sign in sign up
<<
Home , Ben Cauley, Carla Thomas, Chips Moman, Dave Prater, David Porter (musician), Isaac Hayes

l

--I ..--'1"'-

•

•

•

•

/ • Former spiritual singer Joe Simon shouts Into a microphone the sounds of deep emotion that characterize MemphiS music. At the Stax/ Volt studio (opposlle page). whIch produces By Sta nley Booth many Memphis hits. songwmers (at piano) and pursue a they hope Will be as big as their Soul Man and Hold On. I'm Camm'.

The biggest thing in today is a blend of folk, rock and church music known as soul. Its spiritual home is Memphis, back where the really began.

Berore the altar at the Clayborn Temple Arrican ployer, . , with a lip rorms are acting as ushers. As the white-gloved Methodist Episcopal Church in Memphis, Tenn., goatee, kneeling opposite Jimmy King, was the pallbearers come do\\ n the centcr aisle, the there arc three while coffins. Outside, in a freezing only survivor. The bodies or the other two Bar­ Booker T. Washington High School , seated drizzle, hundreds or people with umbrellas arc Kays arc still in Madison, Wis. Phalon Jones, in the choir Ion. begins a slow. shaky rendition trying to shove through the church entrance, with the nicely processed hair, lies at a local ru­ or IVhell Day Is DOlle. and all the relatives, rriends while others have stopped at a stand to buy some neral parlor, and , the lanky and rans or the Bar-Ka)s stand in silent tribute. glossy 8-by-IO photographs. The photographs, white boy, is in Lake M onona, ncar Madison, In a square on Bcalc Street, just two blocks which CQst a dollar. show six teen-aged boys, one where the crash occurred. away, the figure or w.c. Handy, molded in brass, orthem white, the rest Negro, looking like a team The program also contains individual photo­ stands in the rain. Since the Civil War, when or bright young pool hustlers in silk suits .with graphs and biographical sketches or Jimmy King became the mecca and musical cen­ short. double-breasted Jackets and black snlrts and Carl Cunningham. Jimmy, the group's gui­ ter ror the Negroes or the Delta, with long roll collars. The name or the group IS tarist and leader, "constantly sought to produce there have been many funerals for young men printed at the bOllom: TilE BAR-KAYs. the degree of excellence in his performance that who died in the pursuit of their music. In the old Inside the chuTch you arc given an cight­ would bring kings to their reet, and comrort and days they died of train wrecks, Shooting scrapes page illustrated program. "Obsequies," the cover solace to men of lowest degree." Carl was a drum­ or unmentionable diseases. ow there are other announces in Gothic print, "of the late Carl mer. and "the music which poured from his soul hazards, but the ritual, the honor, remains the Cunningham , Jimmy Lee King and Matthew reached the heans or thousands or souls around same. At the Clayborn Temple, an usher with Kel1y." A Bar-Ka)s group picture in the program the \\orld. The rhythm or his drums still beats oill creamed-coRee skin dabs at her long-lashed e)es, gives no indication \\ ho is \\ ho, but eVef) body a melody \\hich lingers on and on:' M atthe\\, the and somehow you cannot help thinking that the knows that Carl is the cute one smiling in the un pictured valet, receives his own. rather stark, Bar-Kays might have lived out their lives and be­ center. and Jimmy is the solid -l ooking one "ith biography: "His rormal education began in the come old men without achieving anything to glasses. k.nccling down front. Matthew is not in Memphi- s School System and continued- until equal this glorious traditional celebration. the picture because he was not a Bar-K a), but the God moved in heaven and pronounced that his The official eulogy is presented by the princi­ Bar- K ays' valet. pilgrimage through lire had ended." pal or the Booker T. Washington High School James Alexander, the plump boy \\ ho is The old-rashioned church, with tall stained­ a white-haired gentleman who speaks briefly and standing at the left in the picture. \\as not 011 the glass \\indows and an overhanging semicircular eloquently, and closes \\ ith a memor) : "When I plane that crashed in \Vi sconsin 3 \\eel... earlier. balcony, is packed with mourners. A very rat was a boyan Beale Street, we had no electric killing scvcn people, including the B3r- K.a)s· el1l- nurse is on duty, and pretty girls in R.O.T.e. uni- street lamps. It was the era or the gaslight, and

