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Music Music Features

Stephen Chopek Finds His Memphis Groove

Four years ago, the music scene lit up with news of a fresh face in town, hungry to play gigs. Stephen Chopek was clearly a drummer’s drummer, having cut tracks and toured with Charlie Hunter, John Mayer, and Jesse Malin, among others. Any fears that this Jersey City native wouldn’t get the Memphis groove were quickly laid to rest, and he has become a fixture with some of the great performers around town.

Says Chopek, “New York City was going through a lot of changes. So I was ready for the move, and it worked out great. I’ve worked with some great musicians: John Paul Keith, Amy LaVere, David Cousar. It’s been fantastic as a drummer, and also in having the time and space to do my own thing, too.”

That last comment is something you don’t often hear from drummers. But even before his move south, Chopek was exploring his own thing — as a songwriter. Ultimately, it was part of his larger attitude toward personal growth.

Jamie Harmon

Stephen Chopek

“As a gigging drummer, sometimes you’re creating things with people, and other times you’re just learning somebody else’s parts and playing gigs. Which is great fun, but there was something that was missing. Songwriting has helped me not just as a musician, but as an overall creative person, to have that balance of building something from the ground up, something I could direct on my own. As I go on in my career, and I grow as a human being, I’m seeing the importance of those situations that make you uncomfortable at first.”

Now, with his third full-length album dropping Friday, it would seem Chopek has hit his stride. Begin the Glimmer is not a typical do-it-yourself clutch of demos. It sports one perfectly crafted tune after another. They’re all built on a solid foundation of Chopek’s acoustic guitar strumming, which nestles in with his drum parts so perfectly that each song churns forward with aplomb. The songs were painstakingly constructed, as Chopek layered bass, keyboards, and lead guitar over his basic rhythm tracks. With Chopek’s plainspoken lyrics floating over it all, and everything kept in the kind of perfect sync only a drummer can create, the end result is a shimmering folk-pop gem that leaps from the speakers.

Some listeners may be familiar with two of the album’s tracks, released earlier this year as a seven-inch single. While many of Begin the Glimmer‘s tracks are of a personal nature, the single’s two tracks have a more historical bent. “The Ballad of Cash and Dean” is a kind of fantasia about two icons of the 1950s, Johnny and James. But the real period study is the A-side, “Radio Caroline,” an exuberant celebration of American rock-and-roll hitting the United Kingdom.

“Radio Caroline was a pirate station in the early ’60s in the U.K.,” says Chopek. “It was a time when the BBC saw rock-and-roll as this crass fad. So Radio Caroline was this pirate radio station on a boat off the coast that played all the blues and soul that young people of the time were interested in. I first heard about it in interviews and things, and then I did some additional reading. There was something about it that resonated with me. Something romantic about their DIY ethos, championing this new music.”

As a whole, the album’s sparkle is a refreshing break from “the Memphis Sound,” whatever that may be these days. But Chopek considers it part and parcel of his adopted home. “This is my first real Memphis record,” he notes. “I recorded it with Harry at 5 and Dime; I mixed it with Doug Easley; I mastered the vinyl with Jeff Powell at Sam Phillips. And working with Doug, with his contribution to Memphis music, was really something. I’m glad I didn’t know too much about him when I first started working with him, because I think there would have been an intimidation factor. I just got to know him as a person, and then slowly realized all the things that he had his hand in with Easley-McCain Studios: Sonic Youth, Pavement, Cat Power, the White Stripes, Wilco. All these things that were formidable in my development as a musician. So just getting to know Doug and working with Doug was a great Memphis experience.”

Begin the Glimmer‘s record release show is Saturday, November 10th at Otherlands.

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Stephen Chopek

Music Video Monday throws it in reverse.


No budget music video auteur
Stephen Chopek will release his next album Begin The Glimmer on October 12th. The lead song on the album, recorded by Harry Koniditsiotis at 5 and Dime and mixed by Doug Easley at New School, is called “Made Of Puzzles.”  I’m going to go out on a limb and say that this the first music video ever made with an automotive backup camera. Chopek says the theme of the song and video is  “Don’t look back; but if you do, be aware your surroundings and use caution.”

Music Video Monday: Stephen Chopek

If you would like to see your music video appear on Music Video Monday, email cmccoy@memphisflyer.com

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Film Features Film/TV

Memphis Heat

The furor over the future of the Mid-South Coliseum has been one of Memphis’ defining civic kerfuffles of the decade. Over its five-decade history, it has been the venue for concerts by the likes of Elvis, the Beatles, and David Bowie, as well as Tiger basketball games and graduations. But the thing the Coliseum is the most famous for is not Elvis Recorded Live on Stage in Memphis. It’s wrestling. Throughout the 1970s, the round house was the site of epic weekly battles between the likes of Tojo Yamamoto, Bill Dundee, and the King himself, Jerry Lawler. Their images went out over the airwaves to millions of households all over the South and Midwest and made folk heroes and villains out of an unlikely cast of characters.

