vision to create timeless music based on themes of suffering and sorrow.

Recording sessions with the Gentrys, Aretha Franklin, Wilson Pickett, the Box Tops, Joe Tex, Neil Diamond, B. J. Thomas, Dionne Warwick, and many others come alive in this book. Jones provides the stories behind memorable songs composed by group writers, such as "The Letter," "Dark End of the Street," "Do Right Woman," "Breakfast in Bed," and "You Were Always on My Mind." Featuring photographs, personal profiles, and a suggested listening section, Memphis Boys details a significant phase of American music and the impact of one studio.

_________________________________________________

Allen: Roben, this is a great thing you've done. Tell our readers a little about yourself – the usual bio stuff.

Roben: Thanks for the compliment Allen. About me – I'm from West Virginia, a little town called Hansford that's right on the edge of the big mountains. When I was a child and lived there, the town was unincorporated, which meant that it wasn't even on a map, and that was kind of strange. It's like your town doesn't exist or something. When I was fourteen my family came to Gallipolis, Ohio, and I've been there ever since.

I had a year and a half at Marshall University in Huntington, West Virginia. Shane Keister, one of the later Memphis Boys, also went to school there, about four years before I did. And Bobby Wood's wife Janice is from Gallipolis! So there's a bit of synchronicity.

I was a poet for many years before I wrote this book. I really thought I was going to be the next Emily Dickinson. I wrote for little magazines, gave readings, read my work on West Virginia Public Radio and so on. All the things poets do. My first major publication was in an anthology called Wild Sweet Notes: 50 Years of West Virginia Poetry. It came out in 2000. It’s still in print if any of your readers would like to find it.

Allen: How did you become interested in the Memphis Boys? When did you first hear them?

Roben: I tell the full story in my preface to the book, but to sum it up, one Saturday morning in April 1969 I heard on the radio the Box Tops version of I Shall Be Released. I was fourteen.

To this day I can't describe how affected I was by that record. It wasn't the song so much as it was the production. I didn't know who had done it until I bought the 45, but Tommy Cogbill and Chips Moman had woven the music so creatively around this Bob Dylan tune that they had transformed it into a statement of their own. It was just such an original concept. It made me aware of the producer's role in making a great record.

And that was just IT for me. I had to hear more. I started collecting all the Memphis Boys work.

Allen: Lots of people are fans of the Memphis Boys, but in writing a book you are paying them the ultimate tribute. What made you decide to do it?

Roben: It was a case of one thing leading to another. I’d met Mike Leech online, which was quite a thing, and I'd been asking him questions about the songs and sessions. Mike asked me one day if I'd ever considered writing a book about the Memphis Boys. Up until that second, I hadn’t. I knew their great history needed to be documented, but it had never occurred to me in a million years that I could be the one to do it. But Mike thought I could, and he encouraged me. He believed in me more than I believed in myself at that point, and so I agreed to try.

I knew that the book would be my way of thanking the group, and Chips, for all the beautiful music they had created. My goal was to tell their story accurately, in a way that would do them honor and let the world know what they'd accomplished.

Allen: I understand it's being published by the University of Mississippi Press. How’d you hook up with them?

Roben: Actually, it's being brought out by the University Press of Mississippi. They are a smaller press that specializes in books about Southern culture. They are based out of Jackson, Mississippi.

As to how it happened – that came about through Hayward Bishop, the Memphis Boys' former percussionist and second drummer. Hayward knew John Broven, who ran Ace Records in England and who also had contacts among publishers here. Hayward arranged to have Broven see a rough draft, and from then on Broven shopped the book. He recommended that I try the University Press of Mississippi. I sent them some sample chapters and they liked it. So all thanks to Hayward and John Broven for that.

Allen: Tell us about your research efforts – give us an idea of the range of sources you used to write the book.

Roben: I spoke to a fair number of people – old patrons of the group like Quinton Claunch, Fred Foster, and Papa Don Schroeder. I also spoke with a few singers – B. J.Thomas, Sandy Posey, and Brenda Lee. Brenda did an album at American in 1970 that she considers one of her best ever. I talked to some of the songwriters who had been a part of American – Wayne Carson was the one with whom I spoke most often. I interviewed a few of the sound engineers, interesting characters like Ed Kollis, who's also one of the most underrated blues harmonica players in the world.

I read and re-read the great histories that had already offered a slight look at American – Peter Guralnick's Sweet Soul Music was a major source. It was an example of how a music history should be written. I also re-read the works of just plain historians, people like David Halberstam and William Manchester, who could tell not only the facts but the facts behind the facts, if you will. I was learning how to be a historian as I went along, and it's to be hoped that their styles helped teach me what to do.

One really cool thing was that both Reggie Young and Bobby Emmons had kept all their session logs! Many musicians don't do that but they had. That was a big help in determining exactly whom they were recording and when. Reggie would get out his session books and go over them with me line by line. And we'd discuss details of the important dates. It was just like being back there.

