Dream Boogie

The Triumph of Sam Cooke


By Peter Guralnick

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From the acclaimed author of Last Train to Memphis, this is the definitive biography of Sam Cooke, one of most influential singers and songwriters of all time.Sam Cooke was among the first to blend gospel music and secular themes — the early foundation of soul music. He was the opposite of Elvis: a black performer who appealed to white audiences, who wrote his own songs, who controlled his own business destiny.

No biography has previously been written that fully captures Sam Cooke’s accomplishments, the importance of his contribution to American music, the drama that accompanied his rise in the early days of the civil rights movement, and the mystery that surrounds his death. Bestselling author Peter Guralnick tells this moving and significant story, from Cooke’s childhood as a choirboy to an adulthood when he was anything but.

With appearances by Martin Luther King Jr., Malcolm X, James Brown, Harry Belafonte, Aretha Franklin, Fidel Castro, The Beatles, Sonny and Cher, Bob Dylan, and other central figures of this explosive era, Dream Boogie is a compelling depiction of one man striving to achieve his vision despite all obstacles — and an epic portrait of America during the turbulent and hopeful 1950s and 1960s. The triumph of the book is the vividness with which Peter Guralnick conveys the astonishing richness of the black America of this era — the drama, force, and feeling of the story.


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Table of Contents


Copyright Page

In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the author's intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at permissions@hbgusa.com. Thank you for your support of the author's rights.

George McCurn (Oopie), probably Jesse Whitaker (also of the Pilgrim Travelers), Sam Cooke, ca. 1957. Courtesy of Carol Ann Woods

Good morning, daddy!

Ain't you heard

The boogie-woogie rumble

Of a dream deferred?

Listen closely:

You'll hear their feet

Beating out and beating out a—

You think

It's a happy beat?

Listen to it closely;

Ain't you heard

something underneath

like a—

What did I say?


I'm happy!

Take it away!

Hey, pop!




—Langston Hughes, "Dream Boogie"

Author's Note

SAM COOKE was born into a world defined, but not limited, by its separateness, a world of "twoness," as W. E. B. DuBois wrote in The Souls of Black Folk, in which it was impossible to avoid "this sense of always looking at one's self through the eyes of others, of measuring one's soul by the tape of a [predominantly white society] that looks on in amused contempt and pity." It was a world, as DuBois also recognized, so rich, so vibrant, so colorful that, thrown back on its own resources, it created a culture that has in many respects, both with and without acknowledgment, defined the American cultural mainstream. This was a community in which imagination and self-invention trumped pedigree, in which, as James Baldwin wrote, there existed "a zest and a joy and a capacity for facing and surviving disaster… very moving and very rare. Perhaps we were, all of us," Baldwin reflected in The Fire Next Time, "pimps, whores, racketeers, church members, and children—bound together by the nature of our oppression, the specific and peculiar complex of risks we had to run." If so, it was that inescapably shared heritage, Baldwin went on, that helped create the dynamic that allowed one "to respect and rejoice in… life itself, and to be present in all that one does, from the effort of loving to the breaking of bread." It was that freedom, that "presentness," that vitality which Sam Cooke sought to celebrate. It was that experience which he sought both to embody and transcend.

I have tried to portray a little bit of that world, the world of Dorothy Love Coates and the Gospel Harmonettes and Langston Hughes, Duke Ellington and Zora Neale Hurston, a community whose closeness was reinforced, as Baldwin underscores, not simply by a cultural legacy but by a cruel and systematic exclusion that led nearly all African-Americans to find refuge in the same neighborhoods, the same schools, the same eating establishments and hotel accommodations. That is one of the reasons that Malcolm X and Muhammad Ali, Jim Brown and James Baldwin, Louis Armstrong, Martin Luther King Jr., Jimi Hendrix, James Brown, Jackie Wilson, and Fidel Castro all play greater or lesser roles in this story. My aim, my hope, is to suggest some of the richness and diversity of this proudly self-contained society, some of the sense of self-delight and self-discovery that Sam Cooke's own life and work continue to embody, even set against a bitter backdrop of prejudice and discrimination. At the heart of the story is a man who, while creating some of the most memorable pop songs of a generation, in addition to a universally recognized civil rights anthem, was himself as complex, uncategorizable, and sometimes unreadable as his work was transparent. Exploring this hidden side of Sam Cooke was as much of a challenge, and as rewarding in its own way, as seeking out some of the vanished touchstones of a world all but lost to mainstream history.

