Spooner Oldham Profile

Very nice profile of Spooner -- it's on You Tube in 5 parts....check it out:

http://www.youtube.com/watch?v=KvxhqUTjj2Y

827 Thomas Street -- July 29, 2011

Here are current photos of 827 Thomas Street (actually this building is 831 Thomas!) -- taken on July 29, 2011:

Memphis Boys at Franklin Theatre

Hope you didn't miss the Memphis Boys concert at the Franklin Theatre last Friday (6/25). A great show -- and a great venue! Here are photos from the Franklin Theatre's Facebook page (taken by Anthony Scarlati):

http://www.facebook.com/franklintheatre#!/media/set/?set=a.2131808730752.122315.1112023150

I particularly enjoyed Scat Springs' vocals on all the great R&B classics that the Memphis Boys recorded.

Pictures from the rehearsal at Green's Grocery the day before the concert:

http://www.littlewaltertubeamps.com/page9.html

Memphis Boys 2005 Interview

An interview with the Memphis Boys -- conducted in Denmark during the Memphis Boys' 2005 visit. Maybe a few mistakes in the transcription but a very nice job:

http://gracelandranders.dk/default.asp?page_id=104

Tommy Cogbill Bass Transcriptions

French bassist Pierre Verger has a site of transcriptions from his favorite musicians -- Tommy C. being one of them. Here's the link -- I actually link to the Google Cached version of the page because my browser blocked a popup page. Just click on the link at the top of the cached version to go to the original page.

http://webcache.googleusercontent.com/search?q=cache:oOtPvKrbI-0J:freebasspart.pv24.pagesperso-orange.fr/Bass_Players.htm+http://freebasspart.pv24.pagesperso-orange.fr/Bass_Players.htm&cd=1&hl=en&ct=clnk&gl=us&source=www.google.com

Tommy Cogbill's Lasting Legacy

In-the-know bass players still discuss Tommy Cogbill's majestic bass lines -- here's a thread from the TalkBass web site ("Tell Me Your Favorite Tommy Cogbill Bass Line"):

http://www.talkbass.com/forum/f28/tell-me-your-favorite-tommy-cogbill-bass-line-629166/

Resolution Commemorating Messick High School

Reggie Young -- and Steve Cropper and Duck Dunn -- graduated from Messick High School. Here's a Tennessee House Joint Resolution commemorating Messick:

http://www.tn.gov/sos/acts/107/resolutions/hjr0373.pdf

The Gibson Interview: Guitar Legend Steve Cropper

http://www.gibson.com/en-us/Lifestyle/Features/steve-cropper-0527-2011/

Steve has a new solo album coming out -- most of it recorded at Dan Penn's studio in Nashville. Here's a quote from the interview:

Where does your sensibility for writing great guitar riffs come from?

Some of it is from listing to guys like Lowman, but part of it is also experimenting. When I’d get together with somebody like [Memphis songwriter/producer] Chips Moman in the old days, I’d ask for his advice. I didn’t have much experience working with producers and engineers, and I asked Chips what they’d be expecting from me. He said, “Crop, just go in and do what you do and if they don’t like it they’ll let you know.” My idea was to just play the rhythm until I felt a little opening in there, and I’d stick a lick in or a fill. The producers just loved that, so it evolved from there.

It’s easy to lay a track and play a rhythm, and then have somebody go sing or lay a solo over it, because the rhythm is nailed down.

Memphis Boys at Franklin Theatre -- June 25, 2011

http://prod1.agileticketing.net/WebSales/pages/TicketSearchCriteria.aspx?ada=true&evtinfo=35553~cfe40b7d-1c56-4c4b-b937-600bdd7c5904&

NAMM Interview with Gene Chrisman -- Great Stuff!

http://www.namm.org/library/oral-history/gene-chrisman

Reggie with the Blind Boys of Alabama -- May 4, 2011 -- Nashville, TN

Nice Article on Tommy Cogbill

Via Google Books, here's an excerpt from Ed Friedland's book "R&B Bass Masters."

http://books.google.com/books?id=eKCGMCOlisgC&pg=PA36&lpg=PA36&dq=tommy+cogbill+bass&source=bl&ots=OvgsEYtkS5&sig=WGUcWfl-pByByBP4C5aFR9Uhtb0&hl=en&ei=3i3FTcL1Loy_gQf4o4TLBA&sa=X&oi=book_result&ct=result&resnum=6&ved=0CEkQ6AEwBQ#v=onepage&q=tommy%20cogbill%20bass&f=false

