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LoveFest for Steve Wilson

The headline may not say enough about this special party held for Steve Wilson, a member of the Neil’s Music Room community who has been diagnosed with stage three esophageal, liver, and colon cancer. Wilson has worked with many music makers in the Memphis area over the years, in addition to being a regular at Neil’s. To honor their sick friend, local musicians are throwing a day-long celebration at the music venue on Sunday, November 8th, in hopes of surrounding Wilson with “love and faith, which will promote healing,” according to the show’s organizer.

LoveFest is free to attend, starting at 2 p.m. and ending at 11 p.m. The day will be jam-packed full of music from many different types of bands — over 14 in total. Regulars to Neil’s will recognize many of the acts already, but there’s something for everyone, regardless if you’ve been to the Music Room or not. Those who prefer straight-up, mainstream rock-and-roll will enjoy the musical stylings of Band of Brothers, Almost Famous, and Grand Theft Audio. Singer-songwriter fans will love JoJo Jeffries and Ronnie Caldwell, who are both staples at Neil’s. There’s even something for fans of the blues as the Memphis Blues Revue and the Royal Blues Band (featuring Jack Rowell Jr.) will both be in the house.

Other musicians and groups include Don Cook (who plays with Blind Mississippi Morris), Buddy Church (who had his own benefit concert at Neil’s in 2013), Brad Webb, Eric Reason, Jonathan Yudkin, Morrill & Smith, Steve Ingle, and the Lineup, among others. Neil’s Music Room often holds benefits for folks in need, and this time is no different. As the Beatles song goes, “Love is all you need,” and the folks at Neil’s are making sure that rings true for Wilson.

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R&B Royalty

Elmo Lee Thomas has worked his band, Elmo and the Shades, around Memphis for more than 30 years. You’ve seen the name a million times in weekly music listings and probably thought, “Ah, another bar band.” What you likely don’t know is that this band has a musical pedigree that will blow your mind. Elmo and the Shades features musicians who changed the way we listen to music and buy records.

Ben Cauley, the original Bar-Kays trumpeter and a survivor of the plane crash that killed Otis Redding, is a regular. Other members played with Isaac Hayes, Jimi Hendrix, Little Richard, and George Clinton’s Funkadelic. The drummer played for James Brown. They played parties for Elvis. The trumpet player helped Hayes negotiate with Mayor Henry Loeb following the assassination of Dr. Martin Luther King Jr. Most were part of the legendary later years at Stax Records. They have more great stories than you have time to listen to.

Justin Fox Burks

Elmo and the Shades

Some bar band.

You may be surprised to learn that you can see this band for no cover charge at least once a week. Welcome to Memphis.

Let’s introduce the band.

Justin Fox Burks

Harold Beane

Harold Beane

“I went to Hamilton [High School],” says guitarist Harold Beane. “I ended up on guitar from my neighbor Larry Lee, who played with Jimi Hendrix [at Woodstock]. So that’s my mentor. This was 1963, because he went off to college to Tennessee State. I couldn’t wait until he got back from college to show him that I could play a barre chord. That’s how it all started.”

Beane’s band auditioned to record at Stax, but the label didn’t want the guitarist.

“They said, ‘We like your group, but we don’t need a guitar player. We’ve got Steve Cropper.’ So I ended up working in the Satellite record shop. Ms. Axton hired me. I sold 45 records. I eventually ended up learning three or four chords, and William Bell came and took me on the road. I was just out of high school.”

Beane, like the others in this story, was part of a later generation of musicians at Stax. When early bands like the Mar-Keys or the MGs began to tour, younger musicians — notably the Bar-Kays — filled in during the arc of Stax’s success that preceded the Redding plane crash in December of 1967. The label’s next phase brought Hayes’ hits and the second coming of Rufus Thomas in the early 1970s. These musicians not only backed the hits of that era, they played with some of the most important talents of their time.

“I came to the recording studio one day, and Pat Lewis of Hot Buttered Soul, which was Isaac Hayes’ background singers, asked me if I wanted to play guitar for George Clinton,” Beane says. “They had done background for Isaac, George Clinton, Jackie Wilson, Aretha Franklin … I can go on and on. So she called George. I met George in Cincinnati, and the rest is history.”

Beane spent five years in Clinton’s Funkadelic and played on America Eats Its Young in 1972. He also played for Little Richard. Eventually, he had a son and settled in Atlanta, working with longtime collaborator William Bell. Beane went to work for IBM and stayed in Atlanta until three years ago. When he would come home to Memphis to visit his mother, he looked for Larry Lee, who was playing with Elmo and the Shades.

