Memphis Song Quotes

Dad says that Elvis Presley lived in Memphis and was a musician (not that you would know that from the crap songs that Dad sings). Anyway, he was a musician and Masimo is a musician, ergo Memphis must be somewhere that musicians hang out.

The Memphis Finley and I landed in was my mother’s Memphis. It was magnolia-lined and manicured, black-tailed and bow-tied. It glittered in illusory gold and tinkled in sing-song voices. It was cloistered, segregated, and well-appointed, the kind of place where everyone monogrammed their initials on everything from hand towels to silver because nothing mattered more than one’s family and to whom they were connected by lineage that traced through the fertile fields of the Mississippi Delta.

For Elvis Presley, living in a completely segregated world, the one thing that was not segregated was the radio dial. There was WDIA (“the Mother Station of the Negroes,” run, of course, by white executives), which was the black station, on which a young white boy could listen to, among other people, the Rev. Herbert Brewster, a powerful figure in the world of Memphis black churches. A songwriter of note, he composed “Move On Up a Little Higher,” the first black gospel song to sell over a million copies. What was clear about the black gospel music was that it had a power of its own, missing from the tamer white church music, and that power seemed to come as much as anything else from the beat. In addition there was the immensely popular Dewey Phillips. When Elvis listened to the black radio station at home, his family was not pleased. “Sinful music,” it was called, he once noted. But even as Elvis Presley was coming on the scene, the musical world was changing. Certainly, whites had traditionally exploited the work of black musicians, taking their music, softening and sweetening it and making it theirs. The trade phrase for that was “covering” a black record. It was thievery in broad daylight, but black musicians had no power to protect themselves or their music.

Interesting people in all times and places tend to do two things well—they straddle boundaries, and they bend public perception.

Meanwhile, angered by white violence in the South and inspired by the gigantic June 23 march in Detroit, grassroots people on the streets all over the country had begun talking about marching on Washington. “It scared the white power structure in Washington, D.C. to death,” as Malcolm put it in his “Message to the Grassroots” and in his Autobiography.6 So the White House called in the Big Six national Negro leaders and arranged for them to be given the money to control the march. The result was what Malcolm called the “Farce on Washington” on August 28, 1963. John Lewis, then chairman of SNCC and fresh from the battlefields of Georgia, Mississippi, and Alabama where hundreds of blacks and their white student allies were being beaten and murdered simply for trying to register blacks to vote, was forced to delete references to the revolution and power from his speech and, specifically, to take out the sentence, “We will not wait for the President, the Justice Department nor Congress, but we will take matters into our own hands and create a source of power, outside of any national structure, that could and would assure us a victory.” Marchers were instructed to carry only official signs and to sing only one song, “We Shall Overcome.” As a result, many rank-and-file SNCC militants refused to participate.7 Meanwhile, conscious of the tensions that were developing around preparations for the march on Washington and in order to provide a national rallying point for the independent black movement, Conrad Lynn and William Worthy, veterans in the struggle and old friends of ours, issued a call on the day of the march for an all-black Freedom Now Party. Lynn, a militant civil rights and civil liberties lawyer, had participated in the first Freedom Ride from Richmond, Virginia, to Memphis, Tennessee, in 1947 and was one of Robert Williams’s attorneys.8 Worthy, a Baltimore Afro-American reporter and a 1936–37 Nieman Fellow, had distinguished himself by his courageous actions in defense of freedom of the press, including spending forty-one days in the Peoples Republic of China in 1957 in defiance of the U.S. travel ban (for which his passport was lifted) and traveling to Cuba without a passport following the Bay of Pigs invasion in order to help produce a documentary. The prospect of a black independent party terrified the Democratic Party. Following the call for the Freedom Now Party, Kennedy twice told the press that a political division between whites and blacks would be “fatal.

