Jerry Lee Lewis sluts in around 3 AM, Rolls Royce slotted, current wife, purse, pill-prideful, 15 minutes run from Nesbit, MS to Brooks Road, HH, Memphis, TN: a 'Killer,' you then not present, remain the unseen inheritor of this Killer, and until NOW, would remain as such!
Chipping Sparrow. original gouache painting copyright David Sibley.
You have the luxuriating'louder purl falling trill'(a rapid series of very short phrases on a steady pitch, with almost nonexistent pauses between each phrase...in our brain the sound runs together to form a continuous trill. Birds can hear a lot “faster” than we can...and consequently can extract a lot more information from a very rapid series of notes), pleasure of pristine pianoforte, fortepiano "loud-soft,"Kelly Hali Chelettechili-pepper-hot, slow-screw live-and-let-whet Memphis-lucky pill people, before'Singer Wants to Bring Music Back to Hernando's Hideaway' (but never in your life, like THIS), from godforsaken ? AM to godforsaken ? AM, courtesy of the coolest Peavey twang-bangin'-Bakersfield-slangin', grease-blacked duck-assed C-Twitty-son of whomever the maker who makes now in the shadow of the pyramid, HIs pharaonic Tut-tomb NOW.
But then--this dinky stage-- dinky was proscenium-red-shag, color of eternal fire, embedded Eskatrol deep pile pillules from Dr. Nichop, 'musezy' like yoursister's dressonSunday after church,which it is!
Listen to the mellow-mallet-muted, mesmeric sixteenths distorted and gliss-blissing us from that Wurlitzer,commissioned by the Maytag-tongued whip, 'who don't give a fuck the most;' his pallor, snow and inside-lassitude,lazy settin'-inlike someone laying louche licks like the meanestmotherhumper whoever shat outta meatass, slouching toward Bartlett, leering toward Lamar, lashing toward Bad Bob's, laughing Elvis outta Lansky's and that horrible hole Jerry Lee can't hardly see, perched on top his catbird seat like he just crawled-up onto the Starck, four-years-old, looking like he may stay there the duration.
This is the reason we are all oglingthat which Mr. Tinsley'sperspicacity
in,
on,
and around,
shot wads whichthis, which is thatwhich could have remained equal to, at least, the furtive nocturnal emission of yon ole past, or, whichever what it may be who keeps nights conspiratorial fodder, sui generis: Yeti, Bigfoot, Kennedy, or whatever it is you wonder inside Shelby County in the bitumen blackness of the rolling asphalt like theCable Access broadcast on channel35°13′23″N 89°50′28″W.
Trilled Songbirds
Chipping Sparrow. original gouache painting copyright David Sibley.
The simple trilled songs of species like Chipping Sparrow and Dark-eyed Junco offer some of the most difficult, and most common, identification challenges in bird song. There is simply very little information that we can glean from the songs to help us identify the singer. Each species sings a rapid series of very short phrases on a steady pitch, with almost nonexistent pauses between each phrase, and in our brain the sound runs together to form a continuous trill.
Birds can hear a lot “faster” than we can, however, and consequently can extract a lot more information from the very rapid series of notes. The differences are there, and a Chipping Sparrow does not get confused by the songs of Pine Warblers or Dark-eyed Juncos. The key for the birder trying to identify these songs is to practice hearing the finer details. In most cases we can’t really hear the details of the individual notes, but we can hear the resulting “gestalt” differences in the overall tonal quality of the sound.
Listen for those differences in quality, as well as upslurs and downslurs, the overall length of the song, changes in volume, and differences between songs within a singing bout.
Chipping Sparrow
The trill of Chipping Sparrow is nearly twice as long as that of any other species, and this is a consistent and very useful clue. In addition, the overall quality of the sound is usually mechanical and rattling, due to the complexity of each individual phrase.
Paley laughs, Jerry Lee and Paley duet the verse in question, and Jerry Lee quickly loses interest.
