Categories
Film/TV Film/TV/Etc. Blog

Top 20 Memphis Music Videos of 2016 (Part 1)

2016 was a good year for music videos by Memphis artists, musicians and filmmakers alike. I resist making a ranked list of movies in my year-end wrap up, but I know the crowd demands them, so every year I indulge my nerdery by ranking the music videos that have appeared in the Flyer’s Music Video Monday blog series. Since I sometimes go back into the vault for MVM posts, this competition is limited to videos that were uploaded since my Top Ten of 2015 post. (This proved to be a source of disappointment, since Breezy Lucia’s brilliant video for Julien Baker’s “Something” was in the top five until I discovered it had been uploaded in 2014).  Last year, I did a top ten. This year, there were so many good videos, I decided to do a top 20.

Eileen Townsend in Caleb Sweazy’s ‘Bluebird Wings’

A good music video creates a synergy between the music and the action on the screen. It doesn’t have to have a story, but arresting images, fascinating motion through the frame, and meticulous editing are musts.   I watched all of the videos and assigned them scores on both quality of video and quality of song. This was brought the cream to the top, but my scoring system proved to be inadequately granular when I discovered seven videos tied for first place, five tied for second, and three tied for third, forcing me to apply a series of arbitrary and increasingly silly criteria until I had an order I could live with. So if you’re looking for objectivity, you won’t find it here. As they say, it’s an honor to just be on the list.

20. Light Beam Rider – “A Place To Sleep Among The Creeps”
Director: Nathan Ross Murphy

Leah Beth Bolton-Wingfield, Jacob Wingfield have to get past goulish doorman Donald Myers in this Halloween party nightmare. Outstanding production design breaks this video onto the list.

Top 20 Memphis Music Videos of 2016 (Part 1)

19. Richard James – “Children Of The Dust”
Director: George Hancock

The Special Rider got trippy with this sparkling slap of psilocybin shimmer.

Top 20 Memphis Music Videos of 2016 (Part 1) (2)


18. Preauxx “Humble Hustle”
Director: FaceICU

Preauxx is torn between angels and his demons in this banger.

Top 20 Memphis Music Videos of 2016 (Part 1) (4)


17. Faux Killas “Give It To Me”
Director: Moe Nunley

Let’s face it. We’re all suckers for stop motion animation featuring foul mouthed toys. But it’s the high energy thrashy workout of a song that elevates this one.

Top 20 Memphis Music Videos of 2016 (Part 1) (3)

16. Caleb Sweazy “Bluebird Wings”
Director: Melissa Anderson Sweazy

Actress (and former Flyer writer) Eileen Townsend steals the show as a noir femme fatale beset by second thoughts.

Top 20 Memphis Music Videos of 2016 (Part 1) (5)

15. Matt Lucas “East Side Nights/Home”
Director: Rahimhotep Ishakarah

The two halves of this video couldn’t be more different, but somehow it all fits together. I liked this video a lot better when I revisited it than when I first posted a few months ago, so this one’s a grower.

Top 20 Memphis Music Videos of 2016 (Part 1) (6)

14. Dead Soldiers ft. Hooten Hollers “16 Tons”
Directors: Michael Jasud & Sam Shansky

There’s nothing fancy in this video, just some stark monochrome of the two combined bands belting out the Tennessee Ernie Ford classic. But it’s just what the song needs. This is the perfect example of how simplicity is often a virtue for music videos.

Top 20 Memphis Music Videos of 2016 (Part 1) (7)


13. Angry Angles “Things Are Moving”
Director: 9ris 9ris

New Orleans-based video artist 9ris 9ris created abstract colorscapes with vintage video equipment for this updated Goner re-release of Jay Reatard’s early-century collaboration with rocker/model/DJ Alix Brown and Destruction Unit’s Ryan Rousseau.

Top 20 Memphis Music Videos of 2016 (Part 1) (8)

12. Chris Milam “Tell Me Something I Don’t Know”
Director:Chris Milam

Milam and Ben Siler riffed on D.A. Pennebaker and Bob Dylan’s groundbreaking promo clip for “Subterranean Homesick Blues”, and the results are alternately moving and hilarious.

