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October 2008
It’s official: C3 Presents producing “Obamapalooza”
Austin-based C3 Presents is producing Sen. Barack Obama’s election night event at Chicago’s Grant Park Tuesday. The permit, released by the Chicago Park District, was signed by C3’s production guru Dirk Stalnecker.
Although as many as a million people are estimated to be headed to Grant Park for the “Victory Party,” C3 will handle the official bash of 7,500 participants and a ticketed audience of 65,000. That event will run from 9 p.m. to 1 a.m. There are no musical acts currently scheduled. The vanatge point of those without tickets will be about 3/4 of a mile away.
C3, which produced the Austin City Limits Music Festival, also puts on Lollapalooza in Grant Park every year. The company recently gave the Chicago parks department $1.6 million for using the park in August for the sold-out Lollapalooza.
Although it was reported in the Statesman and other sources last week that C3 would handle the event, neither the promoters or the Obama camp would confirm until the park department released the permit to the media Friday.
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Review: TV on the Radio at Stubb’s
A band as tirelessly innovative as TV on the Radio shouldn’t play the same songs in the same order back-to-back nights, but that’s exactly what happened Thursday at Stubb’s. The disappointing realization that a facsimile of the Houston show from the night prior was being transmitted — sure, practice makes perfect, but not when it comes at the expense of improvisation — only exacerbated sad but true comments made by a random concertgoer who came only for the opening band the Dirtbombs: TVOTR’s music is cold, dense and lacking in hooks.
Come to think of it, there aren’t many parts to their songs that you find yourself singing over and over in your head. But that doesn’t mean the words and melodies buried in the Brooklyn prog-rockers’ enthralling mix of industrial-strength loops and jazz-funk instrumentation aren’t poignant, because they are. Nor does it mean the show wasn’t any good, because it was.
A frantic, sped-up “The Wrong Way,” from their debut album “Desperate Youth, Blood Thirsty Babes,” had co-frontman Tunde Adebimpe likening himself to Barack Obama, when he sang about a new politician stirring inside him. This foreshadowing of change was taken to the next level on the next song, “Golden Age,” from TVOTR’s new album, “Dear Science.” Fellow co-frontman Kyp Malone sang about the utopian future that could result from said politician, while someone disguised as a ginger man cookie — perhaps in homage to TVOTR’s second album “Return to Cookie Mountain,” definitely in homage to Halloween — bounded about onstage.
Subsequent “Cookie Mountain” cuts “Province,” “Dirtywhirl” and “A Method,” with their a capella doo-wops and unified hand claps running up against the seven-piece’s guitar squalls, droning synths and skronking horns, continued to define TVOTR’s brand of music as the shape of things to come for soul. There just wasn’t much soul in the rehearsed way that sound played out.
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Meet Dana Falconberry
“Baby Blue Sky” from new Dana Falconberry CD
Delightful is a word that gets thrown around, but doesn’t always truly fit. The light and flaky crust that supports the deep dish pies of Pizzeria Due in Chicago could rightfully be called delightful. The second season of “Mad Men” could not. The key is the word “light” in the middle of “de” and “ful.” Weightlessness that inspires.
Such is the music of Dana Falconberry, a nouveau Austinite whose “Oh Skies of Grey” album moves Tin Pan Alley to the backwoods, under the stars. While some songs, such as “Love Will Never Leave You Alone” come up and grab you and the strangely familiar “Satin Dress” offers a singalong, the album’s strength is a connective, hypnotic mood. These songs are effortless and natural, and yet important to the singer. Even a clumsy rocker like “Flourescent” doesn’t jar as much change the lighting for a few minutes, like someone who can’t find their keys. Ah, here they are: carry on.
It’s interesting that the 28-year-old Michigan native’s initial artistic discipline was dance. Strange percussive pivots on tunes like “Blue Umbrella” sound like steps and the three part harmonies of “Birthday Song.” are a breathy chorus line.
Call her the new Margo Timmins if you must, but Falconberry’s closer to Gillian Welch in the way she can tie up so much with a banjo string.
A former member of Peter and the Wolf, Falconberry moved to Austin in 2005, after going to Hendrix College in Conway, Ark. Her next Austin show is Wednesday at 9 p.m. at the Mohawk.
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Another chance to ‘Thrill the World’
A news release from the City of Austin:
It’s time to relive Austin’s “deadly” world record “Thriller” performance.
Mayor Will Wynn invites everyone to join the Grand Reprise performance and Victory Lap Saturday, Nov. 1, as part of MexicArte Museum’s annual Dia de los Muertos procession.
Participants will gather at 5 p.m. at Saltillo Plaza (East 6th Street/Comal Street) to prepare to parade west on Sixth Street. At approximately 6 p.m., in front of the Alamo Ritz (E. 6th Street) all zombies will drop, then rise again to move spookily once more in unison, establishing what will likely become an annual “Thrilling” tradition for Austin.
Thanks to 881 dancing zombie Austinites who joined together Oct. 25 Austinites smashed the “Guiness Book of World Records” for the “Largest Group Performance of Michael Jackson’s “Thriller” dance.” Participants included cheerfully bloody 6-year-olds to ghoulish grandfathers.
It’s not too late to learn the dance moves. You can learn them in two hours. Go to www.thrilltheworldaustin.com and find the instructional video links.
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Second Annual Gram Parsons Birthday Hoot for the SIMS Foundation
The SIMS Foundation, the organization connecting Austin’s musicians with mental health and addiction recovery services since 1995, will again be the beneficiary of the “Gram Parsons Birthday Hoot” - an annual musical homage to Parsons (who died at the young age of 26 under the influence of drugs and alcohol) Nov. 5 at Threadgill’s World Headquarters (301 W. Riverside Drive, 472-9304). Cover is $10.
The concert will be hosted by Patterson Barrett and will feature Rosie Flores, Tom Gillam, Dustin Welch, Patricia Vonne, Michael Fracasso, Earl Poole Ball, Dallas Wayne, Freddie “Steady” Krc, and a whole mess more.
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Weekend Picks: Latino disco, hyper-realist folk-rock and the biggest ‘Idol’
FRIDAY
Carrie Underwood at the Erwin Center. No costume yet for Halloween? Put on a tight Prada T-shirt and bad wig and go as Simon Cowell. The biggest ‘Idol,’ Underwood has sold 7 million copies of her debut LP, ‘Some Hearts,’ and also went double plat with ‘Carnival Ride,’ the LP that gives this tour, with Little Big Town opening, its name. 7:30 p.m. $35-$55. - Michael Corcoran
Also recommended
- Sound Tribe Sector 9 at Stubb’s
- Laika and the Cosmonauts at the Continental Club (two nights, last shows ever)
- Cruiserweight at Emo’s
- Lemurs Halloween Party at Victory Grill
- Flamingo’s 17th Birthday at Flamingo Cantina
- Halloween Tribute Night with Big Balls, Capricorn USA, Whole Lotta Led, Suicide Solution and Love/Hate/Love at the Red Eyed Fly
- Slaid Cleaves at the Cactus
- More Halloween events
SATURDAY
The Mountain Goats at Antone’s. After a string of extremely well-regarded albums, John Darnielle, doing business as indie folk-rock lifers the Mountain Goats, hasn’t received nearly the hosannas his ‘08 effort, ‘Heretic Pride’ - which is just as lyrically hyper-realist, as musically energetic, as ever - richly deserves. The guy is just that good. $14. 8 p.m. - Joe Gross
Rock Y Roll Dia at the Mohawk Now in its third year this celebration of Latino music and culture grows ever larger. This year’s headliners are the Venezuelan disco groove outfit Los Amigos Invisibles who threw down an irresistibly danceable set at the MACC during SXSW this year. Also on the bill are L.A. artists Monte Negro and local talent Charanga Cakewalk. $16, $25 VIP available. —-Deborah Sengupta Stith
Also recommended
- KAOS Radio benefit with Human Struggle, Condemned Unit at the Broken Neck
- Cyril Neville’s 60th Birthday at Threadgill’s South
- Project Transitions fundraiser with the Black and White Years, the Corto Maltese at Club Deville
SUNDAY
Ben Kweller at Antone’s. There’s no reason for new Austinite Ben Kweller not to continue to grind out solid power pop, but his next album is ‘Changing Horses,’ a full-on country/roots collection due in January. 8 p.m. $20. - J.G.
Also recommended
- Crystal Antlers, Greg Ashley, Those Peabodys, Manikin at Beerland
- Puddle of Mudd, Red, Aranda, Tempercast at Stubb’s
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Live Chat With Statesman pop critic Joe Gross at 2 p.m. today
Stop by for my weekly live chat at 2 p.m. today.
My guest will be Paul Oveisi, chairman of the Austin Live Music Task Force, which had its final public hearing on its draft recommendations at City Council chambers last night.
The chamber was packed with most of the public wanting to discuss, yes, you guessed it, noise/sound/outdoor live music.
There were a few exceptions. Save Austin Music mainman Troy Dillinger made a stellar point about how musicians are usually the people who show up first in neighborhoods as renters, only to be priced out of that neighborhood soon after. (Or, as future St. Ed’s speaker Ian MacKaye once put it, “Artists and punk rockers are the shock troops of gentrification”).
He also pushed for a series of bimonthly, multilateral meetings with Austin Music Commission, Save Austin Music and Austin Neighborhood Council to hammer out a new sound ordinance, a move that seemed to be supported by folks on all sides of the issue, and suggested that the task force-recommended Music Department be paid for by a greater percentage of Austin’s hotel/motel “bed tax” fund.
Other folks spoke about the compatibility of outdoor live music with existing neighborhoods and how a midnight cut-off at 85 db on the weekends is too loud too late. As one speaker put it, “(The central issue is) do people have a right not to have to listen to your music?”
Artist manager and Austin Music Foundation co-founder Nikki Rowling objected to the fact that much of the work the task force had done was simply ignored in favor of talking about noise. “The development of the Austin music community is the development of the Austin economy.”
Elysium owner John Wickham said that Red River club owners should be given some credit for turning their block from “a crack-infested area to one of the largest clusters of live music downtown.”
And on and on.
We know this is something you want to talk about.
Stop by, ask questions, get some facts about what the task force wants to do with live music in Austin.
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Live Chat With Statesman pop critic Joe Gross at 2 p.m. Oct. 30
Stop by for my weekly live chat at 2 p.m. Thursday.
My guest will be Paul Oveisi, chairman of the Austin Live Music Task Force, which has its final public hearing on its draft recommendations at City Council chambers at 7:30 tonight, Oct. 29.
Stop by, ask questions, get some facts about what the task force wants to do with live music in Austin. Trust me, you’re gonna want to be there tonight and here on Thursday.
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T-Bone Burnett producing Austin singer
snippet of Sahara at ACL 2007
Fresh off the massive success of “Raising Sand” by Robert Plant & Alison Krauss, producer T-Bone Burnett is working with 20-year-old Austin native Sahara Smith. The singer, a runnerup on a “Prairie Home Companion” talent contest as a 15-year-old, has been to Burnett’s Santa Monica studio twice in recent weeks. There is currently not a label attached to the project.
Ms. Smith plays Threadgill’s South tomorrow (Thursday), opening for Shawn Sahm and the Tex Mex Experience. She also plays the Saxon Pub Nov. 11.
Sahara Smith is managed by Kevin Wommack (Los Lonely Boys, the Steps).
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Fun Fun Fun fest aftershows!
The festival is Nov. 8 and 9 at Waterloo Park. The aftershows:
FRIDAY:
Mohawk:
Austinist ‘Local Music Is Sexy’ party w/ Brothers and Sisters, Foot Patrol, Lovely Sparrows, Leatherbag, Eastern Sea and a special FFF secret guest!
