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Keith Sykes

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Keith Sykes - Advanced Medication for the Blues - 1998 - Syren Records

Singer/songwriter Keith Sykes first surfaced in 1969 with a self-titled LP on Vanguard, followed a year later by 1 2 3; out of the limelight throughout much of the early 1970s, he resurfaced later in the decade playing guitar in Jimmy Buffett's touring band, also issuing the solo LP The Way That I Feel in 1977. I'm Not Strange, I'm Just Like You followed in 1980, but after releasing It Don't Hurt to Flirt two years later, Sykes spent the next several years best known as a composer, authoring songs for Buffett, John Prine, the Judds, and others. Signing to Prine's Oh Boy! label in 1992, he released It's About Time, his first solo album in close to a decade; Advanced Medication for the Blues followed in 1998. © Jason Ankeny © 2011 Answers Corporation http://www.answers.com/topic/keith-sykes

Keith Sykes makes records far too infrequently, rarely if ever squandering his opportunities to enter the studio; Advanced Medication for the Blues is no exception, a fine collection of tracks spotlighting memorable compositions including "Flyin' Low," "Baby Please (All the Shrimp in New Orleans)" and "Better Than a Husband." © Jason Ankeny © 2011 Answers Corporation http://www.answers.com/topic/advanced-medication-for-the-blues

Keith is an unsung hero of Memphis’ singer-songwriter tradition. Check out the despairing “One Up One Down” for a passionate example of his craft. - G. Brown/The Denver Post

Six years after his last album, roots rocker Sykes returns with a barn burner. Sykes writes like a maniac unleashed. - Alanna Nash/ Entertainment Weekly
Part swamp, part blues, and certainly pop induced, he offers well-crafted, guitar-driven three-minute pop snapshots. What separates Sykes from the herd are catchy melodies coated with lyrics that are self-deprecating and full of wit. These are not philosophical musings of the big picture, but pinpricks of the local Joe just trying to make life work. - Dirty Linen

"Advanced Medication for the Blues" is fundamentally a good old fashioned rock 'n' roll album with a flavour of folk, Americana, Southern swamp blues and Memphis blues. Buy Keith's great "The Way That I Feel" album and promote real music


1 Advanced Medication for the Blues - Sykes, Flowers 3:41
2 I Know an Angel - Sykes 4:41
3 Flyin' Low - Sykes, Schaefer 5:14
4 Whole 9 Yards - Evans, Sykes 3:50
5 One World - Skyes 5:03
6 Give Me All Your Love - Sykes 5:05
7 Baby Please (All the Shrimp in New Orleans) - Devito, Sykes, Flowers 3:41
8 Hard Enough - Hartford, Sykes 3:07
9 One Up, One Down - Sykes 3:58
10 Those Were the Days - Sykes 4:06
11 Better Than a Husband - Sykes 4:13
12 I Want You, I Need You, I Love You - Kosloff, Mysels 3:09
13 Fireplace - Sykes, Flowers 9:16


Keith Sykes Guitar (Acoustic), Guitar (Electric), Chimes, Vocals, Background Vocals
Danny Flowers - Slide Guitar on "Baby Please (All the Shrimp in New Orleans)"
Rusty McFarland - Bass, Tambourine
Earl Randle - Electric Piano on "One Up, One Down"
Greg Redding - Hammond B£ Organ on "I Know an Angel", "One Up, One Down", & "Fireplace"
Robert Hall - Drums on "Whole 9 Yards" & "Hard Enough"
Greg Morrow - Drums, Percussion
Jimmy Davis, Tommy Burroughs - Background Vocals on "Those Were the Days"


