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WE SAW YOU: All Aboard the Stax Night Train Gala

It was great being back at a Staxattraxion.

Guests rubbed shoulders with some of the people who personify Stax at the Night Train Fundraising Gala, which was held April 29th at Stax Museum of American Soul Music. Guests included music legends David Porter, Eddie Floyd, Lester Snell, and James Alexander of the Bar-Kays, and Larry Dodson, who was formerly with the group.

James Alexander and Eddie Floyd at the Night Train Fundraising Gala (Credit: Michael Donahue)
Larry and Marie Dodson at the Night Train Fundraising Gala (Credit: Michael Donahue)
Lester and Patricia Snell at the Night Train Fundraising Gala (Credit: Michael Donahue)
Deanie Parker with Nashid Madyun at the Night Train Fundraising Gala (Credit: Michael Donahue)
Yvonne Mitchell and Willie Mae Bland at the Night Train Fundraising Gala (Credit: Michael Donahue)
Karl and Gail Schledwitz, Kontji Anthony, and David Porter at the Night Train Fundraising Gala (Credit: Michael Donahue)
Andy and Allison Cates, Soulsville Foundation president & CEO Pat Mitchell Worley, and Carissa Hussong and David Lusk at the Night Train Fundraising Gala (Credit: Michael Donahue)

This is how the news release described the event, which celebrated the 20th anniversary of Stax Museum: “A celebration of African-American music and culture, it will feature the Stax Museum filled with live music, a silent auction, fantastic cuisine, cocktails, dancing, DJs, and more, all in our newly renovated lobby, gift shop, and mid-century modern lounge, as well as Studio A, Isaac Hayes’ gold-trimmed Cadillac exhibit, and other spaces.”

Geri and Hal Lansky at the Night Train Fundraising Gala (Credit: Michael Donahue)
Alfred and Sherita Washington at the Night Train Fundraising Gala (Credit: Michael Donahue)
Henry Turley and Wanda Shea at the Night Train Fundraising Gala (Credit: Michael Donahue)
Caroline and Troy Parkes at the Night Train Fundraising Gala (Credit: Michael Donahue)
Ryan Peel at the Night Train Fundraising Gala (Credit: Michael Donahue)
Chris Franceschi and Kirby Boyd at the Night Train Fundraising Gala (Credit: Michael Donahue)

I covered many Staxtacular parties at the museum. This was the one where you got to also rub shoulders with Memphis Grizzlies players. That is, if you could get your shoulder up that high. The Night Train event was, as the release says, “fashioned to replace our beloved Staxtacular event that raised over $1 million over 10 years.”

So, guests dined on Delta tamales while listening to fife and drum music by Rising Stars, which features Shardé Thomas, granddaughter of the late Othar Turner.

Rising Stars at the Night Train Fundraising Gala (Credit: Michael Donahue)

That fife and drum music brought back memories of Turner’s picnics held at his home near Senatobia, Mississippi. That was the first time I ever had goat barbecue. I also locked my truck with the keys inside and the truck running one year at the picnic. Nobody, including a Mississippi sheriff, could get the door open. So, I just walked around and enjoyed the party until a friend opened the truck door with his Ole Miss dorm room key.

But I’m digressing.

Night Train guests also ate shrimp and grits while listening to the great Joyce Cobb and Charlton Johnson perform jazz music.

Joyce Cobb at the Night Train Fundraising Gala (Credit: Michael Donahue)
Kimberly Weaver at the Night Train Fundraising Gala (Credit: Michael Donahue)
Elliot and Kimberly Perry at the Night Train Fundraising Gala (Credit: Michael Donahue)
Simone Alex and Dame Mufasa at the Night Train Fundraising Gala (Credit: Michael Donahue)
Michael Ivy and Nico Hatchett at the Night Train Fundraising Gala (Credit: Michael Donahue)
Lauren Berry and Logan Bennett at the Night Train Fundraising Gala (Credit: Michael Donahue)
Mary Haizlip, Ross McDaniel, and Caroline Cook at the Night Train Fundraising Gala (Credit: Michael Donahue)

They heard the Stax Music Academy Alumni Band play soul music, the Street Corner Harmonies perform a cappella tunes, and DJ Battle play music for dancing and/or relaxing. These were all held in different parts of the museum, so guests got a musical tour of the building. Which was appropriate.

