WYXR Stereo Sessions

Released in 1981 on EMI America, To The Point finds KWICK operating in the fertile but competitive aftermath of Stax Records’ collapse, when Memphis funk bands were recalibrating for a new era. Emerging from the Stax-affiliated vocal group the Newcomers, KWICK fused deep harmony traditions with sleek synthesizers, dance-floor precision, and forward-leaning studio polish.

Under the guidance of producer and executive Allen Jones—architect of the Bar-Kays’ reinvention—KWICK was part of a wave of self-contained Memphis groups vying for position just beneath the city’s reigning funk institution. Alongside contemporaries like Ebonee Webb, Kilo, Galaxy, and The Main Attraction, KWICK helped define a post-Stax sound that embraced disco’s momentum without abandoning Memphis’s muscular groove.

To The Point captures that moment with clarity and confidence—a record shaped by ambition, adaptation, and the enduring belief that Memphis funk still had places to go.

Originally released in 2002 on Bardot Records, Our Land Brains captures Snowglobe at a moment of creative arrival, translating their reputation as Memphis favorites into national recognition. The album blends melodic psych-pop and rock with thoughtful arrangements and shared songwriting, drawing from ’60s pop traditions while remaining firmly rooted in the early-2000s indie underground.

Built as a front-to-back listening experience, Our Land Brains balances concise, hook-driven songs with more expansive, exploratory moments, revealing a band unafraid to stretch form and texture. Critically acclaimed upon release and later reissued as a remastered double LP with new artwork, the album’s renewed life underscores its lasting resonance. This Stereo Sessions installment explores Our Land Brains as both a snapshot of a specific era and a testament to Memphis’ enduring, album-driven indie tradition.

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Released in 1983 on Memphis-based Three Angels Records, Master Save Me is a gospel album shaped by the city’s deep overlap between sacred music, soul, and funk. Anchored by Wanda Lott’s commanding vocal presence, the record blends devotional lyricism with rhythm-forward arrangements, synthesizers, and live musicianship, reflecting a moment when gospel embraced contemporary sound while remaining rooted in testimony.

Written and arranged by Gale Jones Murphy and featuring a robust choir that includes Deborah Gleese and Calvin Barnes (parents of The Sensational Barnes Bros.), Master Save Me stands as both a sacred work and a cultural document. This Stereo Sessions installment explores how Memphis gospel labels like Three Angels Records functioned as vital community infrastructure, preserving spiritual expression while quietly influencing the broader emotional language of the city’s music.

Released in 1977, Wanna’ Meet the Scruffs? is one of Memphis rock’s great cult albums — a sharp, emotionally charged burst of power pop that arrived quietly and disappeared almost immediately. Led by songwriter and vocalist Stephen Burns, The Scruffs blended British Invasion melodicism with American garage grit, pairing chiming guitars, tight harmonies, and restless energy with songs steeped in romantic frustration and youthful urgency.

Recorded at Ardent Studios with engineer John Fry, the album reflects a moment when Memphis musicians were carving parallel paths outside the city’s dominant soul and funk economy. While often mentioned alongside Big Star, The Scruffs brought a tougher, more street-level sensibility — less mythic, more anxious, and fiercely direct.

Initially pressed in small numbers and overlooked upon release, Wanna’ Meet the Scruffs? has since earned its reputation as a lost classic: a record built on melody, momentum, and emotional abandon that continues to resonate with power-pop devotees decades later.

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Released in 1998 on Relativity and Mo Cheda Records, 2 Wild For The World stands as a defining document of Memphis rap’s late-’90s underground. Presented and produced by DJ Squeeky, the album pairs Tom Skeemask’s raw, uncompromising delivery with production that bridges the funk-forward sensibility of 8Ball & MJG and the darker, hypnotic textures running parallel to the rise of Three 6 Mafia.

That balance of live, soulful musicianship and synthesized sequencing gives the record its distinctive weight, situating it between street-level realism and atmospheric menace. Heard today, 2 Wild For The World not only captures a pivotal moment in Memphis rap’s evolution, but also anticipates the sounds and moods that would later be recontextualized through phonk and other modern reinterpretations of the city’s underground legacy.

