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Sound Advice: A Rock and Roll Christmas with Moving Finger and the Sheiks

Moving Finger

  • Moving Finger

The normally upscale Beauty Shop in Cooper Young gets a rock-and-roll makeover Saturday night as the Sheiks and Moving Finger perform at the restaurant’s unofficial Christmas party. Both bands have performed at the Beauty Shop before, but Saturday night marks the first time the local rock-and-roll acts perform together.

Formally known as Mojo Possum, the Sheiks formed a little over a year ago, with their debut record Witches and Mystics self-released this past October. Witches and Mystics sounds a lot like Out of our Heads-era Rolling Stones, with lead singer Frank McLallen sounding a lot like Mick Jagger while he howls over impressive guitar solos drenched with reverb and distortion.

With most of their live shows happening at the “Burgundy Ballroom,” a house venue that also serves as a recording space for the Sheiks and other Midtown groups, Friday is a good opportunity to see the band in a different setting, even if it’s not a traditional music venue.

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Babies at the Hi-Tone Café

What started as a side project between members of prominent lo-fi Brooklyn bands Woods and Vivian Girls has turned into a full-time band with Babies, which has released two albums and toured consistently over the past two years. And while both groups mentioned above have made stops at the Hi-Tone Café before, Sunday night marks the first time Babies will play Memphis.

Cassie Ramone (Vivian Girls) and Kevin Morby (Woods) started Babies to bounce song ideas off of each other, and that practice is very apparent on the group’s second album, Our House on the Hill. Although Babies sticks to a much cleaner style of recording than the fuzzed-out approach that made Vivian Girls one of the most popular garage bands of the decade, the songs on the band’s latest album touch on a lot of different styles without veering too far from what you’d expect from these two songwriters, melding country guitar, female backing vocals, and lyrics that are often filled with more angst than appreciation.

Also playing at the Hi-Tone is local act Toxie, which features members of Magic Kids and Coasting and is rumored to have a debut single out next month. Opening the show is Little Rock’s RadRadRiot, a newish alternative-rock duo who are also playing Memphis for the first time. Babies play the Hi-Tone Café on Sunday, December 16th. Doors open at 9 p.m. Admission is $8.

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For Those About to Rock

From his time performing in local rock-and-roll bands, to his latest involvement with bringing a School of Rock location to Memphis, Marc Gurley has dedicated much of his adult life to music.

Gurley was the original lead singer of Dust for Life, a local group that toured regionally and opened for local rock stars Saliva on occasion. But after deciding to buy into the family golf business rather than live a life on the road, Gurley’s musical journey took a short detour.

“Life on the road just wasn’t appealing to me, especially because I have a wife and three daughters,” Gurley said. “About five years later, I discovered the School of Rock franchise and fell in love with the business model. Given my background in music and business, it seemed like the perfect opportunity.”

The national School of Rock franchise opened its first location in Philadelphia in 2002 with the simple mission statement of “Helping Kids Rock on Stage and in Life.” This year, the franchise is celebrating its 100th location and has become a popular means to teach children how to play music, specifically the instruments most commonly used in rock.

The Memphis School of Rock officially opens on January 12th at 400 Perkins Ext., but the school will have a soft opening on December 15th. There is a Germantown School of Rock that opened this past August, but the Memphis school will have more instructors and full recording studio.

Instead of one-on-one sessions with an instructor and sheet music, the School of Rock uses a more hands-on experience, allowing children to jam with other kids at similar skill levels. Gurley said the School of Rock business model helps kids stay interested, and they learn the importance of playing in groups.

“Kids quit lessons because they get bored with them,” Gurley said. “This model uses reverse engineering and teaches kids to play first, and as they learn to play and have fun, we introduce them to [music] theory.”

In addition to the “rock out first” idea, children can also learn the importance of group dynamics from local musicians who have made a living out of performing. Gurley said that his staff of seven musicians all have had experience in the local music scene, which lives up to the unofficial business model of “live to play and play to live” that Gurley has adopted for his music school.

The School of Rock will also develop a house band of 10 or 12 children who will perform “everywhere they can,” according to Gurley. The Hard Rock Café is already a national partner with the School of Rock and hosts shows at Hard Rock locations across the country.

