Walking in Memphis - Umfassende Materialien zu Marc Cohns Song - Teil 2, Walking in Memphis - Comprehensive Materials on Marc Cohn's Song

Walking in Memphis - Umfassende Materialien zu Marc Cohns Song - Teil 2
Walking in Memphis - Comprehensive Materials on Marc Cohn's Song - Part 2

Was Sie schon immer über "Walking in Memphis" wissen wollten, aber bisher nicht zu fragen wagten
Everything You Always Wanted to Know About "Walking in Memphis" * But Were Afraid to Ask
Zusammengestellt © 2017 von Volker Pöhls
Compiled © 2017 by Volker Pöhls This is meant to be a collection of primary materials.
You are welcome to quote from the material, but I would appreciate it, if you mentioned my part in it

WARNING: Reading the following material on "Walking in Memphis" may be rewarding and informative. However it may have the effect of taking away the magic and secretive aura from the song for you. In Marc Cohn's words: "You want to write something personal but have it resonate with the audience and allow them to have their own interpretation." (...) "Look, what these songs mean to me is really only important to me," Cohn said. "What's more important is what it means to someone else."

Link zur Tabelle mit den Materialien 1 bis 60
Link to the table containing materials 1 to 60

Bitte springen Sie mit einem Klick auf die Flagge in der Tabelle zu dem gewünschten Text! (Zurück zur Übersicht mit Zurück-Taste) German

Please jump to the article you want by clicking on the corresponding flag in the table! (Back to the table by Back-Key) English

NO.	AUTHOR	SOURCE	DATE	ENGLISH	GERMAN
61	Joby Rogers	Interview	05/11/2015
62	Earle Dutton	Interview for Seattle Gay Scene	06/18/2014
63	Richard Howe	Review	07/31/2010
64	Brian D'Ambrosio	Article for the Ravalli Republic	01/05/2015
65	Jon Norton	'Walking In Memphis' Has Taken Marc Cohn Around The World - GLT 89.1	07/07/2016
66		Historic marker in front of the "Hollywood Café"
67	Evan Henerson	Marc Cohn's career takes long walk to Los Angeles, Jewish Journal	01/13/2016
68	Eric Alper	Marc Cohn on The Holy Trinity Of Writers From Canada - Joni, Neil and Leonard	08/08/2015
69	Marc Cohn	Intro to "Walking in Memphis"	03/13/2017
70	Mancow	Mancow Morning Show	04/12/2017
71	Marc Cohn	Intro to "Walking in Memphis", Memorial Hall, Cincinnati	04/08/2017
72	Bobbie Ashley	Interview on 103.5 The Eagle, WIKK FM Morning Show	2016 ?
73	Tracey Tanenbaum	Interview on 88.5 wxpn	Jan 1, 2008
74	Professor of Rock	Interview on professorofrock.com	Nov 21, 2017

Link zu den Materialien 1 bis 60
Link to the materials 1 to 60

[61] Interview by Joby Rogers | May 11 2015

JR: "Walking In Memphis" was partially inspired by watching the Reverend Al Green performing a service at his "Full Gospel Tabernacle" church in Memphis. In my examination of your career is it fair to say that gospel had an impact on your vocation?
MC: Absolutely! Which is kind of ironic. I'm a Jewish kid from Cleveland, Ohio, that ultimately was moved by the music I heard in a church in Memphis. There's no explaining where you're going to find inspiration or in my case be spiritually transformed. I was always moved by gospel. I still go back and listen to 'Sam Cooke and the Soul Stirrers' and the 'Dixie Hummingbirds'. That's some of the most beautiful music ever made.
[Source: http://www.rarereminder.com/story.php?id=201188&story=Face_the_Music_Artist_Interview_Marc_Cohn&town=middletown]

[62] Interview for Seattle Gay Scene, June 18, 2014 Author: Earle Dutton

ED: Cher did a cover of your song, 'Walking in Memphis'. Have you ever performed it with her?
MC: It is funny that you say that. I haven't but I think that sometime in the fall she's playing Madison Square Garden for a couple of nights and part of me wants to reach out to her ask if she wants me to come up and sing it with her. I don't know. It would be one of the wildest experiences I could possibly imagine. So, no I have not performed with her but I am considering trying. I don't know if she would be interested but it would be cool to ask.