Justin Fox Burks

Tommy Lee Williams

Tommy Lee Williams

“Harold [Beane] was playing with us in the first band I was in,” saxophonist Tommy Lee Wiliams says. “Willie Mitchell started us rehearsing at his house. But my first big thing was in college at Tennessee State in Nashville. I was playing with Jimi Hendrix — me and another older guy playing saxophone. It was wild. We were playing at the Del Morocco to lots of Tennessee State students. He stayed upstairs over the club.”

Hendrix left the Army in 1963 and moved to Clarkesville, Tennessee, before moving to Nashville. Those years in Hendrix’s life are often glazed over as the “chitlin-circuit years,” but the scene around the club was part of Nashville’s unheralded African-American music scene of the 1960s. Hendrix lived with lifelong friend Billy Cox, who allegedly owned, and did not get along with, a pet monkey, according to Steven Roby’s Becoming Jimi Hendrix: From Southern Crossroads to Psychedelic London, the Untold Story of a Musical Genius. That band, the King Kasuals was the launching pad for Hendrix’s work with Little Richard, Don Covay, and the Isley Brothers. Later, after his Experience years, Hendrix returned to this group of people, building Band of Gypsies around Cox and Buddy Miles, who met Hendrix during this time. Larry Lee joined Hendrix onstage at Woodstock, trading solos like they had done back in Nashville.

Williams’ involvement with Willie Mitchell led to gigs at some of the most legendary parties in Memphis history. Elvis hosted a string of New Year’s Eve parties at the Manhattan Club throughout the early 1960s. Although in those days, it was not a welcoming experience for everybody.

“We had uniforms. Willie Mitchell mostly played for it. But this one time, Willie had to go out of town, and he put us in there. We had to come in the back door. Because [the front] was for high-class folks. The bandstand had a door. We’d go out that door and stand outside,” Williams says. “Anyway, [Elvis] would have these parties, and he’d have all these women. Man, I’m talking about some of the most gorgeous women you’d ever want to see. He’s sitting there like at the end of the table like he was the chairman of the board. Nothing but women, all the way down on both sides. He’s sitting up there cooling. I said, ‘Damn, this cat here is something else.'”

Williams and Beane were also members of the Isaac Hayes Movement, the band that toured and recorded with the enigmatic singer through his rise to greatness. Hayes’ greatness took several forms, all witnessed by Hayes’ lifelong friend and Shades trumpeter Mickey Gregory.

Justin Fox Burks

Mickey Gregory

Mickey Gregory

“I took Isaac on his first gig, when he was 18 years old,” Mickey Gregory said last week at the Shades’ weekly Wednesday night gig at Neil’s Music Room.

“We were both in the same shape,” Gregory says. “Sometimes, we would make a gig outside of the city. Dude would run off with the money. Sometimes you’d make a dollar. Buy a bottle of corn whiskey and a hamburger. Sleep on the food table of the counter ’til daytime, before you tried to get back to Memphis. [He stops to silently emphasize that it was a very dangerous time for black traveling musicians.] We went through some hard times. There is a Penthouse interview from 1972. [Isaac] explains a lot of that stuff. If you ever come by the house, I’ll let you see that magazine where he says that.”

On Friday, photographer Justin Fox Burks and I ring the doorbell and are greeted by Gregory, smoking a cigarette and wearing an electric red and black-trimmed bathrobe. My Southern Protestant upbringing had not prepared me for this. But no one I know has ever answered a door in such a badass way. In we go, and Gregory shows us the interview in which Hayes talks of himself and Gregory and sleeping on craps tables after gigs. The photo spread is strange enough to defy description, until …

“We called that ‘FFO,'” Gregory says, “for Far Fucking Out.”

“I think the bathrobe is awesome,” Burks says. “Do you want to put a shirt on for some pictures?”

“I’m Kool and the Gang,” Gregory says, meaning no.

Gregory’s friendship with the man he calls “Bubba Hayes” is the subject of a book he is writing. He reads the first chapter aloud and leaves us mesmerized with the story of driving to Hayes’ first gig.

I’ll leave that story and a trove of off-the-record delights for Gregory’s book.

Gregory was a source for Robert Gordon’s Respect Yourself: Stax Records and the Soul Explosion. Reading Gordon’s book before going to see Elmo and the Shades turns the night into an immersive experience, perhaps akin to experiencing the National Civil Rights museum after reading Hampton Sides’ Hellhound On My Trail.

