#Chips Moman

[hooked-on-elvis]

I always say From Elvis in Memphis is my favorite Elvis album but I never actually shared the FULL ALBUM here — even tho it's easy to find it available online, here it goes:

This album is turning 55 years old this year, on June. This is a MASTERPIERCE. No kidding.⚡

[kdo-three]

Jamo Thomas and The Party Brothers - Bahama Mama (Parts 1&2) (1967) James "Jamo" Thomas from: "Bahama Mama" (Part 1) / "Bahama Mama" (Part 2)

Soul | Funk

JukehostUK (left click = play) (320kbps)

Personnel: Jamo Thomas: Vocals / Percussion Produced by Jamo Thomas | Chips Moman

Recorded: in Memphis, Tennessee USA 1966

Released: October, 1967 Sound Stage 7 Records

[mitjalovse]

Wang Chung covering Blur got me to think about that. You know, I pondered the cover version of many tunes and what they can tell us about the musicians who made the originals. Of course, we also ask ourselves about those who remade them. For instance, how did Otis Redding feel, when Aretha Franklin made one of his songs her own? I mean, their versions differ from one another mostly in their intentions, because Otis' tune seems to contain a more pleading tone, whereas Aretha Franklin transforms the latter into an anthem of self-worth. Therefore, what we have here should be considered a great case study of how two great vocalists can remodel the same piece with their two different approaches into two completely varied readings.

[filosofablogger]

♫ Suspicious Minds ♫

It’s funny … I’m not a big fan of Elvis Presley … but yet there are certain of his songs that I dearly love.  My favourite is “In The Ghetto”, but I seem to play that annually, so tonight I’ll go with what probably qualifies as my second-favourite, and as an added bonus, I last played this one waaaaaaaayyyyy back in 2019, so it’s past time for a redux! Released in 1969, this was the last #1 hit…

[rootsrockweirdo]

“From the early ‘60s through to 1974, Barbara Brown, along with her sisters, recorded a series of sessions in Memphis. Although they appeared as infrequent singles, taken as a body of work they represent music as good as any ever recorded in that great city of soul.” 

Saturday Night Soul

"Things Have Gone to Pieces" // Barbara & the Browns

Nestled within the rich tapestry of Memphis' musical heritage is the enigmatic figure of Barbara Brown, a vocalist whose powerful voice remains a hidden gem in the annals of southern soul history.

Alongside her sisters Roberta, Betty, and Maurice, she formed a gospel quartet known collectively as "Barbara & the Browns." The familial ensemble would venture from the confines of sacred song to secular music in 1964 after legendary producer Chips Moman persuaded the group to record "Big Party" for the one-off Wil-Mo label. Leased to Stax later that year, the effort gained enough regional popularity to crack the Top 100 R&B Charts.

Two more Stax singles would follow before the group signed to the fledgling XL label, recording a series of sides released on labels such as Cadet, Tower, Atco, and on XL itself. By 1974, Barbara and her sisters seemingly deserted any dreams of stardom, and many of their recordings remained in the can until 2007 when Kent Soul released "Can't Find Happiness: The Sounds of Memphis Recordings." Several of the 20 tracks released in the late aughts were previously unissued, including a demo of the Leon Payne penned "Things Have Gone to Pieces."

A top-10 hit for George Jones in 1965, the ballad masterfully captures the essence of heartbreak and the tumultuous aftermath of a lost love.

The faucet started dripping in the kitchen And last night your picture fell down from the wall Today, the boss said, sorry, I can't use you anymore And tonight, the light bulb went out in the hall

Things have gone to pieces since you left me Nothing turns out half-right now it seems There ain’t nothing in my pocket But three nickels and a dime But I’m holding to the pieces of my dream

While Jones's song delivery, imbued with his signature emotional depth and twang, brings an authentic sense of longing and despair, Barbara Brown's powerhouse vocal adds a layer of soulful resonance to the narrative of grief and hopelessness initially laid out by the Possum.

Barbara Brown died in Detroit, Michigan, on Feb. 3, 2010. Half a century after their debut in the music world, she and her sisters remain largely unknown. Yet, Barbara's interpretation of "Things Have Gone to Pieces" shines brightly as a quintessential piece of southern soul music, a performance so compelling it's easy to imagine George Jones himself would have admired it. — M.H.

