The Flyer's music writers tell you where you can go. Not to sound like a sweeps week TV ad, but it’s a very special night at the Hi-Tone Cafe this Thursday as we say goodbye to two beloved characters. First and foremost is Chris Gladney, a dear friend and star of stage and screen. Gladney’s credits are numerous. She was a member of the modern dance troupe Project: Motion. She has been featured in numerous local theater productions, and her film appearances include a memorable bit part in The People Vs. Larry Flynt (she was the floosie who littered a courtroom with a trash bag full of cash) and a starring role in Mike McCarthy’s Teenage Tupelo. She’s been a Flyer cover girl (1998 Best Of issue). More recently she has been one of the organizers of the popular Memphis Confidential burlesque shows and is a member of the band Sugarpush. But as you can see, Chris’ resume has gotten too big for Memphis, and at the end of the month she’s picking up stakes and moving on to New York City. Her send-off party on Thursday will feature Sugarpush, and another artist who has been here only a short time but has, nevertheless, made an impression. Archie Müller (stage name, Müller) is from Germany but has Memphis ties. One band he was in back home opened for Lorette Velvette, and he stopped by on a U.S. Tour in 1996. For the past year he’s been living in Memphis, working at MIFA, and playing a regular gig at Java Cabana. Now, just as his work visa has expired, Müller has come out with a new CD, Nose Songs. The culmination of a project he has been working on for about a year, Nose Songs is a collection of “songs about relationships and feeling an urge for working out [a] long-lasting obsession with Bob Dylan’s Blonde On Blonde.” Through 15 songs and two CDs, Müller puts a witty spin on the Dylan oeuvre, reworking, for instance, “Just Like a Woman” into “Just Like Paul Newman” and “Visions of Johanna” into “Supervisions of Anita.” Produced by Monsieur Jeffrey Evans in a bare-bones solo acoustic style, the result is one of the funnest and, despite the levity, most artistically daring CDs Memphis has seen in a while. — Mark Jordan Between the revved up retro of BR5-49 and the really-rootsy radio-ready musicianship of those hillbilly Spice Girls, the Dixie Chicks, traditional country music has positioned itself as the biggest new-old-thing since the swing revival hepped things up and danced away. Of course, the recording industry flaks will do everything in their power to foul up the works by misrepresenting its artists in order to “catch the wave.” Jack Ingram, who plays Newby’s this Saturday night, has been described as the most recent link in a honky-tonk chain reaching all the way back to Ernest Tubb and Lefty Frizzell. Well, either I’ve been listening to a different Lefty Frizzell all these years, or Ingram’s publicists don’t know what they are talking about. Still, singer-songwriter fans should go crazy for Ingram’s catchy (sometimes Grateful Dead-y) lyrics. And those who miss the swampy, twangy rock of the Bodeans (“Still the Night” era) will be in Hawg Heaven. — Chris Davis