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Fun Stuff Music Music Blog

KrafTwerk Stuns With Their Buns

Last week, the Overton Park Shell hosted a remarkable show by the band Kraftwerk as part of its Shell Yeah! benefit concert series. The group has long been hailed as pioneers of electronic dance music, but, more than that, as world-building conceptual artists in their unyielding pursuit of a vision. That vision was on full display last Tuesday, and clearly touched a wide swath of the Memphis music community, who had turned out in force. “I think everyone I’ve ever met in Midtown is at this Kraftwerk concert right now,” quipped one music fan on social media. “It’s like a family reunion with synthesizers.”

Yet, while there was much moving and grooving in front of the Shell stage, there was a disappointing lack of the very style of dance that the German synthesists have doggedly promoted throughout their career, even in their choice of a band name. Of course, I’m talking about Twerking.

As with much music aimed at a popular dance, from the Twist to the Pony, it’s difficult to say if Kraftwerk actually invented twerking or were merely inspired by what they saw in the discotheques of 1970s Düsseldorf. But the dance has been associated with them ever since they celebrated it in their very name, which was originally rendered as KRAF-Twerk.

Founders Ralf Hütter and Florian Schneider soon found that name either too obvious or too obscure, depending on the source, and quickly settled on the simpler spelling. But early demos, unreleased at the time, have made it clear that KRAF was an acronym denoting “Kinetic, Repetitive Ass Flexing.”

On the demo, an unused track titled “Twerk-Tanz Automatisch” from the Autobahn sessions, thus far only available on bootlegs, a voice intones, with deep gravitas, first the words “Mit gebeugten Knien tanzen” (dance with bent knees), then “das Gesäß betonend!” (emphasizing the buttocks!), before initiating a vocoder-steeped chant in English of “Kinetic! Repetitive! Ass! Flexing!”

Clearly the group was onto something, and the video above, from Detroit circa 1981, reveals how their trademark dance craze was soon being adopted internationally.

And it still is overwhelmingly popular in Germany and across the world to this day, as seen in this video with nearly 848.5 million views:

Yet there was little evidence of twerking at Kraftwerk’s triumphant Shell appearance. That’s not say it wasn’t going on at all, however. The dance is fully incorporated into the band’s method, just as surely as cycling, programming, and 3D projections. As Hütter himself revealed in a rare interview with Der Spiegel, “Diese Tanzmethode ist entscheidend für unsere künstlerische Praxis” (This dance method is crucial to our artistic practice). “Wir twerken immer still hinter unseren Podien” (We’re always twerking silently behind our podiums).

Kraftwerk behind their podiums (Photo: Alex Greene)

Visit this link on the Overton Park Shell website to learn about future concerts in the Shell Yeah! benefit concert series.

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We Recommend We Saw You

WE SAW YOU: Sierra Ferrell at Overton Park Shell

The Sierra Ferrell concert, held August 31st, was one of the largest concerts so far in the Shell Yeah! Benefit Series at the Overton Park Shell, says Jeff Hulett, who manages PR and publicity for the Shell.

“That was a sea of humanity,” Hulett says. “As a fan of the Overton Park Shell, that was one of the biggest shows I ever went to.”

People from the West Coast were among those attending. “There were people there from all over the place. I think Sierra Ferrell is about to blow up in a big way. To where we won’t ever get her back to the Overton Park Shell.”

And this wasn’t a free concert. “Overton Park Shell offers the free concert series, but in order to do the free concert series, we have to do a series of fundraiser shows.”

And, Hulett says, “A lot of people don’t know that producing and putting on a free show costs a lot of money. So, we have to find the funds to keep doing that. The Overton Park Shell is all about providing for the community.”

About 2,700 attended.

Hell yeah! 

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Music Music Blog

Overton Park Shell’s 2023 Lineup Includes Memphis’ Finest

With the balmy breezes of spring in the air, music lovers know that live concerts at the Overton Park Shell are not far away, and last week the nonprofit announced the performers slated to appear there this summer and fall. And beyond the nationally touring acts brought to Memphis by the Shell, a host of local heroes will also play under the stars there. Such an appearance can often be a local group’s best gig of the year, and it can serve to remind casual music fans of the riches available in their own backyard.