Jerry Wexler on Dusty in Memphis

We know many of these details about Dusty's recording technique, but it's interesting to read Jerry's first person account of the Dusty in Memphis sessions.

http://www.cpinternet.com/~mbayly/atkh5.htm

Rareelvispresley.com

Click on the fourth link from the bottom for American-related content. A nice collection featuring snippets of articles about American (most have appeared elsewhere).

http://www.rareelvispresley.com/

Video from the Elvis Museum era at American presumably posted by the website owners here (this video posted elsewhere also):

http://www.youtube.com/watch?v=z7_PLFEnu9s

Rare Outtakes from American Sound Studios1969 - ElvisCommunity Video - Elvis Family, Friends and Fans Worldwide

Rare Outtakes from American Sound Studios1969 - ElvisCommunity Video - Elvis Family, Friends and Fans Worldwide

Dang Me!

I love this song recorded at American in the sixties. It's from Masqueraders' lead singer Sam Hutchins -- what a great groove!



Interview with the Masqueraders:

http://www.soulexpress.net/masqueraders_story.htm

The original from the great Roger Miller!

http://www.youtube.com/watch?v=z3-EwMJDQek

Billboard Magazine Archives

I have enjoyed using Google Books to search old copies of Billboard magazine, copies of which have been archived going back to the 1940s. Additionally, Billboard magazine has the same search capability on their site (in cooperation with Google). I tried both and it seems to work more seamlessly on Google Books. I ran a search on "Tommy Cogbill" and got loads of hits from the late sixties and early seventies. You really get a sense of being there!

The most efficient way is to go to the link below (Advanced Google Book Search) and limit the search to magazines:

http://books.google.com/advanced_book_search

Or, as noted above, the same search capability is available from Billboard's site:

http://www.billboard.com/archive

Here's an example of a search for articles mentioning Tommy Cogbill:

http://www.google.com/search?tbo=p&tbm=bks&q=tommy+cogbill&tbs=,bkt:m&num=10

Check This Out

Check this out from the new web site -- Qwiki. It's an automated voice and the content can be found elsewhere (this is from Wikipedia I think), but it's still pretty cool.

http://www.qwiki.com/q/#!/American_Sound_Studio

If you click at the bottom of the page on the 'Press' link, you can read about how this content is generated.

The Blind Boys of Alabama

http://www.rosebudus.com/blindboys/TakeTheHighRoad.html

Read about this soon-to-be-released album from the Blind Boys of Alabama. Reggie played guitar on the sessions. Looks like a great album! Promotional video here:

http://youtu.be/KEFRtSqg49s

Bobby Wood Turns 70 Today

Happy Birthday Bobby Wood -- from the 'Back in Memphis' Blog:

http://backinmemphis.blogspot.com/2011/01/bobby-wood-turns-70-today.html

From the site (some of the material below from Pamela Decker's article found here):

Happy Birthday Bobby Wood! We appreciate all your contributions to American music! May all your birthday wishes come true!

Bobby Wood is a session musician and songwriter most famous for his work as the Memphis Boys keyboardist. Born in a community just south of New Albany, Mississippi, Wood was one of six children in a musical family that delighted crowds as the Wood Family Gospel Group. After studying classical music through mail-order lessons, Bobby decided that genre wasn’t for him. He then mastered and went on to train others in the American folk music tradition of shape notes.

For Bobby, the organ was his forte. From years of singing with his family, he developed amazing vocal abilities. Already an accomplished musician by his late teens, he set forth on Bankhead Highway to Memphis where he became Sun Studio producer Stan Kesler’s protege.

In 1964, Bobby released a song on Joy Records “If I’m a Fool (For Loving You)” and shortly after Wood joined Reggie Young, Bobby Emmons, Tommy Cogbill, Mike Leech and Gene Chrisman to create a famous group of studio musicians who later became known as the Memphis Boys. Over the years, the Memphis Boys backed numerous artists such as Dusty Springfield, Neil Diamond, Wilson Pickett, The Box Tops, B.J. Thomas, the Sweet Inspirations, Dionne Warwick, Paul Revere and The Raiders, Merrilee Rush, Sandy Posey, Billy Swan, Joe Tex, Herbie Mann, James and Bobby Purify and many others. Of all the hit records that the Memphis Boys recorded, they will always be best known as the musicians that brought Elvis back to prominence in 1969 backing Elvis on records such as “Kentucky Rain” and “In the Ghetto” and Elvis’s biggest record of all time “Suspicious Minds”.

