The title “hardest-working man in show business” gets tossed around lightly at times, but it is certainly an appropriate moniker for local creative Josh McLane. Not only is McLane a highly respected drummer around town with bands such as Hombres, Heels, and Special Agent Cooper (just to name a few), he’s also a sturdy presence in the burgeoning local stand-up comedy scene.
But wait, there’s more! He’s also a podcaster, radio host, pro-wrestling ring announcer, independent film writer/producer/actor, and show promoter. How does he keep it all together?
“I enjoy doing a lot of things,” McLane says. “I get bored easily. Comedy is a main focus, but so is playing music and making sure my wife isn’t tired of it yet.”
Eric Huber
Josh McLane
McLane started doing stand-up more than seven years ago on a dare from local comic Mike Degnan, who said McLane was “funny enough” to get up at an open-mic. By his own admission, McLane’s early forays into comedy were somewhat one-note (“I was just screaming at everyone,” he says), but he has since developed a more nuanced, heartfelt approach to his performances and is now easily one of the scene’s unique and most consistently funny voices.
On Wednesday, McLane will tape his first stand-up comedy record live at the Hi-Tone. The event is called “The Don’t Be Afraid of Josh McLane Comedy Special,” named after the successful monthly show “Don’t Be Afraid of the Comedy, Memphis” that McLane hosts at the venue. The idea was born out of yet another dare — this time from Katrina Coleman, a fellow Memphis comedian who released her own debut album, Womanchild, last year.
“Josh has emerged as a reluctant mentor and role model to the other comics with the longest-running and strongest showcase in town,” Coleman says, who will serve as host for the show. “His stand-up is somewhere between a hellfire-spouting evangelist for reason and a chain-smoking stitch.”
This Friday, the Hi-Tone will host an all-star concert in tribute to one of Memphis’ most revered underground heroes, the late Chris Bell.
Bell is best known as a founder of the legendary power-pop group Big Star, and one-half of the songwriting partnership (along with Alex Chilton) that spawned the outfit’s magnificent debut album #1 Record.
After its release in June of 1972, #1 Record garnered positive critical reviews but ultimately flopped from a sales perspective due in part to both shoddy distribution and promotion. This disappointment led to dissent in Big Star’s ranks, and Bell left the group – which would go on to record two more influential studio albums, Radio City and Third, in the ’70s.
After his departure from the band, Bell spent the next several years working on solo recordings during off hours at Ardent, the local studio/label that was also home to Chilton and Big Star. However, only two of those recordings would see the light of day in his lifetime. In December of ’78, Bell was tragically killed in a car accident, thus silencing one of Memphis’ most transcendent rock-and-roll voices.
After Chilton’s untimely death in 2010, Big Star’s status rose again, and there have since been numerous tribute concerts staged around the world to honor the band. Until now, none have been focused primarily on Bell, who is often overshadowed by his more famous counterpart. That changes on Friday when a powerhouse group of local musicians (Jody Stephens, Van Duren, Vicki Loveland, Keith Sykes, Rick Steff, Stephen Burns, Richard Rosebrough, Paul Taylor, and many more) organized by Michigan-based journalist Rich Tupica and Ardent producer/engineer Adam Hill will take to the Hi-Tone stage to celebrate the entire Bell catalog. We sat down with Tupica and Hill to find out more about the show this Friday.
Flyer: How did the idea for a Chris Bell tribute show come together?
Rich Tupica: The idea was hatched, I think in January or February 2015. I had been planning a May 2015 trip to Memphis for quite some time, and the original plan was to have John Fry (Big Star producer/Ardent founder) give me a tour of Memphis. Fry was going to show me locations vital to Big Star or places we’d discussed over the phone for the past couple of years. Then, as we all know, sadly John passed away. That’s when the idea for a Chris tribute came to mind. I figured if the John Fry tour wasn’t going to happen, I would somehow still make this a Bell-centered trip and honor a songwriter I’ve been heavily researching since May 2012, when I started the book. The concert is a way to bring together Chris’ fans, family, and friends. I’m really looking forward to it.
How did you put the band together?
Tupica: The musicians were chosen mostly by Adam. But we did decide early on to try and include friends of Chris Bell – musicians he actually played with at some point. There are other musicians I would have loved to have, but with a limited budget, we stuck close to Memphis for this one.
Adam Hill: Dan Shumake [drums/guitar], Chris Gafford [bass], and I had been playing with Stephen in the Scruffs, so I knew those were the guys to help me with this. Rick was a must as well.
Is Chris Bell underappreciated within the legacy of Big Star?
Tupica: I think Chris Bell is usually a footnote in many of the magazine articles, and that’s due to the short amount of time he spent in Big Star. Bell may have founded the band and its sound, but he left after the first LP, which makes it easy to write him off early on. But, for me, Big Star’s fourth record is that I Am the Cosmos LP. That’s his post-Big Star body of work, and, no matter what, I think Chris was always intertwined in the Big Star saga. Chilton, Stephens, and [bassist Andy] Hummel were even featured on some of the Cosmos tracks – they were still palling around. Sadly, though, Bell died very early. I think him not being around to take advantage of the Big Star resurgence didn’t help matters. He died young.
