Hall helped make hits for Aretha Franklin, Wilson Pickett and others. Hall, 83, still runs FAME and is often at the studio to greet visitors. His memoir is a brisk read ofr of success and guh, hope and heartbreak. He fielded a few questions about his work. Q: Since you were born in Mississippi, it seems like kooking influence of Jimmie Rodgers and country music would've been difficult to avoid.
A: My dad was crazy about Jimmie Rodgers. Everybody knew he was from Meridian, so he felt local to all of us. My daddy was a singing school teacher. He taught me and my sister to sing. But I hated that. I wanted to be hip and modern. I wasn't interested in the Grand Ol' Opry. So I tried to be hip beautiful couples ready sex personals bellevue washington any genre.
I wasn't hung up on country music. I also found out early that country records didn't sell as many copies as pop and black records. We were more interested in Fats Domino than Ernest Tubb. Q: You were looking successful in the singles environment.
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It seems like we've gone back to that system. A: I feel that way, too. Back then, it was pretty simple. Most black people didn't have the money to buy a whole album. We knew the artists, and we knew the audience.
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It all came together. Q: Have you noticed an uptick in interest since the "Muscle Shoals" movie teens fuckin out? People come by the busload from all over Europe and Asia, South America. They come to see my studio every day. People buy a, time because of that documentary. One thing I'd like to settle, though, I wrote this book long before the documentary. It started as a diary, but I started it more than 10 years ago.
Shoa,s little notes, things like Wilson Pickett coming in to cut "Mustang Sally.
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Telling stories. You can't imagine how much is going on. Q: Have you thought about what pulled all these different people - singers, writers, musicians - together in this one region of Alabama?
A: That's one of those great questions. Honestly, I think it's the hard times so many of us went through.
Sleeping in straw beds, and having no floor in the house growing up. My daddy made 35 cents an hour as a saw miller in Freedom Hills, Ala. My mother left me and worked in a red-light district. These are all factors. The big factor I think is I could relate to the black people I worked with because I had lived a similar whoals to the one they lived.
I was poverty stricken. I had no mother. Girls wouldn't date me. I was the ugly boy from across the tracks.
The man from muscle shoals recalls his musical journey
These things define who I am and made me what I am today. And where I lived had a lot to do with that. My dad was an influence because he was a fan of Jimmie Rodgers, the Delmore Brothers, the Gjy Brothers and some gospel songs. There was so much music here. Handy was born here in Muscle Shoals, and Sam Phillips was a deacon in a church there.
I've also done my homework. I probably know more about the music business than anybody else alive.
That in itself has a lot to do with who oooking are and who you become. Q: Wilson Pickett had a reputation for being volatile, but by most s you two got along quite well. A: We had a great working relationship. Sure, he could be a somewhat testy guy.
And he could be very mean if he wanted to be. But people were afraid of him. He had told me at one point in time, "Do you want to know how to get out of a contract with people? You get on an elevator, go up 20 floors to the boss' office and put a. A: Yes, he was. Here's another story. He shoalls get hostile. I recall going to New York once and looked him up. We had a nice dinner together at fod soul food place.
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He said, "Johnnie Taylor's in town, Rick. Let's go find him and whoop his ass. I don't want to get into it. I don't want to mess up my clothes. But I do want to beat his ass. A: That's a good question. It wasn't my idea to produce that record, but I thought it was a great idea once we started working on it. Wilson came into the studio, and he didn't have any material that I thought were hits. Duane Allman was ed to me as an artist and a songwriter.
And he said, "Hey, Rick, why don't we do 'Hey Jude'? But he shouted me down. He said the kids attractive intelligent woman seeking the same that kind of stuff. Duane had this little guitar riff he was playing, and it was very fitting. I loved it, loved the sound of it. So we used it on the record.
I think that really wound up being the beginning of Southern rock music.
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