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December 2007
Feeling cheap on New Year’s Eve?
Wading through my e-mail from the weekend, I just came across a note from Table Manners Crew that fantastic scratch-master DJ Tats will be spinning down at Fuego tonight. There’s no cover, and as the evening is sponsored by Absolut, the club will be serving up $1 Absolut cocktails all night long. That’s one of the best New Year’s Eve cheap dates I’ve heard of this year. Fuego is on Second Street and Trinity, a short stagger away from the madness of Sixth Street.
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Get juiced for Reivers reunion
It’s true. One of Austin’s all-time greatest bands, the jangly folk rock act formerly known as Zeitgeist, is currently in rehearsals for a big night revisiting “Secretariat,” “Star Telegram,” “Translate Slowly” and that great cover of “Blue Eyes Crying In the Rain.” We’ll see if they were right when they sang “Things Don’t Change.”
Talked to Kim Longacre, who’s now a mother of five, and she said the show looks to be in February at the Parish, but a definite date has yet to be confirmed. I can see the show at the 300-capacity Parish quickly selling out and moving to Stubb’s outdoors. This truly original band was more popular, more inspirational then they may think, 15 years after their “Pop Beloved” swan song. They’ll never be able to re-capture the spirit of the time that was 1985 Austin, but then neither will their earliest fans. But as far as long gone Austin bands you can get to see one more time, the Reivers are at the top of the list.
But they should call themselves Zeitgeist for the reunion show. That was the perfect name and they had so much momentum with it, but then after they signed to Capitol, the label made them change it because a new age group from Minnesota had claimed Zeitgeist. In retrospect, “Zeitghost,” which was considered, would’ve been a better name than the Reivers, taken from a Faulkner novel.
While we wait and superfan Rob “Veronica Mars” Thomas looks into private jet availability, check out this great footage from the one-hour MTV show dedicated to the Austin scene. Watch Daniel Johnston’s naive charm being discovered at the barbecue in Zeitgeist drummer Garrett Williams’ backyard. “We went and picked him up from his job at McDonald’s,” Longacre recalls. Zeigeist later brought Daniel onstage at Liberty Lunch, where he was quaking with nervousness as he sang “Broken Dreams.” It’s all in the YouTube clip.
And while we’re fixing that flat on Memory Lane, let’s recall the True Believers segment from the same taping.
Ah, good times.
Another annual Austin fest?
Cross Canadian Ragweed will play the inaugural Lone Star Jam, scheduled to take place April 26 at Waterloo Park, along with the Eli Young Band, Cory Morrow, Wade Bowen and Roger Creager. More will be named later, including a headliner who I would guess, this far out, will probably be Pat Green, who’s on tour during that time and has an open date April 26.
According to this post, organizers intend this collegian country celebration to be an annual event.
In other local country fest news, Ralph Stanley and the Clinch Mountain Boys are on the short list of possible headliners for the 21st annual Old Settlers Music Fest, to take place at Salt Lick Pavillion April 17- 20. To land the living legend of bluegrass music would be a major coup for Austin’s leading bluegrass (and more) fest.
Weekend picks: Country, pop and rock ‘n’ roll
Friday: Maneja Beto at Flamingo Cantina. After a brief stint on the road with Venezuelan dance powerhouse Los Amigos Invisibles last month, this hardworking quintet brings their dreamy pop en espanol back to Flamingo Cantina to close out the year. —Deborah Sengupta Stith
Friday: ‘A Red White and Winter Party’ at Emo’s. The Black’s ‘Donna’ EP hit our ears a little too late for serious consideration on our local year-end lists, but it’s a pretty outstanding mix of garage rock riffs, Dylan ‘66 energy and hooks straight out of the Kinks. The band is playing the ‘Red and White Winter Party’ with Red Leaves, Christmas Special (featuring members of Voxtrot) and School Police. $6 — Joe Gross
Friday: Kelly Willis at Antone’s. The trite ‘Teddy Boys,’ with its ripped Skynyrd riff, is the worst possible choice as lead-off single; still, ‘Translated By Love’ is Willis’ best album yet. Learn to embrace the 1970s SoCal vibe of such gems as ‘Losing You’ and ‘Sweet Sundown’ and marvel at Willis’ big, luxurious voice without having to wonder if what she’s singing about really happened to her. $15 general, $40 V.I.P. — Michael Corcoran
Saturday: Arc Angels at Antone’s. Double Trouble’s Chris “Whipper” Layton and Tommy Shannon reunite with ax men Doyle Bramhall II and Charlie Sexton for the second of two Antone’s reunion gigs. In a town full of schlock-rock imitators, the Arc Angels are the genuine blues-rock article. Since the demise of the band in 1993, Bramhall has done time with Eric Clapton and Roger Waters in addition to releasing his own material. Charlie Sexton, perhaps a bit more familiar to Austin audiences, has similarly toured with Bob Dylan recording on several of his albums. These guys have come along way from the drug addiction and in-fighting that broke them up. Dust off that leather jacket and relive the last gasp of worthwhile Austin blues-rock; the Bluebonnets and Kathy Valentine open the show. $20 —Brandon Cobb
Saturday: Old 97s at La Zona Rosa. Word has it these roots rock (or is that alt-country?) vets are laying down tracks for their seventh album. See if Rhett Miller’s cheekbones still look fabulous for $24.50 advance, $26.50 day of show. — J.G.
Saturday: Tristero at the Parlour. Yes, this sprightly, rootsy guitar pop band is named after the McGuffin in the middle of ‘The Crying of Lot 49,’ for which we can forgive them. This is a release party for their ‘Winding Sheet’ EP. — J.G.
Sunday: Rubble, Black Mayonnaise, Rusted Shut at Emo’s. Noise rock — a subgenre as native to Austin as cosmic cowboy and earnest singer-songwriter strum — is having a bit of an underground renaissance. All three bands make a mighty gnarly howl and have awesomely room-clearing CDs on the local Emperor Jones label. — Joe Gross
Sunday: Service Industry New Year’s Eve at the Whisky Bar. Working on New Year’s Eve? Ring in the 2008 early at this soiree featuring grooves by one of Austin’s top party-rockers, DJ Mel.
Lydia Mendoza 1916- 2007
The last few days of 2007 claimed the life of a pioneer, a legend, a true shining light for the downtrodden.
The first superstar of Mexican American music, Lydia Mendoza sang for those who had no voice, who, like her own family, migrated north from Mexico for better opportunities and found poverty and racism along the way. She was “La Alondra de la Frontera,” the Lark of the Border, singing in a raw, dignified quiver and compassionately plucking a 12-string guitar to captivate Spanish-speaking audiences throughout the Western Hemisphere.
Mendoza died Dec. 20 at Nix Medical Center in San Antonio. She was 91. A regional star who grew into a national treasure after recording the 1934 classic “Mal Hombre,” Mendoza lived a life of hardships and heroics. The teenager who sang for nickels in San Antonio’s Plaza del Zacate to help feed her family was awarded the National Medal of the Arts by President Clinton at the White House in 1999.
“Lydia learned much from the oral tradition of Mexican music that her mother and grandmother shared with her,” Clinton said when presenting the award to Mendoza. “In turn, she shared it with the world, becoming the first rural American woman performer to garner a large following throughout Latin America.”
Mendoza knew as many as 1,200 songs, many of which she could instantly recall to fulfill a request. Her varied repertoire included tangos, boleros, rancheras and corridos; her lyrical themes were heavy on heartbreak and deceit.
“She was a very humble woman,” says Clay Shorkey of the Texas Music Museum. “Whenever she came to Austin, she wouldn’t stay in hotels, but at people’s houses.” After suffering a stroke in 1988, Mendoza retired from performing, but sang one last time in town at a July 14, 1990, celebration of Tejano music at the Capitol. “The whole rotunda was packed, all the way to the top, and everyone was chanting ‘Lydia! Lydia! Lydia!’” Shorkey recalls. Mendoza could no longer play the guitar, but she brought a guitarist to play in her percussive style.
Born in 1916 in Houston, Mendoza spent many of her early years in Monterrey, Nuevo León, where her family returned soon after she was born. When Mendoza was 12, her family moved back to the States for good. Her father, Francisco, pushed for his family quartet, rounded out by wife Leonor on guitar, Mendoza on mandolin and her sister Panchita playing the triangle, to make a bid for a musical career. While living in Victoria, Francisco Mendoza saw an ad in San Antonio’s Spanish-language newspaper seeking Hispanic acts to record for Okeh Records. The Cuarteto Carta Blanca, named after his favorite brand of beer back in Mexico, passed the audition and recorded several tracks, though none were hits.
In the summer of 1929, the Mendozas signed on to pick beets in Michigan, but found they could make more money playing music for homesick Hispanics at the only Mexican restaurant in Pontiac. Francisco Mendoza got a job at the Ford plant in Dearborn but was laid off during the Depression and moved his family back to San Antonio in 1932.
With few jobs available, the family played for tips at the Plaza del Zacate (Haymarket Plaza) and were instantly popular. Where other performers roamed, the Mendoza family stayed in one place; the crowds came to them.
One night, a local DJ for the KCOR radio station heard Lydia Mendoza sing with the family and offered her a nightly slot on his show. But because the radio appearances didn’t pay and the family was living day to day, her mother refused to let her take the job until the station found a sponsor to pay her daughter $3.50 a week.
The radio show established Lydia Mendoza as a top regional singer. The 1933 repeal of Prohibition, meanwhile, created work for musicians to play cantinas.
The next year, she became a national recording star, when “Mal Hombre” rang from jukeboxes. Her first single, recorded with three other tracks one evening in a San Antonio hotel, remains her biggest hit. The smash did not make her wealthy, however. She received just $15 a side for those early recordings. The label claimed she had signed them away; considering that she was unable to read the contract, which was in English, she probably did.
The road was where the money was and the Mendoza family did variety shows, mixing music with skits. Lydia Mendoza’s solo segment was the nightly highlight. When the family performed in Los Angeles for the first time at a sold-out Mason Theater in December 1937, a review gushed over Lydia’s “historic” set, without mentioning the others. She was, truly, the Edith Piaf of Mexican American song.
The 1950s and 1960s were marked by a boom in norteño music, which would later be called Tejano. In her colorful, traditional Mexican dresses, Mendoza was the unrivaled queen of the circuit, the original Selena.
In 1977, she performed at President Carter’s inauguration. Mendoza received the National Heritage Fellowship Award from the National Endowment of the Arts in 1982. But her greatest awards came from her musical interaction with the common folk. On her first tour of South America, in 1982, she was shocked to be treated like visiting royalty.
“It was incredible,” she recalled in “A Family Autobiography” (Arte Publico Press), an oral history. “I didn’t realize that they still remembered that music. The people were crying when they looked at me.” After a show at Medellin, Colombia, many joined in a public prayer for her to return to the region.
