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August 2009
Grupo Fantasma song featured on ‘Weeds’ finale
The soundtrack to Showtime’s herb-centric comedy ‘Weeds’ has become infinitely more interesting since lead character Nancy torched her suburban home in Aggrestic and started border hopping in Southern California. If you tune into the show’s season finale tonight be sure to pay extra attention to the bed music which we’re told will feature a song by local cumbia-funk faves Grupo Fantasma.
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ACL interview: Clutch, heroes to hard rock-loving nerds, brother to ‘Ace of Cakes’ Mary Alice
(Clutch is scheduled to play the Livestrong Stage at 2 p.m. Sunday, Oct. 4.)
Here is one reason Neil Fallon, singer, co-songwriter and lyricist for the hard rock band Clutch, is a hero to nerds who also love hard rock.
So, Neil, what are you reading these days?
“Well, I’m reading a short book called ‘The Big Time’ by a guy named Fritz Leiber,” Fallon says. “Do you know him?”
Yeah, I know Leiber. Science-fiction and fantasy writer of some note, known mostly for his sword-and-sorcery tales of Fafhrd and the Gray Mouser. “The Big Time” is one of his best sci-fi novels.
“Well, I’m reading all of the Hugo and Nebula winners in sequential order,” Fallon says (emphasis ours). “That one won the Hugo in ’58.”
Some rock bands are known for their groupies on the tour bus. Some are known for their drug and alcohol intake.
I have no idea what Fallon’s relationship to those things are, but I do know that he is reading a whole lot of sci-fi on the bus. In. Sequential. Order.
Here’s another reason the members of Clutch are heroes: They won the rock ‘n’ roll career sweepstakes when it looked for all the world like they had lost.
Clutch started in Germantown, Maryland, a D.C. suburb, in 1990. I first saw them in a frat house that doubled as a DIY venue on Halloween 1992.
“I remember that show,” Fallon says. “Just about every other girl was dressed like a ‘Teen Spirit’ cheerleader.”
Throughout their career, Clutch bounced from label to label, practically by the album. In nearly 20 years as a band, they have released records on (deep breath) Atlantic, Columbia, DRT, Earache, Eastwest and Megaforce. None of the record execs seemed to have any idea what to do with a band whose sound could move from mid-tempo hardcore punk to Helmet-style noise rock to something slower and heavier and bluesier.
And Fallon’s lyrics were equally confusing, wise-acre rhymes bellowed like a lumberjack at classic rock karaoke night. Everybody knew someone like Fallon in college - the dropout who was far smarter than he let on, the sometimes-quiet guy who was usually the cleverest, funniest person in the room.
Clutch thought nothing of welding giant riffs to songs with titles such as “Bottom Up, Socrates,” “Escape from the Prison Planet,” “When Vegans Attack,” “Burning Beard” and “Sleestak Lightning” and a dozen more, equally smart and funny.
And save for the occasional keyboard player, the line-up has remained the same: Fallon, guitarist Tim Sult, bassist Dan Maines and drummer Jean-Paul Gaster.
But labels were baffled, so Clutch did what bands should do: They toured. Constantly. On and off for most of the ‘90s and ‘00s. It’s the oldest business model in music, reaching back to the days of wandering minstrels.
These days, Clutch has one of rock’s most devout fanbases and they’re finally putting out their own albums, including the new and excellent “Strange Cousins from the West” full-time on their own Weathermaker Records at one of the best possible moments.
“We found ourselves off of DRT Records after our last album, thank Christ,” Fallon says. “We were in a position to cut out a lot of middle people. By the end of our time on DRT, we were already doing everything ourselves so it was like, ‘Why add more cooks?’”
Fallon says they banged out “Strange Cousins” as quickly and economically as possible and designed an admittedly nifty die-cut package for it. (“People don’t have to buy CDs anymore, so you might as well make the packaging pretty nice.”) There it was, in Target, on sale for $9.99. One gets no better access to the mainstream than that.
“Look, we don’t think we’re going to have a gold record on Weathermaker’s wall any time soon,” Fallon says. “You can build a house out of sticks really quick but it won’t last. The people who are coming to the live shows are real music fans, not fans of a hit. Their attention span is much, much longer, if not permanent.”
But there’s really only one thing anyone wants to know from Fallon these days: What’s it like having a sister - Mary Alice, the office manager from the cult cooking show “Ace of Cakes,” - who is as famous as he is, if not more recognizable?
“I’ll tell you what, man,” Fallon says. “Cake fans are way spookier than rock ‘n’ roll fans.”
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XBox is the new ACL stage sponsor; two other stages named for Livestrong Foundation, wildflower center
Austin City Limits Music Festival organizers announced Monday that the two remaining, thusfar un-sponsored stages would be named for the Livestrong Foundation and the Lady Bird Johnson Wildflower Center.
In addition, Xbox360 has moved stages. It was once sponsoring the former WaMu stage (a.k.a. the gospel “tent”). They will now title the stage hosting STS9 (Sound Tribe Sector 9), Girl Talk, Raphael Saadiq, and more.
The Livestrong Foundation and the Wildflower Center are non-profits; no donor funds were utilized to acquire the stage name rights, which were a gift of the Festival. C3 donated naming rights to one of the two main stages at Lollapalooza to Olympics 2016, the organization trying to bring the games to Chicago. AT&T didn’t renew its sponsorship contract at Lolla either.
Two stages without paid sponsors? Ouch.
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Review: About Blank at Lucky Lounge
Words are meaningless when you have a trumpeter, a trombonist, two saxophonists, two drummers, a conga player, an electric guitarist, an upright/electric bassist, a DJ, and four female dancers with headdresses that the aforementioned bassist, Kyle Clayton, dubbed the Skanks.
It wasn’t that the dancers were “easy” — they wore modest spaghetti-strap tank-tops and long, flowing dresses — but their name hit the spot for “About Skank,” the gleefully spastic ska song Clayton’s instrumental jam band played while the girls busted a move. That song title was in turn a play on the band, About Blank, who at this point in its CD release show for its debut album, “Rise,” had swelled way beyond its normal size.
It’s not exactly kosher to play in Austin and not have words. Sure, Explosions in the Sky pulls it off. But they have a built-in audience from “Friday Night Lights.” Then there’s Ephraim Owens. He makes it happen. But he’s practically a novelty act, in that he’s playing a dying form, traditional jazz. After that it gets pretty thin. This is a singer-songwriter’s town.
No one seemed to know that, though, Saturday at Lucky Lounge. The place was choked with people bobbing their heads in time—and chances are the majority of them came for the drink specials and hadn’t a clue who was playing. There’s hardly a more complimentary acknowledgment of a band’s virtuosity than to win over a crowd without any advance hype.
About Blank did it with endless grooves. And with the dexterous hopscotch matches between the trumpeter, Erik Telford, and the tenor saxophonist, Kevin Gibbs. And, most emphatically, with the avant-garde guitar work of Danny Anderson, who veered with facility between tonal precision and industrial combustion, as on the mind-erasing “Black Magic Marker.”
It’s almost hard to believe this glorious night of accessible fusion was free of charge.
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Review: The Sword at Mohawk
Like AC/DC , the Sword does one thing, but the band does it about as well as anyone around right now and if you’re in the mood for that sound, little else will satisfy, as the sold out crowd at Mohawk Friday night could attest.
Its rhythm is a gallop, for the most part, the rush into battle that classic metal embodies. The sound is a thick, chugging dual-guitar clash that often breaks into the sorts of harmonies that recall British heavy metal acts such as Iron Maiden and Judas Priest - think, well, the clang of swords against armor or the singular congress of a thousand arrows raining down on an enemy. Subject matter ranges from traditional mythology (Norse, Greek) to the 20th century equivalents (the fiction of Robert E. Howard and George R.R. Martin).
It’s a form rather than a formula and a metal one at that, but not so extreme that it’s cultish (singer/guitarist J.D. Cronise’s fondness for singing rather than screaming or going all Cookie Monster is a big part of that). But nor is it poppy or especially commercial-sounding. In the weapons of our own era, The Sword is like the AK-47 or a shoulder-fired Stinger missile - not too complicated once you figure it out, but fearsomely effective and all the more popular for it.
The Austin quartet returned to the Mohawk as conquering heroes complete with a large gong and solid light show, exactly what you’d expect from dudes who spent the spring opening for Metallica. (They also looked very fit - opening for Metallica must put you personally in shape as much as it does your playing - and there must be a painting somewhere aging on guitarist Kylre Shutt’s behalf.)
The band thundered tightly through material from the 2006 debut (Age of Winter) and the 2008 follow-up (Gods of the Earth). Four new songs made their debut, material that didn’t deviate too far from already conquered lands, but showed there was still room for further exploration.
Locals Pack of Wolves and Rat King also delivered solid set, the former mixing the chug and bellow of early thrash with the thrust of hardcore punk. This was metalcore without the overly technical histronics. Rat King’s set welded complicated, detailed riffs with former Sea of Thousand singer Craig Moore’s hellish scream.
We await new albums from all three bands and raise our fists in salute.
This was only the first of a two night stand at Mohawk. How was the second night? Anyone go to both?
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Boston Globe loves our Kat
“Austin’s Great Jazz Hope” Kat Edmonson received a rave writeup in the Boston Globe today. She’ll be playing the prestigious Tanglewood Jazz Festival Sunday in Massachusetts.
“Edmonson might be the most promising American jazz singer to come along since Cassandra Wilson,” wrote Globe jazz critic Steve Greenlee.
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South Austin History Moment
The Armadillo World Headquarters, narrated by Joe Nick Patoski.
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Austin musician gets cast in ‘Parenthood’ TV show
Sometime T-Bird and the Breaks backup singer Stephanie Hunt has landed a role in “Parenthood,” NBC’s adaptation of the hilarious and moving 1989 film directed by Ron Howard. (Daughter to unapproving mother: “You’re last boyfriend stole our furniture!”)
Howard is exec-producing the TV show with Brian Glazer and “Friday Night Lights” writer/ producer Jason Katims. There’s the connection: Hunt, 19, had an occasional role in season three of “FNL” as Devin, the lesbian bass player in Landry’s band.
Hunt’s older sister is fiddle player Phoebe Hunt of Belleville Outfit.
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Ex-Mayor Lee Cooke on SRV, KUT
Over the weekend, we received this post from former Austin Mayor Lee Cooke:
“Nineteen years ago, while Mayor, tragedy struck the music world. Austin was very hard hit! That night, along with thousands, we all stood silent in Zilker Park, no sound, only light from lighters and small flashlights to the sky.
Thursday night, August 27, was the 19th anniversary of the death of Stevie Ray Vaughan. If Phil Music were still on KUT, Larry Monroe would have done a tribute to Stevie. (Thursday) night there was not one single song by Stevie Ray Vaughan played on Music With Matt Reilly. There were songs by Johnny Thunder And The Heartbreakers, Avett Brothers, Grizzly Bear, Pearl Jam, The Lemonheads, The Dead Weather, The Plugz, Eels, Young Fresh Fellows, The Soft Boys, Fruit Bats, Loose Fur, Dirty Projectors, The Swell Maps and Sex Mob, but not one single song by Stevie Ray Vaughan to commemorate the anniversary of perhaps the saddest day in Austin Music History.
KUT dropped the ball. Hand Picked, Homegrown, Uniquely Austin…That’s KUT Music. That’s a slogan, not the truth. That’s PR, that’s not honesty. Sadly, KUT is slowly breaking the music trust with the Austin Community. It is not about old vs new or change vs no change, it is about the overall culture and depth of Austin music, now on the world stage. It’s acknowledging our rich music history starting with Kenneth Threadgill in the 1930’s and those like Larry Monroe and Paul Ray who helped “brung us” to the scene we all enjoy in Austin every night of the week now. How many new artist, everywhere and in Austin, hark back to some or many of the sounds past, giving us cutting edge today?
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Woxy show at Scoot Inn
Woxy.com is moving to Austin (the Internet radio station will share digs with ME-TV on South Congress) and they’re celebrating with a Sept. 6 show at the Scoot Inn. Details here.
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Catching up with Eric Johnson
(Photo by Max Crace/Special to the Statesman)
Guitar god Eric Johnson is meticulous in the studio, likening his attention to detail to “sawing BBs in half,” so when he finishes a studio album he likes to get together with bassist Chris Maresh and drummer Bill Maddox and bash out the blues-rock as Alien Love Child. “It’s great therapy,” says the Grammy-winner, whose crowds are getting younger after the inclusion of “Cliffs of Dover” on “Guitar Hero III.”
“Instead of having everything figured out, we just sorta go with the flow. It’s about 95 percent improvised, but with these guys you’re just so comfortable.” The trio came together as ALC in 1995.
The new album, which Johnson hopes to get out by the end of the year, is being mixed by the all-star team of Andy Johns, George Massenburg and Gary Paczosa. “This album was recorded in blistering speed for me,” said the Austin-born Johnson of a year and a half, off and on, in the studio. “I’ve always looked at the studio differently from playing live, but now I’m seeing it all as musical performance.”
Johnson is one of the few guitarists to play a Fender Strat and a Gibson 335 on the same recording — that’s a Strat in the intro and outro of “Cliffs of Dover” and the Gibson in the middle. Johnson was close with Gibson’s main man Les Paul, who rarely missed a Johnson show in New York. “I loved to hang out with him and talk. He lived to be 94 and had a great life.”
Although Paul got most credit for inventing the solid body guitar and multitracking, Johnson said his guitar playing was also phenomenal “He was really the Jimi Hendrix of the ’50s,” Johnson said of the icon, who passed away recently. “His playing was so different for the times. You could really hear where Jeff Beck got a lot of his stuff from. We were all influenced by Les Paul.”
Eric Johnson and Alien Love Child play at 8 p.m. Saturday at Tim’s Porch at the Backyard, 13101 Texas 71 W., Bee Cave. $17. 263-4146.
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You wanted the best, you got….KISS at the Frank Erwin Center Dec. 4
Hard rock/pop (bubblemetal?) legends Kiss has announced the dates for their “Kiss Alive 35” tour, which celebrates their 35th anniversary this year. The tour kicks off in Detroit Sept. 25 and hits Austin’s Frank Erwin Center Dec. 4.
Gene Simmons and Paul Stanley are the only original members of the band, but they have promised “new battle gear,” along with all-new pyro.
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SaveKUTAustin plans Oct. 11 concert
In an Aug. 24 letter hand delivered to University of Texas Communications Dean Roderick Hart, Cleve Hattersley of the SaveKUTAustin steering committee wrote:
“We are planning a major concert at one of Austin’s top venues to be held on October 11. The stars will be big, very big. This event, plus a series of events at venues throughout the city throughout October, will focus the community on the issues stated above and raise funds to support this focus effort. The attendant PR campaign will be loud and widespread. The student body of UT will be involved.”
The steering committee met last night at the AAMP headquarters on Monroe Street and according to the minutes the locations being discussed are the Paramount Theatre and the Austin Music Hall, depending on who they can get. Jerry Jeff Walker seems fairly certain, and the wish list includes Natalie Maines and Joe Ely, Delbert McClinton and Robert Earl Keen.
Meanwhile, Spike Gillespie’s “I’m So Popular” column in the Austinist has an interesting take on what all the uproar is about at KUT.
You can read it here.
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Weekend picks: Conquering heroes, big buzzes and a back to school bash
Pictured: The Sword. Photo by Aubrey Edwards
FRIDAY - SUNDAY
Momo’s Anniversary Party . Club hosts a four-night, 21-act bacchanalia featuring appearances by the ‘family’ of bands and artists that have gotten their start or perform regularly there. Check out Dustin Welch, Dan Dyer, T Bird and the Breaks and more Friday. Wendy Colonna, Suzanna Choffel and Drew Smith’s Lonely Choir and more throw down Saturday night, while Warren Hood and more play Sunday. Doors at 6 except Sunday, when doors at 7 p.m. Friday and Saturday are $10 each. Sunday is $7. — Joe Gross
FRIDAY - SATURDAY
The Sword at Mohawk. This is the first night of a two-night stand, a duo of shows that have the feeling of a triumphant metal homecoming, what with the conquering heroes having returned from the land of opening for Metallica and all . Ratking and Pack of Wolves open the show on Friday. Fingaar Bangaar and Woodgrain open Saturday. 9 p.m. $15 advance, $17 door. — J.G.
