Author: J.D. Reager

Categories
Cover Feature News

Memphis: Sports Talkin’

As a media market, Memphis ranks 51st in the United States, according to Nielsen, behind several cities of comparable size. However, when it comes to sports-talk radio, that rating number shoots up into the 20s. Much of that is based on the current success of one FM station, 92.9 WMFS, and its roster of talent — which includes Gary Parrish, the top-rated sports host in town. But it also has something to do with the fact that, as a format, sports-talk is as deeply ingrained in the Memphis community as the teams we follow. And that story starts with George Lapides.

Like most of the prominent sports-talk radio hosts in Memphis, Lapides (who died earlier this year of the rare lung disease idiopathic pulmonary fibrosis) got his start in print journalism. As a former sports editor and columnist for the Memphis Press-Scimitar, which ceased publication in 1983, Lapides had imbedded himself in Memphis sports culture from the mid-’60s. But it wasn’t until 1971 that he launched his pioneering radio show, Sports Time, and truly found his calling. In some form or fashion, Sports Time with George Lapides ran continuously on Memphis airwaves for more than 45 years, making it the longest-running sports-talk show in history.

George Lapides

“George basically introduced the format to Memphis,” says Eli Savoie, the program director and midday host (with Greg Gaston) on Sports 56 AM, home to Lapides and Sports Time for the last two decades. “He was one of, if not the first, newspaper man to switch to radio; he showed it could be done. There isn’t a sports-talk host in Memphis who hasn’t crossed paths with George or been influenced by him.”

J.D. Reager

Geoff Calkins

“You couldn’t have a lot of ego, working with George,” says Geoff Calkins, the lead sports columnist for The Commercial Appeal, Lapides’ former co-host on 560 AM, and the current host of the 9 to 11 a.m. slot on 92.9. “He made it clear he ran the show, but we had a mutual respect for each other. We both had our roots in print journalism. I thought we played off each other well. As I have often said about George, I admire that he always thought of himself as a reporter, always cared about getting the story and getting the story right. That was as true at the end of his show as it was when he first began.” 

Those sentiments are echoed by another of Lapides’ longtime radio partners, and a Memphis radio legend in his own right, Dave Woloshin, who currently hosts the show in Lapides’ old time slot (7 to 10 a.m.) on 560 AM and has been the voice of the University of Memphis Tigers team for 25 years.

J.D. Reager

Dave Woloshin

“George’s legacy can be found at every station,” he says. “It cannot be overstated.”

What also cannot be overstated is how much 92.9 is kicking everyone else’s ass in the sports-talk ratings. The station’s Nielsen ratings are more than double those of 560 AM, and the other local sports station in town, 730 AM, doesn’t even chart. A lot of that comes from 92.9 FM’s strong FM signal (560 AM simulcasts on 87.7 FM, but the strength on that band is weak) and the fact that it’s the local ESPN affiliate and the flagship station of the Memphis Grizzlies.

“We suffered with them through the lean years,” says Savoie, whose station was the Grizzlies home when the team wasn’t winning. “It’s definitely an advantage for them.”

The Unconventional Approach

But there is another element that has contributed to 92.9’s sports-talk success: its hosts’ unconventional approach to the genre. For better or worse, the hosts on Sports 56 tend to stick more closely to a traditional format — news and stories related to sports — and rarely venture into social issues or pop culture. At 92.9 FM, those rules have gone out the window. On any given afternoon, you are as likely to hear Parrish discuss race politics or local restaurants or celebrity boobs as you are sports, and that has become part of his appeal.

“I think the biggest thing is that I’m a natural storyteller, and I’ve always been one,” says Parrish, whose show is on every weekday from 4 to 6 p.m. “Sitting at a cafeteria table as a kid, standing at a bar with friends as an adult, I could always tell a story. So that’s part of it, for sure. And everything is rooted in that. I also construct the show in a way that appeals to a larger audience than most sports shows. For instance, sometimes people will tweet me and tell me to ‘stick to sports.’ What they don’t realize is that I’m purposely not sticking to sports, and for two reasons: One, because I have interests outside of sports, and I enjoy discussing them. And, two, because I’m going to have sports fans listening no matter what. I’m on a sports station. So I’ve got sports fans no matter what. But, because I venture outside of sports so often, I also have non-sports fans listening.”

According to Brad Carson, the director of branding and sports programming at 92.9 FM and the on-air producer of The Gary Parrish Show, that approach isn’t just limited to Parrish. It’s practically become a station-wide mantra.

J.D. Reager

Brad Carson

“Along with being a brilliant storyteller, host, reporter, and entertainer, Gary gave us the opportunity to learn how to build our radio station and develop something fun, different, and compelling,” he says. “We encourage all of our hosts to be themselves.”

This stylistic difference isn’t lost on the competition, either. “The moniker of the station [560 AM] is ‘Real Sports,'” says Woloshin. “I can only do the show the way I know how. I’m all for talking about myself and my life, but sports is still the most important thing.”

“Free Verno”

If there’s a chink in 92.9 FM’s armor, it is the recent departure of one of the station’s most popular and outspoken hosts, Chris Vernon.

Vernon, who, like most local sports-talk radio personalities, got his start on 560 AM before leaving for greener pastures (first 730 AM, and eventually 92.9 FM), parted ways with the station in September, when an agreement on a contract extension could not be reached. And while the higher-ups at 92.9 FM have certainly tried to keep the negotiations and subsequent ill-will under wraps, Vernon and his rabid fanbase would not be denied. Before long, the hashtag “#FreeVerno” was trending on social media and personal shots were fired — mostly between Vernon and Dan Barron, general manager of Entercom, the radio conglomerate that operates 92.9 FM. The rift became irreparable.