In her autobiography, Mendoza remarked on how often she was approached by people who asked her why she sings with such feeling.
“They ask me if I have passed through what I’m singing about in some part of my hard life,” she said. “Well, thank God, no … I have had happiness. But when I am singing a song, it seems like I live in that moment.”
Mendoza is survived by a daughter, Yolanda Hernandez. She was buried Thursday in San Antonio, but her spirit lives wherever there are hard-working, family-focused Latinos whose hearts are still in the homeland, while they strive to make a better life north of the border.
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Notable music and moments of 2007
Music critic Michael Corcoran deems Ghostland Observatory the 2007 Band of the Year and selects his top 10 Austin records here. Music critic Joe Gross picks his 2007 top songs and albums here. Meanwhile, a whole host of notable Austin music personalities name their own top music and moments of 2007 here.
So what are we missing? Did you catch a show this year that blew your mind? Did you discover any new artists? What albums and songs comprised your personal 2007 soundtrack?
Let us know in the comments section below.
Big celebration at Continental Club
It won’t be just New Year’s Eve at the Continental Club on Monday night. The show by Dale Watson and Jon Dee Graham marks the 20th anniversary of Steve Wertheimer reopening the club.
Rosenberg native Wertheimer had no nightclub experience, and it showed early on. Having followed the J-Net Ward/ Mark Proct glory years of ‘84- ‘87 (more than a thousand showed up on the last night), the “new” Continental was pretty much a disaster the first year or so. It looked too much like a cocktail lounge and not enough like a live music club.
But Wertheimer got it together and resurrected the club as one of Austin’s greatest nightlife jewels. Wertheimer was smart enough to start the music early for folks who had to work the next day and Happy Hour residencies by Toni Price, Mother Truckers, Red Volkaert and many more have packed the club in daylight hours.
But above everything else, Wertheimer has fostered a family atmosphere with his staff. His generosity is well-known, though you’ll never hear anything about it from his mouth. One of the best things about Austin, which I’ve felt since moving here in 1984, is that the live music club owners, starting with Clifford Antone, are not in it for the money, but because they love to see fans have a great time. You won’t find a better group of club owners anywhere else in the world.
Happy Birthday, “new” Continental. You keep the old Austin spirit alive.
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When successful actresses marry ‘up and comers’: A cautionary blog
Congratulations to actress Katherine Heigl, who was way too gorgeous to be the mother of Seth Rogan’s child in “Knocked Up,” and musician Josh Kelley, who were married Sunday in Utah. The happy couple met while filming this video two years ago.
Hate to be the cooler, sitting like Jessica Simpson in the skybox of their love, but history is stacked against this couple making it for the long run. The odds are already against any couple staying married, but I can’t think of an instance when a celebrity female married an “up and coming” musician and it worked out. Bob Schneider would today be the former Mr. Sandra Bullock if those two didn’t come to their senses. As the seemingly successful union of Natalie Maines and Adrian Pasdar shows, things seem to work out better when the rising star is of the thespian variety, rather than a guy who sees opening for Third Eye Blind as a great opportunity.
Need some examples? Nobody had heard of “musician” Danny Keough until he married Lisa Marie Presley in 1988. After they divorced in 1994, he went back to complete obscurity. (And Lisa Marie made the colossal rebound mistake of marrying the most famous singer since her father.)
Let’s go back to 1976 when a bubbly comedy superstarlet named Goldie Hawn got hitched to Bill Hudson of the Hudson Brothers (apparently neither of the Hagar Twins was Goldie’s type.) If they didn’t have a daughter named Kate Hudson no one would know that they were married for four years. It must be hard when your wife’s career is soaring, while yours is going nowhere. Right, Chris Robinson?
Then, sometimes it goes the other way. Back in the late ’80s, Lisa Bonet was on top of the world as the hottest Huxtable. On her 20th birthday she eloped to Las Vegas to marry an up-and-coming musician named Romeo Blue. When the singer started using his real name, Lenny Kravitz, and channeled Lennon/McCartney to become a star with “Let Love Rule,” it wasn’t long before La Bonet was the former Mrs. Romeo Blue.
Let’s hope that Heigl and Kelley didn’t hook up “for life” because she needs a new last name (“and the Oscar goes to Kate Kelley” has a nice ring) and he needed a career boost.
Luckily, Keith Urban was already established before he married actress Nicole Kidman. If he had to contend with marriage to a much bigger star it would’ve probably sent him to rehab.
Willie celebrates the big 7-5 overseas
Willie Nelson turns 75 on April 30, but don’t expect some hometown concert or big all-star affair at Madison Square Garden. Willie and Family will be in Scandanavia during the hoopla, playing Denmark April 29 and Oslo, Norway May 1. Well, at least he gets his birthday off.
It should be a big year for Willie, kicked off by the Jan. 29 release of his latest studio album “Moment of Forever,” which was co-produced by Kenny Chesney. Kris Kristofferson wrote the title track and Nelson also covers Randy Newman’s Katrina-centric “Louisiana 1927” on the LP, which was co-produced by Nashville veteran Buddy Cannon.
Willie and the band next play Austin March 4 at the Star of Texas Rodeo at Travis County Expo Center.
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SXSW 2008: A few speakers and sessions
In addition to Lou Reed, SXSW has announced a few more speakers.
Sire Records president Seymour Stein, the man who signed the Ramones, Talking Heads, The Pretenders, Madonna, Depeche Mode and the Smiths will be interviewed by David Katznelson, the band behind the completely excellent indie label Birdman Records.
Ticketmaster CEO Steve Moriarty will be interview by Wall Street Journal reporter Ethan Smith.
PACE Concerts founder Louis Messina will be interviewed by Joe Nick Patoski, author of the forthcoming “Willie Nelson: An Epic Life.”
This year’s ‘Music Biz 101’ sessions start on Mar. 12 and include such topics as: ‘Tour Smart (with Martin Atkins), ‘Red Flags In Artist Contracts,’ and ‘Web-Based Promotion & Distribution.’ In addition, five hour-long ‘Crash Courses’ will be offered on the following topics ‘How To Use Social Networks,’ ‘Management,’ ‘Licensing and Royalty Income,’ ‘Press and Publicity’ and ‘Accounting Basics.’
Upcoming 2008 panel topics include ‘Through The Lens: Photographers on Musicians,’ ‘Brands, Bands & Fans,’ ‘The Blog Factor,’ ‘Rock Memoirs,’ ‘It’s Not Easy Being Green,’ ‘16 Magazine And The Birth Of Music Journalism,’ ‘Music Licensing For TV And Film In Europe’ and ‘How To Pitch Music Supervisors.’
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Developers swear to build mixed-use complex around the Broken Spoke
One day, you can enjoy Bruce Robison and maybe get some shopping done between sets.
How does everyone feel about this, excuse the pun, development?
Is it another sign of the end of live music in Austin?
Or a good compromise that rewards everyone?
Or something in the middle?
SXSW 2008: Lou Reed is the keynote speaker
Eleven years after Louis Black called his booking at the old Austin Music Hall “disrespectful to the Austin music community,” when it bumped up against the Austin Music Awards, Lou Reed will be the keynote speaker for the 2008 South By Southwest Music Conference and Film Festival. The speech will be held in conjunction with a screening of Julian Schnabel’s film “Lou Reed’s ‘Berlin,’” which documents a recent performance of the landmark 1973 album. Reed will speak at the Austin Convention Center on March 13 as the kickoff of the twenty-second annual festival. The music festival takes place March 12 to 16.
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Weekend Picks: Austin faves, karaoke remixes and more holiday fun
Friday: The Skunks’ Holiday Reunion at the Continental Club. Austin’s first punk rock band plays a holiday show. I still think their version of the Velvet Underground’s ‘Sister Ray’ is a dead ringer for the Modern Lovers’ ‘Roadrunner.’ (Not too big a difference, I know.) I wonder if their version of ‘O Holy Night’ sounds like ‘Roadrunner’? With Teisco del Rey. $10. — Joe Gross
Friday: Sounds Under Radio at Stubb’s. Big, slick rock ‘n’ roll ready for prime time. The band’s Sony/Epic debut and first full-length ‘Cinematica’ is slated to hit the streets in February. You might recall their song ‘Portrait of a Summer Thief’ from the soundtrack to ‘Spider-Man 3.’ $10. — J.G.
Saturday: Future Clouds & Radar at Stubb’s Their ornate pop translates live in really interesting ways. If power pop (or Todd Rundgren) (or the Beach Boys) is your thing, you owe it to yourself to check them out. But can any rock band resist playing ‘Little Drummer Boy’? With Lalaland. $10. — J.G.
Saturday: Indieroke Holiday Party at the Mohawk. Unleash your defiant alcoholic alter-ego with an extra-slurry version of Amy Winehouse’s “Rehab.” Reinvent mopey Cure songs from the 80s as breezy pop tunes. Remix the famous dance from OK Go’s “Here It Goes Again” video—- heck, remix the whole song if you feel like it. It’s the Austinist’s Indieroke Holiday Party, an anything goes karaoke event. Get your shine on. $2 —-Deborah Sengupta Stith
Saturday: Gary Clark Jr. at Antone’s. Austin music fans have long recognized Gary Clark Jr. as one of our city’s young lions on the rise. Recently his authentic blues-to-the-bone persona landed him a part in the upcoming John Sayles’ flick “Honeydripper” in which he plays (you guessed it) a young blues man. He also has a couple tracks on the soundtrack. The movie goes nationwide in February. Catch Gary now as his ticket prices could very possibly go up soon. $10-$12 —-D.S.S.
Sunday: More Fire, Bexar County Bastards, Zenith Fuzzbomb. Between these three bands, something tells me you could get any Motörhead or Who song you wanted to hear just by asking nicely. Or buying them a Jaeger shot. Room 710, 710 Red River St. 476-0997. — J.G.
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In the clubs with Grimy Styles
Dub reggae has been the music of the future for more than 20 years.
Science-fiction writer William Gibson thought dub’s slippery, disorienting sound, with its languid beat, weird echoes, random sounds and ease with electronic manipulation, made it the perfect music to beam out of a satellite in his 1983 cyberpunk classic “Neuromancer.” In the ’90s, dub became the hipster music of the moment, thanks largely to the rise of techno and rave culture, bands such as Tortoise incorporating dub techniques and a resurgence of interest in the career of Lee “Scratch” Perry. (See issue No. 2 of the Beastie Boys zine “Grand Royal” for the complete story.) With its association with marijuana and traditional reggae, it appealed to jam band culture. Suddenly, dub seemed au courant as anything topping the charts. It’s been on a low boil as a hipster concern ever since.
