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Dixie Lullaby, by Mark Kemp
Free PDF Dixie Lullaby, by Mark Kemp
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Rock & roll has transformed American culture more profoundly than any other art form. During the 1960s, it defined a generation of young people as political and social idealists, helped end the Vietnam War, and ushered in the sexual revolution. In Dixie Lullaby, veteran music journalist Mark Kemp shows that rock also renewed the identity of a generation of white southerners who came of age in the decade after segregation -- the heyday of disco, Jimmy Carter, and Saturday Night Live.
Growing up in North Carolina in the 1970s, Kemp experienced pain, confusion, and shame as a result of the South's residual civil rights battles. His elementary school was integrated in 1968, the year Kemp reached third grade; his aunts, uncles, and grandparents held outdated racist views that were typical of the time; his parents, however, believed blacks should be extended the same treatment as whites, but also counseled their children to respect their elder relatives. "I loved the land that surrounded me but hated the history that haunted that land," Kemp writes. When rock music, specifically southern rock, entered his life, he began to see a new way to identify himself, beyond the legacy of racism and stereotypes of southern small-mindedness that had marked his early childhood. Well into adulthood Kemp struggled with the self-loathing familiar to many white southerners. But the seeds of forgiveness were planted in adolescence when he first heard Duane Allman and Ronnie Van Zant pour their feelings into their songs.
In the tradition of music historians such as Nick Tosches and Peter Guralnick, Kemp masterfully blends into his narrative the stories of southern rock bands --from heavy hitters such as the Allman Brothers Band, Lynyrd Skynyrd, and R.E.M. to influential but less-known groups such as Drive-By Truckers -- as well as the personal experiences of their fans. In dozens of interviews, he charts the course of southern rock & roll. Before civil rights, the popular music of the South was a small, often racially integrated world, but after Martin Luther King Jr.'s assassination, black musicians struck out on their own. Their white counterparts were left to their own devices, and thus southern rock was born: a mix of popular southern styles that arose when predominantly white rockers combined rural folk, country, and rockabilly with the blues and jazz of African-American culture. This down-home, flannel-wearing, ass-kicking brand of rock took the nation by storm in the 1970s. The music gave southern kids who emulated these musicians a newfound voice. Kemp and his peers now had something they could be proud of: southern rock united them and gave them a new identity that went beyond outside perceptions of the South as one big racist backwater.
Kemp offers a lyrical, thought-provoking, searingly intimate, and utterly original journey through the South of the 1960s, '70s, '80s, and '90s, viewed through the prism of rock & roll. With brilliant insight, he reveals the curative and unifying impact of rock on southerners who came of age under its influence in the chaotic years following desegregation. Dixie Lullaby fairly resonates with redemption.
- Sales Rank: #1794242 in Books
- Brand: Brand: Free Press
- Published on: 2004-08-24
- Released on: 2004-08-24
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.01" w x 6.00" l, 1.08 pounds
- Binding: Hardcover
- 320 pages
- Used Book in Good Condition
From Publishers Weekly
Part memoir, part music history and part social history, Kemp's book cannot decide quite what it wants to be. On the one hand, Kemp tells the story of his own experience of racism in the South and the ways that Southern rock bands helped him move beyond Southern racial attitudes. On the other hand, he regales the reader with sparkling tales of the evolution of Southern rock from 1968 to 1992. Born in Asheboro, N.C., Kemp, a white Southerner, struggled to understand the mysterious ways of segregation. After Martin Luther King Jr.'s death, he observes, a number of Southern rock bands emerged—among them the Allman Brothers Band and Lynyrd Skynyrd—that challenged the racial views of the South. Drawing on interviews with several musicians and producers, including Phil Walden, Mac Rebennack (Dr. John), Warren Haynes and Jimmy Johnson, Kemp expertly examines the early years of Southern rock (1968–1973), the evolution of redneck rock (1974–1981) and the reconstruction of Southern rock (1982–1992) in bands like R.E.M., Jason and the Scorchers, Gov't Mule and Steve Earle. Kemp's anecdotal and affectionate remembrance of Southern rock provides a solid panoramic view of an important chapter in the history of rock and roll.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
