A PREVIEW OF OUR UPCOMING SERIES AT THE MEMPHIS LISTENING LAB JUGHEAD FOREVER
REMEMBERING THE LIFE & LEGACY OF JARED MCSTAY
HIGH/LOW RECORDING
AN INTIMATE LOOK INTO ONE OF MEMPHIS’ MOST INNOVATIVE STUDIOS
JARED MCSTAY 1966-2023
Some shoes are simply too big to fill, which certainly feels like the case with our longtime leader and friend Jared McStay. At the end of the day, all that we can hope to do is carry on his immense legacy in a way that we think would make him proud. Ultimately, that’s what this magazine strives to be-a continuation of Jared’s fierce and tireless advocacy of Memphis music and the many people who help to create and support it. From the cult favorite Kreature Comforts to countless pieces written by our staff over the years (including several by Jared himself), Shangri-La has always strived to be an active and positive voice in the Memphis music community. In the wake of a truly devastating loss, we are recommiting ourselves to that endeavor. We hope that you enjoy...
JUGHEAD FOREVER
Former staff share their memories on the incomparable
Jared McStay
Andria Lisle (Writer, Curator at large, Shangri-La staff 1993-1998)
with Jared McStay spans over three decades, the early days of Shangri-la Records when we red as holiday help. Jared had come home to ind himself after a few years of college in the d I was developing my acumen as a purveyor sed records. Since that first dreary December friendship evolved from being “buds,” to me an of his band, the Simpletones. I co-founded , Sugar Ditch, to release their first vinyl record. ere on an unofficial bowling team, I attended ractices, and I stood up for him at his first
emphis friendships, it was easy to take each nted, and our gravitational pull contracted and the years wore on. Yet whenever we crossed tter how much time had passed, Jared made a close friend. Sometimes weeks or months yet reading his social media posts, running her at shows, and tuning into his ridiculous program with his wife, Lori Gienapp McStay, a e who holds her own with the best of them, nnection alive. Jared had become a pivotal Memphis music scene, taking over Shangri-la countless bands while, on the other hand, ll loved record stores, music, and my musicds, overly close proximity to the local music mes felt like a stranglehold. (Continued...)
WhenJaredstrappedonaguitar,hesynthesizedaferventblendofhyperintelligentand unconventionallystructuredpunkandpowerpopshroudedinheavyfuzzthatwaspart Pixies,partPavement,andonehundredpercentMcStay.JaredwasapracticingCatholic, buthetappedintoatechniquethatIidentifywithBlackPentecostalchurchmusicians, whounderstandthedynamicinterplaybetweensilentpausesandthefull-onperformance. Hissong“Pen”strategicallyincorporatestwoofthesepauses,amplifyingtheemotionsof boredomandresilience.Whenhesang-shouted“WhenIpickupapen,Istarttofeelthe samewayagain,”onthatfirstSugarDitch7”,itwasasifhechanneledallthestiflingennuiI knewtoowellwithaninstinctforsurvivalthatIwasdesperatetograsponto.Despite spendingthousandsofhoursdissectinganddiscussingmusic,especiallyinourmid20s,I havenoideawhetherJaredfeltthwartedbyhislackofmakingitbigoutsideofMemphisor buoyedbyhisroleintheMidtownmusiccommunity.Outwardly,hewasakind-hearted, flannel-shirted,pun-lovingfriend.Hefoundhumoreverywhere,andcelebratedjoyinallof thesmallstuff:friendlybowlingtournaments,Grizzlieswins,andmade-upmusicfestivals thatheheldintheShangri-laparkinglot.Ifhewasn’tonstagemakingmusic,hewas soakingitupintheaudience.Overthelast30years,boredomwasneveranoption.
InarecentNewYorkTimesarticle,thebrilliantwriterHanifAbdurraqib notedthat,“Lifeisamarathonoflosses,lo return.”Jared’scancerdiagnosiswasbruta valiantyetalltoobrief.Hisabsenceleaves thelandscape.I’vealreadylosttoomanyfr age,butsayinggoodbyetooneofthegood verybestguysisafinalityI’mnotreadyto friendshipwithJaredliveson.Textconvers wereeventuallyreducedtoaone-sidedstr Yorkercartoonsinlieuofactualwords,rem phone.ItuneintoLorionWYXR,ortalktoJ atShangri-latofeelJared’scontinuedpres WhenIdomakeitouttoashow,Ifindmys scanningthecrowdforthatfamiliarlankyf inaflannelshirt.It’sneverJar,ofcourse,b spiritlingersamongus.
Eric Friedl
(Goner Records, Shangri-La staff 1990-1994)
Always had a smile with Jared, always. We were friends. So glad Shangri-la grew to fulfill his dreams for it- a magnet for Memphians into records and music and supporting the Memphis music scene in our little way. Although we take the kind of bands that play Jugfest for granted too much of the time, folks from out of town know this is the true heart of Memphis - community. Jared was right there in the middle of it- he kept music flowing out of the parking lot in front of 1916 Madison Avenue and bands would play, whether it was perfect weather or perfectly awful. They did it for Jared. We sure do miss him. So glad the store and the music lives on. We will never forget him.