[muppetydyke]

Muppet Mainstage, February 8th, 2024

“(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song” was written by Chips Moman and Larry Butler in 1975. It made its Muppet debut being sung by Miss Piggy (Frank Oz) in season 1, episode 12 of The Muppet Show. While Piggy takes the lead in the song, she’s backed up by Rowlf the dog (Jim Henson) on the piano, and by a chorus made up of Gonzo (Dave Goelz), Fozzie (Frank Oz), George the Janitor (Frank Oz), Mildred Huxtetter (also usually Frank Oz, but potentially could’ve been Richard Hunt or Dave Goelz), Scooter (Richard Hunt), Janice (Eren Ozker) and Hilda (Eren Ozker).

[mywifeleftme]

269: Townes Van Zandt // Flyin' Shoes

Flyin' Shoes Townes Van Zandt 1978, Tomato

1972 saw the release of Townes Van Zandt’s fifth and sixth records, each in its own way a candidate for his best work to date, and a 1973 recording of his shows at Houston’s Old Quarter would later come to be seen as a definitive document of his immense talents. But 1973 would also find Van Zandt hitting the first of a career-derailing series of hiccups when sessions for an album with the working title 7 Come 11 were shelved in a management pissing match. After spending most of the next five years drinking and shooting up in such obscurity a fan could be forgiven for thinking the title of his last record was in earnest, his new label released the Houston performances as a stopgap (Live at the Old Quarter, Houston, Texas) and hustled him back into the studio to take another stab at the 7 Come 11 numbers.

As such, the resulting album, 1978’s Flyin’ Shoes, has a bit of an outlier reputation in his catalogue. Some prefer the ’73 recordings (released in the ‘90s as The Nashville Sessions); many feel the fact that four of its songs had already appeared on Old Quarter gives it a bit of a warmed-over quality; Wikipedia even quotes Van Zandt’s biographer John Kruth that on the mic Townes “appears to be lost in a fog of vodka.” Me? I love it. Townes’s early records have some notoriously questionable production choices, but here he receives the most sensitive treatment of his career. Flyin’ Shoes was produced by the legendary Chips Moman (who has one of those discographies that makes you gape), and he called in some of Nashville’s best session guys to help out. Old Quarter proved that Townes’s music could be complete with nothing more than his voice and acoustic guitar, but there are some beautiful arrangements here: the interplay of steel and electric guitars on “Rex’s Blues” drifts like a gentle stream, while the shivering mandolin gives departure song “Flyin’ Shoes” an aura of tragic foreshadowing. “Snake Song” even gets a bit of swampy warbling keyboard, a surprising turn for a Van Zandt album but one that helps differentiate the tune from previous spooky dispatches like “Lungs” and “Rake.”

On that note, it was clear by the early ‘70s that Townes didn’t share the restless shape-shifting tendencies of a Bob Dylan or a Willie Nelson—there are six or seven general types of Townes Van Zandt Song, and most of his records have roughly the same mix of those types. The aforementioned “Snake Song” has obvious corollaries in his back catalogue; “Brother Flower” is a sibling to the similarly sprightly fingerpicked folk of “Columbine”; “When She Don’t Need Me” hearkens back to resigned piano ballads like “To Live is to Fly” or “For the Sake of the Song”; this album’s “Loretta” and “Rex’s Blues” sound like variations on the same demo. It hardly matters. This was the last truly great Townes Van Zandt record, and as such it’s the last time we’d get to hear him do Townes Van Zandt Songs while still in his prime. He seldom did them better, and while his wilderness years offer a few gems (notably “Snowin’ on Raton”), in many respects this is where we must bid farewell to one of the real geniuses of country music.

269/365

[lllsaslll]

Today's lil' Elvis Music Gem🙏

Yes, again with more Back In Memphis! But this time we've got "And the Grass Won't Pay No Mind" and the interesting Neil Diamond-filled story of the famed American Sound Studio sessions.