Of course, dub is not the first genre people associate with Austin. Singer-songwriter? Sure. Cosmic cowboy? Yup. Whatever the heck you call what the Butthole Surfers did? Absolutely. But since 2001, Grimy Styles has been trying to change that. These four guys — guitarist Matthew Beebe, keyboard player Martin Moeller, bassist Chris Nerren and drummer Jacob Benenate — put their own (purely instrumental) spin on dub’s sound and structure. Not sure about these white guys’ bona fides? The band has played with acts as diverse as Bernie Worrell, the Skatalites and Thomas Mapfumo, and members have worked with reggae producer Stephen “Gibbo” Gibbs on tracks for artists such as Capleton and I-Wayne.
They eschew lyrics in favor of soundscapes and fold in other genres when need be. Their live shows are beloved by fans for their spacey improvisational approach. Sounds mutate into other sounds, instruments fall in and out of the mix seemingly at random, the music takes a three-dimensional cast. This is dub for the 21st century sound, just like Gibson predicted.— Joe Gross
In the clubs: Grimy Styles play New Year’s Eve with the Mau Mau Chaplains and Dr. Dubbist at Flamingo Cantina, 515 E. Sixth St. $15 in advance. 494-9336, flamingocantina.com.
(Pictured top: Left to right: Martin Moeller, Matthew Beebe, Jacob Benenate, and Chris Nerren. All photos by Tammy Perez FOR AMERICAN-STATESMAN)
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SXSW 2008: A few more bands confirmed
A few more bands have confirmed for SXSW:
Buzz band of the moment Vampire Weekend is playing. A demo version of their debut album, the final version of which is due in January on XL records, may make some critics’ year-end list for ‘07, a bit like Pavement’s “Slanted and Enchanted” did back in ‘91.
The Breeders, whom you’ll recall from quite a run there during the Clinton administration (and a comeback album called “Title TK,” which is a joke only journalists will get, which indicates the band knows its remaining fanbase quite well indeed.)
Neo-shoegazer buzz band A Place to Bury Strangers
Danish pop types the Ravonettes
Heavy psych-rock revivalists Black Mountain
British indie darlings/ Sex Pistols warm-up act the Cribs
Look for a showcase from the completely excellent Ohio label Columbus Discount .
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Slick Rick’s hip-hop time machine a crowd pleaser
Austin’s hip-hop faithful are a notoriously tough crowd. I’ve seen brilliant performances by Blackalicious and members of the Wu-Tang Clan receive about as much love as Suge Knight at the Source Awards. Sunday night at the Parish, hip-hop legend Slick Rick “The Ruler” reprised some classic material for a nostalgic trip back to the days of fuzzy Kangols and shell top Adidas.
It didn’t look good early on as the opening set by Los Angeles-based DJ Haul was met by a stone-faced crowd that looked more like Chinese terra cotta warriors than hip-hop junkies. It’s never a good sign when the DJ has to remind the crowd that it’s O.K. to “get a drink and dance.”
It was the Philadelphia-born, Atlanta-based DRES tha Beatnik who got the crowd moving with a dual attack of beat-box wizardry a la Rahzel and a powerful mic delivery somewhere between Craig Mack and Ludacris. The combination of DRES and the tour’s backing band, the Keystones, incited a brief b-boy battle in the middle of the dance floor, with Terence “the Greedy Goblin” Thompson emerging victorious over Gabriel “Blitz” Mendoza. The highlight was Thompson twisting into a protracted handstand before dropping seamlessly into the worm.
Veteran Percee P inherited a lukewarm crowd and kept the intensity up with cuts from his new Madlib produced album, ‘Perseverance,’ but it was clear from the outset that the crowd was there to see hip-hop royalty.
Clad in gold chains, a four-fingered diamond ring and his signature eye patch, a legitimate medical accessory from a childhood injury, Slick Rick emerged from the wings and wasted no time in jumping into the classics. After a brief introduction, Rick offered up “Mona Lisa” from 1988’s “The Adventures of Slick Rick.” Without the benefit of a get-hype-man, generally standard issue for hip-hop shows, Rick let the audience fill in the end of each rhyme. When “La Di Da Di” and “Children’s Story” rolled around, he could have shut off the mic completely and let the crowd take it. This, after all, is what they braved near freezing weather for. And Slick Rick sounded as good on the mic as he did when the first Bush was in office.
Although the crowd was there for a nostalgic hip-hop joy ride, Rick was more enthusiastic about newer material such as 1999’s “Street Talkin,” a collaboration with Outkast on “The Art of Storytelling.” On the album cut, Rick’s East Coast lilt is a great foil for the southern-flavored, raid-fire delivery of Andre 3000 and Big Boi. The live performance lacked the contrast that showcases Rick’s unique style, but his performance was markedly more intense than on his older songs.
One puzzling point in the evening came when Rick began an impromptu lecture between songs about the evils of the entertainment industry, ending the brief tirade by repeatedly questioning what happens when, “white people make black people?” The horn intro to House of Pain’s “Jump Around” began to play and then ended abruptly as Rick jumped into a cover of Jay Z’s “Roc Boys.” It was a strange moment that threatened to snuff the vibe that had been building steadily, but the audience forgot about it midway through chanting, “Roc Boys in building tonight.” The beat goes on.
Slick Rick’s hip-hop time machine was an instant crowd-pleaser, but the weariness of performing many of these songs for nearly 20 years was evident. Still, Rick proved that he is more than just a relic of hip-hop’s golden era, thankfully avoiding the “throw your hands in the air” and “when I say/you say” call-and-response chaff that permeates so many shows. “The Ruler” is still one of the most unique emcees when it comes to lyrical delivery, an urban bard whose style has defied imitation and cliché.
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SXSW 2008: It begins.
Announcements have started rolling out of the South by Southwest camp at a rate that’s just going to increase as the music conference’s Mar. 12 start date draws closer.
Daryl Hall will be appear both as a speaker and as an artist. This of course prompts us to ask, “Where is John Oates?”
Spanish (as in, from Spain) hip-hop artist Mala Rodriguez, aka La Mala, British dubbists Dokkebi Q, rapper Tech N9ne and a crew of Argentinian dance artists including El Remolon, Frikstailers, Axel Krygier, Fauna, King Coya & El Trip Selector, Oro11 and Tremor are all slated to perform sets.
Minimalist composer Steve Reich and Sonic Youth guitarist Thurston Moore are confirmed for a sit-down conversation. With each other, that is.
We hold out hope that Moore will play a set with his solo group, which includes former Come guitarist Chris Brokaw, who is one of the most unjustly underrated rock guitarists of our age.
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Gary Clark, 1950s bluesman.
The soundtrack to John Sayle’s new blues-themed film “Honeydripper,” hits stores Feb 5. It includes new songs by Keb’ Mo’, Mable John and Austin bluesman Gary Clark, Jr., who appears in the film as well. Clark plays on “Good Rockin’ Tonight,” “China Doll” and “Blue Light Boogie.”
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Waterloo Top 10 for the week ending Dec. 15
Various Artists, ‘KGSR Broadcasts Vol. 15’ (KGSR)
Robert Plant & Alison Krauss, ‘Raising Sand’ (Rounder)
Iron & Wine, ‘The Shepherd’s Dog’ (Sub Pop)
Levon Helm, ‘Dirt Farmer,’ (Vangaurd)
Various, Artists, ‘KGSR Broadcasts Vol. 14’ (KGSR)
Rodrigo y Gabriela, ‘s/t’ (ATO)
Lyle Lovett and His Large Band, ‘It’s Not Big it’s Large’ (Lost Highway)
Raul Malo, ‘Marshmallow World & Other Holiday Favorites’ (New Door)
Spoon, ‘Ga Ga Ga Ga Ga,’ (Merge)
Omar Dykes and Jimmie Vaughan ‘On the Jimmy Reed Highway’ (Ruf)
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Encore Top 10 for the week ending Dec.
Various Artists, ‘KGSR Broadcast Vol. 15’ (KGSR)
Blotted Science, ‘The Machinations of Dementia’ (Electric Electric)
Robert Plant & Alison Krauss, ‘Raising Sand’ (Rounder)
Foo Fighters, ‘Echoes, Silence, Patience & Grace’ (RCA)
Jimmy LaFave, ‘Cimarron Manifesto’ (Red House)
Melvins, ‘Houdini,’ (Atlantic)
Nine Inch Nails, ‘Yearzeroremixed’ (Interscope)
Okkervil River, ‘The Stage Names,’ (Jagjaguwar)
Emiliana Torrini, ‘Love in the Time of Science’ (Virgin)
Opeth, ‘The Roundhouse Tapes,’ (Peaceville)
Musicmania Top 10 for the week Ending Dec. 16
Birdman, ‘5 Star Stunna’ (Cash Money)
Scarface, ‘M.A.D.E.’ (Rap-A-Lot)
Gucci Mane, ‘Back To The Traphouse’ (Atlantic)
UGK, ‘Underground Kingz’ (Jive)
Bow Wow/Omarion, ‘Face Off’ (Columbia)
Trae, ‘Life Goes On’ (Rap-A-Lot)
Alicia Keys, ‘As I Am’ (J Records)
Drama, ‘Gangsta Grillz’ (Atlantic)
Plies, ‘Real Testament’ (SLip-N-Slide)
Jay-Z, ‘American Gangster’ (Def Jam)
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Parents versus technology in the rush to buy Hannah Montana tickets
The New York Times published a story Sunday discussing a possible way in which scalp-, excuse me, those who work in the secondary resale market, are able to buy up so many tickets so fast.
The Times blames robots, more or less.
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Arcade Fire, Romo, Colbert: It’s a Wiki Wiki weekend
Amazing facts: Arcade Fire leader Win Butler is a native Texan, raised in The Woodlands. Dallas Cowboys quarterback Tony Romo’s grandfather Ramiro Romo Sr. imigrated to San Antonio from Mexico as a teenager. Comedian Stephen Colbert, the youngest of 11 kids, lost his father and two brothers in an airplane crash on 9/11, Sept. 11, 1974.
What did I do before Wikipedia?
My new fixation is to have a laptop handy when I watch TV or read magazines so I can look up stuff on Wikipedia as questions and interests arise.
For me, multitasking used to mean reading the newspaper in the john, but nowadays I’m on the Internet and listening to Howard Stern on Sirius and watching TV, and if I want to explore further, I can very easily. One way in which life is better.
In reading the Spin magazine cover conversation between Butler and Bruce Springsteen, the Arcadian mentioned in passing that he was from Houston, so I got my Wiki on and found out all sorts of interesting things, especially that his grandfather was Alvino Rey, who pioneered the pedal steel guitar in the 1930s and married one of the King Sisters, Butler’s grandmother Luise.