J.D. Reager

Chris Vernon

“I knew I would eventually have other opportunities, and I didn’t like the fighting,” says Vernon. “After the way everything went down, I just thought [92.9 FM] wasn’t the place for me anymore. Whether I’ve been on AM or FM, big station or small, my fans have always been extremely loyal to me and my advertisers, so I knew I’d be fine wherever I ended up.”

For their part, the higher-ups at 92.9 FM are playing it, if not tight-lipped, at least fairly cool, when it comes to Vernon.

“There’s no animosity from our point of view,” says Carson. “He is a super talent, and we had a great working relationship throughout his time with us. Chris chose to move on and do something different. We respect that. He has different professional goals that will advance his career. I think often times in these scenarios some folks like to find a villain. There’s no villain here.”

Whether or not there’s a villain, one thing is clear: There is bad blood. And Parrish, who is both Vernon’s longtime friend (and, briefly, former co-host when the two were on 730 AM) and an inside observer of the situation, sees it clearly.

“I hated that it got so ugly, publicly, because on one side, I had a close friend, and on the other side was one of my employers,” he says. “I was very much in the middle of everything. It wasn’t fun. But, ultimately, Vernon did what he thought was best for his career, and then the station moved on as best it could. In the end, I think all parties will be fine. But those were a wild few weeks, absolutely.”

For those who are still wondering, Vernon has landed on his feet. He hosts a podcast version of The Chris Vernon Show as a part of Grind City Media, the Grizzlies’ new in-house media outlet, and produces viral videos to go along with it. He’s also doing a regular NBA podcast for nationally known sports reporter/author/TV-host Bill Simmons’ latest, post-ESPN media iteration, The Ringer, and doing Grizzlies pre- and post-game work.

“He [Simmons] and I met when the Grizzlies were in the NBA Western Conference finals in 2013,” says Vernon. “He was covering the games for ABC. We stayed in contact, and I had him on my show on 92.9 FM a few times. Everyone over there is cool.”

As for his Grind City Media podcast, it has been somewhat sporadic in its early stages, with shows varying in length and regularity. But the long-term plan is for the Grizzlies to build Vernon a studio — similar to what DirectTV did for former ESPN radio host and SportsCenter anchor Dan Patrick when it hired him away from the mothership — and have his show available as both a live internet TV show as well as an on-demand podcast.

“We found out the same way everybody else did that Vernon’s relationship with 92.9 FM didn’t work out,” says Jason Wexler, president of business operations for the Grizzlies and the head of Grind City Media. “Once he was available, it seemed logical to have a conversation with him and see what we could do together. We liked everything he brings to table — a dedicated audience, marketplace credibility, and a unique voice.”

“I don’t need to be on terrestrial radio anymore,” says Vernon. “Things are changing in radio. People are not on my time, they are on their own time. They listen to podcasts on-demand, when they want to. Traditional radio is dying.”

Jason and John

If traditional radio is dying, that’s news to 92.9 FM. To fill Vernon’s 11 to 2 p.m. slot, the station has turned to two fresh voices — both former Commercial Appeal sports reporters: John Martin and Jason Smith. The duo launched their show in October, and despite some rookie jitters early on, has started to establish its own voice on the airwaves.

J.D. Reager

Jason Smith

“I’ve been incredibly impressed,” says Calkins, who originally brought Martin in to the 92.9 FM fold as his on-air producer and has been a steadfast supporter of Smith over the years. “Let’s be honest, it was past time for the station to add an African-American host [Smith], and Jason is going to be a star. He’s connected, he’s thoughtful, and he’s fabulous on TV and radio. Although I had great regard for Jason as a colleague at The Commercial Appeal, I often wondered why he wasn’t doing TV or radio. He’s a natural. He’s both passionate and genuine. That’s a combination that will take him far.

“As for John, I wouldn’t have insisted on him as my producer if I didn’t think he had what it takes. In many ways, John is the engine of that show. So I knew the two of them would be good together, but I didn’t think they’d be this good, this fast.”

J.D. Reager

John Martin

Both Martin and Smith have acknowledged the immense challenge of filling Vernon’s shoes in a market where he was clearly beloved.

“I’ll tell you this: I didn’t want that job at first,” says Martin. “Are you kidding me? Did you see the response on social media? I didn’t want to follow Chris. I wanted my own show, but not if it meant having to step into that firestorm.”

“There is no replacing Verno,” agrees Smith. “All John and I can do is grind and try to put together the absolute best show we can each day.”

One thing that has helped Martin and Smith through their first few months together on the air is the steadying presence of Jon Roser, Vernon’s former producer/sidekick for 10 years. In fact, one could easily argue that breaking up the team of Vernon and Roser, who were the Johnny Carson and Ed McMahon of Memphis radio, was the biggest drawback of the “#FreeVerno” fallout. However, one host’s loss has turned into Martin and Smith’s gain.

“Jon Roser has been very helpful for Jason and John and has made great suggestions,” says Carson. “It helps that they are friends as well. Jon has encouraged Jason and John to grow the midday show.”

