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Jimmy Hart Keeps on Dancing

Jimmy Hart has worn many hats during his career, but he prefers one type of jacket. Something from Lansky Bros. in Memphis.

Hart wore jackets from the legendary men’s store over the years as a  wrestling manager for Jerry Lawler, Hulk Hogan, and others.

But he wore his first Lansky jacket (along with Beatle boots) when his band, The Gentrys, performed on TV’s Ted Mack & The Original Amateur Hour.

Hart will wear a special Lansky Bros. jacket tonight, September 27th, when The Gentrys are inducted into the Memphis Music Hall of Fame at the Cannon Center for the Performing Arts.

Hart talked about the origin of The Gentrys, whose song “Keep on Dancing” sold a million copies worldwide and rose to number 4 on the Billboard Hot 100 in 1965.

“It’s hard to kill a memory,” Hart says.

Born in Jackson, Mississippi, Hart grew up around music. His mother, Sadie Hart, who wrote under the name “Sadie Sallas,” penned “Enclosed, One Broken Heart,” for singer Eddy Arnold in the 1950s. 

Col. Tom Parker, Elvis’ manager, also managed Arnold. Parker asked Hart’s mother if Arnold could record it.

Hart was a student at Treadwell High School when he got a call from Larry Raspberry, who told him he was putting a band together and was looking for some singers. “I went over and I auditioned and that’s it.”

The group, which was known at first as The Gents, originally included Raspberry on guitar, Bruce Bowles and Hart on vocals, Larry Wall on drums, Pat Neal on bass, and Bobby Fisher and Jimmy Johnson on keyboards and horns.

They played at sock hops and other gigs for “spending money” at local spots. “Bruce Bowles kind of looked like John Lennon. We had that Beatles effect back then.”

Things began taking off after they met TV/radio personality George Klein at the old Berretta’s BBQ Drive In. Klein, who was host of the local TV show Talent Party, told them record producer Chips Moman was opening a brand-new studio, American Recording Studio, in Memphis. “He said, ‘Look. If you guys want to, Chips will, absolutely free, let you go to the studio and cut a little song. And I’ll put you on Talent Party.’”

Hart and his band mates cut a cover of the Rolling Stones song, “Time is On My Side.” “The next thing you know, everything took off. It was crazy.”

They entered and came in first place in the Mid-South Fair Youth Talent Contest. As the winner, the band got to audition for Ted Mack’s national TV show in Miami, Florida. “We get on the show and he introduces us, ‘Ladies and gentlemen, Memphis, Tennessee’s answer to the Beatles.”

Hart and his band performed “Do You Love Me.” Their Lansky Bros. outfit included jackets with a “little bitty” checkered print and velour lapels and pockets. “We had the little Beatle boots and tight black pants and the turtle neck sweaters.” 

And, he says, “Mr. Lansky gave us such a great deal since we were a struggling little group from Treadwell.”

They ended up winning round one of the show, which meant they could compete in round two.

The group returned to Miami and performed on the show. “Guess what? We won again.”

That meant they were eligible to perform on the third show. But in the meantime, the group cut “Keep on Dancing,” which became a “smash hit” after getting airplay on radio stations across the country. 

That disqualified them from competing on the third Ted Mack show because they were now professionals. But the band still got to appear on the show.

They didn’t write “Keep on Dancing,” Hart says. It was another band’s song. But, Hart says, “They did it real slow. We just took it and speeded it up.”

Life suddenly changed for Hart and his fellow band members. “We’re in high school with a big hit record.”

They put out three albums on the MGM Records label. Their songs included “Spread It on Thick” and “Everyday I Have To Cry.” And, later on, The Gentrys recorded two chart toppers — “Why Should I Cry” and “Cinnamon Girl” — at Sun Records. “Cinnamon Girl” was written by Neil Young, who will also be at the Memphis Music Hall of Fame ceremony.

“We did tours with The Beach Boys, Chicago, and Steppenwolf, The Grass Roots, and Jerry Lee Lewis.”

They toured with Dick Clark’s “Caravan of Stars” and appeared on TV’s American Bandstand, Hullabaloo, Shindig, and Where the Action Is.

The band was in the 1967 beach movie It’s a Bikini World, which starred Deborah Walley and Tommy Kirk.

Hart got into wrestling when Lawler called him and asked him to help him with a “wrestling album” with vocals by Lawler. Hart then spent six years as Lawler’s manager.

