Store
Subscribe
After spending my first 35 years living in New England, getting used to the humid subtropical climate of Nashville took some effort. Compared to middle Tennessee, spring through fall in the Northeast is quite mild, while the dreaded winter months have often been compared to those of Canada or Siberia. Those brutally cold and frigid winters can sometimes begin as early as mid-October and last all the way through April on some years. Snowstorms, ice storms, daily high temperatures in the 20s, teens, or less, and brutal nor’easter’s are often daily occurrences for months on end. And then finally, the snow starts to melt, the birds return, the trees begin to grow leaves again, and spring is upon us. Of course Spring can also be a cold wash out with temperatures only reaching the 50s accompanied by the kind of rainfall that could rival Seattle. On years where this happens, it seems like it goes straight from winter to summer. I used to think, before I 
lived in the South, that New England summers could get too hot, but in hindsight I was just being a baby. How I long for those pussified summers now. Fall in New England is arguably the best weather of the year. Cool, dry, great weather to be outdoors.
That’s all behind me now. For the climate of Nashville, my new home, is radically different, and one that requires a whole new mindset. The winters in Nashville, if you want to call them that, are almost more like spring in New England. While it can get cold, occasionally getting down into the teens or low 20s, it is not uncommon to have several warm sunny days in each of the winter months, temperatures sometimes even climbing into the 70s. It might snow once or twice, maybe an ice storm or two, some rain, but in general I find these winters very livable compared to those of my New England years. Spring can be real nice temperature wise, but this is also our primary tornado season and, after this year, flood season. This brings us to summer, or as I call it, hell on earth. Beginning in June, or sometimes as early as mid-May, it’s 90° plus and humid every day for what seems like an eternity, typically all the way through September. Some get used to this heat and humidity but I can’t stand it, to me this is a New England winter in reverse.
During the cold wet winter months of New England, outdoor activities all but grind to a halt (except of course for those who love to ski or snowmobile). In general, except for commuting to work, most New Englanders stay indoors during this time of year, waiting for it to warm up a bit to resume outdoor activities. Now that I live in Nashville this is how I approach summer. In general, it’s just too hot and humid for me to enjoy the outdoors during this time of year, and I find myself waiting for it to end so I can again enjoy the outdoors on a regular basis. I literally get cabin fever during the summer. But then it finally ends with the onset of fall, my favorite time of year here, by early to mid October. Of course we have to be on our toes in November for our secondary tornado season.
So I don’t know if it’s just me or if other transplants feel this way, but as far as the climate of middle Tennessee goes – Fall is great, Winter is palatable, Spring can be hairy, but Summer just plain sucks. I’m glad it’s finally over.
This is another question I was asked in an interview by Wendy Willis for her upcoming book ‘Making It In Nashville‘. The question made me think of a few different scenarios regarding how auditions are conducted in the Nashville music industry. The following exemplifies two of the most common types of auditions.
The Gretchen Wilson Cattle Call
By 2004 I had already been in Nashville for a couple of years when Gretchen Wilson’s ‘Redneck Woman’ hit the airwaves, launching her into immediate super stardom. A few weeks after this song debuted on the radio, I heard through the grapevine that she was holding auditions to find an acoustic guitar player for her touring band. By the time I heard about these auditions, the rest of this band had already been assembled. By making a few phone calls I was able to track down a contact within her camp. During a very brief phone conversation he gave me the names of two songs to learn, ‘Redneck Woman’ and ‘When I Think about Cheatin’, and a timeslot to audition at the Sound Check rehearsal facility. I learned the songs and showed up to Sound Check about a half hour early on the day of my audition. As the auditions were running late, I picked a spot in the hallway outside of the rehearsal room amidst a sea of other hungry guitarists, all with their acoustics in hand, many wearing what was obviously their best stage clothes.
The high point of this day for me was not actually my audition, but listening to the band Journey rehearsing in one of the other rooms down the hall. They sounded magnificent and were truly inspiring! I even got to meet Neal Schon when they took a break. Standing outside their practice room door and listening to them play helped me to take my mind off of the nerve-racking moment that still awaited me. But this brief detour into my rock ‘n roll dreams of yesteryear ended when my name was finally called. I entered the cavernous room, which I believe was the biggest room at the facility, and the intimidating scene quickly came into focus. A large stage filled with gear and musicians and fronted by a substantial PA system was staring me in the face from the opposite end of the room. I was greeted near the doorway by Gretchen’s manager who chatted with me briefly, asking a few questions about my experience. I headed to the stage where the musicians that comprised her nearly complete touring band, none of whom I knew, patiently waited. After plugging in and getting a quick monitor level, Gretchen entered the room and sat on a stool about 30 feet in front of the stage.
So there I was, standing on the stage surrounded by strangers, and performing for an audience of country music’s newest superstar and her management. The band counted off ‘Redneck Woman’ and I began strummin’ away. While sitting on the stool, she belted out the song as if she were an arena filled to capacity, watching my every move. The song ended to a stone cold silence which was quickly interrupted by somebody yelling out ‘When I Think about Cheatin’, which was immediately counted off. That song ended, seemingly as soon as it started, and my audition was over. A couple of the players said “Good job” and her manager said “Thanks , we’ll let you know something by the end of the week.”
Fearing that I didn’t make the grade, I left the rehearsal hall and drove home not having a clue about how I was perceived. They did call me a few days later to notify me that I was not chosen. I remember hearing later that the player they chose for the spot had already been chosen before that day of auditions. Perhaps they were trying to see if there were any other options, looking for a backup, or appeasing the management. All in all, it was a fairly miserable and stressful experience, but it was educational. This was my first cattle call style audition, and while it did not land me the gig, it did help prepare me for future auditions. Since that day, I’ve done several other cattle call style auditions, all of which were somewhat similar. Until you ever get to do one of these, the term ”cattle call” will only have a vague meaning to you. But after you stand in the middle of a long line of auditioning players, get quickly corralled in it out of the feeding lot, tagged, tested, and sent on your way, you will immediately understand.
Rhett Akins Showcase for BNA Nashville
It was late summer, 2005, and right in the middle of touring season, when Rhett Akins, one of the artists I was working for at the time, told me we needed to prepare for a record label showcase. His management had helped him gain the attention of Joe Galante and some other executives from the record label, BNA. We had about two weeks to prepare for it, so a couple of rehearsals were scheduled for us to build and hone a short set of his strongest material that would hopefully land him a new deal.
His management made arrangements for the showcase to take place in a small comfortable nightclub located on Third Avenue in downtown Nashville. We arrived to the venue early in the afternoon on the day of the showcase, loaded in our stage gear and monitor rig, and began setting up. We did a sound check and rehearsed a few of the tunes. It was tough to get a good sound in this particular room as the acoustics were less than desirable, but after several adjustments, we arrived at an acceptable place. After sound check we chilled for a bit, ate some dinner, and waited for downbeat.