Because School of Rock is part of a nationwide program, there are also four regional all-star groups that go on a legitimate tour and play festivals like Lollapalooza and the Van’s Warped Tour.

“Everyone I’ve talked to just can’t believe that there’s not already something like this in our city,” Gurley said. “This is Memphis. Music is in our blood.”

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Blues Highway

The newest landmark paying homage to the “home of the blues” was erected downtown last week, honoring the historic southern leg of Highway 61 and the musicians who know that stretch of road best.

Highway 61 has been the subject of songs written by everyone from Blind Mississippi Morris to Bob Dylan. According to legend, Robert Johnson even sold his soul to the devil on the famed stretch of asphalt. Now, almost a century after the genre that changed popular music forever was first played on old dusty guitars, Memphians and tourists from around the world can learn more about the musicians and places that helped mold the modern-day blues.

Andy Kitsinger, senior vice president of the Downtown Memphis Commission and head of the Memphis Blues Trail Project, said that he felt such a trail was missing from downtown music attractions. After enlisting the help of the Rock ‘N’ Soul Museum and the Center for Southern Folklore, Kitsinger’s idea was put into action.

“I identified a need to the challenge that visitors and locals face [by developing] a user-friendly way of exploring Memphis’ blues culture and heritage,” Kitsinger said.

The Memphis Blues Trail will complement the State of Mississippi Blues Trail, running about 13 miles along Highway 61, from the Tennessee state line through downtown Memphis.

Because Highway 61 doesn’t actually run through downtown, the Downtown Memphis Commission asked the Memphis City Council to designate Third Street as an honorary part of Highway 61. But while the Mississippi Blues Trail has over 100 stops, honoring everyone from Elvis Presley to Papa Light Foot, the Memphis Blues Trail will tentatively only have 12 stops, with several types of markers along the trail.  

The marker unveiled last week will serve as the starting point, while other markers will feature information on prominent blues artists and significant sites. Other components of the blues trail include public art, murals, and enhanced crosswalks and gateways. Kitsinger said that while the Blues Trail is still in its infancy, he hopes it will become one of the city’s main musical attractions.

“Hopefully, the initiative can grow into an international attraction that can be connected with activities and destinations along the full length of Highway 61, from the Mississippi Gulf Coast through Memphis, St. Louis, and Chicago,” Kitsinger said.

Kitsinger hopes the trail will remind blues fans about Memphis’ role in the birth of the genre.

“Besides a strong economic impact to our region, [the Blues Trail] makes our blues heritage and culture more accessible to the public, to both locals as well as visitors from all over the world,” Kitsinger said. “With access to more information on our blues heritage, we can all better understand and appreciate the organic growth of the many other genres of modern music.”

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Enduring Vision

Optometrist Cathy Schanzer has been fulfilling her lifelong goal of being a medical missionary for nearly 25 years. Schanzer travels to Serabu, Sierra Leone, twice a year to perform optical surgery, but her mission work didn’t always have such a clear focus.

“In 1988, I found a program that would let me go to Abak [in Nigeria] a couple weeks at a time, but when I asked the preacher in charge who else was going he said, ‘You’re it,'” said Schanzer, the chief surgeon at the Southern Eye Institute in East Memphis. “In the beginning, I had no idea what I needed. I was borrowing supplies, and my husband and I were unsure if we could make a difference. But once we got to our destination, I was immediately bitten by the mission bug.”

That bite left a lasting impression on Cathy and her husband, Tom, as they organized various mission trips to Africa over the next 15 years. In 2004, the Schanzers faced their largest task as missionaries, when the archbishop of Sierra Leone asked the couple to construct and operate a permanent eye clinic in his home village of Serabu, a place without running water or electricity.

Because Serabu had been devastated by civil war, many of its citizens could not receive the medical attention they desperately needed. Weary of trying to build a modern surgical clinic in a third world country, Cathy Schanzer called on donations and her husband’s experience in construction to build the clinic. In 2006, the Southern Eye Clinic of Serabu was finally opened.

While the clinic is open year-round and staffed by local workers, twice a year Schanzer and a team of around a dozen people travel to Serabu for a three-week blitz of eye surgeries. The next trip is scheduled for January 3rd.