(FREE, no cover, 21+)
Club Deville:
Waxploitation Party
($5, 21+)
Red 7:
Keelhaul, Red X Red M, Roller, Rat King (inside)
Secret FFF guest!! W/ Sista Sekunden (Sweden), Hatred Surge, Blunt Force Trauma (patio)
($10, all ages)
Beauty Bar:
Djs Klassen and Dj Mel (in)
Young Love, LAX, Visitors (patio stage)
($10, 21+)
SATURDAY:
Club Deville:
Peligrosa Sound System w/ Trey Lopez, Orion
($5 or FREE with a fff wristband!)
Mohawk:
White Denim (record release), Dead Confederate, Apollo Sunshine (patio)
Diagonals, Kit, Flying (inside)
($10, half price with a fff wristband!)
Beauty Bar:
Devlin & Darko (spank rock djs) w/ Djs Manny/Bigface (in)
w/ Big Black Smoke, Scorpion Child (patio)
($10, half price with wristband)
Red 7:
Recover, Consider the Source, Pack of Wolves, Lipstick Terror (Mexico) (in)
At All Cost, The Jonbenet, Rory and the Artificial Heart (out)
($10, half price with wristband)
SUNDAY:
Mohawk:
Girl In Coma, Bitch and the Exciting Conclusion, Mocktigers
($10, half price with a FFF wristband)
Red 7:
Drag the River (Chad from All)
Wizards Warlocks & Wheeler (Zander of Circle Jerks and Sean of Throwrag)
Scott Reynolds and the Steaming Beast (Scott from All)
+ special suprise guests!
Djing on patio by Jim Bradford
($10, half price with a FFF wristband!)
Beauty Bar:
Kutmasta Kurt (Kool Keith’s Dj), Richard Henry and more
($5 or FREE with a FFF wristband)
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Eric Johnson DVD coming
Austin guitar god Eric Johnson will release live DVD, “Anaheim,” November 11. Shot at The Grove in Anaheim, Cal. on May 3, 2006, with three bonus tracks from a 2004 acoustic performance, this collection on Vanguard also features an interview segment with the guitarist.
Johnson’s band on “Anaheim” consists of drummer Tommy Taylor and bassist Chris Maresh. The set includes the first recording of Johnson covering “Manic Depression” and closes with “Guitar Hero III” fave “Cliffs of Dover.”
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Pitchfork to Austin: You’re not cool
“The Pitchfork 500: Our Guide to the Greatest Songs From Punk To the Present,” by the online tastemakers www.pitchforkmedia.com, includes only seven tracks from Austin acts- and one of them is Christopher Cross (“Sailing”)!
Spoon proves to be critics darlings with two songs in the book- “The Way We Get By” from 2002 and 2007’s “The Underdog.” Personally, I would’ve put “I Summon You” on the list.
Other cited songs Austin can claim include “We Got Your Money” by the Big Boys, “Another Morning Stoner” from Trail of Dead, “Human Cannonball” by the Butthole Surfers, “The Greatest Gift” from Scratch Acid. A correction is needed for the last entry: David Sims played bass, not guitar, in Scratch Acid. Apologies are due Brett Bradford.
Meanwhile, let’s give the members of snubbed Okkervil River some room in the next few days.
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Living City Benefit Concert
We got dropped a line from some friends about a benefit we felt we should pass along. This Saturday, November 1, local faves The Black and White Years, along with Denton transplants The Zest of Yore, Amy Cook and Corto Maltese will be performing at Club Deville to benefit Project Transitions.
The organization serves people with HIV and AIDS by providing hospice and housing support in caring environment.
The purpose of the event is to bring awareness to “the changing realities of who and how the AIDS epidemic is affecting in its 21st century incarnation.”
In addition to the great live music, the night will include door prizes, with gift certificates from End of An Ear, Whole Foods and Room Service.
The mission of Project Transitions’ Living City Concert [from the release]
Project Transitions’ Development Team introduces a new, distinct event to the city of Austin with Living City. This event will speak to a new demographic of supporters that not only reflect the changing population of Austin’s social and cultural landscape, but also the changing realities of who and how the AIDS epidemic is affecting in its 21st century incarnation. As our agency is devoted to the health and social transitions of the people we serve, our outreach capabilities also readily adapts to these certainties of change.
Living City Benefit Concert
Club Deville
Saturday, November 1
9 p.m.
$10
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EW says ACL Fest is No. 1
Entertainment Weekly’s Whitney Pastorek went to six music festivals this summer and has come up with her own “festie” awards. Winning “best fest” is the Austin City Limits Music Festival, a choice Pastorek calls “controversial.”
Check it out here.
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An update on the future of the Backyard, sort of
Here is the exact quote from Lauren O’Rear at Direct Events:
“OK - so all I know now is that the ‘World Famous Backyard Bar’ will remain open with further details to come.”
No word yet on what this means for the proposed new Backyard, though it does indicate that Backyard owner/Direct Events founder Tim O’Connor is exploring the idea of keeping a small part of the original Backyard property under his control, perhaps having local bands in the bar for a cover charge, something he discussed with me earlier this month.
Here is the Oct. 21 XL story on the Backyard.
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Ian MacKaye to speak at St. Edward’s University
Ian MacKaye, late of Fugazi, Minor Threat, Embrace, currently of the Evens and Dischord Records, will speak Nov. 14 at Mabee Ballroom in the Robert & Pearle Ragsdale Center at St. Edward’s University.
The event is brought to you by St. Ed’s Center for Ethics and Leadership, Student Life and the Digital MBA program, which, given MacKaye’s legendary commitment to do-it-yourself everything and being one of the most influential figures in the past 30 years of the American underground, seems about right.
This should be a lot of fun.
The event is free and open to the public. Seating is limited. Advance tickets available in Andre Hall 107 at St. Ed’s. Any remaining tickets will be distributed at the event. For further information, call 464-8871.
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Review, sort of: Screaming Females, Harlem at Emo’s.
Monday nights are tough. Lots of restaurants, bars and clubs simply take Monday off.
Not Emo’s. Seven nights a week, baby.
Those hows might not be the best attended, but, sometimes, Monday shows blow you away.
As the Horrorpops brought their gothy punkabilly (a.k.a. stuff that sounds a whole lot like the Cramps) to the big room, one of the strongest sets I’m going to see this year went down in the small room.
First up was Harlem, an Austin trio that features sharply contoured, hard-swinging garage pop and an absolutely enormous, marching band style bass drum.
Harlem guitarist Michael Coomers sported a furry hat, a gnarly small amp guitar sound and an infectiously pleasant on-stage demeanor. Drummer Curtis O’Mara, he of the neatly trimmed mustache and aforementioned enormo-drum, and stock-still bassist John Hostetter kept the songs deft and moving, crucial to making this sort of garage goof work. A wonderful band.
But they were kind of blown to pieces by Screaming Females. But then again, almost anyone would be.
Straight out of New Brunswick, the trio is made up of a two-man (as in male) rhythm section (stellar drummer Jarrett Dougherty and melodic-yet-anchor-like bassist King Mike) and one screaming female, singer/guitarist Marissa Paternoster. She feeds back like Neil Young, she shreds like a tiny, female Greg Sage (of Wipers fame) she dresses like Thowing Muse Kristin Hersh in that band’s black-tights-and-skirt years.
Paternoster’s lyrics are buried in moans and the occasional, yes, scream; the songs are drum-head tight, well-structured nuggets of post-punk thunder cut with the occasional guitar-hero solo. Paternoster’s runs are doodly without ever boring or egocentric. Not many people can pull that off in this context. It was thrilling to watch. Most patrons weren’t at the band’s 2007 show at the Parlor and they looked like I did back then: standing still, jaws slightly open, floored at what they were seeing.
They’ve thus far put out two excellent albums and a 7-inch single on their own. Their new split singles are on local Jersey labels.
Had I an indie record label with clout and cash, I would stand outside Screaming Females’ house with a boombox playing “In Your Eyes” until they signed on the dotted line. Those of you in such a position should do the same.
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CD review: Pink’s “Funhouse”
“Funhouse” (LaFace)
It’s the worst song on the radio. It’s the best song on the radio. The inane na-na-na-na-na-na sing-song of “So What” opens the new Pink album, which hits stores today. Then on the chorus, this force of nature in tattoos and platinum blonde hair explodes with so much melodic defiance that “So what, I am a rock star/ I got my rock moves/ And I don’t want you tonight” sounds like the soul’s refrain. With this album, both forceful and delicate, Alecia “Pink” Moore emerges as the biggest American rock star since that skinny guy from Detroit who made an earlier record called “Funhouse.”
First off, Pink’s an exceptional singer, with an extra gear to give a chorus a boost when it seems she’s already aired it out in full. As evidenced by the gorgeous new ballad “I Don’t Believe You,” which looks to be the hit to knock the career into the stratosphere, Pink just seems to feel more than other singers. “Crystal Ball,” guided by a lone acoustic guitar, is another song that skillfully mixes the Philly gal’s strength and vulnerability. Some artists you applaud, but you root for Pink.
“Funhouse” sounds like Pink, who’s still only 29, got married to professional bike-flipper Carey Hart just so she’d have a great divorce record. The Chic-influenced title track likens marriage to a carnival attraction that’s so giddy at first, but turns into a den of twisted clowns. “Once a tickle now a rash,” she sings, before starting a countdown to burn this funhouse down. Without issues, Pink makes albums like “Try This.”
The dysfunctional family of “M!ssundaztood” has given way to struggles with sobriety and emotional betrayal. “I gave you life/ I gave my all/ You weren’t there/ You let me fall” Pink sings in the bridge of “So What” that’s its own song.
Pink’s voice elevates weaker tracks such as “One Foot Wrong,” which nicks Nirvana’s “Lithium” and the formulaic “It’s All Your Fault,” which brings tedium to the whisper-to-a-scream dynamics Pink first unleashed on “M!ssundaztood” in 2001. But those tracks are soon automatically skipped for heavy relistening. The first time you play “Funhouse” it may take an hour or so to get all the way through because eight of the twelve tracks are automatic playovers.
Recorded in Stockholm, Los Angeles and New York City with a host of co-producers, “Funhouse” is a big-sounding record that would be called overproduced if the singer wasn’t Pink. Like her heroes, Bette Midler and Janis Joplin, her honesty always shines through, which is why she gets away with self-conscious material that would sound forced by lesser personalities.
Who wants to hear Carrie Underwood’s break-up record?
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Killers coming to Erwin Center 2/3
The Killers, whose next album “Day & Age” comes out Nov. 25 on Island Records, are heading to Austin Feb. 3. Presale tix to the Erwin Center show go on sale Oct. 29 on the band’s web site.
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Review: Kings of Leon at Austin Music Hall
Kings of Leon frontman Caleb Followill cut his locks and still the ladies flocked. He jeered UT’s football team and still he was cheered. He and his band of two brothers and one cousin played vapid arena rockers from their hollow new album, “Only By the Night,” and still the sold-out Austin Music Hall crowd sang along. Kings of Leon could do no wrong Saturday, as they put on a clinic in setlist sequencing.
They started with “Crawl,” one of the new album’s better songs, and moved backward — a song from each of their three previous albums — until they reached their hallmark, “Molly’s Chambers,” from their debut album, “Youth & Young Manhood.” The crowd was lathered. It was time to complete the bait and switch.
