Categories
Music Music Blog

The Flow: Live-Streamed Music Events This Week, October 22-28

Optic Sink

One may not often tune in to a live-streamed concert for the setting. Often they’re broadcast from someone’s den. But you have to admit, Optic Sink’s billing, “Live ON the Lamplighter,” is intriguing. What are they on about? Tune in and see. Or check out the indefatigable Devil Train, live from B-Side Bar, for a bit of that live-venue frisson, squished down into your device of choice. Of course, joining a musician in their den, man-cave or woman-cave can be a whole experience. We’re sure they’d love to have you!

REMINDER: The Memphis Flyer supports social distancing in these uncertain times. Please live-stream responsibly. We remind all players that even a small gathering could recklessly spread the coronavirus and endanger others. If you must gather as a band, please keep all players six feet apart, preferably outside, and remind viewers to do the same.

ALL TIMES CDT

Thursday, October 22
Noon
Live DJ – Downtown Memphis Virtual Carry Out Concert
Facebook

8 p.m.
Devil Train – at B-Side
Facebook

Friday, October 23
No live-streamed events scheduled

Saturday, October 24
10 a.m.
Richard Wilson
Facebook

4 p.m.
Optic Sink & Composer 4 – Live ON the Lamplighter
Twitch TV    Facebook

Sunday, October 25
3 p.m.
Dale Watson – Chicken $#!+ Bingo
YouTube

4 p.m.
Bill Shipper – For Kids (every Sunday)
Facebook

Monday, October 26
5:30 p.m.
Amy LaVere & Will Sexton
Facebook

8 p.m.
John Paul Keith (every Monday)
YouTube

Tuesday, October 27
7 p.m.
Bill Shipper (every Tuesday)
Facebook

8 p.m.
Mario Monterosso (every Tuesday)
Facebook

Wednesday, October 28
8 p.m.
Dale Watson – Hernando’s Hide-a-way
YouTube

8 p.m.
Richard Wilson (every Wednesday)
Facebook

Categories
Music Music Blog

The Flow: Live-Streamed Music Events This Week, September 24-30

Charles Lloyd

This weekend brings a veritable explosion of live-stream options, including the 17th annual Gonerfest. This year, the festival is entirely online, with a mix of live-stream and pre-recorded performances, all curated by Goner Records. Parallel to all that is Central Tennessee’s gift to music, Bonnaroo, also virtual this year. But perhaps most auspicious of all is Saturday’s special jazz trio live-stream including Memphis-born legend Charles Lloyd.

REMINDER: The Memphis Flyer supports social distancing in these uncertain times. Please live-stream responsibly. We remind all players that even a small gathering could recklessly spread the coronavirus and endanger others. If you must gather as a band, please keep all players six feet apart, preferably outside, and remind viewers to do the same.

ALL TIMES CDT

Thursday, September 24
Noon
Live DJ – Downtown Memphis Virtual Carry Out Concert
Facebook

8 p.m.
Devil Train – at B-Side
Facebook

12 a.m. through Sunday, September 26 at 11:30 p.m.
Bonnaroo Music & Arts Festival: Virtual Roo-ality
YouTube

Friday, September 25
5 p.m. through Sunday, September 27 at 6 p.m.
Gonerfest 17 – Virtual concerts hosted by Goner Records
Facebook    Website   Tickets

Including
CHEATER SLICKS (Columbus, OH)
QUINTRON & MISS PUSSYCAT with Sam Yoger on drums (New Orleans, LA)
JACK OBLIVIAN & THE SHEIKS (Memphis, TN)
MELENAS (Pamplona, Spain)
THE REBEL (London, UK)
MARY TEE & BRUCE BRAND (London, UK)
MICK TROUBLE (New York, NY)
GEE TEE (Sydney, Australia)
ARCHAEAS (Louisville, KY)
EN ATTENDANT ANA (Paris, France)
BLOODBAGS (Auckland, NZ)
DAVID NANCE (Omaha, Nebraska)
SABA LOU (Berlin, Germany)
NA NOISE (Auckland, NZ)
DICK MOVE (Auckland, NZ)
NICK ALLISON (Austin, TX)
OH BOLAND (Galway, Ireland)
OUNCE (Auckland, NZ)
AQUARIAN BLOOD (Memphis, TN)
GUARDIAN SINGLES (Auckland, NZ)
BELLA & THE BIZARRE (Berlin, Germany)
THIGH MASTER (Toowoomba, Australia)
TOADS (San Francisco, CA)
MICHAEL BEACH (Melbourne, Australia)
EXBATS (Tucson, AZ)
OPTIC SINK (Memphis, TN)
TRUE SONS OF THUNDER (Memphis, TN)
LOUSY SUE (Indianapolis, IN)
ABE WHITE (New Orleans, LA)
ZERODENT (Perth, Australia)
SHAWN CRIPPS / LIMES (Memphis, TN)
CELEBRITY HANDSHAKE (Portland, Maine)
BIG CLOWN (Memphis, TN)