Hill: Maybe so, Alex repeatedly stated that he joined Chris’ band.
What are you hoping to accomplish with Friday’s show?
Tupica: This show is an out-of-pocket, labor-of-love project. Both Adam and I are huge fans of Chris’ sonic abilities and also his life in general, so it’s been great to put together an event that will bring together like-minded fans.
Hill: We hope to do the material and Chris’ legacy justice. I’m honored to have gone from a fan of the music to actually sitting next to John Fry and remixing some of Chris’ work with him.
What songs are you most excited about hearing in a live setting?
Tupica: I am excited to see all of them live. There are no live recordings of Chris Bell’s solo material, only studio versions and the outtakes. I’ve always been curious about how much energy his songs would have on a stage. He played very few shows and most of them were acoustic. He did perform some of his solo material with the Baker Street Regulars (a mid-’70s Memphis band that featured Bell, Stephens, and Duren), but they never recorded any gigs. In fact, this tribute show will probably cover more of Bell’s catalog than he was able to do while he was on the planet. I hear the Bell family might attend, and I hope this set brings about happy memories for them.
Hill: All of them, this has never really been done before to my knowledge.
Local musician Harry Koniditsiotis has been a staple of the underground music scene in Memphis for more than 13 years, leading punk and post-punk influenced acts like the Angel Sluts, the Switchblade Kid, Twin Pilot and the Turn-It-Offs to both general and critical acclaim. But in between all that, he’s also been running a successful recording studio, 5 and Dime Recording, mostly on the strength of his clients’ recommendations.
“It’s always been word of mouth,” says Koniditsiotis. “A lot of the bands that record here have heard and like my records, or are in bands I’ve met on tour.”
Until recently, however, the studio has mostly taken a backseat to Koniditsiotis’ musical pursuits – chalk it up to an insanely busy touring and personal recording schedule. But for now, he’s putting the lion’s share of his energy into 5 and Dime.
“The summer is coming up and I hate the heat. I’m done with sweating my ass off playing,” Konidisiotis said.
Koniditsiotis first came to Memphis back in 2002. At the time, he was a New Orleans-expat looking to relocate to Chicago. But Koniditsiotis never got farther north than the Bluff City. He quickly found a job engineering at a local studio, Cotton Row Recording, and then formed the Angel Sluts. The band would play its first show the following year.
The Angel Sluts quickly attracted a loyal following on the strength of the band’s raucous live show and solid punk-pop hooks.
“We were very like-minded in wanting to do a rock-and-roll-type punk band,” Koniditsiotis says. “We thought a lot of bands were just boring live. The band really started because we realized we could get free bar tabs when we played and we would just let all our friends in for free to come party. So it was that kind of thinking.”
But Koniditsiotis wasn’t quite satisfied. From there, he branched out with more eclectic groups like Twin Pilot and the Turn-It-Offs and established himself as a versatile and dependable creative presence in Memphis music.
In 2004, Koniditsiotis purchased a house in the Cooper-Young neighborhood with a backyard garage and quickly decided it would be a suitable space for a recording studio. By 2006, he had grown weary of playing second banana at Cotton Row and wanted to launch his own endeavor; that endeavor would become 5 and Dime.
The studio started small – Koniditsiotis initially worked primarily on his own projects and those of his friends. But the positive word-of-mouth proved to be a strong endorsement, and he found himself attracting bands from around the country looking to record albums on a modest budget.
“Bands like coming to Memphis. We give them a place to stay,” Koniditsiotis says. “There’s kind of a B&B side to the studio. I’ve been told over and over by bands how it’s an incredibly relaxing recording environment. So that’s one of the attractive features for out-of-town groups. Bands generally like the gear that’s already in the studio so it makes everything super easy. Most of them will just bring in guitars and drum sticks.”
“The first word that comes to mind is comfortable,” says local singer-songwriter Tony Manard, who has recorded two albums at 5 and Dime. “It’s an eclectic mix of equipment and kitsch that’s a little worn around the edges and just feels right to me. 5 and Dime is a great room for recording a band together at once. There’s a collection of vintage tube amps and effects pedals. There’s also a nice drum kit, Hammond M3 and Fender Rhodes. The room is pretty live, and Harry knows where the sweet spots are.”
The year 2012 saw the demise of Koniditsiotis’ main project, the Angel Sluts (last week’s impromptu reunion show at the P&H notwithstanding), and he eventually decided to consolidate his various influences and inclinations into one unified project, the Switchblade Kid.