Then I was watching ESPN and they made mention that Romo’s father Ramiro had recently been diagnosed with prostrate cancer. My pal Wiki informed me that the Dallas QB was third-generation Mexican American on his father’s side and Polish on his mother’s. The Cowboys have long been Mexico’s team, but watch that fan support south of the border really explode.
Finally, I was listening to the audio CD of Colbert’s hilarious new book “I Am America (And You Can, Too)” and I wanted to know more about him. He’s an Irish Catholic from South Carolina who was heavily into Dungeons & Dragons as a kid, which is what can happen when your father and two siblings are killed when you’re 10 years old. Colbert’s clueless right wing personna, though based on Bill O’Reilly, had roots on the Chuck Noblet high school teacher character he played on “Strangers With Candy,” a show he co-created. I had no idea.
Wikipedia, I love ya. You know everything and you’re always there.
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Hannah Montana can fill seats fast
- Photos: Buying Hannah Montana tickets
- Photos: Hannah Montana
- Sound off: Did you get tickets? If not, will you check online outlets? Tell us about your experience.
- Photos: Chad ‘Pimp C’ Butler’s funeral
- Photos: Pimp C at SXSW 2007
- Pimp C: 1973-2007
- Sign the guestbook
- Reactions from the ATX hip-hop community
- CD review: ‘Underground Kingz’
- Photos: Hannah Montana
- Sound off: Planning to wait in line for tix? Got another strategy you’re willing to share?
Maroon 5 “It Won’t Be Soon Before Long”
Amy Winehouse “Back To Black”
Kanye West “Graduation”
Daughtry “Daughtry”
Colbie Caillat “Coco”
Linkin Park “Minutes to Midnight”
Various Artists “High School Musical 2 (Original Soundtrack)”
Timbaland “Shock Value”
John Mayer “Continuum”
Various Artists “Hairspray (Soundtrack to the Motion Picture)”
Fergie “Big Girls Don’t Cry (Personal)”
Gwen Stefani “The Sweet Escape”
Plain White T’s “Hey There Delilah”
Avril Lavigne “Girlfriend”
Fergie “Glamorous”
Kanye West “Stronger”
Maroon 5 “Makes Me Wonder”
Akon “Don’t Matter”
Timbaland “The Way I Are (feat. Keri Hilson & D.O.E.)
Shop Boyz “Party Like a Rock Star”
Scarface ‘M.A.D.E.’ (Rap-A-Lot)
Drama ‘Gangsta Grillz’ (Atlantic)
Trae ‘Life Goes On’ (Rap-A-Lot)
Jay-Z ‘American Gangster’ (Def Jam)
UGK ‘Underground Kingz’ (Jive)
Keyshia Cole ‘Just Like You’ (Geffen)
Alicia Keys ‘As I Am’ (J Records)
Soulja Boy ‘Souljaboytellem.com’ (Interscope)
Too Short ‘Get Off The Stage’ (Jive)
Plies ‘Real Testament’ (Slip-N-Slide)
- SoundCheck360: Listen to the full album
Various Artists, ‘KGSR Broadcasts Vol. 15’ (KGSR)
Robert Plant & Alison Krauss, ‘Raising Sand’ (Rounder)
Iron & Wine, ‘The Shepherd’s Dog’ (Sub Pop)
Various, Artists, ‘KGSR Broadcasts Vol. 14’ (KGSR)
Lyle Lovett and His Large Band, ‘It’s Not Big it’s Large’ (Lost Highway)
Toni Price, “Talk Memphis’ (Texas Music)
Levon Helm, ‘Dirt Farmer,’ (Vangaurd)
Omar Dykes and Jimmie Vaughan ‘On the Jimmy Reed Highway’ (Ruf)
Rodrigo y Gabriela, ‘s/t’ (ATO)
The Eagles, “Long Road out of Eden,” (self-released)
- Friday, get ready for a day show at 4 at Skatepark of Austin (1615 Rutherford Lane) with the Spits, Tunnel of Love and Hex Dispensers. That night check out the Bad Times (an underground/hipster garage supergroup featuring Jay Reatard, King Louie and Eric Oblivian), the Blowtops, Tunnel of Love and the Barbaras at Beerland.
- Noise-rock nerds will rejoice at the Saturday show — (Expletive) Jeans, Die Rotzz, the almighty Snake Apartment, Total Abuse and the Young at Beerland.
- The fest closes out on Sunday with the Hex Dispensers, Don Juan and band, the Teeners, Black Panda, the Hood Rats and the Pepperonis at Beerland.
- Photos: Pimp C at SXSW 2007
- Pimp C: 1973-2007
- Sign the guestbook
- Reactions from the ATX hip-hop community
- CD review: ‘Underground Kingz’
- Obituary: Pimp C: 1973-2007 | Photos | Guestbook
Various Artists, ‘KGSR Broadcast Vol. 15’ (KGSR)
Blue October, ‘Foiled for the Last Time’ (Universal)
Lyle Lovett & His Large Band, ‘It’s Not Big It’s Large’ (Lost Highway)
Toni Price, ‘Talk Memphis’ (Texas Music Group)
Exodus, ‘Atrocity Exhibition, Exhibit A’ (Nuclear Blast)
Kataklysm, ‘Shadows & Dust,’ (Nuclear Blast)
Nine Inch Nails, ‘Yearzeroremixed’ (Interscope)
Otep, ‘The Ascension,’ (Koch)
Rotting Christ, ‘Thanatiphoro Antologio’ (Century Media)
Seether, ‘Finding Beauty in Negative Spaces,’ (Wind-Up)
KGSR ‘Broadcast Volume 15’ (KGSR)
Trae ‘Life Goes On’ (Rap-A-Lot)
Alicia Keys ‘As I Am’ (J Records)
Jay-Z ‘American Gangster’ (Def Jam)
Plies ‘Real Testament’ (Slip-N-Slide)
Pitbull “Boatlift’ (TVT)
J.Holiday ‘Back Of My Lac’ (Capitol)
Keyshia Cole ‘Just Like You’ (Geffen)
Mike Jones ‘American Dream’ (Asylum)
Sir Charles Jones ‘For Your Love’ (Madri Gras)
- SoundCheck360: Listen to Crew 54
Various Artists, ‘KGSR Broadcasts Vol. 15’ (KGSR)
Robert Plant & Alison Krauss, ‘Raising Sand’ (Rounder)
Various, Artists, ‘KGSR Broadcasts Vol. 14’ (KGSR)
Lyle Lovett and His Large Band, ‘It’s Not Big it’s Large’ (Lost Highway)
Iron & Wine, ‘The Shepherd’s Dog’ (Sub Pop)
Levon Helm, ‘Dirt Farmer,’ (Vangaurd)
Stevie Ray Vaughan, ‘Solos, Sessions & Encores’ (Sony)
Omar Dykes and Jimmie Vaughan ‘On the Jimmy Reed Highway’ (Ruf)
Raul Malo, ‘Marshmallow World & Other Holiday Favorites’ (New Door)
Rodrigo y Gabriela, ‘s/t’ (ATO)
Hannah Montana’s January 24 show at the Erwin Center sold out in 55 minutes this morning.
An orderly crowd, with lots of mothers and daughters, gathered outside the South Box Office of the Erwin Center this morning to get tickets to the show, which features Miley Cyrus, the teenage star of the Disney televsion show, “Hannah Montana.” During the concert, an extension of the “Best of Both Worlds Tour” Cyrus perform as her self and her television pop star alter ego, Hannah Montana.
Those who won spots at the front of the line in a numbered wristband lottery walked away with smiles.
“I’m really excited,” Candace Kosted, 11, said as she bounced away from the ticket booth with her grandfather, Phillip Kosted.
Others paced with cell phones glued to their ears, hoping to get tickets that way in case their wristband numbers were not called at the box office.
Jamie Rafferty wasn’t one of the lucky ones. She walked away from the Erwin Center without tickets for her niece, Kayla Abuieta. The search for tickets would continue later online, she said. “I’m sure we’ll find something, I just might have to pay more money,” Rafferty said.
Did you get tickets? Tell us about your experience at the box office in the comments below.
Weekend Picks: Holiday cheer abounds with free shows, free drinks, seasonal shindigs
Friday: 2nd Annual Misprint Magazine Company Holiday Party at the Scoot Inn. A celebration for the funniest zine in Austin. Their South By Southwest issues are worth collecting (as are the rest, frankly). With Red Leaves, Hot Pentecostals and the Stay Gold DJs. $3. — Joe Gross
Friday: The Toadies at the Austin Music Hall. Relive the mid-nineties grunge fallout with Texas rockers The Toadies. The band that hit it big in ‘94 with ‘Possum Kingdom’ cranks it up tonight for a sold-out show that will surely feature hits from the band’s two studio albums, ‘Rubberneck’ and ‘Hell Below/Stars Above.’ Todd Lewis shares the stage with his Burden Brothers bandmate Mike Rudnicki who warms up the stage his side-project, Baboon. Pleasant Grove opens the show. — Brandon Cobb
Friday: Moonhangers at the Hole In The Wall.The alter ego of Chili Cold Blood, the Moonhangers have studied their Waylon Jennings records very carefully. Yes, your beer will eventually hold tears. With Silver Pines, Clay Nightingale and Boonesboro. No cover. — J.G.
Friday: DJ Dojo holiday party. DJs Manny, Big Face and the Dojo crew host a holiday shindig with free food, drinks and a raffle for fun prizes. 7 to 11 p.m. at DJ Dojo. Free. —-Deborah Sengupta Stith
Saturday: The Invincible Czars Nutcracker Suite at Jovita’s. Join in a new-school, uniquely Austin holiday tradition with this rocked out version of Tchaikovsky’s classic “The Nutcracker Suite” performed by local indie pranksters the Invincible Czars. The Czars host two performances, a family friendly “dance-along” at 2 p.m. and an adult show with the Golden Arm Trio at 8. Tutu optional. $8 — D.S.S.
Saturday: These Arms are Snakes at Emo’s. The bass player in this heavy punk outfit used to be in the band Botch, which combined lightspeed hardcore and extreme metal about as well as anyone. He’s mellowed since, but not much. With the Russian Circles and Fire vs. Extinguisher. This is a free show at Emo’s. — J.G.
Saturday: Horse + Donkey at Emo’s. Local indie rockers Horse + Donkey join the Walkmen and Zykos for a free show outside at Emo’s. More on Horse + Donkey.
Sunday: Slick Rick at the Parish. Nothing says Christmas like ‘Treat Her Like a Prostitute.’ A British transplant who moved to the Bronx at 10, Ricky Walters’ debut album ‘The Adventures of Slick Rick’ is a stone classic of funny, obnoxious vulgarity and detailed storytelling. A jail bid all but destroyed his career, but his 1999 comeback album is not bad. Free show, R.S.V.P here. — J.G.