8 p.m.
Marcella Simien – Live from Memphis Slim House
Benefit for Music Export Memphis Covid Relief
Tickets

Saturday, September 26
6 p.m.
Grace Askew – at South Main Sounds
Facebook

6 p.m.
School of Rock Presents: Pearl Jam vs. Smashing Pumpkins
Facebook

9 p.m.
Charles Lloyd, Zakir Hussain and Julian Lage
Facebook    Tickets

Sunday, September 27
3 p.m.
Dale Watson – Chicken $#!+ Bingo
Facebook

4 p.m.
Bill Shipper – For Kids (every Sunday)
Facebook

Monday, September 28
5:30 p.m.
Amy LaVere & Will Sexton
Facebook

8 p.m.
John Paul Keith (every Monday)
YouTube

Tuesday, September 29
7 p.m.
Bill Shipper (every Tuesday)
Facebook

8 p.m.
Mario Monterosso (every Tuesday)
Facebook

Wednesday, September 30
8 p.m.
Richard Wilson (every Wednesday)
Facebook

Categories
Music Music Blog

Gonerfest 17 Fires Up Its Engines For A Virtual (And Global) Weekend

courtesy Goner Records

Cheater Slicks, ca. 1990

As reliably as today’s fall equinox, the end of September brings Gonerfest, and this year is no different. Of course, this being 2020, everything’s topsy turvy, but, this being Goner Records, that’s sure to bring some topsy turvy magic as well. With COVID-19 still scratching at our doors, Goner has opted for the safest approach and put the entire festival online. I chased down co-owner Eric Friedl to get some of the details on this year’s virtual Gonerfest 17, which goes down this Friday – Sunday. 

Memphis Flyer: I guess the headliners are not really highlighted in the announcement you’ve posted. Who would you say are the biggest shows?

Eric Friedl: You know, it is sort of a weird mix. When you put on these things, you need the bands that feel bigger, so it’s kind of oriented towards them, even if, in the end, the ones people remember the most are the ones they don’t know. I think the Cheater Slicks, Jack Oblivian and Quintron & Miss Pussycat are probably the biggest bands that people know. But there are so many bands there that are gonna just catch people’s attention.  courtesy Goner Records

Cheater Slicks, 2020

It’s such a crap shoot doing things either live stream or pre-recorded. It’s so hard to get any kind of energy through the screen. But you know, really my litmus test, or the proof that it could be done, was the Reigning Sound show. I thought that was fun to watch and people really enjoyed it. It kind of gave us the model. If you get people on the chats that are having fun it can be a good thing. I’m sure there’s people online that know all this stuff, but I don’t participate in that stuff that much. So that was a good signal to me that this could work.

And the sound was done beautifully by Joe Holland at the B-Side for that show.

Yeah, that’s another thing that’s hard to figure out. That’s a variable with different bands and venues and download speeds and internet connections. It’s mind boggling. So we’re literally learning something every day, either how to do this or why you shouldn’t do this. And we’re gonna make it happen one way or another.

Any band live-streaming from B-Side?

No, we’re not doing any from B-Side. Though they were pioneers in getting all that stuff down. True Sons of Thunder are gonna be out of the Hi-Tone. And we’ve got a few people in the Goner shop. And some other surprises.

So I suppose most bands are streaming videos from their home locations?

