Sweet Soul Paradox

FAME studio mic

ON THE 2001 album Southern Rock Opera, over a thumping four-by-four beat and three roaring guitars, Drive-By Truckers front man Patterson Hood sang a song about “the duality of the Southern thing,” which he identified as equal parts “glory” and “shame.”

That pretty much sums up the paradox of a place like Hood’s native Alabama, where they celebrate the birthdays of Martin Luther King Jr. and Robert E. Lee on the same day. But up in the northwest corner of Alabama there stands a monument to the South’s unalloyed glory—the FAME recording studio in Muscle Shoals.

Beginning in the late 1950s, when segregation was still the law throughout the former Confederacy, at FAME black and white Southerners worked as partners, side by side, to make the sweet soul music that would help change the world. Percy Sledge’s “When a Man Loves a Woman,” Aretha Franklin’s “I Never Loved a Man the Way I Love You,” Wilson Pickett’s “Land of 1,000 Dances” and “Mustang Sally”—they were all recorded in Muscle Shoals within a two-year period in the mid-1960s.

And most of the musicians on all those deeply funky recordings were white Alabamans. The bass player, David Hood, was the father of the Truckers’ Patterson Hood.

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