“The bad thing about being in the Angel Sluts was being stuck with the stigma. The joke of the name ran its course long ago and I was feeling very limited music-wise by it,” he says. “At the same time, I was playing in two other bands and after a while realized playing in three original bands at the same time was just stupid. I was running myself ragged and decided to combine the three.”
Not long thereafter, Koniditsiotis also married his longtime girlfriend and backing vocalist/percussionist in the Switchblade Kid, Jenny Hansom. Which brings us to the present, where the highly prolific Koniditsiotis is now “settled down” and focused on running 5 and Dime Recording as a fully fledged business.
“It’s nice to be focused on one person rather than a bunch of musicians. If anything, it’s made me realize the things I really want in life and for once it’s nice to have them,” Koniditsiotis says.
Koniditsiotis has registered the studio with the Cooper-Young Business Association and has taken out ads in numerous indie/punk music publications including Maximum Rock’n’Roll, Razorcake, and City Trash. He’s also made some improvements to the studio itself.
“There’s always trial and error with gear, but I think I’ve got a nice Barbarella/Warhol Factory vibe now,” Koniditsiotis says. “It went through a bunch of phases to get to this point though. I gutted it a few years ago and got more gear, so it’s just been an evolution. Most of the gear is from the ’60s and ’70s, but I record to Pro Tools. I like ribbon mics.
“One of the pluses is that [5 and Dime] also functions as my personal studio so everything is mic’d up and ready to go at a moment’s notice. Setup time is always a big killer for a band’s momentum so I try and keep it fast. I like to work quickly myself when I record so it’s easier to just leave everything set up and ready to go. There’s a convenience factor when you have a recording studio in your backyard that I love.”
This year’s Memphis Comedy Festival – which opens on Thursday, March 5 and runs through Sunday, March 8 – is shaping up to the biggest, and arguably best, in the event’s history. What originally started as a last-minute schedule filler for local “non-commercial” performance space Theatreworks, has evolved in four short years into full-blown comedy bonanza, with well over 20 individual shows and workshops spanning across a myriad of venues in town, including Theatreworks, Co-Motion Studio, the Hi-Tone, and Studio on the Square. The festival’s founder, comedian and popular Memphis tweet-er Katrina Coleman, spoke to FOTW this week about organizing the event and much, much more.
Fly On The Wall: What inspired you to start the Memphis Comedy Festival?
Katrina Coleman: Like all good origin stories, there are three that are all very nearly the same with one variance. I started the Memphis Roast Club to bring all the best comics I knew together and do work on the comedy scene. Larry Clark, an international artist, is based out of Memphis. He had booked Theatreworks for his nearly-yearly one man show, “Just Larry.” Circumstances and a busy winter kept him from putting together a whole new show to his standards in time, so he opted not to. He was talking with our close friend and stage manager Nathan Hiller about it and as founding members of the Roast Club, decided maybe we could use the theater for something. When they called me, we talked about a series of shows or a headliner or. . . why not all of it in a festive fashion? All three of us think it was our idea, but it was mine because I say it was. So in six weeks we pulled off the first one and it was so good, we had to again. And again.
Katrina Coleman Talks Memphis Comedy Festival
How has the festival grown since that first year?
The first year, our banner was very carefully cut sparkly letters taped to a dollar store table cloth and I made stickers with a manual Xyron machine. This year, Lauren Rae Holtermann designed our posters and we’ll have merch that, holy crap, doesn’t look like a craft project. The shows have also come to include every kind of comedy, with so many in the weekend that no one person could physically see every single performance. The community support through sponsorships and volunteer efforts has grown by incredible and humbling leaps.
The thing that really gets better and better is the support we get in accommodating the comics. They generally crash on couches, they’re fed every day, given coupons and passes and discounts from all manner of local businesses. This city just flings its doors open wider and wider so that when people leave to go back to their various homes, they feel like they’ve been the cool side of their family.
What would you say your primary role in the festival is? Who else contributes to putting it together?
Most of my time is probably spent just listening and nodding and saying things like, “We’ll fix it. It’s ok. You have to go tell jokes now. Blow your nose.” In years past, I’ve taken crash course in promotions, organizing, scheduling, festival-ing in general. From making the interview appearances to plunging the “trouble toilet” again, my job is just to keep going. My role is also largely recruiting the right people. Every year the core team grows and changes, but keeps improving. Nathan Hiller has always been the guy who knows all about the stuff that plugs in. I tell him every year he has the job no one notices until he screws up, “And buddy, no one noticed you! Thanks!” Kate Mauldin has been our volunteer coordinator this year, thanks to her expertise in complimentary sandwiches. Cara McLane came on, and with Doug Gillon have made the marketing stuff just so beautiful it hurts. The Stanley Justice team organizes the entire film night, and Josh McLane has even taken the additional role of hospitality coordinator. Benny Elbows wrestles the monster that is our schedule and also is always awake when I text at 2 AM to tell ask him what I forgot to do today. Jada Brisentine headed sponsorship and she is very good at getting yes as an answer. Richard Douglas Jones is the sonic screwdriver of the festival, hosting shows, running cable, shaking hands, all things. Mike Degnan wrangles improvisors. Katie Wood comes by to yell when yelling’s needed. Twin Face Kline, OAM Audio, Looks Like Lisa, all those teams are holding down a station. It never would have happened without the support from the beginning from Jack Pirtle’s, who feed us every year. Every single year I get to watch a new person discover fried chicken livers. There are at least three dozen people I could list, and another dozen I wouldn’t get to before you ran out of pages. Team effort doesn’t even cover it, this is an army effort.