Also recommended Friday:
- The Calm Blue Sea at the Mohawk
- Weedeater at Red 7
- Black and White Years at Emo’s
- Telegraph Canyon at Stubb’s
- Prince Klassen at the Beauty Bar
- Tycho at the Parish
SATURDAY
UT Back to School Day Fest at the Hole in the Wall. Thousands of UT students couldn’t ask for a much better homecoming than this benefit for Charity Music of Texas, which helps provide at-risk and disadvantaged youth with musical instruments. More than 20 bands and DJs, from Texas indie pop favorites the Deathray Davies and Quiet Company to La Porte folk rock favorites Buxton, will team up for 12 solid hours of low-cost sampling of the best of underground Texas music. The show is free from 2 p.m. to 7 p.m., $3 from 7 p.m. to 10 p.m., $7 from 10 p.m. on. — Patrick Caldwell
Also recommended
- Hirax at Red 7
- Baby Robots CD release at Trailer Space
- the Alice Rose at La Zona Rosa
- Grimy Styles at Flamingo Cantina
- the Young at Emo’s
- Peligrosa at the Beauty Bar
SUNDAY
The Church of the Friendly Ghost presents Brain Beattie at the Salvage Vanguard Theater. The evening kicks off with Beattie’s ‘drum and drone’ show — expect big buzzes and sharp rhythms. With Geoff Reacher’s electroacoustic music. Lee Barber headlines with the Broken Cup (Beattie plays bass). 9 p.m. $5. — J.G.
Also recommended
- The Strange Boys at Emo’s
- Jon Dee Graham and Michael Fracasso at Continental Club
- Pickled Punks at Red 7
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Here’s what 1,859 guitarists look and sound like
Roger Creager leads the multitudes Sunday at Luckenbach in breaking the Guinness world record for biggest guitar ensemble. The reason record-breaking number “Luckenbach, Texas” went on so long, according to co-organizer Charlie Gallagher, was because the pickers had to play at lease five minutes for the record to be valid. The other official song, “This Land Is Your Land,” also went over five minutes, as organizers were taking no chances.
How did “Luckenbach” beat out “This Land Is Your Land” for the record-breaking song? “The Luckenbach folks had a say in that,” said Gallagher, of the Voices of a Grateful Nation organization, which put together the guitar army. Luckenbach paid the $700 fee to Guinness for the record attempt.
Gallagher estimates that about $40,000 was raised at the event for the Welcome Home Project to aid returning troops and veterans.”That money will underwrite the cost of music therapy guitar lessons,” said Gallagher.
The crowd of nearly 2,000 were able to play in unison because when they registered online, they were sent the words and chord charts of “Luckenbach” and “This Land.” It was pretty much a word of mouth affair, as each new registrant was asked to recruit 10 more. About 1,450 signed up in advance, but 266 were no-shows, perhaps due to 102 degree heat. Over 600 signed up on the day of the event to take up the slack.
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Thibodeaux’s Austin band wins Cajun music award
“Homage à Andrew Cormier” by Charles Thibodeaux and the Austin Cajun Aces was named “Best First CD” at the Cajun French Music Association Awards over the weekend in Lafayette, La.
The LP, produced by Peter Schwarz at Bismeaux Studios, honors the man who taught Thibodeaux the 10 button Cajun-style diatonic accordion. A native of Beaumont, Thibodeaux relocated to Austin in the 1980s but only began performing publicly in recent years. He and the band, which includes Steve Doerr of the LeRoi Bros, pack ‘em in every Monday night at the Evangeline Café on Brodie Lane.
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Fun Fun Fun Fest 2009 lineup
The lineup for Fun Fun Fun fest is out now and the biggest surprise might be the inclusion of the pride of former Misfits frontman, notorious toy collector, Wolverine look-alike and the pride of Lodi, New Jersey, Mr. Glenn Danzig. (And his band, Danzig, of course.)
The fest takes place Nov. 7 and 8 at Waterloo Park. Tickets go on sale today.
Other fan faves include hardcore gods Gorilla Biscuits and 7 Seconds, underground metal stars Torche, Austin faves Riverboat Gamblers, metalcore titans Coalese, post-punk vets Mission of Burma, hip-hop legends Pharcyde, sketch comics Whitest Kids You Know, Austin’s own Shearwater and many more. Check out the full line-up below.
- Photos: Fun Fun Fun Fest 2009 lineup
- 2008 videos: Day 1 scene report | Brownout interview
Orange Stage
- Ratatat
- of Montreal
- Crystal Castles
- Les Savy Fav
- Yeasayer
- Mission of Burma
- Lucero
- Why?
- Broadcast
- Atlas Sound
- Death (Detroit)
- No Age
- Red Sparowes
- Shonen Knife
- (Expletive) Buttons
- Times New Viking
- This Will Destroy You
- Crystal Antlers
- Growing
- Black and White Years
- Royal Bangs
- The Laughing
The Black Stage
- Jesus Lizard
- Danzig
- Gorilla Biscuits
- Face to Face
- (Expletive) Up
- 7 seconds
- D.R.I.
- Torche
- Melt Banana
- Flipper
- Coalesce
- Riverboat Gamblers
- Street Dogs
- Russian Circles
- Night Marchers
- Metallagher
- - Youth Brigade
- Mika Miko
- All Leather
- Young Widows
- Coliseum
- Underground Railroad to Candyland
- Off With Their Heads
- Reign Supreme
- Rat King
- Pack of Wolves
- Roller
The Blue Stage
- The Cool Kids
- Pharcyde
- GZA/Genius (performing Liquid Swords with special guests)
- Kid Sister
- Baruka Som Sistema
- DJ Numark (Jurassic 5)
- Health
- Neon Indian
- MC Chris
- Ssion
- Alaska in Winter
- Vega
- Foot Patrol
- Astronautalis
- Car Stereo (Wars)
- the DJ Melee
- Sugar & Gold
- LAX
- Peligrosa DJs
- Beta Player
The Yellow Stage
- Destroyer
- Whitest Kids You Know sketch comedy troupe
- Brian Posehn
- King Khan Bbq
- Shearwater
- Todd Barry
- Dead Confederate
- Nick Thune
- Harlem
- Josh Fadem
- Strange Boys
- Hannibal Burress
- James Husband (of Montreal)
- Brendon Walsh
- Cedric Burnside & Lightning Malcolm
- Chelsea Peretti
- Bankrupt and the Borrowers
- Altercation Comedy Hour
- Moonlight Towers
- Low Line Caller
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Michael Jackson case: View the search warrant
The Los Angeles County coroner has ruled Michael Jackson’s death a homicide and a combination of drugs was the cause, a law enforcement official told The Associated Press on Monday, a finding that makes it more likely criminal charges will be filed against Dr. Conrad Murray, who was with the pop star when he died.
A search warrant affidavit unsealed Monday in Houston includes a detailed account of what Murray told investigators.
Scroll down or click here to read a copy of the search warrant obtained by the American-Statesman, and click here for the latest updates in the investigation into Jackson’s death.
More Michael Jackson
Photos: Memorial service
Photos: Reaction to Jackson’s death
Photos: Jackson through the years
Michael Jackson search warrant
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CD review: Arctic Monkeys - ‘Humbug’
‘Humbug’
(Domino)
C
The Arctic Monkeys’ rapid rise to rock royalty (their acclaimed debut, “Whatever People Say I Am,” arrived in 2006, followed a year later by the Billboard Top 10 charting “Favourite Worst Nightmare”) could be credited to lead Monkey Alex Turner’s entertaining, detached perspective on newly acquired rock stardom. But it’s easy to see how that act can get old fairly quickly when a band is actually successful. Such is the case on “Humbug,” the band’s first album recorded in the United States, with producers Josh Homme of Queens of the Stone Age and James Ford of Simian Mobile Disco. Turner doesn’t seem to be fully committed to the endeavor this time around; he’s not helped by a collection of songs bogged down by cliched lyrics. Even highlight “Crying Lightning” is spoiled by lines such as “the next time I caught my own reflection it was on its way to meet you,” which renders forgettable an otherwise appealing, spooky thumper.
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CD review: Jack Ingram - ‘Big Dream & High Hopes’
Jack Ingram
‘Big Dream & High Hopes’
(Big Machine)
B
Jack Ingram’s career has been on an upward trajectory since the success of the 2005 hit “Wherever You Are;” on “Big Dreams & High Hopes,” he shows no signs of slowing down. Ingram can’t be accused of false advertising on “Dreams;” most of the songs, including the opener “Free” and the title track are the musical equivalent of the “hang in there” cat poster. He adds a bit of darkness here and there when he feels like it; see also the regret-filled “King of Wasted Time.” Singer-songwriter Patty Griffin and fellow country artist Dierks Bentley both make appearances on “Dreams.” Bentley’s guest spot, the barroom stomper “Barbie Doll” — which Ingram co-wrote with Todd Snider — will probably be coming to a radio near you.
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Interview: Thurston Moore of Sonic Youth
Never let it be said that Thurston Moore likes to loaf around the house.
“I’m on the Merritt Parkway while we’re talking,” Moore says.
It’s June, and the Sonic Youth guitarist is driving from the Massachusetts home he shares with his wife and fellow Youth Kim Gordon and their daughter Coco to New York City, the city that gave birth to the band some 28 years ago.
He’s heading to an opening night for photographer Richard Kern, who came out of the same downtown New York scene as Sonic Youth. He’s meeting with editors at Abrams Books with whom he’s working on several projects. He’s going to visit his niece. Later in the summer, he’s heading to what he calls “noise camp,” a brief tour with his improvisational noise project Northhampton Wools.
“A few shows, sleeping bags and tents in West Virginia,” Moore says. “I am excited about the Sonic Youth tour, but noise camp is in the front of my cerebral context, tingling.” (Sadly, the tour was cancelled when Moore came down with the flu in early August.)
“I’m a guy who likes to keep busy.” He pauses. “Well, I tend to keeping busy whether I like it or not.”
On top of all this, this year, Sonic Youth released “The Eternal,” its 16th studio album and first on Matador Records. It’s also their first on an independent label after spending the last 19 years on the major label Geffen Records. The band plays the Dell stage at 7 p.m. Oct 4 of ACL.
This is an odd type of homecoming for the band. Sonic Youth were always scene leaders in independent rock and, in turn, made the world of major labels seem safe for the like of, say, Nirvana. It wasn’t; most bands who signed to majors crashed and burned after a record or two.
But Sonic Youth hung around on major longer than virtually anyone. “We were fortunate Nirvana opened up alternative rock for a moment there,” Moore says. “It sort of gave us a little bit of security.”
Indeed, they were around long enough to see major labels lose an extraordinary amount of the potency.
“The record industry is completely barren now. We knew nobody at Geffen anymore,” Moore said, “They would certainly put (a new record) in the rack at Virgin Megastore, but there was really no personable energy going on there at all.”
Now they’re back on an indie, even working with the same folks (Matador co-owner Gerard Cosloy was signing bands for Homestead Records in the mid-80s when Sonic Youth released the album “Bad Moon Rising” on the label.)
“We were liberated from this long contact and we had music-loving friends at a real successful label,” Moore says of Matador. “That excitement brought energy to the songwriting.”
That may have been true, but as journalists are fond of saying, there’s no inspiration like the deadline. Moore and Gordon, along with guitarist Lee Renaldo, were always working on projects (including having several school-age kids between them). Drummer Steve Shelly runs the record label Smells Like in addition to Sonic Youth’s vanity labels SYR and Goofin’.
“Every once in a while I’d look at the calendar,” Moore said, “ and it was like, ‘if we want this record out in June, we gotta get it done by Christmastime (2008)’”
Something had to change. “Usually, we’d get an album’s worth of songs together and rehearse and and discern one from the other and bring the whole mess in the studio.”
The band approached “The Eternal” differently than their last couple of albums. “We would get together on weekends and write songs really fast,” Moore said. “If we were lucky, we’d slam em down on tape. There was more of an immediacy to the songwriting. There was a punk rock vibe (in songs such as “Thunderclap for Bobby Pyn” and “Sacred Trickster”).
Family considerations can equals punk rock in Sonic Youth’s world. After a few decades as scene leaders, tastemakers and elder statesmen, they can have private lives and pursue outside interests and be parents and, oh, yeah, be one of rock’s most surefire acts.
“We’ve always been sort of grateful and never had any ambitions of real grandeur,” Moore says. “This is how we live our lives.”
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CD review: Willie Nelson ‘American Classic’
‘American Classic’
(Lost Highway)
B
Willie Nelson once again stamps familiar standards with his ineradicable musical personality on his new album, “American Classic.” Nelson simplifies and slows down the tempos, then applies his tawny, world-weary voice to mostly melancholy lyrics, as he interprets songs from the mid-century catalog. He leaves it to Joe Sample, Diana Krall and Norah Jones on piano, Christian McBride and Robert Hurst on bass and Lewis Nash and Jeff Hamilton on drums - along with dashes of sax, harmonica and organ — to supply the welcome jazziness. Nelson had perfected this stripped-down strategy on 1978’s “Stardust,” recording immortal versions of “Georgia on My Mind,” “Blue Skies,” “September Song,” “Moonlight in Vermont” and the title song. Nothing on “American Classic” matches those intense refinements. Nelson is weakest here in the duets with Krall and Jones, whose zesty playfulness contrasts with his drifting vocal responses. He regains his storytelling balance on “Angels Eyes” and he unspools homespun joy for “On the Street Where You Live.” Nelson saves the album altogether with his last two cuts, a soulful version of “Since I Fell for You” and a bigger-band retake of “Always on My Mind,” which he canonized in 1982.
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CD review: Richard Thompson box set is a heavy-hitter
‘Walking on a Wire: (1968-2009)’
(Shout Factory)
A-
“Walking on a Wire” is a top-flight introduction to a guy who might be the greatest living British bluesman.
Not in the 12-bar or Clapton sense, but in the sense that Richard Thompson’s music taps into the well of emotional chaos and elemental storytelling that fuels the deepest blues. Then he translates those feelings into a guitar glossolalia that could only come from a son of Albion.
Just as the blues is profoundly American, Thompson’s music is decidedly United Kingdom. With Fairport Convention, he fused the most ancient of British ballads into a vibrant, electric folk rock as thrilling in its own Scots manner as Dylan’s update of Woody Guthrie. With wife Linda, he made some of the 1970s’ most emotionally exhausting rock, peaking with 1982’s no-really-it’s-not-JUST-about-divorce classic “Shoot Out the Lights.” He spent the ’80s, ’90s and ’00s looking for new fans now and then and honing a fan base that just kept getting harder core. A critical darling and commercial nonstarter for most of his career, he can sell out small to mid-sized venues pretty much wherever he chooses to go. Not a bad life, really.
That doesn’t make it too surprising that this is the third(!) box set of Thompson’s career. The first, “Watching the Dark” (Hannibal/Ryko, 1993), was a three-CD affair that mixed studio tracks and rarities (The version of “A Sailor’s Life” on there should get some sort of Nobel Prize.)
The next, “RT: The Life and Music of Richard Thompson” (Free Reed, 2006) was a five-CD, fanatics-only behemoth with fan-chosen hits, amazing and obscure live guitar blowouts and some of the ugliest graphics in box set history.
“Walking on a Wire” is the opposite, a four-CD overview of his studio output from the Fairport days (“Meet on the Ledge” and the epic “Sloth” still thrill) through the Richard and Linda years to his most recent solo album, the surprisingly rocking “Sweet Warrior.”
Thompson has always quibbled with being called a mope, but the recorded evidence is pretty overwhelming. His isn’t an adolescent, Robert Smithy mope, but one who has a deep-seated knowledge that happiness is an occasion (“Old Man Inside a Young Man”) and the complexities of love often just make things worse (“Withered and Died,” “I Misunderstood”). And his guitar playing lives in those moments when melancholia becomes sublime (“Calvary Cross,” here in its tight studio version, deserves to be heard live).
His ’80s and ’90s output suffered a bit from a long-term collaboration with Mitchell Froom. Froom’s production is often too slick and too vanilla by half, turning solid songs into dad-rock almost by design.