Photogrdphs byWdhdmAlbert Alldrd 27 Furry LewIs, above, is 76, and doesn't sing much any more, but he doesn't have to because people In Memphis remember him as the last of the great Beale Street blues men, HIs earthy style IS the basIs of today's soul sounds,

Many Memphis singers learn at tambourine_ thwaclong gospel sessions, such as this one at the Temple Church 'if GOd_

28 . below. was a poor blues • composer and a yard man who had to hock his banjo to buy coal. Then. a few years back. his Walk R;ght In was recorded by the Rooftop Singers and became the top hit in the U,S, Gus retrieved his banJo. but royalties were meager. and. at 84. he IS back strumming on his MemphiS porch.

every evening toward dark the lamplighter would tuous reception orthe Festival," according to one ably a distant rourth. But Memphis has lots or Come along in his cart. Frequently. night \\ould journalist, \\ent to Otis Redding and the Mar­ hits. Recently. on a just-average \\eek, 15 or Bill­ overtake him as he proceeded slo\\ I) down the Keys (the Bar-Keys were their proteges), all or board's Top-IOO pop records, and 16 orthe maga­ street. so that as you looked arter him. he would them conservatively dressed and groomed, who zine's Top-50 rhythm-and-blues recordings, were vanish in the blackness. and you could not see succeeded with nothing marc than excellent mu­ Memphis products. where he was. but by the glowing light or the sicianship and a sincere feeling for the roots of There are many explanations ror Memphis's lamps you could see wkre he had been. the blues. - musical success, but they all boil down to that "Now these boys have gone from us into the All over Memphis the boom IS on: New re­ one word: 5011/. Bob Taylor, vice president or the darkness where we can no lonl!er see them. But cordin!!. studios are being huilt, and old studios American Federation of Musicians' Memphis when we hear a certain melod) and- rhythm, when are being- expanded to meet- the growing demand chapter, says, "We don-t have the world's best we hear that soul sound-then we will remember. ror the -"Memphis Sound," -which -everyone musicians, or the greatest recording equipment. and we will know where they have been." wants his recording to have. And in the tra­ But one thing the music or Memphis does have is The sound lingers because it ditional recording centcr~ of ew York, Los the ability to communicate to the listener a sin­ • is where a lot of popular music is today-a return Angele, and the old rival, ashville, cere, deep feeling. You can"t li~ten to a Memphis rrom the psychedelic, rrea~-out. blo\\-)our-mind the signs of Memphis's musical renaissance are record \\ ithout responding to \\ hat the musicians pop culture, where it was sometimes difficult to being -read with some unease; for. down among relt \\hen they made it. You have to, at the very tell the dervishes rrom the mu icians, back to the the magnolias and the cotton bales. this strange least, tap your root." old roots. A year ago, at the Monterey Pop Festi­ and unprecedented combination of farmers. Across the country, "soul" has become val , exploded smoke bombs and demol­ busine s~ l1len. dropouts, day laborers, ~hoeshine synonymous with "black"-as in "soul brother." ished their instruments onstage. . boys and pickers is making Memphis a But in Memphis those who "have it" will tell you having made a variety of obscene overtures to his new center of the pop-music ind list ry. The record­ that soul is not the exclusive property or anyone guitar, set fire to it. smashed it and threw the ing industries or e\\ Yor~, Los Angeles and race. Nor, in spite of 's origins in rural rragments at the audience. But "the most tumul- "'ashille are all much bigger; 1emphis is prob- poverty, does it belong to anyone economic class.