These musicians changed music: They broke the hold of the 45 single and kicked off long-play music that led the way for the expansive remix and electronic dance forms of the 1980s and 90s. Hayes and Gregory formed a symbiotic relationship, with Gregory assuming more responsibility and more favor as Hayes rose to power. He helped Hayes assemble the bands that would tour with him, record with him, and endure the mayhem of life at Stax in the late 1970s.

“We were hoping for a hit record with Isaac’s Hot Buttered Soul,” Gregory says. “In the interim, I was putting together a band, really for David Porter. Isaac began to break out real quick. Porter didn’t like it, and I don’t blame him. But he didn’t realize that I had a history with Isaac since he was about 12 or 13 years old. So I had to go. I had had some hard times, and he would more or less support me and my family. So I had to follow that thing. I took the guys from the band that I was putting together for David, The Soul Spacemen. He had bought uniforms and everything. But I had to do what I had to do. That was the first Isaac Hayes Movement.”

Gregory was with Hayes when he was part of a negotiation with Mayor Henry Loeb in 1971, as tensions rose over a city-imposed curfew and a crucial benefit for a sick member of the African-American community. Rob Bowman, in his Soulsville, U.S.A.: The Story of Stax Records, outlines the event, as Hayes is called to represent the black community with the legendarily recalcitrant mayor following the assassination of Dr. Martin Luther King Jr.

“Henry was … we all know what he was,” Gregory says. “He used a lot of savoir-faire while talking to us. But he just started, and it was an exercise in futility. This one city councilman [Jerry Blanchard] — and I don’t have to say white because there were no blacks on the city council then. He had balls enough to go out with us. It was just me and Isaac and him. We went through the neighborhoods and quelled those riots. Our last trip was to Binghamton, and he got out of the limousine with us then. He had balls. But nobody was interested in anything but Isaac.”

Gregory and Williams were both in The Isaac Hayes Movement for the 1972 Watts Summer Festival concert that drew more than 100,000 people and became the film Wattstax. Williams, who played on Rufus Thomas’ hits from the early 1970s, including “Push & Pull” and “The Breakdown,” recalls the old man of Stax calming what might have been a volatile situation.

“What happened was, they were trying to get the people not to come out on the grass,” Williams says. “Rufus Thomas was already out, getting ready to do his show. He was trying to tell them, to talk to them real nice and not make them mad. I know he talked 30 minutes or more. Sure enough, everybody started walking up, going on back. We had ran out and got back on the bus and shit, we were scared. All them people, man? Dang. I just knew it was going to be a riot. Anyway, it wasn’t. Everything turned out all right. We did the show. Smart dude. That man was smart and kept it together.”

The fall of Stax engendered a lot of enmity among some of the participants, and the transition from world stage to normal life and the “golden years” has not always been easy.

“We had a ball out there. We were making money,” Williams says, noting the diminishing opportunities in today’s music industry. “The people have changed. It’s not like it was back in the day, when we were coming up. Everybody was more together. It’s kind of distant now. It’s not as tight as it used to be.”

Gregory holds a special enmity for Johnny Baylor, an alleged gangster from the north who cultivated his own locus of power in an increasingly dangerous and destructive way. You should read Gordon’s book if only for the whole story on Baylor and Gregory’s involvement in it.

“Those were some great days,” Gregory says. “But they turned into some bitter days. I mean bitter, bitter, bitter days. … I sat and watched that thing unravel under the hands of one person. I was just as crazy as he was. My pistol was just as big as his was. He knew that. We never had words. He whipped a lot of people at Stax. Pistol whipped a lot of people. A monster.”

Some people still don’t want to talk about Baylor.

“Nobody else ever had the balls to do it,” Gregory says. “Because, one, I’m still alive. So I don’t give a damn. Read my book.”

There’s a lot more history going on in Elmo and the Shades: Drummer Hubert Crawford Jr. played with James Brown and has been an essential element to the Eric Gales Band. Ben Cauley, the original Bar-Kay and survivor of the plane crash that took the life of Otis Redding, is a regular on trumpet and sings a few numbers. Drummer Brian Wells (John Paul Keith) also plays regularly.

“I knew Elmo from coming to Memphis and looking for Larry Lee,” Beane says. “That would be the first thing I would do while living in Atlanta. I’d come visit my mother, visit Memphis, and I’d look for Larry. Elmo had Mickey Gregory and Tommy Lee [Williams]. They knew me and said, ‘Why don’t you hire Harold?’ I went out and met him and have been playing with him for about two and a half years. I’ve enjoyed picking my guitar back up.”