The showcase was scheduled for seven o’clock, and around six o’clock some patrons began to arrive. It had been encouraged for us to all invite and bring as many friends and family as possible to help create a warm and inviting atmosphere for the big wigs. The turnout was pretty good, and the club was near full just a few minutes before showtime when Galante and his entourage arrived to be seated at a reserved table, one that had been strategically chosen for sight and sound.
Just a couple minutes before we hit the stage we all gathered in a back room to have a quick pep rally, kind of like a football team going into one last huddle before game time. If Rhett was nervous, he wasn’t showing it, he was cool as a cucumber. I was probably more nervous than he was. Dressed in our best, we hit the stage hard and fast, and the first two songs, played back-to-back, were over before I knew it. The crowd roared with approval, and Rhett began to turn on the charm, addressing the room as a whole and putting everyone at ease. He had been working out hard all year and was in great shape, not only giving off the vibe of a superstar, but also showing off a youthful physique, similar to that of his college quarterback days of yesteryear. We stomped through the rest of our 50 minute set with Rhett talking occasionally between songs, even getting some laughs out of the table of executives. The set ended and we began to break down our gear while Rhett courted the table of potential business partners.
As far as these kinds of showcases go, this one went off without a hitch. Rhett performed brilliantly, the band played well, the crowd loved it, and, more importantly, the folks from BNA loved it. After a couple more weeks of negotiations, Rhett was signed to BNA Nashville. So I guess we passed the audition!
What have been your audition experiences been like?
In this day and age, looking the part is often just as important as playing the parts for many professional musicians. This is equally important for those who have not yet achieved a career in music, but are working towards one. While being proficient on your instrument and possessing good social and networking skills are obviously important, in the world of live music performance, your appearance can sometimes be a deciding factor on getting the gig.
It’s easy to find the right clothes, and it’s a well-known fact that working out and having a good physique will make those close “hang well” on your frame. But for some (men especially), the hairstyle, or lack thereof, can be a dealbreaker. I’m not talking about the 20 something’s with the $300 spiky mod looking haircuts. As much as I don’t care for that look, they are not the biggest offenders of the modern day hair wars. In my opinion, it’s the guys who are losing their hair but living in denial that really need to rethink the current state of the top of their heads.
It’s no secret that many of us have lost, are losing, or will lose much our hair over the course of our lives. For some it begins as early as late teens or early 20s, for others it might not happen until they’re in their 30s or 40s, while others manage to hold on to most of their mop 
until old age. Sometimes this hair loss happens rapidly, over several months or a couple of years and sometimes it can occur very slowly and gradually over decades. Some just get a little bald patch near the back of our head, while others are stricken with more of that dreaded “parting of the seas” look.
Many musicians take great pride in their hair, often choosing a style that works for them in their younger years and sticking with that as they age. Some will sport short to medium length do’s while others choose to wear it long, anywhere from the mid-60s Beatles look all the way to full-blown hippie length. But if you are in the unlucky category that many of us fall into, that being the permanent hair loss club, these styles will begin to create a different effect and take on new meanings as these 
hair follicles slowly begin to vanish forever.
Are you the guy with the comb-over? If you are, you’re not fooling anyone. Maybe you’re the guy that had hair like Greg Allman when you were in your 20s. Oh, how the girls loved it back then. But how are you being perceived now when that part between you’re neatly combed and blowdried shoulder length blond hair rival’s the San Andrea’s fault? Probably more like the friendly lion in the wonderful Wizard of Oz. There’s always a baseball cap. But eventually, as people notice over time that you’re never seen without one, it will become a dead giveaway that you’re hiding something. You could always grow a beard and start wearing a cowboy hat, sporting your version of some kind of half assed Travis Tritt look, but that’s a pretty big commitment, and not that hip anyway. Not to mention, when you commit to the whole hat thing, what happens when you go swimming? What happens the first time you sleep with a new girlfriend?
Face it, none of this works. Yet, somehow, we see people that look like this all the time. Well I have some 
great news for all of you who are fighting this futile “battle of the bald”. There is a way out, and I’m not talking about hair transplants, wigs, or toupe’s. Just let it go. That’s right, shave it off. Bald is beautiful, baby. For proof, look no further than Telly Savalas or Bruce Willis.
Growing up, I had a thick head of hair, and by the time I was 15 had already experimented with growing it long. I went in and out of short hair and long hair mode for a few years before going all out in the late 80s, when I began sporting a full-blown Richard Marx style mullet. Of course, at that moment in time that style was in, so spending 20 minutes with a can of moose and a blow dryer to get ready to go out for the night, or gig, was completely natural. Of course I kept this “helmet do” well into the 90s, long after it had become unfashionable. Then, in my mid-20s, it all started going quite badly.
Over a period of about a year, I lost most of the hair in the middle of my head. It happened so quickly that I hardly even noticed at first. But then when my girlfriend started telling me that I was beginning to look like Michael Bolton, I knew something was wrong. On a bad day, my massive bouffant do, once reminiscent of Peter Frampton’s early look, began to look more like that of the comedian, Gallagher. Comments like “Here comes Billy Crystal” or “Is that Stephen Wright?” and even “When did David Crosby lose all that weight?” also caused much embarrassment. So I began a slow transformation. I attempted to minimize my baldness by wearing hats, doo-rags, even at times pulling it back into a ponytail. But ultimately, this wasn’t working. Half the time it just looked bad.
So finally, around the year 2000, I took it down to a fairly short length, just an inch or so on top. It was better than having “Gallagher syndrome”, but still not quite right. Shaving it down to the scalp was the only thing left to try. At first, I was horrified at the thought of doing this, but with a little prodding from my wife, I went for it. Boy am I glad I did. I instantly realized that bald works for me. Having a bunch of hair on the sides with the bald spot in the middle was simply drawing attention to the fact that I was balding. Lose all that hair, and you create the perception that you are bald by choice, not because of nature. In other words, nobody can tell that all your 
hair fell out. Now when I look in the mirror, I feel younger.
Plus there are many added benefits. Showers now take five minutes. I save a small fortune on shampoo and conditioner and haven’t bought a comb or a hair brush in decades. Getting ready to go to work or out on the town now only takes seconds. It’s harder to get dandruff, and my head is now essentially “lice-proof”. But most important of all, I no longer look like an idiot.
So which guy are you? Are you still clinging to the past, or have you embraced your inner baldness? Whose look do you relate to more, Stephen Gallagher or Bruce Willis? It’s not too late to save yourself. So what are you waiting for, get out those clippers and get busy!