"There is one terrible thing," said the filmmaker Jean Renoir, speaking ironically of the imperative of art in The Rules of the Game, "and that is that everyone has his reasons." But that, of course, is the one glorious thing, too. It is the human comedy (the human drama) that continues to fascinate both in life and in art. The Sam Cooke that I discovered was a constant surprise, as charismatic, as charming and adroit as the man that I had imagined but no more without flaws than anyone you might happen to meet. People sometimes ask: don't the flaws bother you? But I had no interest in whitewashing either Sam Cooke or his surroundings. In the words of Lithofayne Pridgon, a friend of Sam's who was later celebrated for her relationship with Jimi Hendrix, I wasn't looking for any "wonderful white picket fence" or picture-postcard view. I don't think real life, or real art, stems from that. I wanted to be true to a world that celebrated life in all its variegated glory, to a community that never failed to acknowledge that without sin there is no salvation, that if we deny human nature we deny the only truth to which we have access.

What was most extraordinary about Sam Cooke was his capacity for learning, his capacity for imagination and intellectual growth. With his friend J.W. Alexander he started his own record label and publishing company, probably the first such enterprise fully controlled by a black artist. Toward the end of his life he set out to develop young African-American talent in South Central L.A. with what was intended to be a series of rehearsal studios, the first of which he dubbed Soul Station #1. His success was predicated on what his brother L.C. called "second sight," which might be another way of describing his ability to read people and situations with both an empathetic instinct and an analytic cast of mind. He absorbed every lesson that was put in front of him, but his pride in where he came from would not permit him to be defined in anyone's terms but his own.

"I don't even know why I do what I do," Sam said to the young singer Bobby Womack. "When I do it, it just comes." And that's the way his music still sounds: as fresh, as elegant, as full of mirth, sadness, and surprise as when it first emerged, translating somehow across the ages in ways that have little to do with calculation or fashion and everything to do with spontaneity of feeling, with a kind of purity of soul. That's the Sam Cooke I've sought to describe: that rare individual whose horizons kept expanding right up till the day he died. He was always moving on to the next thing. He was always looking forward to the next chapter. And he was always looking to take anyone with him who was ready to go.

Sam Cook. Courtesy of ABKCO

Dream Boogie

The Singing Children


Let me tell you a story on Sam. Sam was always ambitious. He always knew exactly what he wanted to do. When we was very little boys, we were playing, and he had these popsicle sticks—you know them little wooden sticks? He had about twenty of them, and he lined them sticks up, stuck 'em in the ground, and said, "This is my audience, see? I'm gonna sing to these sticks." He said, "This prepare me for my future." Another time he said, "Hey, C., you know what?" I said, "What?" He said, "I figured out my life, man." He said, "I'm never gonna have a nine-to-five job." I said, "What you mean, Sam?" He said, "Man, I figured out the whole system." He said, "It's designed, if you work, to keep you working, all you do is live from payday to payday—at the end of the week you broke again." He said, "The system is designed like that." And I'm listening. I'm seven and he's nine, and he's talking about "the system"! I said, "What are you gonna do, then, if you ain't gonna work, Sam?" He said, "I'm gonna sing, and I'm going to make me a lot of money." And that's just what he did.

—L.C. Cooke, on his brother's early ambitions

SAM COOK WAS A GOLDEN CHILD around whom a family mythology was constructed, long before he achieved fame or added the e to his last name.

There are all the stories about Sam as a child: how he was endowed with second sight; how he sang to the sticks; how he convinced his neighborhood "gang" to tear the slats off backyard fences, then sold them to their previous owners for firewood; how he was marked with a gift from earliest childhood on and never wavered from its fulfillment.

He was the adored middle child of a Church of Christ (Holiness) minister with untrammeled ambitions for his children.

Movies were strictly forbidden. So were sports, considered gambling because the outcome inevitably determined a winner and a loser. Church took up all day Sunday, with preparations starting on Saturday night.

They were respectable, upwardly mobile, proud members of a proudly striving community, but they didn't shrink from a fight. Their daddy told them to stand up for themselves and their principles, no matter what the situation was. Respect your elders, respect authority—but if you were in the right, don't back down for anyone, not the police, not the white man, not anyone. One time neighborhood bullies tried to block Sam's way to school, and he told them he didn't care if he had to fight them every day, he was going to school. He lived in a world in which he was told hard work would be rewarded, but he could see evidence to the contrary all around him. Their father told them that their true reward would come in heaven, but Sam was unwilling to wait. He was unwilling to live in a world of superstition and fear, and even his father's strictures and homilies were subject to the same rational skepticism, the same unwavering gaze with which he seemed to have been born. He was determined to live his life by his own lights and no one else's.