29 •

It might have at one time, but it has become too Records vice president , who fre­ The country egroes brought with them a prosperous for that. There are too many poor quently flies Memphis artists to New York to rough but distinctive music, a strange wild sound country boys with Rolls-Royces and matched record with such singers as . "It's sung in a foreign tongue by a kidnapped and sets of Cadillacs. just the way the cats play, with real feeling. It orphaned people, based on no tradition except a Soul music is concerned with what Faulkner comes from their soulful way of life."' few European hymns and dim memories of used to call "the basic truths and verities." A Memphis's special affinity for soul comes Afric,n chants. It had thumping rhythms, un­ song like Do Right Woman, Do Right Man by from its very special history. The soul sound was orthodox harmonies, earthy . and, with a and "Chips" Moman, cuts across all born from work cries and field hollers in the smattering of the city musicians' more poli shed racial and economic lines: lonely stretches of the Delta. and established techniques and regular forms. it ' became the • permaoent residence in Memphis after 1862. Beale Street blues. The carl) bl ues musicians If you want a do right, home days H'oman when the Federal army. having subdued the were relati vely unsophisticated performers, play­ You got to be a do right, home nights man . ...• city. made its headquarters near Beale Street. ing unampllfied guitar, harmonica, and primitive The egro population of the city consisted instruments like the jug and the tub bass. But But the thing that really distinguishes soul mainly of former slaves who felt they had such an educated type as W. C. Handy. the music is its spirit. It is not what is being said, so good reasoh to fear the local whites, and there­ best of the Memphis city musicians. found their much as the way it is said, that makes it impos­ fore stayed as close to Federal headquarters as music worth listening to. Handy made no secre t sible for a listener to remain passive. Soul per­ possible. After the war many egroes came in of the fact that much of his time was spent eave,­ formers speak, or playing, with such con­ from the country, trying to find their families. dropping on Be31e Street, and he once wrote: "I viction that audiences cannot help but "feel the There were only about 4,000 egroes in Mem­ can tell -you the exact song I used as the basis for spirit" and become clapping, shouting partici­ phis in 1860, but by 1870 there were 15.000. anyone of my blues." pants. A soul music is an experience that Beale Street, now a faded jumble of pawnshops, Since almost none of the men whose provides a release of emotion for everyone pres­ liquor stores and pool halls, was then the tough­ Handy used knew how to read or write music, ent. It is a kind of celebration, different from the est street in the toughest town on the Mi ssissi ppi they had to be content with a nameless sort of release provided by the lament of the blues. River, and it attracted the Negroes, according to fame until the fledgling record companies dis­ "There is no Memphis mystique," says Atlantic one historian, "like a lodestone." covered the lucrative market for Negro blues .

• 00 Righi Woman. Do Right Man. Copyright 0 1967 by . Pless MUSIC Co .. Inc.

\

•

•

Rufu s Thomas is a MemphiS . a sanger (his big one was Walkin!) che Dog a while back) and father of (fight. above). who IS known locally as the "Oueen of the MemphiS Sound" Funky tenOr·sax player Kmg CurtiS I~ m town to record an mstrumental verSion of Harper Valley P TA. 30 Sam (Moore) ond Dave (Prater) adroitly blend gospel, blues and rhythm In their Singing and are one of Memphls's best known groups. The first blues record was cut in 1920 at the Okeh Recording Compan) in /\"ew York. Mamie Smith's version of ern:y Blul!s sold for months at the rate of 7.500 copics a \\eek. and soon Men)· phis was overrun \\ ith rccord reprcscntatives. They did a br;,k business with records b} the Memphis . the Beale Street Sheiks. Furry Lew is and Gus Cannon's Jug Stompers. For a whilc the blues player!) \\-ere riding high. But the Depression brought an end to the profits, sen t the record companies packing. and closed down much of Beale Street. It was a ter­ rible timc for Mcmphis i\c2roes. Local nc\\s- • papers carricd accounts of !)larving mobs. swarm· ing over garbage dump!). even eating the ChI) from the river bluffs. The prophec) in Hand)" Beale Slreet Blues had come to pa')'): Goin" 10 Ihe rirer. ,\la),h£', hye ami hye. Goin" 10 Ille rir!:'r. And ,1IC're's 1I ({ason 1111.1'. B~ 'l'(IUS (' Ille ri\'C'fs H't/ And Beale STreet's dnlle gone dry . ...• Conllnued on page 60 .Beale Street 81 if! ORe ew j 1 44 r.5 hyW Handy

