The Hill Country Blues Continues: Cameron Kimbrough and Joyce Jones Live at The Dirty Crow Inn

I had seen that Cameron Kimbrough, the grandson of Hill Country blues legend Junior Kimbrough, would be playing at The Dirty Crow Inn on Saturday night, but I had a gig of my own on the University of Memphis campus, so our decision to go to Cam’s gig was something of a spur-of-the-moment thing after my gig was over. Little did we know that we were in for an amazing blues experience in the little funky dive bar in South Memphis.

Of course, Cameron Kimbrough has been getting attention for several years as a powerful new voice in the blues, and his mother, Joyce Jones, who is an excellent blues singer, has been working on her debut album. But I was surprised to see the venue so packed with blues fans, particularly as it is a venue that doesn’t usually book blues, and it is in a somewhat out-of-the-way location.Cam was performing on drums when we arrived, joined by some local guitarists including Moses Crouch, a really-young harmonica player from North Memphis, and his mother Joyce Jones. They were set up on the enclosed deck, and there was hardly a table available, the crowd a combination of blues fans and basketball fans in town for the sweet sixteen tournament at the Fed Ex Forum. Unlike a lot of blues shows, much of Cam’s set was jamming, with songs being improvised extemporaneously on the spot, Joyce Jones adding vocal riffs that occasionally became something like song titles, perhaps.

When Moses Crouch came back on stage for the second set, the style was a little more orthodox, with familiar Hill Country tunes like “See My Jumper Hanging Out On The Line” and “Coal Black Mattie”, which Cam played on the guitar. But he also followed the traditional blues song with an original called “I’m Still Standing”, which highlights Cam’s unique ability to craft new material that still belongs firmly to the Hill Country tradition. As midnight approached, the crowd began to dwindle, but the music remained as strong as ever, powerful, relentless. We left, feeling that something of real importance had just happened in a hole-in-the-wall in South Memphis. It just might be possible that Cameron Kimbrough is the future of the Hill Country blues. (You can buy Cam’s debut EP Head For The Hills here and can listen to Cam’s earlier recordings here).




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Memphis Soul Legend Don Bryant Performs With The Bo-Keys at Loflin Yard


Once in a while, a local music show gets announced which I just cannot miss, and the announcement of a Don Bryant show with soul revivalists The Bo-Keys was just such a show. Better yet, it was being held at Loflin Yard, one of my favorite Memphis venues.
Don Bryant is one of Memphis’ forgotten soul geniuses. Originally a member of Willie Mitchell’s group The Four Kings, he recorded a number of soul sides for Joe Coughi’s Hi label during the 1960’s, but ended up becoming better known as a staff writer for the label, with “I Can’t Stand The Rain”, recorded by Ann Peebles in 1973 becoming his biggest hit. Bryant married Peebles in 1974, and soon disappeared from popular music. There were rumors that both Bryant and Peebles had transitioned to gospel music, and a few gospel releases appeared under Bryant’s name. Peebles would occasionally return to blues and soul music, but Bryant did not, at least until embarking on the recording of a new album “Don’t Give Up On Love” for the Fat Possum label out of Oxford.
Friday night’s show at Loflin Yard was primarily a showcase of the new songs, backed by Scott Bomar’s Bo-Keys, the highlight of which was a funky gospel tune called “How Do I Get There?” which is the single from the forth-coming album. Despite the drizzly weather, the venue was fairly crowded, and Bryant, at 74 years of age, was still in great form and voice, a consummate performer. And thanks to the Bo-Keys ,featuring such Memphis legends as drummer Howard Grimes and keyboardist Archie Turner, the backing sound was authentic, with live horns and real instruments, and no modern anachronisms. It was a once-in-a-lifetime opportunity to hear authentic Memphis soul music as it was intended to be heard.

