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myspace.com/mikefarrismusic

By Michael Corcoran | Friday, July 31, 2009, 11:08 AM

Greg Kot of the Chicago Tribune and Jim DeRogatis of the Chicago Sun-Times are two of the very best daily newspaper pop music critics in America. Their mix of passion for music and reporting chops are mighty impressive. Like Siskel & Ebert, they’re friends, co-hosting the “Sound Matters” radio show, but they’re also competitors, make no mistake.

In their coverage of Austin-based C3 Presents, which somehow bought Lollapalooza as a destination festival to Grant Park five years ago, I think the quest for one-upmanship has made DeRo slant a little more negatively than called for. For instance, he’s repeatedly slammed C3’s radius clause, which contractually prevents bands playing Lolla from doing gigs at Chicago clubs for 60-90 days in each direction. But the radius clause is an industry standard and C3’s Charles Attal has been reasonable in letting local bands skirt. Last year, for instance, Alejandro Escovedo and the Jones Family Singers played free shows at Shady Grove the day before their ACL Fest sets and no one from C3 objected.

I mean, you don’t want a band like Kings of Leon playing Cedar Park before ACL, but Bob Schneider’s still going to play every night of the week whether he’s signed a radius clause or not.

Also, bands that play festivals always draw better at the clubs next time through, according to Grace Potter of the Nocturnals (at a panel last year). So it’s not like the clubs totally lose out.

DeRo basically blamed C3 when Rage Against the Machine fans nearly rioted last year. The only way C3 could’ve prevented that craziness would’ve been to not book Rage. Another thing DeRo’s been hammering C3 about is that their legal rep in Chicago is Mayor Richard Daley’s nephew. C3’s Charlie Jones has said that the Bossette’s neph was not involved in bringing Lolla to the sacred fields of Grant Park.

But it’s good that DeRogatis is watching C3. If they ever truly do something questionable in Chicago, he’ll pounce. But I don’t see where they’ve done a thing wrong.

I think this article by Kot is pretty fair about C3, and if you read it the way I did, you can understand why Chi-Town has not wrapped its big shoulders around C3. Chicago is the most agoraphobic town I’ve ever been to. It has a natural mistrust for outsiders. If you haven’t lived there at least 10 years, you might as well be a tourist in a Cardinals cap who stranded from the group going to the Field Museum.

Kot knocks C3 for not embracing Chicago, but’s not easy to hug an ice sculpture.

Personally, I love that a trio of Austin guys has taken the Windy City by storm. C3 co-manages Soldier Field and books the Congress Theater, in addition to hosting the biggest Chicago event of the year in Lollapalooza.

I lived in Chicago for three years (‘89- ‘92) and wrote a column for the Chicago Sun-Times, but to the locals I just got off the Greyhound last week. If you don’t speak in one of those Don McLeese accents that also helps scrape ice off your windshield, your words just don’t have much significance in Chicago. I felt so shut out there I took a job in Dallas just to be back in Texas.

So, go get’em C3. Order your beef sandwiches undipped, your pizza thin crust and have them hold the celery salt on your hot dogs. Put horns on your golf carts as you drive all over Grant Park the weekend of Aug. 7- 9. Get the gig staging the Olympics. Strut around as President Obama’s favorite promoters. Rub Chi-town’s face in your ability to get things done. Revenge is a dish best served with barbecue sauce and a side of beans.

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By Joe Gross | Friday, July 31, 2009, 09:52 AM

Here is a lesson in getting the crowd on your side in about 15 seconds, the Asher Roth way:

“When I say ‘Colt,’ you say ‘McCoy.’ COLT!”
“McCOY!”
“COLT”
“McCOY!”
“When I say, ‘Dan,’ you say ‘Buckner.’ DAN!”
“BUCKNER!”

And so on.

It doesn’t hurt if the crowd already relates to you, as nearly everyone at Stubb’s obviously did. Eminem might have been the first white rapper to become a commercial force of nature, but Roth, currently co-headlining “The Great Hangover Tour” with Kid Cudi, is a heck of a lot more like the middle-class kids who filled Stubb’s on Thursday night.

He’s the guy in your freshman suite in college, smoking weed out of apples and watching ESPN until he passes out in front of the TV. Roth’s onstage props included a giant joint and a guy dressed as a pot leaf — between that and his red hair, one could be forgiven for thinking Carrot Top was suddenly a rapper.

Roth is also the sort of fellow who inspires unchecked loathing in certain hip-hop fans, who bemoan, well, pretty much everything about him - his frat guy topics, his smug vibe, his delivery, his popularity. But none of them were at Stubb’s.

After a set from trio Pac Div, rapper Bobby Ray, the artist formerly known as B.o.B., nearly stole the entire show with a sharp set of forward-thinking dirty South hip-hop. Rhyming a capella, playing acoustic guitar, vibing with his backup singers, no wonder Ray’s a favorite for guest spots on songs by higher profile rappers (Big Boi, Killer Mike) and a budding mixtape messiah (check out the “B.o.B vs. Bobby Ray” tape for the full story). His debut album “The Great Adventures of Bobby Ray” is slated for release later this year.

Kid Cudi (say it: “cutty”), on the other hand, nearly bogarted the entire show by taking the stage 20 minutes late, which cut his set in half. (It’s a bad look when the crowd is chanting “CU-DI! CU-DI,” then eventually gives up and goes back to chatting.)

He just had time for demi-hits such as the compellingly menacing “Mr. Solo Dolo,” the skittering “Embracing the Martian” and “Day ‘n’ Nite” a song that leaked online in December 2007. It’s a measure of how fast hip-hop moves that Cudi referred to it as “the granddady of them all.” Invest your money wisely, man.

Roth, on the other hand, was pure showman, leaping around on stage, playing with props and generally acting like a guy goofing off in his dorm room. Dressed in a UT football T-shirt, shorts and no shoes, Roth was a doofus, but he was the crowd’s doofus. He occasionally hit Dr. Phil territory (“If you guys are taking advantage of being yourself, clap your hands”) and smashed into hits such as “Be By Myself” and “Sour Patch Kids.” Roth also made a whole mess of us feel all kind of old during his single “As I Em:” “I was in seventh grade when I heard the Slim Shady LP .” Which arrived in 1999. Ouch.

Roth, his hypeman, his DJ and live drummer even did some unfortunate choreography to Soul 4 Real’s “Candy Rain,” which one has no doubt originated to impress some drunk girls.

Speaking of girls and age, Roth invited a whole mess of them to dance on stage during “She Don’t Wanna Man.” Roth, son, I would check some of those I.D.s very carefully before the after-party jump-off. You aren’t in college any more.

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By Deborah Sengupta Stith | Friday, July 31, 2009, 06:25 AM

We’re giving away tickets to see Mike Farris at Antone’s on Friday, August 7.

Email us at events@statesman.com before midnight to enter. You MUST include your full name, email address and daytime phone number in the email to win. Winners will be drawn randomly and notified tomorrow. For complete contest rules email events@statesman.com.

By Joe Gross | Thursday, July 30, 2009, 12:34 PM

The Austin metal act’s last album was “Gods of Earth” (Kemado, 2008). They did time on the road with everyone from Machine Head to Metallica and have a tune (“The Black River”) on Guitar Hero. They’ve come a long way since those shows at Emo’s small room.

Rat King and Pack of Wolves open on Aug. 28 and Woodgrain and Fingaar Bangaar open Aug. 29 show. Tickets are $15 and can be purchased here.

By Music Source | Thursday, July 30, 2009, 12:08 PM

FRIDAY

The Neville Brothers, Dr. John, the Lower 911 at the Austin Music Hall. Barring Professor Longhair rising from the dead, you can’t get any more N’awlins than this. Must … not … use … gumbo … as … a … description. 7 p.m. $52-$82. - Michael Corcoran

Also recommended

SATURDAY

De La Soul at Emo’s. ‘Three Feet High and Rising’ was an album that changed lives. This was hip-hop from a middle-class perspective, packed with smart, funny samples, clever rhymes and (well, OK, this didn’t turn out so well) lots of skits. This is the ‘20 Years High and Rising Tour,’ so, yeah, they’ll play ‘Me Myself and I.’ 10 p.m. $20. - Joe Gross

Also recommended

SUNDAY

The Dead Space at Beerland. Gothic punk without the Gothic costumes from this (slightly) underrated Austin band. They might as well be playing next door at Elysium. With Thee Makeout Party and the Mystery Lights. 10 p.m. $5. - J.G.

Also recommended

By Michael Corcoran | Wednesday, July 29, 2009, 06:44 PM

According to doctors at Cedars-Sinai Medical Center in Los Angeles, Michael Franti recently suffered one of the worst cases of a ruptured appendix that they’d ever seen. He’s therefore had to cancel four more appearances than originally announced, including opening for Counting Crows at the Austin Music Hall Monday.

By Michael Corcoran | Wednesday, July 29, 2009, 03:07 PM

Power pop band Edison Chair, three 17-year-olds from the Austin area, are on their way to Los Angeles to play for Interscope president Jimmy Iovine tomorrow and the rest of the label Friday, the band’s co-producer Monte Warden announced.

Warden happened upon the group, with two Dripping Springs High students and one from Bowie High, when he went to see his son’s band at Jovita’s a few months ago. Bruce Brody of Lone Justice and Jose Alcantor (Blue October) co-produced five songs with the group and Warden, the former Wagoneer leader who got the demo to Chuck Reed of Interscope.

“Chuck got a text from Jimmy Iovine Saturday morning that said he loved Edison Chair and when could he see them,” said Warden, who is accompanying Martin Aker, Wes Armstrong and Nathan Thrash to Hollywood.

None of mine ever looked this cool.

By Joe Gross | Wednesday, July 29, 2009, 02:17 PM

By Pete Mongillo | Wednesday, July 29, 2009, 12:42 PM

The Austin City Limits Festival will charged a $10 nonrefundable fee for 2009 volunteer applications, according to information on its Web site (pdf file). In addition to admission to the festival, volunteers will receive a free T-shirt and coupons to the food court. Also new this year is a system that will allow volunteers to request shifts (potential volunteers will be able to view openings before paying the fee). Volunteers must be 18 and live in the Austin area. Check the “event info” section of the site in August to apply.

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By Joe Gross | Wednesday, July 29, 2009, 11:06 AM

On Aug. 14, Austin jazz flutist Alex Coke will join Sir James Galway and the National Flute Association in an attempt to break the Guinness World Record of 1,701 participants for World’s Largest Flute Ensemble.

The event is part of the 37th annual NFA convention, “Bright Flutes, Big City” in New York.

No, I did not make up that last part about the title of the convention being “Bright Flutes, Big City.” Yep.

By Joe Gross | Tuesday, July 28, 2009, 03:30 PM

Here is the link.

By Michael Corcoran | Tuesday, July 28, 2009, 12:52 PM

Cleve Hattersley of Greezy Wheels has organized a Town Hall Meeting to talk about restoring Paul Ray and Larry Monroe fulltime at KUT. It’s Wednesday, Aug. 5 at 7 p.m. at Threadgill’s World Headquarters.

The two KUT vets were recently cut back to one night a week each.

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By Sarah J. Johnson | Tuesday, July 28, 2009, 12:24 PM

Cody Duty FOR AMERICAN-STATESMAN

Photos: Soul Track Mind at TC’s Lounge

Every Wednesday night a relatively quiet part of East Austin gets to rockin’. The dance floor at TC’s Lounge on 1413 Webberville Road is packed with young and old who come to see and dance with the funk soul band Soul Track Mind.

The six-piece band’s set starts at 10 p.m. and continues until 1 a.m., with fans dancing the entire time to upbeat covers and originals.

The group’s musical influences include Clarence Carter, Joe Tex, Bobby Womack and other soul and funk artists from the 1960s and 1970s. Among the band’s best covers are “A Woman’s Got to Have It” by Bobby Womack and “That’s Where It’s At” by Sam Cooke.

But the original songs really get the crowd on its feet.

The swinging original “Backdoor Love” is reminiscent of Little Richard, complete with racing horns and stop time. Without fail the audience breaks into a modern form of the “twist” when this song is played.

Singer and frontman Donovan Keith outdances the audience, and his combination of showmanship and vocal range sustains the energy of TC’s intimate stage. But the band can move as well. During the original song “Rainbow,” the band does a side-step shuffle without missing a beat. Meanwhile, a usually embarrassed woman is called to a chair in the center of the dance floor, with Keith falling to his knees in a dramatic serenade.

The band originally came together over Craigslist, and after going through a few deadbeat musicians found an ensemble that works. The members’ ages range from the 20s to the 50s. Besides Keith, the members are Joe Krohn on trumpet, Raymond Johnson on saxophone, Gregory J. Amani Smith on bass guitar, Doug Leveton on drums and Jonathon Zemek on electric guitar.

The band’s guitar lines and riffs are full of energy, well-mastered by Smith and Zemek. Leveton brings an excitement to the drums that can be read on his face as he keeps the tempos fast enough for the dancers. Finally, Krohn and Johnson play a solid horn section, completing the classic sound required of all good soul music.

There is a $5 cover to see Soul Track Mind, but this laid-back joint is Bring Your Own Booze. Patrons can carry in any alcoholic beverages except for beer.

Most nights the owners provide large batches of free chili and corn bread or red beans to patrons.

A note to newcomers: The venue is not air-conditioned, which makes the dancing extra hot. Wear something light.

The band will compete in Antone’s upcoming Battle of the Bands on Sunday.

By Joe Gross | Tuesday, July 28, 2009, 11:46 AM

The new disc on on their own BOH Records distributed through Redeye. In July, the band taped Austin City Limiits. The ep also features Elvis Costello and will air Nov. 7.

By Music Source | Tuesday, July 28, 2009, 11:13 AM

This weekend we reported on Fared Shafinury, a young Iranian-American Austinite who spent Saturday in New York City as part of the Global Day of Action, protesting human rights abuses and a questionable election in Iran. Check out video of Shafinury’s band Tehranosaurus playing at the Cactus Cafe earlier this month.

By Music Source | Tuesday, July 28, 2009, 06:00 AM

We’re giving away tickets to see M. Ward at Antone’s on Tuesday, August 4.

By Michael Corcoran | Monday, July 27, 2009, 11:40 PM

By Michael Corcoran | Monday, July 27, 2009, 04:46 PM

South by Southwest 2010 is officially open for business Monday, the day the new Web site (same old www.sxsw.com address) will go live. Registrations, hotel reservations and band applications will be accepted… A date has been set — Sept. 9 at Antone’s — for the benefit for photographer Todd V. Wolfson, who was badly banged up in a bicycle accident. The lineup is being finalized, though Alejandro Escovedo is certain… Escovedo has produced the new album by Amy Cook, whose documentary “The Spaces In Between” has been showing on the Documentary Channel. Next airing is 2 p.m Saturday. … Australian band the Art (formerly the Follow) starts recording its next album at the Bubble this week … During Ricky Broussard’s out-of-control days, Two Hoots and a Holler received a lifetime ban from the Continental. But the once self-destructive kid’s made a remarkable recovery and owner Steve Wertheimer can forgive and forget. The band plays every Monday in August… Three Austin acts made the top five sellers list at Waterloo Records last week with their debut CDs: Kat Edmonson (No. 3), Sarah Jarosz (No. 4) and Black Joe Lewis and the Honeybears (No. 5). Wilco topped the list.

By Michael Corcoran | Monday, July 27, 2009, 02:52 PM

Albert King with Stevie Ray Vaughan
‘In Session’
(Stax)
Grade: B+

Stevie Ray Vaughan’s first guitar heroes were his older brother Jimmie and Lonnie Mack, whose instrumental version of “Memphis” set a young Stevie’s soul on fire. Later, he made no secret of worshipping at the altar of Jimi Hendrix, taking his flashy gypsy garb cue from the explosive southpaw.

In terms of torrid, stinging guitar style, however, there was no greater influence on “Little Stevie” than Albert King. Imagine how Vaughan must’ve felt, during this 1983 recording from Canadian TV, when King played rhythm guitar behind him on “Pride and Joy,” the song that was making Vaughan the first new blues guitar star in eons.

“You’re already pretty good,” the mentor told the protege at one point, “and you’re only going to get better.”

Now, if anyone was fortunate enough to see Vaughan jam with one of his heroes at Antone’s, they saw that he was always respectful and never sought to dust anyone. It was never a duel but a collaboration. But on “Blues At Sunrise,” which King famously played with Hendrix and Janis Joplin, Vaughan really cuts loose on Jimi’s parts, which King answers with his hottest playing on the record. It’s quite the communication in electricity.

After the jam, King talks about “turning it over to you” because his guitar strings needed changing. But he was really signifying the passing of the torch, especially on “Overall Junction” and the set-closing “Don’t Lie To Me,” which show both players at their most scintillating. This is a record that gets better as it plays on.

Originally issued in 1998, “In Session” is loose and sloppy in spots, as any true jam can be. The duo plays only seven songs here, with Vaughan singing lead on only one. They open with the plodding “Stormy Monday,” long “the bathroom song” at blues clubs. But as a document of what was probably one of the greatest nights in the musical life of SRV, this belongs in the collection of every true fan.

King was right; Vaughan would actually get better when he built on the King style instead of just copying it. At the time of his 1990 death at age 35, a sober Vaughan was playing better than ever. He’d tamed the fire, but it still burned brightly, and the afterglow remains brilliant.

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By Joe Gross | Monday, July 27, 2009, 02:49 PM

Rusted Shut
‘Dead’
(Load)
Grade: A-

Rusted Shut have been kicking around Texas since 1986, exhausting even their most hard-core fans with ear-bleeding live shows packed with the ugliest guitar sounds ever produced. This is noise rock at its most willfully obtuse, extended and violent-sounding — these guys feel genuinely damaged. But it’s a good exhaustion, probably like the sort of high runners are always yapping about. And their work ethic is something to be admired. Ten years after they formed, they put out a self-titled CD. The next album, “Rehab,” arrived in 2004 … made with sessions from 1997. Genius!

Some of the magnificently messed-up album “Dead” dates from the Clinton administration as well, but misanthropy this potent is good for all eras. This is a psychedelic noise that transcends micro-genre slotting, a sound filled with shards of punk speed, industrial, black metal, hardcore, free improvisation, random electronics and the sound of falling down the stairs after one too many Jack ‘n’ Cokes. Don Smith’s vocals — harsh, spiteful, sometimes not all there — speak to a life of most things not working out all that well. It’s the sound of true human decay, and it’s very hard to fake.

