Tag: Bill Haley & the Comets

Buddy Miller’s Touchstone: “That’s How I Got to Memphis”

How I Got to Memphis

The first time I fell for Buddy Miller‘s music is when I heard his cover of Tom T. Hall’s “That’s How I Got to Memphis.” At the time, I’d borrowed Miller’s 1995 CD Your Love and Other Lies from my friend. Although I eventually came to love the entire album, it was “That’s How I Got to Memphis” that grabbed me on the first listen and never let me go.

I have followed Miller’s career since then, buying and enjoying all of his albums. If asked to name my favorite Buddy Miller album, it would be Cruel Moon (1999).

But asked me to name my favorite Buddy Miller recording, though, I would have to go past all of the wonderful original songs of his. And I’d name his cover of “That’s How I Got to Memphis.”

Buddy Miller’s Relationship With the Song

Considering how that song has remained a standout in Miller’s catalog for me, I was fascinated that the Tom T. Hall song means so much to him. In this video recorded at Tom T. Hall night at Music City Roots on November 16, 20111, Miller explains how the song is his favorite and how it has become his “touchstone.”

Miller has been playing the song since it came out.  And he has played it at every gig. Additionally, he played it the first time he met his wife, the singer-songwriter Julie Miller.

What Is the Meaning of the Song?

The title of “That’s How I Got to Memphis” gives you and idea about the question of the song (how did the singer get to Memphis?). But it is Tom T. Hall’s great storytelling ability that tells you just enough to answer the question and leaves just enough unclear, so that everyone may hear something different in the song.

In “That’s How I Got to Memphis,” the singer explains how he is seeking a lost love and how that journey brought him to Memphis. The song does not answer all of the questions, like why the woman went to Memphis, what kind of “trouble she’s in,” or the exact reason she left the singer. But the singer’s quest to find the answers to these questions allows the listener to fill in the blanks, even as the story breaks your heart.

The song is about life and loss. If the song were from the woman’s point of view, one might be tempted to categorize it as a song about a stalker, even as we wonder why she left and why she always threatened to go to Memphis. But because the song is in the voice of the broken-hearted man speaking to another person who may be a stranger or a friend, a great singer can remind you of the pain of losing something you once loved.

Or you may see the song as more about the journey of getting to another place. The beauty of Hall’s song is in the ambiguity, which leaves a lot to be revealed in the connection between the singer and the listener.

Other Versions of “That’s How I Got to Memphis”

Several other artists have covered the song, sometimes shortening the title to “How I Got to Memphis.” The song has been recorded and/or performed by artists such as Bobby Bare, Bill Haley and the Comets, Solomon Burke, Rosanne Cash and the Avett Brothers. More recently, Jeff Daniels sang the song on the series finale of HBO’s The Newsroom.

“That’s How I Got to Memphis” first appeared on Tom T. Hall’s 1969 album Ballad Of Forty Dollars & His Other Great Songs. Below is his version.

What is your favorite Buddy Miller song? Leave your two cents in the comments.

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    A Rushed “(We’re Gonna) Rock Around the Clock” Goes to Hollywood and the Hall

    bill haley and the comets decca
    On April 12, 1954, Bill Haley & the Comets recorded the rock and roll classic, “(We’re Gonna) Rock Around the Clock.” During the recording session, the band spent most of the time on another song. It would be in the final forty minutes of that three-hour session where the band would make history, with a little later help by a 10-year-old kid.

    The Rushed Recording Session

    The band went in the recording studio for Decca Records that day and worked on the song “Thirteen Women (and Only One Man in Town)” for most of the three-hour session.  Finally, with forty minutes left, they turned to “(We’re Gonna) Rock Around the Clock.”

    At the start of that forty minutes, the group played “Rock Around the Clock” one time. Then, because the first recording of “Rock Around the Clock” did not sound right, they then ran through a second take, leaving Sammy Davis Jr. in the hallway waiting for his turn in the studio.

    Time was running out.  So, an engineer was able to put together the two takes to make the classic record we know today.

    The Guitar Solo

    Because of the rushed nature of the recording of “Rock Around the Clock” the guitarist for the session, Danny Cedrone, did not have time to put together a unique guitar solo for the song. So he stuck in a solo he had used two years earlier with Haley on a song called “Rock This Joint.”

    You may hear the familiar solo that Cedrone took from “Rock This Joint” in the video below.

    The B-Side Release and Modest Sales

    That spring, Decca released “Rock Around the Clock” as the B-side to the song on which the Comets spent most of the recording session, “Thirteen Women (and Only One Man in Town).”

    The single “Thirteen Women” and B-side “Rock Around the Clock” had modest sales that year. Perhaps the record would have remained a modest hit if not for a little boy.

    Glen Ford’s Son Saves the Song

    A 10-year-old named Peter Ford fell in love with the B-side of his new record. Peter eventually played the song for his father, the actor Glen Ford.

    Ford was preparing to star in a movie called Blackboard Jungle (1955). Ford took the record, along with some others, from his son’s collection to the movie’s producers (or some accounts have the producers hearing the song at Ford’s home).

    “(We’re Gonna) Rock Around the Clock” was selected to be played over the opening credits of the film about juvenile delinquency that also starred Sidney Poitier.  With the boost from the movie, “Rock Around the Clock” sold more than a million copies in one month in 1955.

    “Rock Around the Clock” Lives On

    Twenty years later the song was familiar for another generation when it appeared on the soundtrack of American Graffiti (1973) and was used as the opening of the TV series Happy Days (1974-1984) for its first two seasons.

    Funny how a rushed job, a 10-year-old kid, and a little luck created one of the most memorable records of the early rock era.  It also helped send the late Bill Haley to the Rock & Roll Hall of Fame. And on April 14, 2012, a few days after the fifty-eighth anniversary of the recording of “Rock Around the Clock,” the Comets were finally inducted too.

    What do you think of “Rock Around the Clock” and inducting the Comets into the Hall of Fame? Leave your two cents in the comments.

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