Saturday night was the first outing for my new band ‘Endless Boogie’, and fun was had by all who ventured out to party with us at the Fillin’ 
Station in Kingston Springs, TN. The club, owned by Patrick Weickenand, was the perfect setting for my long awaited rock n’ blues experiment. Small, intimate, and loaded with character, the club is housed in an old garage right out of yesteryear, hence the name, and a favorite watering hole for the locals on the west side of town.
Our trio started out with a couple of instrumentals to get things going before switching to some vocal-based tunes. The place wasn’t too busy
during our first set, so Patrick, who was working the bar, had time to sit in on harp for a few tunes in between slinging beers. Patrick is one of the nicest guys you’ll ever meet, and undoubtedly contributes greatly to the warmth and charm of this unique place. Anyone who has ever played the Fillin’ Station knows that Patrick is a great harp player, and he’s frequently requested to ‘sit-in’ from behind the bar with many a band. So several times throughout this night he joined in for some fun jams (check out the video below).
Fran Breen (drums) and Mike Chapman (bass), aside from being good friends of mine, are seasoned pros and I was thrilled to have them on the gig. Talk about groove, boy these guys can lay it down! I had an absolute blast playing with them, and we plan to do this on a regular basis, schedules permitting. As of right now our next outing will be Friday, December 3rd back at the Fillin’ Station.
By the third set, the place had erupted into a full-blown dance party which held through to the end. People were even dancing on Whipping Post (if you’ve ever tried to dance to this song you know why this is significant). All in all it was a triumphant beginning to this new project, a project born out of my need for “a little music for the soul”.
As a professional freelance musician working and living in Nashville, much of the work I perform is for other people’s entities, as is true for many hired guns. I’m not complaining mind you, this is how the bills get paid. My regular gig as tour manager/guitarist for Rhett Akins occupies many weekends throughout the year, and sporadic nightclub gigs and songwriter recording projects help to fill in the gaps. As rewarding as some of this work can be, it all comes under the heading of ‘gun for hire’ which means I must meet somebody else’s expectations, as they are footing the bill, often adjusting my musical tastes and desires to fit the gig.
So whenever it’s feasible, I take on gigs purely for my own musical expression, a little ‘music for the soul’ as I call it. Now that fall is here and the annual touring/festival season is drawing to a close, I’ll have a little more time for these kinds of endeavors. With that, I’m excited to tell you about my new project – Eric Normand and Endless Boogie. The concept of this band is simple. I will play only music that I enjoy playing, with people whom I enjoy playing, in venues that are enjoyable to play.
Growing up in the 70s and 80s I always looked back a few years to find my musical heroes; Jimi Hendrix, the Allman Brothers, ZZ Top, John Lee Hooker, and to this day this is still some of the most expressive music I ever play. So in my new Nashville based ‘fun band’ that’s just what were going to do. The song list will contain Hendrix classics like Little Wing, Voodoo Child, and All along the Watchtower, Allman Brothers classics like You Don’t Love Me, Ain’t Wastin’ Time No More, Melissa, and Whipping Post, classic blues songs like Freddie King’s Going Down, John Lee Hooker’s Hug You, Kiss You, Squeeze You, and even a few of my favorite instrumentals by Miles Davis and The Meters. Needless to say, we will put our own spin on these.
As I live in Nashville, and this kind of song list will not command top pay, getting great players to commit to a gig like this isn’t easy. All the best players are usually pretty busy taking the most lucrative gigs offered, and even if you get them to commit, something always seems to come up. So you either have to have two or three players deep on each instrument that know your material, or you have to wait till the last
minute to book the players. I got real lucky for this first outing of Endless Boogie as a couple of my good friends, Fran Breen and Mike Chapman, just happened to be available.
Fran Breen is a world-class drummer from Ireland that has worked on and off in the Nashville music industry for over 20 years. He’s played with a few major artists like Lucinda Williams, Nancy Griffith, Shelby Lynn, and is also an accomplished session drummer having played on countless projects over the years including the soundtrack for the movie “The Commitments” . He’s a top notch groove machine, especially when it comes to blues and funk, and I’m thrilled to have him on the gig. (Plus he is really funny and has the coolest Irish accent.)
Mike Chapman is one of the best bassists Nashville has to offer, and another ace in the hole who happens to be a good friend of mine. Mike’s first big gig was with Hank Williams Jr. in the early 80s, since which time he has played on innumerable A-list recording sessions ranging from literally all of Garth Brooks recordings to Leanne Rimes, Brooks & Dunn, Huey Lewis and countless 
others. Mike has played bass on over 30 number 1 singles and the albums that he has played on have sold over 150 million copies. If it sounds like I’m bragging a little bit about these guys, it’s because I am. I mean how often does one get to say “My drummer played on the Commitments soundtrack” or “My bass player has been heard on 150 million albums”?
The last ingredient for my first outing with ‘Endless Boogie’ is a fun venue in which to play. The Fillin’ Station, located on Main Street in Kingston Springs, is the perfect venue for an intimate night of exploratory rockin’ blues and funk jams. While playing on big tours in front of thousands of people can be exciting, sometimes the finer points of the music get lost in the ‘bigness’ of those events. To this day, my favorite musical settings are small to midsize nightclubs, for it is in these small-town bars and juke joints of the world where the magic really happens. The Fillin’ Station is owned by Patrick Weickenand, former member of Eric Burdon’s band ‘War’ and one of the nicest guys you’ll ever meet who also blows a mean harp from behind the bar from time to time. The club is small but comfortable, and has an adjoining outdoor patio which fills up with locals on many a night. The club is just 25 minutes from downtown Nashville (exit 188 off of I40 west) and features live music four to five nights a week year-round, never with a cover.
I’ve been wanting to put together a group like this for a few years now, toying with the idea periodically, but never quite getting organized enough to make it happen. But I’ve realized that this is just what you have to do in Nashville, you have to find a way to not lose sight of your own vision even while you spend most of your time working for other people. My musical dreams at this point of my life are quite simple, I want to play the music that I love to play, the way I want to play it, hopefully taking a few others along for the ride.
So that’s it, all the essential ingredients are in line for an expressive night of music – songs I enjoy playing, people I enjoy playing with, and a place I enjoy playing at. Our show will be this coming Saturday, October 16 from 7:00 to 11:00. I’m really pumped for this show, so if you live in the Nashville area come on down for a night of Endless Boogie!
October 8, 2010 – Dallas, Texas
We left Nashville Thursday at midnight, bound for two shows deep in the heart of oil country, the first being at the oversized dance hall, Cowboys Red River in Dallas, Texas. Our regular bassist, Clint Jacobs, absent on this particular run, I sat in the front lounge chatting with his sub, friend and longtime Nashville veteran, Mike Chapman for a bit before heading to bed. This trip would normally take about 10 to 11 hours, but at about 5 AM I awoke and realized we had been stopped for a little bit. I drifted off for a while and when I got up around 10 I learned that Steve, our bus driver, got stuck in a massive traffic backup for three hours in the middle of the night, the result of an overturned tractor-trailer that had blocked the interstate. Scenarios like this are why we always allow for extra travel time on these trips. Nevertheless, the extra three hour wait added on to the middle of this 700 mile drive had left Steve exhausted, and we finally pulled into Dallas around 1:30.