From the almost-catchy-riff on “Heart of Hell” to the dunder-headed 16-minute jam “Intellect” (hah!) to the ovoid “Bring Out Your Dead,” this is the sort of scuzz that makes one proud to be a Texan, proud to be a fan of this state’s tradition of making big, stinky messes with electric instruments better than anyone else. Most other noise rock looks awfully tepid by comparison. Rusted Shut provides maximum bad vibes for those who love them and, for a small number of people, this is easily one of the best albums Texans will produce this annum.

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By Peter Mongillo | Monday, July 27, 2009, 02:44 PM

YACHT
‘See Mystery Lights’
(DFA)
Grade: A

Too often when artists combine elements of different genres, the results sound cobbled together and stale, like a failed attempt to produce fresh moments from an amalgam of sounds that don’t really jibe.

Portland, Ore.-based indie/electronic duo Jona Bechtolt and Claire Evans, aka YACHT (the band insists on an all-caps billing), does not fall into this category. “See Mystery Lights” is a delight from beginning to end, a blend of dance beats, “Remain in Light”-style percussion, Evans’ punky vocals and a pop sensibility that lures in the listener with a sense of familiarity that can’t really be pinned down. Beginning on a slightly restrained note with “Ring the Bell,” a slow, densely layered meditation on death, the album works its way toward the infectious wordless chorus of “Psychic City (Voodoo City),” a feel-good pop track with an appeal that extends beyond the sometimes insular world of indie music.

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By Michael Corcoran | Monday, July 27, 2009, 12:02 PM

Rocker A.J. Vallejo of the band Vallejo is hopping mad after KVUE showed his house and address on Alexandria Drive while doing a report on Ricky Thompson, who has been charged with capital murder in connection with the shooting deaths of two University of Texas graduates last week.

During the report, which aired on Sunday’s 5:30 p.m. and 10 p.m. broadcasts, twin brother Alex Vallejo is seen leaving the house as the KVUE reporter says that the three other residents of the home had not been charged.

“We made a mistake transposing the numbers of the address,” KVUE news director Frank Volpicella said Monday. Thompson’s house was actually across the street and two doors down from Vallejo’s. “We recognized the mistake and corrected it.” The report remained on the KVUE Web site until about noon, after KVUE was contacted by Vallejo’s attorney.

Alex Vallejo said he was unaware of the gaffe until Monday morning when he received numerous calls asking if he was the roommate of the suspect.

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By Music Source | Monday, July 27, 2009, 11:13 AM

myspace.com/phranchyze

We’re giving away tickets to see check out rappers Phranchyze and Zeale 32 as part of the Austin360 concert series at Stubb’s BBQ on Thursday, July 30.

By Brandon Cobb | Monday, July 27, 2009, 10:32 AM

(Tori Amos performs July 25 at the Long Center for the Performing Arts. Photo by Cody Duty/AMERICAN-STATESMAN)

Through 17 years and 10 studio albums, Tori Amos fans have been to Venus and back and have stood by Amos through a myriad of stylistic shifts and evolutions.

So it’s no surprise that the crowd at the Long Center was on their feet Saturday night as Amos sauntered onstage to the hypnotically plodding rhythm of “Give.” Clad in a flaming orange haute couture number with skin-tight gold hot pants underneath, she looked every bit the scarlet deity the audience was expecting. Amos wasted no time igniting the crowd as she leaned into the microphone for the song’s chorus, “There are some, some who give blood. I give love. I give.”

The front of her dress was cut away so that she could straddle the piano bench and easily reach the synthesizers situated on the other side of her piano. It was impressive to watch her wheel around in a flash of ginger hair and change instruments without missing a beat. Amos gives her audience every ounce of theatrical flair in concert as she does on her records, standing at the piano much of the time in a rock god power stance.

Saturday’s show was not exclusively devoted to material from her new album, “Abnormally Attracted to Sin.” In fact the majority of the show saw Amos cherry picking her catalogue for the moody, bombastic songs that made her famous. She wasted no time in turning to possibly her best known song, “Cornflake Girl,” early on in the set, pausing dramatically during the “peel out the watchword” parts, then bringing the hammer down during the “where’d you put the keys” parts at the end of the song. Afterward, drummer Matt Chamberlain thundered into “Horses” as the lights came down and a constellation of stars emerged behind the performers. Throughout, Amos’s voice was nuanced and idiosyncratic, the perfect foil to the torrential rhythms and heavy bass riffs.

Midway through the set the words “Lizard Lounge” came up in lights and Amos played a few unaccompanied numbers, dedicating Don McLean’s “Vincent (Starry Starry Night)” to her brother whom she described to the audience as a genius songwriter with a less than stellar voice. Her soaring voice quieted the entire room and by the end of the song a few people around me were crying. People in church aren’t always this reverent.

Amos returned to her current album to close out the show with a rocking performance of “Strong Black Vine” that brought down the house before she returned to the stage for a brief encore that featured booming versions of “Raspberry Swirl” and “Juarez” that transformed the usually demure Long Center into a pulsating dance hall.

Thankfully the show was not merely a string of reimagined versions of her best songs, but vibrant, faithful recitations. Well-known hits like “1000 Oceans” sounded as energetic and fresh as when we first heard them. Amos coaxed every bit of venom and vitriol out of her voice during the show’s standout moment, a blistering performance of “Precious Things” that brought the audience out of their seats and down to the front of the stage to sing along and dance. Nothing in Saturday’s concert sounded like it had been dusted off for this tour. Even the oldest songs felt like she’d written them yesterday.

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By Joe Gross | Monday, July 27, 2009, 10:18 AM

C3 Presents has booked Wilco for an Oct. 8 gig at the newly-minted Cedar Park Center. Tickets are not yet on sale.

George Strait’s Sept. 25 concert is the first event slated to take place in the new venue.

Kelly Clarkson is coming to the thus-far unopened Center Nov. 2.

Check out Wilco in the SIRIUS XM studios today through July 31 at 9:00 pm ET on Sirius channel 63 and XM channel 12.”

Singer/songwriter Jeff Tweedy and bassist John Stirratt (a.k.a, the two remaining founding members) will chat with Outlaw Country host Meredith Ochs. Expect a lot of chatter about the creation of their latest release, “Wilco (The Album).” The band also premiers Tweedy’s new duet with Roseanne Cash, “Long Black Veil,” from her upcoming album “The List.”

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By Joe Gross | Monday, July 27, 2009, 09:57 AM

Austin improvisational psych rockers Tia Carrera have turned in “The Quintessential’,” the trio’s fifth album overall and first for Small Stone Records. Guitarist Jason Morales and drummer Erik Conn are joined by long-term bassist Andrew Duplantis on some tracks and Dixie Witch’s Curt Christienson on others. “There are five tracks,” Morales said after the band’s final set at Room 710 Saturday. “Three jams and a tow bookend tracks. The closer has vocals (a first for Tia).” It took about a year and a half to record and mix. No, really. Expect the new album in October. Tia’smost recent set featured Jamey Simms on bass. “That dude’s a way better guitarist than I am, “ Morales said. “If I’m Keith Richards, he’s Jeff Beck.”
Brutal Austin hardcore band Total Abuse is again re-recording the anticipated follow-up to its self-titled fiull-length debut, released last year on influential Canadian label Deranged Records. “Third time has to be the charm,” singer Rusty Kelley said, so nobody should look for the record in August, as was originally rumored. The band’s most recent local show was July 3, after which they hit the road for tour. Sadly, Total Abuse is spread over three cities right now, making local gigging sporadic. The debut scored raves from such influential underground outlets as Maximum Rock ‘n’ Roll, Razorcake and the on-line zine Dusted. Check out radio station WFMU Beware of the Blog for a live set.
Meanwhile, increasingly well-regarded undersigned band Ghost Knife - a sharp, Jam-ish trio featuring Riverboat Gamblers singer Mike Weibe on guitar and vocals and Austin punk scene lynchpins Ben White on bass and Chris Pfeffer on drums - is trying like heck to get into the studio between Weibe’s Gamblers obligations. “We have about 12 songs I think we know well enough to track at least a singles worth very fast,” Pfeffer, also the guitarist in the Altars, said Saturday while hanging at Beerland. David Williams of Beautiful Supermachines is slated to produce when everyone can find affordable studio time and 12 hours with nothing else to do.

By Michael Corcoran | Saturday, July 25, 2009, 02:39 PM

Corpus Christi native Fared Shafinury, who leads Austin band Tehranosaurus, spent Saturday in New York City as part of the Global Day of Action, protesting human rights abuses and a questionable election in Iran. Watch part of Shafinury’s solo set, above, in front of the United Nations.

“The only word I can use to describe the day is ‘beautiful,’” Shafinury, 26, said Sunday. The NYC event was organized by United 4 Iran, led by former Austinite Mani Mostofi. “Everything surpassed my expectations,” said Shafinury, who met Mostofi, also a second generation Iranian, while they were students at UT. “The organizational skills and effort were exceptional. Kids were working around the clock.”

Shafinury did interviews with CNN and Voice of America radio after his set, where he sang an original song based on an Iranian poem called “Bani Adam” (or “Children of Adam” in English). “When President Obama addressed the Iranian people, he recited the same poem,” Shafinury said. The words are etched into the Iranian embassy at the UN.

After graduating from UT in 2006, Shafinury spent two years in Tehran, where he recorded the album “Behind the Seas.” The album is currently looking for a label, either in the U.S. or Europe, though six songs have been released on an EP.

On Tuesday, Huffington Post ran this interview of the musician, whose band played a sold-out show at the Cactus July 15.

By Pete Mongillo | Saturday, July 25, 2009, 12:21 PM

Indie folk/blues musician Raymond Raposa, aka Castanets, has been releasing albums on Sufjan Stevens’ Asthmatic Kitty label since 2004. Stevens appears on his last album, and covered Castanets’ song “You Are the Blood” for this year’s Red Hot charity compilation “Dark Was the Night” (one of the year’s best, also featuring Spoon and the Dirty Projectors, among others). At the end of June, Raposa shared a bill with Austin’s Explosions in the Sky and Canadian indie rockers Constantines on the Central Park SummerStage. He’ll release his fifth album in September.

Raposa, who was joined onstage by a three-piece band Friday at Mohawk, included “You Are the Blood,” as well as a selection of songs from his other albums, in a set that at times exchanged some of the quieter, folk-infused moments of his studio work with a much darker and noisier outlaw country sound. This was the mood of most of the set, which began with “Three Days, Four Nights” from the “Cathedral” album, and also included the hard-edged “Prettiest Chain” and “Good Friend Yr Hunger.”

The best moments on stage came when a deeply focused Raposa led the band off into reverb-drenched psychedelia, a small loss of control that many indie folk musicians are hesitant to explore. As interesting as those moments were, however, they were something the too-short performance could have used more of. While there might have been a reason for such an abbreviated set, it felt odd that someone with such an extensive catalog and a new album on the way didn’t spend more time on stage.

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By Michael Corcoran | Saturday, July 25, 2009, 11:48 AM

Congrats are in order for Joyce Harris, who grew up in New Orleans, but lived in Austin in 1960 and ”61 while recording such regional hits as “No Way Out” and “Dreamer” for Domino Records. The salty belter, who currently lives in Louisiana, was recently named to the Rockabilly Hall of Fame in Jackson, Tenn.

Domino was the first Austin record label, formed by 11 folks who met at night school and each chipped in $5 a month to get started. The company issued 16 singles, some featuring white singers backed by black bands, before dissolving in 1961. “The Domino Records Story,” a European import, collected all the singles, including biggest label hit “You Cheated” by the Slades, in 1998.

Harris debuted with a rockabilly version of “I Got My Mojo Working,” backed by the Daylighters, featuring Smithville’s Sonny Rhodes on guitar.

These days Harris plays mostly bluegrass. Here’s “No Way Out,” with Harris backed by the Daylighters, featuring Sonny Rhodes:

By Michael Corcoran | Friday, July 24, 2009, 06:54 PM

While they’re watching Kings of Leon onstage, Austin City Limits Festival organizers C3 Presents hope they’ll soon be Lords of Lycra.

The day the 8th annual ACL Fest kicks off at Zilker Park, C3 will also have its mind in Chicago, which is one of the finalists to host the 2016 Summer Olympics. Oct. 2 is when the International Olympics Committee will announce the lucky city that will host the event and C3 has been lobbying hard for the Windy City, where it’s built a stronghold after turning Lollapalooza into a destination fest at Grant Park and taken over co-management of Soldier Field. Grant Park is also where “Charlie Company,” co-owned by Charlie Jones, Charlie Walker and Charles Attal, staged Barack Obama’s Election Night celebration in November.

At this year’s Lollapalooza, which runs Aug. 7- 9, the main stage will have a big banner that says “Chicago 2016.” After AT&T dropped out as a sponsor this year, C3 donated naming rights to the group trying to bring the Olympics to Chicago.

Chicago is one of four candiadates, going up against Tokyo, Madrid and Rio de Janeiro, for the 2016 games.

C3 has made no secret of its desire to help stage the Olympics, even executive-producing the official dinner when the IOC visited Chicago. “They’ve been helpful to us, and they do very good work, but we haven’t considered anything past Oct. 2,” Chicago 2016 spokesman Patrick Sandusky recently told Jim DeRogatis of the Chicago Sun-Times. “It would be presumptive of us” to name C3 as a prospective producer.

C3 Presents grew out of sporting events. Originally named Capital Sports & Entertainment, with Lance Armstrong as its cash cow on wheels, the concert promoters began their winning streak with a free concert at Auditorium Shores to celebrate Armstrong’s first Tour de France victory in 1999.

Capital Sports started working with booker Charles Attal Presents in 2002, when ACL Fest was launched. Walker left competing promoter Live Nation in 2007, merging with CSE and Charles Attal Presents to form C3 Presents.

This weekend C3 is co-producing the Wanderlust “music and yoga” festival near Lake Tahoe, Nev.

AT&T’s contract with Lollapalooza ended last year and they decided not to renew, a spokesman told the Sun-Times, “based on a variety of business goals and objectives.” AT&T is also no longer a sponsor at ACL Fest.

By Pete Mongillo | Friday, July 24, 2009, 02:48 PM

John Dawson, aka Marmaduke, died Tuesday of stomach cancer in San Miguel de Allende, Mexico. He was 64. Dawson, along with David Nelson and Jerry Garcia, was a founding member of New Riders of the Purple Sage. Grateful Dead bassist Phil Lesh and drummer Mickey Hart were also part of the band’s early incarnation. In 2005, the band released a recording of their 1975 performance at the Armadillo World Headquarters. (from the New York Times)

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By Joe Gross | Friday, July 24, 2009, 01:55 PM

This is will probably still not be enough for some Wilco fans, who can hear Wilco in the SIRIUS XM studios July 27 through July 31 at 9:00 pm ET on Sirius channel 63 and XM channel 12.”

By Michael Corcoran | Friday, July 24, 2009, 12:27 PM

Brian Bandas of Cedar Park moved to Nashville a couple years ago to pursue a musical career that’s quickly paying off. “Runaway,” the debut single from Bandas’ band Love and Theft, is racing up the Billboard country single charts, currently at no. 22. The trio’s full length debut comes out on Disney-owned Lyric Street Records on Aug. 25.

L&T got their big break opening a tour for Taylor Swift, who wrote “Hey, Stephen” after she developed a crush on Bandas bandmate Stephen Barker Liles.

By Joe Gross | Friday, July 24, 2009, 08:16 AM

New York rockers Obits, who killed at SXSW this year, and the, um, let’s-call-it-budget-conscious video for “Pine On”

By Deborah Sengupta Stith | Friday, July 24, 2009, 06:00 AM

Andrew Southam

We’re giving away tickets to see Will Hoge at Stubb’s (inside) on Friday, July 31.

By Patrick Caldwell | Thursday, July 23, 2009, 05:14 PM

Charmingly jangly, Pavement-esque Austin indie pop quintet Peel will soon be taking a break of indeterminate length, according to two e-mails from Travis Higdon, of the band’s label, Peek-A-Boo-Records. Peel will play a farewell show at 9 p.m. July 31 at East Side studio Baby Blue, 1522 E. 12th St. Sunset and Little Stolen Moments will open.

“Peel singer/guitarist Josh Permenter has decided to follow in Doug Sahm’s footsteps and move on out to San Francisco for a stretch, so this will be Peel’s last show for a good while,” wrote Higdon. “I think Allison (Moore) and Dakota (Smith) are going to try and continue the band in some form or another. Once Josh leaves, they’re the only two remaining founding members. It may or may not still be called Peel — it’s all kind of up in the air and I don’t think they’ve figured it out themselves.”

Formed as a trio in 2004, Peel has spent the last five years as one of Austin’s more dependably chipper pop bands, joining shaggy riffs with catchy hooks and a decidedly playful lyrical bent. They followed their self-titled 2007 debut album — which garnered positive, if brief, mentions from everybody from the Onion A.V. Club to the Washington Post — with a self-released EP last year. Both the first album and first EP can be streamed for free online. Peel has been working on and still intends to finish recording a second EP before Permenter leaves, according to Higdon.

By Chad Swiatecki | Thursday, July 23, 2009, 04:08 PM

If you’re looking for the new punk rock, I’ll officially offer up a nomination for chiptune music as the best mega-weird genre currently lurking WAY below the pop music substrate.

As you’ll see and hear in the video above, chiptune is blippity-bloppity almost-techno composed using the sound capabilities and processing guts of eight-bit videogame systems, and then replayed live using the once popular entertainment modules with old-school Nintendo GameBoys as seemingly the most popular device.

The clip above was shot at Austin’s shoebox masquerading as a bar, Club 1808, and featured a handful of artists - Corpus Christi’s I.A.Y.D. is the longhair you see thrashing around here - from around Texas lurching rhythmically while stabbing keypads and “B” “A” buttons like I used to during pre-teen Tetris freakouts.

I ain’t easy listening by a long shot, but as a brand new discovery for a music fan who spent his formative years with crowds going crazy at small-town punk and metal shows, this was a revelation.

By Michael Corcoran | Thursday, July 23, 2009, 02:44 PM

KUT’s Paul Ray and KLBJ-FM’s Dale Dudley and Bob Fonseca have been named to the Texas Radio Hall of Fame, it was announced today. The 8th annual honors will be handed out Nov. 8 at the Tin Hall near Houston.