“Cats come out here I hadn’t seen [in years],” Williams says. The goodwill among the old soulsters is something to behold. “Once they come out and see we’re out here, they come back and sit in with us. But we got a bad drummer man. Them other guys can’t touch our drummer. We let them play. But to go up behind him? He played with James Brown. You’ve got to be a bad drummer to play with James Brown.”

The members of Elmo and the Shades have impressive histories, but in a town with the kind of music legacy that Memphis has, they are not all that unusual. “Earl the Pearl” Banks plays weekly on Beale Street at Blues City Cafe and frequently at Huey’s. Banks was in early bands with Teenie and Leroy Hodges of the Hi Rhythm Section. Leroy Hodges and Hi-Rhythm keyboardist Archie Turner back him up every Tuesday at Blues City Cafe. Eddie Harrison and Tommy Burroughs are other examples of musicians with bands that have jaw-dropping back-stories.

Elmo Lee Thomas has been running his show since the first blues revival that followed the Blues Brothers and the rise of Beale Street in the early 1980s. Williams has been with the Shades for almost 20 years. Michael Toles of Bar-Kays 2.0 and Skip Pitts (also of the Isaac Hayes Movement and the Bo-Keys) are past members. Larry Lee was a member of the Shades, until his death in 2007.

“It just started one musician at a time,” Thomas says of his amazing band. “We all come together and try to put the sound down.”

And that they do.

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Cover Feature News

Cheers!

“We live in public” is the relatively new expression used to describe life in the digital age. It’s the paper umbrella in a heady cocktail of warnings about privacy and the loss of meaningful human contact, and, as long as there’s not a good game on the big screen, it’s exactly the kind of thing that can spark lively discussion in a “public house” where everybody knows your name and, thanks to the alcohol being served, at least a few of your secrets.  

Pubs have been popular R&R destinations since the prehistoric invention of beer goggles, and since that date, now lost to time and occasional bouts of over-consumption, a certain set of personality types have made a habit of frequenting their favorite watering holes on a more or less daily basis, at just about the same time, to order just about the same thing. These creatures of habit are known to all as “the regulars,” and who they are may surprise you. Or maybe it won’t surprise you at all. But in the spirit of “write what you know” this seemed like the perfect excuse to turn the Flyer‘s editorial staff loose on a subject near and dear to most of our hearts: bar life.

“Regulars are going to be different wherever you go,” says Cafe Keough owner Kevin Keough, who got his start in restaurants slinging drinks at bars like Automatic Slim’s and the Beauty Shop and who has poured many shots for this writer. “It can be like [the TV show] Cheers,” he says, allowing that in his time as a mixologist, he’s known a barfly or two, and at some level many of the quirky stereotypes about bar regulars are true enough. “But what you come to realize over time is that your regulars are really the normal ones.”

Every bar in town worth its margarita salt has its regulars, and this is by no means an attempt to cover all of them. But we think this eclectic sampling will cover the tab.

Justin Fox Burks

Hannah Duke and Ashley Edge at Felicia Suzanne’s

Felicia Suzanne’s

Jerome Shipp, expeditor and waiter at Felicia Suzanne’s for 10 years (“next to forever,” he says), points out the regulars at the restaurant’s Friday-only lunches. There’s the table in the back, that table at the side, those few out on the patio. … He turns, then points to a threesome at the bar.

Mike Ratcliff, Ashley Edge, and Hannah Duke work nearby at APG Office Furnishings. Ratcliff and Edge can pinpoint exactly when they became regulars. It was October. The occasion: Ratcliff’s birthday. They estimate they stop by for lunch every other week, citing the food and the service as they give a nod to bartender Bri Silvio.

Edge says her preferred drink is a glass of Pinot Grigio. Ratcliff says his is Chardonnay, at which Edge dramatically stage whispers, “That’s because they’re out of White Zinfandel.”

“Hah!” Ratcliff exclaims. As for Duke, she professes to being only a semi-regular. “She’s very disciplined,” Edge notes. “And poor,” Duke adds.

Justin Fox Burks

Part of the appeal of the Friday lunches are the 25-cent martinis. Shipp estimates they serve 100 of the drinks during Friday lunch. They come in a variety of options: either Burnett’s gin or vodka, straight-up or dirty, with orange or cranberry juice. The beauty of the Friday martinis is that they are one-ounce pours, so diners can indulge in more than one without getting too Mad Men.