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Photos: Friends, family remember Pimp C
Friends, family and fans of rapper Pimp C, one half of the trailblazing Texas hip-hop group UGK, gathered in Port Arthur, Texas to pay their last respects. More on the funeral.
(Pictured: Rapper Chamillionaire arrives at Pimp C’s funeral. Photo by ASSOCIATED PRESS)
Related
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Madonna, Mellencamp among Hall inductees
Madonna, the Dave Clark 5, Leonard Cohen, John Mellencamp and the Ventures are the latest inductees to the Rock & Roll Hall of Fame. Nominated, but missing the cut, were the Beastie Boys, Donna Summer, Chic and Afrika Bambaataa.
The Beasties were, along with Madonna, expected to be shoo-ins on their first year of eligibility (25 years after first release.)
Induction ceremonies will take place March 10 in New York.
(ASSOCIATED PRESS PHOTO)
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The night Ike came to town
I’ve seen hundreds of blues artists at Antone’s through the years- mainly at the 1980’s Guadalupe Street location - and I’d have to say that the most all-round talented was Ike Turner, who passed away today at age 76, his manager confirmed.
His guitar playing was out of this world, and he played the piano like the guy who played on the very first rock ‘n’ roll record. After years of Sly Stone-like exile, Turner tried to get his career back on track with a South By Southwest showcase. Here’s the review.
Austin American Statesman March 18, 2001 “The curiosity factor helped pack Antone’s Friday night for a comeback set by Ike Turner, but the question mark quickly became an exclamation point as the 69-year-old reclaimed a piece of his reputation as one of the greatest all-round musicians America has produced. Although Turner is credited with writing and playing piano on the first true rock ‘n’ roll record, 1951’s “Rocket 88,” he’s better known today for his backhand than his fingers. Rumors of secret reunions run wild at SXSW, but no one had suggested that Tina Turner might sit in with the ex she forever linked with spousal abuse.
Although the crowd contained a few would-be hecklers, who threw back his “Hello, Houston!” mistake at the show’s start, they were drowned out by the sheer musicianship onstage as Turner’s eight-piece Kings of Rhythm made the decades disappear. Ike Turner isn’t a pianist, he plays the piano, thumping the keys as if in rhythm is redemption. Instrumental versions of “Rocket 88” and “Have Mercy on Me” rolled out with juke joint verve. Then, when Ike switched to guitar, his playing was funkier than a mosquito’s tweeter.
The room was lousy with musicians both local (Marcia Ball, Toni Price, Ian Moore) and national (Cesar Rosas of Los Lobos, who hopped onstage to sing “You’ve Got To Lose”). They came to hear a legendary talent and were not disappointed, though Turner proved on “Caledonia” that he’s not much of a singer. Later in the set he brought out a female singer who looked an awful lot like Tina, but when she sang “River Deep, Mountain High,” it was a bluesier, de-Spectorized take.
Turner has toured sporadically since Tina fled — in fact, Friday’s set was his first in Austin in almost three decades. But with a new blues album coming out in May, he’s gone back to his pre-Tina boogie woogie roots.
Or so it seemed, until the delirious audience demanded an encore and Ike and his band locked into a luscious groove on a song about sex that featured rapid-fire rapping by his bassist. Then it was back to the basics, as Turner picked up his guitar and played it with as much soul and dexterity as anyone who’s ever stepped onto the vaunted Antone’s stage.
It all ended well after last call with the crowd chanting, “We like Ike!” as Turner flashed a smile as wide as the brim of his black fedora. The only thing missing was Clifford Antone taking the stage to coax Turner to play more.
(Pictured: Ike Turner at SXSW 2001. Photo by Sung Park AMERICAN-STATESMAN)
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Hannah Montana coming to Austin
Miley Cyrus a k a Hannah Montana is scheduled to play Frank Erwin Center on Jan. 24 at 7 p.m.
Hannah Montana shows have been the hottest tickets of 2007, and the teen sensation has sold out numerous arena venues across the country in a matter of minutes.
Here’s the ticket policy for the show at the Erwin Center:
“Numbered wristbands for the first day of ticket sales will be distributed for one day only on Friday, December 14 from 9 a.m. to 6 p.m. at the Frank Erwin Center and at all Texas Box Office Outlets including select H-E-B stores in Austin, Bastrop, Cedar Park, Georgetown, Kyle, Leander, Pflugerville, Round Rock, San Marcos and Temple and Renaissance Records in Killeen. The beginning of the line will be randomly determined on Saturday, December 15 at 9:30 a.m. Wristbands guarantee a place in line, but do not guarantee tickets. Wristbands are not needed for phone or internet orders. For more information on the wristband policy and for a complete listing of Texas Box Office outlets, visit uterwincenter.com. Additionally, there is a 4 ticket limit on the first day of sales.”
(Photo by ASSOCIATED PRESS)
Ike Turner: 1931-2007
R&B legend Ike Turner died earlier today in his home in San Diego, Calif., according to his booking agent, Austin-based Maximus Entertainment.
He was 76 years old.
Turner’s agent Robert Devine said the company recently booked on a European tour for Turner. “It’s a shock to all of us” Devine said.
Maximus is working with Turner’s management on a statement to be released later today.
(Pictured: Ike Turner at SXSW 2001. Photo by Sung Park AMERICAN-STATESMAN)
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Review: Duran Duran at the Austin Music Hall
Despite a $45 ticket price, the English dance/pop band Duran Duran had the newly renovated Austin Music Hall filled to capacity for their Tuesday show (many in the crowd seemed to be the same ecstatic souls who were once the band’s screaming teen fanbase some 25 years ago).
Duran Duran — vocalist Simon Le Bon, bassist John Taylor, drummer Roger Taylor and keyboardist Nick Rhodes — have managed the near impossible by creating a graceful third act in their pop music career within a genre where most bands are one-hit-wonders. Touring behind their 12th album, “Red Carpet Massacre,” released last month, the “fab five” — now minus original guitarist Andy Taylor — are receiving heavy rotation on Mix 94.7 and have sold more than 80 million records in their 29-year history.
The band played six new songs from “Red Carpet Massacre,” including “Nite Runner” and “Falling Down,” which are collaborations with Timbaland and fellow boy band alum Justin Timberlake. Maintaining the band’s penchant for contemporizing blue-eyed soul while mixing it with pop/rock staples, the new tracks possessed a danceable hotness and were better than any of their fans (and haters) would have expected.
John Taylor proved he is easily one of the funkiest bass players in pop music as he slapped and popped polyrhythmic bass grooves as smooth as if he were buttering bread; he appeared to have the most fun of all the band members.
Rhodes has added the now requisite Mac PowerBook to his five-keyboard-strong soundscapes while Roger Taylor still had the rhythmic capacity to play 32nd notes on the high hat while locking into a click-track and assorted pre-recorded samples.
The 30- and 40-something based audience ignited during the last half of the set when the band started cranking out the hits from the 1980s: “Rio,” “The Reflex,” “Save A Prayer” and the encore “Girls on Film.” The audience was noticeably disappointed that the band did not play “Hungry Like The Wolf,” one of the biggest hits of their career.
Tuesday evening’s concert showed that Duran Duran’s staying power can be attributed to the fact that underneath their chic fashion style and pretty-boy charisma, they’ve always been talented musicians with a keen sense for expressing drama and romance within the perfect three-and-a-half minute pop song.
(Photo by V.M. Black FOR AMERICAN-STATESMAN)
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New Orleans comes to Bastrop
A New Orleans-themed parade, complete with Mardi Gras Indians and a marching jazz band, will take place in downtown Bastrop the afternoon of Dec. 29. And on the next night noted jazz composer Hannibal Lokumbe will debut his latest work, “Land of Mercy, Land of Tears,” at the Hyatt Regency Lost Pines Resort. Dr. John will also perform at the concert, which starts at 7:30 p.m. Go here for more details. Trumpeter Lokumbe’s ambitious piece, developed during workshops with Bastrop High School students, focuses on a family’s journey through several generations.
A longtime player and collaborator in Gil Evans’ band, Lokumbe is probably best-known as the composer of “African Portraits,” which debuted at Carnegie Hall in 1990 and has been performed by more than 50 orchestras.
A native of Smithville, Lokumbe lived in New Orleans for six years before being displaced by the ravages of Hurricane Katrina.
Austin Music Hall: How does it sound?
We at the Austin Music Source are hearing mighty mixed things about the new Austin Music Hall.
We’re hearing everything from grumbling about sight lines on the second floor to complaining about lack of parking when both La Zona Rosa and AMH are having shows.
So Austin, is this just petty stuff? Symptoms of larger problems? Are these concerns legit? How did the Duran Duran show sound and look last night?
We would like to hear from you.
In the clubs with Horse + Donkey
Here’s a question nobody has ever adequately answered: What comes after post-punk?
For British bands, groups such as Joy Division, Killing Joy, Gang of Four, Bauhaus, Human League and the Fall came after punk. In the United States, hardcore followed punk and after hardcore came the many moods of American indie rock: Dinosaur Jr. Scratch Acid, Big Black, Rites of Spring, Nirvana, that sort of thing.
But post-punk (meaning those British bands) never really went away. Bands have been vibing off bands like the Gang of Four ever since, repurposing those semi-human grooves for decades. Now it seems like everyone is bringing those influences to the fore.
Horse + Donkey, on the other hand, have been doing it for 10 years and five albums. “It was really different in 1997,” drummer Luis Martinez says. Not everyone thought Gang of Four was a genre. And to Horse + Donkey’s credit, they’ve managed to keep those building blocks good and weird.
The 32-year-old Martinez formed the band in El Paso with bassist Oliver Valdez, now 30 and Jaime Zuversa, now 31, back then, at the nadir of indie rock. They moved here in 2000 and have kept the band going on a low boil ever since. “We’ve been good friends for a long time and that really helps,” Martinez says. “We play shows when we can, but I think we still work with each other musically really well.”
This sort of thing is the future of the middle-class musician — albums now and then, gigs now and then, friendship rather than the almighty dollar keeping things afloat.
Too bad this animal can’t reproduce.
In the clubs: Horse + Donkey plays a free show Saturday with the Walkmen and Zykos at Emo’s, 603 Red River St. 477-3667.
(Pictured top: (l to r) Luis Martinez, Oliver Valdez, and Jaime Zuverza. All photos by Tammy Perez FOR AMERICAN-STATESMAN)
Permalink | Comments (1) | Categories: In The Clubs
iTunes releases its best-selling albums and singles of 2007
ALBUMS
SONGS
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Musicmania Top 10 for the week Ending Dec. 9
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Funeral infromation for Chad “Pimp C” Butler
Services for UGK founding member Chad Butler, a.k.a. Pimp C, will be held 11 a.m. Thursday in Port Arthur at the Robert A. Bowers Civic Center (3401 Cultural Center Dr. (409) 985-8801)
Services will be open to the public.