What is the booking/submission process like? Is it tough to decide who gets in and who doesn’t?
Every year, we solicit comics all over the place to send us a video, bio, and a small fee. Then, we sit in a room and watch and yell and discuss and yell more. This year we only meant to take 27, and ended up with 32, because we simply could not bear to cut the list shorter. Every dispute is handled in a manner that may not be dignified but is certainly group effort. I’ve been outvoted more than once. This year, 127 videos played in Richard’s living room and great battles played out to have our favorites here. There’s an unofficial policy that if someone gets shoved over your submission tape, automatic entry.
How much importance do you place on showcasing local comics vs. bringing in out-of-towners?
There’s always local talent, specifically as hosts, and a vast majority of our volunteers and staff are local comics. There’s a local showcase specifically for us, but most shows we try to fill with visitors. We take a fairly Southern approach to hospitality, giving our guests the finest portions, as it were. We get the joy of Memphis audiences the other 361 days of the year, so we use our good manners and share.
What have been some of your favorite events or performances over the years?
Oh, that’s a hard question. Comedy Secrets came last year. They do a show in which comics tell a true, personal story that has never been on stage. There’s even a vow of secrecy at the beginning so I can’t tell you much, but in an hour and a half I cried like a baby and laughed so hard I was choking. The Memphis Film Society gave us a live commentary over an awful sci-fi softcore movie from the ‘70s that included a game that got at least two people out of their pants. Jason Earl Folks comes here every year and every single year I find myself spelling his name for someone who just HAS to find him on Facebook RIGHT NOW. Twin Face Kline once interviewed Tawanda and Cordell Pirtle and I found out that Mrs. Pirtle is the funniest, sharpest woman in town. And she’s not afraid to tell a comic to shut the hell up.
Is there something you’re really looking forward to this year?
The Stanley Justice guys haven’t let me see the film submissions, so the anticipation for Don’t Be Afraid of the Shorts might kill me. Unlockable Characters is a nerd-centric, queer-positive show that I have been begging Amy Sulam to bring to us for MONTHS. But Penny Wiggins may be what I’m most excited about and will be hiding from all responsibility in the booth to watch. She’s just so very, very funny.
Tell me about Penny Wiggins, this year’s headliner.
Penny is better known as “Psychic Tanya,” the lovely assistant to The Amazing Johnathan. Since his recent illness, she’s returned to her standup roots. She’s an actress, too, so she also has a whole pocket full of characters. Happi Johnson, a locally based comic, but definitely an old pro – she used to write for Phyllis Diller – knew Penny and basically called in a favor for us. It’s the right time for Penny as she’s just begun touring again, and for us to have a chance to see her before she comes back through and has to play the Orpheum. Getting her here may or may have not included a promise to take her to Graceland.
Do you feel there is a legitimizing effect on the festival in bringing in more well-known performers like Penny and last year’s headliner, Billy Wayne Davis?
Oh, absolutely, yes. For comics considering submitting, the headliner becomes a huge incentive to them. In addition, it’s gained us much respect here at home. From tablecloth banners to hosting performers with resumes longer than my arm, I certainly think people believe we aren’t just dabbling in this.
Katrina Coleman Talks Memphis Comedy Festival (2)
As the festival grows, is it getting harder for you to personally attend and oversee every single show? Do you see yourself ever wanting or being able to step back from that?
Last year was the first year that one pair of eyes could not have seen all of every show, and I was so very proud of that. Everyone knows that at the Beale Street Music Festival you have to make difficult decisions, sometimes, right? Because so many incredible bands are around you just have to sometimes run from one end of the park to the other. Music is everywhere you look. The idea of a weekend like that with comedy, well, it makes my heart beat real fast. Last year, I was just able to check into every show and then run off to make sure the next was ready to go. At the very least, I was able to see each crowd for myself and get a feel for how it was going. This year, the schedule is such that I can’t do that at all. I’ve got enough capable people that I can trust to make sure the lighting is right and the chairs are reasonably spaced. It’s like my little baby has gotten too big for me to tie her shoes or walk her in to school any more. Maybe one day I’ll relax and just enjoy the shows, let other people handle the way the tshirts are folded and what color cups we have and can I please have a ladder to adjust this light? Maybe I’ll just relax. No, I won’t.