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Released in 1979 on Woodstock, New York–based Bearsville Records, Hi is a warm, understated folk-rock album shaped as much by feel and restraint as by songwriting. Though rooted in the East Coast singer-songwriter tradition, the record is deeply informed by Memphis soul, featuring contributions from Willie Mitchell, bassist Leroy Hodges, drummer Gene Chrisman, the Memphis Horns, and background vocal stylings from Erma Shaw.

Produced and engineered by Willie Mitchell during his tenure as Bearsville’s Executive Producer and Director of Memphis Operations, Hi occupies a rare crossroads where folk intimacy meets Southern studio discipline. The album reflects the same musical values Mitchell honed at Hi Records—groove, clarity, and emotional economy—revealing a shared language that transcends genre and geography.

Special guest Greg Reding joins Cartwright and Sansone, whose reverence for Reding and Hot Dog results in gleaming inspiration surrounding an often untold era of Memphis rock innovation.

We revisited the genre-hopping, major-label debut of Human Radio — a 1990 album that fused new wave, alt-rock, pop smarts, and razor-sharp wit — with special guest Ross Rice, the band’s frontman and songwriter. along with band members Steve Ebe and Peter Hyrka.

Special guest Rev. Charles Hodges, a pianist and organist best known for playing behind Al Green, will share his insights as a key musician in O.V. Wright’s touring and studio band since joining the soul legend fresh out of high school.

Special guests The Masqueraders, who recently revived their career on America’s Got Talent, will appear alongside the album’s producer Lester Snell to reveal the hidden secrets behind their soul success in-studio.

Special guest Lawrence “Boo” Mitchell, heir to Willie Mitchell’s Royal Studios dynasty, will detail Billy Always’ album and the studio’s stark transition from the Hi Rhythm band sound of the 1970s to the synthesizer-centric soul sound of the 1980s.

Label: Enterprise (Stax) · Year: 1969

Sid Selvidge’s debut album, “Portrait,” released in 1969 on Enterprise Records (a subsidiary of Stax), stands as a timeless masterpiece within the realm of country blues and folk. A native of the Mississippi Delta and a figure deeply rooted in the Memphis music scene, Selvidge approached his music with a genial yet uncompromising attitude. Unlike many of his contemporaries, Selvidge did not aspire to the grandeur of coliseum crowds or commercial success. Instead, he found solace in intimate venues and a sound that beautifully straddled the folk-blues line, embracing the influences of 1960s coffeehouse anthems, plaintive Anglo folk balladry, and raw African-American musical traditions.

“Portrait” showcases Selvidge’s lilting falsetto, conveying both humility and authority, and his approach to music was characterized by a genuine custodianship for the rich musical heritage of the Southern United States. The album includes the anti-war tune “The Ballad Of Otis B. Watson,” which, despite initial success, faced adversity with commercial radio due to advertiser pressure. The hauntingly beautiful nature of the album, underscored by tracks like “Hush-A-Bye,” has garnered admiration from fans who consider it a hidden gem. Sid Selvidge’s commitment to his artistry over commercial pursuits, as well as his unique blend of folk and blues, leaves an indelible mark on the musical landscape, making “Portrait” a cherished and haunting piece of musical history.

Sponsored by: MEMPHO, Duncan Williams, Shangri-La, Beale Street Caravan, Memphis Music Hall of Fame, John and Trish Pontius, Henry Turley, VIA Productions, Memphis Listening Lab, Crosstown Brewing Co. and iBank.

Label: Self-released · Year: 1995

“Dreamworld” by Blackout has left a lasting impact on the rap landscape, particularly within the Memphis rap scene and beyond. Blackout’s production style, characterized by deep bass, broken hi-hats, and eerie synths, has influenced subsequent generations of artists who appreciate the album’s distinctive and haunting soundscape. The lo-fi production, capturing a nightmarish ambiance, has become a signature element that many artists seek to emulate.

In terms of influence, Blackout’s approach to creating atmospheric and chilling instrumentals has resonated with producers and rappers exploring similar sonic territories. The album’s intense, fever-pitch deliveries, exemplified in tracks like “Mission of a Murda,” have set a precedent for artists aiming to evoke genuine unease and intensity in their music.

While “Dreamworld” may not be as widely recognized in mainstream circles, its influence extends into underground and niche rap communities, where artists value the raw, authentic, and unsettling qualities embedded in the album’s production. The album’s impact is not only confined to its era but continues to reverberate among those who appreciate the unique and influential contributions of Memphis rap in the ’90s.