Jazz flutist Herbie Mann (shl((les,,) IS tYPical of many artists who come to town In search of the magic MemphiS Sound_ 31 SOUL MUSIC he sat on the deck of a rented yacht in l ie/I Illy hOllle in . The rest of the Mar-Keys drift into Continued fr om page 31 San Francisco Ba y. He remembered Headed/or Ihe Frisco hay . . .. the studio and sit on folding chairs be­ the idea, just a phrase and a snatch of hind another baftle. one \\all of which The music business in Memphis did melody. and brought it back with him He pauses again. run~ through the has a small window. They li,ten. ,uck­ not revive until after the war. Another to Memphis. He wanted to work it out changes on his fracturcd guitar, then ing on reeds, blowing into mouth­ generation of blues men was on hand. with . the guitarist for sings: "I ho\'e nothing to /i,'e for, look pieces. as Otis and the rhythm section most of them, as before. from the Booker T . and the MG's (the better like nothing's gOllllO come my wo)' . . . ." rehearse the son~. When Steve calls. Delta. They played amplified instru­ known name of the Mar-Keys' rhythm As Steve and Otis get the outlines to " Hey. horns! Read- y to record?" they ments, and their newly added, heavy secti on). who produces Otis's records the song. they are joined by the rest of are thrown into co nfu sion. like a man back beat caused the music of Muddy and loo ks like a young Gary Cooper. the MG·s. Booker T .. who has a col­ a\\akened in the middle of the ni.ht. Waters, John Lee Hooker and Howlin' They joined forces in the dark, cavern­ lege degree and drives a Buick. sits at They have nothing to record : there- Wolf to be called . It like. gray-and-pink studio at Stax Volt the piano. Donald (Duck) Dunn gets are. as yet. no horn parts. Steve and was louder than the old blues, and it Records, Memphis's top studio. which his bass. which has been lying in its Otis develop them by singing to each had more rocking rhythms, but it s is located in a converted movie th eater case on the worn red rug. He is short other. "De-de-da-dec." Steve says. lyrical content was about the same­ on McLemore Street. next to a housing and plump and has long red hair and a "De-de-da-daaah." says Otis. as if he short phrases, pithy and unsentimen­ project. The marquee is still there. with beard. Everyone begins to pick up the were making a point in an argument. tal, often with strong sexual imagery, red plastic letters that spell SOUlSV lllE, chord patterns from Steve and Otis. AI When they have the lines they want. viewing life and love from the bottom U.S.A. (The sign was changed once to Jackson Jr" the drummer. stands by. they sing them to the Mar-Keys, start­ of society: read STAY IN SCHOOL, but the kids listening, his head tilted to one side. ing with the verse part, \\ hich the Mar­ from the project threw rocks at it, so it Duck asks him a question about count­ Keys will forget while learning the Well, it means the same old thing was changed back again. Now when ing the rhythm, and Steve looks up to part for the chorus. After a fe\\ tries, makes a blilldog hllg a hOllnd ... The Monkees or the Beach Boys come say, "In a minute he'll want to know ho\\ever, they know both partS and Well, il means the same old thing to Memphis, they walk around Stax as what key we're in." Duck sticks out his are ready to record. " That feels good. makes {/ preacher lay his Bihle if it were a cathedraL) lo\\er lip. He plays bass as fluently as if man, let's Cut it." down . ...•• Otis is playing a bright red. dime­ it were a guitar. plucking the stout steel When the recording is finished, the store guitar, strumming si mple bar strings with his first two fingers, hold­ tape is played back at a painful volume One of the most active early rhythm­ chords as he si ngs : ing a cigarette between the other two. level. Steve and Otis sta re deep into and-blues companies was Sam Phil­ Booker sits erect. his right hand play­ each other's eyes, carryine. on a kind lips's . Philli ps had been a Si((in' in the mornillg Stll1, ing short punctuating notes, his left of telepathic communication.