[Source: http://seattlegayscene.com/2014/06/marc-cohn-should-perform-walking-in-memphis-with-cher/]

[63] Review by Richard Howe

And what can one say about "Walking in Memphis"? It's a hall-of-fame candidate. Cohn mentioned that he heard that Cat Stevens/Yusef Islam has the song on his iPod-mix. He also let people know that the song is a tribute to Muriel the pianist, not Elvis and his blue suede shoes, as some folks assume.

[Source: http://richardhowe.com/2010/07/31/marc-cohn-at-bhp-instant-review/ ]

[64] Article for the Ravalli Republic, Jan 5, 2015, by Brian D'Ambrosio

"It's definitely the song I'm identified with the most," said Cohn. "A big part of its expression is that I'm an outsider, I'm not a Christian, I'm not a Southerner. It's a song about what it is like to be an outsider, an outsider that I know I am. It's about being a Clevelander in the Deep South, being a Jew in Al Green's church. I wrote the song with the subtext of wondering and asking who I am and who I'm not."

[Source: http://ravallirepublic.com/entertainment/article_e523197e-920a-11e4-ad2d-b7eae6424541.html , retrieved March 8, 2017]

[64] Artikel für die Ravalli Republic, 5. Jan, 2015, von Brian D'Ambrosio

Übersetzung © 2017 by Volker Pöhls

"Es ist definitiv der Song, mit dem ich am meisten identifiziert werde.", sagte Cohn. "Er drückt größtenteils aus, dass ich ein Außenseiter bin, ich bin kein Christ, ich bin kein Südstaatler. Es geht in dem Song darum, wie es ist, ein Außenseiter zu sein, in dem Wissen, dass man ein Außenseiter ist. Es geht darum, ein Clevelander im tiefen Süden zu sein, ein Jude zu sein in Al Greens Kirche. Ich habe den Song geschrieben mit dem Subtext, dass ich mich frage, wer ich bin und wer ich nicht bin."
[Quelle: http://ravallirepublic.com/entertainment/article_e523197e-920a-11e4-ad2d-b7eae6424541.html, gefunden am 8. März, 2017]

[65] 'Walking In Memphis' Has Taken Marc Cohn Around The World - By Jon Norton, Jul 7, 2016, GLT 89.1

Transcript © 2017 by Volker Pöhls

MC: I went to Memphis looking for inspiration, literally. I had heard this interview with James Taylor who was also one of my early heroes and he had said that when you're stuck for ideas, go somewhere unfamiliar. The first place I went was Memphis, Tennessee, because of all its rich musical heritage.
JN: What was life like before WiM?
MC: The few years before my first record came out I was sort of working intermittently trying to get a record deal. I had been doing that since I was twenty years old. I kind of gave up on it, went back to it, but I never gave up on that dream. So I took a year off and did nothing but travel and write. Had all my money on working (?) Unbelievably by about 1989 I was signed to Atlantic Records and in 1991 my first record came out. I knew I'd be able to write a second record for Atlantic, if my first record sold 50.000 copies, and then it sold about a million. So it went past my expectations for sure.
JN: How long did it take to actually write the song?
MC: Probably several days. (…), lyrically trying to just follow wherever it would lead me from that really basic inspiration (…) and not too much craft involved at first. I really was hoping that inspiration would take me all the way to the end. And it almost did. It was not a hard song to write at all. That song ended up being a pretty verbatim travel log of what I did over the time I was there. When I say in the bridge "Reverend Green be glad to see you" I was talking about Al Green. I talk at the end about Muriel. She was an amazing gospel and standard singer at this old place which used to be a slave commissary. It's called "The Hollywood" and Muriel was a singer there. We sang together and it was a life-changing experience.
JN: Once the song was written did you have any idea that maybe I have got something special here?
MC: Well, what I knew when I wrote the song in terms of having something special and that it was at a whole new level in terms of my own songwriting. There was something authentic about it and essentially me that didn't sound like I was borrowing it from anywhere. It was really something genuine. I knew that it was a good lyric and I thought it could probably make a pretty cool record. And when we went in the studio I really had no idea it would become a staple at radio and for other artists.
JN: WiM - a blessing? a curse?
MC: You know it's been mostly a blessing. There's so much focus on that song that it's hard sometimes to get people to know that there's a whole catalogue out there. But WiM is my calling card. I've loved every minute of what that song has provided me. You know that song has got me around the world.