How do you see the festival growing in the future?
Bigger. I always want it bigger. Scratch that, I want it stronger. I want it to be a thing that comics want to come to so badly that they send us bribes in the mail. (Rum. I like spiced rum.) If I got my wish, of COURSE I’d have Louis CK or Maria Bamford here. I still hold on to hope that Chris Hardwick will come back home to visit. Going forward, we’ve toyed with the idea of outdoor events, things that families might enjoy. I’ve also decided that by next year, I’ll convince Tony Allen to do an open mic.
Is there anything else you’d like to add about this year’s Memphis Comedy Festival?
Buy a pass. Sit on the top row at Theatreworks. Hydrate. Don’t be late, you’ll miss something. Follow the @memcomedyfest so you know what’s poppin’ off and where. Always be prepared to dance battle. And never, ever, EVER buy a comic drinks after midnight.
In early 2013, longtime Memphis musician Mark Edgar Stuart put the local scene on notice when he released his excellent debut solo album, Blues for Lou. The record — a loose concept piece about both Stuart’s struggles with cancer and the passing of his father (the titular Lou) — was revered by peers and the media alike and firmly established Stuart as one of this city’s most vital music-makers. It’s shaping up to be an even bigger year for Stuart, as he just released a beautifully melancholy sophomore effort titled Trinity My Dear, and eventually will take his show on the road. Stuart, fresh off of a showcase appearance at the annual Folk Alliance Conference in Kansas City, spoke to the Flyer about the new album and more.
Flyer: How do you feel about Blues for Lou, now that you’ve had a couple of years to live with it?
Mark Edgar Stuart: Of course, I’m my own worst critic. It feels a bit green to me, but it was a moment in time. I’ll always cherish it. I’d like to think that I have a better understanding of songwriting now, but I still have lots to learn. I wrote a ton of songs about my father but was never really happy with any of them. I was still waiting on that one song that said it all so I could turn the page. That song was “Remote Control.” It was written and recorded toward the end of the session. It came fast — it was a gift from him. If I have to sing that song for the rest of my life, then I am totally okay with it.
Where you surprised by the overwhelmingly positive response to the record?
[I was] blown away. If somebody would have told me five years ago that I’d be doing this interview right now I’d say they were crazy. I just wish my dad was around to see it. He never got the chance to hear me sing it.
What was your process like for working on Trinity My Dear?
Some of those songs were already written, and I had already been performing them live. I liked the formula of the first record: simplicity and spontaneity. I didn’t stray too far, and I hate getting too bogged down on the “techie stuff.” I’m pretty sure I have ADD, so I can’t dwell too long on one thing. Life at that given moment usually determines the theme of whatever it is I’m writing. Those new songs crept in and took the record in another direction.
Without getting too personal, what are some of the themes you’re exploring on the new album?
Life, love, and disappointment. The title track and “Joe Is Enough” say it all. At the time, I had no intention of “Trinity My Dear” going on the record; I had just written it. It was the end of a late night session at Sun Studio. I just threw it out there to see if it would stick and it stuck. No one said a word in the control room — the mood of the evening had changed. We all packed up and called it a night. “Ms. America” touches on my cancer experience and health care. I tried to keep it fun without being too soap-boxy. I hate when folks do that.
Are you ever nervous or reluctant about being so transparent in your songwriting?
I never have been until now. I really put it out there on a few songs. That’s just how it came out. It’s just as much gut as it is heart.
Tell me about working with the late, legendary producer Roland Janes on the cut “We Were in Bloom.”
Roland was amazing, a real treasure and a gentleman. I’m so glad I got up the nerve to call him that day. I had worked with him earlier that year on John Paul Keith’s third record, and we had a connection. He was my father’s age and [they were] both from the same part of Arkansas. Using just one of those big vintage mics, I spent an entire afternoon recording with Roland, just me and an acoustic guitar. He really liked that song and had me play it over and over until he felt it was the right take. I told him the song was about being young, and he said, “or about being old.” That really resonated with me. He died a few months later, and that track was shelved for a year or so until I brought it to Jeff Powell [producer of Blues for Lou and Trinity My Dear]. He had a respect for Roland. He gave it his own special spit-shine. He took that one track solo recording and worked his magic: EQ-ing it, overdubbing, mixing it, etc. I love the finished product.
How is it to work with Powell again?
I love Powell. We share the same sick sense of humor. We’ve made two pretty emotional records, but you’d be surprised how much cutting-up and laughing was going on. He’s like a referee and I needed that. I trust him with all the “techie stuff.” He has great ears and instinct. I love his ideas.
You worked with a host of well-known local musicians on Trinity My Dear, including Al Gamble, Jim Spake, Kevin Cubbins, and Kait Lawson. How did you put such a talented group together?
I played most of the instruments on my first record. I was tired of hearing myself play half-assed. I wanted my more talented friends to be involved this time around.
