Noteworthy

The Playground Team (Jim and Jill) took off on Saturday April 2nd and drove to Memphis to attend the unveiling ceremony of Jim Dickinson's Brass Note on Beale Street.

The ceremony was held on April 3rd in front of the New Daisy.

John Fry from Ardent studio opened remarks. His first was that Jim was the first independent record producer he had ever worked with. John and Jim were contemporaries and basically the same age, but it occurred to me that Dickinson was one of the first independent producers anywhere. John continued with well deserved endearing remarks.

Knox Phillips followed John. Channeling some of his Dad's revival spirit he told studio war stories of unique situations involving Dickinson sessions which included known felons in drag, Harleys playing to Gene Chrisman's beat on a Dan Penn track. firearms and mojo charms. We very much enjoyed Knox's genuine heartfelt presentation. There were other speakers including Congressman Steve Cohen, wife Mary Lindsay, sons Luther and Cody. All in all it was a moving ceremony and we were able to visit with many an old friend and compadre. We were spiritually uplifted.


There was an impromptu jam session following the ceremony across the street at the Old Daisy. Jill and I played gigs and events with Jim and MudBoy and the Neutrons at both Daisys. Jim's 3 day 50th birthday celebration was at the New Daisy.





On the trip back to Playground, Jill made me stop in Jackson to visit the site of Ace Records where I grew some teeth in the record biz with Johnny Vincent back in the 70's. This is the Mississippi Blues Trail Marker that now stands in front of the old studio site. A special thanks to Jim O'Neal for including me on the sign.. I can send my grandchildren there sometime in the future

Lots of memories were remembered and experiences relived. A special thanks to the Turley's who hosted us in Memphis



Photo from the Mississippi Blues Trail Marker of a record I recorded for Johnny.
Ace 2028 Genuine Mississippi Blues.. I believe they are still available for purchase
Chief

With Sabres In Our Hands

http://soundcloud.com/playgroundrecording/with-sabres-in-our-hands

Excerpt from Robert Gordon to accompany the song
This was 1974, and the divergent forces in Memphis music came together that night at the post-Elvis studio built by the master around the corner from Sun. It was a session for Jerry McGill, whose Topcoats were the South Memphis hoods that East Memphis mamas were too scared to hire in the late 1950s. McGill's one released recording had been for Phillips some twenty-five years earlier. Jim Dickinson was producing the session, using demo money he'd wrangled from Warner Brothers. Those present included Danny Graflund, Campbell Kensinger, Marcia Hare, and another of the Mud Boy dancers. Impresario Jim Blake was there, as was writer Stanley Booth. Knox Phillips, Sam's elder son, was engineering the session.
Campbell sat in the control room drinking Wild Turkey from a fifth, bouncing the bottom of the glass bottle on the floor as he listened to other people tell stories. "You ever think of 'the Law' as a whole fucking table?" Campbell asked. And he picked up a coffee table, put the corner in his mouth, tried to bite it off.
Stanley Booth, who was practiced in the martial arts, leapt up and karate chopped a decorative wooden shingle into two pieces. Campbell was extremely unimpressed. Blake remembers Campbell saying, "These guys in my gang walk around with these guns and knives and shit and they think they're tough. I'll show you tough," and Campbell whipped his noonchuks from his back pocket and started hitting himself on the left side of the head. "About twenty times," says Blake, "stuff that would have not only disabled me or you, but would have given us permanent brain damage. And he said, 'Now that's tough.' Hey, nobody could disagree with that."
Knox and Dickinson, who was thinly slicing hog tranquilizer for sustenance, kept their attention on McGill, who was overdubbing the vocal. Knox remembers that he was singing "Desperados Waiting for a Train," but Dickinson believes it was a Civil War song called "With Sabres in My Hand." In the latter number, there is a line that upset McGill every time, a line at the end of the song in which the Southern narrator refers to "the lost cause." Dickinson leaned to Knox to confirm that he'd frisked McGill before the session.
"Yes," said Knox, "I got his gun."
"Gun?" said Dickinson. "Guns!"
At that moment, Eggleston was entering the studio floor with his video camera, and McGill's fuse lit. It was bad enough admitting defeat on audio tape, but to have it chronicled on video was too much. Eggleston crept closer as the song neared its climax. The camera was on top of McGill when he said the scurrilous words. The goddamn line sung, the final notes fading, McGill reached into his jacket and stated, "Lost cause my ass," unloading his six gun into the ceiling. Instinctively, everyone in the control room ducked. When Dickinson looked up, Knox was still at the board.
"What're you doing?" he hissed.
Stated the ace engineer, "The gun needs mo' echo."