Yeah. Except for the Archaeas. They’re gonna be doing it out of the store again. They liked the experience when they played for Goner TV. They liked how it sounded, and we sorta know how to make that work. So, they were up for doing it.

So some shows will be live streamed and some will be pre-recorded?

Yeah, it’s a mix. Our first idea was, everything should be live streamed. And there’s a certain excitement with that, and also a certain amount of folly in trying to do it. So once we had people in time zones that are 18 hours apart, it’s just not possible. It is possible, but you don’t get someone’s best performance when they’re playing at seven in the morning on a Tuesday. The way it worked out was, we’re opening up and going to a stage in Auckland, and there’s five bands playing in Auckland on Friday afternoon. And it’s mid morning, but New Zealand just opened up completely. So they can have people in the bar.

So it can be a real show. Even if they’re playing at noon, they have a real show going on. So that was lucky. We asked around there because they are open, and it seems like in other places, bands can’t even get together to play a live-stream.

We’ve got a couple other things to add to the schedule. Robert Gordon is doing a talk about It Came From Memphis, the new version published by Third Man. And J.B. Horrell’s doing a discussion about The Invaders movie, and the soundtrack for that. So there’s a little more Memphis stuff thrown in there too.

I interviewed King Khan for a bit of that promotional footage for The Invaders.

King Khan is quite a character!

It’s nice you’re carrying on the cinematic side of Gonerfest. Like when you screened The Sore Losers at Gonerfest 15.

Yeah, this seemed like a natural thing. And the Country Teasers, I had approached them about that movie, This Film Should Not Exist. It’s a film about the Country Teasers and [bandleader] Ben Wallers, who performs as The Rebel now. He’s doing a live thing on Saturday afternoon. We’re gonna get some extra footage from them, probably just the Oblivians. ‘Cos there’s a lot of Oblivians stuff in there too. They basically followed us around on tour for a couple weeks in, like, 1994. So there’s some really good Oblivians footage in there. So, that’s a U.S. premiere for that film. 

Jack Oblivian

What will you do for the opening and closing ceremonies, which are usually held at the Cooper-Young gazebo?

I guess our closing ceremony is our alley shot. It’s kind of a tradition. And we’re gonna try to figure out how to do that as a group internet experience. So many details are being worked out as we speak.

The way it is now, it seems like you could encourage people to come out and participate a little bit. But it didn’t seem like that was the way things were going, so we shied away from that. It seemed irresponsible. People wanted to come and have shows and things, and we were just like, “No, we can’t do that.” So we’ve tried to put it all online. Once we made that decision, that’s what we ran with.

Gonerfest 17 takes place Friday, September 25 – Sunday, September 27. Click here for more details. Featured bands will include:

CHEATER SLICKS (Columbus, OH)
QUINTRON & MISS PUSSYCAT with Sam Yoger on drums (New Orleans, LA)
JACK OBLIVIAN & THE SHEIKS (Memphis, TN)

Quintron

MELENAS (Pamplona, Spain)
THE REBEL (London, UK)
MARY TEE & BRUCE BRAND (London, UK)
MICK TROUBLE (New York, NY)
GEE TEE (Sydney, Australia)
ARCHAEAS (Louisville, KY)
EN ATTENDANT ANA (Paris, France)
BLOODBAGS (Auckland, NZ)
DAVID NANCE (Omaha, Nebraska)
SABA LOU (Berlin, Germany)
NA NOISE (Auckland, NZ)
DICK MOVE (Auckland, NZ)
NICK ALLISON (Austin, TX)
OH! BOLAND (Galway, Ireland)
OUNCE (Auckland, NZ)
AQUARIAN BLOOD (Memphis, TN)
GUARDIAN SINGLES (Auckland, NZ)
BELLA & THE BIZARRE (Berlin, Germany)
THIGH MASTER (Toowoomba, Australia)
TOADS (San Francisco, CA)
MICHAEL BEACH (Melbourne, Australia)
EXBATS (Tucson, AZ)
OPTIC SINK (Memphis, TN)
TRUE SONS OF THUNDER (Memphis, TN)
LOUSY SUE (Indianapolis, IN)
ABE WHITE / GOLD FANG (New Orleans, LA)
ZERODENT (Perth, Australia)
SHAWN CRIPPS / LIMES (Memphis, TN)
CELEBRITY HANDSHAKE (Portland, Maine)
BIG CLOWN (Memphis, TN)

Categories
Music Music Blog

Goner TV Presents Ross Johnson’s Morally Gigantic Universe

courtesy of Goner Records

Ross Johnson

Ross Johnson, having laid down the back beat of underground Memphis bands for over forty years, is on the verge of spilling the beans.