“Sex on Fire,” their anthemic new single, led off a four-song string from “Only By the Night.” Caleb wrote the album’s melodies and lyrics in a post-surgery haze induced by pain pills and wine. A downside to the solipsism inherent in that was the song “Be Somebody,” wherein cousin Matthew’s guitar-playing with his teeth had to salvage Caleb’s overly earnest refrain, “Given a chance, I’m gonna be somebody.” (What are you waiting for?) An upside, though, was “Closer,” a sinister and soulful slow jam about a lovesick vampire, the likes of which can only be conceived in an altered state.
A hard right put Kings of Leon back in the stomping grounds of “Aha Shake Heartbreak.” A raunchy, boogie-woogie romp through some of that album’s greatest hits — “Milk,” “Four Kicks,” and “The Bucket” — brought it back to how it was when everyone was first turned on to the Kings. Pogo-dancing and fist-pumping on par with a high school house party abounded, and only occasionally let up through the rest of the set. Even Caleb, usually a cardboard-cutout, moved his skinny hips.
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Review: Willie Nelson at the Backyard
God, with the assistance of Willie Nelson (or maybe it was the other way round), wrote a fitting close to the 16-year run of the Backyard on Sunday night.
Nelson was wrapping up his 90-minute, 31-song set just after midnight with a rousing rendition of “I Saw the Light.” As he was singing the final choruses, the first assertive drafts of a cold front began to shake the limbs of the big oaks around the venue. The temperature dropped precipitously, the big Texas flag behind the stage threatened to break loose and the capacity crowd felt the tang in the air that presages true autumn.
The signs seemed clear: Seasons change. Nothing is forever. Things end.
Or maybe not. Earlier in the evening, the Backyard’s owner, Direct Events head honcho Tim O’Connor, stood proudly by a series of architectural drawings detailing a “new” Backyard to be built—possibly—on land nearby the current venue. He seemed—and it’s an uncharacteristic stance for him—coy about the joint’s future. “Well, we’re not quite done,” he told a reporter, although after being pressed for a definitive answer on the prospects of a new venue, he retreated into “No comment.”
“I don’t know” if O’Connor will pursue a new incarnation of the Backyard, said Eric Herron of Sixthriver Architects, who generated the sketches of the proposed structure. “But if he can’t recreate it better than it is, I don’t think so.”
Still, at the end of the night, O’Connor, with members of his staff onstage, ceremoniously took down and folded up a large Backyard flag. The implication being, of course, that it might one day fly over a new iteration of what had been one of the city’s most beloved performance spaces. It was, he said, “the end of a great run.”
The last day at the Backyard was something of a great run in and of itself, a 10-hour extravaganza that featured the cream of Austin’s musical crop, including the Gourds, Ruthie Foster, Carolyn Wonderland, Grupo Fantasma, Kelly Willis, Jimmie Vaughan and others.
By the time Nelson took the stage about 10:30 p.m., the crowd had been treated to blues, gospel, country, cumbia, Western Swing, indie rock and more. The show resembled one of Willie’s famous Fourth of July Picnics in microcosm.
Even after such a musical banquet, the crowd’s enthusiasm for Nelson’s set remained palpable. His opening-season performances at the Backyard have, over the years, become one of the rites of spring and, as O’Connor noted, there were people at the show who weren’t even born when Nelson and his Family Band started playing the joint.
Limbering up with “Whiskey River” (one of the constants in an ever-changing universe) and “Still Is Still Moving to Me,” Nelson eased into his vintage medley of “Funny How Time Slips Away/Crazy/Night Life.” His stoic lyric, “Ain’t it funny how time slips away,” had a fresh resonance under the circumstances; “We’re happy to help you close this beer joint,” he said to O’Connor.
The hits flew by—“Yesterday’s Wine,” “Georgia,” “Me and Paul,” “I Gotta Get Drunk,” “On the Road Again”—and for a time it was possible to pretend that the Backyard hadn’t been gobbled up by a dubious vision of “progress.” The nighttime shadows and the big trees almost—but not quite—obscured the strip mall that has engulfed the once-isolated venue.
There was a sort of a balm in Nelson’s timeless music, played one last time under the ancient oaks, as they began to stir under the rush of wind coming down from the plains. Time slips away all right, but, as Willie sings in “Yesterday’s Wine”: “Miracles appear in the strangest of places.”
Perhaps—just perhaps—the last chapter in the Backyard’s storied saga has not been written just yet.
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Rise Against show canceled
Rise Against lead singer Tim McIlrath has lost his voice, prompting the group to cancel its Sunday night show at the Austin Music Hall.
A Monday performance in Houston has also been nixed, according to Rise Against’s management team.
Refunds are available at point of purchase.
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Is Austin company producing Obama’s Election Night bash?
No one from the C3 Presents camp will comment and Sen. Barack Obama’s Texas point man Josh Taylor couldn’t confirm it, but the Chicago Sun-Times music critic Jim DeRogatis is following up on a post on the Texas Monthly web site by reporting that C3 is indeed putting on “Obamapalooza” at Chicago’s Grant Park Nov. 4.
Read DeRo’s blog posting here.
C3 organized an Obama rally early in the campaign that drew more than 15,000 people to Auditorium Shores in downtown Austin. But even more significant to getting the election night gig, the Austin-based promoters of Austin City Limits Music Festival have had success hosting Lollapalooza at Grant Park the last few years. C3 recently gave the Parkways Foundation, the nonprofit arm of the Chicago Park District, $1.6 million from the proceeds of Lollapalooza 2008 to go toward park improvements.
Obama’s “Victory Party,” as some are calling it, is expected to draw more than 100,000 to the park. Chicago Mayor Richard Daley put the city’s cost for the Obama event at around $2 million, which the campaign will pay for.
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Choffel: Austin’s first YouTube superstar
Suzanna Choffel’s performance of “Raincloud,” taped at the ME-TV studios, is featured on YouTube’s home page today, and as of 6 p.m. it’s already been seen more than 310,000 times. Wow!
How did this happen? Choffel, who’s never seen an online talent contest she didn’t like (and couldn’t win), is one of the ten finalists of Cosmopolitan magazine’s “Star Launch” and YouTube is one of the partners in the contest.
Check out the video and wonder how many record deals are comining Ms. Xanna Oiuse’s way. The 28-year-old lifelong Austinite, currently in New York with her band at the CMJ conference, has come a long way from shagging balls at the Caswell tennis courts.
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CD review: John Legend, ‘Evolver’
Evolver
(Sony)
John Legend’s debut album “Get Lifted” seemed like the start of something big. It had an inventive new sound (a fusion of neo-soul, gospel and hip-hop) backed by both critical acclaim (three Grammy’s including Best New Artist) and commercial success (2 million records sold). Most importantly, it had “Ordinary People,” a star-making turn that featured only a piano and rightly became his signature song.
But in the years since “Get Lifted,” Legend hasn’t quite lived up to his name. After his debut’s success, he branched out on his own, leaning less on mentor and producer Kanye West. His last album, 2006’s “Once Again,” came and went with little fanfare and even fewer memorable moments.
His new album “Evolver” (out Oct. 28) is more of the same. It has all the trademarks of a John Legend album - the understated ballads, the earnestly soulful voice and, of course, the ever-present piano. There are a lot of impressive musical moments; yet somehow “Evolver” is less than the sum of its parts.
He tries to incorporate a more uptempo and less piano-reliant sound, most notably on first single “Green Light.” His smooth vocals give it a danceable melody, but as soon as Andre 3000 starts rapping, Legend’s vocals are pushed into the background. 3000 adds the star-power and charisma largely missing from Legend’s recent work.
In an interview with MTV, Legend said that “Evolver” is a collection of good songs without any over-arching lyrical theme. It’d be a shame if his career turns out the same way.
Recommended tracks: “Green Light,” “If You’re Out There”
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Weekend Picks: Slow-burn soul, punk rock tributes and the Backyard’s last hurrah
FRIDAY
Joe Ely at Cactus Cafe. This is the first of two shows at Cactus from this Flatlander and Texas music fixture. The second is on Sunday. 8:30 p.m. (Sunday starts at 7:30 p.m.) $25 advance, $28 door. — Joe Gross
Brownout! at Lamberts. While Grupo Fantasma’s funky soul sista of a side project has been steadily blowing up the underground in Britain (where their label Freestyle Records is based), locally they’ve been on a slow burn for a hot minute now. What this means for you, lover of instrumental, booty-moving grooves, is that you can still catch them in a low-key setting on the cheap. $5. —-Deborah Sengupta Stith
Also recommended:
- Cold War Kids at Emo’s
- Pompeii at La Zona Rosa
- Jason Mraz at Stubb’s
- Beats and Treats Music Festival at the Mohawk
SATURDAY
Final Backyard Weekend. The Sunday half of this final Backyard weekend is very sold out. This half, however, is free. With Del Castillo, Alpha Rev, Dremnt the End, Driver F, White Ghost Shivers and more. Free. | More on the Backyard | Photos — J.G.
Also recommended
SUNDAY
Lance Hahn Memorial Show. This J Church founder, punk-lifer died one year ago this month. His kindness and good humor, fierce intelligence and devotion to the punk ideal inspired everyone he came into contact with. This show is in two killer bills. Underground Railroad to Candyland, Shark Pants, Triclops! and Serious Tracers play Beerland . The Roller, Storm Crow, Doom Siren and Ratking at Room 710 . 9 p.m. Tickets at the door. — J.G.
Also recommended
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Live Chat With Statesman pop critic Joe Gross at 2 p.m. today
Stop by for the weekly live chat with Statesman pop critic Joe Gross today at 2 p.m.
Topics include:
The draft report of the Austin Live Music Task Force
The closing of the Backyard
The embarrassment of riches Upcoming shows, including the Backyard’s final weekend. Kings of Leon, Ray LaMontagne, Pierced Arrows and more.
and, of course, whatever else is on your mind.
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We want to hear your Backyard concert memories!
Laura Skelding AMERICAN-STATESMAN
Are you going to miss the Backyard?
Do you have a favorite concert or three from the 15 years its been open?
Tell us about it in the comments below.
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Grupo Fantasma ‘Gimme Some’ video shoot
Grupo Fantasma is shooting a video for the fantastic single “Gimme Some” off their latest album “Sonidos Gold” and they’re looking for funky folks to fill out the scene.
From the band:
Come one, Come all! To the video shoot for Grupo Fantasma’s mega hit, “Gimme Some” off of the critically acclaimed new album “Sonidos Gold!”
Everyone is welcome, especially you ladies so bring your friends and dress late 70s / early 80s!
Please arrive at the Off Center at 6:30 p.m. Saturday, Oct 25th for the final scene, which is a party/concert. The vibe should be exciting, fun and we want to see you dancing. Even if all you know is the “Running Man.”
Video Theme: They will be hosting the “Grupo-Fan-Telethon!” - a late 70’s early 80’s style telethon.
What to Wear/Bring: Since this telethon is set in the late 70s early 80s time period, dress as appropriately as possible.
Location: The Off Center - 2211A Hidalgo (just off east 7th Street)
Directions: Heading east of I-35 on 7th Street, go past the light at Chicon, then turn right on Robert T Martinez. Take an IMMEDIATE left on Hidalgo - you’ll see it on your right. Park on the street in front of the Off Center. Parking also available at Joe’s Bakery if needed.
RSVP to let the band know you’re coming.
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Video: Octopus Project: ‘I Saw The Bright Shinies’
Check out the latest video from Austin’s Octopus Project, an animated joint done by local artist Divya Srinivasan who also did Spoon’s “Everything Hits At Once” and worked on Linklater’s “Waking Life.”
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Review: Girl Talk at Emo’s
Think of popular recorded music as a bowl of Lucky Charms cereal. About a three-to-one ratio of those mealy oat bits to sugar-loaded marshmallow pieces, which seems to be about the same rate that bona fide thrilling musical hooks emerge out of mostly nondescript sonic gunk.
