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November 2008
On the 33rd anniversary of my ‘Horses’ album
But no musical souvenir has such near-religious importance to me as the disc of black plastic that starts off “Jesus died for somebody’s sins, but not mine.” I remember the day “Horses” by Patti Smith came in the mail in November 1975 the way, perhaps, Casper Rawls recalls hearing his first Buck Owens album or when Richard Lord found out you could make a living throwing punches. The album literally changed my life by showing that self-expression could be raw and fearless, that there was a different world out there then the one I knew, that you could challenge and embrace tradition at the same time.
Although the Ramones are rightfully credited as being the first punk band, “Horses” was the first punk album by several months. It was so different than anything that came before it, and yet it understood the classic rock of the Doors, the Rolling Stones, Van Morrison and Wilson Pickett. “I played the first song, a high mass version of Them’s “Gloria” over and over and over before going on to the rest of the album. Then I walked over to KIKI-AM, in the same hideously ugly Kaka’ako neighborhood as Sunbums, the Honolulu rock rag I wrote for, and insisted that DJ Steven B. Williams play it. He did, because back then you could do stuff like that, but afterwards he remarked that he “didn’t like what the singer does with her voice.”
The physical 1975 “Horses” album, which still watches over me from a wall when I write, comes with some strange history. I was without it for about five years, moving to Los Angeles in 1978 and leaving behind all my albums with my sister Bridget, who soon got married and left the records with someone else. It wasn’t a big deal at all, as I’ve never been much of a record collector. Plus, the “Horses” album had a pretty prominent skip. A quarter on the needle cartridge didn’t help, but I played it anyway and after awhile the skip was just the way the song went to me.
Around 1983 I was at the Kam Drive-In swap meet (still my favorite thing to do on Oahu) and I came upon a booth that had all the standard secondhand fare, including a box of albums for, I think, $1 each. As I was thumbing through the usual Doobie Brothers, Maria Muldaur and Ozark Mountain Daredevils I found that beautiful black and white Robert Maplethorpe photo of Patti staring right up at me. Sold!
When I got home and played the record, all the memories came back. “My sins are my own, they belong to me, me,” Patti sang at one point and then it jumped to the next verse in mid-strum. “And she looked so fine…” It was my record! The one I dragged over to KIKI the day I got it. It came back to me, from a box on the ground next to a table of screw drivers and naked Barbie dolls.
I’ve got “Horses” on CD now, and don’t own a turntable anyway, so I have the album up on the wall. Patti’s eyes are positioned at the same level as mine and sometimes when I’m trying to recall the time when my dreams were, like my friends, all still alive, I stare at those dark, deepset eyes. At heart, she was an American artist, at heart she was the Original Sin, an original fan. Just so cool.
I have a friend who’s tight with Patti Smith and he invited me to meet her at SXSW a few years ago and I thought, for a second, about getting her to autograph my copy of “Horses.” But I quickly put that idea out of my mind. The cover is perfect the way it is; the influence of the artist’s Sharpie would only turn it into something else.
I may have already written about this story of “Horses” reclaimed- I can’t imagine that I haven’t- but that time came back while watching the “Patti Smith Dream of Life” documentary, which is a bit about death and grief and a lot about life and family. The thing I got most from the DVD, which hits stores and Netflix Jan. 13, is the idea that so many country songs, such as Garth Brooks’ “The Dance,” have tried to cornily convey: you’ve gotta step outside the comfort zone and take a chance in life. You’ve gotta move to New York City when you’re young or you’ll regret it the rest of your life. You’ve gotta sing when everyone says you can’t because if you don’t then they’re right.
But most of all, when key people in your life die- and Smith has lost her husband, her brother, her best friend and her mentor- it’s important to let their smiles, their wisdom, their kindness and their creativity live on inside you.
It’s my birthday and this was my gift to myself, writing and rewriting about an album that hit me at the right time and the right way. It’s good to be able to point to one exact starting point, and to be able to go on and on. Thanks for reading this. I really do appreciate it.
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CD review: the Service Industry
“Keep the Babies Warm” (Sauspop)
It’s hard to take seriously a guy who yearns for the return of the McRib sandwich and rhymes Thom Yorke with dork, but Mike McCoy (ex- Cher UK) is a pretty terrific songwriter, with strange, funny lyrics hoisted by delicious hooks. I’m a melody man f’real and McCoy gets my heart humming.
The band, including former Spoon bassist Hunter Darby, Andy Thomas (Rockland Eagles) and Robbie Araiza (what was the name of his ‘80s punk pop band?) knows its way around barroom riffage. So-named because its members work in restaurants and bars, the Service Industry is that rare tongue-in-cheek band that knows songcraft like the Dog & Duck menu.
Unlike previous album “Ranch Is the New French” (2006), “Keep the Babies Warm” is less a series of diatribes about day job mundacities than a collection of songs about general disillusionment. With great songs like “Churchy,” which I could hear on an old Faces album, and the head-bopping mid-tempo rocker “Liquid Meat,” TSI has shirked the joke band albatross.
The main problem with “Babies” is that it doesn’t crunch enough. The sound mix is somewhat leaden, as if it was recorded on a barkeep’s budget. More snare please. More layers of guitar.
There’s nothing wrong with the songs, that sound both British and Midwestern, as if Pink Floyd came up in Kansas City (where they once opened for Chainsaw Kittens). And thanks for “Smithville,” fellas and Julie Lowery. Have no idea what it’s about, but it jolts like ice cubes in the face.
The Service Industry plays tonight at Emo’s with Summer Wardrobe, featuring the great fuzzman Jon Sanchez on guitar, who also have a new CD.
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Paradox Night Club calls it a day.
The Paradox, the 18 and up night club at the corner of Fifth and Trinity streets, is closing its doors after 15 years. Tonight and Saturday will be the club’s final nights.
No word yet on why the club is calling it quits.
Saturday night will be hosted by KXMG “Hot 93.3” FM DJ Boogie and DJ 2dq.
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VENUE CHANGE: Weird Weeds show now at Okay Mountain art space
The Friday Weird Weeds show, originally booked at Progress Coffee, has moved to the Okay Mountain art space (1312 Cesar Chavez St., Suite B) at the corner of Cesar Chavez St. and Navasota St. The line-up (Weird Weeds, Dark Inside the Sun, Followed By Static) remains unchanged.
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Weekend picks
THURSDAY
Wayne ‘the Train’ Hancock at the Continental Club. Join the honky tonkin’ newlywed and his three-piece country swing band (with crowd-pleasing new guitarist Izzy Zaidman) for a special ‘Dance Yer Stuffin’ Off Turkey Trot.’ Who needs drums? $12. With Shotgun Party at 10 p.m. 1315 S. Congress Ave. 441-2444. - Michael Corcoran
Also recommended
FRIDAY
- Tia Carrera at Room 710;
- Honky at Red Eyed Fly
- W.C. Clark at Poodie’s
- Service Industry, Summer Wardrobe (dual CD release) at Emo’s
SATURDAY
Wine & Revolution at Beerland. R&B just like the Kinks and the Small Faces and some band called the Who used to make. When those cats made it, they called it ‘freakbeat.’ When these Austinites make it, we call it ‘the sort of mannered yet oddly pleasant garage pop that seems right at home at one of Austin’s best small clubs.’ 10 p.m. 711 Red River St. 479-7625. — Joe Gross
In Flames, All That Remains, Gojira, 36 Crazy Fists at La Zona Rosa. For 18 years, In Flames has been playing and defining melodic death metal, welding surprisingly catchy riffs into galloping songs suitable for going to war by. With All That Remains, the French metal act Gojira and 36 Crazy Fists, which is a pretty terrible name. 8 p.m. $23.50 advance, $26 door. 612 W. Fourth St. 472-2293. — J.G.
Also recommended
- Little Joy (ex-Strokes), Dead Trees at the Parish
- Rosebuds, Ovenbirds, Masonic at the Mohawk
- Carolyn Wonderland, Del Castillo at Antone’s
- RAWR! Real Austin Women Revue at the Austin Moose Lodge #1735
- Billy Joe Shaver at Poodie’s
SUNDAY
Heybale Orchestra at Continental Club. The big band version of the popular Continental Club staple, where the core band is joined by Cindy Cashdollar, Erik Hokkanen, and Elana James. Expect more than a little twang. 10 p.m. $8. 1315 S. Congress Ave. 441-2444 — J.G.
Also recommended
- Watching the Moon at Hole in the Wall
- Et Al, Llorna, Going Nowhere Fast at Room 710
- Venus Bogardus at the Beauty Bar
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KGSR’s ‘Broadcasts Vol. 16’ out Friday
Yes, it’s that time of year.
There are a few unexpected names on this year’s double CD, put together from in-studio performances at the Austin radio station.
Iron and Wine contribute a Sam-Beam-and-an-acoustic guitar version of their fan favorite “The Trapeze Swinger.”
R.E.M., of all people, delivers “Supernatural Superserious,” the first single from this year’s “Accelerate.” (“Accelerate” came out this year? Really? Could’ve sworn it was last year.)
The Hold Steady’s acoustic take on “Sequestered in Memphis” transforms that song from a funny rocker to a weirdly plaintive ballad and, yes, the voice and the accordion makes it sound a little like They Might Be Giants.
Other contributors include Pete Yorn, Buddy Miller, Chuck Prophet, Indigo Girls, Lyle Lovett, Sara Bareilles, Aimee Mann, Asleep at the Wheel, the Swell Season, Feist, among others.
As usual, proceeds from the sale of this CD will be donated to the SIMS Foundation - Services Invested In Musician’s Support - which addresses musicians’ mental health needs.
Check out the full track list here.
Here’s a list of stores selling the beloved double CD, which goes on sale starting Friday:
Antone’s Records
Barnes & Noble - Westlake
Best Buy #178 - Cedar Park
Best Buy #203 - North Austin (9607 Research)
Best Buy #204 - South Austin
Best Buy #691 - Georgetown
Best Buy #859 - Round Rock
Best Buy #1083 - Bee Cave
Best Buy #1116 - Tech Ridge
Best Buy #1153 - Mueller
Central Market - North
Central Market - South
Encore Music & Video
Sundance Records - San Marcos
From The Roots - Niwot, Colorado
Waterloo Records
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Review: Blind Boys of Alabama and the Preservation Jazz Hall Band
Common musical roots and similar demographics certainly make the the Preservation Hall Jazz Band and the Blind Boys of Alabama a logical pairing. But what elevates their joint Down By the Riverside tour to the match-made-in-heaven level is the joyful spirit these ensembles share.
Whether playing separately or in combination Sunday at the Long Center for the Performing Arts, members of Preservation Hall and gospel’s Blind Boys seemed to be having the time of their lives, which, considering their average age, is saying a lot. The Blind Boys formed in1939. The Preservation Hall venue was established in New Orleans in 1961, and the oldest current member of its house band is the effervescent clarinetist Charlie Gabriel, at 76. Both groups are veritable institutions, having survived numerous personnel changes over the years. Yet each not only demands top-notch musicianship, but allows plenty of room for individual personalities to express themselves.
Preservation led off Sunday with a set of firmly traditional but never musty jazz, accented by plenty of comic moments. Bassist Walter Payton played a clever, elegant solo on “I Hate to See That Evening Sun Go Down” that managed to incorporate snatches of both “Shortnin’ Bread” and Thelonious Monk’s “Straight, No Chaser,” and he plucked one note so loudly and percussively that pianist Rickie Monie pretended to start from his seat. Trombonist Frederick Lonzo delighted the large crowd with his vintage tailgating style, nipping at the heels of Marcus Belgrave’s soaring trumpet, and also played his way right out into the audience, taking a woman by the hand and promenading her gallantly up the steps and across the stage as he continued to play one-handed.
Blind Boys singer Ben Moore and singer-guitarist Joey Williams came out for the exuberant gospel number “Glory Land,” and musical director/tuba player/backing vocalist Ben Jaffe called Austin’s Dan Dyer up to play piano for the finale, in which the band led a sizable second line around the floor of the auditorium for “When the Saints Go Marching In.”
Longtime Blind Boys leader Clarence Fountain is virtually retired, but Jimmy Carter has no difficulty taking on his frontman role, with an earthier voice but a light-hearted manner that is two parts preacher, one part James Brown — especially funny given his elfin physique. In a running joke, the assistant who guided the men onto the stage and guitarist Williams, who is younger and sighted, kept having to restrain the gentlemen from popping up from their chairs or launching themselves off the stage from their stations in front of their microphones. During the rousing “Look Where He Brought Me From,” Carter, Moore and even the portly Billy Bower were pogo-ing like New Wave teens.
Of course, even if they stood stock still, the Blind Boys could move an audience with their glorious three- and four-part harmonies, whether singing traditional numbers such as “I’ll Fly Away” and “Uncloudy Day” (from their recent album featuring Preservation Hall, “Down in New Orleans”), Curtis Mayfield’s R&B clasic “People Get Ready” or Ben Harper’s folk-gospel tune “There Will Be a Light.” Bowers’ resonant voice was particularly stirring, raising up like a luminous cloud on “Spirit in the Sky.” Members of Preservation Hall who came out to accompany the Blind Boys’ musicians on several numbers sang along without mics, out of sheer enjoyment. The two groups closed the night with a rousing mutual rave-up on “Down By the Riverside.”
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Ian McLagan feels Lucky, punk
One of the coolest things about living in Austin returns in December. Ian McLagan and the Bump Band return to their residency at the Lucky Lounge every Thursday in Month 12 from 6- 8 p.m. So early, so mod. One night when sales of Guinness surpass Coors Light.
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In stores this week: CDs
Noteworthy CDs released this week (that aren’t by guys named W. Axl Rose):
It’s Thanksgiving week and therefore Black Friday week, when everyone is supposed to do all of their shopping, which means a lot of new albums that labels would like people to buy for holiday gifts. And in an atrocious economy, a single CD, especially at the first-week discount that large chain stores frequently have, makes a reasonable gift for less than $10.
