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Thursday, January 7, 2010
Reminisce with reunited Soulhat
Photo by Todd V. Wolfson
Twenty years ago, Soulhat’s slack barroom anthems took flight on Sixth Street. The Austin quintet’s ‘Live at the Black Cat Lounge,’ a major-label precursor featuring tide-shifting atmospherics and elastic soloing, neatly bottled its projection and promise. “The ‘Black Cat’ record is a unique peek back in time,” lead singer Kevin McKinney says. “I think you can still smell (the venue) when you listen to the music!” The defunct outfit regroups Saturday at Antone’s to celebrate the 1991 album’s recently expanded Dualtone Records reissue.
American-Statesman: Was the opening track (‘Find the Time’)’s long intro planned?
Kevin McKinney: The intro was a more like primitive sound check, if you will. It sets the tone to make sure everyone’s comfortable. I started writing songs in 1989 in college, and ‘Find the Time’ was one of the first that I felt pretty good about. It’s a song about trying to remember to enjoy life.
At the end of it, you say, ‘It’s just like any other night, ain’t no different.’ Is this disc an accurate snapshot of early Soulhat?
Absolutely. I think that was a little sarcasm because I was trying to remind myself to treat it like any other night. We knew we were recording, and that changes your (playing). You tense up. Also, like you say, there wasn’t anything different from any other Black Cat show. Just like everything else, I try to have a dual meaning (laughs).
How does the album hold up today?
For a long time, it was hard to listen to because (we were) so young. But enough time has passed so I can look at it for what it is: a really cool time capsule. It was recorded very live, totally fearless. You press the button, and it is what it is (laughs).
Was it technically challenging to re-release a live recording from 1991?
The master tapes were stored on Betamax, so the first problem was finding a Betamax machine to transfer it. It was cool to listen to the whole two evenings. Maybe we’ll put out another disc because there’s a bunch of great stuff that we didn’t put on originally.
What made the Black Cat so unique?
It just seemed like the kind of place where all sorts of different people would go. It was like a scene. You could go there and expect to see certain people, and it was free of any pretension. It was very primitive: four walls and a stage. Not even a telephone. There probably wasn’t even a roof on it at times. Look at (the album cover): there’s a hole in the roof, and the fan’s about to fall off. They had dollar Pabst Blue Ribbon.
Cheap beer brings people in, but what about your music kept them?
Well, it definitely had an infectious groove that you could bop along to. I think that’s important. We had a looseness about us that was maybe endearing. It was just an honest band playing groovy music.
Do you feel nostalgic for that time?
Oh, of course. Personally, I was 18 or 19 years old doing things I never expected. We were great friends, and it was just a magical time. It’s important to note that you could drink beer on the street then. I can’t tell you what changed in the musical landscape, but there was just a (freer) thing going on back then.
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75th birthday tributes fit for a king
ASSOCIATED PRESS
- Photos: Remembering Elvis Presley
Which is too bad because it’s a comforting thought to imagine Presley holed up in peaceful seclusion on a tropical island somewhere. The Mississippi-born crooner, actor, dancer, rockabilly pioneer, pop-culture icon and undisputed “King of Rock ‘n’ Roll” certainly deserved the rest, especially after a legendary ’70s comeback that led to what remains the most watched broadcast by an individual entertainer in television history.
Austin, of course, knows a legendary musician when it sees one, and a host of tribute events across town will pay tribute to the King. At the Continental Club, 1315 S. Congress Ave. - precisely the kind of old-fashioned looking haunt where you could imagine bumping into Presley back in the day - Ted Roddy and the King Conjure Orchestra will host an annual “Tribute to the King.” Roddy created the show back in 1986 and has hosted it twice a year, in January and August, ever since. The 13-piece orchestra recreates classic moments from Elvis’ ’70s Vegas show starting at 11 p.m. (doors are at 10:30). The band nails it year in and year out, making it a premier choice for local Presleymaniacs. Shaun Young’s New Blue Moon Boys will kick off the evening with an early show at 7 p.m. (doors are at 6:30). Tickets are $22.
Just down the road, Ruta Maya, 3601 S. Congress Ave., is celebrating the King in grand style, with performances from the Cola Sisters, Adrian and the Sickness, Darling New Neighbords, the Rusticators and Melissa Bryan. Naturally, costume and dance contests are planned, and hairstylists will give away free Elvis pompadours like they’re going out of style, which, of course, they never will. The event starts at 8 p.m., and there’s a $5 cover.
If you’re feeling a little less ambitious - or need to stay home to properly mourn - Turner Classic Movies will run Elvis Presley films all day, kicking off with “Harum Scarum” at 6:15 a.m. and closing out with “Jailhouse Rock” at midnight. A full schedule is available at tcm.com.