Therein lies the fuel behind the rise of DJ superstar Girl Talk (nee Greg Gillis); he knows the marshmallows are all that matter on the dance floor.
They were flying left and right Monday night when Gillis took to his laptop on the stage at Emo’s and set to his musical alchemy, creating a bizarro world where samples of tracks by Sinead O’Connor, Lil Wayne, UGK and Rage Against The Machine not only coexist, but dare you not to dance feverishly.
Gillis has said in reports that each minute of his records take about a day’s worth of tinkering and mixing to produce, with his live shows serving as a sort of test tube where he can judge what combinations will and won’t work on record. Judging by Monday’s show, he isn’t cooking up a whole lot of new stuff since his set consisted of lots of familiar moments (with slight tweaks) from his breakout albums, 2006’s “Night Ripper” and the new “Feed The Animals.”
And it worked since fans got to hear thrilling pairings like Avril Lavigne and Toni Basil double teaming T-Pain, or Notorious B.I.G.’s “Juicy” underlined with Elton John’s “Tiny Dancer” at ear-shattering volume.
That last pairing is pretty much Gillis’ “Stairway To Heaven” (which shockingly he’s never sampled. Yet.), a signature moment that’s at the top of fans’ lists when pondering his body of work. It was among the highest peaks he reached during his respectable but still kinda brief 90 minute set Monday, though it wasn’t like too many in attendance were complaining as they left, dazed, sweaty and nearly sugar-shocked from all those marshmallows that got tossed their way.
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Review: Weezer at Erwin Center
That Weezer made room in their set Monday night at the Frank Erwin Center for covers by Pink Floyd (“Time”) and Nirvana (“Sliver”) is certainly a barometer of their admirably catholic taste, but the show indicated something more significant and encouraging: They are, as advertised, having fun again.
This is very good news. Although always a polarizing presence in the indie-pop landscape, there’s no denying that singer-songwriter-guitarist Rivers Cuomo writes irresistibly catchy songs, equal parts sunshine and sludge, and could probably come up with hooks in his REM sleep that REM would kill for. But by the last time they stopped here a couple of years ago, they seemed a little deflated. They were touring to support “Make Believe,” also known as “Worst. Album. Ever.,” and in their co-headlining bill at the Bowl with the Foo Fighters, Dave Grohl and his bunch pretty much mopped the floor with them.
Wearing matching white jumpsuits or coveralls (which they later shed to reveal … red jumpsuits or coveralls), the band this time came out of the blocks hard with “My Name is Jonas,” the opening blast from 1994’s so-called “blue album.” Fairly predictable, but soon enough it became apparent the band would be changing more than their clothes, and that Weezer is now not just Cuomo and three other guys. Bassist Scott Shriner handled vocals on “Keep Fishin’” and “Dope Nose,” Cuomo played some drums, drummer Patrick Wilson played guitar — the guy can really play, too — and Tom DeLonge, the singer for opener Angels & Airwaves, helped out on “Undone — The Sweater Song.”
Were some of the songs a little ragged? Sure, but it was plain the guys in the band were having a great time and it was hard not to get swept along — the whole thing felt goofy and audacious, not a gimmick cooked up by a tired and desperate band. Then, in a move that harkened back to their recent “Hootenanny” mini-tour, they hauled maybe three or four dozen people onto the stage, people who played everything from guitar to banjo to trombone and sousaphone — who knows, there might have been a theremin up there somewhere — to play, or rather get through, “Island in the Sun” and “Beverly Hills.” They they shuffled the civilians off and reclaimed the stage, encoring with “Buddy Holly.”
By that point Cuomo had stripped down to his Motley Crue T-shirt, a reminder that he was once a desperate kid who believed in the redemptive power of music. And now he’s a rock star, maybe the first one ever to sing about Rogaine (and if he’s not using it, his thinning crown suggests he should). How cool is that? How cool is Weezer? The answer, although it will not please the haters, is this: a lot cooler than you thought. So there.
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Austin’s Suzanna Choffel named top 10 finalist in rock star contest
Ten finalists are competing to be named Cosmopolitan mag’s “Fun Fearless Female” rock star. And among them is Austin’s own Suzanna Choffel.
The finalists were chosen from more than 500 entrants, we’re told, by a group of music industry executives.
What’s next: The public will vote for a top three, who will go to New York and open for Natasha Bedingfield and Solange Knowles on Dec. 5. A panel of judges will pick the big winner that night; she wins: $10,000; a 3-track demo created with a hit-making record producer; up to 10 performances at Cosmopolitan-sponsored events; and memberships to SESAC (a performing rights organization for music artists and publishers) and FanBridge (a premier fan list management service).
To vote go here. (Voting ends Nov. 2.)
(Suzanna Choffel photo by Rodolfo Gonzalez/AMERICAN-STATESMAN)
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White Denim: new album in Mp3, FLAC and subscription formats
The new (and really cool) White Denim album is out now and can be purchased in digital format <a href="www.transmissionentertainment.com">here</a>
The record’s available in 320 kbps MP3 for $8.99, in lossless FLAC format for $13.99, and in what they call a “year-long” subscription for $29.99. All subscribers will automatically receive the album in 320 kbps format, a 12” copy of the album, a 7” copy of the (also excellent) “Let’s Talk About It” EP , and a collection of unreleased digital live tracks to be released throughout the year.
Dear music makers: THIS SORT OF THING IS THE FUTURE. Or at least one way to make the future look less like the present, a present which seems to be working for a smaller and smaller slice of working musicians.
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Minka, Derek and….Dan Dyer?
Read all about it in People, of all places.
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Review: Hotel Cafe Tour with Ingrid Michaelson, Meiko, Priscilla Ahn, Erin McCarley and Laura Jansen
The Hotel Café Tour hit Austin’s Parish on Friday with an all-female lineup, showcasing talent from five up-and-coming singer/songwriters.
The Tour, named after a coffee shop-turned-venue in L.A., has been a performance outlet for a rotating cast of musicians for four years. It doesn’t emphasize headliners, but instead encourages performers to share the stage.
Friday’s show featured Ingrid Michaelson, Meiko, Priscilla Ahn, Erin McCarley and Laura Jansen. When they needed backup, each of these artists were accompanied by the same band for their separate sets. They also enlisted each other’s help for some songs.
The rapport between the musicians and the ease with which they engaged the crowd between songs and sets made the show as a whole feel intimate and lively.
The music was equally enjoyable. Ahn and Meiko mostly played solo acoustic numbers, but Ahn’s looped melodies gave her songs a full, orchestral sound, while Meiko’s soft arrangements stood well on their own.
Jansen also played solo, but her songs were of the piano-driven pop variety. The explosive power of her voice was most evident, however, when the band joined her for the reggae-infused “Soljah.”
Michaelson and McCarley both played power-pop rock songs. McCarley’s low register melodies in particular bounced beautifully between well-placed pauses on “Blue Suitcase.”
But one of the best aspects of the show was its format. Each musician played two short sets over the three-hour period. The music moved at a brisk pace, ensuring that the audience never grew restless.
This format also gave each musician the chance to play in both earlier and later time slots in the performance, so most audience members got to hear every artist, no matter what time they arrived at the show.
The Hotel Café Tour will continue through the U.S. this fall. As always, the roster of artists will vary. Some proceeds from this round of all-female musicians will go to UNFPA and Amnesty International’s Stop Violence Against Women Campaign.
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Musicmania Top 10 for the week ending Oct. 19
- Z-RO ‘Crack’ (Rap-A-Lot)
- Trae ‘Beginning’ (Rap-A-Lot”
- Devin ‘Landing Gear’ (Razor & Tie)
- T.I. ‘Paper Trail’ (Atlantic)
- Lil’ Keke & H.A.W.K. ‘Still Wreck’In (Presidential)
- Lil’ Keke & H.A.W.K. ‘Still Wreck’In Screwed’ (Presidential)
- ABN ‘It Is What It Is Screwed’ (Rap-A-Lot)
- Young Jeezy ‘Recession’ (Def Jam)
- Jennifer Hudson ‘Jennifer Hudson’ (Arista)
- Big Pokey ‘Evacuation Notice (Koch)
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Weekend picks: Smooth and funky hip-hop, modern rock, catchy dance songs
FRIDAY
Devin the Dude at Emo’s. ‘Landing Gear,’ the new album from this Houston hip-hop titan, sticks to the script — lots of songs about wine, women and weed. But when you can crank out tracks this willfully mellow and smoothly funky, sticking to the script isn’t half bad. 10 p.m. $10. — Joe Gross
Next best: Save Austin Music gala from 7 to 11 p.m. at One World Theatre
Also recommended
- The Spooly Show with Ramsay Midwood at the Hole in the Wall
- Charlie Louvin at the Cactus Cafe
- Bill Gaither and Friends at Erwin Center
- Nachtmystium, Wolves in the Throne Room at Red 7
SATURDAY
Sounds Under Radio at La Zona Rosa. It’s been a year in the waiting, thanks to a deal with Epic gone wrong, but the U2-inspired Austin modern rock quartet finally has a release party for the ‘Cinematica’ CD. 9 p.m. — Michael Corcoran
Also recommended
- Portugal the Man (from Wasilla, Alaska)at Emo’s
- Foot Patrol (CD release) at Room 710
- Pepper at Stubb’s
- Everlast at Antone’s
SUNDAY
The Ting Tings at the Parish. The ‘breath of fresh air’ winners at SXSW ‘08 write catchy, witty dance songs that sway in the draft between new wave and Nile Rodgers. Just try to wipe that smile off your feet. 8 p.m. $17 — M.C.
Also recommended
- Martin Sexton at Antone’s
- Boom Boom Kids at Club 1808
- Roky Erickson (Danny Roy Young tribute) at the Austin Music Hall
(Pictured Devin the Dude MYSPACE.COM/DEVINTHEDUDE)
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Crowd lukewarm to Luis Miguel
Ricardo Brazziell AMERICAN-STATESMAN
It was something I never thought I’d see: a concert crowd that didn’t completely rise to its feet to welcome Mexican pop singer Luis Miguel.
Maybe it was the strain of seeing a high-energy concert on a Wednesday night. Maybe concertgoers at the Frank Erwin Center were peeved that the concert started 30 minutes late given that they were missing the last presidential debate to be there. Maybe gente were thinking about their 401ks.
Whatever the reason, Miguel’s mix of sensual ballads, dance pop and reworked mariachi music didn’t connect with the Austin audience the way it did three years ago when the singer gave a powerhouse performance that shook the foundation of the flan-shaped arena
After an unbearably gooey video intro (birds, tropical beaches, gauzy curtains; no Latin music video cliche was left unused), Miguel emerged, wearing an expertly tailored suit. His every move was broadcast on a mostly unnecessary set of huge video screens. The largest of them projected an enormous, messianic image of “Luismi,” as his fans know him. His unfathomably white teeth have never looked bigger or brighter. But the big screens disconnected the singer from the crowd instead of making the concert feel more intimate.
The singer ran through new songs from his latest album “Complices,” but the audience hungered most for the more traditional material of his previous album, “Mexico En La Piel.” Songs like “Y,” “La Bikina,” “Suave” and “Si Nos Dejan” received enthusiastic applause, but nothing matched the previous concert, when Miguel was joined by a full mariachi band.
Though his voice sounded as smooth and as powerful as ever, Luismi’s showmanship wasn’t at the same level. His material is made for big spaces, but Miguel never got the entire audience to rise as one, even as he was saying goodnight. Some of that might have had to do with the sound: the music blasted so loudly that all subtlety was lost. On some songs, everything but Luismi’s voice became a chunky wash of sax, synth and percussion. You couldn’t blame much of the audience for feeling pummelled and listless.