A 32-year veteran of KUT, Ray has been at the center of controversy at KUT in recent weeks, after his on-air hours were cut to one night a week.

“I guess it’s one of those kismet things, where right after I get axed from the jazz shows I get this Hall of Fame recognitions,” Ray said, when he was notified of his upcoming induction. “I just tell people to don’t take it personally. It’s just numbers.”

Ray added that he was gratified by all the people who took time to post comments on the news item that his two jazz segments and three midnight to 3 a.m. shifts have been replaced by national or in-house programming. “It’s their radio station and they’re passionate about it,” he said, adding with a laugh: “I’m glad I don’t have to stay up until three in the morning to play Death Cab For Cutie.”

By Brian T. Atkinson | Thursday, July 23, 2009, 01:46 PM

Tori Amos has long examined sacred tenets that dictate sin and salvation. The native North Carolinian’s new ‘Abnormally Attracted to Sin,’ which she debuted at this year’s South by Southwest, frequently applies those doctrines on a search for political deliverance. ‘We can’t expect that the government will help us,’ Amos says. ‘In order to become a responsible person, you have to begin your quest for consciousness.’ The 45-year-old supports the multifaceted collection tonight at the Long Center.

American-Statesman: Your first South by Southwest appearance was a big event.

Tori Amos: That night felt like a love-in. There were all these bodies jam-packed together, but it wasn’t violent. It was buzzing. It felt like ecstasy, really, like the energy in the room was positive, loving, open and creative, not destructive and violent.

What was your overall impression of the festival?

I liked the diversity. You had a whole town pretty much a part of it. In Europe, the festivals are well done, yet it’s away from the town. I loved that the whole city of Austin becomes a part of it.

You’ve called the new album ‘really handmade.’ Explain how it came together.

Being out on the road a long time, working with those characters, I began to open up to them, I think. I would like to say I evolved. They influenced me by pushing me to not stay in the same image, physically or visually or philosophically. I began to embrace how these characters were thinking. I don’t need to put my rubber tights on to step into Pip anymore.

Talk about where you found the title track.

I was watching ‘Guys and Dolls,’ and I put it on pause when I heard that (phrase). I turned left and didn’t go back (laughs). The record isn’t about that movie, but that phrase has such possibility if you really allow yourself to open up to it.

Of course, you often address spirituality. Do you agree with songwriters who view songwriting itself as spiritual?

I agree with them. I would like them. I’m probably not very interested in the work of songwriters who don’t think of it as a spiritual experience. I think there are ‘jobbing songwriters’ who try to get people to think of a product or whatever. I don’t know if you even call that songwriting. It’s not composing, I don’t think.

Has your own spirituality evolved as an adult?

Well. I think that traveling - I’ve been touring since 1991 - has really changed me. And I’ve studied mythologies of other cultures since I was very young. Because my father was a minister, I was desperately starving for knowledge of other belief systems. I couldn’t accept that what I was being given was all that has existed. The Native American tradition has been core. Now in my mid-40s, I’d say I try to walk the good red road path.

How does that play into your idea that we’re controlled by the threat of despair?

Well, if you have masses of people who are in despair, they’re not very powerful, are they? You don’t have to be threatened by them. This is about how governments control the masses. They alone can’t change the system - we as the masses have to choose to enlighten ourselves. We need to become aware and responsible for ourselves.

Tori Amos performs at 8 p.m. Saturday at the Long Center. Advance tickets are $49.50-$85. 457-5110; thelongcenter.com.

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By Michael Corcoran | Thursday, July 23, 2009, 01:46 PM

Bob Schneider will release his next LP. the just-completed “Lovely Creatures,” Sept. 29 on Dallas label Kirtland Records, the home of the Toadies. “We’ve been a fan of Bob for years,” said Kirtland general manager Tami Thomsen, “so having him on our roster is thrilling. The new record is amazing.”

Schneider record “Lovely Creatures,” which includes a new version of Scabs standby “Tarrantula,” in Austin with producer Dwight Baker. The LP contains a duet with Patty Griffin on “Changing Your Mind.” The first single “40 Dogs” has already been receiving airplay on KGSR.

Schneider plays ACL Fest in October. He’ll also play Antone’s Oct. 2, the first ACL Fest aftershow annnounced.

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By Brian T. Atkinson | Thursday, July 23, 2009, 01:38 PM

Here are the stories behind ‘Strong Black Vine,’ ‘Maybe California’ and ‘Ophelia’ from Tori Amos’ ‘Abnormally Attracted to Sin.’ Amos performs at 8 p.m. Saturday at the Long Center, 701 W. Riverside Drive. Advance tickets are $49.50-$85.

‘On “Strong Black Vine,” the idea of intolerance to me is the greatest sin. It’s just everywhere, isn’t it? It’s prevalent. The record is investigating lots of things. There’s the idea of erotic spirituality. If people could integrate their sexual and their spiritual, let me tell you right now, you would have a lot of couples together. Divorce attorneys would be out of a job. First of all, you’d marry the right person or be with the right person. Then, if it wasn’t the right person, “We don’t want to be together now.” And I don’t have to beat you to death for it.

‘See, what I’m saying is, it runs very, very deep in our society that a lot of people depend on the masses — us — to be in a state of destruction, whether it’s divorce or taxes. A lot of people don’t make their money in making us whole and resolved, but they make their money on us being a mess. That is core, factual stuff. When you talk about despair, that’s despair.

‘So, how do you combat it? You have to out-create destructive energy. You have to choose to say, “I’m not going to depend on this system to feed me spiritually. I’m going to draw to me like-minded people, and I’m not going to stay in this (victimized) place.”

‘There are songs on the record — as in “Maybe California” — where a woman, a mother, is on the verge of suicide. If she takes a step, it’s so incredibly grave; what will happen to those who she loves? The record has emotions that run the full gamut from when you feel powerful and have the strength to stand up to governments, like “Strong Black Vine,” or talking about a religion’s evil faith and their abuse of power. In “Ophelia,” the woman is recognizing that to break this chain, this pattern of always bringing abusive people into her life, only she can do it.’

By Michael Corcoran | Thursday, July 23, 2009, 11:25 AM

Although you can count on Alejandro Escovedo, Ian McLagan and the Bump Band and David Garza being on hand, the lineup for the Sept. 9 benefit for Austin music portrait photographer Todd V. Wolfson has yet to be finalized.

Wolfson had a career-threatening bicycle wreck July 11th, when he hit a patch of defective pavement on North Loop. Thrown over the bike’s handlebars, Wolfson split his elbow joint in half, suffered two compound fractures and took 11 stitches to repair a gash in his forehead.

A part of the music scene for 30 years, Wolfson is a beloved figure who often works on the cheap for musicians he admires. Expect the benefit to attract a who’s who of the scene.

By Deborah Sengupta Stith | Thursday, July 23, 2009, 11:14 AM

Festival organizers confirm that Jay-Z has been booked in the Beastie Boys’ recently vacated headline spot at the All Points West festival at Liberty State Park in Jersey City next Friday. This will mark the superstar rapper’s debut U.S. festival appearance. Somehow I doubt that this means Jigga Man will be heading our way to sub for the Beasties at ACL Fest, but hey, a girl can dream, right?

In other Beastie Boy replacement news, the Yeah Yeah Yeahs are filling in for the Boys at the C3-booked Lollapalooza Festival in Chicago. It seems much more likely that they’ll hit the stage at Zilker.

Interactive: Who should replace the Beastie Boys at ACL Fest
More ACL Fest

By Michael Corcoran | Thursday, July 23, 2009, 11:08 AM

Anyone who doubts that Austin, at least at one time, was truly the live music capital of the world should read about the time Austin musicians (with a telephone assist from Van Morrison) played “Gloria” for 24 hours straight to mark the end of Liberty Lunch. Top that, Brooklyn!

Here’s organizer Michael Hall’s account. I recall the last hour, with Joe King Carrasco’s dog howling along with a horn section, as one of the most amazing things I’ve ever witnessed.

Has it really been ten years since the demise of Liberty Lunch, which was the Armadillo for all of us who arrived in the ’80s?

By Music Source | Thursday, July 23, 2009, 11:07 AM

FRIDAY

Castanets at the Mohawk. Also known as Raymond Raposa and whomever happens to be playing with him, Castanets play a surprisingly assessable semi-psychedelic folk. Raposa recently toured the East Coast’s Atlantic Intracoastal Waterway in a sailboat with sometime Texas singer-songwriters Jana Hunter and Peter and the Wolf. With Warmer Milks, Tiny Vipers, Lazarus. —- Joe Gross

Also recommended

Charanga Cakewalk, Patricia Vonne at the Continental Club
Terry Allen, Barbara K at the Cactus Cafe
Marcia Ball, Gary Clark Jr. at Antone’s
James Hand at the Broken Spoke
Vaaska, the Altars at the Welding Shop (6215 N. Lamar Blvd.) ( 9 p.m., free)
One Eyed Doll at Stubb’s
Motel Aviv, Built by Snow at the Beauty Bar
Don Chani, Dr. Dubbist at Flamingo Cantina

SATURDAY

Tori Amos at the Long Center. Part of the ‘Sinful Attraction’ tour (no, really), Amos just released her Universal Republic debut album, ‘Abnormally Attracted to Sin.’ She is also abnormally attracted to really long records — this 17-song epic could have been halved for maximum impact without losing any of its sweep. But as long as she straddles a piano bench, she will have a serious, lifelong fanbase. 8 p.m. — J.G.

Also recommended

Cage, Yak Ballz at Emo’s
Ice Cube, Trae at the Travis County Expo Center
Loxsly at the Mohawk
the Bronx at Red 7
Golden Bear, Low Line Caller at Emo’s
Soulhat, Topaz at Antone’s
Fowler Fest at Nutty Brown Cafe
Magnolia Electric Co. at the Mohawk
the D’s, Pocket FishRmen at Room 710
Make Austin Weirder Fest 10 at Room 710 (early show, 3 to 8 p.m.)
Pterodactyl, Woven Bones at the Beauty Bar
Grimy Styles at Flamingo Cantina
Foot Patrol at the Scoot Inn
BettySoo at Saxon Pub

SUNDAY

Davy Knowles and Back Door Slam at Stubb’s. Knowles is the blues axeman who blew everyone away at ACL Fest a couple years ago. He’s parted company with the other two blokes, did a solo tour opening for Jeff Beck and went into the studio with Peter Frampton. Check out what the kid’s up to now. 10 p.m. — M.C.

Also recommended

By Music Source | Thursday, July 23, 2009, 10:38 AM

Todd Bradley

We’re giving away tickets to see Davy Knowles and Back Door Slam at Antone’s Sunday, July 26.

By Michael Corcoran | Wednesday, July 22, 2009, 04:28 PM

Suzanna Choffel and David Garza are playing a benefit Aug. 9 for the Austin Music Foundation, which provides education and career resources for local artists. The show’s at El Sol y La Luna from 5 p.m. - 7 p.m.

Don’t be surprized if Zanna and Dah-Veed don’t duet on traditional Spanish music, as they did recently at Momo’s.

The evening will include complimentary appetizers and beverages as well as a silent auction. Tickets are available at www.frontgatetickets.com for $35.00 each, with all proceeds benefiting Austin Music Foundation’s educational programs.

By Michael Corcoran | Wednesday, July 22, 2009, 01:23 PM

Promoters Massive Intent are hosting a rave (do they still call them that?) at the Travis County Expo Center Sept. 5 featuring all-female DJs, including Sandra Collins of Los Angeles, Austin’s Anjlkllr (pronounced “Angelkiller”) and bassmasters DJ Rap, Empress and many more.

Massive Intent produced last month’s successful Future Fest.

The A-List: Future Fest at the Expo Center, 06.27.09

Get tickets online here.

By Deborah Sengupta Stith | Wednesday, July 22, 2009, 01:15 PM

As our friends at the Austinist reported this afternoon, local band The Daze will be featured in the upcoming teen flick “Bandslam” featuring “High School Musical” star Vanessa Hudgens. Also appearing in the film are local rappers (and July 360 concert series artists) Zeale 32 and Phranchyze. You can actually catch a couple seconds of Zeale rapping in this trailer at around 26 seconds, thankfully, before Vanessa Hudgens starts dropping her ska/rock thing.

By Michael Corcoran | Wednesday, July 22, 2009, 11:22 AM

How many times have you been to a club show by an out-of-town band where the singer asks if anyone in the audience can put up the band for a night? The Austin-based Better Than the Van handles such requests in advance. Thanks to tons of national press BTTV, co-founded by former touring musicians Todd Hansen and Scott Miller, is building a network of friendly couches and spare bedrooms all over the country, making the days of six in a motel room a thing of a past to many bands touring on a shoestring.

To find out more about this program, BTTV and Do512.com are hosting a happy hour event at Beerland on Thursday July 30 from 7- 9 p.m. There’s free Lone Star beer while it lasts and Quiet Company and Built By Snow will play sets.

By Michael Corcoran | Wednesday, July 22, 2009, 09:25 AM

With Farm Aid coming to the St. Louis suburbs this Oct. 4, Jeff Tweedy (from Belleville, IL, 40 miles from St. Lou) and Wilco have signed up to play with F.A. directors Willie Nelson, Neil Young, John Mellencamp and Dave Matthews. Tickets go on sale Saturday.

As long as they’re doing one-off shows in preparation of a fall tour, you’d think the band could swing down to Austin to take the recently vacated Oct. 2 headlining slot at ACL Fest. But on Monday, after word of the Beastie Boys cancellation, Emily Rosenblum of Wilco’s management said “as of right now, this is not possible” for Wilco to replace the Beasties. The band may already have plans to headline in Austin on its U.S. tour.

By Michael Corcoran | Tuesday, July 21, 2009, 05:45 PM

Who needs to sign with a label when your manager starts one up for you? Kevin Wommack’s Playing In Traffic label debuts in stores today with the release of “Take It All In,” a five-song EP by the Steps. The young garage-poppers are bringing their full-throttle romp to California, but they’ll be back in Austin to celebrate the new Frenchie Smith-produced release Aug. 1 at Stubb’s, with a Waterloo Records in-store Aug. 3.

Other artists signed to Playing In Traffic are Los Lonely Boys, 20-year-old Wimberley native Sahara Smith and a young Austin new wavish band called the Speak. Wommack’s Loophole Entertainment also manages all those acts, forging a business model that has gained popularity in an ever-changing music industry. “The reason to sign with a major label is to get distribution and to have someone pay to have the record made,” Wommack said. “Because of the success with Los Lonely Boys, we have a great relationship with RED distribution (a division of Sony), so they’ll be handling that for us.” And with labels strapped for cash, it’s easier —- and less frustrating —- to just make the record yourself and receive a bigger piece of sales revenue.

The Sahara Smith album is being recorded at T-Bone Burnett’s studio in Los Angeles, with “Raising Sand” engineer Emile Kelman producing.

By Joe Gross | Tuesday, July 21, 2009, 11:30 AM

Kelly Clarkson is coming to the new and thus-far unopened Cedar Park Center Nov. 2.

She is touring on her newest album, “All I Ever Wanted” in the fall. Joining Clarkson are Australian sister duo The Veronicas and the band Parachute.

The tour kicks off Oct. 2 in Uncasville, Conn. I am looking forward to hearing “Since You Been Gone” an “I Do Not Hook Up” with about 8,000 of my closest friends.

Tickets for the first shows go on sale Aug.15, with the remaining on-sales rolling out in the coming weeks. Check out www.kellyclarkson.com for more information.

George Strait’s Sept. 25 concert is the first event slated to take place in the new venue.

By Music Source | Monday, July 20, 2009, 04:50 PM

While we’re terribly dissappointed about the Beastie Boys ACL cancellation and sincerely wish Adam Yauch a speedy recovery, we are left to wonder who will take the band’s spot on the bill. We’ve pulled out a few of our top picks (yes, we’re dreaming big). Use our interactive to let us know who you think is up to the job. Also, feel free to log your own choices in the comments below.

Interactive: Who should replace the Beastie Boys

ACL grids are out
Daily lineups: Friday | Saturday | Sunday
Hot or not? Rate the 2009 ACL bands
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By Chad Swiatecki | Monday, July 20, 2009, 11:24 AM

Oh man. This sucks. A recently diagnosed cancerous tumor in Adam Yauch’s left parotid (salivary) gland means the Beastie Boys are canceling all tour dates and appearances for their new album, which has also been put on hold.

C3 did not have a comment Monday on what will go in that slot.

From their publicist: “Adam “MCA” Yauch of Beastie Boys was diagnosed last week as having a cancerous tumor in his left parotid (salivary) gland. Luckily it was caught early and is localized in one area, and as such is considered very treatable. It will however require surgery and several weeks of additional treatment. Fortunately the cancer is not in a location that will affect Yauch’s vocal chords.

Beastie Boys have canceled all upcoming concert appearances to allow time for Yauch’s surgery and recovery. The release of the band’s forthcoming album Hot Sauce Committee Part 1 will also be pushed back.

Paraphrasing from a video statement on Beastieboys.com, Yauch said, “I just need to take a little time to get this in check, and then we’ll release the record and play some shows. It’s a pain in the neck (sorry had to say it) because i was really looking forward to playing these shows, but the doctors have made it clear that this is not the kind of thing that can be put aside to deal with later.”

ACL grids are out
Hot or not? Rate the 2009 ACL bands
Daily lineups Friday | Saturday | Sunday
Full ACL Fest coverage

Yauch explains his diagnosis in this video:

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By Joe Gross | Monday, July 20, 2009, 10:05 AM

Here you go.

Some initial thoughts:

School of Seven Bells at the Barton Springs stage at 12:30 p.m. Friday could be a big hipster draw. But I can also see them playing an aftershow at, say, Mohawk or Emo’s.
What’s the over-under on Lily Allen actually showing up?
Weird hole on Friday at the Lady Bird Lake stage between the Walkmen and Lily Allen? Something biggish that is not yet confirmed, probably.
Can’t really see the Knux and Blitzen Trapper drawing the same crowd. The rest of the weekend seems pretty well balanced. (Ghostland Observatory vs. Dave Matthews Band, Trail of Dead vs. Bon Iver, B-52s vs. Clutch)
Sunday is my jam. Clutch, Arctic Monkeys (whom I might as well give another chance), the Dead Weather (a.k.a. late-period Royal Trux for the Twitter generation), Sonic Youth and headliners Pearl Jam, who will probably play as long as humanly possible.