In considering the role of his native South in rock-and-roll history, Kemp presents the ways black and white influences intertwined to spawn rock, which then affected how the South subsequently developed. With his bent toward atmospheric description, Kemp seems to aspire to a niche in the Greil Marcus-Dave Marsh sector of Rock-Crit Valhalla as he makes the case that his southern generation felt alienated from parents' traditional values and views of racial segregation. While Kemp's observations on the twin developments of southern rock as played by the likes of the Allman Brothers and Marshall Tucker bands and ostensibly nonracist, Christian Right-linked political conservatism are interesting, his take on rock history rather resembles the same old rock-crit bloviation piled higher and deeper. Behind the hyperbole lurks a may-be-significant look at the confluence of rock music and contemporary American reality. Coming from a guy who, as a youth, was suitably impressed with Funkadelic's classic album Maggot Brain, it couldn't be worthless, could it? Mike Tribby
Copyright © American Library Association. All rights reserved
Review
Dennis McNally, author of A Long Strange Trip: The Inside History of the Grateful Dead Mark Kemp was part of the generation of young white southerners for whom Allman Brothers-style southern rock was not just music, but, as he persuasively argues, a redemptive escape from racism. Dixie Lullaby is a compelling memoir of growing up in the post-civil rights era South from a young man whose life was truly "saved by rock & roll."
Dennis McNally author of A Long Strange Trip: The Inside History of the Grateful Dead Mark Kemp was part of the generation of young white southerners for whom Allman Brothers-style southern rock was not just music, but, as he persuasively argues, a redemptive escape from racism. Dixie Lullaby is a compelling memoir of growing up in the post-civil rights era South from a young man whose life was truly "saved by rock & roll."
Stephen J. Dubner author of Turbulent Souls and Confessions of a Hero-Worshiper Though surely too much of a southern gentleman to admit it, Mark Kemp is every bit as audacious as the musicians he writes about. The story he tells here encompasses everything that is important about modern life. And he tells it beautifully, the cultural criticism and memoir blended seamlessly. He will make you see the South anew.
Larry Brown author of The Rabbit Factory and Faye As a child of the South and the '60s, I know in my heart that Mark Kemp has told the truth about what growing up here and loving music was like. But you don't have to be a Southerner to get it. Anybody who's listened to rock & roll or voted for the last forty years or so ought to be delighted by this fascinating, well-written, and entertaining new book.
Most helpful customer reviews
3 of 3 people found the following review helpful.
People can you hear it? A song is in the Air!
By dougrhon
This book by music writer Mark Kemp is hard to categorize. It is part memoir, part cultural and social history and partly a history of popular music. The author manages to tie the various threads together into a cohesive whole and has written a fascinating book.
Kemp was born in South Carolina in 1960 and came to outside awareness just as the civil rights movement kicked into the highest gear and the old Jim Crow order of the South was breaking down. Kemp had the good fortune to be born to freethinking progressive parents who did not raise him in the atmosphere of invidious racism that characterized the life of so many other southerners of that time. The book really begins with the assassination of Martin Luther King in 1968. Prior to that event, white musicians backed many of the great black soul and rhythm and blues singers. After King was killed, many blacks felt they could no longer work with either white musicians or white owned music companies. As Kemp points out, the book is not about the fascinating story of black music in the south but of white music. In the year 2005, it is difficult for one who did not live through it, to appreciate what the reputation of the South was in 1969. Even its own young considered the South backwards and indeed, "redneck". As for music, white southern music meant either hillbilly boogie or country western. Southerners did not perform rock music in an indigenous style and those from the South who desired to make it in popular music left for either California or New York and dropped their Southern roots, usually in embarrassment.
