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Take Me to the River
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Take Me to the River

Description
'Take Me to the River' is a feature film celebrating the inter-generational and inter-racial musical influence of Memphis in the face of pervasive discrimination and segregation. Music legends from Stax records and Memphis also mentor and pass on their musical knowledge to contemporary artists in this documentary. 
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DIRECTORS OF "Take Me to the River"
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CRITICS OF "Take Me to the River"
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Paste Magazine
Resource

September 25, 2014

While those sessions result in full songs, some of the most memorable, iconic tunes in music history, this film never coalesces into something greater than a collection of mildly interesting pieces.
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Austin Chronicle
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September 25, 2014

It feels like a mishmash effort overall, more a home movie than a theatrical release. That's fine. If you approach it on those terms, you can't help but feel the love, too.
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Los Angeles Times
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September 11, 2014

"Take Me to the River" is at its most interesting when zeroing in on the back-and-forth between musicians of different eras ...
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Consequence of Sound
Resource

January 13, 2015

Take Me to the River is a good-spirited but patchy documentary, less about dropping beats and more about dropping names.
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Minneapolis Star Tribune
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September 25, 2014

Three of the guitar marvels shown here - Hubert Sumlin, Teenie Hodges and Skip Pitts - have died since filming. This is a marginal but worthwhile footnote to their legacy.
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Austin American-Statesman

September 25, 2014

A moving tribute to a grand piece of Americana.
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The Film Stage
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February 27, 2016

While you may stick around for the stories, the film's true draw is the music.
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Chicago Reader
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September 25, 2014

The premise for this documentary couldn't be more stilted, and some of the matchups are enough to make you wince. But there are a few striking intergenerational moments.
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Boston Globe
Resource

September 25, 2014

Flawed as it is, "River" reminds us where all the great music came from.
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Washington Post
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September 18, 2014

"Take Me to the River" includes just enough history of the civil rights era to lend it gravitas. The color-blind recording practices of studios like Stax were an anomaly at the time and are well worth noting.
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