Flanfire

So Much Music -- So Little Time!


Right off the bat, I am going to apologize for providing less than a prompt review of several of the very fine recordings that I will discuss today. Two caveats: First, I have taken on new responsibilities in the Austin music scene (and points beyond), of which you will learn more as time continues. Second, I am still recovering from music overload during March. But here goes.


Austin Collins -- "Roses Are Black"


I caught Austin Collins and the Rainbirds at Stubbs' BBQ a while back when he unveiled the new record, "Roses Are Black," at a show that also featured Graham Weber and I can no longer remember who else. These guys are from Dallas (I believe) but they are on the Fat Caddy label, which means that they are truly Austin music makers. Will Johnson produced this 12-song cycle, with Austin writing (two with Daniel Makins) all of the songs but one -- "Broken," written by percussionist/pianist Craig Bagby. Adding to the sound (in addition to Bagby, guitarist Dylan McDougall, and bassist Troy Wilson) are Johnson, Scott Melon, Todd Pertell, and Eleanor Whitmore -- all of whom combine to produce a rich set of music in support of Collins' lyrics.

I really like "11 Months," the CD's first cut -- feels like The Eagles a good bit (though I still want to hear more changes in this music to truly make that comparison). "Broken" cries out for stronger harmonies in the choruses -- and that's the trouble. There is so much good here and yet you want more upfront pathos, more urgency -- and more of that sense that you are sitting around late at night sharing a six-pack with a guy who really has a broken heart. This is a good album by guys who have a GREAT album or two or three inside. For example -- "The Witching Hour" has some powerful images and yet you feel as though the band is rushing through the song to get to the end -- rather than living in fear of that "hour" when all hell breaks loose.

The title cut is truly a dirge (about the death of a relationship) -- and finally, the last part of the song captures that kind of shock you can find in, say, a Patty Griffin song. "Bridge Street Lullaby" shows just how good this band can be -- especially on the choruses -- and the great instrumental bridge and outro. This is a beautiful song (but, please, more high harmonies!). "Unapology" (which features Eleanor's fiddle and Todd on resonator) has the kind of vocal energy I want all night long from this band [maybe Austin is really a country singer?]. You just have to sing along to this one -- and you do not want it to end. "Eight Dollar Thrills" also begs for more dynamics -- I seem to recall a screeching but quiet guitar in the live show (or I hope I do) -- and maybe someone sliding across the stage floor. But what is really needed here is a little "Native American" drumming in the middle of the cut. I also like "Today," but I wanted a pause between verse 1 and the chorus that gives time for the song's energy to build. MORE SPACE! But there is a REALLY NICE guitar solo here -- best of the whole CD maybe -- and I really LOVE great guitar solos. And I really like this band -- and expect even better next live show.

Izzy Cox -- "Love Letters from the Electric Chair"
World traveler Izzy Cox(who returns to Austin on April 25th from a West Coast tour) reminds me immediately of Edith Piaf, the French pop singer who died 45 years ago but remains a legend on both sides of the Atlantic. I caught up with Izzy at Ego's (before it was turned into another Canary Roost style karaoke bar) -- with Sean Ziegler on lap steel and Brendan Rhyne on bass. Captivating -- off-putting -- Izzy makes you feel downright uncomfortable in your own skin. And that's why you want more.

This record was made in Los Angeles with guitarist Billy Pittman and a host of players -- mind you, Izzy has recorded 13 albums and is working on a new one here in Austin. Songs here include "Devil, Devil," "Electric Chair," "Killer from Hawaii," "Burn Your Bed," and more songs about death and murder and other bizarre themes. She calls herself an anarchist crooner singing "voodoobilly jazz" music. She is also a veteran of the Montreal music scene that produced Rufus Wainwright and Arcade Fire (and more) -- and despite her stage persona, I found Izzy to be a vulnerable, lovely person whom I first saw supporting her peers as if she were the little matchstick girl.


I have absolutely no intention of describing Izzy's songs -- words cannot express .... and you really should just go see her sometime. Okay -- I will explain that "Lyin' Eyes, Cheatin' Heart" is a show shuffle with very sparse instrumentation (she hardly needs anything else but herself), and that "Man of the Cloth" (the final cut of 14 here) opens with some killer dobro -- here she says she is not going to heaven -- after all, she shot her husband square in her front lawn. This, too, is basically a stipped down, slow ballad. Did I mention that this woman is truly special?