He’s worn the hat of the rock ‘n’ roll librarian, historian, chronicler, and/or raconteur for some time now, both penning a definitive remembrance of the Antenna Club in The Memphis Flyer‘s own pages, and serving as an articulate commentator on the local scene, either on camera or across the table from you at the bar.

Now, his perspective has been distilled under the title Baron of Love: Moral Giant, soon to be released under the Spacecase Records imprint. To ready us for the full onslaught, Johnson has been softening up the target audience with short bursts of close-range excerpts and interviews. His Back to the Light podcast appearance, reported here last week, was just the beginning. Tonight, you can hear even more Johnson-isms when Goner TV takes to the internet once again.

The Spacecase-related blog, Bored Out, has published a few excerpts from the book, full of tantalizing details on the making of some stone-classic “alternative” records, and tonight Johnson will read even more. Here’s a taste of what to expect, courtesy Bored Out:

I was working as a sack boy in the summer of 1972 at one of the local Big Star (yep) chain groceries. Jim [Dickinson] would usually shop for groceries there mid-afternoon Friday while my drumming idol Al Jackson, Jr. shopped at the same Big Star on Friday around dusk. They were the only customers who ever tipped me for carrying their groceries out.

One day I got the nerve up to speak to him as I was loading groceries into his car and said: “You’re Jim Dickinson, aren’t you, and you recorded with the Flamin’ Groovies on Teenage Head, didn’t you?” Years later Jim admitted that he thought I was going to ask about The Rolling Stones but was impressed when I mentioned the Groovies instead. We had an extended conversation in the parking lot about the Teenage Head session and he enthusiastically mentioned that he got paid $700 by producer Richard Robinson for one night of work on the record. I got in trouble with grocery store management for staying in the parking lot so long, but the conversation was worth it.

Doesn’t the thought of getting Ross Johnson in trouble make you want to read more? Stay tuned for the book, and content yourself for now with a visit to tonight’s installment of Goner TV.

GONER TV Ep. 4: Ross Johnson live at Goner Records, Friday, September 11, 8-9:30 p.m.

Categories
Music Music Features

Rev. John Wilkins: Saving Us From Trouble

Zac Ives fondly remembers an evening some years ago, as he and his Goner Records colleagues were preparing for a show outside the late, great Buccaneer Lounge. “This big dude rolled up on his motorcycle,” Ives tells me, “helmet on, fringe leather jacket. We were like, ‘Whoa, who is this guy?'” They were taken aback by the answer. “He took his helmet off and it was the Reverend! He said, ‘Hey, what’s going on guys?’ We were going, ‘Oh my God!'”

“Oh my God” is an apt reaction to the magnetism and talent of the Rev. John Wilkins. “He’s this sort of iconic guy in town,” Ives adds, and he should know. Goner has booked the gospel blues performer (and pastor at Hunter’s Chapel in Como, Mississippi) for their annual Gonerfest at least three times, and he’s seen the response that the Reverend elicits from listeners. “In fact, one of my favorite Gonerfest memories ever was when he played the last set at sunset on a Saturday afternoon, six or seven years ago. It was one of those magical moments. We got a lot of punk rockers in leather jackets tearing up, watching this totally spiritual performance.”

Adam Smith

Rev. John Wilkins

So, while the Goner imprint is more typically associated with punk or alternative music, it’s not a far stretch to imagine the Reverend on the edgy Memphis label. With Trouble, the full-length album due out September 18th, that will become a reality. Amos Harvey, who manages and plays bass for Wilkins, thinks it’s a perfect fit. “We’re excited about being with Goner because they love Rev. Wilkins and it’s local, so they totally get it and respect all the different genres he’s mashing together to make this gospel blues.”

