If Memphis rap were a nation, Al Kapone would be the unanimous choice for an ambassador’s position. One of the earliest Memphis rappers, he has in more recent years become a Memphis icon, popular with constituencies that don’t necessarily get enthused by rap music on a daily basis.
For the same reason, Kapone fits neatly onto the kind of Midtown shows where other rap artists might be awkward. For example, this pre-holiday lineup at the amazing Railgarten venue was kicked off by the nostalgic Memphis soul band The City Champs featuring Joe Restivo, whose fan base probably doesn’t listen to a lot of rap. But everyone knows Al Kapone. Anyone who has ever been to a Grizzlies game or watched the movie Hustle and Flow knows him.
By the time the band launched into their third song, there were at least a hundred people in the club, with more arriving all the time. After they finished their nearly hour-long set, they were followed by up-and-coming Memphis rapper Tune C. performing his song “Naturally” and R & B singer Kameron Whalum performing his new single. After Uriah Mitchell performed a couple of songs, Al Kapone came on stage, performing a number of his more recent hits with a live band. On occasions, he introduced local rappers onto the stage to perform specific songs, including Muck Sticky and Lil Wyte, who also recently released a new album.
Despite the dismal weather outside, the standing room only crowd was full of holiday cheer, and a good time was had by all.
Clayborn Temple is one of Memphis’ most historic locations. Built in the late 19th century as Second Presbyterian Church, it became known as Clayborn Temple African Methodist Episcopal Church after the Presbyterian ccongregation moved far to the east of Midtown. The building became an important focal point of the Civil Rights Movement in Memphis, particularly the Sanitation Workers Strike of 1968 which resulted in the death of Dr. Martin Luther King Jr. Unfortunately, at some point, the Clayborn Temple congregation died, and the building fell into disrepair. At one point, the City of Memphis put fencing around it to protect against falling bricks, and it seemed likely that the building would have to be demolished. Fortunately, against all odds, Clayborn Temple was resurrected in 2017 as a performing arts venue, and on November 3, 2018, Blue Tom Records, the student-run record label of the University of Memphis, sponsored its annual This Is Memphis concert in the historic structure.
Unfortunately, I learned upon entering Clayborn Temple, that the building’s success story may be somewhat premature. There is still significant roof damage and a considerable amount of work remains to be done. However, it is good to see that a plan for renovation is in place, and funding is being raised. Because This Is Memphis is a celebration of the young musical talent of one of America’s most musical cities, the building was an inspired choice of location for the concert, and indeed, a very impressive soul-jazz band called Back Pockets was soundchecking on stage when I entered.
The Back Pockets proved to be the first band on stage of the evening, and is a large collective with a sizable brass section and a female vocalist. They filled the large room with sound, and were fairly impressive, alternating between neo-soul vocal tunes, and jazz instrumentals. Unfortunately, the videos I took of them proved to be out-of-focus and unusable. Hopefully I will catch them performing elsewhere.
After a performance from a local singer/songwriter named Sienna, a new band called Estes came on stage. Estes is the latest project of Andrew Isbell, formerly of The Band CAMINO, and it proved to be a melodic, tuneful band reminiscent of The Southern Sea or The Autumn Defense. The songs were well-written and immediately attractive, at once sunny but with a hint of nostalgia.
Estes was followed by a very soulful singer-songwriter named Phillip Bond who is a senior at the University of Memphis. Unlike a lot of neo-soul artists today, Bond’s original compositions are lyrically daring and more poetic than pop. On this particular night, he performed the first song he ever wrote, “Fool For You” and became somewhat emotional about it, as the song undoubtedly has significant meaning for him. He was also backed by a first-rate band of young musicians.
Memphis has produced a number of great singer-songwriters in recent years including Amy Lavere and Valerie June, and Bailey Bigger can hold her own with the best of them. A talented singer with a beautiful voice, Bigger is also a consummate songwriter, as evidenced by her original compositions, including “Green Eyes” with which she launched her This Is Memphis performance. With only her guitar, and occasionally one other musician, she managed to captivate the audience in the large venue. Bailey’s album Closer to Home is currently out on iTunes, and she is now signed to Blue Tom Records, working on an upcoming release.
Another singer/songwriter/activist Jordan Dodson, known as JD, seeks to use her music to promote empowerment for women and African-Americans. Her performance at This Is Memphis included her brief put powerful song “Don’t Shoot,” a reference to the numerous police shootings of young Black men in America.