Sitting at the end of the bar are Eiko Harris and Quiana Cox. They’re finishing up their lunches. “It’s a combination of the food and martinis,” Cox says, explaining the draw of Felicia Suzanne’s. Harris ordered the shrimp and grits; Cox opted for the catfish and fries. They shared an order of deviled eggs. As for those martinis, it’s with pineapple juice for Harris. Cox orders hers with orange juice.

Both of the women work in East Memphis. Harris is an attorney. Cox works for Hilton Worldwide. Cox says, “I come here whenever I’m off on Fridays.”

Susan Ellis

Felicia Suzanne’s, 80 Monroe (523-0877)

Justin Fox Burks

Phil Brown chats with Jackie, a fellow regular at Molly’s La Casita.

Molly’s La Casita

They’ve been pouring those famous margaritas at Molly’s La Casita since 1982, and the Midtown institution has a loyal gang of regulars who sidle up to the tiny, three-sided bar for conversation and libations.

“We probably have 50 people I would call regulars,” bartender James Ragghianti says. “There’s a group, for example, that shows up every Saturday, rain or shine, sometimes with 10 people, sometimes 20. I like my regulars,” he says, “because they tend to be unpretentious and comfortable to be around. No drama. I know their drink orders, and they know me.”

Jackie and Jasmine are two regulars who like to hit Molly’s on Monday. “I like this place because they know me and what I like. And I also like this crazy bartender,” Jackie says, smiling. Her drink of choice is the “Half and Half Margarita” — as in half frozen, half not frozen. “It’s for those who don’t want to have to wait for the alcohol to kick in,” she laughs.

But if you looked up the dictionary definition of a bar “regular,” it would probably have a picture of Phil Brown next to it. Brown, who’s now retired, has shown up every day at Molly’s for many, many years. Yes, every day. He’s such an institution that Molly’s has put a small nameplate on the bar at Phil’s seat.

Justin Fox Burks

“If someone’s sitting in his seat, Phil’s not happy,” Ragghianti says. “But he’ll wait til they leave, then move. He’s polite about it.”

It’s safe to say Phil is a Molly’s institution. “If Phil doesn’t show up,” Ragghianti says, “the bartender on duty will call the previous day’s bartender and ask if Phil said he wasn’t coming in today. If he doesn’t show up, we get worried.” That, my friends, is a regular.

Phil himself is an amiable sort of fellow, and he likes to tell the story of the woman who came up to him one night and told him how happy she was to learn he was alive. Seems she’d seen the nameplate on an earlier visit and deduced that Phil had died.

Nope. He’s very much alive, as is the feisty bar crowd at Molly’s.

Bruce VanWyngarden

Molly’s La Casita, 2006 Madison (726-1873)

Celtic Crossing

Listen closely to a gang of regulars at Celtic Crossing, and you’ll hear what gives the pub more Irish street cred than its perfectly poured pints of Guinness.

They huddle around two tables pushed together close to the bar, and their conversation and raucous laughter is punctuated with the undeniable musical accents of Ireland. Since Celtic Crossing opened in 2005, the Midtown pub has been home to this close-knit group hailing mostly from Éire but also from the U.S., Poland, and Belgium.

They’re found at their tables on certain weekdays during happy hour — drinking pints, sharing stories, making each other laugh — or laughing at each other. When all the members are present, their presence fills the bar with the good-natured rowdiness practiced in countless pubs across Ireland.

Seamus Loftus and Robert Cummins are usually in the thick of it on Mondays and some Sundays. The two own the Brass Door, downtown’s Irish pub that opened in 2011. But Midtown is home to them both, and, they say, Celtic Crossing “is our local.”

“I live about five minutes from here, and it’s where we come to get away from our pub,” Cummins says, with a laugh. “I like to come here and sit down with my pals and have a beer, shoot the breeze, and talk about the football games; that’s soccer games, you know.”

Loftus says the draw of Celtic Crossing is more than it being just generally Irish. He and the bar’s owner, D.J. Naylor, grew up in the same town, support the same football club, and are even related by marriage. The Brass Door is more like city pubs found in Dublin and Cork, he says, while Celtic Crossing is more typical of Ireland’s country pubs, which suits him just fine “because we’re country boys.”

One of the most recognizable regulars at Celtic Crossing is Mike Matthews. Yes, he has a singular presence on local television as the “WatchDog” on Channel 24. But at Celtic Crossing, he’s known by his booming voice, easy laughter, and ever-present cigar.