In 1969 just the day after his Elvis' 34th birthday when Elvis was planning his return to music recording, Marty Lacker successfuly convinced Elvis to skip on Nashville and to instead give Chips Moman and his Memphis-based American Sound Studio a chance. When Elvis agreed (without even consulting the Colonel first) but with a tight turn around, Moman had to reschedule the recording sessions of Neil Diamond that had already been set just four days out. "Fuck Neil Diamond, he'll just have to be postponed. Tell Elvis he's on." Moman told Lacker as he called from the front hall phone at Graceland.

Soon after, during a break in recording due to Elvis' cold turning to laryngitis, Elvis and the guys were going through the demos back at Graceland. When realizing the selection of songs being brought in by the Colonel were aweful Elvis made an important declaration; that from then on he would pick his own music. He asked that everyone be bringing in songs, "... from now on I want to hear every song I can get my hands on, and if I've got a piece of the publishing, that's fine, but if I don't and I want to do the song, I'm going to do it."

And the boys got to work, bringing in new music for Elvis to sample beyond the usual songs that the Colonel had special interests in. George Klein having connections with artists through his TV show then immediately got on the phone with Neil Diamond. He may have been kicked from his original recording slot, but Elvis' prior L.A. next-door neighbor agreed to him singing "And the Grass Won't Pay No Mind" when the sessions resumed in late January and February.

[parkerbombshell]

A Breath of Fresh Air March 12

A Breath of Fresh Air With Sandy Kaye bombshellradio.com Tuesdays 1pm EST and Fridays 8pm EST Archival shows : bombshellradiopodcasts.com   Born in Memphis, singer/songwriter/guitarist, Billy Burnette spent most of his youth in the presence of father Dorsey and uncle Johnny (of the legendary Rock and Roll Trio).  The Trio made the Rockabilly name famous by combining the name Billy and his cousin Rocky for the 1953 “Rockabilly Boogie” – thus making the term Rockabilly a household name. The legendary trio influenced a diverse array of Rock icons including: the Elvis, Beatles, Led Zeppelin, Rod Stewart, Aerosmith, and Ricky Nelson. Elvis used to spend many evenings jamming with the band. It’s not surprising then that Billy started making music at the age of 7.   At 15 Billy picked up a guitar and began writing songs.  At 18, he was only a week out of high school when he recorded an album with famed Memphis hit-making producer Chips Moman (“Suspicious Minds” and “In the Ghetto” for Elvis). In his early 20’s, Billy wrote songs for artists like Rod Stewart, Ray Charles, Roy Orbison, Tammy Wynette, Jerry Lee Lewis, The Everly Brothers, Conway Twitty, Loretta Lynn, Glen Campbell, and many more.   In 1980, Billy met Mick Fleetwood (of Fleetwood Mac).  The two musicians became fast friends and formed the band Mick Fleetwood’s Zoo in 1983. Soon after Billy began his journey as a member of one of the greatest rock bands of all time.  Billy joined and toured with Fleetwood Mac between 1987-1995, appearing on many of their albums.   In 2003, Billy co-wrote a tune for Bonnie Raitt and Ray Charles called “Do I Ever Cross Your Mind.” This tune appeared on the album Genius Loves Company, which was the last studio album that Ray Charles recorded and completed. The album garnered 10 Grammy nominations and won Album of the Year.  A collaboration with Shawn Camp and Dennis Morgan became the hit song “River of Love.” George Strait recorded the tune for his 2008 album Troubador, and “River of Love” went on to become Strait’s 44th Number One hit single.  In the last few years, Billy Burnette has contributed his talents as a guitar player and singer on tours with legendary musicians Bob Dylan and John Fogerty. Additionally, he also collaborates regularly with the Mick Fleetwood Band. Today, Billy continues to write, record and perform. He lives in Nashville and remains as passionate about making music as ever. I hope you enjoy the story of Billy Burnette's musical journey.  Sandy Kaye sandy@abreathoffreshair.com.au Read the full article

[hooked-on-elvis]