His big break, he says, was when former WWE CEO Vince McMahon called him. Hart, who says DJ Ron Olson gave him the nickname “Mouth of the South,” began managing WWE wrestlers and, along with Cyndi Lauper and David Wolff, began writing entrance themes for wrestlers.

Former Memphian and photographer Pat Rainer will introduce The Gentrys at the Memphis Music Hall of Fame ceremony. “Pat Rainer was president of our fan club back then.”

Rainer, who put the fan club together, made sure the members came to their shows and voted for them, Hart says. “Pat Rainer was our secret weapon.”

Describing his Lansky’s jacket for the Memphis Music Hall of Fame ceremony, Hart says, “Lansky made that for me special.”

The jacket is “kind of a grayish blackish color, but it’s got little skulls on it. The inside of the jacket has pictures of my past in there. Me and The Gentrys. Me and Hulk Hogan. Me and Jerry ‘The King’ Lawler. All kinds of different pictures.”

Jerry Williams, founder/owner of Trans Maximus Studios and TMI Records, was the business manager and organizer of another teen band, The Guilloteens, during the time Hart’s band was performing. The Gentrys were “doing rock-and-roll at that time in a very unique way,” Williams says. “Their sound and their playability and their approach was just different.”

Also, he says, “They were all good-looking kids. You knew they were a band. They were built to be a band.”

In addition to being talented, The Gentrys also acted like professionals. “When they got on stage, they were dressed like a band. And it was always neat and they put on a fabulous show.”

A lot led up to The Gentrys receiving the Memphis Music Hall of Fame. “We were just in high school having fun going to class. And all of a sudden we’re playing sock hops around Memphis and then on the road with Dick Clark.”

And now Hart will be on stage in his Lansky Bros. jacket as The Gentrys are inducted into the Memphis Music Hall of Fame. “We’ve been so blessed.”

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Neil Young to Appear at Memphis Music Hall of Fame Ceremony

The 2024 Memphis Music Hall of Fame (MMHOF) Induction Ceremony this Friday, September 27th, was already going to be lit. With the likes of garage boppers The Gentrys, soul men supreme James Carr and Wilson Pickett, and hip-hop producer/rapper Jazze Pha being saluted, the music was guaranteed to be stellar.

But at a ceremony of such historical importance, it’s not just about the performances. Simply having the honorees together in the Cannon Center for the Performing Arts is significant, especially if they are expressing their mutual admiration. And it’s in that spirit that Friday night will suddenly be a lot more stellar, as Neil Young has announced that he’ll be there to induct a legendary player he’s worked with for decades: Dewey “Spooner” Lindon Oldham Jr.

Singer, keyboardist, and songwriter Oldham performed with Young at this weekend’s Farm Aid, but his association with the Canadian folk rock innovator goes back much further than that. He played on Young’s celebrated 1992 album Harvest Moon, appeared in the concert film Neil Young: Heart of Gold, and joined Crosby Stills Nash & Young on their 2006 Freedom of Speech tour. He’s also played in two of Young’s occasional touring bands, The Stray Gators and the Prairie Wind Band.

Oldham’s track record, of course, goes way beyond that. Known for his command of the organ and the Wurlitzer electric piano, he recorded in Muscle Shoals, Alabama, at FAME Studios as part of the Muscle Shoals Rhythm Section in his early years, playing on such legendary tracks as Percy Sledge’s “When a Man Loves a Woman”, Wilson Pickett’s “Mustang Sally,” and Aretha Franklin’s “I Never Loved a Man (The Way I Love You).” Later Oldham followed Dan Penn to Memphis, working at American Sound Studios as well as in Muscle Shoals, and co-writing hits by the Box Tops, James and Bobby Purify, and Percy Sledge with Penn.

In all, The Memphis Music Hall of Fame will be inducting and honoring nine inductees this year, who will thus expand the Hall of Fame roster to over 100 world-changing Memphis music icons. In addition to Oldham, this year’s inductees include Carr, Pickett, Jazze Pha, and The Gentrys, as well as operatic soprano Kallen Esperian, background singers Rhodes/Chalmers/Rhodes, Memphis Tourism CEO Kevin Kane, and Jack Soden, CEO of Graceland for more than 40 years.

The 2024 Memphis Music Hall of Fame Induction Ceremony will be held Friday, September 27th, at the Cannon Center for the Performing Arts at 7 p.m. Tickets are available at Ticketmaster (ticketmaster.com) and the Cannon Center box office.