So what do you think?

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By Chad Swiatecki | Sunday, July 19, 2009, 08:47 PM

“When I see you again, Vinnie, it better not be north of Sixth Street, or west of Red River. This is my ground, no one else’s. It belongs to me now.”

Forgive that bit of overwrought just-now improvised movie dialogue, but I was feeling inspired after reading this bit of news about Boston music heavy and aspiring filmmaker Elgin James, who the FBI says led a Boston-based street gang that sought to control the local music scene using intimidation and violence as its main tools.

There’s not really an Austin connection here, other than the daydream scenarios you could work up involving a blood feud between local heavy hitter promotion groups Transmission Entertainment and C3 Presents, and the scores of dead and dying hipsters littering the streets as a result.

Heh, just kidding Graham and Charles.(gulp)

Now, if you’ll excuse me I’m gonna grab some copyright forms and register a MySpace Music page for the surely soon-to-form band Red River Mafia.

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By Brian T. Atkinson | Sunday, July 19, 2009, 03:52 PM

Supersuckers photo by Michael Lavine
Twenty years along, Eddie Spaghetti still fuels the Supersuckers’ barrelhouse rock with teenage vitality. Today, though, the songwriter’s messages reflect wisdom from roads traveled. Key lesson learned: The Seattle quartet’s surefire quality-assurance test. “We run the things that are important to us through the Willie (Nelson) filter,” Spaghetti says. “‘Would Willie approve of this?’” The Supersuckers support “Get It Together,” last year’s adventurous and lyrically rich collection, Tuesday at the Scoot Inn.

American-Statesman: You just returned from touring Europe.
Eddie Spaghetti: Yeah, it was a lot of fun. We played a festival that’s comparable to the Hootenanny in (Irvine), Calif., that went really well. There was a weird Euro version of hot rod culture. They don’t quite know how to do it, but they try (laughs).

Was the (Spaghetti Family European Holiday) tour literally a family event?<br> Yeah, I took my wife and kid, and we went on a three-week road trip through Europe. My son got a real mathematical education in how to make European change. He loves traveling with the guys and feeling like he’s part of the gang. My wife is pregnant right now, so we’re trying to get one last hurrah in before the baby comes.

How did such adult concerns inform the songs on ‘Get It Together’?
I just don’t see it as immediate as our other records. It’s not like we intentionally set up to make this thinker of a record, but when we got done and sat back we realized it was a lot different than Supersuckers albums have been in the past.

Are you talking lyrically or musically or both?
Both, but I’d say mainly lyrically. It has a lot more mature themes on it. There are things that I’ve gotten less afraid to say as I’ve gotten older. In the past it’s always been all about the liquor, women, guns and killing, which is cool, too. There’s a place for that as well. There are relationship songs, but there are also goofy songs like “I’m a (expletive) Genius.”

Right. What was the inspiration for that song?
You know, just thinking that you’re a (expletive) genius (laughs).

Fair enough. What have you learned after two decades on the road?
Well, we never considered ourselves to be musicians to begin with. But at some point, you have to put on your passport under occupation: “musician.” You comes to terms that this is who you are, and you have to take it seriously. You have to want to succeed at it and want it and slug it out in the clubs like we do. Unfortunately, that’s our lot in life. For better or worse, we’re a club band.

You’re not OK with that?
We’re happy to have the job, that’s for sure, but we’d be lying if we said we didn’t want to have it better and have more success. That’s, of course, always the goal.
Your creative online marketing - on your site and selling rarities on eBay - certainly helps spread the word.
Yeah, it’s invaluable. If you told me even seven or eight years ago that it’d be this invaluable tool and you’d be using it like a (expletive), I would’ve laughed in your face. Now we always have our laptops with us and are asking if there’s a wireless signal at the club.

The Supersuckers perform at 8:30 p.m. Tuesday at The Scoot Inn, 1308 E. Fourth St. Tickets are $12 at the door. 524-1932.

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By Michael Corcoran | Sunday, July 19, 2009, 11:42 AM

Six of the 10 top tier acts at the Free Press Summer Fest, which takes place Aug. 8 & 9 at downtown Houston’s gorgeous Eleanor Tinsley Park, are from Austin. Explosions In the Sky, Riverboat Gamblers, the Sword, Octopus Project, UME and What Made Milwaukee Famous join Prince Paul, Broken Social Scene, Of Montreal and Devin the Dude as the last to play the two stages. Tickets are $12 at the gate each day.

Promoter Don Schwarzkopf hopes to rebound from last month’s near-disasterous 6th annual World Beat Music Fest in Houston, which drew about 500 (expected crowd: 12,000) to see headliners Chaka Khan and Steel Pulse. Love the University of Houston Daily Cougar’s headline of that bust: “Turnout affects festival’s success.” Who says journalism is dying?

By Chad Swiatecki | Saturday, July 18, 2009, 05:01 PM

Friday at Stubb’s was one of those nights where no one was leaving 100 percent happy, the product of a double headliner show with two camps of fans and styles that never quite meshed.

Not that either Rancid or Rise Against (the top draw according to my ticket stub) or openers Billy Talent have anything to make up for, as all three bands delivered plenty to keep their fans hopping, moshing and yelling along during every note. It’s just that because of the slight but always apparent musical schism chances are you were going to mentally check out for a bit while a band you didn’t quite get was getting showered with cheers.

For yours truly the big attraction were the punk vets in Rancid, sandwiched in the middle but playing with the solidity and ease of a headliner. Almost 20 years into their careers, dual singers/guitarists Tim Armstrong and Lars Frederiksen showed the vigor of their younger counterparts, kicking off with “Fall Back Down” from 2003’s “Indestructible” album and “Last One To Die” from the new “Let The Dominoes Fall.”

From there the set leaned heavily on the band’s mid-’90s anthems; “Radio,” “Ruby Soho,” “Time Bomb,” “Salvation,” “Roots Radicals,” “Journey To The End of East Bay.” It was all expertly executed out of the band’s sing-along ska/punk wheelhouse, with a nice breather mid set when an upright bass, acoustic guitar and ukulele gave the new “Civilian Ways” a slower, folksy charm.

In barely 50 minutes they were done - “How does any band get a longer set than those guys?” an indignant Rancid fan near me who was visiting from New Mexico asked to no one in particular - clearing the way for Rise Against to take over for the rest of the night.

I won’t pretend to be an expert here as my only exposure to the Chicago foursome is from hearing a handful of plays on the radio and seeing them open for Bad Religion almost five years ago. To me, it’s dumbed-down Fugazi lite crossed with arena rock. But looking out at the surging youth screaming along for their hour-plus set, it was obvious I’m not a target demo for this sort of thing.

Which is fine. Lead singer Tim McIlrath clearly knows how to connect with his bellowed bursts of vague alienation, underscored by Austin resident Zach Blair’s churning guitar, but on the whole it left me feeling mostly empty and happily out of touch.

To close: do 50 thrilling minutes justify another nearly two hours of tedium and watch checking? I guess, but it’d be nice if that was a debate I or the rest of the sold out crowd didn’t have to wrestle with at night’s end.

By Michael Corcoran | Saturday, July 18, 2009, 03:58 PM

Every local band should be lucky to have a night like the Mercers had Friday at the comfortably crowded Parish. It was a release party for the new CD “Hovercraft” and the audience was severely digging the epic sound created by singer Peter Wagner, the driving rhythm section of bassist Bryan Ray and drummer Ethan Herr and sound spicer Erik Ray on keyboards.

A singer- songwriter impressively talented in both areas, the full-throated Wagner (ex- Choking Ahogo) would draw easy comparisons to a young Peter Gabriel if his songs weren’t such sharp blasts of pure melodic rock. Mixing songs from the 2007 debut “Pretty Things Walk” with the more textured “Hovercraft,” the band displayed traces of emo angst (“3:33”) and new wave flutter (“Unamericana”), with the echo heavy on Wagner’s voice. But as they valiantly rode the set out on the meaty blues lick of “Gamblers,” it was apparent that this is a group of many influences, sliced and shredded and tossed into its own thing.

The set’s hinge was “All She Wants/ Monsters,” a forceful number at the midpoint which hid its ambitions in handclaps. As the audience clapped along in rhythm, Wagner, who’d been singing with the veins in his neck bulging just seconds earlier, couldn’t help but beam.

Wow, if they could all be like this one …

By | Friday, July 17, 2009, 04:22 PM

We have a story running in the Statesman on Monday about beleaguered Austin musician Wes Hayden, who was portrayed as the villain on “The Bachelorette.” You can read the story now online by clicking here.

In the interview, Hayden explains that he did not have a girlfriend during the taping of the show and attempts to defend his sullied name.

Click below to listen to Hayden’s song, “You Still Get Me.”

Listen here

By Joe Gross | Thursday, July 16, 2009, 07:47 PM

There are some extraordinary moments in the 13th Floor Elevators song “Reverberation” that come at the end of each verse. Roky Erickson’s voice, controlled, just starts to open up, just a little. The effect is something like: “You only know/ you have to go but still you can’t get out. You try and try,/ you die and die/ You’re stopped by yOUR OWN DOUBT!” This is repeated on the other two verses, with rising tension.

But it never resolves into a scream, never unleashes the mental stress the singer is under. One gets the impression that if it did resolve, if Roky really opened his throat up, he would break the microphone or smash the club to rubble.

It’s an amazing vocal trick, full of panic and fear and defiance and adventure. And he can still totally pull it off.

Which he did Wednesday night at Antone’s.

After strong sets from the Golden Boys (sporting a big band complete with harmonica, mandolin and Ralph White on violin) and the Riverboat Gamblers (singer Mike Weibe’s penchant for leaping around the stage continues unabated), Roky and his band took the stage.

It was Roky’s birthday party, complete with a cake and a guy in the corner of Antone’s making pancakes. Roky is now 62 years old. And he opened with “Reverberation,” dropping the jaws of even the most hardened Roky fanatics in the crowd. This was not expected. And it was most welcome.

With Kyle Ellison (Meat Puppets, Pariah) on lead guitar, spotless drummer Kyle Schneider (Ian Moore) and bassist Matt Harris (Oranger, the Posies), there was something stripped down and muscular about the songs, which ranged from vintage proto-punk (“Two-Headed Dog,” “Creature with the Atom Brain”) to Roky staples (“Starry Eyes,” “You’re Gonna Miss Me”), epic blues (“The Beast,” the only song on which Roky played lead, his tiny amp washing the spiky notes in fuzz) and a well-received rarity (“And Now We Fly”).

It’s been said before but it bears repeating: There is no comeback story in rock ‘n’ roll like Roky’s. Period.

Ten years ago, as one musician who had worked with Roky said, “We thought we would be making him comfortable, getting him what he wanted and needed, waiting for him to die.” Now, he seems delicate, but as far from death as anyone else in the room.

And hearing “Reverberation,” one flashed on that scene in “Ghost World” where Enid tells blues collector Seymour that she’s been listening to Skip James’ “Devil Got My Woman” again and again.

“Do you have any other records like that?” she asks.

“There are no other records like that,” he says.

Happy birthday, man.

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By V.M. Black | Thursday, July 16, 2009, 06:35 PM

Wednesday evening, Chicago’s post-rock, grand experimenters in sound Tortoise owned the Mohawk’s outdoor stage. Mixing rock, jazz, electronica and the kitchen sink, the band played highlights from their recent release Beacons of Ancestorship as well as fan favorites from their more than decade-long career during what would prove to be a warm up for their homecoming appearance at this weekend’s Pitchfork Music Festival.

Musicians and music nerds filled the near capacity audience as the band’s instrumental, genre-melding sounds washed down Red River street from the Mohawk (props to the Mohawk on the quality of their PA as the sound walked the tightrope of being massive, punchy and tight).

I won’t even begin to attempt to provide a setlist as Tortoise’s dulcet songs undulated and careened into one another, although die-hard fans appeared to know where several songs stopped and where others began. The band - Dan Bitney (bass, guitar, percussion, vibes), John Herndon (drums, vibes, keyboards), Doug McCombs (bass), Jeff Parker (guitar, bass) and John McEntire (drums, keyboards) - are phenomenal musicians, long on originality and inventive playing. They all switched instruments, sometimes mid-song, with the sound becoming most explosive when dual drummers were locked in a rhythm, or dual bassists intertwined serpentine melodies.

A couple of tracks recalled the dense arrangements of Ennio Morricone’s spaghetti western soundtracks. But just when you thought you had the origins of the groove figured out, the band unexpectedly dropped into a 5/4 time signature or played with such polyrhythm that they made 4/4 feel like an odd time signature.

As strong as Tortoise’s set was, the song cycle they played felt as if they were pulling the reigns a little too tightly. The band’s extended jams could have been further elevated with a little more Ornette Coleman and a little less John Coltrane, more Parliament-Funkadelic, less James Brown, more musical freakouts, less conservative restraint.

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By Michael Corcoran | Thursday, July 16, 2009, 11:32 AM

Who knew that Larry Monroe came up with David Letterman? We received this post today from Larry Monroe, who’s at the center of controversy at KUT:

“Hello Folks, Larry Monroe here.

First off, thank you for all the support you have given my radio programs during my 28 years at KUT. This job has been the most interesting and rewarding of my career, which began when I was a 13 year old kid in Hartford City, Indiana. Floyd Huffman built a ten watt radio station up in the rafters of our high school gymnasium so he could broadcast basketball games to moms and dads and grandmas and grandpas who couldn’t go to them. And he taught about eight or ten of us how to be sportscasters and disc jockeys. I was one of his students, and I got my third class broadcasting license when I was 13. I have been playing records on the radio ever since. Incidentally, WHCI-FM was one of the very few high school radio stations in the 1950s. Thank you, Floyd, for starting me on my life-long career path.

After that I studied Radio, TV, English and Literature at Ball State University in Muncie, Indiana. Dr. William Tomlinson and Dr. Robert Guinn, and later Dr. Darrell Wible, were my professors, and I value very highly the broadcasting education they provided me. David Letterman and I shared several Radio & TV classes. Dave and I studied television on the old Yankee Stadium black & white TV equipment. When Yankee Stadium converted to color TV Dr. Tomlinson bought their old master control switcher and two of their cameras and started the Ball State TV department with them. I had music programs on the student radio station, WBST-FM, and I also worked at my home town radio station, WWHC-FM. On that station I did play-by-play for basketball and football games and did weekend music programs. I also found a summer and weekend job at WTRE-FM in Greensburg, Indiana when I was a junior. After I graduated in 1967 David Letterman got that job. When I spoke with Dave several years later he told me that the WTRE-FM job had gotten passed on to other Ball State broadcasting students in the years to follow. I was on the radio in Ann Arbor and Detroit from 1969 until 1977, and I moved to Austin in 1977. One of my main goals was to put Austin music on the radio.

Since March of 1981 I have been on KUT. In those 28 years I have had the opportunity to present to the KUT listening audience many artists that I have admired for many years as well as younger artists that I came across in my research in the barrooms, night clubs and venues in Austin. The first “live concert” show I hosted on KUT was on October 8, 1981 and the guest was Lucinda Williams accompanied by Walter Hyatt and Champ Hood. About ten years later I hosted an Easter Sunday Liveset featuring Willie Nelson and his whole band, including his sister Bobbie on the Studio 1-A Steinway Grand Piano, the legendary Johnny Gimble on fiddle and Kimmie Rhodes and Ray Benson on vocals. Willie and the band played gospel songs live on the radio on Easter. The show started at 8 PM and at about 20 after 9 Willie asked me, “How long is this show?” I said, “It usually ends at 9, but you can play as long as you want to.” (I was the host of the program that followed Liveset, Texas Radio, so we weren’t encroaching on anybody else’s time…and…it was Willie Nelson.) So, he played another 20 minutes or so before wrapping it up. Carolyn Phillips referred to this program in an earlier post on this page.

Which brings me to the posts on this page. Thank you for the kind words you have posted about my programs. Those comments mean the world to me. I have always tried to do my best work for you. Back in college I learned that radio is the most intimate medium, a very personal medium. You may have many, many listeners, but they are not all in the same big room. Often it is just you and me. Or you and your sweetheart and me. At most, a small group. In my early days at KUT I would imagine that Barbara Jordan was listening and I would try to make the programs as good as I could in case she were actually listening. (Personal note: Go see the Barbara Jordan Statue on the UT campus at 24th and Whitis. It is magnificent.)

Chip Taylor’s post caught my eye, and I would like to share my memory of the day that I met the guy who wrote “Wild Thing.” First off, the time frame Chip remembers is a little off. In those days Phil Music ran from 8 PM until midnight. My recollection is that Chip called me at the station at around 9 PM or so.

“KUT.” “Hi, this is Chip Taylor.” “The Chip Taylor who wrote ‘Wild Thing?’” “Yes. My guitar player, John Platania, and I are driving into Austin from Louisiana. We’ve been listening to your program since we picked up the signal a half hour or so ago, and you are playing great music. Can we come be on your show?” “Sure, come on in.”

I had just gotten Chip’s new album and I knew the backstory. Chip had left music for many years and had been a high stakes gambler. When his mother had gotten ill he would visit her and play his guitar and sing to her. That led him back into music and songwriting and now he had a new album and was on the road with Van Morrison’s long-time great guitar player, John Platania. A half hour or so later Chip and John showed up at the station and we did an impromptu radio show together. That is my recollection of the day I met Chip Taylor. I suppose if you average our two stories together the truth lies somewhere in between.

Again, thank you for the support and the kind words.

Larry Monroe 7/16/9

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By Joe Gross | Thursday, July 16, 2009, 11:10 AM

Internet radio station WOXY is moving to Austin.

The Ohio station started in 1983 on the FM band, went off the air in 2004, and then reinvented itself as Web station dedicated to underground/independent/alternative music. Bands such as Wolf Parade, Sonic Youth and Spoon are featured, while Jack White’s new outfit the Dead Weather recently contributed two DJ sets.

“The artists and music scene brought us to Austin,” WOXY general manager Bryan Jay Miller said Thursday. “We do live sessions that we archive online and that whole series is based on whatever artists might be touring through the area. Everyone comes to Austin.”

Miller says no Austin sessions have been set up yet: “We still have to see who is coming through town.”

All three formerly Cincinnati-based WOXY DJs - program director Mike Taylor, music director Matt Shiv and DJ Joe Long - are making the move to River City.