A Good Understanding

So for now, with Vernon gone and Roser working on a new show, Parrish and Carson have become 92.9 FM’s flagship duo. Their chemistry — probably best described as “mock-adversarial,” with the more liberal, free-wheeling Parrish lightly (and, at times, not-so-lightly) picking on the more straight-laced Carson for a litany of differences in opinion — essentially drives the show and feels unforced. But it wasn’t always this easy for them.

“Brad and I have a really good understanding of each other now, and he knows how to be my producer,” says Parrish. “Did it take us a little while to develop that? Yeah, I’m sure it did. But we’re super comfortable together now. He’s very good at producing my show and being a character on my show.”

And for his part, Carson seems completely game to play Parrish’s straight man and occasional whipping boy. At least, as long as the ratings stay high.

“I don’t think Gary is tough on me at all,” he says. “The perceived differences and commonality between us, almost as if we were a married couple, are fascinating to people, I think. It was something totally different in Memphis.”

“I can’t tell you how many people have told me they don’t really care about sports but listen to the show anyway,” says Parrish. “Which is something I love to hear, because it suggests what I’m doing is working the way I intend it to work.”

Categories
Music Music Blog

Rest in Peace Clay Hardee

Yesterday, the Memphis music community was dealt a stunning and heartbreaking blow when word broke on social media that the beloved Clay Hardee had unexpectedly died in his sleep. He was 35 years old.

Hardee, who was probably better known to some by his stage name, Clay Otis, was a budding filmmaker/screenwriter when he moved to Memphis in 2006. But after a few years kicking around town and going to shows (LOTS of shows), he decided to give rock ‘n’ roll a go. With a crew of supportive collaborators that would read like a who’s-who of local players, Hardee created some of the freshest, most original, and most personal music Memphis has heard.

In only 5 years of activity, the wildly prolific Clay Otis project released at least as many albums, plus a few singles. Each time out, the mood and accompaniment was new, but Hardee’s exuberance and self-deprecating honesty and humor were always in the forefront, always inviting you in.

Rest in Peace Clay Hardee

“Even though he wasn’t born here, he was a true Memphis original and a true believer in the mystical power of this city to transform people,” says Toby Vest, a longtime friend, producer, and bandmate of Hardee’s. “The music he leaves behind is a testament to that. He was a musical pied piper. He convinced so many of us to follow him down musical paths we might not have taken on our own by simple force of will and his unbridled enthusiasm for the talents of the people around him.”

As for me, I got to know Clay as a casual friend through hanging out at the old Hi-Tone, where we had a few good times together, but also as a journalist covering Memphis music. No one I have ever interviewed in this town has ever opened up so freely or generously when it came time to promote an album.

He was a joy to talk to about music, art, and creativity, and had tremendous gratitude for even the tiniest blurb in the paper or on this blog. I will miss him, if only because I know that I’ll probably never get to write about him again. Rest in peace.   

Details on funeral services for Clay Hardee are not available at this time, but are expected to take place in Florida. 

Categories
Music Music Features

WEVL Turns 40

CREDIT: Jake Cunningham

In its 40-year history, Memphis’ longstanding community radio station WEVL FM 90 (technically, 89.9 on the dial) has transformed fxrom a tiny operation very few people could even pick up outside of Midtown, to an over 50-mile coverage radius reaching three states, in addition to streaming worldwide online at wevl.org. The station’s popularity has also grown accordingly, thanks both to the stronger signal and a widely diverse schedule of programming, offering everything from underground rock to bluegrass to world music.

WEVL was founded in 1976 by a social worker and event promoter named Dennis Batson, who would also go on to be a founding member of the North American Folk Music and Dance Alliance. Batson shepherded WEVL through its shaky first few years and, obviously, played a crucial role in the station’s history.

“I never knew him,” says Brian Craig, a WEVL volunteer since 1981 and its program director since 1992. “But I’m told he listened to a few community stations in other cities and really liked what he heard. He got inspired to create something like that for Memphis.”

WEVL’s upward trajectory truly began to take shape in 1986, when the signal strength was increased dramatically and Judy Dorsey was given the title of station manager, a position she holds to this day. Under Dorsey’s leadership, the station has taken great strides in terms of fund-raising, promotion, and maintaining the growing core of station members and volunteers. WEVL is now funded entirely by its membership drives and other fund-raising efforts, such as the annual Blues on the Bluff concert.

To commemorate its 40th year, the station tapped a dedicated trio of volunteer DJs — Amanda Dent, Kelly Kraisinger, and Amy Schaftlein — to create an event to serve as both a benefit concert and a celebration. That event is the WEVL 40 Fest, which takes place on Saturday, October 8th, 3-10 p.m. at Loflin Yard.

“When I think about how important this station has been to so many people over the past 40 years, it really hits me what an honor it is to be organizing this with Amy and Kelly,” says Dent, who has been hosting her Monday afternoon show Lost in the Shuffle on WEVL for roughly eight years.

What Dent, Kraisinger, and Schaftlein have put together is an all-day music festival boasting a tremendous lineup of Memphis music talent, combining established mainstays MouseRocket, the Mighty Souls Brass Band, and DJs Andrew McCalla and Eric Hermeyer (formerly known as Buck Wilders and the Hook-Up) with rising stars like Chickasaw Mound and sensation Julien Baker. But the main attraction on the bill might be the WEVLs, a local supergroup featuring well-known local players Mark Edgar Stuart, Steve Selvidge, Terrence Bishop, and Graham Winchester, plus special guests who were assembled just for this particular show. “Our motto throughout has been ‘it doesn’t hurt to ask,'” Dent says. “And I’ve really been in awe of how so many people are not just willing but also eager to help us with this. “I called Terrence Bishop and asked what he thought about putting together a group of really great Memphis musicians for a one-time show. I’d been corresponding with Steve Selvidge about him playing the festival and threw the idea out to him as well. They jumped on board immediately. On the fly, Terrence named the band the WEVLs. He also recruited Mark Edgar Stuart and Graham Winchester for the core band with several special guests in the works.”