Thompson wisely cherry picks from these albums, and of course most of the songs are from 1991’s “Rumor and Sigh” where the tunecraft was good enough to withstand Froomization. (Or dispensed with it altogether - “1952 Vincent Black Lightning” is just Thompson and an acoustic guitar; it became a live staple, perhaps his all-time most popular song).
But he got over it, and “Walking On A Wire” shows you why people have adored him for 40 years.
These days, Thompson still tours constantly, knocking out studio albums or fan-club records or movie scores or guest spots on other people’s albums, working and playing and playing and working. These days, a young man is inside the old man.
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Yeah Yeah Yeahs replace Beastie Boys
ASSOCIATED PRESS
The Yeah Yeah Yeahs have been confirmed to replace the Beastie Boys Friday co-headlining at Austin City Limits this year. The New York trio replaced the, um, New York trio at Lollapalooza as well.
R&B singer Raphael Saadiq has been added to the 5:30 - 6:30 Friday slot on the Lady Bird Lake stage previously occupied by Lily Allen, while the 7:30-8:30 remains unfilled (or at least, not public). Ben Sollee is now 12:30- 1:30 Sunday on the Austin Ventures stage.
This puts the YYY’s up against Kings of Leon. It will be interesting to see how this plays out. The Kings’ album “Only By the Night” has moved more than one million copies in 46 weeks (aided, of course, by “Sex on Fire” and “Use Somebody”). The Yeah Yeah Yeah’s newest, the New Wave-inflected “It’s Blitz!” has moved 149,000 in 22 weeks. (While “Zero” is a terrific song, it doesn’t have the radio legs of “Sex on Fire.”
Sales-wise, there’s no comparison. But on stage, the YYYs are still an absolute force of nature live and it could be thrilling to see them take command of tens of thousands.
MORE ACL FEST
- ACL aftershows announced
- Hot or not? Rate the ACL bands | Full list of bands
- Photos: ACL Fest history | ACL Fest A to Z
- 2008 photos: Friday | Saturday | Sunday | Reader photos
- Full ACL Fest coverage
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Review: Steve Earle at Austin City Limits taping
Steve Earle showed up to tape his Austin City Limits segment at his most unpretentious, and that’s saying something. For at least 15 years, Earle has seemed utterly uninterested in branding, selling or otherwise packaging himself and this admirable non-strategy has worked—if success means playing what you want, with whoever you want, the way you want it played.
Last Friday, Earle focused on songs by his old friend and mentor Townes Van Zandt. Like the recently released Townes, Earle’s long set was a loving tribute to the tortured genius who heckled him at an early gig—yelling “Play the Wabash Cannonball!”—understood why seeing Lightnin’ Hopkins and Mance Lipscomb on the same night was “a very big deal” and served as inspiration, for better or for worse.
Earle said he’d had a hellish time picking 16 Townes tracks out of a “28 song short list,” and explained his decision to include the classic “Pancho and Lefty”.
“What you do the first day in jail is pick the biggest guy in the yard and knock him out and then you get to keep your radio,” he said. “On that basis, I recorded this song.”
Irreverent and self-effacing—and looking something like a homeless PhD— Earle kept his mind on Van Zandt and himself in the background. That was his plan, anyway, but real Steve Earle fans remained permanently fascinated by Steve Earle. It’s hard to take your eyes—or ears—off a performer who never lets himself get poignant without running his emotions through a corn detector first.
Case in point: Earle stunned the audience with a sad and unsentimental version of “Fort Worth Blues,” his eulogy for Van Zandt, but then pled guilty to excessive poetic license with its lyrics.
“In point of fact,” he said, “Paris is exactly my kind of town.”
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ACL buzzmeter - Kings of Leon taking the crown
You’re looking at as scientific a snapshot as you’re probably going to get of who’s drawing ears and eyeballs to this year’s Austin City Limits Fest. Using the personal schedule tool at www.aclfestival.com, we’re tracking (every Sunday night) how many fans have “added” an artist to their personal schedule as the big day draws closer. (Note - these are the numbers from 8/16, posted late because I neglected to post before leaving last week. Fresh numbers from 8/23 should be here by Tuesday.)
While you’re only seeing the top 20 here, we’ve got a much deeper running chart going to keep a close eye on who’s gaining steam and who’s stalling out.
So what of it? Well, first of all how about the three-furlong lead relative youngsters Kings of Leon have at the top on day three headliners and modern rock vets Pearl Jam? The more than 6,000 add lead has sprouted almost all in the last week, too (we started eyeing these numbers at the beginning of the month) which suggests the recently platinum-certified band made an impression earlier this month at Lollapalooza and are reaping the rewards in fresh interest. They’ve also got no competition at that time slot now since The Beastie Boys dropped out. Whatever’s behind their surge, it’s a real eye opener, though you have to wonder what the Sept. 20 release of Pearl Jam’s new record “Backspacer” and its attendant publicity push will do to ratchet up their numbers heading into October.
Indie darlings The Decemberists make a not shocking bow at No. 3 but one spot down we see it’s apparently folly to write off the Arctic Monkeys as 2007’s news. While the new “Humbug” is due to drop next week, it hasn’t exactly burned up radio charts of any kind, so this one’s a real head scratcher at this point. Am I missing something on that one? If so, drop me a line at cswiatecki@statesman.com.
Just outside the top 10, six artists within 1,000 adds of each other - Mos Def, Toadies, Sonic Youth, B-52’s, Lily Allen (pre-dropout) and John Legend - give an interesting glimpse of the truly mixed fare at festivals these days. Of those, Mos Def and the B-52’s seem the best bets to gain large numbers of new adds in the coming weeks; Mos Def because he’s the purple cow of the bunch and B-52’s for retro fun value. Their crowd could be MGMT-last-year big.
Looking ahead, the biggest chance for movement of any sizable nature will come whenever promoters C3 Presents name the replacement act for The Beastie Boys on the first night. And not that they need my urging, but we’re about six weeks out and it’s almost officially time to start getting antsy about how that hole is going to be filled. Time’s a-wastin’, dudes. -Chad Swiatecki
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Luckenbach enters record book for guitar jam
Courtesy of Gibson Guitars
In 2007, 1,802 Germans played “Smoke On the Water” in unison to enter the Guinness Book of World Records as the largest recorded guitar ensemble. That record was topped Sunday afternoon at Luckenbach, when 1,859 pickers played “Luckenbach, Texas” and “This Land Is Your Land.”
1,859 guitar players in one spot- and it wasn’t an Eric Johnson concert!
The “Pickin’ For the Record” event was organized by the Voices of a Grateful Nation, a support group for American soldiers and veterans, whose Welcome Home Project was the beneficiary.
Pickers paid $10 each, but they received a t-shirt commemorating their participation. The guitar army also played Gary P. Nunn’s “London Homesick Blues,” also known as “I Wanna Go Home With the Armadillo.”
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Glory hallelujah: preview Patty Griffin’s gospel record
Patty Griffin fans get fill a delightful hour inside, away from the heat, by clicking on this link, which not only has information on Griffin’s “Downtown Church” album, but contains several YouTube videos of Griffin performing gospel songs from the record.
Griffin got the idea to record an album of spiritual tunes in a downtown Nashville church (with Buddy Miller producing) after she sang a duet with Mavis Staples on “Waiting For My Child To Come Home” for the “Oh Happy Day” gospel compilation.
Although an incorrect Aug. 11 release date was posted on Amazon, “Downtown Church” is actually slated for an early 2010 release.
Griffin’s next Austin show is a Zilker Park fundraiser for State Senator Kirk Watson on Oct. 1, the day before ACL Fest starts.
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Yard Dog & Bloodshot celebrate 15 years together
The famous Yard Dog SXSW parties will be reprised for one night in September, as such acts as Waco Brothers with Rico Bell, Exene Cervenka, Scott H Biram, Ha Ha Tonka, Deadstring Brothers, Rosie Flores, Dex Romweber Duo and Mark Pickerel & His Praying Hands play a free show from noon to 6 p.m. September 19.
The event marks 15 years of Bloodshot parties in the back of Yard Dog Gallery, which will show artwork by Bloodshot artists Jon Langford, Exene Cervenka and Eric Bellis. Yard Dog is located at 1510 S Congress Ave.
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Lily Allen no longer on the ACL grid
Well, the rumors are true.
Lily Allen is no longer on the ACL grid, her slot is now one large blank. Which means the Lady Bird Lake stage schedule is totally empty from 4:30 to 10 p.m.
C3 is in the process of finding a replacement and could have something to announce as early as next week.
As to why Allen isn’t coming, Charles Attal at C3 declined to comment. Messages left with Allen’s booking agent have not yet been returned.
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One reader’s take on Sir Paul’s Dallas show
In Tuesday’s story about the Paul McCartney show in Dallas, we asked readers to share their experiences.
Below is a review from reader James Caldera, who writes about taking his twin daughters to the concert:
So officially, I have seen Sir Paul McCartney perform his LAST (so far) concert as the Dallas show wrapped up his summer tour. I knew two months ago that when he came to Dallas I would have to decide whether to take my 10-year- twins, Katie and Kristen, who, through some influence of mine, liked songs from the Beatles and Paul McCartney. Even though the prices for the floor seats were really expensive, I knew this may be the last chance for me and the kids to see such a show/performer. I bought them, and the kids and I counted the days until the day of the show arrived.
For a few fans that arrived early, the show started BEFORE we even went into the stadium. As we walked around the stadium to get to our designated gate, we heard Paul performing his warm-up routine. We found a door that we could peer into and saw the video screen of Paul singing songs that were not performed in concert like “Honey Don’t”, “Coming up” and “C’Moon”.
Doors opened about 30 minutes late as Paul’s practice went a little longer than expected. We bought our shirts and program and as we found our seats, we were amazed at the majesty of the new Cowboy stadium. The arena looked to be a fitting place for such a performer.
The opening act was a band called The Scripts. The band actually sounded better than the crowd’s attention gave them credit for. Once they finished their set and their equipment was cleared, the show started and immediately, the kids were fired up! He started with “Drive My Car” and “Jet.” I sensed it set the stage for a great night for the kids to remember. But unfortunately, because of the intense heat from waiting outside and the extra water I had to buy them to keep them from passing out, Katie turned to me with that “My peppercorn-size bladder is full and I need to go to the bathroom” look and I knew it was time to take them, despite having gone before the show! Though a little disappointed they had to go so early in the show, it was a good thing, because Paul had just started one of his new songs, “Only Mama Knows”, so in they end, they timed their restroom break perfectly.
We returned with Paul starting another new song, “Flaming Pie.” “Got To Get You Into My Life” was next, and the kids went nuts as it was an early favorite that they sang around the house. Paul followed by “Let Me Roll It” with a Jimi Hendrix addition of the end of “Foxy Lady” and “Highway”.
“The Long And Winding Road” brought some emotion, after which he played “My Love” and dedicated it to Linda and all the lovers in the audience; he rounded out the reminiscing trio set with a solo spot-lit rendition of “Blackbird.” A string of new songs showcased his new band, and newer material was next with “Dance Tonight” and “Calico Skies,” followed by older songs “Mrs. Vanderbilt” and “Here Today”. He took a moment to comment on his love for Texas hospitality and played one song he’d never before played in any concert: The crowd cheered as he did a great version of “It’s So Easy.” by Lubbock legend Buddy Holly.
Paul and the band played “Eleanor Rigby” followed by “Sing The Changes” where a subtle dotted image of President Obama could be seen for a couple of seconds.
By this time, my kids were starting to get a little tired and had been sitting on their chairs since the end of “Blackbird.” I thought, “Gee, maybe I spent too much for the kids to come and sit.” But the first five notes of “Band On The Run” were all that was needed to get them, as well as the crowd, back on their feet. While they played the song, a video of the photo shoot of the album cover was playing in the background. They remained standing and screamed even louder as they sang along with a rocking version of “Back In The USSR” and “I’m Down”.
Things calmed down when he introduced his next song and brought out a ukulele given to him by George Harrison. A spotlight came down as they started to play “Something” - just him and the ukulele as images of George were shown on the screen behind him. The band then joined in halfway through and Paul swapped to an acoustic to finish out the song. More Beatle songs followed with “I’ve Got A Feeling” and “Paperback Writer.”
After the applause died down a bit, Paul then brought up his “mate”, John Lennon, and dedicated the next song to him - a PERFECT rendition of “A Day In The Life” with the same orchestral crescendo you hear on the record. At the end of the song, he blended in “Give Peace A Chance” and the crowd joined in. It was pretty emotional to see a revival of the spirit that John had years ago.
Paul further tugged on the crowd’s heart strings with “Let It Be.”
The next highlight was “Live And Let Die” with the traditional firework display and flames, after which Paul tapped his chest with a look of “you’re welcome, but these fireworks are starting to wear on the heart of this ol’ guy!” Next was “Hey Jude” and my kids were standing on the chairs behind me soaking up the best view yelling, singing, screaming and having the best time.
The band joined at the front of the stage for the customary initial farewell and the audience cheered for more as they walked off the stage. They returned with powerful performances of “Day Tripper,” “Lady Madonna” and “I Saw Her Standing There” that left you wondering how someone 67 years young can deliver that kind of performance and showmanship.
For a third roller-coaster encore, he started out softly with “Yesterday” followed by a heavy and powerful version of “Helter Skelter” and then “Get Back.”
Finally, Paul went into the “Sgt. Pepper Lonely Hearts Club Band Reprise” that morphed into the song, “The End”, where Paul and his mates all traded their talents in guitar solos that came to the abrupt end with the single piano note and the words, “And in the end, the love you take, is equal to the love you make.” Lights came on and you could see everyone on their feet, waving and cheering. A sign was held by one woman close to the front that said, “WE’RE STILL AMAZED.”
In the end, Paul took away from the audience the same love that he had given them not only for that night, but for over 40 years of his life. Music that not only spans decades, but generations that will continue to influence long after he leaves this earth.
So am I glad I took my kids? You bet. I provided them with a memory that will live with them for the rest of their lives, just as it does with everyone that reminisces what artist they saw when they went to their first concert. I can honestly say it was the best show I’ve ever seen, and I was glad I was able to share it with my kids. I don’t think I can put my finger on my best memory of the evening. If I had to pick one moment that I think was the best memory, it was when one of my daughters tugged my shirt and as I leaned over to hear what she had to say, she gave me a kiss on the cheek and said, “Thank You Daddy”.
— James Caldera
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Sexton back in Dylan’s band
Diane Scott of the Continental Club has a scoop in this week’s club newsletter. Charlie Sexton has rejoined Bob Dylan’s band, replacing Denny Freeman. “Well, at least it’s Charlie,” Freeman told Scott. The never-ending tour restarts Oct. 5 on the West Coast.
Sexton played guitar for Dylan from 1999 until 2002. At the Bard’s Aug. 4 set at the Dell Diamond, Sexton jammed with the band for about half the set and lit a fire under Dylan, according to assorted reviews, including one which ran in Rolling Stone.
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Four more new bands confirm for Fun Fun Fun
The following have been confirmed for Fun Fun Fun
Brilliant punk band (Expletive) Up
Comedian Brian Posehn
Recent local Matador Records signees Harlem
Electronic act Alaska in Winter
This is shaping up to be a pretty mighty fest.
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Joe Nick on Jim Dickinson
Wimberley writer Joe Nick Patoski put together an oral history on Memphis musician Jim Dickinson, who passed away recently.
Reading this amazing piece reminded me of just how many times I went to Dickenson through the years for this kind of soulful wisdom.
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Four new bands confirm for Fun Fun Fun
Talking Heads-ish Brooklyn-and-Balitmore indie rockers Yeasayer, Chicago hip-hop star Kid Sister, California skate punk vets D.R.I. and Dallas/Austin electro act Vega are all confirmed for the Fun Fun Fun festival at Waterloo Park. The fest takes place Nov. 7 and 8.
All four acts seem in line with Fun Fun Fun’s usual blend of punk, indie, underground hip-hop and electronic music.
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Austin Studios makes deal with Soundcheck Austin
Austin Studios at the old Mueller Airport has completed negotiations with Ben Jumper of Soundcheck Nashville, on a longterm lease that would convert the Stage 4 hangar into Soundcheck Austin. But the project needs the approval of the City Council before it can move forward. The issue should be on the agenda Thursday August 27.