And if you can bide your time a little longer, renowned Elvis artist Donny Edwards - featured in this month’s Texas Monthly - will perform his uncanny imitation act Saturday, Jan. 23., at New Braunfels’ Brauntex Performing Arts Theater, 290 W. San Antonio St. Texas’ own Edwards - his hometown is Lake Jackson - is only one of three impersonators to work and perform for Elvis Presley Enterprises. He performs more than 200 shows around the world a year. Tickets, $25-$35, are available at the box office or by calling 830-627-0808.
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Free Week keeps hump day grooving
Ahead of the forecast apocalyptic blast of biting cold arctic winds, Wednesday night was surprisingly balmy for a January evening as Free Week celebrated its hump night in grand style. All participating venues save Stubb’s hosted shows, with the Parish kicking off its Free Week shenanigans and Encore, a new club occupying one-half of the former Spiro’s, joining the fray.
If there’s any risk in having as many as nine venues participating in Free Week, it’s the chance of spreading crowds too thin — even on the best of Wednesday nights there’s only so many live music fans venturing onto Red River to explore, let alone in the dead of January, with multiple stages competing for their attention. If a talented local band plays to an audience of three, that might negate the traditional argument — exposure and merchandise sales — in favor of playing Free Week shows, which don’t pay artists.
Fortunately, crowds were rock-solid and most bands played to at least appreciable, if not epic, audiences. The Mohawk hosted packed shows in its inside room, where What Made Milwaukee Famous’ Michael Kingcaid watched as (Expletive) Carwash (hint: the expletive rhymes with “kitty”) brought scream-laden, two-man punk to “about 10 times the people we usually play for.” Lead singer Joe P mixed angrily shouted vocals with humorous lyrics (“I’m too pretty to pee on”) and climbed onto the Mohawk’s banister to deliver the duo’s final song. Just next door, inside the cramped confines of Club De Ville, underrated Sound and the Jury contestants Mobley played alongside a multimedia extravaganza including two old-fashioned TVs, four blinding backlights and two multicolored stage lights. The only thing more striking than the light show was the band’s imminently danceable rock, hooky and energetic like all the best “Dear Science”-era TV on the Radio grooves. Lead singer and songwriter Anthony Watkins has a jerky, quick-stepping dance style that makes the live show that much more fun to observe.
Meanwhile, the Parish dived into the Free Week pool, taking advantage of the opportunity to spotlight its recently refurbished digs.
The club ran a little bit earlier than many of the other participating venues, with headliner Wine and Revolution taking the stage around 11 p.m. The five dapper-looking gentleman play loose, spare, animated rock that evokes the New York cool of the Strokes and the garage pleasures of early Kinks, and looked all the more impressive backed by the Parish’s effects (“We’re so used to playing Beerland. Beerland does not have fog machines.”). The coonskin-cap wearing horn player added just a little dash of Ennio Morricone for zest.
There were also decent crowds at Austin’s tight jeans capital, the Beauty Bar, where Stereo Is a Lie got at least two folks dancing — not too shabby for that demographic — and at Red 7, where the Midgetman played their humor-infused, straight-ahead rock ‘n’ roll with abandon … with a six-pack of Lone Star on-stage. Yes, they’re that kind of band.
But it’s at Free Week progenitor Emo’s where crowds were at their thickest and most visibly excited. Inside, a winning line-up of old-fashioned punk bands attracted more leather, studs, tattoos and mohawks than you could count — including a frankly astonishing pink, seemingly three-foot-high hairdo that had to be seen to be believed. Outside, recent Fun Fun Fun Fest players the Laughing led the audience through an impressive set of garage glam heavy on songs from their recent, highly addictive “Fever.”
And then, of course, there was the final show — at least, for a while — from Brothers and Sisters. Though the early morning audience began to thin out as the set wore on, the band’s many devoted fans stuck around and clearly had a good time as the band launched into their sunny country rock. Brother Will Courtney and sister Lily Courtney looked as if they fell through a wrinkle in time back in the ’70s, and they sound like it, too, with a style that would slot comfortably alongside Fleetwood Mac on long road trips. Audience members danced — real, honest to God, non-hipster dancing, with twirls and everything — during “You’re Gone” (a massive radio hit in a parallel, more just universe). Encore “Sunday Living” closed things out on an appropriately bittersweet note.
So, the early January madness is now half-over. Everybody hanging in there?
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Lone Star State Jam announces lineup
While the big, splashy music news from the local alternative weekly is that Moby Grape recorded a great album in the Bay Area 42 years and four months ago, the Austin country scene has a new annual event to trumpet.
Jason Boland & the Stragglers, Aaron Watson, Stoney LaRue, Casey Donahew Band and more will be on hand for the Lone Star Sate Jam April 24 at Waterloo Park.
