Overview

Robert Gordon begins where most chroniclers of the music world end and spins a magical fairy tale peopled with Delta bluesmen, a peanut vendor, a matinee cowboy, a professional wrestler, and a manic deejay. IT CAME FROM MEMPHIS doesn't focus on Elvis, Al Green, or the Sun/Stax studios. Instead it creeps into the shadows cast by those institutions, concentrating on artists like Jim Dickinson and Alex Chilton, and bands like the MarKeys and Big Star. Gordon outlines, with respect and the fascination born of true devotion, the story of white teenagers caught in the middle of an extraordinary confluence of music and entrepreneurship, to usher in an exciting new musical form. The result is rock 'n' roll and Memphis - its alma mater.

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<i>The New Yorker</i> An affectionate rumination.

The New Yorker An affectionate rumination.

The New Yorker An affectionate rumination. The New Yorker An affectionate rumination. The New Yorker An affectionate rumination. The New York Times Superb... The New Yorker An affectionate rumination. The New York Times Superb... The New Yorker An affectionate rumination.

Author Information

Robert Gordon has written for major music publications in the United States and England, and has contributed to several books. He produced the Al Green CD box set Anthology, and his liner notes were nominatied for a Grammy&@174;. As a filmmaker, he directed the award-winning blues documentary All Day and All Night, and his music video work has appeared on MTV, BET, and CMT. He is the author of a forthcoming biography of Muddy Waters and director of the companion documentary. He lives in Memphis with his wife and two daughters.

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