Sherman Wilmott (Shangri-La Projects, Shangri-La founder and owner, 1989-2000)
I was the new kid at Public Diaper Service in 3rd grade. Jughead was the new kid there in 4th grade. Maybe that's why we got along so well? But it also could have been that we both were scrawny, little runts (narrator: check the tape!!) that hilariously talked trash above our playing weight. Through the years--1st guitar lessons, band practices, lunch at MickeyD's every day senior year (2 hamburgers, mustard only, for the Jughead), visiting his trashed "frat room" at BC, putting out his band's records, working at the rekkid store & watching him run it for more years than anyone through Napster, the demise of "record stores," recessions, & pandemics, and then coming out stronger on the other sides of it all--we hung out for almost 50 years--usually something around music. We loved to argue to no end about anything--esp. who was more rockin': Sebadoh, Dinosaur Jr., Pavement, Buffalo Tom, the Shins, or My Bloody Valentine, or how bad the Tigers/Grizz were doing & how soon the coach would get fired. While we didn't always agree on our biz methods, he stood tall (!) & kept the store going longer than anyone could have imagined--esp. me. Life gave him the nut low hand at the end & cut him out too young & too soon. Long live the Jughead!
Tripp Lamkins
(Grifters, Fraysia, Villains)
I consider Shangrila Records to be a worldwide institution and I’ve always been proud to be a part of the family over the years. Obviously Sherman put out several Grifters records and some of those outings have withstood the test of time as far as I’m concerned. The Grifters recorded almost all of the Eureka EP in the back room where the floatation tanks used to be. Sherman and Eric got it up and running and put it on the map. But when Jared took it over is when it all came together as far as I’m concerned. One great thing for me is Jared was living there for a while and we got to have band practice there when we got a cover band called the Villains together. We would hang out in the front store after hours and listen to records all night.
When Jared took over I had a very good feeling about it. And I was right too. The store thrived under his rule and it usually gets named as one of the best record stores in the country if not the world. Part of that is the legacy of the store from the Nineties but if you ask me, a bigger part is Jared’s winning personality.
His reign will be remembered as a guide to how it’s done. Period. In my mind he made the place into something truly communal. And his infectious energy was absolutely the key to Shangrila’s never ending endurance. Jughead forever.
Scott Bomar
(Electrophonic Recordings, Shangri-La staff 1995-2000)
This is a difficult one for me to write. I do not recall being so affected by a loss as I have been by Jared McStay. I think every time I ever saw him, I was greeted with “hey bud” and his impish smile. He was the cool older brother or uncle you always wish you had. I think it is his massively fun loving attitude and zest for life that makes the idea of him being gone so hard. Everything was always fun with Jared.
In my formative years we played on quite a few co-bills with our bands, seemed to be at a lot of the same parties together and I sold a lot of his records to customers when I worked at Shangri-La Records. Some sold themselves because we played them in the store a lot, others to folks who were looking for recommendations.
My tenure working at Shangri-La overlapped for a moment with him buying the store. Unfortunately, as I was on my way out, he was on his way in. The past couple of decades I did not spend as much time with him as I wish I had but the times I was with him were always memorable and always left me thinking “I need to hang out with him and Lori more.” I specifically have great memories seeing their yacht rock band, Relentless Breeze perform and watching Grizzlies games on the big screen in their back yard.
Andrew McCalla (Producer, Shangri-La staff 2001-2012)
"I remember working at the store on days where one of Jared's many bands had a show later that evening. He would always come in when we opened, but you knew he wouldn't be there long. If his band was playing at 11:30pm that night, he would leave the store by 2pm to "go get ready." That's how excited he was about music. He acted like every show was his first. I don't know what he did for the next 9 and a half hours to prepare but, you could always guarantee he would be leaving work early on show days. It was pretty cute."
JugFest 2024
Throwing a great single day music festival at the Shangri-La Stadium (our front parking lot) is a tradition dating back decades. Ever since 1916 Madison Avenue began hosting acts over three decades ago, great live music has always been a staple, as has the huge sale on a ton of LPs, 45s, CDs, and more. While all of that continued this spring, we shifted the focus to specifically celebrate our friend and the heartbeat of Shangri-La Records, Jared McStay.
Retitled JUGFEST!, this year’s spring day party featured a wide array of bands, old and new. First up was a Memphismembers only version of a brand new act The Hypos, lead by Greg Cartwright (The Oblivians, The Reigning Sound) and Krista Wroten (Dead Soldiers, Memphis Dawls), with special guests John Whittemore on pedal steel (Salo Pallini, Neighborhood Texture Jam), and Haley Ivey on flute (Little Baby Tendencies). They were followed by Salo Pallini, making their Shangri-La performance debut. Followers of our newsletter will recognize this group, but for the uninitiated, the band came together around creating a progressive latin space country soundtrack for a Kurt Vonnegut novel (yeah, you read that right!). Check out their recent Tiny Desk Concert submission for more into the band and their dynamic live set.