About 350 people attended, says Tim Sampson, Soulsville Foundation communications director. They don’t have a total for the amount raised as yet, he says.

The format was changed this year because Staxtacular had run its course, Sampson says. This year’s format will be “the new one going forward.”

And, Sampson adds, “We definitely thought it was a success. People were very very happy with what we presented.”

It’s always cool to visit Stax, even if it’s just to run in and take a peek at the seemingly city-block-long gold-plated peacock blue 1972 Cadillac El Dorado that belonged to the late, great Isaac Hayes.

Estella Mayhue-Greer at the Night Train Fundraising Gala (Credit: Michael Donahue)
Courtney and Matt Weinstein at the Night Train Fundraising Gala (Credit: Michael Donahue)
Ari Morris and Alex Greene at the Night Train Fundraising Gala (Credit: Michael Donahue)
Asima Farooq and Molly Wexler at the Night Train Fundraising Gala (Credit: Michael Donahue)
Trip Trezevant at the Night Train Fundraising Gala (Credit: Michael Donahue)
Angela and Terrell Richards at the Night Train Fundraising Gala (Credit: Michael Donahue)
Martavious McGee at the Night Train Fundraising Gala (Credit: Michael Donahue)
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Film/TV Film/TV/Etc. Blog

Music Video Monday: Bruce Newman

Music Video Monday is on the march!

Bruce Newman is a lawyer and accountant specializing in small business and entertainment law. He’s also the host of Folksong Fiesta, airing Wednesdays at 8 a.m. on WEVL. A true polymath, when he’s not helping his clients navigate the difficult world of the music business, he’s writing songs of his own. Like most people nowadays, Newman is concerned about the state of the world, and in the best folkie tradition, he lays it all out in his new tune “Doing The Best We Can”. It’s a song of protest and solution which urges us all to listen to our better angels.

To help record the song and film the video, he gathered a crew of Memphis all-stars including vocalists Susan Marshall and Reba Russell, James Alexander of the Bar-Kays, blues guitarists Eric Lewis and Doug MacLeod, horn players Art Edmaistan and Marc Franklin, keyboardist Gerald Stephens, and multi-instrumentalist Paul Taylor. Director Laura Jean Hocking combines footage of the musicians taken at Music + Arts Studio with extensive animation to create a lyric video which really gets Newman’s point across. Take a look, then make sure you’re registered to vote.

Music Video Monday: Bruce Newman

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

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Music Music Features

End of an Era

When the Bar-Kays take the stage at the Cannon Center this Friday night, June 16th, their show will mark the closing chapter of lead singer Larry Dodson’s career: his last hometown performance.

“This is something my wife and I planned long ago, when we first got married,” says Dodson. “People don’t realize I’ve been in front of the microphone 47 years. That’s more time than a lot of our younger fans are old. I joined the band in March of 1970 and I got married to my wife Marie in August of 1970, and she’s worked all of her life. We said from the very beginning we weren’t going to work ourselves to death.”

So after this year’s schedule is wrapped, Dodson will be focusing his time on his wife and his daughter Precious, now 46, who was born with Down syndrome. “There are a lot of places that she wants to see, and we just want to be a loving family while we’re all healthy. My family had to play second fiddle to me, and I don’t like that.”

One would be hard-pressed to name a band exemplifying the Memphis music spirit more than the Bar-Kays. The original lineup began as teenagers hanging around the Stax studio and performing at Booker T. Washington High School, ultimately growing into a road band for Stax artists and having hits of their own. In 1967, the same year their “Soul Finger” single broke, a plane crash took the life of Otis Redding and every other member of the Bar-Kays aboard except trumpeter Ben Cauley. Bassist James Alexander, traveling on another flight, also survived. Ultimately, he and Cauley reformed and reinvented the band, leading them into funk stardom in the 1970s and beyond. Dodson, already a Stax artist with the Temprees, was recruited at that time.

Larry Dodson

They backed Isaac Hayes on his breakthrough “Hot Buttered Soul,” racked up more hit singles of their own, and wowed audiences at the label’s Wattstax extravaganza in 1972.

As the decade closed, the Bar-Kays sold out the Mid-South Coliseum in April 1979. As Dodson remembers it, “We broke Elvis’ record, Al Green broke ours, and Rick James broke them all, later.” He gives much credit for this early success to manager/producer Allen Jones. “A baaad man. So visionary. He turned me into the guy I am today.”