This is your second release for Madjack Records. What is your working relationship like with the label?
I’m a charter member, I guess. I was there in the very beginning shortly after I moved to Memphis in the ’90s. I was in a band called the Pawtuckets, and the label was launched as a platform to release our second record. The band broke up but the label kept going. It’s like home. Mark McKinney and Ronny Russell believed in me when I didn’t believe in myself. I’ll keep it in the family as long as they will have me.
Do you have a favorite moment on Trinity My Dear?
The title track, as depressing as it is. Johnny’s drumming is beautiful and sensual. He follows my lyrics. Only a best friend can know how. For those who don’t think drums can be beautiful and sensual, check it out.
Do you think the record holds up to the high standard you set with Blues for Lou?
I’m very happy. It’s a logical next step. It’s a better record, though my first born will always have a special place with me.
In four short years, the Memphis Comedy Festival has grown from a relatively small and makeshift event into a full-blown three-day extravaganza, featuring multiple live comedy showcases, workshops, podcast tapings, and a short-film presentation across multiple venues. This year’s festival boasts its strongest lineup to date, with a strong mix of underground comics from around the country coming to town to mix it up with Memphis’ best and brightest. But the highlight of the event is probably the headliner, Penny Wiggins.
Wiggins, who performs this Sunday night at TheatreWorks, is a Los Angeles-based comedian/actress perhaps best known as the character “Psychic Tonya,” the zany sidekick to the now-retired comedy-magician the Amazing Johnathan. But she’s also a skilled and experienced performer in her own right, having appeared on TV shows such as The Tonight Show with Jay Leno, Premium Blend, and Evening at the Improv.
“Penny Wiggins may be what I’m most excited about, and [I] will be hiding from all responsibility to watch. She’s just so very, very funny,” says local comedian and Memphis Comedy Festival founder Katrina Coleman. “It’s the right time for Penny as she’s just begun touring again, and for us to have a chance to see her before she comes back through and has to play the Orpheum.”
The Memphis Comedy Festival runs this Thursday through Sunday at (get ready for this): TheatreWorks, the P&H Café, Studio on the Square, the Brass Door, Dru’s Place, the Hi-Tone, Rockhouse Live, Kudzu’s, Co-Motion Studio, Chase the Vape, and Rocket Science Audio. For a full schedule and ticket information, visit www.memphiscomedyfestival.com.
This Sunday, March 1, Lafayette’s Music Room will host the official release party for local singer-songwriter Mark Edgar Stuart’s latest album, Trinity My Dear.
The past few years have seen Stuart transform himself from a trusted sideman with numerous well-known Memphis acts – most notably, The Pawtuckets, Jack Oblivian, and John Paul Keith – to the celebrated frontman of his own project. The moment of ignition came in March of 2013, when Stuart unveiled his debut recording, Blues for Lou. The album was heavily lauded by both critics and fans, myself included.
Now Stuart is back with his sophomore effort, Trinity My Dear – a highly personal and touching collection of songs which Stuart says was inspired by “life, love, and disappointment.” The album is truly fantastic, and so too should be Stuart’s appearance at Lafayette’s on Sunday.
We’ll have a full interview/feature on Stuart in the print edition of next week’s Flyer, but in the meantime, take this advice: go to the show. You’ll thank us later.
And just in case you need further convincing, here’s a great clip which very few folks have seen of Stuart performing (mostly) the new material in the lobby of local ad-agency Red Deluxe:
Mark Edgar Stuart’s Record Release Party
Mark Edgar Stuart Record Release Party
w/ Delta Joe Sanders
Sunday, March 1, 7:30 p.m.
Lafayette’s Music Room
Free admission
Memphis musician James Godwin has long been known as the skilled bass player behind such well-known local rock acts as Streetside Symphony, the New Mary Jane, Jack Oblivian, and John Paul Keith and the 1-4-5s. However, in recent years, Godwin has been busy fronting his own fine project, James and the Ultrasounds. This week the band is releasing its first full-length recording, Bad to Be Here, on local imprint Madjack Records, and celebrating that release with a show this Saturday at the Young Avenue Deli. Godwin spoke to the Flyer earlier this week about the new record, putting together the band, and much more.
Memphis Flyer: You recorded a lot of the band’s debut EP, Lovers & Ghosts, on your own. . . how did the band come together?
James Godwin: The first EP was made around the time that the New Mary Jane was winding down. I was recording at home on 4-tracks, just tinkering with different things. Some of it we cut over at Dave Shouse’s (the New Mary Jane/Grifters guitarist) house. The first time I ever played the song “Astronaut” [from Lovers & Ghosts] was actually at a New Mary Jane gig. I really botched it and knocked the mic stand over on accident. As far as putting the band together, John Argroves was already involved because he played drums on some of the EP. [Guitarist] Luke White and I had been hanging [out] a lot playing darts and smoking cigarettes, and we eventually got together to learn the songs from the first EP as a three-piece. We immediately realized that we needed a fourth member to play the bass. At the second rehearsal, Luke brought David Johnson in, and we’ve had the same lineup since.