Fine Dining and Blues at Leland’s Vince’s Restaurant


R, L, Boyce’s second show of the night was an hour south of Clarksdale in Leland, Mississippi, a rough Delta town just outside of Greenville. Leland, with lots of projects and apartments, and a largely abandoned downtown, is not the sort of place one would expect to find fine dining, and yet, amidst all the decay and ruin is a jewel of a restaurant called Vince’s. Pulling up at night, you’ll notice it, because it’s the only building on Main Street where any cars are parked. It looks small and unassuming from the outside, but inside, it is white tablecloths and great steaks, seafood, and Italian dishes. But what makes Vince’s even more special is what happens next door in the bar area- a decidedly non-upscale style of music, Mississippi blues. At least one travel site says that Vince’s features music 5 nights a week. I’m not sure about that, but they have blues on weekends for sure, so you can enjoy your ribeye or spaghetti while listening to some of the best bluesmen from the Delta or the Hill Country. Prices are reasonable, and the service is first-rate as well. Vince’s is certainly worth a stop whenever you are in the Mississippi Delta.

Vince’s Restaurant
207 N Main St
Leland, MS 38756
(662) 686-2112
Closed Monday and Tuesday

R. L. Boyce Brings The Hill Country To New Orleans

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It was perhaps a strange night for Hill Country blues in New Orleans. It was raining heavily. Mardi Gras parades had led to road closures and gridlock across portions of the city. And the NBA All-Star events were going on at the New Orleans Arena. But at the Circle Bar on St. Charles, a small crowd braved the rain and parade aftermath to enjoy the music of Hill Country legend R. L. Boyce, playing with a backing group of local New Orleans musicians. The Circle Bar, located on Lee Circle in the Warehouse District, is a very small venue which books a rather eclectic music schedule on a regular basis, with events ranging from classic rap and hip-hop DJ parties to Mississippi bluesmen like Boyce or Duwayne Burnside, New Orleans classic bands like the Iguanas, or rock groups. It doesn’t sell food, and has almost no room or parking, yet its music policy is free-wheeling and worth checking out. Despite the gloom of the rain, the crowd was in a festive and cheerful mood, many of them decorated with Mardi Gras beads, and some of them dancing to the trance-like grooves that Boyce played on his guitar. R. L. was joined by his daughter Sherena, who danced and played the tambourine, and with a guitarist, bassist and drummer. The show, having started at 11 PM, didn’t end until 2 AM.

Breeze Cayolle and The Mighty Souls Brass Band at Lafayette’s

001 Lafayette's Music Room002 Lafayette's Music Room003 Breeze Cayolle & New Orleans004 Breeze Cayolle & New Orleans005 Breeze Cayolle & New Orleans006 Breeze Cayolle & New Orleans007 Breeze Cayolle008 Breeze Cayolle009 Tim Goodwin010 Tony Thomas011 Breeze Cayolle & New Orleans012 Breeze Cayolle & Tim Goodwin013 Breeze Cayolle014 Breeze Cayolle & New Orleans015 Breeze Cayolle016 Breeze Cayolle & New Orleans017 Breeze Cayolle018 Breeze Cayolle019 Breeze Cayolle & New Orleans020 Breeze Cayolle & New Orleans021 Breeze Cayolle & New Orleans022 Breeze Cayolle & Tim Goodwin023 Mighty Souls Brass Band024 Mighty Souls Brass Band025 Mighty Souls Brass Band026 Mighty Souls Brass Band027 Mighty Souls Brass Band028 Mighty Souls Brass Band029 Mighty Souls Brass Band030 Mighty Souls Brass Band031 Mighty Souls Brass Band032 Mighty Souls Brass Band033 Mighty Souls Brass Band034 Mighty Souls Brass Band035 Mighty Souls Brass Band036 Mighty Souls Brass Band037 Mighty Souls Brass Band038 Mighty Souls Brass Band039 Mighty Souls Brass Band040 Mighty Souls Brass Band
Lafayette’s Music Room is a reincarnation of one of Memphis’ best-beloved music venues of the 1970’s, but the latter-day version has something of a New Orleans tinge, both with the cuisine and often with the music as well. This past Wednesday, both featured bands presented different aspects of the musical traditions of the Crescent City. Multi-reedist Breeze Cayolle, a distant relative of jazz great Sidney Bechet, has a group called New Orleans, whose musicians are ironically some of Memphis’ best-known jazz musicians, including Tony Thomas on piano, Tim Goodwin on bass and Tom Lonardo on drums. They play traditional New Orleans jazz, occasionally venturing into the world of jazz standards as well, and have developed a following at the weekly brunch at Owen Brennan’s in East Memphis. Some of that same crowd was in evidence Wednesday night, sitting at the tables nearest the stage and even getting up periodically to dance. Cayolle is a first-rate saxophonist and clarinetist, and he sings with a husky tone that exudes the flavor of New Orleans.
The Mighty Souls Brass Band on the other hand is something rather different, although they share Tom Lonardo with Breeze Cayolle’s group. The Mighty Souls take their cue from the brass band revivalism that started with the Dirty Dozen and the Rebirth in New Orleans, with the main difference being the occasional covers of Memphis soul tunes, such as Rufus Thomas’ “Memphis Train” or Willie Mitchell’s “20-75.” Like some New Orleans brass bands these days (notably the Stooges), the Mighty Souls replace the separate snare and bass drummer with a set drummer, and add a guitar, at least indoors, but there is a tuba and plenty of horns, and if they lack the hardcore street edge of the younger, Blacker bands in New Orleans, they compensate with consummate musicianship and plenty of good spirits. Although Memphis does not have a modern brass band tradition by any means (W. C. Handy notwithstanding), the MSBB has developed a very loyal following, and have released a debut CD called Lift Up Your Mighty Souls on the University of Memphis-related Blue Barrel label.