There were micro-squabbles almost unbelievable to imagine now. The BBC was giving live coverage to the Beaulieu Jazz Festival in 1961 and they had to actually shut down the broadcast when trad jazz and modern jazz fans started to beat the shit out of each other, and the whole crowd lost control. The purists thought of blues as part of jazz, so they felt betrayed when they saw electric guitars—a whole bohemian subculture was threatened by the leather mob. There was certainly a political undercurrent in all this. Alan Lomax and Ewan MacColl—singers and famous folk song collectors who were patriarchs, or ideologues, of the folk boom—took a Marxist line that this music belonged to the people and must be protected from the corruption of capitalism. That’s why “commercial” was such a dirty word in those days. In fact the slanging matches in the music press resembled real political fisticuffs: phrases like “tripe mongers,” “legalized murder,” “selling out.” There were ludicrous discussions about authenticity. Yet the fact is, there was actually an audience for the blues artists in England. In America most of those artists had got used to playing cabaret acts, which they quickly found out didn’t go down well in the UK. Here you could play the blues. Big Bill Broonzy realized he could pick up a bit of dough if he switched from Chicago blues to being a folksy bluesman for European audiences. Half of those black guys never went back to America, because they realized that they were being treated like shit at home and meanwhile, lovely Danish birds were tripping over themselves to accommodate them. Why go back? They’d found out after World War II that they were treated well in Europe, certainly in Paris, like Josephine Baker, Champion Jack Dupree and Memphis Slim. That’s why Denmark became a haven for so many jazz players in the ’50s.

Louise, who at twenty-three could easily look like a sixteen-year-old boy, wore trousers, a vest, and a tie. Joan wore a chic dress with a nipped-in waist and wide skirt, her red hair in a wavy, shoulder-length pageboy. The juke box in the bar was a good one, with Ray Charles singing “Hey Now” and new records by B. B. King, whose performances on Beale Street were a Memphis sensation. The most popular song of the night, hands down, was Kitty Wells strumming “It Wasn’t God Who Made Honky Tonk Angels.” Wells was from Nashville, and the burgeoning country music industry in their home state was a subject of fascination for both women. Louise, intrigued by the fashion for cowboy costumes and yodeling, could do a fair imitation of Hank Williams. Louise had a new swagger that Joan hadn’t seen in her before. She was more assertive and suffered fools even less. When a pretty young woman stopped by their table to compliment Joan’s hair and flirtatiously ask, “Why don’t you cut it short?” Louise sent her on her way with a proprietary growl, saying, “Leave her alone. She’s not gay.

The anger I had felt for years at my father was what I had had instead of him. It was all I had of him. So, I carried it with me always, like a rose quartz in my palm. And it was slowly disappearing, my quartz. Growing tiny. I was hardly feeling the rough edges of it anymore. I realized, as time passed in the kitchen, the grandfather clock in the parlor having sung its swan song three times now, that love was wearing me down. Love, like a tide, just washing over and over that piece of

we were watching Jackson Browne on VH1 Storytellers, a singer she loved so much, she had taped it earlier in the summer and would watch it while she drank a beer at the end of the day. Right after “Doctor My Eyes,” her favorite song, I asked her if I could go with Zeke to Memphis.

Rick contacted me about the session, but he didn't know who in hell was coming in. I said, "Who you got?" He said, "Aretha Franklin." I said, "Boy, you better get your damn shoes on. You getting someone who can sing." Even the Memphis guys didn't really know who in the hell she was. I said, "Man, this woman gonna knock you out." They're all going, "Big deal!" When she come in there and sit down at the piano and hit that first chord, everybody was just like little bees just buzzing around the queen. You could tell by the way she hit the piano the gig was up. It was, "Let's get down to serious business." That first chord she hit was nothing we'd been demoing, and nothing none of them cats in Memphis had been, either. We'd just been dumb-dumb playing, but this was the real thing. That's the prettiest session picture I can ever remember. If I'd had a camera, I'd have a great film of that session, because I can still see it in my mind's eye, just how it was - Spooner on the organ, Moman playing guitar, Aretha at the piano - it was beautiful, better than any session I've ever seen, and I seen a bunch of 'em.' Spooner Oldham, the weedy keyboard player who is most known for never playing the same licks twice and who is ordinarily the most reticent of men, speaks in similar superlatives. 'I was hired to play keyboards. She was gonna stand up in front of the microphone and sing. She was showing us this song she had brought down there with her, she hit that magic chord when Wexler was going up the little steps to the control room, and I just stopped. I said, "Now, look, I'm not trying to cop out or nothing. I know I was hired to play piano, but I wish you'd let her play that thing, and I could get on organ and electric." And that's the way it was. It was a good, honest move, and one of the best things I ever done - and I didn't do nothing.