A Trip to Memphis and the Lost Soul of Music

Club Handy, Beale Street – Photo by Dan Steven Erickson

So, I went to Memphis on Saturday night. I thought I’d take in some blues on Beale Street. I remember checking out the clubs back in the early 1990s. There was nothing but good soulful blues from club to club.

Things have changed. And I must say that I was very disappointed.

First, getting into the hotel was a pain in the ass because it was valet parking only, but no one could drive a stick shift. I had to park my own car. That’s fine, but it made for a little longer check-in process.

I spent an hour or two chilling after the long drive and then headed down to Beale at about 8:30. It was much different than I remembered.

I had to show my ID and go through security.

Just to get onto Beale, I had to go through a checkpoint. Okay, I get it, but what about the music. I walked up and down the street listening for the blues that I remembered on Beale years ago. I didn’t hear any.

I was hungry and stopped at an Irish place, Silky O’ Sullivan’s, for some food. I had to pay a $5 cover charge. There were dueling pianos as the entertainment. But they weren’t playing blues. They were playing pop covers. I’ve got nothing against Bryan Adams, but the “Summer of ’69” was not my idea of music I’d find on Beale. Oh, and the food sucked. I paid $14 for a very thin corned-beef sandwich and a few potato chips.

After about 45 minutes with pop-rock dueling pianos I set back out to find some blues. I heard hip-hop. I heard dance music. I heard a folk duo playing Led Zeppelin. I heard something with a little soul and a clap machine. But I still heard no blues.

Finally, at the tiny Club Handy, I heard a whaling blues guitar. It was less soulful and more rock and roll, but it was bluesy. I found another place where the music was bluesy but later a security asked me to leave the street when I walked a couple of feet past the street exit at BB King’s place to look through the window to see the band to consider going in. Asshole.

On a side note, on the short walk from the hotel to Beale and back, several drivers ignored walk signs and I basically had to dodge traffic as a pedestrian. Memphis has the highest rate of pedestrian accidents in the country. The following morning on the way out of town, a car nearly sideswiped me on I-240.

Overall, it was a shitty experience and I’ll likely never go back.

Beale is like Lower Broad in Nashville, worse really.

If you’ve been to Nashville lately, you might know what Lower Broadway has become. It’s a  string of clubs with nothing but cover bands and drunks. But at least they’re playing the genre of music people come to see.

I went to Beale Street to see the blues and was very disappointed to find very little blues being played. Add the fact that you get cover charged for many of the clubs after paying to get onto the street itself? Seriously? What a joke.

But my biggest complaint has to do with both Broadway in Nashville and Beale in Memphis. They’ve both sold their souls.

I spent time in Nashville, New Orleans, and Memphis in the late 1980s and early 1990s. The live music was good in all three cities. Not only was there great music, much of it was original. Now, I hear nothing but cover bands and clap machines.

The entertainment industry is simply concerned with one thing: making money. The majority of people don’t go to hear great original music. They go to get drunk and hear songs they can sing-along to.

That’s what the rednecks want. That’s what they get. Cheap recycled music played by underpaid musicians who have been trained to play to a click track. I’m not impressed. – dse

Why I Won’t Use AI for Songwriting

I’m not a hard anti-AI guy, but as a songwriter, no thank you.

I’ve actually played around with ChatGPT for writing lyrics and Suno for creating songs. In both cases, it can be entertaining to play with, but I have no desire to use AI for songwriting. Why?

  1. My lyrics are my stories. AI strings mediocre lines together and calls it a song. I will admit that I asked AI to write some humorous songs that were pretty hilarious. But I’ll use my own lyrics, thank you.
  2. AI music is too perfect. Seriously, I can tell the entire song is programmed. But it’s not just AI. It started with drum machines, digital audio workshops, and autotune. Yes, I program electronic music. But my goal is usually to do things more artistically and less for commercial appeal.
  3. AI music lacks soul. This is the big one for me. I dare you to create AI that can match the raw emotional power of Miles Davis, old AC-DC, John Lee Hooker, or Sex Pistols. It’s not going to happen. If and when it does, we can talk again.