- The little disc jockey for years on the Dust Bowl {'II be Sil1ill' Ifhen the el'elli,,' hand resting on his knee. Otis is stand­ boy, who had wandered in. says, "I ci rcuit, and became a comes . .. . • ing now, waving his arms as he con­ like that. That's good singin·. I'd like to cash in on the appeal r & b had for ducts these men, hi s friends. who are to be a singer myself." white teen-agers. But he did not intend The front of the guitar is cracked. as if there to serve him. He looks like a "That's it," Otis says when the rec­ to stop there: .. , saw that if a person someone had stepped on it. As he sings. swi mmer, moving effort Ie sly under­ ord ends. could get a combination of Negro Otis watches Steve, who nods and water. "That's a mother," says Booker. spirituals, rhythm and blues. and hill­ nods. bending almost double over his During the rehearsal one of the billy or -not just an guitar, follo\\ing Otis's chords \\ith a neighborhood kid,. \\ earing blue jeans. Nearly every man at Stax dresses in imitation but with feeling and fervor shimmering electric respo nse : an old cloth cap. and Congress basket­ a kind of uniform: narrow cumess and soul, like the I egro singers have. ball sn eaker~ \\ ith one green and onc pants, Italian s\\eaters, shiny. blac~ Sil1ill' ill the morning Slill . ... and the true country singers. 100- yellow lace. has slipped into the studio. sli p- on shoes. But no\\, standine: in the . well, I could really do ")rl'ething .. He si ts behind a cluster of micro­ lobby, there IS a tall young Negro- man "But I don't kno\\ why he's sittin· ... . Anyplace but Mcmphl 'indlll ~ Ot;, ,ay,. rocking back and forth as if phones, unnoticed even by Otis \I, ho \lIth a shaved head and full- beard.- He ",uch a combination \.\- oulJ h... \ot! re­ he \\ere !)till singing. HHc'sjust si ttin', passes directly by him. is \\caring a Russian -st)le cap. a white quired a miracle. All Phillip, had to do G ot to be more to it than that." He Then so mething happens. a connec­ pullover \\ ith green stripes, brieht was wait Olle day i.l truck driver from pauses for a moment, shaking his head . ti on is made in AI Jackso n's mind. and green pants, black nylon see-through- the C rown £.Iecl"c Co. came in to Sun Then he says, .' Wait. Wait a minllle." he goes to the drums. baftled o n two socks with green ribs, and shiny green Records. " His hair was down almost and start s to sing again: sides with wallboard. "One. two," he lizard shoes. His name is Il\aac Hayes. to hi s should " he had a real beat-up an nou nces . "One-t wo- t h ree- four ... With his partner. David Porter. Hayes gui tar"-anrl ht " n.llne ","us Elvis Pres­ * (Smm' On) The Dock of the Bay_ 0 1968 East/ M empllls M u'il' Corp, R,.dwdl Pubh( allons, In( And for the first time they are all to­ has written such hit songs as SOIlI Man ley. Before gOIng on .0 Hollywood and nO T,me Mus !nl gether. everyone has found the groove. and liold On. I'm COlllin' for the sing­ Lesser Things. Presley made a series ing team of Sam and Dave. Porter. of Sun Records, which, according to dressed less spectacu larly in a beige Phillips's plan, combined the music of swea ter and co rduroy pants. is sitting the country whites with rhythm and at a desk, thinking about making a blues, ending segregated music and phone call. creating the modern Soul Sound. As "Come on." say Hayes. "Let's go one contemporary so ul musician ha s next door and write. I'm hot." said, "Country-and-western mu sic is • • "I can't go no\\here till I take care the music of the white masses. • > of this chick." Rhythm and blues is the music of the "Which chick is this?" egro masses. Today soul music is "You know which chick. You think the music of all the people." I ought to call her?" " W.hal .. the hell do I care ? I want to As pop music