I cry myself to sleep each night Wishing I could hold you tight Life seems so empty since you went away And the pillow where you lay your head Now holds my empty dreams instead And it keeps right on a-hurtin' Since you're gone It keeps right on a'hurtin every minute of the day Every hour you're away I feel so lonely And I can't help it, I don't think I can go on And it keeps right on a-hurtin' since you're gone They say a man ain't supposed to cry But when I see you passing by My heart breaks down and cries a million tears The pillow where you lay your head Now holds my empty dreams instead And it keeps right on a-hurtin' since you're gone It keeps right on a-hurtin every minute of the day Every hour you're away I feel so lonely And I can't help it, I don't think I can go on And it keeps right on a-hurtin' since you're gone Yes, it keeps right on a-hurtin' since you're gone

"It Keeps Right On A-Hurtin'" by Elvis Presley | Album: "From Elvis in Memphis" (1969)

[kdo-three]

The Mar-Keys - Pop-Eye Stroll (1962) Booker T. Jones / Steve Cropper from: "Pop-Eye Stroll" / "Po-Dunk" (Single) "Do the Pop-Eye with The Mar-Keys" (LP)

Instrumental | Soul | Memphis Soul

JukeHostUK (left click = play) (320kbps)

Personnel: Booker T. Jones: Organ Marvell Thomas: Piano Steve Cropper: Guitar Charles "Packy" Axton: Tenor Saxophone Don Nix: Baritone Saxophone Wayne Jackson: Trumpet Donald "Duck" Dunn: Bass Terry Johnson: Drums

Produced by Chips Moman

Recorded: @ The Stax Records Studios in Memphis, Tennessee USA 1962

Single Released: on March 10, 1962 Stax Records

Album Released: 1962 Atlantic Records

[brassmusiccafe]

Willie Nelson: Always On My Mind 1982 (Remastered bonus tracks)

Always on My Mind is the 27th studio album by country singer Willie Nelson. The recording sessions for Nelson’s collaboration album with Merle Haggard, Pancho & Lefty, the producer Chips Moman and Bobby Emmons suggested that they record Johnny Christopher’s “Always on My Mind“. Haggard had no interest in recording a version of the song for the album, so instead Nelson recorded his own version—the…

[filosofablogger]

♫ The Letter ♫

♫ The Letter ♫

Let’s see … what to play … I know!  Nope, already played it this year.  Oh!  I’ve got it!  What’s Going On by Marv … nope, already played it this year.  Sigh.  Okay … what else … I KNOW!  The Letter by The Box Tops! The Nashville songwriter Wayne Carson Thompson wrote the song after his father gave him the line, “Give me a ticket for an aeroplane.”  Thompson gave the song to The Box Tops on the…

[piasgermany]

[Album] Texas und Spooner Oldham veröffentlichen gemeinsames Album "The Muscle Shoals Sessions"!

Texas und der legendäre amerikanische Songwriter und Pianist Spooner Oldham haben sich für "The Muscle Shoals Sessions" zusammengetan - ein Piano-Album mit neu interpretierten Texas-Hits, das am 29. März über [PIAS] Le Label erscheint. Mit "Would I Lie to You" und "Say What You Want" gibt es bereits zwei Songs daraus zu hören.

Live aufgenommen im renommierten Fame Recording Studio in Muscle Shoals, Alabama, enthält das Album zwölf der größten Hits von Texas sowie zwei Coverversionen ("Would I Lie To You" von Charles and Eddie und "Save The Last Dance" von The Drifters). Die auf das Wesentliche reduzierten Songs, angeführt von der gefühlvollen Stimme von Sharleen Spiteri und untermalt von Spooner Oldham am Klavier, erweisen sich dabei als ebenso eigenständige und zeitlose Klassiker.

“To have the option to go to Muscle Shoals to record was like being a little kid in a sweet shop”, erzählt Sängerin Sharleen Spiteri über die Erfahrung, die mit Texas im Sommer 2023 zuletzt das karriereübergreifende "The Very Best Of 1989 - 2023" veröffentlicht hatte. “Working with Spooner was inspiring, fun and he’s just a wonderful human being. The fact that Northern Soul music has been such a massive influence for Texas made the fit with Spooner just right. Him writing ‘Keep On Talking’ was essential to us recording it for this album.”