For his part, Alexander plans to soldier on after Dodson’s departure. There will be auditions for a new lead singer after this year’s confirmed dates are a wrap. “He says I’ll retire on stage, and he’ll expire on stage,” Dodson laughs. “I know it’s going to be hard on him not seeing me there.”

But the Bar-Kays are not limping into the twilight of their careers. Alexander’s son Phalon, a.k.a. “Jazze Pha,” a producer based in Atlanta, cut a 2012 hit for them, “Grown Folks.”

“We knew we had a good record, but we were surprised at how big the record was. Earth, Wind and Fire, the Commodores, Kool and the Gang, and a lot of the funk bands were putting out [new] records, but they couldn’t get arrested, and ‘Grown Folks’ went straight Top 10. And it wasn’t just our older fans, but younger ones outside of our fan base. He really produced the ‘shut yo’ mouth’ out of the record.

“The ironic part is that we did it in one day,” says Dodson. “We did not have one line written.”

The Bar-Kays play the Cannon Center on Friday, June 16th; ConFunkShun will open the show.

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Flyer Flashback News

Up, Up, and Away

With the Memphis In May Beale Street Music Festival once again upon us, we take a look back to the 1999 Best of Memphis issue, which featured a staff pick on one memorable music fest appearance:

“Best Performance R&B artist Lois Lane is all-woman and then some. She threw out all kinds of moxie at this year’s Memphis In May Beale Street Music Festival. Thrilling the nearly all-white crowd with her gyrating and forcefully lewd performance, she kicked up the fun when she invited a few members of the audience to get onstage with her to dance. Among those was a young man who couldn’t resist spanking himself. Such is the superpower of Lois Lane.”

But this was not the first appearance by Lane in the Flyer, nor the last. Lane was at the center of a true-blue Memphis phenomenon, which began in 1997 at Bill’s Twilight. Groups of folks would crowd the dance floor to perform a line dance/slide hybrid to an electronic jangle of a tune that featured a riff from Booker T. & the MGs’ “Chinese Checkers.”

Lane’s friend Mixx Master Lee convinced her to write some lyrics for that number, which they reintroduced at Bill’s. Then things went nuts.

The Bar-Kays’ James Alexander founded JEA Music to release the single, which sold 40,000 copies and was played in regular rotation on radio station K97. An album was the next obvious step, and Lane worked with Al Kapone to write songs for The Adventures of Lois Lane.

Lois Lane, of course, was not the singer/rapper’s real name. She said her audacious onstage persona was something she adopted as well. Lane was booked for appearances most nights of the week, and she quit her day job because being Lois Lane was her job. Her upward projection continued when Alexander helped her get a deal with Sony.

A May 5, 2000, cover story details what happened next: “It was an exciting time for Lane. Sony flew her and her sister to New York City to talk specifics. She would do a video, and she would become ‘Miss Lane’ to avoid any conflict with the D.C. comics character. She ate at Puff Daddy’s restaurant, she shopped, and she saw Carnegie Hall.

“Then they flew her to Los Angeles for a photo shoot. ‘I had a daytime look of Lois Lane and the evening look. I was like the caped crusader or something,’ she says, explaining that part of her act would be her transformation from the daytime to the nighttime Lane. They put wigs on her and covered her in baby powder so she could get into rubber outfits. They even convinced a non-short-skirt-wearing Lane that she could show the leg and wear six-inch spike-heeled, thigh-high boots. ‘I’m going to stand up straight,’ she remembers thinking, ‘because if I bend over, I’ll be mooning everybody.’

“Of course, she loved all the pampering. ‘I felt so good. I felt like a star, you know?’

“Lane returned to Memphis, and Sony sent a choreographer to work with her. Tryouts were held for dancers, who were not only required to dance well but to be able to morph from daytime to nighttime as the new Miss Lane would. And then nothing.”

Sony dropped Lane, and the cover story concludes with Lane contemplating her next step. What’s become of Lane is unknown. Alexander says that The Adventures of Lois Lane was the first and last album that she recorded for him.

“She went Hollywood on me,” Alexander explains. “I had to move on.”

Alexander says he keeps up with almost everybody he’s worked with. He says he spoke to Lee, who now lives in Nashville, about a month ago. He says he has no idea what’s become of Lane. He’s certain that she’s no longer performing.

Says Alexander, “She had the makings of a real big star.”