Leo “Bud” Welch and Friends at Red’s in Clarksdale

1631 Leo Bud Welch1634 Leo Bud Welch1635 Leo Bud Welch1636 Leo Bud Welch1638 Red's Juke Joint1639 Leo Bud Welch1640 Leo Bud Welch1642 Leo Bud Welch & Sherena Boyce1643 Leo Bud Welch & Sherena Boyce1644 Red's Juke Joint
After the screening of the last film of this year’s Clarksdale Film Festival (which was appropriately enough a documentary about Leo “Bud” Welch), my girlfriend and I headed around the corner from the Delta Cinema to Levon’s to get a dinner at what has become Clarksdale’s greatest restaurant. But an after-party in honor of Leo was being held down at Red’s Juke Joint, the legendary spot near the corner of Sunflower Avenue and Dr. Martin Luther King, so as soon as we had finished dinner, we made our way there. Red’s is always the perfect ambiance for blues, and although the weather was cold outside, the inside was warm and cozy, perhaps due to the large and ever-growing crowd. Leo performed a couple of sets accompanied by his own musicians, and was then joined by Arkansas bluesman Lucious Spiller, who recently moved to Clarksdale from Little Rock. When we left near midnight, the party was still going strong.

Kicking Off A New Year with R. L. Boyce & Lucious Spiller at Red’s in Clarksdale

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On the first Saturday of the new year, a cold day indeed, my girlfriend and I headed down to Clarksdale to eat at Levon’s and enjoy some blues at Red’s Juke Joint. This was our first occasion trying Levon’s, and in my opinion, it is the fine dining restaurant that Clarksdale has been needing. R. L. Boyce was playing at Red’s, but when we arrived, some of his musicians had not shown up, and there wasn’t much of a crowd. But Arkansas bluesman Lucious Spiller has recently moved to Clarksdale from Little Rock, and he agreed to go get his guitar and amp to play with R. L., and soon there was at least a trio of two guitars and a drummer. On some tunes, R.L.’s daughter joined him on stage playing the tambourine and dancing, and toward the end of the evening, they were joined by a musician playing a bass made out of a plastic bucket, a mop handle and a string. By then the crowd had grown fairly large, despite the cold weather outside. It was a great way to start off 2017- with the blues.

