From 11 to 3, every Friday, Saturday, and Sunday, the Memphis Soul Survivors spin through an ever-changing set that works as a musical tour of both Memphis and soul music itself. Hits from Stax and Hi, even early Sun blues, Booker T. and the MGs’ “Green Onions” and “Soul Dressing,” Al Green’s “Love and Happiness,” Howlin’ Wolf’s “Moanin’ at Midnight,” Tyrone Davis’ “Turning Point,” Albert King’s “I’ll Play the Blues For You,” Marcia Griffith’s “Electric Boogie,” Z.Z. Hill’s “Down Home Blues”—the Soul Survivors can handle it all, with ease. In the great tradition of the city, their set blurs the difference between blues and soul. In this overlap between the two, in the gritty gospel pleading they share, the Memphis sound is laid out. The bass is warm and fat, the snare cracks, and the low ceiling makes for a dry, tight sound. This is the magic captured on forty-year-old 45s, but happening right now, undeniably alive and more powerful than even the greatest soul sides could lead anyone to imagine.

Also very much in the Memphis tradition, the Memphis Soul Survivors’ lineup shifts and changes, depending on who can make the gig. Some nights they may be joined by Jesse Frank Smith on sax, and the sound is pure Memphis instrumental: think Booker T., the Hi Rhythm Section, the Bar-Kays. Other nights, the irrepressible and bawdy Miss Nikki soul-shouts “Chain of Fools,” “Stand Up In It,” or “Breaking Up Somebody’s Home,” offering risqué lessons in love between songs. Hotshot guitarist Little Stevie might show up, too, playing fiery blues-rock staples like “Cold Shot” or “Red House,” strumming his Les Paul with his foot while standing on one of the tables, much to the crowd’s delight. Beale Street regular Vince Johnson may drop by to blow a mean harmonica, and drummer Cedric “Cowboy” McCory is always a favorite when he sits in, with his great comedic timing and uncanny vocal impressions of both Howlin’ Wolf and Albert King.

They are all incredible players. But the true power of the Soul Survivors lies in the core members: bassist Melvin Lee, drummer Neil Rutledge, keyboardist Archie “Hubbie” Turner, and guitarist Leroy Martin. Smiling and affable, Lee is a former member of Albert King’s band, who paid his dues playing with Lou Rawls and Mose Allison. His bass lines draw on the styles of Duck Dunn of the MGs and Leroy Hodges of the Hi Rhythm Section. The Hi Records association is not just coincidence. Keyboardist Turner is the stepson of legendary producer Willie Mitchell and a member of the Hi Records crew himself. Turner’s first sessions as a youngster were with giants like Al Green and Anne Peebles. When Hubbie plays the piano part to “Soul Serenade,” it sounds so much like the record because he played on the record. He doesn’t have space for a big, vintage organ on Wild Bill’s cramped dance floor, but he doesn’t need one. He knows how to make his tiny keyboard sound huge. Underneath it all, Neil Rutledge lays down an effortless, rolling backbeat that keeps the dance floor packed all night long—and he has the amusing and amazing ability to answer his cell phone mid-song without missing a beat or a call.