The Fireman, ‘Electric Arguments’ (MPL/ATO, One Little Indian): The third album by this experimental duo of Paul McCartney (Beatles, Wings, helped invent the 20th century) and producer Youth (Killing Joke, Orb, post-punk icon) and the first with vocals. McCartney has made some really atrocious solo albums over the years. This isn’t one of them.
Kanye West, ‘808s & Heartbreak’ (Def Jam): Yes, it will be sung. Yes, it involved Auto-Tune. A lot of Auto-Tune. Songs about his mother, songs about his ex-fiancée and a duet with Lil Wayne. Steel yourself.
David Byrne & Brian Eno, ‘Everything That Happens Will Happen Today’ (Todo Mundo): The physical version of the long-released MP3 album of new material, much of which was heard at the Austin City Limits Music Festival this year.
Selected releases
Rock/pop: Supersuckers, ‘Get It Together!’ (Mid Fi Recordings); Scott Weiland, ‘Happy in Galoshes’ (Softdrive); Tom Jones, ‘24 Hours’ (S-Curve)
Country/Roots/Singer-songwriter: Trace Adkins, ‘X (Ten)’ (Capitol Nashville)
R&B/Hip-hop/Reggae: Kid Sister, ‘Dream Date’ (Downtown); Ludacris, ‘Theater of the Mind’ (Disturbing Tha Peace/Def Jam)
From the vaults: Death Cab for Cutie, ‘Something About Airplanes - Deluxe Edition’ two-CD version (Barsuk); Feist, ‘The Reminder: Limited Deluxe Edition’ two-CD set (Cherrytree/Interscope); R.E.M., ‘Murmur: Deluxe Edition’ two-CD set (A&M/UME); War, ‘War: Collector’s Edition’ eight-CD box set (Avenue/Rhino); White Zombie, ‘Let Sleeping Corpses Lie’ four-CD, one-DVD box set (Geffen/UME)
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Musicmania Top 10 for the week ending Nov. 23
SPM ‘Last Chair Violinist’ (Dope House)
2. Lil’ Keke ‘Loved By Few Hated By Many’ (TF Records)
Trae ‘Streets Advocate’ (Oarfin)
Z-RO ‘Crack’ (Rap-A-Lot)
Ace Hood ‘DJ Khaled Presents Ace Hood’ (Def Jam)
Z-RO ‘Crack Screwed & Chopped’ (Rap-A-Lot)
Trae ‘Beginning’ (Rap-A-Lot)
Beyonce ‘I Am Sasha Fierce’ (Columbia)
T-Pain ‘Thr33 Kingz’ (Zomba)
Jennifer Hudson ‘Jennifer Hudson’ (Arista)
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“Keep Your Soul: A Tribute to Doug Sahm” (Vanguard) out March 24, 2009
The collection, commemorating the tenth anniversary of Sahm’s death, is produced by Bill Bentley, Stephen Brower, David Katznelson and Shawn Sahm.
Bentley put together the still-amazing 1990 Roky Erickson tribute “Where The Pyramid Meets the Eye,” so his participation is a good sign.
Confirmed artists and the songs they will be covering include:
Delbert McClinton - “Texas Me”
Levon Helm - “She’s About a Mover”
Los Lobos - “And It Didn’t Even Bring Me Down”
Jimmie Vaughan - “Why, Why, Why”
Alejandro Escovedo - “Too Little Too Late”
Greg Dulli - “You Was For Real”
Dave Alvin - “Dynamite Woman”
The Gourds - “Nuevo Laredo”
Terry Allen (with Joe Ely) - “I’m Not That Kat Anymore”
Freda & the Firedogs - “Be Real”
Shawn Sahm (with Augie Meyers) - “Mendocino”
Joe ‘King’ Carrasco & Texas Tornados - “Adios Mexico”
Charlie Sexton - “Magic Illusion”
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SXSW confirms nine bands for SXSW ‘09
Drum roll please…..
Dent May & His Magnificent Ukulele
So far, so good. Plenty of invites are out, so expect this list to grow (or leak).
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Review: The Black Crowes at Austin Music Hall
Chris Robinson offered a faith healer’s remedy first thing Saturday night. “It’s all right, sisters; it’s all right brothers,” the Black Crowes front man implored as the band coaxed to life “Movin’ on Down the Line.” “Keep the curtain drawn and the record on.” That key Utopian principle supports this soulful outfit’s very foundation: When hopes fade to black, cue the tunes. In other words, this righteous rock ‘n’ roll will exile your demons and fears.
Yes, indeed. If the Black Crowes’ 135-minute swamp-groove fireworks at Austin Music Hall serve as a beacon, it’s still an ambitious and profoundly moving revolution, too. Eyes toward the future: Forget hearing fan favorite “ She Talks to Angels” when newer “Warpaint” material like “Evergreen” burns so white hot. “Welcome to your little Saturday night slice of rock ‘n’ roll pie,” Robinson said gleefully early on. “We hope it’s tasty and fresh and all that stuff.”
Luther Dickenson ensured it. The irreplaceable for-hire lead guitarist’s turbine slide work — even sharper and more crisp than with his own North Mississippi All-Stars — shocked a pioneer’s urgency into “Oh Josephine” and “Sting Me.” Meanwhile, his blinding blue streak from “Only Halfway to Everywhere” to “Thorn in My Pride,” punctuated by Robinson’s yelping and screeching, buoyed a sparring-axe tsunami with founding guitarist Rich Robinson. Unforgettable.
Ditto Otis Redding’s “Hard to Handle.” Almost impossibly, Chris Robinson — gyrating spastically like Joe Cocker, clapping like Robert Plant and purposefully strutting like Mick Jagger — fused his most overt influences into a singular serpentine by song’s end. Even better, it was only the second finest cover of the evening: The Black Crowes’ chugging heavy-metal hootenanny redefined Bob Dylan’s languid “Girl from the North Country” as an unrepentant steam train. Only the jellied teardrops Dickenson summoned to accent “Wiser Time” sounded sweeter.
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More fallout from failed fest
And now come the criminal charges. Lorito Management of New York has filed theft of services charges with the San Marcos police department against Jerry Payne of the World United Music Fest. On behalf of clients Frank Carillo and the Bandoleros, Phil Lorito charged Payne with writing a bad check for $3,000 in lieu of a cash payment required by contract.
The band performed with keyboardist Augie Meyers on Saturday Nov. 15 right before the fest was cancelled at around 6:30 p.m.
Payne could not be reached for comment and his phone mailbox was full.
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Another day, another Austin album in a year-end best-of
Paste magazine, which might as well be known as the Magazine of the Austin Music Demographic, has released its year-end best-of in the Dec 08/Jan 09 issue. Okkervil River’s “The Stand Ins” comes in at no. 5, higher than Lucinda Williams’ “Little Honey,” which is at no. 9.
The bad news? The magazine names Denton as the Best Music Scene of 2008. Ouch.
Check out the full list here.
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Review: Q-Tip, Cool Kids and the Knux at Stubb’s
About 40 minutes into an across-the-board smash of a live show Thursday at Stubb’s, veteran emcee Q-Tip took his first moment to address the crowd.
“Hello, I’m Q-Tip. You might remember me from my old group, A Tribe Called Quest.”
Yeah, Tip, we remember. And after an honestly spectacular performance the natural question to ask is: Why you been gone so long?
Sure, the Queens native has been kicking around in the decade since Tribe called it quits, first with the excellent 1999 solo joint “Amplified,” selected guest spots and a brief Tribe reunion last year for the Rock The Bells package tour.
But he hasn’t been a Kanye- or even Common-level presence on the cultural landscape, and for 75 minutes Thursday he made a pretty air-tight case that that’s where he belongs.
Following promising newcomers the Knux and brainy party rappers the Cool Kids (who earned the rare supporting act encore calls), Q-Tip took the stage in front of a full band — guitar, bass, keys, drummer, DJ — and embarked on a set that was always grounded in hip-hop but took diversions into hard funk, soft soul and touches of jazz, which was often Tribe’s foundation sound.
Not surprising but still pleasant to see was how the rapper’s solo material (“Let’s Ride” or the almost ballad “You” from the new album “The Renaissance”) fit so seamlessly next to classics Tribe cuts like “Date Rape,” “Bonita Applebaum” or “Scenario” even though those songs were mostly limited to one or two verses because of the absence of original members Phife Dawg and Jarobi.
Balancing confidence with sincerity and studied showmanship with enthusiasm, Q-Tip was a singing, rapping, dancing phenom — even with that pinched nasal delivery — from the moment he took the stage to the sounds of a Barack Obama “hope”-heavy campaign speech and asked the crowd to point their index fingers toward the sky in remembrance of legendary producer J Dilla.
Those fingers, hands and arms didn’t get much rest all night, whether they were waving, bouncing or clapping as the man born Kamaal Fareed explored the journey from hip-hop’s roots (with slices of Funkadelic songs), its early ‘90s Golden Age (“time for some old ((expletive)) from ‘92”) to its present day.
And how about the monstrous home stretch of “Check The Rhyme,” “Vibrant Thing” and “Award Tour,” which found him crouched atop the tin-roofed shed at far stage left, looking down on the half-full venue (there is no justice) and furiously rapping like he’d never play to another crowd ever again.
After that it was time to unfold the landing gear, winding the night down with the earthy soul-hop of “Wefight/Welove” that allowed Q-Tip and his band a chance to stretch out and revel in the feeling of a magnetic, still-on-it performer meeting an adoring crowd on a night no one involved will soon forget.
(Photo by Jay Janner AMERICAN-STATESMAN)
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Review: Mike Kinsella of Owen at Emo’s
After two and a half years, his fourth full-length and a slew of international dates, Chicago’s Mike Kinsella of Owen returned to Austin to play Thursday at Emo’s, much to the excitement of a group of dedicated fans.
As Kinsella took the stage after fellow indie-icon Caithlin De Marrais, formerly of Rainer Maria, the crowd began clamoring before the stage in hopes of seeing some of Kinsella’s intricate acoustic riffs in action.
And even though live the songs were stripped of the many instrumental layers that make his albums so engaging, Kinsella’s unconventional tunings and complex guitar lines made the music sound full. “Bad News” created the illusion of two guitars, while during “Playing Possum for a Peek” the rapid classical fingerpicking brought the crowd to a hush.
“How do you do that?” one listener called out during the latter.
Between songs, Kinsella was laid back and conversational. He talked to the crowd about everything from the recent election to their drinks of choice for the night. During songs, he seemed enthused by the audience’s response. He belted out an energetic rendition of “Nobody’s Nothing,” and sang just above a whisper to the tongue-in-cheek “Good Deeds.”
He even had some listeners singing along to “Good Friends, Bad Habits,” despite telling them beforehand that they probably wouldn’t be familiar with the hard to find track.
Near the end of the show, Marrais and openers El Mays joined Kinsella onstage for a playful blues-rock version of Huey Lewis’s “If This Is It” to close out the night.
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Suddenly, everyone wants a live music task force
Seattle would like to promote itself as a home for music.
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‘FNL’ stars Britton and Kitsch host benefit concert
Connie Britton and Taylor Kitsch of “Friday Night Lights” will host a benefit Sunday at the Parish for the African Children’s Choir. Besides a performance by the choir, the show will feature Band of Heathens, Bob Schneider, Guy Forsyth, Carolyn Wonderland and Kacy Crowley. Looks like Riggins and the coach’s wife have been hanging out at the Saxon Pub.
Britton and Kitsch will share stories from their recent trip to Africa. “Taylor and I got to see first hand the war-torn villages and AIDS-affected homes where these children come from,” Britton said in a press release. “To see the way these kids are transformed through the unbelievable schools and resources provided by the Choir, and how it shapes them into citizens who then give back powerfully to Africa is a profoundly uplifting experience. I am excited for people here in Austin to have the opportunity to share in that experience, and to meet these amazing kids!”
Tickets are $25 at the door. Music starts at 5 p.m. All proceeds will go to Music for Life, home of the African Children’s Choir, and will be used to help fund the building of the choir’s new school in Uganda.
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Weekend Picks: An Indian master, a rising songwriter and Mexico City superstars
FRIDAY
Suzanna Choffel, Drew Smith’s Lonely Choir at Lambert’s. The fast-rising Miss Zanna and her crack band should be especially sharp after touring the West Coast the past month, plus as a special bonus there’s Smith’s Lonely Choir, whose indescribable self-titled CD is one of the year’s most satisfying. - Michael Corcoran
Also recommended
- Alejandro Escovedo at Antone’s
- Conor Oberst and the Mystic Valley Band at Stubb’s
- Dave Alvin at the Cactus
- The Lemurs, Deathray Davies at Emo’s
- Black Panda at Beerland
- Supersuckers, Chapparal for Handsome Joel Foundation at Scoot Inn
- Pong at the Continental Club
- Broken Teeth at Red Eyed Fly
SATURDAY
Aashish Khan at the Monarch Events Center. The master of the sarode stringed instrument, who co-founded India group Shanti in 1969 and played on George Harrison’s ‘Wonderwall Music’ album (the first Beatles solo LP), celebrates his 70th birthday with a special show. Opening will be Austin’s Sangeet Millennium Ensemble, 8 p.m. $25 - M.C.
Xalapeno Charlie Tribute at the Contiental Club. This early show runs from 2 to 8 p.m. Sunday, with such acts as the Leroi Brothers, Larry Lange and His Lonely Knights, Mystic Knights of the Sea, Erik Hokkanen and Texana Dames doin’ like they did at the Austex Lounge. $20. - M.C.
Also recommended
- Nada Surf, Delta Spirit at Emo’s
- Heartless Bastards, Golden Boys at Stubb’s (inside)
- Ian Moore, Seth Walker at the Continental
- Wade Bowen at Cheatham Street Warehouse
- Black Crowes at Austin Music Hall
- Alejandro Escovedo at Antone’s
SUNDAY
Cafe Tacuba at Stubb’s. A surprise highlight at ACL Fest a few years back, this quirky Mexico City band is early Elvis Costello mixed with indigenous folk and embellished with conjunto touches. Although the vocally acrobatic Ruben Abarran sings in Spanish, the Grammy-winning band has been adding to its Anglo audiences. 8 p.m. $30. - M.C.