R. L. Boyce & Lightnin Malcolm Live at Antone’s

1392 Austin106 R. L. Boyce & Stud107 Stud & Lightnin108 R. L. Boyce109 Sherena & Lightnin111 Sherena & Lightnin112 Sherena & Lightnin113 R. L & Sherena Boyce114 R. L. Boyce115 Sherena, Stud & Malcolm116 R. L., Sherena, Studd & MalcolmJPG117 Sherena & Lightnin118 R. L., Studd, Lightnin & Sherena119 R. L., Stud, Lightnin & Sherena120 Sherena & Lightnin121 Antone's122 Lightnin Malcolm123 Antone's124 Antone's126 R. L., Stud & Lightnin127 Lightnin & Sherena128 R. L. & Stud129 Antone's Schedule130 Antone's Marquis131 Stud & Lightnin132 Sherena & Lightnin133 Sherena & Lightnin134 Sherena Boyce & Lightnin Malcolm135 R. L. & Friend136 R. L. Boyce137 R. L. Boyce138 Sherena Boyce1410 Sherena in Austin
When a young Lebanese man from Port Arthur, Texas named Clifford Antone got kicked out (or perhaps dropped out, depending on who you ask) of the University of Texas after a marijuana arrest in 1970, it seemed like an end to a promising career. The Antone family were prominent businessmen in Houston, owning an import firm and a chain of sandwich shops that specialized in po-boys. Other young men might have fallen into a depression, or started on a downward spiral into harder drugs and ruin, but Clifford Antone decided to open a night club. Yet when Antone’s opened in 1975 on a then-moribund East Sixth Street in downtown Austin, it was hardly the kind of club that people would have expected success from, for it was a blues club, and the blues revival had fizzled out by the end of the 1960’s. Nor was Austin well-known for blues, despite a Texas blues legacy that was primarily centered around Houston. But all of the best names in blues from around the country played at Antone’s, and by the time of Clifford Antone’s death in 2006, his empire had added a record store and a record label as well. The record store belongs to other owners now, and the record label was sold to Warner Brothers after a bankruptcy, but the club, despite occasional closures and numerous relocations, remains the absolute best blues club in Texas, and probably one of the best blues clubs in the world. So it was quite an honor for Hill Country bluesman R. L. Boyce to be invited to play there, along with Marshall County bluesman Lightnin’ Malcolm, who has increased in popularity over the last several years. The club was packed to overflowing, despite the cold, rainy weather, and the crowd enjoyed every minute of the proceedings. The drum chair was held by the late T-Model Ford’s grandson Stud Ford, and R. L.’s daughter Sherena provided the juke joint dancing and played the tambourine. Seen in the crowd was noted music journalist Matt Sonzala. It was a great night indeed.

Live Jazz on Sundays at Midtown Crossing Grill

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Jazz is not an immensely popular music style in Memphis, so opportunities to hear authentic jazz in our city are few and far between, but some local jazz musicians are branching out and starting their own events. Recently, jazz saxophonist Kelvin Walters and drummer James Sexton have started holding jam sessions on Sunday evenings from 5-8 PM on the first three Sundays of each month at the Midtown Crossing Grill in the burgeoning Crosstown neighborhood one block over from the venerable Hi-Tone Cafe. The building where the grill is located has been all kinds of things, once having been home to Bobby Q’s barbecue restaurant and later Foxcee’s Sports Bar. As a jazz venue, it has the necessary intimacy, and despite its small stage area, it functions fairly well. Walters is at a young age already a decent saxophonist, and James Sexton is one of the city’s best drummers, and the jam session format gives young musicians from Memphis an opportunity to hone their skills in a performance setting in front of an actual crowd. As for the food offerings, the Midtown Crossing Grill has artisan pizzas, and they are pretty decent and reasonably priced. The jam session is not held on the fourth Sunday so as to not conflict with the monthly Sax on Sundays event at Neil’s out in East Memphis, which is another opportunity to hear jazz in Memphis. Take advantage of these events and enjoy.

Midtown Crossing Grill
394 N Watkins
Memphis, TN 38104
(901) 443-0502
http://www.midtowncrossingmemphis.com

Jazz is held on the first three Sundays of each month from 5-8 PM.