Opposition is expected to be strong at the council meeting, with Music Lab owner Danny Cabela leading the charge, “We’re not against the competition,” said Cabela, whose two Music Lab rehearsal/ instrument rental complexes provide the same service to musicians as does Nashville Soundcheck. “We’re opposed to them having an unfair advantage. When voters passed the bond (in 2006) to give this land to the Austin Film Society for $100 a year in rent, the intended use was for films and television, not a music rehearsal business.”
Austin Film Society president Rebecca Campbell, whose organization operates Austin Studios, said “we don’t disclose the amount of rent paid by any of our tenants,” but she said Soundcheck Austin would be paying fair market value. The sublease calls for Soundcheck Austin to spend $500,000 to renovate Stage 4, with Austin Studios kicking in as much as $475,000, which it borrowed from a private foundation, whose name will be made public later at a formal announcement.
The use of premises clause on the new 33-year lease signed with the city July 22 specifies that Austin Studios “shall be used only as a studio complex for the production of films, television programs, commercials and multi-media productions…. Or “other accessory uses associated with such productions (e.g. sound stages…)” A clause in the sublease with Soundcheck Austin calls for the 30,000-square foot building to be used “only for digital media and multi-media productions and support services related…” As examples it gives behind-the-scene TV programs and videotaping tour rehearsals.
Cabela contends that that sort of work is only a fraction of what Nashville Soundcheck does. “They do, basically, the same thing we do,” Cabela said.
Founded by former Charlie Daniels road manager Ben Jumper, Nashville Soundcheck, “the largest rehearsal studio complex in the world under one roof,” is the place where major artists such as Kenny Chesney rehearse for weeks at a time before going out on tour.
Music Lab’s St. Elmo Street location has hosted pre-tour rehearsals for the Dixie Chicks, Leonard Cohen and others. The business is also the major provider of rental equipment during South By Southwest.
When the negotiations with Soundcheck were first announced, many in the local film community objected to losing a potential film production building to a music business, but Campbell points out that “a production has never chosen a city over Austin because Austin Studios was full.”
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Weekend picks: Lo-fi indie rock, fuzzy garage rock and Tejano greats
FRIDAY
Dungen, Woods, Headdress at the Mohawk. Swedish rockers Dungen recall American psychedelic music of the late ’60s. Frontman Gustav Ejstes sings in Swedish, but the songs and the band are good enough that language is no barrier. Fans of lo-fi indie rock out of Brooklyn won’t want to miss Woods, either. 9 p.m. $10 advance. $12 door.
— Peter Mongillo
Also recommended
- Sugar Ray at La Zona Rosa
- Staind at the Austin Music Hall
- Strange Attractors, the Astronaut Suit at the Mohawk
- the Warlocks at the Parish
- Troy Dillinger’s Variety Show at the United States Art Authority
- Transmography at Trophy’s
- Trapdoor Band CD release at Lamberts
SATURDAY
Aasim’s birthday at Mohawk. The birthday of photographer Aasim Syed has become a big annual throwdown with a whole mess of Austin bands and hipsters in one place. A veritable who’s who of Austin’s rising stars are set to lend a hand, from fuzzy garage rock trio and recent Matador signees Harlem to heavily buzzed alternative rockers Ume to the ’70s-album-oriented-radio-evoking Brothers and Sisters. Both stages will be going. 7 p.m. $8 for 21 and over; $10 for under 21. — Patrick Caldwell
Also recommended
- 5th Annual Austin Bat Fest with the Wailers on the Ann W. Richards Congress Avenue Bridge (starts at 2 p.m.)
- Hatebreed at Emo’s (early show, doors at 6 p.m.)
- the Ugly Beats at Stubb’s
- Tire Fire at Beerland
- Komen Foundation Fundraiser at the Beauty Bar
- Misprint Summer Jortacular at Shangri-La (starts at 4 p.m.)
- the Clash tribute at Flamingo Cantina
- the Mother Truckers at the Continental Club
SUNDAY
Celebration of the life of Rose Ortiz Marines at La Zona Rosa. Marines was the wife of Ben Marines, a member of the orchestra/Tejano/conjunto band Salaman. This is a benefit to help defray some of the costs associated with her end-of-life care. It’s also one heck of a Tejano lineup. With Joe King Carrasco, Los Flames, Ruben Ramos and many more. Doors at 6 p.m., show at 7 p.m. $20. — Joe Gross
Also recommended
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Los Lonely Boys party like it’s ‘1969’
The next record from Henry, JoJo and Ringo Garza will be an EP of covers from 1969, including Santana’s “Evil Ways,” “Roadhouse Blues” by the Doors and Tony Joe White’s “Polk Salad Annie.” Produced by legendary Andy Johns (Led Zeppelin, Rolling Stones), “1969” comes out Oct. 13 on Austin’s Playing In Traffic label.
Los Lonely Boys embark on the “Acoustic Brotherhood” tour with Alejandro Escovedo and San Antonio’s Hacienda on Oct. 5. There are currently no Austin dates on the tour.
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Your A-List: Best Band with six members or more
The ’60s sound of Hwy 90, from San Antonio to New Orleans, is still very much alive according to A-list voters who’ve chosen Larry Lange and His Lonely Knights as the best Austin band with six or more members. Prince’s favorite Austin band Grupo Fantasma came in second. A longtime bassist for Delbert McClinton and others, Lange made a move on the horn-laden Gulf Coast soul concept about three years ago and he and the Knights have had folks slowdancing and juking to Sunny and the Sunliners, Cookie and the Cupcakes and the like ever since.
Others receiving votes: Grupo Fantasma, 8 percent; Asleep at the Wheel, 8 percent; Scabs, 6 percent; Black Joe Lewis, 5 percent; Tiny Tin Hearts, 5 percent; Del Castillo, 5 percent; White Ghost Shivers, 4 percent; The Brew, 3 percent; Monster Big Band, 2 percent; Boombox ATX, 1 percent; Asylum Street Spankers, 1 percent; Austin Lounge Lizards, 1 percent; Hard Proof Afrobeat, < 1 percent; Brothers and Sisters, < 1 percent; Moonlight Towers, < 1 percent; Much Love, < 1 percent; The Minor Mishap Marching Band, < 1 percent; Soul Track Mind, < 1 percent; Brownout, < 1 percent; Invincible Czars, < 1 percent; Golden Hornet Project, < 1 percent; Ocote Soul Sounds, < 1 percent; The Johns, < 1 percent; Mike Truth and the Replacement Killers, < 1 percent; Nakia and His Southern Cousins, < 1 percent
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Keen to make Lost Highway debut
The new album includes a tribute to Levon Helm called “The Man Behind the Drums.”
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It’s a Willie weekend on satellite radio
Willie Nelson will celebrate the release of his new album of standards, ‘American Classic’ this weekend on Sirius XM radio, starting Friday at 6 p.m. on his” Willie’s Place” channel (Sirius 64, XM 13)..
The new album, which could be called “Stardust II,”, will be released Tuesday.
According to Sirius/XM, Willie will tell stories about various tracks from ‘American Classic’ every hour throughout the weekend. “Willie’s Place” is broadcast from Carl’s Corner, about 40 miles north of Waco.
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ACL Festival is sold out
All single day, three-day and VIP passes to ACL Fest Oct. 2- 4 are completely sold out, according to the fest’s official Web site. This is the earliest sellout in the fest’s eight years.
The recent Lollapalooza festival in Chicago, also promoted by Austin-based C3 Presents, also sold out this year, with 75,000 fans each day. ACL Fest has a limit of 65,000 attendance each day.
Thanks to commenter DJC for the tip.
MORE ACL FEST
- Interactive: Who should replace the Beastie Boys?
- Hot or not? Rate the ACL bands | Full list of bands
- Photos: ACL Fest history | ACL Fest A to Z
- 2008 photos: Friday | Saturday | Sunday | Reader photos
- Full ACL Fest coverage
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Daughtry arena tour includes Dec. 13 stop at Erwin Center
Chris Daughtry didn’t win “American Idol,” but his post-show success continues. He announced an arena tour to support “Leave This Town” that will kick off Oct. 19 in Topeka, Kan. Tickets for the Austin date — Dec. 13 at the Erwin Center —go on sale Sept. 26.
More details at Daughtry’s official site.
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ACL Fest aftershows announced
Feel like catching some great music from ACL bands without spending a full day (or three) standing around Zilker Park? You’re in luck. Here are the official aftershows happening during ACL Fest weekend. All tickets go on sale to the general public August 20 at 10 a.m. Click here for tickets and more info.
Thursday, Oct. 1
- The Walkmen & Blitzen Trapper w/ Wye Oak at Emo’s. Doors: 9 p.m.
- School of Seven Bells w/ Magic Wands at Emo’s Jr., 9 p.m.
Fri, Oct 2, 2009
- Devotchka w/ Los Amigos Invisibles at LaZona Rosa. Doors: 9:30 p.m.
- STS9 (Sound Tribe Sector 9) at Stubb’s. Doors: 8 p.m.
- The Virgins at Stubb’s Jr. Doors: 11:30 p.m.
- The Raveonettes w/Here we go Magic at The Parish. Doors: 10 p.m.
- !!! w/Harlem & Neon Indian at Emo’s. Doors: 10 p.m.
- Deer Tick w/ The Henry Clay People & Alberta Cross at Emo’s Jr. Doors: 10 p.m.
Sat, Oct 3, 2009
- Bassnectar w/ DJ Vadim & Ancient Astronauts at LaZona Rosa. Doors: 9:30 p.m.
- Thievery Corporation w/ Federico Aubele at Stubb’s. Doors: 8 p.m.
- Danny Brooks (Gospel Brunch) at Stubb’s Jr. Doors: 11 a.m.
- Rebirth Brass Band at Stubb’s Jr. Doors: 11:30 p.m.
- Grizzly Bear w/ Beach House at Emo’s. Doors: 10 p.m.
- Felice Brothers w/ Red Cortez at Emo’s. Doors: 10 p.m.
- Dan Auerbach w/Rodriguez & White Dress at Antone’s. Doors: 9:30 p.m.
Sun, Oct 4, 2009
- Ghostland Observatory at Stubb’s. Doors: 8 p.m.
- Bon Iver w/Megafaun at the Paramount. Doors: 8 p.m.
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CD review: Mindy Smith
Mindy Smith
‘Stupid Love’
(Vanguard)
B+
A cynic might think this was a setup. Vanguard Records has this lovely, vulnerable singer whose emotional wisps of sound thrive off big themes like 2007’s terrific Christmas album “My Holiday.” Why wouldn’t the label be tempted to set up Smith with a Brad Pitt lookalike who can recite Rilke while whipping up tasty vegan dinners, knowing that when it all went south they’d have one heck of a heartbreak album to put out?
(If it didn’t go wrong, they’d have a best-selling children’s record a few years down the road.)
Smith’s fourth studio LP is a mood piece that might be too heavy for someone freshly dumped, but invigorating for those of a mind that it’s better to have loved and lost than to never have to gone to eHarmony.com at all. The singer with the direct lyrics, whose 2004 debut “One Moment More” and the “Long Island Shores” followup were haunted by the cancer death of her mother, spent two years writing “Stupid Love.” Luckily, she found a couple of creative shoulders to cry on in upstart co-producers Ian Fitchuk and Justin Loucks, who also play most of the instruments. There’s real organic music-making at work here and the therapeutic nature of such songs as “Love Lost,” “Surface” and “Telescope,” the latter featuring a harmonizing Vince Gill, can’t be denied.
Unbridled self-expression isn’t always a good thing, however, and this LP sags in the middle, gasping for hooks. “Stupid Love” could’ve used more radio ready melodic breezes as on “Love Chases After Me” and lead single “Highs and Lows.” LP-closer “Take a Holiday.” which sounds like a detached Dusty Springfield, packs Smith nicely for the next musical journey. But did the surge come too late? “Bad Guy” and “Disappointed,” two songs that sound too easy, could’ve been cut here.
Like Patty Griffin, the singer she’s most often compared to, Smith has the clear, strong, introspective voice to make sense of the confusion in her soul. There’s not a tinge of defiance, no dust-myself-off swagger to these songs. Mindy Smith got hurt and this is the only way she’s ever known to help herself get better.
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CD Review: Delbert McClinton, ‘Acquired Taste’
Delbert McClinton
“Acquired Taste”
(New West)
Grade: B
If you are Delbert McClinton, you don’t mess with the formula. If you could sing like that, would you mess with it? You would not. You would mine that shaft where blues and rock and soul come together for as long as your voice held out. And considering this is the 68-year old McClinton’s 13th studio album, he’s not doing too bad.
But if you are a bluesman getting up in years who do you call? Don Was. It worked for Dylan, it worked for the Stones and it works for McClinton — Was gives McClinton’s voice room to move.
But Was also is a pretty straight-forward producer and even McClinton’s voice can’t quite save songs like “Do It” and the opener “Mama’s Little Baby” from falling into the tepid blues-rock that blues-rock too often falls into. We’re not into Blueshammer territory (anyone remember the movie “Ghost World?” Anyone? No? OK) but there isn’t enough there there.
McClinton can still work the ballads like a pitcher rubbing dirt on a brand-new baseball. “Never Saw it Comin” chronicles a breakup that landed from out of the blue, while “Starting a Rumor” hits on a gal in a roundabout way and “She’s Not There Anymore” finds loss and lust in a tango.
He’s also joined by the late Stephen Bruton on the almost Stonesy country blue “Can’t Nobody Say I Didn’t Try” and it’s wonderful to hear Bruton’s ax and voice. But there’s no question the new Delbert is exactly the same as the old Delbert.
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Danny Malone tops Waterloo sales
Evocative Austin singer-songwriter Danny Malone, who’s oft compared to Damien Rice, outsold such national faves as Wilco and Modest Mouse, to land at number one in the album sales at Waterloo Records last week.
About three weeks ago, Malone had a Waterloo instore for “Cuddlebug” as part of the store’s Bands On the Brink, which gives coveted instore slots to up-and-coming acts. Other acts to benefit from the exposure of this first-year program are New Roman Times and Fort Worth’s Telegraph Canyon.
“I think we’re going to do it again next year,” said Waterloo’s marketing head Jessie Strub. “We’ve gotten big crowds at every Band on the Brink show and have turned our customers on to some incredible new music.”
Malone sold 84 copies last week, with The Daze, from “Bandslam,” coming in second with sales of 67 copies. The Top 50 list:
1. Danny Malone 84
2. The Daze 67
3. Wilco 53
4. Modest Mouse 48
5. Sarah Jarosz 40
6. George Strait 39
7. Black Joe Lewis 36
8. Phoenix WR 36
9. Dead Weather 32
10. Ryan Bingham Roadhouse Sun 27
11. Regina Spektor 26
12. Sun Volt 25
13. OST: 500 Days of Summer 25
14. Yim Yames 22
15. Charlie Robison 22
16. Grizzly Bear 22
17. Dirty Projectors 21
18. Willie &?The Wheel 21
19. Levon Helm 20
20. Slaid Cleaves 20
21. Kings of Leon 20
22. Kat Edmonson 19
23. Steve Earle 19
24. The Steps 18
25. Iron &?Wine 18
26. Spoon 17
27. St. Vincent 17
28. Robert Cray 16
29. OST: Bandslam 16
30. Gomez 16
31. Flatlanders 14
32. Fleet Foxes 14
33. Fruit Bats 13
34. Matt & Kim 13
35. VA:?Townes Tribute 12
36. Willie Nelson 11
37. Paolo Nutini 11
38. Pete Yorn 10
39. Moby 10
40. Dave Matthews Band 10
41. Raul Malo 10
42. Ben Harper 10
43. Deer Tick 9
44. Balmorhea 9
45. Ryan Bingham Mescalito 9
46. Passion Pit 9
47. The Gourds 9
48. Robert Pollard 8
49. Reigning Sound 8
50. Owl City 8
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Austin will have to wait for its Placebo fix: tour postponed
British glam-rock band Placebo has postponed their forthcoming tour of North America after singer Brian Molko collapsed on stage at Summer Sonic Festival in Osaka, Japan. A virus and exhaustion are being blamed and doctors have ordered six weeks of rest.
The band was supposed to play La Zona Rosa Sept. 25.