Has having a band to collaborate with changed your sound or approach to songwriting?
I don’t think that it’s affected the way I write songs, really. I typically write songs from start to finish in my head before I even try to play it. Working with the guys has really brought the songs to life. Luke, Dave, and John are all insanely talented.
When did you and the band start working on the songs for Bad to Be Here?
I started doing demos for these tunes around the end of 2013. I had most of the songs written before we recorded anything. Some of them we were already playing live, and some of them the guys hadn’t heard before we recorded them in the studio. I didn’t work much besides touring at that time, so I had months of free time to write and do demos.
Where did you record it?
We recorded it at Curry Weber’s place, Superman Ranch. Curry has a really nice space there and gets good sounds out of his room. It’s tucked away and not many people know it’s there. There are no windows and time can really get away from you. As with any recording experience, some days went smoothly, and others we were pulling our hair out. This is the first time I’ve recorded a batch of tunes with a band. Before then, it was usually just me fiddling around. It was a learning experience, for sure. You should’ve seen the look on everyone’s face when I pitched them the idea for a song called “Party Dracula.”
What was it like working with Mark Edgar Stuart as a producer? How did he contribute to the project?
Working with Mark was great. Mark is a wonderful person, and he was really enthusiastic from the start. He kind of acted as a coach and referee. When we’d get frustrated about something, or something wasn’t coming out right, he’d help us get our focus back and get us to nail it. If we were butting heads or something, he’d get us all back on the same page. He’d also help me get through those moments where I lose confidence in something. He’s a big, bearded teddy bear and a really smart musician. He also played the hell out of a Wurlitzer on a few tunes.
How did Mark become involved in the project?
He saw us play a show one night. The next day he contacted me about his idea to be involved and to take a stab at producing a band and putting a record together for us. A few days later he had it all set up, and we were in the studio.
Bad to Be Here sounds a bit cleaner/more produced than the EP – was that your intent?
I think it’s just the difference between working with 4-tracks and whatever you have lying around versus going into a studio with professional equipment and people who know how to operate it. I’ve always been a fan of lo-fi stuff, but Mark wanted me to believe that I’m a better singer than I think I am. That led to the vocals being cleaned up and less fuzzy than the vocals on the first EP. I don’t mind the clean vocals. It’s like, there it is. That’s what my voice sounds like, nothing to hide behind. It did take some getting used to at first. On the next one, I’d like mix it up a little more, maybe bring the 4-track into the studio and piss everybody off.
You’ve spent a good deal of time as a back-up player for lots of different folks. What did those experiences teach you about songwriting?
I’ve learned a lot over the years. One thing that really benefitted me came from touring with John Paul Keith. Riding in a van with him for as long as I did, each day was like a music history lesson. He showed me so much old stuff that I had never heard before.
Are there ever times you miss being a side-man?
I just love playing music. I love to play the bass, especially with such talented people that I’ve been fortunate enough to play with over the years. But I won’t lie and say I don’t enjoy being able to turn my guitar up as loud as I want and go for it. It took a long time for me to be able to front a band. For the longest time, I was terrified to sing in front of people. Every time that I do it now is like a small victory for me.
How did you develop a relationship with Madjack Records?
Through Mark Stuart, who pitched the idea of them putting the new record out while we were making it. He set up the initial meeting with Ronny Russell, and he and I really hit it off. Ronny and Madjack have been really enthusiastic and very helpful. I think it’s really cool that they put this record out, because they’ve never really released anything like this before. I always thought it was kind of funny that the original working title for the record was Kill Americana. I remember Mark telling me about pitching to Madjack and thinking maybe I should come up with a different title.
How do you feel about Bad to Be Here now that it is out?
I think it has some really strong stuff on it. There were some ideas that I wish would’ve worked out and made the cut, but that’s just how it goes. I tend to be pretty self-critical. I usually go through periods where I hate everything I do, then I come back later and listen and think, “I’ve heard worse.” There are always things you wish you could’ve nailed a bit better, or parts on songs that you work up after the record is finished – I think you’ve just got to roll with it.
It’s really good when played at the appropriate rock-and-roll volume. I want people to listen to this thing as loud as possible. It’s a rock-and-roll record. It’s got some zits on it. It’s got soul. I ain’t writing ballads over here. Turn it up loud and drink beer.
With the recent opening of Chuckles Comedy House in Cordova and the emergence of the local comedians guildMemphis Roast Club(which promotes Memphis-area comics and stages the annual Memphis Comedy Festival event in Midtown, bringing in comedians from around the country), the comedy scene in Memphis has never been stronger or more vibrant. That said, Memphis still misses out on most big-time touring comedians due to a perceived lack of audience and/or venues.