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Matthew Sweet Tops Saturday’s PowerPop Bill

Matthew Sweet is the perfect choice to headline the Memphis PowerPop Festival, happening at the Overton Park Shell at 5 p.m. this Saturday, August 31st. Being younger than the likes of the Who, the Raspberries, or Big Star, he’s nevertheless an actively performing link to the originators of the genre — first as a fan. The direct result of the first wave of “power pop” filtering down to younger denizens of the 1970s via radio and funky little record shops, he can well remember the thrill of discovering key LPs back when power pop gems were rare.

Sweet, of course, came to define power pop for a whole new generation after his third album, Girlfriend, blew up in 1991, not coincidentally featuring band members — Richard Lloyd, Robert Quine — who’d appeared on the very records he bought in high school. From the ’90s on, he’s been a reliably rocking and intriguing artist, and continues to mine the power pop vein today, with one album dropping during Covid and another on the way. A common thread through all of his music, as a both fan and an artist, is his love of melody, often paired with rock’s grit. And that, in a nutshell is what power pop is. Naturally, the topic of melody was where my recent conversation with him soon headed.

Memphis Flyer: As it turns out, you and I were growing up in eastern Nebraska at the same time [much discussion of this ensues]. I imagine you were a frequent patron of Dirt Cheap Records in Lincoln?

Matthew Sweet: Most of the records that found their way to me were from my older brother, or from someone recommending them to me at Dirt Cheap. People at Dirt Cheap knew all about everything. So you’d get to know a guy at a record store and he sort of knew what you liked. I remember going in Dirt Cheap one day and seeing one of the 45s that ended up on Singles Going Steady, by the Buzzcocks. That record was one that I really loved, because they were really melodic, but also very new wave.

I think of it as a British Invasion, that kind of new wave, punk, and everything, and it’s interesting, because my concern at the time was, How can I be like an American person, from a new generation or whatever, and do that kind of thing? And that’s why it was so, so critical for me to find [records by] the dBs or Big Star, because they became my American role models. Like on #1 Record, the voices were so pristine and beautiful sounding. The guitars were so incredible. It was everything I loved really melodic stuff that really hit me emotionally. Melody was always really important to me. It’s kind of what I heard first, even before lyrics. Even when the lyrics were important, it was the melodies that I really felt like I had, you know, inside me or something.

There was a lot of surprise in discovering the music then. And now I realize what a special time it was. I love the internet, and I love being able to find out instantly about anything I’m interested in, but back then, records were very special, at least to me and people I knew at the time. A record was this thing that was really personal.

It seems like those melodic records also led you to the South, in a way. The dB’s and Mitch Easter coming out of the North Carolina scene, and Big Star being from Memphis. Were you already into those bands when you moved to Athens, Georgia?

I had all these records in high school. I got into the dBs, and they were the gateway for me to find Big Star. As far as I was concerned, Alex Chilton was, you know, John Lennon, or something. He reminded me so much of Lennon, and does now even, because what I admired about John Lennon was the breadth of emotional things in his songs. He could write very beautiful, tender music that showed he really had a heart, and he could do more edgy stuff that was sort of sassy. And that was also such an Alex thing. From the soft and beautiful to the crazy and weird and electric. And I just loved those records as I was preparing to leave Nebraska, when I got out of high school. I guess that  would have been May of ’83. I just told my parents, like, ‘I have to go to college in Athens, Georgia.’

The scene there was still really kind of going, and there was just kind of a magic. Growing up in Nebraska was so different from that Southern Gothic kind of feeling [in Athens]. It was a place that had a much longer history than we had in Lincoln or Omaha, you know. So it really felt kind of heavy and mysterious and kind of magical to me, as an 18 or 19 year old. Yeah, it was amazing.

And now you’re calling me from Athens, where you really got your career going when R.E.M. and that scene was taking off, and where your current full band tour is taking you now, just before playing Memphis. And you’re living in Nebraska again. A lot of full-circle moments are happening these days! How does it feel to hear the new release, WXRT Live in Grant Park, Chicago, IL, July 4, 1993, documenting a live show you and your band played at the height of the Altered Beast era?