As we entered the dark Honky Tonk, we noticed that musky stale beer odor inherent to these kinds of places, the kind of deep rooted 
lingering odor that takes decades to create, and while barely noticeable amidst the hustle and bustle of nighttime business, is almost overbearing during the empty daytime hours. While we were setting up, Rhett had the runner take him on a brief tour Dealey Plaza, the infamous location of the assassination of JFK. A little while later he returned with some memorabilia, as apparently a JFK assassination history buff has some kind of ‘merch table‘ at this location. I’m not sure if this is somebody’s desire to inform the masses of this tragic conspiracy, or simply capitalism at its worst. (Maybe it’s a little of both.)
Other than watching a little bit of a fascinating assassination documentary, the rest of this day, and night for that matter, were rather uneventful. I wish I could say that it was an exciting memorable show, like most of our shows, but it wasn’t. The audience just kinda laid there. Don’t get me wrong, the 1500 or so in attendance danced and drank, and even made some noise after some songs, it was just one of those nights that felt like it never quite got there. I later reiterated to Rhett one of the tour’s long standing inside jokes “Out of all the shows we’ve ever done together, that was definitely one of them.”
Onward to Baytown
Baytown is a suburb of Houston, and a city of roughly 80,000 deep in the heart of oil country. We arrived to a hotel parking lot in the wee hours of the morning and taxied the bus over for load in around noon. On the previous day, everything had gone according to plan with no surprises, while this day would turn out to be full of surprises, the first being my discovery of a miscommunication regarding our ‘bus stock’. Our bus stock is a list of beverage and food items which appears on our rider, and is required, in most cases, to be delivered to our bus upon arrival as it serves to be lunch for our crew. I never got the memo that they wouldn’t be providing this and, fortunately, they were gracious enough to send somebody for it at the last-minute.
The next surprise came a couple of minutes later when the event coordinator informed me that they were having problems with the rented generator. It turns out that the generator rental company arrived earlier in the morning to drop off the generator, and then left without showing anybody how to work it. Around the same point in time I was introduced to the house sound technician whose introduction consisted of “Glad to meet you, I hope you brought a lot of patience with you because we’re running way behind.” “Glad to meet you too.” Next would come what was perhaps the biggest hurdle we would have to overcome on this day that was quickly evolving into what I commonly refer to as “a challenge” otherwise known as a good old-fashioned pain in the ass. That being, the stage from hell.
Upon setting foot upon this tin nightmare, I was baffled to see a gaping four-inch wide “space” that ran lengthwise across the 30 foot stage at about 5 foot intervals. “Well that’s a great way to break an ankle if I’ve ever seen one!” I commented to the promoter, who acknowledged “Yeah it is, I didn’t notice that before.” To make matters worse, a round piece of steel pipe protruded upward from this “space” at 6 foot intervals, serving as a strategic array of would-be landmines for everybody to trip over for the day. After some discussion with the promoter, we determined that we needed some rubber mats or plywood to place on top of this unsafe deck. A little while later I discovered a huge role of thick old industrial carpet backstage and, while it initially looked like it might serve our purpose, I quickly discovered that it was full of “fire ants”. I also learned, very quickly mind you, that fire ant’s bite! The bites on my fingers and hand still swollen as I write this.
One of the event coordinators suggested some four by eight sheets of rubber matting and, after I concurred that it might work, he set out for Home Depot. Around this time, I asked Scott, our other guitarist and part-time “Macgyver” if he could try to figure out the generator issue. A little while later a truck arrived with 10 sheets of rubber matting and I began to direct some stagehands to help ‘rubberize’ our stage while Scott dug into the genie. A couple of hours later and the stage was covered with a solid rubber matting (we had to cut holes for the protruding steel pipe with a drill and utility knife), Scott had brought the generator to life, and we began our load in and sound check.
After the sound check, we all feasted on some locally famous barbecue, and went to the hotel for some downtime before the show. I returned to the venue around 7:30 hoping to catch some of up and coming and Nashville based Matt Stillwell’s, set. Unfortunately, because one of the other acts, George Dukas, was running late, their performance times were swapped, and I arrived after their show had already ended. We began our show at 9:30 on the dot, surprisingly right on time considering the chaotic mess of the day we had just encountered. This event was the annual “Helping a Hero Benefit” put on by the Baytown Police Department, and served to help raise money for a fund for families of officers lost in the line of duty. While the attendance was less than desired, the quality of the audience was anything but lacking. A handful of town folk that did show up spent quite a bit of money on some big dollar auction items for this great cause and stayed for the entirety of our 90 minute set. Mike Chapman, who had only played with us on a couple of other occasions, nailed the show to the floor, his 3+ decades working in the Nashville music industry recording with such giants as Garth Brooks, LeeAnn Rimes, and countless others, no doubt aiding in his proficiency.
This stressful day came together as the result of a lot of teamwork. Scott, with some background in electronics, was apparently the only person on site possessing the knowledge it would take to make that generator come to life and power the show. The Baytown police went and purchased the rubber mats for the stage. Our bus driver, Steve provided some of the tools that were necessary for our rubber stage modifications. Matt Stillwell and band was gracious enough to perform their show two hours ahead of schedule. In hindsight, it’s funny, even kind of ironic, that while the day before had gone so smoothly, and it’s show had felt so sluggish (despite a crowd of almost 2000), that this difficult day, despite its low attendance and being full of problems, delivered a concert experience that was far more rewarding. Put these two wildly different events and shows together and you wind up with one great day and one great show – A fitting end to our 2010 touring season.
Becoming a successful musician or an entertainer in the 21st century is a tough endeavor. It’s probably as difficult as becoming a successful actor in Hollywood. In this field of extreme competitors, you need to have every advantage you possibly can. Even if you aren’t going after the big prize, for many musicians, a lifetime of pursuing their craft will still take its toll. This is why it is in the best interest of most musicians to be physically fit.
If you are a musician, whether you play guitar, drums, sing, saxophone, or other, you inevitably fall into one of two categories; 1.) Professional musicians, semi professional musicians, and musicians aspiring to become professionals, or 2.) Amateur musicians, hobbyists, and musicians that play solely for expression, art, or the fun of it, regardless of compensation.
If you are either working as a professional musician, or aspiring to do so, you probably already know how competitive this field is (if you don’t, you might want to take a look around you). To earn a living as a musician in this day and age, or at least a partial living, a great many things must come into alignment. Talent, social skills, looks, longevity, and luck are some of the essential components. Since you really can’t control luck, and assuming you have some talent and social skills and are already honing those traits, that leaves looks and longevity up for grabs. This is where physical fitness comes into play.