grew more complex, gO wnte. however, there was a tendency for it to - " Well. she's occupying my mind." , become synthetic. Modern overdub­ . "Let's go, man, let's go. hot." . ,,"", "'~. "01 bing made it commonplace for a record " I,. ~~~~ Porter shrug> and follo"s- Hayes to ,-", ,& " ,"\. to have. for instance. a rhythm track . an office next door \\ here there are cut in Florida. the vocal in Los An­ '" three folding chairs. a table littered geles, the horns in Chicago. and the \\ ith old issue> of Billhoard and Hil strings in ew York . But in Memphis. Parader. and a baby grand piano \\ith a recording session is r:ally a session. names and initial carved on it. Ha)e~ Shortly before Otis Redding's death sits down at the piano and immedi­ in December. 1967. he reco rded Dock ately begins to play church chords. of Ih. Bay. a song that posthumously slo\\ and earnest. As he play,. he was to bring him the international hums. whistle:" sing~. Porter hum.., stardom he had long hoped for. The along. He has brought- \\ith him a black idea ror the song had come to him as attache case. and no\\ he opens it. THE SATU RO",V i[V[ NI NO I" OS T " The Same Old ThmQ BvWI 011(1 n 0 19fi 4 Atl take, out a ball-point pen and several Mus' Corp "I don' t know anythmg about arl I Just know whars a good InVestment sheets of white ty ping paper. and be- 80 gin' writing rapidl). After about three s\\el\s. blossoms. Finally "he ~top~. on ro\\s to the right of the stage began to minutes he SlOpS, puts on a pair of a long. mello\\. vibrating nOle. open..; s\\ ay together und to sing or hum shades. thro\\ s back his head and her f")es. and gu lps. along \\ith the music-long-held notes ~ ing s. " You were raised from your POrler appla uds. "Wa~n't that bea u­ in fou r-part harmony-even anticipat­ cradle to be loved by on I) me.... " tiful." he SH)S, ing the chord changes. The four rows He begins the next line. then Sl Op S. "Where did you go to hi gh sc hool?" were filled with the Teen Town Singe rs, "Don'l fit , I"m sorry:' He rewrites Hayes asks the girl. a group of about sixty talented young­ quickly and starts to sin g again. Then " Manassas." lit ers from high sc hools and juni or Hayes stops playine:. turns to Po rter. "Mun-J \\Cllt to Manassas. Wh cn colleges in the Memphis area. somc of and '\a)~ . " You know- \\hat ? That did )O U graduate?'" \\ hom each year are gi\ en scholarlihips ain't exact I) killing me ri ght there. She looks a\\ ay and does not anl)\\er. frol11 Good\\ill Re\ue re\enues. Couldn't \\c get something going like: " HH\en'l )OU graduated ? Ho\\ old When Carla Thomas \\as 18. she 'You can run for so long, then you're are vo u?" \\as a Teen To\\ n Singer. That year she • - . tired, you can do so and- so ... :., Thc eirl mumbles somethin g, \\ rotc and recorded a song ca lled Gee RUS·TtC - - TOCK "Y cah.·' Porter says. "Gol to gel "What ?" WiIi:. which made the Top 10 and PLANTER the message in ," "Sixtecn." she whispers, made her a star. She has se ldom been The door opens. and a small man "Sixteen ? A voice like that at six­ without a hit since. and now as a ma­ wearing a black suit , black hal and teen ? Old Manassas. Damn, you can't ture artist she is known as thc "Queen black moustache comes in. leading a beat it." Ha)es begins singing the Ma­ of the Memphis Sound." EVERYTHING YOU NEED very thin girl in an oran e.c \\ie. "You- nassas Alma Maler. Po rter joins in. Her material has matured \\ith her. TO MAKE THIS PLANTER got to hear this;' the man- ,ays.