Also recommended
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White Denim (already!) makes an appearance on a year-end top 10 list.
The folks at the influential British record store Rough Trade Shop have put Austin buzz band White Denim’s album “Workout Holiday” in at no. 4 on their (really kind of early) year end top 10 list.
“Workout Holiday” is a Europe-only album, an expanded version of the “Workout Holiday” EP, also known as the “Tour” EP.
The LP version of “Workout” has rerecorded versions of some “Workout” EP tracks. Many of these songs also show up on “Exposions,” the band’s U.S. full-length debut.
Got all that?
Above it are Bon Iver’s “For Emma, Forever Ago” at no. 1, Fleet Foxes’ self-titled album at no. 2, and Vampire Weekend’s self-titled debut at no. 3.
It should be noted that all four are debut full-lengths albums.
Check out the whole list here
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Texas Music Group, Inc. files for bankruptcy on eve of Walser trial
Embroiled in a lawsuit with the estate of Don Walser, which asks that master recordings, as well as money owed from royalties, be given to Walser’s heirs, Antone’s Records (the record label, not the store or club), Texas Music Group, Inc. and Texas Clef Entertainment filed for Chapter 11 bankruptcy protection yesterday. The case, which charges those three corporations and individuals Randy Clendenen, Heinz Geissler and James Heldt with fraud, breach of fiduciary duty and breach of contract, was to go to trial in state court Dec. 1. The bankruptcy filing puts an automatic stay on the proceedings.
“The Walser heirs are saddened by this turn of events where the individuals behind the corporate shells continue to exploit their father’s work for financial gain,” reads a press release from Walser family attorney Craig Barker.
Neither Clendenen, Geissler, nor Heldt have filed for bankruptcy, just the corporations. Geissler Wednesday confirmed the Chapter 11 filings, but said he hasn’t seen Barker’s press release. He didn’t want to talk on the record.
This lawsuit was filed in March 2005 while Walser and wife Pat were still alive. Don Walser died on Sept. 20, 2006. Pat Walser passed away on July 30, 2008. Their four children are now plantiffs in the case.
The past Walser recordings in question were originally released on Geissler’s Watermelon Records, which declared bankruptcy in Dec. 1998. Texas Music Group has reissued many of those tracks on “best of” compilations.
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CD review: Guns n’ Roses, ‘Chinese Democracy’
Guns N’ Roses
“Chinese Democracy” (Geffen)
So, let’s review: The United States elected an African-American president. The Phillies won a World Series. And “Chinese Democracy” is in stores.
Let’s not kid ourselves: The first two were going to happen sooner or later. The latter… well, this is an album that has been discussed, debated, anticipated and consigned to the realm of myth for 15 years.
Bill Clinton was in the middle of his first term the last time G n’R put out a studio album (the 1993 covers album “The Spaghetti Incident”).
George H.W. Bush was president the last time the last time the band released a studio album of original material (1991’s “Use Your Illusion” I and II).
Tens of millions of dollars have been spent in the past decade and a half. Eleven musicians are credited. Fourteen studios were used. The album’s been promised and delayed more than, well, the Second Coming.
So how is it?
Um … not bad.
Seriously, how good could it possibly be? It is the most anticipated album of all time. Unless it does your taxes, comes with stock options and cures cancer, folks are going to be a little disappointed.
As for the music (which does seem weirdly secondary at this late date), you can’t say ol’ Axl has been sitting on his hands the past 15 years.
Every song here seems to have about 900 tracks of sound on it. Jumbles of guitars, weird voices, drums, mechanical rhythms, piano fills and ballad butter run all over the place. Every song feels worked over and refined and added to and subtracted from. Riffs and parts collide like a freeway pile up. More often than not, the song is the victim, any sense of true forward motion is stuck in the stacks o’ tracks.
Remember the opening moments of “Welcome to the Jungle,” the wrecking ball swing that turned that song from solid hard rock to a freight train that changed the world?
There’s nothing like that here. Even the fairly solid rockers (“Shackler’s Revenge,” “I.R.S.,” the title track) can’t approach that astonishing groove.
Axl Rose seems to have spent even more time on the ballads, virtually all of which can be tagged with the prefix “power” or “epic” or “overblown.” “Street of Dreams” is Axl at his most power ballad emo (“All the love in the world couldn’t save yoooooooo”), “This I Love” is his most straightforward, “Catcher in the Rye” is, well, called “Catcher in the Rye.” And the man still seems to be able to sing just fine.
Speaking of crazy, there’s also plenty that’s just plain weird (other than Axl’s cornrows, it-must-be-Botox looks and, well, taking 15 years to finish this thing). “Madagascar” samples Martin Luther King’s “Free at last….!” and the world may never quite know why. “Sorry” sounds beamed in from Pluto. The opening 28 seconds of “Better” sound for all the world like the avant-pop of underground faves Deerhoof.
Every song has at least three or four parts fighting for attention. And Axl probably lavished his love and time on all of them, saying what he must have said to countless hot tub companions: “Girls, you’re all pretty.”
Even being sold exclusively at Best Buy, “Chinese Democracy” is going to sell through the roof; curiosity alone will drive plenty of purchases.
Which isn’t all that surprising. Rose and company have delivered a monster — misshapen, strange and sometimes very, very powerful.
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Live Chat With Statesman pop critic Joe Gross at 2 p.m. today!
Join Statesman pop critic Joe Gross and Austin Live Music Task Force chairman Paul Oveisi for one final live chat before Oveisi brings the task force’s recommendations before City Council at 2 p.m. Thursday.
If you have any last minute questions, now is the time to ask.
In related news, SaveAustinMusic.org and the Austin Music Foundation are organizing a “March to City Hall” that starts at 1 p.m. Thursday at Antone’s.
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Interview with Mike Kinsella of Owen (Thursday night at Emo’s)
As an integral member of bands like Joan of Arc and the now-defunct American Football, Chicago’s Mike Kinsella has long been part of an innovative and influential music community, but he makes some of his best music on his own. Behind the soft vocals and cutting lyrics of Kinsella’s solo project Owen lie lush instrumental arrangements, including acoustic guitar lines that would leave the fingers of most players in a tangle. In preparation for Thursday night’s show at Emo’s, Kinsella sat down to talk about his occasional heavy metal outbursts, as well as his creative process.
American-Statesman: How often do you play Metallica during a set?
Kinsella: It comes up more and more. The first time it came up, it was just like, “I’m bored. This show sucks. I admit it. I concede. I’ll play some songs that maybe you guys like.” Now it’s just a joke. People are like, “Play Metallica!” I sort of taught myself to play guitar by learning Metallica songs, so whenever I get into standard tuning, the first thing I go to is “Fade to Black.”
For the singer/songwriter music you play, your songs are much more intricate and layered than most in the genre. What kinds of influences do you draw on?
I list my influences as Red House Painters, which is acoustic with open tunings. Then My Bloody Valentine brings in the layers. Then the Sundays, who were a band that sounded just like the Smiths but with a girl singer, are sort of my all-time favorite. It’s just gorgeous. It’s acoustic, but there’s this 90’s, dreamy reverb electric guitar going on. I don’t listen to singer/songwriters for the most part, so I guess that’s why, hopefully, it’s different.
Being the sole driving force of this project, how do you write all the different instrumental parts?
Lots of sitting around at home alone. My wife goes to work early every morning, God bless her. She teaches high school history. She wakes me up, takes the dog out and I go back to bed for a few hours. I wake up and sit around, and I’ll pick up the guitar every day, but sometimes I just play Metallica songs, or sometimes if I finally find a part I’m working on, I’ll play it over and over. Then when I finally put it to a click track, it’s like, “How do I make this sound like the Sundays or My Bloody Valentine?” But when you hear it as a whole, when you put all the parts together, hopefully it sounds unique.
There are some bootleg videos on YouTube of you playing new songs. Are you releasing anything in the near future?
There’s a whole full-length started. I would say it’s two-thirds done. It’s over the hump, but I still have to go back and put strings on some and piano on some to make them stand out from each other.
(Image courtesy of polyvinylrecords.com.)
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A Coldplay concert upgrade: “It’s good karma”
(Editor’s note: The following post is from American-Statesman business reporter Claudia Grisales).
Houston — My two sisters, mother and I were headed to the nosebleed seats for the Coldplay concert at the Toyota Center in Houston Tuesday evening.
After several wrong turns and a lengthy escalator ride we finally made it to the top and our $49 seats in section 410. Suddenly, a man grabbed a hold of my youngest sister’s arm, and began quizzing her.
“Name three Coldplay albums, not including the current Viva la Vida,” asked the English-accented man wearing a black polo shirt and a two-way radio.
“A Rush of Blood to the Head, Parachutes and XYZ,” she excitedly said.
No, not quite, he responded.
“X&Y,” she corrected.
“Okay, now name a song on A Rush of Blood to the Head,” he asked, leaving me wondering — is this guy trying to pick her up or is this how they get fans amped up for the show?
“Politic,” said Susan, an encyclopedia of various albums.
“Name a top single,” he followed, while the rest of us stared in confusion.
“Yellow,” Susan said.
Next thing we knew, he was pulling out four fifth-row tickets on the floor.
“These are for you. We hold back a certain number of tickets to give to fans when they arrive to the show,” he said. “You just have to rock out down there.”
“Really? No, really? Why? Really?” we all asked as we all jumped up and down, and showered him with hugs. It turns out his name was Richard, and he would operate the camera just a few feet away from our fifth-row seats.
“Did you get an upgrade,” an excited fan asked in front of us. “We did, too!”
The fan next to us told a similar story, pointing to her original seats at the top of the stadium (my sister overheard another couple nearby say they paid $750 for their premium seats).
The upgrade fans later pointed out their Coldplay good samaritan, a man with black-rimmed glasses at the front of the stage who only identified himself to me as “Mr. Lo.”
The Coldplay crew helped give away 96 such upgrades at the Houston show. It’s something the band apparently does “in the states,” Mr. Lo said.
They look for fans wearing a lot of color and ready to show some serious energy.
“It’s good karma,” he said.
Richard, who we approached later, declined a photo or to give his full name. He said otherwise he would be stalked by Coldplay fans for free passes.
Shortly before Chris Martin and gang hit the stage, San Antonio Spurs and Eva Longoria hubby Tony Parker set off a scene when he walked to his seats. Further away than ours.
And the show was no disappointment. It was an adrenaline-rushed evening of songs off their new and past albums, a confetti drop of colorful butterflies and an acoustic version of “Mad Scientist” at the top of the first level at Toyota.
We were close enough to see Chris Martin sweat, the little blemish on the left side of his Adam’s apple and the elastic band of his white underwear.
He and his bandmates ran up and down the side runways, crooned into a mike on his famous piano and jumped around with their famous energy.
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New T-shirt idea: ‘I Survived WUMF’
The World United Music Fest, which called in Jack Kevorkian as a roadie at about 6:30 p.m. Saturday, is quite possibly the biggest musical festival disaster of all time where nobody was killed. If the WUMF hired Hell’s Angels for security… well, at least the bands would have lathered up bikers to play for.
What if they put on a festival and nobody came? The nightmare of every promoter, every entertainment gambler came true on 500 fenced-in acres behind the San Marcos outlet malls on Friday and Saturday. Sunday’s show, featuring that huge draw Asleep At the Wheel, was mercifully cancelled.
Warning signs for festival disaster.
- High ticket price
- Weak lineup
- A lack of promotion
- Behind the San Marcos outlet malls? Are you kidding me?
The World United Music Fest was a little shy of its goal of 100,000 fans over the three days. Yeah, just 99,800 short. The Wishful Thinking Fest looked so hopeless from the start. You looked at that lineup and saw the ticket price ($35 a day, $70 for the weekend) and you sensed delusions in play, and not just from Jerry Payne of United States Entertainment Force. A Vietnam veteran with a background in the USO and other morale-boosting ventures, novice promoter Payne was way out of his league putting on a music festival. I know, you meet Charles Attal or Roland Swenson or Graham Williams and you figure “how hard could it be?” But it’s really hard. It takes a lot of experience and music industry knowledge to put on a SXSW or ACL or Fun Fun Fun Fest.
The WUMF came with a Sharpie so “disaster” could be written all over it.
Which is something the vendors and the musicians should’ve known as well. Do your research, especially if the organizer has a name like United States Entertainment Force. “World United Music Fest” doesn’t exactly sound like something legit. That’s a festival Batman shows up at to save the day.
I heard one story of a band who flew in, at their own expense, from New York City and Paris, so I asked why they decided to play the fest. Here’s the answer from Irish fiddler Cady Finlayson, whose quartet ended up playing an impromptu set at Fado on Sunday, after their set was cancelled.
“I initially heard about the Radio Conference Event from Sonicbids… At the time it wasn’t called the WUMF and my impression was that it was a radio conference with showcases for industry people. It was supposed to be in June. Then it was cancelled due to trouble securing a venue and after that they renamed it, it became the WUMF, etc. I would initially never have agreed to come play a festival for free, however at the time I thought it would be a networking conference and I planned to set up some other gigs along the way to help with our costs, which I did. By that time it seemed to have turned into a disorganized festival, but I had already set-up other work, so we thought we’d attend…”
The Wimberley-based Roots Music Association booked many of the bands and held the radio conference Ms. Finlayson references. This was not that group’s shining moment either.
What a drag. Like Will Matthews’ Exit Fest bomb on the Fifth of July, the WUMF relied on local talent to fill the fields and failed epically. Both fests (like the Urban Music Fest in April) charged too much for tickets. It’s like if there’s a new fast food burger joint out there and they’re charging $7 for a quarter pounder with cheese, they’re not going to make it.
I think the time is right for the city of Austin to get into the festival business, to save the good name of our local artists. I propose an all-Austin event at Auditorium Shores, with the best of local talent- Spoon, Okkervil River, Bob Schneider, the Gourds, the Sword, Patty Griffin, Roky Erickson, Sarah Jarosz, Eliza Gilkyson, Grupo Fantasma, Ruthie Foster, Erik Hokkanen, Alejandro Escovedo, Lou Ann Barton, Warren Hood, Shearwater, Golden Boys, Charanga Cakewalk, Black Joe Lewis and so on. Charge $10 for the whole day and watch beer sales set new records. Now, that’s a festival we could really get behind.