[Source: http://wglt.org/post/walking-memphis-has-taken-marc-cohn-around-world , retrieved March 8, 2017]

[66] Historic marker in front of the "Hollywood Café"

The historic marker erected by the "Mississippi Blues Commission" in front of the "Hollywood" says: "The Hollywood Café, both at this site and its original location in Hollywood, Mississippi, earned fame as a Delta dining institution but also shared in the area's musical history. Pianist Muriel Wilkins performed here for years, and she and the Hollywood were immortalized in the Marc Cohn hit song "Walking in Memphis". Legendary bluesman Son House also performed at this site when the building housed the commissary of the Frank Herbert plantation, where House once resided."
[Source: https://s-media-cache-ak0.pinimg.com/originals/2c/b5/fa/2cb5fa8cdd5f5d66e9a3254f1b9656fb.jpg, retrieved March 8, 2017]

[67] Marc Cohn's career takes long walk to Los Angeles - by Evan Henerson | Published Jan 13, 2016, Jewish Journal

He cites the climactic line of "Walking in Memphis" when the gospel singer Muriel asks him, " 'Are you a Christian child?' And I said, 'Ma'am, I am tonight.' " The lyric is much misinterpreted by fans who still ask if Cohn became a born-again Christian during his experience in Memphis. "It means that every other night, I'm something else, and that is a Jew," Cohn said. "And I actually felt really good about that."
[Source: http://jewishjournal.com/current_edition/181218/, retrieved March 8, 2017]

[68] Marc Cohn on The Holy Trinity Of Writers From Canada - Joni, Neil and Leonard, Aug 8, 2015

Eric: Tell me about the first time you heard the playback for "Walking in Memphis" in the studio. Did you know you had a hit?
Marc: No. Not even close.
Eric: Really?
Marc: No, the only thing I had knew I had hit, which was even more crucial for me at the time - the most important part was writing it. I had been a songwriter for years before i wrote that song. I was probably about 25 when I wrote it. It didn't come out until about 5 years after I wrote it. But, I knew that the song was the beginning of me finding my songwriting voice. It was something very different about that song and "Silver Thunderbird" and a few others that I wrote all around the same time where I knew I was beginning to do something original. For years, most songwriters are copying somebody or many people. If you're lucky, you do it enough that you finally arrive at something that seems authentic and singularly you. That's what "Walking in Memphis" felt like to me. It felt like a story nobody else had told, nobody else could have told. That was what was important to me. I felt like I was on to something as a songwriter. I had no idea when we recorded it that we had a hit. If you really think about 1990, and 1991 when that song came out. Mariah Carey and Whitney Houston and people like that ruled the airwaves. So my song was very strange for its time, right? Nobody was sure that it would fit in. In the end that's kind of what's served it, that it was so different and once it got played it stood out.
Eric: I remember in 1992 when Shut Up and Dance released their single "Raving" based on the song. That's how I knew it was a great, lasting song, when it can be accepted by a different audience who loves electronica, transforming it into a rave anthem.
Marc: Right, I know. I wouldn't say that was a revelation for me to hear that. I mean, I loved it that people over the years have covered it. That's the greatest compliment you can get as a songwriter. My moment with this song really was as I said, writing it and when we finally - it took forever to get the recorded version that everyone knows. If you listen to it, it's a very unusual arrangement. The band comes in, the band comes out, it slows down a bit then there's total silence for a few seconds right before I sing "boy you gotta prayer in Memphis." It's a strange arrangement that was all based around my original piano demo and it took a while to figure out how to make a band arrangement of that song work. So, once we got that I was really happy that we were able to figure it out.
[Source: http://www.thatericalper.com/2015/08/08/marc-cohn-on-the-holy-trinity-of-writers-from-canada-joni-neil-and-leonard/, retrieved March 8, 2017]