“The plan is to be broadcasting from the new studio on Sept. 8, the day after Labor Day,” Shiv said.

WOXY’s new studios will be in the Austin Theater at 2130 South Congress Ave., currently the home of ME-TV. The two companies will share office space, video equipment and the stage. For example, WOXY will use ME-TV equipment to videotape and archive live performances.

“We’re gonna be in there with them, I’m not sure if you would call it subletting or not,” Miller said. “We’ll have our own offices and our broadcast studio, but there will be common space that we both use.”

While the 9 a.m. to 10 p.m. Eastern Monday-Friday shows are live, overnight and weekend hours are preprogrammed. Many of the shows are taped elsewhere and sent in to the station.

“Are we going to change that to 9 a.m. to 10 p.m. Central Time? We don’t know yet, actually,” Miller said.

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By Patrick Caldwell | Thursday, July 16, 2009, 10:21 AM

On a balmy July night under the mercifully super-charged ceiling fans of Red 7, Dirty Projectors front man Dave Longsreth shared a secret with his Austin audience.

“It’s good to see everyone here,” said Longsreth, looking lanky and cheery. “I think this is our first outdoor show that’s actually gone right. There’s no rain and no thunderstorms.”

Those that caught their much-acclaimed set at Bonnaroo last month might disagree with that assertion, but the buzzworthy Brooklyn sextet did deliver a special evening for the hordes of sweaty music fans that packed the outside stage at last night’s sold-out show. The band is riding high on a wave of almost universal adoration in the wake of this year’s “Bitte Orca” (including high praise from this very paper) and took the opportunity of that momentum to deliver an energetic, tightly coiled set that should put to rest any lingering doubts about their ability to deliver live.

After an explosively animated opening from Austin’s the Laughing, the show kicked off with a 30-minute instrumental jam joining Longsreth, Dirty Projectors bassist Nat Baldwin and drummer Brian McComber with legendary Black Flag front man, SST Records founder and noted Taylor, Texas, resident Greg Ginn. As the improvised quartet’s mildly self-indulgent set drew on, slowly but inexorably the crowd’s mood transitioned from one of excitement (“This is so cool and unique!”) to inattention. The dull roar of conversation grew deafening and legions of scenesters unsuited to meandering old-school rock jams turned to their iPhones.

Fortunately, after a 15-minute break, Longsreth and pint-sized singer/keyboardist Angel Deradoorian took the stage for the first song of the Projectors’ set, a beautifully lilting rendition of folk-pop delight “Two Doves.” Replete with strings on album, the stage rendition is necessarily stripped-down, but Deradoorian’s pretty vocals carry the live performance. The result sounds simpler but no less effective, and it set a precedent for an evening of rich, full renditions of technically challenging songs.

The entire band came on stage to thunderous applause for “Cannibal Resources,” the striking first track off “Bitte Orca.” Longsreth’s whisper-thin vocals were joined by the three-part harmonies of Deradoorian, Amber Coffman and Haley Dekle, a sort of cute indie rock girl trinity that’s rapidly infiltrating the hearts of lovelorn hipsters everywhere. The vocal interplay between the three emerged as the night’s unquestionable highlight — at times joined in harmony and at times entering into a pitched battle of unstable warbles, as on a striking performance of “Remade Horizon.”

Ginn rejoined the band for “Gimmie Gimmie Gimmie,” one of three pre-“Bitte Orca” songs to show up in the set — and appropriately so, as it’s a cut off concept album “Rise Above,” Longsreth’s attempt at re-interpreting Black Flag’s “Damaged” entirely from memory. And Coffman nearly stole the evening with single “Stillness is the Move,” an almost Mariah Carey-esque nugget of R&B perfection, that climaxed with shirtless drummer McComber disappearing into a hard-hitting blur of skin and drumsticks. Encore songs “Fluorescent Half-Dome” and “Knotty Pine,” penned for the band by the Talking Heads’ David Byrne for charity compilation “Dark Was The Night,” brought the show to a satisfying close.

The Dirty Projectors have something of an inconsistent live reputation, perhaps befitting a constantly rotating band that’s logged 18 members in seven years of existence. But now that Longsreth seems to have settled for a more stable cast of characters, the Projectors have emerged from the relative ghetto of art rock as a surprisingly accessible, genre-crossing act. And that cozy lineup has also resulted in genuine on-stage chemistry and comfort, making for a show that — if not absolutely transcendent — at least lived up the lofty expectations set by one of the year’s best albums.

Setlist
Two Doves
Cannibal Resource
Remade Horizon
Ascending Melody
No Intention
Fucked For Life
Gimmie Gimmie Gimmie
Rise Above
Stillness Is The Move
Useful Chamber
Temecula Sunrise

Encore
Fluorescent Half-Dome
Knotty Pine

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By Music Source | Thursday, July 16, 2009, 08:29 AM

FRIDAY

Hayes Carll, Troy Campbell and Graham Wilkinson at Antone’s. The wily Hayes Carll is the draw at this Antone’s anniversary show, but come early to catch Graham Wilkinson and the Underground Township. Wilkinson has a new solo record, which he’ll probably play songs from. Campbell’s set will be a virtual Loose Diamonds reunion, with Scrappy Jud on guitar. $15. — Michael Corcoran

Also recommended

Brave Combo & Fabulous Polkasonics at Gruene Hall
Rise Against, Rancid at Stubb’s
Tony Campise at the Elephant Room
Owen Temple, Belleville Outfit at Momo’s
Willis Alan Ramsey at Threadgill’s
Dale Watson at the Continental Club
Brewtality Inc. 10-Year Anniversary show at Room 710
Loxsly at Scoot Inn

SATURDAY

Broken Teeth at Red Eyed Fly. Nobody channels Bon Scott like Jason McMaster. Only the words have been changed. With Heaven Below, featuring Patrick Kennison of Union Underground. — M.C.

Also recommended

SUNDAY

Jon Dee Graham and Miles Zuniga at the Continental Club Gallery. These Jon Dee duet shows are as much about funny storytelling as poignant songs, so this one should be especially good. Miles Zuniga of Fastball has a sharp wit, does funny impressions and then there’s that over-the-top laugh. 8:30 p.m. $17/$20. — M.C.

Also recommended

Foreign Born at the Mohawk
Loose Leaves (CD release) at Club DeVille
Matt Powell Trio, James Hyland at Momo’s
Celtic music jam at Fiddler’s Green

By Michael Corcoran | Wednesday, July 15, 2009, 03:22 PM

Scooped by the Smithville Times! My hometown paper has reported that Daryl Goerner, who records a mix of techno and classical music under the names Mejetairliner and the Blanket Ghost, has signed a record deal with Britain’s Cloudragon label.

A graduate of Smithville High (Go Tigers!), Goerner has been taking courses online at the Berklee College of Music and is expected to graduate in the fall.

To hear samples of Goerner’s music, go here.

By Michael Corcoran | Wednesday, July 15, 2009, 12:49 PM

Jon Voight’s brother Chip Taylor, who wrote “Wild Thing” and “Angel In the Morning,” recently posted this great story to the Music Source blog:

“We Just did a terrific radio show with host Matt Reilly. But, before I talk a bit about this show I’d like to talk a bit about what this station means to me. Here goes:

KUT has a special place in my heart.. here’s why. I had given up music from 1982 to 1996.. replacing it with a gambling ‘jones’ horse race handicapping & black-jack card counting was my thing .. I worked hard to be good at that stuff.. but that’s not the story here- you can read about that elsewhere.

The point is, I came back to making music full time in 1996, releasing an acoustic album of new songs on a minor label. I was on the road hoping to promote it to some stations here & there.

Just before midnight on a Thursday in 1997, the here & there placed me 60 or so miles outside of Austin- I’m not sure where.. & I was LOVING listening to this one station.. the DJ was playing Townes, Lucinda Williams, Guy Clark, Willie- all the most inspired stuff on the planet. At first the signal was faint.. but the show was so good so I didn’t dare change the dial. Then the signal got a bit clearer.. & I finally heard the call letters- KUT .. from AUSTIN TEXAS.

I dialed up information on the phone.. & got the number for the station. I called expecting to get a switchboard message. Instead a voice answered- it sounded like the DJ that was playing all the cool stuff. It was… his name was LARRY MONROE.

I told him I was a listener from parts unknown.. & that his show was awesome.. & helping me through the night. Larry asked my name.. I said ït’s Chip- Chip Taylor.. He said, ‘The singer/songwriter Chip Taylor? I said, ‘Oh my God, you know me?

Larry said, ï’ve got your new album right here!! I love it!!! Could you find your way to Austin & stop by the station? I said I’d get there as soon as possible.

By 1:00 AM I was there at KUT, on air with Larry!!

THIS WAS THE CROWNING MOMENT OF MY RETURN TO MUSIC!! This great, awesome station.. Larry Monroe, John Aielli & the rest has always had its honest, great mix of great DJ’s & inspired music of all different shapes- what a blessing to be associated with that sort of thing

Here’s another treasured KUT memory for me involving John Aielli - John’s GREAT SHOW, ‘Eklektikos’ landed Carrie Rodriguez & me our first recording contract. It happened like this. A secretary from a local record company advised her bosses that there was some ‘magic’ duet sound coming through her radio speaker- her bosses acted quickly & one, Heinz Geissler, was waiting for us at the station at shows end - a contract was signed weeks later. And so, without John Aielli & KUT, there would be no CHIP TAYLOR & CARRIE RODRIGUEZ duets.. no ‘Sweet Tequila Blues,’ no ‘Don’t Speak In English, no ‘Red Dog Tracks’ & all the rest of those chilling (to my ears) C&C things ït’s as simple as that.

Anyway.. this all leads to one thing. There is no radio station on the planet closer to my heart than this one. What a great place for me to call a sort of home, and from time to time.. to stop by and say hello!

NOW BACK TO TODAY’S SHOW

JULY 13

KUT on air with host MATT REILLY

Since friend Jay Trachtenberg was on vacation, PD, Jeff McCord assigned assistant PD, Matt, to host this show. This is the first time I’ve met &/or done a show with Matt. Let me be clear. He is the real deal. A spontaneous interviewer who cut his teeth on Philadelphia’s KUT’s brother-in-spirit cutting edge station WXPN (home of World Cafe).

Kendel & I loved this. We played 5 songs & had some great back & forth with our new friend. Again, I learned some more about Kendel just listening - so well done Matt! Hope to see you soon.

Big thanks to Walter Morgan for the great sound.. great to see you again & again.. & special thanks to friend John Aielli for stopping by at shows end to say hi. Happy vacation John.. see you soon.”

By Michael Corcoran | Wednesday, July 15, 2009, 12:25 PM

This is a recent post by Gregg McVicar, whose California-based radio show “Undercurrents” recently replaced three hours a night hosted by longtime KUT DJs Paul Ray or Larry Monroe:

“Thank you CRF for this opportunity to share a bit about myself and my approach to making radio. I’ll do my best to respond to your remarks one point at a time:

Voice tracking. Back in the days when I started out, most stations signed-off at midnight. At the big commercial stations some guy who would sit around chain-smoking Camels and talking to lonely girls on the hotline while spinning LPs. These days in radio we take advantage of all the digital tools you do in your work, and for a show like mine that airs for 35 hours/week, it just wouldn’t make practical sense for me to be sitting live behind the mic all that time. I hand-pick all of the music, fine-tune the segues and know the songs well enough that I can talk about them as extemporaneously as if I’d just been listening along with you. I’ve been a live DJ for 37 years and still do live fill-ins at the original listener sponsored station, KPFA in Berkeley. So, after a while, one learns how to connect with listeners no matter what restraints the medium my present. I don’t claim to be live but do make a big effort to be present as a radio companion.

Clear Channel. This is the San Antonio- based media enterprise that has pretty much sucked the life out of most commercial radio, right? But that’s not us. UnderCurrents exists because dozens of small Native-owned community stations banded together to support a sustainable daily music service that would reflect the values and musical tastes of the unique tribal communities they serve. Along the way, larger music-oriented outlets such as Oregon Public Radio, Iowa Public Radio and KUT have discovered that UnderCurrents offers something special that listeners enjoy and fits in well with their existing station format. Rarely if ever does our programming replace station staff. Instead we help stations extend their reach and appeal into the community in a way that can be highly customized to match local needs. For example, some stations air us all Saturday afternoon or Sunday morning, some run us daily in the lunch hour and many air UnderCurrents late at night as an alternative to BBC news or reruns.

NPR. Just to clarify, I don’t work for NPR. We rent space on the NPR satellite to deliver the programs, but I have a tiny home-based production company with a studio in the spare bedroom. Really! I use the same technology that has been such a boon to so many independent recording artists. But yes, the show is prerecorded as are virtually all other national music programs (Echoes, World Cafe, American Routes, Grateful Dead Hour, Hearts of Space, etc.). You know, (and I hate to burst anyone’s bubble) even Car Talk is prerecorded — those aren’t live incoming calls. Terry Gross isn’t sitting in the room with her guests, even though it sounds like she is. That’s why they call it ‘the magic of radio.’ Does it really matter exactly how we do our work as long as it has integrity and forms a deep connection with the listener?

Community Service. I’m glad you asked about this, because it’s one of my lifelong core values. My BA degree was a special major in Programming Community Radio and I have worked at several grassroots stations over the years, including my current volunteer work at Pacifica’s KPFA. Like many of you reading this, I too have traveled a great deal, both inside and outside the USA and throughout my radio career have lived and worked in many different towns and cities. And now, like everyone else, I’m communicating daily via the Internet with friends and colleagues around the globe. And you know, people are people! I travel around in my Airstream to see about 70 bands a year and quite a few of them are from your neighborhood, but from other fascinating places as well. So I guess my sense of community is more virtual and less geographical. My goal is not to celebrate differences and boundaries between places, cultures and traditions, but to find areas of common appreciation. Our biggest fans are xenophiles who appreciate being introduced to sounds from other cultures, regions or age demographics. They can tell that we select songs which hold cultural values of a generally positive nature with a strong respect for women, youth and nature.

UnderCurrents is a bright opportunity for independent artists to be heard on 47 stations all at once. So to answer your question, what can I bring to Austin and surrounding communities? Two things: 1) an introduction to a diversity of great and emerging artists, many of them indigenous and/or independent, that are not yet on Austin’s radar, and 2) if you will introduce me to more of the best that Austin has to offer, I will readily share it with the rest of our national listenership. This is the ‘Austin syndication’ other posters have suggested, without any of the budget headaches or hard work.

(I’m sorry it’s taking so long to answer your first question, but it had a lot of twists and turns — now on to your second question).

Taking Work from Legendary DJs: I really am not the one to comment on local KUT management decisions. The invitation for me to perform in Austin came several years ago with the addition of ‘Earthsongs’ to the schedule, then again 18 months ago adding UnderCurrents to the nightly HD3 schedule. I can say that as an independent radio producer I’ve received nothing but gracious, enthusiastic support from KUT and its listeners. And I think that’s a positive reflection on the Austin music scene that decision makers know how to encourage and foster creativity and all the effort that goes into it.

With just 24 hours in the schedule, radio can be a brutal zero-sum game when it comes to who gets on the air — for one host to gain an hour, another loses an hour. And throughout my career I’ve been on both sides of that awful equation. Usually it all works out for the best, but whether I’m the one coming or going, it’s always a good sign that listeners are passionate about radio.

In closing, let me just say that it is a great, great honor to be able to take the stage here in Austin, The Live Music Capital of the World. I hope my PO Box will be filled with Austin’s best records, I hope to come and hang out as much as possible and I hope you’ll have many opportunities to enjoy all that UnderCurrents has to offer from around the Americas and the world…American Music With a Passport.

In the meantime, you can count on me to enjoy some of your best exports: Whole Foods, Apple Computers and Lance!”

Yours in Radio,
Gregg McVicar 
www.undercurrentsradio.net

Musicians & Labels: RadioCamp, PO Box 187, Walnut Creek, CA 94597

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By Joe Gross | Wednesday, July 15, 2009, 10:34 AM

Billboard is reporting that the late Michael Jackson again owns Nielsen SoundScan and Billboard charts.

Jackson’s back catalog sold a jaw-dropping 1.1 million copies in the U.S. in the tracking week that ended July 12.

That’s up 37 percent over the previous week. Since his death on June 25, more than 2.3 million Jackson albums have sold in the U.S.

Jackson’s “Number Ones” anthology tops the SoundScan lists for the third week straight with more than 349,000 copies sold. (It couldn’t have hurt that this record was selling for as low as $7 at Wal-Mart.)

His “Thriller” sold 264,000 copies, while “Essential”moved 149,000.

As follows, all top 12 albums on the Billboard Pop Catalog chart are Jackson-related.
1) Michael Jackson, “Number Ones”

2) Michael Jackson, “The Essential Michael Jackson”

3) Michael Jackson, “Thriller”

4) Michael Jackson, “Off The Wall”

5) Michael Jackson, “Bad”

6) Michael Jackson, “Dangerous”

7) Jackson 5, “The Ultimate Collection”

8) Jackson 5, “The Best of Jackson 5: 20th Century Masters: The Millennium Collection”

9) Michael Jackson, “Greatest Hits: HIStory — Volume 1”

10) Michael Jackson, “HIStory: Past, Present and Future Book 1”

11) Michael Jackson, “Invincible”

12) Michael Jackson, “The Ultimate Collection”

By Brian T. Atkinson | Tuesday, July 14, 2009, 02:54 PM

Radney Foster has sealed gaps between roots rock and mainstream country for nearly a quarter-century. The southwest Texas native, whose forthcoming “Revival” matches equal parts gospel and grit, considers his multilateral success a mystery. “(Foster and Lloyd) had big old hits playing rockabilly meets British pop with harmonies like the Everly Brothers,” he says. “Nobody said it had to make sense.” Foster hosts his 50th birthday party tonight at Hill’s Cafe with Jack Ingram, Pat Green and many other guests.

American-Statesman: Darius Rucker told us recently that he’s thought of recording your entire ‘Del Rio, Texas, 1959’ album.

Radney Foster: Well, that’s incredibly flattering (laughs). I’ve known for a long time that he’s a really big fan. My sister called me one night when (Hootie and the Blowfish) were doing some VH1 thing. I see this rock band with a black lead singer with a voice as wide as a freight train wearing a Radney Foster ‘Del Rio, Texas 1959’ T-shirt. I couldn’t tell by the music if they liked me or if the T-shirt was free, but I dig it (laughs).