Looking Good
I chose to address this factor first because so much of what happens in the entertainment industry is based on appearances. As superficial as this may be, it is simply a fact, and one that shouldn’t be overlooked. While I do feel that looks and talent shouldn’t have to be tied together, the focus here is on the music business, so I’ll save that discussion for another time.
We have a strange way of approaching how we look in our society, that being that we tend to put makeup on a pig. I’m sure you’ve heard that expression before, but here’s my spin on it. How many times have you seen some performer, whether on TV or in a nightclub, who has obviously put a lot of thought into his or her wardrobe and appearance? $300 haircuts, pre-ripped and pre-faded designer jeans, fancy shirts, eye-catching jewelry, makeup, even an obvious obsession with tanning is evident for some. Yet when you look at the performer’s arms , there isn’t a hint of muscle tone to be found anywhere. Even though they aren’t obviously overweight, you can’t help but notice their ass looks just a little too big for the outfit struggling to hide it. Or perhaps he or she has no ass all, flat as a board on the backside due to the fact that they have no muscles there either. Of course this description would describe many people in almost any field. As most Americans are now overweight, each year the numbers steadily increasing, so is our desire to attempt to mask this fact with fancy haircuts, designer clothes, spray-on tans, and makeup.
But if you are aspiring to be a professional musician, you are different than most people, you are in the world of showbiz. This means that, in many cases, your appearance is directly tied to your career, and sooner or later you will be judged on your looks. So rather than continuing to follow the trend of ‘putting makeup on a pig’ why not address the issue at its core and put more emphasis on physical fitness. There is a difference between being skinny, a little overweight, and being physically fit. I have been skinny for most of my life, but I have not always been fit. When you are physically fit clothes automatically hang better, your skin color looks better, and your face looks younger. People who are physically fit tend to have increased energy and stamina, and this helps to project a more youthful vibe in general. Not to mention the increased confidence and sex appeal that can come with being in great shape. With the music and entertainment industries now more competitive than ever, there is simply no excuse to not look as good as you possibly can. A fancy haircut and designer clothes aren’t going to fool everybody.
Longevity
To me, the need for longevity makes the best case for being physically fit, and this applies to all musicians, pro or otherwise. From the time we were teenagers, through our 20s, even into our 30s, typically, our bodies are still functioning under their original drivetrain warranty, meaning that, at least for most of us, things aren’t yet starting to go wrong on the grand scale that they eventually will. If you are a young person and reading this, you’re probably thinking “That’s the kind of crap my grandfather used to tell me.” Well I hate to say it, but ol’ grandpa was right. As our bodies age our joints begin to wear, we become more susceptible to injuries, injuries take longer to heal, and a whole host of other problems ranging from high blood pressure to heart disease and beyond start becoming more likely. I’ve had tendinitis for five years now, and sometimes it interferes with my playing. Some of my musician friends, after decades of problem free careers, are now starting to have their own problems too. Everything from back problems to carpal tunnel and even diabetes and strokes are now interfering with their careers and lives.
The effects of aging can and will happen to people from all walks of life, but the hard lifestyles of many musicians can further amplify the effects of aging. Being a musician is stressful, often requires extensive travel, and for many of us, requires a repetitive hand, arm, or leg motion that is certain to lead to problems. Being physically fit is the only way to combat these problems. Alcohol or drugs, whether prescribed or other, are only a band-aid, and for many, masking the pain in this way can lead to further injury. Being a career musician, I often have little to no choice about the gigs I need to take to make a living. Sometimes I will play a 3 1/2 hour show nonstop. This requires great stamina and, even though I am in good shape, sometimes my whole body aches after a long hard gig. How much worse would I hurt if I didn’t take care of myself? I still have to load my gear into my car regularly and my Vox amp weighs almost 100 pounds. Over the years, I’ve thrown out my back doing this on more than one occasion, being physically fit helps combat this as well. Regular exercise has been the best weapon against my tendinitis too. Without regular stretching and exercise it quickly becomes almost unbearable.
In the world in which we live and work, a world full of extreme competition, an extreme approach to health and fitness simply makes sense. Some people say that America has the best workforce in the world. If this is true, shouldn’t the best workers be in tip top shape? You can either continue ‘putting makeup on the pig’, or you can work towards becoming fit and give yourself a real leg up on the competition. Even if you don’t aspire to play professionally being fit will help ensure the likelihood of enjoying your hobby or art for years to come. As far as achieving an extreme level of physical fitness, there is no shortcut. It can only be achieved with good old-fashioned hard work which involves a lifelong commitment to regular exercise and healthy eating.
Do you want to look good when you’re 50? Do you want to still be able to play music effortlessly when you’re 60? I do.
While we awoke Sunday morning in high spirits, we were sad to see this trip drawing to a close. What was originally planned as a simple three-day getaway wound up being a prolific, life-changing experience. We thanked Marc for her hospitality and informed her that the Shack up Inn had just become at least an annual destination for us. As we made our exodus, heading north on Highway 61, we again took in to view a seemingly endless sea of cotton. We basked in the memories of the trip for most of the five hour drive home, recounting several high points still fresh in our minds.
While our explorations may not have revealed every facet of this community, this it did reveal; Clarksdale, while being one of the poorest places we have ever visited (economically speaking), is rich in its heritage, rich in spirit, its wealth defined by the warm and open nature of many of its citizens, and by this community’s enduring and ongoing contributions to the vital music our world so badly needs. In the circles we traveled during our stay, all of the locals we encountered were friendly and courteous, seeming to understand and appreciate the musical history that was born unto this place and the interest it still procures. It is an atrocity that most Americans are unaware of the cultural and musical heartbeat that dwells here.
Through a continuing appreciation for the music and culture of the Delta by some unlikely world citizens, citizens from every race, sex, and ethnic background, Clarksdale is a true melting pot, even if the pot is somewhat temporary. People from all walks of life and from every corner of the U.S., Europe, Asia, and beyond gathering in these sacred music halls for some song and dance – this isn’t history, this is today, and tomorrow, and I believe that many who visit Clarksdale will forever carry a piece of this culture and music with them, perhaps even a renewed sense of hope and purpose from their experiences here. I know we will. We came for a vacation, and while it was all of that, the experience was transformational, a musical and cultural revelation we are thankful to have had.
If you are a fan of blues or blues-influenced music, the Clarksdale experience is a must, there is a deep rooted blues subculture alive and well here. If you are a history buff, you can learn more about the American struggle by visiting this place for just one day then you can from most history books. If you just want to have a great vacation, you can do that too.