Schanzer most commonly treats patients with cataracts, an extremely common problem in Serabu that can be directly related to poor nutrition. Upwards of 100 clinical patients and 20 surgical patients are seen by Schanzer each day, with an average surgery time of eight minutes per patient.

“In 10 days, I normally perform around 200 surgeries. But because we only have one generator, the time for surgeries is limited,” Schanzer said. “Everything has to be set up and ready to go when I get there so things can run smoothly. Normally, we send all the supplies we need three months in advance so the workers have a chance to set everything up.”

Because Schanzer is also the chief surgeon at the Southern Eye Institute, her work in Memphis directly affects what she is capable of doing in Serabu. Quite simply, more money going into the Southern Eye Institute means more money going out to Serabu. And while the citizens of Serabu are grateful, Schanzer said the male-dominated society has a way of keeping her mission work in perspective.

“Every time we get there, the locals turn to my husband and say, ‘Thank you, Mr. Tom. You have brought a very good woman to our village,'” Schanzer said. “But I know that’s just God’s way of keeping me humble.”

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Quintron and Miss Pussycat at the Hi-Tone Café

Dancing puppets, homemade instruments, and plenty of Southern rock-and-roll should make for a lively party this Sunday night as New Orleans natives Quintron and Miss Pussycat return to the Hi-Tone Café.

Using instruments like the Drum Buddy (a light-activated analog synthesizer that creates murky, low-fidelity rhythmic patterns), Quintron crafts a whirlwind of off-kilter rock-and-roll, often sounding like the physical embodiment of a Pee Wee’s Playhouse soundtrack. Quintron’s longtime collaborator, Miss Pussycat, is more than just a hype woman for the group, incorporating dance moves, percussion instruments, and even puppet shows into the chaotic carnival that is their live show. Before performing on Sunday night, Miss Pussycat will premiere her new film Mystery in Old Bath. Playing both Friday and Saturday night at Studio on the Square, Mystery in Old Bath features Miss Pussycat’s handmade puppets but also comes with a PG-13 rating.

Also on the bill is John Wesley Coleman, who’s released a handful of solo albums in addition to his work with the Texas band the Golden Boys. Wearing his love for whiskey and Warren Zevon on his sleeve, Coleman’s albums capture a songwriter equal parts goofy and heartbroken, all while being consistently wasted. And while any of the Golden Boys’ past Memphis performances can attest to the levels of inebriation musicians can reach while performing live, Coleman usually puts on a rousing show, blasting through one honest but damaged song after another.

Starting the evening off is local punk act Sharp Balloons, whose “Evening News” single from last year received a lot of critical acclaim despite the band only playing outside of Memphis a few times. Featuring members of Final Solutions and True Sons of Thunder, Sharp Balloons sound a lot like the strange post-punk bands coming out of England in the late ’70s, before bands like Siouxsie & the Banshees and PiL made that genre a household name. With only three songs from their catalog pressed onto vinyl, it seems like Sharp Balloons are due for another single soon. Doors for Sunday’s show are at 9 p.m. Admission is $12.

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Lofty Intentions

After operating their respective contributions to the local music scene out of basements, apartments, and even doctors’ offices, three Memphians are expanding their music promotion operations to a loft at 1372 Overton Park Avenue.

Matt Qualls has been recording local bands for the past five years. His expertise and affordable rates have made him one of the go-to guys for local bands looking for a cheap way to record their music, even if his ever-moving studio has been makeshift at best. So when Crosstown Arts music promoter Ryan Azada asked him if he was interested in a new space, Qualls jumped at the chance to move into a legit location.

“When I was recording in various places, it would take me about two hours to set everything up. I’d record a band for 10 hours, and then we’d have to take another two hours to break down and pack everything back up,” Qualls said. “Ryan asked if I wanted to live [in the Overton Park loft], and I said I wanted to make it my recording studio before I ever even saw the place.”

Fat Sandwich Records founder Daniel Drinkard also trusted that Azada had found a reliable place, signing the lease to his record label’s future headquarters before ever seeing it. This isn’t the first time Qualls and Drinkard have worked together. In addition to playing in the same bands, Qualls has also recorded almost every local Fat Sandwich release, including the critically acclaimed “Coastin” single by former Memphian Cities Aviv.