According to a press release from the family, no cameras of any kind, including cell phones will be allowed into the civic center. Anyone seen attempting to take pictures during the service will be escorted from the civic center. The interment is not open to the public or to media.
SoundCheck360: I’ll Be Home For Kwanzaa
Every year around this time I dig out my collection of local Christmas music to do my annual holiday show on Around the Town Sounds at KOOP radio. And each year, my favorite CD remains the same, “I’ll Be Home For Kwanzaa,” produced by Diversearts director Harold McMillan and released on Marc Katz’s Bagel Label. Recorded live at Top of the Marc (the space now occupied by Momo’s) over a two-night span in 1997, a decade later this album full of expressive jazz renditions of Christmas classics still stands out. With intricate instrumental solos, heartfelt vocals and the quiet clinks of glasses and crowd rustle in the background, the collection simultaneously captures the intrigue of a smoky jazz club and the warmth of the holidays.
Harold McMillan has generously agreed to share this out-of-print collection with Austin360 visitors through SoundCheck360. We caught up with Harold to talk about the recording, jazz in Austin and life in new East Austin.
Music Source: How did the idea of putting this collection together come about, and how did you go about assembling the players for this recording?
Harold McMillan: There is a tradition of putting together albums and targeting them for holiday release. For years a number of Austin artists and producers had released holiday records but, for the most part, those projects had not included African American musicians; or if they did include black players, they were sidemen.
I had working relationships with most of the folks in the scene at that time. And, the project was really an expression of the kinds of goals I have for my work as a cultural advocate. I basically thought such a project was well past due; and I wanted to produce Austin’s first holiday compilation that featured music and musicians with roots in African American culture. I pitched the idea to Marc Katz, who at the time was trying to get a small label off the ground, and he agreed to support the project and release it on his Bagel Label.
Can you talk a little about the scene in the bar during this recording?
It was an “event,” a couple of truly cool night of hanging out in the club, great performances with a lot of mixing of different rhythm sections, soloists and vocalists.
It was a packed house with a lot of conversation between tunes, hugging and handshakes. In some ways it was kind of a multi-generational family reunion of Austin’s black music community — both audience and players. The specific combination of players we put together for the show/record has probably only happened that one night and can’t happen again because several of the musicians have since died…Martin Banks, T.D. Bell, Pat Patterson, Lamont Johnson. I think the performances are great, but the record is also a document of a time that can’t be recreated.
I love the way the jazz reinterpretations add unique character to these classic songs we all know. Which songs on here stand out to you and why?
It’s hard to pick a favorite…several of the tunes really stand out and appeal to me for different reasons. I love “The Christmas Song” instrumental because of the quality of the playing, but also because of the group we put together to do the piece. This was the first and only time these guys, in this particular configuration, ever performed together…it was just an absolutely great combo!
No disrespect to any of the other folks on the record, but I also really love the blues tune that T.D. Bell and the East Side Horns did, “Merry Christmas Baby.” It’s great. It’s hilarious the way he says…”Sany came down the chimley.” And the charts and horn arrangements that J.W. Davis did for T.D.’s set really suited T.D.’s style and personality.
Also, Fred Sanders’ tune, “Blessed Name,” smokes! Fred made up a short melodic line, hummed it to Edwin [Livingston, bass player] for a while before they took the stage, and they went up and composed — on the spot — an absolutely beautifully moving piece of music, with really great solos and ensemble playing.
Ten years ago you were still promoting the Clarksville Jazz Festival in Pease Park, more recently you’ve been doing events at Kenny Dorham’s Backyard. Can you talk about how you’ve observed the local jazz scene evolve over the last decade?
The scene has changed a lot. In the mid-90s our jazz fest was beginning to approach crowds of 10,000 over a couple of days. We did touring shows throughout the year with folks like Jimmy Smith, Roy Hargrove, Kenny Garrett, Nicholas Payton and Jason Marsalis. There were a few places in town that regularly booked jazz, besides the Elephant Room, and there was a crop of younger players that were really creating a buzz around town….Edwin Livingston, Ollie Jones, Fred Sanders, J.J. Johnson, and others. And sponsorship and support for jazz were more available, as well as what seemed like a growing audience.
We’ve been trying to keep the idea of accessible jazz, blues and world music alive with our work at Kenny Dorham’s Backyard, but financing music programming that aims for artistic and cultural qualities outside of “commercial” or European classical traditions is tough in Austin now. There are the big BIG festivals now, but the smaller, less commercial festivals and organizations are having a hard time these days — at least we are.
I’ve always thought that a healthy jazz/blues scene really needs to be multigenerational; elders should be revered; the next generation needs to be cultivated. Austin has disappointed me over the years on this point. I KNOW that generational respect is there among the players. But I think the folks who hire musicians — especially in the clubs — don’t think enough about nor act enough to support this kind of music community here. The example that comes to mind is the lack of work that Martin Banks had in his last years. Or, the fact that Lavelle White doesn’t have much steady work in Austin.
And, I must admit, I think for me part of what has changed is that I now have to acknowledge that Austin just is NOT a jazz town, perhaps never will be in a big way. That doesn’t mean that I think it’s not worth supporting; to the contrary, I think that points directly to the need for support — funding, audience, education, access, media coverage — to make sure it doesn’t just disappear from the scene.
Briefly, can you offer some thoughts on urban renewal in East Austin, and relatedly, how’s the new gallery space working out for you?
It’s gentrification, and it’s a given that there are both positive and negative aspects of it. I fear, and this seems to be playing out, that Central East Austin is losing its “soul.” Yes, there are new businesses and residents. There are all kinds of “potential” opportunities to do really innovative and significant things to preserve some of the sense of place, culture, heritage and character of what really is a historically rich community of established neighborhoods. I don’t, however, get the impression that these kinds of attributes occur to most private developers, new businesses, nor the City of Austin as they march in and remake the community. The new businesses in a lot of ways seem to have the idea that their success will be measured on how well they do at bringing West Austin to East Austin, rather than including a focus on how they might serve the community of folks who already live within a few blocks of them.
The example I like to use to illustrate what I mean is: What if I opened up a late-night hip-hop club at the corner of Expedition and Windsor. Then I went about targeting all of my marketing to kids who live in East Side housing projects and have a taste for gansta rap and loud cars. What would my Tarrytown neighbors think about my business’s contribution to the character of the neighborhood? This is extreme, I know. But I think you get what I mean.
For a brief moment, I think the new East Austin had a great chance of being a better example of how to go about “revitalizing” a formerly depressed and impoverished community. At this point, I’m not so sure that Central East Austin is heading anywhere other than the “New Clarksville.” (Most white folks who live in Clarksville have absolutely no idea that they live in one of Austin’s oldest African American neighborhoods. There are no black businesses at all on West Lynn in downtown Clarksville. And most of the families who grew up there no longer live there.)
Because the historical African American heritage of the community just simply IS, and the current march of gentrification largely excludes black folks, I want to see this heritage marked for future generations with a cultural heritage district designation. Even though the nature and character of the community is changing and will likely never again be the multicultural/multiethnic, mixed socio-economic community it was in the past, there really does need to be aggressive action NOW to preserve and honor the history, heritage, and culture of the community that is currently being obliterated.
In terms of the gallery? We are hanging on, still trying to make sure that we are addressing our mission. I am proud of the exhibits we’ve put up this season and we’ve found some success with attracting a rainbow family of folks to visit the gallery and come to our events. It’s just very difficult to afford doing business and living in the new East Austin. If it were not for the generosity of Perry Lorenz, we would not be able to have the space we have now. And, I honestly don’t know what we would be able to afford because community support for nonprofit arts groups in Austin (especially African American-run organizations, and especially in East Austin) is hard to come by.
(Pictured: Harold McMillan. Photo by Ricardo Brazziell AMERICAN-STATESMAN)
Sahm, Dorham among honorees
Pending approval by the Austin City Council on Thursday, genre-jumper Doug Sahm, disc jockey/musician Lavada “Dr. Hepcat” Durst, jazz great Kenny Dorham and folklorist Americo Parades will be among the first group of 10 inductees into the Austin Music Memorial, headed for a terrace at the Long Center for the Performing Arts, which opens in March.
The maiden inductees, nominated by the public, selected by a panel of local music aficionados and endorsed by the Austin Music Commission, are a diverse bunch, with four African Americans, three whites and three Hispanics. Gospel composer and choir director Virgie Mae Dewitty is the lone woman.
The memorial, consisting of 18-inch engraved plaques, will add 10 names each year. There’s room for about 250 plaques on the second-floor concourse, which will be open to the public 24 hours a day. The city will pay the estimated $500 per memorial. To be eligible, honorees must be deceased at least three years.
This kickoff group goes as far back as Carl William Besserer, who co-founded the Austin Saengerrunde, a German singing society, in 1879. Rounding out the initial inductees are band leader Nash Hernandez (1922-1994), Tejano singer turned broadcaster Roy Montelongo (1938- 2001), barrelhouse piano player Roosevelt “Grey Ghost” Williams (1903-1996) and music historian and producer Tary Owens (1942- 2003).
More on the Austin Music Memorial
[an error occurred while processing this directive]Waterloo Top 10 for the week ending Dec.
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Review: A weekend with the Hacienda Brothers and the Knitters
Last weekend offered one inspired pairing — the Knitters and the Hacienda Brothers at the Continental Club Saturday night — and one thorny dilemma — whether to leave before the end of the Hacienda Brothers’ Sunday afternoon show at Gruene Hall in order to catch at least the last half of the Knitters’ second night at the Continental.
The list of bands I’d care to see two days in a row is pretty short, but both the Knitters and Hacienda Brothers are on it. The Knitters, a country mutation of the punk band X featuring Dave Alvin on electric guitar, has a sly comic bent, as you might expect from a group whose “hit” (No. 2 in Czechoslovakia, claimed singer-acoustic guitarist John Doe Saturday, before pretending to argue with singer Exene Cervenka about the year of this achievement) was a tribute to road kill called “Poor Little Critter on the Road.”
But the Knitters frequently sounded downright ferocious, even while cutting up. Their wacky “The New Call of the Wreckin’ Ball” was delivered with as much abandon as songs from X’s back catalog, including “In This House That I Call Home,” “Skin Deep Town,” “Burning House of Love,” “The New World” and “I Must Not Think Bad Thoughts.” Though re-imagined with a distinct twang, there was no mistaking them for honky-tonk tunes with Doe and Cervenka’s lashing vocal harmonies, Alvin’s serrated solos and the runaway-locomotive rhythm section of Jonny Ray Bartel on stand-up bass and D.J. Bonebrake on snare and a washtub kick drum.