Feeling compelled to document this journey as thoroughly as possible, Kelly and I took around 500 photos over this three-day adventure. While ‘vacation pictures’ are never as interesting to anyone else as they are to the vacationers, we have decided to post most of them in a photo Journal for all to see. I have broken them down into several albums, each listing the day and the subject matter. If you are considering a trip to Clarksdale, or just curious about the place, this photo album should provide some perspective. Eric and Kelly’s Clarksdale Photo Journal
Saturday Morning at the Shack Up Inn
We woke up kind of late on Saturday morning, a light rain falling on this grey but warm September day. Although we had initially planned to check out and head to Memphis around noon, we felt like our journey here wasn’t complete and that we would be doing ourselves an injustice by not staying for one more day. Memphis would just have to wait for another time. So after a little breakfast on the screened in back porch, I walked over to the lobby to see if we could stay for one more night. I explained to Marc, the woman working at the front desk, that we were having such a great time in Clarksdale and wanted to stay for one more night. “All our shacks are booked for tonight, but give me a moment.” With that, she disappeared into a back room, returning a moment later with some good news. 
“Guy said that we can rent you a room at ‘Bill’s house’ if that can work for you.” “Sure, that sounds good.” A minute later, I was introduced to Guy who walked me over to the house to show me the set up.
As it turned out, ‘Bill’s House’ is a magnificent 3000 square foot, three bedroom ‘cabin style’ home housed in an old tin covered barnlike structure just beyond the shacks. The decor in this giant space was as rustic as our cabin, and our bedroom even had its own separate bathroom wing. I told Guy that this would work just fine, and on our walk back over to the lobby asked him if they ever have any performances in the music hall. “Yeah, we have live music sometimes. It’s actually a great sounding room. I’m working towards being able to make live recordings in there.” He went on to tell me how when they were first building the music room, he had a friend from a university come in and conduct ‘sound tests’ to acoustically maximize the space. If all goes as planned the Shack Up Inn will have the ability to make live multitrack recordings sometime in the spring of 2011. I said goodbye to Guy and headed back to our shack to begin moving our belongings over to ‘Bill’s House’.
A Drive around Town
After lunch we decided to take another drive around to further explore the town. As we had already seen much of downtown, we set out without a plan to get a feel for some parts of the town we had not yet seen. The city of Clarksdale is an interesting community. Our casual 
drive encountered sporadic light traffic, and took us in and out of many different neighborhoods. There were ‘nice’ sections, and not so nice sections, but even driving through the not so nice sections, we never once felt uncomfortable. We noticed some areas had relatively well maintained homes right next to rundown ‘shack like’ buildings, while other areas looked completely destitute. Economically speaking, Mississippi is 
the poorest state in America, and this struggle was evident. How could a place so rich in culture and history, it’s musical heritage literally the foundation of all modern music, become so neglected and forgotten?
A little while later we were driving by Red’s on the way back to the Inn when I noticed a car parked out front. The front door was open, so I stopped in for a quick hello. During our brief chat Red asked me where I was from. “We’re from Nashville and came here to celebrate Kelly’s birthday.” “Nashville, now that’s a dangerous place!” he proclaimed, and I nodded my head in agreement. He went on to tell about some of the town’s biggest talents growing up within just a few miles of this spot. “John Lee Hooker grew up just a couple miles from here. Muddy Waters grew up about 5 miles from here. Ike Turner used to live right across that bridge.” He went on to tell about how in the old days, when a lot of these guys started becoming successful, that’s when their problems really began. “Once they started making money, they bought new houses and cars, only to lose it all once they split up with their old ladies. Sometimes, after they’d become successful, they couldn’t afford to have careers, so they’d just quit for a while.” So goes the life of a bluesman.
Saturday Dusk at the Inn
We returned to our ‘new shack’ and ate dinner, after which I decided to take one more walk around for some photos. The music room in the ‘Cotton Gin’ contains some beautiful spectacles, and I just stood there for a moment upon entering, soaking in its woody vibe. Memorabilia and signs from a forgotten era in the South’s not so distant past were constantly evident, and at times I couldn’t tell whether I was standing in a music hall or some sort of cultural exposé. The fact that blues recordings can be heard literally all over this plantation only add to the mystique. A sign bearing the words ‘Dentons Ice Cream – it’s real food’, a portrait of Elvis, a pre-1950s looking Schlitz beer sign, an old Coke machine – not a hint of anything modern except for the two PA speakers on the stage. I was beginning to feel like this entire Clarksdale experience was the junior high school field trip that I never had, but should have had. This kind of culture and history just can’t be learned in a textbook.
Red’s blues party with T-Model Ford and friends
It was about 7:30 when we pulled up to Red’s and, unlike the night before, the place already had a bit of a crowd. We walked in toting my guitar and amp, as Red requested, set them down near the music area and found a seat. T-Model was already there, sitting on a chair next to the drums and lightly playing some bluesy guitar riffs. His 12-year-old grandson ‘Stud’ is T-models regular drummer, and was already seated behind the drums. I went to the bar to say hi to Red, bought a couple of beers and returned to the table. A few minutes later T-Models light strumming morphed into the beginning of his set, almost unnoticed. The crowd grew quiet as soon as he began singing in his deep resonant voice, his chilling cries slicing through the night air like a razor. We sat mesmerized, and the crowd showed appreciation after each song. About a half hour into his set he asked “Where’s that other gee-tar man?” I raised my hand, and he waved me to the stage with an inviting gesture.
As soon as I set up my amp and plugged in my guitar we were off and running. He never announced any song in advance, he would just start playing a rhythm, a couple of bars later Stud would follow suit, and I would jump in as soon as I could figure out what they were doing. Before I knew it, the place was a rockin’ and I was holding on for dear life. Every once in a while, in between songs, T-Model would grab a glass of whiskey from the top of his amp, hold it up, and proclaim with a passionate howl “Jack Daniels time!” evoking an excited response from
the crowd every time. Beginning to feel a little left out, I signaled Kelly to bring me a glass of whiskey, which, after taking a healthy swig from, I set on a stool beside me. Gradually, the place filled up and we just kept on playing. I recognized some of the faces from the night before, but many newcomers were there as well. When T-Model asked the crowd were they were all from, some of the answers were different than the night before, but still just as diverse – Wisconsin, Spain, Louisiana, Germany, among other distant places.
Following T-Model in his unique brand of Delta blues was as much an education as anything else. Unique to his style is a peculiar notion of changing chords on random beats, something that Stud is exceptional at following, and I was learning. This required intense concentration on my part, and I rarely took my eyes off of T. Apparently, it was all working quite well, as the audience constantly showed their approval. Several times throughout the night the dance floor again erupted with the kind of sexy and provocative moves that could only happen in a juke joint in the deep South. At some point in the middle of all this, Dingo asked if ‘Gypsy’, the blues guitarist from Japan, could use my amp for a couple of songs. He played a couple, and then T-Model motioned to me back to the stage. A local harp player then sat in for a few, the crowd still grooving hard. Around 11:30 things began to wind down, T-Model had been playing for nearly 3 1/2 hours straight and it seemed like he had said everything that needed to be said.