This all changed when a man named Phil Walden, former manager for Otis Redding decided to start his own label, which became the fabled Capricorn Records. Rather than create a house band to back up studio owned singers, as with the Muscle Shoals studio, Walden decided to back a hot young guitarist from Florida named Duane Allman who had gained a reputation as a hot studio slide player and was looking to create his own band. Duane's band was originally supposed to be a power trio but ultimately consisted of six young men, one of them a black drummer, another his brother Gregg, a keyboardist and incredibly soulful blues singer. When Walden heard the debut of the "Allman Brothers Band" he knew he had found something special and backed the band out of his own pocket as they struggled to make it.
After describing the creation of the Allman Brothers Band, Kemp shifts back to his own story. In 1970, the ten years old author was dedicated to the blues sound of the Rolling Stones, having no idea that the Stone's sound was native to his own home region. When he hears the Allman Brothers Band in his sister's car, he, like thousands of other young Southerners, is instantly smitten. The Allmans' style was a unique blending of all native American sounds, with plenty of blues, soul, pure improvisational jazz and driving rock thrown into the mix. Not rednecks at all, the Allmans were more like southern hippies, singing "People Can you feel it? Love is everywhere!" Kemp claims that Gregg Allman sang with the sadness of the South. But Lynyrd Skynyrd rocked with righteous anger and extreme Southern pride. After the decline of the Allman's post-1973, came the rise of Southern "redneck rock" rockers, like Skynyrd and Molly Hatchett who made no apolgies for who they were or where they were from and who played a crunching brand of boogie rock, very different from that of the Allman Brothers Band. As the book continues, Kemp varies between a history of the music of the South and his own personal story in which he grows up, becomes a "head" in high school, rejects Southern music, moves north, develops a drug problem lands and loses his dream job at Rolling Stone and becomes ashamed of his Southern heritage. All the while he parallels this story with that of the musicians and the individuals he interviewed for this book including Charlie Daniels, Warren Haynes of the Allman Brothers Band and Gov't Mule and so many others. The book really covers a large period of cultural history, more than thirty years, and a lot about Kemp's own life in a relatively few pages. And yet the book holds together surprisingly well. It really is a great read and anyone reading it will learn a little about what it was like to grow up a rock and roll fan in the new South of the 1970's. I highly recommend it.
7 of 7 people found the following review helpful.
A Peach of a Book!
By B. Grier
Wow...I had withdrawal pangs after finishing this book! Kemp takes you on a sentimental tour of Southern rock music through scenery of the concurrent social and political events that affected the region and the nation. Just a small format change could have made it qualify as a music history textbook, yet somehow he has gracefully composed a harmony of history, memoir and good 'ole story tellin'. I learned things I never realized as a fan of many of the artists he discusses while I gained a deeper understanding of the events that rocked the country during my youth. The education was pure joy! His writing style is warm and inviting and keeps you fascinated with the stories as well as the chronology that could otherwise seem pedantic (I even read all the chapter notes!). Whether your youth lies in the 60's or 90's, you will find reading "Dixie Lullaby" a rich experience.
2 of 2 people found the following review helpful.
DIXIE LULLaBY "A Great Story of Music, Race & The New South"
By Gary Covington
THIS IS A VERY GOOD BOOK ABOUT GROWING UP IN THE SOUTH, BEFORE, DURING, AND AFTER THE CIVIL RIGHTS MOVEMENT, AND HOW THESE EVENTS DURING THIS PERIOD INFLUENCED SOUTHERN MUSIC AND NEW BEGINNINGS IN THE SOUTH!!! THIS STORY IS TOLD BY MARK KEMP (THE AUTHOR) BASED ON HIS EXPEIENCES. IT IS MY IMPRESSION THAT MARK HAS A DEEP LOVE FOR THE SOUTH AND SOUTHERN MUSIC, ESPECIALLY "SOUTHERN ROCK". THIS BOOK FOCUSES ON SOUTHERN ROCK AND THE PIONEER BANDS WHO MADE IT FAMOUS.