The middle point in the day’s festivities welcomed a new favorite, stacked with friends and former bandmates of Jared’s - Coco and the Hitmen. The crowd seemed to include a number of newly indoctrinated fans into the cult of Coco Moody and her backing band of more recent Jared band pals - Seth Moody, Graham Winchester, and Andrew Geraci.
Next up, Cloudland Canyon shifted the tone of the party towards the heavens with a set of spacey, kraut driven material. The band is currently scoring an ambient soundtrack for an Adult Swim project, and it was obvious why, when a new young fan commented, “it sounds like a really cool video game!”
Finally, a reconstituted Fraysia lineup (including new member Lori McStay!! and special guest Greg Cartwright) brought the house down. With a set stacked with Simpletones favorites, the band rolled back the years and had the crowd cheering wildly by the time they closed out with McStay’s brilliant “Pen ”
It’s hard to put into words how much it meant to see so many of Jared’s family, friends, bandmates, colleagues, and “buds” from all walks of life back at the shop for Jugfest! To be fair, most haven’t been far from the store, and though we miss Jared every single day up here, we realize that his legacy will continue on through not only the store and all the music he left behind for us, but largely in the people he brought together. As Jim Dickinson famously said, “I’m just dead, I’m not gone.”
#Jughead Forever
- John Miller Watch Fraysia’s live performance & more from Jugfest here
High/Low An
Recordings
How one Memphis studio is quietly changing the game
Photos by Bob Bayne
“The Start of Something Bigger”
From Sun and Royal to Stax and Easley McCain, Memphians have a long and distinguished tradition of quietly breathing new life into old movie theaters, car garages, and corner stores, transforming them into world-renown centers of musical expression. After a long and winding journey, High/Low Recording’s Pete Matthews and Toby Vest have settled into a similarly nondescript building on Lamar Ave that seems well-positioned to join this vaunted lineage As is expected in any Memphis recording studio worth its salt, High/Low boasts a carefully balanced blend of state-of-the-art equipment and comforting retro vibes, a fitting representation of the two men behind the studio and their collective creative philosophy.
As Vest is quick to remind us, though, “buildings and gear don’t make records, people make records. It’s about what you do with the tools that you have. That’s the real Memphis ethos. ‘How can we fuck it up!?’”
Before we fully delve into the High/Low of today, though, it’s instructive to take a quick look back on the series of events that ultimately led here “I first started working at a small jingle recording studio in high school,” says Matthews, an industry vet with over 30 years of experience “The owner of the place who wrote all of the jingles really liked writing them, but he didn’t like recording bands. Of course I’m like 16 at the time, so I told him ‘give me the keys and I’ll record them at night.’ It was a good side hustle for a kid, and obviously the start of something bigger.”
Lessons from the Greats
“My recording journey started with a computer program that my parents bought for my brother Jake,” says Vest. “It was just a primitive PC recorder, but we started recording a ton of our own music there. That eventually evolved into me recording stuff from my bands and demos for friends, which just kept on snowballing.”
At formative moments in each of their burgeoning careers, both Matthews and Vest were mentored by several fabled Memphis producers and engineers whose sage advice still inspires. In fact, three of those men–Jim Dickinson, John Fry, and John Hampton–overlook all of the studio’s proceedings from framed photos placed strategically throughout the control room
“I got to work with Jim [Dickinson] before he passed away, and I probably wouldn’t be doing this anymore if it hadn’t been for my experience with him and the things that he said to me,” explains Vest. “He pushed me forward at a moment when I could have easily done something different, like getting a real job where I make money [laughs]. I also had a great experience with John Hampton at Ardent, who also convinced me that I was on the right path. They both made me feel like I belonged in the room.”
“Jim had a big influence on me formatively as well,” echoes Matthews. “I was very lucky to get to do a bunch of records with him over the years, and he was one of those guys that could walk into the room and produce the air. You couldn’t tell what he was doing until it was already done.”
“That’s the real Memphis ethos. ‘How can we fuck it up!?’”
Forging a Partnership
“Following a serpentine series of career moves for both men–which included working with everyone from Paul Simon to Jack Oblivian-Vest and Matthews first became acquainted in 2006, although it would take several more years before their partnership was formalized. “I was peripherally aware of what Toby had going on as the go-to guy for local bands, so I started going over to the original High/Low on Cleveland to check things out, and was immediately impressed,” says Matthews. “At the time, I had my own place P.M. Music out east, but I was hanging out and working more and more at High/Low ”
After a massage parlor moved in above Matthew’s studio in 2014- a less than ideal situation, as he points out–Vest proposed that the two simply combine their studios into one “We were already working together all of the time, so it just made sense By this point, I already knew how different our sensibilities were, but also how complementary they could be We really balance each other out,” says Vest “After Toby called me, I said ‘let me think about it ’ Fifteen minutes later, I called him and said ‘that’s actually a really good idea It ended up being a great move,” says Matthews
Now professional partners, Vest and Matthews began to quickly learn the benefits of their collaboration. “Beforehand, each of us were doing 12 to 14 hour sessions by ourselves. We quickly learned how much more efficient this allowed us to be and how beneficial it was to always have a fresh engineer on hand,” Vest says. Following a couple of moves to different spaces around Midtown (check out our timeline at the end for more), the duo finally settled on a permanent home. “After those various ‘stepping stones,’ designing this room was so much easier. Having had the experience of bending various rooms to our will really paid off,” says Vest.