Harvey emphasizes the diversity of influences on Trouble. While Wilkins is most often associated with the country gospel blues that his father, Rev. Robert Wilkins, perfected in the mid-20th century (including “Prodigal Son,” covered by the Rolling Stones), his lifetime of playing on blues and soul records has brought many other flavors to the mix. Not the least of which are the voices of his daughters, Tangela Longstreet, Joyce Jones, and Tawana Cunningham.

“The record is very eclectic,” Harvey says. “He wanted to feature his daughters on this record. The first record was him and they sang backup on a few songs, but he wanted this to feature them more. And I think we did a good job with that. Not every song sounds the same. It’s almost like a compilation, in a way.”

The end result shows the influence of artists as diverse as Ray Charles, Junior Kimbrough, and Bill Withers, among others. In casting such a wide net, it didn’t hurt to have a crack band navigating the changes. “We recorded it with this amazing rhythm section. With Charles Hodges [on organ], Steve Potts [on drums], and Jimmy Kinnard on bass. They just locked in. And it was really sweet and fulfilling when each one of them separately said ‘We are enjoying this. This is music that we grew up on.’ I would play a demo like twice, and then they just had it. And of course, Rev. Hodges interpreted what was needed on organ beautifully. His ability to just feel it was amazing.”

The sessions, produced by Harvey and engineered by Boo Mitchell, took place in November of 2018, but couldn’t be more timely today. The lead single, “Trouble,” was released online three weeks ago and will be followed by “Walk With Me,” to be released this Thursday. Both seem particularly salutary in this year of disasters.

“He sings ‘Walk With Me’ with Tangela, his middle daughter,” says Harvey, “and he tells the story of how his dad would sing that on the front porch when he was young. And his mother would sing with them and beat a tambourine. It moves him just to think about it.”

And surely such memories have helped the good Reverend weather his own personal struggle this year, detailed in Chris McCoy’s July 29th Flyer cover story about COVID-19 survivors. Wilkins has survived his bout with the virus but remains in the hospital for regular post-COVID treatments. He’s seen trouble firsthand, but for all that, he knows how best to soldier on. And that can help us all. As Harvey notes, “You don’t have to be religious to enjoy this. Rev. Wilkins’ music is moving. He and his daughters make something happy, something that you’re not expecting.”

Categories
Music Music Blog

For Saturday’s First COVID-Era Record Store Day, Local Shops Get Creative

MIchael Donahue

Eric Friedl and Zac Ives of Goner Records

Over the years, Record Store Day (RSD) has become one of those rare commercial “holidays” that have a real sense of community to them. Even as vinyl sales have grown in recent years, there is a camaraderie among the artists, fans, and retailers of LPs that is almost contagious.

Now, with contagion at the front of everyone’s mind, that is an enthusiasm that needs to be handled carefully. Memphis’ two primary record shops, Shangri-La Records and Goner Records, have each come up with their own solutions to the conundrum of how to celebrate vinyl en masse without violating social distancing guidelines.

Shangri-La, for example, will make use of its ample parking space. As their website explains, “you will be able to line up outside in the parking lot areas that will be marked six feet apart. It is IMPERATIVE that you stay on the demarcated space as we let one customer (plus anyone with whom that customer co-habitates) in the store to shop at a time.

“Each shopper will have an individual time of ten minutes to shop the RSD bins, make selections, and check out. After that, the next customer enters and it will continue in that fashion until 1 pm. After 1 pm, we will begin allowing customers to make individual appointments as we have been. Instead of 45 minute appointments, however, we will be limiting them to 20 minutes each to allow for additional Record Store Day shopping.”
J.D. Reager

Jared McStay, co-owner of Shangri-La Records

Of course, masks will be required throughout the process, and anyone who’s been in contact with someone who has symptoms should stay home. Given the idyllic weather of late, it promises to be an enjoyable outing for all.

Goner Records, meanwhile, has a more elaborate plan: a lottery for the first customers served on RSD. And today is your last chance to sign up for it. As co-owner Zac Ives explains:

We thought, maybe we can just dovetail this with things we’re trying to do with Goner TV. And do the best we can in a weird situation. So we came up with this goofy idea to have everybody sign up. We’ll do a random lottery for the order, and then we’ll have four phones set up and we’ll just start calling everybody, going down this list, pulling records for them, wrapping them up in a bag, and they can come pick it up later in the day.