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Live Chat With Live Music Task force chairman Paul Oveisi 2 p.m. Wednesday
Join Statesman pop critic Joe Gross and Austin Live Music Task Force chairman Paul Oveisi for one final live chat before Oveisi brings the task force’s recommendations before City Council at 2 p.m. Thursday.
If you have any last minute questions, now is the time to ask.
In related news, SaveAustinMusic.org and the Austin Music Foundation are organizing a “March to City Hall” that starts at 1 p.m. Thursday at Antone’s.
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SXSW showcases Christian (a.k.a. gospel) rap
The gig takes place Mar. 14 at the Carver Museum and Cultural Center.
Check out the full article here.
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Record Store Day slated for April 18, 2009; many acronyms involved
National Association of Recording Merchandisers (NARM) has will sponsor Record Store Day on April 18, 2009 .
Event organizers include the Music Monitor Network, the Coalition of Independent Music Stores (CIMS) and Alliance of Independent Music Stores (AIMS).
More than 300 stores participated in the first one in April of this year, including Waterloo, End of an Ear, Encore, Sound on Sound and more.
It was a lot of fun, even for those of us who haunt such places regularly.
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Future Clouds and Radar upcoming CD release shows
The band will be live in the KUT studio (and on the radio) with Jay Trachtenberg at 2 p.m. Wednesday.
Thursday, they’ll play a 5 p.m. in-store at Waterloo before heading over to Mohawk for a show that kicks off at 8 p.m. (tickets are $6, $8 for those under 21). Then Friday, they’ll play with Alejandro Escovedo and Grady at Antone’s starting at 9 p.m. Tickets are $20.
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Hear “Soul President”
David Boyle of East Austin’s Church House studio produced this ode to Obama during the summer and it’s starting to get some play.
Recorded in Dallas, the track features Greg Smith. Lucky Peterson and others
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Ely to play Inaugural ball
Joe Ely has confirmed that he’ll join a bunch of other Austin acts- including Kelly Willis, Bruce & Charlie Robison, Sunny Sweeney, Kevin Fowler and Cross Canadian Ragweed- at the Black Tie & Boots Ball, hosted by the Texas State Society, on Jan. 19 in the D.C. area. The event takes place the night before Barack Obama is to be sworn in.
What Ely might have that the others don’t is a secret weapon in Bruce Springsteen. An Ely insider says Joe and the Boss, longtime buddies, have talked about a little guest action.
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Escovedo wraps national tour in D.C., plays Austin Friday and Saturday
Austin music legend Alejandro Escovedo made history of a sort on Sunday, winding down his eight-month breakout tour with a special acoustic show for a hundred spellbound fans in the intimate confines of the O Street Mansion in Washington, D.C.
The result was a studio-quality live session in the kind of living room setting fans dream of stumbling into.
At one point, Escovedo nearly stumbled into his following: wandering out mariachi-style into the audience to perform without microphones, accompanied by Austin singer/songwriter Amy Cook, who performed the opening act.
Fortunately, the moment wasn’t lost to posterity: Austin’s Top Hat Recording company, working with a video production team, taped the show for a forthcoming documentary.
On the strength of his June release, “Real Animal,” Escovedo completed a national tour that included performances on Conan O’Brian, The Today Show, The Tonight Show and the Democratic National Convention. (He’s back in Austin for Friday and Saturday shows at Antone’s. $20.)
He tied off the tour with a final show at the Mansion, a non-profit museum/inn/art house in Washington’s Dupont Circle, a few blocks from the White House. It’s safe to use the word unique: the Mansion enjoys a cult-like status in the nation’s capital - not exactly a place known for cult - stemming from the eclectic collection of art and books jammed into the former Victorian mansion. Corcoran Gallery meets the Munsters’ House.
Escovedo trimmed his rock band for the acoustic finale. He was backed by longtime sidemen David Pulkingham on acoustic guitar and Susan Voelz on violin.
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Method Man and Redman moved to Emo’s
The Method Man & Redman show scheduled for Tuesday at Stubb’s has been moved to Emo’s outdoor stage.
All previously purchased tickets will be honored.
Door times and show times will remain the same.
Tickets are sill available.
Ouch!
Is this because nobody cares about these two anymore or it’s now officially too cold for outdoor shows?
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Musicmania Top 10 for the week ending Nov. 16
Trae ‘Streets Advocate’ (Oarfin)
T-Pain ‘Thr33 Ringz’ (Zomba)
Z-Ro ‘Crack’ (Rap-A-Lot)
Z-Ro ‘Crack Screwed’ (Rap-A-Lot)
Young Jeezy ‘Recession’ (Def Jam)
Devin The Dude ‘Landing Gear’ (Razor & Tie)
DJ Screw ‘Vol. 3—11.16.00-Chopped’ (SUC)
ABN ‘It Is What It Is’ (Rap-A-Lot)
Fat Pat ‘I Had A Ghetto Dream’ (SUC)
Trae ‘Beginning’ (Rap-A-Lot)
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Review: Ghostland Observatory at Stubb’s
To kick off the weekend, Austin’s Ghostland Observatory played one of two consecutive sold-out shows at Stubb’s on Friday, blasting their spastic electro pop down Red River. (Ghostland will play Jan. 30 at the newly renovated Bass Hall, it was announced recently.)
Winds whipped and temperatures were dropping as the performance began, and many audience members were wearing only T-shirts and jeans.
But once frontman Aaron Behrens and multi-instrumentalist Thomas Turner took the stage, no one seemed to care. Behrens began prancing back and forth, pounding his fist in the air while shrieking his high-pitched melodies, and the packed space before the stage became a sea of grooving bodies and waving arms.
Adding to the frantic mood of the night was a carefully synced light show. Flashing strobes and twirling lasers swelled, stuttered and twirled through the stage smoke to the pounding beats.
As Behrens and Turner broke into the chorus of “Sad Sad City” halfway through the set, someone in the middle of the crowd tossed hundreds of multi-colored glowsticks into the air, and the audience was soon adding to the light display. After a few songs, however, security confiscated the fluorescent toys.
Turner traded his spot at the synthesizers for one at the drums for a few songs, while Behrens picked up a guitar, but by the set’s end they were back to electronics. They thanked the crowd for supporting them, then played an encore of early fan favorites “Silver City” and “Rich Man.”
- Photos: Ghostland Observatory at Stubb’s
(Pictured: The crowd cheers for Ghostland Observatory on Saturday night at Stubb’s. Photo by Larry Kolvoord AMERICAN-STATESMAN)
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Ghostland to play Bass Jan. 30
After just playing two sold out shows at Stubb’s, Ghostland Observatory’s star continues to rise. At the current rate, Aaron and Thomas will be headlining at the Erwin Center by late 2009.
The electro/ screech dance/ rock band will play Bass Concert Hall on Jan. 30, it was announced here, backed by the Texas Wind Ensemble. Oh, to rock out in the land of Tony Bennett and Placido Domingo.
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Summation: Ian MacKaye at St. Edward’s University
Friday night at St. Ed’s, Ian MacKaye managed to do something that very few people can do while running a Q&A: He made everyone feel completely relaxed.
Nobody seemed self-conscious. Nobody seemed to mind any question anybody else asked. There was none of that awkward wincing that occasionally happens when someone asks a question other folks in the audience considers too basic.
This was all MacKaye’s doing. The (former?) Fugazi frontman and (perpetual) Dischord Records co-founder explained that he wasn’t lecturing, that this was strictly a “public interview.”
It worked brilliantly.
In sharp contrast to his alleged on-stage persona as a cranky dude, MacKaye was funny, personable, patient and generally delivered on his reputation as one of the clearest thinkers in the American underground, conveying a pragmatic idealism that perfectly embodied the ideas of ethical leadership the talk was supposed to reflect.
There was something for everyone, whether you were new to his work (the gal who asked about straight edge) or had been following him for 20-something years (yours truly).
His most moving story was his first, about his late mother. As many know, the Beecher Street address on all Dischord Records is his childhood home, not the Dischord House where MacKaye and various scene regulars lived for years. Which meant that a steady stream of “Swedish hardcore kids” would stop by the house looking for Ian. MacKaye’s mother was always pleasant to whomever arrived and developed lasting friendships with some of them.
Some things we learned or had reinforced:
Minor Threat was almost called Straight Edge.
MacKaye and Henry Rollins are still best friends, which may have been a surprise to some who know MacKaye’s worldviews and Rollins’ time on major labels, his TV show and general engagement with the mainstream.
“I’ve known Henry since I was 11 years old,” MacKaye said. There was a lot of listening to Aerosmith and Cheech and Chong and shooting a BB gun. As for their careers, MacKaye reminded folks that Rollins was all of 19 years old, with nine(!) shows with the band S.O.A. behind him when he (Rollins) was tapped to front Black Flag.
“Art is transmission and reception.”
As for file sharing: “I make music for it to be heard,” he said, noting that when the Evens played Santiago, Chile, 600 people showed up and knew the words to a record that wasn’t even out there, thanks to file sharing. “Music is free. Music has always been free. It wasn’t until about 100 years ago that you could buy it anyway.” Before that, if you wanted music, you had to make it.
“What do record companies sell?” MacKaye asked. “Record companies sell plastic. I include myself in that. I have a plastic business.”
- On Alan Jourgensen, a notorious drug user with whom the notoriously non-using MacKaye made some excellent recordings under the name Pailhead: “Jourgensen is a very nice, very charismatic, very talented guy who really knows how to mix a song and has a very poor grip on how to treat himself.”
There was also a lot on the community aspect of Dischord and a generous and detailed discussion of straight edge (which he’s talked about roughly one million times). At no point did anyone feel weird about a question being asked.
Which is a good indicator of the night’s vibe: smart, compassionate, inspiring.
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World United Music Festival canceled midway
The poorly-attended World United Music Festival in San Marcos was shut down Saturday at about 6 p.m. and canceled Sunday. Event producer Jerry Payne said on the fest Web site Sunday that the cancellation was due to “the storm that occurred Friday which caused structural damage to the site, coupled with the freeze that occurred during the event yesterday.”
Sunday was a near-perfect day for outdoor music.
One performer, who wished not to be quoted, says the show hit a snag Saturday when one of the sound companies pulled out in a financial dispute. Several acts performed without a p.a.
Set on 500 acres behind the outlet mall, the event, produced by the United States Entertainment Force, drew an embarassingly small crowd. On Friday, only about 20 paying customers were on hand at about 5 p.m., according to a performer. The ambitious festival included a radio conference co-sponsored by the Roots Music Association, which went on as planned Friday and Saturday at the Embassy Suites in San Marcos.
The fest boasted nearly 150 acts on eight stages and yet was woefully short on big-name headliners and widespread promotion. Like the ill-fated Exit Fest at Waterloo Park on July 5, the WUMF charged a high ticket price ($35 a day) for talent that was mostly local. Proceeds for WUMF were earmarked to families of returning wounded soldiers from Iraq.
Ray Benson and Asleep At the Wheel were advertised as Sunday night’s headliner. Most acts, some who had come from as far away as Ireland, played for free, to support the cause and hopefully get some exposure. Food vendors had also expected huge crowds and were left with spoiled goods and empty pockets when the plug was pulled.
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The soundtrack to the movie “Twilight” is the best selling album in the country and in Austin.
It sold more than 164,000 copies last week with more than one thousand of them in Austin, according to Nielsen Soundscan.
In fact, Austin sales mirrored national sales for the first three albums. AC/DC’s “Black Ice” came in at no. 2 (about 159,00 copies and nearly 700, respectively) and the soundtrack for “High School Musical 3” slotted at no. 3 (109,000 and more than 570).
Austin’s no. 4 album was Brad Paisley’s “Play” while the new Hinder album takes the no. 4 slot nationally.
I’m with Austin on this one.
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Dimas Garza 1940- 2008
In the midst of a career revival, singer Dimas Garza of the Royal Jesters was found Wednesday in San Antonio, dead from a heart attack. He was 68.
Just two days earlier, Garza was at KUT recording promos with Larry Lange & the Lonely Knights and Rudy T. Gonzales for a “Legends of Chicano Soul” gig at the Continental Club Dec. 6. He had a hernia operation Tuesday and was resting at home when he passed away.
The Royal Jesters, who rivaled Sunny and the Sunliners as the top San Antonio rock/ doowop band in the ’60s, came together in 1956 at Lanier High School. The group’s first regional hits were English-language recordings, including “We Go Together,” “My Angel of Love” and “That Girl.”.
By the 1970s, Garza and the group were strictly Chicano (pre-Tejano) with hits such as “Soy Chicano”, “Carina Nuevo” and “Chicanita.”
Public visitation is Saturday 5- 9 p.m. at the Trevino Funeral Home, 226 Cupples St., San Antonio. The funeral service is 9 a.m. Monday at San Fernando Cathedral.
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Weekend Picks: Caped crusaders, radical remixes and a legendary axeman
AMERICAN-STATESMAN
FRIDAY
Ghostland Observatory at Stubb’s. They’ve managed to sell out two nights at Stubb’s, this one and Saturday night. Yet, if you’ve never seen them, this is a good show to try to scrounge tickets for. Aaron Behrens’ howl, Thomas Ross Turner’s beats and cape: Austinites just love it. 7 p.m. doors. - Joe Gross
Also recommended
- The Gourds at Threadgill’s World Headquarters
- Terry Allen at Saxon Pub
- BeauSoleil at Cactus Cafe
- Moonlight Towers at Club DeVille
- Junior Brown at Antone’s
- Inepsy at the Broken Neck (free show)
SATURDAY
King Khan & BBQ Show at the Mohawk. Straight out of Montreal and Berlin comes garage rock’s deadliest duo, a frantic blend of Khan’s R&B guitar and Mark Sultan’s punkish drumming. With Austin’s own Crackpipes and the increasingly sharp ATX trio Harlem. Ridiculously fun stuff. 8 p.m. doors. $8. - J.G.