The show ended at an hour and 45 minutes with no encore, leaving many to wander out surprised, likely wondering if they could still catch the debate replay on CNN.
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CD review: Kings of Leon
Kings of Leon
“Only By the Night” (RCA)
Four stars
Have no idea what’s on the cover and can never remember the title so I keep calling it “Because of the Night.” On the surface. Kings of Leon don’t seem like they desperately want to be huge.
But then the disc plays and you can hear a g/g/b/d band grow bigger with each cut. This band of three brothers and a cousin, all named Followill, plays with sibling harmony usually restricted to vocal layers.But it all starts up front, with Caleb Followill’s voice that’s indie and classic rock at the same time.
If it’s possible for a hetero male to call an album by guys “sexy,” without coming off a little gay, well you can put me down for that, more for the slinked-out “I Want You” than the catchy, ska-laced “Sex On Fire,” a huge hit in the U.K.
With just a grandiose pop/rock singer and a drummer with powerful feet, KOL would already be ahead of the pack. Add crazy color guitars, an overall consistency of songwriting and a glorious new anthem in “Use Somebody” and (gotta look it up again) “Only By the Night” is the likely breakout album in the U.S., which has not yet embraced the Kings like the Brits have.
This is an album like the ones we grew up with, where we’d put it on and leave it alone because almost all the songs are good. It’s an Elton John record with guitars and swagger instead of pianos and aplomb. Strong melodies, like those that engulf “Revelry,” are anticipated and so the album plays in your head seconds before it does from the speakers. There will no doubt be cries of “sellout” with this pop album, but it’s actually a bolder move, this unleashing of accessability. This record certainly rings truer with what the band’s about.
There are a couple of groaning moments, as KOL aims at the Majic FM crowd with “17” and “Notion,”. The latter tune’s “don’t knock it you’ve been here before” sing-song chant is worthy of an Eddie Money album, albeit the one Eddie Money LP to own if you can only own one..
Of the album’s 11 tracks, only a couple are chuckable and three- “I Want You,” “Use Somebody” and “Manhattan”- are pretty amazing. The numbers say this is the best Kings of Leon album yet, though they’ve yet to rock quite as hard as on the EP version of “California Waiting.”
If you look too close at the ink blot-like cover of “something something ‘Night’” you can’t make out anything. But stand back a few feet and you see, roughly, the letters “M” and “X.” More logo than photo, it’ll make a cool concert tee. They’re out of the garage, out of the rock clubs, out of the too-cool-for-school school; Kings of Leon are a big picture rock band at last!
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Live Chat With Statesman pop critic Joe Gross at 2 p.m. TODAY
Join Statesman pop critic Joe Gross for a live chat at 2 p.m.
Topics include: The Opeth show tonight at the Monarch Event Center, this weekend’s shows, new albums (Lucinda Williams, (Expletive) Up, Secret Machines, Dillinger Four, etc.) and the schedule for Fun Fun Fun, which is up here
Join us!
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Magnetic Fields review
Fans intimidated by the eponymous noisy effects of the recent Magnetic Fields album “Distortion” had nothing to fear from the group’s show Tuesday at the Paramount: While a guitar amp sat toward the rear of the stage, the evening’s musical offerings were as undistorted and sonically sedate as ever.
Despite adding a second female vocalist, Shirley Simms, to the group’s core quartet, their onstage dynamic remained a two-personality affair: Pianist and singer Claudia Gonson did most of the talking, trying to maintain a baseline level of cheer while songwriter Stephin Merritt occasionally mustered the will to speak in his need-some-stimulants voice. Aside from occasional instrumental highlights for Sam Davol’s cello (on “Courtesans”) and John Woo’s guitar (in “Xavier Says”), those two men sat between the singers as unobtrusively as hired hands.
If Merritt displayed little love for his fans (his greeting to the crowd: “Are you ready to rock? Then go somewhere else.”; later, he responded to a shouted request by telling Gonson he thought there were insects trapped in the hall.) Gonson worked the “hello, Austin” angle in her restrained way by namechecking the local store, Fiddler’s Green, where the group stopped to replace its ailing bouzouki, and by declaring her love for the sound of grackles.
A solid helping of “Distortion” songs (like the racy but perfectly rhymed “The Nun’s Litany”) were joined by not only favorite album tracks but songs drawn from various side projects like Merritt’s music for the Lemony Snicket books and the “Pieces of April” soundtrack.
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Final Saturday at the Backyard now free
The last Saturday show at the Backyard, taking place Oct. 25, is now free.
Also, the Bravery will not be playing it.
So the line-up will include Del Castillo, The Boxing Lesson, White Ghost Shivers, Alpha Rev, Dremnt The End, Los Gallos, Friver F, High On Hotdogs, Joker and DrumJam
But not the Bravery.
But it is free.
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Crawdaddies cancelled
The Save Our Springs Alliance’s full moon party at Barton Springs Pool tonight featuring The Onion Creek Crawdaddies has been cancelled due to inclement weather. No show has been rescheduled at this time.
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Pumpkin Moon Party: A benefit for Jon Dee Graham
James McMurtry, Mojo Nixon and others play the Pumpkin Moon Party, this benefit for Jon Dee Graham, who was in a serious car accident in July, at Continental Club Oct. 20.
Here are some set times:
9 p.m.: Dale Watson
10 p.m.: Reckless Kelly
11 p.m.: Steve Poltz
Midnight: Mojo Nixon
1 a.m.: James McMurtry
Doors at 8:30. $20.
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Review: The Cardinals Featuring Ryan Adams
Wildly prolific, alt-country whiz Ryan Adams went from starving for attention to not wanting any attention at all. Were it his decision, he’d file “Cardinology,” his new album out Oct. 28, under “Cardinals,” the handle for his four-piece backing band, instead of “Ryan Adams.” But the idea of ditching his brand name was apparently nixed by his label, leaving the marquis last night at the Paramount to read “The Cardinals Featuring Ryan Adams.”
Adams’ newfound appreciation for humility was probably a response to the bad rep he’s gotten for his verbal jarring. He walked the straight-and-narrow at the Paramount by letting the music speak for itself for most of the first set of a muscular, two-and-a-half-hour, two-set show. In between instantly intriguing “Cardinology” numbers including “Fix It,” “Magick,” and “Cobwebs,” wherein he and fellow guitarist Neal Casal harmonized “If I fall, will you catch me?,” Adams blew his nose and bit his lip through a barrage of playful catcalls and unsolicited song requests.
Eventually the urge to banter became too much. Adams ribbed Casal about Casal’s new guitar, which Adams had anointed “Sparrowmyth.”
“Only this guy could come up with that,” Casal confided to the audience.
“It’s a play on Aerosmith,” Adams countered.
A repartee about Joe Perry, coke, and barbecue sauce ensued between the two. It was so quick and witty, it was either rehearsed or Adams and Casal are two totally synced-in dudes. The second set didn’t nullify the former, but it definitely affirmed the latter.
Under a backdrop of two entrancing, blue neon roses, Adams and Casal — augmented by Chris Feinstein on bass, Jon Graboff on pedal steel, and Brad Pemberton on drums — let it ride with “Off Broadway” and “Two,” from last year’s “Easy Tiger,” and “Cold Roses” and “Easy Plateau,” from the double-disc “Cold Roses.” And then the show, tainted only by a limp cover of Oasis’s “Wonderwall,” came to a resounding end when, for the first time all night, Pemberton banged on the gong behind his drum kit.
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Review: Kal at the Cactus Cafe
The Balkans came to campus Monday night, as Belgrade’s Romani band Kal made its way to the Cactus Cafe fresh from a weekend at San Antonio’s International Accordion Fest. Tour manager and Roma activist Sani Rifati provided a long introduction, warning an obviously savvy audience not to expect the “bandanas, hoop earrings, and gold teeth” that are clichés of “gypsy” music, a label rejected by many Roma.
Instead, listeners saw a muscular hybrid band that (taking cues from the border-free world music of Manu Chao) fused traditional sounds with rock and various other influences, often playing at furious speeds but never veering toward punk or noise, as Gogol Bordello does. Adding dual accordions, a violinist and percussionist — who occasionally stood up for solo vocalizations suggesting an Eastern European human beatbox — to a four-piece rock lineup, the group never lacked for activity, but bandleader Dragan Ristic, on guitar and vocals, provided a charismatic focal point.
Ristic tossed off acerbic jokes about misperceptions his people have endured, encouraged audience participation, and even made a convincing substitute for Montenegran rapper “Rambo Amadeus” on “Komedija,” a track from the band’s self-titled debut CD. But he didn’t have to do anything to encourage dancing: Even before the show’s organizers offered extra room in front of the stage, what open floor space could be found was filled with more self-made means of bodily expression than the Cactus has probably seen in years.
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This week’s new releases
Noteworthy CDs
- Lucinda Williams, “Little Honey” (Lost Highway): Check out the full review
- Gojira, “The Way of All Flesh” (Prosthetic): French death metal of a very high order.
- Ray LaMontagne, “Gossip in the Grain” (RCA): Palette-expanding third album from this folkie. Contains funny ode to “Meg White.”
- Nikka Costa, “Pebble to a Pearl” (Stax/Go Funk Yourself/Concord): Noted soul gal makes album from noted soul label Stax. Old school!
- Secret Machines, “Secret Machines” (TSM): First album since the departure of guitarist Ben Curtis from these once-Texas-based space rockers.
- Dillinger Four, “Civil War” (Fat Wreck Chords): Long-awaited collection of anthem-like pop-punk from this Minneapolis band.
Selected releases
- Rock/pop: Holly Golightly and the Brokeoffs, “Dirt Won’t Hurt” (Transdreamer); Keane, “Perfect Symmetry” (Interscope); I’m From Barcelona, “Who Killed Harry Houdini?” (Mute)
- Country/roots/singer-songwriter: John Michael Montgomery, “Time Flies” (Stringtown); Billy Currington, “Little Bit of Everything” (Mercury Nashville)
- From the vaults: David Bowie, “iSELECT: BOWIE” (Virgin/EMI); Buena Vista Social Club, “Buena Vista Social Club at Carnegie Hall” (World Circuit/Nonesuch); Santana, “Multi-Dimensional Warrior” (Columbia)
- It’s beginning to look a lot like … : Aretha Franklin, “This Christmas, Aretha” (DMI); Al Jarreau, “Christmas” (Rhino); Sixpence None the Richer, “The Dawn of Grace” (Nettwerk); Elvis Presley, “Elvis Presley Christmas Duets” (Sony)
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CD reviews: Lucinda Williams, Todd Snider and Ben Folds
Brian K. Diggs AMERICAN-STATESMAN
Lucinda Williams
‘Little Honey’
(Lost Highway)
Like most folks, Lucinda Williams is happiest when she’s … how to put this delicately … gettin’ some.
She’s spent most of her career mourning men who have wronged her, her bad luck with men and various ways men have let her down. Not that she hasn’t gotten a wealth of excellent material out of it, but let’s not kid ourselves. There’s a point at which you have to wonder just how bad her taste in men is and whether she’s ever going to snap out of it. Add death to that, as in last year’s “West,” and you wonder if she’s ever going to be happy.