HE WAS BORN JANUARY 22, 1931, in Clarksdale, Mississippi, the fifth of the Reverend Charles Cook and his wife Annie Mae's eight children (the oldest, Willie, was Annie Mae's first cousin, whom they took in at three upon his mother's death). Charles and Annie Mae met at a Church of Christ (Holiness) convention at which he was preaching, and they started going to church together. He was a young widower of twenty-three with a child that was being raised by his late wife's family. Born to sharecroppers in Jackson, Mississippi, in 1897, he had been baptized into the Holiness church at the age of eight, and when the church split in two a couple of years later (its founders, Charles Price Jones and Charles Harrison Mason, differed over the importance of speaking in tongues as certain confirmation of "spirit baptism," with Mason declaring this surrender to a force that overcomes recognizable human speech to be a sure sign of grace), the Cooks remained with the Jackson-based Reverend Jones, while Reverend Mason's followers became the better-known, more populous (and more prosperous) Memphis-based Church of God in Christ.

All Nations Pentecostal Church, 3716 Langley Avenue, Chicago, Easter Sunday, 1941. Russell Lee, Farm Security Administration Archives, Library of Congress

Just fourteen when she met Charles, Annie Mae was fair-skinned, round-faced, with hair she could sit on. She was sixteen when they married in November of 1923. She had grown up in Mound Bayou, a self-sufficient all-black township founded in 1887 and known as "the negro capital of Mississippi." The granddaughter of a businessman reputed, according to family legend, to be "the second-wealthiest man in Mound Bayou," she was raised by an aunt after her mother died in childbirth. She was working as a cook when she met her future husband and by her husband's account won him over with her culinary skills, inviting him home from church one day and producing a four-course meal in the forty-five minutes between services.

They had three children (Mary, Charles Jr., and Hattie), spaced eighteen months to two years apart, before Sam was born in January of 1931, with his brother L.C. ("it don't stand for nothing") following twenty-three months later.

Within weeks of L.C.'s birth Charles Cook was on the road, hitchhiking to Chicago with a fellow preacher with thirty-five cents in his pocket. It was the Lord who had convinced him he couldn't fail, but it was his children's education, and the opportunity he was determined to give them to get ahead, that provided the burning motivation. He had sharecropped, worked on the railroad, and most recently been a houseboy in one of Clarksdale's wealthiest homes while continuing to do the Lord's work as a Holiness circuit preacher—but he was not prepared to consign his children to the same fate. He was thirty-five years old at the time, and as certain of his reasons sixty-three years later. "It was to educate my children. It was a better chance up here. In Mississipi they didn't even furnish you with the schoolbooks. But I didn't put nothing ahead of God."

The Reverend Charles Cook and his wife, Annie Mae. Courtesy of ABKCO

Charles Cook preached his way to Chicago, "mostly for white folks, they give me food and money," he said, for a sermon that satisfactorily answered the "riddle" of salvation, "proving that man could pray his self out of hell." Within weeks of his arrival, he had found work and sent for his wife and children, who arrived on a Greyhound bus at the Twelfth Street station, the gateway to Chicago's teeming South Side.

It was a whole different world in Chicago, a separate self-contained world in which the middle class mingled with the lowest down, in which black doctors and lawyers and preachers and schoolteachers strove to establish standards and set realistic expectations for a community that included every type of individual engaged in every type of human endeavor, from numbers kings to domestics, from street players to steel workers, from race heroes to self-made millionaires. It was a society which, despite a form of segregation as cruel and pernicious as the Southern kind, could not be confined or defined, a society of which almost all of its variegated members, nearly every one of them an immigrant from what was commonly referred to as South America, felt an integral part. It was a society into which the Cook family immediately fit.

L.C. and Agnes Cook, ages five and two. Courtesy of Agnes Cook-Hoskins

L.C. alone. Courtesy of ABKCO

From the moment of his arrival, Reverend Cook found his way to Christ Temple Cathedral, an imposing edifice which the Church of Christ (Holiness) had purchased for $55,000 six years earlier, just ten years after its modest prayer-meeting beginnings in the Federal Street home of Brother Holloway. He preached an occasional sermon and served as a faithful congregant and assistant pastor while working a number of jobs, including for a brief time selling burial insurance, before he found steady employment at the Reynolds Metals plant in McCook, Illinois, some fifteen miles out of town, where he would eventually rise to a position as union shop steward.