Bobby was inducted into The Musicians Hall of Fame in 2007 as a member of The Memphis Boys.

1999 Interview with Dan Penn -- Good Stuff!

From New Zealand journalist / producer Chris Bourke -- nice job Chris!

http://chrisbourke.blogspot.com/2011/01/sumpin-real-funky.html

Chips at Dothan Civic Center -- September 2010

Go here and search for Dothan Civic Center to see some great videos:

http://www.youtube.com/user/TheJay55#g/search

Here's one of Chips and Bobby Emmons talking about Lukenbach, Texas:

Chips Moman Bio on You Tube

You Tube Video of American Sound Studio

Dan Penn and Bobby Emmons Live at the Bluebird Cafe

Listen here:

http://wpln.org/?p=23124

Gene Chrisman « Musicians Hall Of Fame

Brief video salute to Gene from the Nashville Musician's Hall of Fame. Wish it had been longer!

http://musicianshalloffame.com/blog/?page_id=1010

And here's a salute to Reggie --

http://musicianshalloffame.com/blog/?page_id=1014

Bobby Wood also!

http://musicianshalloffame.com/blog/?page_id=998

Story of the origin of these videos is here:

http://musicianshalloffame.com/blog/?p=539

Forthcoming Dan and Spooner Collection

Link: http://www.vintagevinylnews.com/2011/01/preview-sweet-inspiration-songs-of-dan.html

Songwriter Red West on From Elvis in Memphis

From an interview with Red (link below):

Elvis didn't listen much to his own music but he really loved his From Elvis In Memphis album, the one he did with Chips Moman; that was an album full of great songs and Suspicious Minds by my buddy Mark James. Elvis was so sick of this movie crap that he'd been recording and it was not doing his career any good. When he cut that album it (The session) was just loaded hits, In The Ghetto, Suspicious Minds, Don't Cry Daddy, Kentucky Rain. He brought the demos when he was doing the Change of Habit film with Mary Tyler Moore. He wore Suspicious Minds out. When his albums were released he would listen to them and think about them and wonder if he had done this or that or the other. But the one he played more than any was that Memphis album.

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

Amber Brooke Taylor singing at Leipers Fork, TN with Legendary Guitarist "Reggie Young"

http://www.youtube.com/watch?v=IJshA8nBW70

The Sweet Inspirations

Very comprehensive article on the Sweet Inspirations:

http://bit.ly/g4cneJ

Interview with the late Myrna Smith:

http://www.elvisinfonet.com/myrna.html

I love the guitar lick on "Sweet Inspiration" -- played by Spooner Oldham (co-author of the song along with Dan Penn).

RAPID FIRE 20Q: Mandy Barnett-’Winter Wonderland’ heating up Billboard charts - Nashville Entertainment | Examiner.com

Gene C. has played drums for Mandy for many years. Here's an interview with her regarding her recent album -- with Gene on drums.

RAPID FIRE 20Q: Mandy Barnett-’Winter Wonderland’ heating up Billboard charts - Nashville Entertainment | Examiner.com

Memphis Boys -- Elvis Cruise

Memphis Boys played the Elvis Cruise November 4th through the 8th:

http://www.theelviscruise.com/Artists/View/Id/248/Category/Entertainment/

Here's a picture of Gene:

Beale Street Walk of Fame 11.7.10 Marty Lacker & Chips Moman

Here is a YouTube video of the presentation ceremony -- Marty Lacker accepts his award and also accepts on behalf of Chips. Congratulations!

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



And a story on the ceremony:

http://www.examiner.com/cultural-events-in-memphis/chips-moman-and-marty-lacker-recognized-with-music-notes-on-beale-street

Memphis music legends Chips Moman, Marty Lacker earn notes on Beale Walk of Fame

Chips Moman and Marty Lacker to receive Brass Notes on Beale Walk of Fame. The ceremony is November 7, 2010, at 5 pm.

http://www.commercialappeal.com/news/2010/nov/06/music-legends-earn-notes-of-fame-on-beale/

Check out this list of previous recipients of the award. Very impressive company!

http://www.bealestreet.com/wordpress/beale-street-walk-of-fame

Chips Moman and Marty Lacker to receive Beale Street Blues Note

Elvis Unlimited, Elvis Presley, Graceland, FTD, CD

From the site:

Marty Lacker to get Beale Street Blues Note Honor This Sunday 11/7.