No more, apparently. In a stable relationship with manager Tom Overby, Williams is suddenly producing the highest-octane music of her career. “Little Honey,” out Tuesday cranks out rocker after rocker, including an album closing cover of AC/DC’s “It’s a Long Way to the Top.” Gone is most of the moping, replaced with love and lust. Lots of lust. “You squeeze my peaches” she belts on “Real Love,” a decent song that I nevertheless wished was a cover of the Mary J. Blige classic of the same name. “Now I got your sweetness/ all up in my hair” she howls on “Honey Bee” — um, thanks for that, Lu.
She calms down a bit on “Plan to Marry,” which makes a case for love “when leaders can’t be trusted/ Heroes have let us down.” Elvis Costello moans along on “Jailhouse Blues.” “Well Well Well” is a leftover from ‘92, while “Circles and X’s” and “Wishes Were Horses” date from the 1980s, when Williams’ slow-burn country-folk was defining what became alt-country.
Especially for a gal who made her bones on being all literary ‘n’ all, her lyrics can scan as lazy by half: see also “Honey bee, I swear/ we make quite a pair” and “You tried to steal my truck but/ that’s not what this is about.” Ouch.
The epic “Little Rock Star” cautions the Amy Winehouses and Pete Dohertys of the pop world that their death wish is showing. But most of the time the deaths she’s singing about are the little French kind and that’s a lot more fun.
Recommended: “Wishes Were Horses,” “Little Rock Star” — Joe Gross
Todd Snider
‘Peace Queer’
(Aimless)
Todd Snider’s “The Devil You Know” — the songwriter’s most seamless weave of sketch comedy and social commentary yet — captured a deeply troubled American spirit. The 2006 album’s key political fulcrum: “You Got Away With It.” While the more indelible morality play “Happy New Year” filtered sunlight through a doublewide, Snider’s acidic presidential satire stationed only thunderclouds. Working class anthems like “Looking for a Job” and the title track deepened the grays.
Look left: Snider’s astonishing reinvention of Creedence Clearwater Revival’s “Fortunate Son” extends that disillusioned labyrinth. Boy, talk about raw anguish. Cupping a plagued harp, Snider blows a thousand combat wounds straight back into the heart of wartime darkness. The abyss beckons. Haunted morning rises. There is, of course, no resolution. Instead, Snider simply gives pollutants room to multiply, leveling little judgment as his beliefs belly up.
“I may share my opinions with you,” he explains later. “(But) I don’t share them because I think they’re smart or because I think you need to know them. I share them because they rhyme.” The barefoot broadcaster alternately reinforces blue-collar snapshots with roadhouse rock (“Stuck on the Corner”), summery swamp grooves (“The Ballad of Cape Henry,” with Patty Griffin) and staccato blues (“Mission Accomplished”). “I’m so turned around, I could calm up a riot,” he sings. “Fighting for peace is like screaming for quiet.”
Similarly loping wordplay energizes companion pieces “Is This Thing Working?” and “Is This Thing On?,” but neither particularly resonates. (Though Snider’s recitation of the latter was fall-down hilarious last week at the Cactus Cafe.) No matter. Download this robust EP free at the singer’s Web site (www.toddsnider.net) throughout October. “I only want to sell this to people who have heard it and want it for sure,” Snider told the Statesman recently. “My friends tell me this record isn’t as ‘political’ as I say it is, which makes me happy. Most political singers seem like folk Nazis to me.”
Recommended: “Fortunate Son,” “The Ballad of Cape Henry,” “Ponce of the Flaming Peace Queer” — Brian T. Atkinson
Ben Folds
‘Way to Normal’
(Sony)
When Ben Folds leaked “fake” versions of songs from “Way to Normal” that he and his band wrote and recorded within the space of eight hours at a studio in Dublin last summer, the natural assumption was that the actual “Way to Normal” tracks would surpass their surprisingly decent joke counterparts.
But many of the songs on “Way to Normal” improve little on the craftsmanship or lyricism of the fake tracks, so the album just feels lazy. The fake version of “(Expletive) Went Nuts,” for example, tells the story of a guy whose liberal girlfriend takes too many drugs and begins ranting at a corporate Christmas party. The real version tells the similar story of a girlfriend who lashes out inappropriately after getting dumped.
Still, the album has its high points. “You Don’t Know Me,” a jazzy duet with Regina Spektor, features bright horn and string sections beneath irresistible harmonies lined with simple but poignant lyrics about the fleeting nature of relationships. “Brainwascht,” on the other hand, sees Folds’ quirky humor at its best, as he challenges a fellow songwriter to a dance-off in response to a mean-spirited pop song jab. Other songs, like “Dr. Yang,” harken back to the raw energy of Folds’ earliest days with the Five.
But whether the songs on “Way to Normal” hit or miss, the refreshing thing about Folds is his humility.
“If this record is great, it is a testament to the quality of the people in my life,” Folds writes in the album’s liner notes. “I will however take responsibility for any possible overlooked moments of less-than-greatness that may exist on this album.”
Recommended: “You Don’t Know Me,” “Brainwascht” — Alex Daniel
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Waterloo Top 10 for the week ending Oct. 11
Bob Dylan, ‘Tell-Tale Signs: The Bootleg Series Vol. 8’ (Columbia)
TV on the Radio, “Dear Science” (DGC/Interscope)
Kings of Leon, “Only by the Night” (RCA)
Okkervil River, “The Stand Ins” (Jagjaguwar)
Jenny Lewis, “Acid Tongue” (Warner Bros.)
Fleet Foxes, “Fleet Foxes” (SubPop)
Oasis, ‘Dig Out Your Soul’ (Reprise)
MGMT, “Oracular Spectacular” (Sony)
Thievery Corporation, “Radio Retaliation” (Eighteenth Street)
The Pretenders, “Break Up the Concrete” (Shangri-La Music_
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Save Austin Music announces non-profit umbrella status and tickets for big gala
The Austin grassroots music advocacy group Save Austin Music is now sponsored by the Austin Community Foundation, which will give the organization non-profit status for donations to its public service announcement campaign.
Beginning Oct. 15, a fund will be established in the organization’s name and donations for the “Austin Music: You’re Invited” PSA Campaign will carry tax deductible status.
Check out the PSAs at http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=44224308
Also, Save Austin Music is having a one day sale on tickets for the organization’s big gala, to be held from 7 to 11 p.m. Oct 17 at One World Theatre (7701 Bee Caves Rd. 330-9500). buy tickets at SaveAustinMusic.com
Beginning Oct. 15, general admission tickets to the party will go on sale for 24-hours for $27.50. Working musician tickets will sell for $15.
The gala will feature a silent auction, free food and beverages, guest speaker Paul Oveisi from Austin City Council’s Live Music Task Force and Brad Stein from the Austin Music Commission, and KVUE’s Mark Murray. Live music will be provided by John Pointer, Troy Dillinger, Dan Dyer, Ian McLagan & The Bump Band and more.
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Musicmania Top 10 for the week ending Oct. 12
Z-RO, ‘Crack’ (Rap-A-Lot)
T.I., ‘Paper Trail’ (Atlantic)
Devin the Dude, ‘Landing Gear’ (Razor & Tie)
ABN, ‘It Is What It Is’ (Rap-A-Lot)
Young Jeezy, ‘Recession’ (Def Jam)
Slim Thug, ‘Back By Blockular Demand’ (Koch)
Devin the Dude, ‘Hi-Life’ (Rap-A-Lot)
The Game, ‘LAX’ (Geffen)
Bob Dylan, ‘Vol. 8-Tell Tale Signs’ (Columbia)
Lil Wayne, ‘Tha Carter III’ (Cash Money)
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Roky added to Danny Young tribute
The Sunday Oct. 19 “Keep Austin Young: Celebrating the Life of Danny Roy Young” benefit concert at the Austin Music Hall will feature a special appearance by Roky Erickson. Hosted by author Joe Nick Patoski, the concert will also feature Marcia Ball, James McMurtry, Ray Benson, the Texana Dames, Ponty Bone, the Cornell Hurd Band and The Antone’s House Band featuring Derek O’Brien, Riley Osbourn, Frosty and Ronnie James.
Tickets are only $10 at the door or in advance at Waterloo Records and other Gettix locations, with no service charge. Music Hall owner Tim O’Connor, a good friend of Young’s (as is everyone who ever met him), has graciously offered his venue free of charge. This promises to be a special night for an Austin music community which lost its warmest member in August, but not the glow he left behind.
Sponsorship tables of 10 are available for $1,000, and tables of four for $400. To purchase, call 512.472.8463 or e-mail rshivers@shiversgroup.com.
Doors open at 5 p.m. so guests can visit with Young’s family and preview Texicalli Grille memorabilia up for silent auction. “The Texicalli” cheesesteak sandwich and waffle fries and queso will be sold at the concert, which hopes to raise enough money to retire the Texicalli debt. Texicalli Grille T-shirts and bumper stickers will also be sold.
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Live review: Nick Lowe and Todd Snider
(Nick Lowe photo: Jim Cooper/The Associated Press)
It’s been just over 20 years since I’ve had a night like last night, when I was so entranced, so invigorated by the powerful grace of one songwriter that it seemed almost pointless to go to another show that night, but I did and was blown away all over again.
In early 1987, John Hiatt played a solo show at the Cactus Cafe to an audience of maybe 20, unveiling songs that would come out a couple months later on an album called “Bring the Family.” His career was pretty much finished at the time, but I really wanted to hear “She Loves the Jerk.” When it was over I just wanted to go home and lay under blankets and think about every minute of that show again.
But Richard Thompson was playing across town at the Back Room. Well, you can imagine…
Last night’s Nick Lowe taping of “Austin City Limits” was absolutely flawless. Anyone who was disappointed to arrive to see only an acoustic guitar on the stage was soon satiated by just how much power and control Lowe has in that stripped down context. He was Sinatra as folk singer, positioning his mouth away from the mike when trailing off was called for, but always in the pocket. The audience was perfectly silent except when a chorus on “When I Write the Book” or “All Men Are Liars” was called for. What a pleasure it was to hear such tunes as “Hope For Us All,” from the recent “At My Age” or the older “What’s Shakin’ On the Hill” without the cackle and clink of a nightclub setting. Don’t know why more rockers don’t step into the solo acoustic mode at “ACL.” In Lowe’s case, a band would’ve just mucked it up.
I walked out thinking that Nick Lowe, heralded though he may be, has not fully received his due. He was just stunning. Give him the whole hour, Terry L.
(Todd Snider photo: Brian Atkinson/For American-Statesman)
I told my friend Vickie that I’d go with her to Todd Snider, even though I’m claustrophobic and the show at the Cactus, just two blocks away, had been sold out for weeks. When you added all the well-connected freeloaders like me, it promised that my elbows, knees and knuckles would become well-aquainted with strangers. Xanax, anybody have a Xanax?
Unobstrusively backed by drummer Kory Cook on brushes and snare, sitting down standup bassist Sterling Findlay and Eric McConnell on lap steel, Snider got the packed house laughing on opening song “Slim Chance,” with a line about seeing a four leaf clover that had one leaf missing. “A slim chance is still a chance” he sang in a soul-clenching manner befitting the bluesy tone. The groove was so thick and round you could eat it with chopsticks.
The crowd, more familiar with Snider’s catalogue than I, gasped in delight when he played the intro to “Doublewide Blues,” with the couple in front of me whispering to each other about how he almost never does that one anymore. “Hey Hey” and “Alright Guy,” each inspiring vocal assist from the crowd, plus the new “Mission Accomplished,” the modern protest song posthumously written by Bo Diddley, were other faves.
The really good set was made unforgettable when Snider somberized “Fortunate Son,” giving a coat of dispair to Fogerty’s defiant snarl at have-nots marching off to a war orchestrated by those whose children were safe at home. A moment ingrained forever, it was almost as powerful as when a newly sober Hiatt pulled up the piano bench and sang “Have a Little Faith In Me” two decades ago.
