Elvis and Tupelo

Extract from The Blues Muse

The Blues Muse: Amazon.co.uk: Goodwin, Opher: 9781518621147: Books

Tupelo

Tupelo was a small town and like most of them places had two sides to it. One was black and one was white and never the twain shall meet. Ceptin’ that wasn’t strictly true. The truth was that some of those white sharecroppers were worse off than the blacks and certainly lived no better. They lived a hundred to a room in wooden shacks the same as the negroes. They worked the land and hoed weeds just the same, walked the mules, ploughed, sowed and owed the man the same as everybody else. There was no difference. And many of them weren’t too proud to share some music, a bottle or some dice.

Of a night, when the heat was cooling off, we’d sit on the veranda and rock on our chairs with a guitar on our laps and a bottle at our feet. Sometimes someone would strike up a diddy-bow on the side of one of them huts and some of the youngsters would try out some of their moves. Even the old folks would join in. It was kind of spontaneous and neighbourly.

If you wanted the real action you headed for town. The white folks would Honky Tonk but if you wanted something a bit earthier you hit the black side of town where the beat sizzled and the boots hardly hit the floor. The big mamas would jive their asses and shake like jelly. Their bodies shimmied while the guys, dressed to the nines in their dapper suits, ties and loud shirts, shoes shined, hair slicked and a hat tilted at a crazy angle, would strut their stuff and make their moves. Why – I would watch that floor and sometimes it looked like those cats had bones of rubber.

Elvis Presley was one of those real young white cats who liked to hit town and soak up the sounds. He was a rare one, that young kid. He did not fit in with most of his white group. With his long hair slicked back into a ducks-ass DA and combed into a tall pompadour of a crest like Esquerita, side-burns that he could tie under his chin and bright clothes of contrasting colours, he put the coolest black dudes to shame. He was a young skinny kid and had a mind of his own. His black eyes would look right through you and shine with some inner light when he saw something he liked. I guess it was that Cherokee blood set him apart. He was untamed and wild at times and, I declare, if he hadn’t have been so quiet and shy by nature, I’d swear he was pushing the numbers for some gang or other.

Many’s the time we’d sneak into the back of one of those clubs where the lights were so low you couldn’t tell the colour of a man’s skin and we’d watch. Tupelo was small but we’d get all the Blues Guys come through. Elvis’ eyes would pop outa his head when he saw Jimmy Reed, Big Maybelle and Arthur Crudup.

I saw him talking to Arthur after his show. Arthur had come down from Chicago when he was supposed to have lived in a packing case under the station in Chicago Central. If he ever did, he was not doing that now. You could see the man was eating good.

Elvis soaked up Howlin’ Wolf, Roy Brown and Big Mama Thornton. I could see it. His eyes were glowing and he never missed a beat. That sound was driving into his head and swirling round in there with all that Bill Monroes and Hank Williams. I knew it was all going to come bursting out one day.

Rock genres – Acid Rock

Rock genres – Acid Rock

acid3
acid7
acid2
Acid
acid 4
captain beef

Acid Rock as a genre started in the mid-sixties and flourished in the late sixties.

At that time LSD – lysergic Acid Diethylamine – was legal and thought to be safe. Marijuana was the drug of choice for the burgeoning alternative culture and was extensively used.

A Rock Scene sprang up in the two cities on the West Coast of America which had attracted in large numbers of alternative characters. In Los Angeles the scene was centred around Venice and the Sunset Strip and in San Francisco it was around Haight Asbury.

The culture was very radical. It became known a the Hippie movement typified by its long hair and bright clothes, liberalised attitudes to drugs and sex and a distrust of the establishment.

The Acid Rock culture had grown out of a coalescing from a number of sources. There was the influence of the British Bands who had inspired a number of musicians to get into bands; the politics and poetry of the Folk movement, exemplified by Bob Dylan, with its radicalising message; the influence of East Coast musicians like the Lovin’ Spoonful and then the seminal band the Byrds with their Folk-Rock and spacey sounds.

In Britain a similar thing was taking place simultaneously. It was based in London where both cannabis and :LSD were circulating and was creating a Psychedelic scene based around clubs like The UFO Club, Middle Earth and the Eel-Pie Island.

The two were to cross-fertilise and interact.

In Los Angeles the leading lights were the Doors, Captain Beefheart and his Magic Band, Buffalo Springfield, The Mothers of Invention (Frank Zappa) and Love. They tended to have a Blues based sound. Frank was a a bit of a one-off and not really what I would call Acid Rock but …….

In San Francisco it was Jefferson Airplane, Country Joe and the Fish, Big Brother & the Holding Company, Quicksilver Messenger Service and Grateful Dead. There was more of a Folk influence here.

The effects of the drugs on the music was very evident. The pieces were drawn out into long jams with the integration of soaring guitars and harmonies. It was intricate and interweaved into complex rhythms and there was the use of different instrumentation, musical forms, electronic sounds. It created a dense sound that was mesmerising and you could get lost in. It was album based, rather than singles, and was focussed on the ideology of the alternative culture with its peace, love and anti-establishment themes. The music was of and for the sixties alternative culture.

When coupled with light shows in small clubs the atmosphere was a total immersive experience that was intended to be consumed while high.

Surprisingly it was instantly commercially successful with bands like the Doors and Jefferson Airplane hitting the singles charts. This threw everyone into a dilemma. The bands were in danger of being called ‘Sell-outs’ and losing their street credibility and the establishment was shocked and did not know how to deal with the drug references and social messages.

Some of these bands went on to become among the biggest in the world – like the Doors. Others developed huge stadia followings like Grateful Dead and others fell by the wayside like Country Joe and the Fish.

My favourite was the incredible Captain Beefheart who produced the greatest body of work, pushed the boundaries, was innovative and extraordinary, was a poet of great originality, and created complex music the like of which has never been bettered. He influenced a thousand other musicians and remains a largely unsung hero.

My book – ‘In Search of Captain Beefheart’ is not actually about the Captain; it is about my quest for the lodestone of Rock Music. It’s a tale of a man’s journey and love of Rock Music.

I have a number of other books concerned with Rock Music you might enjoy – Tributes to the Top Rock acts:

My views on the greatest albums of all time:

Rock lives!!