[Marxism] Across the Great Divide

[Greg McDonald]

Across the Great Divide

Say It One Time for the Broken Hearted: Country Soul in the American  
South
By Barney Hoskyns.
Bloomsbury (London)
256 pp., $17.24 paper, second edition, 1998

Reviewed by Jesse Walker

Quentin Tarantino’s film Jackie Brown begins, to quote the script,  
with “the rhythms of funky seventies SOUL MUSIC.” The title  
character, a middle-aged black woman, glides slowly through a busy  
airport, as Bobby Womack sings on the soundtrack:

     Across 110th Street, pimps trying to catch a woman that’s weak
     Across 110th Street, pushers won’t let the junkie go free.
     Across 110th Street, woman trying to catch a trick on the street.
     Across 110th Street, you can find it all in the street

The film was released in 1997, but everything about the scene seems  
to echo the blaxploitation movies of the early ’70s. The woman is  
played by Pam Grier, star of Coffy, Foxy Brown, and similar pictures  
of the period. The music comes from Across 110th Street, another low- 
budget ghetto flick. The scene is set in Los Angeles, and the song is  
set in Harlem. Nothing about the sequence suggests the American  
South, unless you distort the term beyond recognition by roping in  
southern California.

Nothing, that is, except the voice in that funky seventies song.  
Womack was born in Cleveland, but his family’s roots are in Virginia  
and his music often draws on sources even closer to the Gulf of  
Mexico. He started his career singing southern gospel music, he  
played guitar for the Mississippi-born soul pioneer Sam Cooke, and he  
recorded much of his most memorable work in Memphis, Tennessee, and  
Muscle Shoals, Alabama. Put that Jackie Brown soundtrack on the  
stereo, and listen to the way Womack drawls the line “Been down so  
long, getting up didn’t cross my mind.” Suddenly it’s easy to imagine  
him shifting directly from a funk workout like “Across 110th Street”  
to a country-music standard. Indeed, on one album—1974’s Looking for  
a Love Again—he did shift directly from a funk workout (“Don’t Let Me  
Down”) to a country-music standard (“Copper Kettle”). In 1976 he even  
released a full-fledged country LP, titled B.W. Goes C and W.

In Say it One Time for the Brokenhearted, a detailed survey of the  
porous boundary between country and soul, the British journalist  
Barney Hoskyns reports that B.W. Goes C and W was almost released  
under the title Black in the Saddle Again. Some other names might  
have been under consideration, too: Womack once told an interviewer  
that he wanted to call it Step Aside, Charley Pride, Give Another  
Nigger a Try. “The drugs were taking over,” he added.

Cocaine might explain the record’s rejected title, but there was a  
more honorable rationale for the record itself. “I was very sincere  
about that album,” Womack told Hoskyns, “but people categorize you  
and they say wha—? But country and western is my roots, it’s deeply  
rooted in all my songs and lyrics. My people come from the hills of  
Virginia and played a lot of it.”

* * *

In the 1960s, the two giants of soul music were Motown and Stax,  
independent record labels based in Detroit and Memphis, respectively.  
Motown’s music usually had a poppy, polished sheen, while Stax had  
more grit and grits; the producer Jerry Wexler once declared that  
Motown made music for white middle-class teenagers while Stax made  
music for black proletarian adults.

Yet Motown was owned and operated by blacks, while Stax was initially  
owned by whites—cofounder Jim Stewart got his start as a country  
fiddler. Stax’s stars were all black, but the musicians playing  
behind them could be either black or white. And those black  
proletarian adults weren’t the only people in its fan base: Many  
whites bought records by Otis Redding, Sam and Dave, or Booker T. and  
the MGs.

Stax was the premiere label for southern soul music, sometimes called  
deep soul. It’s a genre whose identity was defined by region at least  
as much as it was defined by race. Drawing on gospel, blues, and  
country, it had many outposts besides Memphis, each with a distinctly  
local sound. Nashville, New Orleans, Houston, Macon: Each produced  
its own music. Shreveport alone gets six pages in Hoskyns’s tome.

And then there was Muscle Shoals, Alabama, the home of FAME Studios  
and the one town that seriously challenged Memphis’ claim to be the  
capital of southern soul. The cultural historian Charles Hughes once  
summed up Muscle Shoals’ music as “White rhythm sections combined  
with integrated horn sections to play on songs by primarily white  
songwriters sung by black artists, for sale primarily to black  
audiences (by white-owned record companies)”—all made in the deep  
South in the ’60s and ’70s, a time associated more with racial  
tension than racial harmony.