For starters, the ticketed Shell Yeah! Benefit Concert Series kicks off with the force of nature known as Wendy Moten. Ever since she cut a deal with EMI in the 1990s, and the top ten singles in the US and UK that followed, Moten has been a formidable presence in the industry, whether singing harmony or as an especially eclectic solo artist, mastering styles from country to R&B.

Soon after that, the Orion Free Music Concert Series opens on May 28 with the time-honored Sunset Symphony series by the Memphis Symphony Orchestra (MSO). This year, “symphony” is a bit of a misnomer, as the focus will be on the MSO Big Band, founded in 2010 to highlight the jazzier side of MSO musicians. Led by principal trumpet Scott Moore, the MSO Big Band performs swing classics spiced up with samba and other genres.

The Sunset Symphony tradition is a fitting season opener, harking back to the earliest days of entertainment in Overton Park, before the Shell was opened in 1936. Indeed, as detailed in this Memphis Magazine article, 2023 marks the 90th Anniversary of the first organized performance in the park, a staging of Gilbert and Sullivan’s The Mikado in a dip in the landscape where the Shell now sits.

From there, a both national and local acts will play every weekend until the beginning of July. The local focus continues on June 16th, when both Star and Micey and the Dead Soldiers will grace the stage. That should prove to be the perfect pairing, with two local groups that bring their own respective approaches to the more rocking side of Americana. Given that both groups have eased up on their live appearances in recent years, this should feel like a real homecoming for those who love tight harmonies and arrangements with a funky, folk-rock feel.

On the following weekend, on June 24th, the Stax Music Academy will showcase its best and brightest in what has become a new tradition all its own. And then fans can catch a more contemporary take on the Memphis sound when Unapologetic takes over the Shell on July 1st. What’s known primarily as a hip hop collective actually showcases artists as diverse as Cameron Bethany, PreauXX, A Weirdo From Memphis (AWFM), and more.

That revue will close down the summer season, but the Shell revs back to life when cool temps return in September. The first weekend of that month starts, appropriately enough, with Memphis Powerpop Presents, a recurring event that showcases the city’s seminal roots and promising future in that genre. This year, the day’s highlight will be the Sonny Wilsons, a new power pop project featuring Adam Yancey (Solo artist, Afterglow, The Chain Hopsons, The Becky’s), Allen Couch (East Link), Danny McGreger (Lately David), Chris Swenson (El Dorado Del Ray, Black Oak Arkansas, studio engineer) and Johnny Norris (Crash Into June, Your Academy). Their first album, recorded at Ardent and High/Low studios with Jon Auer (Posies, Big Star) producing, will be released late summer of this year. 

Two weeks later, in back to back concerts on Septemeber 15th and 16th, Memphians will have a chance to savor two versions of hard-hitting local music, both grit and grind. The grit comes from Pezz, practically grand-daddies of the Memphis punk scene by now, and still making vital, politically charged original music decades later. The grind will come on the 16th from Al Kapone, well loved for huge hits like “Whoop That Trick,” but also bringing things home in a deep way with his experiments in blues rap.

And finally, the Memphis Country Blues Festival on September 23rd will feature another African American artist who’s expanded the vocabulary of the blues in his own inimitable way, the axemaster Alvin ‘Youngblood’ Hart. Though based in Coila, Mississippi, Hart has won a considerable following here and exemplifies the Memphis tradition of music made at the crossroads. While the Shell’s season carries on to the end of September, Hart’s appearance will be a fitting local finale to a season peppered with the best the Mid South has to offer.