The family lived briefly in a kitchenette apartment on Thirty-third and State but soon moved into more comfortable surroundings on the fourth floor of the four-story Lenox Building, at 3527 Cottage Grove Avenue (there were five separately numbered entrances to the Lenox Building, with the back porches all interconnected), in the midst of a busy neighborhood not far from the lake. There was a drugstore on the corner, the Blue Goose grocery store was just up the street, and directly across from the Blue Goose was a chicken market where you could select your own live chicken and have it killed and dressed on the spot. Westpoint Baptist Church was on the other side of the street, all the players hung out at the poolroom on Thirty-sixth, and Ellis Park, an elegant enclave of privately owned row houses surrounding a park with two swimming pools in the middle, ran between Thirty-sixth and Thirty-seventh across Cottage Grove.

The new baby, Agnes, was almost two years old when Reverend Cook, through the intervention of one of his original Jackson mentors, Bishop J. L. I. Conic, finally got his own congregation at Christ Temple Church in Chicago Heights, some thirty miles out of town. This quickly became the focus of the Cooks' family life.

We was in church every time that church door was open. That was a must, no ifs, ands, or buts about it. Saturday night Mama would cook our dinner. Then we'd all get up about 6:30 Sunday morning, 'cause everyone had to take their bath—seven children, one bathroom!—so we could be dressed and be at church at nine o'clock for Sunday school. After Sunday school you had eleven o'clock service, with prayer and singing, and Papa would do the sermon for the day. Then Mama would take us to the basement and heat up our food in the church kitchen. Then we had afternoon service, and after that BYPU, which is a young people's service, then the eight o'clock service until about 10 o'clock, when we would go home. Plus Wednesday night prayer meeting! One time Mary, our oldest sister—she was used to doing what she wanted—decided she wasn't going to go to church. She said, "I know what I'm gonna do. I'm going to wash my hair, and then I'm going to tell Papa, 'I can't go to church 'cause I just got my hair washed, and I haven't got it done.' " Well, she washed her hair, and she told Papa, but he just said, "That's all right, just come right on." So she had to go to church with her hair all a mess. Papa didn't play. You had to either go to church or get out of his house.

—Hattie, Agnes, and L.C. Cook in a spirited chorus of voices recalling their early religious training

THE CHICAGO HEIGHTS CHURCH, which had first been organized in 1919, grew dramatically under Reverend Cook's stewardship. The "seventeen" previous ministers, he told gospel historian David Tenenbaum, had been able to do nothing to increase the size or fervor of a congregation made up for the most part of workers from the local Ford assembly plant, but, Reverend Cook said, "I worked up to one hundred and twenty-five, I filled the church up. You had to be sure to come there on time if you wanted a seat."

He was, according to his daughter Agnes, a "fire-and-brimstone country preacher" who always sang before he preached, strictly the old songs—two of his favorites were "You Can't Hurry God" and "This Little Light of Mine." He took his sermon from a Bible text and was known to preach standing on one leg for two minutes at a time when he got carried away by his message. The congregation was vocal in its response, shouting, occasionally speaking in tongues, with church mothers dressed in nurse's whites prepared to attend to any of the congregation who were overcome. The Cooks didn't shout, but Annie Mae would cry sometimes, her children could always tell when the sermon really got to her and her spirit was full by the tears streaming down her cheeks. The other ladies in the congregation were equally moved, for despite his stern demeanor, the Reverend Cook was a handsome man—and despite his numerous strictures, as his children were well aware, the Reverend Cook definitely had an eye for the ladies. Annie Mae sang in the choir, which was accompanied by a girl named Flora on piano, and different groups would come out occasionally to present spiritual and gospel music programs. One group in particular, the Progressive Moaners, became regular visitors—they always got a good response—and that is what gave the Reverend Cook the idea for the Singing Children.

THE COOK CHILDREN were all musical, but Charles, the next-to-oldest, was the heart and soul of the family group. He was eleven, "and I had to sing every Sunday in church, my daddy used to make me sing all the time, stop me from going out in the street and playing with my friends." He and his big sister, Mary, sang lead in the five-member quartet. Hattie, who was eight, sang baritone; Sam, already focused on music as a career at six, sang tenor; and L.C., the baby of the group, was their four-year-old bass singer.

They practiced at home at first but soon were "upsetting" the church on a regular basis, taking the Progressive Moaners' place at the center of the service and in the process reflecting as much on their father, Reverend Cook, as on themselves. They sang "Precious Lord, Take My Hand" and "They Nailed Him to the Cross" with Flora accompanying them. "We just practiced our own selves and decided what songs we was going to sing," recalled Hattie. "Every time the church doors opened we had to be there."