A Death In The Delta: Tallulah’s Tragic Decline

053 Madison Alternative School054 Madison Middle School055 Madison Middle School056 Reuben McCall High School057 Reuben McCall High School058 Reuben McCall High School059 Reuben McCall High School060 Reuben McCall High School061 Reuben McCall High School062 Reuben McCall High School063 Forgotten Champs-Abandoned McCall Stadium064 Abandoned McCall Stadium065 Abandoned McCall Stadium066 Abandoned McCall Stadium067 Abandoned McCall Stadium068 Abandoned McCall Stadium069 Abandoned McCall Stadium070 Nobody in the Stands071 Returning to Nature072 No Score073 Vanishing Stands074 Twisted Goals075 The Pressbox076 Abandoned McCall Stadium077 West Green Street, Tallulah078 Honeybun's Funhouse Teen Center079 Honeybun's Funhouse Teen Center080 Sportsman's Club and Restaurant081 Hotel Watson082 Hotel Watson083 Hotel Watson084 Hotel Watson085 Wilmore's Lounge & Game Room086 The Hole in the Wall, Tallulah087 The Hole in the Wall, Tallulah088 Downtown Tallulah089 Downtown Tallulah090 Downtown Tallulah091 Snyder Street, Tallulah092 Downtown Tallulah093 Downtown Tallulah094 Downtown Tallulah095 Only Facades Remain096 Downtown Tallulah097 Downtown Tallulah098 Snyder Street Looking West099 Downtown Tallulah100 Downtown Tallulah101 Madison Parish Courthouse101 Madison Parish Courthouse103 The Tallulah Club104 Madison Parish Courthouse
In my childhood, Interstate 20 east ended at Waverly, Louisiana, which I remember as a railroad crossing with a store (where we would stop for refreshments) and a post office. From there we would have to take old Highway 80 into the town of Tallulah, Louisiana, as we journeyed toward my mother’s parents house in Gulfport, Mississippi, or sometimes to our family reunion in Jackson. I always liked Tallulah. It probably would have been around 1973, and I was six years old. Jean Knight’s “Mr. Big Stuff” would have been on the radio, or maybe Bread’s “Make It With You”, and I recall the brightly-lit multicolored Christmas trees in the bayou that bisected the little town. Everything seemed quiet and peaceful. Little did I know of another side to Tallulah, more wild and exuberant on the west side of the tracks. There along West Green Street, blues came from jukeboxes or on the bandstands at the Sportsman’s Club, the Fun House, the Green Lantern. Musicians were grabbing dinner at the Hotel Watson before heading to the gig. A few blocks to the north of Highway 80, perhaps the thunderous funk of drum cadences rocked Reuben McCall stadium, or the melodious sound of trumpets and trombones, as the neighborhood turned out for a football game. At the massive Chicago Mill and Lumber Company, a whistle sounded to mark the hustle and bustle of shift change. The West End of Tallulah was a world that six-year-old me knew nothing about.
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The first thing that I saw approaching Tallulah from the west along Highway 80 was the large, barb-wire-enclosed hulk of a prison looming to the right of the road. The Chicago Mill and Lumber Company had closed for good in 1983, but it had been laying off employees since the 1970’s. By 1994, with the town of Tallulah really desperate, town and state leaders announced the opening of a private juvenile prison which would provide badly needed jobs. But the Tallulah Correctional Center for Youth proved to be a disaster. Many of the jobs paid only $6 an hour. Two massive inmate riots occurred within the first two months the facility was open. And disturbing allegations of beatings, rapes and solitary confinement started to filter out from the institution. The state took control of the facility in 1999, but things improved little. The youth facility was closed in 2004, and then, against the wishes of Tallulah residents, it was converted into a prison for adults. It sits directly on the site of the lumber mill that was for so many years Tallulah’s largest employer.