- nod- The) get up and start to dance. Porter but her fir~t song at Ihe Re\ ue \\ent when you jOin the Nati onal Handcraft SOCiety takes Ihe girl"s hands, and she joins You'll receive a package every month ... and ding toward the girl, \\ ho is visibl) back almost to the beginning. She every packo.ge contains an exciting surprise>-­ shaking. him. si nging and dancing. They all stepped into a pink spot. a big. beauti­ a Handcraft Kit with Htrything you need to mo.ke a charming and valuable keepsake. It "hirl around th e room, as the man ful bra" n gi rl. \~earinga white brocade "Are you nervous?" Ha)cs asks her. . - may be a lovely apron, or a jewel box, or a "J ust relax and enjoy yo ur ~e lf. Don'l \\ ith the moustache closes his e\es and dress fl o\\ered \\ ith pcarh sequin~. and J>t:rky Snack Hound whose nose lights up. It worry about us. We just t\\O cats on' sm iles. - salH! one of her earh successes. ca lled Will always be something beautiful o. nd different. - . Th~se Kits are neve r sold in stores. They a re 8-A-8- )'. The Tecn Tm\ n Sin!!ers ~an\! the street : ' The 2.irl smil cs " eal-..h. and available to Society members onty, You'd ex­ si ts do\\n. - I'm a Soul Alall along on e\ery note. inspired- b) thc- pect to pay $2.98 and $4.98 in a store for the GOI II'hOl I gOI Ihe hard !o~ely items you'll make but the cost to you Po rter is \\ riting, Forel'er JVou/th(1 way kno\\ ledge that an) of them mighl be­ IS JUS ~ I a m~ nth (plus 25¢ to defray postage. Be Too LOllg. across the top of the And r ll mnke )'OU knoll' ('{fch ami co me Ro)alty of Soul. handlmg and msurance). pagc. Then, el'i'r), day Then Carla's father. Rufu s Thoma s. J oin now and we will send you an t'xtra kit free : the Rus-Tic Tock Planter shown above ... Be sure halley. ),011 dOI/'tlose if calise a \VD IA di sc jocke y with several rec­ plus your first exciting monthly kit. Money back ),011 aill'l seen IIOlhill' yel ord ;;lIcce sse~ of hi s 0 \\ n (hi" hit. If you're not completely satisfied. Mail cou­ AIY 10l'e willlaSI for you pon to: National Hand- Till lite morning sun finds 110 dell' f m a Soul Alall . ...• Wa /" illg the /Jog, crea ted one of the cra fl S ocie t y , De c; , .. !'I- ..... ~ 'Calise I'm 1101 lired ollOl'illg dance cra,e, of the earl\ ·60's). joined M oi ne s . I owa 50304 ~ CIIHhtl "t.. . Dept. B-12t9 , " ""1111 7 :I you. , .. The Porter and Ha)es song had just her for a duct. and the atmosphere \\a~ -". ..:..:.::.:.: :--.----- "'.,. Of _.'-- Nation;al Handcnft Soc iety become the nation's No. ) hit. curnin!! lik.e th Ht of a l ~lInil ) reunion. RlIrll ~ - 8·1219 Handcraft Bid,., Des Mo ines, Iowa SOlO .. H e stops, puts down the pen, and a !!old record for Sam and Da\ c. \\ ho and Carla sa n!! 'Calise I Lore r Oll. the Enroll me as a member for 6 months and send me - - the Ru s·Tlc Tock Planter free . I enc lose $1 (pluS yawn;;: "Naw. I had so mething fl o\\in' \\ ould be 'iingi ng it in Mcmphi;; that first so n!! Carla ever recorded, and Ihe 250: to defray po stage , handlinl and Insurance) - fo~ my first Handcraft Kit, and I alree to send in my mind." - Saturday. ni!!ht. Vv'ith Carla Thomas. first hit. hm\c\er small. to C0111C OU I of th,s same am oun t each month. If my payments - do not reach you In time ea ch month I witl re o " How long you be working?" the the) "cre to Slar in the Good" ill Rc­ the St ax Volt ~tudios. The audiencc celve my Kit C.O.D. I understand thlt you will not vuc. a charit) concert s po n~ o rcd an­ Imcd it. clapping on the Clfterbeat. and drop me from membe rsh ip un less I notily yo u of man in the hlack suit a.,b. my resil~ahon and you will return my $1.00 lee on nu"lI) byradiostationWDIA . l n 1948. for any KIt that does not sa tlsf, me . ... "Hm\ do I kno\\?" Hu)e') ~l)'i. thC') n I:;ht nOi ha\e al\m\ed Ihem to % Name ______~----. z ··\VC \VDIA became the nati o n '~ first radio lC'i]\e the ., ta i!C' if Sam nnd D,l\c had don't ob"ene no time limih." Street tn",...... ) "Ye..,:· ~a)s Porter. " Haycs \\ill station \\ itll programming excl usivd) not been ~('hedlilcd- to appear next. City Stale lJp probably be here all ni~ht. He don' t for Negroes, and it no\\ descr ibes itself Sam Moorc and Da\e Pra te r. along observe no time limits."