Talk about your new duet with Rucker (`Angel Flight’).

(Co-writer) Austinite Darden Smith had been in contact with the Texas National Guard about them commissioning a song. Darden was just like, “Hey, man, I’d appreciate it if you’d help me write this song.” I said, “Absolutely.” A significant portion of the royalties from that song and a documentary we’re working on will go to the family support services charity that helps guardsmen in a time of crisis.

What’s the focus of the documentary?

Its working title is “Inside the Confessions.” It bookends the fact that this record was made around two stories of the circle of life: I lost my dad last year, and yet my oldest boy is coming home. He’s been living in France for 13 years. Now he’ll be a freshman in college two miles from my house. So, I have this one unbelievable joy, but I lost my dad. In typical fashion, I just wrote about what I’m doing.

The new album’s title track certainly captures that duality.

Well, Darrell Brown and I had written several songs around the framework of joy and sorrow. When we got through writing “A Little Revival,” he said, “I think I know what the title of your next record is. I think I know where this is going.”

How did your spirituality factor into the songwriting?

I was raised in a strong Christian family, yet like any other guy I grew up going through all the doubts. I came to my own sense of where my faith lies. I’ve never been really good at preaching about it to anyone. I just figured that’s between me and God. It’s always been a part of my writing, because it’s a part of my life.

What has affected your faith most as you approach turning 50?

A real rebirth of my faith was when my boy Julian was moving overseas with his mom. That’ll shake you to the core. I used to tell everybody that I became a really good fly fisherman because every time after he left after being with us on a vacation, I’d go fly fishing all by myself. That was my day to yell at God.

By Michael Corcoran | Tuesday, July 14, 2009, 01:30 PM

With Paul Saucido’s “Sonida Boombox” back on ME TV every Friday night at 8 p.m., Latino rockers are getting new exposure. To mark the show’s return, Monterrey, Mexico’s 60 Tigres, Austin’s up-and-comers Loxsly, Tuerkarock and the Latin Tron D.J. Crew are taking over the Scoot Inn this Saturday for what promises to be a great show.

Cover is $10. Doors open at 8 p.m. The Scoot Inn is at 1308 E. Fourth St.

By Michael Corcoran | Tuesday, July 14, 2009, 11:18 AM

Austin’s great burlesque troupe Kitty Kitty Bang Bang ends its seven-year run of bumping and grinding with a final show, appropriately titled “Apocalypse Wow!,” July 31 and Aug. 1 at The Independent at 501 Studios (entrance on Brushy Street between 5th and 6th Streets).

Tickets are $15. For more information go here.

By Patrick Caldwell | Tuesday, July 14, 2009, 10:19 AM

One thing that didn’t make it into today’s story celebrating the tenth anniversary of beloved locals The Octopus Project was the story behind the band’s appropriately colorful, goofy name. Partly that’s because while the Octopus Project might stand out as one of the local scene’s sillier names if it were slapped on any other band, it’s practically tame compared to the group’s eclectic sights and sounds.

Still, given my longstanding fascination with unusual band names, I couldn’t resist firing off an e-mail to band member Josh Lambert post-interview to inquire about the origins of the band’s sobriquet. In the process I discovered things could have been far, far worse. Here’s what he had to say:

“The name came about while we were trying to name a band that Toto (Miranda), Yvonne (Lambert) and I were in with another friend. I was on the phone with the other guy in the band, and each of us would randomly say a word. One of us said, ‘Octopus,’ the other said, ‘Project.’

“Our friend didn’t like the name for his band, so it got voted down, but it always stuck in the rest of our minds. So, when we broke off to form our own band, we used the name. The only other name I can remember from that phone call was Quarterly Porpoise. I’m really glad we didn’t go with that!”

Meanwhile, somewhere in a parallel universe version of Austin, a band named Quarterly Porpoise is struggling mightily to be taken seriously.

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By Peter Mongillo | Monday, July 13, 2009, 04:55 PM

The Dead Weather
‘Horehound’
(Third Man)
Grade: B

Jack White likes surprises. Last year his “other” other band, the Raconteurs, released a second album with almost no notice. This year, White announced a new project, the Dead Weather, fronted by Alison Mosshart of British duo the Kills, with two tracks made available via a stream on the band’s Web site. Now comes the full-length “Horehound,” a gritty exercise in blues-rock a la White. The album will probably in many ways be less of a shock to followers of White’s work than the Raconteurs, a band that, although firmly rooted in classic rock, can also stray off on a decidedly more pop direction.

The Dead Weather are not going to be accused of going soft, but the band unfortunately suffers from an identity crisis that robs the album of any sense of cohesion. Part of that might be because this is a bit of an experiment for White, who exchanges his guitar for the drums . Mosshart, with her dark, raspy voice, is a worthy (and at times better) substitute for White’s vocals, but guitarist Dean Fertita of Queens of the Stone Age isn’t as dominate as White. Fertita does shine on the organ, however, especially on the funk-infused blues thumper “I Cut Like A Buffalo,” one of the album’s highlights. Although there are a few other moments that work, there a plenty that don’t, such as “Rocking Horse” and “3 Birds,” which have a spooky surf rock feel that doesn’t quite belong.

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By Peter Mongillo | Monday, July 13, 2009, 04:50 PM

The Jayhawks
‘Music From the North Country: The Jayhawks Anthology’
(American)
Grade: A-

In college, I was introduced to what is often referred to as alt-country — Uncle Tupelo, Wilco, Son Volt and Whiskeytown — but I never listened to the Jayhawks.
Disc one of “Music From The North Country: The Jayhawks Anthology,” is an excellent primer, but not something that’s going to interest fans of the band. Writer PD Larson, who co-produced the album, expresses dismay in the liner notes that the Jayhawks never really surged in popularity . In that light, the first disc is an argument in favor of affording them more respect, covering 14 years of the group’s career, from the 1989 release of “Blue Earth” to 2003’s Ethan Johns-produced “Rainy Day Music.” A handful of tracks are meant to represent the best of each album, which might frustrate hardcore fans.

For the uninitiated, the songs present a narrative that provides a sense of the Jayhawks evolution. The first tracks on disc one, “Two Angels” and “Ain’t No End,” both from 1989’s “Blue Earth,” have all the elements that drew me to bands that would come later — a genuine appreciation and mastery of the music and musicians that came earlier, such as Gram Parsons, the Byrds and the Flying Burrito Brothers, infused with a contemporary sensibility. The next four tracks, including “Waiting for the Sun” and “Martin’s Song,” are from 1992’s “Hollywood Town Hall,” and they illustrate the band’s growth. The singing and songwriting is bolder, demonstrating a growing confidence.

The second disc, which will be of more interest to fans already familiar with the Jayhawks’ catalog, contains several unreleased tracks, including “Old Woman From Red Clay” and an alternate version of “Two Angels” with different lyrics. Also included is a demo of “Won’t Be Coming Home,” a song that would later come to life on Golden Smog’s “Down By the Old Mountain” album (which featured Jayhawks Gary Louris and Marc Perlman and several other musicians from other well-known bands, including Jeff Tweedy). Although not as polished as the other recordings, these songs act as a strong complement to the first disc, providing a sort of behind the scenes look that helps to develop the band’s character.

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By Joe Gross | Monday, July 13, 2009, 03:28 PM

Austin indie sensations White Denim are now signed to Downtown Records, home of such well-hyped acts as Major Lazer, Spank Rock, Justice, Santigold and Cold War Kids. This seems like an excellent fit; a Fader magazine cover can’t be far behind.

Their sophomore album “Fits,” which has been available (and well-reviewed) in the UK since June 22 on Full Time Hobby Records, will show up in the States Oct. 20.

The band self-released its first album, “Exposion” in the States. A slightly different version of “Exposion” called “Workout Holiday,” was released in the UK on Full Time Hobby as the band’s debut.

By Michael Corcoran | Monday, July 13, 2009, 08:44 AM

The world’s greatest rock n’ roll band is bringing its “Black Ice” tour to Austin Nov. 6, the Erwin Center has confirmed. Tickets ($89.50 plus service charge) go on sale Saturday Aug. 1 at 10 a.m. at all Texas Box Office locations, including area HEBs. Online sales are at TexasBoxOffice.com.

AC/DC last played Austin on Jan. 26, 1996.

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By Michael Corcoran | Sunday, July 12, 2009, 03:48 PM

Frank Sinatra. Barbra Streisand. Bing Crosby. Jamie Foxx.

Those are the only four entertainers who have both won an Academy Award for acting and released a number one album. Although the first three are singing legends known more for their music than their movies - and Foxx is the other way around - the Terrell native made good on his boast Saturday night at the Erwin Center that “we’re not playing around. We’re gonna put on a great show for y’all.”

Although “Slow Jamz” dominated the set list (with constant referral to “Texas women” between songs), the black leather clad Foxx came out charging with “I Don’t Need It” getting almost the entire crowd of 4,300 on their feet. The new single “Digital Girl”- which sounds as lame as the title- tried in vain to keep the party going. But then it was time to focus on suggestive love songs in falsetto a la R. Kelly. On the intro to “Slow,” from his new album “Intuition,” Foxx hosted a booty-grinding dance-off between five female audience members and turned it into a comedy bit. The first dancer was cut-off after five seconds when body parts spilled out of her black dress. When the next contestant seemed to be underage (she brought her mother up there with her) Foxx retreated to the far end of the stage and looked away. When a plus-sized woman did the bump-and-grind, Foxx joined in, singing the praises of a big woman.

But this was a night of music, rather than comedy (though opening comic Speedy was a blast), so it was back to new tunes like “Freakin’ Me,” “Overdose” and “She Got Her Own” (dedicated to Michelle Obama), as Foxx has an album to sell.

Switching into a glittery blue-green suit, Foxx also reprised his Oscar-winning role as Ray Charles, rocking his head side to side as he sang “What’d I Say” and “I Got a Woman,” which segued into “Goldigger,” the smash duet with Kanye West.

The audience, as delirious as you’d think an older crowd (late 20s to early 40s) could get, just about stole the show during a tribute to Michael Jackson near the end. The DJ played snippets of “PYT,” “Rock With You,” “Billie Jean” and “Thriller” (while Foxx did shy approximations of cool moves) and then he cut the music midsong so the audience could finish it. Let’s just say that there was no need for anyone to say “I can’t hear you.” The Jamie Foxx audience did Austin proud.

I’ve seen R. Kelly and Mary J. Blige on the same Erwin Center stage and in terms of sheer musical talent, Foxx is not quite in their league. He could use a couple more funk numbers to go with the serpentine, pleading love songs that go on and on. But when you consider his massive personality and ease of communication, Foxx is as good an R&B showman as there is out there.

The theme of the show, as laid out by Speedy, was to forget about the economy for two hours plus. “As much as you paid for tickets ($60 each), you can’t pay the rent no how, so you might as well have fun tonight.”

Rather than give goosebumps, Foxx throws a party; a loud, sloppy, crazy fun affair. Saturday night felt like the Texas homecoming that it was.

By Michael Corcoran | Sunday, July 12, 2009, 11:49 AM

Swooning to Spoon. Fifteen Spoon fans were treated for heat exhaustion at the band’s jam-packed, three-night stand at Stubb’s Thursday through Saturday. But none required transport to the hospital, said Tannifer Ayers of Southwest Emergency Action Team (S.W.E.A.T.). Eight Spoon fans passed out Thursday, the hottest of the three nights, when the temperature was 99 degrees at showtime,
Michael Jackson and the recession were hot topics at the Jamie Foxx show at the Erwin Center Saturday night. Money worries had limited the crowd to about 4,300 folks willing to pay $59.95 plus service charges. The stage was set up at about halfcourt and the upper balcony was closed off.

The highlight of the show was when the DJ played snippets of such Michael Jackson songs as “Billie Jean,” “Wanna Be Startin’ Something” and “Thriller.” Foxx didn’t really do much during the segment, but stand there and sorta lead the zombie chorus line on “Thriller,” but the audience took over the vocals with gusto. A great moment during an otherwise plodding show.

By "Brian T. Atkinson" | Saturday, July 11, 2009, 07:43 AM

Pete Yorn strides headlong into adulthood on his new “Back & Fourth.” The Los Angeles-based songwriter’s fourth album mines familiar romantic territory, but Yorn delivers observations with heartening helpings of introspection. “I was just dealing with what came up naturally,” the 34-year-old says. “I was feeling more intensely than I ever had before.” Yorn, who’s fresh off a spring tour with Coldplay, supports the vibrant collection Monday at La Zona Rosa.

American-Statesman: Did you write as well as record ‘Back & Fourth’ in Omaha? Yorn: The songs were all written in California before I went there. I went there specifically to work with (Bright Eyes producer) Mike Mogis in the studio where he’s comfortable. Besides being where Mike’s from and where we were set up, Omaha wasn’t my home. I wasn’t going home every night or playing stuff we’re working on for friends of mine. I had to figure out how to spend my out-of-studio time differently.

Explain how (executive producer) Rick Rubin factored in. I’d gone out to Malibu to spend time with Rick, who’d become the head of my label. I had a lot of material, and he helped me focus it in on 10 or 12 songs. He helped organize. In the past, my head’s been all over the place when making records. To my ear, my records in the past have been very varied in tone within themselves. This record has a more steady tone.

That concentration seems to give songs like ‘Social Development Club’ a real immediacy. Yeah, that was one of those songs that’s written very fast. I think I wrote the whole thing in five minutes. It was a literal story about someone I’d known back in school. It was about our life at the time and what happed to that person. After I wrote it, I was thinking I’d love to hear the Kinks do this song! I like how the chorus makes it more universal: “There’s something missing in us” represents the overall picture I was trying to get across about searching for something in our lives.

Is it fair to say your writing is more direct on the new songs? In the past, I’d maybe probably protect myself more by being vague. There was a conscious decision to make this more simple and straightforward.

Did that spill over into writing your upcoming album (‘Break Up’) with Scarlett (Johansson)? That was more like a flurry. I was trying to figure out how to get some female perspective in my songs.

Will you two tour together when that album’s out this fall? We’ll do a couple events. I think we’ll go to Europe as well.

Speaking of touring: Last time you were in Austin, a propane tank caught fire during your set at the Austin City Limits Music Festival. What went through your mind onstage? Yeah. That was really crazy. That was the last show of our last tour until now. I just remember seeing this black, billowing smoke cloud and thinking, “I can’t say anything! I don’t want to yell `fire’ onstage and have people freak out.” I just wanted to make sure that I didn’t contribute to mass hysteria. Luckily, the fire department was on it and put it out so fast. It was surreal.

Pete Yorn performs at 8 p.m. Monday at La Zona Rosa, 612 W. Fourth St. Advance tickets are $24.50. 866-443-8849; gettix.net.

By Michael Corcoran | Friday, July 10, 2009, 10:28 PM

Willie Nelson, Ray Benson and Robert Rodriguez are guest stars of the “Anybody Wanna” video, directed by Carl Thiel, the noted record producer.

By Michael Corcoran | Friday, July 10, 2009, 06:30 PM

The Flaming Lips, curators of this year’s All Tomorrow’s Parties festival, Sept. 13 in Monticello, New York, have selected the Low Lows to play. The Austin band, with their new horn section, played inside at Stubb’s Thursday after the Spoon show.

Here’s a little audio taste of the band, which records for Misra Records.

By Michael Corcoran | Friday, July 10, 2009, 04:06 PM

They may not be one of the 20 Greatest Austin Bands of All Time, but Ray Benson and Asleep At the Wheel have picked up another big honor.

It was announced today that the Wheel will receive the Lifetime Achievement Award for Performance at the 8th Annual Americana Awards ceremony, September 17th at the Ryman Auditorium in Nashville.

In a new release, Willie Nelson said, “I can’t think of a more deserving outfit for this award. Ray Benson will leave a mark. He’s been a lot of places, done a lot of things and recorded it all.”

By Michael Corcoran | Friday, July 10, 2009, 12:35 PM

The temperature was 99 degrees at showtime and the beyond capacity crowd was packed in like sandbags. Hundreds of kids were smoking cigarettes in this heat. And unless you were posted front and center, you had to hear the music mixed with chatter. What a miserable way to spend a Thursday evening.

It helped a bit that Spoon was onstage. And it was nice to catch up with so many old friends, as this truly was a tri-generational show, with so many parents bringing their kids to hang out amongst Hole In the Wall veterans. But when the band played two of its best songs, “I Summon You” and “You Got Yr Cherry Bomb” (with horns), back to back at the hour mark, I was out of there. When it’s hot and crowded, Stubb’s outdoor amphitheater is the worst venue in town. And I’ll stand on the Austin Music Hall’s coffee table in my cowboy boots and say that.

I spent my hour trying out several different vantage points. It wasn’t loud enough in the back, and people were talking. It was too hot and stuffy under the VIP balcony and everybody was smoking. Standing on steps near the west bar, I could see Britt Daniel’s head through the VIP deck stairs- the best view all night - but security made me move to make room for the beer line.

After Spoon played one of their best songs,“Stay Don’t Go,” in the fourth slot my thinking was that it would sound a lot better on my stereo at home, without having to breathe in all that cigarette smoke and body sweat. “Small Stakes” got the crowd hopping and “The Beast and Dragon, Adored” gave Daniel a splendid guitar freakout moment. And yet the shining moments weren’t enough. Not even close.

I had season five of “Entourage” waiting at home.

This was the second substandard Spoon show I’ve seen in three months and in both cases it wasn’t the band’s fault. At the Scoot Inn in April, the tinny p.a. kept the show from truly rockin’ and on Thursday, well, it was just brutal.

Three words for Spoon next time through: Bass Concert Hall.

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By Brian T. Atkinson | Thursday, July 9, 2009, 03:09 PM

(Pete Yorn at Stubb’s in 2007. Photo by Ha Lam/For the AMERICAN-STATESMAN)

Pete Yorn plays La Zona Rosa on Monday with opener Zee Avi (8 p.m. $20. 612 W. Fourth St. 472-2293). We’ll post our interview with Yorn soon. Here’s what he had to say about the song “Paradise Cove,” from his new album “Back & Fourth”:

“I had been journaling. I’d never done that before, but I had all this (stuff) boiling up in me and someone told me to try it. The end of that song when I’m kind of going off on somebody was just from when I was (expletive) off. That ended up becoming lyrics.