The 85 minutes flew by then landed soundly with a nod to an ailing Austinite. “We love you Rusty Wier,” Snider proclaimed, then went into “Don’t It Make You Wanna Dance.”
The night air never felt so crisp and inviting. The overbearing heat has lifted and we are free to move about in comfort, Two songwriters with great senses of humor, but even greater senses of humanity passed through and touched us with the craft of words and melody. It’s just so simple what Nick Lowe and Todd Snider do. But if it was easy there’d be many more nights like last night.
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Weekend Picks: Bass-thumping grooves, hip-hop lifers and an enigmatic songstress
Friday
Widespread Panic at the Backyard. When the Athens, Ga., jam band heard that the mall-mangled Backyard was closing (rather than change the name to Bed, Backyard and Beyond), they quickly booked a Friday and Saturday. The venue, which was the site of their 2003 live DVD, is one of their favorites to play, which should make this swan song memorable. 7 p.m. $33.50. — Michael Corcoran
Bassnectar at La Zona Rosa. Experimental, genre-fusing, San Francisco DJ, Lorin Ashton sold out the room and brought down the house when he played at Antone’s six months or so back. No doubt, Austin’s post-rave crowd will turn out once more in full force. $15-$17 —-Deborah Sengupta Stith
Also recommended:
- Citizen Cope (solo) at Hogg Auditorium
- Strange Boys at Beerland
- Walkmen at the Parish
- James Hand at the Broken Spoke
- Manikin at Carousel Lounge
SATURDAY
Cat Power at Stubb’s. It’s always interesting to see what we get with ‘Chanel’ Marshall, who used to perform with her hair in her face but has become a much more engaging performer over time. Lotsa songs from ‘Jukebox,’ please. This is the show rescheduled from April 20. Appaloosa opens. 8 p.m. $25. — M.C.
Also recommended:
- Gretchen Phillips (CD release), Graham Reynolds at the Cactus
- Birdmonster at the Parish
- Grupo Fantasma with Larry Harlow at Antone’s
- Skatalites at Flamingo Cantina
- Doom Siren at Club 1808
Road trip! Canadian songsmith Fred Eaglesmith at historic Freyburg Hall. $15. 8 p.m. Get directions and find out more about this 96-year-old dancehall by going to www.myspace.com/freyburghall. — M.C.
SUNDAY
The Roots and Gym Class Heroes at La Zona Rosa.The Roots are lifers, a hip-hop band determined to stay true to their vision of what hip-hop can do in a live band format. This has yielded a bunch of pretty good yet rarely great albums, a wicked live show that can occasionally feel too much like a history lesson and a really devout fanbase. Gym Class Heroes are similarly expansive in their vision, hip-hop indie rockers from upstate New York who have a solid pop streak. 7:30. $31. — Joe Gross
Also recommended:
- Jackie Bristow at Flipnotics Barton Springs
- Dave Insley at the Hole
- Leon Russell at Threadgill’s South
(Pictured: Cat Power. Photo by Brian K. Diggs AMERICAN-STATESMAN)
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The tribute goes on forever (and the accolades never end)
Last winter at the annual MusicFest in Steamboat Springs, Colorado, a host of Texas singer-songwriters honored Robert Earl Keen, who laid the blueprint for funny, poignant and irreverent songs, by performing a tribute concert.
January 6, “Undone: A MusicFest Tribute to Robert Earl Keen” will be released in conjunction with the 20th anniversary of Keen’s enduring classic party song, “The Road Goes On Forever.” Here’s the track listing:
Disc One
1. “Think It Over One Time” - Reckless Kelly
2. “No Kinda Dancer” - Max Stalling (vocals & guitar), Dale Clark (guitar)
3. “Lynville Train” - Wade Bowen
4. “Wish You Were Here” - Brandon Jenkins
5. “Paint the Town Beige” - Walt Wilkins
6. “I’ll Be Here For You” - Randy Rogers
7. “I Would Change My Life” - Roger Creager
8. “I’m Coming Home” - Kathleen and Cody Braun
9. “Christabel” - Matt Skinner
10. “Carolina” - Brandon Rhyder & James Hurtless
12. “I’ll Go On Downtown” - Cory Morrow & Tanya Cargill
13. “Travelin’ Light” - Matt Powell
14. “Front Porch Song” - Dub Miller, Doug Moreland & Matt Skinner
15. “Daddy Had a Buick” - Doug Moreland & Matt Skinner
Disc 2
1. “Mariano” - Jason Boland
2. “Shades of Gray” - Cody Canada & Jason Boland
3. “Undone” - Chris Knight & Cody Canada
4. “Not A Drop Of Rain” Bonnie Bishop
5. “Willie” - Muzzie Braun, Micky Braun, Gary Braun
6. “Corpus Christi Bay” - Darren Kozelsky & Chris Claridy
7. “Loves A Word I Never Throw Around” - Rich O’Toole
8. “Wild Wind” - Robert Earl Keen
9. “Dreadful Selfish Crime”- Robert Earl Keen
10. “Goodbye Cleveland” - Robert Earl Keen
11. “For Love” - Robert Earl Keen
12. “Road Goes On Forever” Robert Earl Keen & Cody Canada
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Roots show moved to La Zona Rosa
Sunday’s night’s performance by the Roots, originally scheduled to take place at The Backyard, has been moved to La Zona Rosa. Tickets purchased for the Backyard show will be honored at La Zona Rosa. The Roots are touring with The Gym Class Heroes and Estelle.
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Hot Club records sad collaboration for Veteran’s Day
Hot Club of Cowtown violinist Elana James read emails from a U.S. soldier in Iraq in the New York Times in March and was so moved, she set some of the words to music. That song “Hey Beautiful” will be released on Veteran’s Day, November 11.
You can hear it now by clicking here.
The lyricist, 27-year-old Army Staff Sgt. Juan Campos, died June 1, 2007 after being badly burned in an explosion.
Go here to read the dispatches that inspired the song.
HCofC plays a free happy hour show at the Continental today at 6:30 p.m.
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My Morning Jacket cancels shows after Jim James falls off stage
A statement from the band follows; we thank them for not using the phrase “as per:”
“As some of you may have heard we had to cancel our show last evening in Iowa City. We were finishing up the last few bars of ‘Off The Record,’ and just like any other night we were all having a great time. Jim went to get closer to the audience on his side of the stage, and as he moved forward to step onto the sub-woofer the lights darkened, and he inadvertently stepped off the stage. Upon falling, he suffered traumatic injuries to his torso, and was immediately taken to the hospital. Per the doctor’s orders, Jim will be off the road and recovering from his injuries for the next two to three weeks. Sadly, we must postpone the two shows in Chicago on Thursday and Friday until further notice.
For those who attended the Iowa City show, we would like to extend our gratitude for your understanding and cooperation. We take our fans and performances very seriously, and would never cancel a show unless it was absolutely necessary. Please know that we will be making every effort to return to your fine city.
Thank you so much to our fans for the kind sentiments and well-wishes on Jim’s behalf. We hope for Jim’s quick recovery and to be back out on the road soon.
With Love, My Morning Jacket”
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Austin Blues Society and the Heart O’ Texas Blues Challenge
In February of 2009, The Blues Foundation, headquartered in Memphis, host 25th annual International Blues Challenge .
For the first time ever, Austin will send one band and one solo artist or duo group to this prestigious event. To find those competitors, the Austin Blues Society will host the Heart O’ Texas Blues Challenge Oct. 11, 12 and 18.
The winners of each of these contests will move on to the finals Nov. 12 at Antone’s.
Oct.11
Jovita’s
Doors at 6:30 pm, show 7 p.m.
Blueblazes, Hollie Holloway Band, The All-In Blues Band, Pride & Joy, Al Monti Band, Ellison’s Texas Adventure, and Preacher Keen.
Oct.12
Saxon Pub
Doors at 5:30 p.m., show 6 p.m.
Texas Blind Salamanders, Harry Bodine, Ruthie Bram Duo, Jimi Lee, Daily Blues,
Tombstone Bullies, and Robert Chevrier.
Oct. 18
Hanover’s
Doors @ 6:30 p.m., show 7 p.m.
The Mizzbehavin’ Band, Jeff & The Jump Tones, Mike Milligan & The Altar Boyz, JT Coldfire Band, Daniel Conti and Drawing Back, Michael Holt Band, and Miss Julia Cruz and the Blues Illumination
All shows $7 for the public $5 for ABS members.
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Live Review: Erik Hokkanen at Flipnotics
Magic in a box. That’s what Flipnotics on Barton Springs Road serves up every Tuesday night when Erik Hokkanen, equally amazing on fiddle and Stratocaster, and his crack three-piece band play gypsy jazz, fiddle breakdowns, surf instrumentals, Black Cat rock, western swing and airy and eerie originals in a room the size of Mickey Rourke’s closet. Anyone who says there’s nothing special about Austin music should be sentenced to Tuesday night at Flips.
There’s no cover charge, but there should be a password to get in.
Erik Hokkanen Trio 2006
The highlight of the first set was a 10-minute medley that traced the history of the fiddle tune from ancient Irish reel to “Orange Blossom Special,” with sounds of the Civil War, the Appalachian mountains and the westward expansion thrown in. Then, Hokkanen put down his fiddle, picked up his guitar and played the classic rock instrumental “Apache” as effortlessly as you or I would use call waiting.
The broad smiles of Hokkanen and his Hip Replacement band told the story of a quartet of players who have practiced endlessly and studied tirelessly for these moments when pure instincts take over. They are filled with music and so they have a joy they can’t help but spread around. Sorry to be so corny, but that’s how this music makes me feel.
Whoa. The second set just started. Gotta go.
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Must Have?
So I wrote this item published in the Oct. 7 paper:
“MUST-HAVE: Bob Dylan, “Tell Tale Signs: The Bootleg Series, Vol. 8- Rare and Unreleased, 1989-2006” (Columbia). This 2CD (or 3CD, depending on which one you buy) set anthologizes outtakes from when Dylan started his slow crawl out of his 1980s nadir. Expect detours from such albums as “Oh Mercy,” “Under the Red Sky,” “Time Out of Mind” and “Love and Theft.” “
I was half right.
The 2CD set will run you about $13.98 to about $22.98, depending on store and sale price. It’s terrific.
The 3CD set, which comes with an extra 150-page hardcover book of Dylan’s singles artwork, will run you $99.99 to 169.98.
Most Dylan fans I know do not care about a 150-page hardcover book of Dylan’s singles artwork.
Most Dylan fans would love to hear that third CD.
But not for an extra $77 to $140 or so.
Thanks very much, Columbia. I can’t think of a better way to encourage illegal downloading.
Or is that the idea?
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Today, Oct. 7, is HAMM benefit day
Look here for a complete list of Austin businesses that will be donating five percent or more of their gross sales to the Health Alliance for Austin Musicians.
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Austin Music Foundation mixer tonight
There’s an Austin Music Foundation Austin Music Mixer (that’s a lot of Austins) tonight, Oct. 7, at Momo’s from 6:30 to 8:30 p.m.
Live Music Task Force chair (and Momo’s owner) Paul Oveisi will preview the task force’s findings.
If you think of yourself as a stakeholder in Austin music, you should stop by.
Seriously.
Be there.
Come early for free fish tacos from Wahoo’s.
Unless I eat them all.
Which I will try to do.
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Waterloo Top 10 for the week ending Oct. 4
TV on the Radio, “Dear Science” (DGC/Interscope)
Jenny Lewis, “Acid Tongue” (Warner Bros.)