Check out my video to learn more about my thoughts on AI and songwriting. And check out my YouTube Channel to hear some of my songwriting. – dse

Coming Soon: Songs from 1992

Selfie – Maine

I’ve been staying busy with my YouTube Channel. I’ve posted all the songs I’ve put to music in 2025 so far, songs from 1985-1990, 1991, ukulele songs from 2023, and more. Next up: songs from 1992.

In 1992, I spent part of the winter in Nashville. It’s also the first year I really started discovering and playing the blues. I bought the Robert Johnson box set and listened to it repeatedly. That year I wrote 50-70 songs, about half country and half blues.

Starting in September, some of my work from 1992 will show up in the mix on the channel. I also hope to write a few more new ones before the year’s end. – dse

Dark & Light

It’s been a year since I’ve posted any experimental music to Bandcamp. I’ve been busy working on traditional songwriting and cataloging many of my old songs to my YouTube Channel. But I haven’t quit on composing ambient, drone, and other forms of electronic music.

I moved to Tennessee for a job last fall. Since then I have been focusing on songwriting more than electronic music composition. I have composed a handful of tracks but was not satisfied with most of them. But every time I threw unwanted tracks away, these two remained. I probably created these in the winter, early 2025.

The tracks are very different from each other. The first is dark and droning. The second is light and ambient. Thus the title, Dark & Light.

I have another potential ambient project in the works and hope to release a full album by the end of the year. Stay tuned. – dse

My New Martin 000 Junior and More Reviews

A couple of months ago I picked up a travel guitar. Sure, I already had two other acoustics, both Gibsons, but one is old and the other is a $3000 guitar. I thought it would be nice to have something less expensive and smaller that would still be good for performing. The Martin 000 Junior was the perfect purchase.

Right after I bought the 000 Junior I posted a review video to my YouTube Channel. It has since become my most-watched video, more than any of my songs. I’m not doing this for the views, but I figured if it’s getting views then people like it. So, I’ve decided to add the occasional instrument review to my channel.

I’ll start out by reviewing instruments and equipment that I already own. In time, I might buy-sell-trade just to review products.

Back to the Martin Junior. Here are some highlights:

  • Cost – about $600 (slightly used)
  • Acoustic-electric
  • Small bodied
  • Action is high, but I bought it for blues/slide
  • Travel-sized
  • All mahogany
  • Sounds good for the price

Watch the video for the full details. And stay tuned to my YouTube Channel for more reviews. – dse

I’m Done with Second-Party Concert Tickets

Billy Stings 2025 Nashville – Photo by Dan Steven Erickson

Do you remember when you went to the record store and bought a paper ticket to a concert? Or you just went to the box office ahead of the event?

I tried to get a concert ticket from the Ryman Auditorium box office yesterday and was told I can only get the ticket through AXS.

When I went to Elvis Costello a couple of weeks ago, I had a 20-minute hold up at the same box office due to a dead AXS link in the text. I couldn’t retrieve my ticket. The venue blamed it on StubHub. I think AXS was the problem. It was their link.

So, I tried to buy tickets from my phone on the AXS site yesterday for Mike Campbell and the Dirty Knobs. The app took me all the way to payment method and then wouldn’t let me complete the purchase. I tired again from my computer. I found the problem. They wouldn’t sell me the ticket without me giving them my address and phone number.

That’s when I said fuck ’em. I had already sworn I wouldn’t use them again after the Costello debacle. So, I’m following through with that decision.

Then I checked other ticket sellers. They all wanted twice to three times as much for the same ticket. Fuck them, too.

From now on, I’ll either only use venues who will sell a ticket directly to me, or wait until the day of show. The Ryman will sell me a ticket on the day of show. If it sells out, so be it. I’m done paying $200-$300 for a concert. In 1980, I went to my first concert. It was Foreigner in Seattle. The price was $8.00.

To see a band of the same stature in today’s world, I’d likely pay several hundred dollars. That’s bullshit. And it’s due to the greedy ticket sellers, many who are basically practicing what once was considered illegal ticket scalping. Somehow it’s legal when a big business does it.

So, from now on, I’ll go to small venues, same-day shows, and skip the second party ticket sellers and apps. If it keeps me from seeing a big-name artist, that’s fine. I might love Paul McCartney, but I will never pay the $1,200-$3,000 prices that ticket sellers are asking to see him in Nashville later this year. – dse