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Tuesday, July 22, 2008
In the clubs with Brazos
Tammy Perez FOR AMERICAN-STATESMAN
Former Tonewheel Collective member Martin Crane’s music — which he and some pals currently make under the name Brazos — evokes bad luck on the plains, train rides to nowhere and the wide-angle vistas of the American myth.
Which means a lot of it sounds an awful lot like the Band, hardly a crime. It’s hard to think of a band whose stock among the underground has grown bigger over the past 15 years than that of the band from Big Pink.
In fact, Crane’s band name reminds one of the Band’s version of the old song “Ain’t No More Cane,” also known as “No More Cane on the Brazos.”
“That’s not where it comes from, but I’m definitely a Band fan,” the 25-year old Crane said. (The name comes from the Spanish word for “arms” or “limbs.”)
Crane recorded the first EP himself, but now, the full band, including drummer Andy Beaudoin, guitarist Nathan Stein and bassist Paul Price, is in the studio working on a debut album. Crane says he wrote the 15 or 16 songs the band is currently tracking at Premium Recording Service (Bruce Robison’s place) in a two-week burst in April.
“These songs are much more hypnotic,” Crane says. “Less structured and more free-flowing, lots of repetition with changes in texture rather than harmonic changes.”
More of Krautrock’s circular rhythms and less of the Band’s verse-chorus-verse Americana, then?
“We’ll still have folk and country touches,” Crane says.
In the clubs: Brazos is in the middle of a Friday night residency at Progress Coffee, 500 San Marcos St. Check them out at 8 p.m. Friday and Aug. 1. $3 at the door.
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CD review: David Banner ‘Greatest Story Ever Told’
David Banner
‘Greatest Story Ever Told’
(Motown)
Since releasing “Like A Pimp” in 2003, David Banner has been on the cusp of stardom. He became a big-time producer, with hits for T.I., Lil Wayne and Nelly under his belt. As a rapper, he’s a militant Kanye West - balancing crass pop songs like “Play” with pointed social commentary.
He raps with a country snarl, pouring so much emotion into each word that he’s almost yelling. His new album “Greatest Story Ever Told” matches this Hulk-like persona - it’s loud and visceral music, complete with booming, bass-heavy beats.
And where Kanye uses light-hearted humor to explain his contradictory music, Banner uses anger to tie together wildly different subject matter. He directs it at an indifferent government and the self-loathing ghettos: “We so quick to kill each other in the hood where we from / But we hide the AK’s when the Fed’s come.” Eventually it spirals into anger at nothing in particular.
But in today’s climate, record labels won’t release an album without a song for the radio. “Greatest Story Ever Told” was originally slated for release last year, but without a big-lead single, the label kept pushing it back. And the harder Banner tried to re-capture his previous magic, the more he lost his way.
He shamelessly jumped on the hottest trends. The first single “9MM” features Lil’ Wayne, Snoop Dogg and Akon. The second single, “Get Like Me” has a chorus from Yung Joc’s “It’s Goin Down” and a rap verse from Chris Brown.
Then there are the blatant rip-offs of original songs - “Shawty Say” (“Lollipop” Part II) and “A Girl” (“Play” Part II). Eventually, he quits the pretense and just names a song “Cadillac on 22’s Part II”.
“Greatest Story Ever Told” proves that even someone as talented as Banner can’t take short-cuts to success.
Recommended: “B.A.N.,” “Faith”
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Nas at Emo’s, August 24
ASSOCIATED PRESS
Nasir Jones aka Nas will headline a showcase at Emo’s featuring Talib Kweli, Jay Electronica and DJ Green Lantern on August 24, 2008. Nas, you might recall, is supporting his new “untitled” album. According to the local hip-hop experts over at Crowd Control Records, this will be Nas’ first performance in Austin.
Tickets will set you back $30, and they’re on sale now.
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Enchanted Forest fans turn out for Year of Austin Music Meeting
Monday night’s The Year of Austin Music Meeting took a turn for the (visually) artsy when it became clear that at least half of the people there wanted to discuss saving the Enchanted Forest.
Year of Austin Music founder Troy Dillinger was about halfway through his introduction, opening for guest speaker and Live Music Task Force chair Paul Oveisi, when metal sculpture artist Dominique Vyborny’s hand shot up.
“Who is here to talk about the Enchanted Forest?” she asked.
A wave of hands shot up. Like I said, at least half of the folks there. At least.
Enchanted Forest owner Albert DeLoach spoke on his event space’s behalf, noting that he wanted to comply with the City of Austin’s codes and regulations, but he was looking to this meeting for some advice on short term solutions.
After some discussion of the Forest’s needs and Dillinger’s update on the progress of the Year of Austin Music (mostly revolving around a multi-tiered emphasis on the idea that “if it’s bad for Austin music, it’s bad for Austin”), the floor was turned over to Oveisi, who discussed the Live Music Task Force’s brief and how everything is going.
Some highlights:
Oveisi said the task force is leaning toward recommending a “Department of Austin Music” or an “Austin Music Office” that would function as a city-level clearinghouse for all issues related to Austin music. “The office would not just be reactive, but pro-active,” he said, noting that such offices exist in Seattle and New Orleans.
The redesignation of live music districts in Austin seems a must, especially given that the only ones are Sixth Street and the Warehouse District, neither of which have many live music venues anymore, as much of the heart of the scene has migrated to Red River.
A separate entity to field noise complaints could a) take them off the police department’s plate and b) allow for greater response time to citizen complaints, the better to facilitate a more positive, organic relationship between citizens and live music venues.
The task force is slated to present its findings to City Council in October. “We need to pack city hall on that day,” Oveisi said.
Amen.
What do you think - what does Austin’s live music scene need? Or is it just fine? Talk back in our comments section.
