Paul Ryan on Social Security Reform (Part 2)(Wayne Jackson Famous Arkansan)

Congressman Paul Ryan is probably the hottest name in Washington right now. 50% of the people love him and the rest hate him.

 Americans for Prosperity hosted a Social Security Reform Roundtable with Congressman Paul Ryan. Part 1 of 3.

“Provides tax breaks for the wealthy”

False charges about Roadmap and our responses: – The proposed simplified tax code retains its progressivity, and cleans out the tangled web of tax deductions and credits that are disproportionately used by the wealthy.  The tax base is broadened so that rates can be lowered. It also offers generous standard deductions so that a middle-income family of four pays no taxes on the first $39,000 of its income. More important, the business-tax changes in the Roadmap would deliver what all Americans seek at this time — increased job opportunities and higher economic growth.


Here is part of the series I am doing on “Famous Arkansans.” Wayne Jackson grew up in West Memphis and performed on some famous songs like this one below:

Music video from the new DVD
‘Dreams To Remember: The Legacy of Otis Redding’
by Reelin’ In The Years Productions
This DVD features 16 complete performances by Otis along with brand new interviews with Stax musicians Steve Cropper, Wayne Jackson, Stax Records founder Jim Stewart and Reddings wife Zelma. Release date Sept 18, 2007.
Music video Directed & Edited by Bob Sarles
Produced by Ravin’ Films
Otis Redding wrote this song while living on a houseboat in Sausalito on the San Francisco Bay. We discovered the actual spot where Otis’ housboat was berthed, and shot new Super8 footage from the spot for use in this video. Thanks to Anne Garfield, Joel Selvin and Bill Belmont. Otis recorded this song shortly before his tragic death. Steve Cropper finished production on the song after Otis’ plane went down. Released posthumously, it was Otis’ biggest hit ever. Enjoy!

Wayne Jackson has played with all the greats from Aretha Franklin, Otis Redding, Neil Diamond to Elvis Presley. Playing with The Memphis Horns, Wayne’s sweet trumpet is one of the most recognised soulful sounds in the last 50 years of pop music. He has played on over 300 Number 1 records and still is one of the nicest people you could ever meet.

Wayne Jackson knew Elvis from an early age, and not only played on some of Elvis’ greatest songs but was also a visitor to Graceland and has some great insights into music and the man.

First some essential Memphis musical background.

Born in Memphis and raised across the river Wayne Jackson’s love of music began with a guitar. But one night his mother came home with a trumpet for her 11 year-old son. “I opened up the case, and it smelled like oil and brass. I loved that, so I put it together, blew, and out came a pretty noise. My first taste of Sweet Medicine.” The rest is music history.

By 12th grade Wayne Jackson found himself playing with a group called The Mar-Keys. They had a number one instrumental smash called, ‘Last Night.’ It was 1961. What followed was a magical ride making music history with Otis Redding, Sam & Dave, Rufus Thomas, Isaac Hayes, all the soul greats. In 1969, Wayne and sax man, Andrew Love, became “The Memphis Horns” and found themselves working with a host of stars such as Neil Diamond, Aretha Franklin, B.J. Thomas and Elvis Presley.

EIN’s Piers Beagley was fortunate to meet Wayne Jackson and to spend some time with him chatting about soul music, life and Elvis.     

EIN – Thanks for sparing some of your valuable time & talking to us.

Wayne Jackson – You know that I’ve been down there to Australia several times & I love it. If it wasn’t for family over here I could get lost down there!

EIN – You’ve done a lot of touring in your time. I have recently been watching some of those great STAX shows of you in Europe. They are sensational.

W.J – Oh man! We were 25 years old. Otis Redding, me & Andrew Love & Booker T & the MGs. We’d never been to Europe before and me being a country boy from the sleepy, cotton-town of West Memphis (Arkansas), even Memphis was a big deal. I had never been on a jet plane before and we had the biggest time you could imagine. But it was so hard to get any sleep there was always something to do. A lot of times we all felt like The Beatles ‘cos people were frantic to see us. To us it was just “family” but we had craziness & screaming fans all along the way. It was sure an eye opener.

EIN – Who were the original Stax horn section when you were the Mar-keys?W.J – Originally it was actually me & Andrew Love & Floyd Newman but Floyd dropped out ‘cos of College obligations. Joe Arnold who is a great saxophone player used to play with us too.Right: Wayne Jackson, Andrew Love. The sort after 1995 LP, “The Memphis Horns & Special Guests”.

EIN – Before you worked with Elvis you worked also on an incredible number of classic Memphis songs both at Stax and Chips Moman’s American Studios.

W.J – It’s a shame that they tore down both those original studios. American Studios is a parking lot now! We’ve been going through the RIAA website and we’ve found 60 platinum rated records that I played on that the record companies haven’t awarded me yet!

In the end I’ll have over One Hundred platinum records and most of them were done at American Studios. Andrew and I reckon that as The Memphis Horns we have performed on over 300 number One singles!We were kids and we worked 7 days & 7 nights a week, even Christmas. We did that for about 10 years. We only got paid strictly Union rates. Sometimes we might only make $48! Eventually we were put on a staff salary that made up for it.(Left: Wayne Jackson in soulful action)

EIN – It seems crazy that your horn sound is so identifiable in all those records yet you got less than $50!

W.J – Luckily Wilson Pickett’s ‘Land of A Thousand Dances’ was General Motors theme song back in summer 2002 and so I made several thousand dollars that year, although I only got paid $65 to record it initially!

EIN – There’s a very scary story about how an Otis Redding overdub saved your life?

W.J – I remember that week (December 8th 1967) so well because I had gone out with Otis to Hernando’s Hideaway the Thursday night and he was such a nice young man – and just 2 days later he was dead. We had just worked on ‘Dock Of The Bay’ and Otis was going out on the road with his touring band The Barkays to do a live album. Andrew & I were supposed to go out to beef-up their sound but we had to stay and do the overdubs on ‘Dock Of The Bay’. So I was really supposed to be on that plane that killed Otis and the band – but having to stay back for the overdubs on ‘Dock Of The Bay’ saved my life!


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