Als Songwriter, Produzent und Keyboarder prägte Oldham, der 2009 in die Rock'n'Roll Hall of Fame aufgenommen wurde, Klassiker wie "When a Man Loves a Woman", "Mustang Sally" und "I Never Loved a Man (The Way I Love You)". Nachdem er 1967 Memphis verlassen hatte, tat sich Oldham mit dem Sänger Dan Penn in den American Studios von Chips Moman zusammen, wo die Beiden zu einem der besten Songwriter-Duos des Landes wurden. Gemeinsam schrieben sie unter anderem Hits für Aretha Franklin ("Do Right Woman"), die Box Tops ("Cry Like a Baby") und Janis Joplin ("A Woman Left Lonely"). Nach dem Ende der bahnbrechenden Ära des Southern Soul komponierte Oldham auch noch für andere Artists, darunter Neil Young, Bob Dylan, Jackson Browne und die Everly Brothers.

Tracklist "The Muscle Shoals Sessions": 01. Halo (The Muscle Shoals Sessions) 02. Mr Haze (The Muscle Shoals Sessions) 03. Summer Son (The Muscle Shoals Sessions) 04. Say What You Want (The Muscle Shoals Sessions) 05. Keep On Talking (The Muscle Shoals Sessions) 06. The Conversation (The Muscle Shoals Sessions) 07. In Demand (The Muscle Shoals Sessions) 08. Would I Lie To You (The Muscle Shoals Sessions) 09. Let’s Work It (The Muscle Shoals Sessions) 10. Black Eyed Boy (The Muscle Shoals Sessions) 11. Everyday Now (The Muscle Shoals Sessions) 12. I Don’t Want A Lover (The Muscle Shoals Sessions) 13. In Our Lifetime (The Muscle Shoals Sessions) 14. Save The Last Dance (The Muscle Shoals Sessions)

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[singeratlarge]

SUNDAY MATINEE MUSIC VIDEO: “Soul Deep” – A Salute to The Box Tops, Alex Chilton, & Memphis Bubblegum Soul https://www.youtube.com/watch?v=s0PeiKGpEsQ ...When I was 12 years old, this song would come on the radio and wrap me up in a safe and happy zone. The definitive version is by The Box Tops, whose classic line-up launched out of Memphis in 1967. Barely out of high school, they charted big with “The Letter” and “Cry Like a Baby.” Their sound has been called “bubblegum soul” as they mixed classic soul covers with psychedelic rock (covering “Whiter Shade of Pale”) and songs written by their producers Dan Penn, Spooner Oldham, and Chips Moman. “Soul Deep” was their last Top 10 hit in 1969 before they abruptly broke up due to constant ill-treatment from their managers (who then cranked out a fake Box Tops for a couple years). Vocalist Alex Chilton went on to become a music legend. He formed the influential power pop band Big Star, then embarked on a turbulent (sometimes tragic) solo career, occasionally performing Box Tops songs and oddball covers (like Brian Wilson’s “Solar System”), and producing The Cramps. The Box Tops did reunions over the years. Sadly, Alex died in 2010 but members of the original Box Tops band are carrying on.

“Soul Deep” was written by Wayne Carson Thompson, who also wrote “The Letter,” “Neon Rainbow,” and “Always on my Mind.” “Soul Deep” has been covered by Eddy Arnold (charted in 1970), Gary U.S. Bonds (charted in 1982), Canadian soulsters Robbie Lane & The Disciples (who did it first), Roberta Flack, and The Gin Blossoms…and now you have my version. 

#boxtops #alexchilton #bubblegumsoul #memphis #waynecarsonthompson #theletter #danpenn #spooneroldham #chipsmoman #bigstar #thecramps #johnnyjblair #singeratlarge #sanfrancisco

[drivebymediamusic]

Brenda Lee - Memphis Portrait 1970 Decca Records

Brenda Lee – Memphis Portrait 1970 Decca Records This produced no hits and not one song from the album available in the audio. Produced by by Chips Moman and players were the Memphis Boys #brendalee, #memphisportrait, #chipsmoman , #memphisboys, #memphissound, https://www.instagram.com/p/Ctu1ifku_lw/?igshid=MTc4MmM1YmI2Ng==