Cohn has said that "Walking in Memphis" is "100 percent autobiographical". He has described it as a song about "a Jewish gospel-music-lover", and added that "the song is about more than just a place; it's about a kind of spiritual awakening, one of those trips where you're different when you leave." He was inspired to write "Walking in Memphis" by a 1985 visit to the
Memphis, Tennessee, area. At the time, he was working as a
session singer in New York City while pursuing a recording contract. A friend had told him "there were two things in particular that I had to do [in Memphis], things that would forever change me. They later became the centerpieces of 'Walking in Memphis'." Cohn added:The first thing was go to the Full Gospel Tabernacle Church on a Sunday morning to hear the Reverend
Al Green preach. ... I [soon] had chills running up and down my spine. The service was so deeply moving that I found myself with sweat running down my face and tears in my eyes, totally enveloped by everything I was seeing and hearing. There was something incredibly powerful about Al Green's voice in that context. Even after three hours of continuous singing, his voice only got stronger and his band only got better. I sat there crying in the church, aware of the irony of how I used to cry in synagogue in Cleveland as a kid—but because I wanted to get the heck out of there! Al Green's service was one of the great experiences of my life." The second piece of advice was that Cohn visit the Hollywood Café in Robinsonville, Mississippi (present-day
Tunica Resorts, 35 miles south of Memphis), to see Muriel Davis Wilkins, a retired schoolteacher who performed at the cafe on Friday nights. Cohn remembered: When I arrived, Muriel, who ... was in her 60s, was onstage playing a beat-up old upright piano and singing
gospel standards ... I felt an immediate connection to her voice, her spirit, her face, and her smile. I was totally transfixed by her music. While many of the patrons were busy eating and not paying close attention to Muriel, I couldn't take my eyes off her. During her breaks, the two of us would talk. Muriel asked me why I was there, and I told her I was a songwriter trying to find inspiration. I also told her a little bit about my childhood—how when I was two and a half years old, my mom had passed away very unexpectedly, and about ten years later, my dad had passed away and I'd been raised by a stepmother. My mother's death was a central event in my life, and I'd been writing a lot about it over the years, both in songs and in journals. I think a part of me felt stuck in time, like I'd never quite been able to work through that loss. ... By midnight, the Hollywood was still packed, and Muriel asked me to join her onstage. We soon realized that there wasn't a song in the universe that both of us knew in common. A quick thinker, Muriel started feeding me lyrics to gospel songs so that I could catch up in time to sing somewhat in rhythm with her and make up my own version of the melody. Some songs I was vaguely familiar with, and some I didn't know at all. The very last song we sang together that night was '
Amazing Grace'. After we finished and people were applauding, Muriel leaned over and whispered in my ear: 'Child, you can let go now.' It was an incredibly maternal thing for her to say to me. Just like sitting in Reverend Al Green's church, I was again transformed. It was almost as if my mother was whispering in my ear. From the time I left Memphis and went back home to New York City, I knew I had a song in me about my experience there. ==Composition==