In the neighborhood to the north of Highway 80 are many small, mostly well-kept homes, but interspersed with them are boarded-up school buildings. One of them, the Madison Alternative School is the former Madison Middle School, which before that was Reuben McCall Junior High School. It was abandoned when Madison Middle School was built next to the new Madison Parish High School far to the south along I-20. Further up, on Wyche Street (named for the first Black police chief of Tallulah, Zelma Wyche) are the sprawling ruins of Reuben McCall High School, which was the Black high school in Tallulah prior to integration. But integration never really happened in Tallulah. Although the town had barely 10,000 people, the decision was made to keep both Tallulah High School (the former white high school) and McCall High School open, with students having the right to choose either. Of course no white children chose to go to McCall, and only a handful of Blacks chose to go to Tallulah High at first. But any integration was too much for a number of whites in Tallulah, and the majority of white students soon left the public schools for Tallulah Academy. Eventually both public high schools were majority-Black. By 2005, the Madison Parish School Board could no longer keep them both open. For one thing, both campuses needed replacing, and for another, enrollment was continuing to decline. They had already closed all-Black Thomastown High School in 2001, merging it with McCall, and decided in 2005 to close Tallulah High School and merge it with McCall to form a new school called Madison Parish High School. For one year the new school used the buildings and ground of McCall High School before moving to a new facility built along I-20 south of town. The McCall campus was abandoned, vandalized and ultimately boarded up.
Abandoned schools are not unusual in Louisiana sadly, but abandoned football stadiums are much rarer. That being said, the abandoned stadium across the street from Reuben McCall High School is a sad and haunting place indeed, with the grass and brambles growing up through the bleachers. Walking past the brick wall where McCall championships were commemorated in paint just made the whole thing that much sadder. The old scoreboard still sits at the end of one endzone, while a strangely twisted goalpost marks the other. The pressbox is open and at the mercy of the weather, and one can only imagine what the place must have been like in its heyday, with the drums booming, horns blowing and the crack of helmets hitting on the field below. Neighborhood kids could have walked to the games back then. Now the whole place lies silent and forgotten.
Highway 80 on the West End of Tallulah is known as West Green Street, and the latter was once an entertainment destination, but little remains today. The Fun House and Sportsman’s Lounge are both abandoned and long-closed, victims of a great migration of Tallulah’s Black community that has been going on since the 1950’s, seeing vast numbers leave Louisiana for the West Coast. Nearly 2,000 moved out just in the years between 2000 and 2010. Down the street closer to downtown, the Hotel Watson remains intact and in good shape, although no longer open for business as a hotel. Built in 1957, the hotel was Black-owned, a reliable place for good food or a comfortable room, and well-known entertainers often stayed there when performing or traveling in the area. Today it seems to function more as an apartment building. In other parts of the West End, a few juke joints and bars still remain. Wilmore’s Lounge and Game Room draws a crowd on weekends, and the Hole In The Wall might just be the smallest night club in the world. One wonders if it was the club Mel Waiters wrote the song about, or if the Tallulah club was named for the song.
Downtown Tallulah hasn’t fared much better than the West End. The city was once home to America’s first enclosed shopping mall, Bloom’s Arcade, but shopping and retail fled the town during the 1970’s and 1980’s. Today nearly every storefront on Snyder Street is vacant. A few have only empty facades, with the rest of the building crumbled behind the front wall. Even the venerable Tallulah Club is empty and for sale across from the Madison Parish Courthouse. One thing that hasn’t changed from my youth: the metal Christmas trees decorated with lights are still sticking up out of Brushy Bayou as if it were 1973 all over again.
Looking at so many ruins and so much abandonment left me frankly depressed. The only relief I found was in the colorfully-dressed, boisterous groups of young people that wandered most streets or rode on bikes through the otherwise drab neighborhoods. Their exuberant voices carried on the warm, Sunday afternoon breezes as they headed to parks and basketball courts. Tallulah’s greatest resource at this point might be its youth- the community turns out excellent athletes and musicians. Not only does Madison High School have one of the region’s best marching bands, the Soul Rockers of the South, but Tallulah has a number of talented rappers, rap groups and singers. But, unfortunately, the young people from Tallulah are generally already planning to leave- the Delta town with such a storied past has little future, at least not for them.