Azada, a relative newcomer to the Midtown music scene, started booking shows in the basement of the Crosstown Arts office earlier this year. But the shows grew too large for the small space. After successfully booking over 70 bands during his seven-month run in the Crosstown Arts basement, Azada decided he was ready to take on a bigger performance space in the Crosstown area.

“Christian Walker from [the band] Pezz kept calling and telling me about this place above the All-in-One Variety Store [on Cleveland at Overton Park] that was for rent,” Azada said. “I knew I couldn’t live in here alone, so that’s when I called Daniel and Matt to see if they were interested.”

A month and over 40 hours of renovation work later, 1372 Overton Park (they’re using the address as the name for the studio and performance space) opened for its first show on November 8th, with Fat Sandwich recording artists La Armada and a slew of local bands called upon to break in the new space.

Qualls said he eventually would like to set up audio and visual recording sessions for bands, in addition to providing one of the only all-ages music venues in town. The location in Crosstown is especially fitting for such a use, since the neighborhood is currently being rebranded as an arts district following an announcement earlier this year that the Sears Crosstown building will be repurposed as a medical and arts center.

The 1372 Overton Park space once housed local music giants Lucero and His Hero Is Gone. The new residents are confident they can leave their mark on the Crosstown loft.

“The lease is for six months right now, so we’re just going to see how this goes,” Drinkard said. “Honestly, it’s going to take six months to get it cleaned out and ready, but it’s going to be great when it’s all set up.”

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Sayonara

Local martial-arts aficionados will have to look elsewhere for armament and weapons after the Summer Avenue institution Dach Imports closes its doors early next year.

Open at various locations since 1979, Dach Imports has been supplying the Mid-South with stun guns, karate robes, and everything in between for more than 30 years. Michelle Dach, owner of Dach Imports, said that she came to the United States after a chance meeting with her future husband, Harry.

“I met Harry in 1974, when I was working on a Navy base during the day and attending college classes at an American university at night,” Dach said.

“Harry was actually supposed to be going to Korea, but on the way there his colonel told him to make a stop in Taiwan, and he just happened to come into where I was working that day. We married in 1975 and came to the United States.”

After settling in Memphis, Dach realized her husband was spending a lot of time and money studying judo and other forms of martial arts.

“I started the business because he spent a lot of money on martial-arts supplies, and I knew I could get it cheaper than buying retail,” Dach said.

“I started with a few items, and people began requesting more and more things. First, people started asking for protective wear, but later on they started asking for weapons. The requests were never-ending, and we became the largest martial-arts supply in the Mid-South.”

Weapons and martial-arts uniforms might be the main attraction at Dach Imports, but the store is also home to hundreds of authentic martial-arts films, something that attracts those who’d rather watch violence on the screen instead of acting it out.

“All of these movies are uncut and unedited. No one wants to hear John Wayne talk in their local dialect. These movies are the same way,” Dach said.

After being housed in a few different locations, including Kirby Woods Mall, the store moved to Summer Avenue in the mid-1990s, where it remains open, at least for the time being. After suffering a serious medical issue over the summer, and with only one other employee on staff, Dach reluctantly realized it was time to close the store.

“For 33 years I have been devoted to this company. I love this business, and I have a passion for it,” Dach said.

“The Back Yard Burger next door just closed one day and didn’t tell their employees or their customers. We don’t want to be like that. We want to give everyone a chance to say goodbye, because we love our customers.”

And while the mothers of young men (Dach Imports’ best customers) might be relieved that brass knuckles, samurai swords, and stun guns won’t be so readily available, Dach said she still plans on maintaining an online store, focusing on the items she designs herself.

“I design a very good karate and [mixed-martial-arts] uniform. The uniform is the same style for 5,000 years, but I made it a little better by making the material extra thick,” Dach said.

Tentatively, Dach Imports will be open through the spring of 2013, with a liquidation sale starting in December.

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Embracing the Weird

The phrase “roller coaster of a career” is commonly used when describing the endurance of a lifelong performer, but no other term best describes the life and work of Roky Erickson, who plays the Hi-Tone Café this Friday night. A founding member of one of the first American psychedelic rock bands, the 13th Floor Elevators, Erickson achieved national attention for his raw vocal delivery on “You’re Gonna Miss Me,” an attitude-soaked anthem for the free-love generation that made it to number 55 on the Billboard charts in 1966.