Another headliner will be announced March 14. Hmmm. That’s the day after the Eli Young Band play the Star of Texas Rodeo at the Expo Center.
The country fest is now in its third year at Waterloo Park.
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360 weekend picks: Reggae legends, scrappy rockers, free jazz
(Pictured: Bright Light Social Hour. Photo by Larry Kolvoord AMERICAN-STATESMAN)
FRIDAY
The Wailers at Antone’s. The Wailers have come a long way from the legendary band that recorded the hits with which so many fraternity brothers are so deeply familiar. Former front man Bob Marley is no longer with us, of course, and drummer Carlie Barrett died in 1987. But the band’s heart and soul - and one of the world’s grooviest bassists - Aston `Family Man’ Barrett remains, and today alongside vocalist Elan Atias he leads the venerable roots rock reggae outfit. They continue to tour and never fail to put on celebratory, optimistically inclined shows heavy on the afrobeat. Chances of a contact high are favorable. With Will Johnson. 8 p.m. $22. 213 W. Fifth St. www.antones.net.
Also recommended:
- Candi and the Strangers at Club de Ville
- the Laughing at the Mohawk
- the Lower Class Brats at Red 7
- Jesse Woods at Stubb’s
- Literature at the Natrix Natrix House
- Ume and Follow That Bird! at Emo’s
- L.A.X. at the Parish
- Mobley at the Ghost Room
SATURDAY
Bright Light Social Hour at the Parish. The four scrappy rockers of the Bright Light Social Hour came, then saw, then conquered the stage at the Austin City Limits Music Festival, fending off challenges from hundreds of bands from around the world for the opportunity. In retrospect, that they galloped over other entrants in Dell’s annual Sound and the Jury battle of the bands is no surprise - melding deep-funk grooves with touches of psychedelia and clever, occasionally Spanish, lyricism, few in Austin can command a live crowd better. With the Frontier Brothers, MoTel Aviv, Dertybird and DJ Billy Q. 8 p.m. Free. 214 E. Sixth St. www.theparishaustin.com.
Also recommended:
- Missions and T-Bird and the Breaks at the Mohawk
- Scrappy Jud Newcomb at the Whip-In
- Leatherbag at Stubb’s
- Jesse Dayton at the Continental Club
- Glover Gill and Tosca String Quartet at Esquina Tango
- Bang Bang Theodores at Beerland
- Paper Shapes at Red 7
- the Laughing at Beauty Bar
- Horse + Donkey at the Hole in the Wall
- Soulhat at Antone’s
SUNDAY
Church of the Friendly Ghost at the Salvage Vanguard Theater. Constantly experimental, free jazz enthused, endlessly creative community organization Church of the Friendly Ghost doesn’t generally put on traditional shows. But their outside-the-box approach to performance art always mean you get something interesting for your suggested donation. Sunday night is no exception, as the Austin Cobra Group assembles an ensemble of players for an experiment in semi-improvisational playing. Meanwhile, Alex Keller’s bass piece ‘Eustress’ is guaranteed to end with Keller destroying his guitar - in fact, he’ll be wearing safety gear. Far out. 8:30 p.m. $5. 2803 Manor Road. www.salvagevanguard.org.
Also recommended:
- Jon Dee Graham and Eliza Gilkyson at the Continental Club Gallery
- Dale Watson at Ginny’s Little Longhorn Saloon
- A Giant Dog at Emo’s
- Warren Hood and the Hoodlums at Momo’s
- Cruddy at the Parlor
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Pearl Jam’s kingdom for a Tweet
Want a free download of Pearl Jam’s “Just Breathe,” recorded live at last year’s Austin City Limits Music Festival? It can be yours for just a small token of social networking — specifically, a Tweet.
Hit up Pearl Jam’s Web site and you’ll be prompted to connect to your Twitter account, where you’ll post the following message: “Tweet for a free @PearlJam iTunes download of “Just Breathe” live at Austin City Limits. http://justbreathe.pearljam.com #pearljam”
Next you’ll receive a code for an iTunes download of the song, and voila, you’re done! A free memento of Pearl Jam’s anthemic live set at ACL, and all you had to do was rent out your Twitter account. Some may find the enterprise of giving over their Twitter account to plug Pearl Jam dubious, but the whole thing is relatively innocuous given that Twitter is essentially built on a foundation of free plugs (Austin Music Source, of course, would know nothing about this).
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Wonk alert: Nielsen SoundScan releases 2009 music sales numbers
Are you the type of person whose eyes glaze over at the first mention of percentage changes, sales numbers or industry trends? This, then, is perhaps not the post for you — but if you treasure information on all those fascinating bits of math that make the music world tick, read on.
