Memphis Boys: The Story of American Studios (American Made Music Series)
Roben Jones
Language: English
Pages: 430
ISBN: 1617031992
Format: PDF / Kindle (mobi) / ePub
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. Utilizing 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 Elvis Presley, 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.
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schooled, so my progress on the guitar was very slow.” It was a record as far removed from both garage-band stomping and aggressive R&B as it is possible to get, and if it had gotten more airplay and become known to the general public it would have killed once and forever the consensus that this group could only make jukebox weepers. “Old Man” aimed at an elegant, upscale audience. It would be a direct line from this recording on through the smooth and highly structured B.J. Thomas productions to
R&B or pop,” remembered Stan Kesler. “The first time I ever heard of Tommy was when he was playing a gig at a little joint in Southeast Memphis,” said Mike Leech. “A buddy told me how great a guitar player he was, so we hit it one night. I was disappointed because he was playing bass and switching off to steel. I had no idea what I was hearing. Wish I could do that one again.” “The first time I guess I ever saw him, he was playing with Ray Jaffee on a little side street down in a basement, in a
Roger Hawkins. “He was one of those kinda guys that never gave anybody a hard time,” remarked Jimmy Johnson. “I was not of his caliber, but he never made me feel that way. Most people with that kind of talent will stick it on you.” “Tommy would reserve his comments, his suggestions, to the level of people he was working with,” said Roger Hawkins. Nor does it seem that Tommy ever lost his love for the guitar. Stan Kesler remembered Tommy coming in to the Phillips studio and getting a guitar and
influenced my playing from the time I met him. I was blown away by the way he played. Him being left-handed, he sat across from me and it was like looking in a mirror. He could take my guitar and turn it upside down and play it without changing the strings. We’d sit in front of each other, and I’d have my head cocked. “He had a hollow-body electric, that old guitar he had was handmade in New York. I don’t know why he got rid of it [later].It had such a sweet sound. It was a hollow-body, more of a
ripe for the picking by a sweet-talking man. (One can imagine the interminable lectures the prodigal daughter will receive if she ever gets back to the Carolinas.) If the craft of singing involves some acting, Sandy would have been believable on the silver screen; she infuses each role she is given in this set of songs with compassion and wisdom beyond her years. That understanding is revealed again in “Patterns,” a reflective song about the deterioration of a hollow marriage, and in Larry