We will have an emcee, cutting in live from the shop in our broadcast. So people can see where we are on the roll of numbers. We’re gonna make it as fun as we can. We’ll have a box of doughnuts and some coffee. Trying to keep everybody going from 9:00 until noon. And then at twelve, we’ll turn everything over to the website. Everything that’s left at that point will go up on our online store and people can order from there. But to be in that first three hours, you’ve gotta be signed up by Tuesday.

Instead of all the RSD releases coming out at once, they spread it out over three months, I guess with the idea that that would lessen any kind of mob. We don’t want to have a ton of people in one place, and maybe this is a way to spread that out on the shop side. So the releases will be split into thirds, the last Saturday of August, September, and October.

Goner is not releasing any RSD albums. We do have pre-orders up for the Archaeas record and the Optic Sink record. The Rev. John Wilkins CD is coming out in September, but the LP is delayed until November, and we’ll have a pre-order of that available as well.

Explaining the process, Ives can barely suppress his air of amusement. “It seemed funny to us, the whole telethon nature of it.”  There’s no telling what shenanigans could occur, so tune in and find out, even if you miss today’s deadline. See the Goner Records website for details. 

Categories
Music Music Blog

The Flow: Live-Streamed Music Events This Week, July 23-29

Photographs by Billy Morris

Mario Monterosso

This week features a different live-streaming platform, for music anyway. As we detail here, the Take Me to the River Educational Initiative has been hosting a series of webinars on Zoom, with both group discussions and live performances. This week’s featured guest is Bobby Rush. Also of note this week the regular Goner TV Live series, on Twitch TV. Here’s to all you streamers out there: keeping it real, keeping it safe.

REMINDER: The Memphis Flyer supports social distancing in these uncertain times. Please live-stream responsibly. We remind all players that even a small gathering could recklessly spread the coronavirus and endanger others. If you must gather as a band, please keep all players six feet apart, preferably outside, and remind viewers to do the same.

ALL TIMES CDT

Thursday, July 23
Noon
Amy LaVere & Will Sexton
Facebook

Noon
Live DJ – Downtown Memphis Virtual Carry Out Concert
Facebook

7 p.m.
The Rusty Pieces
Facebook

7 p.m.
Bobby Rush – Take Me to the River Webinar Series
Zoom Register Here

8 p.m.
Devil Train – at B-Side
Facebook


Friday, July 24

8 p.m.
Tyler Keith – Goner TV Live
Twitch TV

Saturday, July 25
1:30 p.m.
Rod and Mike – from the Home of Rod Norwood
Facebook

1:30 p.m.
Michael Graber – Microdose
Facebook

Sunday, July 26
3 p.m.
Dale Watson – Chicken $#!+ Bingo
Facebook

4 p.m.
Bill Shipper – For Kids (every Sunday)
Facebook

Monday, July 27
8 p.m.
John Paul Keith (every Monday)
Facebook

Tuesday, July 28
7 p.m.
Bill Shipper (every Tuesday)
Facebook

8 p.m.
Mario Monterosso (every Tuesday)
Facebook

Wednesday, July 29
8 p.m.
Richard Wilson (every Wednesday)
Facebook

Categories
Music Music Blog

Reigning Sound Live from the Stream

This Saturday, Memphis garage-rock gurus Reigning Sound will perform live (streamed to your computer or device via Twitch and Facebook Live) from the stage of B-Side, presented by Goner Records, to celebrate the upcoming Merge Records rerelease of the band’s 2005 album Home for Orphans.

The Home for Orphans reissue isn’t Reigning Sound’s first association with Merge. Their excellent 2014 LP Shattered was released on Merge Records, as was last year’s reissue of Abdication … for Your Love. “Featuring,” Merge’s website boasts, “the original Memphis lineup of singer-guitarist [Greg] Cartwright, bassist Jeremy Scott, drummer Greg Roberson, and [Flyer Music Editor] organist Alex Greene, Home for Orphans presents Reigning Sound’s classic sonic blueprint.”