I also talked to musicians in Nashville who were establishing their careers at the same time the Memphis Boys were, because I wanted to know what influence the group had on their contemporaries. I’ve got a comment in the book from Ron Oates, the piano player, who was saying that the younger Nashville musicians wanted to incorporate some of that freedom and expressiveness they admired into their own sessions. I talked to several other people as well, but the one from whom I learned the most was Norbert Putnam. He gave me a context, supplied me with a lot of background details, especially about the early days of Muscle Shoals when Reggie was working many sessions there and Dan Penn and Spooner were part of it all.

Allen: You mention that the guys said you uncovered stuff they didn't know. Could you give us a sneak preview?

Roben: Here's one example. After the Elvis sessions in 1969, when the studio became really successful, some of the guys thought that the atmosphere and mood of the place changed. Which was completely understandable, because everybody was dealing with success at a level they had never anticipated. Several people observed that things got more complicated, but they kept that observation to themselves and had absolutely no idea that anyone else among them was seeing it that way too.

Understand that they never sat down as a group and talked about what was going on when it happened. These are very matter of fact sort of people. They didn't analyze anything, they just did it. The way they communicated best with each other was through that incredible music.

Allen: I think you may have the most complete discography to date – better than the Memphis Boys themselves. How did you find that information?

Roben: I've already mentioned Reggie Young's and Bobby Emmons' session books. But I'd been a record collector since discovering their work in 1969.I have a friend in New York City who's also a record collector and American Studios buff, and we'd pool our information about new releases and older singles. A friend of John Broven's over in England helped me some as well, and I also got some assistance from the guys themselves. Several of them made CDs for me of single releases I didn't have and had never heard, because they all wanted me to know as much of their work as possible. They went far out of their way to do that, and I appreciate it very much.

Allen: I've always wanted to know more about Tommy Cogbill. What did you find out about him?

Roben: Learning more about Tommy Cogbill was one of the absolute delights of doing this book. I discovered the group through Cogbill, as you know, and he was my favorite always. The book in fact is dedicated to him.

Tommy Cogbill was the heart and soul of the Memphis Boys. What Otis Redding was to Stax, what Duane Allman was to his band, what Keith Richards is to the Stones – that was the role Tommy played for the American Group. He was the one they all looked up to, the one whose opinions mattered most. Even Chips deferred to him in many ways.

He was Mr. Reliable, the one holding everything together. He was very much a gray eminence because he was quiet and preferred the background. He was respected not only as a musician but for the content of his character, as Spooner Oldham is. Tommy embodied the strong silent type – he always had time for people, was patient with younger musicians. That patience was what Jimmy Johnson and Roger Hawkins both remembered most about him.

The Memphis Boys could be very tribal at times – they had a way of shutting out most of the guys who came in later. Tommy never did that. He accepted everybody just as they were, on whatever personal or musical level he found them. There was no pettiness in Tommy. And when he became successful, he went through a few changes here and there about it but for the most part just stayed unaffected as ever and concentrated on doing good work.

It's one big hope of mine that people will go back and seek out Tommy's work as a producer. He’s remembered for Angel of the Morning and Sweet Caroline, but he did many other great works as well. As a producer, he was twenty years ahead of his time. As a bass player, he was the best.

Allen: Very little – other than the Aretha sessions – has been written about the early years of Muscle Shoals when Tommy, Chips, and Reggie covered sessions in Muscle Shoals. You talked to Roger Hawkins, Dan Penn, Spooner Oldham, and Donnie Fritts among other people. What did they have to say about the Memphis Boys?

Roben: The guys in Muscle Shoals were a revelation. I want to write something about them alone someday. They are incredible musicians too, and they all speak of Tommy, Chips, and Reggie with the greatest admiration and respect.

As you know, Dan and Spooner were part of American for several years, and Donnie was pretty much an honorary group member. They all say they learned from Chips' standards of excellence and Tommy's total commitment to the music. And the guys in the Shoals' first rhythm section, who worked with Reggie before they moved to Nashville, say they used to listen to the Memphis Boys records and learn from them. They thought it was a better way of making music than the assembly-line Nashville formula that was in use back then.

Jerry Carrigan said that later in his career, when he sat in with the group for some sessions in Nashville, he’d walk into the studio smiling because he knew that he and they had the same approach to making music. He wouldn't have to fight them to do something creative on the record because they were creative as a matter of course.

Allen: Give us a sense of the average studio session – how it went, how they put the music together.

Roben: It really depended on who was producing. It was very informal always, but if Chips was at the board there would be a lot of cutting up and kidding around. He’d sit around and talk to everybody beforehand, just visiting with everybody to get them relaxed and loosened up. That was unheard of in Nashville where everything was on the clock.

Chips would work with the band, sometimes all night long, like a sculptor slowly carving his vision from wet clay, working with a song until it was both technically right and expressive of a true feeling. He is a writer himself so he knew how to frame a lyric. He’d make a few gentle suggestions, but he also left a lot up to the band.