Top 20 Memphis Music Videos of 2016 (Part 1) (9)

11. Deering & Down “Spaced Out Like An Astronaut”
Director: Lahna Deering

In a departure for the Memphis by way of Alaska folk rockers, the golden voiced Deering lets guitarist Down take the lead while she put on the Major Tom helmet and created this otherworldly video.

Top 20 Memphis Music Videos of 2016 (Part 1) (10)

Tune in on Monday for the Top Ten of 2016!

Categories
Music Record Reviews

Local Record Reviews

Break This Record

Deering & Down


(Diamond D)

Although an awful lot of familiar names in Memphis music — including Lucero bassist John C. Stubblefield and sideman supreme Rick Steff on keys — make key contributions to Break This Record, the second album (and first local release) from Deering & Down, the album is primarily a testament to that ostensible duo. Singer Lahna Deering’s scratchy, soulful voice is the band’s charismatic calling card. It evokes Janis Joplin without the blues power, or Christine McVie dressed in Stevie Nicks’ lace gowns, or a post-sex-change Rod Stewart. And inventive guitarist Rev. Neil Down matches her, hammering and twanging and darting around Deering’s vocals like a true duet partner.

Because Deering’s guitar exploits lend the music such a charge, giving the songs a sonic element that can actually equal Deering’s ear-catching vocals, Break This Record is at its best on the rave-ups: classic-rock numbers that shuffle like the Stones instead of stomping around like a mundane bar band, though with an idiosyncratic feel that flaunts comparison. (“Finally Found the One,” “Whatcha Thinkin’ Of,” “Oh So Good”) — Chris Herrington

Grade: A-

Sounds of Fire and Light

Rind Stars


(Electric Room)

This debut from five-piece local rock band Rind Stars is straightforward alt-rock with echoes of alt-country and late-’60s British Invasion. If this versatile band has a sonic signature, it might be harmony (or sometimes just shared) vocals, which suggest power-pop or even country, but the effect is layered over fairly hard, sometimes skronky guitars. This dynamic is perhaps most noticeable on “Estupid Country Song,” where a catchy, harmony-driven chorus comes rising out of a heavy, swirling guitar bridge. They dabble in a bit of Southern rock with “The Tick,” which boasts boogie rhythms and a clanking cowbell, but the vocals remain more indie-pop. “I Don’t Wanna Die First” roots around in what seems to be a moody love song, then ends with a blast. Lyrically, the band is all over the place in a good way, with songs that take on tangible topics from indirect vantage points. In all, Sounds of Fire and Light introduces a very solid rock band that evokes lots of comparisons without ever sounding like imitators. (“The Tick,” “No Way,” “I Don’t Wanna Die First”) — CH

Grade: B+

Obsessed

David Brookings


(Byar Records)

Recorded at Sun Studio, where he works as a tour guide, Obsessed is David Brookings’ fourth album, his third since moving to Memphis. The style is melodic rock-and-roll and power-pop with a sincere, optimistic outlook and a light, sweet vocal touch. Brookings’ rollicking, rockabilly-fied cover of the Beatles’ “I’ll Cry Instead,” with Amy LaVere and Paul Taylor backing him up, was the highlight of the third installment of local label Inside Sounds’ third “Memphis Meets the Beatles” compilation last fall, and Brookings’ commitment to the rock-and-roll verities is on display immediately on Obsesssed: The opening “I’m Not Afraid” ends with a “sha-na-na” vocal outro that segues into a “1-2-3-4” countoff that opens “Get Behind Me.”

Conceptually, Obsessed seems to be a record about being a struggling, committed musician, with the title track an autobiographical tale of first getting hooked on the music (“It’s gonna be hard when you’re playing one-man gigs/You gotta be strong or you’re never gonna make it big”). Other songs that hit on this topic are “Tough Crowd” (the kind that sit stone-faced through your originals and then ask for “Brown-Eyed Girl”) and “The Festival” (“They wouldn’t let me be in the festival/There’s not enough spots to go around”). (“I’m Not Afraid,” “Get Behind Me”) — CH

Grade: B