And if the personnel of the WEVLs wasn’t enticing enough, the idea behind the band makes it a must-see.

“They will be performing some of WEVL DJs’ favorite tunes that they’ve played on their shows,” Dent says. “So we’ll be hearing versions of songs from shows like Joyce Cobb’s Voices, Pajama Party, Sho-Nuff Country, and other shows we love on WEVL.” With the schedule of bands set and the show date rapidly approaching, both Dent and Craig are confident that WEVL 40 Fest will be a fitting tribute to a cornerstone of Memphis music and radio. “People like us because we have passionate, knowledgeable DJs — real people who love music and put their hearts into it,” says Craig. “And that’s what Amanda, Kelly and Amy have done with the festival.” “I can’t imagine a station like WEVL being any place but Memphis,” Dent says. “At the very least, it feels like home — like these are friends playing incredible music for you from the vastest and most diverse record collection ever. Because, really, that’s what it is. Just a bunch of schmoes like me with regular jobs, bad habits, and an undying love for music. ”Excluding Joyce Cobb from the schmoes comment, obviously.” WEVL 40 Fest, Saturday, October 8th at Loflin Yard, 3-10 p.m. Prices vary.

Categories
Music Music Features

Gonerfest 13

In 12 years, and coming up on 13 iterations, Gonerfest has firmly established itself as one of Memphis’ signature live-music events. Initially created on a DIY whim, the festival has grown from an impromptu collection of bands crossing through Memphis on a particular weekend to a more than bona fide tourist attraction. According to a 2014 University of Memphis study, Gonerfest nets over a half of a million dollars each year for local businesses. Organizers and Goner Records big-wigs Eric Friedl, Zac Ives, and Madison Farmer spoke to the Flyer this week about Gonerfest 13 and beyond.

The Memphis Flyer: Why did you create Gonerfest?

Zac Ives: We did the first one in January 2005. We had just put out that first King Khan and BBQ Show album, and the King Louie One Man Band album, and Mark and Khan were going to do a tour. We called a few other bands, got Louie up too, and tried and make a big weekend of it. Everyone we called wanted to come up and play. We booked two nights at the Buccaneer. We had no idea if anyone would come in town to see it, but the shows were packed and completely wild. We moved to the Hi-Tone that September and made it an annual thing.

Did you have any idea that it would become a regular thing?

Eric Friedl: We had no intention of throwing a festival. “Gonerfest” was sort-of a joke name — but people really wanted to come to Memphis.

Zac Ives: We really wanted to bring bands and rock-and-roll fans here to Memphis. The idea was Memphis deserved to see these great bands from all over the place, and these folks deserved to see Memphis and all these great bands we had. I think it’s probably exceeded our expectations. I think the international aspect of it has been surprising and a lot of fun.

What is the booking process like?

Zac Ives: We have to agree that a band is a good idea, then whoever makes the initial contact usually takes care of the coordination of that band. Madison helps with press, promotion, volunteers, and a lot of the coordination as well.

Eric Friedl: We all propose bands and ideas for the festival. We try to figure out a budget in our heads — which bands we can afford, what kinds of different sounds or locales we should try to work in. I try to get the program guide done. Somehow that is the biggest hassle every year.

What bands are you excited about?

Madison Farmer: I can’t wait to see Fred & Toody. Total heroes of mine.

Eric Friedl: I’m really excited to have Tom Lax from Siltbreeze DJ-ing Saturday night. He’s sort of an underground legend, and the fact that he digs the festival makes me really happy. Tom Scharpling, too, who does The Best Show podcast. We’re so proud these people want to come to hang out in Memphis. Every year I’m surprised by some band that just blows my head off. That’s really what I’m looking forward to.

Do you think you’ll keep doing it?

Zac Ives: I don’t see any reason to stop. It’s a rock-and-roll reunion in Memphis.

Madison Farmer: I’m down as long as the guys are! Even if it turns into a backyard cookout with a couple bands, I’m in for life.

Eric Friedl: I don’t know what Gonerfest looks like when I’m 90, but for now, there’s no stoppin’ us!

Categories
Music Music Features

Being Good Pays Off

Roughly six years ago, former Memphian Jameson Schwieger was thumbing through the cassette bin at a thrift store on Summer Avenue. Along the way, one item in particular — an obviously homemade tape by the largely unknown local gospel/blues artist Johnnie Frierson — caught his eye.

“I went there a few times and bought random tapes,” says Schwieger, who is now a professional DJ and record dealer in Mankato, in addition to being a borderline obsessive record collector. “Because I buy so many random tapes, I actively chose not to buy this particular one.”

Instead, Schwieger chose to place the tape “on display” in a prominent position on the shelf, so that someone else might purchase it. But when he returned a few months later, it was still sitting where he left it.

“I saw it exactly where I placed it and knew I needed to buy it,” he says. “I can’t believe I ever thought twice about spending 50 cents for it.”

And that’s because when Schwieger got Have You Been Good to Yourself home and listened to it, he instantly realized he’d struck gold.

“On first listen I was amazed,” he says. “When you are digging that deep, this is exactly what you look for. Pure soul music.”