As I put my gear away, I couldn’t help but thinking how lucky I was to be invited to play a whole night with a living blues legend in a real juke joint. We had a few photos taken with Red and the gang, and thanked everybody for making our first trip to Clarksdale such a wonderful experience. I commented to Dingo about how great it was that they let other players sit in. “We let everybody play. If they’re good, then they can keep on playing. If they’re not too good, then we just kinda eeeeease em’ on out after a couple of songs. But everybody gets to play at Red’s.” I thanked T-Model for letting me play, and he shook my hand and said “Thank You!” Red and his friends had welcomed us into their world, and their openness warmed our souls. It was a truly magical night!
Nightcap at the Shack
Back at the Shack Up Inn a few minutes later, we grabbed a couple of beers and went out to sit on the giant porch swing behind the lobby to unwind. We chatted with several other visitors, and it seemed everybody we talked to had been at Red’s at some point over the weekend. College kids from LSU, a couple vacationing from San Francisco, even Marc, the front desk clerk had gathered with us to enjoy some late-night cheer. It wasn’t long before some acoustic guitars came out, and we all sat around for a little while longer strumming and singing into the night. I couldn’t believe that we were actually going to have to leave this place!
Friday Morning at the Shack Up Inn
Friday morning came a little too early when we were awoken by some sort of tweety bird chirping right outside our bedroom window 
around 7 AM. With the help of some earplugs, we were able to fall back asleep for a couple more hours with hardly a sound from the outside world audible from inside our little shack. After eating some breakfast while listening to a little Robert Johnson, I decided to go on a photo taking expedition around the grounds. It might not be right for everyone, but I found the decor around the Shack Up Inn immensely interesting. Rusted old farm equipment decorated the lawn, old Coca-Cola signs were placed at random, a tree was covered with blue and green bottles – these folks had figured out how to turn what might otherwise be considered junk into art, and this helped make the Inn feel like some sort of living 
museum of the old American South.
We set out a little while later to begin exploring downtown, and our first stop was to take a few photos of the ‘crossroads’ sign at Highway 49. The picture in my mind of this place where Robert Johnson allegedly made his deal with the devil is of course nothing like this modern touristy version, as this intersection is now surrounded with businesses including the adjacent Churches Chicken. It was still worth a few pictures, and later in the day I accidentally found another intersection in town that looked eerily like the crossroads I envisioned.
Downtown Clarksdale
As we continued driving towards downtown we began to notice how poor this community is, seeing many run down buildings, once occupied by businesses and services, now empty, their exteriors slowly deteriorating. Upon arriving downtown we easily found a free parking spot near the Delta Blues Museum and began our first walk around amidst some light foot traffic. Our first stop would be Blues 
Town Music, a local music store filled with cool old gear, worthy of the store’s namesake. An Asian man was sitting on a stool and playing some traditional blues on an open tuned guitar – “I saw you play at Ground Zero last night. Great playing!” he commented. “Thanks. I’m Eric, pleased to meet you.” “My name is Gypsy, and I’m here on vacation from Japan.” he informed me, and after some conversation I learned this was his 10th trip to Clarksdale. We continued our stroll, taking in the sights of this obviously once booming town, now struggling for its very survival. The downtown area had pockets of activity, and other areas that seemed void of all life. Many of the buildings looked like they hadn’t been painted in decades, some with boards on the windows, others with bars on them. As we continued our walk on some of these near empty streets, this kind of sporadic hot and cold ghost town feeling was almost a bit unnerving, however, not once did we feel in danger.
We walked over to the Ground Zero Blues Club to snap a couple of quick pictures in the daylight, and continued onward in search of the legendary ‘Red’s Blues Club’, the infamous juke joint everyone seemed to hold in such high regard and our destination for later that night. Coming out the back side of the Ground Zero parking lot we came to a large abandoned blue brick building touting the sign ‘Delta Wholesale Hardware Co.’ before crossing the train tracks. A little further down the road we spotted another old brick building with a couple of smokers sitting on the curb in front. Somehow we just knew this was Red’s and ventured closer to take a peek. If you didn’t know what you were looking for you would never think to stop at this Sanford and Sonesque place, it’s curb littered with a beat up old couch, a broken toilet, and several large pieces of homemade barbecue apparatus. Above a tattered old canopy the faded words 
‘LaVENE MUSIC CENTER’ were stenciled onto the brick, perhaps remnants of another failed business out of yesteryear. Only once right upon the sidewalk did the sign ‘Red’s Blues Club’ become visible. It was a curious moment of realization knowing that a few hours later we would likely be experiencing something very unique and special.
We began walking back to our car to return to the shack for some lunch when a friendly local volunteered to take our picture. For a split second we both had the vision of the scene in National Lampoon’s ‘European Vacation’ when a local runs off with the tourists camera, but that didn’t happen, this local was quite genuine.
Cat Head Delta Blues and Folk Art
Upon returning downtown a couple of hours later our first stop would be at 252 Delta Ave, home of Cat Head Delta Blues and Folk Art. The place was kind of a cross between a gift shop and an art gallery for blues aficionados containing CDs, DVDs, books, T-shirts, and some amazing local folk Art. They had a large collection of documentaries and books about blues history and culture available and I could have easily spent a small fortune. Not having grown up in the South, I asked the man behind the counter about the origins of the term ‘Cat Head’. He explained to me that “In the early 1900’s ‘Cat Head’ was a company that made giant biscuits, biscuits so large they were the size of a cat head.” In addition to being a store selling everything related to the blues, Cat Heads website is kind of a central gathering point for information pertaining to not just Clarksdale’s live music scene and points of interest, but to blues related events throughout the Delta. After browsing the store for a little while longer while listening to some obscure blues recordings over the speakers, we went on down the road.
Located on East Second Street, (a little bit off the beaten path) we found our way into the museum and were greeted by ‘Theo’. Theo is originally from Europe and the owner of the museum and, above all else, Theo loves American blues music, history, and culture. After paying the minimal entry fee of five dollars a head, well worth every penny mind you (not to mention helping this great nonprofit organization), we began exploring this massive collection of American roots music culture. “Roots to Fruits”, Theo explained, is the theme of this museum, and if you walk through the museum on the recommended path, it shows the evolution of the earliest blues artists and recordings, and how that music transcended across generations and continents giving birth to early blues influenced rock and roll artists like Elvis, the Beatles, and the Stones before morphing into the roots of modern rock with artists like Jimi Hendrix, Led Zeppelin, the Who, and beyond. Amidst this collection of rarities, which I learned was moved here from Europe about five years ago, were some of the earliest and rarest blues records, concert posters, early record players and jukeboxes, even an old barber chair that came from a local barber shop in which John Lee Hooker and many other legends got haircuts back in the day. We saw the Muddy Waters record which gave birth to the Rolling Stones namesake, its title bearing ‘Rolling Stone’. The original contract offer form for the Who’s performance at Woodstock, where they received $6250.00 for their historic performance. Pencil drawings by John Lennon, the controversial Jimi Hendrix ‘Electric Lady Land’ album sleeve bearing several nude ladies, and Muddy Water’s ‘contract rider’. We could’ve stayed in there all day, and this would have been especially easy to do as Theo loves to talk, but we said goodbye as we still needed to check out the Delta Blues Museum.