This year’s concert was closed out by Dylan Amore, the only rapper currently signed to Blue Tom Records, and one with a growing following in Memphis, Tennessee. He is hard at work on his EP for the label, and also has several previous releases and mixtapes.
Altogether, it was a fitting tribute to young and upcoming Memphis artists in a beautiful setting, as well as an opportunity for University of Memphis students to learn the business of concert promotion and operation….in short, a win-win for performers, attendees and students alike.
Although Saturday, August 25, 2018 was even hotter than the day before, the crowd that gathered in the late afternoon in Coldwater for the second day of the 68th Annual GOAT Picnic was even larger than the one from the day before. The surprise of the early evening was an R & B singer from Coldwater named Felita Jacole, who had a band of talented musicians backing her up, and who, to my surprise, did some original material, including a song called “Weekend.”
She was followed by the legendary R. L. Boyce, the last of the original Hill Country bluesmen, who performed with Kesha Burton from Brownsville, Tennessee on drums, and his daughter Sherena Boyce on tambourine and dancing.
Later in the evening came exciting sets by Nashville-based Blue Mother Tupelo, and Mississippi bluesman Mark “Muleman” Massey, but as it was the previous night, the most excitement in my opinion was the raw and exuberant processions of Sharde Thomas and her Rising Stars Fife and Drum Band between the performances on stage. After dark, the interplay between djembe, bass drum and dancers became truly uninhibited, and the crowd gathered around to watch.
Confronted with the challenges caused by moving to a new town and venue, the 68th Annual GOAT Picnic managed to rise to the occasion. The weather was perfect both days, with the grounds after dark illuminated by a beautiful full moon overhead, and a crowd of several hundred people in front of the stage.
Blues veteran Hezekiah Early is associated with Natchez, Mississippi, and with the towns on the other side of the river, like St. Joseph and Ferriday, Louisiana. Folklorist David Evans was involved with a couple of albums made by Early’s band Hezekiah and the Houserockers, but his earliest roots were in Black fife and drum music, a genre that we usually associate with parts of Mississippi further to the north. Nevertheless, the influence of the fife and drum style can be clearly heard in much of Hezekiah’s drumset work. Since the 1990’s, Early has been working in duos with musicians such as Elmo Williams and Fayette, Mississippi-based Robert “Poochie” Watson, with whom he cut the Broke-and-Hungry Records release Natchez Burning. This latter duo was the one that appeared this year at the Juke Joint Festival, performing at a new venue called Our Grandma’s Sports Bar, which was a small but cozy venue that set a most appropriate atmosphere for the music. Early and Watson’s style is a soulful, rhythm & blues-influenced one that owes much to New Orleans and other parts of Louisiana. Although the venue was not particularly crowded when they began playing, it soon filled up to capacity. Their performance was one of the highlights of this year’s festival.
The nightlife space at 4202 Hacks Cross Road in the Southwind area of Memphis has been through many incarnations, from its opening as The Daq in 2010, to the Ice Bar, to its current iteration as a location for Mr. P’s Hot Wings, but the one consistent thing is that it has been a spot for some of the greatest nights of Memphis music that I can recall. So when I had seen on Facebook that my old friend Larry Springfield was scheduled to perform at Mr. P’s on Friday night, I made plans to attend.
However, to my surprise, for some reason, Larry Springfield did not perform, and another band played instead, The Lyric Band, featuring the singer Bird Williams, a band I recalled faintly from a show I had attended several years ago in Olive Branch. A check of the internet showed that Bird Williams has been performing quite a bit in Memphis recently, particularly out in the Hickory Hill/Southwind area of town, and it was easy to see why, as he is a gifted singer and performer, backed by a first-rate band. Unfortunately, in a bit of a design flaw, the entrance to the kitchen passed directly in front of the stage, which means that one’s view of the stage is constantly interrupted by the coming and going of servers with plates of food. That was always an issue, even when it was The Daq or the Ice Bar. But the place was packed from wall to wall, everyone was enjoying themselves and having a good time, and there was absolutely no drama of any kind. As Mr. P’s continues to book live bands and singers, I will certainly be back.