It feels so long ago, I wanted it to be called Matthew Sweet, Live in Chicago, 1893. I thought it was funny, but no one would implement it. But that was a really memorable show. The Jayhawks were there, and I love Gary [Louris]. And Chicago was always a great place for me, so I had a lot of support there, not just fans, but from radio. It was one of the places where everything sort of went right, you know? So it’s always been a little bit of a second home area around Chicago. I wasn’t, you know, living in Nebraska at the time, but it still felt closer to home. You know, it was just sort of cool, the big Midwestern city. But maybe the real reason I loved that show was that the next morning, there was a newspaper headline in Chicago that read: The Pope, the Bulls, and Matthew Sweet. My mother came from a giant Catholic family, and she was pretty religious and so, you know, there could be nothing more thrilling for her than me being mentioned in the same breath as the Pope.

And here you are, 1993 is in the far distant past, and you’re still touring with a full band.

And playing this power pop fest! I’ve never heard of such a thing, except maybe in Spain, right? Power pop is a thing there, and we toured there a lot, and did really well. But to think we are in America, at a power pop festival! I heard it may get moved out of the bandshell to an indoor venue, due to weather, but we really want to play the Shell. It’s one of the last bandshells, I think. There’s only a couple left. And, I mean, you know, we’ve all seen those photos of Elvis standing in the middle of that stage…

The Memphis PowerPop Festival, part of the Orion Free Concert Series, takes place at the Overton Park Shell this Saturday, August 31st at 5 p.m., and features Matthew Sweet with openers Abe Partridge and The Sonny Wilsons. An after-party featuring Your Academy, 40 Watt Moon, and Lately David starts at 9 p.m. at B-Side.

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Isaac Hayes Estate Sues Trump Campaign

The musical choices of Donald Trump’s handlers run the gamut these days, as the aging felon grasps at any cultural reference that will make him seem “hip.”

And the music is often counterintuitive — who could have foreseen that the venomously anti-LGBTQ candidate would pump up his rallies to the tune of “Y.M.C.A.” by the Village People? Or that the campaign would provide it’s own elegy with the wildly unlikely “My Heart Will Go On,” Celine Dion’s tearjerker from…Titanic? As the AP’s Maria Sherman reported recently, Dion’s social media team immediately responded that “In no way is this use authorized, and Celine Dion does not endorse this or any similar use,” then added, “…And really, THAT song?”

Sherman goes on to detail a whole stack of such artists who, like Dion, were blindsided by the use of their music at rallies for Trump as early as 2020, including Bruce Springsteen, Rihanna, Phil Collins, Pharrell, John Fogerty, Neil Young, Eddy Grant, Panic! at the Disco, R.E.M., Guns N’ Roses, and the Rolling Stones.

You can also add some Stax to the stack.

On March 5th, the X account for Isaac Hayes Enterprises posted, “The estate and family of Isaac Hayes DID NOT approve the use of ‘Hold on I’m coming’ written by Isaac Hayes and David Porter by Donald Trump tonight at his Super Tuesday rally. We and our partners at @primarywave will be taking steps to stop the unauthorized use of this song.”

It seems they were ignored. This month they upped the ante when, on August 10th, Isaac Hayes III, son of the Stax artist, posted:

The next day, the X account representing Isaac Hayes Enterprises posted the following:

This August 20th, on what would have been the 82nd birthday of “Black Moses,” the Memphis Flyer is happy to report that even from beyond, Hayes continues to be a baaaad mother…but I’m talking ’bout Isaac! Meanwhile, what of the song’s co-writer, David Porter, now CEO of Made in Memphis Entertainment? Sherman’s article also hints at what Porter thinks of Trump, noting that in 2022, after learning that Trump used “Hold On, I’m Coming” at an NRA rally, he tweeted “Hell to the NO!”

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Cooper-Young Fest Announces Lineup

The musical acts at the annual Cooper-Young Festival always hit a little differently from your typical music festival. Maybe it’s because they’re performing in a swirl of other features, like the artisans, fine artists, and food vendors that congregate up and down Cooper Street and adjacent areas, or maybe it’s the neighborhood vibe that reigns supreme at the event, but there’s a certain intimacy to the experience. And that’s in spite of the huge numbers of people that congregate there, often upwards of 120,000 in a given year.

The 2019 Cooper Young Festival (Photo: Jim Weber)

This year, it’s officially the Guaranty Bank Cooper Young Festival, to be celebrated on Saturday, September 14th, and the musical schedule offers arguably the festival’s best lineup yet. The most fervent music lovers will want to arrive even before that lineup begins, when the Bellevue Middle School band, with its 32-piece drum line, kicks off the day by marching down Cooper Street at 9 a.m.

