The Black Music Discussion, Pt. 2: Dad’s DNA
Dad and I discuss the concept of “musical DNA,” how he formed his own, the importance of black radio…and the legacy of the “hi-fi.”
One evening in November 2023—likely during Thanksgiving break—I was visiting with my dad, Robert Griffin, Jr. The “Black Music Discussion” here on TRH came up, as well as the concept of “musical DNA”—the various influences that shape one’s musical identity, usually in youth.
For myself and good friend DLT, those influences had been based on what our folks listened to on the “hi-fi” when we were growing up. (See Part 1 of this series.) But everyone’s experience wasn’t that cut-and-dried.
For one, not everyone had a hi-fi growing up. Plus, what about those instances where a particular influence seems to “skip a generation”? Obviously, my initial discussions with DLT had just been the tip of the iceberg.
I began to wonder, “If Dad and uncle Ray are largely responsible for my own musical DNA, who contributed to theirs…and what was that contribution?” This question was the basis for my intriguing talk with Dad that evening.
Dad’s musical DNA
My father’s musical identity wasn’t formed in the same, obvious way that he helped form mine. Grandma and granddad’s contribution to our entire family’s musical DNA was gospel/church music…not the “hi-fi.” Even so, Dad’s tastes, like mine, have always been so much wider and more eclectic than just one main style. I asked him about it:
“So...where did you get the rest of your DNA? What were the other early influences that made up your musical identity? Was it basically the Motown Sound on the radio?”
It was a fair question…and the best I could figure on my own. Around 1960 would have been the time when my dad was forming his musical identity (age 12). And I knew that my dad, in his youth, was into acts like The Temptations (1960), Dionne Warwick (1963), The Four Tops (1965), and The Miracles (1965)...which were mostly Motown acts.
The answer to my question was basically “Yes!” But with a few additional details I hadn’t considered. Below are some of his thoughts paraphrased (in bold) from our conversation:
What’s “hi-fi” anyway?
By now, the term is somewhat antiquated. But since at least the 1930s, companies have made great strides in improving the sound quality of audio recordings and playback mechanisms. By the 1950s, these strides were marketed as “high fidelity”—to differentiate from the low quality of past methods.
The earliest records may have been cursed with pops, scratches, hiss, and little dynamic range. But in recent years, the term “lo-fi” has come into style, identifying a nostalgic trend to bring back those imperfect qualities. Supposedly it gives music a “character and warmth” that’s been spoiled by modern, digital (AKA “hi-fi”) technology. Not sure I agree…but Interesting.
A hi-fi is defined as “a set of equipment for playing recorded music in high-fidelity sound”—such as record players, 8-track players, and cassette decks…which were the “hi-fi” mediums of the ’70s and ’80s. Then digital music came along. Nowadays, tapes and records are considered the “lo-fi” mediums that nostalgics and hipsters are trying to get back to.
The standard’s always evolving, ain’t it?
“Mom and Dad gave us gospel and spiritual music. But the rest of our music we had to find on the radio.”
Makes sense. I do recall a “hi-fi” in the family home, growing up in the ’70s and ’80s…but I doubt that luxury existed for Dad. As has since been discussed by my aunt Dot, the main form of “hi-fi” for my dad and his siblings was the transistor radio.
“Thankfully, Memphis was one of the few cities, back then, that played black music on the radio. (Other folks would visit this city and be amazed that we had such a thing! But Memphis has always been a very musical town.) So our main music influence became [the historic AM station] WDIA, and later, WLOK.”
Growing up, I knew of those stations, but rarely listened to them. (I was all about the FM dial.) Never realizing that stations like WDIA had helped pave the way for modern black music to even exist on the airwaves.
“I was big on The Temptations, The Four Tops, Smokey Robinson & The Miracles…groups like that, with the ‘clean’ sound. But Motown wasn’t the only music we were into. Right here in Memphis, we had Stax…Johnnie Taylor, Booker T & the M.G.’s, Otis Redding, The Mar-Keys, Sam & Dave. The ‘dirty’ sound! [Laughs.]”
Prior to our conversation, I had been so fixated on the famous “Motown Sound” that I didn’t consider the influence that Memphis’ own Stax Records likely had on my dad and his generation. This, of course, led to discussions about other record companies who were famous for black music.
“Chess? I think they were in Chicago, and were known for their blues artists…like Howlin’ Wolf and Muddy Waters. (Also artists like Etta James and Chuck Berry.) In those days, there were at least four prominent cities for black music: Detroit (Motown), Memphis (Stax), Philly (PIR), and Atlanta.”
In addition, there was Chicago (Chess Records), and New York (Atlantic Records).
“Black Appeal” radio stations
WDIA in Memphis, started in 1947, was the first radio station in the United States programmed entirely for African Americans. (Not be confused with the first black-owned radio station in the U.S., WERD in Atlanta, begun in 1949.) It is significant to this conversation because black radio was one of my dad’s generation’s most important early musical influences.
Another name for “Black Appeal” stations was “Negro” stations. Such stations were essentially forerunners to the “Top 40” format that revived radio by targeting niche audiences in the 1950s.
Radio’s impact…
Channel surfing on my little transistor radio, as a kid—yes, I had one too—played a big role in my musical identity. But for whatever reason, as a young adult, I looked down on radio as just another “commercial medium.” One that people only indulge in when they’re bored, or there’s no TV or “hi-fi” around to keep their attention.
Maybe that unfair bias is why it took my dad reminding me of the impact of Memphis’ first black radio stations—WDIA and WLOK—to realize that radio was probably even more influential for him than it was for me!
Regardless, it appears I got more than one form of “musical DNA” from Dad. Not just the music he listened to when I was a kid...but also in us both having relied on radio in our youth.
Conclusion
Robert Griffin, Jr. is the eldest of five siblings who came up in the Griffin household during the ’50s and ’60s. Of them, two became dedicated musicians, two were not musically inclined in a big way—which is most people—and then there was my dad. He’s always been a music lover, listener, and collector—pretty much of all genres. (R&B, classic rock, jazz, classical, even hip-hop.)
Me and my dad…whom I now realize is the main reason my musical tastes are so eclectic. That doggone “hi-fi” effect…all over again!
Dad wasn’t my only strong musical influence within the family. (We’ll have plenty of time to hear from aunt Dot, uncles Ray and Donald, and all my musical cousins!) But there’s no mistaking whom my eclectic tendencies came from.
In the meantime, it was very cool listening to Dad talk about his own influences—the institutions, songs, and artists that shaped his musical tastes and identity. Somehow I feel this series will morph into the next ongoing section of The Rabbit Hole…further featuring interviews and perspectives on the concept of “musical DNA.” Stay tuned!
For further edification…
This essay was largely an account and retelling of my dad’s remembered experiences from youth. But I should also cite a light-duty research assist from Wikipedia:
Additionally, I just downloaded the e-book Black Radio: An American History by J. Thomas Smith, as part of my plan to do a deeper report on the influence of black radio stations. You should too!
Lastly, there’s a great documentary called Hitsville: The Making of Motown—which can be found streaming on Paramount+ (subscription needed) and YouTube (for free). This should be required viewing for any student of 20th-century black music!