Aretha Franklin was six years into a hit-free career when Dan Penn wrote her a song that would go on to become a classic, synonymous with her name. “Aretha walks in and she’s got this aura around her,” says Penn of the recording session, which took place at the legendary Muscle Shoals Sound Studio in Alabama. “The girl was special, that was obvious. I sang her Do Right Woman, Do Right Man, accompanied by just a little drumbeat and an organ.”
In the year 1967, the song “Do Right Woman, Do Right Man” written by Penn and Chips Moman, appeared on the US charts for 11 weeks, reaching No. 9. It was later recognized as one of the greatest songs of all time by Rolling Stone. Penn has many anecdotes about working with legendary artists like Franklin and the songs he penned for them. However, there is one singer, possibly the most famous of them all, that he did not get the chance to collaborate with.
In 1969, Moman produced Elvis Presley’s comeback hits In the Ghetto and Suspicious Minds. Although Penn played no role in these sessions, he was called on for another service. “Chips said, ‘Dan, bring your camera down.’ So I took shots of Elvis and the musicians. People are amazed I didn’t say anything to Elvis but what would I have said? ‘Hey, you’re as pilled up as me’?”
The person laughs and then states, “Unfortunately, Elvis never recorded any of my songs. I heard that he was planning on recording Nobody’s Fool, but he passed away.” Nobody’s Fool, a catchy and upbeat song written by Penn and Bobby Emmons, ended up gaining popularity through Alex Chilton, the talented young musician who later struggled with substance abuse and became a cult rocker.
Wallace Daniel Pennington hailed from Vernon, Alabama and his love for the radio was insatiable. He fondly remembers listening to the likes of Hank Williams, Patsy Cline, and Perry Como during the day, while Ray Charles and Jimmy Reed kept him company at night. Despite living in a segregated town, Penn recalls that people got along without any major issues until problems arose later on.
Penn had a strong passion for soul, blues, and gospel music from a young age. He showcased his vocal talents, and eventually began writing songs as well. One of his compositions caught the attention of a scout in Nashville, and it was later recorded and popularized by Conway Twitty as “Is a Blue Bird Blue.” Penn remembers being in high school at the time and feeling a sense of pride and accomplishment.
Penn started working at a small recording studio in Florence, Alabama after finishing school. The studio was co-owned by a record producer named Rick Hall, who Penn credits as being his mentor. Penn learned a lot from watching Hall work and was inspired by him. In 1961, Hall relocated his Fame Studios to Muscle Shoals and continued recording local African American singers. Penn was responsible for providing songs and often collaborated with pianist Spooner Oldham. In 1966, their hit song “I’m Your Puppet” was recorded by James & Bobby Purify and became a major success. This experience made Penn realize the potential for financial success in the music industry.
Penn and Oldham’s songs were sought after by artists like Percy Sledge, Clarence Carter, and Wilson Pickett. Penn recalls the lively days of writing and recording with long sessions. While Rick had a good ear, he occasionally overlooked someone. Penn recorded Percy Sledge’s first demo with the song that would later become “When a Man Loves a Woman” – but Rick didn’t understand its potential at the time.
Penn collaborated on a folksy breakup song with Hall entitled “You Left the Water Running.” Despite later artists like Pickett and Ken Boothe covering the track, Penn was unaware that Otis Redding had stopped by Muscle Shoals and recorded a demo of it many years ago. The lyrics go, “You left the water running, it’s running from these eyes of mine.” This rendition was finally released by Redding’s estate in 1987, and Penn is fond of it, as it showcases how songs can take on a life of their own. “I am constantly amazed to discover who has covered my song. I am both amazed and grateful when I receive my royalties!”
While Fame Studios in Muscle Shoals was achieving success in producing hits, Penn grew restless. He was offered a spot by Chips in Memphis, who was also producing hit songs. He joined Chips and together, they wrote “The Dark End of the Street” for James Carr in 1966. This haunting song about forbidden love has been covered by many artists, including Dolly Parton, Lee “Scratch” Perry, and Cat Power.
What led to the creation of this? According to Penn, “Chips and I were playing poker throughout the night in a hotel room.” During a break, they came across a guitar and quickly wrote the song in 15 minutes. It seemed to have come out of nowhere. James then sang it exceptionally well.
In the following event, Moman was tasked with managing production for the band called The Box Tops in Memphis. He provided them with a tape of songs to potentially use, and they selected one called “The Letter”. Under Penn’s direction, the 16-year-old singer, Chilton, and his band practiced until they were able to deliver a satisfactory performance. All their hard work paid off when “The Letter” reached number one on the US charts for four consecutive weeks in September 1967.
Penn states that he was responsible for the production, engineering, and writing of the majority of the first three Box Tops records. He also mentions collaborating with Spooner to write the band’s second successful single, Cry Like a Baby. Under Penn’s direction, the band achieved multiple popular and soulful hits. The Box Tops required significant effort, but working with Alex was always enjoyable for Penn. He praises Alex’s incredible vocal abilities and clarifies that any rumors of animosity between them are unfounded, as Penn always found him to be friendly and respectful.
Chilton’s post-Box Tops band Big Star initially achieved zero commercial success, yet went on to influence every indie band from REM to Teenage Fanclub. That is quite an achievement, but Penn is unimpressed. “Big Star were too flowery for me,” he says. “Alex never sold any records after we stopped working together.”
During the 1960s, Penn experienced a wave of success with multiple hit songs. However, in the following decades of the 70s and 80s, he faced challenges. He acknowledges that Memphis was a great hub for music, especially for its unique take on blues. Sadly, after the assassination of Martin Luther King Jr., the atmosphere and music scene drastically shifted.
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The initial album of The Flying Burrito Brothers, led by Gram Parsons, featured renditions of Dark End of the Street and Do Right Woman. Meanwhile, Janis Joplin’s last album Pearl includes the Penn-Oldham composition A Woman Left Lonely, which is considered the standout track. However, Penn did not have a strong affinity for the hippie culture, describing Joplin’s style as “just a bunch of screaming.”
Penn moved to Nashville and still resides there, where he continued to write music. However, he no longer achieved significant success. He states, “I may be from the country, but my songs aren’t really suitable for country artists.” His solo albums did not make much of an impact, and his other recordings were either never released or received little promotion.
Things are about to turn around. The 2005 album he collaborated on with Bobby Purify is being released again as “The Inside Track on Bobby Purify.” This reissue includes the original 10-song demo created by Penn, offering an intriguing look into the evolution of song sketches into soulful hits. Penn, now 82 years old, expresses his satisfaction with the outcome, stating that the demos sound fantastic. He also expresses his excitement for Purify’s album to finally be heard, as he was a talented vocalist.
The money earned from royalties on Penn’s well-known songs allows him to work at a relaxed pace. He explains, “If I had kept touring, I would have become exhausted. But now, with my own home studio, I enjoy creating and recording new music. Even if it’s not what’s currently popular, I am content.” A big grin lights up his face as he proudly states, “Songwriting has been a blessing for me.”
Source: theguardian.com