After that, consult this schedule to determine which stage to head for first. The Guaranty Bank Stage in front of the Young Avenue Deli will come to life at 11 a.m., and the Memphis Grizzles Stage, at the intersection of Young Avenue and Meda Street, snaps into action at 12:30 p.m.

StageTimeArtistGenre
Guaranty11:15Rachel Maxann & Her Emotional Support BandFolk/Soul
Guaranty12:15OakwalkerFolk
Guaranty1:15Tennessee ScreamersFolk, Country
Guaranty2:15JombiPsychedelic Rock
Guaranty3:15Salo PalliniProgressive Latin Jazz Rock
Guaranty4:15Cameron BethanyR&B
Guaranty5:15Carla ThomasSoul
Grizzlies12:30TurnstylesGarage/Surf Rock
Grizzlies1:30General LaborElectronic
Grizzlies2:30Late Night CardiganPower Pop/Rock
Grizzlies3:30Black CreamRock/Soul
Grizzlies4:30Steve Selvidge BandRock

The sheer eclecticism of the lineup is astonishing, and a testament to all that Memphis has to offer. Of course, the standout performer is the legendary Carla Thomas, whose frank and trenchant commentary in this year’s stunning HBO documentary, StaxSoulsville USA, has won her many new fans. Naturally, she’ll be backed by the 926 Stax Music Academy Alumni Band, comprised of the best and brightest musicians trained at the academy on McLemore Avenue, as she presents “B-A-B-Y,” “Gee Whiz (Look at His Eyes),” “Tramp,” and other hits that made her the Queen of Memphis Soul. Not to be missed!

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Spiritualized Meets Eggleston in WYXR Fest

The annual Raised By Sound Fest that WYXR stages in cahoots with Mempho Presents every December has become a destination for national tours that might not typically visit Memphis. Last year, Cat Power made Memphis one of their first stops when they began touring their Dylan tribute album, The 1966 Royal Albert Hall Concert. In 2022, when Jody Stephens’ reconstituted Big Star planned only a few shows in honor of #1 Record, the Raised By Sound Fest was a pivotal performance for them.

This December 7th, WYXR will have outdone itself once again, as it presents an incredible cinematic/photographic sound experience for Raised By Sound Fest: a live score to the William Eggleston film, Stranded in Canton, performed by J. Spaceman and John Coxon of Spiritualized.

Eggleston, of course, is known primarily for his still photography, but in 1973-74, he began experimenting with the then-new Sony Porta-Pak video recorder, more portable than any film or video camera preceding it, and, due to its sensitivity to the infrared spectrum, able to film in very low-light conditions. That not only allowed Eggleston to take the Porta-Pak into his regular nightlife haunts in Memphis, Mississippi, and New Orleans, it gave an eerie glow to the subjects he encountered. That they were often Eggleston’s friends, drinking buddies, and fellow artists only added to the easy naturalism of their behavior on-camera, complemented by the great photographer’s unflinching eye in the face of their uninhibited antics.

“Whiffs of Southern Gothic are not new to Mr. Eggleston’s work, but here they rise to the surface — fierce, tragic and proud,” as The New York Times observed upon the film’s release. And that release came long after the video was shot, its 30-odd hours of footage lying in storage for decades until Robert Gordon edited a feature-length version that premiered at the Toronto Film Festival in 2005, subsequently leading to a deluxe package by Twin Palms Publishers.

While the film is galvanizing, it is also a hot mess, with little in the way of narrative structure. Yet that very meandering quality lends itself to a musical interpretation, and that’s exactly what Spaceman and Coxon created. But that, too, was hidden away for far too long.

In 2015, Spaceman, Coxon, and friends premiered their original score live at a special film screening of Canton at the Barbican Gallery in London, as part of Doug Aitken’s Station to Station festival. The recording sat on a shelf for 10 years, but it will finally be unveiled through the Fat Possum release, Music for William Eggleston’s Stranded in Canton, due out this October 18th.

And then the duo will conduct a very limited tour. As a press release states, “Spaceman and Coxon will perform the work in London, New York, Los Angeles, and Eggleston’s hometown of Memphis, on the invitation of the photographer’s son Winston Eggleston.” Once again, it’s a coup for WYXR and an indication of the global reach of our thoroughly modernized, internet-savvy community radio station. That also means that seats at their events get swiped up fast: on Thursday, August 8th, tickets to the live score by Spaceman and Coxon will go on sale to the general public. Interested parties should act quickly.