“I’ve had the opportunity to get to know the staff at Celtic over the years, and they really are my second family,” Matthews says. “Celtic is a place where I can talk with others or be alone with my thoughts and my cigars.”

Naylor can easily list his regulars and can easily point to their barstools. He says the connection for regulars is, simply, familiarity.  

“People are enamored with the idea that they know most of the people around them,” he says. “They also like to know the person who is serving them and that they know what they drink.”

“A great bar is a place that feels comfortable,” Matthews says, “and I feel comfortable at Celtic.” — Toby Sells

Celtic Crossing, 903 South Cooper (274-5151)

Bianca Phillips

Bartender Dan Taylor and Jae Wells at the Pumping Station

The Pumping Station

Growing up gay in the tiny town of Belle Eagle, Tennessee, Jae Wells says he “had a lot of bad feelings about who I was.” But at age 18, on a trip to Memphis with members of the blues band he belonged to, he discovered acceptance at a gay bar.

That was 28 years ago, and that bar was called the Pipeline and was advertised as a “leather bar.” But for the past 13 years, the small storefront at Poplar and Cleveland has operated as the Pumping Station and, in recent years, has attracted a diverse mix of gay men (most not wearing leather) and often their straight or lesbian friends.

Outside the bar, a rainbow flag lets patrons know the Pumping Station is a welcoming bar. Inside “The Pump,” as its regulars call it, panels of the kind of textured aluminum one might find on the bed of a pick-up truck hang on the walls. On the patio, there’s a legendary wooden treehouse that patrons can climb, and in a throwback to its leather bar beginnings, the bathrooms are separated by “master” and “slave” rather than the more traditional “men” and “women.”

“I come here for the clientele and the owners. [Owners] Robert and Steve are fantastic people, and they’re so committed to our community,” says Wells, who owns American Standard Foundation Repair in Cordova. “And the clientele are pool-playing, beer-drinking people. I own a construction company, so I like to hang out with those kind of people.”

Wells, who rarely misses a Monday night pool tournament at the Pump and usually stops by on Friday or Saturday nights, says he appreciates how diverse the clientele has become over the years.

“Last Friday night, there were 20 or 30 gay men in their 40s and about the same number of males in their 20s. And the rest were straight women, four or five straight couples, and some straight men here as part of a party for their friend,” Wells says. “They were all having such a blast. It was such a sign of the times. Nobody cared who was gay or straight. You wouldn’t have seen that 20 years ago.”

Memphis was home to nearly 10 gay bars a decade ago, but most have since shuttered their doors. The Pumping Station has survived the test of time. Owner Steve Murphy says the exodus of gay bars is a national trend that has much to do with those changing times Wells mentioned.

“The younger crowd doesn’t necessarily feel like they have to go to a gay bar anymore. They go hang out with their straight friends at the Blue Monkey or wherever, and then they end up bringing their straight friends in here,” Murphy says. “The dynamics of gay bars have changed a lot.”

Murphy welcomes the diversity, and the Pumping Station is adapting and making improvements. Wells’ construction company is helping to renovate the bar’s back room into a smoking lounge, and by May 1st, the front section of the bar will become non-smoking.

“You have to change with the times. You have to be open to whoever walks in the door,” Murphy says. “We’ve always been like that, but people haven’t always realized that.”

Bianca Phillips

The Pumping Station, 1382 Poplar (272-7600)

Rockhouse Live

Rockhouse Live is a homegrown music club, holding events throughout the week to keep regulars (and newcomers) busy — open-mic nights, karaoke, ladies’ night — and offers lots of live music on the weekends. It has only been open since August, but Rockhouse Live already has its crew of regulars, many of them holdovers from previous bars in the same building.

Owner Zach Bair says he opened Rockhouse Live because he didn’t see anything like it around Memphis; he touts the bar as having the largest stage in town, complete with a lounge area and a new patio.

“When I got here, I noticed that there was a lack of what I would call a ‘semi-upscale’ place in the area, with really good live music and really good food,” he says. “[Now,] we get a wide range of patrons in here — regulars who live in the neighborhood and fans who come to see bands.”

Despite the large stage and all the activities, Bair says he is going for a cozy environment. “I want them to feel like they’re in their living room and comfortable, like they’re at home, no matter what type of music is playing. We just want an environment where everybody feels welcome.”

Thomas, who did not want to give his last name, was pointed out by the bartenders and Bair as one of the Rockhouse Live regulars. He says the proximity to his home helped attract him initially.

“Being disabled, being in a wheelchair, it’s easy and convenient for me,” he says. “It’s nice that I can ride my wheelchair up here and get something to eat, have something to drink, and listen to good, live music.”