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CD Review: Hot Club of Cowtown, ‘Wishful Thinking’
Hot Club of Cowtown
Wishful Thinking
(Gold Strike)
Grade: B+
They haven’t made a studio record since 2002 and they even broke up in 2005, but fans should know that all is well in Cowtown. The trio of singer/violinist Elana James, singer/guitarist Whit Smith and singer/bassist Jake Erwin haven’t budged an inch. James did time in Bob Dylan’s band and played with Her Hot Hot Trio (a.k.a and the Continental Two). Whit Smith’s Hot Jazz Caravan rocked around Austin.
They reunited last year and it shouldn’t be much of a surprise that they still split the difference between Texas swing and small combo jazz. Which means they’re still in love with Bob Wills (“Can’t Go On This Way” opens the album). But they also have time for Tom Waits (a mournful “The Long Way Home”), Hoagy Carmichael (“Georgia”) and George and Ira Gershwin (a torchy “Someone To Watch Over Me”).
Their originals still find emotional purchase. Damien Llanes’ drums add heft to “Cabiria” and “Heart of Romain.” But it’s love’s fallout that the band spends the most time with. “Reunion” could be bitter, but stays ambiguous, a run-in with an ex-boyfriend (and bandmate?) with a smart chorus: “We’re so proud/we’re so pleased/we’re so glad that you’re living your dreams” (you didn’t need to make the boyfriend part explicit, Elana). “What You Meant To Me” contemplates the aftermath of a break up, while Smith’s “Carry Me Close” explores a history of loss. It’s like they never left.
Hot Club of Cowtown is scheduled to play live on Eklektikos with John Aielli on KUT at 11 a.m. Friday. They also play a free 5 p.m. in-store at Waterloo Records and a gig at the Continental Club, both later that night.
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Hansard has swell time at Lambert’s
Yes, that was “Once” star Glen Hansard checking out Italian blues slinger Mark Slim at Lambert’s Thursday night. The Oscar winner, who leads Swell Season, is on a cross country trip with a couple of buddies from the Emerald Isle.
Hansard stuck around ‘til last call and reportedly told Slim it was the most memorable evening of his trip.
The mesmerizing Swell Season, who are Hansard and his “Once” co-star Marketa Irglova, recently played a “tiny desk” set for NPR. You can watch it here.
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‘Karma’ police: Fire stokes war of words between Cosloy, Victory Records
Seems not everyone in Indie Music Land is broken up over the complete destruction of Matador Records’ honcho Gerard Cosloy’s Austin home by a fire last week. Posting on his Matador blog, Cosloy shares a missive from Victory Records founder Tony Brummel owing the blaze up to karma for Cosloy poking fun at the successful punk label’s offerings and, uh, “questionable” business practices through the years.
Not one to meekly lick his wounds, Cosloy sets his snark gun to full blast in response:
I’ve got to admit, I had previously underestimated Brummel. Not only would I have bet real money he couldn’t spell karma if you spotted him the K-A-R, but he’s even capable of attaching a .gif all by himself. But here’s the serious conclusion you can take away from this ill-advised attempt at a rejoinder ; Brummel considers my watching my home and possessions turned to ashes karmic payback for….criticism of his record label? An innocent pet burning to death is acceptable payback for mocking his dopey-as-(expletive) records, ads and business practices?
It’s all terribly inside baseball, to be sure, but it makes one wonder. If karma is indeed in play here and some PhotoShop shenanigans and sharp elbows on a music blog merits the destruction of most of a guy’s earthly possessions, what could possibly be in store for Brummel after nearly two decades of churning out suspect, cookie-cutter bands, rigging sales numbers, napalming any and all bridges with past business associates and kicking loyal artists to the curb on a whim.
If that all sounds a bit drastic, grab some coffee and a Danish and read Ramsey Dean’s lengthy and admittedly over-the-top screed “The Horror” (also linked above) and marvel at the depths one man can sink to. And afterward, maybe pop into iTunes or any bricks and mortar record shop and lay down some scratch to help Cosloy and his consistently ahead of the curve label (newly the home of ATX boys Harlem and the ace, about-to-drop Jay Reatard album) get back on their feet.
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R.I.P. Jim Dickinson
2009 has been one brutal year for both the famous and the not-quite-as famous.
The Memphis Commercial Appeal is reporting that legendary musician and producer Jim Dickinson has died. He was 67 and died in his sleep after a period of ill health.
As much as anyone, Dickinson embodied the casual cool of Memphis music. He was a straw that stirred the drink - he played in the proto-jam/R&B/rock outfit Mud Boy and the Neutrons, he played piano on the Rolling Stones’ “Wild Horses” and on Aretha Franklin’s album “Spirit in the Dark.”
He produced the legendary underground rock classics, Big Star’s “Third” and Alex Chilton’s still-totally-amazing “Like Flies on Sherbert,” as well as the Replacements’ “Pleased to Meet Me” and others. He complied anthologies of Memphis music and was fond of talking about its mythic power. He lived the stuff.
He recently started a rock band called Snake Eyes with younger Memphis underground rock royalty (members of the embers of Reigning Sound and Jack Oblivian & The Tearjerkers). They were working on a debut album at the time of Dickinson’s death.
His sons Luther and Cody have found success in the North Mississippi All-Stars.
What an amazing guy. He will be missed.
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Eric Johnson regroups ALC for benefit
Alien Love Child, Eric Johnson’s blues fusion outfit with bassist Chris Maresh and drummer Bill Maddox, will reunite Aug. 22 at the One World Theater with proceeds to benefit Peyton Wimmer’s Austin Arts & Music Partnership (AAMP).
For more info on AAMP go here.
The show will kick off a campaign to get 500 folks to pledge $500 a year to get AAMP’s programs off the ground.
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R.I.P. Rashied Ali
So preoccupied Austin Music Source was with the passing of Les Paul Thursday, we didn’t quite have time to note the passing of another revolutionary musician, jazz drummer Rashied Ali.
Ali died after suffering a heart attack. The New York Times listed his age as 76, but several sources state he was born in 1935.
Born Robert Patterson in Philadelphia, Ali is best known as John Coltrane’s go-to stickman in the final years of Coltrane’s career, when Trane moved away from the bop, post-bop and modal music into something decidedly more abstract. Ali became known for his deeply expressionistic playing, seeming to abandon pulse and time entirely.
An inventive, powerful player, he also had one of the coolest names of all time. (His brother, a possibly even more muscular jazz drummer, is named Muhammad Ali; no, really.)
Ali was hardcore, a one-man epicenter of 60s and 70s avant-garde jazz. He ran a club (Ali’s Alley) and a record label (Survival). He recorded with his own combos and played on dozens of albums with folks such as Marion Brown, John Zorn and Alice Coltrane.
Here are five of AMS’s favorites.
John Coltrane - “Interstellar Space” (Impulse, 1974): Recorded in 1967, this is one of the all time great free jazz albums, this duo exchange finds Coltrane reaching for something as far out as he could go, with Ali acting as co-pilot, third base coach, enabler, etc.
Charles Gayle - “Touchin on Trane” (FMP, 1991): One of the all time great free jazz albums of the 1990s, Gayle was the great free jazz find of the lates 80s. After a trio of solid albums in 1988, he returned in 1991 with this jaw-dropper. Joined by Ali and bassist William Parker, Trane is a reference point, but hardly the end-all of this marvelous beauty. It’s a life-affirmer.
Rashied Ali/Leroy Jenkins - “Swift Are the Winds of Life” (Survival, 1975; Knit Classics, 2000) - Ali remained fond of the improvised duo format throughout his life and released this wonderfully-named set with violinist Leroy Jenkins (Revolutionary Ensemble, AACM) on his own Survival records. Jenkins’ dynamic tone clashes and blends with Ali’s runs pretty gloriously.
Rudolph Grey - “Mask of Light” (New Allience, 1991): A noise rock/jazz/whatever classic. Ali joins No Wave guitarist Rudolph Grey for an hour of feedback, scraping and Ali’s striking drumming, especially on the wide, bassy toms.
John Coltrane - “The Olatunji Concert: The Last Live Recording” (Impulse, 2001): Much has been made over the years of the way-rougher-than-the-studio recording quality of this set, but the explosive, lyrical performances should outweigh such concerns (and for some of us, adds to the ambiance). Alice is on piano, Pharaoh Saunders partners with Coltrane, and the frantic power of Ali’s splashes and runs both drives and colors the roar.
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Jon Dee gets creative on new LP
Desperate times call for innovative measures. To pay for his next album, “It’s Not As Bad As It Looks” on Freedom Records, Jon Dee Graham has created a co-op for fans to be part of the process.
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Winners at Premios Texas
Click here for photos from the event.
Though there were only 10 categories to address at Thursday night’s Premios Texas awards, the big winner was Olga Tañon.
Tañon, who was nominated for Best Tropical Artist and Best Female Artist, won both as well as receiving a surprise Lifetime Achievement Award by the Premios board. Panamanian singer Makano also won in both of the categories where he was nominated: Best New Artist and Best Hip Hop/Urban Artist.
Local favorite Vallejo won Best Austin Band.
Vallejo, who opened the evening’s ceremonies, helped set the tone of over-the-top spectacular performances worthy of any big-name awards show. Backed by a dozen or so dancers dressed in skin-tight platinum short suits, the band busted onto the stage through a cloud formed by a smoke machine.
And while many of the audience members clearly didn’t know who this band was, Vallejo’s catchy new song, “Ayo,” (written especially for the occasion), had people clapping and swaying in their seats. Apparently it was too early to jump to their feet.
While the majority of the performances were well received, a few stood out, including Bobby Pulido’s acoustic version of “Desvelado,” which gave this popular song a sweeter and more fitting sound.
The regional Mexican group and fan favorite K-Paz de la Sierra’s performance was the first to actually get some folks dancing, but was cut short by the show’s director, surprising the group and disappointing the audience.
Topping Vallejo’s stellar entrance was Makano’s performance of his uber-popular “Te Amo” of which he sang with the best of all the dance groups of the evening and a real, souped-up Ford GT in the middle of the stage.
But it was the reaction the fans — who determined the winners with their votes online — had to seeing some of their favorite artist in person that really made the night special. And while each one of the stars smiled hugely and acknowledged those who shouted out their names, none was more genuine than Tañon.
Tañon danced, unexpectedly sang and even allowed for a few lucky fans to approach her seat to have their pictures taken with her.
With bigger names, better organization and a much more professional look, it was hard to imagine that this was the same awards show that first took place at the Paramount Theatre only five years ago. The awards will be broadcast Aug. 23 on Galavision.
Premios Texas winners
Best Tejano Artist: Bobby Pulido
Best Hip-Hop Urban Artist: Makano
Best Mexican Regional Artist: El Chapo
Best Rock/Pop en Espanol: Reyli
Best New Artist: Makano
Best Tropical Artist: Olga Tañon
Lifetime Achievement Award: Olga Tañon
Best Austin Band: Vallejo
Best Male Artist: El Güerro
Best Female Artist: Olga Tañon
Album of the Year: K-Paz de la Sierra, “Capaz de Todo Para Ti”
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Listen to a new Jack White song
The song, “Fly Farm Blues,” was supposedly written “on the spot” while filming “It Might Get Loud” with Jimmy Page and The Edge. The film opens this weekend in New York and L.A., but Austin will have to wait until Sept. 11. (via Stereogum)
White will appear with his latest band, The Dead Weather, at the Austin City Limits Music Festival on Sunday, Oct. 4.
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Guitar innovator Les Paul dies.
(With material from the Associated Press.)
If you have ever played, listened to or enjoyed an electric guitar or thrilled to the sounds of a pop single stacked with layers of sound, you owe Les Paul a thank you.
The guitar great and studio innovator has died at the age of 94. According to Gibson Guitar, Paul died at White Plains Hospital from complications from pneumonia Wednesday night. His family and friends were by his side.
First gaining fame as a fleet-fingered jazz guitarist, Paul’s technical innovations on the electric guitar helped give that instrument its own voice. His solid body electric guitar, the Gibson Les Paul was one of the most important instruments of the 20th century, its sound becoming synonymous with rock ‘n’ roll.
Paul himself played guitar into his 90s.
As an inventor, Paul also helped bring about the rise of rock ‘n’ roll with multitrack recording, which enables artists to record different instruments at different times, sing harmony with themselves, and then carefully balance the tracks in the finished recording. It helped turn studio from a place to document a sound to a place to create them, from a group of machines to an instrument in and of itself.
The use of electric guitar gained popularity in the mid-to-late 1940s, and then exploded with the advent of rock in the mid-’50s.
“Suddenly, it was recognized that power was a very important part of music,” Paul once said. “To have the dynamics, to have the way of expressing yourself beyond the normal limits of an unamplified instrument, was incredible. Today a guy wouldn’t think of singing a song on a stage without a microphone and a sound system.”
A tinkerer and musician since childhood, he experimented with guitar amplification for years before coming up in 1941 with what he called “The Log,” a four-by-four piece of wood strung with steel strings.
“I went into a nightclub and played it. Of course, everybody had me labeled as a nut.” He later put the wooden wings onto the body to give it a tradition guitar shape.
In 1952, Gibson Guitars began production on the Les Paul guitar. Pete Townsend of the Who, Steve Howe of Yes, jazz great Al DiMeola and Led Zeppelin’s Jimmy Page all made the Gibson Les Paul their trademark six-string. Over the years, the Les Paul series has become one of the most widely used guitars in the music industry. In 2005, Christie’s auction house sold a 1955 Gibson Les Paul for $45,600.
In the late 1960s, Paul retired from music to concentrate on his inventions. His interest in country music was rekindled in the mid-’70s and he teamed up with Chet Atkins for two albums. The duo were awarded a Grammy for best country instrumental performance of 1976 for their “Chester and Lester” album.
With Mary Ford, his wife from 1949 to 1962, he earned 36 gold records for hits including “Vaya Con Dios” and “How High the Moon,” which both hit No. 1. Many of their songs used overdubbing techniques that Paul had helped develop. “I could take my Mary and make her three, six, nine, 12, as many voices as I wished,” he recalled. “This is quite an asset.” The overdubbing technique was highly influential on later recording artists such as the Carpenters.
Released in 2005, “Les Paul & Friends: American Made, World Played” was his first album of new material since those 1970s recordings. Among those playing with him: Peter Frampton, Jeff Beck, Eric Clapton and Richie Sambora.
“They’re not only my friends, but they’re great players,” Paul told The Associated Press. “I never stop being amazed by all the different ways of playing the guitar and making it deliver a message.”
Two cuts from the album won Grammys, “Caravan” for best pop instrumental performance and “69 Freedom Special” for best rock instrumental performance. (He had also been awarded a technical Grammy in 2001.)
Paul was inducted into the National Inventors Hall of Fame in 2005.
Paul was born Lester William Polfus, in Waukseha, Wis., on June 9, 1915. He began his career as a musician, billing himself as Red Hot Red or Rhubarb Red. He toured with the popular Chicago band Rube Tronson and His Texas Cowboys and led the house band on WJJD radio in Chicago.
In the mid-1930s he joined Fred Waring’s Pennsylvanians and soon moved to New York to form the Les Paul Trio, with Jim Atkins and bassist Ernie Newton. Meanwhile, he had made his first attempt at audio amplification at age 13. Unhappy with the amount of volume produced by his acoustic guitar, Paul tried placing a telephone receiver under the strings. Although this worked to some extent, only two strings were amplified and the volume level was still too low.
By placing a phonograph needle in the guitar, all six strings were amplified, which proved to be much louder. Paul was playing a working prototype of the electric guitar in 1929.
His work on taping techniques began in the years after World War II, when Bing Crosby gave him a tape recorder. Drawing on his earlier experimentation with his homemade record-cutting machines, Paul added an additional playback head to the recorder. The result was a delayed effect that became known as tape echo.
Tape echo gave the recording a more “live” feel and enabled the user to simulate different playing environments.
Paul’s next “crazy idea” was to stack together eight mono tape machines and send their outputs to one piece of tape, stacking the recording heads on top of each other.
The resulting machine served as the forerunner to today’s multitrack recorders. In 1954, Paul commissioned Ampex to build the first eight-track tape recorder, later known as “Sel-Sync,” in which a recording head could simultaneously record a new track and play back previous ones.