Home for Orphans

That the record is made up of outtakes, demos, and rarities makes it feel like a glimpse of something elusive and wild. The songs are moody and raw, oozing atmosphere and warbling organ chords. “It was a record almost by accident,” says bassist Jeremy Scott. “We had a whole third record pretty much ready to go when Alex left. (He had a youngun’ to raise, and probably didn’t need to hang with us heathens so much anyway.) The more rockin’ material was lifted for what became Too Much Guitar, along with some newer things we developed as a trio; the moodier stuff, which contains some of Greg’s best songs in my opinion, formed the basis of this record.”

Scott adds, “Great to see it available again, in a jacket which features not one but two pictures of us! We were ugly then and we’re uglier now!”

“Love is a funny thing,” Cartwright sings over a bed of acoustic guitars, slide, and burbling bass. “Don’t know it’s real till it’s caused you pain.” The drums are unobtrusive for most of the song — a light tok! on the snare, shimmery cymbals and hi-hat to keep the beat — until the fills come in, big and dramatic as anything drummer Howard Wyeth played on Bob Dylan’s Desire.

Reigning Sound: (left to right) Jeremy Scott, Greg Cartwright, Greg Roberson, and Alex Greene

“If Christmas Can’t Bring You Home” is plaintive. Shakers and whining electric guitars that riff off of the melody of “Joy to the World” are almost too maudlin, but in the end, it works wonderfully, the sound of a lonely, drunken holiday distilled. And of course, the woeful organ chords work wonders as well. “Medication Blues #1” swirls with Byrds-like chiming guitars and an uptempo drum shuffle. The format for many of the songs — acoustic guitars, swirling organs, electric guitars played crisp and clean, bass and drums high in the mix, and harmonies galore — represents a particular sound Memphis seems to do so well in any genre, be it garage, soul, or power-pop.

“The out of town shows we did in March demonstrated that we can still bring it,” Scott says, obviously amped about the upcoming full-band performance. (Scott, like many musicians in the age of coronavirus, has streamed solo performances from his couch.) “I’m looking forward to having another opportunity to play with these guys, who are like brothers two through four to me.”

The folks at Goner have this to say about Goner TV: “We are all bummed out and we can’t get out and see a show. See our friends. Hang out and have some laughs late into the night in a dark dingy bar. Remember those days? So we wanted to do something about it. Goner TV is our attempt to bring the good times to you.”

Goner Presents: Reigning Sound Live From B-Side Saturday, June 20th, at 8 p.m. Catch it on Facebook Live or on the Goner Twitch channel: twitch.tv/gonerrecords.

Categories
Music Music Blog

What’s In A Name? Wreckless Eric Brings Transience to Bar DKDC

Eric Goulden

“I’ve got this name, and it doesn’t fit. I don’t know what I can do about it,” sings Eric Goulden on the opening track of his new album, Transience. The lyrics to “Father to the Man” are, perhaps, a nod to Goulden’s stage name, Wreckless Eric. The English rocker released Transience in May of this year and is touring in support of the record with a concert at Cooper-Young’s Bar DKDC on Sunday, November 10th, with Memphis musician Alex Greene as his opening act.

Goulden broke onto the English punk and new wave scene in the ’70s. Though he is perhaps best known for “Whole Wide World,” released on Stiff Records in 1977, Goulden has remained consistently active. He won praise for both 2018’s Construction Time & Demolition and 2015’s amERICa, and Transience proves the songsmith is still capable of transfixing.

Transience


Goulden’s new record sparkles with the enchantingly mellow sounds of clean guitars, electronic burbles, and warm fuzz boxes. More often than not, Goulden uses distortion and dissonance as a bed for his vocal melodies. When paired with electric pianos and acoustic guitars, as on the sweetly sincere “The Half of It,” the overall effect is like that of a warm blanket on a bitingly cold night, or a cup of coffee spiked with bourbon. The bite of the temperature out of doors serves only to underline the comfort provided by the blanket and a warm house.