The full season and details on each band can be found here. Below is a list of what to expect, play by play, from the Orion Free Concert Series.
5/28 – Sunset Symphony (ft. the MSO Big Band)
6/1 – The Collection
6/3 – Magic!
6/8 – Tré Burt
6/9 – Anand Wilder
6/10 – Battle of Santiago
6/15 – The Heavy Heavy
6/16 – Star & Micey | Dead Soldiers
6/17 – Rumble ft. Chief Joseph Boudreaux Jr.
6/22 – AvevA
6/23 – Jimmi Kinard presents Muzaic
6/24 – Stax Music Academy
6/29 – Jenny & The Mexicats
6/30 – Buffalo Nichols
7/1 – Unapologetic Night

9/1 – Los Rakas w/ Special Guests
9/2 – Memphis PowerPop Presents
9/8 – Thee Sinseers
9/9 – Black Joe Lewis
9/15 – Pezz
9/16 – Al Kapone
9/22 – Jeremie Albino
9/23 – Memphis Country Blues Festival
9/29 – Spree Wilson
9/30 – Telmary
10/6 – Morgan James
10/15 – Shakespeare at The Shell

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Music Music Features

I Ain’t Studdin’ Ya: Bobby Rush, Scribe of the Blues

UPDATE: Bobby Rush to play Levitt Shell on July 2nd

The blues is all about perspective. Think of how many classic songs of the genre urge you to take a step back and reflect, either on what’s plaguing you or on your good fortune. “The blues ain’t nothing but a botheration of your mind,” Blues Hall of Famer and Grammy Award winner Bobby Rush sings in “What Is the Blues?” — and just by saying it, he’s inviting us to contemplate. “I think, therefore I’m blue,” he seems to say, and every witticism, wry observation, and double entendre in his catalogue seems to confirm it.

So it’s been clear to anyone paying attention that Rush was a doctor of philosophy long before he received an honorary doctorate from Rhodes College in May. Now, with the publication of his autobiography, I Ain’t Studdin’ Ya: My American Blues Story, written with historian and composer Herb Powell (Hachette Books), it’s clearer than ever that Rush is a thinking person’s bluesman.

The title itself suggests a kind of meta-awareness. If you ain’t studdin’ someone, you’re not “studying” their hogwash. You’re not letting anyone’s claptrap worry you. In high-falutin’ terms, you’re not letting them frame the situation with whatever catastrophe (or gossip) they’ve cooked up.

It’s worth spelling out in a literal way because, as you read Rush’s book, you have to connect the dots yourself. He shows meanings by example. “I started lying about my age when I was 12, becoming 15 overnight — and I ain’t never looked back,” he writes on page one. “If you can’t give me a pass on that, then I ain’t studdin’ ya.”

It’s playful, heady stuff, and it captures Rush’s manner of speaking. Co-writer Powell wisely steps back and lets Rush’s voice unfold in true storytelling mode. And nearly every word reveals his poet’s eye for detail, the eye of the songwriter who’s wryly observed human behavior for decades.

“The sugarcane stalks were just starting to turn yellow in late September,” the book begins. “I looked at the back of Daddy’s hands as he massaged the stalk. The contrast of his boot-black skin against the greenish-yellow leaf looked like the stark colors that I only saw on the shelves of the general store.” With such vivid language, Rush is especially eloquent on the subject of his parents, and it’s clear that his father, a preacher and “a true bookworm,” played a large role in Rush’s philosophical bent.

The philosophy includes many hard-won lessons on the deadly absurdities of race in America — “White Devils, Green Money,” as one chapter puts it. Rush doesn’t paper over the injustices of growing up in the South; nor does he let such prejudices define him. He clearly ain’t studdin’ ’em; rather, like his father, he carries an indomitable dignity that has helped him weather the good times and the bad.

Yet, the man who emerges from these pages is a man of great faith and hope. Yes, his faith is of the Baptist variety, deeply informed by his father, but it’s also a secular faith in the more progressive side of the American Dream, a faith that justice is worth pursuing.

As it happens, and with impeccable timing, his more secular faith as a citizen is about to get some extra play, just a week after his book’s release. As a capstone to his many years as a visiting scholar in the arts at Rhodes’ Mike Curb Institute for Music and on the eve of his July 2nd show in the Shell Yeah! Benefit Concert Series at the Levitt Shell (originally scheduled for July 1st), Rush is releasing the single “America the Beautiful,” by Bobby Rush and the Curb Collective, featuring Eddie Cotton. The funky redo of the patriotic classic is a collaboration between the artist and students from the Curb Institute at Rhodes College that “pays tribute to our musical roots and celebrates our collective sounds as a nation.” Watch for Rush and his students to perform it live at his Levitt Shell show.