Izzy told me she is enjoying living in Texas again (last time here she was a child) -- catching up with herself in this slower paced environment. OKAY I have to tell you, she can actually sing a love song -- and does. She can also invoke massive distortion out of her guitar -- and play tricks on us with her vocal machinations. I want to catch Izzy sometime on a big stage where she can truly choreograph. And I have barely scratched the surface of an artist of vast dimension.

Vanessa Lively -- "A Chain Unbroken"
Gentleness -- and grace. Vanessa and husband Jason Lively (who plays bass and charango in her band) recently returned from South America, where they traveled about doing good. While in Ecuador they ran into Englishman Stefan Pope, who invited them to England (somewhere along the way, Vanessa had written the beginnings of many of these songs while at Kerrville Folk Festival) -- where they recorded more of this album. [Yes, there is an earlier album floating about as well -- much of which she recorded while in Ecuador.] Then they came back home to Texas, hooked up with Sick and finished the recording. Released it a few weeks back.


Vanessa hails from San Antonio, is bilingual and bicultural -- and beautiful inside and out. Her concerts are a spiritual experience -- built upon a philosophy espoused in "The Only Day There Is" -- "Looking out the window today / All I see is loads of grey / And I think of yesterday But then again I know that I should be / A little bit of better company / ‘Cause there’s people right beside me. So I’ll look today as the only day there is / ‘Cause there’s no other way to go through life than this / And I’ll be right here in the moment (so) I don’t miss / A single thing waiting / Waiting like a kiss."

In the title cut, Vanessa encourages us to "Hold her hand, hold his hand / Reach out and really take a stand / Breath on in to begin / One foot forward is how you start steppin’ in / Quiet lies, pass them by / Open hearts, minds to opportunity." The final cut, "Alleluia," is truly an anthem to living for others -- "We’re gonna rise above and open up our eyes / We’re gonna rise up singing and change each others lives / ‘Cause when we reach out and take another’s hand / We’ll raise our voice together as we walk across this land / And we’ll be singing."


And you know what? Start hanging out with people like Jason and Vanessa Lively and you too will be raising your voice in song, letting your own life be transformed as you participate just as vitally in changing the lives of those around you. And, oh by the way, the music is beautiful!

Danny Schmidt -- "Little Grey Sheep"
Now that he has run into Carrie Elkin (left) and started hanging out with the Livelys (or so it seems), how much longer will Austin native Danny Schmidt be able to get away with his dark cynicism about the ugliness he sees all too often in his travels? What a reporter this songwriter is! A poet, too -- and some of his songs are so powerful you have to rethink your entire value system, even though at other times you sense he is singing his own version of U2's "I Still Haven't Found What I'm Looking For." And, oh by the way -- Danny is a wonderful guitarist and has a great voice.


For that first side, try out "Company of Friends" or "California's on Fire." For the latter, "Trouble Comes Calling" and especially "Adios to Tejasito" (which has the GALL to disparage the Lone Star State, well, except for Austin). But perhaps the real gems on this collection are "Emigrant, MT" -- which captures a vacation (unexpected?) fly fishing in Yellowstone and all of the beauty there -- and "Tales of Sweet Odysseus" [oddly, I was at the Regents' School play tonight -- The Odyssey] -- though even this was nowhere near as strong as the brand-new song I heard live at Momo's -- "O Child, You're Right in Time."

Danny has gathered a coterie of friends to work on this record -- Paul Curreri on just about everything, Joia Wood and Devon Sproule on vocals, Randall Pharr on bass, Spencer Lathrop on drums, Matty Metcalfe on accordian, Jeff Romano on harmonica, Sara Read on fiddle, and the inimitable Colin Brooks on steel guitar. This is excellent music -- "Go Ugly Early" and "Cliff Song" are just a couple examples of the quality of the musicianship here.

Ah -- the passion of youth. Danny (whose mom was in the house when I saw him at Momo's) sums up his view of life in "Drawing Board" -- "I've lived my life in two pursuits -- to capture time and free the truth." Watch this guy mature as he realizes more fully that love means learning how to lead even those whose actions you despise -- to sneak into Saul's tent and leave your calling card but leave his fate to the maker of us all.

Flanfire -- Bringing LIFE to Austin music.