[pullquote-1]

“Strange Locomotion” has the bones of a 4/4 blues groove, but mutated and filtered through homemade fuzz boxes and burbling electronic noisemakers. “Indelible Stain” opens with a protracted groove that’s as long as the song that preceded it. Even on his own album, Wreckless Eric recklessly — and delightfully — bucks the rules. Still, for all the magic of the seven songs that come before it, the album closer “California / Handyman” is the standout track. Goulden’s refrain of “Californ-i-a” is hypnotic, and the electric piano and effects create an irresistibly dreamlike ambience that call the listener to drift into a trance.

Eric Goulden

Goulden has plenty of history with Memphis. The punk and power-pop icon has played Gonerfest, the Galloway House, Burke’s Book Store, and the River Series at Harbor Town Amphitheater. He told the Flyer in 2018 that he grew up loving Stax Records, Otis Redding, and Booker T. & the M.G.s, and it shows. When Transience swings, it does so with the old-time feel of blues and soul. But the album is by no means retro or a nostalgia trip. It warbles and hums, deconstructed power-pop for the 21st century. Transience shows an artist confident and brave enough to take his time and take chances. With his hallucinogenic soundscapes, Goulden has crafted an aural landscape worthy of many return trips.

Wreckless Eric and opener Alex Greene perform at Bar DKDC, Sunday, November 10th, 8 p.m.


Categories
Music Record Reviews

Play Something Quiet, My Head’s Exploding: Aquarian Blood’s New Masterpiece

When one recovers after any trauma, from a bad trip to having your heart carelessly ripped to shreds, there comes a moment when a quiet recognition of your own survival sets in. You may walk on eggshells, you may have a nervous tic, but the birds are singing, the breeze blows, the clouds roll by. It’s a time when hard truths set in.

Believe it or not, this is the feeling of the new album on Goner Records by local punk ravers Aquarian Blood. In more mundane terms, one might call it the perfect hangover record, but it aims deeper and wider than that, and it delivers. Say you’ve just been dealt a cold hand by a thoughtless lover, or by death itself. You sit on the couch after a hard night of pounding your head against the wall. A friend, trying to help, puts on this record. And from the first quiet guitar notes, you breathe a sigh of relief:  Is this vintage Segovia? Or wait, early Donovan? Then the voices enter, and you know it’s neither. Oh, sweet surcease of sorrow! This is sung by someone who’s been where you are.

Aquarian Blood in thrashier times

Written and sung by the roving rock couple J.B. and Laurel Horrell, this is a daring downshift from the revved up, pounding squall that Aquarian Blood fans have come to love. But their voices carry a common thread with their debut record: a seriousness of purpose that never veers into pretentiousness. A lot of it comes down to their evocative lyrics, which never descend into mere wordplay. They’re coming to terms with the real issues and people in their lives, and it shows. “Jesus lied to everyone, all the things he said. You would still believe him ’til you’re dead,” J.B. sings on the title track, “A Love That Leads to War.” Around him flutter tender notes of resignation.

As with every track here, the dark observations and wry commentary are surrounded with  unassuming acoustic ostinatos, (mostly) subtle keyboard textures, and inventive bass counterpoints. Drums only appear here and there, in sparse touches, as in “No Place I Know,” with hypnotic folk patterns belying lyrics of desperation, all glued together with distant marching rhythms.

Even as the kitchen-sink approach embraces drum machines or a touch of a rocking guitar solo, they’re all in small measure. An anything-goes spirit prevails; the proceedings have the sound of the most quietly atmospheric home demos ever made. And indeed, that’s essentially what these recordings are, having arisen when full-band drummer Bill Curry was temporarily out of commission due to a broken arm, A scaled down version of the band began playing out in February 2018, and this collection was the result.

While the imagery and settings of these songs are too subtle to reduce to simple doom-mongering, there is a dark undercurrent throughout that’s undeniable. Touches of synthesizer or even (apparently) firecrackers never let your ears grow too complacent. But even in the darkest moments, that sense of hard-won epiphanies, in quiet post-recovery moments, is never absent.

“Everything he ever told you was a lie to lead you on..til the day that he was caught,” they sing in “Their Dream.” But, since this is neither Kansas nor Oz, and we’re not Dorothy, awaking from such a nightmare can’t mean it never happened. “It was more than a dream that you could just wish away,” goes the chorus. It’s the sound of grim – yet liberating – realizations.