[69] Intro to "Walking in Memphis", 03/13/2017

Transcript © 2017 by Volker Pöhls

[last notes of a recording of Muriel (?)] MC: How about that? [applause] MC: I'm walking to this place called "The Hollywood Café". I'm a struggling singer/songwriter (…). I'm still years away from being signed to a record company. I went to Memphis literally, explicitly looking for inspiration, because so much of the music I grew up loving came from there. Stax, Sun Records, Hi Records, Al Green, Ann Peebles, just (…) gospel, rockabilly, rock, everything. So I went there thinking maybe I could pick up a (…) in Memphis was this place called "The Hollywood Café". And when I walked in there, the first person I saw and the first person I heard was Muriel, that voice singing gospel songs and standards and I was transfixed. The place was very loud, nobody was really listening to Muriel but I could tell … special voice … and I would go up to her in her breaks she played for like three to four hours (…). She was already about sixty-five. I told her about my life, about my early loss, my need to be a songwriter, my … to express myself … I tried to find my own voice but I hadn't quite gotten as a writer yet. She listened. She told me about her husband, the kids, her job, and we were best friends by the end of the night, especially when she invited me up on stage to sing. It was a lovely generous gesture, only interrupted for a second by the fact that when I got up on stage we realized spontaneously there really wasn't one song both of us knew [laughter] So … So there I was this Jewish boy from Cleveland singing the tunes that Muriel wanted to sing and trying to just catch up … "His Eye's on the Sparrow", "Nearer my God to Thee" [laughter] These were big fucking songs [laughter] Hebrew hits [laughter] Did I … somebody? That's right. So there we were. I was singing these tunes … great and then she said "Let's do "Amazing Grace"!" So she didn't play piano. We sang it … a capella … catfish in the back, they came out and sang. And at the end of it Muriel said, whispered very gently in my ear, "Child, I think you can go and write those songs you've been meaning to write, now." And I went back to New York and I did. [applause] … six or seven months I wrote … tunes and more … my first inclination luckily was a good instinct that was to go back and play these songs at the Hollywood Café for Muriel cause I didn't know … the time … She passed away just months before the record came out. But she heard all these tunes and listened to them very carefully like a schoolteacher would, she was a schoolteacher. At the end of it all she said "Child, those were beautiful songs, but I gotta tell you: The one where you mention me in the end - that's the best one." [laughter] (…) I have played it ever since.
[Source: https://www.youtube.com/watch?v=p1W3WBQif4k, retrieved March 15, 2017]

[70] Mancow Morning Show, 04/12/2017

Transcript © 2017 by Volker Pöhls

Mancow: Let me ask you this: Have you ever not played "Walking in Memphis"?
MC: Never. I play it every set.
[Source: http://www.wlup.com/2017/04/12/musician-marc-cohn-joins-the-mancow-podcast-for-412/, retrieved April, 17, 2017]

[71] Intro to "Walking in Memphis", Memorial Hall, Cincinnati, 04/08/2017

Transcript © 2017 by Volker Pöhls

MC: "… I heard this beautiful voice that belonged to (...) Muriel Davis Wilkins. She was about 65, 66, when I met her. To make a very long story short: I was captivated by her voice and her essence, I suppose. During her breaks playing this little place right outside of Memphis called the"Hollywood" and believe me: There couldn't have been a place that was less Hollywood-like [laughter] this place was a really (…) I walked in about 8 o'clock and I didn't leave until about 1 o'clock. Muriel was playing for most of that time, Gospel music standards. When she took her breaks I talked to her telling her that I was a 25-year-old kid living in New York, I had just moved there from Los Angeles. I was looking for a record deal at one point, I was looking for my voice, my songwriting voice. Muriel listened I think processed all this stuff (…) she told me about her life too. She was a school teacher, she made extra money by singing in this place called the "Hollywood". At the end of the night (…) she invited me up to sing, which was a very generous thing, potentially prudish [laughter] When I got on stage we realized one thing that was problematic: There wasn't one song that both of us knew [laughter] So there I was this Jewish kid from Cleveland being fed the lyrics to songs like "Nearer my God to thee" "Touch the hem of his garment" [laughter] You get the idea. All the tunes that I knew from Hebrew school. [laughter] Not. And at the end Muriel started singing a capella "Amazing Grace". I sang with her and at the end she just whispered in my ear. She said: "Child, I think you can go and write those songs you've been meaning to write." And I went back home and I did. I wrote 10 or 12 songs about half of which later became my first record. I was still years away from being signed to Atlantic. Muriel was my most important muse obviously. Thankfully because she passed away before my first record came out, I went back to the Hollywood to play her my new songs. (…) She listened very carefully to all the tunes (…) patient (…) When I got to this next one she said: "You know, that one where you mention me at the end , I think that's the best one." [laughter] This is for Muriel.
[Source: https://www.youtube.com/watch?v=iwAY9xhx-mU, retrieved April, 22, 2017]

[72] Interview by Bobbie Ashley, 103.5 The Eagle, WIKK FM Morning Show, 2016?