Thomas feels comfortable here.

“Everybody has their Cheers — that one place they like to go,” he says. “Sure, you go to other places and hang out, but you always go back to that one place. It’s that home that you have. You know everybody, and everybody knows you. It’s nice when you walk in the door and someone knows your name. Someone’s happy to see you. It just makes your day.” — Alexandra Pusateri

Rockhouse Live, 5709 Raleigh-LaGrange (386-7222)

Joe Boone

KT Bintz, Neil Heins, Al Bintz, ‘Andie Girl,’ and Lawrence Rathheim

Neil’s Music Room

Loyalty is the essence of the regular. Location is the essence of real estate. If both are true, Neil Heins has cultivated loyalty like a master. Neil’s Music Room (“Where the Fat Man Rocks”) on Quince is a relatively new location for a bar (and a fat man) with a storied history. At happy hour on Friday, there are few seats left among the boisterous regulars, some of whom have followed Neil’s across town from its old location at Madison and McLean and others who came from earlier iterations McNeil’s and Studebaker’s.

“We started at McNeil’s when it was on Union at Methodist Hospital,” shouts longtime regular Al Bintz. A woman yells into the din that most people working here now have migrated from the Madison location, which burned in 2011, causing the move to Quince in 2012.

“When we started hanging out there, our father was in the hospital,” says KT Bintz, Al’s brother and fellow regular. “We have a big family, and we’d take over the waiting room. So we took over Neil’s instead. It worked out for everybody.”

“Have you ever heard Neil sing?” asks Al. “Neil can sing his ass off. What I remember is that he used to get behind the bar, and he’d have a microphone.”

Al Bintz suggests that Neil sing for us. Neil in return suggests something terribly inappropriate to Bintz and merriment ensues. There is a plaque above the bar that reads, “No Shame Hall of Fame.” It is a fun place. The bartender prefers to be called Andie Girl. She made the trip from the Madison location and knows how to tame the chorus of graying wits.

Lawrence Rathheim is another longtime regular. He lives near the Quince location but was a frequent patron of the Madison bar.

“It’s just like Cheers, except instead of knowing your name, we’ve got your number,” Rathheim says. “I used to go to Madison all the time. I had a cousin who lived over at the Gilmore. We had a lot of fun. But it’s my neighborhood bar now. I’m not a wrestling fan, but I’ll come up here just to watch them watch wrestling.”

As Boston plays on the jukebox, the Bintz brothers renew their friendly assault on Neil.

“He would go broke if he were behind the bar,” Al says. “He’d start a drink from here.”

“He’d starve to death,” says KT. “He’d look like he was from Ethiopia. He had to hire somebody else.”

When asked for comment on the patrons who have been giving him a hard time, Neil sheepishly comes out from the kitchen to the bar area. The story he told next is not fit for publication in this (or really any) newspaper. But do yourself a favor: Go order a beer and ask Neil how he gained notoriety in Australia. — Joe Boone

Neil’s Music Room, 5727 Quince (682-2300)

Bar Guide…

Alchemy
Try the hand-crafted Hound Dog cocktail this spring at Alchemy. Featuring W.L. Weller bourbon and fresh peach with lemon, ginger, and mint, this drink is light and refreshing — a great way to enjoy bourbon in the warmer months.
940 S. Cooper • 726-4444 • alchemymemphis.com

Bardog Tavern
Other than a cowboy shot of Jameson, we get down to business with 10 craft brews on draft, the best bartenders around, and the city’s best happy hour. Taking a shot with your favorite bartenders gets any weekend festivities started right!
73 Monroe • 275-8752 • bardog.com  

Blind Bear Speakeasy
Feel swanky starting this spring and drink some Swanky Summer Sippers created by Colin Bergstrom, part owner of Blind Bear Speakeasy. This drink is ultra luxurious and includes Bombay Sapphire Gin, St. Germaine, muddled cucumbers, oranges, a sugar cube, Champagne, and juices, all served over ice in Blind Bear’s signature mason jars!  
119 S. Main • 417-8435
blindbearmemphis.com, @BlindBear901

The Cove
The Cove’s special springtime concoction is called the Dixie Sour, a Southern twist on the traditional Whiskey Sour, in which the Cove’s crack mixologists substitute American Born Dixie, sweet-tea moonshine, for bourbon, to create a refreshing springtime sip sure to make you pucker up and whistle the anthem of the region from which this cocktail derives its name.
2559 Broad • 730-0719 • thecovememphis.com