This book also focuses on some of the songs of the southern rock movement, such as the Allman Brothers Band's "Dreams", Lynyrd Skynyrd's "Poison Whiskey", and others.
Mark Kemp is a very good author, he has been an editor for the "Rolling Stone" Magazine, and he is a jouralist. He grew up in North Carolina. He knows members on the Southern Rock Bands that he writes about.
The Main Theme I get about this book is that after the Civil Rights movement in the South, things changed, music changed, and politics changed. One of the significant changes to come out of post civil rights movement era was "SOUTHERN ROCK". (CMT did a special show on the Southern Rock Revelution and it coroborated Mark's story).
"SOUTHERN ROCK" gave southerns something to be proud of. It displayed the south in a more positive way. During the "glory days" of Southern Rock (from about 1969 till 1977 when Lynyrd Skynyrd's plane went down), some of the BEST BANDS IN THE COUNTRY WERE FROM THE SOUTH!!! IT GAVE US SOUTHERNER'S SOMETHING TO FEEL GOOD ABOUT.
OVERALL, ITS A VERY GOOD BOOK ABOUT THE "SOUTHERN ROCK MOVEMENT" AND CHANGES THAT WERE MADE IN THE SOUTH, GIVING THE SOUTH A "NEW BEGINNING".
IT'S AN ENJOYABLE BOOK TO READ, AND SO I RECOMMEND IT!
This Book covers the stories of the legendary bands who lead this "Southern Rock" revolution: THE ALLMAN BROTHERS BAND, LYNYRD SKYNYRD, AND THE CHARLIE DANIELS BAND, AND OTHER SOUTHERN ROCK BANDS, SUCH AS WET WILLIE AND THE MARSHALL TUCKER BAND. THESE BANDS REPRESENTED THE SOUTH IN A NEW A POSITIVE WAY!
THIS BOOK COVERS HOW THIS MOVEMENT HELPED ELECT JIMMY CARTER AS PRESIDENT.
THERE ARE ALSO, TIDBITS OF OTHER INFORMATION IN THIS BOOK SUCH AS THE MOVIE "ALMOST FAMOUS" BY CAMERON CROWE. CAMERON CROWE TRAVELED WITH BOTH THE ALLMAN BROTHERS BAND AND LYNYRD SKYNYD, AND MOST OF THIS MOVIE IS BASED ON THESE TRAVELS. Also, Mark writes about how the "Rolling Stones" and "Elvis Costello" re-introduced southern music to southerners. He also covers the effect that the movie "Easy Rider" had on southern rock and southern culture. He also, discusses Charlie Daniel's songs "Uneasy Rider" and "Uneasy Rider - 1980's version". Charlie's song "Uneasy Rider" is about a "hippie" getting back at "intolerable" "rednecks". Mark really gets into this with Charlie Daniels. Charlie Daniels didn't like for "Southerner's" to be represented like the "rednecks" in the movie "Easy Rider", so that's why he wrote the song "uneasy rider", about a "hippie" getting back at some "intolerable" "rednecks". Charlie wanted the South to be presented in a more positive way. Southern rock songs like uneasy rider and others helped change southern culture, so that "main-stream" southerns became more tolerant of "outsiders" or people who were different. As far as tolerance goes, Charlie Daniels agrees with Mark on most things, but not on everything.
Anyway, this book gives a GOOD HISTORY OF THE SOUTHERN ROCK MOVEMENT from the viewpoint of a Southerner himself. He knows these band members, and tells his story. He also brings out some of the new southern rock bands that have emerged in recent years, such as "Drive By Truckers", the Blackcrowes, and others.
As I mentioned before, this is a good book to read, and I do recommend it!
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