This nonprofit museum is also a must see for anyone who wants to learn more about American blues culture. We arrived a bit late in the day, only about 45 minutes before closing, so we had to breeze through a little faster than we might have preferred. However, the 
place is magnificent. Early blues recordings can be heard playing over the loudspeakers upon entering the lobby. After we paid our entrance fee of seven dollars each, we walked into a giant room that seemed to radiate from another era. The walls were covered with records, plaques, and drawings of blues legends that came from this part of the Delta. Guitars, clothing, and other memorabilia from artists like Charlie Patten, Son House, Ike Turner, and countless others who had grown up within a few miles of this place were beautifully displayed within plexiglass cases. Perhaps the deepest moment of experience we had within this giant roomful of blues was the Muddy Waters exhibit. The original sharecropper shack in which Muddy Waters grew up had been placed inside this room, complete with one of his old Fender Twin amplifiers, and a legendary guitar commissioned for the museum by Billy Gibbons that had been built from one of the pieces of wood from this shack. Inside the shack, videos showed archival footage of Muddy as well as interviews with his peers, all to a soundtrack of his rootsy music. The moment was revealing knowing the hard life this man must have endured, growing up with his family in such a small coarse space in pre-civil-rights America. It was difficult to pull ourselves away, and we gradually made our exodus as the museum was about to close.
The Crossroads
Having thoroughly explored the streets and sites of this unique downtown during the daylight hours, we returned to our shack for dinner and a shower, anxious for our second nighttime adventure into this land of the blues. I had noticed earlier in the day that the intersection of the road leading into the Shack Up Inn, especially from one particular angle, looked a bit like the crossroads of the Robert Johnson era that I had many times pictured in my mind. So right before dinner, with the sun low in the western sky, I snapped a few photos to see if I could capture the unique feeling of standing at such a foreboding spot out of American folklore. A little while later I couldn’t help but to experiment with my picture in Photoshop, and with a few quick adjustments, I had a photo that, at least to me, looked like ‘the crossroads’ where Robert might have made his deal.
Red’s Blues Club
We arrived at Red’s just after 9:00 PM and ‘Big Anthony’ was getting ready to play. The place was still near empty and, after paying a five dollar cover charge, we found a seat and began to take in the sultry scene. Red was working behind the bar and sporting a pair of dark sunglasses in an already dimly lit room. I’m not sure if it’s intentional or not, but the lighting in Red’s is just that – red. Red colored 
neon signs scattered throughout and a couple of red colored lights aimed at the stage create a kind of reddish hue that was inescapable. The place was fairly small, about 20 x 40, and sheets of plastic haphazardly covered the ceiling. Every square inch of the walls was covered with something, be it photos, posters, beer signs, or the lone flat screen TV which never went off. The place had 2 air conditioners which occupied the only windows in the place and a series of fans placed strategically (or randomly) at different locations throughout. The furnishings were comprised of several varieties of barstools, tables, chairs, and couches, all mis-matched and old looking, yet amazingly comfortable. The performance area faced the bar, and its central location seemed to optimize the room. On either side of the ‘stage’ stood a giant column of four or five speakers, circa 1980’s, although it only seemed like a couple of them were being used.
Anthony spotted me from across the room and made his way over asking “Did you bring a guitar?” “Yeah, but I came to hear you play. I’ll get it in a little while.” A few minutes later a friendly older gentleman, who seemed to know everybody, walked on over to our table and said “I’m going to sit with you folks tonight, if that’s okay.” “Of course, have a seat.” I said, later learning his name to be Dingo. We ordered a couple of beers and set our bottle of tequila on the table next to Dhingo’s bottle of Evan Williams whiskey. Beer is the only alcohol sold at Reds, therefore allowing a BYOB for liquor only.
Anthony’s show began as perhaps the most subtle start to a performance I have ever seen. Also wearing sunglasses, “A” was sitting on a stool with a cigarette hanging out of his mouth when he began playing some blues guitar licks, backed only by a drummer. There were maybe only six or eight of us in the room at this point, and the feeling was relaxed and comfortable as Anthony played his brand of 
Delta blues. He must have played seven or eight blues instrumentals, for nearly an hour, before the vocal portion of his night would begin. The music was earthy and hypnotic and it felt as if time had stood still. As his deep voice resonated some mournful passages, I felt transported to another era. Gradually the night picked up and people started coming in. Another local sat in on backup vocals for a couple of songs, and then Dingo was up to sing a little too. The dance floor (or carpeted area in front of the band) had a few eruptions of activity throughout the night whenever locals and tourists felt the mood. At one point Anthony asked different folks around the room where they were from. The answers were as diverse as imaginable – Italy, Canada, Switzerland, New Orleans, Japan, San Francisco, Tennessee, Australia – people from all over somehow knew about this hidden blues universe.
Now pretty far into this evening and feeling fine, I asked Anthony between songs if I could play a couple with him. He nodded yes, so I went out and grabbed my guitar and amp. I joined him and his band of drummer ‘the Clarksdale All-Stars’ for two or three up-tempo blues, a high point coming on the last song with a little ‘head cutting’. Already having played two and a half hours straight, Anthony suggested I sing a couple while he took a break. His drummer stayed on and I played a couple of blues classics before launching into a funky version of Hendrix’s ‘Voodoo Child’ which received a roaring applause. I returned to the stage to Anthony, and a little while later when we were getting ready to leave, Red made his introduction. “You should come back tomorrow night, ‘T-Model Ford’ will be here and it’s gonna’ be a good time. Bring your guitar too. The old guys don’t mind other musicians playing with them.” “Were supposed to go to Memphis tomorrow, but if we can rent our room for one more night we just might do that. Are you sure it would be okay for me to play with him?” I asked. “This is my place, just come on down and bring your guitar.” I then grabbed the unopened bottle of Evan Williams, Red’s whiskey of choice, from the back of my amp and presented it to Red. “We read on the Internet that this is your favorite whiskey, so we brought you a bottle as our way of saying thanks.”
With that, we headed back to the shack. Having had such an amazing experience so far, the idea of leaving for Memphis in the morning was growing less likely by the minute. 