To hear the most instantly recognizable encapsulation of the Muscle  
Shoals sound, listen to Aretha Franklin’s first and best hit, 1967’s  
“I Never Loved a Man (The Way I Loved You).” Franklin was born in  
Memphis but raised in Buffalo and Detroit, and her first few albums  
had been cut in a “sophisticated” pop style. Then she traveled to  
Alabama to record some songs at FAME. “I Never Loved a Man” is slow  
and earthy; compared to the slick sheen of the Supremes and other  
northern Motown acts, it sounds bluesy, funky . . . black. But most  
of the musicians you’re hearing are white.

imageHoskyns details the intricate, intimate ways the black and white  
elements came together in Muscle Shoals: “discreet but rock-hard  
bass . . . a sharp, precise snare beat, and a variety of country- 
style fills on keyboard and guitar”; where a country band would use a  
steel guitar, the Muscle Shoals musicians added an organ instead. The  
influences reflected not just the studio’s racial mix but the town’s  
geographic location. Keyboardist Barry Beckett told Hoskyns that he  
and his colleagues “were tied in a kind of triangle that stretched  
from New Orleans to Memphis to Nashville.”

* * *

There was one more important ingredient: the radio. Where blacks and  
whites could not always mingle socially, they could still hear each  
other’s music on the air. The South bred a generation of black  
singers who liked country music and white players who loved gospel  
and the blues. For years they had been influencing each other: Before  
Elvis Presley was mixing hillbilly music with R&B, Texas Swing bands  
were crossing hoedowns with big-band jazz; before then Jimmie  
Rodgers, sometimes called the father of country music, was as  
comfortable drawing on New Orleans jazz and the 12-bar blues as he  
was singing ballads about trains and tuberculosis.

But now the old social hierarchies were being sanded away, and those  
blacks and whites who had always cocked an ear toward the music on  
the other side of the tracks were able to interact as peers. The  
result was the sonic equivalent of the logo adopted by one of the  
less famous offshoots of the ’60s New Left, the Southern Student  
Organizing Committee: black and white hands clasped over a  
Confederate flag.

It was awkward and difficult, and it didn’t always work. Franklin  
herself fled northwards after cutting just two songs at FAME,  
swearing she’d never return. That reflected the region, too—though of  
course you could find such tensions in the North and West as well.

Jackie Brown, written and directed by a Tennessee transplant to Los  
Angeles, is a crime movie, but it’s also a love story; a white bail  
bondsman and a black flight attendant fall into a romance that’s  
doomed to fail. Along the way, the white man starts listening to his  
girlfriend’s favorite music. The film’s most memorable line comes  
when another black character, played by Samuel Jackson, reacts with  
surprise to a song playing in the white man’s car: “I didn’t know you  
liked the Delfonics.” Not many people remember the flip side of that  
scene: Jackson sitting alone in his own car, listening to Johnny  
Cash. Music forges links even when other connections break down.

The country-soul and country-funk fusion of the ‘60s and ‘70s  
dissipated, and southern music seemed to move in other directions;  
records that once seemed to express something happening now became  
fodder for record collectors, European journalists, and crate-digging  
DJs. But you can’t eliminate the past that easily. Rap in particular  
has been able to sample and absorb virtually any form of music,  
southern soul included.

Hip hop is also the form of pop most interested in place. In the  
hands of the rappers, that had meant a horde of boring records about  
the east side players’ plans to beat up the west side boys and vice  
versa. But sometimes there’s more to the lyrics than that. Consider  
“My Old Kentucky Home”—not the old Stephen Foster number, but a folky  
collaboration between the black rappers Nappy Roots and the white rap- 
rock-country band the Villebillies:

     I was born here, raised here
     When I leave here, bury my grave here
     Until then I’ma ride and drink liquor,
     Blow Swishers, sit back, collect my thoughts by the river
     I’m a bluegrass CEO cat
     Tryin’ to get my young homies out the projects

Better still, there’s the Bama Boyz’ rap rendition of “Sweet Home  
Alabama.” It’s built around samples from Lynyrd Skynyrd’s country- 
rock anthem of the ‘70s, but the lyrics are almost entirely new. “In  
Birmingham they love the governor” is gone; so, alas, is “Now Muscle  
Shoals has got the Swampers / And they’ve been known to pick a song  
or two.” Instead we get this: “Ain’t nobody speakin’ proper grammar  
‘round here / It’s deep, but the sound is clear.”

The sound won’t be clear if you’re trying to file it in a  
conventional CD store: It’s rap, rock, and country all at once, with  
traces of blues and that “funky seventies SOUL MUSIC” that Tarantino  
loved. But why get bogged down in conventional genre labels? The  
sound is clear. It’s the sound of Alabama, black and white.

Jesse Walker is managing editor of Reason magazine and author of  
Rebels on the Air: An Alternative History of Radio in America (NYU  
Press).

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great-divide/>