Both men seem to agree that High/Low’s current iteration is the fruit of years of hard-learned lessons and making the best of tough situations. “The answer to your question about what we’ve learned over the years is right here. You’re sitting in it,” says Matthews with a chuckle. Building a world-class studio is never easy, particularly in the midst of a global pandemic, but Matthews and Vest agree that it was worth their efforts. “A big control room, space for everyone to gather comfortably, and space for larger bands have all been things we’ve wanted for years. We knew we only had one shot at this, so we worked hard to get everything we wanted,” says Vest.
“I really can't overstate how much working with Toby and Pete Matthews at High/Low has meant to me: artistically, professionally, and personally” -Chris Milam
While the duo split the majority of the many duties that come with running a professional studio, Matthews handles the majority of the mixing, but says that Vest’s assistance is invaluable. “I’ll get a song to where I think it’s right, and then I’ll say ‘okay, find what I missed.’ Sometimes it’s forest from the trees when you’re mixing, so it’s easy to miss things. Having a second set of ears is vital.” “We do a lot of mixing, but we set this place up to do what we do best and what we do the most, which is tracking bands. At its most basic, our job is to take what an artist is saying or thinking and then turn it into a real thing,” adds Vest “A lot of the time it’s just about opening people up enough to let you take the reins of their idea and steer it ”
2024 has already proved to be a productive year for the duo, having recently worked on new projects for local acts Chris Milam, Snowglobe, and Heels, amongst others. Vest says that he is also busy working on a new solo album and recently finished a project with his brother Jake and Luke White called Golden Ships. “At the end of the day, you just keep doing the work,” says Matthews. “I’ve always said that every gig you do is because of a gig you did before. There are no rules here and we love working with different sounds. Whatever kind of music you record, we’ll make it sound good…”
Pete begins recording career in high school, Toby with home recordings
2009: Toby opens High/Low at 431 N. Cleveland
2019: High/Low relocates to 831 S. Cooper
2006: Toby and Pete meet for first time
2014: Toby and Pete combine their studios
2020: High/Low moves into current location
RECORDS PRESENTS
LO-FI IN HI-FI LO-FI IN HI-FI
Every Fourth Thursday, 6:30 PM May-October ‘24
Beginning in May and running through October, Shangri-La will be collaborating with the Memphis Listening Lab for a Free listening series we’re calling “Lo-Fi in Hi-Fi,” a sonic journey through some of the most iconic and influential Memphis horrorcore classics.
LO-FI IN HI-FI: 2024 SCHEDULE
May 23
Playa Fly- “Movin’ On”
August 22
La Chat- ”Murder She Spoke”
June 27
Tommy Wright III- ”On the Run”
September 26
Gangsta Blac- ”74 Minutes of Bump”
July 25
Gangsta Pat- ”Dea
October 24
Kingpin Skinny Pimp- ”King of Da Playaz Ball”
George Spake, whose impressive CD collection will serve as the backbone of the Lo-Fi in Hi-Fi Series, sat down with us to discuss the art of collecting, his personal “Crown Jewel,” and how we settled on these particular albums to kickoff the series...
1. First things first, let's talk numbers. I know your collection is ever-expanding, but how many Memphis rap CDs do you currently have in your collection?
It’s currently at around 180 titles from 1991 to 2017. A little over 60 of those are from the Prophet Ent./Hypnotize Minds catalog.
2. When--and where--did you first start collecting, and at what point did you begin to realize you might have something special?
I still have some CDs I bought in stores when they came out in the early 2000s, so technically more than 20 years. Back then it was just local music I think we took it for granted, but Memphis rap has a huge following worldwide now. That’s been great to see, because at the time it didn’t seem like it got the appreciation it deserved. After streaming got big, I started noticing tracks missing from albums and samples getting removed. It was also getting harder to find CDs in retail stores because everyone was abandoning physical media for streaming. I didn’t like the thought of music I love disappearing so I started replacing albums I felt like I couldn’t live without. Fortunately, the internet has made it easier to track things down. (CONT.)
Last year I had a chance to get a collection from an original owner that included most of the Prophet and Hypnotize catalog along with some partial discographies from other artists. I started filling in gaps and it snowballed from there. I grew up in the Prophet & Hypnotize Minds era so getting that catalog together felt like a big milestone. That inspired me to branch out and focus on what some of the other labels and artists were doing at the time.
There’s a limit to what you can collect on CDs because a lot of underground Memphis rap from the early 90s was released exclusively on cassette tapes. There’s a lot of interest in preserving that music but physical copies are rare, the sound quality can degrade over time, and it’s hard to verify the tapes are real. So, collecting tapes is really a whole different story but there are still a lot of old school classics that came out on CD.