In 1974, Sherman Willmott came to Memphis from Connecticut as an impressionable child, only to discover the joys of TV wrestling. “When we moved here, my sister and I had never seen anything like it,” he says. “We watched cartoons, and then afterwards wrestling came on. Our minds were blown. My sister was crying and screaming because George Barnes and Bill Dundee had put Tojo in the ropes, and one of the guys from Australia — Barnes and Dundee were from Australia — was jumping off the top rope of the ring and hitting Tojo with a chair. We couldn’t believe the referee would let this go on.”

From that moment on, Willmott would be a fan of what he calls “soap opera for the working man.” Professional wrestling was already a national phenomenon in the 1970s, and Memphis was the closest thing there was a national capital for the “sport.” “Lawler is particularly talented with ring technique,” Willmott says. “These guys are so good they don’t even look like they’re working an act. That’s what made it so believable.”

Hulk Hogan

In the 1990s, Willmott founded Shangri-La Records, which brought Memphis alternative music into the national spotlight. His Shangri-La Projects label has produced books on Memphis history, many with local author Ron Hall. “After we did the Garage Rock Yearbook, he threw this thing out to me that he was working on a coffee table book on wrestling. I went to his house to check out the pictures he had acquired, and the ephemera and the ads for the book, and it blew my mind. Ron had grown up here in the 1960s in Memphis as a fan of Billy Wicks and Sputnik Monroe and these guys who were before my time here in Memphis. Growing up with wrestling here in Memphis was awesome. It was a fun little book project to do. Ron brought the ’60s feel to the book project, which was a lot different from the ’70s. In the 1970s, they started doing the music and the more outrageous stuff like scaffolding matches, that originated here in Memphis. They would tie people into the ring with chain-link fences and things like that. The book project was just a fun deal, and I thought maybe we should promote it with a documentary to get the word out. I looked around for people to work on the film, and called Chad Schaffler, because I knew he was a filmmaker, and he was working on a Good Luck Dark Star video at the time. I called and asked if he knew anyone who would like to work on a low-budget documentary, and he said ‘Yeah, me!’ It worked out great. Chad took the ball and ran with it. He tracked down a lot of these guys. We didn’t even know who was alive at the time. We had a punch list of people we wanted to interview, and he found most of them. We got the Coliseum opened through the film commission, and interviewed a bunch of them at once. Lawler was one of the guys we interviewed, and he opened up his little book of phone numbers and shared that with Chad. He tracked down a number of these guys in Nashville and North Carolina. Handsome Jimmy Valiant was in West Virginia.”

Released in 2011, Memphis Heat had a successful four-week run at Studio on the Square. “We knew it was a great film, with great subject matter, but we didn’t really know where it would go. We toured it through the South in movie theaters, and that went really good in Memphis, Nashville, and Atlanta. It’s such a huge learning curve to do something like that when you’re starting out with a $5,000 budget documentary. It got the word out. Even if people didn’t get out to see it, it helped build awareness for the film.”

This week, on the fifth anniversary of the film’s opening, Memphis Heat will return for an encore screening at the Malco Paradiso in conjunction with the release of its soundtrack album, produced by Doug Easley and featuring the River City Tanlines. It’s a good chance to get caught up on a unique bit of the city’s history, with a great piece of Memphis filmmaking.

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Fly On The Wall Blog Opinion

The Memphis Heat Soundtrack is Hot Stuff

I suppose the Flyer‘s other Chrises — film editor McCoy and music editor Shaw — will be writing about this in the days and weeks to come. But since FOTW works the local wrestling beat, it seemed appropriate to break the news here. The creative team behind Memphis Heat: The True Story of Memphis Wrasslin’ is celebrating the documentary’s 5-year anniversary with a March 24th screening at MALCO’s Cinema Paradiso that doubles as an official release party for the film’s previously unavailable soundtrack. Serious vinyl nerds will want to know that the handsome blood red platter was the first disc cut on Phillips Recording’s newly refurbished record lathe. But that’s just trivia. The Doug Easley-produced tracks — often introduced with sound bytes from the movie — are all pretty fantastic too.

The record opens with a clip of Superstar Bill Dundee explaining the meaning of heat: “Heat is when they don’t like ya.” The Superstar’s definition transitions perfectly into “Black Knight,” a full throttle scorcher by River City Tanlines. It’s an excellent start to a disc as offbeat and entertaining as the film that inspired it.  

The Memphis Heat Soundtrack is Hot Stuff

“Black Knight,” is also the only track on the entire record that wasn’t created expressly for Memphis Heat. What follows is a series of punchy instrumentals that will do the same thing for your ass they do for the film: Make it move. 

This is probably my favorite (mostly) original Memphis movie soundtrack since Impala scored Mike McCarthy’s Teenage Tupelo. The tracks, recorded by a clutch of Memphis’ finest players, have a vintage feel and walk such a fine line between joyous and sleazy they may remind some listeners of the Las Vegas Grind series. 

Good stuff. 

The Memphis Heat Soundtrack is Hot Stuff (2)