“The initial idea came from Paradise Cove, which is this upscale trailer park up the Pacific Coast Highway in Malibu. A good friend of mine, Rami Jaffee, who was in the Wallflowers, lived there and invited me out for an afternoon. So, I went up and everyone was making this whole big hullabaloo about what happened the day before. People were telling me that Matthew McConaughey had been there and how all the paparazzi showed up. The surfer kids don’t like paparazzi. These guys are telling me, ‘Yeah, they were taking pictures of McConaughey and the surfer kids were all beating up the paparazzi!’

“I didn’t think much of it, but it stuck in my head. There’s a line in there that ‘the surfers protect the actor from flashers’ that came out of there. I was just kind of impressed by some of the people I’d seen there. Of course, I’m always thinking about relationships, and it all ties in there. A few days later, I was up in Oregon and the song just came out.”

By Michael Corcoran | Thursday, July 9, 2009, 02:43 PM

Joe Ely, Jimmie Dale Gilmore & Butch Hancock - collectively the Flatlanders - will be appearing Tuesday, July 21st on “The Late Show with David Letterman.”

The trio has been touring behind their recent album “Hills and Valleys.”

By | Thursday, July 9, 2009, 10:00 AM

Robert Cray at Antone’s. Cray was amazingly popular in the 1980s, one of the few bluesmen, along with Stevie Ray Vaughan and George Thorogood, who was able to get radio airplay across formats (or at all, for that matter). With J.J. Usher and Doc and the Medicine Man $25 to $62.50. 2 With Doors at 8 p.m. show at 9 p.m. 13 W. Fifth St. 320-8424. — Joe Gross

The Germs at Red 7. Yep, those Germs, one of the craziest punk bands ever. Their barely audible debut single ‘Forming’ is one of the creepiest singles Los Angeles ever produced, while their full-length debut ‘G.I.’ is pretty much the birth of West Coast hardcore. This lineup includes guitarist Pat Smear, bassist Lorna Doom, drummer Don Bolles and singer Shane West, who played legendary (and deceased) Germs singer Darby Crash in the movie. With Krum Bums and Coptic Times. 9 p.m. $10. 611 E. Seventh St. 476-8100 — J.G.

Ugly Beats, Black Hollies, Dikes of Holland at Beerland. It’s a night when Red River gets its own Cavern Club, overrun with Mersey Beatniks in their go-go boots. The Ugly Beats and Black Hollies worship at the altar of the Beatles, but the Dikes play like the rock lineage went right from Little Richard to Captain Beefheart. Are we allowed to have this much sloppy fun on a Sunday night? Oh yeah. Don’t the sign at the city limits sez ‘Austin.’ 711 Red River St. 479-7625. — Michael Corcoran

By Music Source | Thursday, July 9, 2009, 06:00 AM

Michael Corcoran has picked the 20 all-time greatest Austin bands. So who’s the best? Take our poll and let us know. Don’t agree with Corcoran’s choices? Write in a vote in the comment section below.

Photos: Michael Corcoran’s 20 all-time greatest Austin bands

This poll is now closed. Thank you for your interest.

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By Michael Corcoran | Wednesday, July 8, 2009, 11:01 PM

Austin musician Johnny Goudie never talked about it. Only his closest friends were aware that his mother, Natalie Antonetti, was beaten to death at their home in Barton Hills in Oct. 1985, when Goudie was 16.

And now, more than 23 years later, a suspect has finally been arrested. Antonetti’s ex-boyfriend Dennis Davis, who owned a recording studio on South Lamar Blvd. in the ’80s, was charged with murder July 2 in Nashville. He’s currently in Tennessee waiting extradition.

Miami native Goudie, who first made a name in the Austin music scene as the leader of popular Steamboat band Mr. Rocket Baby in the early ’90s, said he’s “eternally grateful to Detective (Tom) Walsh,” who reopened the case in 2007 after an anonymous tip led detectives to Antonetti’s jilted ex. The new information which led a Travis County grand jury to indict Davis on June 30 has not been made public.

“How would you feel after 23 years, dude?” Goudie said when asked for a reaction to the arrest. “I’m elated. You can imagine that part of your life is an open wound when something like this happens to your mother. I feel like it’s closing up.”

Goudie currently fronts the Little Champions and plays in the ’70s/ ’80s cover band Skyrocket!

Studio D hosted recording sessions by such Austin acts as the Fabulous Thunderbirds and Toni Price. “He was just Dennis, the guy who owned the studio,” said guitarist Charlie Sexton, who played on the Price sessions. “I knew him, but I didn’t know him.”

Goudie said he saw his mother before the ambulance arrived, but did not want to talk about the incident. Antonetti died 18 days after the attack.

Davis sold Studio D in the early 1990s and moved to Nashville. He was interviewed after the murder, but was not considered a suspect, when the Austin Police Department closed the case 20 years ago.

“I would’ve never guessed that Dennis could’ve been capable of something like this,” said producer/ studio owner Stuart Sullivan, who worked at Studio D on several projects. “He was a pretty mellow guy, though he was somewhat disorganized. He never seemed to be looking too far into the future- he was always thinking short term- and in retrospect that may have been because he had this hanging over his head.”

Here’s more on the story from the Statesman’s Metro section.

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By Michael Corcoran | Tuesday, July 7, 2009, 03:17 PM

3:00: Before the memorial, broadcasters were wondering if the mood was going to be too celebratory. Some kids were waving their tickets like they were going to a Michael Jackson concert. But the audience of 16,000 was reverent, respectful. It’s been hard the past 10 days to get a sense of what Jackson’s death has meant to so many, but at this memorial you could feel the love. Perhaps the saddest part is not knowing if Michael Jackson, the subject of so much ridicule in his life, was aware that he’d be the focus of so much love in his death.

2:55: Wait, we’re not done yet. This service doesn’t want to end. The Rev. Lucius from the beginning is back to ladle on more superlatives. Then he leads the worldwide audience in a prayer. Talk about anti-climatic.

2:41: Michael’s kid Paris Katherine Jackson ends it by saying Michael was the best father any kid could have. Then, as the casket is carried away the band plays “Man In the Mirror” as exit music. The camera fixes on an empty microphone.

2:40: After an awkward silence of about two minutes Jermaine Jackson says “Thank you,” then Marlon breaks down and says “I’m hurt.” The long story Marlon tells would’ve been better in the middle of the show. “Maybe now Michael, they will leave you alone.”

2:39: The show goes on one song too many. The cast sings “Heal the World.” This is just corny. A billion people are wondering why the memorial didn’t end with “We Are the World.”

2:30: Jackson’s band and singers, who were to play 50 concerts in London, sing “We Are the World.” Cameras show crowds all over the country swaying and singing along. This is what Michael Jackson was all about, getting people together.

2:25: 12-year-old Brit Shaheen Jafargholi wails on “Who’s Lovin’ You.” Shaheen was apparently going to be part of Jackson’s “This Is It” shows in London.

2:18: An adorable Michael Jackson sings “Who’s Lovin’ You” on the “Ed Sullivan Show.” Then Smokey Robinson, the song’s writer, comes out and tells a funny story about how he had to check a 10-year-old Michael’s birth certificate because he didn’t think someone that young could pull the emotions out on the song. “That’s my little brother,” Robinson said, motioning to the casket.

2:14: Usher sings “Gone Too Soon” under a photo montage of Jackson. Now he’s walking over to the casket in midsong. A bit of melodrama. Usher takes off his sunglasses at the end of the song and falls into the arms of the Jackson brothers.

2:03: Texas is in the house. Rep. Sheila Jackson Lee (D-Houston) is speaking for the House of Representatives. “We understand the Constitution.We know that people are innocent until proven otherwise.” Huge applause.

1:56: Dr. King’s kids, Martin Luther King III and Bernice King, address the crowd. Ms. King recalls a phone call to her mother Coretta King from Michael “all the way from the Middle East” that brought comfort on her deathbed.

1:54: Right after Shields mentioned that “Smile” was Michael’s favorite song, brother Jermain Jackson wearing a sequined gove, comes out and sings it. “Smile, what’s the use of crying?”

1:42: Brooke Shields is overcome with emotion. “We had a bond and maybe it was because we both knew what it was like to be in the spotlight at a young age… Both of us needed to be adults very early, but when we were together we were two little kids, having fun.” Very touching memories from someone who truly knew Michael Jackson. “Smile though your heart is aching.”

1:36: John Mayer plays an electric guitar instrumental version of “Human Nature,” then is joined by voices after a couple of minutes. The number comes off more as background music than center stage.

1:27: Al Sharpton being Al Sharpton. “There are those who like to dig around messes, but millions around the world, we’re going to uphold his message.” Jesse Jackson’s gotta be kicking himself for not thinking of that one. A bit of revisionism from Rev. Al: “Every time Michael got knocked down he got back up.” Number of times he performed after his 2005 trial: 0.

1:20: Jennifer Hudson sings “Will You Be There.” The First AME Church of Los Angeles is rocking. And they’re dancing in Harlem. We haven’t seen so many different locations since the Obama election.

A lot of dark glasses inside the Staples Center.

1:15: Kobe Bryant talks about MJ’s charity work. Magic Johnson talks about meeting Michael’s older brother Jackie. Who knew the Jacksons were such softball fans? Magic credits Michael with making him a better point guard. (Huh?) Then says the greatest moment of his life was eating a bucket of Kentucky Fried Chicken with Michael.

1:05: A video montage of Jackson performing is followed by a clearly distraught Stevie Wonder onstage. “This is a moment that I wished I didn’t see come,” Wonder says. The first truly emotional moment of the memorial. Sound problems on CNN while Stevie sings “I Never Dreamed You’d Leave In Summer.”

12:56: Lionel Richie sings “Jesus Is Love” with the backing of a full, interracial choir. Then out comes Berry Gordy, the Motown founder. Gordy talks about the Jackson 5 and Michael in particular. “Michael had a quality that I couldn’t completely understand, but we all knew he was special.”

Gordy gets a huge applause when he calls Jackson “simply the greatest entertainer who has ever lived.”

12:53: Queen Latifah reads a poem “Dr.” Maya Angelou wrote about Michael. “We had him and we are the world.”

12:46: Mariah Carey sings “I’ll Be There.” Is her voice cracking from emotion? Mariah’s missing the high notes she usually nails. By the way, who’s Trey Lorenz? (Ed. note: Lorenz is a long-time Carey back-up singer who sang “I’ll Be There” with her on her MTV Unplugged show in 1992.)

Pastor Lucius Smith gives opening remarks. “May this moment of remembrance, a moment of feeling, a moment of music and a moment of love, bring comfort to those who loved our friend.”

12:26: “Soon and very soon, we are going to see the king/ Hallelujah,” starts the first song, from a gospel choir. The rose covered-casket it placed in front of the stage. The audience is intensely somber.

Over at ABC, Charlie Gibson is using the example of wedding bands butchering MJ’s music as a measure of his greatness. Martin Bashir tells a long, meaningless anecdote about Princess Di. Please, let this long pause be over.

Fox is showing rehearsal footage of Jackson at the Staples Center two days before he died. He looks in good shape.

12:16: Smokey Robinson opens the ceremony reading a message from Diana Ross, who couldn’t be there. Then another one from Nelson Mandela. A silence fell over the Staples Center for a good minute, without anyone asking for it. Then a couple of yahoos wanted to have their voices heard so they acted like they were at the old Arsenio Hall show. Then silence again. Powerful.

12:13: Running late.

Estimates put the worldwide audience at one billion people.

Radio host Tom Joiner said, “I’m glad to see that the news is focusing on his legacy and not on the controversy. For us in radio, especially black radio, he’s family. He’s a brother. He’s a part of every African American’s family. We want to celebrate his life. We don’t want to hear all the negative stuff.” Amen.

11:58: The motorcade arrives at Staples. Now MSNBC hosts can stop poring over the program and what it means that father Joe Jackson is not mentioned.

11:46 (MSNBC): The motorcade is all black cars, except for a single white car containing the kids. Wonder why the the route from Forest Lawn to the Staples Center wasn’t made public? No one’s lining the streets.

“It’s such an odd vibe,” Nancy O’Dell of “Access Hollywood” said of the Oscars-like celebratory mood at the Staples Center before the memorial.

11:34 a.m.: As the golden casket is enroute from Forest Lawn in Burbank to the Staples Center in downtown L.A., let’s get ready for what promises to be the most over-the-top memorial service ever.

By Claire Osborn | Tuesday, July 7, 2009, 03:17 PM

About 80 people watched the memorial service for Michael Jackson at the Alamo Drafthouse on South Lamar, clapping often during and after performances and singing along during “We Are the World.”

One of the members of the audience, Andre Watson, said he was 19 when he met Jackson as he rehearsed for a show at Walt Disney World’s Epcot Center in 1984. Watson was a Disney World dancer at the time and said Jackson ate with the dancers during a rehearsal.

“He’s not like people thought he was,” Watson said. “You could talk to him. I remember he would return after rehearsal and go through the steps again and again.”

Watson said the memorial service was fitting but that it didn’t fully capture Jackson’s 45-year performing career.

Anthony Samiez, a French student studying at the University of Texas, said he had been a fan of Jackson’s since he was 6 years old.

“He was like a parent to me,” Samiez said. “He had some magic inside of him,” Samiez said.

Lucy Westbrook, another member of the audience, said Jackson and his brothers began performing at a time when the country was still in shock over the assassination of Martin Luther King Jr.

“He brought in an innocence and an energy,” she said.

Jackson also helped advance civil rights in the country because he began singing when other African American singers, including Nat King Cole, had to leave their performances from the back door, Westbrook said.

Debra HInde walked out of the memorial service in tears.

“It’s overwhelming,” she said. “He was a big part of my life from when I was a little girl.”

Chevy Vargas said Jackson was her childhood idol.

“I came to watch the memorial service at the theater to be a part of history,” she said.

By Michael Corcoran | Monday, July 6, 2009, 07:00 PM

The great Billie Holiday died of drug and alcohol related causes on July 17, 1959. To celebrate her life on the anniversary of her death, David Stevens and the Morris Nelms Quartet, featuring Alex Coke on sax, will play Lady Day songs at St. David’s Episcopal Church (301 East 8th Street). Tickets are $25 in advance and benefit the St David’s Music Endowment and Health Alliance for Austin Musicians (HAAM).

Call the St David’s Bookstore at 610-3550 for more info.

Another way to celebrate Billie Holiday is to buy the “Love Songs” compilation, which is probably my favorite CD of all time. And I’m not really a fan of jazz. It’s just that nobody could wrap his or her emotions around a lyric like Billie Holiday.

By Michael Corcoran | Monday, July 6, 2009, 05:49 PM

Getting in on the MJ craze, C3 Presents has booked Who’s Bad “the Ultimate Michael Jackson Trubute Band” to play Stubb’s Oct. 15. The North Carolina- based band formed about four years ago and hit the jackpot a week and a half ago. Tickets go on sale Saturday at Frontgate locales.

By Michael Corcoran | Monday, July 6, 2009, 02:44 PM

Son Volt
‘American Central Dust’
(Rounder)
Grade: A-

First listen: This record is a numbing bore. It wouldn’t be surprising that, after an industrial accident, a heavy machinery operator tested positive for traces of Son Volt in his system.

Second listen: The band, two of the five from Austin, is doing some interesting things with rhythms and textures, creating a subtly subversive backdrop/Crazy Horse lurching. Mark Spencer’s pedal steel guitar makes “Dust of Daylight” and “Pushed Too Far” truly special.

But this record could do without “Sultana,” the sort of heavy-handed tale of maritime disaster that led to the formation of Wilco.

Third listen: Jay Farrar’s voice is mesmerizing in its consistency and commitment. There’s not a note out of place and such songs as “When the Wheels Don’t Move,” about the folks hurt most in a failing auto industry, and the LP-ending “Jukebox of Steel,” sound born sturdy. It’s quite remarkable the way all the pieces come together like a potluck dinner among close friends.

Fourth listen: This could be the best Son Volt record since 1995’s “Trace,” lacking only a “Tear-Stained Eye” to bring in the fence-sitters. “American Central Dust” is about 44 minutes from beginning to end, not the 3:45 that might get them next to Patty (Griffin) on the playlist. There’s not a producer credited, as the CD sounds like musicians left alone with the sounds in their heads and the talent to translate. It’s a mood piece that makes the silence after “Jukebox of Steel” almost jarring.

Someone should do a study on why it is that so many of the albums we love are initially met with disappointment. Raise your hand if you hated “Exile On Main Street” at first. Although “A.C.D.” is not going to be a classic, it’s one of those records that challenge, then reward, those who stick it out.

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By Joe Gross | Monday, July 6, 2009, 02:43 PM

Manikin
‘Stop the Sirens’
(Super Secret)
Grade: A-

One of the most annoying things about the post-punk revival from a few years ago was some bands’ conviction that Gang of Four was a genre. Manikin managed to avoid this trap altogether and instead figured out that the first couple of Cure albums were ripe for reexamination. Their excellent new album isn’t shy about their interest in Robert Smith’s early trio workouts (they cover “Grinding Halt” from the Cure’s debut “Three Imaginary Boys”), but they also know that playing those sort of spare songs full of flanged out guitar is all the more fun when played fast, teetering on the edge of out of control.

Guitarist Alfonso Rabago belts out every word, his voice caked in echo and fuzz, yelling like he’s gotta get it all out before the song is over, his spiky solos running roughshod over the minimalist grooves. Alyse Mervosh (also the drummer in the excellent garage band Hex Dispensers) and bassist B.J. Schneider drive the songs like freight trains with Bill Jeffery’s trumpet adding weird, unexpected splashes of color. It’s a very Austin touch for one of the year’s best local albums.

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By Alex Daniel | Monday, July 6, 2009, 02:36 PM

Deer Tick
‘Born on Flag Day’
(Partisan)
Grade: B+

When Rhode Island’s Deer Tick showcased an impressive new array of gritty, twang-tinged folk tunes at this year’s South by Southwest Festival, it was clear that “Born on Flag Day,” out June 23, was going to be as sharp as a shot of whiskey.

The album is littered with the kinds of one-liners that made “War Elephant,” the band’s 2007 debut, so painfully poignant. “You have my heart/So take my money too,” young frontman John Joseph McCauley rasps on “Little White Lies,” while on “Friday XIII,” he and guest vocalist Liz Isenberg list the gifts they plan to buy each other over a rollicking minor chord romp before she cries, “But all I need is you.”