3. Forgive the obvious question, but which CD do you consider the crown jewel of your collection?
The first thing I usually mention is the Prophet lineup. Prophet only produced 8 albums between 1995 & 1998 before Paul & Juicy started Hypnotize but they’re all classics and it’s cool to see them together. Gangsta Pat’s “Deadly Verses” is up there because it’s quintessential Memphis-rap but it’s rare so it either gets a big reaction or people have no idea what it is.
Some of my personal favorites are “Chronicles of The Juice Man,” “Dat’s How It Happen To’m,” and “Mista Don’t Play.” I remember buying them at Cats Music back in the day, so they have that nostalgia factor.
4. In our previous talks, we've often discussed the many shared samples and melodies that run throughout so much of Memphis rap's golden age that help to give it such a distinctive sound. Share a couple of your favorite instances of this.
It’shardtolistentoMemphisrapfromthe‘90sand2000swithoutmakingallsortsof connections,especiallytootherMemphisrap,butalsotohip-hopmusiccomingouttoday.
There’sa“GetBuck”chantoverasloweddownAfrikaBambaataasamplethat’sreusedalot. ProjectPatrappedoveritin2002;YoGottifreestyledonitin2006;andLilGlockdidaverseon iton“SmokedOut,LocedOut”in1994.Allthreeofthoseverseskickoffwiththesameflow,soyou canhearhowtheartistsplayedoffeachotherandtheflowsevolvedoverthatsamebeat.
WhenGangstaBlacputout“SouthParkway”in1999,youcouldn’tgoanywhereinMemphis withouthearingit.Theversewherehe’sspellingoutSouthParkwayisprobablyoneofthemost recitedMemphisrapversesever.Alotofpeopledon’trealizeLilFly(AKAPlayaFly)spelledout SouthParkwayonaversethesamewayonJuicyJ’s“Volume9mm”mixtapein1994.
Icouldgoon.ItrytokeepnoteswhenIcomeacrossthesethings,butthebestwaytodiscover themislisteningtothemusic.
5. We'll soon be launching the Lo-Fi in Hi-Fi series using your collection. Briefly tell me how you landed on the 6 featured albums.
At first, we were talking about albums like “Mystic Stylez,” but they get a lot of recognition and we wanted to bring something new to the table, so we shifted our goal to playing classic records that aren’t in the typical lineup. “Murder She Spoke ” (La Chat) is one of the most slept on Hypnotize Minds productions. Chat’s flow and delivery and Paul and Juicy’s beats go hard start to finish; even the intro is classic. Considering the new wave of talented female artists coming out of Memphis, it’s a great time to pay some respect to the OG.
“74 Minutes of Bump” (Gangsta Blac) & “Movin On” (Playa Fly) have two of the most quintessential Memphis anthems: “South Parkway” & “Nobody”; These were easy choices, because everyone knows those songs, but they’re both solid albums with back-to-back hits.
“Deadly Verses” (Gangsta Pat) and “On the Run” (Tommy Wright III) are both certified underground classics. I hope other people will recognize how influential they are, considering when they come out, and get inspired to dig deeper into Memphis rap origins.
Shangri-La is proud to return as a sponsor of WYXR’s “Stereo Sessions,” a series of hi-fi album listening parties at the Memphis Listening Lab! Join us on June 12th for the Bar-Kays’ political-funk masterpiece “Do You See What I See?” and again on September 11th for Sid Selvidge’s celebrated and timeless debut “Portrait.”
Industry Insider
W/ Elizabeth Cawein
Music Export Memphis founder Elizabeth Cawein recently helped bring a caravan of Memphis musicians for a showcase at Austin’s annual South by Southwest Fest, including Blvck Hippie, Joybomb, Talibah Safiya, and more. Now that the festival has ended, we chatted with Elizabeth about some highlights, objectives, and more...
1. Just to set the stage, give us a quick overview of Music Export Memphis and the organization's role in bringing the Memphis cohort to SXSW:
MEM is an export office for Memphis music, so everything we do is designed to help artists who live here get out and do what they do all over the world. That often takes the shape of various grants for touring, merch, publicity, and more. A few times a year, we do festivals such as SXSW, and we essentially produce a Memphis party, featuring several local bands and hopefully some food and drinks to help reflect the local culture. We produced this event with Nine Mile, which is an Austin booking agency and label. This partnership was a great way to get the artists down there for an unofficial event that still allowed them to paricipate.
2. I was really impressed with this year's group of local talent and thought that it did a great job of encompassing as much of the current Memphis music scene as possible. Walk me through the process of selecting which musicians will be representing the city in this and other similar events MEM does at industry events.