- as "50-.000 Watts of Soul Po\\er." \\ ilh Carla and the othcr Stax arti~t~, Hayes laughs. Porter stomps hi s The M id·South Coliseum was tilled had taken Sou l around the \\orld. and right foot once. t\\ice. Ha)c'i ~tr ikes a 10 near its capacity of 13.000 for the no\\ they \\cre bringing it bark. a., I 0 , It's nice to have chord. Porter closes his eyes. and opening acts, hut the audiencc did not I. the "orld'~ mO~1 popular music, ShOU IS, "Cross yo' fingers!" He sings. come to life until the appearance of a Their ~inging combines all the hi",tori­ enough money bouncing. the chair squeaking. gelling great figure in the histor) of soul mu­ cal elCI11C'l1h of ~o ul l11u;;ic go"pcl. to retire• on. louder and fa~ter. as ifhe \\ere ~inging sic-Mudd) Waters. Wearing an iri­ blues. rh) thm. " The) ' 11 go to church a ~o n g he had heard man) I ime..;. and descent blue-green si lk. suit. huge on )OU in a minute,'" a Stax excculi\e It's nice• ~lot onc that he \\as mal-..ing up, in nn grecn-and-\\ h ite jewcled cll fl lin ks. and has said. and il is an apt de;;criplion of " ~credib l y flu enl im provisation. The matching pinky diamonds. M uddy "hat they did al the Rc\uc. to be girl smiles, th en breaks into a giggle . "alJ..ed o nstagc. sang the opening bars W ith their band, in black pants and to refire.• Port er SlOPS and groans. "Man.--- \\C of one of hi s ea rliest reco rdings. and turquoise balloon-sleeved shirts, strung \\as greeted b) a roar of \\dco ming o ut across the stage behind them. Sam should"e had a tape recorder. I'll You wont to save a nest applause. and Dave. dressed- all in \\ hite. singing. never gCI that feeling again. Damn! - - egg for your retirement? That'S a hit! Cross Yo ' Fingers.' That's dancing, shollting, e\ho rting the can· Fine. Be here to enjoy it. ~l hit title !" He turns b:~ck to his \\rit­ I (701 a Mack em's hOlle. I gOI a gregation lik.e old-fClshi oncd preachers. " One way is to have annual Ing paper to reconstruct the I) rics. mojo 100. created a sUMaincd frenl) of ncar-reli­ Haye;; look..., at the i!i rl. "So \,ou're a 1'111 Jolm Ihe Conqueror. I'm gOll"n giolls e CS I~b) . "No\\ doggone :t. I j u~t health checkups. D uring . -' want )OU 10 do what you \\ant to do." which your doctor will check sl.nge r?" She gulps and nod." The \\ ig. mesS Id/" •rou. high heel,. a tiohth belted mincoat I'm ,f!om1tl maki' )'OU prelty girls lead " Put yo ur hands together and givc mc for cancer. Because lots o f on I) mak.e her .,;em 'thinner and more me hy Ihe "alld. so me old soul cla pping." "Little cancers are curable if the lI'iII knOll' louder." "Little bit louder." "Do \OU fri ghtened. " \Vould )OU lik.e to .,ing Tl1l'1I lI'orld I'm "1(' • spotted in time . . / . •• li,e it '... "Well. do lOU like it .... "I Iwoc/ 11(' coo(' lit' man . . .. "omcthing for lhT' Have a health checkup sa id. '00 lOU li,e it' .. "Well, then, let She "\\allo,,.., and 110(.1'1 a!!:1lil. The) every year. It'll improve pick. a "ong. a k.f") (Ha)e., '~..,k..,. "Can The loud ... pcak.cr Ii~stem crackled me hCHr )OU sa). Yeah .'" II \\a, nemh l11idni1!ht \\hen. \\ith your chances of enjoying )ou. ' in g that highT·). and "hc begin~ and "puttcred \\hile MlIdd~ \\a'i on. . - their coat;; on'. "hlrts open and \\ ring- your retirement. To a ripe 10 .... lIlg. At fir..,t her \oi('e tremhle..,. but but e\cryone k.ne\\ the \\ord~. During ing \\ith ~\\CHI. they got around to the old age. a~ she ~ ing ~. it gro\\s ~tnJnt!l'f . he Ihe performance of the nc\t "in ger. ;;ong Ihat .,eemed to sa\ it all. for .,ou l ..,huh her c"')e~ and mo\e., "ol)h back. Bobb; "Blue" Bland, the fi"t four - . mllsic'~ pa..,t. prc~nt and future: a merican and forth a" her \oice fill., the"room. cancer .s M 0 '}fiS B M w ~ oner ~top" \\ ruin!! to ":.Itch her. She society - So hOlley. iloll'l you frel I~ ~o ~rail-loo~lng that one cxPCCh her • m Y i' H X'hle C.xx/llfJ Man By W, r ~ on 'Calise ),011 ai,,'1 see" nO/hili' yel to Illh.., the high note..,. but .,he hi'" C ~5 nd 1 ~\,i 4 A· M ..Jsl COlO 1'", a 5011/ ,I/all. . . . .J th elll perfectly, each time. a .... her \oice Allyl S used bv m s ,'\ - 61