Looking for a lifestyle more conducive to their far-out music, the Elevators relocated to San Francisco’s drug-induced rock-and-roll scene in the late 1960s. Often mixing heroin and potent liquid LSD before playing live, the Elevators fell apart after one too many bad trips, but things only got weirder for Erickson.

Having already been arrested multiple times for possession of marijuana, Erickson faced up to 10 years in prison in 1969 after being arrested for the possession of one joint. Instead of doing the time, Erickson pleaded guilty by reason of insanity.

That plea sent him to Rusk State Mental Hospital in Texas from 1969 until 1972. While at Rusk, Erickson started the band the Missing Links amid electroconvulsive and Thorazine treatments. Erickson says that he tried to stay as coherent as possible while at Rusk and was able to write music as well as his first book.

“Mostly when I was at Rusk, I just wrote songs. I didn’t have to do any strenuous work or anything, but I had to really watch out and make sure I knew what was going on,” Erickson says. “I’d be a little weary when they’d ask me to come in and talk about some of the things that they thought was wrong with me.”

Much of the 2005 documentary I’m Not There focuses on Erickson’s time in Rusk, and one psychiatrist points out that he thought there wasn’t a legitimate reason Erickson was admitted to the hospital in the first place. The other members of Erickson’s short-lived Missing Links seemed to be more deserving of their sentences: Each had been convicted of rape or murder before being admitted to the hospital.

Even if he wasn’t supposed to be there, the damage of being admitted to a mental hospital began to take hold. In the documentary, passages in Erickson’s diary reveal that he began to lose hope at Rusk, trying his best to forget his fame as a rock-and-roll singer. Finally, in 1972 Erickson was released back into society.

Two years later, Erickson started another band, Roky & the Aliens. Taking a darker approach than the soulful 13th Floor Elevators, the Aliens wrote hard-rock songs about demonic characters.

The Aliens saw mild success with their two full-length albums, I Think of Demons and The Evil One, but after working with a revolving cast of back-up musicians and producers, Erickson broke up the Aliens and fell back into obscurity for the better part of 20 years, though he did release an album in 1995, All That May Do Rhyme, to coincide with a book of lyrics released by Henry Rollins’ publishing company.

By the mid 2000s, Erickson began making a full comeback, playing festivals like South by Southwest and Coachella and also starring in the documentary film, which focused on his battle with schizophrenia and his home life.

In 2010, Erickson released his first album of new material in more than 14 years, with Austin’s Okkervil River as his backing band. Although the album received critical acclaim, this year marks the first that Erickson has toured extensively in decades, with stints in Australia and Europe completed before embarking on his current U.S. tour. Now in his mid-60s, Erickson seems to be taking the tours in stride.

“The shows have been great so far, but, boy, they are rough, man. We play about 10 or 15 songs, and after that the band lets me take it real easy,” Erickson says. “Gibson has given me about 10 guitars for free, and I have to be real careful that they don’t break when I play them.”

Not too many 65-year-olds are worried about breaking their guitar during a live performance, but by this point it’s pretty clear that Erickson is anything but ordinary.

Roky Erickson, with Nude Beach

Hi-Tone Café

Friday, November 16th

9 p.m.; $20

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Sing All Kinds We Recommend

Sound Advice: Missing Monuments, the Manatees, Switchblade Kid at the Hi-Tone Café

Missing_Monuments.jpg

Tonight, King Louie Bankston returns to Memphis and the Hi-Tone Café with his latest group, the Missing Monuments. The New Orleans native has been an ally to the Memphis music scene for quite some time with his projects like Loose Diamonds, the Persuaders, and Kajun SS playing here every few months during their respective lifespans.

Missing Monuments sounds more like the power pop coming out of the Midwest in the late 1970s than the hillbilly rock-and-roll that Bankston had been cranking out through the mid 2000s, showing his versatility as a songwriter and his knack for a guitar hook. Tonight marks the first time Bankston has played Memphis since resurrecting the Persuaders for a performance at Gonerfest 9.