There were less raucous moments, including Doe and Alvin’s melancholy duo take on Merle Haggard’s “Silver Wings,” a jolly “Something to Brag About” and a version of Alvin’s “Dry River,” a song Doe rightly proclaimed ought to be recorded by Haggard. But even a tuning break took a sharp left turn, when Cervenka started to improvise to Doe’s guitar as he checked the intonation and the rest of the band launched into spiky free jazz.
The Knitters jammed the accelerator pedal on the folk standard “Rock Island Line,” which didn’t stop until it was going so fast derailment seemed imminent, or at the very least a small conflagration.
The Hacienda Brothers were less combustible, but no less exciting. They also fit just as untidily into the country category. Guitarist-accordionist Chris Gaffney is one of the best soul singers on the planet, while singer Dave Gonzalez’ lead guitar style is steeped in the 3 a.m. blues (although the duct tape holding his wrist bandage together — he had a motorcycle accident last summer — was definitely more punk). Bassist Hank Maninger and drummer Dale Daniel have a subtle jazzy flair, and pedal steel guitarist David Berzansky is equally adept at providing apt fills and atmosphere, or launching into sparkling, swinging solos.
The Haciendas’ Saturday set leaned toward the soul side, with their own gorgeous “What’s Wrong With Right?” and “Walkin’ on My Dreams,” as well as a stirring version of the Percy Sledge hit “It Tears Me Up.” Gonzalez and Maninger sang pristine harmonies on the Intruders’ “Cowboys to Girls,” seguing beautifully into “Just My Imagination” and back.
Alvin stood behind the stage grinning, sometimes shutting his eyes while Gaffney sang, until Gaffney brought him back onstage to help sing his own “Fourth of July.” Alvin initially shoved his hands deep into his pockets, not knowing what to do with them absent a guitar, but then began doing a modified twist, to cheers from the crowd, still sizeable with closing time closing in.
The Hacienda Brothers sounded even better some 14 hours later at historic Gruene Hall.
“It’s all that old wood,” explained Daniel during a break.
The long afternoon slot also permitted the band to stretch out more on solos, indulge requests and mix up a wide variety of material, including their own brooding honky-tonker “Mental Revenge,” Johnny Cash’s “Home of the Blues,” Dave Dudley’s truck-driving anthem “Six Days on the Road,” and an accordion-fueled and turbo-charged version of the Box Tops’ “Cry Like a Baby.” A rendition of Ivory Joe Hunter’s “Since I Met You Baby” demonstrated an accordion can be just as bluesy as a guitar. The original country/surf-rock instrumental “Railed” got the crowd on its feet.
Leaving after only a few hours was tough, but the Knitters, as it happened, were even more galvanic than on Saturday. The lovely ballad “Someone Like You” afforded a brief respite in a succession of hard-rocking numbers that concluded with a demented version of “Born to Be Wild.”
There were some repeat tunes from Saturday, but all were even more fierce, and one reached a pinnacle of punk intensity. Doe invited singer Cindy Wasserman from his solo band to sing harmony on the Knitters’ version of the traditional “Walkin’ Cane,” which suddenly escalated into a stomping blues ending. Just before the crucial point, Alvin motioned for her to move out of the way. She looked a bit taken aback, but he shot her a quick look of apology before unleashing a solo that had him thrashing around like a downed electrical wire. Even when he’s moonlighting as a country picker, Alvin’s guitar could use a “Danger: High Voltage” sign.
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Review: Rachel Loy and Brian Keane farewell
In the moments before Rachel Loy was to take the stage at the Continental Club on Thursday night for her farewell show with Brian Keane the club was invaded by a clamoring horde of Santas. About 30 or so rushed the bar ordering shot after shot, some wearing sequins and some with flashing ‘ho ho ho’s on their caps. This “Santa rampage” as one of them called it climaxed as they all pulled out photocopied songbooks and began to mumble along to a slightly altered version of “The 12 Days of Christmas” and everyone there for the show shot them curious stares.
After the song it was time for them to move to the next bar, and Rachel Loy started into “Get To Me” off her latest album, “Tongue and Teeth.” Holding her thundering bass, which is almost as big as she, Loy belted out her bright vocals that teetered back and forth between light and feathery and soaring all while the band behind her helped illuminate the club with poppy, folk rock. Her version of Hank Williams’ “Cold Cold Heart” revitalized the old tune, injecting it with pep and vigor. She was all smiles even though she warned the audience that she may start crying later, as this was the last gig she or her musician boyfriend Brian Keane would play in Austin for awhile. The two are relocating to Nashville for several reasons mostly relating to their growth as musicians.
“The main industry here is playing live, and I would love to get into other veins of the industry that Nashville has to offer like songwriting and music licensing to movies and TV,” Loy said. Also, they just feel too settled here in this music scene they have helped sculpt. “Maybe we’re too young to be this happy and comfortable,” Loy said.
Keane certainly seemed at home on stage during his set following Loy’s. His rambling country-folk vocals on crowd favorites like “Odysseus,” a charming western-style take on the epic poem, had everyone singing along to an irresistible chorus. The spoken-word style of the verse was set to a beat counted out in your feet. Throughout the rest of his set, Keane’s acoustic buzzed during several crazed guitar solos and toe-tapping drum rim raps. Onlookers also sang along as he played “I Ain’t Even Lonely,” a thick and smooth sentimental song.
Once Keane finished his set after midnight and the crowd shrunk to intimate numbers, the duo’s peers stepped on stage to show their appreciation. Guy Forsyth, Warren Hood, Johnny Goudie, Wayne Sutton, Jeff Botta, Eldridge Goins, Clayton Colvin and more gave them a send-off the best way they know how, by having an all-are-welcome, rock-blues-country-folk jam session sometimes with nine people on the stage at once. Fiddle, keys, harmonica and some top-notch guitar work marked this great big musical goodbye that included a performance of the Band’s “Ophelia” and a harmonious a capella duet by Loy and Keane on Hank William’s “House of Gold.”
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Visconti to produce Escovedo LP
Alejandro Escovedo heads to Lexington, KY this week to begin production of his next album, with Tony Visconti (David Bowie, T. Rex) at the helm. Escovedo’s label had previously announced that legendary Glyn Johns would produce, but apparently after meeting in France a few weeks ago, the pair had different ideas about the album they’d make together, so it was mutually decided to go separate ways. Johns retains one Austin connection, however; he’s mixing the next album from Ian McLagan.
Tapping Visconti, producer of T. Rex’s “Electric Warrior,” a favorite Escovedo LP, signals a more urgent, hard rocking effort on the way from Escovedo, whose albums have become increasingly textured and introspective in recent years.
In other Escovedo news, Oscar-winning director Jonathan Demme is moving forward on plans to direct an Escovedo concert film from Las Manitas in late January, just days before it’s expected to be torn down to make way for a Marriott hotel chain. In keeping with the Visconti/Bowie connection, maybe the film could be called “Rubble, Rubble.”
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Pimp C tribute radio show
South By Southwest producer Matt Sonzala’s KPFT radio show “Damage Control” was all Pimp C/UGK all the time Wednesday night.
It’s an amazing document - smart, muscular Houston hip-hop interspersed with moving tributes from the folks who knew him.
Download it here.
Weekend Picks: New hip-hop, classic country and a punk/garage/noise fest
Friday: Maneja Beto at Emo’s Lounge. Austin’s premiere purveyors of indie pop en Español bring their dreamy, lyrical sound to the Lounge. Consider The Source and Tartufi Tartufi open. —Deborah Sengupta Stith
Friday: Crew 54 album release at Flamingo Cantina. One of the brightest hip-hop acts in the ATX drops a new joint, “Aggressive Soul.” Mike and Ike, Cali Zack, Zeale 32, the Gyft and Notion are all scheduled to perform. Check out this week’s In the clubs feature for more on Crew 54. —D.S.S.
Friday: Bruce Robison and Kelly Willis at Gruene Hall. If you missed their show a couple weeks back at the Paramount, here’s another opportunity to catch Austin’s favorite country couple at this historic Texas dance hall. $20.
Friday-Sunday: Ground Zero Texas. Beerland booker/doorman/grump Max Dropout put together this pretty boss line-up of punk/garage/noise.
Saturday: Black Joe Lewis with RX Family at the Beauty Bar. I’ve been a fan of Black Joe Lewis, a young buck with an anguished soul sound that harks back to eras past, for a hot minute. But I always seem to see him sharing a bill with rocker types. That’s cool, just not my scene. So I have to say I was pleased to see Black Joe headlining this gig alongside RX Family, a new hip-hop crew with a live band celebrating the end of the semester with a ‘playa’s ball.’ The tracks that I checked on the group’s MySpace page are promising. And my money says partnering with hip-hop acts will expand Black Joe’s already enthusiastic following exponentially. —D.S.S.
Saturday-Sunday: The Knitters at the Continental Club. The country and western side of X — a band that Austin bands have been eyeing with a mixture of pride and envy for, oh, 30 years or so — gets a workout. They hit the stage at 10 p.m. Saturday with Hacienda Brothers. $25. Sunday they go on at 8 p.m. $20. - J.G.
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Bun B talks to MTV about Pimp C
UGK’s Bun B talks to the music channel about his friend who died Tuesday at age 33. Read the interview here.
Also, download Matt Sonzala’s “Damage Control” tribute to Pimp C recorded live at KPFT radio in Houston here.
(Pictured: Bun B at SXSW 2007. Photo by Ricardo Brazziell AMERICAN-STATESMAN)
Pinetop Perkins, 94, leads Austin Grammy nominees with two nods
Nominations for the 50th Annual Grammy Awards were announced today by the Recording Academy and, improbably, the noms leader from Austin is nearly twice as old as the award itself.
Ninety-four year old blues pianist Pinetop Perkins picked up two nods, both for traditional blues album for “Pinetop Perkins On The 88’s - Live In Chicago” and “Last Of The Great Mississippi Delta Bluesmen: Live In Dallas.” He shares the latter with Henry James Townsend, Robert Lockwood, Jr. & David “Honeyboy” Edwards.
Patty Griffin’s “Children Running Through” picked up a nod for contemporary folk/Americana album, while Billy Joe Shaver’s “Everybody’s Brother” is up for Southern, country, or bluegrass gospel album.
Kanye West received a leading eight Grammy nominations Thursday, and the troubled singer Amy Winehouse received six. Both West and Winehouse were nominated for album of the year for their CDs, “Graduation” and “Back to Back” respectively. Winehouse was also cited for best new artist, plus record and song of the year for her defiant hit “Rehab.”
Other Texas nominees included Beyoncé, up for two including record of the year for “Irreplaceable” and Kirk Whalum (pop instrumental album for “Roundtrip”).
UGK’s nomination for “Int’l Players Anthem (I Choose You),” a collaboration with OutKast, in the rap performance by a duo or group catagory was bittersweet. It comes two days after the death of UGK member Pimp C.