*only extant pharaonic tribute carved by Doug Meet ^with love and devotion—sphinx
only extant pharaonic tribute carved
by
Doug Meet YouTube
playlist page
In a 1987 story in The Washington Post, Eve Zibart described Hernando’s Hideaway as
“an old warehouse-cum-roadhouse with its windows bricked up and painted black, where Jerry Lee Lewis still beats the boogie-woogie piano.”
Mr. Shit' Tinsley (so-named by me much to his chagrin during one session at the original Doug Easley Studio during recording for the New Rose Records Linda Gail Lewis comeback record which I produced and had the unfortunate but entertaining Groundhog's day experience of being at Linda Gail's first gig in the death slot, 2 am to 8 am, accompanied by her Elvis impersonator husband Bobby Memphis, this is without a doubt the only thing I have ever experienced which I know for a fact can never happen again, even if that were something for which I might one day wish. (87)
'International Affair' Linda Gail Lewis's last best, career-changing project, entirely financed by the most intuitive man and New Rose Records founder and label president, Patrick Mathe, with whom you and I, have very possibly, been just one of the thousands of artists whose approval and small budget provided the career which may almost entirely have been attributable to luck at having been fortunate enough to know Patrick Mathe. (78)
recorded at Doug Easley's first backyard studio, funded by New Rose Records Patrick Mathe $6,000 1990 dollars, songs picked by me, i finished off an already-strange Memphis Honky Tonk gumbo, which in itself is already an anomaly or at least doesn't seem to be of a pristine, organic origin, all-local hodgepodge of Memphis musicians I could think of. (72)
He had been on his Facebook doing what he loved one day prior (like me, playing videos of favorite artists), both obscure and classic to a small group of loyal fans, protegees and strangers, from France, America, and cities all over the world, where his eccentric but perfect ear corralled everyone into a club which is still the masterwork of a man with taste supreme enough to act quickly, sell immediately, and use the small profits from his ever-growing catalogue to exponentially fund someone even more obscure and less marketable.
Best words:
Lewis (7)
Memphis (7)
Patrick (6)
new (6)
lee (6)
rose (5)
day (5)
tank (4)
band (4)
time (4)
easley (4)
Doug (4)
small (4)
Jerry (4)
honky (4)
Gail (4)
Linda (4)
years (3)
Mathe (3)
loved (3)
design (3)
man (3)
records (3)
reason (3)
shot (3)
world (3)
last (3)
first (3)
career (3)
Keyword highlighting:
This barren rest stop for Memphis cowboys, Honky Tonk heroes, and back in the day, Doug Easley and I, would through an effective pre-internet system consisting of musicians, connoisseurs of the weird, and people who once there, could never get enough of the crowd, the, frankly, bizarre house band, or if they were really lucky, Jerry Lee Lewis, strolling in around 3 am, his Rolls or Excalibur in the parking lot, his current wife's purse full of pills enough to make Henry Hill blush, and with a round trip of about 15 minutes, a Killer that none of you not having present then, have not seen until you have had the pleasure of viewing this entire show (more living room party).
Mr. Shit Tinsley, so-named by me much to his chagrin during one session at the original Doug Easley Studio during recording for the New Rose Records Linda Gail Lewis comeback record which I produced and had the unfortunate but entertaining Groundhog's day experience of being at Linda Gail's first gig in the death slot, 2 am to 8 am, accompanied by her Elvis impersonator husband Bobby Memphis, this is without a doubt the only thing I have ever experienced which I know for a fact can never happen again, even if that were something for which I might one day wish.
'International Affair'Linda Gail Lewis's last, best, career-changing project, entirely financed by the most intuitive man and New Rose Records founder and label president, Patrick Mathe, with whom you and I, have very possibly, been just one of the thousands of artists whose approval and small budget provided the career which may almost entirely have been attributable to luck at having been fortunate enough to know Patrick Mathe.
recorded at Doug Easley's first backyard studio, funded by New Rose Records Patrick Mathe $6,000 1990 dollars, songs picked by me, i finished off an already-strange Memphis Honky Tonk gumbo, which in itself is already an anomaly or at least doesn't seem to be of a pristine, organic origin, all-local hodgepodge of Memphis musicians I could think of.