Kings of Leon, “Only by the Night” (RCA)
Okkervil River, “The Stand Ins” (Jagjaguwar)
MGMT, “Oracular Spectacular” (Sony)
Alejandro Escovedo, “Real Animal” (Back Porch)
Fleet Foxes, “Fleet Foxes” (SubPop)
Robert Plant & Alison Krauss, “Raising Sand” (Rounder)
Cold War Kids, “Loyalty to Loyalty” (Downtown)
Ben Folds, “Way to Normal” (Sony)
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It was 40 years ago today: anthem uproar
Today marks the 40th anniversary of Jose Feliciano’s controversial rendition of the “Star Spangled Banner” before game five of the 1968 World Series between the Detroit Tigers and the St. Louis Cardinals.
Listen to it here. and wonder what all the fuss was about.
Led out to the middle of Tiger Stadium by his guide dog Trudy, the blind singer from Puerto Rico had no idea the first public stylized version of the anthem was about to polarize Americans almost as much as the Nixon vs. Humphrey (with a side of George Wallace) presidential race. Feliciano had one segment of the country calling him a traitor for taking liberties and the other side applauding him for the same reason. To some, the song’s standard arrangement was sacred, to others it was too plodding for the times of assassinations, social upheaval and Vietnam.
These days, it seems incredulous that the harmless rearrangement caused such heated debate. At least it wasn’t this one:
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Scars on Broadway scrap tour, including Emo’s
Maybe they’re tired of being asked when System of a Down is getting back together. Scars on Broadway, featuring System’s guitarist Daron Malakian and drummer John Dolmayan, has canceled its entire North American tour because Malakian decided
“his heart wasn’t into touring at this time,” according to a statement Monday. The band was slated to play Emo’s Nov. 25.
There are no plans to reschedule. All tickets will be refunded at point of purchase.
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Review: Eliot Fisk
Surely I was not the only member of the Austin Classical Guitar Society’s audience who sighed sadly upon learning that the advertised duo recital by Eliot Fisk and Angel Romero had become a solo recital by Fisk due to Romero’s temporary inability to travel. These two artists sharing the stage would surely have given us an engaging, exciting performance.
To be sure, a Fisk solo recital isn’t slumming in any sense. He brought his usual kind of program featuring newer compositions for the guitar, numerous of his transcriptions for guitar, and a substantial dessert course of four encores. He constantly stretches himself and his instrument technically, employing what look like painful fingerings on the fret board and exploring ways to sustain more voices and produce more sound—significantly expanding the instrument’s expressive possibilities.
And yet I had to notice, as in Fisk’s previous visit that I attended, wildly fast tempos became unsteady and led to wrong or smudged notes. These plagued the four Scarlatti sonatas, originally for harpsichord but well suited to guitar, possibly betraying rushed preparation. It was with George Rochberg’s “American Bouquet” that closed the first half that Fisk really seemed to get the music in his hands and succeeded in bringing to life the suite mostly made up of arrangements of American popular songs, ending with a delightfully raucous blues.
The Spanish composers populating the announced second half (mostly Albéniz and Granados) received more of Fisk’s exuberant, highly colored treatment, with the occasional smudged note and—inexplicably—chords out of tune. HUNH?!
The one announced encore was a sonata movement by Torroba, and I recognized the Prelude from Bach’s Partita in E major for violin. To the end, I had difficulty weighing Fisk’s brilliant artistry against boo-boos that aren’t tolerated from anyone else.
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Musicmania Top 10 for the week ending Oct. 5
Z-Ro ‘Crack’ (Rap-A-Lot)
T.I. ‘Paper Trail’ (Atlantic)
Young Jeezy ‘Recession’ (Def Jam)
Slim Thug ‘Back By Blockular Demand’ (Koch)
Big Pokey ‘Evacuation Notice’ (Koch)
ABN ‘It Is What It Is Screwed’ (Rap-A-Lot)
Game ‘LAX’ (Geffen)
Jazmin Sullivan ‘Fearless’ (J Records)
Robin Thicke ‘Something Else’ (Star Trak)
Big Kountry King ‘My Turn To Eat’ (Grand Hustle)
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Acts added to FFFFest
Psych rockers Black Angels, instrumental dance/pop band Octopus Project and jazzbos Golden Arm Trio are among the additions to the Fun Fun Fun Fest lineup at Waterloo Park Nov. 8 & 9.
Also new to the bill, which is headlined by Clap Your Hands Say Yeah, the National, Dead Milkmen and Bad Brains, are the Black Heart Procession, Municipal Waste, Neil Hamburger, Black Joe Lewis and the Honeybears, James Petralli of White Denim, Spot & Albert, Grampall Jookabox, Ume, Camp X-ray, J Davey, Terp2it, Zeal & Phranchyze and comic rapper Dragonboy Suede.
Tix are available at Frontgate Tickets.
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Kooks cancel at Antone’s
From C3 Presents: “Due to illness, Saturday night’s Kooks show with the Whigs at Antone’s has been canceled. Refunds will be issued at point of purchase. There is no word on reschedule date just yet, please stay tuned to www.antones.net for more info.”
The Whigs are now headlining, with the Steps and the Boxing Lesson added as support.
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Weekend Picks: Afrobeat blues, intelligent rock and Hammerin’ Hank
FRIDAY
Afrissippi at Flamingo Cantina.The one-liner on these guys is ‘What happens when West African music from Senegal meets North Mississippi Hill Country blues?’ The joke is, of course, that North Mississippi Hill Country blues can be traced back to West African music. But that was then and this is now and Fulani/Senegalese griot Guelel Kumba joined up with guitarist Erci Deaton, Junior Kimbrough’s son Kinney on drums and Justin Showah on bass for cross-cultural blues-motion boogie. 9 p.m. $7 ($10 for minors). — Joe Gross
Also recommended:
- Gary Allan at Stubb’s
- Yellowjackets at One World
- Ra Ra Riot at the Parish
- Nelo at Antone’s
- Low Line Caller (CD release), Boxing Lesson at Mohawk
SATURDAY
Clutch at Stubb’s.For 18 years, Clutch has been refining and revising its smart-yet-meaty take on hard rock. Moving from mid-tempo hardcore to alt-rock to a sort of mutant Zeppelin thing has probably cost the band radio play and some measure of stability. (They’ve been on six record labels, not counting the releases they put out themselves, the newest of which is the live CD/DVD joint ‘Full Fathom Five.’) But Neil Fallon’s lyrics are still some of the smartest in rock, and their fanbase is cult-like. With the Sword, Graveyard. 7 p.m. $18. — J.G.
Mother Truckers return to the Continental Club on Saturday on 18 wheels of momentum. 10 p.m.
Also recommended:
- El Flaco reunion with Pocket FishRmen at Scoot Inn
- The Whigs at Antone’s
- Del Castillo at Nutty Brown
- Dan Dyer at Momo’s
SUNDAY
Henry Rollins at La Zona Rosa. Hammerin’ Hank is on the road again. This time, the former Black Flag and (current?) Rollins Band frontmuscle is on the spoken word tip with ‘Recountdown Tour 2008’ to ‘celebrate the end of the Bush era.’ Expect rants. Oh, will there be rants. 8 p.m. $27 seated, $25 standing. — J.G.
Also recommended:
(Photo courtesy of myspace.com/afrissippi.)
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ACL 2009 dates: Oct 2- 4
ACL Fest will rock you in October next year, C3 Presents confirmed today. Right after they finally got lucky in September.
No word yet on whether Radiohead is available, or that they’ll even still be relevant Oct. 2- 4.
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NoDepression.com now up and running.
NoDepression.com, a greatly expanded and enhanced website from the former bimonthly magazine No Depression, made its debut Thursday.
The launch previews Lucinda Williams’ album “Little Honey” and her North American tour, as well as a report from the Austin City Limits Music Festival.
Also appearing in early October is the first No Depression “bookazine,” part of a new twice-annual series of print publications issued through University of Texas Press.
The Austin NoDepression.com launch shows star Carrie Rodriguez at the Cactus Cafe Oct. 22 and 23.
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“She Left Me For Jesus” video
It’s here! This video for a song that doesn’t need one was written and directed by Dano Johnson, who you may recall did some of Kinky Friedman’s campaign commercials. Jesse Dayton plays the protagonist, plus there’s a cameo of Jimmie Dale Gilmore as Judas. It’s funny, but it helps if you already know the song.
Don Imus beat us today on the world premiere of the video, but he didn’t have this hilarious clip, also by Johnson’s and Troy Campbell’s Collection Agency Films:
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Spoon at the Parish for Texas Democrats
Tickets go on sale Thursday at 10 a.m. on www.frontgatetickets.com to see Spoon Oct. 13 at the Parish. Gary Clark Jr. opens.
The show is a benefit for Texas Democrats and Railroad Commissioner candidate Mark Thompson.
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Austin’s Rogers hits #3 on charts
The self-titled album from the Austin-based Randy Rogers Band has landed at #3 on the Billboard country album sales chart. The first single is “In My Arms Instead.”
Rogers and band are currently touring the Midwest. Next Austin date is an acoustic show at Hill’s Cafe Oct. 15.
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And the best selling artists at the Waterloo booth during ACL are….
(No album titles are used, so we’re not sure which records sold, just that this particular artist sold the following number of CDs during the festival
MGMT 239
Vampire Weekend 212
Back Door Slam 149
Jenny Lewis 143
Fleet Foxes 141
Alison Krauss & Robert Plant 130
Manu Chao 118
Electric Touch 103
Jamie Lidell 92
What Made Milwaukee… 90
Abigail Washburn 86
Rodney Crowell 82
Nicole Atkins 82
Raconteurs 80
Okkervil River 80
Xavier Rudd 77
Black and White Years 76
Gogol Bordello 72
Conor Oberst 66
Eli Young Band 65
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“Willie and the Wheel” coming in early ‘09
Legendary producer Jerry Wexler had an idea 30-plus years ago to have Willie Nelson, who was then on Atlantic, record an album of western swing classics selected by Wexler. That vision comes through early next year with the release of “Willie and the Wheel,” Nelson backed by Ray Benson and Asleep At the Wheel.
Benson says the project was accidentally revived in 2003, when Wexler sent Benson a box of western swing albums that were collecting dust. Next to some of the titles were the initials “WN.” Those were the songs Wexler had selected for Willie to record decades ago.
When the Wheel backed Willie, Merle Haggard and Ray Price on the “Last of the Breed” tour in 2007, Willie’s manager Mark Rothbaum told Benson that Wexler said the time was right for the western swing album and did he have the albums with the selections?
Benson and Wexler talked constantly on the phone the next few weeks and settled on 14 songs for Willie to sing. “Jerry was hands on with the project,” Benson says. “When I sent him some of the tracks, he loved them.” Wexler agreed with Benson that there should be an instrumental, so the Wheel recorded “South!” in December. The band was on a benefit for Habitat for Humanity with David Letterman at Antone’s, so they enlisted Paul Shafer to play keyboards on the session.
Sadly, “Willie and the Wheel” executive producer Wexler didn’t live to see the record’s release. He passed away in August at age 91.
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LaFave, Remmert form new label
Singer Jimmy LaFave and Cedar Creek studio owner Fred Remmert have launched Music Road Records, with a roster that includes not only LaFave, but the Subdudes, John Inmon and the Woody Guthrie tribute project.
Within the next couple of months, Music Road will release the LaFave rarities set “Bohemia Beat Collection,” which includes live radio performances and unreleased studio tracks from ten years ago.
Remmert says LaFave owed Minnesota’s Red House Records one more album, but he was able to get out of that deal to release his next studio LP on Music Road, which has financial backing from a Dallas businessman.