This Friday, however, will be an exception to that rule as Memphis plays host to San Francisco-based socio-political comic W. Kamau Bell at Minglewood Hall’s 1884 Lounge. Bell is perhaps best known as the former host of Totally Biased with W. Kamau Bell on the FX and FXX cable networks, both subsidiaries of Fox. The show received rave critical reviews and developed a considerable following, but was ultimately cancelled after two seasons.
In addition to hosting Totally Biased, Bell has made numerous high-profile television, radio and podcast appearances, including Conan, Real Time with Bill Maher, WTF with Marc Maron, and NPR’s Fresh Air – just to name a few. He also co-hosts the semi-regular podcast The Field Negro Guide to Arts & Culture with Living Colour guitarist Vernon Reid.
Here’s a clip of Bell performing stand-up at the prestigious Just For Laughs comedy festival in Chicago in 2012:
W. Kamau Bell at Minglewood Hall
And here he is discussing his “mixed-race baby” on Conan:
W. Kamau Bell at Minglewood Hall (2)
Also appearing Friday night will be Boston’s Zach Sherwin, a comic/rapper who sometimes performs under the name “M.C. Mr. Napkins,” and local Joshua McLane. Tickets are $15 (plus a $3 service fee) and showtime is 7 p.m. For more information, visit www.wkamaubell.com or www.minglewoodhall.com.
The Memphis music scene enjoyed many triumphs in the past year, which my colleagues have already discussed and celebrated. But 2014 also saw its share of failure and disappointment – two things I consider myself something of an expert on. So, to borrow an old catchphrase from local sports-talk radio personalities Chris Vernon and Gary Parrish: 2014, I’m hating on you. (P.S. – shout-out to the brain trust that helped me put this list together. You know who you are.)
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10. Venue Closings
Two longstanding Memphis music venues closed in 2014 – Midtown’s The Poplar Lounge (A.K.A. where the stars used to hang out) and Newby’s, the centerpiece of the Highland strip. And while the Newby’s space sits vacant, The Poplar Lounge has been replaced by a second location of the Bartlett heavy metal bar Rockhouse Live.
9. Beale St. Cover Charge Fiasco
In August, the Downtown Memphis Commission experimented with a $10 cover charge to walk down Beale Street after-hours on weekends. This was in response to a string of violent incidents in the area, but nobody seemed happy about the policy. Some even suggested racist motivations, and the fee was quickly abandoned.
8. Come Back Jake
Memphis musicians have, somewhat notoriously, always seemed to find greater success outside the Bluff City than within. This year, we lost a crucial member of the scene in Jake Vest – a singer/guitarist behind such bands as Tiger High, The Bulletproof Vests, Dream Team, Jump Back Jake, Clay Otis, and countless others – to Brooklyn, NY and a band called The Echo-Friendly.
7. Rick Ross
What’s more embarrassing than having a guy who rapped about drugging and raping women perform at the University of Memphis’ annual Memphis Madness event? Giving him the key to the city for opening a Wingstop.
6. Radio, Radio
In September, Entercom – a radio conglomerate that controls numerous stations across the country, including several in Memphis – decided to turn Classic Hits 94.1 into The Wolf, trading in classic rock (I.E., The Beatles) for modern pop-country drivel. To make things worse, the company fired longtime local D.J. Steve Conley. Ugh. And, oh, by the way – U of M radio still really sucks.
5. Gone Guitars
Local singer-songwriters Chris Milam and Myla Smith embarked on a tour together this fall, and all was well until all of their gear and merchandise was stolen in Jackson, MS. So far, none of it has been recovered.
4. Symphony of Destruction
In order to help keep the cash-strapped Memphis Symphony Orchestra up and running, members of the group agreed to take a 38% pay cut and continue playing; but the question still remains as to whether Memphis can realistically maintain a top-notch symphony in the long term.
3. Killer No-Show
Fresh off the heels of the release of his critically-acclaimed comeback album Rock & Roll Time, Memphis music legend Jerry Lee Lewis canceled his performance at the Cannon Center at the last possible minute. Fans waited for over an hour and a half before hearing the news: he had fallen ill and wasn’t up to the gig. Here’s hoping Mr. Lewis recovered fully and can make up the date in the future.
2. Violence (However Accidental)
Murphy’s, located at 1589 Madison, is an established local music venue and watering hole and has long been known as the “bar across the street from the (former) Antenna Club.” But a recent rash of violent encounters in the neighborhood (including one incident where a Murphy’s patron caught a stray bullet) has led some to question whether the business currently occupying the Antenna’s former space, a club called The Renaissance, is a public nuisance.
1. Death Becomes No One
Sadly, 2014 will be known as the year that took Memphis music icons Jimi Jamison, John Fry, John Hampton, Mabon “Teenie” Hodges, Don Mann, Jesse Winchester, Wendy Rene, and probably others that I’m forgetting, away from us. Rest in peace, y’all.
Eric Huber 