For those who don’t know, Johnnie Frierson was a longtime, hard-working Memphis musician who passed away in 2010. As a member of the Drapels, along with Marianne Brittenum, Wilbur Mondie, and his little sister, Mary Frierson — later to be known as Wendy Rene — he got his real break, cutting two largely unheard singles for Stax in the early ’60s. Neither really caught on, but the Friersons and company did. The group provided backing vocals on cuts by Otis Redding and Carla Thomas, and Frierson penned songs for the Soulful Seven, Ollie & the Nightingales, and his kid sister.

Frierson also did some work at Willie Mitchell’s Royal Studios, even (credited as James Fry) fronting the legendary Hi Rhythm Section for the single “Tumbling Down,” which was released on Hi Records in 1968. But in 1970, Frierson was drafted into the United States Army and sent to Vietnam. By all accounts, the experience changed him, and not for the better — he struggled with mental health issues for the rest of his life.

Throughout the rest of his career, Frierson worked more sporadically. His last major project was a short-lived gospel group called Whole Truth, which he formed in 1975 with a pair of friends from high school. After that, he essentially worked musical odd jobs — he gigged around occasionally, sometimes sitting in with the Blues Alley Orchestra, hosted a gospel show on WEVL, and distributed his homemade cassette tapes (some released under his given name, some under the name Khafele Ajanaku).

A few years after discovering that copy of Have You Been Good to Yourself, Schwieger was working behind the counter at Shangri-La Records when a mutual acquaintance introduced him to Light in the Attic Records’ founder Matt Sullivan. (Light in the Attic is an imprint known for re-releasing lost and/or forgotten treasures. In 2012, the label was responsible for issuing a tremendous anthology on Frierson’s sister Wendy Rene.) Sullivan and Schwieger hit it off, and the two made plans to hang out and listen to records later back at Schwieger’s house.

“Jameson pulled out his cassette of Have You Been Good to Yourself, and everything changed,” Sullivan says. “[I was] mesmerized. I was immediately hooked.”

From there, it took very little convincing to get Sullivan and Light in the Attic behind the seven-song album, which was transferred and re-mastered from Schwieger’s single cassette copy for worldwide release on August 19th. It will mark the first time the material has been available on LP or in digital formats.

“No doubt this is one of my favorite things in our catalog,” Sullivan says.  “It’s one of those special albums where you feel like you’re in the room with the man, almost eavesdropping on an incredibly personal moment. He’s singing from the bottom of his heart and soul. Personally, it doesn’t get better than this.”

To celebrate the re-release of Have You Been Good to Yourself, Shangri-La Records is staging a free, in-store listening party this Friday from 5:30 to 6:30 p.m., hosted by local writer and Brooks Museum Associate Curator Andria Lisle. Lisle, who wrote the liner notes for both the Wendy Rene and Johnnie Frierson Light in the Attic releases, is as avid a supporter of Frierson’s music as anyone.

“Jameson scored big-time when he found this cassette. I got chill bumps listening to it for the first time, and still get [them],” she says. “Johnnie’s home recordings are so laid-back, yet so commanding. Matt and I talk quite a bit about other cassettes that Johnnie recorded and self-released in the 1990s. They’re out there somewhere!”

Have You Been Good to Yourself is out on Friday, August 19th.

Categories
Music Music Features

Snowglobe Returns

Not too long ago, the Memphis psych-rock band, Snowglobe, was one of the most popular and prolific acts in town. Over the course of an eight-year span from 2002 to 2010, the group produced four excellent full-length albums, an EP, and two B-sides collections, toured regularly, and even dabbled in acting in Craig Brewer’s $5 Cover series for MTV.

But not much has been heard from the group in recent years. 2010’s Little More Lived In was Snowglobe’s last official release, and the band hasn’t played live since 2012. In that time, some members of Snowglobe pursued other projects — Tim Regan in his new Austin, TX-based group Texas Never Whispers, Jeff Hulett in Glorie and a solo act, Luke White with James and the Ultrasounds, and Nashon Benford with too many bands to mention.

Over five years ago, the band started working on what would become a new, self-titled album with producer/engineer Toby Vest at High/Low Recording. That record comes out this week on Regan’s Super Sonic Sounds label, and Snowglobe is re-convening for a release show this Friday at the Levitt Shell. Brad Postlethwaite, the frontman and founding member of Snowglobe, spoke to the Flyer this week about the band’s latest chapter. — JD Reager

The Memphis Flyer: Why did it take so long to make this record?

Postlethwaite: We’ve all had different things going on in our lives over the past five-plus years. There have been periods of intense effort and focus on this record, but we have also had to take a lot of extended breaks due to work, family, and other reasons. We had no deadlines, no interested labels, no one breathing down our neck. No expectations. It was beautiful. If it took 10 years to get things sounding right, so be it. We were making a record for the sake of doing it, not for any other reason.

What was it like working with Toby Vest and Pete Matthews at High/Low?

I had about 20 songs demoed when I brought the project to High/Low. Toby and the rest of the band helped to sort through them, decide what to try and record, etc. Of those 20, we ended up recording about 16 or 17 tracks, and then cut about five songs at the tail end of the project. At that point, we knew that mixing the remaining 10 or 11 songs was going to be a real challenge given the number of instrument and vocal tracks in each session. It also became clear, to me, that mixing would be a lot easier if I removed myself from the process.

Are you a perfectionist in the studio?