Transcript © 2017 by Volker Pöhls

It's a long story but I'll try to make it brief. I went to visit Memphis back in 85 or 86 on the advice of a good friend who said "This place is so soulful and so magical there's no way you're gonna leave here and not feel inspired." And I went to Memphis looking for inspiration which usually means you're not gonna find it. But it was one of those trips. I was about, I don't know, 26 years old - still years away from getting signed as a recording artist. I went to see Al Green preach the gospel in his church called "The Full Gospel Tabernacle Church". He's one of my favorite singers of all times. That was thrilling and inspirational. And I really met a woman named Muriel at a place called the "Hollywood Café". It really just is a narrative of my few days in Memphis. I left there and knew after I met Muriel and heard Al Green sing that I had a song in there somewhere. Within 3 or 4 days I wrote "Walking in Memphis" after coming back from visiting there.
[Source: https://soundcloud.com/bobbieashley/marc-cohn, retrieved June, 27, 2017]

[73] Interview by Tracey Tanenbaum on 88.5 wxpn, Jan 1, 2008

Transcript © 2017 by Volker Pöhls

TT: Now, when you read any article about you the song that is mentioned is "Walking in Memphis". You're so closely associated with that song I wonder if it's ever frustrating, you know, hey, here I have 30, 40 other songs.
MC: It is frustrating, I mean, first of all I'm very proud of that song, I'm very proud to be associated with it. Tony Bennett always called "I left my Heart in San Francisco" his calling card and "Walking in Memphis" is mine. But yeah, when people come up to me and say: "I love your song" that is almost worse than "I've never heard of you or your songs". Something about just that one singular thing to be known for is tough because I do feel proud of all my "babies", you know. It's like somebody coming in and saying "I really love your third child". It's funny. Right now I almost feel like I didn't write that. It's in the ?? it has everything to do with me and at the same time nothing to do with me.
[Source: https://beta.prx.org/stories/25316, retrieved Sept 4, 2017]

