Alex Abramovich

I never met Little Richard, but I did spend some time with Dewey Terry, who played in his band. We sat in front of Dewey’s bungalow on Johnny Otis’s estate in Pasadena, drinking Mickey’s Malt Liquor while Dewey played guitar and talked about studio sessions and orgies. At some point, he picked up the phone and said: ‘Let’s go see Richard!’ I was young – 26, 27 years old – but I knew who Little Richard was and what he meant to the world, and was relieved when no one answered the phone. Why would you want to meet Little Richard? What would you say?

Chicago’s Black Monument Ensemble started to form in summer 2014, after Michael Brown was killed by police in Ferguson, Missouri. Damon Locks was teaching art at a prison in Illinois, and feeling less than hopeful, when he heard the Pointer Sisters’ cover of Lee Dorsey’s ‘Yes We Can Can’ come over the radio. Locks had trained as a visual artist in Manhattan and Chicago and performed, for much of the 1990s, as the singer in a post-punk band called Trenchmouth. But the music that he began making now sounded nothing like punk. Inspired by Public Enemy, by that Pointer Sisters recording, by Archie Shepp’s Attica Blues, Phil Cohran’s Artistic Heritage Ensemble, Eddie Gale’s Black Rhythm Happening, and by a performance the Voices of East Harlem gave at Sing Sing in 1972, Locks started to layer beats over snippets of Civil Rights era speeches.

Jerry Williams Jr released his first album as Swamp Dogg, Total Destruction to Your Mind, in 1970. Before that he worked as a straight-up songwriter and producer – at Atlantic Records, among other places – cutting singles for Wilson Pickett, Patti LaBelle, Gary U.S. Bonds, Gene Pitney, and Inez and Charlie Foxx, as well as himself. He had got his start in 1954, the year that Elvis Presley made his first commercial recordings. Like Presley, Williams was living with his mother back then, though you wouldn’t have guessed it from the song he recorded: ‘Now, I know I take my whiskey/and sometimes get carried away,’ Williams sang. ‘I’m over 21 years old/so you ain’t got a darned thing to say.’

Harold Eugene Clark and Ingram Cecil Connor III – who grew up to be Gram Parsons – were both Southern boys, born a few years apart. Parsons was wealthy; Gene Clark was working-class. But both of them picked up guitars early on, moving with the times from rock and roll combos to folk groups before making their way to Los Angeles, where they ended up playing with the same musicians and, occasionally, with each other. Both of them passed through the Byrds: Clark formed the band with Jim (later Roger) McGuinn; Parsons was one of his eventual replacements. Both went on to make albums (The Gilded Palace of Sin; The Fantastic Expedition of Dillard & Clark) that are cornerstones of country-rock – what Parsons called 'Cosmic American Music'.