I am certainly a perfectionist and a little obsessive when it comes to finishing a record. There are often a handful of tracks that, to me, sound incomplete or just not representative of what I hear in my head.

For me, the final step in completing a record is reaching a state where I’m able to let that go. In this case, I was lucky, as Toby really understood the vision I had for all of these songs. In the end, once the record was ready to be mixed, I was very comfortable leaving things in his and Pete’s capable hands.

Mortality is a topic you address frequently on the new album — where does that come from?

Many of the songs dealing with issues of death and mortality were inspired by events in my life or those close to me. A few were inspired by experiences I had as a medical student or resident. On a daily basis, you are being exposed to these really tragic situations and experiencing them with the patient’s families. It’s an overwhelming amount of emotions that are hard to put into words.

What do you see happening with the band from here?

More albums for sure. Between family and work, touring would certainly be difficult. I’ve always dreamed of getting back on the road again with my boys, but in the words of Michael Bluth, “Family first.”

Categories
Music Music Features

Mark Edgar Stuart Returns

CREDIT: Rachel Hurley

The past few years have seen veteran Memphis musician Mark Edgar Stuart evolve from a trusted sideman with groups like the Pawtuckets and John Paul Keith and the One Four Fives to a bona fide headliner in his own right as a singer-songwriter and bandleader. Both 2013’s Blues for Lou and last year’s Trinity My Dear were revelatory declarations of his deft touch with simple, yet catchy melodies and heart-on-the-sleeve subject matter. But even with all his recent success, Stuart remains relatively humble.

“I still pinch myself,” he says. “How did I get here? I still think of myself as a bass player. My personality is still that of a bass player. I owe a lot to all the crazy-talented folks I used to play behind. Lots of wonderful people have come into my life.

“It’s been great seeing somebody discover a whole new world, a new part of himself,” says Stuart’s longtime friend and bandmate John Whittemore. “He’d been one of the best bass players in town for years, and then all of the sudden there he was with a guitar with a bunch of cool songs. He has such an interesting viewpoint and expresses such great sardonic wit. It’s inspiring to me.”

Last week, Stuart unveiled his newest recordings, a two-sided single for the songs “Don’t Blame Jesus” and “Jihadi John.” (Both songs are available on the 7″ vinyl single, but only “Don’t Blame Jesus” is being distributed digitally.) While the sound of the new material is roughly in the same vein as Stuart’s previous output — John Prine-ish folk with sparse, airy accompaniment — the lyrical content skews more toward the realms of socio-political commentary and satire rather than personal confession.

“I’m just moving on, I guess” Stuart says. “I said what I needed to say with those other songs. It was good therapy, cheaper than a shrink. Now I can turn the page. I’m not much for soapboxes, and I’m not smart enough to be a torchbearer for anything. If there’s a message, it’s, ‘What the hell is happening?'”

Indeed, as this interview was being conducted, news of the recent shootings in Dallas was just breaking — a coincidence that was not lost on Stuart, given the inspiration behind his new single.

“I wrote them last year back to back, both inspired by the news unfortunately,” he says. “Later that year, as I was watching the Paris attacks unfold on TV, I decided to book studio time and record them the very next day. I must have called every studio in town looking for a last-second opening. I just felt a strong urgency to capture a moment while tension was high. I also wanted to inject a little bit of humor into a messed-up situation, not take it so seriously.”

In late December 2015, Stuart and his A-list band cut the single at acclaimed local producer/musician (the Bo-Keys, Impala) Scott Bomar’s Electraphonic Recording studio, with all the players recording live, in one room — thus producing an end result that comes across as both loose and refined. Both sides especially benefit from the highly skilled pedal-steel playing of Whittemore, whose understated and dynamic licks elevate the proceedings in a way few others could.

“We’ve worked together a lot over the years,” Whittemore says. “It was super-comfortable with [drummer John] Argroves there. We’re all good friends. I’m happy with how it all turned out.”

In the short time since its release, the single is already turning heads with the local media and two well-known and influential national music websites, PopMatters and Paste. But, as is his wont, Stuart downplays his achievements.

“It’s probably a fluke,” he says. “Elizabeth [Cawein, Stuart’s publicist] threw a hail-Mary, and it somehow worked out. I can’t complain. The attention is great — even though it’s unexpected. She’s really hustling for me.”

But Cawein isn’t the only one hustling out there. Stuart is booking more and more gigs both in and out of town as a solo act (“My bass phone doesn’t ring as much, but that is okay,” he says) and is already plotting a course toward a new full-length album, for which he is writing every single day.

“It’s an obsession,” he says. “I write a lot of fluff, but even those songs eventually help me write that one keeper. I want to start record number three. I’ve been rehearsing with a band, which is very new to me. I want the next record to be more lighthearted, upbeat, and fun. A new direction, nothing like the first two records. Something folks want to turn up, not down.”

Categories
Music Music Features

Memphis Punk Fest Turns Four

CREDIT: Don Perry

Now entering its fourth year, the sprawling Memphis Punk Fest is quietly becoming one of the city’s finest underground music festivals. Founder Tyler Miller, originally from Union City, Tennessee, is as invested in the Memphis punk scene as anyone could fathomably be. In addition to bringing countless touring punk bands to town all year round via his booking and promotion company, Memphis Punk Promotions, he’s also a well-seasoned musician with several local punk bands, including Los Psychosis, SVU, and Evil Army. Miller spoke to the Flyer this week about his three-day, multi-venue festival.

The Memphis Flyer: How did you first get into punk rock?