Has it really been 40 years since I started down this music highway? I guess I’ll have to say, yes it has. My first real gig was at a Holiday Inn in downtown Charleston, South Carolina, for two weeks in February, 1968. I was two years out of high school and been playing guitar for a little over two years. I knew about 40 Bob Dylan songs. So many that I had to make myself learn some other songs so I could get a gig. No one wanted to hire a one man Dylan cover band so I set out to learn some popular songs of the day. I didn’t care much about songs other than Dylan songs, but I wanted to work so I learned. I could do “By The Time I Get To Phoenix” and “This Guy’s In Love With You” and I can’t remember what all right now but I learned. The summer before I had hitch-hiked to Newport, Rhode Island to the Newport Folk Festival and saw Arlo Guthrie sing “Alice’s Restaurant”. In the fall of that year I got a copy of the album and learned that whole song. That was how I got my gig in Charleston. I auditioned for the Holiday Inns singing “Alice’s Restaurant”. They gave me a roundtrip airline ticket and room and board at the hotel plus $150.00 a week salary. I was in high cotton. By August I had grown tired of playing for businessmen who weren’t really listening and I was thinking about another way to do this music thing. I had been writing songs in earnest and had picked up quite a bit of performing technique over the months with Holiday Inns. I was in Buffalo, New York when I met Mark Goldfarb. Mark played bass and knew about the Coffee House Circuit out of New York City. We teamed up and went to New York to audition for the Circuit at the Bitter End on Bleeker Street. I was too nervous to hang around at the club to see if we got the job, so Mark found me down the street somewhere and told me we got picked to go on tour. I remember thinking I could do my own songs for an audience of mature college people who really knew their way around. Well, I was only 19 at the time. College people seemed very mature to me. I recorded two albums for the Vanguard label during that time, Keith Sykes and 1 2 3 and I played the Coffee House Circuit for the next five years. I moved to New York and met a lot of people who are still my friends to this day. Jerry Jeff Walker, Emmy Lou Harris, John Prine, Kris Kristofferson, Gary White, Loudon Wainwright III and many more. Before I moved to New York I had already gotten a couple of songs recorded. The Lonesome Rhodes did “I’m Missing You” and The Gentrys did “Silky.” I can’t remember which one was first. After moving to NYC, Jerry Jeff recorded a song of mine called “About Her Eyes”. Also during that time Mckindree Spring recorded some five songs including “Oh What A Feeling”, which was recorded by Rodney Crowell a little later on. By the middle of 1973, I was ready for a new place to live so I tried Austin, Texas. Again, I met a whole new group of singer songwriters of whom I am still proud to call my friends. Gary P Nunn, Bob Livingston, Willis Allen Ramsey and John Inmon are just a few. I didn’t stay in Austin very long. The girl I was living with, Mary Lou David, had fallen in love with a great songwriter named Walter Hyatt and I was quite heartbroken. I went to Key West to regroup and lay low. A couple of years before I was on a tour with Jerry Jeff Walker and he was telling me about a cat named Jimmy Buffett. Apparently, Jerry Jeff had told Buffett about me while they were on a tour. The second time I went to Key West (the first time I drove down, drove around and drove back to Coconut Grove) I went to find a girl who was a friend of Jerry Jeff’s girlfriend, Murphy. I went to the house on Caroline St. and asked the guy who was sweeping up the courtyard if Ashley Simmons lived there. The guy asked me “who wants to know?” I said “I’m Keith Sykes and a friend of Jerry Jeff Walker’s”. The guy sweeping up was Buffett, and after that I had a whole new family in Key West. Tom Corcoran, “Dink”, Phil Tinney, Pat Tinney. So many cool people, most of whom are still there and still very close to me. I stayed in Key West for most of that summer writing songs. “Train To Dixie” was recorded by Marsha Ball and McKindree Spring, and even Buffett, but he’s never released it. “Take Me, Take Me”, “Only Human” and “Raining In My Soul” were all recorded by Rosanne Cash. “Just Wanna Dance” was recorded by Rodney Crowell and Johnny Halladay. Several more wound up on records over the years. All in all, a good songwriting trip. I stayed till around Christmas and then took off for Nashville to see Guy and Susanna Clark. They were my friends in Nashville who I could go and see no matter what was going on with my heart, or anything else for that matter. I remember drinking a lot of Palomino Whiskey and singing even more songs. There was a guitar pull every night and it was like, to lean on The Lovin’ Spoonfull a little bit, ‘anyone who unpacked his guitar could play a song twice as better that the last one.’ It was amazing! I went to Memphis to see my Mother and sister for Christmas and then back to Austin to pack up my stuff and head back to NYC. In April, I was passing through Memphis and stopped off to see some old friends, most notably Phillip Rauls. Phillip had been working for Atlantic Records for some years and he was another guy I could depend on if I needed or wanted to spend a few days. It was at this time I ran in to Jerene Rowe, a girl from my high school who was somehow always in the back of my mind no matter where I went or who I was with. When I saw her she looked even prettier than I remembered and I told her that I had always had a crush on her, even from when I was in the fourth grade. We started seeing each other soon after and one thing lead to another and we have been together ever since. With the help of Phillip Rauls and Larry Raspberry, who was the driving force behind the Gentrys when they recorded “Silky” and was then in the biggest band around named Larry Raspberry and the High Steppers, I was eased into the Memphis music landscape. I seemed to fit in musically with all the other mavericks in town at the time. It had, and still has, one of the most eclectic music scenes anywhere. I had left eight years before because there wasn’t enough folk music opportunities happening. By the time I came back in ‘74 it really didn’t matter. Folk music had all but vanished all across the country, and Memphis was as good as anywhere to set up shop and start a band and see what might happen. After some fits and starts, it slowly began to come together for me in Memphis. Changing from folk singer to dance band leader wasn’t as far fetched as you might think. I still had to find a way to connect with the audience. The difference was I could let the music do the talking a little more than before, although I still held on to the singer songwriter aspect of my approach. I admit, however, some of my lyrics went to subjects and style that I couldn’t have done when I was playing solo. Things like “BIGTIME” would have never occurred to me when I was writing for my solo thing. The first album I did after moving back to Memphis was named The Way That I Feel. Buffett recorded “The Coast of Marseilles” and “The Last Line” from it on his million selling Son of a Son of a Sailor album, and I have to say my songwriting life entered a whole new phase from that point forward. I worked the clubs in Memphis playing with a host of good players such as Ray Barrickman and Tom Janzen. Larry Raspberry hired me for a year to play in the High Steppers and I learned a lot about being a sideman in a band. He is also a master showman and I picked up a lot just watching him every night. By 1978 I was picking up steam in the places I was playing. I would always have a packed house in Memphis and Mobile, Alabama, as well as the surrounding areas in Mississippi and Arkansas. It was also around that time Jerry Jeff Walker recorded “I’m Not Strange, I’m Just Like You.” In January of 1979 Kris Kristofferson asked Jerene and me if we would like to come to New York City to an event he and Rita Coolidge were doing called “The Year of the Child” for the UN. It seemed every big recording star of the time was there and we had a wonderful time just being a couple of flies on the wall. It was when we were there that Buffett called and asked if I’d like to join the Coral Reefer Band. It was one of those ‘let me see if I can fit that in my busy schedule’ kind of moments. Oh course I couldn’t have been more flattered, so in February we met up in Coconut Grove, Florida and began rehearsals for the first tour of that year. Talk about a wild time. Everywhere we went we went first class and every night we had a packed house. Jimmy was the best person in the world to work for and was always very caring when it came to the band and the crew. That summer he took us all to Montserrat to record what would become the Volcano album. We had recorded all the songs by the time Jimmy and I went to see the volcano on the island. We went back to the studio and wrote the song “Volcano” and recorded it the next day. It of course became the title song of the record and it has gone on to become one of his lasting anthems and a nice calling card for me. It seems everywhere I go people know that song and love to sing the chorus with me. As soon as we returned from Montserrat I went into the studio in Memphis and recorded the album I’m Not Strange, I’m Just Like You for a little record company we started called Memphis Records. From the start, primarily from the support of the local rock station WEGR, it became an instant hit in the Memphis area. Tom Owens, the General Manager, and Redbeard, the air personality