He had met Ford, then known as Colleen Summers, in the 1940s while working as a studio musician in Los Angeles. For seven years in the 1950s, Paul and Ford broadcast a TV show from their home in Mahwah, N.J. Ford died in 1977, 15 years after they divorced.
In recent years, even after his illness in early 2006, Paul played Monday nights at New York night spots. Such stars as Led Zeppelin’s Jimmy Page, Dire Straits’ Mark Knopfler, Bruce Springsteen and Eddie Van Halen came to pay tribute and sit in with him.
“It’s where we were the happiest, in a `joint,’” he said in a 2000 interview with the AP.
“It was not being on top. The fun was getting there, not staying there — that’s hard work.”
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Weekend picks: Fearsome punk, electronic oddness and lovers rock
FRIDAY
Freddy McGregor at Flamingo Cantina. One of reggae’s truly bulletproof talents — killer voice, solid taste in material, a lifetime on stage and a mastery of the heart-string-pulling reggae sub-genre ‘lovers rock.’ Look for a lot of folks making out at this show. With Al Shire and the Henchmen. 9 p.m. $12 advance, $15 at the door. —- Joe Gross
Also recommended:
- Billy Joe Shaver at Cactus Cafe
- No Slogan at the Welding Shop
- Los Campesinos at Emo’s outside
- Cobra Starship at Emo’s inside
- the Hex Dispensers at Beerland
- Scorpio Rising at the Mohawk
- Krum Bums record release at Red 7
- White Ghost Shivers at the Continental Club
- Prince Klassen at the Beauty Bar
- Hunt Sales at Trophy’s
- Galactic Cowboys at Stubb’s
SATURDAY
The So-Cal Punk Invasion Tour at Emo’s. Southern California was ground zero for a certain strain of hardcore punk. While D.C. kids were skaters, political and anti-booze, Boston kids were thuggish and anti-booze, Chicago was noisy and Minneapolis was drunk (Replacements) or on speed (Husker Du). SoCal punk was loud, violent and pro-skating. It was also a little scary, though maybe not now as everyone is at reunion age. With Fear, Agent Orange, Total Chaos and more. Expect to be run into. 10 p.m. $17 advance, $20 at the door. Emo’s. — J.G.
Also recommended:
- Jimmy LaFave at Cactus Cafe
- Sons of Hercules at Beerland
- Quintron and Miss Pussycat at Red 7
- Everyone Knows Everyone Summer Party with Recover at the Mohawk
- Red Leaves at the Beauty Bar
- Bankrupt and the Borrowers at Stubb’s
- Don Chani at Flamingo Cantina
- Mother’s Anthem at La Zona Rosa
- Mr. Lewis and the Funeral 5 at Trophy’s
- Diamond Smugglers at Antones
SUNDAY
Best Fwends at the Mohawk. Electronic oddness that remains weirdly underknown. These severely off-beat pop tunes play out like roller skating jams for those with four or five legs. With Casy and Brian, DJ Jester the Filipino Fist and Cowabunga Babes. 10 p.m. $7 at the door, $9 for minors. — J.G.
Also recommended:
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Ingram plays ‘Tonight Show’ Friday
Lakeway’s Jack Ingram will perform his new country single “Barefoot & Crazy” on “The Tonight Show” Friday. The song is from the upcoming LP “Big Dreams & High Hopes,” which hits stores Aug. 25.
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Butthole Surfers, Peaches play Halloween show at Stubb’s; Drive-By Truckers play two days earlier
So, uh, I guess I’ll be taking my kid out trick or treating VERY EARLY on Oct. 31.
Tickets go on sale Saturday through stubbs.frontgatetickets.com.
The Drive-By Truckers play Oct. 29. James McMurty opens.
Tickets go on sale Friday through stubbs.frontgatetickets.com.
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James McMurty “Live in Europe” album due Oct. 13
Lightning Rod Records will release Live in Europe, a document of James McMurtry’s first European tour, on Oct. 13.
He was joined on that trip by keyboardist Ian McLagan (who played with the4 band) and Jon Dee Graham.
His live vibe always reminded Austin Music Source of a roots-rocky Lou Reed, frankly, so AMS is looking forward to this.
The set will be available as a CD with a bonus DVD, or as a deluxe vinyl LP package with a CD and DVD insert. (So buy a turntable, then but the LP, people.)
McMurtry will tour the U.S. and Europe this fall in support of the live album.
Here’s the track list:
“Bayou Tortue”
“Just Us Kids”
“Hurricane Party”
“You’d a’ Thought (Leonard Cohen Must Die)”
“Fräulein O.”
“Ruby and Carlos”
“Freeway View”
“Restless”
Bonus DVD:
“Choctaw Bingo”
“You’d a’ Thought (Leonard Cohen Must Die)”
“Freeway View”
“We Can’t Make It Here”
“Laredo (with Jon Dee Graham)”
“Too Long In The Wasteland”
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A delayed discovery: MGMT
Some vacations are defined by reconnections from the past or a simple dish at a hole in the wall that causes withdrawals the Tuesday after. If you’re lucky, your time running wild out of the velvet coffin leads to the rocking of your third world. I’ve always loved reading about those.
On my recent six-day tour of toll booths and pizza and 80-degree weather in the northeast, my mind was lightened and brightened- but not even close to being blown- by MGMT. Whenever I think back on those six days of working extremely hard to have fun and not wasting money, I’m going to have “Kids” or “Time To Pretend” or “Electric Feel” running through my mind.
Stone-cold sober, driving through beautiful, green Vermont, melting into MGMT was one of the best times music ever made me high. Can’t believe I missed them at SXSW and ACL Fest last year (where they sold more CDs on site than any other act.)
MGMT is a little like the Killers, via Wesleyan instead of UNLV, but there’s no pretense to the music that I can tell. Even their hooks sound honest, like old BeeGees.
I hadn’t really heard them until they opened for Paul McCartney at Fenway Park Aug. 5 & 6. It’s just not in me to look at a record by a band called MGMT (originally pronounced “management,” yuck) and deciding to play it. But they were really good at Fenway, filling all that air with fluttery keyboards and crisp vocals. Great drummer, too. I kept writing down the names of bands they reminded me of, like Supertramp, until I just gave up and realized that they’ve got their own thing going. It’s music to move to. MGMT will always remind me of driving through Vermont.
Great things are in the offing for the Brooklyn-based band in 2010, when “Congratulations,” the followup to 2007’s wonderful “Oracular Spectacular” comes out. Next time through Austin, they’ll play someplace big like the Austin Music Hall or Cedar Park Center. There’s just no one else I’ve heard in years that has as much potential as my new favorite band.
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Wodlinger out as ME TV head
The president and CEO of ME Television, Austin’s 24-hour music video and live concert network, has resigned, and a former Dell Inc. executive will serve as the interim head of the network.
Connie Wodlinger , who founded ME (for “Music and Entertainment”) Television in 2005, “has some other businesses that she wanted to focus on,” said Kevin Kettler , a former chief technology officer at Dell who will be the interim CEO. Wodlinger could not be reached for comment Tuesday.
Kettler, who has been ME-TV’s lead investor, said he has firsthand knowledge of the company’s workings.
As for day-to-day programming, there won’t be a change in what viewers will see, he said.
However, Kettler said, anytime that a company goes through a leadership change, there is a re-evaluation of its operations.
“Certainly, music will be our main focus for all things that we do. But there might be some opportunity to showcase some other things in the Austin region as we look forward,” he said.
The search for a new CEO will begin shortly, Kettler said, and the network also plans to conduct a second round of raising money from private investors.
The company also will set up an external advisory board with the goal of finding people who can help “move the business forward” and promote both the network and the Austin music scene, Kettler said.
Almost one year ago, ME-TV laid off all but a small number of employees. At the time, Wodlinger said, “a skeleton staff will keep the station on-air while we pursue viable options to continue.”
Without giving specifics, Kettler said the network has not returned to pre-layoff levels but said that he would like to add staff.
“You always want to be in a growth business,” he said.
ME-TV airs programming from various musical genres on Time Warner Cable Channel 15. The City of Austin awarded Austin Music Partners the contract to run Channel 15 in 2004. The network was relaunched in October 2005 as ME Television.
Brad Stein , chairman of the Austin Music Commission, described ME-TV’s programming as “very professional” but said the network has yet to expand its audience.
Part of the network’s eight-year contract with the city calls for ME-TV to partner with enough providers to reach 2.5 million people by 2012, Stein said.
According to a network news release, ME-TV programming is broadcast to more than 400,000 cable subscribers.
Stein also said the network has been slow to adjust to the Internet and new forms of reaching viewers, such as online social networks.
But Kettler has a “deft touch for technology, so I think the future of the station will depend on how you merge music and entertainment with technology, and he seems like a good person to take it to the next step, which is essential for its success,” Stein said.
ME-TV has filmed all of its programs in high-definition and has more than 60 hours of content ready to distribute, officials said. That means the station could broadcast in HD; it could also sell content to another station, Kettler said.
Kettler said viewers will see a transformation of the station’s Web site, with more capabilities such as streaming full-motion video on demand.
“We’re excited about it,” he said, adding that the station will be announcing partnerships in the coming weeks.
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Surprise! It’s Ben Kweller
Cook’s “Let the Light In,” produced by Alejandro Escovedo, is scheduled for release next year.
Stick around for an inside show with Sleeping in the Aviary.
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Live review: Dave Matthews Band at Austin City Limits studio
Dave Matthews plays the guitar during the concert of his Dave Matthews Band July 11 at the Optimus Alive music festival in Lisbon, Portugal. (AP Photo/Armando Franca)
On the day the Rock and Roll Hall of Fame designated the Austin City Limits studio as a historical site, the venerable program hosted one of the most popular acts of the last 15 years, likely expecting the Dave Matthews Band to put a musical exclamation point on the big day.
While punctuated at times with exceptional playing, the show seemed to act more as an ellipsis … teasing fans with tastes of their rollicking past throughout a set of relatively homogeneous new songs.
The Dave Matthews Band made a national name for itself in the mid-’90s with crisp, melodic songs that featured evocative songwriting, jazz instrumentation and extended jamming. The group from Virginia straddled musical worlds, attracting eclectic fans of improvisational groups such as the Grateful Dead and Phish while remaining commercially palatable enough to inspire thousands of high school kids and college co-eds to attend the band’s shows in droves.
In the early years, Matthews served as a proxy for his fans — finding his way in the world, celebrating life’s endless possibilities, expressing individuality and swimming in the beauty and ache of the world — offering up his discoveries for the fans to share in as their own.
In the years since the early successes of “Remember Two Things” and “Under the Table,” as their collective star rose, however, it seems Matthews’ musical ambitions have lagged.
While the band certainly still hits the right notes and is as tight as ever, the content and delivery feel more processed. The poetry seems to have waned from the live lyrics, giving way to simplistic observations and self-seriousness, and the man who once gave voice to the collective concerns of a fan base staring adulthood in the face became adult contemporary pabulum with a danceable beat. Such are the “perils” of adulthood and success. Most musicians should be so fortunate.
The ACL Festival co-headliner-to-be opened its set Monday night by stuffing the tamely ironic “Funny the Way It Is,” a song that feels perfectly suited for a twilight festival set, into the crammed studio, as the crowd, which did not have the luxury of seats, struggled with the notion of actually dancing.
Call him the musical Wooderson of “Dazed and Confused” — he gets older and the girls stay the same age — but Matthews still knows how to make the ladies swoon, as evidenced by their cat-call responses to his lines “But I love the way you love me, baby” in “Spaceman.” Maybe the girls grow older, too, they just continue to fall for the same lines. Lucky guy.
“Spaceman,” with its guitar-fueled devil-may-care Lothario vibe offered compelling evidence that Matthews has probably done more to fuel would-be “American Idols” a la Kris Allen and boost acoustic guitar sales than any musician of the past 15 years. Not to mention the amount of money it has earned him and his bandmates.
The “love-song of sorts,” as Matthew described it, “Squirm,” showcased Matthews’ immediately recognizable vocal style, as he descended from growl to whisper, shoving lyrics into a tight space before exploding like a bearded jack-in-the-box to the extreme delight of the hollering fans.
His boyish, rapscallion charm never lurking too far beneath the surface, Matthews improvised a bit about the joys of playing outside, under the stars with the city’s skyline in the back, an inside joke played at the expense of those at home who may be under the delusion ‘ACL’ is taped al fresco.
Continuing with the set stuffed with a majority of tunes from the recently released “Big Whiskey and the GrooGrux King,” Jeff Coffin’s delicate soprano sax sounds punctuated the mystical aspects of “Lying in the Hands of God,” a song that had the plastic feel of commodified spirituality. The song did offer the chance for the band’s first full-on jam, highlighting the freakish drumming of Carter Beauford, whom I am not ready to declare has only four limbs. As they have throughout their history, the band does an excellent job of giving each of the players space to shine, communicating through subtle nods and inflections.
Here it should be noted that one of the great products of DMB’s popularity is how the band has made better listeners out of many of its fans. I would argue that many devotees over the years first came to appreciate the art of the solo, in particular that of horns, strings and percussion, by way of listening to DMB. In fact, I imagine the band was my rickety on-ramp to John Coltrane and Miles Davis in 1993.
With “Why I Am,” Matthews gave a nod to deceased sax man Leroi Moore, when introducing the song he said began initially as a chaotic cacophony before developing into a wonderful vehicle this night for the shredding of guitar virtuoso Tim Reynolds.
Halfway through the set that would feature almost all of the group’s new material, the band finally gave some old diehards what they had come to see, as they launched into “Jimi Thing,” a song from the band’s break-out “Under the Table and Dreaming,” that was spiced by Coffin’s sax and trumpet player Rashawn Ross trading lines. The raucous throwback allowed the band to fully stretch out, where they are at their best, and for the first time of the evening give the studio the feel of a small club, with older and younger fans alike bobbing and swaying.
It would be one of the few times when everyone in the room seemed equally invested in the band that they had come to love at different times throughout the winding career of arguably the world’s longest-running college party band.
Matthews seemed intent on giving a platform to his newer tunes on this night, but he is not unaware or unappreciative of the fans of his older work. While he seemed reluctant to go back to his formative musical years, as a departure from the night’s intended set list (which I acquired), the band’s final encore of the 16-song set was “Two Step,” off the 1994 live EP “Recently.” Not coincidentally, it was also the song requested on a handmade sign held by a girl in the front row.
If only the whole night had contained the energy and passion of the song which ended it. Alas … musicians change … often becoming something less than what we once thought and hoped they were.
Dave Matthews Band at Austin City Limits studio, 08.10.09 (setlist)
- “Funny the Way it Is”
- “Spaceman”
- “Squirm”
- “Lying in the Hands of God”
- “Alligator Pie”
- “Gravedigger”
- “Why I Am”
- “Seven”
- “Jimi Thing”
- “Shake Me Like a Monkey”
- “Sister”
- “You and Me”
- “Time Bomb”
- “Ants Marching”
- E: “Whiskey, Rye Whiskey”
- E: “Two Step”
Fans cheer for the Dave Matthews Band during a show Monday night at the “Austin City Limits” studio (Kelly West AMERICAN-STATESMAN)
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Live review: Method Man & Redman w/ Ghostface Killah at Emo’s
In honor of the Wu-Tang Clan’s obsessions with numerology and their still-staggeringly excellent debut album “Return to the 36th Chamber,” here are 36 sentences about Method Man and Redman’s Sunday night show at Emo’s.1. Mercy, was it hot in there.
2. Emo’s when it’s sold out is hot enough. Emo’s when it’s sold out when it’s over 100 degrees during the day is….intense
3. Nevertheless, everyone seemed to be surviving nicely.
4. A calm crowd as well. No fights, no tension, everyone at the show to, well, relive the glorious days of mid-1990s hip-hop.
5. To that end, everyone screams good and loud when Ghostface takes the stage. And about 10 seconds later, here’s the first complaint to the soundman. It’s a hip-hop tradition!
6. Ghostface is probably the best pure M.C. still standing from the Clan. Most could only muster one classic solo album and a half-decent follow up. Ghost keeps making stellar album after stellar album.
7. Crowd goes nuts for “Ice cream.” (The song, not the food.)
8. Then they go nuts for “Be Easy.” Great song, that; a 21st century classic from Ghost.
9. Or rather, one verse and chorus. Gonna be that kinda night, bits of songs here and there, a career skipped around. It’s a hip-hop tradition!
