If there ever was a book that epitomizes the good, bad, and ugly aspects of the burgeoning music business in the ’60s South, it’s Howard Grimes’ memoir, TIMEKEEPER, My Life In Rhythm.

Growing up as baby-boom kid of that same era, I, too, was exposed to a smorgasbord of musical greatness, and while Memphis, TN, was possibly not as commercially oriented as its C&W neighbor in Nashville, it introduced artists whose contributions have more than weathered the test of time: The Memphis sound is also known as soul, and is indicative of the South itself: Laid-back, hot, funky, with groove-a-liscious rhythms and staccato horn lines that go straight to the heart or better yet, feet. Artists like Booker T & the M.G.’s, The Bar-Kays, Isaac Hayes, David Porter, Sam & Dave, Otis Redding, Rufus and Carla Thomas, Arthur Conley and many others who contributed to the history of STAX/VOLT Records. Grimes’ tell-all reminds the reader that he and his studio mates extended the Memphis sound post-STAX’s successes via Willie Mitchell’s Hi Records and its primary artist, The Rev. Al Green, whose hits like “Love & Happiness,” “Let’s Stay Together” and “I’m So Tired of Being Alone” remain embedded in any true music lover’s consciousness, as did many other artists Grimes backed, like many of the above plus Willie Mitchell, the Mar-Keys, the Bo-Keys, Otis Clay, William Bell, Ike and Tina Turner, and on and on.

Grimes was the rhythmic muscle behind the Hi sound, and although not as well-known as the MG’s Al Jackson Jr., he was every bit as important, exuding the in-the-pocket style that most Southern drummers claim fame to. He writes, in plain-speak, with graphic subtlety, and while earning notoriety for his recorded work among his peers, his personal/professional endeavors are far less successful. Howard is not shy about revealing issues such as shootings, fist-fights, infidelities, etc., and begs the ongoing question: Can a black man who was born on the poor side of town obtain prominence and position in life? The answers, if not depictions are literally in your face. Every success is met with a failure of sorts. As a steadfast Christian, Grimes remains undeterred and true to his beliefs, which eventually become his salvation. Not afraid to detail the underside of Memphis of the ’60s (barrooms, juke joints, red-light districts, etc.), and the difficulties he faced just to stay in the game, his attention to detail is uncanny. Professionally speaking, he had some very good, visible, offerings as a member of the Hi rhythm section, only to be discouraged because he was not compensated fairly, and sometimes not at all.

Grimes’ tale is not so unique as it is courageous. His honesty and candor are refreshing, and although this book might not be meant for scholarly review, I recommend it for anyone interested in the underbelly of the music industry. Grimes has written a memorable memoir…not for the faint of heart.

—Bob Girouard