So every time we produce a showcase, we have an open call for submissions. We ask a series of questions about where a particular artist is in their career, whether they have new music coming out soon, and other factors that help us determine whether they will be getting the most out of an opportunity. Typically, we take all of those applications and then have an internal staff review, where we create a shortlist of the absolute strongest candidates. We then send that list to our jurying committee. They get all of the applications, along with a playlist that I put together featuring all of the potential artists. Once all of that has happened, each judge sends in the initial choices and then we get together and have a final conversation. We try to factor in everything from the perceived readiness of each act to how the lineup works as a whole.
3. Now, on to the actual festival. Was there any one particular performance that you think especially resonated with the crowd? What, if any, media and industry feedback have you heard? What was your personal highlight? You know that I can’t pick favorites, right? [Laughs] I truly believe that each act did a truly incredible job and that the diversity of the line-up helped to bring the crowd in and engage. I was super proud of all of our artists and they each put on an incredible show. Any time that I get to sit in the back of the room and watch people discovering one of our artists, it’s always a real treat for me.
4. You were a featured speaker at this year's event. Tell us a bit about your presentation and what you may have learned from others during your time:
I was actually a “mentor“ this year, which I have done a couple of times, and basically you sit at a table and people come to speak to you in like 15 minute blocks. (Cont.)
Photo by Sandra Dahdah
Because of my particular expertise and my history with PR and marketing, folks talk to me about all sorts of things, especially artists asking for advice about developing their export strategy. Going to mentor sessions is something that I did early in my career at SXSW, so it‘s definitely cool to be on the other side of the equation.
5. In addition to just the basic exposure to new audiences, what are some of the primary benefits for artists performing at SXSW or similar festivals? How does MEM select opportunities designed to help artists achieve those benefits?
“There are three things that we specifically look for: impacts in ’cash,’ ’career,’ and ’creative.’”
So for this event in particular--largely because we were hosting an unofficial party--the key was to ensure that everyone was putting on a great performance for the time that we had, but also that we were able to spend the money that we saved by not hosting an official SXSW event on badges for our artists so that they could fully plug-in and experience the event. To me, that was really important. Yes, we wanted them to have great performances and we got a lot of beautiful photos and footage, but my real hope is that everyone made the most of the conference by making connections to the people who were there.
In terms of how we select opportunities, we really pay attention to previous years ’ feedback forms that each participating artist fills out at the end. That gives us a great insight into the value that was provided to them during a particular showcase. There are three things that we specifically look for: impacts in “cash,” “ career, ” and “creative.” Cash is anything that they brought in monetarily, which is typically in the form of future gigs. Career is related to media coverage, industry connections, or even a deal with a label. Creative would be related to things such as connecting with a new collaborator. There are a variety of ways that these three things can go, but they’re at the heart of what we look for.
With the two festivals that we ’ ve been attending the longest--Folk Alliance and the Americana Fest--the results are there every year. Importantly, those results are also balancing well with the amount of money we ’ re spending. The results are still out for SXSW, so I can’t yet point to clear and specific impacts, but I’m optimistic that they will prove to be beneficial enough for us to continue attending in the future.
To learn more about Music Export Memphis and ways that you can support their mission, visit musicexportmemphis.org
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Eachmonth,weinviteadifferentDJ,musician, orproducertosharewhatthey’vefounddigging inthestacksatShangri-La.Thisweek,we’re joinedbyproducer,artist,andPresidentof Unapologetic., KidMaestro,amanwithan undeniableearforstrangeanduniquesounds. Let’sseewhathefound...
“TheFugeesTheScoreissuperspecialtome.Ididn’t hearitinfull‘tilIwaslike25orso.Forthoseofyouwho don’tknow,IdoplaybackforMs.LaurynHill,andIgota callthattheFugeeswerereuniting.Iactuallylistened tothisalbumforthefirsttimeonanairplaneonthe waytogomeetthem.Needlesstosay,Igottodiscover thisalbuminacompletelynewway...” “Madlibisoneofthegreatestproducerstoeverlive. He’safatherfiguretosomeofthebiggestproducersof mygeneration,suchasFlyingLotusandKnxwledge. ThereasonI’msoinspiredbyhimisbecausehissound wasso...unapologetic.He’sjustfree.Whenyoulistento Madlib’sbeats,youjusthearfreedom.That’swhyIlove RockKonductaseries.”
“WhenIwasakid,mymomhadthisalbum-Time OutbytheDaveBrubeckQuartet-andIbelieve eachsongisinadifferenttimesignature.Themost famousisofcourse‘Take5,”whicheveryoneknows. IputitonmyMP3playerandIwasjustlisteningto thisjuntfromlike4thto6thgrade.You’llhearthata lotofmyproductionendsupbeinginsomeodd timesignature.Ithinkthestartofthatwasright here.”
“We’re reconstructing
the Kid Maestro Code...”
“In2007Timbaland’sShockValuecameout,and listeningtothisalbumandhisproductiononJustin Timberlake’sFutureSex/LoveSoundsreallyshowed mehisexpansivecreativityandsoundselection.I feellikeTimbalandprobablyprideshimselfon beingthemostcreativeproducer.He’sjustvery unafraid...”
We had a blast talking records with our friend Kid Maestro. Check out the quick recap!