10. For a crew that had trouble all being in the same room at the same time, I’ve never seen Ghost be anything less that a total pro.
11. (That reminds me of a comment a pal made about seeing a photo of all nine hard-to-corral Wu-Tang MCs in Rolling Stone: “I felt like I was seeing a lost photo of Robert Johnson or something.”
12. It does look like the heat is getting to him a bit.
13. Ghost will never be known as the fittest Wu-Tang member. He’s somewhere in fitness between the Hollywood star Method Man and Raekwon, who looks these days as if he comes by his nickname “the Chef” honestly.
14. “Y’all are my Duracell tonight,” Ghost says. It tough to get the crowd going when it’s this oppressive out. Seriously thinking about throwing my shirt away rather than try to wash it.
15. Then some rhymes from “Supreme Clientele,” his 2000 classic, the album that made him making him the first Wu-Tang solo artists to drop two great solo albums in a row.
16. “Who has the Iron Man CD?” Crowd yells.
17. “Who has the Fishscale CD?” Crowd yells.
18. Dude, we have all your records.
19. Credit must be given to these guys for not passing out.
20. Verses from “Triumph,” “C.R.E.A.M.” and “Run!” set the crowd alight. Then a Michael Jackson tribute via sample array.
21. Hey, it’s Method Man and/or Redman’s bus, about 15 minutes before they are supposed to go on. Oddly, a blue cloud did not emerge from the door.
22. Ghost will always eat because the man will always be able to write.
23. Ghost will always eat because the man signs autographs in the corner and hangs out outside talking to fans. It’s the oldest business model in the world and it still works.
24. Method Man and Redman bound out. Redman’s cowboy hat/camouflage sleeveless shirt combination is next level.
25. “How Bout Dat?” from the new album “Blackout 2” slays. This beat is a monster, total 90s sample-packed thunder
26. Meth’s charisma is still utterly hypnotic.
27. Any hip-hop fan that tells you they don’t have a crush (or the hetero-normative equivalent) on the man is LYING TO YOU.
28. Utterly kinetic performer, leaping around the stage, hurling himself into the crowd.
29. Note to rappers: THIS IS HOW YOU PUT ON A SHOW. PLEASE TAKE NOTES.
30. “We’re gonna take it back to 1992,” Red says.
31. Which is what everyone is here to do.
32. Redman rocking “Time 4 Sum Aksion” is like the Stones’ busting out “Satisfaction.” Nobody is mad at it.
33. Following it with “M.E.T.H.O.D. Man” is like the Who busting out “My Generation.” In more ways than one.
34. “Bring the Pain” follows.
35. Crowd officially bonkers.
36. It pretty well stays that way.
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Gerard Cosloy’s house burned to the ground this morning
Matador Records co-owner Gerard Cosloy was the owner and resident of the nearly 100-year-old home on Lindell Avenue that burned to the ground early this morning.
Cosloy sounded shaken but calm this morning. “There are a lot of people who have a lot less than I do who deal with a lot worse, but this is pretty bad,” he said.
Indeed, the house and its contents are a total loss.
Dog lovers should know that yes, his dogs survived.
“They were very heroic, in fact,” Cosloy said.
“Everyone has been really great calling with places to stay and work out of,” he added. Cosloy worked out of his home.
Matador recently signed Austin band Harlem. Cosloy also runs the often mind-blowing sports blog Can’t Stop the Bleeding and plays in the band Air Traffic Controllers. (Big-ups to Cosloy for joking about his loss here.)
While Austin Music Source is very thankful Cosloy is alive, AMS can’t lie to you: We poured one out this morning for his stellar record collection, a collection that is now one large plastic lump.
To paraphrase more than one guy on ESPN, we’re all day-to-day, huh?
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KUT, hosts’ fans aren’t on same wavelength
Daryl Slusher was among the Austinites who spoke at a town hall meeting Wednesday about KUT’s decision to cut the shows of two hosts. Cody Duty AMERICAN-STATESMAN
Never let it be said that terrestrial radio is a dead or dying medium.
Based on the levels of passion and sheer energy expended on both sides of the debate about the downsizing of Paul Ray and Larry Monroe at public radio station KUT (FM 90.5), radio, at least in Austin, is vibrantly alive.
A recap: Early last month, KUT announced that three shows — “Paul Ray’s Jazz” (8 to 11 p.m. Tuesday and Wednesday) and Larry Monroe’s “Phil Music Program” (8 to 11 p.m. Thursday) — were being replaced by “Music with Matt Reilly,” hosted by KUT’s new assistant music director. In addition, KUT announced it would 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. The John Aielli podcast “Aielli Unleashed” also was canceled (Aielli’s “Eklektikos” still airs from 9 a.m. to noon Monday through Friday). Ray lost 14 hours of air time a week, Monroe 10. Ray and Monroe will continue to host their popular weekly “Twine Time” (7 to 11 p.m. Saturday) and “Blue Monday” programs, respectively.
The news dropped at the start of the July 4 holiday weekend — probably not the best PR move on KUT’s part.
KUT management has said it made the changes for financial and business reasons, that the programs weren’t increasing the station’s audience and that the $120,000 cut had to be made somewhere. Opponents of the change say it’s another step in what they call the ongoing homogenization of KUT (or, as many online commentators put it, “sounding like KGSR”).
The online comments continued in a steady stream, and a Facebook group, “Support Larry Monroe and Paul Ray at KUT,” was created. (As of Monday, the group was up to 834 members and 158 wall posts.)
KUT began spinning the story, sending out clarifying e-mails to supporters and running on-air bumpers about the changes. Initially, KUT management indicated that the $120,000 saved by these cuts was being redirected in the budget. At the end of last week , program director Hawk Mendenhall said that, in fact, the money was being cut entirely.
KUT’s 2008-09 fiscal year budget was $6.4 million. It’s $5.9 million for fiscal year 2009-10. According to the University of Texas Office of the Vice President and Chief Financial Officer, the downsizing will put Monroe and Ray well under the minimum number of hours required to retain health insurance.
Cleve Hattersley of Greezy Wheels — who already had sent an angry mass e-mail about the changes — organized a town hall meeting Wednesday to discuss the downsizings and ways to reverse them.
“The one thing that I think we all agree on is the fact that we want Larry Monroe and Paul Ray back on the air,” Hattersley said at the meeting in the beer garden at Threadgill’s South. “We want to hear what we want to hear.”
Mendenhall said he was not surprised by the reaction to the changes.
“When ‘Car Talk’ came on Saturday mornings, I got people telling me Austin didn’t want to hear laughter that early in the morning,” Mendenhall said last week. “I had my life threatened over ‘Wait, Wait, Don’t Tell Me,’ which is a Saturday morning hit and raised $20,000 in one hour of pledge drive.”
KUT management says they initially received only a handful of phone calls about the changes.
“Anytime we make a change, it’s hard for all involved,” KUT general manager Stewart Vanderwilt said Wednesday (before the meeting, which he did not attend). “When you’re looking at fiscal challenges, you have to look at everywhere. Late overnight has a very small audience, and the investment there, unfortunately, just didn’t make sense.”
Mendenhall said he and Stewart looked at 10 years of data in making their decision, which revealed that while the audience for many shows (“Eklektikos,” “Twine Time,” Jay Trachtenberg’s afternoon music shows) has grown with Austin’s population, the draw for the “Paul Ray’s Jazz” and “Phil Music” programs has remained stagnant — about 1,800 in the evenings (before midnight) and 300 overnight.
“One thing that’s kind of keeping KUT going in a really down market is the fact that our audience is growing,” Vanderwilt said. ” ‘Twine Time’ is a force unto itself, and ‘Blue Monday’ has a tradition and a connection to the blues roots of Austin, but the other programs just weren’t moving the station forward.”
And Mendenhall admits that Reilly’s show is a bid for a wider demographic, if not necessarily younger. He added that music director Jeff McCord’s Friday night show “Left of the Dial” was a good model for the sort of music mix he’s aiming for in the overnight slots. McCord’s recent playlist includes artists such as Black Moth Super Rainbow, Jimi Hendrix, the Monahans, Television, Ornette Coleman and Wilco.
At least 100 people attended Hattersley’s town hall meeting, where suggestions for action included cutting off donations to KUT , a position not endorsed by everyone.
“I personally will not withhold my support of KUT financially,” said Charlotte Hursley, a KUT contributor at the Leadership Circle level. She suggested aiming pledges at specific shows, such as “Blue Monday.”
Monday, Hattersley said the group was leaning toward a boycott, perhaps putting donations in an escrow account until demands are met.
“The biggest job will be to identify and contact local contributors of every stripe, individual or corporate,” he said. “We intend to try to speak directly to absolutely everyone who has given KUT any money over the last 10 years.”
For their parts, Monroe and Ray have kept a low profile. Ray, who was recently inducted into the Texas Radio Hall of Fame , did not respond to requests for comment. Monroe said that he was presented with the changes as a done deal — “I was not given any options.”
Monroe has been spending time taking care of dental and medical work before his insurance runs out. He will be working an eight-hour week, which includes “Blue Monday” and the prep time required for the award-winning show, the longest-running blues show in America with a single host. (Blue Monday launched in 1981.) He declined to comment on whether he had been talking to other radio stations, terrestrial, online or satellite.
jgross@statesman.com; 912-5926
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The New Yorker, Thom Yorke and EPs
Over in the New Yorker blog, Sasha Frere-Jones notes one of Austin Music Source’s pet obsessions: The return of the EP and the non-album single as vibrant, relevant formats.
As has been noted here in 2007 and here in June, we think about this a lot.
We are in favor of it, for all of the reason Frere-Jones and Thom Yorke discuss.
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‘ACL’ honored by hall of fame; Mos Def and K’Naan to tape sets
The Rock and Roll Hall of Fame and Museum says it’s designating the Austin City Limits music television show as a historic rock and roll site. About to embark on its 35th season, the KLRU-based program is the longest running music series in American TV history.
Terry Stewart, president and CEO of the rock hall of fame in Cleveland, made the announcement Monday with the show’s executive producer, Terry Lickona (pictured).
“I was speechless,” ACL executive producer Lickona said of Stewart’s suggestion that the ACL studio be included on the list of historic sites. Other sites so designated include the Whisky-a-Go-Go club in Los Angeles and Brooklyn High School in the Cleveland area, where Elvis Presley played his first concert north of the Mason-Dixon line.
Stewart says a plaque will be placed at the Austin City Limits studio on the University of Texas campus and another plaque will be placed in the show’s new, 2,500-capacity studio in Block 21, which is scheduled to open in 2011. (The current studio can hold about 300 people.)
The old Austin skyline backdrop will not move to the new space; a new one is slated to be designed. The old backdrop will remain in the old studio, which will continue to be used.
The formal presentation of the plaque and designation will be Oct. 1, which is also the date of ACL’s first hip-hop show, a double shoot with Mos Def and K’naan, both of whom will be playing the Austin City Limits Music Festival. On Oct. 2, the studio will host two educational panels on the history of the program. Pearl Jam tapes a set Oct. 3, while Sonic Youth tapes a set Oct. 5.
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A John Hughes mixtape…..
….can be found here.
What are your favorite tunes from Hughes-land?
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Review: Atmosphere at Stubb’s
The massive crowd gathered Wednesday at Stubb’s for the show by Midwest indie hip-hop standout Atmosphere was a good mix of mohawks, backwards baseball caps and trendy handbags, a testament to the group’s cross-cultural appeal. Most appeared to be out to hear new material from the group’s latest disc, “When Life Gives You Lemons, You Paint That (Expletive) Gold,” evidenced by the near constant sing-along that at times nearly eclipsed the band. However, when Slug announced that the “ugliest” girl in Austin requested that the group reach back for “God Loves Ugly” to open the show, the old school fans in the audience made their presence felt. (Knowing Slug, she wasn’t ugly at all.)
In fact the rapper has made an art out of wielding a comically misanthropic stage persona like a mace, something his fans adore about him. This made more sense back when the group’s material was drenched in self-loathing, but is at odds with the comparatively uplifting path they’ve charted lately. Still, thoughtful numbers like “Puppets” and “Guarantees” held the crowd’s attention in between the rugged, hardcore bangers like “Shoulda Known” that got the crowd moving, hands in the air.
The band’s “Kashmir” influenced version of “Vanity Sick” was an impressive example of how far the group is willing to stretch out on stage. The echo-driven guitar licks and raga wailing from the backup singer woke the crowd from their heat induced lethargy just in time for an encore that featured a viscous freestyle and a dreamy version of “Sunshine.”
Despite the sparse, introspective tone of much of the show the highlight of the night was the band’s return to “Seven’s Travels” for a booming version “Trying to Find a Balance.” I’ve been to plenty of hip-hop shows in Austin and have never seen that many hands in the air for the entirety of a song. Whenever the band dropped out to let the crowd fill in the verse, they thundered together in unison without missing a beat.
The party days might be over for this group, but Atmosphere proved they can rock a crowd without the drug- and alcohol-infused material. This is rugged, grimy, thinking man’s hip-hop from a group that Austin came out en masse to support yet again.
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Dylan, Willie and Mellencamp break records
Three stars, 100-degree heat and one heck of a show, but the biggest number from Tuesday night’s concert at Dell Diamond is 11,765. That is the official number of fans reported to have come out for two legends and a Cougar this week at the home of the Round Rock Express. Organizers say that “makes it the largest crowd for the current tour and the largest non-baseball crowd in The Dell Diamond’s history.” A true home run.
Check out our review and photos from the night.
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Weekend picks: Dancing hipsters, Killah mcs and a tribute to the Cramps
FRIDAY
Franki Chan at Emo’s. Chan is a DJ who did time in indie rock bands such as Operation: Cliff Clavin and Heartsrevolution. He also runs Iheartcomix, a record label that has the misfortune of advertising itself on its MySpace page as a ‘lifestyle brand that encompasses a record label, an event production company, a popular blog, and a marketing/promotion company, among other things.’ Oy vey, dude. But this show clearly will be a good place to see and be seen by the Austin hipster masses, not to mention dance. With Learning Secrets, DJ Richard Gear and DJ Markus With a K. 10 p.m. $5 for those older than 21 and older, $10 for those younger. - Joe Gross
Also recommended
- Shapes Have Fangs at the Mohawk
- Beautiful Supermachines at Beerland
- Prayer for Animals, the Onion presents the 2nd Annual Altercation Punk Comedy Festival at Red 7
- Golden Bear at the Beauty Bar
- Prince hoot night and costume contest at Club Deville
- Li’l Cap’n Travis at the Continental Club
- Los Bad Apples at Lamberts
SATURDAY
Long Live Lux - the Cramps tribute night at Emo’s. Rock ‘n’ roll lost one of the all time greats when Erick Lee Purkhiser, better known as Cramps frontgod Lux Interior, died Feb. 4 . The Cramps was the rare band that was both intellectual and a force of nature, with Lux and his crew synthesizing rockabilly, ’60s punk and ’50s R&B into something truly singular and kind of nuts. Band such as the Jungle Rockers, the Flametrick Subs, Mr. Lewis & the Funeral 5 pay their respects. 10 p.m. $5 for those 21 and older, $8 for those younger. - J.G.
Also recommended
- Junior Brown at Antone’s
- Grupo Fantasma at Tim’s Porch at the Backyard
- Solillaquists of Sound at the Mohawk
- Danny Malone CD release at Stubb’s
- Bombasta! at Flamingo Cantina
- Roadside Graves at Lamberts
- Tia Carrera at Trophy’s
SUNDAY
Method Man, Redman, Ghostface Killah at Emo’s This is a murderer’s row of ’90s hip-hop royalty. Method Man might be one of the most charismatic MCs who ever lived, the Wu-Tang Clan member with matinee idol sexiness. Redman has become his partner in crime, a blunted duo united in their love of, well, weed and rhymes. Fellow Wu-Tang rapper Ghostface is simply one of the best MCs ever; his solo albums ‘Ironman’ and ‘Supreme Clientle’ are stone classics and he’s the only member of the Clan to keep his rap game up-to-the-minute tight. 10 p.m. Tickets are $23 advance, $25 at the door. 603 Red River St. 477-3667. - J.G.
