Delta bluesmen, a peanut vendor, a matinee cowboy, a professional wrestler, a manic deejay - these were the intersections where cultures collided in Memphis, Tennessee, in the 1950s. It Came from Memphis documents through firsthand accounts how an audience of white teenagers, caught in the middle of this extraordinary confluence of music, entrepreneurship, and eccentricity, broke through the walls of institutional racism and helped usher in a new musical form called rock and roll.
Beginning with notorious deejay Dewey Philips and his show "Red, Hot & Blue," It Came from Memphis is a rollicking tale of street-corner jug bands, shady West Memphis, nightclubs, first bands and first hits, of hippie puppet shows and outdoor music festivals, and of learning the ropes of the music biz as the ropes were strung. It is also the story of how a generation of Southern white kids befriended a generation of Mississippi Delta blues artists, and what happened to Memphis and the music industry when these two ostracized cultures met and found mutual inspiration on society's margin.
Unlike previous books about Memphis, this one does not focus on Elvis Presley, Al Green, Sun and Stax studios. Instead, It Came from Memphis prefers the shadows cast by these institutions, focusing on artists like Jim Dickinson and Alex Chilton, and bands like Mud Boy and the Neutrons, the Mar-Keys, and Big Star. The result is an anecdotal, digressive, thoroughly informative and entertaining history of rock and roll's hometown.
Perhaps no other city in America has provided more grist for the music sociology mill than Memphis, Tennessee. While Memphis has been the muse for some truly classic books (Peter Guralnick's Sweet Soul Music, to name just one), the rhetoric surrounding "The Birthplace of Rock & Roll"--also "The Home of the Blues"--can be as daunting as a walk down the ravenously gentrified blues theme park that is Beale Street.
Enter Robert Gordon, a Memphis native and keen chronicler of the city's secret history. Gordon's It Came from Memphis all but ignores the Bluff City's oft-cited musical hierarchy--B.B. King, Elvis, Al Green et al.--in favor of its great unheralded eccentrics. You might not be familiar with the Insect Trust or Mudboy and the Neutrons, but Gordon argues--with empathy and wit--that you should be.
But music is only part of the story here. Whether it's Memphis's wrestling legend Sputnik Monroe, or the city's esoteric patron saint, artist-professor John McIntire, Gordon's shrewd eye sees the mojo in them all. In a way, Gordon's book is even more vital than the classic volumes on Memphis music that predate it. Where Guralnick interprets a musical tradition that is already firmly embedded in the American psyche, Gordon gives voice to a clandestine tradition that otherwise might go forgotten. --Matt Hanks