Tyler Miller: I liked bands like the Clash and Ramones like anyone else when I was younger. Then I started discovering more bands via dial-up connection when I got internet. I was around 13 when I started getting really into the music and went to my first concert, which was a battle of the bands in Paducah, Kentucky because a band on Myspace my older friends showed me was playing.

When did you get involved in the punk scene in Memphis?

I moved here in 2010 and was in college for two semesters. I lost my scholarships due to me skipping the first two weeks of music theory. From there, I started couch surfing again and living with people I met at parties. The McAdoo house was the first place I booked a show at for one of the house parties we threw, but as far as punk music, my first show was in 2011 at Dru’s Place. I couldn’t find anyone to play guitar in a band with, so I traded my guitar for a drum set when Los Psychosis told me I could play drums if I had a set. Next thing I know, there was a show booked, and I got booed off stage.

How long have you been in Evil Army?

I joined Evil Army in 2013 when I got a call from Rob Evil about how he heard I could play bass and asked if I’d be able to come over that night and learn their songs. We left, I think, the next day for Brooklyn and did around 15 cities. I remember listening to them on YouTube or maybe Myspace when I was younger, and the thrash metal part of me really dug it. I didn’t know they were from here until after about two years of living in Memphis. I enjoy the band and am always surprised with Rob’s talent no matter how many shows we play together. He’s a really amazing writer and underappreciated sound engineer.

What inspired you to put on the first Memphis Punk Fest?

I was living on Jack Simon’s (Brister Street Productions) couch when he was planning the second Brister Fest and throwing around ideas on his “magic board.” We talked about doing a DIY/grassroots-style fest like his but for punk bands. All the inspiration was carried with me from the all-ages punk scene in Paducah.

I noticed people didn’t communicate like that down in Memphis and thought it would be a good start to bringing together the music community. I started the “Memphis Punk Rock” group page on Facebook and Memphis Punk Promotions so the festival would have some sort of entity behind it rather than it being cast off. I’m proud to say I’ve hosted for over 250 bands on tour since I’ve started Memphis Punk Promotions and the Fest.

Did you think you’d still be doing it four years later?

I really enjoy the idea of doing the festival forever, but it is a lot of hard work and constant planning. I start booking bands as early as October for June of next year for the festival. Dedication to the music is very important to me, and it would mean the world if some people would help carry on the festival if I decide to not do it again. But, then again, pulling it off every year has been a miracle with all the costs. I pay for the flyers, badges, overheads, and do every bit of promotion virtually by myself. Sure, you can go to this other festival with $150 tickets sponsored by Monster Energy and Whole Foods or whatever, but when it comes to punk rock, I feel like this is more true to the roots. The show goers pay for the whole festival every year. I never make but a couple bucks, which is more than satisfying.

What are you doing differently now in year four?

Over my time here, I’ve met and learned from some of the greats of Memphis punks and heard stories about how things were at their peak, which inspired me to try to get more of these long-running musicians involved. I was stoked with how quick a response I got from bands like the Subteens, Pezz, Fresh Flesh, and the Drawls. Other than not having so many out-of-town bands on the festival, I’m keeping the same goal: make it affordable. Oh yeah, and BYO nerf guns.

How big is this year’s festival?

Thirty bands and eight comedians over three days in six different venues.

Categories
Music Music Features

A New Booker in Town

CREDIT: Chris Shaw

Three weeks ago, the resurrected Overton Square music venue and restaurant Lafayette’s Music Room made a significant organizational change, hiring longtime Memphis music supporter John Miller as its new director of events.

Miller, a native Memphian and former lawyer, has spent the last decade or so working behind the scenes in the local music business. In 2007, he was hired by the label Archer Records to work on copyrights, publishing, and project management. He then moved to the now-defunct Memphis Music Foundation in 2010 as a coordinator for the nonprofit group’s Music Resource Center.

“I jumped at the chance to work with an even more diverse scope of local artists,” Miller says.

“There was also a good team in place there [at the Memphis Music Foundation], most of whom I still work with in some capacity from time to time.”

After four years of service that saw Miller consult and advise countless local musicians on a variety of projects, as well as represent the Memphis music scene at big-time music conference trade shows like South by Southwest and the National Association of Music Merchants, the Memphis Music Foundation was absorbed into David Porter’s Consortium MMT, and Miller was temporarily left without a steady paycheck. But rather than pack it in for another career or city, Miller hung around. He founded his own seven-inch vinyl singles label, Misspent Records, and then started working behind the counter at Shangri-La Records, where he has risen to the title of general manager.

Chris Shaw

Lafayette’s Music Room

“Having never been on the retail side of music sales, it seemed like a great opportunity to learn another side of the business, and again work with some really solid Memphis folks,” Miller says.

In that time, Miller continued to work with local musicians on everything from legal issues, to booking, to distribution, all for little or no reward. Last year, he also curated musical acts for the Indie Memphis Film Festival, creating much-needed paying gigs for many local musicians.

“Memphis is full of people who volunteer their time for causes and needs across the board,” Miller says. “You’re never promised success, financial or otherwise, and it may sound cliche, but choosing to invest yourself in something you care about and seeing it grow can be its own reward. I’ve always believed that it’s more important to put in the work and see where it can go rather than sit around and worry about the ultimate outcome. Over the years that’s served me well, allowing opportunities to learn a lot and work with a ton of extremely talented people.”

Now Miller will be devoting a great deal of his energy toward booking and promoting shows at Lafayette’s (though he will also be staying on at Shangri-La and Misspent).