B&W Years remix at the Compound. The Black and White Years’ Eastside Remix with DJ Manny and DJ BigFace takes places this Saturday at 9 PM at The Compound, located at 1300 E. 4th Street in East Austin. The show will feature a back & forth between Manny spinning his remixed versions, and the dance/rock band performing live. -Michael Corcoran
Stark, Loud and Brazen, meets Slow, Loud and Bangin’ at the Beauty Bar. Matt Sonzala of Houstonsoreal and Austinsurreal hosts this experiment in stylistic juxtoposition going down in the Beauty Bar parking lot. Wisconsin’s Peaking Lights, Houston’s Rusted Shut and local faves The Golden Boys will each perform with Houston’s DJ Chill mixing it up between sets. 10 p.m. $5 at the door. -Deborah Sengupta Stith
Also recommended
- The Iguanas, Charanga Cakewalk at the Continental Club
- Grady, Amplified Heat at Room 710
- The Alice Rose at the Hole In the Wall
SUNDAY
Frank Carillo at La Zona Rosa. Carillo is a guitarist’s guitarist, an axeman legendary among the knowledgeable and wise. With Phil Gibbs and T.J. Coldfire. 7 p.m. doors. Tickets at the door. - J.G.
Also recommended
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Live at the Latin Grammy Awards
Let’s hope the rest of the evening will be less clumsy.
7:08 — Paty Manterola, 1/2 of the host team, looks great in her shiny silver dress.
7:13 — Best Male Pop Album went to: Juanes! Wow. I didn’t see that one coming. I kid. If an award nomination has Juanes’ name attached to it, he usually wins.
7:20 — The presenters for the Tejano Album of the Year were just ridiculous. Calling them cheesy is giving them too much credit. Luckily, the images of the nominees cut their act to present Emilio Navaira’s brother, Raulito, the award. Emilio’s record “De Nuevo” was the winning album.
7:23 — Oh man. This night is going to be a sappy one. Paty Manterola just told the audience to please listen to the lyrics of all the songs being performed tonight. She said their message captures the essence of the evening. And then Jenni Rivera comes on to sing a really depressing song. And worse was that she did such a bad job of it. I couldn’t even blame the sound system on this one. This was just a bad performance. Her brother, Lupillo, who joined her on stage did just a bit better.
7:28 — Moving right along is Olga Tanon’s performance. Wow! Can I just say how great she looks? She’s really changed her style A LOT. This long red dress looks flawless on her. Don’t get me wrong, it does seems a bit conservative for her, I mean, she was after all always one to give us reason to talk when it came to wardrobe choices but this is really nice.
7:39 — Houstonite and syndicated radio morning show host Raul Brindis and Texas-raised Bobby Pulido talk up the Texas pride… oh wait. This is an infomercial for the city of Houston. Hmm. That’s just sort of silly. What’s this got to do with the Latin Grammy?
7:44 — Gloria Estefan’s “90 Millas” wins Best Traditional Tropical Album. Emilio, Gloria’s hubby, dedicated the award to “a free Cuba” or “una Cuba libre”…not to be mistaken for the mix drink.
7:53 — Hey, I just learned that if you put your TV set on closed caption, channel 3 (whatever that means) the award show will read with English captions. Pretty cool.
7:57 — How unprecedented: an entire hour has gone by and not once has Paty Manterola changed into a different dress. Now that’s what I call being a “green” fashionista. Recycle. Recycle. Recycle.
8:00 — David Lee Garza rules. No one gets jiggy with an accordion like Dave. And no one makes an accordion look as sexy as Julieta Venegas. Wait. Did I just say “jiggy”? Sorry.
8:04 — Two more hours to go.
8:17 — Flex took the Best Urban Song award for his “Te Quiero” single.
Paty finally changed her dress, though I don’t believe it was a good decision. This brown toga thing she changed into just isn’t as flattering on her and, becuase really, it’s a just bad color for anyone.
8:33 — Andy Garcia. Dreamy. Sigh.
8:46 — Woo hoo! Cafe Tacvba won Best Rock Song of the Year for “Esta vez”.
Say what you will about musica grupera, but Banda Recodo got down. The repetitive “umpa, umpa, umpa” sounds of their tuba was catchy enough to get the audience up on its feet and dancing. Even my 1 year-old was bopping his head to the beat.
8:51 — Again. Juanes wins. Song of the Year for “Me Enamora”. Again, I didn’t see that coming!
9:12 — Jose Feliciano wins Best Contemporary Tropical Album for “Senor Bachata”. That was a pleasant surprise.
9:24 — Siggno won Best Norteno Album with “Six Pack”. In their acceptance speech they point out that they were the “youngest of the bands nominated” and thanked the old guys in the category for not being so creative… ok, that last part I added. But they did point out to being the youngest.
9:38 — Fonseca performed “Arroyito” from his nominated album “Gratitud”. His Columbian cumbia melody is very reminiscent of old Carlos Vives stuff if you ask me, which is always a winning combination in my book.
You know, I just realized that this show has been pretty low key — I mean, even all of the women’s attire was not much to talk about. Unlike past years, it seems everyone opted for a more safe and conservative look over bombshell, revealing fashion. There wasn’t a single person I could make the target of my jokes. What fun is there in good fashion?
10 — Rosario’s (along w/ several friends including Juanes) performance of “No Dudaria”, a song about non-violence, was a bit over the top, but given it “captured the essence of the evening”, it was a good note on which to end the show.
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Faces reunion on the horizon?
Manor’s leading British keyboard icon Ian McLagan will neither confirm nor deny the report, found here that his old band the Faces are looking into a reunion show.
“Never say never,” is the cryptic comment McLagan issued through publicist Jo Rae DiMenno. The Billboard report says original members McLagan, Rod Stewart, Ron Wood and Kenney Jones will have a rehearsal this Monday “just to check if they can remember the songs,” a source said.
The pub-rock band, best known for “Ooh La La” (sung by Wood, not Stewart) and “Stay With Me,” broke up in 1975.
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Live blogging the CMA awards with Joe Gross
7 p.m. - Brad Paisley and Keith Urban on stage playing “Start A Band.”
Man, this show doesn’t waste any time. Nice and twangy. “Call up some buddies and/start a band:” Yes, it is quite a good way to meet gals. Or guys.
I’m feeling their dual soloing thing. Sounds weirdly Bakersfield mixed with ’70s/’80s arena rock. The latter is a gift that just keeps on giving for mainstream country. Just check out a Tim McGraw live show for details.
7:05 - Carrie Underwood and Brad Paisley host. Nobody has translated their ‘American Idol’ fame into a more viable career than Underwood.
7:07 - First boob joke about Dolly Parton. Is there a law that you have to make at least one at this thing?
7:09- Carrie called George Strait “the king.” Does Bob Wills know about this?
7:09 - Nicole Kidman and Hugh Jackman present the first award, Single of the Year. Miranda Lambert suddenly looks a little dumpy whence compared with Taylor Swift, which makes me a little sad.
7:10 - George Strait wins for “I Saw God Today”- third win, 12 nomination. Dude is a machine. Or, perhaps, the king.
7:16 - Kellie Pickler singing “Best Days of Your Life,” a tune she wrote with Taylor Swift. Black leather top, mini skirt and boots translates between pop genres nicely. I look forward to her breaking out into, say, “You Shook Me All Night Long” or “Umbrella.”
7:20 - Alan Jackson’s next. He’s can’t possibly be younger than Strait. (OK, Jackson is 6 years younger, but I refuse to believe his moustache is.)
Jackson is saddled with keeping it real after Kellie’s poptastic tune. The wife says it sounds like Brooks and Dunn. Part of keeping it real is apparently bringing out dancing gals who look like real women, albeit pretty.
Take that, Kellie, with your toned everything!
7:25 - Billy Ray and Miley Cyrus present the song of the year.They are far less creepy about the dad/daughter thing than they were last year. The award goes to Jennifer Nettles of Sugarland for their song “Stay.”
7:32 - Miranda Lambert breaks out the ballad “More Like Her,” a way meaner, angrier song than it first seems. It’s just as hacked off as anything else on “Crazy Ex-Girlfriend.” “She’s beautiful/ in her simple little way.” Jay-Z and Biggie couldn’t improve on that dis.
7:36 - Lady Antebellum is next with “Love Don’t Live Here Anymore” as is some more leather outfits.
This is modern country at its most pop-rock. This song isn’t that far away from the Hooters. (Remember the Hooters? “And We Danced?” Was no one here in middle school in 1985?)
7:44 - What’s up, Martina McBride? Let’s hear it for 42 year olds. It’s a little impossible to imagine Brad Paisley (or Rascal Flatts, to whom the camera cuts after her song) without her move from trad to pop.
7:48 - Rodney Atkins, making a serious bid for the frat-country market with his boot cut jeans and baseball cap with the carefully bent bill; no cowboy hat for this cat.
He is telling us about what makes America: “It’s a high school prom/ it’s a Springsteen song” and “one nation under God.” This is what is called energizing the base.
7:52 -Rascal Flatts scores Vocal Group of the Year which surprises exactly nobody, as they won it last year.
8:00 - Speaking of bullet-proof, Taylor Swift sings “Love Story,” her Romeo and Juliet riff from her new album “Fearless,” complete with princess/castle set and dancers straight out of the 18th century.
Decent song, but her voice sounds weirdly thin and weak, the band distant and quiet. Why is this so quiet, so listless? Man, this one didn’t work. Anyone is going to sound thin after Martina, but dang….Nevertheless, this record appeared in stores yesterday, I look forward to buying it tomorrow.
8:05 - His name is Kiiiiiid Rock and he’s singing the impossible to avoid “All Summer Long” I guess we’re in the period of good songs poorly sung. His voice sounds totally shot as well. I am now turning up the television, such is the weakness of the sound. I’m not going to lie, I miss his sidekick, the late little person Joe C.
R.I.P. Joe C. We’ll never forget you. Cant’ say the same for this performance.
8:13 - Brad Paisley said he wanted to be George Strait. Now George Strait is performing “River of Love” solidly, the way he does everything else. Has any performer more deserved the positive connotations of the word “journeyman?”
8:17 - Jason Aldean is singing his brand new “She’s Country.” Underwood just talked about how much soul he has. Twenty years ago, this would have been awfully close to hard rock. Or is it heavy country-pop? It gets tough to parse.
8:21 - Hey, Taylor Swift is here to present the new artist’s award. “Last year it was the highlight of my senior year when Carrie Underwood presented me with the Horizon award,” she says, Yes, senior year of high school.
Lady Antebellum wins. This is a legacy award of sorts, as Lady Antebellum singer Hillary Scott is the daughter of 1990s country music artist Linda Davis, while former pop solo artist Charles Kelley is the brother of pop artist Josh Kelley.
8:35 - Sugarland wins best vocal duo, surprising nobody. Is there ever an upset at this thing?
8:40 - Carrie Underwood is now wearing a giant lampshade for a dress, says the missus.
Darius Rucker has now taken the stage, singing “Don’t Think I Don’t Think About It,” which is one country song-sounding country song title.
He must have invested the money from that first Hootie and the Blowfish album really, really well. Man, talk about moving from one frat-oriented career to the next. He gets a stand O. Not sure why.
8:44 - Brad Paisley now entertaining us again with “Waiting on a Woman” And we’re back to being muffled again. Nice little guitar solo there before the inevitable lyric about death: “I’ve read somewhere statistics show/ The man’s always the first to go.” Waiting on a woman in the afterlife? Oy. (This song also won Video of the Year.)
Huh. That’s what happened to Kimberly Williams (she’s married to Paisley). I’m still convinced I was the only non-lonely, non-14 year old, non-girl who ever watched her old TV show “Relativity.” Mostly because Lisa Edelstein was on that show and my fondness for her knows very few bounds.
8:49 - George Strait wins Album of the Year for “Troubadour.” It’s like the voters aren’t even bothering to think. Not that he doesn’t deserve it, I guess.
8:57 - Keith Urban singing a song called “Sweet Thing.” Pretty rockin’, as these things go. The missus insists on calling this the Crossover Music Awards. Turns out I’m married to Michael Corcoran. Nice outro, though.
9:00 - A war widow who lost her husband in Afghanistan introduced Carrie Underwood, hair and dress gently flapping in the wind (machine.) (Carrie’s, not the widow’s.)
The missus: “Somebody had some crepe paper left over from Halloween.”
Carrie’s singing the colossally depressing “Just A Dream,” essentially “Travelin’ Soldier” for the 21st century, but not as good. Paisley: “Now that is what country music is all about.”
9:07 - Paisley has told us “there is only one Vince Gill.” Yet, when Gill comes out, you’d swear there was two. I guess you marry Amy Grant, you can let yourself go. Fair enough. Carrie Underwood wins her third Female Vocalist of the Year. Surprising. Nobody.
9:15 - Sugarland has quite the stage set - a bunch of umbrellas about which Paisley eventually makes the obvious “we got them in China after the Olympics” joke. The missus is ready to see Jane Lynch parody Jennifer Nettles, which does sound kind of aweome. They are singing about love.
9:20 - Best new artist nominee James Otto couldn’t, as the missus points out, look more like Jack Black’s little brother. I look forward to him joining Tenacious D 2.0.
9:28 - Paisley made a Sarah Palin joke, then Kenny Chesney comes out with some Wailers to play some country-reggae in the form of “Everybody Wants to Go to Heaven.”
The missus beats me to the Jimmy Buffet joke. But it sounds pretty good, especially when current Wailers singer Elan Atias segues into “Three Little Birds.”
The crowd goes as nuts as they get.
9:33 - Trace Adkins plays “You’re Gonna Miss This.” Nicole Kidman looks unimpressed. I think Underwood is now wearing her 347th dress.
9:37 - Reese Witherspoon comes out to present the Male Vocalist of the Year award. Reese: “Can I just say I am having so much fun?” Yes. Yes you can. She mentions “Walk The Line.” Brad Paisley wins. Surprising. Nobody.