 It was announced today that Marty Lacker will be honored by receiving a Beale Street Blues Note, the equivalent of a Hollywood Walk Of Fame Star this coming Sunday, November 7 at 5: PM.

Also receiving a Blues Note at the same time will be Chips Moman, the acclaimed record producer who produced Elvis' 1969 sessions at American Studios,Memphis. Moman is also noted for producing over 100 other big hit records by a number of major artists.

Reggie Young Marker

Reggie Young Marker

From the site:

 "Called the most prolific session guitarist of all time, Reggie Young grew up along the Cotton Highway in Osceola in the 1940s. Joining a multitude of famous artists, such as Johnny Cash, Elvis Presely, the Beatles, and Willie Nelson, Young has performed all types of music, including many songs dealing with his cotton heritage."

Location. 35° 42.169′ N, 89° 58.148′ W. Marker is in Osceola, Arkansas, in Mississippi County. Marker is at the intersection of West Hale Avenue and South Poplar Street, on the right when traveling east on West Hale Avenue. Click for map. Marker is in this post office area: Osceola AR 72370, United States of America.

Financial difficulties, lack of state support beset music hall of fame | TimesDaily.com | The Times Daily | Florence, AL

Financial difficulties, lack of state support beset music hall of fame | TimesDaily.com | The Times Daily | Florence, AL: "TUSCUMBIA - When visitors peer into the brightly lit display cases at the Alabama Music Hall of Fame and admire items such as the handwritten lyrics to “Do Right Woman, Do Right Man” by Dan Penn and Chips Moman, they see a faded text.

It didn't use to be that way."

Country Hall To Honor Dan Penn : MusicRow

Country Hall To Honor Dan Penn : MusicRow

From the site:

Esteemed music journalist Peter Guralnick calls Dan Penn the secret hero of his book Sweet Soul Music, which chronicles 1960s era R&B. Penn, a Nashville resident wrote classics such as “Dark End of the Street,” “I’m Your Puppet,” “Do Right Woman, Do Right Man,” “Cry Like a Baby,” “Sweet Inspiration,” “It Tears Me Up,” “Out of Left Field” and many more. His songs have been recorded by everyone from country acts the Flying Burrito Brothers, Jerry Lee Lewis, Ronnie Milsap, Lee Roy Parnell, Charlie Rich and Hank Williams Jr. to R&B artists Arthur Alexander, Solomon Burke, Aretha Franklin and Otis Redding.

Born Wallace Daniel Pennington in 1941, Penn was raised on a small farm in Vernon, Alabama. Penn had excellent ears, and he spent countless nights huddled under his covers listening to the faint sounds of WLAC-Nashville on his transistor radio. He instantly took to R&B artists like Bobby “Blue” Bland, Ray Charles and James Brown, who were all featured on radio personality John R’s nightly program. By the time he was a teenager, he was an opinionated musical personality who, according to Penn himself, “lived, ate, drank and slept music.”

While still in high school, he joined his first band, Benny Cagle and the Rhythm Swingsters, and met a young sax player named Billy Sherrill. Sherrill, who would become one of country music’s most influential producers, was impressed by Penn’s songs and urged Penn to follow him to Florence, Alabama, where a vibrant recording scene was emerging.

Penn arrived in town with a hit song in his back pocket, “Is a Blue Bird Blue,” which was recorded by Conway Twitty in 1960. He soon signed a publishing deal with Rick Hall’s Florence Alabama Music Enterprises (FAME) and became the burgeoning studio’s first artist on its Spar label. His local popularity grew even more when he joined the Fairlanes, a high-energy R&B and rock group in the Muscle Shoals area. Later, Penn took his band, the Pallbearers, on the road in a made-over hearse, introducing the southeast region to his own soulful voice and musical fervor. In the meantime, Penn flourished as a writer, forging partnerships with fellow songwriters Donnie Fritts and Spooner Oldham. Penn scored a major hit (co-written with Oldham) in 1966 with “I’m Your Puppet,” which reached the Top Ten on the pop and R&B charts for James & Bobby Purify.

Penn moved to Memphis, Tennessee, that same year and became a chief writer, producer and musician at Chips Moman’s American Recording Studios. The studio cut over 120 Top 100 hits in the late 1960s.