The Tejano album category was dominated by Texans, as usual. Ram Herrera And The Outlaw Band, Little Joe y La Familia, David Marez, Ruben Ramos and Sunny Sauceda all received nods.
(Pictured: Pinetop Perkins. Photo by Sung Park AMERICAN-STATESMAN)
Reactions to Pimp C’s passing from the ATX hip-hop community
DJ Baby G (Hot 93.3): I was shocked to hear the news. He was one of southern raps pioneers! UGK was making noise in our part of the world long before there was such a thing as “Southern rap” or before the term “Dirty South” emerged. Always an advocate of Texas hip-hop (rap), Pimp C had a very distinct style (and voice) that was full of swagger…a major influence on southern rap in general. A lot of rappers were influenced and incorporated his flow and style of delivery. He was also a talented producer (beat maker). It’s a shame that he had to die so young….he will be missed….UGK forever!!!
DJ Dinky D (Hot 93.3): I would have to agree with Baby G. UGK was a part of our lives in the music industry. Long before most of the Houston rappers got their start, UGK was already a household name. And not just the Dirty South, but throughout entire regions of the U.S. Pimp C may have had his own agendas and his own views about things, but he is (in my opinion) one of the forefathers of not just the South, but in hip-hop period!!
RIP to Pimp C. Rap won’t be the same now that he has left us. He wasn’t just a fallen solider, he was a general. We will surely miss you Pimp C. And may we all see you again in the after life. Bow down to one of the greatest rappers in our time.
DJ Nicknack (crowdcontrolrecords.com): I have been a Pimp C fan ever since I heard the first word of “Pocket Full of Stones” uttered from Chad’s mouth. For me, like most folks, I was hooked when I heard his southern drawl and delivery. He has a way of rapping that literally sounds like he is talking to you.
The other thing you have to keep in mind is that Pimp C and Bun came out when not a whole lot was coming out of Texas. So for a young Texan into rap circa early 90s, I found their music extremely appealing. In fact, it sort of became the soundtrack for my teenage years.
Not only that, but Pimp C specifically repped Texas harder than ANYONE I have ever seen or heard. Who else do you know that can make a convincing argument that Atlanta isn’t a part of the South? He officially made it cool to be a Texan.
He lived life to the fullest. I guess one day you’re here baby, then the next day you’re gone… My hats off to Pimp C. Condolence to his family and friends. REST IN PEACE!
Ike Ramos aka 2020 (rapper/producer, Mike and Ike): A lot of cats might not make the assumption that Pimp C had the type of influence/impact he had on me, but I’m from Texas and I grew up on that Texas music. Screw music, Geto Boys, UGK, etc. He was a special cat. I think it’s obvious he was blessed as a producer and an emcee. He and Bun B have definitely paved the way for many Texas artists, and I think it’s safe to say that his influence and his fanbase stretch beyond Texas borders.
I met a cat from Europe during SXSW and he and his crew were mad excited that they had the opportunity to meet and witness UGK live. Perfect example.
Pimp C is leaving behind classic material that has influenced many, and will continue to influence those lucky enough to come across his music. It’s always a sad day when the hip-hop community and families lose a member, but Pimp C won’t be forgotten any time soon, especially in Texas. His impact has been incredible, and few artists across any genre/region/etc. ever achieve the acceptance/respect that he (UGK) has achieved in his career. My regards definitely go out to those who knew him personally. RIP - Pimp C.
Zeale 32 (rapper): I feel we have lost another legend to the game. Pimp C meant a lot to the Southern movement and he cannot be replaced or forgotten. We have to stop losing our black heroes. It’s another dark day in hip-hop. Rest in peace Pimp C.
Please feel free to share your own thoughts about Pimp C’s passing in the comments section below. Also, sign the guestbook.
(Pictured: UGK performs at SXSW 2007. Photo by Ricardo Brazziell AMERICAN-STATESMAN)
Shaffer gives Antone’s thumbs up
Under the heading “Big Night in Austin - 12/1/07” Asleep At the Wheel leader Ray Benson posted this account of a quite memorable Antone’s gig on the band’s Myspace page. And Paul Shaffer adds his comments at the end.
“Warning: This is a ‘You shoulda been there’ post. So if you are the type of person to kick yourself….read no further. We take no responsibility for our reader’s injuries.
Fun was had by all this past Saturday night at our Antone’s gig! Our friend Paul Shaffer (band leader/ keyboard player for David Letterman’s show) was in town doing some charity work. We were thrilled when Paul called and asked if he could sit in on our set. He showed up at 2 p.m. for rehearsal and brought a few other musicians along with him — Billy Gibbons (guitarist for ZZ Top) and songwriter Jimmie Dale Gilmore. We had such a good time that even club owner Susan Antone joked she hadn’t been to such a fun sound check in years!
Anyway, we got onstage about 10:30 pm, after Carolyn Wonderland had wowed Paul with her opening set. Paul took us for a spin through some of his favorite tunes by Texas artists, like “Treat Her Right” by Roy Head and Freddy Fender’s “Before The Next Teardrop Falls.” Jimmie Dale came up and joined us for 3 songs and sounded terrific! And Billy Gibbons really tore the house down when he lead the Wheel through “Texas Flood.” Paul even managed to talk us into some doing some choreography on a few of the tunes; fun to do but reminded us all that we’re musicians, not dancers, so it’s a good thing Paul kept it simple.
On a parting note, Paul’s boss, who was also in from NY, really enjoyed the set. He’s welcome back any time.”
Paul Shaffer sent in the following to the Wheel’s MySpace page:
“It was wonderful, as always, to work with Ray Benson and Asleep at the Wheel. Their own set was terrific and they had just the right amount of nuttiness to work with me. Jimmie Dale Gilmore has the voice of an angel. His tribute to Freddy Fender was superb. Billy Gibbons totally rocked the house with some Texas blues and a fitting tribute to Stevie Ray Vaughan. When Willie Nelson’s sister Bobbie joined us all for “Peace in the Valley” it was the icing on the cake. Antone’s was the perfect club for this stellar evening.”
Paul Shaffer, Musical Director, Late Show with David Letterman
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Maines supports West Memphis 3
No stranger to controversy, Dixie Chicks singer Natalie Maines has posted a letter to fans on the band’s Web site concerning the plight of the West Memphis Three. “I’m writing this letter today because I believe that three men have spent the past 13 years in prison for crimes they didn’t commit,” Maines’ message begins. She leaves an address for anyone wishing to contribute to the legal defense fund.
Damien Echols, Jesse Misskelley and Jason Baldwin, all teenagers at the time, were convicted in 1994 for the murders of three 8-year-old boys.
Maines recommends the documentaries “Paradise Lost” and “Paradise Lost 2” for anyone wanting to know more about the case.
Pimp C found dead in Hollywood hotel room
Houston rapper Pimp C, real name Chad Butler — and one half of the rap duo UGK, was found dead in a hotel room this morning. He was 33.
His death was confirmed by SXSW official Matt Sonzala in Austin. More on this story.
(Pictured: Pimp C at SXSW 2007. Photo by Deborah Sengupta Stith)
Encore Top 10 for the week ending Dec. 2
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Musicmania Top 10 for the week Ending Dec. 2
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In the clubs with Crew 54
Crew 54 rappers Master of Self (MoS) and G-Christ exude an easy everyman vibe. They come off as the kind of low-key cats you might politic with while watching a game. At a recent show on a chilly night at the Creekside Lounge, MoS coaxed fans to the front of the stage with a self-deprecating bit about a wager over a bucket of wings. It was the antithesis of hip-hop bravado, but it worked. The Creekside audience crowded the front of the stage and remained there throughout the group’s set, fists pumping in the air.
In their mid-20s with less than three years apiece in the game, the two MCs are based out of Killeen, but they consider Austin the home of their music. “Killeen is the perfect spot for my alter ego ‘Eric,’ ” jokes MoS. “I don’t even think my neighbors like us.”
Meanwhile, on the streets of the ATX the duo has been building a buzz, making the trek into town multiple times a week in anticipation of their coming album release. The album, “Aggressive Soul,” is a tightly produced collection of real-life street anthems. No rims, ice or scantily clad dancers here. Instead, with sharp-witted lyricism and soul-infused hooks, the rappers tackle spiritual struggles, love and the daily grind of an underground rapper.
“Aggressive soul is like Neo-soul for the streets with appeal to backpackers, old heads and young bucks,” MoS says. “On the real it’s music for the soul with plenty of energy.”
Crew 54 approaches the stage like they’ve got nothing to prove, but a lot to share. They seem to strive for a meeting of the minds, and it’s effective. When they spit real talk, you feel compelled to listen.
In the clubs: The “Aggressive Soul” album release is 9 p.m. Friday at Flamingo Cantina, 515 E. Sixth St. 494-9336. Crew 54, Mike and Ike, Cali Zack, Zeale 32, the Gyft and Notion are scheduled to perform.
(Pictured top:(l to r) Rappers MoS and G-Christ of Crew 54. All photos by Tammy Perez FOR AMERICAN-STATESMAN)
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Harp magazine named Future Clouds and Radar ‘New Artist of the Year’
Future Clouds and Radar have just been named Harp Magazine’s debut artist of the year.
The band has just launched their new label Web site.
Charlie Sexton launches robotic guitar
Charlie Sexton will join Gibson Guitar to launch the world’s first guitar with robotic technology, the Gibson Robot Guitar, today at 3 p.m. at Guitar Center (2525 West Anderson Lane, Ste. 200. 891-0297).
It goes on sale at 5 p.m. on Friday. Guitar Center at 2525 Anderson Lane will take reservations for the Gibson Robot Guitar during the special event. Once the limited supply is sold out, Gibson Guitar will not reproduce. Only ten robotic guitars per store are available.
No word on whether the guitar can change into an airplane, understands the binary language of moisture vaporators or obeys the Three Laws.
Waterloo Top 10 for the week ending Dec. 1
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Ely Comes Alive… Again
Apparently, Joe Ely couldn’t wait two years. You see, ever since 1980’s “Live Shots,” the King of Lubbock has released a live album evey ten years. There was 1990’s “Live At Liberty Lunch” and 2000’s “Live At Antone’s.” And now Ely’s ringing in 2008 with the Jan. 15 release of “Live Cactus” on his new Rack ‘Em Records label.
It’s an acoustic album, recorded with accordion sidekick Joel Guzman and featuring a mix of new songs and refashioned old faves.
(photo by Matthew Fuller)
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What’s your favorite Erwin Center memory?
The Frank Erwin Center is celebrating 30 years in the concert business with the new photo exhibit ‘Inside the Arena: Three Decades of Legends.’ Tell us, what is your favorite concert memory from the Frank Erwin Center?
(Photo: Cher, COURTESY OF FRANK ERWIN CENTER)