[74] Interview by Professor of Rock on professorofrock.com, Nov 21, 2017

Transcript © 2017 by Volker Pöhls

Professor of Rock: James Taylor said: If you have writer's block you gotta go somewhere. Tell me about that '85 trip of taking that destination. It was kind of desperate times.
MC: How old was I? 25 maybe, 24. I was deeply aware that a lot of my heroes had already written their masterpieces by the time they were nineteen. It's astonishing. Jackson Browne wrote "These Days" when he was like 16. It's such a world weary gorgeous poignant song. He was 16. I could play you some of my songs when I was 16, but I would not. I had willed myself to be a singer songwriter. I loved those early records by James [Taylor] and Joni [Mitchell] and Jackson [Browne] and The Band and Van Morrison, Cat Stevens, Crosby Stills and Nash - the list is pretty long. (…) By the time I was 24, 25 I had some good songs, but not really good enough. And I was not signed yet, so I knew, if I was honest with myself, I had not arrived. I had not found my songwriting voice. And I went to Memphis specifically to try to find it. That's the oddest part of the story tome because my experience ever since then is whenever I go consciously looking for inspiration I never find it. But this time it was different. I thought maybe at least I'll hear something that'll open up my sensibilities or I'll meet someone or I'll see something. And I just never stopped from the minute I walked up the plane till I went home. A tune particularly that resonated for me is the centerpiece of a song.
One was going to hear Al Green preach the gospel. You go down there on Sunday morning I think he is still there occasionally at his church called the Full Gospel Tabernacle, one of my favorite soul singers of all time. But there he was preaching the gospel. Like you said at the beginning: I am a Jewish kid from Cleveland, but I was not quite sure in those moments, if my people had it right. [laughs] I had goose flesh for four hours while this was happening. Tears were running down my eyes. I never used to cry in temple, only because I wanted to get the hell out. [laughs] I was happy cause I was so moved. But that's what happened at Al Green's church. There's no articulating for you what it was like (?). It's amazing. And the amazing thing as a singer to me it was three hours of real singing, intense. His voice got stronger and stronger. It's also the opposite of what usually happens. Three hours of really hitting it. You start getting tired, your voice cannot take it. Not his. So I did that which was way beyond I ever could have thought. I just tried to soak it all in.
Then I met Muriel, who was a real person. She passed away maybe 6 months before "Walking in Memphis" hit the radio, so I guess that was not meant to be. We immediately hit it off. She was playing in this little place called "The Hollywood". Fried pickles and catfish everywhere. Nobody really listened in to Muriel - except me and maybe 20 other people. She went up singing "Glory of Love", and "His Eye's on the Sparrow", "Touched the Hem of His Garment". And I fell in love with this woman, a 65-year-old schoolteacher from Helena, Arkansas. This was her way of making a little extra money on the weekend. I went up to her during her breaks and I told her a little bit about my story that I was looking for inspiration. And she told me about her story. I guess by the end of the night, 11 o'clock, 11:30, she invited me up to sing. And she started singing all these gospel songs as if I would know them, but she kind of whispered the lyrics in my ear these old gospel songs and I would try to catch up and catch on to the melody, I could get the gist of it. And then we did "Amazing Grace". I did not need a whisper in my ear, the lyrics to that one I knew that one and, man, that was just like another moment, like meeting Marilee Rush, there was something about it when the song was done I felt I had been transported and then she whispered in my ear again and said: "Child, I think you can go and write those songs now."
PoR: You told her about your mother dying when you were two. And that you were having a hard time letting that go.
MC: She said you can let it go now. It's amazing.
PoR: So many people misunderstand the song in some ways, "Oh yeah, the Elvis song". Elvis is one little part of it talking about the jungle room, talking about Graceland and the security part. I always thought that maybe that was a tip of the hat to Springsteen who was trying to climb the wall
MC: I did hear that story. I love that. I remember hearing John Lennon say he did not really want to talk too much about what his songs meant, cause it did not matter what they meant to him.
Like I said when I left there I knew I had a song. And when I finally wrote it I knew I had a good song. I had not written one of those maybe ever up to that point. I had written a few songs that I liked but I knew that that was the beginning of me really finding my songwriting voice. I was still four or five years away from being signed to Atlantic Records. People asked me: "Did you know it was a hit?" I was not even thinking about a hit. I was just trying to write my best songs. And that was the turning point for sure.
There's five [versions] on the record. I did it dozens of times. I drove every drummer and bass player in New York City out of their freaking minds.
PoR: The Blue suede shoes - that was an allusion to Carl Perkins
MC: Absolutely - a big tip of the hat. Paul Anka - I got a big kick out of that version, unbelievable.
PoR: Do you remember the first time you heard it on the radio?
MC: I was driving in Connecticut to a house that I had bought specifically to try to write in, cause I was living in New York. I think I was driving to that house. What I remember very vividly is the DJ saying "This next song really reminds me of this song from a long time ago by a guy that nobody remembers but that I still love named Andy Pratt and his song called "Avenging Annie". He was a piano based songwriter. Reminds me a little of Lee Michaels, too, "Do You Know What I Mean" and I immediately went "I think they are gonna play me." Cause those were weird references. Whitney Houston is not coming on now [laughs] and it was. That piano figure started and I had to pull over to the side of the road and I just sat there and I smiled from ear to ear and I cried a little bit and I thought about my mother and my father and my life having come to some remarkable crossroads. That was huge for me. Something about hearing yourself even to this day I mean if I hear myself on the radio it really moves me, cause I know I am not the only one listening. I am sharing that with people I do not know. That first time was unbelievable.
[Source: https://professorofrock.com/videos/walking-in-memphis-marc-cohn/, retrieved Nov 29, 2017]

March 2017, last update Nov 29, 2017

Marc Cohns Songtexte und Übersetzungen ins Deutsche befinden sich auf folgenden Seiten:

Careful What You Dream

Various

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Lyrics Marc Cohn Wrote for Others

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Materialien zu "Walking in Memphis" - Teil 1 | Materials on "Walking in Memphis" - Part 1

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