Death Day...August 16 1977

Ok..33 years ago, Jill and I are living at 100 North Main in Memphis... Lowenstein Towers 20th floor over looking the Mighty Mississippi.

The previous night we had played and engagement with MudBoy at an old porn theatre on Madison that had been converted into a Rock and Roll Joint.. I believe it was called the Ritz... A couple of years earlier, I had seen "Behind the Green Door" there.


Knox Phillips on death day

Following the performance, Dickinson and I were talking to Herbie O'Mell. Herbie said that he had earlier heard from Joe Espsito at Graceland and Elvis had not come down from upstairs in 2 days or so and everyone was getting worried. We collect our fifty bucks or whatever and go on home. The following day is my birthday.. Jill and I are lounging around the apt.. I actually was on some pretty heavy pain meds at the time as Pat Rainer and I had been in a pretty serious auto accident over by the Pink Palace just a few days earlier.. so I had a big patch on my face where some glass had cut me during the accident.

Dickinson call up about 1:30pm and asks if we had heard the news. About 30 minutes later, while still on the phone the news flash came across the TV. Dickinson said he was headed into town. We all meet up at Phillips Recording... where the phone is ringing off the hook. Knox and Ricky were there. Robert Palmer calls at some point and says he'll be in Memphis in 3 hours. Robert, from the "Insect Trust" band had become a senior music writer at the NY Times
Robert Palmer and Randall Lyon Death Day 1977

Palmer arrives a few hours later via taxi (which cost him a fortune as there were few taxis available and hotel rooms were really hard to get). I end up driving Robert to Graceland. It was a madhouse. The picture below is Palmer outside the gates of Graceland on this day 33 years ago. I also took photos at the funeral a few days later. If you'll remember, there were at least two Elvis fans hanging outside the gate that were killed by passing motorists.

I thought it might be appropriate to publish these pictures, or let them escape on this day in 2010..
almost to the minute of when this saga began.

Other folks who showed up at Phillips during this 3 day period were Tav Falco, Charles Rateri, Randall Lyon, Pat Rainer and several of the Sun artists who had recorded concentrically with Elvis..



Robert Palmer NY Times at Graceland on Death Day

Turquoise and Leather

I was born in Memphis
Youngest brother out of three
raised down in Dixie
in the south of Tennessee
My Daddy was a hustler
Momma worked most every night
In the streets I learned to do the boogie
In the joints I learned to fight

Call Me Hootchie Cootchie Man
Jerry McGill



For those reading this soap opera who may not be familiar with McGill.. there are some things you should be made aware of. Jerry was friends with Waylon early.. long before the bigger records when Waylon was playing shows at the roadhouses in the American southwest. They were all buds with Duane Eddy who was Jessi Colter's first husband. In the mid 60's Waylon was just assembling the band that would eventually play on the "Honky Tonk Heroes and Me" album, which would be the first real breakaway album from the traditional Nashville method. On trips from the west coast to Nashville, McGill started bringing back turquoise and silver jewelry that he had acquired from his native American friends. Within a very short time every country music star in Nashville was wearing this type jewelry. Turquoise became a rage for a few years. McGill was singlehandedly responsible for this.

Jerry also acquired and was wearing leather clothes from the Indians before anyone else in Nashville. Country music didn't want leather clothes.. It didn't fit the mold in 1970. When Waylon put on leather clothes the "outlaw" movement became a reality.. or at least one that Nashville execs figured they had better package and promote like Wheaties. There were country music outlaws before the movement.. always had been.. just nobody called their names.

Now I can tell you this first hand... McGill has never compromised.. It's all or nothing, always has been. If you were to hang around Jerry.. you'll do more living in three hours than you would in your normal life in 3 years. Even now at 70 years old with diabetes and half a lung he can get more out of life than you can imagine.. It would make Keith Richards' eyes spin.





This is Jerry in May 2010 at Playground