from 6 to 10 at night gave the album a chance. Now that’s something you don’t see these days. But back then, if you had something they thought would work, a local station would put your music on the air and let it compete with the records that were in their rotation. If it got the response, then you were in. It took about a year, but we got enough attention locally that the majors came courting. And through the help of Jon Scott, record promoter extraordinaire, we got a deal with MCA on Tom Petty’s label, Backstreet. After a lot of touring and a break here and there, I was invited to do Saturday Night Live. To this day I consider it one of the highlights of my career. That same week I did the King Biscuit Flower Hour with Robert Kline. What a week that was! I did one more album for Backstreet called It Don’t Hurt To Flirt, followed by two more for Memphis Records, Play X Play and Fun Rockin’. I went everywhere and played almost constantly throughout this five year period, including an appearance with Rodney Crowell on Austin City Limits. By 1986, I decided to turn a corner and go into full time writing, publishing and producing. By 1988, I had arranged a recording deal for my publishing company’s first writer, John Kilzer, on the Geffen label. Not long after in 1990 I signed a young writer named Todd Snider and in 1993 I got him a deal on Buffett’s Margaritaville Records label. I was also responsible for getting a few writers their first recording during that time and to me that was as rewarding as anything there is in the music business. Among those were Waylon Jennings’ recording of Denny Lile’s “Falling Out”, Shelby Lynn’s beautiful take on Stephanie Smith’s “Thinking About You Again” and John Prine did a great version of Tim Carroll’s “If I Could, Then I Would”. In 1992 I recorded It’s About Time on the Oh Boy label and performed on the TV show Nashville Now and played the radio show Mountain Stage. In 1993 I built The Woodshed recording studio to concentrate on demos for the publishing companies and to record records for artists as diverse as rock, country, blues and pop. I began hosting songwriter shows on Beale St. in Memphis in ‘93, and the guest list was an amazing roster of songwriters. I showcased Hall of Fame writers like Richard Leigh and Roger Cook, singer songwriter superstars like Steve Earle and Guy Clark and newcomers like Rivers Rutherford and Jimmy Davis. In 1997 I teamed up with Texas business man Kelcy Warren to expand the abilities of the studio and open new publishing companies and a new label called Syren Records. Our first release was an album I had recorded a few years before but never released named ‘Advanced Medication for the Blues’ and we were off and running. Todd Snider asked me to join him on a tour in 2000 and after I returned I realized how much I was missing that aspect of my life. So I decided to turn yet another page and go back into performing as my main occupation. I spent most of 2001 putting together the Don’t Count Us Out CD, and when it was released in the fall I had come full circle. Touring was the norm again and it didn’t take me too long until I was in the swing of write, record and tour. Since 2001 I have released four albums. Thanks to Syren Records I recorded Advanced Medication for the Blues, Don’t Count Us Out and released Retrospective, and to Madjack Records for All I Know, and to Fat Pete Records for Let It Roll.I have just recorded a CD for Aimless Records that was produced by Todd Snider to be released next year. A tour with Todd is in the works and as soon as the details are available the dates for the CD and tour will be announced. Well, that’s the high points. I hope this lets the curious and the uninitiated in on my life so far. If you want to book me call 901 867 7175 or go to keithsykes.com. © 2009 Keith Sykes. All Rights Reserved http://www.keithsykes.com/bio.html


A.O.O.F.C said...


p/w aoofc

guinea pig said...


A.O.O.F.C said...

Hi,gp (No.1). No probs. I hope everything is going ok with you. Thanks, & ttu soon

Eric said...

"Greg Redding" he was in Black Oak during their Capricorn Records era of the late 70's.

A.O.O.F.C said...

Hi,Eric. I never really "took" to the band's music, but then I only listened to one album from BOA. Black Oaks later stuff, I found average and too commercial. Greg Reding played on a good album called "Say What You Mean" by the Hot Dogs. You can find it @
TTU soon,Eric

Gleno said...

Thanks for this, looks really interesting. Glen

A.O.O.F.C said...

Hi,Glen. It's good. Let me know what you think of it. Thanks. TTU soon

Anonymous said...

Your site is really good and the posts are just wonderful. Thank you and keep doing your great work.

A.O.O.F.C said...

Thanks,A. Much appreciated...P

Anonymous said...

Music started playing anytime I opened up this web page, so annoying!