Dan McGuinness
Spring is here, and Dan McGuinness is serving up a popular, fresh, and delightful treat that’s always a favorite. Lynchburg Lemonade — lemon-lime soda, lemonade, and a shot of Jack Daniel’s — hits the spot.
4698 Spottswood • 761-3711
3964 Goodman in Southaven • (662) 890-7611
danmcguinness.com

Jack Magoo’s Sports Bar & Grill
Jack Magoo’s has the hottest spring specials. Tuesdays are Pint Nights with half-price appetizers and $2.50 drafts all night, 5 p.m. ’til close. And it’s $2 domestic longnecks during all sporting events.
2583 Broad • 746-9612

Lucchesi’s Beer Garden
Lucchesi’s Beer Garden is truly enjoying the seasonal transition with Time Traveler Strawberry Shandy. Come relax on our patio and sip on this delicious beer with flavors of strawberry shortcake, hints of vanilla and kiwi, and a refreshing lemonade finish. Happy drinking!
84 S. Reese • 458-5110 • beergardenmemphis.com

Molly’s La Casita
Molly’s has the ultimate spring drink. It’s our first-place award-winning margarita (Memphis Flyer readers poll 2013). Be sure to try our new low-calorie Nectar Girl Margarita if you are trying to keep your hot figure. Molly’s has an ice-cold one ready for you that is sure to please.
2006 Madison • 726-1873 • mollyslacasita.com

Mulan Asian Bistro
The Hong Kong Phooey cocktail at Mulan Asian Bistro is perfect for spring. It is a combination of vodka, lychee, green tea liqueur, and pineapple juice, topped off with a refreshing splash of Sprite.
2149 Young • 347-3962
2059 S. Houston Levee in Collierville • 850-5288
mulanasianbistro.net

Newby’s
Newby’s “World Famous EZ Shooter” was created by Too Tall Todd back in 1998: a shaker tin full of ice, 1.5 oz Premium Orange vodka, three parts cranberry juice, one part orange juice. Shake furiously, strain in shooter glasses, share amongst all your friends. All smiles, it’s EZ!
535 S. Highland • 452-8408 • newbysmemphis.com   

Pearl’s Oyster House
Coconut. Lime. Fresh. Quencher. Refreshment. Succulent. Tropical. Easy. Breezy. Summertime. Vacation. Sand. Sea. Hammocks. Bare feet. Sunshine. Suntans. Backyards. BBQs. Bonfires. Sprinklers. Friends. Family. Laughs. Love. More Laughs. Experience the taste of our original “Lime in the Coconut” cocktail — only at Pearl’s Oyster House.
299 S. Main • 522-9070 • pearlsoysterhouse.com

The Pumping Station
Try our new Blue Suede Shoes chilled drink, along with our new line of frozen cocktails. Keeping you cool for the upcoming summer. New lounge opening in May.
1382 Poplar • 272-7600 • thepumpingstationmemphis.com

Slider Inn
Grab a Lemon L.U.I., freshly squeezed lemonade with vodka, on our patio to bust through your workday woes. Kick it up with a little Grand Marnier or some fresh blueberries. The patio is bike- and dog-friendly, so bring your friends!
2117 Peabody • 725-1155 • facebook.com/SliderInn

Tug’s
Tug’s is ready for spring with specialty cocktails like the Watermelon Patch made with Absolut Cilantro, a little bit of watermelon liqueur, a splash of Sprite and a splash of lemonade served over muddled watermelon. Or try the Bluff City Cooler with guava rum, ginger ale, a couple dashes of bitters, and fresh-squeezed lime. Very refreshing!
51 Harbor Town Square • 260-3344 • tugsmemphis.com

Twilight Sky Terrace at the Madison Hotel
Our bartender Emily has created Blueberry Nilla, a refreshing blueberry and vanilla martini that is perfect for any evening. This fruitful drink has a touch of sweetness and cream to give it warmth that will delight any palate.
79 Madison • 333-1243 • twilightskyterrace.com

Westy’s Restaurant and Bar
Westy’s Restaurant and Bar, in the shadow of the Pyramid, has been a favorite local flavor for years. If you want a full bar AND great food, Westy’s is the place to be — 75-plus beers, lots of wines and spirits, happy hour daily from 4 to 7 p.m., and open late ’til 3 a.m. But whatever you eat or drink, don’t leave without having Jake’s Hot Fudge Pie, a sinful delight!
346 N. Main • 543-3278
westysmemphis.com