9:47 - We’re in the home stretch and nothing say home stretch like the Eagles, who play “Busy Being Fabulous,” the second single from the insanely popular “Long Road out of Eden.”
They seems to be stuck on the stage where you can’t hear anything all that clearly, which is too bad for a band famous for harmonies.
One of these days, Henley will top “Boys of Summer.” Oh, who am I kidding? No he won’t.
9:54 - Holy cow, it’s Shania Twain. She gets standing O. “Trust me, it’s good to see all of you to,” she says. “And I hope to be seeing a lot more of you.” Guess ex-husband Mutt Lange really, really wasn’t interested in Shania continuing that career, huh? .
Kenny Chesney wins Entertainer of the Year. Underwood is wearing another weird dress. Surprisng. Nobody.
Good night, Austin.
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John Legend to play Jan. 23 in Austin
The soulful singer is scheduled to play the renovated Bass Concert Hall, according to his site.
We’re tracking down when tickets go on sale. Stay tuned.
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HAAM clears $150,000 on benefit day
Health Alliance for Austin Musicians (HAAM) announced Wednesday that the third HAAM benefit Day, held Oct. 7, raised $150,000 from donations and a challenge grant from Wofford Denius/The Cain Foundation.
This total includes proceeds from third-year presenting sponsor Whole Foods Market and 196 other large and small businesses that pledged 5 percent of proceeds from the day or made a cash donation as well as donations by individuals and the Cain Foundation $10,000 grant.
Since March 2005, HAAM has raised a total of more than $1 million for its more than 9,000 member-musicians.
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Hot show alert! B&W remix
The Black and White Years’ Eastside Remix with DJ Manny and DJ BigFace takes places this Saturday at 9 PM at The Compound, located at 1300 E. 4th Street in East Austin. The show will feature a back & forth between Manny spinning his remixed versions, and the dance/rock band performing live.
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Esco’s “Live Animal” out now
Alejandro Escovedo released the live EP “Live Animal” yesterday on Manhattan/Back Porch records. Tracks include: “Always a Friend,” “Sister Lost Soul” and “People (We’re Only Gonna Live So Long).” Escovedo performed that latter song live at the Democratic National Convention in Denver. The record was recorded live in New York City at the Sirius Satellite Radio studios.
Escovedo’s currently on tour and will next play Austin Nov. 21 and 22 at Antone’s.
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Well, somebody sure had a good time at Fun Fun Fun
And that person was Dead Milkmen singer Rodney “Rodney Anonymous” Linderman,
Check out his thoughts on Grupo Fantasma, Terp 2 It, Killdozer and more here
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Dennen coming back in Jan.
If you waited too long to buy tickets to tonight’s long sold-out show at the Continental Club by KGSR pet Brett Dennen, the 6’ 4” former camp counselor from NoCal is coming back Jan. 23. He’ll be playing the much-bigger La Zona Rosa on his return. Erin McCarley opens.
We should all be thoroughly sick of “Make You Crazy” by then, but the new LP “Hope For the Hopeless” is full of head-bopping folk ditties to take its place.
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Tim O’Connor on the new Backyard: Wednesday, it’s mine. All mine!
Direct Events big kahuna Tim O’Connor says he is one Bee Cave City Council meeting away from owning and being able to start messing with the future home of the new Backyard.
“There were a lot of legal documents that had to be worked out with the city,” O’ Connor said Monday. “At this point, everything looks like a go. Wednesday night at 6 p.m., we will go in front of the Bee Cave City Council, they will approve a zoning change to the property (from commercial to mixed planned development). As soon as that zoning change is done, the property will be ours.”
So what happens next? “We’ve been allowed to take everything from the current Backyard (such as the stage, some small buildings and a few trees) and start to dismantle here and move it there.” He also says there’s a fair amount of sewer and electrical work to be done.
So when will we see the new Backyard? O’Connor’s not biting at that one.
“I’ve made so many mistakes with completion dates, man,” he says. “I’ll say this: I am going to fall in line with the professionals and whatever they tell me, that’s what it will be.”
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Fun Fun Fun Fest review: Tim and Eric Awesome Show
The crowd for Fun Fun Fun Fest comedy headliners Tim Heidecker and Eric Wareheim of the Tim and Eric Awesome Show was pretty firmly divided into two camps: fans who reveled in every absurd second of the performance, and curious newcomers who gradually came to understand less and less why the tiny stage had drawn such a large crowd.
To kick off the show, the Cartoon Network Adult Swim heroes burst onstage wearing gray spandex and singing “Diarrhea!” to carnival music for a good five minutes before a booming voice came over the speakers, proclaiming, “Tim and Eric are the winners of the Fun Fun Fun Fest’s ‘Best Comedy Sketch’ award for ‘Diarrhea’!”
A mock award ceremony ensued, and as the duo left the stage to prepare for the next skit, the elusive but hilarious punch line dawned on some audience members—the comedians weren’t asking whether their antics were funny, but rather how funny it would be if a diarrhea dance were actually the best comedy bit of the festival. Some attendees left in search of music.
Other sketches were universally well received. The final act, in which Heidecker played a red belt karate “master” giving a spiritual self-help seminar with the silver spandex-clad Wareheim as his sidekick, elicited plenty of laughs throughout, and the audience’s reaction to their friendship-affirming kiss at the end of the bit was palpable.
If you’re not well versed in their comedic style, it can be hard to feel grounded during a Tim and Eric performance, but if you can tap into their rhythm, the payoff is hilarious.
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Fun Fun Fun: Yes. Yes it was.
Based on the sheer amount of music, booze and, um, fun that was consumed this weekend at or associated with the Fun Fun Fun Fest, one is reminded of that old John Stewart joke about Boston: “Do you guys, as a city, ever wake up and are like, ‘Does anyone remember what we did last night?’”
Aimed squarely at the Red River demographic, FFF overflowed with good feeling on one hand and no small amount of dust on the other at Waterloo Park. (As one of our dust-crippled reviewers put it, “I had to leave early.”)
The kick-off party at Mohawk was packed, as close to a South By Southwest vibe as you could find in November in Austin (lots of New Yorkers, lakes of free booze). There were many comments about how Mohawk was doing its best Brooklyn impression. Gal from New York: “This is like Union Pool with cowboy boots.” To which one guy from New York commented later: “Yes, but here the girls are better looking and more approachable.” Ouch!
I ran between Mohawk and the metal show at Red 7 on Friday night, catching a bit of the Roller, but missing Ratking, the new thrash project from David DiDonato (DFI, ex-J Church) and company. I was born again in Foot Patrol’s feet-fetish funk; no idea why I hadn’t seen them before now, but hearing them in a brutally packed Mohawked inside room with hundreds of my most inebriated pals made me a believer.
As for the fest proper, let’s do some pros and cons:
Pros:
1. Festival with a 7,000 person crowd in Waterloo Park
2. Between 77 and 50 degrees all weekend, cloudless
3. Cheery vibe from the party through the festival
4. Killdozer Killdozer Killdozer
5. Young Widows (now with a little less Jesus Lizard and more Unsane)
6. Kool Keith KILLING his set
7. Bishop Allen
8. Finding out that Clap Your Hands still had fans
9. Deerhoof
10. Tim and Eric Awesome Show (well, seeing how happy they made people, that is)
11. Seeing happy punks watch the not really the Cro-Mags blast through the “Age of Quarrel”
12. Realizing that Cro-Mag singer John Joseph never really got over Bad Brains and feeling like I understand him better.
13. More underground than thou punks getting all misty over Scared of Chaka and All
14. Trying to figure out if H.R. was a genius or garbage during Bad Brains really, really wobbly set (either way, I am feeling his purple head wrap style).
15. NYC hipsters weirdly thrilled at how many crusty punks live in Austin.
16. Tim and Eric dumping that chair on to said crusties.
Con:
1. Dust, such that I feel like I have a cold now. This really will have to be addressed next year if it again rains as little as it has this year. (Organizers are already talking about straw or some sort of ground cover.)
2. Finding out that Kool Keith was doing a whole mess of lip synching
3. Clipse, of whom I expect great things every time I see them.
4. Missing Saturday headliners in order to file a story. Next year, wireless, I beg of you.
I’m exhausted. Can’t wait for next year.
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Fun Fun Fun Fest review: Clap Your Hands Say Yeah
Some of those who braved the almost unbearable dust and made it to the end of the day Sunday got to see Philadelphia- and Brooklyn-based Clap Your Hands Say Yeah, an indie-psych-dance outfit anchored by lead singer and guitarist Alec Ounsworth’s engaging songwriting.
On stage, Ounsworth came across as a sort of mad scientist Bob Dylan, leading the band as they whipped the crowd into arm-flailing frenzy on “Let the Cool Goddess Rust Away” and David Byrne-esque “In This Home on Ice.” There wasn’t much to complain about from the set—the sound was a little muddy on some of the faster dance tunes such as “Satan Said Dance,” and Ounsworth occasionally seemed a little too detached, but for the most part CYHSY delivered.
The band worked in some new songs, a treat for those waiting for the follow-up to last year’s “Some Loud Thunder.” It’s going to be difficult for them to top songs off their first, self-titled album, evidenced by the excitement from the crowd when they broke into “The Skin of My Yellow Country Teeth,” but we’ll see.
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Fun Fun Fun Fest review: Minus the Bear
The cool exteriors of Seattle-based Minus the Bear’s angularly constructed guitar anthems betray just the right amount of adrenaline bubbling beneath the surface. They’re perfect for smooth highway drives through brightly lit cities or, as was the case on Sunday, the dark and windy setting that was the main stage at Fun Fun Fun Fest.
Though it was less prominent in the newer songs, guitarist Dave Knudson’s two-handed tapping technique created a visual and auditory spectacle that surely boggled the minds of experienced and inexperienced guitarists alike. While his left hand floated over rhythmic riffs on the low end of the fret board, his right punched perfectly timed phrases higher up, transforming his lead work into a mesmerizing dance.
“Houston We Have Uh Oh” and “Absinthe Party at the Fly Honey Warehouse,” two fan favorites from the Bear back catalogue, used this technique the most, but they also showed how much tighter and more comfortable Minus the Bear has become since their earliest days.
Two-thirds through the set, Knudson and singer/guitarist Jake Snider grabbed acoustic guitars to perform “Pachuca Sunrise” and the new “Guns and Ammo” from their recent acoustic EP. Many listeners began to file out of the crowd, and one even proclaimed, “You’ve got to be kidding me. I’m walking away.”
But as the band showed earlier in the set with songs like “When We Escape,” they are masters of emphasizing the rises and falls in their music, so it was only natural that their set would work the same way. After the brief mellow interlude, frantic closers like “Drilling” hit all the harder.
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Fun Fun Fun Fest scene report: Favorites from the crowd
As the second day of Fun Fun Fun Fest was coming to a close, a few attendees took a couple minutes to weigh in on their favorite acts of the weekend.
Though Bad Brains hadn’t yet played, it seemed that the punk legends were going to win out.
“We’re definitely excited for Bad Brains,” said Jessie Ledi, who drove from Houston for the festival with friend Jonathan Racine.
“We liked DOA, Municipal Waste, and Leftover Crack,” Racine said.
Anthony Bollato of Houston and Aaron Drake of College Station, who stayed around the punk stage for the majority of the festival, were also getting ready for Bad Brains, but they had some other favorites as well.
“I’d already heard most of these bands, but Integrity was pretty cool,” Drake said.
“I liked Black Angels,” Bollato said. “They just got done.”
Eric Lemm of Madison, Wis., flew into Austin to check out the city and distribute demos of his music, and ended up checking out the festival as well.
“I’m definitely going to check out Bad Brains,” he said.
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Fun Fun Fun Fest review: Islands
It seems like Montreal-based Islands is in Austin every other week, and the city is lucky to have them. Singer Nick Thornburn was without the white mime makeup of the band’s 2008 SXSW appearance, and the new material isn’t as eclectic and indulgently operatic as 2006’s “Return to the Sea,” but these guys rock.
Songs off the latest album included “The Arm” and the polka-infused “Pieces of You.” There were plenty of tunes off “Return to the Sea,” including “Rough Gem” and “Swans,” which closed their set.
Part of the fun in watching Islands is trying to identify what musical genre the band is evoking at any given moment. Rock, country, hip-hop, and Latin music all make appearances. On “Don’t Call Me Whitney, Bobby,” Graceland-era Paul Simon does, too. Can’t wait to see them again in a month or two.
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Fun Fun Fun Fest review: Frightened Rabbit
On day two of Fun Fun Fun, it was still hot and still dusty for Frightened Rabbit’s 2:45 p.m. set on stage one. It would be an understatement to say this Scotland-based band likes their guitars; most of the time they play three, with no bass to be found. Not surprisingly, the songs are mainly guitar-driven rock tunes, often with folksy undertones.
Stomping tunes such as “Old Old Fashioned” kept the crowd bouncing along for the set, and it was interesting that the band had a much more powerful presence than their most recent album, “The Midnight Organ Fight,” would suggest. With so much guitar threatening to drown out the subtly of the songs, singer Scott Hutchinson made sure that didn’t happen, with wailing vocals that matched the umph of the rest of the band.
The band looked pretty tired from being on the road, and they announced this was their last show on the tour (which seems to happen at a lot of Austin shows). They closed with the amusingly vulgar “Keep Yourself Warm,” a lament about the difficulties of finding a meaningful relationship.
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Review: Dangerous Toys
Santa’s worst enemy returned with a bang Saturday when Dangerous Toys reloaded at Red Eyed Fly for a one-night stand of hair-metal mischief.
As Austin’s late-’80s bullet-belt rock champs, the Toys once played in the same box as L.A. Guns, Faster Pussycat and other mid-level motley crews. Tours with Alice Cooper, Judas Priest and the Cult kept the carousel spinning until the life of leather and leisure disappeared in the gloom of Nirvana.
To the delight of Saturday’s 200 Backroom refugees, the Toys still enjoy random returns to the playground.