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Hear Memphis’ Sonic Sisters

When we sent our latest cover story, “Sonic Sisters,” to print on Tuesday, we knew we weren’t done with it yet. If you haven’t read it, we won’t judge you — let me rephrase, most of us won’t judge you. Seriously, read it. We worked hard on it, but not as hard as the women in music we talk about in the story. They are producing some amazing stuff at an amazing rate.

That being said, we made a playlist full of music by just some of our favorite women in the scene, and because the Flyer is God’s gift to man, we figured we’d share it. No need to thank us.

Remember, this is only a sampling. A chaotic sampling to be sure. There are so many genres jammed in here, but that’s to be expected. 

As Miz Stefani, founder of Women in Memphis Music (WiMM) showcase series at B-Side, said, “Girls are everywhere here. They’re in reggae, Americana, jazz, hardcore, punk, rock, and hip-hop. And there are some doing genres that I don’t even have names for. … We’re all over the map, and it’s unbelievable. We can’t be pigeonholed.”

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2024 Tambourine Bash Lineup Announced

You might imagine that today’s announcement of the featured artists in October’s Tambourine Bash at the Overton Park Shell was meant to synchronize with this week’s Memphis Flyer cover story celebrating Memphis women in music. After all, the new lineup for the annual fundraising concert for Music Export Memphis (MEM) is loaded with some of the city’s great sonic sisters. But Elizabeth Cawein, MEM’s executive director, swears the gender skew was sheer serendipity. “It’s funny because, to be totally honest, we hadn’t thought about it at all,” she says. “But it is so heavily representative of women — I love it!”

It’s proof positive of the ways Memphis music is evolving today, and typical of the kind of synergy that happens when an organization like MEM is so diverse, equitable, and inclusive. Guided only by the principle of lending Memphis musicians a hand, serving as an “engine and platform to grow their careers and elevate Memphis’ profile as a contemporary music city,” MEM has an embarrassment of riches to work with, from all corners of the music world.

What’s more, the Tambourine Bash, now in its sixth year, is a unique space where all of those corners can come crashing together, with some imaginative and inspiring results. That’s in part because Cawein chose early on to structure the event around the intense spirit of collaboration that characterizes this city. When artists play the Tambourine Bash, they don’t just appear with their usual performing bands. Instead, three contrasting artists or bands are thrown together to work with each other in any way they see fit. It’s all about the mash-up. Take this year’s lineup, for example:

  • Lana J + EsMod + Aybil
  • Tonya Dyson + Daykisser + ADUBB
  • Lina Beach + Jessica Ray + Ryan Peel
  • Wyly Bigger + MadameFraankie + Blueshift Ensemble
  • Sunweight + Oakwalker + Jeremy Stanfill 
  • Southern Avenue + surprise guest collaborator 
  • FINALE: Superjam featuring all Tambourine Bash performers, produced by Boo Mitchell

Mixing and matching such versatile artists makes the Tambourine Bash unique, for audience members and performers alike. “Curating this lineup is one of my absolute favorite things that I get the privilege to do,” says Cawein. “And artists around the city know about it, so they get excited. I send that email saying, ‘Hey, are you available on October 10th?’ And they get pumped. I love that.”

It’s indicative not only of how collaborative artists here can be, but also of how comfortable they feel when working with MEM. “I feel like they have a lot of trust, too,” Cawein observes. “When I reach out and say, ‘We’re going to put you together with some other artists, and I don’t know who they are yet, but I promise it’ll be good,’ they trust me. And that feels great because it means I can really just come up with some stuff that will be cool.”

One reason it works is because Cawein keeps an ear close to the ground of the local scene. “I have people in my head, and a sense of the scene and where it is and what’s popping. Maybe it’s artists I’ve been playing on my show on WYXR [Straight from the Source] or people that have come across my radar for other reasons. And I’ll have a working document for a solid year. Like, as soon as we do Tambourine Bash this year, I’m sure I’ll have another doc, where I’m dropping names of artists in that I want to feature next time.”

This year’s creative mix have some Tambourine Bash firsts. “One set from this year that I’m super excited about is Wyly Bigger, MadameFraankie, and Blueshift Ensemble,” says Cawein. “We’ve included horns several years. We’ve had the Mighty Souls Brass Band, we’ve had Lucky Seven Brass Band, but this year I really wanted strings. And so Blueshift just popped to mind. As I started putting that one together, I’m thinking about Wyly’s piano playing and just the sort of raucousness of that, mixed with MadameFraankie, who is so versatile as a guitar player, especially the stuff that she’s done with Talibah Safiya recently, just really funky and soulful and kind of gritty, but also going in a very experimental, electronic kind of direction. And then to have strings with that, I’m just so excited about the flavors that have been combined there. I can’t wait to see that one.”