Mr. P’s Hot Wings Plus
4202 Hacks Cross Rd, # 121
Memphis, TN 38125
Each October, the City of Como, Mississippi sponsors a large, daylong festival and picnic called Como Day, featuring vendors, food trucks, custom cars and excellent live music. Como Day is one of a number of “town days” that are held in predominantly-Black Mississippi towns. These are held throughout the year, generally bear the name of the town, feature live music, and often become an excuse for those who moved away to return home for a day or a weekend. Although most small towns have some sort of festival, these town days are unique, functioning almost like a homecoming for these communities, many of which no longer have high schools due to consolidations, and which have lost many residents to bigger cities. Como’s massive day is one of the largest, and also serves as something of an annual end to the blues festival season, as the last big blues event of the year. Uniquely situated at the place where the Hill Country meets the Delta, Como has a long blues tradition, and its local gospel, blues, soul and funk are highlighted at Como Day each year.
This year’s Como Day featured a crowd of well over a thousand people, coming out to enjoy barbecue, live gospel music, Sharde Thomas and the Rising Star Fife and Drum Band, the Duwayne Burnside Band featuring Garry Burnside and J. J. Wilburn, Deandre Walker and his band, and the headliner Terry Wright from Memphis, whose single “I Done Lost My Good Thing” has been popular in the Mid-South for more than a year. I was particularly impressed by Deandre Walker, a former gospel singer, who delivered a very soulful reading of a country song “Tennessee Whiskey”, which he then blended seamlessly into Etta James’ timeless “I Would Rather Go Blind.” Such epiphanies are the rule rather than the exception at Como Days, as are the elderly townspeople who suddenly feel young enough again to get low to the ground as the bands or the drummers are playing. Perhaps the whole day was best summed up by the slogan on the back of many of the T-shirts: “Together We Stand.”
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.
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.
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.
Como, Mississippi is an historic town in far north Panola County, Mississippi on the edge of the Hill Country. Because it sits near the border between the Delta and the hills, Como has some of the ambiance of both regions, and has long been a center of blues and Black fife-and-drum music. Legendary bluesman R. L. Boyce calls it home, and his mentor, Mississippi Fred McDowell chose it after he moved to Mississippi from West Tennessee. What was once a faded, dying town when I first saw it as a boy has had some renewal since the opening of Como Steak House some years ago, and now each year, the history and traditions of this unique Mississippi town are celebrated in October at an event called Como Day. This year’s event featured plenty of good food and vendors, classic cars and motorcycles, and several different genres of music, including performances by the Southern Soul Band, Sharde Thomas and the Rising Star Fife and Drum Band and southern soul artist J-Wonn. Perhaps the highlight of the evening was the screening of Shake “Em On Down, a documentary about Mississippi Fred McDowell, arguably Como’s most famous resident. Through music clips and interviews, the story of this most important Mississippi bluesman was vividly and skillfully portrayed. Altogether, hundreds of people enjoyed a full day of fun in Como.
In 1958, record store owner Joe Coughi of Poplar Tunes in Memphis decided to start a record label, and he named it Hi Records, with the name taken from the last two letters of his name. Purchasing the Royal Theater on South Lauderdale, he converted it into a recording studio (Jim Stewart would do the same thing a year later with the nearby Capitol Theater on McLemore Avenue in forming Stax Records), and began recording country and rockabilly records. When Ruben Cherry and Celia Hodge’s Home of the Blues family of labels collapsed in 1962, producer Willie Mitchell was briefly without a musical home, but he soon ended up producing for Coughi at the Royal Studios, which he eventually purchased. Hi Records soon moved from recording rockabilly and country to recording blues, soul and gospel, particularly the work of such greats as Al Green, O.V. Wright, Don Bryant, Ann Peebles, Otis Clay and Syl Johnson. The Hi label was eventually sold to Al Bennett in California, but the Royal Studios continued under Willie Mitchell. As Stax collapsed and the Memphis recording industry with it, Royal continued on, and today, under Willie Mitchell’s son Boo, has become a world-famous institution. So it was only fitting that Royal Sound Studios should celebrate with a block party for the surrounding South Memphis neighborhood on the street now called Willie Mitchell Boulevard, and all the more so as Boo Mitchell announces to the world the launch of Royal Records, a label based out of the venerable Memphis studios. The first act for the fledgling label is a rap duo called Lil Riah and Key Money, both of whom are members of the Mitchell family, and who were the featured performers at the block party. But attendees also enjoyed performances by Memphis veterans Al Kapone and Frayser Boy as well as the Royal Studio Band, and there was plenty of good food from local food trucks, including hand-crafted ice cream pops from the good folks at Mempops. Even Memphis Mayor Jim Strickland came to pay his respects.