Sponsored by: MEMPHO, VIA Productions, Memphis Listening Lab, Crosstown Brewing Co. and iBank.

Label: Three Angels Records · Year: 1987

“Power To Overcome” by Robert Clayborne stands as a rare and cherished gem in the landscape of gospel funk and boogie music. A seasoned musician deeply rooted in the Memphis music scene, Clayborne’s expertise as a keyboardist and vocalist is evident in this distinctive blend of genres. A longstanding member of The Memphis All-Stars, Clayborne has left an indelible mark on the city’s musical fabric, and his collaborations with R&B legend Al Green, particularly in albums like “I Can’t Stop” and “Everything’s OK,” further showcase his versatility.

Released in 1987, “Power To Overcome” is a testament to Clayborne’s ability to infuse sacred gospel themes with the vibrant and synthesized sounds of boogie, creating a unique musical fusion that sets the album apart. Labeled as “boogie funk,” the album reflects a rhythmic and electronic dance music style with strong ties to post-disco, adding complexity to its sonic identity. Beyond its musical innovations, the album has become a highly sought-after collector’s item, commanding notable prices in the market. As part of Clayborne’s musical journey and Memphis’s rich musical tapestry, “Power To Overcome” emerges as a unique expression of creativity and innovation within the niche realms of gospel funk and boogie music.

Sponsored by: MEMPHO, VIA Productions, Memphis Listening Lab, Crosstown Brewing Co. and iBank.

Label: Volt Records (Stax) · Year: 1972

Released in 1972, “Do You See What I See?” by The Bar-Kays is a testament to the band’s resilience and musical evolution. Originating from Memphis, the group began in the mid-’60s and found early success with “Soul Finger.” The tragic 1967 plane crash, claiming lives including Otis Redding, prompted survivors Ben Cauley and James Alexander to rebuild the band with new members.

Fusing rock, funk, and soul, the album has left an enduring impact, with tracks sampled in hip-hop, such as “U Mean I’m Not” by Black Sheep and “Radio Suckers” by Ice-T. Standout tracks like the title song and “You’re the Best Thing That Ever Happened to Me” showcase The Bar-Kays’ musical versatility and timeless quality. Beyond shaping their legacy, the band served as a backing force for icons like Otis Redding and Isaac Hayes, contributing to Hayes’ acclaimed albums like “Hot Buttered Soul” and “Shaft.” “Do You See What I See?” not only represents a chapter in the band’s history but also stands as a cornerstone in the evolution of funk and soul music, leaving an enduring impact across genres and generations.

Sponsored by: MEMPHO, Select-O-Hits, Shangri-La, TONE, Stax Museum of American Soul Music, The Arney Family, VIA Productions, Memphis Listening Lab, Crosstown Brewing Co. and iBank.

Label: TMI · Year: 1973

D. Beaver, the musical endeavor of keyboardist David Beaver, left an indelible mark with the 1973 album “Combinations.” Transitioning from his earlier days with The Gentrys and Edgewood, Beaver’s solo project showcased a progressive blend of pop, blues rock, and psychedelic elements. Recorded under TMI Records, linked to the iconic Steve Cropper of Booker T. & The MG’s, “Combinations” is a testament to Beaver’s musical versatility. The album’s highlights, such as the Hammond Organ-driven “I Wanna Show You” and the experimental “The Wizard Of Menlo Park,” underscore Beaver’s knack for intricate arrangements and contribute to the vibrant tapestry of Memphis’ musical heritage.

Sponsored by: MEMPHO, Joe Spake inCity Realty, VIA Productions, Memphis Listening Lab, Crosstown Brewing Co. and iBank.

Label: New Rose · Year: 1990

“Hoodoo Train,” the 1990 release by Memphis-based all-female band The Hellcats, serves as a compelling snapshot of the city’s vibrant roots-punk scene. The album, distributed by New Rose Records in France, embodies a fusion of alternative rock, garage rock, indie rock, and country rock, showcasing the band’s versatility and distinctive sound within the broader roots music landscape.