But when you compare the cuts on “Flag Day” to live performances of the same songs, it almost feels like the young McCauley and his recently formed backing band are still nailing down their studio dynamic. Blues-rocker “Chasing a Storm” chugs forward behind plenty of adrenaline-pumping guitar solo interplay, but when it reaches its bass-thumping climax near the end, the energy falters.

Still, you’d be hard-pressed to find ballads as sincere as “Smith Hill” or “Hell on Earth.” They may come out of the Northeast, but they thump with heart big enough to fill any open Texas sky.

Deer Tick plays Thursday at Emo’s, 603 Red River St. $10. 477-3667; www.emosaustin.com.

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By Michael Corcoran | Monday, July 6, 2009, 12:37 PM

18-year-old Sarah Jarosz, who’ll be playing a free instore at Waterloo Records tomorrow at 5 p.m., is a huge fan of Portland’s Decemberists. She first saw them at Telluride a couple years ago, then pushed her way as close as possible for the band’s recent SXSW set at Stubb’s.

Jarosz’ debut “Song Up In Her Head” contains a cover of the band’s “Shankill Butchers.” Although she’s never met the members, Jarosz recently received an email from guitarist Chris Funk that said they liked her version.” It really meant so much to me for him to take the time to send me that note,” said Jarosz, who’ll be moving to Boston next month to attend the New England Conservatory.

By Michael Hoinski | Monday, July 6, 2009, 11:50 AM

“Hello.”

No “I’m Bill Callahan” (the musician formerly known as Smog). No “It’s great to be back home in Austin” (after a monthlong tour in support of the album “Sometimes I Wish We Were an Eagle”). No “Thanks to all my friends for coming out” (among them, Jonathan Meiburg and Thor Harris of Shearwater, who’ve played with Callahan in various incarnations).

Just “hello,” and then straight into “Our Anniversary,” a long and winding relationship narrative from the album “Supper,” nuanced by sentimental but not sappy violin and cello strings during Sunday night’s jackpot set at the Parish. Callahan has let his songs do the talking for him for 13 albums now. His oeuvre can stand toe to toe with the best in the singer-songwriter game. This is especially true of his three most recent albums, which include the baptism-by-fire “Woke on a Whaleheart” and the autobiographical rite-of-passage “A River Ain’t Too Much to Love.”

It was quite like Christmas morning when you are 5, then, when Callahan followed his opener with “Diamond Dancer” and “Sycamore,” the sublime back-to-back combo from “Whaleheart.” “Dancer” was faster than usual, the sight of one of those hippie chicks at a Dead show twirling into infinity hard to ignore. “Sycamore,” meanwhile, was slower than usual, with Callahan’s drawn-out enunciation of the word “sycamore” invoking more meaning than an entire Leonard Cohen poem.

Callahan and his four backing players also performed songs from the new album, including “Eid Ma Clack Shaw,” a song made memorable not only by its title (no amount of Google-searching yields a translation) but by its refrain, “Show me the way, show me the way, show me the way, to shake a mem-o-ry,” which was sung by Callahan while plinking a keyboard and wearing sunglasses to shield him from the overhead lights.

With the room finally dimmed near darkness, Callahan went all the way back to 1995, with a cryptic, unfurling version of the song “Bathysphere,” about living in the spherical deep-sea vessel. The song was covered in ‘96 by Chan Marshall (a.k.a. Cat Power), who, it’s said, was Callahan’s girlfriend, until, of course, one of them said goodbye.

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By Michael Corcoran | Monday, July 6, 2009, 09:22 AM

Last Thursday while guest-hosting the Jim Rome radio show, the Sklar twins- Randy and Jason- read an email trashing Wilco from a guy named Brent from Austin. “Austin?” one of the twins said, incredulously. “Living in Austin and not loving Wilco is like living in any other city in Texas and not driving a pickup.”

This week, 283 Waterloo Records shoppers proved the Sklars right, buying “Wilco (the Album)” in the first week of its release. Wilco sold about five times more copies than runnerup Regina Spektor. Here’s the Top 50 list (note the sales of “Thriller,” which are about 30 more than on a previous week):

1. Wilco 283
2. Regina Spektor 57
3. Spoon TX 56
4. Charlie Robison TX KGSR 54
5. Levon Helm 49
6. Steve Earle TX 44
7. Grizzly Bear WR 41
8. Black Joe Lewis TX 41
9. Dinosaur Jr. 40
10. Slaid Cleaves TX 39
11. Phoenix 37
12. Sarah Jarosz TX 32
13. Kat Edmonson TX 31
14. Ryan Bingham TX 31
15. St. Vincent TX 31
16. Michael Jackson Thriller 30
17. Iron & Wine TX 28
18. Flatlanders TX 26
19. Todd Snider WR 26
20. Sonic Youth 25
21. Willie & the Wheel TX 25
22. Moby 24
23. Mars Volta 23
24. Dirty Projectors 23
25. Passion Pit 21

Continue the Top 50 after the jump.

26. George Harrison 20
27. Kings of Leon 20
28. Tortoise 19
29. Gomez 19
30. Pete Yorn 18
31. Dave Matthews Band 18
32. Ben Harper 18
33. Deer Tick 17
34. Neko Case 17
35. Mos Def 17
36. Spinnerette 16
37. Yeah Yeah Yeahs 16
38. Michael Jackson Off the Wall 15
39. Michael Jackson Essential 15
40. Sunset Rubdown 13
41. God Help the Girl 13
42. Paolo Nutini 13
43. Michael Jackson Number Ones 13
43. Bibio 12
44. Triple Cobra IS 12
45. Shawn Colvin TX 12
46. Rhett Miller TX 12
47. Joel Guzman & Sarah Fox TX 12
48. Bill Callahan TX 12
49. Balmorhea TX 12

By Brandon Cobb | Sunday, July 5, 2009, 01:37 PM

The term neo soul may be passé, but you couldn’t tell by the throngs of people queuing up outside Wednesday (July 1) at Bass Concert Hall to see Maxwell. You might have thought Barack Obama was speaking by the level of security as screeners were meticulously checking for recording devices and cameras at the front door, causing a bit of a delay. Inside the building was a hive of excitement; this was the first of only two Texas dates on Maxwell’s current “BLACKsummers’night” tour, and people were in from as far away as Houston and Dallas — two cities strangely absent from the tour schedule.

Irish soul singer Laura Izibor opened the show with a set from her debut album, “Let the Truth Be Told” (Atlantic). Her confident, soulful vocals soared on “Don’t Stay,” a wistful piano introspection on love that is long past its expiration date, and “Mmm,” a gospel affirmation of love’s power. When she emerged from behind her piano, accompanied by only her guitarist, Izibor delivered her hit single “From My Heart to Yours” (recently featured on an episode of “Grey’s Anatomy”) with aplomb. No choreography, no props, just rich vocals that filled every inch of the concert hall. Opening for a big name like Maxwell can be daunting, but Izibor made the kind of impression every emerging artist wants. People took notice.

Izibor’s gritty, working class soul was a nice foil for Maxwell’s polished, “quiet storm” of a set. A decade after hitting it big with “Fortunate,” Maxwell still epitomizes the sound that defined the neo soul genre. “Till the Cops Come Knockin’” and Kate Bush’s “This Woman’s Work” generated large sing-alongs with the crowd nearly eclipsing the band at points. “Sumthin Sumthin” fell a bit short despite Maxwell’s attempts to elicit any kind of a response from the crowd. In a moment frustration he asked if they were going to “take it to the Waffle House,” a comical admonition of their indifference.

The best performances of the night came from Maxwell’s newest effort, “BLACKsummers’night” (Columbia), due out July 7. Maxwell and his band turned out powerfully seductive renditions of the album’s standout tracks “Bad Habits,” the quintessential slow jam, and “Cold,” a sexy lament about a female player. Still, it was obvious during hits like “Fortunate” that the audience was there to groove to the older stuff.

Maxwell’s set was thankfully absent of over-the-top choreographed dance routines, although his bump-and-grind session with the mic stand during “Everwanting: To Want You To Want” brought a swarm of women to the front of the stage; some had to be politely shown back to their seats afterward. Maxwell is unapologetic about making music for the ladies. During Wednesday night’s performance he addressed the gentlemen in the crowd acknowledging that in the beginning of his career there was some “hating” going on.

“Now the guys realize I’m just here to get things started,” he said.

Indeed. Judging from the number of smiling couples exiting the elevator after Wednesday night’s performance, Maxwell’s set was surely a preamble to more than a few amorous evenings.

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By Michael Corcoran | Saturday, July 4, 2009, 09:10 AM

The way Spoon usually makes a record is that Britt Daniel writes the songs, then he and his bandmates hammer out demos, which they bring to the producer. Then the songs are rerecorded. But on the band’s as-yet-untitled seventh album, the demos are the foundation of the record, with the band building on top of those basic tracks.

“”We felt like we got something really good on the demos,” Daniel said from Portland, where he’s lived the past three years. Mike McCarthy, who co-produced 2007’s “Ga Ga Ga Ga Ga,” 2005’s “Gimme Fiction” and 2003’s “Kill the Moonlight” with Daniel and drummer Jim Eno, is back on the new one. But at least half the record is being made in Brooklyn with Deerhunter sound man Nicolas Vernhes, who recorded the surprise single “Got Nuffin’,” which came out of nowhere last week.

“We should be done recording by the end of summer,” said Daniel, who added that all the songs have been written, but he’s polishing up a few of the lyrics and reworking his vocals on a couple songs. “Let’s call it September.” The album is slated for a spring 2010 release on Merge.

Some of the songs already in the can are “Written In Reverse,” “I Saw the Light,” “Trouble Comes Running” and “Mystery Zone.” Daniel said the band will play those new songs and more (a series of sneaks?) at their three-night stand at Stubb’s this week, which starts Thursday.

Although it was pointed out that each Spoon album was slightly more acclaimed than its predecessor, Daniel said he doesn’t feel pressure to top “Ga Ga Ga Ga Ga,” which debuted at number 10 on the Billboard album sales chart and landed the band on “Saturday Night Live.” That was the record that got Keepon dancing.

“I feel that this record has got to be awful good,” said Daniel, who said unlike “Ga Ga,” the new one doesn’t have horns. Not yet, at least. “Making records is really important to us- we’re not going to force things. But we really like being finished. Then we get to go out there and do the fun stuff.”

Here’s “Written In Reverse” (the correct title) as performed at the Pitchfork Festival:

By Michael Corcoran | Friday, July 3, 2009, 08:51 PM

The Tucson-to-Austin band Harlem signed to Matador Records about two weeks ago, but since we read M’dor man Gerard Cosloy’s Can’t Stop the Bleeding sports blog more than his Matador blog, we just found out.

By Michael Corcoran | Friday, July 3, 2009, 02:18 PM

Gangsta rap pioneer Ice Cube will play the Travis County Expo Center July 25 as part of the 20th annual Texas Heatwave car show. Mike Jones, Trae, Lil’ Black, J-Kapone and Dirty Wormz are also on the bill.

Tickets are $20 in advance and available at O’Reilly Auto Parts locations. The show is at 8 p.m.

The Heatwave Custom Truck & Car Show runs July 24- 26 at the Expo Center. One competitive event is for loudest car sound system, with the winner determined not by decibels, but with a meter that measures how much air is moved by the bass.

(It’s a good thing Scott Trainer doesn’t live on Decker Lane.)

By Michael Corcoran | Friday, July 3, 2009, 10:54 AM

Programming changes at KUT have cut longtime hosts Paul Ray and Larry Monroe to one night a week each.

“Paul Ray’s Jazz” and Larry Monroe’s “Phil Music Program” are being replaced on KUT (FM 90.5) by “Music with Matt Reilly,” hosted by KUT’s new assistant music director.

In another change, KUT will air “Undercurrents,” a three-hour national music show hosted by Gregg McVicar, at midnight Monday through Thursday to replace overnight programming hosted by Monroe and Ray.

In all, Ray will lose 14 hours of air time a week, with Monroe broadcasting 10 fewer hours a week. Ray and Monroe will continue to host their popular weekly “Twine Time” and “Blue Monday” programs, respectively.

Reilly’s show, which will air from 8 p.m. to midnight Tuesday through Thursday, beginning July 7, “will feature a mix of hand-picked music that reflects the Central Texas experience, as well as live, in-studio performances from local and national artists,” according to a station news release.

KUT says the changes were made to better blend daytime and evening programs. “By creating more continuity between our daytime and evening music programming we hope to serve a broader listener base,” Hawk Mendenhall, KUT’s director of broadcast and content, said in the release. “Larry and Paul have been longtime voices of KUT and have built a strong and loyal fan base for their signature programs ‘Blue Monday’ and ‘Twine Time.’”

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By Pete Mongillo | Thursday, July 2, 2009, 11:21 AM

Fans of the North Carolina folksters excited about their upcoming performance at this year’s Austin City Limits festival will want to check out this video of the Avett Brothers performing in the NPR office. The mini set includes a new song, “Laundry Room,” which will appear on their new album, “I and Love and You,” due out in September.

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By Michael Corcoran | Thursday, July 2, 2009, 10:59 AM

“Victory Lap” from the album, Underneath the Owl.

The Riverboat Gamblers just wrapped up a tour with Rise Against and Rancid. They’ll go to Europe for three weeks beginning Aug. 15. But first is the Antone’s anniversary show with Roky Erickson July 15.

By Music Source | Wednesday, July 1, 2009, 02:53 PM

Jamie Foxx’s ‘Blame It,’ from his 2008 album ‘Intuition’:

“Chris Henderson from Detroit wrote the song. He’s not a big producer, and that’s what you like sometimes. It means a lot to that kid. When I heard it, I thought, ‘I’ve gotta do that song.’ My man Brion Prescott, who brought me that song, said, ‘You have to do it tonight, because everybody wants the song.’ So, we cut it exactly like the record. I wanted to use the autotune and keep it exactly the same.

“By doing that, we snuck in the back door. People didn’t even know it was me singing. There was no grading the record, it was just, `Wow, what is this? We rockin’ to this. We don’t care who it is.’ People found out that it was me, and we got a chance to put Ron Howard and Samuel Jackson and Forest Whitaker and Quincy Jones in the movement. It made it a lifestyle record. It burst at the seams.” - As told to Brian T. Atkinson

Jamie Foxx performs at 8 p.m. July 11 at the Erwin Center. Tickets are $59.75. 1701 Red River St., on the UT campus. 477-6060, texasboxoffice.com.

M. Ward, ‘Hold Time,’ on the recent release ‘Hold Time’:

“‘Hold Time’ was the first song I recorded for the record, and it was written on piano. I don’t write very many songs on piano, but it was written in about 15 minutes, and those tend to be my favorite songs. In my opinion the words come out of the chord progression and the chord progression comes out of the words and they’re just … it’s like describing a dream or something. It’s hard because I don’t understand how it happens, and nor do I want to. If the mystery was decoded, part of the appeal of the music would die. I’m drawn to those mysteries in music and how they’re related to bigger questions related to memory. I think that’s something I’m a little obsessed with. It happens automatically in the same way a dream will enlighten you about your own life or a really old journal entry could tell you something about the situation you’re in today.” - As told to Alex Hannaford

M. Ward plays Aug. 4 at Antone’s, 213 W. Fifth St. $20-$22. 320-8424; antones.net.

The Boxmasters, ‘Some of Shelley’s Blues,’ from the band’s 2008 self-titled debut:

Guitarist J.D. Andrew: “Michael Nesmith’s a huge influence on us as a band. We got to play with Mike at his Video Ranch. You play a show in front of a green screen, but they digitally put you in an amphitheater space where people can watch you on the Internet. We had this screen in front of us where we look at the people watching, who are more like cartoon things. They can comment and post things on the screen that we can see.

“It’s really cool. They’re all communicating with each other, and it’s this amazingly wild thing that he’s come up with. The night after we played, we got to watch Mike play. We got to hear him do his version of ‘Some of Shelley’s Blues.’ We learned the song off the Nitty Gritty Dirt Band album (`Uncle Charlie and His Dog Teddy’), and I hadn’t actually heard Mike’s version. That was great.” - As told to Brian T. Atkinson

The Boxmasters played last weekend as part of the celebration of Poodie Locke’s life at the Backyard.

By Music Source | Wednesday, July 1, 2009, 01:39 PM

Li’l Cap’n Travis at the Continental Club.This is the perfect venue for this Austin crew, which subdivides power pop, country twang and roots rock as well as anyone this town has ever produced. They hit the stage at midnight. $10. — Joe Gross

The Yellow Bike Project presents the Invincible Czars at Wooldridge Square Park. The Czars present their version of Tchaikovsky’s ‘1812 Overture’ in its first Austin performance, along with John Philip Sousa’s ‘Noble of the Mystic Shrine’ and more. Expect a few Capt. Beefheart covers. The Yellow Bike Project will release a fleet of their famous Yellow Bikes into the wild. With them are Rebecca Havemeyer and Little Stolen Moments. Ninth and Guadalupe streets. 1 p.m. Free. www.austinyellowbike.org. — J.G.

M.O.T.O. at Beerland.One of the all-time-great long-running underground outfits, Masters of the Obvious is essentially Chicago songwriter Paul Caporino’s baby. A Zen master of bubblegum punk, his band always sounds fresh, no matter what sounds are in style. With Midnight Creeps, Ty Segall and Moonhearts. 8 p.m. $7. 711 Red River St. 479-7625. — J.G.

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By Michael Corcoran | Wednesday, July 1, 2009, 01:14 PM

Can producer Don Was do for Delbert McClinton’s career what he did for Delbert’s pal Bonnie Raitt on “Nick of Time”?

The Was-produced “Aquired Taste” (New West), which finds D-Mac doing what he does best, only with deeper lyrics, hits stores Aug. 18. The 14-track CD will contain a companion DVD with never=before-seen performances from his “Austin City Limits” appearances.

The CD also includes a guest appearance by McClinton’s friend since childhood, guitarist Stephen Bruton, who passed away in May from throat cancer.

“Acquired Taste” Track List:
1. Mama’s Little Baby
2. Starting A Rumor
3. Can’t Nobody Say I Didn’t Try
4. Never Saw It Comin’
5. Do It
6. I Need To Know
7. People Just Love To Talk
8. Until Then
9. Willie
10. Wouldn’t You Think (Should’ve Been Here By Now)
11. She’s Not There Anymore
12. When She Cries At Night
13. Cherry Street
14. Out Of My Mind