Opening with “Gunfighter” from the the 1991 sophomore album, “Hellacious Acres,” singer Jason McMaster screeched with the red-faced fury of Janis Joplin while guitarists Scott Dalhover (bald) and Paul Lidel (hair to spare) traded sharp jabs of shredded blues. Bassist Mike Watson sported a bandanna-beneath-a-backward ball cap and was returned to health after illness postponed the gig a few months earlier. Curtain-haired drummer Mark Geary caffeinated the pulse.
The hard-charging “Outlaw” was followed by “Sugar, Leather & the Nail,” the bluesy bop of “Take Me Drunk” and the teeth-chattering scat of “Gimme No Lip,” which melted into a snippet of Iron Maiden’s “Runnin’ Free.” Somewhere in the flashback, a shout of “Watchtower” referenced McMaster’s pre-Toys thrash band and drew a raised eyebrow and appreciative grin from Austin’s well-traveled, current Broken Teeth singer.
As expected, the radio and MTV hits were greeted like high school crushes. Peppered among gems from the Toys’ overlooked third album, “Pissed,” the hits included the jet-engine vocals of “Queen of the Nile,” the sing-along shout of “Line ‘Em Up” and the silly slyness of “Sport’N a Woody.” A rarely heard “Demon Bell” was summoned from Wes Craven’s schlock flick, “Shocker,” before the two-hour gig came to a close with a bump-and-grind punch of “Teas’N Pleas’N” and “Scared.”
All told, the Toys were sturdy as a Tonka, skinny as a stick and still a whole lotta fun.
(David Glessner is a freelance music writer in Austin.)
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Fun Fun Fun Fest: the punk stage
Time for a confession that’ll likely get my already expired punk rock clubhouse membership card revoked altogether: Going into Saturday’s Day 1 of the Fun Fun Fun Fest I was pretty much a newcomer to the throwback punk vets on the fest’s third stage. Had never heard ALL, only knew a couple Dead Milkmen songs and my knowledge about the Adolescents could fit in a beer bottle cap.
“Sacrilege!” the tattooed masses say. Probably right.
I mean, I like punk. A lot. The Clash are a top-three band for me, and Rancid, Operation Ivy, the Stooges, New Bomb Turks, NoFX, Rocket From the Crypt and Austin’s Riverboat Gamblers all pull extra heavy duty on my iPod.
But I was never a completist and so missed a lot of the heavies even while loving local mid-level Michigan punk and hardcore bands who likely aped every riff from the big boys. So I barely knew Fugazi for a long time and only got into Sunday FFF Fest headliners Bad Brains because the Beastie Boys were such vocal champions of the hardcore legends.
Given that, I approached Saturday uneasily. Don’t get me wrong - as I neared the crowd around Stage 3 and the massive hardcore roar of Integrity became clearer I felt in a way transported. The mohawks, safety pins, Casualties and Exploited patches and decades-old tattoos scattered in the crowd brought back memories that made me feel half my 30 years.
And the loud/hard/fast fury of punk will always connect with me way deeper than the heartfelt, pained creations of the indie masses on the fest’s other three stages, a point Adolescents singer Tony Cadena alluded by thanking the crowd for “coming to see the bands who don’t have publicists.” Nice.
So it was catchup time on Saturday - punk rock Crib Notes if you wanna spin it like that - and here’s what I learned:
You can’t go back. As much as the riffs, shouted/yelped vocals and tales of societal and personal torment fit the template of lots of stuff I’ve loved through the years, you can’t force yourself to like something, even if it’s considered genre canon.
Because the thing about punk - the thing that’s always made it the soundtrack for the discontented and marginalized - is its of-the-moment urgency and its knack for scratching that anti-whatever itch lots of us develop around ages 12-15. Post-college and 10 years into a professional carer it’s harder to muster the angst that provides the fertile ground and lets the right band with the right two chords take root.
That brilliance and release can pop back up later in life, of course, but it’s a completely unpredictable blessing that hits you in the head like an anvil.
Given that, I couldn’t have gone into Saturday and planned to be blown away by those bands any more than I could plan to go to a club tomorrow and fall head-over-feet in love. It just don’t work that way, which is part of what makes those elusive moments so extraordinary.
Not that Saturday was a lost night - I mean I’ll always hold to my belief that Stage 1 headliners the National have only one really good song — and that’s it.
While I didn’t connect with ALL one bit, the Adolescents deserve further investigation and there will definitely be some Dead Milkmen added to the iPod soon.
For lots of the thousands gathered Saturday night the throwback/reunion lineup provided welcome cruises down Memory Lanes most never thought they’d get to see again. For me, it was more of a sightseeing journey.
Not exactly what I had in mind, but to be able to take that trip was worthwhile enough.
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Fun Fun Fun Fest review: The National
A good chunk of people that braved the dust and the chilly temperatures for the final sets of the evening Saturday did so to see the reunited Dead Milkmen; the rest made their way over to the center stage to see Brooklyn-based band the National. Still energized by the success of their 2007 release “Boxer,” the band doesn’t shy away from all things big — many of their songs start as quiet laments and crescendo into epic rockers a la U2, made even bigger in a live setting with eight people on stage, including a horn section.
On the opener “Brainy,” frontman Matt Berninger affected a bit of a Morrissey-style British accent. His vocals on stage had a much more gritty feel to them compared to their smoothly produced studio counterparts, which is not a bad thing, especially when he let loose, dancing and falling into his bandmates.
Like Centro-matic earlier in the day, the band’s set had a joyousness about it that betrayed some of the cynicism of their studio work. “Fake Empire” came across as a celebratory romp, a strange contrast to the song’s sarcastic escapism.
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Fun Fun Fun Fest review and scene report: Deerhoof
As the day went on Saturday, the amount of dust in the air increased dramatically as the number of people did. Seeing San Diego-based Black Heart Procession take the stage after cute indie newcomers Bishop Allen was amusing, as the look (and age) of the two groups couldn’t be any more different.
A cool non-musical element of the festival was artists Dominique Vyborny’s giant metal sculptures, Cranky and Plucky. Check out www.extraurbanelephant.com for pics.
Two local acts that shined on Saturday were Octopus Project and Golden Arm Trio, the latter playing on stage two, a pleasant addition to the festival with its tucked-away feel.
As the sun went down and the festival got cold cold cold, proggy San Fransisco outfit Deerhoof got going on the main stage. Singer and bassist Satomi Matsuzaki set a playful tone as she appeared on stage with a giant furry tiger mask.
A lot of Deerhoof’s charm lies in their ability to take familiar-sounding classic rock guitar riffs and process them into slightly schizophrenic bundles of musical joy. It’s even more fun live, especially on songs like “The Perfect Me” off the 2007 album “Friend Opportunity.”
Deerhoof is an exercise in musical democracy. Drummer Greg Saunier, who was just phenomenal, is positioned up front rather than behind the rest of his bandmates. His drum work is as central to the songs as the guitars and Matsuzaki’s voice, which made wild leaps in chorus with the guitars. Let’s hope they’ll be back in Austin soon.
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Fun Fun Fun Fest review and scene report: Centro-matic
Maybe it was the UT football game in progress up the street, or maybe because it was 2 p.m., but Waterloo Park was empty in the initial hours of day one at the Fun Fun Fun Festival. The early draw was Dengue Fever on stage four, where a hundred or so people (compared to maybe 50 over at the punk stage) crowded in the small shaded area by the main entrance to hear the Los Angeles band’s bouncy psych-rock.
At first glance, the festival appeared toned down from last year, with a modest T-shirt sales area on the deck and some merchants selling typical music festival schwag — glass bongs and posters.
By the time Denton-based Centro-matic went on at 2:45 p.m., the crowd was steadily growing. Frontman Will Johnson declared an era of good feelings because of the election and the foursome did seem a bit sunnier than usual. The band, who play Austin quite a bit, didn’t offer up anything radical, but they are good at what they do — rock with a slight country tinge.
The set, which included crowd-pleasers such as “Flashes and Cables,” seemed too short to give the band time to really flex their muscles. On “Fidgeting Wildly,” Johnson and Co. demonstrated that they’re also good at being loud and somewhat cacophonous, but not so much so that it doesn’t sound great. I wouldn’t be surprised if Okkervil River’s Will Sheff isn’t a fan, as there are definitely similarities between the songs and the emotional presence of the two groups.
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Austinite engineering part of new U2 CD
Although producer/ engineer C.J. Eiriksson wouldn’t say who he was flying off to London to work with in this recent Statesman article, the word is out. A couple reports have Eiriksson’s boss, producer Steve Lillywhite, in London working on the U2 album which was supposed to be out in time for Christmas.
The release date has been pushed back to spring 2009. The delay is, according to Bono, not because the record’s not ready, but because the boys from Dublin are on a songwriting roll and want to make the record as good as possible. Click here for everything you want to know about the upcoming record.
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Fun Fun Fun Fest review: YACHT
Though this year’s Fun Fun Fun Fest is a paradise for fans of punk from decades past, one of Saturday’s most energetic performances came from YACHT, the young electronic duo that played the tiny stage by the festival’s entrance as the sun began to set.
The performance began with the blast of spliced drumbeats and computerized blips characteristic of so many electronic acts. But atop the music were the youthful voices of Jona Bechtolt and Claire L. Evans chanting lines like “You can live any way you want” and “Be careful with the downloading and protect your eyes.”
The duo was barely still for the 45-minute set. Sometimes they danced in sync, other times they danced in free-flowing movements. In one song, they sang, “Will we go to heaven? ‘Cause it’s not understanding,” while Bechtolt kneeled down and Evans placed her hand on his head to push him back, as if to rid him of some plaguing illness in a swift, miraculous act.
At first, the audience moved awkwardly to the music, and most listeners seemed reluctant to dance. But in the third song, when Bechtolt took off his gray-collared overshirt to reveal a white T-shirt boasting an extraterrestrial-eyed Sarah Palin with the word “Palien” written underneath, all inhibition was gone. Listeners began jumping, dancing and waving their hands in the air.
Acts on the electronic stage might not be the main appeal of Fun Fun Fun Fest for many listeners, but as YACHT proved, they certainly have a lot to offer.
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Fun Fun Fun Fest review: Bishop Allen
Larry Kolvoord AMERICAN-STATESMAN
Just like Vampire Weekend, the indie-pop playing Ivy League alums in Bishop Allen don’t look much like rockers. The clean cut five-piece took Fun Fun Fun Fest’s main stage on Saturday dressed in polos, flannel and a white dress shirt tucked into dark jeans.
The music was mild-tempered as well. The hook-centered pop songs were primarily driven by an acoustic rhythm guitar and an electric lead.
But they were nothing less than spectacular. Tightly held together by forward-driving drumbeats, Bishop Allen moved in a controlled yet energetic manner through a set of pop perfection that drew cues from new wave melodies and, in some instances, the guitar lines on Paul Simon’s “Graceland.”
For the most part, the band gave the crowd a preview of cuts from their forthcoming album, due in February. Beneath tales of heartache and plenty of harmonized “ba ba’s” and “doo doo’s,” the drums galloped while the band danced along.
The only downside to playing so many new songs was that the audience wasn’t familiar with them. Still, Bishop Allen played some older, more familiar numbers, and the performance as a whole was a nice preview of the album to come.
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Fun Fun Fun Fest review: Black Heart Procession
Larry Kolvoord AMERICAN-STATESMAN
For a pair of darkly dressed songwriters with shoulder length hair, Pall Jenkins and Tobias Nathaniel of Black Heart Procession play some surprisingly delicate songs. And on gloomy afternoons or in dimly lit bars, they work perfectly.
But against Fun Fun Fun Fest’s sunny, mild-weathered backdrop, the five-piece’s dreary piano and guitar-driven numbers nearly fell flat. A violin accompanied songs about tears filling oceans and letters being carried through winter, and on the fringes of the dedicated cluster of fans that crowded the stage, many listeners began striking up conversations. Farther back, others napped on blankets.
The band’s stage presence didn’t help much. The members barely spoke more than two sentences between songs, and they stayed firmly planted in their respective spots on the stage.
When the Procession hit its stride, however, ears noticeably perked up. On “Tropics of Love,” syncopated Latin drumbeats backed lively piano rolls, injecting a necessary jolt of energy into the set. “Tangled,” on the other hand, the opener from 2006’s “Spell,” waltzed slowly around haunting piano and string lines, but the song’s dynamic power carried it nonetheless.
The set as a whole was a showcase of tight musicianship. The moments when the violin and guitar lines followed each other were particularly engaging. But sometimes there’s just something to be said for playing the right songs in the right place.
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Jordin Sparks will be in Austin for Domain tree lighting
Pop singer Jordin Sparks , who became the youngest American Idol winner at age 17 in 2007, will perform at the lighting of Macy’s Great Tree at The Domain on Nov. 22 at 6 p.m. The event is free and open to the public. Local talent Dan Dyer, Austin Girls’ Choir and Christian Life Choir Choir will also be on stage. The musical event kicks off The Domain’s holiday season with the lighting of the 40-foot tree decorated with 6,000 lights and 400 ornaments. A fireworks will follow. Sparks’ “One Step at a Time” single is currently No. 35 in The Billboard Hot 100 list. Three other singles from her self-titled debut album, including “This is My Now,” also reached the top 20. She was recently nominated for Best Artist of 2008 ad Best Female Video at the MTV Video Music Awards.
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Happy Howard equals lame radio
The beginning of the end?
His recent marriage to the gorgeous Beth Ostrosky may have been great for radio kingpin Howard Stern, but it’s been bad for his radio show on Sirius. Stern doesn’t need to be a miserable wreck for the show to work, but it certainly helps. Nouveau Stern superfan Natalie Maines may not agree, but you know the show’s going downhill when you’re actually looking forward to a call from “Eric the Midget.”
It’s plain to hear: Howard’s heart’s just not in it anymore. He’s gone soft, even apologizing to folks he trashed on the air. Even shaking the hand of arch-enemy Don Imus and becoming friends with Chevy Chase. True fans know that this notorious shock jock has a gentle, golden core. He’s a beautiful person, really, but that’s not the guy we pay $13 a month to hear.