Penn and Moman’s “Do Right Woman, Do Right Man,” originally popularized by Aretha Franklin in 1967 and a country hit for Barbara Mandrell in 1971, is a standard that has been covered by the Flying Burrito Brothers, Brenda Lee, Willie Nelson, Kitty Wells and others. “Dark End of the Street,” also written by Penn and Moman, was a Top Ten R&B hit for James Carr before it was recorded by the Flying Burrito Brothers, the Kendalls, Linda Ronstadt, Gary Stewart, Porter Wagoner & Dolly Parton and other country acts.

With writing partner Oldham by his side, Penn composed late-1960s pop hits for the Box Tops, including the smash “Cry Like a Baby” and the Top Forty “I Met Her in Church.” Penn also produced most of the Box Tops’ catalog, including their #1 record “The Letter” in 1967.

Penn also co-wrote Percy Sledge’s “Out of Left Field” and “It Tears Me Up,” Arthur Alexander’s “Rainbow Road,” Barbara Lynn’s “You Left the Water Running” (originally demoed by Otis Redding), Clarence Carter’s “Slippin’ Around,” Solomon Burke’s “Take Me (Just As I Am),” Laura Lee’s “Uptight, Good Man,” and the Sweet Inspirations’ “Sweet Inspiration,” among many other time-honored compositions.

Penn and his wife, Linda, relocated to Nashville in the 1970s. He released several critically acclaimed solo albums, including Nobody’s Fool (1972), Do Right Man (1994), Blue Nite Lounge (2000) and Junkyard Junky (2007). In 1999, Penn and Oldham released a live album, Moments from This Theatre. The same year, Penn worked with New Orleans R&B legend Irma Thomas on her album My Heart’s in Memphis: The Songs of Dan Penn. He continues to write and produce, and is currently playing live shows with renowned Memphis keyboardist Bobby Emmons.

JR Cobb talks about his life in music

JR Cobb talks about his life in music:

http://www.themonticellonews.com/default.asp?sourceid=&smenu=115&twindow=Default&mad=No&sdetail=7173&wpage=&skeyword=&sidate=&ccat=&ccatm=&restate=&restatus=&reoption=&retype=&repmin=&repmax=&rebed=&rebath=&subname=&pform=&sc=1096&hn=themonticellonews&he=.com

CityFest offers activities for entire family | Dothan Eagle

CityFest offers activities for entire family | Dothan Eagle

From the site:

Start with a songwriter’s roundtable. Stir in some rhythmic exercises. Add in a large helping of running, cycling, art and entertainment. Top it off with two worthy causes reaping some of the benefits. When all of these ingredients are blended together, the end result will be the inaugural Dothan CityFest.

This all-encompassing event will be held Friday, September 10, and run through Sunday, September 12. In between, organizers believe they will be able to offer something for everyone to enjoy.

This downtown extravaganza opens Friday night with the Downtown Music Fest, which features a songwriter’s roundtable. Proceeds from this musical event will go to the ALS Association, which is dedicated to fighting Lou Gehrig’s disease.

Larry Patrick, assistant director/programs for the Department of Leisure Services, says the Downtown Music Fest grew out of a conversation he had with Terry Collins, owner of Screentech. Collins wanted to hold an event for the ALS Association and include it with CityFest. Dothan native and professional songwriter Buddy Buie was soon brought into the conversation. Patrick says “A Songwriter’s Roundtable,” featuring Buddy Buie, J.R. Cobb, Chips Moman, Bobby Emmons and Wayne Carson, was chosen as the night’s event. It will be held in the Dothan Civic Center from 7-10 p.m. and will include a musical reunion of musical talent of the past from Do-than and the Wiregrass.

The Daily Guru: June 22: Dusty Springfield, "Son Of A Preacher Man"

The Daily Guru: June 22: Dusty Springfield, "Son Of A Preacher Man"

Chips Moman & Don Crews' American Sound (Recording) Studio

http://www.facebook.com/home.php?#!/group.php?gid=326748896964

Haven't posted much lately, but wanted to mention this great Facebook page authored by Erick Crews. Erick is the son of Don Crews, so he's certainly in the know. I greatly appreciate his kind words regarding this blog, and also all the enlightening articles and pictures he's posted. Keep it up Erick!