It seems the universe delivered on Cawein’s wish for strings in other ways, too. “The funny thing is that we have strings in several places this year because we have Oakwalker, and we also have EsMod, who is a rapper in that first collaboration on the bill [but] is a violinist as well.”

Another favorite group of artists is a group who originally were competing for a single slot on the bill. “One that I’m really excited about is Lina Beach, Ryan Peel, and Jessica Ray,” Cawein adds. “Jessica Ray was one of the winners of a partnership we did with Choose901. We got them to call on their audiences to vote for artists they wanted to see on the Tambourine Bash lineup. And the secret, that you can totally reveal here, is that we ended up adding all three of them. We narrowed them to finalists, and we had people vote, but in the end, it was like, ‘I want all three of these artists,’ and that was Jessica Ray, Oakwalker, and Jeremy Stanfill.

“So Lina Beach sings and she’s a songwriter, but she’s such an amazing guitar player! And I knew I wanted a big, bodacious vocal to pair with her, and we had a lot of beautiful vocals on the lineup already, don’t get me wrong. But I wanted someone who is just a belter, right? And so I thought of Jessica Ray.”

That’s but a fraction of the sparks that are bound to fly come October. As usual, all artists performing at the Bash will congregate onstage for the finale led by Boo Mitchell. That too should offer some surprises, on a night when all should set aside their preconceptions and expect the unexpected, as these harbingers of the city’s musical future gather together for an unforgettable night.

Click here to reserve your tickets to the 2024 Tambourine Bash now.

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Remembering Guitarist Sturgis Nikides

On Sunday, July 14th, the Premiere Palace hosted a memorial service for the late Sturgis Nikides, best known locally as the virtuoso blues guitarist in the Low Society, who passed away last April. Gone far too young, he managed to pack several lifetimes of experience into his 66 years, growing up in Brooklyn, New Jersey, and Staten Island, then ultimately falling in with Manhattan’s alternative music scene. Those familiar with the film Who Killed Nancy?, about Sid Vicious and Nancy Spungen, may recall Nikides’ on-camera recollections of his days living in the Chelsea Hotel on the same floor as Vicious in 1978, including the night of Spungen’s murder.

During that era, by the time he was only 19, Nikides distinguished himself as a guitarist for John Cale, who’d long moved on to a solo career after his time with the Velvet Underground. At last Sunday’s memorial, that era of Nikides’ life was well-represented by the singer-songwriter deerfrance, who played a short set with a band that included her bassist Kai Eric (erstwhile member of Tav Falco’s Panther Burns) and two local players (Lynn Greer on drums and myself on guitar and keyboards).

During the set, deerfrance spoke wistfully of getting to know Nikides when they both played in Cale’s band from 1979-1981. Indeed, the guitarist was nicknamed “Hellcat” in the credits to Cale’s 1981 album, Honi Soit. That album was Cale’s greatest commercial success, making it into the Billboard 200 that year.

Yet the bulk of those in attendance were Nikides’ Memphis fans and friends, who were most familiar with Low Society, the dynamic band he and his wife Mandy Lemons formed in 2009. Jeff Janovetz, DJ for the online Radio Memphis, gave a heartfelt remembrance of his encounters with Nikides, followed by Brad Dunn, who recalled the power of hearing Low Society for the first time and his efforts to book the band at American Recording Studio. This ultimately led to the band’s second album, released by Icehouse Records/Select-O-Hits in 2014, You Can’t Keep a Good Woman Down.

Mandy Lemons and Sturgis Nikides perform as Low Society at the 2018 Western Maryland Blues Festival. (Photo: Alan Grossman)

That made it all the more powerful when Lemons joined deerfrance’s band for a passionate rendition of Tom Waits’ “Way Down in the Hole.” In what was clearly a cathartic moment for the singer, she had the audience spellbound. Afterwards, I caught up with Lemons to learn more of her and her husband’s story.

Memphis Flyer: How did you and Sturgis meet?

Mandy Lemons: It was in October of 2008, in New York. A good friend of mine had known Sturgis for thirty years or so, and he was already trying to hook us up musically. Like, ‘Oh, you need to meet this guitar player!’ and telling him, ‘You need to meet this singer!’ So he had a party at his house and we met and I was just like, swept away immediately. But I had to play it cool for a while. You know what I mean? He had no idea that I was that in love with him! Then, after playing music for a year, we got to know each other and became friends. And then we dated for a year, and then we got married.