With funnyman sidekick Artie Lange shamelessly plugging his “Too Fat To Fish” book (which sounds like it could be as bad as “Beer League”) and co-host Robin Quivers chattering away even more aimlessly without Howard giving her a lead to follow, sound effects wiz Fred Norris has had to carry the show.
What do you think, Stern fans? Am I still so high on Obama that all my other favorite things have had their luster zapped? Am I crazy or has the Howard Stern Show been barely worth listening to anymore, like a Mike Walker segment stretched out to five hours?
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San Marcos Fest next weekend
The inaugural World United Music Festival, the proceeds from which go to the families of soldiers returning wounded from Iraq, takes place Friday Nov. 14 through Sunday Nov. 16 behind the Prime Outlet Mall in San Marcos. Nearly 150 acts, including Asleep At the Wheel, Augie Meyers, South Austin Jug Band and Roger Creager, are playing for the cause on eight stages. $35 a day or $70 for the weekend. Call (512) 392-4997 for info or log onto here for more info.
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Weekend Picks: Nashville strings, club-rocking DJs and all varieties of Fun Fun Fun
FRIDAY
Tim O’Brien at the Cactus Cafe. One of Nashville’s most valuable players, this West Virginia native drips talent on a variety of stringed instruments. Come early to see Wimberley teenager Sarah Jarosz, who’s not just a fine mandolin player, but a songwriter whose fans can barely wait for her Sugar Hill debut. $20 at the door. 8:30 p.m. Texas Union at the University of Texas. - Michael Corcoran
Also recommended:
- Diplo at Emo’s
- Waxploitation DJs present ‘Funky New President’ at Club DeVille
- Calexico at Antone’s
- Allan Holdsworth (early show), Fastball (late) at the Continental
- Brothers and Sisters at Mohawk
- Rockland Eagles at the Hole in the Wall
- Derailers at Threadgill’s South
- James Hand at Broken Spoke
SATURDAY
Fun Fun Fun Fest at Waterloo Park. Day one of the punk/hip-hop/dance outdoor festival that seems to be an underground music answer to ACL Fest. Saturday-only tickets: $34.99, $29.75 for students. Saturday and Sunday: $59.99, $50.99 for students. - Joe Gross
- Fun Fun Fun Fest bands A to Z
- Pick your favorite Fun Fun Fun acts
- Punk rock pearls | Beyond the music
Also recommended
- David Garza at the Cactus
- Nelo at Antone’s
- Los Lonely Boys, Blues Traveler at Stubb’s
- Dangerous Toys at Red Eyed Fly
- White Denim at Mohawk
- Weirdstock at Scoot Inn
- Kat Edmonson Jazz Quartet at Elephant Room
SUNDAY
Loudon Wainwright III at Cactus. Ol’ Loudon’s newest album, ‘Recovery’ (Yep Roc) is fresh recordings of old material. Expect plenty of favorites, perhaps as you’ve never before heard them. Two shows. 6:30 and 9:30 p.m. $27 advance, $30 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 my weekly live chat at 2 p.m. today!
Topic include: Fun Fun Fun, your post-election playlists and whatever you would like to talk about.
Not completely sure why Sam Cooke’s “A Change is Gonna Come,” Parliament’s “Chocolate City” and Nas’s “Black President” aren’t on either, but your mileage may vary as well. Share with us your election night and post-election listening!
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Paisley coming to Erwin Center
Apparently, Brad Paisley didn’t read this column. Or maybe he did and decided to come to town anyway (with heightened security.) The country singer/ guitarist will make a stop at The Theatre at the Frank Erwin Center on January 22. Dierks Bentley and Darius Rucker fill out the triple bill.
Tickets are $34.75 and $49.75, and go on sale Saturday November 15 at 10 a.m. at all Texas Box Office Outlets (including H-E-B stores) or online at TexasBoxOffice.com.
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Jimmy Carl Black: humility and class
Was saddened to hear of the death from cancer of Jimmy Carl Black, who played drums in the Mothers of Invention and had a Zappa intro that everybody thought was funny. “And now the Indian of the group…”
I met Black a few times at the Hole In the Wall in the ’80s, when he fronted goatee blues bands when he wasn’t painting houses for a living. Always a pleasure to run into him, but I didn’t really know him much. He and Arthur (“Fire”) Brown were pioneers in “Hey diya know who lives in Austin?” movement kept alive by the likes of Stu “CCR” Cook and Buddy Miles (RIP) and Bobby Whitlock. If you play music and you could live anywhere (and have) you soon find yourself in the town where the cost of easy is on the rise.
I ended up spending a couple hours with Black on an Italian train from Florence to Venice in 1993 and the chance encounter was one of the funnest times I’ve ever had in transit. Sadly, it was one of the highlights of my honeymoon, this wanting the train ride to go on even longer because I had finally met someone who understood me. I couldn’t care less about Zappa and the Mothers- never owned a one of their records. But I was fascinated by tales of Jimmy Carl’s resurrection in Europe, where his bands would make a few thousand dollars a night on the strength of his Zappa association.
One detail I recall from our time locked into a coach together was that Jimmy Carl and his wife had just had a brush with a group of young hoods who were racially baiting them. Jimmy Carl was going through those things that guys go through when we’re being provoked and don’t answer the bell. You want to be a hero, but when you get older you realize that you’re just giving dumb kids something to do and so you walk away. But it still eats away.
Jimmy Carl Black was real happy to see me and my bride that day and we talked of Austin and Italy. He was a real gentle soul. When I heard the news of his passing Wednesday, I thought about that day in 1993 and hoped that the last 15 were just like that one. He was worthy of humble success, the best kind.
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Live Chat With Statesman pop critic Joe Gross at 2 p.m. tomorrow
Stop by for my weekly live chat at 2 p.m. tomorrow.
Topic include: Fun Fun Fun, and your post-election playlists!
Not completely sure why Sam Cooke’s “A Change is Gonna Come,” Parliament’s “Chocolate City” and Nas’s “Black President” aren’t on either, but your mileage may vary as well. Share with us your election night and post-election listening!
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Ruby’s celebrates 20 years of barbecue with The Thing
Since 1999, Ruby’s barbecue has been a regular supporter of Austin avant-garde music promoters Epistrophy Arts, providing large piles of meat and sides.
During the Scandinavian jazz powerhouse The Thing’s first visit to Austin in 2004, the musicians were so impressed with the food and hospitality that they adopted the iconic Ruby’s T-Shirts as their stage uniform. The T-shirts have been worn at hundreds of concerts across three continents.
The Thing is slated to play Ruby’s BBQ’s 20th anniversary celebration at the restaurant Nov. 14. Doors at 7 p.m. $10 advance tickets available at Ruby’s.
This should be an amazingly fun show. Sadly, it’s right up against Ian MacKaye’s talk at St. Ed’s.
Bummer.
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Musicmania Top 10 for the week ending Nov. 2
- Z-Ro ‘Crack’ (Rap-A-Lot)
- Z-Ro ‘Crack Screwed & Chopped’ (Rap-A-Lot)
- Trae ‘Beginning’ (Rap-A-Lot)
- T.I. ‘Paper Trail’ (Atlantic)
- Devin The Dude ‘Landing Gear’ (Razor & Tie)
- ABN ‘It Is What It Is’ (Rap-A-Lot)
- Slim Thug ‘Back By Blockular Demand’ (Koch)
- Young Jeezy ‘Recession’ (Def Jam)
- Lil’ Keke & H.A.W.K. ‘Still Wreck’In’ (Presidential)
- Lil’ Keke & H.A.W.K. ‘Still Wreck’In Screwed & Chopped’ (Presidential)
Also, Texas rapper Trae will be doing an in-store and autograph signing at Musicmania at 6 p.m. Nov. 14 promoting his new album ‘Street Advocate.’
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The Backyard Bar is now open
You know how I mentioned the idea of the interior bar at the Backyard becoming its own little venue apart from the newly proposed Backyard?
Well, that day has arrived.
The Backyard Bar is now open at 13101 Hwy 71 West, otherwise known as the original Backyard.
Happy hour specials daily from 5 p.m. to 7 p.m.
No word yet on how this does or does not affect the construction of the new Backyard.
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Review: Mountain Goats at Antone’s
The nasally sneer of the California-based Mountain Goats frontman John Darnielle doesn’t appeal to everyone. In fact, to many, it’s downright annoying.
But just a couple songs into the band’s set on Saturday at Antone’s, it was clear that despite his off-putting vocal inflection, Darnielle delivers his expertly crafted words with more passion and precision than most of his folk-rocking peers.
During each song, the singer was animated, strutting around the stage in staccatoed movements with his acoustic guitar, but always returning to the microphone in time to belt his vibrant verse in perfect pitch. His backing band, made up of nothing more than a bass guitar and drums, pounded out energetic rhythms that gave the simple, lyric-driven songs a surprisingly dynamic sound for a three-piece.
The sold-out crowd was with the band completely. They cheered ecstatically as the hard-driving numbers reached their climaxes, and when Darnielle sang subdued songs like “So Desperate” in a voice that barely reached above a whisper, they were so silent that you could hear the whoosh of passing traffic just outside the venue’s doors.
This undivided attention did not go unnoticed. After playing “Dinu Lipatti’s Bones,” Darnielle explained the song’s despondent origins and thanked the crowd for singing along. From that point on, he delivered similar monologues between songs with words almost as eloquent as the lyrics of the songs themselves.
Opener Kaki King joined the Mountain Goats onstage near the end of the set to perform songs she and Darnielle wrote for their recently released “Black Pear Tree” and “Satanic Messiah” EPs, before the Goats burst into an uptempo encore of “This Year.”
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CD review: Oasis
Jay Janner AMERICAN-STATESMAN
Oasis
Dig Out Your Soul (Reprise)
Well, this is the first Oasis record in years I’ve wanted to play loud, the first where the groove can’t be described as sweeping. The Brothers G and suffering support have filled all the spaces around Liam Gallagher’s stretching phrases as if this is their third album and not their…well, they’ve all sort of blurred together like a cheap Super 8 film in the past ten years. Designated rocker “The Shock of the Lightning” doesn’t rip ‘n’ roar like “Rock N’ Roll Star” from the first and best LP, but it’s still an A if we’re grading on a curve. “I’m Out of Time,” meanwhile is a quite lovely bridge over which the artillery can roll.
Too many songs, such as “High Horse Lady” and “Waiting For the Rapture” don’t sound written as much as reworded, though those bluesy numbers do have their charms.
Oasis is still an arena band, but songs such as “Bag It Up” and the riffy “The Nature of Reality” grow their grandiosity in the dark. They don’t start off like they’re trying to be big musical statements, but it sounds like Liam’s interested in the song’s progress and so many of them turn into more.
The band’s songwriter and guitarist Noel Gallagher never had much of a clue why Oasis was the most exciting rock band for about three years in the mid-‘90s. How could he leave “Columbia,” the band’s shining moment, off last year’s “Stop the Clocks” retrospective? It wasn’t “Champagne Supernova” or the songs Noel sang; what made Oasis sensational was the way Liam’s voice, part Johnny Rotten and part Frank Sinatra, burst out of the squall. It was the wall of guitars, the bone-flushing bass and drums section and then that force of pure vocal instinct. That beauty can come from such chaos is one of rock’s sacrament’s. It wasn’t the songs, it was the way they were played and sung.
With “Dig Out Your Soul” (a typical Oasis LP title), the focus is back on the backdrop. This could be a byproduct of vaguely inspired songwriting, but even though the Oasis we knew is out on the lam, this CD is like a 3 a.m. call from a phone booth on the Interstate.
This was originally a four-star review, as I was really digging “Your Soul,” but then I loaded the CD into my iTunes and let it play. After the last song “Soldier On,” my computer went into the first Oasis record and I could hear just how much better they were coming up than looking down.
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Review: Carrie Underwood at the Erwin Center
Elvis and Priscilla were there. Betty Boop and Marilyn Monroe, too. I even saw a few dozen Tony Romos. Carrie Underwood’s Halloween night concert at the Frank Erwin Center brought out more characters than an “American Idol” audition.
There may have been more costumes than cowboy hats in the audience, but “Idol’s” country queen stayed true to form. Her powerhouse pipes were spectacular and her dazzling stage presence could be felt all the way up to the top row of the mezzanine.
The newest Grand Ole Opry inductee must have had her Vitamin Water, because she was tirelessly energetic throughout the 19-song set. She brought the house down with numbers like “Last Name,” “Get Out of This Town,” and her opener “Flat on the Floor.” Before Underwood performed her current hit “Just a Dream,” opening band Little Big Town came out and joined her in a rocking rendition of Fleetwood Mac’s “Go Your Own Way.”
The confetti-filled encore was the icing on the cake. Underwood gave Axl Rose a run for his money with her cover of “Paradise City” and pleased the crowd with her smash hit “Before He Cheats.”
Underwood may not have worn a Halloween costume, but some of her outfits were a little gaudy. The iridescent lavender ball gown that transformed into a mini-dress was a bit over the top. And the what-was-she-thinking strapless denim shorts-jumpsuit and matching stiletto boots were just tacky.
But what she lacked in style she certainly made up for in personality. Underwood’s sweet, soft-spoken demeanor was charming and her banter with the crowd seemed genuine.
Opening act Little Big Town certainly got the job done. With their southern rock attitude, they got the crowd on their feet with songs like “Bones” and their biggest hit “Boondocks.” The talent is all there, as they show with their remarkable four-part harmonies, so with a little more exposure they could easily headline their own tour.
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11/3 Sharon Jones show moved to La Zona
Monday’s “Red State Blues: A Concert For Change” concert, featuring Sharon Jones & the Dap Kings, James McMurtry and Brownout has moved from the Austin Music Hall to La Zona Rosa two blocks away. Starting time is still 7 p.m. and tickets are still $25 for what promises to be THE election eve party to be at.
The concert benefits the Travis County Democratic Party and the SIMS Foundation.
$75 VIP tickets, which also include food and drinks at a pre-concert party, are also available.