Back In Memphis Concert -- August 12, 2010

http://www.facebook.com/pages/Back-In-Memphis/128742160469340

From the site:

Elvis Unlimited presents Back In Memphis, August 12, 2010 8 PM Germantown Performing Arts Center with special guests:
Jerry Carrigan
Shane Keister
Reggie Young
Mike Leech
Billy Swan
Billy Burnette
Dennis Jale

Read about the Chips Moman Highway!

http://lagrangenews.com/bookmark/7907066

From the site:

The Troup County Commission on Friday dedicated the pending South Loop as “Chips Moman Highway” in honor of the LaGrange resident acclaimed as a songwriter and record producer for Elvis Presley, The Highwaymen - Johnny Cash, Willie Nelson, Waylon Jennings and Kris Kristofferson - and a who’s who of other musical greats.

Moman is perhaps best known as the producer of the 1969 album, “From Elvis in Memphis,” which included the hit songs, “Suspicious Minds,” “In the Ghetto” and “Kentucky Rain,” and for writing such hits as “Do Right Woman, Do Right Man” for Aretha Franklin, “Luckenbach, Texas (Back to the Basics of Love)” for Jennings, and the B.J. Thomas hit, “(Hey, Won’t You Play) Another Somebody Done Somebody Wrong Song,” which won Moman a Grammy Award.

He got another Grammy for best spoken word album for his “Class of ‘55” recording featuring Cash, Roy Orbison, Carl Perkins and Jerry Lee Lewis.

“Chips Moman has dedicated his life to song and has gifted the world with some of its most remarkable and memorable music,” Commission Chairman Ricky Wolfe said, proclaiming June 12 - Moman’s 73rd birthday - as Chips Moman Day in Troup County.

“As a producer, songwriter and musician, his artistry permeated multiple genres of music and influenced the development of rock ‘n’ roll and soul music,” Wolfe said, reading from the proclamation. “His musical contributions will be enjoyed throughout the world for years to come. We are honored to recognize him today.”

When completed in 2012, the 6.1-mile, two-lane South Loop will connect Whitesville and Roanoke roads, diverting traffic from downtown LaGrange and improving access to West Point Lake and the big industrial parks around LaGrange-Callaway Airport. The $19.1 million construction is being paid for with federal stimulus funds.

“I can’t tell you what this means to me. … I’m flabbergasted,” Moman said at Friday’s ceremony in the jury assembly room of the Troup County Government Center.

An estimated 100 fellow musicians, friends and family members watched a 3/12-minute video, produced by sheriff’s Sgt. Chad Mann, with highlights of Moman’s career.

“He’s one of the great producers of all time,” said Buddy Buie, who attended the ceremony with his songwriting partner J.R. Cobb.

They’re responsible for such hits as “Spooky,” “Stormy,” “Traces” and “Every Day with You Girl.” Moman produced Buie’s song, “I Take It Back” for Sandy Posey and it became a hit.

Cobb said he came to LaGrange because “I wouldn’t miss it for the world.”

“He’ll go down as a person who made a great contribution to music as a writer and producer,” Cobb said.

Others at the ceremony were some of Moman’s old studio session players from Memphis and Nashville - Reggie Young, Bobby Wood and Bobby Emmons, who was Moman’s co-writer on “Luckenbach.”

Also there was singer Eddy Arnold’s nephew, Jerry Arnold, who played drums in a band with Moman in the early Memphis days.

“Overall, he’s the most talented person I’ve ever run into,” Arnold said. “It’s unbelievable what he did. If my life depended on it and I needed someone to make a hit record for me, he’s the one I would contact.”

Moman hitchhiked to Memphis at age 14 and three years later was playing with Roy Orbison and Carl Perkins. At his American Studios in Memphis, Moman produced an unprecedented 120 chart-topping singles between 1967 and 1971 by such artists as Elvis, Neil Diamond, Dionne Warwick and The Box Tops. In Nashville, he recorded stars such as Willie Nelson, Johnny Cash, Kris Kristofferson and Merle Haggard.

Moman has written more than 100 songs, starting with “This Time,” a love song for a girl at Rosemont School, which became a No. 1 hit for Troy Shondell.

“He’s up there with guys like Muhammad Ali and Johnny Cash,” Kristofferson said in a phone interview. “It’s like Hank Williams or something - if you’ve got what it takes. He does.”

Sheriff Donny Turner got his guitar signed by all the musicians at Friday’s ceremony, including Young, who wrote, “Please Arrest Jimmy Buffet,” referring to a song Buffet recorded that referred to Young as being drunk.