How did you two wind up in Memphis?

We had our first European tour at the end of 2012. And after that, I wanted to go down south and roll around a little bit, you know, and take him down there and get into Texas blues. Everyone’s a badass down there, you know, and I’m originally from Houston. So we went down to Texas and kicked around for like four months, but we just couldn’t find a place to live, we couldn’t find a good drummer or bass player. And then we played the Juke Joint Festival [in Clarksdale, Mississippi], as a duo.

My friend, who was kind of like our patron at the time, said, ‘You know, Memphis is right around the corner. You guys should go check it out.’ And we were like, ‘Oh, we didn’t think about that. Really?’ So he put us up for a week here, in an AirBnB, and everything just went right. So we got our stuff in Texas and came back here and have been in the same apartment ever since.

And you connected with the scene here rather quickly, it seems.

On our first night here, we saw Earl the Pearl play at Huey’s. And we were just like, ‘What?’ Like, ‘We’re home. We’re in the right place.’ And the next night, there was an open blues jam at Kudzu’s. So we went over there, and of course they made us wait till the very last, because we looked like a couple of New York freaks, which is what we are! They were like, ‘These people are either gonna really suck or they’re going to be great.’ So we did our best, and everyone loved it. People came up to shake Sturgis’ hand immediately. Me and Dr. Herman Green connected, and we played on Beale Street the next night, which had been a dream of mine since I was 12. And I just was blown away.

Low Society was so well regarded after that point, and many fondly recall your residency at the fabled Buccaneer Lounge back in the day. You made your second album at American Recording, and released a third album as well. Are there any unreleased tracks by Low Society that you were working on while Sturgis’ health was failing?

Well, you know, he started having health issues when Covid started, and had open heart surgery last summer, and that’s when it started getting scary serious. Then he got this crazy, aggressive, super fast cancer that killed him in two months.

So that was on and off for the last four years. He would get better and then something else would happen. But in the good times, when he was feeling good, he definitely was playing guitar. I mean, it’s like being an athlete. You have to give back, because if you don’t consistently use it, you lose it. So he was practicing, and we had our fourth album in the works. He was producing that and mixing it and putting in his magic sauce and overdubs and all that stuff. And he finally finished it just a few months ago, and he said, ‘That’s it! It’s finished.’

All I’ve got to do is lay some vocals down and get it mastered and distributed and all that stuff.

Was it also cut at American Recording?

No, actually, we recorded all of it in Belgium. Our drummer and bass player live there. But it’s been like five years, since 2019, since Sturgis and I played a show. So thank you guys so much for having me up there [at the memorial] and allowing me to sing with y’all. That was really cool and very much needed. It’s been a long time. But…there’s more where that came from.

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Justin Timberlake Charged in D.W.I. Incident

When local police in Sag Harbor, New York saw a BMW run a stop sign, then weave between highway lanes in Tuesday’s early hours just past midnight, they were duty-bound to pull the driver over, according to a CBS News report. Little did they suspect that the culprit was Millington, Tennessee native, onetime Disney Mouseketeer, and pop phenom Justin Timberlake. In any case, he was charged with driving while intoxicated.

The CBS story notes that “when Timberlake was pulled over, the officer said he was ‘in an intoxicated condition’ and that ‘his eyes were bloodshot and glassy, a strong odor of an alcoholic beverage was emanating from his breath,’ and he ‘performed poorly on all standard field sobriety tests.'” 

But the musical superstar had something to say about that. “I had one martini and I followed my friends home,” Timberlake allegedly told the officer, according to CBS. “He also allegedly refused to do a chemical test,” continued the report.  

The singer/songwriter/producer/actor was last seen in Memphis this January, as reported by Samuel X. Cicci, where he debuted a new song, “Selfish.” That foreshadowed the release of his sixth album in March, Everything I Thought It Was. In April, he launched The Forget Tomorrow World Tour, which is scheduled to carry on internationally through this year. He has shows scheduled in Chicago this weekend and at New York’s Madison Square Garden next Tuesday.

Those shows will likely go on as planned: after being formally charged, the former Mouseketeer was released without bail on his own recognizance, with a virtual court appearance scheduled for July 26th. In other words, concertgoers are encouraged to not forget tomorrow.