Also recommended
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Les Savy Fav prepares to have Fun Fun Fun
Say this for Transmission Entertainment: They have mastered the fine art of the festival performer leak.
Following Sunday’s announcement that much-beloved and long-absent Detroit power trio Death will be appearing at November’s Fun Fun Fun Fest, the festival revealed via Twitter earlier today that the New York post-hardcore quintet Les Savy Fav will also be making an appearance.
The festival’s official Twitter account promised that “These guys are gonna rock your family’s face off in November,” and that sounds about right — Les Savy Fav, and particularly front man Tim Harrington, are famous for their stage antics.
By way of preparation for the Waterloo Park freak out that’s sure to come, take a look at this video, linked to by the festival’s Twitter, of the band performing at one of Brooklyn’s famous (and now relocated) McCarren Park Pool shows in July 2006.
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Live review: Paul McCartney at Fenway Park
BOSTON. The closest thing to going to a Beatles concert since the ‘60s is Paul McCartney’s current show, which ends with a flurry of Fab Four songs that will leave your heart- and ears- throbbing in ecstasy. It was LOUD Wednesday night at the home of the Red Sox, as the 67-year-old McCartney turned in a rock solid two and a half hour performance that made Bruce Springsteen come off like a slacker.
The personable legend could’ve ended it with a walkoff triple of “Let It Be,” “Live and Let Die” (complete with fireworks show) and “Hey Jude,” with the sold out crowd getting their La-Las out with extreme abandon. At the two-hour mark, the crowd would’ve gotten its money’s worth, even at ticket prices ranging from $60 to the mid $200s.
But Sir Paul and his thumping four-piece band (drummer Abe Laboriel Jr. is a powerhouse who also sings nice harmonies) came out for two three-song encores, playing “Day Tripper,” “Lady Madonna” and “I Saw Her Standing There” in the first furious clump, then “Yesterday,” “Helter Skelter” and “Sgt. Pepper’s Lonely Hearts Club Band” to make the night spectacularly unforgettable.
The tireless McCartney’s voice sagged only slightly, when he paid tribute to George Harrison on a version of “Something” that started on solo ukulele and ended in fullblown extravagance. It could’ve been the emotion, rather than ragged vocal chords that kept the singer from hitting the highest notes on that one. A photo montage of Harrison, most taken by Linda McCartney, played during the song.
The gentleman rocker, who seemed genuinely touched by the crowd’s outpouring of love, also paid tribute to John Lennon on “Here Today,” a song written after his partner’s 1980 death about a conversation he imagined the two having. When McCartney said “Let’s hear it for John,” when introducing the tune, the crowd cheered for a solid two minutes, with Paul stepping back from the mike twice to let it continue.
This was a lovefest, unmatched.
The show had several configurations, including a solo acoustic set that gave the crowd “Blackbird” and McCartney at the piano for “Long and Winding Road. There was also ample time- too much, perhaps - devoted to newer songs from his band the Fireman and lesser post-Beatles projects. Twenty minutes shorter and the show would’ve been near-perfect. “Band On the Run,” however, was a standout from his Wings days, and “Let Me Roll It” had a nice touch, sequeing into a Jimi Hendrix nod.
Timing is everything, they say, and this show, relying so heavily on Beatles nostalgia, may have seemed a tad out of place ten years ago. But on this tour of stadiums, which visits the new home of the Dallas Cowboys Aug. 19, McCartney is ready to wholeheartedly embrace his legacy.
It’s a show you won’t forget, with a last hour that will take your breath away.
Paul McCartney set list 8/5 at Fenway Park
01. Drive my Car
02. Jet
03. Only Mama Knows
04. Flaming Pie
05. Got to Get You Into My Life
06. Let Me Roll It
07. Highway
08. Long and Winding Road
09. My Love
10. Blackbird
11. Here Today
12. Dance Tonight
13. Calico Skies
15. Mrs. Vanderbilt
16. Eleanor Rigby
17. Sing the Changes
18. Band on the Run
19. Back in the USSR
20. I’m Down
21. Something
22. i’ve Got a Feeling
23. Paperback Writer
24. A Day in the Life/Give Peace a Chance
25. Let It Be
26. Live and Let Die
27. Hey Jude
Encore #1
28. Daytripper
29. Lady Madonna
30. I Saw Her Standing There
Encore #2
31. Yesterday
32. Helter Skelter
33. Get Back
34. Sgt Pepper Reprise
35. The End
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Watch the Wooden Birds perform live @ Paste Magazine
Click here to see Austin’s Andrew Kenny (of American Analog Set) and his latest project, the Wooden Birds, perform “Bad” from the their latest release, “Magnolia,” live at Paste Magazine.
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Live Review: Bob Dylan, Willie Nelson, John Mellencamp
Jay Janner AMERICAN-STATESMAN
Writers of serial fiction - soap operas, comic books, “Lost,” that sort of thing - have a term for giving consumers the characters and plots that they want.
That term is “fan service.”
Tuesday night’s Dylan/Nelson/Mellencamp show at the Dell Diamond was all about fan service. Here are the songs that you love, folks; we’ll go easy on the new stuff. (Mellencamp even asked if everyone was in a nostalgic mood - um, is there another reason these folks are here?)
Sure, the heat was broiling, but the vibe was exactly like a baseball game. Plenty of beer, sno-cones and hot dogs to go around. The crowd even got to hang around on the field. (Running the bases and sliding into home was not possible.)
The Wiyos opened the show with a half hour set of old-timey string band music with horn lines that recalled Dixieland jazz - spry yet mellow stuff.
Willie Nelson brought the stripped down Family band to Dell Diamond - Willie himself with Trigger, playing his signature oddly shaped solos, Ray Benson on lead (lead and rhythm are slippery terms in this band), minimalist drums, splashes of harmonica and “little sister” Bobbie on piano here and there. It’s a perfect setting for Willie’s country-jazz voice.
“Whiskey River” went into “Still is Still Moving” (wherein lay the best and oddest solo) into the still-politically-sketchy “Beer for My Horses.” “Georgia on My Mind,” “Crazy,” “Angel Flying Too Close the Ground” and “On the Road Again” all received solid workouts and the audience received at least two hats from Willie. Now THAT is fan service.
John Mellencamp’s set was the most flagrantly rock and his on-stage persona alternated between charming (“Give that kid a hand” after a vendor honored his request for a sno-cone) and more-smug-than-funny (subbing in the line “”My wife was 13 years old when I wrote this song” for “met an L.A. doll” in “Small Town” — spare us, Coug, even if the old line was about your ex-wife). “Pink Houses” kicked off the set, violin, accordion and large drums driving the songs. “Don’t Need This Body” mused about death, “Rain On the Scarecrow” sounded ominous in rough economic times and “Hurts So Good” reminded you that, yes, this guy can deliver a whole mess of songs to which you know the words. Fan. Service.
Bob Dylan, on the other hand, presented a different kind of fan service. After a few songs, including opener “Rainy Day Women” (most overrated Dylan song ever or most overrated thing ever?) and a head-scratching “This Wheel’s On Fire,” former Dylan guitarist Charlie Sexton joined the band.
Then he proceeded to own it, his presence seeming to loosen Dylan and kick the energy level up.
Sexton almost flirted with Dylan at points, wandering over to the organ Dylan played for much of the night. This must be what it’s like to play with Dylan but have graduated from touring with him (everyone else stayed pretty much stock still).
Songs such as “Honest With Me,” “Tweedle Dum and Tweedle Dee” and the almighty “Highway 61” throbbed with Sexton’s trebley solos. “Just Talkin’” sported nuanced interplay and a deep, chewy groove anchored by Donnie Herron’s violin. “Like a Rolling Stone,” “Jolene” and “All Along the Watchtower” were perfect encores, the latter featuring a wicked Sexton solo.
So, speaking of fan service, anyone tape this lovely night?
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Video: ‘Bandslam’ premiere with The Daze
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ACL 2009: Sound and the Jury voting opens
The now annual online contest that puts one lucky band on the Austin City Limits Music Festival stage has opened for business. Bands can submit themselves and the public votes through Aug. 28 during Round One. For Round Two, industry types will judge the top 100 bands. Round three in September is back to public voting for the top 20.
It all leads up to a five-band “battle of the bands” live at Antone’s. Last year’s winners, the Steps (above), just celebrated the release of their new CD.
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Review: De La Soul at Emo’s
De La Soul rocked a near-capacity audience Saturday night at Emo’s with old-school hip-hop on the positive tip, proving why they’re universally considered one of the most important and innovative hip-hop acts of all time. Unfortunately the record-setting heat caused the New Yorkers to cut their set short by nearly an hour.
The set times hung next to the stage and the soundboard read that De La Soul would perform from 11 p.m. to 1 a.m., but the group called it a night shortly after midnight. The sweltering heat proved to be utterly brutal, rendering their hour-long set an endurance test for both the group and the audience.
De La Soul - Kelvin Mercer (Posdnuos), David Jude Jolicoeur (Trugoy) and DJ Vincent Mason (Maseo) - were soaked in sweat after just a few songs. (“It’s hot as Satan’s toenail,” Maseo joked more than once.)
Since the show was billed as a 20th anniversary celebration of the group’s debut “3 Feet High and Rising,” fan speculation on the Internet and in the audience abounded that they might play the entire album (a rising trend among bands still touring primarily off the strength of back catalogs). As they’ve always done, De La bucked the expectations and played a slammin’ set of fan favorite “consciousness” rhymes culled primarily from their first four albums.
DJ Mase went hard on “Potholes in My Lawn,” laying down a killer scratch throughout the entire first chorus, then dropping a new beat during the second verse that lit up the audience. Then De La segued right into “Stakes Is High,” the stellar title track off their fourth album. And the audience - made up of old-schoolers that were likely in college and high school when De La’s first couple of albums dropped - sang all the words on cue when Posdnuos and Trugoy employed hip-hop’s requisite African diaspora-influenced call and response.
The show took on a magical synchronicity when De La rocked “A Roller Skating Jam Named Saturdays” as the audience chanted “Sat-ur-day” along with the group over Maseo’s dizzying beats during the chorus.
De La’s encore included the slinky beat-laced “Itzsoweezee (HOT)” and the sing-a-long “Ring Ring Ring (Ha Ha Hey).” Then while much of the audience was busy grabbing their second beer/cocktail, De La recited their heartfelt thank yous and were done. De La Soul’s truncated set served as a reminder that their positive consciousness rhymes (that avoid glorifying bling, misogyny, inflated cool-pose boasting and the N word) are now even more of an anomaly in pop culture hip-hop than before the group started.
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Batfest coming Aug. 22
The Wailers, Bob Schneider, the Gourds and Girl In a Coma are among the acts playing the 5th annual Batfest on the Ann Richards Bridge Saturday Aug. 22. The music starts at 2 p.m. Tix are only $7 here.
Some of the other acts playing are Vallejo, Alpha Rev, Podunk, Joe King Carrasco, DaHeBeGeBeeS and Mingo Fishtrap.
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U.T. student coined term ‘heavy metal’
Found this quote from an interview with Metal Mike Saunders of the Angry Samoans, who wrote for Creem magazine before that:
“…it was later in the May 1971 Creem, reviewing the first Sir Lord Baltimore album (released the first week of Feb 1971, just two weeks ahead of Sabbath’s Paranoid, so let’s figure the review of my promo copy was typed up in Feb. in my Univ of Texas at Austin dorm room), that I threw down the phrase “heavy metal” in its first use in the rock press ever (outside of the Steppenwolf lyric) as a descriptive term. Yep, all blame and shame goes to me.”
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Preview: Chris Knight at Hill’s Cafe
Chris Knight carves truths from soil and sweat. Many hurt: The native Kentuckian’s protagonists chart dead-end journeys that ultimately curl under crippling misfortune. Nonetheless, hope often surfaces below dim thunderclouds. “Love and a .45 are all you need to get you through the night,” Knight warns on “Love and a .45.” “One will kill you, one will keep you alive.” The honorary Texan, whose “Trailer II” collection (due Sept. 15) shows early glimpses at essential tunes, performs Wednesday (Aug. 5) at Hill’s Café.
American-Statesman: ‘The Trailer Tapes’ demos were something of legend until you released them in 2007.
Chris Knight:Well, they took on a life of their own by the time I put out my first album (in 1998). People were mentioning them in write-ups. Interns in Nashville got their hands on them and kind of spread them around. My manager wanted to release them, but I didn’t really want to. I hadn’t heard them since back in ’96. They were real raw. (Engineer) Ray Kennedy fixed them up a bit, and I thought they sounded pretty good then. So, we tried to get in on the action (laughs).
Unlike those songs, most on ‘Trailer II’ are well known. How do you feel about these demo takes?
I have some misgivings, but I’m more critical of myself than most people. They kind of are what they are. I do them a lot better now. A lot of them I’d rather play with a full band, but at the time I was just trying to get them down. I wasn’t used to recording or singing into a microphone in the studio. I had to do a lot of live shows before I even figured out how to sing. I could sing, but I’d get a little uptight in the studio back then. It just wouldn’t come out the way I wanted. I can hear that, but I can also hear the beginnings of what I do now.
During this time, you wrote ‘Love and a .45’ with Fred Eaglesmith.
I was with the folks at Bluewater (Music) down there in Nashville, and Fred was writing there, too. I went by that morning and a guy who worked there said, “Hey, I’ve got a title for you: ‘Love and a .45.’” It was some kind of an independently made movie back then, but I never did see the movie. We just came up with a story around the title and wrote it real quick, two or three hours probably.
Do you generally prefer co-writing or writing alone?
Both. There are a few people I really enjoy writing with. But a lot of times I’d get together with someone and write four or five songs and it’d just dry up completely.
There are three unreleased cuts on ‘Trailer II.’ How many unheard songs are left from that era?
I’ve got a feeling there’s a lot more “Trailer Tape” stuff out there and I just don’t remember what I recorded. It seems like I had 30 or 40 songs recorded during those sessions.
Are they as dark as the others?
Yeah. There’re enough sunshine and lollipop songs out there, don’t you think (laughs)? Somebody’s gotta pick up the slack on the other end.
Chris Knight performs at 7 p.m. Wednesday (Aug. 5) at Hill’s Café, 4700 S. Congress Ave. The show is free. 851-9300.
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Death comes to Fun Fun Fun
The long-lost Detroit power trio Death has been booked to play its first and only festival date at this year’s Fun Fun Fun fest in November.
The group, consisting of African-American brothers Bobby, Dannis and David Hackney, recorded one astounding single of thrilling proto-punk in 1974(!) and vanished without a trace soon after. As journalist Mike Rubin noted in his excellent profile of the band “At the time David was 21, Dannis was 19 and Bobby, still a student at Southeastern High School, was 17.”
Earlier this year, the band’s single (released in 1`976) and unreleased recordings saw the light of day as “… For the Whole World to See” (Drag City). While this list may not indicate it, critics have been lapping the thing up like feral cats on melted ice cream. (It’s been in my year-end top 10 for months and is, indeed, astonishing stuff.)
Post-Death, the brothers moved to Vermont and cut a few albums of gospel-rock as the 4th Movement.
This version of Death will (likely) consist of bassist/singer Bobby, drummer Dannis and Bobbie Duncan, a guitar player from Lambsbread, the reggae band Bobby and Dannis formed in 1983.
David Hackney, the band’s leader, visionary and guitarist, died in 2000.
Transmission booker Graham Williams says he couldn’t believe his ears the first time he heard the Death record. “I didn’t think it was real,” Williams said, “I was in a car where it was playing. I loved it, but I was like, ‘Some band recorded this last year and made up this fake history. No way this is from 1974. It sounds too modern.” He was, of course, totally wrong.
Other recently leaked bands include Lucero, Shearwater, Health, 7 Seconds, and Health, in addition to acts we already knew about such as Atlas Sound, Broadcast, the GZA and the almighty Jesus Lizard.
Most underrated festival in the country? Probably.
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Wolfson benefit lineup firmed
Alejandro Escovedo, Triple Cobra, Paula Nelson, Ian McLagan & The Bump Band and Skyrocket are confirmed to play the ‘Putting Todd Back Together’ benefit an Antone’s Sept. 9. Proceeds will go towards medical expenses photographer Todd V. Wolfson incured after a nasty bicycle accident last month.