Turner, who has recruited Moman for fundraising concerts on behalf of the Pineland campus of Georgia Sheriffs’ Youth Homes, got the wheels rolling toward naming the South Loop after Moman.

“It’s been amazing getting to know Chips, and to recognize his talent to put words and music together for our enjoyment for all these years, and to know he’s from right here in Troup County,” Turner said. “To be able to get him back into the community and have him help us put on some concerts and raise some money for the kids, it’s been an honor.”

The sheriff had received letter in August 2008 from Stan Daniel, a retired record promoter and longtime friend of Moman’s.

“We are having more than our share of problems getting this famous record producer recognized in Memphis,” Daniel wrote.

Daniel first suggested a museum, but decided visitors might infringe on Moman’s privacy.

Turner went to County Manager Mike Dobbs, who showed the video about Moman’s career to the commissioners.

“They said, ‘Yeah, this needs to be done,’” Dobbs said. “… He’s had many, many honors and this is just one more.”

Lincoln Wayne Moman (he got the nickname “Chips” because of his affinity for gambling) was born in a house on Stonewall Street and lived in several LaGrange neighborhoods growing up as his parents got jobs with different textile plants run by Callaway Mills. He lived mostly in a two-story house at the end of Houston Street with his grandmother, mother and aunts, and all their children - a crew that sometimes swelled to 28 people under one roof.

Moman started playing guitar at age 3, accompanying his mother as she sang. He moved with his parents, Mildred Magnolia Deberry and Abraham Lincoln Moman, to the country when he was about 9 years old and attended Rosemont School while living on Rosemont, Smokey and Briley roads in south Troup County. He shares a birthday with his aunt, Bertha Lee Moman Robinette of LaGrange, who turned 97 today.

Moman returned to LaGrange in 1996 and lives on his family farm near West Point Lake with his wife, Jane. They tend to horses, and he enjoys his dogs and cats, and watching old westerns on TV. Moman can’t play guitar because of a stroke he suffered about two years ago, but he’s expected to make a full recovery.

“I really believe that caring about other people is an important factor in a person’s life and if you don’t have that, you don’t have anything,” he said. “If you can’t care about the people you love, what are you?”

Read more: La Grange News - Your source for local news, classifieds, business listings and events in La Grange, Georgia.

THE Book for Memphis Boys Fans

Recently, we featured an interview with Roben Jones regarding her newly published book about the Memphis Boys. I'm delighted to report that it's a truly great read, and I'm of the opinion that this is THE standard reference for fans of the Memphis Boys. The book succeeds on so many levels, I don't know where to start! So as not to incur carpal tunnel syndrome :), I'll just highlight some of my favorite aspects of the book:

1) A birds-eye view of the sessions. I often have to remind myself that most of these sessions took place more than 40 years ago. Even those who were there have sketchy memories of what happened. Roben has done a great job of conducting extensive interviews with a wide range of participants to give us a real sense of 'you-are-there.'

2) A better appreciation of how songwriters contributed to the success of American Studios. We now know more about the roles of writers like Wayne Carson, Dan Penn, and Spooner Oldham (and many others) as musicians, producers, and engineers.

3) Wider recognition of Tommy Cogbill as innovator and leader. Although the recordings speak for themselves, Roben's interviews with session mates underscore how highly regarded Tommy was as musician, friend, and mentor.

4) Acknowledgment of the Memphis Boys as music industry pros. It's great to read about how much admiration and respect colleagues had for their work.

I have only scratched the surface here, but I strongly encourage you to buy this book! You won't regret it! Here's the link:

http://www.amazon.com/Memphis-Boys-Story-American-Studios/dp/1604734019/ref=sr_1_1?ie=UTF8&s=books&qid=1269792106&sr=8-1

Alex Chilton, 1950-2010

Very sorry to hear of the passing of Alex Chilton, lead singer of the Box Tops. Listening to the recording nowadays, it's hard to believe that Alex was only 16 years old when he sang The Letter. Mature beyond his years!

http://blogs.reuters.com/fanfare/2010/03/18/alex-chilton-1950-2010/

http://specialgadgetinformation.blogspot.com/2010/03/alex-chilton.html

http://www.newser.com/article/d9eh9fpo0/alex-chilton-who-sang-the-letter-and-influenced-generation-of-musicians-with-big-star-dies.html

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!