He had been on his Facebook doing what he loved one day prior (like me, playing videos of favorite artists), both obscure and classic to a small group of loyal fans, protegees and strangers, from France, America, and cities all over the world, where his eccentric but perfect ear corralled everyone into a club which is still the masterwork of a man with taste supreme enough to act quickly, sell immediately, and use the small profits from his ever-growing catalogue to exponentially fund someone even more obscure and less marketable.
Sentences:
*Jerry Lee Lewis called Hernando's Hideaway his second home for 35 years.
This playlist is the only complete four-video, late-night survivor,
providing first-time voyeurs a picture and feel for that which I have tried describe and failed say.
strangest time warp posing as Honky Tonk a pistol shot from Graceland.
similarities end there, but if ever
you
found yourself a conservative in Memphis, it was there.
compiled for just that reason. This is it, folks.
Jerry Lee Lewis will never play here again, guaranteeing he will also never feel this content or appear as pleasant and warm.
Kenny Rogers (not related) will never own it again.
Bonnie Lee Bakley is murdered (that was the last dance I'll ever have with Ms. Evil).
This barren rest stop for Memphis cowboys, Honky Tonk heroes, and back in the day, Doug Easley and I, would through an effective system of musicians, connoisseurs of the weird, and people once exposed, could never get enough, of the crowd, the frankly bizarre house band, or if really fortunate, Jerry Lee Lewis, strolling in around 3 am, his Rolls or Excalibur in the parking lot, current wife behind, purse full of pills, enough to make Henry Hill blush.
And with a round trip from Ranch to HH, and HH back to ranch of 15-minutes, here is a Killer, none neither lucky enough nor meritoriously obsessed, will have seen the convivial living room party which lives here of this show.
This irreal venue, coincidentally proximate to its world-famous, money-making monument to the same debauched but furtive excesses which distinguish one and label the other: Rock 'n' Roll shrine, meet 24-hour-dive, sits in the now-badlands of Memphis, where Memphis shows its skirt as something strange from somewhere else, where live bands slog through a 24-hour-a-day routine.
This is where Jerry Lee Lewis struck out, inspired perhaps, and intoxicated undoubtedly (it was dark) en route to his immortal assignation assassination attempt to finally even the odds at Graceland, 10 minutes and pharaonic miles away slept the King.
You will never see the Killer here, or like this again.
Jerry Lee Lewis casually caresses Hernando's house-Wurlitzer, accompanied
perfectly
by their invisible house band (recording courtesy Robert Tinsley, stoic, hair-sprayed Elvis-black, immovable obelisk, eternally presiding centurion), guitarist, leader.
Robert 'Mr. Shit' Tinsley, much to his chagrin, during sessions at first original Doug Easley Studio, produced by me for Linda Gail Lewis'
comeback record extraordinaire, released the next year, 1991 as International Affair by Patrick Mathe, president and founder, New Rose Disque, Paris FR.
Having suffered Linda Gail Lewis Groundhog Day mood swings from consecutive nights accompanying she and family from apartment to studio, to and fro, hither and yon, after full days in studio, I was initially happy by her first Hernando's Hideaway gig until it was revealed to be scheduled at the uncontested shift of 12 am to 8 am.
Did I mention that her current and 7th husband was an Elvis impersonator called Bobby Memphis, from New Jersey?
Bobby Memphis' Elvis-like sleepless guard, persistently present, the only experience of which I am certain shall never be permitted to occur again.
'International Affair' Linda Gail Lewis' first, last best 'Comeback Album.'
New Rose founder president, Patrick Mathe,
intuitively agrees to frontload this before among and after a forum of thousands who may attribute their good fortune to good luck, but those of us who know contribute it and quantify our fortune by days or years when his friends were given the privilege to call Patrick Mathe, mon amis.
