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Food & Wine Food & Drink

Prichard’s Double Barreled Bourbon: Sold Out

Phil Prichard, the Memphis-born master distiller at Prichard’s Distillery, Inc., the rum and whiskey manufacturer located some 280 miles due east of us, has a supply-and-demand issue many distillers only dream about: His hand-crafted Double Barreled Bourbon, which typically retails for $50-60 on liquor store shelves, has been unavailable for over a year.

In 2015, supplier sales of Tennessee whiskey rose by 7.4 percent, significantly higher than the already robust 5.2 percent growth in American whiskies overall.

Yet even within the Tennessee whiskey category, Prichard’s product is unique: In a part of the state known for whiskies, ranging from Nashville-based micro-distiller Corsair to the behemoth Jack Daniel’s, which is located 17 miles north of Kelso in Lynchburg, Prichard’s facility is the only one not required by Tennessee law to filter its bourbon through maple charcoal. It’s also the only distillery to use Prichard’s exclusive Double Barreled process, which spurns over-dilution during the proof-cutting process.

The term Double Barreled, registered with the U.S. Patent and Trademark Office, is currently under legal challenge from Louisiana-based liquor giant the Sazerac Company, which owns a multitude of distilleries including Southern Comfort and Buffalo Trace, the parent company of Pappy Van Winkle’s Family Reserve.

“The biggest problem we have now is this little company wants to infringe on our trade name,” Prichard says. “It’s a silly lawsuit. A trademark is a trademark. Their modus operandi is to outspend us, but fortunately we’ve got good lawyers.”

While he’s currently bottling his award-winning rums and gearing up for brandy production at a distillery in Nashville, it can take Prichard up to a decade to create a bottle-ready batch of Double Barreled Bourbon.

“Somewhere between eight and 10 years, the two elements in those barrels — the caramelized sugars created when the barrel is burned, which make it sweet, and the oak tannins, which make it bitter — will give it that optimal balance between bitterness and sweetness,” Prichard explains.

“We are temporarily out of stock. The whiskey demand has stripped all of our aged product. We’ve laid down more barrels and we’ll have some available in a year or so,” he says.

Last winter, long after his warehouse was empty, Prichard was surprised to discover several bottles of his coveted bourbon at a shop in Winder, Georgia. “I was down there visiting with my distributor, and I decided to drop into Turtle Creek Wine and Spirits and say hello, and lo and behold, I’d be dipped if they didn’t have a whole shelf of it.”

“I bought a bottle or two,” he continues, “and a day or two after that, some guy called me, and he went up and bought everything they had. He thoroughly wiped us out of any residual stock. I’ve got 20 barrels we’ll probably release this time next year.”

That’s good news for music producer and Bo-Keys bandleader Scott Bomar, who describes Prichard’s Double Barreled Bourbon as “the best I’ve ever had in my life.”

The musician whose newest album, “Heartache By the Numbers,” was inspired by Memphis’ onetime late night bar scene — “places like Hernando’s Hideaway, beer joints and juke joints that don’t exist anymore” — discovered the bourbon when Prichard signed on as a sponsor of Staxtacular, the annual benefit the Memphis Grizzlies stage for the Stax Music Academy.

Bomar says that he drinks the bourbon “neat, or with an ice cube or two, in extreme moderation.”

For now, Bomar has switched to craft beer made by Cooper-Young’s Memphis Made Brewing Co. “There’s one I love in particular — the Soulful Ginger,” he says. “It’s a great summer beer. Sometimes flavors just overpower the taste of a craft beer, but this has such a subtle ginger flavor, which makes the beer really crisp.”

Most Memphis Made beers and other fine local craft beers are available at Madison Growler, Hammer & Ale, and on tap at bars and restaurants around town.

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Music Record Reviews

Black Snake Moan soundtrack is Memphis producer Scott Bomar’s coming-out party.

The soundtrack album for local filmmaker Craig Brewer’s upcoming Black Snake Moan (opening February 23rd) is, more than anything, an overdue coming-out party for Memphis producer/engineer/composer/bandleader Scott Bomar.

Bomar crafted a terrific, Stax-like score for Brewer’s previous film, Hustle & Flow, but the only soundtrack CD to emerge didn’t feature any of it. It was a collection of rap tracks, some featured prominently in the movie, some not.

Black Snake Moan is less focused on music than was Hustle & Flow. Though star Samuel L. Jackson performs blues songs in the film, his music isn’t as important or as prevalent as that of Terrence Howard’s D’Jay character in Hustle & Flow. And yet this is a soundtrack that’s more representative of the movie than Hustle & Flow‘s was, and that starts with Bomar.

Bomar served as soundtrack producer, and the result includes three selections (totaling four-and-a-half minutes) of Bomar’s bluesy, atmospheric score (Ennio Morricone gone hill country is how the liner notes aptly describe it), which he recorded locally at Ardent Studios with help from the Dickinson family (soundtrack-vet pop Jim and North Mississippi Allstar sons Luther and Cody) and harmonica ace Charlie Musselwhite. It also includes all four blues performances Jackson gives in the movie, which were also produced by Bomar at Ardent, with a rotating cast of locals helping Jackson (Kenny Brown, Jason Freeman, Cedric Burnside, Luther Dickinson).

The transformation of Jackson into an R.L. Burnside-like hill-country blues singer is at least as convincing as Howard’s transformation into a Memphis-style rapper, though a bit of the charisma that sells the transformation is lost without visual accompaniment.

As in the movie, stomping live versions of Burnside’s “Alice Mae” and the standard “Stackolee” trump the slow-burn blues of Burnside’s “Just Like a Bird Without a Feather” and the Blind Lemon Jefferson classic that provides the film’s title. On the “juke-joint” cuts, Jackson not only has Brown and Burnside house-rocking behind him, he gets to really perform the songs. On the quieter, ostensibly solo, numbers, his lack of authenticity is a little more apparent.

The Bomar and Jackson cuts are the heart of this soundtrack (along with a couple of Son House sound bites), but the “filler” is pretty choice too. The record ends the way the movie does, with the North Mississippi Allstars’ evocative blues-scene reverie “Mean Ol’ Wind Died Down.” Cuts from Burnside himself (“Old Black Mattie”) and hill-country matriarch Jessie Mae Hemphill (“Standing in My Doorway Crying”) feel essential. Contributions from blues stalwarts Bobby Rush and Precious Bryant and rock bands the Black Keys and Outrageous Cherry fit. The only track a little out of place is “The Losing Kind,” a bluesy cut from post-punk veteran John Doe. — Chris Herrington

Grade: A-