Led by a lineup featuring Diane Green, Giovanna Pizzorno, Lisa McGaughran, Lorette Velvette, Misty White, and Su Ondine, The Hellcats deliver a memorable collection of tracks on “Hoodoo Train.” The album’s eclectic mix includes noteworthy songs like “Where The Hell Is Memphis,” “Hoodoo Train,” and “Crazy About You Baby.” The Hellcats’ spirited and rocking approach, coupled with their skillful musicianship, contributes to the album’s appeal. Despite the band’s relatively short-lived existence, “Hoodoo Train” stands as a testament to The Hellcats’ significant presence in the Memphis music scene and their ability to infuse energy and originality into the roots-punk genre.

Sponsored by: MEMPHO, Goner Records, Dragonfly, VIA Productions, Memphis Listening Lab, Crosstown Brewing Co. and iBank.

Stax’s Enterprise Records subsidiary concerned itself with expanding the perception of the Memphis sound. As it had before with albums from Isaac Hayes and David Porter, the label made way for another hit-making songwriter to turn the soul genre on its head, this time with Bettye Crutcher. Responsible, in part, for penning the record-breaking “Who’s Making Love” by Johnnie Taylor years earlier, Crutcher stood on her own to employ a healthy dose of breezy, gentle folk-inspired decadence into her only full-length release.

Sponsored by: MEMPHO, Crosstown Brewing Company, VIA Productions, Stax Museum and Memphis Listening Lab.

A companion piece of sorts to the kind of pop rock that Big Star would have a delayed hand in shaping across generations, Zuider Zee‘s self-titled Columbia Records album helps to paint a picture of the state of 1970s Bluff City rock. Diverging from a decade of pioneering innovation, the band finds itself in a grand affair that is sometimes funky and full of synth and, at other times, soft and sincere.

Sponsored by: MEMPHO Presents, Crosstown Brewing Company, VIA Productions, Memphis Listening Lab and End of All Music.

One of the great tragedies of Memphis’ large impact on popular music, through rock and soul, is that the boom in local studios rushing to send the sound of the Bluff City across the world overshadowed a generation of local musicians who impacted the world of jazz in the years directly prior. Almost all of them were forced to leave The South to make a living. And almost all of them appear here on their respective instruments, in their respective primes, on a session that showcases their shared ability to gel together in a hometown kind of way.

Sponsored by: MEMPHO, Duncan Williams, Dillard Door, Crosstown Brewing Company, VIA Productions, and Memphis Listening Lab.

Herky, jerky, and certainly quirky, the synth pop of The Clears stands as a forebear to a village of musicians which intersect post-punk, garage, and indie influences. Deliberately delightful, the late ’90s kitsch of group’s self-titled debut has kept well while on ice long enough that modern rock has made its way back to sounding pretty darn close. Still sounding as fresh as it did the day it fell on its first ears, the select cuts from the album would easily pass for a brand new indie darling in 2023. Watch band member Alicja Trout, music journalist Andria Lisle and Sonic Youth drummer and Steve Shelley discuss the record at the Memphis Listening Lab.

WYXR’s Stereo Sessions presented by MEMPHO featuring The Clears is sponsored by Farm Burger, Shangri-La, VIA Productions and Crosstown Brewing Co.

The Legend Lady J’s “Glock N’ My Hand” isn’t emblematic of what was to come from Memphis rappers of its era. Instead, the cassette is a singular exercise in lo-fi instincts. Fans of an introspective rhyme clinic or slick, hard-hitting beats need not apply to this hip-hop affair. Instead, prepare yourself for something akin to the rap stylings of Tommy Wright III and DJ Spanish Fly meeting the ingenuity and do-it-yourself inclinations of Ata Kak and William Onyeabor.

Sponsored by: MEMPHO, Crosstown Brewing Company, VIA Productions, Memphis Listening Lab and Goner Records.

While this band’s name and their self-titled album might sound like one of those mad lib word jumbles, it isn’t. Though they genuinely hailed from the far-away land of New Zealand, this unlikely group of musicians landed in Memphis on a whim with the hopes of recording an album. In the very capable hands of producer Natalie Rosenberg, the band, best known for working in Playboy clubs around the country, expanded their repertoire to deliver a dizzying kaleidoscope of sounds, including psychedelic rock, swing, fusion, and more.