He and his label will of course be familiar to half of Memphis, or wherever erudite music-lovers and self-destructive rock stars gravitate or go to die.
Some of the talent he innately, intuitively signed:
Tav Falco and Panther Burns, Alex Chilton, Jim Dickinson's Mudboy, Country Rockers, Our Favorite Band, Hellcats, Linda Gail Lewis and Charlie Feather's masterwork (and that's just a greatest hits of Memphis).
Patrick died suddenly, entirely too young.
The night before on Facebook
Patrick was
doing what he loved doing,
playing videos for himself, happy if others agreed
(tasteful chestnuts, American outliers, Punk, obscure classics, soulful blues, New Orleans jazz, French pop and croon), for his equally particular followers' recognition as international memo to fans from a fan, then died.
His eccentric, perfect ear corralled disparate followers inside a club whose masterwork was defined by his
supreme
absolute taste, and unhesitating process: sell immediately, recycle small profits, reinvest in his ever-increasing catalogue, exponentially fund newer, more unremembered, less marketable acts, REPEAT.
His truly eclectic stable of New Rose artists will remember his quick-dealing, non-interfering, polite but firm confidence, signing bands from the gut, heart, and a young man's intuition (Memphis will recognize its famous fulminator as Sam Phillips) as precise an indicator as their past, or sales.
Patrick either started your career in European markets, parlayed in America with a mature more confident tour, or gave them the shot needed to more easily ween off a back catalogue, and conquer a new following, not by money but because of one man's belief, in many cases the first interest and investment of many years.
the super-lux and shiny New Rose-upgrade is due to the gifted designs from team Huart-Cholley.
H&C consistently created album art never seen this way again; exotic and luxurious, saving half the budget, always employing the most modern equipment, impossibly distinctive and with titles and freshly inventive distinction before the time of computer design, they represent the very best, last masters of the form.
Two unheralded geniuses whose loyalty and mutual respect for Patrick show in every detail, finely produced for the approval of their brother demanding a final approval from the founder and president whose love never wavered throughout their career, album by album.
their style resulted in lush, decadently rich design, unrivaled and out-spent by major labels.
The secret could be a chic, unassuming Louis Vuitton prestige, broadcasting its quiet ostentation.
Much like Champagne,
I refer to the secret weapon,
represented only under strict French laws and scrutiny, insuring its longevity and integrity
Elan oozes prominently from every LP or single issued, as a
bespoke,
small-batch, Bourbon from the small but mighty New Rose Disque.
a discretely placed stamp brand whispering exquisite restraint and power
reading in 10 pt. brand-chic typography, "made in Paris."
Whether you noticed or not, their covers prove equal to its investment, demanding bands' tours deliver quality.
Mesmerized by its elegance and hiding in plain sight, Charlotte Rampling and Catherine Deneuve sip espressos at your bistro.
recorded at Doug Easley's first backyard studio, funded by New Rose Records' Patrick Mathe with a small but graciously accepted all-in budget of $6,000 1990 dollars, and songs picked by me from my record collection.
i themed-off an already-strange Memphis Honky Tonk gumbo, in itself an anomaly with a pristine, organic all-local hodgepodge of Memphis musicians.
International Affair was a joy to produce, accomplished on time because of the ever-inspired Doug Easley (tell him hello when you see him, and show him this).
5-miles from the Lewis Ranch located in the rolling hills of Nesbit MS, Hernando's Hideaway was the world's strangest 24-hour honky tonk, acting as Jerry Lee Lewis's Camp David away-from-home home, his decompression chamber just minutes away from the airport and miles away from the last city.
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Jerry Lee Lewis — Hernando's Hideaway Memphis 1991
6 videos views-last updated on Aug 23, 2019
Public
Jerry Lee Lewis — Hernando's Hideaway Memphis 1991 video playlist
pharaonic tribute carved by Doug Meet
the bitumen blackness of the rolling asphalt like the Cable Access broadcast on channel 35°13′23″N 89°50′28″W.
