leaving Muscle Shoals

On my way out of town, just let me reflect on what I’ve missed. I drove by the Helen Keller birthplace, which of course was closed,

also perhaps headed for being underwater?

and that’s a shame, because I figure there’s lots to learn in there. I remember reading about Helen Keller when I was little and being moved. There’s always more to learn… Also in Muscle Shoals I missed a Frank Lloyd Wright house. I’ve yet to visit one, and I do have some interest, but there can just be so much to choose between. One of these days.

On my way out, I crossed a few state lines

on my way to Memphis, where I’m crashing for the night at T.O. Fuller State Park. I’m a bit weary of cities, and hope after this one I can find some forests on my way to the next friend I’m heading for: see you soon, Larry!

be still my heart in Muscle Shoals (part 2)

After leaving FAME I was really losing my mind, you guys. I had to go park and have some quiet time before I could move on, to Muscle Shoals Sound Studio. David Hood, Jimmy Johnson, Roger Hawkins, and Barry Beckett started their careers as studio musicians at FAME, but left in 1969 to open their own studio, where they served as both owners and studio musicians; this is where they became known as the Muscle Shoals Rhythm Section (inducted into the Alabama Hall of Fame as such). They were hailed as some of the finest studio musicians out there, with acts as big as the Rolling Stones coming into town to record in their studio. An anecdote from the documentary:

Paul Simon called Stax Records, said “Hey, man, I want those same Black players that played on ‘I’ll Take You There.'” They said, “That can happen, but these guys are mighty pale.”

(The joke here is that the four of them are white.)

I first learned about the Muscle Shoals Sound from a song.

Here, the tour was $15, and presented in a style much more suited to beginners: where Spencer at FAME is a sound engineer and apt to speak a bit over our non-professional heads (though happy to explicate where asked), the unnamed young man at Muscle Shoals Sound expected much less expertise. By this time, at my third stop of the day (and having some pre-study time put in, as a fan of these bands and having watched the documentary), Spencer’s style suited me a little better. But being in the place was, again, heady and nearly overwhelming. Here we talked a lot about the Swampers (nickname for the Rhythm Section, as immortalized in “Sweet Home Alabama” – go listen again and you’ll hear it), as well as Cher, the Stones, and Linda Ronstadt, among many others. I was amazed to hear we’d just missed David Hood, who’d been in recording just this week.

original studio lounge/speakeasy, from when this was a dry county

Cher’s handwritten note on her album 3614 Jackson Highway (after the studio’s address) – first album recorded here

Muscle Shoals Sound Studio

David Hood’s corner

iconic storefront

The Stones’ Sticky Fingers: three tracks recorded here, including “Brown Sugar”

foreground to back: Wurlitzer; Rod Stewart photo; control room

Jerry Wexler and Willie Nelson

On my way into and out of town, I saw signs for places I’ve been hearing about in Truckers and Isbell songs for years: Russellville, Tuscumbia, Seven Mile Island; Lauderdale, Colbert, and Franklin counties. Wilson Dam, immortalized in a pair of Truckers songs by Cooley (“Uncle Frank“) and Isbell (“TVA“), respectively.

“all that backed up water had to have someplace to go”

I’ve seen some birds, particularly around the dam: American white pelicans, great blue herons, Canada geese, a few Eastern bluebirds, and throughout the area, lots and lots of American robins.

I am now exhausted and reeling from this brush with greatness. How will I recover? I just feel so lucky that there’s such good music in the world, and that I get to know about it.

If I have not entirely killed my audience with these two gushy posts, let me leave you with a Jason Isbell Tiny Desk Concert that you will not regret.

You’re welcome.

be still my heart in Muscle Shoals (part 1)

Whew. What a place for me to visit. I can scarcely say in a little ol’ blog post what this all means to me, but the Drive-By Truckers and Jason Isbell are some of the most important artists to me in the world. And their world to a large extent begins in a little town called Muscle Shoals, Alabama.

Muscle Shoals is also the nexus and birthplace of a huge amount of great music – seriously, if there’s music you love in the world, I’d bet money some of it originated in this little town. And the roots of so much good music. Again, I won’t attempt to tell you the whole story myself. You should check out an excellent documentary titled, yes, Muscle Shoals to get the scoop.

I knew that I had to visit on this trip, as a paying of respects.

I started my day at the Alabama Music Hall of Fame, which has not yet inducted any of my most personally held favorite Alabama musicians, but boy are there some good ones in there, though: Hank Williams, Emmylou Harris, Lionel Richie, Tammy Wynette, Percy Sledge, Sam Phillips, Nat King Cole, Rick Hall, Wilson Pickett, Eddie Hinton, Spooner Oldham, and the Muscle Shoals Rhythm Section including David Hood (father to Patterson Hood, frontman of the Truckers). And so many more.

As a destination, the Hall of Fame is a bit run-down, but full of history and artifacts and lore. If you’re a fan of even a couple of these guys, I think it’s worth a visit. The $10 entry feels a hair steep, maybe, but I’m glad this place is here so I shrug and I pay it. I got some shots.

Eddie Hinton, hero to the Truckers and to me. he didn’t get much of a display despite being an inductee.

dress worn by Emmylou Harris

Isbell is not inducted – YET – but he got a mention right by the front door.

“This odd looking steel guitar, called ‘The Contraption,’ enabled Pappy Neal McCormick to change tunings rapidly while performing on network radio and television shows. Each neck would be tuned to a different key, and he could rotate the instrument quickly to the appropriate neck so as to avoid the need to retune.”

Next I visited FAME Studio, the fabled beginning of the famous Muscle Shoals sound. Rick Hall and two partners opened FAME in 1959; by 1961 he was solo, and immediately making history. I took a $10 tour that was worth every penny and then some – don’t ask what I then spent in the gift shop on a book, an album, a couple of stickers and a t-shirt. Tour guide Spencer was entertaining and chock-full of names and stories; it was a lot to take in and I couldn’t stop grinning. I was star-struck just being in the same room where so many greats have recorded. Aretha Franklin, Etta James, Percy Sledge, Wilson Pickett, Otis Redding, Lynyrd Skynyrd, the Truckers, Isbell, Spooner Oldham, Band of Horses, Phish, Gregg Allman, Steven Tyler…

they’re very proud of Isbell, who recorded his first three solo albums here

art on control board by Steven Tyler, who turned out to be a really cool guy, they say

Studio B, the newer, larger space, is a mess right now as they bring in some new equipment

piano that Alicia Keys recorded on

control board with Rodney Hall (Rick’s youngest son) at work

where all the magic has happened: Studio A

Isbell’s handwritten lyrics, “Decoration Day”

the Wurlitzer where Spooner Oldham added the licks to hits by Percy Sledge and Aretha Franklin

Isbell’s handwritten lyrics, “Outfit”

There’s more. But I’m going to break this post into two parts, lest I overwhelm you.