Set against the backdrop of the 1970s Black Liberation movement, John Gary Williams‘ story is representative of more than soul music, it is an expression of activism through entertainment. Williams began his singing career as a member of Stax’s male vocal group The Mad-Lads, one of a handful of local groups devised to prove the Memphis company’s ability to produce a sweet sound of soul akin to those found in Detroit, Philadelphia, and Chicago. However, his self-titled solo LP fell short of its commercial promise, mired by Williams’ implication in a criminal act and the looming demise of The Stax Company. The album’s producer and The Bar-Kays drummer Willie Hall guides a listening audience through the album’s intricacies.

Released on Luke Records, the label home to infamous rap group 2 Live Crew, Lil’ Blunt & Indo G’s 1994 LP “The Antidote” is a de facto answer to the G-Funk of Dr. Dre’s seminal album, “The Chronic.” Produced in its entirety by pioneering Bluff City DJ and beatmaker S.M.K., the album, led by the slow-simmering street single “Blame It On The Funk,” melds the sweltering soul of the 1970s with hardcore hip-hop content. Blunt and Indo carried each track with the thesis statement that Memphis artists, still yet to break into the rap mainstream, were more than the backwoods tropes that cast an overbearing shadow over early innovators of the entire Southern rap genre.

As the backing band behind the hits of Al Green, Ann Peebles, Syl Johnson, and more, Hi Rhythm Section moved into the forefront, with a funky full-length LP that was released in 1976. Boo Mitchell and members of the band come along to commemorate the album’s influential qualities.

Grifters may not be a household name to all Memphis music fans, but the band occupies a unique and influential place in the continuum of sounds to emerge from the city, with a large and fiercely loyal audience in both local and international markets that remain a full thirty years after they first burst upon the scene.

At the peak of their activity in the early-to-mid-’90s, they toured tirelessly, crossing paths with artists such as Jeff Buckley, Pavement, and The Flaming Lips.

Touting an audacious sound that incorporates the Delta Blues, Zeppelin-inspired grooves, delicate ambient textures, and outright noise, the band’s songs tend to disregard conventional notions of structure and harmony, often with dramatic shifts in dynamics and tempo.

Their third full-length release, “Crappin’ You Negative,” released on Shangri-La Records in 1994, finds Grifters straddling the lo-fi sound of their earlier recorded work (much of which was committed to four-track cassette in the storeroom of an East Memphis flower shop) and the rich, full sonic possibilities afforded by Memphis’ Easley-McCain Studios. The LP’s startling opener number, “Rats,” sets the tone for a kaleidoscopic and disorientating journey.

Hosts Jimi Enck and Andria Lisle hosted a discussion and play through of the seminal record.

Rock and roll star Domingo “Sam The Sham” Samudio may seem like an unlikely candidate for a series highlighting rare and unheard material. After all, he had a pretty stellar hit with his signature song “Wooly Bully,” accompanied by his band The Pharaohs.

However, there’s another side to Sham, one with a hard edge that you can only truly hear via his solo effort, where he’s billed simply as “Sam.”

The 1971 LP, titled “Hard and Heavy,” was released on Atlantic Records and produced by Tom Dowd.

Although Samudio recorded the album in Miami, you’ll hear him backed by an all-star group of players filled with Memphis musicians. The group includes Jim Dickinson on piano, Andrew Love on tenor sax, Wayne Jackson on trumpet, Jack Hale on trombone, James Mitchell on baritone sax, Charlie Freeman on guitar, and Tommy McClure on bass. Additionally, Memphis-connected soul group The Sweet Inspirations lend their talents on backing vocals, and Southern rock legend Duane Allman joins on guitar, as well.

We gathered in March 2022 to hear exclusive new interviews from Sam along with in-person commentary from his longtime collaborator Mark Newman and hosts Jared “Jay B.” Boyd and author Robert Gordon

Of the sounds commonly associated with Memphis rock, the wide breadth of styles mastered over the decades include everything from rockabilly to garage and punk. But Companion, a group born from the ashes of defunct early-1970s band Leviathan, sought to complete a testament piece of progressive rock psychedelia with the mid-1970s release “Reap The Lost Dreamers.” Though it was as vocally melodic as the syrupy soul of Stax’s greatest crooners, the album’s biggest draw is its long, languid compositions, which play like a kaleidoscope of colorful premonitions. WYXR and band members Mike Russell and Andy Tate at the Memphis Listening Lab sat with an audience to take in the album, which continues a legacy as a cult favorite among international music collectors, and remains a hidden and enchanting gem in the realm of Mid-South music.