He also did a lot of just hanging around, hanging out with them. He liked an environment where it was just like a family in a house, or a bunch of good old boys picking on a front porch somewhere.

Tommy was a little more precise. You got in there, you did the song in a couple of takes, and if it didn't work he'd set the piece aside. Tommy wouldn't be in the studio all night. He usually had everybody out of there by 10 PM.

Dan Penn is a great producer, very underrated about the moods he can create on record. He sort of combined the two styles. He was as informal as Chips but as precise as Tommy.

The musicians used to horse around to put the out of town acts at ease. It didn't always work, but the singers were then supposed to be awed at the depth and beauty with which these guys could play.

Allen: Talk about the studio in terms of the physical setting. How did they come to acquire the building at 827 Thomas Street?

Roben: That was all Chips' doing. He had the building, he had the studio from the moment he started bringing the band in for sessions. He had found it, he said, while he was just driving through town. As you know, he discovered the movie theater that became the Stax building, and he'd found it the same way, so he had a talent for seeing great old buildings and knowing what would work. That’s an essential skill for a producer, I think. He was in partnership with Seymour Rosenberg when he found 827, and Seymour's father owned an auto-parts store further down on Chelsea Avenue, so that may have had something to do with the location.

Allen: What about the Memphis Boys in the pre-American days? They started at Hi, Stax, and Sun. How did it all come together?

Roben: If there was a catalyst, it was the Bill Black Combo. That’s where Reggie Young and Bobby Emmons worked. They parlayed that into a staff job at Hi, and later on both Mike Leech and Tommy Cogbill joined them there.

Gene Chrisman and Bobby Wood came from the Sun side of things. They were in a club band together, an outfit called the Starlighters.Stan Kessler recorded them and he used all the musicians plus Chips for Bobby's solo record in 1964.That's why he often gets credit for putting the band together.

They all knew each other from the clubs, but Chips was the only one who had any Stax affiliations. Later on Shane Keister worked for a little while at Stax, and Hayward Bishop drummed for the remnants of the Bill Black Combo. So that kind of takes the story full circle.

Allen: What do you think makes these guys so special? You have talked about the check-your ego-at-the-door philosophy among other things.

Roben: Lack of ego is part of it, but that isn't the only characteristic that makes this group special. They may not be egomaniacs in the usual sense of the word, but they do have a great deal of craftsmanly pride. They never wanted to put their names on a product of inferior quality. Listen to the songs on the albums they did – there is absolutely no filler. From Chips right on down the line, they wanted absolutely every song on every session to be the best it could be, and they wanted every song to have the potential of being a Number One hit.

That attitude was helped along by the fact that each and every member of this group, past and present, is a musical virtuoso – we're talking world class, skill on a symphonic level. And that's not just hyperbole, because these guys incorporated principles from classical music into their work – the concept of dynamics, for example. It makes for music of great subtlety and nuance.

Another factor – and it's hard to believe this has been overlooked as people have written about this group – has been the very specific philosophy of life expressed in their music, in large part because of the subject matter Chips emphasized on his sessions. It is music about sorrow, pain, unhappiness, hard times, suffering, and how to endure them with stoicism and grace. It’s the very voice of the working-class South, people who try and try but can never get ahead or catch a break. Chips and this group speak to them and for them. And they should rightfully be recognized for the depth and breadth of that viewpoint. It’s grown-up music for grownups, and it has so much to say.

Allen: Do you know anything about Chips' vault and whether future releases of early American recordings are a possibility?

Roben: I can't presume to speak for Chips, but I wouldn't be a bit surprised if he releases something else eventually. I hope he does. We’ll all need something beautiful and stoic to listen to as we get older.

Allen: What are they up to now? Do you still talk to them?

Roben: Do I talk to them? Oh sure, some of them more than others. Mike Leech has been my best friend since before the book, so I guess I hear from him the most. Occasionally I hear from Bobby Wood. I usually see Reggie at various musical events when I get to town for them – it's always good to see him. I’ve stayed in regular touch with Spooner Oldham, Shane Keister, Wayne Carson, Glen Spreen, and Donnie Fritts. I talked to Hayward Bishop a lot. I've remained close to a few of the Shoals guys as well.

The group are less active than they used to be, especially since Chips has retired, but now and then they get together for special events, like this past summer when Chips and the core group reunited for Elvis Week in Memphis.

I just want to say in closing, thanks for giving me space on the blog to talk about the book and for asking me some great questions. I’ve never done an email interview before, and it's been lots of fun.

This book was truly a labor of love, and so much happened to me during this journey that I could write a book about writing a book! Maybe I will someday. I’d also like to extend my thanks to all the group and their friends for being so open, so gracious, and so patient with me. Doing this book is something for which I'll always be grateful. I wouldn't have missed this for anything.

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://blog.georgiamusic.info/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://blog.georgiamusic.info/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://blog.georgiamusic.info/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