ToseeourfullconversationwithKidMaestroandallofhispicks, checkoutthefullvideonowonourofficialYouTubepage@Shangri-LaRecords.
After retiring the Don Lifted stage name in 2022, fans who were eager to hear what rapper Lawrence Matthews had been up to got their answer during a fiery and captivating concert in January at the Green Room. After selling out the first set, high demand created the need for a second show, where Matthews channeled the frustration of the working class. The clear departure from his previously airy sound and lush visual presentations marked the beginning of a new era where he’s ready to get real. Filled with politically charged lyrics over top-tier soul and blues samples, his upcoming album Mortal Reach & Posthumous Grip is one of this year’s most anticipated releases.
One of our philosophical tenets here at Shangri-La is "if Greg Cartwright is involved, give it a listen.” Throw in Dr. Dog’s Scott McMicken and a host of other top-notch players and you’ve got a recipe for some true musical magic. Sure enough, the Hypos self-titled debut delivers the goods, providing the perfect laid-back folk-rock tunes to kickoff the beginning of summer. Whether the Hypos are a one-off collaborative project or here to last remains to be determined, but this album has proven to be an unexpected treat either way.
Fresh on the heels of their excellent 2023 debut The Sirens of Titan, the four-piece instrumental group Salo Pallini have released yet another sublime slice of “Progressive Latin Space Country” with this otherworldly single. Reminicent of the celestial Southwestern sounds of Khruangbin, “The Elaborate Suicide of Mars” is just begging for inclusion on a film soundtrack and has us on the edge of our seats in anticipation of what they cook up next.
Self-described as “an anthology of the Southern sound as it has traveled through time,” Talibah Safiya’s “Black Magic” EP is an homage to regional heroes such as Jesse Mae Hemphill and Junior Kimbrough with an assuredly modern edge. Although Safiya has been creating her refreshingly original take on R&B for nearly a decade, this is the artist’s most fiercely ambitious and sonically complete project yet. “It’s such a short project, but it’s very cohesive. I kind of broke it down where it’s speaking to environmental love, relationship love, and self/God love, ” she explains.
If you want to split hairs, Hope Clayburn’s latest album was officially released in December of ‘23, but it’s ass-shaking energy just hits different during these sunny months. A pillar of the local music scene, Clayburn has been lending her funkified sax to local musicians of every imaginable genre for years, and many of them return the favor on the aptly-titled Ya’ll So Loud! Although her impressive backing band (Soul Scrimmage) is left with plenty of room to breathe, it’s a delight hearing the consumate collaborator fully take control of the limelight.
Set to release on May 10, Chris Milam’s third full-length is an ode to his adolescence and the music that defined that era for him, including clear influences from the likes of Big Star and R.E.M. A gifted songwriter, Milam says that he strives to write songs with several layers, rewarding listeners on repeat listens. Recorded at High/Low with the backing of an A-list band, “Orchid South” is a triumph that showcases Milam’s more rock-oriented side.
It was bound to happen at some point, right? MonoNeon, Memphis’ DayGlo king of funk, has finally teamed up with the Godfather of the genre for a new single that fits nicely within the local canon first established by the likes of the Bar-Kays and Con Funk Shun. Backed by a hard-charging beat, the song is an intoxicatingly fun blend of both old-school and contemporary funk. And, as he’s done consistently for half of a century, Dr. Funkenstein provides some of the best ad-libs in all of music.
Country-tinged pop (or is it pop-tinged country?) is certainly having a moment in 2024, but Cyrena Wages’ cleverly-titled debut album still manages to differentiate itself from a crowded field, largely for both her honesty and humour. The big-voiced singer takes plenty of small town signifiers to task in an album that both honors and skewers her upbringing. Working closely alongside producer Matt Ross-Spang and guitarist-songwriter Joe Restivo, Wages has crafted a memorable and promising opening statement.
Held at the Audubon House (Elvis’ first home) in February, this year’s sneak peak of the Folk Alliance featured performances from Alice Hasen, Rachel Maxann, Memphissippi Sounds, and more. In a very successful attempt to recreate the Folk Alliance experience, artists rocked the crowd with small, intimate music sets taking place in rooms throughout the historical house. The finale, which took the form of a writers in the round, was a climactic ending to an evening filled with highs.
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The indie-rock heroes are back with their 8th full length album The Fall and EP “The Climb”
Prior to their April 12th release date,
we caught up with Snowglobe’s Jeff Hulett to give us an inside look into their forthcoming album and EP
1. Snowglobe has now been around for a quarter century, an impressive feat for any band. Before we get into the new album, tell us a bit about the longevity of the band and how your sound has evolved over the years.
We put the fun in dysfunctional, but in the best way possible, I think. We are all songwriters and multi-instrumentalists, so at any moment we could go in any direction. Our sound just follows who's writing at the time and what rabbit hole they are taking us down. I've always enjoyed bouncing around from genre to genre with these guys.
