by Bruce EderRegardless of the name on the album, Goin' to Memphis is essentially aMark Lindsaysolo project cut in Memphis, atChips Moman's American Studios. At the time, the group was looking for a change in sound, their prior LP,Revolution, having failed to sell in remotely the number of its predecessors; road managerJerry Williamssuggested an album withMoman, who would only record with his own house musicians:Tommy CogbillandReggie Youngon guitars,Mike Leechon bass,Spooner OldhamandBobby Woodson keyboards, andGene Crispianon drums. So this isMark Lindsayand and those guys, withLindsaywriting six of the songs himself. Only one cut -- the previously recorded single Peace of Mind -- features Paul Revere & the Raiders. Goin' to Memphis was a serious departure, without a trace of the garage punk or pop-psychedelia sound of their earlier albums, but it was also a reasonably successful one.Lindsay's vocals are astonishingly strong and gritty throughout this record, doing Soul Man, Every Man Needs a Woman, I Don't Want Nobody, No Sad Songs, or Boogaloo Down Broadway with very convincing ease, grit, and passion. At the time, this may have been the album that helped inspireLindsayto begin pursuing a solo career aroundthe Raiders' work. The American Studios band, of course, could play this stuff in their sleep, and what little augmentation there is came from members ofthe Memphis Symphonyadding strings. Unfortunately, Goin' to Memphis failed to recapture the group's earlier audience, being a little too hard and serious as soul for many of the younger white middle-class kids who comprised their listenership.