Before long they were going around to other churches and leading off their father's out-of-town revivals in Indianapolis and Gary and Kankakee. The entire family traveled together, all nine of them, generally staying with the minister, but not infrequently having to split up among various church households due to the size of the group. Each of the Singing Children had a freshness and charm. They were a good-looking family, even the boys had pretty, long bangs, and the church ladies used to cluck over that baby bass singer who put himself into the music so earnestly, and the handsome lead singer—he was a big boy who carried himself in a manly fashion—but no one missed the little tenor singer, either, the one with the sparkle in his eye, who could just melt your heart with the way he communicated the spirit of the song. Sometimes, when he got too many preaching engagements, Reverend Cook would send them to sing in his place. "When they'd come back, the people would tell me, say, 'Anytime you can't come, Preach, just send the children to sing.' "

All the children were proud of what they were doing, both for themselves and for their father. And their father was proud of them, not only for causing the Cook family sound (his sound) to become more widely known but for adding substantially to his store of entrepreneurial activities: the church, the revivals, the riders he carried out to Reynolds each day for a fee in his nearly brand-new 1936 Chevrolet, soon to be replaced by a Hudson Terraplane, and, when Charles was old enough to drive, a pair of limousines ("Brother, I made my money!" he was wont to declare in later years with unabashed pride).

But Charles, a gruff, sometimes taciturn boy with a disinclination to show his sensitivity, soon grew disenchanted with the spotlight. "Aw, man, my daddy used to make me sing too much. I used to get so tired of singing I said, I'm gonna get up there and mess up, and he won't ask me to sing no more, but once I got up there, that song would get so good, shit, I couldn't mess up. I couldn't mess up. But I said, if I ever get grown, if I ever make twenty-one, I'm not going to sing for nobody. And I didn't."

Meanwhile, Sam, the irrepressible middle child, made no secret of his own impatience for the spotlight. Even L.C., who slept in the same room with him and appreciated wholeheartedly his brother's wit and spark, was taken aback by Sam's undisguised ambition. Charles could easily have resented his brother's importunity, but instead he retained a strictly pragmatic point of view. "Well, he had such a pretty little tenor—I mean, it was kind of undescribable, his tone, his singing. But we didn't have nobody to replace him. So we wouldn't let him lead. We were the lead singers, my sister and I. We pretty much had the say-so."

IT WAS A BUSY LIFE. The children all went to Doolittle Elementary School just two blocks west of the Lenox Building, and they were all expected to do well. Both parents checked their homework, though even at an early age the children became aware that their mother possessed more formal schooling than their father, and she would even substitute-teach at Doolittle on occasion. Reverend Cook, on the other hand, conveyed a kind of uncompromising rectitude and pride, which, in all of their recollection, he was determined to instill in his children. "He had a saying," said his youngest daughter, Agnes, "that he would write in everybody's course book when they graduated, and he would recite it to you constantly: 'Once a task is once begun / Never stop until it's done / Be the labor great or small / Do it well or not at all.' He always told us, 'If you're going to shine shoes, be the best shoe-shine boy out there. If you're going to sweep a street, be the best street sweeper. Whatever you strive to be, be the best at it, whether it's a small job or working in top management.' He always felt that you could do anything that you put your mind to."

Everyone was expected to contribute. The girls did the housework. Willie, the oldest, the adopted cousin, was already sixteen and working for the Jewish butcher at the chicken market across the street. At eleven, Charles went to work as a delivery boy for the Blue Goose grocery store. Even the little boys helped their mother with her shopping.

Charles joined the Deacons, a neighborhood gang. Sam and L.C. freely roamed the streets, but there was only so much you could get away with, because the neighborhood functioned, really, as an extended family; if you got too out of hand, the neighbors would correct you, even go so far as to physically chastise you, and Reverend and Mrs. Cook would certainly do the same.


On Sale
Dec 14, 2008
Page Count
768 pages
Back Bay Books

Peter Guralnick

About the Author

Peter Guralnick’s books include the prize-winning two-volume biography of Elvis Presley, Last Train to Memphis and Careless Love; an acclaimed trilogy on American roots music, Feel Like Going Home, Lost Highway, and Sweet Soul Music; the biographical inquiry Searching for Robert Johnson; and Dream Boogie: The Triumph of Sam Cooke. Guralnick won a Grammy for his liner notes for Sam Cooke Live at the Harlem Square Club, wrote and co-produced the documentary Sam Phillips: The Man Who Invented Rock ‘n’ Roll, and wrote the scripts for the Grammy-winning documentary Sam Cooke/Legend and Martin Scorsese’s blues documentary Feel Like Going Home. His 2015 book Sam Phillips: The Man Who Invented Rock ’n’ Roll was a finalist for the Plutarch Award for Best Biography of the Year, awarded by the Biographers International Organization. His most recent book is Looking to Get Lost: Adventures in Music and Writing.



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