Take “Aimless Sailor” on Doing the Distance. It's a folk ballad heavy on acoustic guitars and a slow build that pays off with keyboards, horns and drums. And it sits between a total banger in “Master of Forgotten Works” (a Tim song) and an instrumental track called “Calculating Fades” written by yours truly. Playing live is always fun and a real treat for the band, our family, friends and fans, but I would say our work in the studio and building albums in that space has evolved the most in 20 plus years.
2. Knowing that the band isn’t all living in the same area code these days, what is it like making a Snowglobe album today vs twenty years ago? How have roles in the band changed, if at all?
Because we all write and technology is what it is, working together isn't as hard as it might seem. 20 years ago it would start as a live album and build from there. Now we can start anywhere and go from there. This record and EP take place over a long period of time and we all play a little bit of everything with many guests in the fold.
3. Fans have been waiting several years for a new Snowglobe project, and now you’re rewarding us with both an album and an EP. How did y‘all come to the decision to drop two projects at once?
It's such a Snowglobe thing to do. I'll just leave it at that. I think I speak for the band when I say we are thrilled that folks have new Snowglobe music to dive into.
4. Musically, this album contains many of our favorite elements of Snowglobe records past - lush string and horn arrangements, kaleidoscopic melodies, and swirling harmonies. Thematically though, how would you say this record differs from the rest of your catalog?
While there is a through line and connectivity between both the Fall and “the Climb,” it ranges in time, space, voice and personnel. I think we've gotten to the point where no one cares who plays what as long as it sounds good and delivers the goods. Take “Willow Tree,” for example. I don't play on it at all and it's one of my favorite tracks. Fun fact - this is Luke's first and only song contribution so far. Here's to more to come!
5. As a record store we just have to ask–are there any current plans to release these projects on physical media, and if so, how quickly can we get our hands on them?
We love Shangri-La and are working on getting some tshirts made and will get those to you very soon. As for vinyl, we are also in conversations about that, but could use some help in making that happen. Please be patient. In the meantime, enjoy the new albums on all streaming platforms and please follow us on Facebook and Instagram.
TOP 5 W/
LUKAH
South Memphis rapper Lukah has gained an South Memphis rapper Lukah has gained an international following for his grimy and international following for his grimy and world-weary street tales, which often world-weary street tales, which often seem of another time and place. We sat seem of another time and place. We sat down with the artist to discuss his 5 down with the artist to discuss his 5 seminal Memphis hip-hop albums, ranging seminal Memphis hip-hop albums, ranging from old school classics to indie gems. from old school classics to indie gems.
1 2 Project Pat Mista Don’t
Play (2001)
“If you’ve never heard a Memphis rap album ever in your life, I can put that damn album on, and you’ll feel like you know everything there is to know about music from the Memphis trenches. Pat is slept on as a storyteller--he gets credit for his unique style, but he also paints the shit out of a picture. One of Memphis rap’s most crucial.”
Playa Fly
Da Game Owe Me (1999)
“This was the album that let me know it was okay to be stylistically different. Fly was very introspective on that album. To me, he was the perfect representation of a guy who finds himself stuck in an unfortunate situation and really wanted to be out, but ultimately fell victim to his environment and circumstances. Fly is an exceptional lyricist as well, which I’ve always been inspired by.”
3
Three 6 Mafia
Mystic Styles (1995)/ Most Known Unknown (2001)
“Mystic Stylez is one of the albums that birthed me. “Live by Yo Rep,” where they go after Bone Thugs-N-Harmony, is one of the craziest songs of all time. I’m not sure a darker album exists, at least from them. Those styles were indeed very mystic (laughs). They truly created a sound that people emulate to this day.
As for Most Known Unknown, you can tell they were having fun with finally getting some mainstream success. “Stay Fly,” “Poppin’ My Collar,” “Half on a Sack”...It felt like they found a way to make their signature sound bigger.”
4
Pooh Sheiesty Sheisty Season (2021)
“Pooh Shiesty is actually so dope to me. He’s very creative, and despite him being very much a part of this generation’s sound, which can be generic, he’s an innovator who created his own wave. He made being a snake cool. He’s actually very descriptive too, even if he’s just descibing how he plans to take a person down. He’s one of the few cats that you actually believe when he raps.”
5 Cities Aviv Digital Lows (2011)
“What a lot of people don’t know--and I’m gonna give him his flowers right now--is that Cities Aviv really helped to put an eye on Memphis hip-hop with Digital Lows that let people know that there is a different sound here. He was one of the primary leaders of that shit, and now we have a flourishing underground scene. I actually produced a song on the album, which was a dope opportunity. And this album really helped to get his name out there and led him to London, New York, and elsewhere. Cities Aviv deserves a place within Memphis musicology.”
Lukah Presents: Temple Needs Water. Village Needs Peace.
Prior to the release of his sixth album, Shangri-La’s Ezra Wheeler sat down with Lukah at the Memphis Listening Lab to discuss the album’s creation and themes.
Thank Thank You! You!
A heartfelt thanks to all of the contributors, artists, sponsors, and everyone else who helped to make this magazine possible. Please help to share the word, and we’ll see you soon for Q2!