Nielsen SoundScan, which tracks point-of-purchase sales of recorded music in the United States, has released its numbers for 2009, and the results are … interesting.
The good news for number-crunchers is that overall music sales — including albums, singles, music videos and digital tracks — are up over last year, with a total of 1.545 billion sales, to last year’s 1.513, a year-over-year change of 2.1 percent.
Sounds pretty good, right? The Los Angeles Times certainly seems to think so, with a story headlined “Overall music sales hit an all-time high in 2009.”
But the full picture is more complicated. Overall album sales — vinyl, CDs and digital albums — are down 12.7 percent, a double-digit loss, despite a rise in digital album sales of 16.1 percent last year. Total album sales fell from 428 million in 2008 to 374 million last year. What that means in reality is that while digital sales of albums are increasing, they’re not doing it fast enough to keep pace with the ever-plummeting sales of CDs, long the industry’s dominant format. It’s probably telling that Nielsen doesn’t release sales figures for CDs alone — it’s quite possible that number would be a bit too depressing to fathom.
Interestingly, the vinyl resurgence continues slowly and inconspicuously, as sales of vinyl LPs rose from 1.88 million in 2008 to 2.5 million in 2009 — a 33 percent increase. Vinyl sales remain a very small slice of the music sales pie in comparison to digital and CD sales, but it certainly looks like they’ve crafted a dependable niche. More vinyl albums were purchased in 2009 than in any other year since Nielsen started tracking them in 1991.
Digital track sales, meanwhile, continued to grow healthily, with sales of 1.16 billion last year — a growth of 8.3 percent over 2008’s 1.07 billion. Overall digital sales account for 40 percent of all music sales, up from 32 percent in 2008.
Some other quick and dirty points of interest:
-The year’s best-selling album was Taylor Swift’s “Fearless,” with 3,217,000 units sold. Number two? Susan Boyle’s “I Dreamed A Dream,” at 3,104,000 units. Also in the top 10: Lady Gaga, Andrea Bocelli, Hannah Montana, Jay-Z and the Kings of Leon.
-The year’s best-selling artist was unsurprisingly (and justly, really) Michael Jackson, with 8,286,000 units sold, ahead of Taylor Swift’s 4,643,000. The ever-dependable Beatles, with this year’s reissues of their original albums, were in third place.
-The Black Eyed Peas landed the top two spots on 2009’s list of the best-selling digital songs, with “Boom Boom Pow” and “I Gotta Feeling.” Lady Gaga also pulled off a twofer, with “Poker Face” and “Just Dance” on the list.
-The top-selling vinyl albums and artists lists are fascinating pieces of work that look like they came from a different planet altogether — there’s no Black Eyed Peas or Lady Gaga here. Instead, Animal Collective, Radiohead, Bob Dylan, Bon Iver, Pearl Jam, the Fleet Foxes and Grizzly Bear all landed spots.
Thoughts of your own? Furious/elated at the success of Taylor Swift? Stick around this far and just want to pat yourself on the back for doing so? Drop into the comments and let us know your thoughts.
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Say goodbye to Brothers and Sisters (for now)
Headlining the outdoor stage at Emo’s for Free Week last night, Brothers and Sisters front man and lead singer Will Courtney reiterated that the lovably rollicking country rock outfit are calling it quits — at least, for now.
Courtney moves back to the wilds of Los Angeles next week — returning to the city he fled for Austin several years ago with sister Lily. The two formed Brothers and Sisters in 2005, an often sprawling Big Star-by-way-of-the Jayhawks, ’70s album-oriented rock radio-inspired Southern treat. They gigged with …And You Will Know Us by the Trail of Dead — and that band’s vocalist, Conrad Keely, was temporarily the eighth member of the band —landed a song on “The O.C.” and flirted with larger success with 2008’s “Fortunately,” an alternately serene and rocking delight that was one of that year’s most invigorating local albums.
Although the band plans to play again, Courtney’s changing geographic circumstances meant that Wednesday’s performance is certain to be the band’s last for a while, a fact surely appreciated by the many loyal fans who sang, danced and clapped along at Emo’s.
Brothers and Sisters aren’t the only act using Free Week as an opportunity to take a (near) final bow — Haunting Oboe Music, a guitar-driven, scream-laden experimental rock outfit that’s neither haunting nor features oboes, will be playing its two of its last shows this week, tonight at Emo’s and Saturday night at the Club De Ville. Ian Hunt, David Shackelford, and Nick Whitfield are already working on putting together a new band including members of the late, lamented local indietronica band Clap! Clap! The band’s last proper show is Friday, Jan. 15 at the Hole in the Wall.
Update: This entry has been edited to note that Haunting Oboe Music’s final show is not during Free Week.