Early on, patrons complained about volume levels in Lafayette’s as well as the occasionally odd/out-of-place booking, and the bands complained about sound issues and occasionally unengaged crowds. Most, if not all, of the technical issues have since been resolved, and Miller intends to address the other issues with a more focused, Memphis-centric approach to booking and event planning.

“With its location in the heart of Midtown and its history, Lafayette’s has been and should be a place where great Memphis musicians can be heard any day of the week,” he says. “That’s the goal going forward for sure. We’ll still host out-of-town touring bands that are a good fit, but we want to make sure that we feature the depth and breadth of talent that lives, works, and plays right here at home.”

Whether this new approach to talent buying clicks at Lafayette’s remains to be seen, but, regardless, Miller will continue to work for and on behalf of Memphis musicians.

“Misspent has a few things on the horizon right now,” Miller says. “I’ll still be up at Shangri-La a good amount. I really enjoy being able to work there and meet folks from around the globe who are drawn to the current and historical music scenes we have. Hearing their excitement about finally being in Memphis helps keep a perspective on how fortunate I’ve been to work with the musicians in this town.”

“Now I find myself booking for Lafayette’s. I like new opportunities, and in Memphis it seems like there is always something different to do if you’re willing to take a chance and see where it goes.”

Categories
Music Music Features

Dream All Day: Ken Stringfellow

CREDIT: Dot Pierson

This Friday, Seattle alt-rock icons the Posies will roll through Memphis for an already sold-out show at a secret location to promote the group’s eighth studio album, Solid States, in a nearly 30-year history. Co-founding members Ken Stringfellow and Jon Auer should be no strangers to followers of the Memphis music scene, as they were the backbone of the Big Star reunion that started in 1993, alongside original members Alex Chilton and Jody Stephens (the two were inducted into the Memphis Music Hall of Fame as a part of Big Star in 2014). Stringfellow, who has also served time in R.E.M., Tav Falco’s Panther Burns, and, most recently, Marky Ramone’s Blitzkrieg, spoke to the Flyer this week.

The Memphis Flyer: Why did you guys decide to do this tour in this format, secret shows at non-traditional venues? Did your recent house-show tour with Holly Munoz (Texas singer-songwriter) influence that decision?

Ken Stringfellow: Definitely, Holly’s way of touring opened my eyes. I know bands do house concert tours. I know there’s an entire agency, Undertow, who does only house-concert tours. But the tour Holly and I did was not just house concerts. We played in a few different kinds of spaces — a cave, a chocolate factory, the NASA Johnson Space Center. For the Posies, most houses would be too small, but we found some incredible spaces to do the tour.

For this tour, so much is different — the way our label functions, the fact we have a new drummer, the fact we’re touring with electronic accompaniment. We thought it would be great to do a paradigmatic shift in the way we tour as well.

You and Jon have spent a fair amount of time in Memphis over the years. How connected to the city and the music scene here do you feel?

Well, we’re in the Memphis Music Hall of Fame! And we love coming to Memphis. The core of people around Big Star and Ardent are super important to us.

Are you surprised by the continued and increasing interest in the music of Big Star?

The range of Big Star’s influence and the protective loyalty of that fan base is definitely astonishing. Until you consider the quality of the music. Then it’s more like, “of course.” It’s some of the greatest music of all time, from which, behind the scenes, many of the indie-rock notions we take for granted were generated.

Most of the people I’ve spoken to who knew Alex say he would have hated all of the attention the band has received lately, especially for the Third album. Do you think that’s true?

Oh my goodness. Yes. He would have definitely been against any kind of celebration or edification or museum-izing of Big Star’s music.

How did Solid States come together?

We started the writing process in early 2015. We basically blocked off January to write and demo and share things with each other. A lot of the recording, then, was done in February, each of us working in our respective home studios. The idea was to add drums last and let the electronic elements take the foreground. Then, something unimaginable happened, when our drummer of 15 years, Darius Minwalla, died suddenly.

There was no going back to the way things were — we almost didn’t find the strength to go forward. It was a major shock. We did regroup and the record entered a second phase, where several new songs were written or completed as a way to deal with this loss. Darius is a major part of the album. It’s dedicated to his memory.

What inspired the increased use of electronic and synthesized elements on Solid States?

It’s kind of where music is these days. But also, as producers, these kind of textures are pretty common on albums we work on. Both Jon and I wondered why we were doing these extremely modern sounds and textures on albums for other people and not benefiting from these skills we’ve acquired for our own work.

Was it hard to adjust to playing live along with electronics and a metronome?

Credit is due there to Frankie [Siragusa, the Posies’ new drummer], who really brought the Ableton elements to life. Jon and I spent some time in Berlin last year learning how to use Ableton, but I have to say Frankie made it come to life, and as the guy who has to play drums to the metronome, makes it feel spontaneous and real every night. We didn’t rehearse together until the week before the tour, so we had no idea if it was going to work. I mean, there’s the Ableton stuff, and then there’s playing with a new drummer. As great as Frankie is, I was unsure how this would really work live — chemistry, groove, etc. Also, I added a synth to our lineup, and on this tour I have the piano and synths in front of me, and I play those and guitar at the same time.

I understand that Solid States is currently only being sold at your shows and won’t be widely available until after the tour. Why did you decide to “soft release” the album this way?

Just to shake it up. Drive the tour ticket sales. Like Led Zeppelin used to say: “We don’t tour to promote albums. We release albums to promote the tours.”